The Planar Reference To Beat

Ratings

Pros

• One of the best planar IEMS I have had the pleasure of reviewing.
• Impression of the scene.
• Physical and corporeal sensation of the bass.
• Unlike other planars the sound is more clean, crisp and transparent, without that feeling of density so marked, which achieves a sound with more separation.
• Excellent treble.
• Improved and more natural planar timbre.
• Speed, precision, driver resolution.
• Very low distortion.
• Four pairs of tuning mouthpieces with unique design and real sound modification.
• High level of construction and external design of the capsules.
• Very good cable, with screw-in plug exchange system.
• Low weight per capsule despite being metallic.

Cons

• Insertion too shallow due to short mouthpieces.
• Finding the right tips is paramount to ensure the best fit and sound.

Purchase Link

https://www.linsoul.com/products/7hz-timeless-ii

Link to the Store

https://www.linsoul.com/

Introduction

Every company is looking for success, and if it is possible to make it last, even better. Several years ago, 7Hz launched its worldwide success: Timeless. It was not the first IEM model with planar driver, but it was one of the most successful and pioneer in a new saga of great IEMS using this same type of driver. Many other brands have copied this success with better or worse results. But planar drivers in IEMS are no longer a thing of the past. In fact, brands have explored this technology and have gone further to attract the attention of users. But, after this time, 7Hz has come back to bring the new version to the market: the 7Hz Timeless II. This new model updates the original with a new 14.5mm magnetic planar driver, which incorporates the world’s first double-sided coated diaphragm for improved responsiveness. The internal coating process applies microns thick of a specialised silver alloy, which significantly increases the surface tension of the diaphragm. The new diaphragm, driven by a powerful double-sided N52 magnet array, is extremely sensitive and takes the planar diaphragm concept to a whole new level. It also incorporates an interchangeable nozzle filter system that allows users to fine-tune the sound with different options. The 7-layer transducer housing has been redesigned to ensure precise fit, durability and stability. The ultra-pure 7N monocrystalline copper cable with 4 cores and 0.78 mm thick 2-pin connectors has been redesigned. In the following, we will go into detail about this new product in the 7Hz planar saga.

Specifications

• Driver Type: 14.5mm magnetic planar.
• Frequency Response: 5Hz – 40kHz.
• Sensitivity: 108db/V@1KHz.
• Impedance: 15.2Ω
• THD: <0.2% (1kHz).
• Jack Connector: interchangeable 3.5mm/4.4mm.
• Cartridge Connection Type: 2Pin 0.78mm.
• Weight per cartridge: 5g.
• Starting price: $229.

Packaging

The 7Hz Timeless II comes in a black box measuring 156x107x55mm. On the top left is a product description written in white letters. To its right is the brand logo in gold. Underneath are large letters with the model name in holographic ink. Most of the space on the box is taken up by a realistic photo of the capsules on a background of an infinite pyramid base. The back side repeats the top, with an exploded view of the capsules and the specifications in Chinese. Curiously, it refers to an MMCX connection when in fact it is a 2-pin 0.78mm connection. Underneath there are different logos, brand and importer information. When you remove the outer cardboard, you can see that the box is white. The model name is horizontally across the top and underneath is a short description. The brand logo is at the bottom right. All in holographic ink. The contents are protected by a layer of transparent plastic. At the top is the round black metal box that protects the product. Underneath is a plate containing three pairs of screw-in filters. On the second level there is a black cardboard box containing the rest of the accessories and a user manual. In short, the contents are as follows:

• The two 7Hz Timeless II capsules.
• A four-stranded cable with interchangeable 3.5mm SE and 4.4mm BAL screw-in plugs.
• A round metal box with screw-on lid.
• One pair of flat silver interchangeable nozzles.
• One pair of interchangeable silver bullet nozzles.
• One pair of flat gold interchangeable nozzles (screwed onto the IEMS).
• One pair of interchangeable gold bullet nozzles.
• Screw-on plate for three pairs of nozzles.
• Three pairs of 7Hz clear silicone tips with red core sizes SxMxL.
• Three pairs of blue silicone tips and coloured core sizes SxMxL.
• Five pairs of whitish silicone tips and coloured core in different sizes.
• User manual.

Many things stand out about the Timeless II, such as the different mouthpieces, which can be flat or bullet-tipped. Also noteworthy is the polished black cylindrical case, with its pattern of infinite mini pyramids. The exterior of the IEMS also has this pattern. But, back to the case, it is heavy, threaded and roomy enough to hold the IEMS, the cable, the plate with the nozzles and the two pins. Then, the set of silicone tips is the usual 7Hz, plus the new transparent tips that incorporate the brand’s logo on their body. Instead of having a tapered tapering shape for easier insertion into the ear canal, they have a rounder, thicker rim and a red core. It is noticeable that the brand has taken into account the trend for special transparent tips and this set is their answer. In any case, both the presentation and the accessories are totally in keeping with the price and excellent.

Construction and Design

The design of the Timeless II is not easy. They are metallic, completely black, with a micro-sandblasted surface on the inside and a mini pyramid pattern on the round outer face. It is a unique product. As I say, the outer face is a disc with that surface full of mini pyramids. Near the edge you can read the name of the model in white letters. The inner face does not occupy the whole space of the disc, but has two phases. One of them is an incomplete cylinder with two intersecting flat sections. What is missing from this thick, incomplete cylinder allows us to see part of the thin disc that makes up the outer face. On the shorter flat section is the 2-pin 0.78mm connection. This is a round part in the centre of which are the two gold-plated connections. There is a red dot indicating the polarity of the connection. There is nothing on the longer flat section. On the surface of the first phase, next to the edge and next to the vertex formed by the two flat sections, there is a letter indicating the channel and three holes. The second phase/step is another thinner disc of smaller diameter. Near the centre, closer to the nozzles, there is a hole. The nozzles are inclined and rise a few millimetres. They are threaded inside so that interchangeable nozzles can be attached. The nozzles are of four types: two flat and two bullet-tipped; two are gold-plated and two are silver-plated. The flat gold-plated nozzle has a filter covering the inside in the shape of a six-petal flower. The silver-plated flat nozzle has a filter covering its interior in the shape of a spiral with a circle in the centre. The bullet nozzle contain sections on both sides with openings towards the inside. There is a small hole in the tip.
The cable has interchangeable 3.5mm and 4.4mm plugs. Both are threadable. The plug sleeve is a cylinder with flat cut-outs and irregular diamond-shaped surfaces in its central part. Its ends are smooth, polished and shiny in pure metal colour. The brand logo is inscribed on the edge near the pin. The inside of the plug is made of black plastic, including its thread. The connection mechanism consists of four gold-plated pins and a fifth hole which serves as a guide. The plug is female and the cable is male. The two cylinders are assembled by means of these four pins and the small guiding cylinder. The cable consists of four intertwined strands. Its sheathing is a dull dark copper colour. The divider follows the same pattern as the plug sleeve, but is about half as long. The pin is a ring of the same material, with the rounded edges greatly reduced. The inner hole is too large and the fit is too slight. The sleeve of the 0.78 mm two-pin connectors has the same shape as the rest of the parts, although they are relatively long. On the smooth cylindrical part near the connectors is a white letter indicating the channel. The pins are mounted on a round white translucent piece with two flat sections on the sides that serve to lift them up. The cable has guides on a semi-rigid ear. The cable is very good, subtly stiff, but still manageable. The design of the whole is excellent and, given its particular shape, it is a totally identifiable and outstanding model. However, it is a slight variation on the shape of the first Timeless, which had a smooth outer face and an MMCX connection. Fortunately, 7Hz have changed the connection interface to my preferred 2-pin 0.78mm.

Adjustment and Ergonomics

The design is not easy, the ergonomics are not simple. At first glance it may seem uncomfortable because of the large flat outer disc, the stepped double-stage inner face and the inclination of the mouthpieces. That slightly sharp-edged disc could touch the external parts of my ear, but it does not. The first phase of the inner face might be too big and annoying, but it doesn’t either. Finally, the second phase is the key: it has just the right size, roundness, slope and length to make sense of it all and becomes a surprisingly comfortable model. Timeles IIs allow only one adjustment, with no possibility of rotation. The insertion is shallow. To a large extent, it will be the silicone tips that provide the right comfort and fine adjustment. Otherwise, there won’t be much of a solution. I think the ergonomics depend largely on the choice of tips and that the base of the mouthpieces is somewhat short. I could say that the fit is somewhat critical, on the verge of being lost. If an occlusive fit is achieved, even if it is superficial, it can be durable. But, in my opinion, the fit is a bit short, it doesn’t have much margin; either it fits, or it doesn’t, you have to look for other silicone tips. With my home-made large foam-filled tips I have been able to solve the situation. However, I have had to look for tips with cores that can project them to increase the range inside my ear canal. The surface fit is not sufficient. Well, it is, but it is essential to achieve it.

Sound

Profile

The Timeless II are one of those IEMS that surprise on first listen. The sound is wide, holographic, surround and impressive from the first minute. The profile moves from a W with smooth upper mids with the flat silver mouthpiece to the raised upper mids on its 2 kHz hump of the bullet silver mouthpiece. Each mouthpiece has a slight alteration in the treble as well. Depending on the set point of the four graphs, you can see that the bass is very similar, almost identical, and the differences are noticeable from 1kHz onwards. I consider the default mouthpiece (flat gold) to have the best tuning: a moderate hump at 2kHz and a little more energy in the transition from mid to treble and in the first part of the high frequencies. This keeps the upper mids from being too excited and gives clarity and sparkle in those high notes, to compensate for the gain in bell with more extended energy in the treble. There are mouthpieces that file down the treble and upper mids, such as the flat silver mouthpiece, while bullet mouthpieces raise the 2kHz hump, but offer two versions of treble with less energy. My balance is with the flat gold mouthpieces and the description of the following review will be done with this mouthpiece. My second favourite is the flat silver, which is more relaxed in the second half of the mids.

Bass

Another surprising thing about the Timeless IIs is the bass. Their sonority, vibration, texture, expansion and volume are different from those of dynamic drivers. And on this occasion it’s even more apparent. There is a high level of energy, but its vibration is particular and distinctive, and it is also deep. It’s a sound that fixes itself in the ears, that the mind absorbs to ask for more, a sound that fills the ear canals and spreads across the inner surface until it spreads through the head. Yes, bass has that sensory capacity that makes it unique.
Also impressive is the restraint, dryness and speed of the bass. I think this is all due to the very low distortion of the driver. The bass is highly accurate and reliable. Texture doesn’t just appear, it really has to be in the bass. When the bass is technical and pure, the Timeless seems to reveal itself at that end, becoming extremely accurate and fast. And this is something that very few dynamic drivers in the same price range achieve. The sheer quality of the bass is clearly evident in the very low frequency pure tone test. In the lower note there is that mix of darkness, sensory emission, depth and physicality that come together perfectly. Admittedly, I tend to miss that physical, volumetric and powerful property that emanates from the best dynamic drivers. But the sonority of those difficult-to-reproduce lower notes, the absence of colouring, the scarcity of unwanted ripples and the absence of additional distortion-inducing vibrations are commendable. Without a doubt, this is some of the best bass I’ve heard in planar systems.
And finally, in the dirty, complex, unfiltered bass test, the Timeless IIs demonstrate that the driver is specially designed to show its prowess in these difficult-to-reproduce passages. Thanks to all the properties I have listed in this section, the reproduction of the rawest and dirtiest bass lines is fluid, slightly smoothed, highly detailed, and shows that ability in texture expressiveness, layering and also in respect for the rest of the frequencies. Spectacular.

Mids

As is usual in this type of tuning, the first half of the mids is somewhat lean. However, the level of precision is very high, something that also translates into a timbral adjustment in the same range. I tend to miss a little more body, physicality and a more marked base in the male voices. But its execution is so complete that it is almost offensive to put any criticism on it. The balance between that base, its development and the harmonics is synonymous with naturalness, fidelity and adjustment to reality, an excellent sum that is only marred by that slight remoteness that I feel and that I would like to be manifested in a closer and more forceful way. The result is very well-executed, very rich voices, lacking nothing and totally homogeneous throughout the range. The only drawback is that I feel them at that middle distance that prevents me from enjoying them in all their splendour. On this occasion, the instrumentation is on a par with the vocals. But their great capacity for layering, separation and level of resolution only magnifies the sonic space to showcase everything with an expressive exuberance and a richness of detail that is almost overwhelming for this price point. Turning up the volume with the Timeless IIs is thrilling and almost a vice thanks to the eloquence of their mids.
Female vocals with the Flat Gold filter are not as high as one would expect from the graph. They maintain a higher point of presence and are a little closer to the listener. This gives them a prominence within the sound that allows them to demonstrate their full vivacity, breadth and level of definition from start to finish. In this way, the passion that the Timeless IIs bring to the midrange is evident.
The Timeless IIs also demonstrate that it is possible to be clear, bright and obvious, keeping sibilance well below predictable, almost tending towards zero. That can mean sounding a little dry, a little more restrained, not as extended, but without falling into softness. The Timeless IIs don’t feel soft, but rather seem to apply a higher speed when it comes to executing these sibilant passages. That sparkle, that flare is there, but contained and condensed; yet it is distinctly explicit and audible. Perhaps another of the most remarkable abilities of this new model is precisely that ability to execute all the music in the shortest possible time so that it all sounds at once, albeit in a totally descriptive way. It is highly enjoyable.

Treble

Planar treble has been controversial from the beginning, as planar drivers are able to offer a very wide extension while maintaining a very homogeneous, balanced and extended energy level in frequency. This is also compounded by the timbre of planar loudspeakers that some criticise. In my opinion, the Timeless II’s have reduced the negative feel of that timbre, while maintaining a high and restrained energy level in the high end. I can’t say that the treble is smooth, but it’s not harsh either. They are planar treble of a new generation, very precise, moderate in the expression of brightness, not quite crunchy, not quite sharp, but retaining that extension, balance and homogeneous amount of energy to describe the high end very faithfully, realistically, even naturally and attractively. It may still have its detractors, it may also have some who are looking for more edge and to be more penetrating. But, in my opinion, the Timeless IIs present their own version of an enjoyable, technical and representative high end, without the need to be soft or rounded. And, of course, the level of extension, even the amount of air, is very good. Quite a luxury.

Soundstage, Separation

One of the first things that strikes you about the Timeless II is its soundstage. We are all used to describing scenics as wide, voluminous, volatile, gaseous, etc. With the Timeless IIs I realise that this is indeed the case and that these words make sense in a $230 IEMS. The volume it generates is superior, the space it occupies is vast and the projection of the notes is far-reaching. This is how the sound spreads further than in other presentations. The best thing is that the sound is not ethereal or gaseous, but remains attached to its base, to the lines, to the layers, to the music itself. The sound is considerable and deep thanks to the imposing bass and very rich due to the high quality of its mids and highs.
On the other hand, it is not an analytical sound, although it does respond very well to very expressive sources, demonstrating its high capacity to showcase the excellent level of resolution it possesses. Thus, the latent capacity and potential for analysis can shine through without being cold, clinical, sharp or inert, as the Timeless IIs are able to breathe magic and passion beyond detail and resolution. They are certainly exciting in this respect, which adds yet another reason to consider them addictive.
Finally, the image is very accurate. With such a fast, efficient and low-distortion driver, the note generation is very precise and rigorous, and you get a vivid, detailed, concrete and determined image, where all elements have their space thanks to the wide separation and the wide scene, as if it were a feedback process.

Comparisons

LetShuoer S12 2024

In my opinion, the limited version of last year’s S12s are LetShuoer’s best planars. This is a limited edition, which is now out of stock. As a good limited edition, it has an appropriate packaging for the occasion, where gold is the protagonist. The price is $199. Both come with modular cables: the S12s have three connectors (2.5, 3.5 and 4.4mm), while the Timeless IIs only have two (3.5 and 4.4mm), but their anchorage is more secure thanks to their screw mechanism. As for the driver itself, the S12s have two thickly wound strands, while the 7Hz has four strands. I have no complaints about these drivers, but the 7Hz cable is more manageable. Both come with three sets of silicone tips, with a special clear edition on the 7Hz side, while the S12s come with one set of foam tips. They also each come with a cylindrical screw-on case. The S12’s is plastic with a black rubber coating, while the 7Hz’s is metal and the lid is the same pattern as the outer face of the IEMS. The case of the 7Hz is a bit taller, but the diameter is the same. But there is one obvious thing that the 7Hz has that makes it better: four pairs of tuning mouthpieces. With the Flat Silver mouthpieces, the curve of both models is very similar, but with the standard Flat Gold mouthpieces, the Timeless IIs have an extra clarity that makes the S12s seem darker, even a little hazy. But before talking about the sound, there’s the ergonomics: neither model is particularly comfortable, but the smaller body of the S12s fits my ear better. It’s worth noting that both models have short mouthpieces and you have to play with the tips to find the best fit.
Both need a good amount of power to shine, and I would almost say the same. I’ve commented that the profile of both is very similar with the Flat Silver mouthpieces, but that the Flat Gold mouthpieces give a clarity advantage at 7Hz. They also have a better treble extension. The sound of the S12s is denser, with a more compact, fuller-bodied bass. In the pure tone test, the 7Hz bass is more natural, with darker colour, more realistic behaviour and greater depth. The S12s have a more undulatory and vibratory character that is clearly perceived, as well as a certain level of colouration that shifts them towards more audible and less deep or sensory notes. The Timeless IIs are subtly faster, more concise and technical, while the S12s are more elastic and rubbery, hence the denser, more opaque feel. I think the 7 Hz have some of the best planar bass I’ve tried.
The male vocals are denser on the S12s, but on the Timeless they sound more natural, free, clearer and cleaner. It is true that in the S12 there is that base that I like, but in the Timeless there is that crispness that offers a more transparent sound and something more technical, precise, concise and resolute. In the second half of the mids there is that higher, more energetic and clearer feel that the 7Hz has. It is clear that the flat gold tuning helps to gain transparency, but it also feels more precise, fine and technical, even with more separation and a more open stage. All this without sounding analytical or cold, or causing wheezing.
The treble of the S12s is very good, but the 7Hz is better, with a more accurate timbre, more sparkle, extension and even finer and more natural. This is no joke.
The greater transparency of the Timeless gives them a wider soundstage, a better sense of depth, a darker background, greater micro-detail definition and greater separation. The S12s are denser and have the layers closer together.
The LetShuoer S12 2024s are excellent IEMS, but what 7Hz has achieved with the new Timeless IIs is like a punch on the table.

Conclusion

The 7Hz Timeless IIs have been a long time coming. I think they were announced a year ago, but for some unknown reason they were not released, so what happened, perhaps they were not up to the brand’s own expectations? Whatever it was, it was well worth the wait. The 7Hz Timeless II are 5-star IEMS, a real treat for my ears. The sound is powerful, based on a bass with an imposing force that reaches a surprising level of sound pressure. They have possibly the best bass of any planar IEMS I’ve tried. The mids are extremely rich, highly expressive and full from start to finish. As for the treble, 7Hz has managed to find the perfect balance between energy level, sonority, timbre and naturalness. And let’s not forget about the size of the soundstage, the sense of transparency, the level of detail and resolution, the potential for improvement over superior sources, the level of precision and the very low harmonic distortion value. Undoubtedly, the 7Hz Timeless II may become the new reference in the segment of planar IEMS for less than $250 and one of the best models in that price range.

Sources Used During the Analysis

• EPZ TP50.
• ifi GO Link Max.
• iFi GO bar Kensei.
• Tempotec V3.
• Burson Audio Playmate 2.
• Aune X8 XVIII Magic DAC + EarMen ST-Amp.