TFZ Copies Itself

Ratings

Pros

• Technical ability of the sound, clarity, transparency and brightness level.
• Remarkable treble level, extension and definition.
• Outstanding bass tuning, with remarkable execution, presentation and power.

Cons

• In many respects, it resembles earlier SuperTFZ or TFZ models.
• Overall innovation is low and unattractive.
• It is a demanding specialist profile, which is far from pleasant musicality.
• It is not suitable for long and relaxed listening, on the contrary, it is intense and demanding.
• The set of accessories and packaging is not consistent with the price.
• There is no balanced cable to choose from.

Purchase Link

https://penonaudio.com/supertfz-force-king.html

Link to the Store

https://penonaudio.com/

Introduction

What is it, a man, a bird? No, it’s the SuperTFZ logo. Again the question: Is SuperTFZ the evolution of TFZ? Is it really an evolution? Let’s see, let’s start with the logo. If it is changed, it is for the better. I read a comment from a Head-fi user who said that the logo is a cheap imitation of Jerry Harvey. He’s not wrong and from the first time I saw it, I didn’t like it. I found the design unattractive. Secondly, the first model I tried, the Force 1, looked the same as the TFZ Essence. But, they also resemble many other IEMS that have this same shape, even in sound. Only the Force 1 is more refined than, for example, the PaiAudio DR2. But it is also more expensive.
Now, this «new model» that is the Force King (not even the name of the brand name is a bit different) also looks like another TFZ, namely the Live 1. They have changed the glitter and the nice logo for a metallic outer face and the man with wings. The only good thing is that instead of the fake diamond-like ball, there is a hole at the apex. Otherwise, the design is very similar. Even the frequency response is very close, as are the specifications. So what is SuperTFZ, an attempt by the brand to bring old models to the market with a bit more refinement, a subtly different look and, on top of that, a bit more expensive? But let’s take a closer look to see if this is the case.

Specifications

• Driver Type: 11.4mm double-cavity Tesla magnetic group unit with double magnetic circuit.
• Frequency Response: 20Hz – 40kHz.
• Sensitivity: 113dB.
• Impedance: 16Ω.
• Jack Connector: 3.5mm SE gold plated.
• Cartridge Connection Type: 2Pin 0.78mm.
• Cable: Silver plated cable.
• Cable length: 1.2m.

Packaging

The SuperTFZ Force King costs $129, while the Force 1 costs $79. Both have the same packaging. Only the pictures on the outside are different. If they can put it on autopilot, so can I.
The SuperTFZ Force King comes in a vertical box with a square, black base. Its dimensions are 93x93x148mm. It opens by sliding the cover upwards. The cover is light coloured on the sides and black on the top. On each side there is a different motif, on one side the logo in black on a white background, on others realistic photos of the capsule and, finally, the brand name and the holographic seal of authenticity. The box has a seal to certify its closure. Removing the cover reveals that the box is a parallelepiped with the IEMS resting on its square top. These are embedded in a black plastic tray, under it is another dark cardboard box inside which are the rest of the accessories. In a nutshell:

• The two SuperTFZ Force King capsules.
• A black bag with gold-plated brand logo.
• The 4-strand silver-plated cable with 2Pin 0.78mm connection and 3.5mm SE plug.
• 1 set of black silicone and narrow core tips, sizes SxMxL.
• 1 set of black silicone tips with wide core, sizes SxMxL.
• 1 pair of extra tips already fitted to the IEMS.
• 1 3.5mm to 6.35mm SE adaptor, gold plated.
• 1 instruction manual in Chinese and English.

Each set of silicone tips comes in a white pouch.
The packaging is a bit big for the contents, it could be half the size. It’s worth noting that it is original, but I would miss a hard case with a zip instead of the pouch. Except for this preference, the contents are just right and while the cable is of quality, it is the same as the previous model. Being a more expensive model, there is only an additional adapter. In other words, no evolution.

Construction and Design

The Force King has a capsule, the shape of which is classic within other models of the TFZ brand. The outer face is very similar to that of the semi-custom Live1, My Love III, made of transparent polycarbonate, except for the outer plate. The outer face is opaque and silver. In the centre, the brand’s logo can be seen, painted in black ink, on the right capsule. On the left capsule, on the edge, the brand name can be read. In the lower corner of this face, there is a hole surrounded by a kind of funnel, which has a red or blue colour, indicating the channel. The mounting of the two-pin connection, which is superficial, is located on the upper edge of the capsule and consists of a transparent rectangular plate with two holes, the connections of which are gold-plated. On the edge next to this plate is inscribed the name of the model and a phrase which I cannot read. On the inner side is the letter identifying the channel. All the inscriptions are in a faint light grey ink. The inscriptions on the inner side, in particular, are difficult to make out. The transparency of the enclosure allows the dynamic driver to be seen. In the centre of the inner side, there is a hole, which coincides with the centre of the driver. The mouthpieces are fully integrated in the capsule, being made of the same material, without any division. They are almost 4mm long. The first, lower part has a diameter of 5.6mm. Then, there is a small flared crown, whose diameter is 6.2mm. Finally, the diameter of the outermost rim is again 5.6mm. Its interior is protected by a perforated metal grille.
The cable is a 4-strand cable with 24 silver-plated wires of 0.05 each and transparent TPU-coated. It has guides on the ear. The sleeve of its connectors is particular, in the case of the 3.5mm connector it is a polished metal parallelepiped with the brand name on one side and two black screws on the other side. The splitter piece is more square, almost cubic and has the logo drawn in black on the main face. There is no adjusting pin and it is missing. The cable is original, but the metal parts feel a bit heavy. There is no choice of plug other than 3.5mm SE.
The cable is the same as the Force1 model, the design, except for the outer side, is the same as the TFZ Live 1.

Adjustment and Ergonomics

The size and classic appearance of the capsules, with a semi-custom external shape, with a very rounded interior and no edges or corners, provides a superficial fit, quite free of contact with the external parts of the ear. And, if it does exist, the friction is very soft, due to the smoothness of the material used. This means that, as the hours go by, it does not affect the perception of comfort provided by this model. In this way, the ergonomics, widely contrasted in other models of the TFZ brand, is high and quite good. Once fitted, there is hardly any possibility of rotation and, with the right tips, there is no risk of the IEMS becoming detached or falling out.
With my silicone tips, filled with foam, although the fit is quite shallow, the seal is very good and the level of insulation is high.
Model with the same design, the same quality of fit and ergonomics.

Sound

Profile

The profile of the SuperTFZ Force King is presented as a W, where the accent is on the sub-bass, although it is superior in the upper-mids and treble. Both the low-mids and the more central part are moderately recessed, something that polarises the sound. In that sense, it seems clear that the technology used (the double magnetic circuit and the two-way frequency divider) has an influence on this particular profile.

Perhaps, to be facile in assessing the sound of this product, which is on the verge of rehashing, would be to lack a critical ear. For starters, I’ve had enough of this profile. I recently reviewed the TRI i One and find similarities between the two. I can’t comment that the sound of both is homogeneous or balanced. Perhaps the most homogeneous part of the set is the treble. But it is a demanding mid-high profile, the lower end of which has been slightly softened. The mids are partially sunken, especially in the initial part and, above all, in the middle. But it is not a bad ensemble. The fact that I don’t like its tuning doesn’t mean that I don’t value other virtues, although it gets complicated the further it moves away from neutrality and/or smoothness.

Bass

As always, TFZ was never bad on bass. On the contrary, I think TFZ models were always revered by their fans in this respect. SuperTFZ should be better, right? At this point, finding quality bass in a dynamic driver of this price is not that difficult anymore. The worst thing would be to get it wrong and that’s something that would put the whole thing out of play. Fortunately, that’s not the case here. This is not an ultra-emphasised bass profile, not even in sub-bass. It maintains a certain level of power in the LFO range, without being predominant overall. It’s true that there is punch, it’s not bass neutral, but it’s not full-blooded TFZ either. Basically, both the mid-high and treble levels are over the top. And that is something that limits its exposure.
The punch is concrete, concise, it has a speed that could already be called standard in this price range, as the last DDs I’ve tested are also like this. In this respect, the bass level of the competition is less and less surprising. So the Force Kings fall into that territory, a nimble, relatively fast bass, with a quick decay, a smooth texture, subtly marked, but not too rough or descriptive. The execution is clean, freeing the mids of any taint and possessing the technical quality, resolution and level of definition to follow complex, unfiltered bass lines. It does not saturate with volume and is suitable for dirty bass, as it is able to tolerate and execute it naturally and without suffering. That’s all you ask of dynamic bass and this model delivers it. The emphasis on the sub-bass to «save» the first part of the midrange is also welcome.

Mids

For some time now, I have been very critical of tuning like the Force King. Trying some IEMS and detecting a gap in the mids alters my mental recreation of the music as I know it. If this profile is for monitoring, it is only for high-mids and treble, because for the first half of the mids it doesn’t work. This is a very clear ensemble of thin male voices, presented at mid-distance, well-defined and transparent, but with a low corporeality, physicality and density. The concave sounding feel is maintained with many styles and songs. It works well for many others. But, in most of the music I listen to, I’m going to miss a more homogeneous and complete presence presentially. And this will cause me to try to turn up the volume to find a fullness that is not there, forcing my ears into an over-presence of mid-highs and highs that will not make me enjoy the music.
The tone possesses a brilliant tendency, without being completely analytical, it is saved by the fact that its point of excitement and level of definition is not totally analytical, although it is postulated as a candidate, it is narrowly missed. And perhaps it is a point of sanity within this escalation that is the transition from the mids to the highs. The Force King persists in this zone and manages to penetrate just enough to flirt with the danger of the hot zone. This is how this model enters that set of IEMS that excite their mid-highs to be considered as a monitor model, losing too much information in the first half of the midrange. Fortunately, it doesn’t just focus on definition or detail, but plays 50% with it. Perhaps it is the balance of the central range. But let no one think that this implies neutrality or a natural and pleasant tonal accuracy. On the contrary, they are demanding and present in the most sensitive part of the audible range. All this is to exhibit a forced transparency, level of clarity, resolution, definition and analytical ability, at the cost of moving away from an organic, realistic or natural sound.

Treble

Coming from an excited upper-mid range, the Force King still has the reserves to raise the bar and generate a good initial spark. It’s able to camouflage the sibilance among some present treble. It’s like hiding something in a pile of stuff, it stands out less. But it has its level of effectiveness. The control decay is slight and the treble is very well extended for a single DD. This is a reward for them, even if it is an add and go. I would perhaps remove a little power from 2kHz onwards and spread it out in the midrange gap or to give it a little more air. Both ends are good, but the midrange disappoints in comparison, because of its unevenness, not its technique. Something that prevails in the treble and also in the bass.

Soundstage, Separation

The sound is eminently wide, limited in depth, above all, by the thinness of the sound. The scene is open, slightly volatile for the same reason: the notes have little physicality and have a tendency to expand because of their thinness. But there is also an attachment to detail that anchors the notes to these elements. The result is a compendium of both sensations, showing a remarkable level of separation, clarity, transparency and luminosity. But it also maintains a musical rootedness due to the level of resolution and precision of its presentation, which avoids a higher expansion and a more marked three-dimensionality. But all in all, it provides a quite perceptible level of height and a more concise placement.

Comparisons

Letshuoer D13

With a lower price, better cable, possibility of a balanced plug, better ergonomics, better construction, with two profiles to choose from, thanks to their mouthpieces, the D13 is a superior rival a priori, for all these virtues. But it is also superior in sound. Their low end is very good, with a very descriptive, attractive and exciting roughness and texture. The mids are more dense, corporeal, physical, dense, organic and realistic. The sound is much fuller and more complete in this central area. Moreover, it lacks any demand in the upper-mids. And if there were to be any chinks left, they would be eliminated when switching to the Silver mouthpiece.
The comparative frequency response graph is highly eloquent. It seems that the D13 is controlled where the Force King overshoots: a touch less sub-bass to round out the lower range. The high-mids are much more homogeneous and balanced, and the treble is expressive, natural, realistic and pleasant. Next to it, the SuperTFZ is brighter, hollow, unbalanced and excited. It is more transparent, has a superior treble extension. You could even say it is technically better, but this is only an illusion due to its emphasised profile. The D13 is also a refined and better balanced DD. Extension does not mean better, more explicit detail does not always mean a fully detailed and rich sound. The D13s offer a sound that is richer in nuance, but, above all, more present in all ranges. Something the Force Kings seem to forget in some areas.

Conclusion

Ending the review of the SuperTFZ Force King is a relief. These IEMS require prepared ears or a low volume level. Admittedly, though, I have been very critical of this model from the beginning. In my opinion, SuperTFZ has only stretched the existing clichés of their previous model and the TFZ stock. They have mixed it up and only gone to great lengths to generate a more refined and precise sound. But this does not imply that it is accurate in its tuning. It is not a balanced, neutral, pleasant and musical model. The sound quality, undoubtedly the best thing about the model, is unquestionable, but its presentation must be taken into account. If you are able to tolerate its mid-highs and treble, at the cost of giving up a mouthful of the first half of the midrange, go for it. This is not unique. Neither then, nor now, are the Force Kings alone. There will even be more emphasised and demanding models. Therein lies a certain restraint in this model, raising the bar so that the peaks don’t get too much higher, generating a kind of high plateau. It doesn’t play down the music in detail either, but there is more respect for it. And that is also a positive point. But although it is a technical model, it is also unbalanced and inconsistent as a complete, all-round monitoring system.

Sources Used During the Analysis

• Aune Flamingo.
• Earmen Angel.
• TempoTec Variations V6.
• Hidizs AP80 PRO-X Red Copper Limited Edition.
• ACMEE MF02s.
• xDuoo XD05 BAL.
• TempoTec Serenade X + iFi Zen Can.