Memories of an Analogical World
- Harman Profile.
- Analog sound.
- Clarity and separation.
- Low zone quality, impact and depth.
- Treble not very extensive.
- The cable could be better.
- Absence of rigid carrying case.
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Again, I’m going to analyze some IEMs from one of my favorite IEM brands: the TFZ My Love III. For this occasion, TFZ has used a new generation driver, which uses a double magnetic circuit coil, 2 crossover, a nano graphene driver and a high power N52 magnet.
On this occasion, the My Love III, have a semi custom shape, which is far from the other models I have analyzed above. Also, this time, their profile is closer to the Harman curve. With this, TFZ gets into the fight with those IEMS that share a very similar frequency response, which are actually many. Will you beat them? We’ll see if that’s the case.
- Driver: 9mm 2 crossover double magnetic circuit graphene driver（upgrade 2nd generation driver）
- Magnetism material: N52
- Diaphragm: Graphene Nano driver
- Frequency range: 5Hz-4000Hz
- Sensitivity: 107dB
- Impedance: 24Ω
- Minimum power: 8mW
- Jack Connector: 3.5mm gold-plated.
- Type of capsule connection: 2Pin 0.87mm
The exterior presentation is exactly the same as the case of the TFZ No.3, except in minimal details, such as letters, which have a bright burgundy color. It has dimensions of 213x82x42mm. The box is white and on the back you can read its specifications. After opening it, the blue capsules are embedded in the top, in a white mold. Underneath it, there is a small box, which contains the cable. At the bottom there is another larger box, with the rest of the contents:
- A white transport bag.
- A blister with 6 SxMxL tips with red inner core.
- A blister with 6 grey SxMxL tips.
- A couple of foam tips.
- An instruction booklet.
As I said in the No.3 presentation, the content is very simple. This time there are foam tips, but only a couple. And the storage bag is insufficient to protect them in our daily displacements, a rigid cover would have been more advisable.
Construction and Design
The shape of the capsules is «custom» type. They seem to be constructed in a single piece of acrylic material. On the outside, on a plate that simulates a mother of pearl, is written the name of the model, in silver letters. On the upper part, there is a metal tube, which goes through the surface of the capsule. It looks like a bass port. The connection of two pins is protected by a small rectangular, translucent plastic plate which is superimposed on the capsule.
On the base of the nozzles, there are letters in gold: TFZ-IEM. Under this line, there is a code of letters and numbers, maybe it could be a serial number. The nozzles have a diameter greater than 6.7mm and a smaller diameter of 6mm. Inside, there is a micro-perforated metal grid.
The cable has a cylindrical plug, the material of which looks like stainless steel. The 3.5mm connector is gold-plated. The union with the cable is protected by a translucent plastic cylinder. The cable has 4 cores, covered with black plastic. They are firmly braided. The divider is a black plastic disc, with the brand logos inscribed on each side. The disc, on its edge, has one input, for the connected cable, and two outputs, for the pair of cables of each channel. These cables are very thin and have a tendency to be bundled easily. In their zone near the 2Pin connector of 0.78mm, they have a semi-rigid and transparent plastic coating, with the shape of a question mark, for a better fit on the ear. The 2-pin connectors are covered with a hard, angled plastic.
The construction of the capsules is remarkable, but the cable is not up to the task, as it is thin and easy to bind, especially in the part of each channel. On the other hand, there is no adjustment piece after the splitting.
Adjustment and Ergonomics
Although the shape is custom, the capsules are small. The valley between the nozzle and the adjustment protuberance is small. This means that the protuberance does not exceed the lower branch of the antehelix, rubbing against this area more than desirable. At least, in my particular case. This causes that, in longer listenings, I generate a certain degree of discomfort, even to the point of having to remove them. As I say, each ear is different and what happens to me may be an exceptional case.
On the other hand, the adjustment of the tips is quite adequate and the sealing is high, although the insertion is superficial. Double or triple flange tips can be used without problems. But, this time, the best fit was obtained with my silicone tips, filled with foam.
His profile tends towards the Harman curve. With emphasis on the low end of the bass and between 2kHz and 4kHz. Treble is relaxed, nuanced and secure. Clean, soft and moderate V sound.
The lower zone of the My Love III follows the trail marked by the TFZ products: this range is powerful, quite linear up to 100Hz. This gives the bass a great depth, even though the sub-bass is not overemphasized. It is true that, on this occasion, the decay is quite progressive, a feature that generates a certain darkness in the area. But I don’t think it’s something that extends to the rest of the sound, only to this range.
On the other hand, the bass definition of the My Love III is very good, the bass lines of different frequencies can be followed without problems, without overlapping or becoming a single bass magma, despite the good impact and energy they are endowed with.
Another good feature of the My Love III, is a sensation of analogical sonority, which is already built, from this range.
Undoubtedly, TFZ is TFZ, and this means that its lower zone never lets down. It is a pleasure for Bass-Lovers to perceive the low range of all their IEMs. And this case is no exception.
My Love III are not blatantly warm IEMs. The lows do not interfere with the midranges, as the frequencies are well divided. They have a clean and clear background, which limits, in part, a greater warmth. But the analogical and emotional sensation they possess is true, a perception that is emphasized in their mids. With this introduction, what can be expected is a vivid central range, with very good definition and clarity, even though the sound is by no means brilliant. It is very pleasant to hear how recordings with congested mids are perceived with greater openness and liveliness, clarifying voices and guitars, exporting them to a direct and freer stage. And although they are IEMS in V, the lower part of the mids feels quite full, with a presence relative to the genre reproduced, with body, but very clear, without being too sweet, boasting of spark and emotion.
The upper part of the mids is more emphasized, winning the favor in the female voices, which sound closer, without losing naturalness, nor falling into wheezing. The greater gain of this upper part never translates into excessive brightness or loss of control, but is maintained in that line of action, providing spark and liveliness, a necessary expressiveness in the sound of the My Love III.
The My Love III have that initial spark, very typical, but very controlled, of that group of IEMs sharing their similar curve. From there, everything becomes safe, relaxed and smooth: no unwanted peaks or impossible flashes. The highs are narrow, not very extended or pointed, so that their reproduction is done in search of a perception more free of fatigue, than in an analytical sound. However, there is a significant amount of air, which provides that moderate light and good separation that has My Love III.
One of the most predominant characteristics of the My Love III is the cleanliness of their background: the air is perceived with clarity, despite the slight darkness they possess. You can tell that the music comes from a dynamic driver, due to the softness of the notes, but the definition is quite good. Thus, the resolution is favored. With all this, the stage enjoys a good expansion and freedom, providing a feeling of openness, while impact. In this way, an idea of live sound is constructed, fresh, newly created, vivid, but analogical. Under this sensation, the scene is perceived frontal, semi-circular, with width and depth above average; it even enjoys good height.
Finally, the separation, which is another of the pillars of the sound of the My Love III, is remarkable high.
The profile of the RT-3 is perceived with greater brightness, less warmth and emotion. The cymbals are more present, with a more crunchy and defined sound, but also harder, something that is also perceived in the drums. Its timbre is more typical of a BA and that’s something you notice, both in definition and execution, showing more resolution in the high range, but also in the mid range. The TFZ are generally more muted, more relaxed and less vivid, with a comparative point of darkness.
In the lower zone, despite the quality of the RT-3s, we are talking about TFZ and that is something that is always noticeable. There is more power, impact and depth in the My Love III. Although it seems that the bass in the RT-3s have more control and a bit more speed, as they fade away earlier and affect the sound less.
The greater coldness of the RT-3 is revealed more in the central zone, where the My Love III exert their magic. The sound of the RT-3s in this area is more analytical, with a more defined body, but slim, somewhat further away from the analogical emotion produced by the My Love III.
At the level of detail, the RT-3s use their BAs to respond better in this section. There is also greater separation in the RT-3s, a more spacious and even open sound.
Moodrop Kanas Pro
Again, and despite the similarity in frequency response, the overall profile of the Kanas Pro also feels cleaner and clearer, with more sparkle and slightly brighter and more balanced.
In the lower zone something similar happens as with the RT-3, but here the difference is a little greater, in favor of the TFZ, especially at the level of depth and forcefulness. In addition, the tone is also purer, while the Kanas Pro offer cooler bass, but also more concise and precise.
In the middle zone, again, the greater warmth of the TFZ generates a more extensive and relaxed body. Something that can be noticed in the voices, where their projection is wider. However, in the Kanas Pro, the voices sound more delicate, with a closer point, thanks to their better balance. The forcefulness in the TFZ mids is also superior, while in the Kanas Pro, they are delicate and precise, with an improved definition.
In the upper zone, there is more extension in the Kanas Pro and the feeling of sharper, finer, present and marked trebles. In TFZ, treble is behind bass in highly polarized songs in these bands. While in the same situation, the Kanas Pro demonstrate their good tonal balance, balancing both bands.
There is a greater level of transparency in the Kanas Pro, which means a greater separation, due to its better resolution. But at the level of details both are quite equal, as each one extracts more details in different ranges.
The scene is perceived differently in each. In the TFZ it feels more ethereal, more semi-spherical, with good depth and height. Meanwhile, in the Kanas Pro, the stage is wider, although somewhat flatter, with greater definition, but less three-dimensional.
TFZ My Love III vs TFZ No.3 vs TFZ Tequila 1
The TFZ My Love III is an iteration of the brand’s own sound, approaching a more popular profile, like the Harman curve, where there is a lot of good competition. But TFZ wins where it knows best, in its lower zone. Although this time, TFZ has tried, successfully, to provide the mids with a special emotion, a relaxed sound, full and analogical, which differentiates it from its competitors and even from its brothers. Few brands are able to offer so many models in the same price range, endowing their models with different characteristics, making them totally special individually. That’s why TFZ is so big. And the My Love III are a clear example of this.
Sources Used During the Analysis
- Burson Audio Playmate.
- Tempotec Serenade iDSD.