TinHiFi T4 Plus English Review


The Third In Dispute




Construction and Design




  • Clean, clear, transparent and vivid sound profile.
  • Remarkable treble.
  • Very good level of accessories for such a compact package. The foam-filled tips and the leather case are appreciated.
  • More attractive design than its predecessor. Good cable.
  • Considerable ability to recreate detail and nuance at the macro level.
  • Outstanding level of construction.




  • The setting and separation are average for the price.
  • Ergonomics are merely acceptable.
  • Both the bass and early mids are thin, without much body, punch, presence, density, fullness or physicality.
  • It can be more complex to find the most suitable tips to improve the fit and find the best sound.


Purchase Link




Link to the Store






TinHiFi, on the market since 2017, sticks to the simplicity of the names, but adding that Plus. As a programmer, I prefer versions – how about V1, 2, 3 and so on? The surnames Plus, MK, Pro, Ultra and the like, boggle my mind. But that’s not a criticism either, just a personal opinion. Well, here TiHiFi is back with the Plus version of its T4. That is, the current product is called… TiHiFi T4 Plus. Good! Who could say that this is the new version of the T4, but it is. It is in a similar price range and is based on the original design, but put in the sun. The T4 Plus has been darkened to gold. The outer plate has changed and a mahogany-coloured stabilised wood panel is now used. The cable has followed the same dye, but with the advantage of having moved from the MMCX connection to the 2Pin 0.78mm connection. Well done TinHiFi!
In line with the brand’s latest models, the packaging has been compacted and has a particular imagery: «Space Station». My head doesn’t go any further and I don’t know what the space motif of the T4 Plus is. But it is also worth noting that these recent IEMS have a new third-generation carbon nanotube diaphragm technology. The copper-clad aluminium voice coil has been reduced by 28%. An N54 super external magnetic circuit design has been added. The cable adopts four strands of high-purity silver-plated enamelled wires. It is accompanied by a thick, soft leather case and foam-filled tips, in true Mandarine style.





  • Driver Type: 10mm magnetic CNT dynamic driver.
  • Frequency Response: 10-20kHz.
  • Sensitivity: 106±dB@1kHz 0.179V.
  • Impedance: 32Ω±15%.
  • Maximum power: 5mW.
  • Jack Connector: 3.5mm.
  • Capsule Connection Type: gold-plated 0.78mm 2Pin.
  • Capsule Weight: about 4g.
  • Cable Material: 4 strands of 270C mixed silver-copper PVC.





I like small packaging more and more. And TinHiFi know how to keep it small. The T4 Plus come in a small black rectangular box, size 109x110x69mm. The main side is decorated with space motifs. Actually, this is the capsule of the T4 Plus, which has different uses: it is a space satellite and also a rocket. There are astronauts and some flying saucers. In the upper left corner is the name T4 PLUS and below, in larger letters, you can read «Space Station». On the top there is a plastic band to hang the box on a guide. On the back side there are only some QR codes, the company name and the web address. Removed from the cardboard is a black box with somewhat sinister motifs: it could be a labyrinth or swastikas. In the centre, the brand logo and name in white ink. When the lid is opened, the capsules are encased in a thick foam mould. Below it is another level containing the light brown leather case and the rest of the contents. In a nutshell:


  • The two TinHiFi T4 Plus capsules.
  • One four-stranded cable, with 3.5mm SE connector and 2Pin 0.78mm interface.
  • Three pairs of foam-filled silicone tips, sizes SxMxL.
  • Three pairs of grey silicone tips, with red core, sizes SxMxL.
  • Three pairs of black silicone tips, sizes SxMxL.
  • One warranty card.
  • One instruction manual.


Each of the accessories comes in an individual plastic bag. While the foam-filled silicone tips come in a special case.
Again, I really like the minimalist packaging, the case, the cable and the three sets of tips. Especially the Mandarine tips. Very nice.



Construction and Design


It goes without saying that the design is based on the previous T4 model. The capsules have a double cylinder design, coupled at 90° to the rear. In detail, the body of the IEM is a thick cylinder with a diameter of 12mm and a total length of 20mm. At its rear is another cylinder, attached to a 90° ring, which surrounds the capsule. Inside, the 2Pin 0.78mm connector is embedded, with gold-plated contacts and a red or transparent base, to indicate the channel. There is also a blue dot to indicate polarity. In the very centre of the junction between the connector cylinder and the ring, there is a hole. Above it, on the same vertical, at the base of the nozzles, there is another hole. They are on a rounded base and have a length of about 4 mm. The smallest diameter is 5.4mm and the outer ring is 6mm. Inside is a metal grid. The back face consists of a stabilised wooden plate surrounded by a gold-plated ring.
The cable consists of 4 strands, with 3.5mm SE connector and 2Pin 0.78mm interface. The wires are enamelled and plated with high purity silver. Its colour is dark copper. The metal parts also have a similar, but brighter colour. The sleeve of the 3.5mm SE connector is metallic with three longitudinal spiral grooves. The pattern is repeated on the splitter piece, but with half the size. The sleeves of the 2Pin connectors have only one ring. The bases of these pins match the shape and colour of their counterparts on the capsules. The pin is made of a disc with two through holes on its edge, which has the brand logo in white ink. Finally, the cable has a Velcro strap for tucking in, with the brand name logo, also in white ink.
The differences between its predecessor are based on the colour, the 2pin connection and the stabilised wooden outer plate. I actually prefer the current design because it is more discreet.



Adjustment and Ergonomics


Literally, I repeat what I said about the ergonomics of the T4: The capsules, although the connector cylinder is a 90° piece, are of a classic cylindrical design. Thus, the ergonomics are quite simple. The design has ensured that these connectors do not bother or rub against other parts of the ear, at least in my case. I can rotate the capsules at will to find the best insertion, which, on the other hand, is quite perpendicular. Ergonomically speaking, there is no greater fit than the direct coupling, which may limit its adjustment, depending on one’s morphology. In my case, I consider that I have quite normal ears and I hardly have any problems with the IEMS. Neither do I have any problems with the T4 Plus, which means that I find the fit easy and relatively comfortable. The over-ear cable doesn’t bother me and barely rubs, hanging quite freely and unnoticeably. The best fit will depend on the tips used, as the IEMS don’t hold anywhere. The insertion is superficial, and bi- or tri-flange tips can be used for a deeper insertion, but, perhaps, the straight design is not the most appropriate for this type of insertion, although everything is to try, depending on the morphology of each one.
In fact, everything I’ve said so far is still quite valid, but with a few objections: the choice of tips is not as trivial as with the semi-custom capsules. And my foam-filled silicone tips, which are bigger than the standard ones, don’t fit me well. Neither do the foam-filled ones that come with it. I got the best ergonomics and the best sound with spherical silicone tips, size L, with a narrow core.







The profile of the TinHiFi T4 Plus is «deceiving». At least, it does to me. From its FR it looks more bassist than it really is. I think it is more balanced than it looks. It even seems sharper than I see it. Maybe it’s because of the capsule type, its smaller size and the cylindrical design seems to generate less body. The result is a U-V profile with a slight prominence in the mid-highs and first treble, due to that classic plateau that is fashionable among the latest TinHiFi models. It feels like the brand has found a formula and is exploiting it, both in the C-series and the T-series. The variations are subtle in the bass and are more visible from the upper-mid range onwards, but they start from a similar pattern.





In my opinion, the bass is a little above neutral, but without dominating the sound. Its relationship with the treble is friendly, both ranges feel well represented. The punch is not very voluminous, though it is deep. The level of physicality is acceptable and rounds out a bit towards the mid-bass, but without feeling bloated. The amount of body seems to fade like the volume of its capsule and I miss it occupying a larger space within the music. Although this may all be because I feel I haven’t found the right tips, to achieve the fullest sound with these IEMS. When I try to find a higher level of presence, I find myself turning up the volume a little too loud and noticing that the other bands are also present. Still, I persist in my idea that the depth is quite noticeable, as well as being a generally clean tuning with the mids. The drop towards the centre band is slight and there is a good linearity in its pattern. But the bass type leans towards the soft and not too descriptive side, without much roughness and an average texture, with a tendency towards smoothness. It performs well in heavy line and complex bass settings, but doesn’t demonstrate particular skill in the sense of definition or precision. Of course, it doesn’t smear, but both the smooth feel and the softness of the surface produce a result of a simple character, without much analytical skill, which fails to represent the bass in a richer, fuller and rougher way than other models. It stays on the surface, without doing badly, but without being too representative in this aspect. It stands up well to sound pressure, but has a tendency to simplify complex passages into a performance that is more elementary than rich or prodigious.
The reproduction of pure tones is quite realistic and well executed. It seems to be even better than a fuller bass representation, which indicates a point of technical limitation. The sonority is natural, I don’t notice any colouration and you can feel how it easily reaches the LFOs without paling and sounding nice and even.
The hit is tight, quite fast and has a good level of recovery.
For my taste, it stays in a middle ground that does not manage to make me enjoy it, neither for skill nor for presence. Maybe that’s why I think of its neutrality.





The mids have the same physical level as the bass. I perceive the first half of the range as relatively thin, rather lean and with a light bodily feel. The result is a rather clean lower-midrange. Again, the graph deceives me and I thought that this initial part was going to be more dense and prominent. But it is not, because I find it also more neutral. In this way, the presence of the male voices is not as full and I feel a slight predominance of the higher notes in them. This is compounded by their mid-distance positioning. The female voices are more predominant and receive the favour of a more emphasised second half, but without overstepping the hot line of the sibilance. On the other hand, the neutrality of the range also allows the sonority to be less dense and opulent, with a more open and expansive feel. This lightness allows for a more relaxed listening in this respect, which also benefits from a more explicit exposition of detail, but without reaching a micro, analytical or cold level. As the second half is more exposed, the sense of clarity and transparency is more obvious, the nuances are more striking and appear close, without becoming persistent or too much of a protagonist. But, it is true that they are there, at a good level of presence, which has a tendency to match voices and instruments. In this way, I feel that the level of musicality is lost a little, in favour of a more scrupulous development of the nuances, without becoming spicy, but with more brilliance than poise. The result is a more emancipated mid-high range, luminous, demanding prominence, without being abrupt or harsh, but with a situation beyond neutrality, which can become insistent with the passing of the hours, for those ears more sensitive to this frequency zone.





The upper range has a good initial punch, with a sparkle balanced in extension, presence and lift. The treble is fine enough to demonstrate a crisp brightness, without being piercing or predominant, but rather a good balance between power and persistence. They expand until they reach the air zone, where they begin their irremediable fall. I think the extension and tuning are remarkable, they have a fairly light roll-off zone, which allows to soften the pressure and incidence, but without losing personality or authority. It is not an eminently high-pitched sound, but it does show richness in this range, as well as a sonority that I feel natural, as well as vivid and pleasant. In this way, the zone is dynamic, luminous, with a good level of resolution and definition, but remaining at a height that allows the treble to be enjoyable, musical, yet expressive and slightly striking. One of the best of the three ranges.



Soundstage, Separation


Maybe it’s the size of the capsule, the association of the tips to my particular morphology… But I feel that I have not been able to extract the full potential of the T4 Plus. And, in particular, the size of the scene that is drawn in my head is not as wide as it should be. Depth is quite good and the laterality/stereo feel remarkable. But the height is average and the expansion is not very high. The scene is oval, frontal, spread out to a 180 degrees, but it’s not very big. Some volume is required for the image to grow and the separation to widen. The level of transparency and clarity of the sound helps to open up the gap between the notes, but its neutral analytical ability coheses the sound, without ever showing itself to be fully outlined, articulate, meticulous or with a more discernible, darker background.
The positioning is adequate, without being too marked or exact. The presentation is simple but natural.
The level of detail is remarkable, without being excellent. It is easy to distinguish macro nuances and achieves a more than acceptable micro level. It is quite easy to appreciate the descriptive level that the T4 Plus is able to offer, with little effort. In this way, there is a curious mix of softness in the scene, combined with a level of detail that is superior to the initial impression, but without being excellent.





KiiBOOM Allure


As I say in the title of the review, the TinHifi T4 Plus are the third in line to join the elite club formed by the Dunu Kima and the KiiBOOM Allure. This club is not meant to be general because I know that there are many other models in this price range. But it is true that it is my favourite of the IEMS that I have been able to review.
All three move in a similar price range and the ones that most closely match my preference are the Allure. But seeing the resemblance between their FR and the present T4 Plus, I had a preconceived idea about the sound of the TinHifi.
In terms of design, the two IEMS are quite different, but both are of a high standard. The T4 Plus has a cylindrical shape and the Allure is a semi-custom type, very comfortable. The similarity between them is in the use of stabilised wood for their outer panel. In the cable I prefer the copper of the TinHiFi over the slightly stiffer textile coating of the KiiBOOM. The difference in packaging size between the two is big: compared to the complete minimalism of the T4 Plus, to the overflowing size of the Allure’s case… I’ll stick with the TinHiFi.
In terms of sound, the main difference is in that wall-of-sound feel that the Allure’s exhibit, versus the leaner, thinner, brighter presentation of the T4 Plus. The Allure’s move easier than the T4 Plus.
Despite the similarity of the graphics in the bass area, there is no comparison between the presence, power, physicality, punch, texture and grandeur of the bass of the Allure and the T4 Plus. The KiiBOOMs are pure fun, they have a point of viscerality and roughness that makes them very attractive to my ears. Perhaps the Allure has more bite and the TiHiFi are more concrete, but they are also softer, with a smoother texture, less roughness and descriptiveness. They also seem less agile, despite being slightly tighter and quicker to recover. But they don’t have the fun factor of the Allure.
In the mid-range, the T4 Plus are leaner, lighter and thinner. The wall-of-sound feel persists in the first half of the midrange in the Allure, achieving a fullness, density and body that I miss in the T4 Plus. There is more light in the second half of the TinHiFi’s, more clarity and a more exposed sense of brightness and detail. The Allure’s are drier, but seem more defined, even their bottom end seems darker. The timbre is more subdued, warmer, but also less forced. The prominence of the music is where it plays. Whereas the T4 Plus extends more into the light and treble. It is in that range that they are the boldest. But nevertheless, the KiiBOOMs strive to give the sound a richness of nuance and detail, bringing a sweetness, beauty and lushness that the TinHiFi’s do not.
The sense of a wide, deep soundstage is more pronounced in the Allure, the wall of sound is larger and more expansive. The T4 Plus are more intimate, with a good stereo feel, but without filling the room in the way the KiiBOOMs do. Despite the good resolution of the T4 Plus, the separation is more apparent in the Allure, with a more concrete and defined sound. The TinHiFi’s don’t manage to profile the music as well as the Allure’s do.
The main problem with the TinHiFi T4 Plus is that there are options like the Dunu Kima and the KiiBOOM Allure. In terms of tuning they are in the middle, but in terms of quality they are third.





The TinHiFi T4 Plus takes the design of the first version and moves away from the warm, yet analytical sound of those early T4s. Although the variations are minimal, the wooden outer panel and the 2Pin 0.78mm connection are welcome. The compact and fairly complete packaging is entirely welcome and the spatial imagery, which moves away from waifu over-exploitation, is also a big plus. Ergonomics can be a little trickier and the pairing with the tips to find the fullest sound that the T4 Plus can give is perhaps more entertaining than you might think at first. In terms of sound, I could say that the profile aims for a slim neutrality where the bass is tilted towards the low end. They are characteristically clean and relatively fast, without much body, yet smooth in both texture and punch. The first half of the midrange is lean, while the second half is more present and incisive. This gives the sound a greater transparency and clarity, as well as a clear favouring of the female voices and an accent on detail. In my opinion, the treble is probably the best of the whole set and mixes expressiveness with controlled presence, a good level of extension, brightness, sparkle, definition, resolution and character.
Overall, the TinHiFi T4 Plus are a remarkable set of IEMS, which only encounter problems in the face of fierce competition in their range. But they are undoubtedly a great alternative in profile and sound to the other IEMS in their price range.



Sources Used During the Analysis


  • Aune X8 XVIII Magic DAC + iFi Zen Can.
  • TempoTec Serenade X + iFi Zen Can.
  • Earmen Angel.
  • TempoTec Variations V6.
  • ACMEE MF02s.
  • xDuoo XD05 BAL.