Close Your Eyes And Think About IEMS

Ratings

Pros

• Very good tuning.
• Great low end, deep, dark, physical and sensory.
• Very musical sound, relaxed, sufficiently detailed, moderately full, completely smooth and pleasant.
• Very good accessories.
• Remarkable construction and design, best ergonomics.

Cons

• It does not possess the best micro-detail.
• Treble can be soft for some.
• Midrange is not as rich or full, noticeable in the middle distance.
• There is no balanced plug option.

Purchase Link

https://www.linsoul.com/products/tinhifi-t5s

Link to the Store

https://www.linsoul.com/

Introduction

Once again, another product from the brand launched in 2017, Tiantian Dongting TinHiFi. With their motto based on trying to listen to the world, it is possible that, on this occasion, they have listened to me… After two models that were far from my preferences, such as the last iteration of the T2, the MKII and the C0, their new T5S model has hit the nail on the head. It is true that it is clearly more expensive, costing around $130, but its price is the same as its previous T5 version. With improved aesthetics over its predecessor, thanks to its flat, textured outer panel, the T5S employs a unique topping diaphragm composed of three nano-materials, which strikes a balance between rigidity and flexibility for higher-fidelity sound reproduction. Together with a special acoustic design and a lightweight Japanese CCAW voice coil, it minimises non-linear distortion of the diaphragm, enhancing the high-fidelity performance of audio devices. The advanced magnetic circuit design reduces distortion, providing users with a clearer and more accurate sound experience. TinHiFi T5S are manufactured from lightweight, durable aluminium by high-precision five-axis CNC machining for each pair, with a manufacturing time of up to 2 hours. Featuring innovative triple-damping technology, the T5S ensures a natural and balanced sound while offering exceptional transparency. The unique sound cavity design creates a wider soundstage, effortlessly showcasing high-frequency details for a delicate and clear audio effect. This design aims to deliver a more realistic and immersive audio performance, creating a high-quality listening experience for users. Finally, the T5S comes with a high-quality cable that includes 28 strands of 0.06mm enamelled copper and 54 strands of 0.05mm silver-plated copper and 0.78mm 2Pin interface. Let’s see how all this translates to my personal listening experience, in the following review.

Specifications

• Driver Type: Dynamic driver with new generation ultra-linear 10mm DOC diamond diaphragm.
• Frequency Response: 10-20kHz.
• Sensitivity: 103 ± 1dB @ 1kHz 0.126V.
• Impedance: 32Ω ± 15%.
• Nominal power: 3mW.
• Maximum power: 5mW.
• Maximum distortion: 1% @ 1kHz 0.179V.
• Capsule Connection Type: 2Pin 0.78mm gold plated.
• Cable: 4-conductor copper-silver hybrid (black) with 2 oxygen-free copper conductors + 2 silver conductors (0.06*28)2 + (0.0554)*2, custom PVC outer jacket.
• Cable length: 1.2m.

Packaging

The TinHiFi T5S comes in a medium-sized square box, whose dimensions are 136x137x74mm. On the front face is a drawing of what could be a Martian base, as the words «MARS» headline the top. In the middle are the hollow letters T5S and below that the brand logo. On the back there is not much information, there are the brand’s contact details, as well as its e-mail, WEB address, 3 QR codes and the logos of the certifications that the product complies with. After removing the outer cardboard, a dark box with a texture of vertical columns is revealed, with the brand logo in gold ink in the centre. After removing the lid, the capsules are embedded in a white foam mould at the bottom. At the top is another elongated box with the brand logo in black ink. In it are some accessories, while the rest is in the second layer underneath the capsules. In summary, the full contents are as follows:

• Both T5S capsules.
• Warranty card.
• Instruction manual.
• Plastic tweezers.
• Cleaning brush.
• Magnetic case in white imitation leather.
• Three pairs of black silicone tips with coloured core, sizes SxMxL.
• Three pairs of black translucent silicone tips, sizes SxMxL.
• One pair of white foam tips.
• Three pairs of mouthpiece grids.
• Cable with 3.5mm SE plug and 2Pin 0.78mm interface.

The new type of box is welcome, cushioned, soft but rigid at the same time. It is spacious, rectangular, with a magnetised box-like opening, although somewhat large. On the other hand, the cable is of sufficient quality, but it’s a pity that you can’t choose a balanced termination. It comes with two sets of tips, plus a couple of foam tips, something that is not very common lately. On the other hand, there are some pieces and three pairs of grids to protect the mouthpieces. This type of accessory is becoming more and more common, although I have never had to change any of them. Finally, a small brush is the last accessory in a set that is quite adequate for its price.

Construction and Design

The capsules of the TinHiFi T5S are manufactured from lightweight, durable aluminium by high-precision five-axis CNC machining. Their entire surface is micro-textured grey. They have a semi-custom ergonomic design. The outer face has an equilateral triangle shape with very rounded corners. It is completely flat and also has a micro-textured surface. The brand name is written in white letters. There is a hole in the rim of the capsule, and there is also a hole in the base of the mouthpieces. The connection interface is integrated into the capsule, on a rectangular transparent plastic plate, with gold-plated connections. The internal shape is very ergonomic, with that typical semi-custom design that fits the pinna and the top of the outer ear. The mouthpieces are made of a different material, looking like gold-plated brass. It has three diameters, the base of 6.4mm, the longest central area of 5.4mm and the crown of 6mm. The approximate total length is 5.2mm. The metal protection grid has small holes.
The cable consists of 4 strands, two have a dark sheath, with a copper-silver conductor, while the other two strands have a transparent sheath and a silver-plated conductor. The plug is a 3.5mm SE plug with a sleeve to match the capsules, being metallic, cylindrical and micro-textured. There is a plastic protection for the cable at the exit of the sleeve. The splitter piece is the same style, but half the size. The pin is a metal disc with the brand logo on each side and two through holes. The cable has over-ear guides and the sleeves for the silver-plated 0.78mm 2Pin 0.78mm connectors are both cylinders to match the rest of the cable parts, with a slotted ring near the cable exit and hard plastic pieces at the base of the connections. One is red and the other transparent, to indicate the cable channel.
I have to admit that this is not a novel design, but it is very effective, both in terms of elegance, fit and ergonomics. The surface texture keeps fingerprints away, it is smooth against the skin. The outer face is simple, but attractive. The cable is quite good, but a balanced option is sorely missed.

Adjustment and Ergonomics

The tinHiFi T5S have a clear semi-custom design, which fits my morphology like a glove. The mouthpieces are a bit thick, but have a good length. They could have a medium insertion, but the diameter can be limiting in this respect. In my case, as usual, the tips used are large ones filled with foam that I make myself. With them, the fit is superficial, very occlusive and their size is enough for the capsules to mould almost perfectly in my ears, being totally integrated. The texture is soft and pleasant, there is no rotation, the fit is fast and durable, it doesn’t bother with the passing of the hours, while the isolation is high. In my case, outstanding.

Sound

Profile

The profile of the TinHiFi T5S may appear to be a little overblown, considering its sub-bass scaling. However, its drop is quite rapid. So much so that it doesn’t even fully enter Bass-Head territory. In my opinion, the T5S has a pronounced W-profile where the main emphasis is on the sub-bass. But on the other hand, from 100Hz onwards, the rest of the frequency response is slightly balanced. The early midrange is not sunk, the upper-midrange is emancipated but controlled, while the treble starts with a clear control zone, but without too much extension. It is a powerful sound at the low end, but smooth at the top end, seeking a nice, warm balance in the middle.
On the other hand, I have to admit that I like this profile in a natural way. I have a preference for high sub-bass and representative first midranges. It is true that the T5S has the former and not so much the latter. But they have enough grace in the midrange and nuanced treble to maintain a very pleasant and enjoyable listening experience, well suited for my electronic music sessions. As such, they have become one of my first choices when I go out on the road listening to new releases in this genre of music.

Bass

Bass doesn’t just need an exalted profile, it needs to sound good and perform better. TinHiFi gets it right, and the T5S performs remarkably well on both counts. The base hit is compact, with just the right amount of dryness to be fast in execution and quick in pickup. The mid-bass is not very marked, but it is precise and this means that the bass is not too extensive towards the central range, generating a feeling of limited cleanliness and a certain disconnection, in spite of the presence demonstrated. It has just the right springiness to show texture and the elasticity to maintain power, power and punch. In this way, the volume achieved is remarkable, generating a large and appreciable amount of space and depth. On the other hand, the bass tone and timbre is dark, not at all coloured, with that distinctly sensory, yet audible tone that I like so much. This is reaffirmed in the very low frequency pure tone test. The low end feels powerfully physical, as well as slightly audible. It is worth commenting that there is a very small vibratory character that does not adversely affect the sonority, as the result is quite realistic, dark, deep, uncoloured, voluminous, physical and sensory. The T5S feel in a way that is close to the ideal canon I have in my mind, but there is some room for improvement, perhaps their timbre could be a little darker and lack that subtle, subtly noticeable undulatory character. However, its behaviour in the dirty, unfiltered bass test, it moves very well, executing the complex passages with very good skill, without numbing the sound, freeing the midranges, without muddying the ambience, maintaining control, separating itself from the rest of the sound spectrum, but being able to generate a concrete and well focused volume. It is adept at recreating layers, separating them and following complex, unfiltered bass lines. It’s true that you can feel its power and the volume it generates is ample, but it’s also one of the things I look for without thinking about it. And I appreciate that the TinHiFi T5S generates it.

Mids

The character of the midrange is relaxed, musical, subtly dark, yet tending towards a warm, filtered neutralisation. It helps that the midrange is only gently exalted and that the first highs start from a short drop. The T5S establishes an agreement between darkness, luminosity, transparency and clarity. Admittedly, all this seems difficult to combine, but somehow it is all present in the T5S midranges. The subtle darkness comes from very deep bass and nuanced treble at the start. Clarity and transparency come from a midrange that is boosted and maintained at a level of energy that borders on sibilance, but ultimately controls it to present it in a slightly incipient form.
The first half of the midrange has a medium character, both in presence and distance. This area is partly lean and I miss some strength and a more marked and physical base. His drawing becomes typical of many other IEMS, a little further away from active neutrality, but clean in composition and execution. There is just enough transparency for it to come across as precise and well separated, but with just enough warmth to come across as musical, smooth and pleasing. And this is the most attractive part of the first half of the midrange; it is melodious and rich enough, despite that half-presential distance, which limits its fullness and strength. In this way, the male voices are represented in this central limbo, well-drawn, well-defined, but without making the leap in power and prominence.
The midranges are more splashy and present. This is how the female voices gain the favour of this tuning, sounding more lively, dynamic, as well as fuller and more complex.
The result is understood as a mutual benefit in the central zone, where there is a certain imbalance of presence, but which achieves a captivating musicality. It helps that the notes have good resolution, definition, but without sounding analytical, but rather more silky and even, generating a light continuity that is rich, descriptive and relatively delicate. To put it bluntly, it is true that these are not the best midranges, but it is a set that can become a first choice when choosing an all-terrain IEMS that allows for a faintly critical, musical, but sufficiently enticing and restful listening that one does not need to think about much else.

Treble

The treble begins in a controlled manner, starting from a slight dip that sustains the sibilance, but condemns the treble to a restrained, soft and low-energy form. The brightness is relegated to a second phase and you feel how the initial base is darker and duller, while the second phase is stretched out a little more to bring in more harmonics and a somewhat displaced sparkle. It’s not the most natural of highs, but they are smooth, restrained and pleasant. They are also not very extended and lack a certain air, something that gives the sound a feeling of dryness, a more parsimonious and concrete style.
The upper range is good enough to retain an adequate timbre in the lower ranges, but it is far from stellar in its own right. That’s why the treble has been tuned to maintain the balance and smoothness of the whole, rather than to shine for its own sake.

Soundstage, Separation

With a musical and certainly relaxed sound, the importance of the sub-bass and the smoothness of the treble play a decisive role in recreating the scene. But, perhaps other physical issues are worth noting, as the sound does not come across as concentrated or tight. There is good width, very good laterality, as well as obvious depth. The low end is able to inject a good amount of volume and depth into the scene. The first midranges sit in that middle zone, but busy from side to side, while the high-mids and highs move from here to there, but in a closer zone. They do not have the most obvious separation, nor the most discernible background, but their musicality gives that sense of continuity and homogeneity in the sound, but without becoming completely sustained. In this way, the scene is round but frontal, with an acceptable pitch and side notes that want to exceed 180 degrees. As it possesses a certain attachment, a volatile or gaseous sound is not contemplated, but there is a faint projected sensation that gives a greater freedom to the sound.
The image is efficient, well projected, easily glimpsed and not blurred. It is also not completely precise because its shapes are soft.
It is not very skilful at separating layers in the midrange and fails to layer the planes well. It suffers from some technical limitations in these aspects of depth separation. This is how the micro detail feels cohesive and continuous. With some effort, it is perceptible, which is already an achievement. But it feels somewhat relegated and dependent on the rest of the closer elements, which can hide or integrate them. It lacks a point of resolution, separation, distance and definition for such detail to be more explicit and descriptive. That’s the thing about a more musical, homogeneous and pleasant sound.

Comparisons

Tri Meteor

For many months, I have found the Tri Meteor to be one of my favourite IEMS for 100$. Although, sometimes, they are not easy to get because they might be discontinued by now. These are simple hybrid IEMS: 1 x 10mm dynamic driver with beryllium-plated diaphragm and 1 x Knowles ED-29689 BA driver. They use a semi-custom capsule made of Egger resin, with a translucent inner body and an outer face with a flowing silver glitter pattern on a black base. Their design is attractive and elegant, on the same level as the TinHiFi T5S, even more beautiful. The inner face of the two look very similar, with the Meteors being a little more streamlined. But the T5S are not as thick, even though they are metallic and heavier. The in-ear integration is better on the TinHiFi because they are also thinner.
As you can see from the graphs, both IEMS have a very similar frequency response. And that profile is one of my favourites, because I immediately liked both models. I think the T5S have perfected the curve by making it smoother and more harmonic. With a higher sub-bass and a midrange with a balanced plateau.
The Tri Meteors are a little easier to move than the TinHiFi T5S.
In the lower range, the T5S are somewhat more muted, sensory and darker. There seems to be a bit more dryness in the bass of the T5S. While the Meteors sound juicier and with a bit more colour. In the pure tone test the T5S was more sensory and better behaved, performing the LFOs in a more natural and realistic way. The difference was small, though. The Meteors also performed very well. The difference in power is minimal, although that level of darkness, better behaviour and physical feel makes the T5S better at performing in the lower range.
In the midrange the Meteors feel a little clearer and more defined, with a little more sparkle, something that can be seen in the female vocals. They are slightly splashier, while their notes seem a little thinner. On the T5S the female voices do not appear as prominent, nor do they possess the same resolution. They are also softer. Something similar happens with the male voices: on the Meteors they feel fuller and more complete and somewhat closer. The sound seems denser and fuller in the midranges of the Tri, while the T5S seem more relaxed and softer, staying in that middle distance.
The treble is thinner and brighter on the Meteors, you feel that BA character a bit more abrupt, but it’s also appreciated, when it comes to generating thinner, more defined high notes, with a bit more sparkle and energy. Believe it or not, I feel that the treble sounds more appropriate in the Meteors. The treble of the T5S is a little thicker, rounder and smoother.
In the background, micro detail is very much on a par for both models. It is true that the Meteors are a little finer, but they are no prodigy in resolution either. They are subtly more separated and with a slightly sharper treble they manage to define the notes better, giving them a little more visibility. The soundstage of both is similar in size, but the closer proximity of the Meteors makes it a little more intimate. The T5S are more relaxed and have a little more depth. In short, the Meteors are subtly better in the technical aspects, while the scene is slightly larger and deeper in the T5S.
As can be seen, the two sets have a lot in common and the difference between the two is very small. This means that the Tri Meteors are still going strong despite the time they have been on the market. The TiHiFi T5S seem to revisit them by giving them a bass boost and a slightly softer and slightly more musical sound.

Conclusion

There are tunings that I like almost without looking at them. I have never put a reference target on my SquigLink, because I can’t make up my mind and because I don’t think I have found my reference curve yet. But it is clear that the TiHiFi T5S curve is among my favourites. That’s why I like this new model more than the sum of the individual notes I have given. The T5S is an IEMS with many plus points, great construction, ergonomics, design, good cable and better sound. In addition to an almost reference bass, they have a wide, smooth and very musical sound. The midranges are pleasant and relaxed, as are the highs. Everything about the T5S has been designed to entertain for the long haul, making it the first choice that comes to mind every time I go out on the street with a DAP. Simple, easy, but highly effective. That’s all there is to it. Don’t think, get them if their FR fits you.

Sources Used During the Analysis

• Tempotec V3.
• Aune Yuki.
• Burson Audio Playmate 2.
• Aune X8 XVIII Magic DAC + EarMen ST-Amp.