Several nice accessories came included.
I really like the tin carrying case. It doesn't only look and feel phenomenal and is very sturdy, but it's also padded on the inside. Easily one of my most-loved and most unique in-ear carrying cases. I just simply really love it.
I love the turquoise blue chrome/mirror colour design.
Somewhat unusual shape and geometry, but I like it. I actually really like it, and it's unique.
Build quality good enough - appears more fragile and less sturdy as well as less premium compared to my Shure SE425, but is overall still sturdy enough if treated well.
Unusual shell geometry but comfortable in my ears. The cable's memory wire ear guides definitely contribute to the good fit and comfort in my ears.
Okay-ish/average cable - springy but sturdy. Has got a chin-slider.
Two-pin connectors, however one of the Triple.Fi 10's rather unusual features is that its left side connector doesn't follow the standard of the "upper" pin being the "+" pin, but has the layout inverted (only on the left side).
Three Balanced Armature drivers per side, two acoustic ways, (oval) dual-bore architecture with dedicated acoustic dampers.
Sound:
Low impedance sources (usually less than 0.5 Ohms), largest included silicone tips.
The Triple.Fi 10 is one of the most reactive in-ears to subtle output impedance deviations from 0 Ohms (even a perfect output impedance of 0.1 Ohms already shows measurable (but still inaudible) deviation effects), and becomes darker in the highs the higher the output impedance of the device it is connected to is.
Tonality:
V-shaped.
The bass elevation starts to rise around 600 Hz and reaches its climax around 85 Hz with a quantity of about 8 dB compared to diffuse-field flatness, even though it is only a little less present between 100 and 200 Hz. Extension is flat and free of any roll-off down into the real sub-bass.
So yeah, the main focus is on the sub- and midbass, but the upper bass is punchy as well and there is some low fundamental range lift but no intrusive warmth.
The upper mids, presence range and middle treble are somewhat in the background, giving voices a rather distanced presentation in the mix with still good timbre.
The area between 8 and 10 kHz is emphasised and on the bright side, with present/forward cymbals that have a rather metallic, however not sharp timbre.
So yeah, a quite traditional v-shaped fun/loudness tuning.
Resolution:
Tight and fast bass, as it could be expected from the two small, non-vented BA drivers for low-frequency reproduction.
Good resolution and note separation (actually ultimately not that far away from my UERM in a direct comparison) but nonetheless still in a lower league than my Audio Technica ATH-IM03, Westone W4R or Logitech UE900 when it comes to separation and actual micro details (not the fake stuff generated by elevations), especially in the midrange.
Good resolution and note separation (actually ultimately not that far away from my UERM in a direct comparison) but nonetheless still in a lower league than my Audio Technica ATH-IM03, Westone W4R or Logitech UE900 when it comes to separation and actual micro details (not the fake stuff generated by elevations), especially in the midrange.
Soundstage:
Rather wide but with pretty much no spatial depth. Slightly elliptical, however in a flat way.
Precise instrument positioning and separation.
Conclusion:
A true classic with a v-shaped tonality.