Tipsy Dunmer Pro: time to get tipsy on the white wine of earphones.
Hey everyone! Welcome back to The Neighborhood! It’s Your Friendly Neighborhood Reviewer with InToit reviews! Today we’re taking a look at the Tipsy Dunmer Pro thanks to Farsil the Wizard. I happen to know that this is one of Faril’s favorites, but what do I think about this thing?
Let’s get InToit!
The Tipsy Dunmer Pro is a hybrid IEM consisting of two balanced armatures and a single dynamic driver. The 9.22mm dynamic driver handling the low-end is composed of graphene. The connection at the initiation point is 2-pin configuration, and the included stock cable terminates in a 3.5mm TRS, unbalanced, connection. The outer sheath of the cable is cloth, and it reminds me of the Shozy 1.1 and 1.4 cables from IEMs I have previously reviewed. There’s nothing wrong with it, and it sounds fine.
The shell of the cable is plastic, and it’s faceplate is comprised of a piece of swirl-patterned resin. For some reason, it reminds me of a piece of jewelry that I might buy at a music festival. I wish that the whole IEM was colored as the faceplate is, but that’s a small gripe. The shell itself is light, and it’s dual composite structure might contribute to that as well.
Farsil did not include any of the stock tips for me to try, but he claims that he likes CP360’s for this set anyhow. I tried 360’s, 145’s, and 100’s and liked CP145’s the best amongst the Spinfit varieties. The Sedna Xelastec were my favorite, but I had to go down to a small size to get the fit I desired. I also liked Final Type E tips with these, but this brought some sonics more forward than others might like.
Timbre is on the drier side of neutral and somewhat bright-leaning without becoming thin or brittle. I wouldn’t call the tone sharp, but it is crisp and electrified. The descriptors crunchy, yet tangy seem to fit as well, and it brings to mind images of a nice, dry glass of white wine. If one could imagine what that taste sounds like. There is also some mild air here, which comes across as if sonics had a very mild plate echo applied to them at times. If guitar players out there are familiar with the tone of a Fender Deluxe Reverb Amp, the character of Tipsy Dunmer Pro reminds me of the tones of that or other similar Fender amplification. In fact, “amplified” would be a good descriptor of the overall sonics produced by the Tipsy Dunmer Pro.
Vocals and guitars are well isolated and separated, and vocals in particular often sound like they were recorded 1950’s-style Dynamic Microphones. Horns and other brass instruments were accentuated without ever becoming grading or harsh. Electronic sounds were also emphasized in rap and dance music.
Overall, this is a V-shaped presentation with elevated upper mids and decent treble extension. Sonics in the treble and upper mid-range is somewhat forward, but I never found it to cross the line with regard to its aggressiveness, although one might say that it walked right up to it. Like I’ve said there is some mild air, and detail is above average. Resolution was surprising for the price, and bests similarly priced competitors such as the Thieaudio Legacy 3, but it isn’t class leading either.
Decay was slightly lacking, but transient capabilities were slightly above average. The stage isn’t particularly wide or deep, but imaging within the stage was above average. From a critical listening perspective, the Tipsy Dunmer Pro suffers with regard to placement accuracy, but instrument distinctiveness and separation is above average, making for more of a fun listening experience. I particularly enjoyed the Tipsy Dunmer Pro for live recordings.
The bass on the Tipsy Dunmer Pro is somewhat elevated and emphasized, but with less presence than its upper mids or treble presentation. There is also a mild diffuseness to the bass, but things tighten up relatively quickly. The low-end train here is mostly driven forward by its mid-bass character, but I wouldn’t say that the mid-bass is over-emphasized either, as a I found the overall disposition of the low frequencies to be relatively smooth and balanced. In fact, the low-end here was quite suited for Funk or Jam Band genres pushed mostly by kick drums and electric, bass guitars. I will note; however, that macro dynamics are better than micro dynamics on the Dunmer Pro.
In closing, I feel like I’ve been disappointed or let down by a lot of IEMs recently, yet the Tipsy Dunmer Pro, did not really disappoint. Instead, it reminded me that there can still be a pleasant surprise, every once in a while, in this reviewing game. In fact, If I would have stumbled into these myself, I would have appreciated them still. I actually think that the Tipsy Dunmer Pro offers a tone and presentation that, while somewhat imperfect, is quite unique and enjoyable overall. I wouldn’t say that they are impeccable for critical listening, but they are fun and engaging for other types of listening sessions. Notably, they make me want to listen to jam-band music, electronic pop, and live performances just for fun. I thank Farsil the Wizard for the breath of fresh-air that he has bestowed upon me by sending them to the Neighborhood for review! So, make sure to check out his wacky channel if you haven’t already! And, with that, I’m out for now!
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