Wtf iam dying waiting 😭

Also I heard that it doesn't have great eartips so buying an upgrade all together. Anyone who already has them please answer two questions for me

1. Rusting issue:- is it true they rust so you gotta store them with moisture absorber packs ?

2. In Built DAC:- with the Type C in build DAC will it be enough ? Honestly I don't want to carry a DAC with me all the time and one of the reasons for picking CCA Phoenix was that people were saying the In Built DAC is pretty good ?

1st image - right ear piece,

2nd image - left ear piece. I have seen this in one of the post on reddit. That guy also has the exact same right piece structure

u/theaudiostore please help.. I had ordered salnotes 7hz zero 2 iem on 11 august from Kolkata... How can I check the order tracking.... I had used the audio store tracking site https://www.theaudiostore.in/pages/order-tracking?srsltid=AfmBOooTocjM9pjUEErncULcmxolMp1-ARCwodLdazpBaTvfrXJx6t6I but it is showing that " your order is not yet shipped you can track it after 24 to 48 hrs after placing your order. Please help I am panicking too much... 😭😭😭

Pros: ~ Punchy Bass
~ Cohesive Mids
~ value for money as package for just 15$, the box is very cool.
~ the collectible card is a nice touch ( subjective )

Cons: I did not find any cons and I know I cant ask for more at this price but the cable is too flimsy and cheap similar to KZ offerings ( nitpicking )

Overview​

Hello Everyone, this review is going to be about Harmonic Empire’s Cai Wenji, Harmonic Empire is a sub-brand born out of Tangzu Audio in 2025. The Cai Wenji is their entry level offering, priced at around 15$, built around a single 10mm PEEK and PU composite dynamic driver.

This unit was provided to me by Harmonic Empire for review purposes. All impressions and opinions are my own. Thank you Sophie and Harmonic Empire for sending me the unit.

Note : You can find and “Build - Fit - Technical Specifications” and a fun “ Nerd’s corner “ sections at the end. Sound comes First, so let’s get going. I used Sonic eartips and Tanchjim Space 2 DACfor the review

Sound Profile and Performance​

The Cai Wenji presents a mild U-shaped sound signature that prioritizes clarity, balance and everyday listenability without leaning too far in any direction. Nothing fights for attention, nothing feels missing and the technicalities hold up well enough to make you forget what this costs. Budget IEMs are getting surprisingly good and the Cai Wenji is a good example of exactly that.

Lows :​

The bass on the Cai Wenji is well balanced between sub-bass and mid-bass, neither dominates the other and both contribute equally to the low end foundation. The sub-bass has a slight edge in presence, giving the low end a satisfying depth without tipping into bloat or excess. What stands out most is the control - there’s no bleed into the mids, no muddiness and no excess warmth clouding the rest of the presentation. The bass hits with good texture and definition, rhythmic and composed rather than loose or aggressive.
In tracks like,

• Massive Attack — Angel
• GoGo Penguin — Raven
• Muse — Mercy

The slow burning sub-bass in Angel builds gradually and the Cai Wenji tracks it with good depth and control - the bass grows without losing definition or bleeding into the mids, the sub-bass presence giving it enough weight to feel physical without overwhelming. Raven‘s rapid double bass blowout is where the mid-bass speed and texture get tested - the Cai Wenji keeps up with GoGo Penguin’s fast twitching bassline cleanly, each note articulate and distinct as it dances around the piano and drums. Mercy’s bass guitar rumble comes through with satisfying punch and body. The mid-bass hits with enough impact to feel exciting without losing composure or control. A clean, composed and genre versatile low end performance.

Mids :​

The midrange on the Cai Wenji follows a mild U-shaped presentation - vocals sit slightly back in the mix rather than being pushed aggressively forward, but nothing about the mids feels hollow, recessed or lacking. There’s good crispness and body to vocals and instruments across the board, the slight step back creating space and dimension rather than distance. Male vocals carry moderate weight and presence. Female vocals are clearer and airier, sitting naturally with good definition and edge. Instruments come through with natural timbre and clarity. Guitars, pianos and strings all holding their character without sounding colored or processed.
In tracks like,

• Paul Robeson - Old Man River
• Adrianne Lenker - Sadness As A Gift
• Pearl Jam - Dark Matter

Paul Robeson’s baritone in Old Man River comes through with proper depth and resonance - each phrase carrying weight and authority, the Cai Wenji giving his voice the full body and chesty presence the recording demands without thickening or coloring it unnaturally. Adrianne Lenker’s raw, intimate vocals in Sadness As A Gift sit naturally and openly - the recording’s warmth is preserved, with her voice sounding with good dynamic expression and airy presence in the upper registers. Dark Matter by Pearl Jam tests the Cai Wenji’s midrange cohesion across a busy rock arrangement - vocals sit clearly within the mix, guitars and percussion holding their own space without collapsing into each other. The presentation stays composed and musical even as the arrangement gets demanding.

​Treble :​

The treble on the Cai Wenji is one of its more pleasant qualities - inoffensively sparkly and airy, carrying enough energy to feel exciting without crossing into harshness or fatigue. Cymbals and hi-hats have good presence and character, sitting with enough shimmer and definition to feel alive. There are no hints of sibilance anywhere in the upper frequencies - the tuning finds that sweet spot where brightness and comfort coexist without compromising either. Extended enough to feel open, controlled enough to feel safe.
In tracks like,

• Neneh Cherry - Buffalo Stance
• Greg Spero - Under Earth: Expansion
• Toto - Rosanna

The hi-hat and cymbal work in Buffalo Stance comes through with good presence and transient energy - forward enough to feel crisp and defined without any harshness or edge. Under Earth: Expansion‘s cymbal stick definition is where the Cai Wenji’s treble character shows most clearly - each strike landing with detail and clarity, the stick on cymbal texture coming through with satisfying precision. The subtle ghost notes in Rosanna are audible and well resolved -subtle, delicate and clearly placed within the mix, a detail that budget IEMs at this price often smoothen over entirely. The treble is exciting and energetic, it simply does its job with composure and pleasantness.

Technicalities :​

Imaging - imaging is good enough to place instruments and vocals precisely without any struggle.

Soundstage - The soundstage is average in terms of width but it’s not cramped and doesn’t sound like “in my face” level of closeness. It’s average just because there is nothing special about it. It’s not holographic but the stereo effect is existent.

Detail Retrieval - Detail Retrieval is very good without any drawbacks in subtle nuances of elements in busy tracks. No sign of recession either while retaining the background details whether it might be faint instruments or whispering vocals

Separation - The separation is good, I wouldn’t say it’s punching way above its price but the separation is quite good for the budget range its in.

Comparisons :​

Tangzu Waner SG 2 :

The Budget favourite and quite famous “Tangzu Waner SG 2” is very identical in sound to the Cai wenji with minor differences. The Bass of Cai wenji is more impactful and present. Neither of them are shouty or sibilant. Both have a vocal forward presentation with good treble extension where the Waner SG2 is more sparkly and presents instruments energetically without tipping into Sibilance and staying composed.

Sound - Cai wenji has more bass presence and Waner SG 2 has energetic treble extension. Mids sound the same. So a choice between both would be a preference of the buyer. No difference is technicalities either.

Build and comfort - Cai wenji is built very sturdy and transparent. However tangzu waner sg2 is built better. But when its comes to comfort, Cai wenji fits better and feels more comfortable in ears.

Package and accessories - Well, Tangzu is known for its package offering with the waner series. The Cai Wenji is not bad either with its collectible card and Harmonic Empire Sonic eartips and that too at 15$ retail price. But the Tangzu waner offers much more such as a cool looking microfibre cloth and IEM carry pouch and a very good looking box ( if you like the boxes or a collector ).

Overall - If you like bass go with Cai Wenji and if you like energetic treble go with Tangu waner. Just minor differences. And not to forget HE is an extension of Tangzu brand.

Build - Comfort - Technical Specifications​

The Cai Wenji’s shell is lightweight transparent polycarbonate resin. The transparent finish gives it a clean, distinctive look that showcases the internal acoustic structure underneath, setting it apart from the usual opaque shells at this price. The ergonomic cavity design sits naturally in the ear without creating pressure or fatigue, making it comfortable for long sessions without any adjustment needed. The fit is not a hard try as the shell is not that big and the nozzle is average sized too thankfully. Cai Wenji drivability is effortless which is not special as almost every IEM in this range is easy to drive.

Box content :​

• Harmonic Empire Cai Wenji IEM
• Silver plated OFC cable — 3.5mm with mic
• Sonic eartips — 3 pairs
• Collectible transparent character card
• User manual
• A cute key chain ( a gift, not for consumers )

Technical Specifications :​

• Driver type : 10mm PEEK + PU composite dynamic driver
• Impedance : 16Ω ±20% @ 1kHz
• Sensitivity : 114dB ±3dB @ 1kHz
• THD : ≤3% @ 100Hz — 5000Hz
• Frequency response : 20Hz — 20kHz
• Cable length : 1.2m ±5%
• Connector : 0.78mm 2-pin detachable
• Termination : 3.5mm / Type C with mic

Final Thoughts​

The Cai Wenji doesn’t ask you to manage your expectations - it simply delivers and lets you recalibrate them. At $15 the sound holds its own and might even surprise you with its capability as the only compromise was premium build and package but not a premium sound. The bass is controlled, the mids are well done, the treble is pleasant and the technicalities don’t embarrass the package. That’s not a small thing at this price. Harmonic empire has got everything right with this as they keenly focused on sound but did not let go of presentation of anything else.

Nerd’s corner :
Fun facts time, the IEM is Named after the legendary Chinese poet and musician Cai Wenji from the Eastern Han dynasty. Her life was defined by the chaos of war, a 12-year captivity by the Xiongnu nomads, and her rare feat of reconstructing hundreds of lost classical texts from memory
Here is a poem by her.

'Poem of Sorrow and Anger'
(by Cai Yan / Cai Wenji)

處所多霜雪，胡風春夏起。
My dwelling is often covered by frost and snow,
The foreign winds bring again spring and summer;

翩翩吹我衣，蕭蕭入我耳。
They gently blow into my robes,
And chillingly shrill into my ear;

感時念父母，哀嘆無窮已。
Emotions stirred, I think of my parents,
Whilst I draw a long sigh of endless sorrows.

有客從外來，聞之常歡喜。
Whenever guests visit from afar,
I would often make joy of their tidings;

迎問其消息，輒復非鄉里。
I lost no time in throwing eager questions,
Only to find that the guests were not from my home town.

Tanchjim and I have been on a wonderful roll, where I have received only one dud out of the products that they have sent, and given that I already have quite a few of their offerings in hand (Bunny DSP, Fission, Fola, Nora and Origin), I am confident in opining on their sets and picking up what has changed, and what has not changed. This time, they have sent out a combo to me, which is in the budget realm: the sequel to the much loved Ola in the Ola II, and the sequel to the excellent Space dongle DAC amp, the Space II. Let me string up all the pieces together and start off with whether Tanchjim has held or folded.

UNBOXING, ACCESSORIES, FIT AND COMFORT

Ola 2

The Ola 2 once again comes with their Asano Tanch (I believe) branded box, which also lets me know that the IEM shares the same drivers as the Nora, Fission, Fola and Origin: the DMT-5. Sliding the cover off, gives way to a lid, and taking the lid out gives out a semi familiar Tanchjim unboxing experience, Ola 2 branded envelope with their usual paperwork, pouch and eartips. I think, providing a simple set of Tanchjim’s T-APB eartips along with the generic ones would give more exposure to their aftermarket eartips and make the proposition of the Ola 2 even more enticing. I got the 4.4mm version and for a stock cable, I think I prefer this over the ones that come with the Origin for instance. 

The Ola 2 is a small IEM and it fits my ears perfectly- it’s a plastic build with a grey faceplate that doesn’t stress out any part of the ear; and I have worn the Ola 2 for hours with no signs of fatigue. And, I think it’s going to be a good fit specially for people with smaller ears.

Space 2

The Space 2 comes in a slim box where the cover has the product aptly advertised, with its inherent ability of letting you tweak the EQ of your IEMs via a 10 band PEQ. Sliding the cover out, once again leads way to a lid, and once unlidded, it gives way to the standard branded envelope of paperwork, underneath which lies the dongle and the USB type-c cable in the compartment below.
Tanchjim really needs to improve their game when it comes to these short type-c cables, as it feels too stiff, and doesn’t inspire confidence in its longevity.

That’s where the talk ends, now let’s scooch over to the sound and actual functions of the sequel duo.

SOUND OF THE OLA 2 (II)

LOWS

Tipper: Mariscos

The Ola 2 right out of the bat, comes off sounding shallower than other sets that I have heard in this price range where the perceived width of the sound stage is adequate but it’s the depth that puts a blemish on the otherwise fantastic rippling intro that the track has, which the Ola 2 lets out with a satisfying degree of polish. As the track progresses where the elements of the track excluding the beats transition into a fuzz like phasing style, the Ola 2 handles the clarity needed to have them emulsify with the hits to a good extent, where only the depth of the perceived stage is a deterrent in the enjoyment. If I have to comment on how hard the beats were hitting, the Ola 2 packs in a nice punch with a moderately paced attack whose decay is cut off appropriately. So, overall a nice warm-up lap for the Ola 2.

Rage Against the Machine: Bullet in the Head

The Ola 2 once again comes off super strong- Tim Commerford’s masterful bass sounds aggressive, sounds potent, and sounds polish where I am convinced that for the price, Ola 2 has its priorities on attack and decay sorted; and this is further supplemented by the crisp double kicks and the toms from Brad Wilk. I wouldn’t say that the Ola 2 exhibits any concerning bloom, but across moments I could feel that the bass was getting a bit too ahead of the rest of the elements. De la Rocha’s vocals cut through the sound like a hot knife through butter, and despite what the graph of the Ola 2 suggests, I was not finding it that warm on this track which let me enjoy the vocals even more.

Daft Punk: Get Lucky

And…..here comes the bloat, which is contributed by the lack of the depth in the stage, as the bass overcrowded the beats that this track has, and I could find the Ola 2 struggle with the separation between the two as a result. Once again, Pharrell’s vocals did not come off like they were being overshadowed or pushed back- planted right in the middle, with no compromise in the perceived note weight, and the clap-like beats and the cymbals were recognised with an adequate presence, without any intrusion from the bass. Strong start, but a wobbly finish to the next segment.

MIDS

Queens of the Stone Age: First It Giveth

The Ola 2 once again has a strong start. At first glance, I can see that the Ola 2 doesn’t forget to sort out two crucial elements which would make or break the presentation of this track- tonality and timbre; where through the crisp, rapid firing snares it lets the timbre be known as accurate, and the tonality falling just in line with how a B flat major key progression would sound like. Guitars come in raging on the sides, which lets Josh Homme be fully free of any obstacles planted centre in the mix, with the cymbals being more forward than usual, which further contributes to the oomph in this track. I am quite impressed with the layering this time on the Ola 2, where all the elements in this track are distinguished from each other, and the isolation between the notes are not jumbled up.

Tool: Lateralus

The Ola 2 captures the intense buildup of the toms from Carey, while Jones gets the prodigal guitar intro stacked right alongside for Justin to come in kicking with the bass, and lay everything out for Maynard to kick in and present collectively with an impressive cohesion; where the Ola 2 captured almost every single element that makes this track THE track- the panning of the drums through the rudiments, the slow buildup of the guitar chugs, the bass playing hide and seek with the guitars, and Maynard not sounding thin by any means, although I felt that the vocals were faintly pushed back through the verses. Once the breakdown comes in, and the cymbals intensify- the Ola 2 was not fatiguing or shouty, even when the guitars powering up to close off the breakdown with the final rudiment that sounded accurate to a fault. The Ola 2 also gets the wah-ing bass right to finally let my ears catch a break because I found myself enjoying a bit too much with this.

HIGHS

Patricia Barber: Icarus and Inch Worm

Icarus is my pick to test sibilance, as I feel that the need to emphasize upon sibilance being a part of the recording itself, and not just the gear showing it, should be stressed upon more; and yes, the Ola 2 reflects the sibilance in the way Patricia enunciates her Cs and Ss in Icarus; but surprisingly it is not something that would make me tip-roll or tweak the EQ- it’s there but not quite there; and that’s a good thing. The real problem however, comes off in her straight note extension which is caught in a blind-side as I was seriously reflecting on the near accurate timbre of the percussion, the tonality of the guitars and the faint burbling of the bass- and the Ola 2 comes off mildly piercing specially towards the end of the extension.

Inch Worm was a fantastic listen on the Ola 2 where the resonance of the percussion with that timbre was delightful, and the previously observed sibilance is simply absent, even when Patricia comes down to enunciating the sixteen, sixteen and thirty two part of the track. The way she playfully glides over her syllables, with a falsetto-esque perception, the way the double bass lightly hammers on to supplement the vocals was just fantastic.

Dave Brubeck: Take Five

The Ola 2 has a sluggish start and the note that it establishes serves to be a deterrent into what was otherwise a fantastic listening expression; where the bass once again feels blob like, ie, it has the notes coming off and the conclusion is just right but there’s no form or a “visualised” shape to those notes, it’s just you are at a buffet and you just get a spoonful of something thwacked on your plate by the grumpy server, but besides that whatever you have gotten on your plate is just right- the drums and their resonance through the toms and the snare, the pianos oozing a good degree of accuracy in the timbre, although feeling a bit subdued by the cymbals with their textures rendered exactly the way they should sound, and the best part ? The horns. Being quite forward in the imaging, where they could have benefitted from a deeper perceived stage along with some width; I could hear the presses on the keys, the breaths being drawn, the Ola 2 just had that sorted down to a fault.

PERFORMANCE OF THE SPACE 2

I think Tanchjim did an excellent job with the Space 2 and specially over the already excellent Space, which had earned high praise from Amir over at Audio Science Review, and except for a few other areas; there’s quite a bit for me to explain what the good bits are about the Space 2.

Firstly, the control one can get over the dongle via the Tanchjim app. 10 dB of adjustable gain, over 10 bands of parametric EQ, with profiles already loaded for all of Tanchjim’s IEMs that support in-app customisation, including the native DSP version of the Ola 2. Plus, one can access community presets (which still have a few bugs, one of them being that the settings I had applied were not really applying when I tried loading the app after). The in built sound modes on the dongle don’t really work well with the Ola 2 but they are a decent addition nonetheless (worked wonderfully with the Fission and Nora).

It’s got hardware 100 step volume control which is a must in my opinion, especially in dongles with a construction like the Space 2. Tanchjim advertises the volume control to be non-linear which again, in my opinion would have been better if it had separate op-amps, nothing fancy though- just a set of regular SGM8262s would have sufficed. I still appreciate that Tanchjim managed to get the CS43131s just right, and not have come off brighter in perception (which was my experience with the FiiO KA13). 

The Space 2 also has dedicated game modes, supports mic via the 3.5mm port where one can adjust the gain levels on the microphone, has the options to switch over the amplification (class A/B vs class H, but again no op-amps so…..) . The build quality seems to be nice, I haven’t had any flex on the USB port of the dongle, unlike my previous provided unit, the Space Pro where there was some flex and the internal circuitry seemed to move within the chassis when I would unplug it, hence I used a different cable with it. Another plus point of this dongle is that, it doesn’t heat up much, and it doesn’t even heat even when plugged in and not being used.

The good things about the Space 2 end there, and I am particularly pressed about it are the power figures- something that’s priced close to $90 and have those numbers for power makes the entire proposition of having this fall flat. 235 mW of power at 32 ohms max, is borderline laughable at that price when something incredibly power, like Tanchjim’s own Space Pro is available at $100, and the likes of the FiiO KA15 and the Crinear Protocol Max are available with significantly better power figures. On the lower end, in a similar form factor but different DAC chips; the EPZ TP35 Pro and the FiiO KA13 despite the lack of proper EQ support is available. I don’t know what Tanchjim was thinking when they were circling around the power figures, and I understand that they didn’t want to cannibalise on the Space Pro- but power figures at least below 400 mW at 32 ohms while retaining everything, and even letting the dongle slightly warmer would have been better for me.

COMPARISONS FOR THE OLA 2

OoopusX OP22

Both IEMs have distinct strengths, but the OP22 remains the technical superior. The Ola 2 suffers from a lack of stage depth that causes bass bloat and separation issues on beat-heavy tracks. In contrast, the OP22 maintains pristine separation and delivers a flawless, class-leading treble response that the Ola 2 simply cannot match. In this case, the OP22 still pulls ahead.

Kefine Klean SV

This matchup presents a direct trade-off between bass precision and vocal weight. The Klean SV handles bass decay and resonance far better than the Ola 2, entirely avoiding the bloat that plagues the Ola 2. However, the Klean SV suffers from lean, lightweight vocals that get pushed to the rear; the Ola 2 fixes this completely by keeping vocals fully weighted and firmly planted in the center.

EPZ G30

The Ola 2 easily outclasses the G30 in sheer musicality and refinement. Where the G30 struggles with blunt bass detail, a dry timbre, and shouty guitars, the Ola 2 delivers a much punchier, polished low-end and highly accurate timbre. The G30’s only real advantage is its spatial directionality for gaming.

Simgot EG280

While the EG280 offers fantastic imaging for competitive gaming, it falls flat for music when compared to the Ola 2. The EG280 suffers from premature bass decay, a hollow presentation, and ridiculously thin vocals. The Ola 2 easily wins this matchup with its natural cohesion, full note weight, and non-fatiguing delivery. The Ola 2 is NOT meant for gaming, but the EG280 is fantastic.

Twistura Delta

The Twistura Delta and the Ola 2 both struggle with bass coherence, but the Ola 2 delivers a far more natural and engaging vocal presentation. The Delta suffers from an inconsistently sluggish decay that causes its bass to overpower the kicks, while the Ola 2's bass issues stem primarily from a shallow stage depth that creates bloat on heavily layered tracks. Where the Ola 2 decisively wins is in the midrange; it anchors vocals perfectly in the center with excellent note weight, whereas the Delta is plagued by undeniably thin-sounding vocals and a faintly shouty upper-midrange. The Delta is still alright, but I feel the Ola 2 can give more for a slight upcharge.

Sivga SM100

This matchup presents a clear contrast between low-end precision and upper-frequency restraint. The SM100 completely outperforms the Ola 2 in the bass region, boasting a surprisingly fast attack and a clean, perfectly timed decay that refuses to linger or bloat. This easily exposes the Ola 2's struggles with depth and separation on beat-heavy tracks. However, the SM100 can occasionally introduce a faint glimpse of shoutiness during intense vocal climaxes, whereas the Ola 2 maintains a highly cohesive, entirely non-fatiguing treble response from start to finish. I would take the SM100 here, partially because of the better build quality along with the sound.

Hidizs MS2 Pro

The Ola 2 easily proves itself as the far more disciplined and refined IEM in this comparison. The MS2 Pro suffers from a pillowy, unfinished bass response where a lingering mid-bass bleeds into the lower mids, creating a congested soundscape that the Ola 2's crisp layering actively avoids. Furthermore, the MS2 Pro struggles with structural balance, exhibiting strained guitars and an abrupt, glaring sharpness in the treble during crescendos, making the natural tonality and perfect vocal weight of the Ola 2 much more enjoyable.

Truthear Zero Blue 2

Both IEMs stumble slightly in the bass but in opposite directions: the Ola 2 suffers from bloat on beat-heavy tracks due to a shallow stage, while the Zero Blue 2 opts for a booming, sub-bass-heavy delivery that occasionally bleeds into the mids but remains highly engaging. In the midrange, the Ola 2 excels with accurate timbre and natural layering, but the Zero Blue 2 fights back with an incredibly intimate, enveloping stage and crisp instrument separation. Up top, the Zero Blue 2 runs intentionally hot for added energy, whereas the Ola 2 plays it safe with a strictly restrained, non-fatiguing treble.

CONCLUDING NOTES

What conclusion do I even give, when I have said my piece to this extent on the Ola 2. I think Tanchjim tried with this IEM, where the fatigue of their DMT-5 reuse was really, really getting to me in the end, and the Ola 2 was a breath of fresh air. However, the bloat in the mid-bass, with a wonky perceived soundstage doesn’t make this a perfect IEM, and the freshness of its air can quickly stagnate. However, the Ola 2 has its own saving grace with the option of getting it with the DSP cable. But, the bloat subjectively can come off as a much needed punch, kind of like a funky mocktail in a sea of peach mojitos, if it fits the bill, then the Ola 2 will give a lot of fun. And besides the sound, a lot of it has to do with the form factor.
The Space 2 was a solid miss from Tanchjim where they had given it everything but the power figures, and it’s tragic because they have priced it quite high with those numbers where something better within the brand can be found, and I so wanted to recommend this source, but for good measure I cannot. I mourn for the Space 2.

Will I buy the Ola 2 at retail ? Yes.
Will I buy the Ola 2 used ? Absolutely.

Will I buy the Space 2 at retail ? Absolutely not.
Will I buy the Space 2 used ? Has to be dirt cheap.

GENRE RECOMMENDATIONS FOR THE SPACE 2

What works: Pop, EDM, Jazz, Hip Hop, RnB
What doesn’t work: Rock, Metal, Blues, Classical

SOURCES USED

Primarily used with the Tanchjim Space 2 and EPZ TP35 Pro dongle DAC Amp. Recreationally used with the SMSL Raw MDA-1 desktop DAC amp, Shanling M9 Plus DAP stacked with the xDuoo XD05 Pro.

EARTIPS USED (RANKED IN ORDER OF PERFORMANCE)

• Tanchjim T-APB 300: Least amount of perceived bloat, adds to stage width, amplifies textures on the cymbals and vocals, maximum retention of vocal note weight
• Tangzu Sancai Wide Bores: everything that the above does, but to a lesser degree, still beats the next eartip.
• Tanchjim T-APB 500 (the liquid silicones): flattens the mid-bass considerably, which hampers vocal note weight, eliminates whatever little sibilance is observed, retains perceived stage width.
• Final E regulars: shrinks the stage, tightens up the midrange while not reducing the perceived bloat, presents upper mids with a concerning dip, vocal textures lost.
• KBear Coffee: straight mud, ruined this IEM fully.

TRACKS

• Rush: Limelight, Spirit of the Radio
• Daft Punk: Get Lucky, Instant Crush
• The Police: Message in a Bottle
• Alf Linder: Cantique de Noël, Cantate Domino
• Tipper: Mariscos, Cloaked
• Dave Brubeck: Time Out
• Tool: Pneuma, Schism
• Queens of the Stone Age: First It Giveth
• Pink Floyd: Comfortably Numb, Wish You Were Here, Time
• Tame Impala: The Less I Know the Better
• Animals as Leaders: The Woven Web
• Rage Against the Machine: Bombtrack, Bullet in the Head
• Avicii: Levels
• Periphery: Marigold
• TesseracT: Juno
• Kanye West: Stronger, Flashing Lights, Devil in a New Dress
• Altın Gün: Goca Dünya
• Timbaland: Give It to Me
• Adele: Easy On Me (Live), When We Were Young
• Celine Dion: All By Myself
• Pavarotti: Nessun Dorma
• Mdou Moctar: Tarhatazed
• Cigarettes After Sex: Cry
• Meshuggah: Bleed
• A. R. Rahman: Tere Bina
• Alice in Chains: Down in a Hole and Nutshell (Live)
• Allen Stone: Give You Blue
• Florence + the Machine: Never Let Me Go
• The Smashing Pumpkins: Luna

Tanchjim Ola 2 - Not an All-Star, But Surprisingly Competent

​Overview​ :

This unit was provided to me by Isabel from Tanchjim for review purposes Thanks to Isabel and Tanchjim. Rest assured, all opinions and impressions are my own and not influenced by anyone else.

Hello Everyone, this review is on Tanchjim’s newest launch - the “Ola 2”, a hybrid in ear monitor with a Dynamic Driver and a Balanced Armature Driver setup which comes in 3 termination options - 3.5mm, 4.4mm and Type C. I was sent the Type C (Master DSP) version which costs around 57$ ( 5705 INR ).
I have changed my review format a bit by pushing the Build and Technical Specs section below the sound profile and performance section. So, lets get started.

Pros: ~ Impressive Imaging
~ Good Separation
~ Lightweight build
~ Transparent and forward mids
~ Tanchjim app support for type c variant is a plus point

Cons: ~Bass is soft edged and lacks the slam to it
~ Shell feels very cheaply built.
~ packaging and accessories can be improved

Sound Profile and Performance​

Ola 2’s low end is the most prominent aspect of the presentation - full and warm, though not always as controlled or precise as the rest of the frequency range suggests it could be. The midrange is where the Ola 2 truly earns its credibility - cohesive, detailed and natural across genres, handling everything from intimate jazz vocals to complex rock arrangements with composure. The treble is tastefully tuned, sitting at that precise point between excitement and fatigue without crossing either line. Technicalities are a genuine strength, lets dive deep and know more about this.

Lows :​

The bass is more of a soft, loose presentation than a visceral thud or snappy strike; quantity is present but the control and punch don’t match it. Sub-bass presence is not stalwart either, bass lovers might end up wanting more out of it. On the plus side - it doesn’t sound hollow or unnatural. But the down side is that the sustain and the edge are lacking - the roll off is pretty evident and unpleasant for someone who likes a thrumming sub-bass. Mid-bass is very fulfilling but lacks the attack or snappiness.

I put Ola 2 to a bass test and Giorgio by Moroder by Daft Punk is the track I geeked out on because Giorgio by Moroder is one of the best-produced recordings for evaluating bass because it uses real instruments instead of synthesized bass for much of the track. On the Ola 2, the mid-bass is a little bloated blob and lacks the punch, dont get me wrong because the clarity is intact but it’s just that the mid-bass slam is loose because of the quick decay. In between 3:45 - 4:35, the kicks hit with a quick thump but are not punchy, however i could still follow the bass guitar and kick bass separately without any problem proving that the imaging and separation aspects of the technicalities are on the good side. The problem is that the quantity outweighs the quality.

The track Limit to Your Love by James Blake is a track with intense deep rumble that makes it easy to test extension and control of the sub-bass. On the Ola 2 the sub-bass is on restrain, on the track it lacks depth and the notes feel like just vague vibrations that do not even feel to be honest, i just know it vibrates and that’s the end of it. No control over the decay or sustain but there is adequate distinction between the notes. Thankfully, there’s no vocal masking or loss of clarity in piano when the bass enters.

Mids :​

The mids of Ola 2 is where it shows its technical prowess, I threw various genres at it from jazz to classic rock and I am so impressed by its cohesiveness and technicalities. The separation and imaging in instrument heavy tracks and lush voices in vocal forward tracks, it performed very good in all.

The slightly thick lower mids work in favour of male vocals giving them body and natural presence. In Danny Boy by Harry Belafonte, his resonant baritone comes through full and chesty with every phrase carrying proper weight and exceptional diction - exactly what a track built around vocal body and timbre demands, and the Ola 2 delivers it convincingly. You Know My Name by Chris Cornell shifts the test to separation and imaging, Cornell’s vocals sit clearly within a dense arrangement of guitars, strings and percussion without getting buried, each layer holding its own space without bleeding into the next. Imaging is precise enough to pinpoint elements within the mix but the presentation stays two dimensional rather than creating any sense of depth or 3D kind of positioning. Clear, well separated and every element holding its own space, just not that holographic.

Deep in a Dream by Marlene VerPlanck shifts the test to female vocals - intimate, delicate and naturally recorded, leaving nowhere to hide. Her voice comes through forward and present without being pushed or aggressive, sitting naturally within the sparse arrangement with good air and openness. The upper registers are where the Ola 2 impresses most here, sitting right at the edge where crispness meets restraint, neither tipping into sibilance nor retreating into dullness.

Treble :​

The Treble of Ola 2 is very well done. It’s tastefully liminal where more emphasis will be fatiguing or too bright and less emphasis will be dull sounding or lifeless. The tuning makes sure that the energy is at the right spot where cymbals and hi hats have that shimmer and sparkle without piercing the ears. High-pitched vocals sound scintillating without introducing any sibilance and maintains clarity throughout.

Serse HWV 40 is an orchestral with Renée Fleming being the singer and her voice reaches into the upper registers with extraordinary range and delicacy, leaving no room for any harshness or edge to hide. On the Ola 2, Renée’s soprano stays clear and natural throughout, never acquiring any edginess or artificial brightness even as she climbs into the high notes. The orchestral backing sits cohesively behind her voice without fighting for space - everything knows its place and stays there. Even at higher volumes there isn’t a single hint of sibilance or harshness anywhere in the performance. The Ola 2’s treble finds that liminal point where Renée’s voice can soar freely without the listener ever needing to brace themselves.

Roundabout by Yes, puts the cymbal and hi-hat character of the Ola 2 to the test — Bill Bruford’s drumming is fast, crisp and sits prominently in the upper frequencies throughout. The shimmer and decay of each cymbal strike comes through naturally without cutting off abruptly, each hit ringing out with a satisfying and realistic tail. The hi-hats carry enough presence and energy to feel distinct and well defined without any splashiness or harshness on the faster passages. The one observation worth noting is that while the cymbals and hi-hats are competent and natural, a touch more energy would make them truly come alive — they sit just slightly below the threshold where shimmer becomes safe, natural and well controlled. It’s just not that exciting or electrifying to listen to.

Technicalities :​

Imaging : Accurate left-to-right placement makes instruments easy to pinpoint, even in busy mixes. Depth is limited, so the presentation feels more two-dimensional than holographic.

Soundstage : Moderately spacious with decent width, but limited depth keeps the presentation intimate rather than expansive.

Detail Retrieval : Resolves subtle vocal nuances and instrument textures well without sounding artificially sharp or analytical.

Separation : The strongest technical aspect. Instruments remain distinct in dense arrangements with minimal bleed, making complex tracks easy to follow.

Comparisons :​

Kefine Klean SV :

The Kefine Klean SV is a neutral technically capable iem which is comparable to Ola 2. Kefine klean sounds pretty sterile - for neutral heads it’s perfect, but for someone who wants fun Klean SV is a lacklustre compared to Ola 2. The sub-bass of kefine klean SV has more presence and mid bass is shallow, the vocals are clear without any excitement and proper weight which is not a bad thing for someone who wants analytical or neutral listen, but on the musicality note its a downer. Ola 2 has very good mid bass quantity as well as quality with a step down in sub-bass department, the vocals have good texture and energy which leaves Kefine Klean SV to dust in the musicality aspect. The treble of Kefine Klean SV is very safe and sounds underwhelming to listen to. Ola 2’s treble is well extended and with no reserve or hold in treble region making high pitch vocals and instruments sound sparkly with shimmer and cut through sharpness.
Sound :
Build : Kefine Klean SV - more premium build
Accessories : Klean SV - the hardcase is a thoughtful add on, the Nozzles are okay too
Value for money : Kefine SV just because Ola 2 is around 50$ + ( 6,000 rs in india ) ola at 40-45$ makes more sense.

Build - Fit - Technical Specifications​

The Ola 2 retains the distinctive square meets round ergonomic faceplate design of the original aerospace grade CNC machined aluminum alloy faceplates sitting over a transparent inner cavity that lets you see the coaxial driver arrangement inside. The shell is lightweight and ergonomically shaped from data collected across 3000 plus human ear shapes. The dynamic driver is DMT5, their inhouse dynamic driver tech which is also used in their expensive models like origin, fola and fission etc. The acoustic nozzle filters are waterproof and dustproof which is a practical addition for daily use. I used Dunu S&S eartips for my listening sessions as they provided a better fit and seal for my ears. Although the shell is small and very lightweight, it did not fit me deep and proper like usual iems and i solved that issue by trying out various tips and settled on wearing a smaller size of Dunu S&S tips than I regularly use ( trying one size smaller eartips might do the job for you as well )

The DSP functionality through the Type C version opens up the Tanchjim app - 8 band PEQ, community shared presets and sound mode options that meaningfully expand what this IEM can do beyond its stock tuning which i find as a versatility.

Box Content :

• Tanchjim Ola 2 IEM
• High purity silver plated copper Litz cable - Type C
• Silicone eartips - 6 pairs in two types, small bore and wide bore, S/M/L each
• Soft grey velour carry pouch
• User manual

Technical Specifications :

• Driver type : 10mm DMT5 dual magnetic circuit dual cavity dynamic driver + Pure Hi ultra high frequency balanced armature - coaxial hybrid
• Impedance : 30Ω
• Sensitivity : 121dB/Vrms
• Max decoding : 32bit/384kHz PCM - Type C
• DSP : 8 band PEQ via Tanchjim app - Type C only
• Connector : 0.78mm 2-pin detachable
• Termination : Type C with DSP
• Price : ~$57 / ₹5999 approx in India

Sources used for testing : iPhone 16e and Motorola edge 50 neo ( to test out the eq and tanchjim app )

Final Thoughts :​

Tanchjim has stepped out of their bubble and tried a new approach with the Ola 2 which does not necessarily hits all the corners right but is still a good set to have. The bassy touch is a mixed feeling to be honest. The cohesiveness is something that Ola 2 is quite good at. On the musicality and technicality aspect - the Ola 2 is a great buy for someone who wants a fun sounding iem, but for someone who want neutral or quality bass that hits like a bullet and not like a slab of cream, this is not it for you. For the price of around 57$, I wouldn't call this a value as a package - there’s no proper case, or nice eartips and the shell is a cheap build ( the cable is alright ). But sonically? It’s worth the price.

Personal note - I enjoyed listening music on Ola 2, everything is to my liking. Tanchjim has a done a good job with the Ola 2, i suggest they do not compromise on build and accessories at-least for their newer budget models. i was quite disappointed by the build and eartips even though the cable is good. This is not a 20$ iem, various other brands offer better builds now a days even on cheaper models, tanchjim should do better.