CCA CSA in-Ear, Earphones Noise Isolating,H HIFIHEAR in-Ear Headphones with HiFi Stereo & Powerful Bass 3.5mm Interface for Computer & Laptop, Android Cell Phone,MP3 Players (No Mic Green)

Let me just say if you have no other iems them this sounds great but if A/B other IEMs you notice that a whole segment of the mids is recessed or missing. Did not get siblance and high to me we’re not piercing but very pesent.

These are the only audio product I have ever had that actually improved after burn in. I was ready to return the earphones because of the shrill 3kHz peak. After a day or so of listening and equalizing, the peak eventually receded into the background. Equalization is not really needed now.

Left ear bud became very quiet and came with a non 3.5mm cord making me believe these are fakes

Sounds super clear and very detailed with excellent bass. Tight low end with good slam leading all the way to the top. I paired with another cable from Better Audio I wanted to try and together the sound is smooth and clear to my ears. I’m so glad its in my collection, a real show piece.

The Shuoer Tape is an innovative IEM featuring new technology. It employs two drivers, a 10mm “nanotechnology” dynamic driver (presumably carbon nanotube) and a “low-voltage electrostatic unit”. There is some uncertainty about the driver complement as the dividing network is described as “three-way frequency distribution” and this would require an extra drive unit.The packaging, too, is unusual, being drum-shaped and bright orange with a design of piano keys encircling the lower part of the container. Removing the lid, the IEMs are displayed in a foam holder, below which there is a green metal tin shaped like a UFO. Unscrewing this reveals the cable, five sets of silicone tips (one is pre-fitted on the IEMs) and some documentation.The cable is an MMCX four-core loosely-braided copper type terminated with a 2.5mm balanced connector. A 90 degree 3.5mm adapter is included and there is a cylindrical metal Y-split and a small silver-coloured chin slider.The IEMs themselves are solidly constructed from CNC machined aluminium and are finished in anodised black. The faceplates feature two large bolts which are designed to resemble cassette tape spools (hence the name, “Shuoer Tape”), with a silver mesh grille between them. It is not clear whether this acts as a vent for the dynamic driver. There is clear channel identification on the earpieces, which are rectangular in shape with angled corners and are surprisingly comfortable to wear. Using the pre-fitted tips, I obtained an excellent fit and seal.Before testing, I completed a burn-in period of 100 hours, after which the IEMs were evaluated using an Xduoo X20 DAP via line-out with a Topping NX1a amplifier. I did try the balanced output of the DAP but discovered that the advantages of this were outweighed by the improvement gained by the extra power, which is when the Tape really came to life.The benefits of the electrostatic driver were immediately apparent, with the Tape displaying superb speed and transient attack, impressive levels of detail and excellent timbre. Moreover, the character of the dynamic driver possessed a similar clean and immediate quality which blended perfectly with the treble unit, resulting in a seamless transition across the frequencies. The overall balance was neutral with well-extended bass, a slightly forward midrange and a bright and airy upper register.BassThe superb transient capability of the Tape endowed the bass with wonderful clarity and impact. Extension was also very good whilst avoiding boominess and colouration. The powerful percussion in Aaron Copland’s “Fanfare for the Common Man” performed by the Eos Orchestra was a perfect example. Timpani and bass drums sounded clean and potent with a great sense of weight behind them. This contrasted very well with the incisive trumpet solo, providing a perfect backdrop for the rest of the orchestra. Jonn Serrie’s “On a Frontier of Fables” is a large scale space music epic from his album “Planetary Chronicles Vol.2”. It is an episodic piece containing some deep synthesised tones which reach far down into the sub-bass. The timbre and texture here were maintained at the same time as delivering serious depth and power and remaining musical at all times. The electronic interpretaion of Faure’s “Libera Me” by Schonherz and Scott was another instance with the rhythmic bass line plumbing the depths while complementing the beautiful flowing melody.MidrangeThe clean delivery and low colouration extended from the bass into the mids, which were free from bass bleed. This produced a very transparent presentation. Benny Andersson’s “Piano” album consists of solo renditions of his compositions. Linn Fajal’s wonderful recording is clear and open and the Tape really shone here. “The Day before You Came” explores the whole range of Andersson’s Fazioli instrument and the authentic timbre was very impressive. The reproduction of the overtones and the natural decay of the notes added to the realism of the performance and took you right into the studio with the artist, drawing you in to the music. Hennie Bekker is an accomplished electronic musician and on his “Mirage” album he displays his prowess with the Synclavier. “On and on and on” features a cyclic motif with the principal voice resembling a harpsichord. This came over with clarity and precision and excellent timbre accompanied by woodwind samples and sweeping string synth patches, which all combined to magical effect.TreblePerhaps the highlight of the Tape’s sound, the treble possessed superb clarity, resolution and precision, with a wealth of detail on offer and often allowing me to hear subtle details I had not noticed before, even in familiar music. Listening to Grace Jones’s “Private Life” resembled sitting in front of the monitors in a recording studio, with everything precise, clear and well-defined, enabling me to hear every detail of the track as the producer intended. Percussion was snappy and incisive and Ms Jones’s voice clear and articulate even above the complex many-stranded production. Kevin Kendle is a British electronic music artist and his latest album “Terra” explores the landscapes of the earth. “Ice” portrays the polar regions and the shimmering crystalline sound effects recalled frozen snowy vistas, with the high string voices complementing the percussive elements beautifully, producing a very atmospheric scene. Pachelbel’s “Canon in D major” in a stately interpretation by the J. Paillard Orchestra featured a bright harpsichord continuo backing graceful strings. The harpsichord solo was very well-defined and the rhythm of the piece was attractively rendered.SoundstageThe Shuoer Tape managed to reproduce three-dimensional elements very accurately. Where the production demanded it, the presentation was either intimate or wide-ranging. Trevor Horn’s vocals in “I am a Camera” by The Buggles stood out beautifully from Geoffrey Downes’s atmospheric synth accompaniment, with studio reverb and other spatial effects perfectly rendered. The sense of depth in this track was particularly notable. “Elesewhere” from Vangelis’s album “Direct” contains a wealth of electronic effects dancing around the stereo image, creating a perfect foil for the anthemic melody line. Electronic woodwind and deep resonant bass filled out the production and it was all contained within an expansive acoustic. “Aragon” is the third movement of Albeniz’s “Suite Espanola”. In a colourful and vibrant orchestral transcription by Rafael Fruhbeck de Burgos, the position of the various instruments was accurately portrayed, taking the listener direct to the concert hall which was laid out impressively before me. The quality of the vintage Decca recording shone through.ConclusionThere have been a number of new driver types appearing recently. Piezoelectric units (BQEYZ Spring 1 and NiceHCK NX7), Planar drivers (Tin Hifi P1 and TRI i3) and now electrostatic drivers. The Shuoer Tape has remarkable speed and clarity with excellent fine detail. It is tempting to ascribe this to the electrostatic unit but we must not forget its partnering dynamic driver which keeps up in terms of speed and resolution. The crossover is also well designed, delivering a smooth transition from bass to treble whilst maintaining a consistent timbre across the frequency range. Being a new type of hybrid, it is difficult to make like-for-like comparisons, but of the earphones in my collection the sound of the Tape most resembles the Senfer DT6 Pro, (1DD + 2BA + Piezo). The treble tonality does resemble that of a piezoelectric driver but adds a crystalline quality which is very appealing.Listening to the Tape is like dusting off all your music tracks and hearing them sounding shiny and new! With a wide frequency response, excellent accuracy and detail, the Tape manages to combine a crisp analytical quality with entertainment and musicality. It does it all, and could be described as the Swiss Army Knife of IEMs.