2120 €

Review published:




per Side






5.5 Ohm











104 dB








Daily Life


5 - 22000 Hz


64 AUDIO, surely one of those few brands where nobody in Hi-Fi circles looks at you with astonishment and asks what you can buy from this crypto currency AUDIO, maybe 3 CDs? Surely a few more, because even with over 2000 € the TIA TRIÓ, which is the subject of this article, is still one of the cheapest representatives in the 64 AUDIO product range.

The TIA TRIÓ is a hybrid consisting of a dynamic and 2 balanced-armature drivers. In the product description you will find statements like apex, tia and LID and since these terms do not appear in my everyday review language either, I would like to briefly help myself to HEADTEK and use their description. HEADTEK is a well-stocked headphone shop in Berlin, with company origin in the UK, which kindly provided me with the TIA TRIÓ for this review.

>> ... The groundbreaking, patent pending tia system with its completely tube-free construction consists of the tia single bore design ("one bore/hole"), the tia sound chamber and the proprietary open balanced armature tia driver...

64 Audio's unique apex technology reduces pressure on the eardrum through a pneumatic interactive vent, as found in many other in-ear headphones. Hearing fatigue therefore occurs significantly less frequently.

LID (Low Impedance Design) technology ensures that the Trió retains its sound signature regardless of the source... <<

I'm usually sceptical when a company comes around the corner with such great terms and "innovations", because usually they just give the child a different name, or it's just not as groundbreaking as it seems, but just fulfils the marketing purpose.

If I understand "Tia" correctly, I have all the drivers in one sound chamber, without them being led separately to the sound opening. Well, for this to work well in terms of sound, it certainly requires some know-how and perfect tuning. However, the concept can also be found in 15 € IEMs, because this is not possible any other way for reasons of cost, or some manufacturers don't know any better, throw the drivers all together and get a hit every now and then.

With "apex" and "LID" it looks a bit different, because the notorious driver-flex, or the unpleasant negative pressure with completely closed construction is not to be recognized and also I can't really make out any serious sound differences with different sources. This is certainly a plus point, but it also takes away the possibly conscious and desired change, depending on the source.

In the end I don't really care what kind of miracle technique is in an IEM. What matters to me is the sound, and so far the TIA TRIÓ has convinced me like no other IEM. Here I find it rather difficult to find negative aspects instead of looking for positive ones.


Some of the things that actually belong in here, I have already anticipated in the INTRO, so we can concentrate on the essential.
The scope of delivery corresponds to the price expectations, but is admittedly a bit simple.
Included are: Transport hardcase, dehumidifier, cleaning tools, shirt clip, TrueFidelity foam earpieces (S,M,L), silicone earpieces (S,M,L), a removable 1.2m premium cable, a manual, and a 64 AUDIO sticker.
I can't think of anything I would miss at first, but everything is presented a bit unlovingly. Personally I don't think it's bad, but there are surely many audiophiles who fall in love with an IEM while unboxing, which is probably not the case here.

Simplicity is the keyword here in general, also in design. The design is quite universal and reminds a little bit of CHI-FI representatives like the KZ AS10, or CCA C16, only more compact, without a futuristic faceplate and of course much higher quality due to the materials used and the impeccable workmanship. Absolutely meets my taste!

The wearing comfort is also without complaint, even in the long run and the isolation can be seen, uh... heard, or not, which means it is very good!

The cable is very high quality, but I prefer silicone reinforcements rather than the flexible wire reinforcement of the TIA TRIÓ, because bending is simply a time factor and the insertion is not as fluid.

So what gets stuck here? Simple design and appearance, but everything you need in premium quality and workmanship, as well as very good haptic, comfort and isolation properties.


Since the TIA TRIÓ has fascinated me from the very first sound and will inevitably sit at the top of my IEM, I would like to build up this review a bit more as a comparison than is usually the case. For this purpose the TIA TRIÓ gets the CAMPFIRE SOLARIS and the ORIVETI OH500 in the ring and has to measure itself against three songs, which are perhaps not very versatile in terms of genre, but in principle have more or less caused problems for every IEM so far. I noticed that if an IEM exists here, he rarely has problems with other genres.
In the genre Rock/Hardcore music pieces are often full of energy and especially instrumentally overloaded. This usually ends in a salad of sounds, where the ingredients are difficult to taste. To bring an order in here, not to let voices get lost and still transport the energy and power of the tracks is a challenge that is difficult to master.
It is, so to speak, a battle of hybrids (TRIÓ 1*DD & 2*BA, SOLARIS 1*DD & 3BA, OH500 1*DD & 4*BA) in the following disciplines: Falling In Reverse - Popular Monster, Beartooth - In Between, Breaking Benjamin - Breath.

For each song, I will highlight 3-4 things I pay special attention to and then compare them. Please note that I will only describe what I subjectively would like or expect from the songs. Everyone will surely find something different, or prefer something different, but a few things can be compared quite well and be reproduced understandably.
Since some of these songs are really not IEM-friendly, this review won't be a praise for TIA TRÓ or the other two, but if you do things at least badly, you somehow do them best in comparison, right?

Let's start with Popular Monster from Falling In Reverse. Ronnie Radke (front singer) once commented on the style of his band like this: "in the same songs it sounds like Norma Jean or Underoath with Katy Perry choruses" - that's a bit exaggerated and "Popular Monster" doesn't really fit the description, but basically there's something to it.
What makes the song:
A mixture of rap and hard-core (crossover), dominant drums, with lots of double bass passages and a powerful chorus where "dirty" and not always cleanly played e-guitars, drums and voices fight against each other. For this review I pay special attention to the following: 00:28 - bass drop, 00:52 - fine 16ths on ride cymbals in the chorus, 02:19 & 02:44 - everything you can hear in this song is thrown together here, absolute stress test.

The TRIÓ faces this challenge quite unexcited. He knows that he neither has a bloodcurdling bass nor the impact to light up a real bass firework with this song, but he always knows what is important. The bass drop doesn't lift you out of your shoes, but you notice that the sub-bass is lifted and due to the linear drop towards the upper bass, subjectively a homogeneous bass is produced, which not only has speed, but also a pleasant rumbling, a crisp and dotted bass, as well as the ability to not present the bass as a whole, but always gives you the possibility to emphasize different bass tones. He strolls effortlessly over the double bass and always stays clean as long as this is also the case in the song.
The 16ths on high hat and cymbals are always audible, but could stand out a little bit more. What is really amazing is the serenity of the TIA TRIÓ when things get hectic. Admittedly, the recording is not entirely free of clipping when we listen to the song from minute 2.19. But the TRIÓ reveals this only unembellished, without losing control as well. Also to be credited is the fact that the stage doesn't collapse in the chorus and that the voices have to move slightly backwards and let the guitars take the lead, but for me this is within a completely acceptable range.
The SOLARIS occupies second place for me here. It has less sub-bass in comparison, but is just as fast and punchy. But it lacks a little bit of pressure and warmth, which makes the song sound a bit thinner. It can also become a bit harsh in the upper mids. The trebles are slightly more accentuated and even in the space available during the stress test the SOLARIS doesn't have to hide behind the TIA TRIÓ, which however shows the better balance in the whole frequency spectrum. Nevertheless, the SOLARIS seems a bit more tidy, probably because the trebles are a bit more important.
The OH500 is at a disadvantage here: it sounds much flatter and can't really convert the energy of the song. It is too well-behaved and has a nasty peak in the upper midrange, which is very unpleasant in the long run. He lacks the assertiveness and tears the song apart in dynamics. He definitely has other strengths, but they don't come into play here.

Beartooth - In Between: The song is not only badly mixed, but also musically badly transported on record. Live it is a force of nature. So here it's all about whether the three also function as a sewage plant, because as the saying goes among sound engineers during mixing: "Shit comes in, shit comes out", but maybe a competitor brings a very special clarifier with him, which makes things a bit cleaner. Especially on the cymbals a lot happens here, which can quickly slip into the tin and the guitars present themselves quite lifeless on the recording. An IEM, which brings warmth and pressure from below and treats the trebles in a relaxed manner, can make a name for itself here.
The most striking here is 00:13 - where the verse starts and is fired off musically, without consideration of losses, 00:36 bright cymbals and double bass, somewhat thin but crunchy guitars, 02:01 - bridge with two guitars, which should be clearly different in the panorama, here the bad mixing also comes into its own.

Yes, what can one say, the TIA TRIÓ is not a sewage plant. It takes what it gets and spits it out mercilessly. But: it does not make it worse by appearing disharmonious or becoming unpleasant. Although he always reproduces the trebles very cleanly, accurately and above all incredibly detailed without exaggerating it, the clanging of the cymbals after the third listening is definitely enough for me. The TRIÓ is tuned very naturally, in the direction of neutrality, which means that it doesn't give the song any additional warmth and that we can enjoy a very natural sound, without discolouration, when listening to other music.
The SOLARIS is a bit bolder here and manages to give the song more dynamics. On the one hand I would like to put this down to the fact that I find it enormously stable in the high frequency range and that it simply delivers an outstanding performance here. Of course, it also has the typical clang of a song, but it still sounds more natural to me than the TIA TRIÓ. In addition, it is more powerful in the mids, especially in the upper ranges, which is good for it here, but can also be a bit strenuous. The drums also sound nice and crisp in the lower range and have a good volume, but are not quite as textured as on the TRIÓ. The OH500 has a big advantage here and that's its treble presence. This is the most restrained of the three, but is still on a par with the SOLARIS in terms of quality. This means that the OH500 doesn't deceive about the poor production, but it shows this more subtly. A big disadvantage are the mids, which become a bit shouty and steal the show from the relaxed and transparent highs. The bass isn't very prominent on the OH500 either, where all three don't take much notice quantitatively. But from a qualitative point of view, especially in terms of strength, I go with TRIO and SOLARIS.

Breath by Breaking Benjamin is probably the song in the song selection that makes it easiest for the IEMs to score. It is very powerful and melodic with a voice that is neither too warm nor too cool and brings a nice crisp. The guitars are powerful, easy to separate and take the dominant part. Here it shows who can transport the energy well and convinces especially in the mids. The challenge is not to rob the guitars of their presence, but also not to let them participate so much body and dominance so that the voice can still keep up. It is interesting to see if the separation still works with the powerful sound carpet.
Here I don't give minutes, but look at the song as a whole.
The TIA TRIÓ does not disappoint me in any way, but it is still not perfect for my demands. Especially noticeable is the electric bass, which can always be followed clearly and in detail. The TRiÓ manages without any problems to make me bob and nod and to put a smile on my face. But I have slight limitations exactly in the critical range. For my taste, the mid-range could be separated a little more directly and clearly here. The guitars are a bit overpowering in the chorus and seem a bit bloated. To make it perhaps nevertheless at an example: At minute 01:20 it goes over to the chorus, where the vocals are standing there alone first and then the instruments start to play together. Here the voice is slightly pushed into the background and everything seems too massive. Nevertheless, with TRIÓ you keep the overview. But it could be separated even more sharply. But here the TRIO comes quite close to my ideal of how an interplay of bass, mids and highs can sound, even if there are much more IEM-friendly songs in the genre (for example Escape The Fate - Live For The Day). Bravo TIA TRIÓ
I must also compliment the SOLARIS on this. The SOLARIS is musically in any case a bundle of energy due to its midrange presentation. All in all the song is a bit too forceful and direct for me with the SOLARIS. I can't keep up with my perception and my hearing that fast, when everything is just thrown in your face. Less is more. The TRIÓ makes it easier for me here without concealing anything and also has less sibilants in its luggage. Even though I am enthusiastic about the trebles of the SOLARIS, it is also a bit overwhelming here. The SOLARIS is always exciting, the opposite pole to the OH500.
You really can't do wrong to the OH500. It is an excellent, calm and relaxed IEM, with which you first have to warm up. All the more unfair is perhaps the direct comparison also in the A/B/C listening. In addition, the genre doesn't suit him with his tuning that well. Here, too, he draws the short straw especially in the mids when the volume is turned up. If this is left in a moderate range, he can even keep up in his own way. But if you want more pressure on the ears, it gives voices almost too much presence, which can become unpleasant. But what he does best here is the balance between guitars and voice. Plus the smooth trebles and the good bass foundation. In terms of audibility, however, the point clearly goes to TRIÓ.

By the way, if you're looking for another stress test, I recommend "Dreh auf!" by We Butter The Bread With Butter. If you want to check your IEM for sub-bass and generally for low and high frequencies, you should listen to "Sol" by Alef.


What is the sum total of the TRIO? Even though it might not read very well from the review, he does pretty much everything right, as far as it is in his hands.
Of course I don't judge him and the other IEMs by these three songs. I have highlighted them only exemplarily. Even if some things may sound more negative than in other reviews, you have to consider that these IEMs are at the top of my personal ranking and therefore still do their job better than the IEMs below. All other reviewed IEMs also go through this process. In this case I just write a bit more critically in the context of music selection.

The TRIÓ has an excellent balance and is for me the most complete and homogeneous IEM reviewed so far. For me it is a reference that is musical at the same time, sounding neutral and extremely detailed, three-dimensional and high resolution. But the TIA TRIÓ is certainly not a bargain and you should consider whether the sound quality is worth the price.
For me, the TRIO is the perfect balance between the SOLARIS and the OH500, taking the strengths together and bringing them under one roof, without focusing on one feature in particular. When I listen to music with the TRIÓ, I inevitably have a grin on my face and simply enjoy it without stubbornly looking for faults that don't exist.

I have to admit one thing. If you're looking for absolute high-end, you won't be able to avoid a considerable investment. There are also very good budget IEMs that perform well above their price range and outstanding IEMs in the lower three-digit range, but at some point you will reach your limits. If you want more, the financial leap is huge in my opinion and I always ask myself whether I would be willing to invest this for the last icing on the cake.
But if you take the question of money aside, 64 AUDIO has succeeded in creating a small masterpiece with the TRIÓ, which is convincing all along the line. In addition, the TIA TRIÓ's tuning appeals to a broad mass and does not specialise in a sound niche, as can often be the case with high-end models.



Here the processing plays a role and the usability of the scope of supply. Additionally the appearance, wearing comfort and robustness.

Here I evaluate for me subjectively the price/performance ratio - does not flow into the evaluation!

Z: No Brainer

A: money well spent

B: all right, you can do

C: gives better for less money

D: overpriced

E: collector's price

Daily life:
Here, I focus on the long-term audibility and whether I can hear it well out of the box. This is of course very subjective and therefore only a minimal deduction or bonus. 

(-0.1, 0, +0.1)


Rating in Letters

S: 9.5 - 10

A: 9.0 - 9.4​

B: 8.0 - 8.9​

C: 7.0 - 7.9

D: 6.0 - 6.9​
E: 5.0 - 5.9​

F: 0.0 - 4.9​





CHI-FIEAR © 2020 by David Hahn

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