ARTTI T10 PRO VS Simgot EW300

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ARTTI T10 Pro brings a slick metal shell (black or silver), a pocketable case, two sets of tips, and a soft four-core cable with interchangeable 3.5/4.4 mm plugs on a standard two-pin connector. The fit is standout—small, low-profile, and comfy enough for sleeping. Tuning skews balanced with a bass boost: neutral-ish ear gain, smooth treble with a 10 k dip, and plenty of air.

The bass hits hard and textured with that fast planar attack/decay—clean, minimal bleed, less bouncy than a big DD slam. Mids stay natural and slightly forward without turning shouty; female vocals read neutral while male vocals gain meat from mid-bass warmth. Treble is smooth yet airy, adding micro-detail and openness; the extra air can feel a bit intense on longer sessions, though it makes strings sound fluid and well-extended. Technicals impress for the price: crisp separation, convincing 3D imaging, and excellent footstep pickup in shooters like Apex—easily a two-controller gaming nod.

Versus peers, the former favorite S08 plays more relaxed up top with less air and slightly less bass; T10 Pro feels more natural in vocals where S08 can get a touch forward. The Explorer (DD) is warmer and more laid-back with lighter bass and softer treble for pure chill. For an all-rounder that stays fun, T10 Pro takes the pick; choose S08 for easy long listens, Explorer for coffee-and-book vibes. At around $100, this is planar done right—punchy textured bass, neutral mids, smooth airy treble—and it earns a confident three-star recommendation.

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The ARTTI T10 PRO follows the OG T10—still a value monster—but pivots to a different flavor: it’s warmer, bassier, and not as squeaky-clean, yet remains surprisingly airy. Expect more bass, laid-back vocals with less 2k shout, a touch less bright, and better scaling with volume, while keeping a sense of openness. The overall profile is warm-but-airy, evoking a mini Symphonium Meteor vibe that’s easy to enjoy across casual listening.

Think of it as a cheaper Timeless 2—similar vibe (silver-nozzle tuning style), just a bit warmer and less technical. If the OG T10 is already in rotation, the clearer “pure performance” step is something like an ET42, making the T10 PRO more of a sidegrade for those wanting extra low-end weight without killing the air. Value still favors the original T10, but the T10 PRO earns a recommendation for its distinct, bass-leaning twist that stays engaging rather than muddy.

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The Simgot EW300 positions itself as a standout under $80, acting as a direct upgrade to the EW200 with more refined tuning and an uptick in layering/resolution. With the red 3.5 mm nozzle, the presentation is a dynamic, all-rounder tilt: upper-mids/treble are smoother and less peaky yet remain well-extended, vocals “pop” naturally, and separation feels tidier. In comparisons, the EA500 LM carries higher raw detail and a brighter, more exciting edge, but EW300’s calmer balance makes for longer, less fatiguing sessions and genuinely trades blows on preference.

Swapping to the pink nozzle shifts the EW300 into a warmer, bassier, and more laid-back profile with added thickness down low and a tamed 1–3 kHz region that helps vocal comfort and cuts fatigue. It suits rock, hip-hop, and metal while maintaining clean midrange boundaries, improved instrument separation, and a generally relaxing tone. Against similarly priced planars, the analog EW300 sounds less “sizzly” in timbre while holding its own on separation; owners of the original EA500 shouldn’t expect a huge jump here—the bigger step up remains the LM for sheer resolution.

The DSP version skews more vocal-focused and “clean balanced,” sacrificing some analog punch for smoothness and control. A deliberate 5–10 kHz softening plus a 13 kHz accent keeps consonants gentler and overall non-fatiguing, though some may find end-notes a touch too polite; the pink DSP profile further tames vocals while still giving satisfying cymbal crash. Practicalities are strong: the integrated DAC path shows a low noise floor with no odd artifacts on volume changes, and latency is a non-issue; for gaming, the analog 3.5 mm still images slightly better. Net: pick analog for slam and energy, or DSP for a smooth, vocal-centric clarity—either way, the EW300 offers real flexibility and polish at its price.

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ARTTI T10 Pro steps into the relaxed planar club with meaningful upgrades: an all-metal shell that’s smaller and sturdier, a pocketable hard case, and a slick modular cable (3.5 mm & 4.4 mm). Fit is easier thanks to the slimmer nozzles and smart venting—no pressure build-up or driver flex—while the familiar 14 mm planar still only asks for a decent dongle to shine. At $110 MSRP (often around $95 street), the accessory set and build punch well above the tag.

Tonally, this is a warm-tilted, easy-listening planar: sub-bass rumbles, mid-bass hits with tidy punch, and the mids carry a lush body without smearing. Female vocals can sit a touch behind the mix, but timbre stays natural. Treble is smooth with sparkle—non-fatiguing at sane volumes, with only mild edge creeping in when cranked. Technical chops are confident for the class: tight bass texture, clear micro-details that don’t shout, solid imaging, and stage that’s about average in width yet fully reveals well-mastered spatial cues.

Against peers, it sits between LETSHUOER’s S08 and S12 Pro: fuller low-end and more air than S08 (which favors female vocals and loud listening comfort), but less top-end shine/detail pop than the S12 Pro. Versus Hidizs MP145 (red nozzles), tuning is very close, yet the T10 Pro wins on comfort, accessories, and value; MP145 still stretches a wider stage. Net result: a versatile all-rounder that suits most genres and listeners—just not die-hard trebleheads, bassheads, or those whose libraries lean heavily female-vocal-forward. For everyone else, this is an easy recommendation at the price.

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The ARTTI T10 Pro is a compact, metal-shelled planar with an earbud-like footprint that fits easily and isolates well. It ships with a surprisingly nice modular screw-termination cable (3.5 mm and 4.4 mm included), a stable chin slider, clear L/R markings, two sets of ear tips, and a tidy branded zip case. Build feels solid, the nozzle is well executed, and the black faceplate looks sharp—overall a very complete package for the price.

Sonically it hits bassy, detailed, and clean: a rising bass shelf, energetic upper mids, and airy treble extension that reads cohesive in-ear rather than etched. Technicals overperform—imaging, sparkle, note weight, and soundstage all impress—while the main caveat is a slight noise floor. Versus peers, it avoids the mid-treble glare of sets like S12 Pro and NiceHCK F1 Pro, feels more engaging than the safer S08, and offers a more refined, mildly V-shaped take compared with Kiwi Ears K4. In short, this is a “planar that doesn’t sound like a planar” in the best way—highly recommended and an easy default pick under $100 for those aligned with this tuning.

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Simgot EW300 makes a strong case as a sub-$80 tribrid benchmark, bringing a more natural timbre, better layering, and a small bump in resolution over EW200. With the red 3.5 mm nozzles, tuning is a lively all-rounder: punchy low end, smoother upper-mids/treble with fewer peaks, and vocals that pop without glare—essentially a more refined, less shouty evolution of EW200. Swap to the pink nozzles and the signature shifts warmer and bassier, taming 1–3 kHz for thicker body and reduced fatigue—great for rock, hip-hop, and metal—while keeping separation clean and the midrange free of bleed.

The DSP version pivots toward a clean, vocal-focused balance: extended yet smooth, effortless vocals, and low fatigue. A deliberate 5–10 kHz dip plus an airy upper push trades some bite for longer listening comfort; the pink DSP nozzle dials vocals even calmer while keeping cymbal crashes satisfying. Implementation quality stands out: a dedicated DAC section yields a low noise floor with no volume-change artifacts, and latency stays in check. For gaming and microdetail, the analog 3.5 mm edges ahead with slightly better imaging and resolution.

Against peers, EW300 trades blows with the EA500 LM—LM chases raw resolution with a brighter, more exciting tilt, whereas EW300 sounds smoother and easier for long sessions (OG EA500 owners won’t see a big upgrade, though layering/separation are a touch better). Versus other sub-$100 sets and entry-level planars, EW300’s timbre is less sizzly yet remains technically competent, and the two-nozzle system effectively gives two tunings in one. Taken together—analog punch, DSP polish, and genuine tuning flexibility—EW300 positions itself as a new value benchmark in its price class.