EarAcoustic STA Pro Max VS Shanling Tino

The EarAcoustic STA Pro Max is a dual-dynamic IEM using a 10 mm LCP diaphragm paired with a 6 mm titanium-plated dynamic driver (2DD). Retail listings also show basic specs of ~110 dB sensitivity, 30 Ω impedance and a stated 10–30 kHz range, placing it in the easy-to-drive, budget category; Linsoul currently lists the Max variant at ~$79.90. A broader product overview from HiFiGo confirms the STA series’ 2DD (10 mm+6 mm) architecture and differentiates models by diaphragm materials, with the Max positioned as the LCP/titanium option.

Community impressions characterize the STA Pro Max as a bassy, V-shaped tuning with a mid-bass-dominant profile and generally lush/smooth mids, trading ultimate neutrality for warmth and fun. These notes align with reports that it delivers thicker note weight rather than maximum treble air, which suits pop and hip-hop more than critical, mid-centric listening.

Technicalities are serviceable for the price: dynamics have some punch from the mid-bass lift, but detail retrieval and stage/imaging are average and can feel compact on busy mixes. On the upside, the 30 Ω/110 dB spec makes it straightforward to drive from a phone dongle, and the 2-pin connection eases cable rolling. Overall, at ~<$100 it offers a warm, bass-forward presentation that prioritizes musical weight over forensic resolution; value is solid, but it doesn’t challenge class leaders on technical performance.

The Shanling Tino is a compact dual dynamic driver IEM using a 10 mm liquid-crystal diaphragm driver for bass and an 8 mm DLC driver for mids and treble, housed in a lightweight resin shell with a modular cable system and optional 3.5 mm, 4.4 mm and Type-C terminations. Comfort and ergonomics are a strong point thanks to the low weight (around 4.6 g per side) and smooth resin contours, while accessories such as the modular cable and case are competitive in the sub-$100 segment. At an MSRP of about $79, it targets the crowded budget category rather than mid- or high-end audiophile territory.

Sonically, the Tino offers a neutral-warm tuning with a modest bass lift and gently elevated upper mids and treble, often described as a mild V- or U-shape rather than strictly flat neutral. Bass extends well with good sub-bass presence and a reasonably tight mid-bass, giving drums and electronic kicks a solid but not bass-head level of impact. The midrange remains relatively clear and natural, with vocals slightly forward and only occasional hints of upper-mid shout depending on recording and volume, while the treble stays smooth and non-fatiguing, with enough energy for cymbal definition but not a focus on maximum “air.”

Technical performance is average to slightly above average for its price: detail retrieval and separation are competent but not class-leading, and the soundstage is more intimate than expansive, with decent depth and fairly precise imaging for individual instruments. Reviews generally position the Tino as a musical, easy-listening option that balances smoothness with sufficient resolution, competing well against other respected sub-$100 models without focusing on hyper-analytic presentation. Considering its price, comfort, and balanced tuning, the value proposition is strong, though absolute technical specialists or listeners seeking very wide staging and extreme detail may prefer alternatives in the same bracket.

Kois Archive original ranking

URL to full Review

Head-Fi.org original ranking