Artti T10 VS Shanling Tino

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Artti T10 hits the budget planar brief with a thoughtful package: a sturdy hard carry case, six pairs of tips (S/M/L in both standard and wide-bore), and a supple 4-wire cable offered in 3.5mm or 4.4mm. The cable behaves well, but the chin slider is frustratingly stiff. Build is reassuring—polycarbonate shells with a UV treatment, metal mesh at the nozzle, and sensible venting—while remaining exceptionally light. It asks for a bit more juice than a phone; a small dongle DAC is recommended. Comfort is solid for average ears, though the “tiny ears test” fails as jaw movement can break seal. Styling leans retro hearing-aid; the “Council of Ladies” gave it a unanimous thumbs-down.

Tonally, this is a mild V-shape with excellent sub-bass extension and punch, speedy planar bass that stays clean, and mids that are accurate with a hint of female-vocal forwardness. Treble is clean, smooth, and non-fatiguing, walking the harmonics tightrope without glare. Technicals impress across the range: clear microdetail, crisp transients, confident separation, and a stage that places instruments naturally with good stereo imaging. It handles electronic bass drops, rock kick drums, complex vocals, and fast acoustic picking with equal ease—planar speed without the usual edge.

Against peers, T10 reads like a slightly more relaxed Letshuoer S12 at a fraction of the cost; brighter and more energetic than Letshuoer S08 and Hidizs MP145, and more lively than the more neutral NiceHCK F1 Pro. It’s a clear step up from the budget Luna, especially when found on sale. Accessory parity is strong, ceding only to sets with modular cables (S08/S12 Pro). Verdict: at $75 MSRP this earns “This is brilliant” on the Audio Amigo scale, with a standing upgrade to “You should buy this” if available around $50. A top-tier value pick for anyone wanting a mature, engaging planar—so long as small-ear fit and the looks aren’t deal-breakers.

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The Artti T10 is a 14.2 mm planar dressed in an unapologetically industrial shell—textured, raw, almost “1980s test-gear” chic. In the box: case and a solid cable with a 3.5 mm or 4.4 mm choice at checkout (no modular tips to swap later). The shocker is the price: $69 with a 15% coupon, a package that feels like it should sit closer to the $200–$250 crowd. One big knock: a paper insert from the retailer pushing incentivized 5-star posts for $10—hard pass on that practice. Aesthetics aside, the overall presentation screams “budget done right” without pretending to be luxury.

Sonically, this set hits like a grown-up S12: wide staging, crisp detail, and a sweet, forward treble that stays exciting without turning glassy. Bass comes in clean and controlled, vocals land with satisfying color, and the tuning keeps tracks engaging across genres—laid-back when the mix calls for it, energetic when it gets heavy. It scales with source (surprisingly happy on tubes like WA7), and tip-rolling pays off—deep-seal options (Render, Dunu SS, XELASTEC-style) add presence and grip. Under $100, it’s easily a top-five contender on sonics alone. Final word: 9/10 for sound; would edge closer to perfect with a modular plug system and a better tip spread, but as a wide, detailed, insanely good-value planar, the T10 absolutely delivers.

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The Shanling Tino presents a very balanced dual-dynamic tuning that puts clear emphasis on the mid-range and upper mids, giving vocals a crisp, bright and forward character without stepping into harshness. Sub-bass performance is solid and reasonably substantial for R&B, rap and EDM, while the mid-bass stays clean and restrained, avoiding muddiness but leaving a bit of slam and weight on the table. Vocals from both male and female singers come through with a warm, full-bodied tone and studio-like texture, supported by instruments that sound clear, well-defined and naturally separated across the mix.

Technically, the Tino offers a clean and controlled presentation with moderate decay, fast transients and commendable separation that help string instruments show off their finer nuances and harmonics. The treble is crisp and direct with adequate extension and excellent comfort, deliberately avoiding sharpness, though the upper treble feels a bit short on air, ambience and ultimate micro-detail compared to more atmospheric peers. Overall, this is a vocal-focused and easy-listening set that trades a little mid-bass punch and top-end sparkle for stability, balance and a relaxed but engaging presentation that suits listeners who value clarity and separation over sheer explosiveness.