Tangzu Waner 2 VS HZSOUND White Snow

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The second generation arrives with a welcome move to a flat 2-pin connector and a better tip pack (balanced set plus red silicone), which already fixes the biggest complaints about the OG. Beyond hardware, the tuning shifts are modest on paper but meaningful in practice: a touch more ear-gain around 2 kHz and extra upper-treble energy. This makes the set sound more forward and seemingly easier to drive at low volumes, adding some perceived clarity and air.

That same recipe narrows the appeal at typical listening levels. The added brightness can increase fatigue and upset the OG’s easy balance, even if there is a hint of wider stage and more apparent detail. For listeners who keep volumes low, the II can feel clearer and a bit more spacious; for most others, the original’s smoother midrange and broader genre versatility remain more convincing.

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White Snow is a bass-heavy, V-shaped single-DD set built around a 10 mm LCP driver, targeting listeners who want weight and rumble. Compared with the Rose Finch reference, the bass shelf is roughly lower, which nudges the tonality a bit more balanced while remaining distinctly bass-tilted. Expect big sub-bass and generous mid-bass that define the presentation and set the overall energy.

The midrange sits behind that shelf, yet the upper-mids are placed carefully so vocals stay intelligible even at higher volumes. Treble focuses on the lower treble; extension exists but finer detail is often masked by the bass, so micro-information is secondary to groove. Staging is compact and not tuned for width or air, making this a fun, boomy listen for bass-centric genres rather than a spacious, analytical set.

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The Tangzu Wan’er 2 sticks to the original’s vocal-centric V-shape and upgrades the package: a nicer two-pin cable, better accessories including premium ear tips, and an optional USB-C version (no DSP baked in). Build shifts to a slightly thicker shell with shorter, wider nozzles; comfort is broadly good, though smaller ears may prefer the original’s longer nozzle profile. Sensitivity is higher and impedance lower, which makes it easy to drive—yet the USB-C cable’s minimum volume can be a touch hot on some phones, so low-volume listeners may prefer the 3.5 mm version.

Sonically, bass is tastefully boosted with satisfying punch and rumble without spilling into the mids. The midrange carries a warm tint and puts female vocals front and center, presenting harmonics with energy but avoiding nasal glare; percussion and upper-instrument shimmer sit a step back for a non-fatiguing treble that could use a hint more sparkle. Technicalities are solid for the price—clean separation, competent imaging, and a stage that’s modest but organized—roughly in line with strong budget single-DD peers, if not at the class-leaders’ resolving tier.

Versus competitors, Tanchjim Bunny (DSP) runs brighter and leaner with better phone ergonomics; 7Hz Zero 2 is warmer with bigger sub-bass; Moondrop Chu 2 gives smoother, brighter instrument harmonics. Crucially, Wan’er 2 sounds nearly identical to the original with a touch more top-end sheen, so it isn’t an upgrade for existing owners—unless the draw is the cable and tips. Not for bassheads or trebleheads, but as a female-vocal specialist that’s capable enough everywhere else, the value of the new accessories pushes it from “but that’s nice” to “this is brilliant” on the Audio Amigo scale, especially as a first-IEM kit.

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Tangzu Wan’er 2 Jade Dragon is a $30 single dynamic set done in collaboration with Audio One, packaged like a mini special edition: a bigger box, a surprisingly handy magnetic pouch, wide-bore Sankai eartips (instead of the usual standard tips), a cable, and a fancy cloth. The transparent jade-green shell with the dragon motif looks sharp and wears well—no aggressive custom contours, making the fit easy for small ears. The cable offers 3.5 mm (with/without mic) or Type-C with mic; it works fine for the price, but the papery feel, memory retention, and lack of a chin slider are noted.

Tonally, this edition follows the Wan’er 2’s mid-centric tuning: enough bass to counter the upper mids, but nothing for bassheads. The issue spot is the upper mids—especially with the included wide-bore Sankai tips—which can push vocals into shouty territory. Swap tips and the balance improves, though the ~2.5 kHz rise can still feel a bit forward/fatiguing over time. Treble quantity is “just right” for most, with no harsh peaks jumping out, and overall technicalities sit around the average of today’s $20–$50 field—an audible step over the original Wan’er, but still within class expectations.

Against peers, the original Wan’er plays a touch warmer, with slightly more bass and less vocal emphasis, yielding a more natural midrange. The regular Wan’er 2 and Jade Dragon sound essentially the same; differences are likely unit variation, with the real changes being design and tip choice. For first-timers, alternatives like the Moondrop Chu/Chu 2 and Sava Balanced offer more bass-friendly or balanced approaches and gentler upper mids. Recommendation: grab Jade Dragon if the colorway appeals and a mid-centric flavor is the goal; skip it if sensitive to shout or craving more low-end. Verdict: a two-out-of-three-stars value—smart bundle and decent tuning, but hampered by the wide-bore tip choice out of the box.

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$24 and surprisingly dressed to impress: flashy anime box art, a tidy accessory layout, and a whole box of ear tips including textured silicones that grip like an orange-peel finish. The stock 3.5 mm cable is fine at this price (red/blue channel markers earn a wink), though a nicer wire would be welcome; there’s also a 4.4 mm version available. Build is toy-plastic light yet good-looking with white inlay and gold trim, tiny L/R markings, and no case in the package. Under the hood: a single 10 mm PET diaphragm dynamic driver that keeps things simple in the best way.

Fit can be quirky—the stiff earhook loop and modest nozzle rake may fight some ears—so tip rolling (think Dunu S&S or stiffer “Render” tips) and even a cable swap can help secure the seal and clean up the sound. Once seated, the tuning swings from punchy and energetic to smooth and whisper-delicate without flinching, punching well above its bracket—easily toe-to-toe with sets in the $70–$100 crowd. Minor gripes aside (fit, plasticky shell, wish-it-were-better cable), the value is undeniable: a full recommendation and an easy pick for gifting or daily carry when the goal is pure price-to-performance fun.

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TANGZU Wan’er 2 comes across as a balanced, clean all-rounder with decent treble extension and a good bass dose for the money. Bass texture and top-end refinement are okay for a $20 set, while vocals are clear but a touch less “sweet” due to a 3–6 kHz dip that reins in shout. Versus the original Wan’er, this version brings a bit more treble air, a slightly larger stage, and sharper imaging. The shell is simple and light (plastic), though tip rolling helps with fit around the edges. Overall: solid tuning and execution—just not a standout in today’s crowded budget field.

In context of 2025’s $20 class, Wan’er 2 sits among a sea of competent all-rounders. KZ’s ultra-cheap options push value hard, while sets like Zero Ultima, Tanchjim Bunny, and others tend to sound smoother and a touch more refined up top; DSP models (e.g., EW100 DSP, Tanya DSP) add flexibility for EQ. Technicals are on par for the bracket—natural timbre, pleasing overall performance—though certain competitors (Zero Ultima, Bunny, KZ PRX planar) edge it on resolution. Verdict: an easy blind pick if there’s no similar IEM in the collection or as a giftable beater, a slight upgrade over the OG Wan’er, but owners of comparable sets can skip and save for a bigger step (think Zenith, EW300, EM6L).