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Like @Fox I have great memories of Shure e2cs back when IEMs were aimed almost entirely at musicians. I then had some Klipsch S4i's which were a bit less clunky but died quickly, along with their warranty replacements.
Then apple started including not-horrible earphones with phones and I didn't need the isolation any more...Would you say the current crop of IEMs are aimed more at hi-fi listeners or musicians? Obvs there's a load of crossover but things like cable routing/weight/staying put/movement noise become much more important.
I'd quite like a set for stage use but if Shure aren't any good any more I'm a bit lost!
Dramatic_Hammer
JB
From what I can see, lots of people are attracted to KZ stuff, based on the fact that they take design cues from high end IEMs from the likes of Campfire, and many of these people seem to be new to IEMs. Not to poo poo their opinions, but I doubt they have as much experience with IEMs as people who praise T2s. I'd probably skip 'em to be honest and go for the T2.
The biggest thing for me though is Tin's parent company, Linsoul, are putting some really great stuff out. They seem to be far more HiFi orientated than KZ. KZ are very guilty of just throwing as many drivers into their IEMs as possible to give you perceived value, but they're not tuning the IEM itself which means their response graphs are all over the shop. They're selling a 12 driver IEM for less than $100 and rumor has it they sound like total dog shit.
Tin on the other hand are actually tuning their IEMs according to feedback from people in the community and real world usage. Tin's for me all day.