Letshuoer Cadenza 4

The Refined Letshuoer Cadenza4



Disclaimer

I got the Cadenza4 for free in return for a review, I am free to say whatever I want.

All impressions are my own subjective thoughts after having used them for a good time. These are my thoughts at this moment, and as time moves I might change my opinion.
This is also a very subjective hobby where everything from experience, anatomy or age will affect what we hear. Also keep in mind that it is easy to use bold words when talking about differences, while it may be perceived as a small change for you.
While I can perceive something as natural sounding, I do believe we can never get a perfect performance similar to what is achieved live.

Ranking System:
1 Very bad or unlistenable
2 Listenable but not good
3 Average
4 Very good
5 Exceptional or having a special sauce

My rating system highly values what is musical for me, so my rating will always be a subjective opinion.



About me and my gear used for the review

My audio preference is neutral with some warmth, I can also like forward midrange and treble if not excessive. I am a believer in having different tuned gears for different genres or moods instead of chasing the single perfect one.

Main music genres I listen to are Metal, Electronica, Jazz, Indy rock/metal, R&B, Pop. I am a music lover, and can also listen to almost all the genres out there.
I have been into music gear since the mid 90s, gifted some big speakers at an early age. Then moved more and more into headphones with the Koss Porta Pro and a Sony Discman.
I have also tried playing many instruments over the years from piano to sax and have a feel for what's a natural tone, but not the biggest patience in learning to play.

My current favorites in Headphones are ZMF Verite Open and Beyerdynamic T1 G2.
My current favorites in IEMs are AüR Audio Ascension and Campfire Audio Bonneville.
My current favorites in Earbuds are FranQL Caelum and Blue Moon.

Gear used in the main rig is Denafrips Ares 12th-1 DAC together with the Topping A90 Discrete headphone Amp. I also have a Schiit Lokius I can swap in if I want to do a little analogue EQ.

Portable main gear being HIBY R8 II and HIBY R6 Pro 2, with some dongles like HIBY FC6 and Colorfly CDA-M1P.





So what is the Letshuoer Cadenza4

Letshuoer is a IEM brand that was founded in 2016 in China, they have had many well received releases. The Cadenza4 is their newest model, it is a hybrid IEM with 1 dynamic driver and 3 balanced armatures. As of this time it retail at $249.



Packaging is excellent and among the better ones, especially when we look at IEMs at this price bracket. That can also be said for the accessories, you get two sets of silicon tips in small, medium and large. One set focusing on vocal clarity and the other for a balanced sound, should be easy to find tips that work for most people.



The IEM cable is also of good quality, it is not too thick or thin. Minimal amount of memory and is quite pliable, the ear hooks seem improved from earlier Letshuoer models and work for me without any modification. It also have Letshuoer angled modular system, so you can swap from 2.5mm, 3.5mm and 4.4mm. The connection of the modular part is solid, don't need to be afraid of it falling out as it does on some brands.



You get an envelope with some pamphlets, one about warranty and one on instructions. Also a quality control mark.



In my opinion the design is elegant, the aluminum alloy faceplate against the 3D printed resin shell looks very clean. The surface has a smoother surface that's very pleasing, and also feels premium.



The nozzle has a good length and is average in size if not even a little smaller, should fit most ears excellent.



The grooves are subtle, but really help Cadenza4 sit comfortable and snug. There is also a vent on the side of the 2 pin connector to not get any driver flex or ear pressure.



3 way acoustic tubes, with 4 way digital crossover. The internal tubes are 3D printed to get the acoustic properties that Letshuoer wants.



Specs from the product website:

Quad driver hybrid in-ear hifi earphones

• Cadenza4 uses a proprietary 10mm dual-chambered beryllium coated dynamic driver, which possesses the characteristics of being light and extremely rigid.
• The combination of Knowles and Sonion balanced armature drivers which makes the Cadenza4 to be packed with resolution, rich in mid-frequency details, and ample treble extension.
• Cadenza4 adopts three acoustic tubes that are combined with an electronic four-way crossover. The 50μm 3D printed acoustic tubes ensures accurate, smooth, and consistent sound. The four-way electronic crossover allows for precise control of frequency distribution and significantly reduces phase errors.
• Cadenza4 once again collaborates with Heygear Technology to refine the earphone chassis. Ensuring comfortable long-term wear and enhanced durability. The panel is crafted from CNC aluminum alloy material with a matte finish which provides a delicate and textured feel
• Cadenza4 comes standard with a 392-strands high-purity silver-plated monocrystalline copper cable, enhancing the fidelity of the sound. With three types of 90° interchangeable plugs, which significantly improves device compatibility.

https://letshuoer.net/products/letshuoer-cadenza4-wired-iem-hifi-earphones-in-ear-monitor



Timbre

First off, what is Timbre?
From the Wikipedia:
The Acoustical Society of America (ASA) Acoustical Terminology definition 12.09 of timbre describes it as "that attribute of auditory sensation which enables a listener to judge that two nonidentical sounds, similarly presented and having the same loudness and pitch, are dissimilar", adding, "Timbre depends primarily upon the frequency spectrum, although it also depends upon the sound pressure and the temporal characteristics of the sound"

First minutes of trying a new set of gear, what I always listen to is how natural and musical it sounds. Much of this goes down to how I perceive the Timbre.

The sound is neutral with a small hint of warmth, it's very coherent for a hybrid IEM. Sort of smooth but clear sounding, just a very balanced and good timbre.

Going to use the ranges here in review:





Details and soundstage

This is not a super resolving IEM, but still quite decent when you look at the price point and against other hybrids. You can then still hear everything that's portrayed without exaggerating the flaws, but also doesn't mask them.

Soundstage is also average when looking at width and depth, what it does very well is having an enveloping stage around me. Sort of 3D where I feel I'm more inside the music, engaging and fun.

Bass

The bass is tight and reaches deep, it's quite fast and not as forward sounding. So its not all music that sounds as full and engaging as I prefer. But if we look at the quality, it's excellent with good texture and speedy decay.
Mid bass could have been a little more powerful, at least for my taste.


Mids

Mids are very natural with good clarity and presence, also without sounding harsh or shouty. The low midrange is very clean without any bleed from the bass, this also means it can be a little lean and soulless if you prefer more lushness.
I am one who prefers more low mids, but lately I have been appreciating this type of tuning much more than usual. This might be better for some music, and also to make vocals more clean and crisp.

This is actually one of Cadenza4's strengths, vocals have very good clarity and presence. Especially on brighter females, it also delivers this without any shoutyness or sibilance.
It does female vocal, or brighter vocalists better than darker ones. Not that males are wrong, just lack a little body. Instruments sound natural and clean also, and similar to vocals depends a little on what range and how they play. For example, sax has a good bite without shouting, and instruments like piano sound coherent and clean front the lowest octaves to the brightest.

Treble

Transparent and open sounding, not the best upper extension and lacks some air. But looking at how clean and resolving the treble is excellent, it is also not sounding sharp or sibilant. Might be someone's preference as you get a very good lower treble without any painful upper treble, that often sounds forced to my ears.

Synergies

I prefer to use warmer sources with Cadenza4, so HIBY FC6 is excellent and sounds very good. Using a player like HIBY DAP is also excellent, sounds more resolving and clear with Cadenza4. Using the dynamics plugin of HIBY is also a great way to add warmth for a more fun sound.

Stock cable is very good for me, both in sound, design and comfort. Divinis Velvety worked perfectly for me, but I did try Final Audio Type-E tips for more bass. But didnt feel it helped, except for making it less open sounding.



Comparisons

When evaluating the sets I use each of them over longer periods and also some shorter sessions swapping back and forth, it takes a long time and is not done in one sitting. The most critical comparison is done on my desktop setup that is highly resolving, with volume matching through a microphone to take away loudness variance.

The spider chart is slightly exaggerated on some points to show differences.





Letshuoer S15

This is their flagship planar IEM costing $329, uses a 14.8mm planar magnetic driver together with a 6mm passive filter. Competition with its own S12 has made it a tough sell, even if its better both in tuning and performance.

The shell has a similar type of material that I wish more brands could start to use, as it helps with comfort and feel more premium. The ergonomics are not as nice on S15 as Cadenza4, it lack some of the subtle nozzle and groves making Cadenza perfect.

Bass is very good as a planar driver, can almost fool me on some music for being a DD. But it lacks some texture and also the decay seems wrong to me, almost a little blunted. So it can't keep up with the quality of Cadenza4 low end, at least for me.

Mids are relaxed and smooth, very forgiving. But also lack some bite and energy that is needed for brighter vocals and instruments. Treble is also forgiving and smooth, and less airy than Cadenza4.
S15 is overall a very forgiving IEm with warm tonality, just better for relaxed listening instead of picking music apart.



Hisenior Mega5EST

This is a tribrid and flagship from Hisenior costing $550, it has 1DD 2BA and 2EST. Reason why it is inside the reviews as comparison is due to both having a very refined natural sound, and Cadenza4 reminds me of a baby Mega5EST with more bite.

Also a quite small IEM, but larger than Cadenza4. Both are very ergonomic, but Cadenza4 is the best. This also uses a more traditional resin shell, getting the glossy look instead of the matt look on Cadenza4.

Both have good bass performance, the Cadenza4 is a little tighter and Mega5EST slightly more textured.
Midrange is both similar sounding and a little different, both have a very clean midrange that's coherent with no BA timbre. The Mega5EST has a more relaxed style, so instruments like brass or cymbals have less bite and presence. Cadenza4 instead pushes this more forward making it more energetic, also why I say Cadenza4 is good for female vocals.

Treble and air are also different, Mega5EST have more shimmery and detailed top end.
Probably due to the EST drivers used in Mega5EST, but both have good highs anyway.

Mega5EST is slightly more technical but it's very close, some music can be clearer on Cadenza4 since the upper mids are pushed more forward. So I rate them about equal on resolution. Soundstage is also very similar, not the widest and deepest and they are quite similar.



Music

https://tidal.com/browse/playlist/ad7bbfa3-2067-4235-b2ed-f5a3fb53ff28

When comparing Letshuoer Cadenza4 to other sets I have used the tracks listed here and more.
The link is to a playlist consisting of some tracks I have saved for testing, it's still a work in progress.

I will also do it a little differently than what I usually do, I'll mention a small part under each track with how each IEM sounds like compared to the Cadenza4. I will provide a link to each track for you to test out, my own listening being with my FLAC files or Tidal streaming.



Djo - End of Beginning
https://songwhip.com/djo/end-of-beginning

Cadenza4
Pleasing and clean sounding, enough body to make drums, bass and vocal be engaging. This is not the most technical recording, so it's better to just use it for enjoyment evaluation. And the Cadenza4 nails that one.

S15
A very similar weight to the music, but lacks the organic natural side of Cadenza4. Especially noticeable on his voice, it is also not as clean and open sounding with some darker upper frequencies.

Mega5EST
Very similar to Cadenza4, has some extra body due to the warmer tilt. Have a small edge on the details, but the difference is small.



Adam Baldych, Leszek Mozdzer - Passacaglia
https://songwhip.com/adam-baldych/passacaglia

Cadenza4
Clean and natural sound, has a good bite without being sharp. The violin sounds rich and vibrant, and the same can be said for the piano. Good amount of detail to show the nuanced plucking or bowing of the violin or the grand piano.
Cadenza4 is my new recommendation for orchestral music in this price segment, nails both timbre and technicalities.


S15
Softer and darker than the two other models here, very forgiving. Also a step below in resolution, I think this is more due to tonality than the driver. As the S15 has a very capable planar driver, the biggest downside is that I still don't find the planar driver correctly sounding on acoustic music.

Mega5EST
Very natural sounding and spacious, both piano and the violin are lifelike. Amount of texture and body to the violin is natural and slightly more correct than Cadenza4, it also sounds more airy on the Mega5est. Some parts are softer on Mega5EST, while the Cadenza4 has some extra clarity and presence on certain parts.



Gidge - Gausta
https://songwhip.com/gidge/gausta

Cadenza4
Gidge just released this album, and Cadenza4 was my first IEM hearing the album with. The beryllium driver has very good bass texture and decay for electronica, I have no need for EQ on this track. Warmth is tasteful and not too weighty so the rest of the elements can also show, but I'll focus on the bass: Bass is sort of dense and round, it sounds solid and fast.

S15
This is the best sounding planar I have used, specially for bass and low mids. Still it doesn't sound the same as a good dynamic driver, sort of more plasticky and hollow. This goes also here for this electronic track, sort of lacking something.

Mega5EST
The bass is tuned very similar to the Cadenza4, with good sub bass extension and some natural mid bass warmth. Driver is Bio Cellulose and is softer than the Cadenza4 driver, this can also be heard in this electronic track.
Bass is still dense and round, but softer in the bounce and less speedy (not slow by any means). In a way slightly more textured, both are excellent on texture anyway.



girl in red - Too Much
https://songwhip.com/girl-in-red/too-much

Cadenza4
Her newest album and perhaps best track from it, also a radio hit in Norway.
The Cadenza4 has a tasteful forward upper midrange with clear low mids. In return it shines with female or brighter vocals, and has a lot of bite on her vocal. Also means it shows every nuance of her voice, and doesn't hide it when she has some edge in her voice.
Vocal lovers should be very pleased for female vocalists, be it this style or something like J-pop.

S15
Softer and darker, she doesn't have the same bite and clarity and lacks some soul. This is not only due to tuning, but also some due to the planar driver. Still don't really nail acoustic music or vocals, I am exaggerating some. And I might be more sensitive to the planar timbre, but even so I don't think female vocals are S15 strength.

Mega5EST
Going from the Cadenza4 it's clear that Mega5EST has less bite and presence on her voice, making the music softer and more forgiving. Her more intense or edgy parts are more forgiving, and not really noticeable here like they are on Cadenza4.
So depending on what you like, this might be too safe and lack the clarity on vocals like Cadenza4.



WENDY - Wish You Hell
https://songwhip.com/wendy/wish-you-hell

Cadenza4
Very clear and crisp, for me almost too energetic sounding. But I am more used to sets with less vocal presence, even if it's forward it's very clean and not piercing or metallic.
In return you do get a very resolving presentation here, riding a good balance of detail and fun.

S15
Actually find the S15 quite decent and fun on this track, softens some of the energetic elements and makes music more pleasing. Lack the clarity and don't sound as detailed as the Cadenza4, but it's not bothering me as much here as with the previous track.

Mega5EST
It's a reason why this has been my favorite set lately, the relaxed upper mids is to my preference. It does give you a less energetic sound, but in return the music is smoother and more forgiving.
It's as resolving as Cadenza4 on her vocal, and actually has a more airy silky top.



Sean Ono Lennon - Acidalia
https://songwhip.com/sean-ono-lennon/acidalia

Cadenza4
Very clean and open sounding, instruments are crisp and nuanced. It lacks bass, which would have sounded better with a little extra bass boost. As it gets a little thin on drums or the guitar, but again that's for my preference.

S15
A little too safe sounding, but also very pleasing. The drums are softer, cymbals also have less bite and clarity. But again it sounds warmer than Cadenza4, and fits the track more.
The guitar itself is actually very dreamlike with the softer sound on S15.

Mega5EST
Warm and smooth sounding, fuller than Cadenza4. Due to the mids it sounds less resolving and open, so looking at clarity and energy the Cadenza4 is better here. But it's not as safe as S15, and a step closer to Cadenza4.



My Dying Bride - Her Domination
https://songwhip.com/my-dying-bride/her-dominion

Cadenza4
While the Cadenza4 has good clarity and sound fast for rock and metal, it does lack some warmth and mid bass presence to sound full and engaging. Cadenza4 is quite airy on the cymbals, and adds some realism to the track.

S15
Sound thicker and have more life on the drums and guitars, also the growling sound fuller and more husky. But the cymbals are very dark and veiled after having listened to Cadenza4, also doesn't sound as resolving as Cadenza4.

Mega5EST
Absolutely the best of the three for metal and rock, have the fulness like S15. But have a clarity more similar to Cadenza4, just softer on the cymbals. But the cymbals have more airiness to them even if they are not as powerful as with Cadenza4. His vocals are also the best mix of fullness and clearness, in the middle of Cadenza4 and S15.



Conclusion

I truly recommend the Letshuoer Cadenza4 for the ones looking for a good natural sounding IEM.

The Cadenza4 is an excellent release, one of the best ones this year. It is now my favorite sub $500 neutral hybrid IEM, especially a favorite for natural sound. It is good with most music, while really shines with vocals or acoustic music. It mixes smooth tonality with good clarity, a pleasing and refined sound.

You also get a clean and nice looking IEM, perhaps the most ergonomic IEM out there due to size, material and shell design. You also get good accessories and a nice presentation, it is just a very good deal you get here.

It's a solid 4 star release, if I also used price to performance I would rate it even higher.

LETSHUOER Cadenza 4 ($249): Does Trickledown work? Me thinks so.

4.25

LETSHUOER Cadenza 4

Intro: Following on the heels of the successful Cadenza 12 (a wonderful TOTL), and the S15 (A smooth-sounding IEM), the Cadenza 4 tries to fit into a niche using both (IMO) IEMs as models. A hybrid that uses both DD and two types of BAs (Knowles & Sonion), the company uses the expertise from both models mentioned to fashion a high “low-end” model.

The Cadenza 4 was given to me for review. It is implied that the critter is mine, but may be asked back for any time. This of course bears no bearing upon my review. Plus, I still feel that flipping review units is uncool.


Specs:





In The Box:

Gear Used/Compared:

Cayin N6ii mkii
FiiO CP13
iFi Diablo2

Shanling MG100 ($159)
LETSHUOER S15 ($329)
QoA Aviation ($199)


Music:

Tidal-Jazz, Blues
Qobuz-same w/ Big Band & Norah Jones



Unboxing:

Just like the S15, the unboxing is Empire Ears-like, with a slide-out tray, which contains the IEM cable inside the case. To the right are the three interchangeable jacks (2.5mm bal, 3.5mm se, & 4.4mm bal). But above that, you get to see the Cadenza 4 set in a paperboard-covered soft foam insert (which takes some effort to retrieve).

Below that you have the instruction manual in an envelope along with a warranty card. The tips are stored initially inside the round case, with the cable. But, once the Cadenza 4 is mounted to the cable, you cannot get all of that back into the case comfortably. At least I couldn’t without smashing the tips. A good idea, but in need of a bit of fine-tuning.

That IEM case also seems a bit lower quality than the S15 case. I had a more difficult time screwing the lid back on, and the feel, while good tactility-wise, felt less luxurious.

LETSHUOER includes 6 sets of tips, including a mounted set on the IEM. The two types are vocal and balanced, coming in three different sizes – small, medium, and large.

The balanced tips have longer and thinner stems, making for a well...more balanced approach while restricting openness and the soundstage. The vocal tips are shorter and have thicker stems, enhancing the midrange with a more open sound, while showcasing vocals and adding grunt down low comparatively.



Build/Fit:

The Cadenza 4 is made from a 3D-printed resin, in a typical teardrop shape, with a larger nub to help with fit. A narrow nozzle helps with insertion, and the overall quality is good with three well-fitting parts. The faceplate shines in silver with the LETSHUOER logo in black on both the left and right sides. The Fit of the faceplate seems off, but when you feel for a gap between the shell and faceplate there isn’t one.

The shell fits nearly flush in my average-sized ears, with no discomfort, which led to long listening sessions. Thankfully there is a dedicated sheath for an ear hook, too. This made the cable lay in a much better position behind my ear, even wearing my reading glasses.

There are minor microphonics associated with the cable, but not as much as some in this category. The cable has a clear plastic rectangular cinch, which works quite well above the burnished silver Y-splitter. The two-wire cable contains 392 strands per cable of silver-plated monocrystalline copper.

As many companies are doing, there are three jacks included as mentioned above. Instead of sliding in, complete with a slot and having a screw cover; the Cadenza 4 only has the slide-in part. But I did not worry about it coming loose since the two parts fit together with good pressure.

The cable laid nicely when unwound, but it did take a bit to do so. I found that if you ran your hand down the cable as you unwound it, the shape immediately went straight.

Combine all of this, and I think the Cadenza 4 fits and functions very well.



Technology:

The Cadenza 4 contains a new proprietary 10mm dual-chambered beryllium-coated dynamic driver and 3 BA drivers (a single Sonion with dual Knowles drivers) making for a quad-driver hybrid in-ear monitor.

The 50-micrometer 3D-printed acoustic tube aids in fine-tuning the sound, while an electronic 4-way crossover network finalizes the process. Combined, this makes the Cadenza 4 easy to drive with an impedance of 15Ω @1kHz and a sensitivity rating of 102 db/Vrms.



Sound:

All listening was done on the sources mentioned above in combination to get the most out of determining the synergy of the Cadenza 4.

Summary:

The Cadenza 4 sounds more towards the neutral part of the sound spectrum, with a natural uncolored feel to it, which departs from some of LETSHUOER’s previous offerings. While not bass-shy, it evenly presents both ends to make for that balanced signature. Think “just right” in the realm of Goldilocks



moar:

Subbass goes fairly low, but without the impact that basshead-oriented IEMs may carry. Quality comes across as neutral. An upright bass instrument adds good girth down low, but more in the manner of coexisting with the overall signature as opposed to a foundation of weight. Since it does not reach as low as others, whose slant is for grunt; the quality of that bass must come across well. And it does. I found no bleed into the mids, which could overshadow or smear the connection. Complex pieces represent very good quality on the lows, not barging into the mids as noted. Good layering and texture to the notes help sort all of the above out, keeping the lows in tune.

The midrange comes with the clarity of notes that fits the overall character. Neutral, but allowing for good weight to the notes, which is aided by quick attack and decay; giving an illusion of thicker notes. While this may seem diametrically opposed, it isn’t due to the succinct nature with which those midrange notes promote a natural response. This aids in providing transparency to the notes and the illusion of a weightier note, which I find quite pleasing. Combine this into a natural-sounding timbre, and you get a thoroughly competent mid-range.



One thing I do wish for is a bit more sparkle up top. Coming from me, who does not favor too much in the treble region, this should not be considered a bad thing; only that if the top end had extended more, the overall signature would be presented with a bit more of an open signature; lending space to the whole sound. This should be taken into account only if you prefer a more detailed signature. And here is where that extra bit of extension may have helped define the signature. Bassheads will enjoy this. Those seeking succinct, accurate signatures may not like it so much.

The soundstage comes across as completely average. But in a good way. Layering & Separation is done very well, even with complex pieces. To me, this comes about from the more neutral overall character. This goes to show that even average can come across as excellent. The fault of this? Micro-detail suffers and the precision of notes. But this is not meant to be used as a reference tool; even with the nearer-neutral signature.



Pairings:

I found the Cadenza 4 easy to drive due to the impedance of 15Ω @1kHz and sensitivity of 102 dB/Vrms. While this is true, I found myself raising the volume to make for a more pleasing listen to me. Plus, the better the source, the better the Cadenza 4 seemingly sounded.

Having the sheer power of the iFi Diablo2, the Cadenza 4 sounded “best” of the “turbo” setting, while increasing the volume. “Nitro” provided little headroom with which to play, and using Turbo afforded me excellent control of the volume, per each song.

Clear amplifiers such as the Diablo2, or Cayin N6ii mkii DAP showed that with decent power doing the driving, the signature presents more down low while sending alacrity down the stream (better detail presentation).

Using the 4.4mm bal jack on the N6ii mkii, I found the pairing to be delightfully neutral, which is something I do not usually say when dealing with neutral. The level of details coming forth from the pairing made me appreciate how good the Cayin is, even as it moves into the geriatric section of its life.

Using the FiiO CP13 was an odd treat. Reviewing the CP13 for Headfonics I decided to combine the pair. While cassette tapes are coming back into style, there is no denying that the signature is VERY different from digital. I found the pairing worked well, with plenty of volume to be attained through the FiiO. Not the most detailed of the pairings here, I came away with an appreciation that the two could happily coexist together for a good listen.



Comparisons:

LETSHUOER Cadenza4 ($249) v Shanling MG100 ($159):

Not only have interchangeable jacks become common, interchangeable filters have as well. I did have a strong preference for the bass-oriented filters on the MG100, but the level of detail was still well ahead of the Cadenza 4. I also find the MG100 easier to drive, with a slightly better impedance and sensitivity of 16Ω and 113+/-3 dB @1kHz, respectfully.

That excessive bass does bleed into the mids, but a simple change to the balance filter quells that. Plus, the bleed did not inhibit the overall character of the MG100. The balance filter adds a bit more textural response to the sound as well, plus better detail and clarity.

This will come down to whether you like a more neutral signature or the ability to tailor the IEM to your preferred listening or flavored genre of choice.


LETSHUOER Cadenza4 ($249) v LETSHUOER S15 ($329):

Where the Cadenza 4 goes neutral, the S15 goes smooth and rich. There is no hiding behind the fact that the S15 will not cater to those seeking a reference signature. Maturity, but slower response come about in this signature. To me, this is an excellent choice for jazz with a smooth richness pervading my senses as Red Garland’s “Please Send Me Someone To Love” played. Deep sound from the upright bass is foundational instead of coexisting on the Cadenza 4.

I found the notes to have better texture, but the smooth character overrides this a bit. A thick richness pervades the listen as opposed to a neutral response that is used as a tool rather than engaging. Where the Cadenza 4 allows you to listen, the S15 engages you to relax and enjoy the sound. Quite different.




LETSHUOER Cadenza4 ($249) v QoA Aviation ($199):

Until the Aviation, I had never listened to a model from QoA. Needless to say, I came away with an impression of a decent listen for a good price. From my Headfonics review, the Aviation “...presents a vibrant, smooth character with an even frequency response. A small peak at 3kHz gives resolve to the upper mid-region.

Another fairly steep peak at the 8kHz region (then drop) adds brilliance in the treble region but without too much peakiness or sparkle. The drop after the 8kHz peak makes for a vibrant, but not overly exuberant, signature.”

The Aviation is also the most sensitive of those compared at 118 dB @1kHz and a somewhat high (for an IEM) 39Ω impedance rating. It was as easy to drive as the S15 and MG100, which were both easier than the Cadenza 4 (I cannot explain that, using a volume test of plug-and-play of each model into the iFi Diablo2 without changing volume levels).

There is more bass grunt and girth down low on the Aviation, which does bleed into the midrange. Richness pervaded the mids, with a smooth texture to them, which seems set a bit behind where the Cadenza 4 plays, even if I thought they were “powerfully forward.” This shows that the mids in the Cadenza 4 while more forward, present a more neutral flavor, which to me is more pleasing.

I would state that while the Aviation is a bit more vibrant than the Cadenza 4, it cannot match the level of detail coming out of the MG100.



finale:

I had to stop myself from comparing the Cadenza 4 to the S15 and Cadenza 12 (an extraordinarily good IEM) and judge the 4 on its merit. When doing this, the neutral flavoring comes across as quite competent and appreciated. Many “flavor of the month” IEMs come about with the grace of a used car advertisement in Chicago, aka LOUD!

The Cadenza 4 comes about with an understated accurate neutral tonality to its coloration (or lack of...). I appreciate this aspect and find myself reaching for the Cadenza 4 equally with the S15 when playing jazz. What little microphonics I could hear were easily countered by the sound signature, even if a bit harder to drive than what you might expect. The smooth, forward midrange comes to the front with any good jazz sax solo, making for a wonderful listen.

The combination of jacks affords the user the ability to change signatures a bit, or devices, omitting the need for multiple cables. The focus is then on the sound, where it should be. I find the Cadenza 4 to be a very competent IEM with a good build (which shows 3D printing is much better than even two years ago), looks, and sound to back up those goods.


I thank LETSHUOER for sending the sample and congratulate them on a very competent model.

Introduction

In many ways, talking about Letshuoer is like talking about planar IEMS. And although it is true that Shuoer existed before its famous S12, this planar continues to be a reference within the $100 IEMS, at least in my country. But, I think it would be unfair to only talk about the S12, when the brand founded in 2016 has other great models to its credit, some of which I have had the pleasure of testing, such as the latest S15 planars, the S12 Pro, the DZ4 and the D13. It is clear that the brand does not live by planar drivers alone and this seems to be the reason for the new Cadenza series. The first model in this series to combine dynamic drivers with BA drivers was the Cadenza 12. A 2023 model that uses a 10mm dynamic driver with kevlar LSS diaphragm, together with 11 BA drivers from Sonion and Knowles to reproduce the whole spectrum. Undoubtedly, the Cadenza 12 is Letshuoer's top-of-the-line model, priced at $2100. Fortunately for the medium listener, the Cadenza 4 has just been released. A model with a price tag of $249 that effectively mounts 4 drivers: 1DD + 3BA. It is a 10mm dual chamber dynamic driver, with beryllium coating. It is joined by a Sonion BA driver and 2 Knowles BA drivers. The Cadenza 4s adopt 3 acoustic tubes that are combined with a four-way electronic crossover. The 50μm 3D printed acoustic tubes ensure a precise, smooth and even sound. Meanwhile, the four-way electronic crossover allows precise control of the frequency distribution and significantly reduces phase errors. Once again, Letshuoer collaborates with Heygear Technology to perfect the headphone chassis. The panel is made of CNC aluminium alloy with a matte finish that provides a delicate, textured feel. The cable used as standard is high-purity silver-plated monocrystalline copper with 392 strands. It adopts 90° interchangeable pin technology, which allows the use of 3.5mm SE, 2.5mm BAL and 4.4mm BAL terminations. Let's discover in the following review all that this fantastic new model from Letshuer called Cadenza 4 has to offer.



Specifications

• Driver Type: 1DD dual chamber with 10mm beryllium coated diaphragm + 1 BA Sonion + 2 BA Knowles.
• Frequency Response: 20Hz - 40kHz.
• Sensitivity: 102dB
• Impedance: 15Ω
• Cable material: high purity silver-plated monocrystalline copper with 392 strands.
• Outer plate material: anodised aluminium.
• Capsule material: 3D printed resin.
• Jack Connector: interchangeable BAL 2.5mm, SE 3.5mm and BAL 4.4mm.
• Capsule Connection Type: 2Pin 0.78mm.
• Cable length: 1.2m

Packaging

One tends to think that IEMS in this price range have to come in large packaging. But Letshuoer has created a contained packaging in size that, in turn, is actually very pleasant as an unboxing experience. The Lethuoer Cadenza 4 comes in a grey box whose size is 108x160x81mm. On the front side you can see the brand's logo vertically, written in white letters on the left margin. At the bottom right is the Hi-Res Audio logo and below that, the name of the model. The background of this side is composed of a series of staggered patterns forming various angles to each other, in various shades of white and light grey. On the back are the specifications in several languages, including Chinese and English, the brand name, icons of the specifications the product meets, as well as a warranty sticker. The pattern of white lettering on a plain grey background is repeated. After removing the cardboard, the box remains the same colour and only the brand name and the slogan "Sound Alive" in capital letters can be read in white. The box has a magnetised lid that folds out almost completely. On the top of the box is a sealed grey envelope with a silver sticker. Inside is the instruction manual, the warranty card and a small product certificate. Underneath the envelope is the first level: this is a thick black foam mould covered by a layer of grey cardboard, which contains the capsules. The second level has a grey ribbon that allows it to be pulled out like a drawer. On this level is the classic round box with rubber coating, but this time it is black. There are also the three interchangeable tuning pegs, all in a new black foam mould also covered with grey cardboard. Inside the round box are the final accessories, such as the cable and a disc with the silicone tips. There are two sets of tips with 3 sizes each: SxMxL. The grey tips are made of very soft silicone and have a medium core diameter. They are the balanced tips. The vocal tips are transparent and are wider, both externally and at the core, but are shorter. I must comment that the tips that come as standard with the IEMS are rarely compatible with my morphology. In this case, both sets are very soft and small. I need bigger and stiffer tips. That's why I always use my large tips filled with foam that I prepare myself. This way I can't experience the differences that exist when using one or the other set of tips of this model.
There is no doubt that Letshuoer has found a compromise between the size of the packaging and an excellent unboxing experience, by designing a two-tier box with a bottom drawer. Combining simplicity and cleverness, as well as great materials used in its accessories, both the presentation and the contents are outstanding.



Construction and Design

As with the previous S15 model, Letshuoer has once again relied on Heygear Technology to create its capsules. With an anodised aluminium outer panel, the capsule has been printed in resin using 3D printing. The capsule design is different from the one used for the S15. Although the final finish is virtually the same, the size of the capsule is distinctly larger. The capsule design of the Cadenza 4 is much more reminiscent of a highly crafted semi-custom capsule. It has a wide and very projected, elongated mouthpiece. Its inner diameter is 6.2mm, while the crown is 6.5mm. There are three holes in them. One has a metal crown that reaches the rim with a greenish textile grid. The second hole has the same crown but more recessed. The third hole is free. The rest of the inner side of the capsule is complex and has a pronounced valley, as well as a shape that seeks to adapt to the design of the pinna, with a pronounced lateral protrusion, as well as a series of reliefs all over the surface. Not even the rim of the capsule is spared from these reliefs and curved shapes. The 2Pin 0.78mm connection interface is fully integrated in an oval plastic plate with gold-plated connectors. Next to it is a small hole. Over the corner you can read the model name "Cadenza 4" and "True Virtuoso", as well as a larger lettering indicating the channel, all in black ink. The outer face is made of anodised aluminium and is reminiscent of the design on the front face of the case, but without the steps. It is in the shape of an African continent. The plate contains a small horizontal border in the upper third and above it is the brand name in dark grey ink. This border goes all the way to the second horizontal third, and from there it bends downwards and slightly backwards again, but also upwards and all the way to the end, but in a more subtle way.
The cable has a pure, shiny, silver-plated, almost white conductor. It consists of two coiled strands of 392 wires of high-purity silver-plated monocrystalline copper. It has an interchangeable 90° angled pin technology. There are three pins: BAL 2.5mm, SE 3.5mm and BAL 4.4mm. The pins combine a cylindrical silver metal part with a more rubbery, flattened part, where the inscribed mark is located. The connection of the parts is stable and durable enough not to worry about. But it is not a screw connection, only a press connection. The plug part of the cable is a metal cylinder with a wide textured ring for better grip. It has a transparent plastic sleeve to protect the cable outlet. The splitter is a rectangular piece, although on one side it has an edge pattern reminiscent of the outer face of the capsules. The pin is also a rectangular piece in hard, transparent plastic that imitates the splitter piece, but only on one side. It fulfils its function very well and the cables slide smoothly inside it, allowing a long-lasting and firm fit. The cable has over-ear guides in the form of semi-rigid transparent plastic sleeves. The sleeves of the 2Pin 0.78mm gold-plated connectors are on square translucent plastic plates and both are of the same shape, like elongated boxes but with rounded corners. They are metallic, matching the rest of the material used in the cable, and have letters written to identify the channel, in a faint dark grey ink. Finally, there is a dark grey Velcro strap with the marking written on it in white letters. The cable, almost white, is very striking for its colour and thickness. Although it does not seem thicker than the one used in the S15, its finish is more remarkable, appearing superior, both in beauty and in final performance.
The capsules have changed from the previous Heygear model. The S15s were simpler, with a flat inner face, a rounded edge, with the cable in one corner. The Cadenza 4 has a much more complex design, with a surface containing many more curves and reliefs, with a more elaborate rim. It is larger, but with more stylised mouthpieces and a much more ergonomic and studied shape.



Adjustment and Ergonomics

With a larger capsule, wider and more elongated mouthpieces, the Cadenza 4 can be a bit of an ergonomic challenge. Clearly, insertion can be deeper, but the large diameter of their mouthpieces can also impede this. On the other hand, the varying relief of their inner face may pose a challenge for the fit with the wearer's pinna. Depending on the degree of insertion, this aspect can be more or less compromised. In my case, as I usually use foam-filled tips, the insertion is superficial and the capsules do not touch any part of my outer ear, except for the rim, of course. The anchorage is perfect and although its size is bigger, it fits very well in my ears. The light weight and good relationship with the cable makes the whole thing very comfortable, occlusive, firm and durable, without rotation. As usual with the use of my home-made tips, the soundproofing is high, thanks to the fact that both its size and its internal foam filling tend to flood all the walls of my ear canal.



Sound

Profile

I think the Letshuoer Cadenza 4 has a smooth, decreasing W-profile, where each peak is polished and controlled. It starts with an emphasis on the sub-bass that gradually drops towards a midrange, the first half of which is very linear. From 1khz onwards there is an equally smooth rise and fall of the sub-bass, building up to a small plateau in the upper-midrange. At the entrance of the first treble, the curve decreases slightly again to maintain itself until the air zone, where there is a subtle upturn. As can be seen, I have done no more than describe a W where each peak and valley decreases in distance from each other. While it is true that none of the peaks are pointed and they are more like plateaus, the valleys are wide and flat. On the other hand, it is a balanced profile, not in vain the whole curve moves in less than 10dB from 20Hz to 14kHz, something that gives an idea of a quite successful homogeneity. But it's not just homogeneity as such, the Cadenza 4s have adjusted their profile to offer some very calculated emphasis at key points, while maintaining the energy level to harmonise their sound as much as possible. Thus there is a gently tapering sub-bass that achieves depth and a certain level of punch, a subtly disconnected and autonomous first mids, and upper-mids that are emphasised in a very calculated and restrained way, so that they never sound harsh or overly present. Finally, the highs have been nuanced to a control zone that extends with a good level of energy, but never projecting into a piercing or piercing sound. Without a doubt, I could conclude that the Cadenza 4's profile is based on a controlled cadence.



Bass

The Cadenza 4's bass is concrete and deep, possessing a subtle elasticity, and is quite compact and restrained. Even so, they possess a certain level of energy and presence, enough to impose a slight authority, delivering a controlled level of energy and power. However, all this goodness shown in the musical section comes crashing down in the very low-frequency pure tone test. Guided by the sound, I expected the LFO (Low Frequency Oscillation) reproduction to be more exemplary. On the contrary, this is not the case. The lower pure tones have a clear oscillatory and vibrating character, very typical of an unfiltered BA sonority. There is hardly any physical or sensitive sensation and a coloured, sonorous, off-tone vibration prevails. Realism and naturalness appears from 40Hz onwards, but the colour still anticipates the energy level and classic behaviour emitted by a simple dynamic driver. This is not the first time this has happened in DD + BA hybrids, even in this price range. But, having tested the Cadenza 4s on my usual bass tracks, I didn't expect this behaviour to be far from what a good dynamic driver emits.
It is in the other test of dirty, complex and unfiltered bass that the Cadenza 4s show these less advantageous characteristics. The deeper notes lack the necessary physicality, they feel coloured and infected with that vibrating, undulating aspect. This means a bass that is shallower and tends to vibrate more than it should, complicating the accurate and realistic tracking of very raw, fast and powerful bass lines. Still, the Cadenza 4s manage to retain a certain level of ability to layer and separate them, especially when it comes to separate bass. When the hit is well recorded, the Cadenza 4s respect their tone and deliver remarkably accurate reproduction. But it is when the bass is more linear, layered, continuous, sustained, mixed and dirtier that this less pure behaviour comes to the fore. In fast electronic music, with marked bases, it does not do badly, it is even when it shows its best side. But, when electronic music veers towards genres where the lows make up the melody, generate an ambience or form a dark and dense base, that is when certain anomalies appear that are appreciated when compared to dynamic drivers that have a more realistic behaviour.
It is worth noting that the overall bass performance is quite positive, as in conventional music reproduction, many of these faults are not noticeable, and it even sounds very good, remarkably controlled, with a slight level of pleasant texture and a good level of authority, precision, speed, both in the propagation and in the gathering. However, this does not detract from the fact that, at the limit, there is a certain behaviour that is not entirely correct. There are certain nuances that show that the execution is not canonical and that there are impure aspects in the sub-bass. Finally, these more negative aspects can be enhanced or minimised depending on the source used. And that is something that can be common, but in these cases it is usually more critical. A pity.



Mids

The frequency response of the Cadenza 4 is too particular to be the product of coincidence. I think it has clearly been sought and found. The first half of the midrange is a totally flat valley from 200Hz to 1000Hz. Then, there is a gentle rise of 8dB up to 2.5khz and it becomes a plateau up to 4kHz, to enter the treble in a descending, but very slight, way. First of all, what I like most about the midrange is that you don't notice a complete drop. Admittedly, I'd like a little more body between the transition between bass and low-mids, to gain body, physicality, density and fullness. But there is not much to be missed at this stage. It is true that it is observed at a light half-distance and that this first part is not the protagonist, but there is also a good degree of presential authority. The male voices are well represented, but they don't have as much flesh as I would like to feel and I miss a more robust base. In reality, the voices are rendered full if subtly lean. Their timbre is very correct, very natural, highly pleasing. As a whole, the male voices are very neutral, both in presence, distance, demeanour, sonority and timbre. That medium is synergetic and the overall value is superior, thoroughly enjoyable, elegant and suitably rich, but without overdoing it so as not to lose the value of that neutrality. The rest of the instruments based in this first half are no more prominent and the result is an area that sounds very good, but remains gently removed from the main focus. But the blending of all the elements is very complete and, in this way, the musical reconstruction in this first phase reaches more transcendental heights in the overall result of the Cadenza 4's sound.
The musical mood of the midranges is more creamy and milky than analytical, despite the remarkable resolution of the drivers. Neutrality also shows through in this respect. The sound is rich, musical, not overly lush, but elegant and smoothly rounded. It is not a polish that loses resolution, but a harmonious continuity that is completely cadenced. And in this respect, this model could not be better named. No one should expect midranges with totally fast transitions, with exaggerated dynamics. There are dynamics, yes, and very good ones, but at their own pace. Undoubtedly, the Cadenza 4 is designed to be enjoyed little by little, over the hours. And that is also thanks to their upper mids. There is nothing random in this aspect. The second half of the mids has been lifted for clarity and transparency, but kept sweetly neutral. It is never a dark sound, but never completely bright either. In this way, the timbre remains very realistic, the sibilance tends to zero, the transparency is remarkable and the brightness concrete. It is clear that there is more emphasis on the female voices and they have that flesh and body that I miss in the male voices, as well as having a more leading presence. But the correctness of timbre is still maintained in them, only their harmonic richness is superior, as is their closeness. It is worth noting that the plateau of the upper mids can also harbour some subtly more aggressive joy at times. At that point, the sound is not as creamy and liquid in this second phase. But it is also comforting to find some more sparkle and verve in the sound to raise the tension.



Treble

I would put the Cadenza 4 in the category of extended but energy-controlled treble. Somewhat distant from the level of extension and amount of energy that the brand's own S12 planars have, the Cadenza 4's treble has been carefully and neatly controlled in brightness, to maintain that neutral, creamy sound. The good thing is that the treble feels natural, slightly muted and rounded, but maintaining a high amount of overtones which makes them quite full in this respect. The timbre is logical and the sonority very adequate thanks to the linearity of the treble. There are no control zones that omit frequencies and the upper zone extends generously until it enters the air zone, where its inflection point lies. Even so, there's a clear amount of this air throughout the sound range that helps to maintain separation and distance.
All in all, this is a mellow and well extended high end, which can be enjoyed individually thanks to the good definition of the high notes, despite being restrained in brightness, energy and emphasis. Despite this, I don't find the treble to be nuanced or overly polished. And in that respect I think the Cadenza 4s have just the right balance: restrained but sufficiently explicit treble, which can both be enjoyed individually and can be at the harmonic service of the lower frequencies. Addictive for lovers of balanced, neutral and descriptive treble. But those looking for crisp treble will not find it here.



Soundstage, Separation

The sound of the Cadenza 4 is surprising in its open, expansive character, spaced in a concrete and separate way. Without being an analytical sound, there is a good sense of dispersion of the notes that gives the sound a sensitive, but not expansive separation. It is not a vaporous or volatile perception, but the sound is more concrete, precise and meticulously executed. The weight of the notes is appreciated, also their whole profile and shape. This gives a clear sense of definition and a fairly high level of resolution. But these are not hard, fully marked profiles. And, this is where the more liquid and creamy aspect of the Cadenza 4 comes in, accompanied by that very mobile dynamic feel, which gives a vibrant impression that adds speed to the sound, so as not to get lost in an overly fluid continuum. The result is a defined and musical sound, which does not reach a resolute limit, but is sufficiently broad, separate, rich and complex. In this sense, the micro detail is not stellar, and can even feel unobtrusive. But, both the movement of the notes and their slightly bombastic execution result in a richer, more nuanced, richer and fuller musical effect. The Cadenza 4s respond well to analytical sources to demonstrate their high level of resolution and, in this respect, the level of micro detail depends on it. But I insist again on the neutrality of this aspect, as the musicality prevails over the high level of resolution.
The scene is wide, without being surrounding, as I said, it is open and extensive. There is a remarkable level of depth, without going to the extreme, very good height too, and a representation that exceeds 180º frontally. Laterality is obvious, the stereo feel is pronounced. The Cadenza 4 is an excellent IEMS for watching movies with lots of sound effects, thanks to its remarkable spatial positioning, speed of execution, precision and definition. Thanks to space, distance and a fairly dark background, the good analytical sources allow very vivid sensations to be extracted with these IEMS.



Comparisons

Tanchjim Kara

They are IEMS with a configuration of 1DD 9mm with PEEK+PU diaphragm, 1 composite BA driver for midrange and high frequencies Sonion 2389D, 1 composite BA driver for ultra high frequencies designed by Tanchjim. In conclusion 1DDD+4BA as both BA drivers are composite. The current price is 179$.
They are smaller and lighter, but that is no guarantee for better ergonomics. In my case, the fit of the Kara is a bit more complicated because of the size of the mouthpiece. It is ergonomic, but the insertion is not as occlusive as with the Cadenza 4. The cable is much better on the Letshuoer, with the triple termination and thicker conductor.
The Kara's are distinctly harder to move, needing more power to perform at the same level.
The profile is similar but more reduced at the ends. The Kara's have a light sub-bass, while the Cadenza 4's are slightly emphasised. On the other hand, the Cadenza 4 has more treble extension and more air.
Of both, I have commented that in the pure tone test the result has not been as desired and there is a clear vibratory character more typical of BA drivers than dynamic drivers. This detracts from a deeper and more natural character. The Kara's focus on the mid-bass and feels more coloured and less realistic than the Cadenza 4's. Furthermore, the Cadenza 4's have a darker timbre and the performance is faster, more concise and tighter, while the Kara's are more boomy and elastic.
In the midrange you feel the splendour, clarity, separation and openness of the Cadenza 4, while the Kara is more muted and more nuanced. The notes have more sparkle and definition in the Cadenza 4. However, there is a similar neutral behaviour in both models, with some distance between the two models. Even in the level of resolution and micro detail they are similar. But the Cadenza 4's greater treble extension, its greater separation, makes the micro detail subtly more visible. There is a slight difference in the treble, with the Kara offering a little more initial energy. But I find the Cadenza 4 more expressive and descriptive in this upper band.
The better separation and open feel of the Cadenza 4s makes their soundstage a little bigger.



Simgot EA1000

Currently priced at $219, the Simgot EA1000s consist of a 2nd generation 10mm dual-magnet, dual-cavity DMDC™ dynamic 10mm driver plus a 6mm passive radiator. They are made of metal and the design is smaller, fitting my ears quite well. The fit is somewhat freer, while the Cadenza 4's don't have a degree of freedom, being thicker and larger. The Simgot are heavier, but they are quite comfortable as well. The cable is similar in both, consisting of two strands of similar thickness. But the Simgot's don't have 3 interchangeable ends, only 3.5mm SE option. Very good fittings on both, better unboxing experience on the Cadenza 4. But the Simgot have three filters to make a small adjustment to their profile. Despite that, the three profiles of the EA1000 are brighter than the Cadenza 4. The Simgot moves quite easily.
Switching between the two models requires some effort because they sound more different than you would expect from the frequency responses. There is a lot of energy, verve and sparkle in the Simgot, they are quite a bit clearer and also more analytical. But they can also be more abrupt and penetrating. The Cadenza 4s are more relaxed, creamy, dark/neutral comparatively speaking.
The behaviour is very good in the very low frequency pure tone test in the Simgot. This generates a low end that performs very well in any terrain. The bass is more extended, somewhat more physical and sensory. Musically speaking, things even out. I like the Cadenza 4's bass tuning, but I prefer the consistency, realism, naturalness and execution of the Simgot's bass.
In the midrange there are many differences. There is a little more body in the first half of the Simgot mids, but the big difference is in the higher energy level of the upper mids, as well as their more explicit, descriptive and analytical level of resolution. The Cadenza 4s are more balanced and that gives them a midrange that feels fuller and more complete, less polarised, more homogeneous. They are creamier, calmer and more musical. The equal energy makes the midranges denser, richer and closer. Simgot offer more detailed information, but sound more explicit and splashy. That upper-mids behaviour carries over to the EA1000's treble - more energy, more sparkle, more brilliance, more sparkle, more presence, generating a crisper, more expansive treble. The Cadenza 4's highs maintain the calmness of the entire profile.
As a good analytical profile, the Simgot's offer more obvious micro detail. They feel detached, open, expansive and volatile. But the Cadenza 4s are broad and enjoy good depth. Certainly, the presentation of the scene is different in the two models. The Cadenza 4's offer a more concave, oval scene, with good laterality, which transcends 180º. The EA1000s are more gaseous, surrounding and sparkling, the effects feel closer.
Undoubtedly, they are two different beasts in many ways with a distinctly different sound.



Conclusion

I think that Letshuoer wants to stop being known only for its planar IEMS and the Cadenza series is a clear proof of that. Without having tried the Cadenza 12, the Cadenza 4 is a set of IEMS with, of course, 4 drivers (1DD + 3BA) that seeks a tuning already marked by the DZ4, but with more extension and neutrality. Again relying on the collaboration with Heygear Technology, Letshuoer has created an IEMS whose design base continues where the S15 left off, but with a more semi-custom shape. The idea of packaging, the round box, the thick, silver-plated cable, with 3 interchangeable terminations, is still there. But above all, it persists in the search for a very musical, highly pleasant, natural, realistic and balanced sound. Well-presented and deep in the lower range, smooth, restrained and well extended in the upper range, the Cadenza 4 shines with a rich, descriptive, separate, large, harmonious and cadenced central range, as the name suggests. Without a doubt, the sound of the series is marked from the name and Letshuoer has hit the nail on the head with the Cadenza 4. Arguably one of the best IEMS in its price range, if you are looking for a secure and captivating tuning.



Sources Used During the Analysis

• Aune M1p.
• EarMen Angel.
• EarMen Colibri.
• Burson Audio Playmate 2.
• Aune X8 XVIII Magic DAC + EarMen ST-Amp.

Purchase Link



You can read the full review in Spanish here