Vision Ears PHöNIX IEM

Many thanks to @Damz87, @Vision Ears and Minidisc for arranging the Australian tour of the EXT and the PHöNIX.

Preamble​

The amounts commanded by the top-of-the-line (TOTL) IEMs in the market are something to behold. These sums would likely be seen by some to be inordinate and perhaps obscene but what do you actually get from this sum? Some would say that the increasingly high sums that you pay yield less and less results, and that much is true. But how much do you value the last 5% of something? Today’s review concerns a TOTL level IEM, the Vision Ears (VE) PHöNIX, and like the FiR Audio kit that I had reviewed earlier this year, this is a highly-priced IEM that seeks to appeal to a small percentage of music listeners who are seeking the absolute best of the best. But whether the PHöNIX can deliver best-in-class is a question that I seek to delve into today.

The Factual Stuff​

The VE PHöNIX comes in a rather spartan-looking cardboard box that belies its rather hefty price tag. Within the box are some basic literature, basic accessories and a handsome leather zip case containing the IEMs, a 4-wire 23 AWG silver-gold alloy and copper litz cable terminated in 2.5mm and a 2.5mm to 4.4mm adapter.

The earpieces are made from carbon fibre shells accompanied by a faceplate made of aluminium and sapphire glass with a PHöNIX underneath.

Within the shells is a 13-driver setup consisting of four balanced armatures (BA) for the lows, four BAs for the mids, four more for the highs and finally one BA for a “super tweeter”.

These are all put together with a 5-way passive crossover.

The Opinion Stuff​

Sound​

Bass​

The low end of the PHöNIX is something that I would term as distinctly controlled and measured. The sub-bass thump is something that is present when required and the mid-bass punch is also quite good, however, the PHöNIX ultimately seems to have an emphasis on mid-bass rather than sub-bass. These never descend into the territory of being overbearing on the rest of the frequency response (FR) curve but rather imbue a sense of fun into the listening experience. The mid-bass lift imbues a sense of warmth and excitement into the low end creating a thumpy experience. On lesser IEMs, this particular tuning choice may lead to a less distinct mid-range and perhaps some boominess in the lower end but I feel that the PHöNIX manages to balance it well to not detract from anything else.

The quality of the bass is distinctly good, it remains speedy and well-textured managing to provide a dynamic rendition of low end that is readily dissectible. There is a common adage for BA drivers being used for bass and that is that it generally pales in comparison to a dynamic driver. Prior to listening to the PHöNIX, I did not make any efforts to look into the driver configuration and it was somewhat surprising to hear that it was an all-BA construction. The bass quality and quantity are good and hearty and provide a distinct sense of physicality to the music. However, when A-Bing the PHöNIX against the likes of the Fir Audio XE6, with its massive 10mm Kinetic Bass Dynamic Driver, one could see that there is sometimes, no replacement for displacement.

Despite this shortcoming that is only really apparent when A-Bing against the crème de la crème, the PHöNIX holds its own and manages to provide a detailed, warm and impactful low end.

Mids​

The mid-range of the PHöNIX, by virtue of the aforementioned mid-bass boost, is imbued with a sense of warmth and stronger note weight. This is made readily apparent in the lower registers of the mids wherein certain male vocalists reside. Songs such as “Ain’t no Sunshine” by Bill Withers present a deeply bodied and robust rendition of Bill’s voice that one could say is venturing into unnatural but to me, remains readily detailed and not overly done.

Higher registers of the mid-range presided by female vocalists remain distinctly sparkly and forward in the mix. “Billie Bossa Nova” by Billie Eilish and “DFMU” by Ella Mai present their voices in a natural, intimate and sweet manner. Belting from Whitney Houston also manages to straddle the line of being slightly discomforting in an enjoyable manner with certain sibilances starting to creep in. You may read this negatively, but I feel that any female singer belting in a real-life situation will cause you some form of slight sparkle in the ears and a tingle through the spine.

Instruments remain distinctly characterful and analogue in their presentation. The strum of guitars and piano keys striking resolve wonderfully and with a natural timbre that is rather sweet to the ear. I feel that the PHöNIX again, belies conventional thinking for BA drivers in that timbre manages to present in a wholly natural manner.

Overall, the mid-range of the PHöNIX is rather well done with a healthy amount of warmth and a slight lift in the upper mid-range creating a delicately balanced mid-range that manages to present with strong note weight as well as with some bite and sparkle.

Treble​

Moving on to the upper regions of the FR curve, the treble on the PHöNIX is something that remains delicately balanced with the mids and the bass. Listening to songs such as “Lomsha” by Air Hadouk, with its subtle and delicate percussion in the background, the PHöNIX remains sparkly in its rendition and there is a tremendous tingle-inducing crystalline quality to the hi-hat throughout. “Reckoner” by Radiohead, similarly has percussion throughout and the PHöNIX renders it with a strong shimmery quality that reflects what I feel is a critical element of treble tuning, that is, a very slight sense of sibilance that manages to not delve into the fatiguing realm.

In an attempt to render some fatigue from the PHöNIX, I jumped into “4 walls” by f(x) and “You & Me” by Disclosure and Flume, two tracks that present a fatiguing level of sibilance with nearly any IEM with strong treble. The PHöNIX remains distinctly fine with these songs and demonstrates a slightly subdued approach to the highs in that they are not the star of the show but a more critical listener is able to discern the quality at which it is rendered.

Overall, the PHöNIX is not going to wow you with its treble extension and heightened sense of sparkle but rather does a respectable job of rendering notes in this region with a speed and sense of sparkle that ensures a balanced and enjoyable listen.

Technicalities​

Staging on the PHöNIX is somewhat unremarkable in that it doesn’t particularly extend wide out nor super deep like some of the standouts in this category. However, I feel that it doesn’t really need to. The PHöNIX manages to render orchestral pieces in a manner that is respectable with decent depth and height to the staging. Overall, this aspect of the PHöNIX isn’t particularly amazing but there is not much to fault, it doesn’t feel overly confined nor does it feel diffuse to the point of being unengaging.

Imaging and resolution is a key element of what I think makes the PHöNIX special. The ability of the PHöNIX to resolve in a manner that is coherent yet clearly layered allows the more critical listener to accurately dissect certain instrumentalizations but also the laid-back listener to simply just sit back and go brain dead whilst enjoying their music. Busily produced tracks maintain a sense of layering and detail. Hardstyle is a genre of music that I definitely do not enjoy very much in my day-to-day listening for the fact that it has a tendency to sound like a cacophony of random synths and sounds with everpresent basslines. “The Calling (Da Tweekaz Remix)” by TheFatRat alternates from sparse instrumentalization and focussed bridges and heavily produced hardstyle sections and the PHöNIX handles both with gusto, rendering each note and beat with the requisite speed required and not smearing all of it into one mass of sound.
“Fine” by Taeyeon has a number of voices layered on top of one another in the reprise and the PHöNIX correctly and accurately distinguishes them from one another and places them distinctly in certain areas of the headstage.

Overall, the PHöNIX, whilst not remarkable in terms of its staging, its imaging and resolution seem to be very TOTL in nature. I do not feel that there is much left of the table despite its rather subdued treble tuning. And that is potentially the only knock on the PHöNIX in my books is that a slightly more aggressive treble could really draw out the microdetail on the PHöNIX.

Overall​

With a warmer tilt, the PHöNIX may alienate some listeners looking for a more dry rendition of music to readily dissect. However, the PHöNIX presents a tremendous amount of resolving ability and detail combined with an easy-to-love tuning. In doing so, the PHöNIX may shoot itself in the foot by not presenting itself as being singled out as the “best” in terms of any aspect of the FR curve but rather does a great job of being the all-rounder. Whether that is worth the TOTL price tag when nothing will really jump out at you from the first listen is a question for yourself.

Comparison​

Vs FiR Audio RN6​

The FiR Audio RN6 was something of an anomaly when it crossed my desk in that the IEM, along with its fellow FiR compatriots in the Neon and the XE6, were quite unique in their tuning, opting for a very coloured tonality. The RN6 is perhaps the closest comparison to the PHöNIX owing to its more ‘neutral’ tonality out of the three FiRs. The RN6 injects considerable air into its FR curve creating a very spacious sound that is book-ended with strong bass performance and a rather neatly tuned treble region. The RN6 takes a more coloured approach to tonality when compared to the likes of the PHöNIX with the former presenting a much more prominent low-end that imbues a strong sense of physicality through the Kinetic Driver that seeks to leverage bone conduction to add to the bass. The PHöNIX is distinctly more “pedestrian” in that it is a warm-neutral tuning. The PHöNIX, however, seems to cut an advantage over the RN6 in its more balanced tonality and ability to render detail at both a macro and micro level. The RN6 takes a more aggressive approach to engage listeners with exaggerated elements of air and bass whereas the PHöNIX doesn’t necessarily excel at anything in particular but rather just provides an easy-going listening experience.

Overall, the RN6 presents a unique tuning profile combined with strong technical capabilities however in doing so, loses its ability to appeal to all people. The PHöNIX, whilst decidedly more “boring” in its approach, does so with such precision that it seems to be more universally appealing.

Vs VE EXT​

Another entry in the Vision Ears line-up, the EXT utilises 2 dynamic drivers and 4 electrostatic drivers to deliver its sound signature which seems to emphasise bass response and treble response over mids.

The EXT seeks to take a more engaging listening experience to the end-user with its bass quantity pushed up over the PHöNIX. However, I feel that the PHöNIX remains distinctly more detailed and more speedy than the EXT. The EXT remains distinctly more physical and robust in the low-end but I feel that it is at the cost of some speed and detail which I believe are more appropriately done with the PHöNIX. The mid-range is a range that I would readily give to the PHöNIX in that it manages to achieve accurate timbre, a relaxed listen and maintain detail throughout. The EXT, whilst no slouch in the mid-range, remains distinctly recessed and somewhat of an afterthought in the mix.

The treble is an element that I believe that the EXT does better than the PHöNIX in terms of its ability to replicate crashing cymbals and harrowing synths. However, the PHöNIX is smoother and more rolled off in its presentation, lending itself to a more long-term, relaxing listen compared to the hyperdetailed EXT.

Overall, the character of the two IEMs are rather different and the EXT, perhaps like the RN6 seems to take a more coloured approach to tonality in order to jump out at the listening and engage them with heavily emphasised strengths being the low-end and sparkly upper-end. However, the PHöNIX remains the stalwart all-rounder and I feel it is the better choice for most.

Synergy​

Shanling M6 Ultra (M6U)​

The M6U is a device I would characterise as imbuing a warmer and richer presentation of music with a greater emphasis on note weight and a stronger sense of presence.

The M6U places greater emphasis on the already warm PHöNIX and creates a hearty sense of sound that is more rounded and smoother in nature. The caveat of this injection of silky goodness is that the PHöNIX becomes less defined and elements such as microdetails, subtle nuances and textures of whatever you’re listening to become a bit smeared in the grand scheme of things.

This is not to say that the M6U and the PHöNIX coalesce to create something that is an undefined mess it is simply just not as resolving as it is with a more neutral source.

Overall, I feel that the diminishment in technical prowess ends up providing a more relaxed listening experience that softens the hard edges of the PHöNIX further but I definitely feel that the already warm PHöNIX likely doesn’t need this synergistic pairing.

Chord Mojo 2 + Poly​

The Mojo 2 is something I would characterise as a slightly warm-neutral source with tremendous DSP capabilities and an emphasis on detail sharpening.
The Mojo 2 and the PHöNIX combined to provide a rather excellent if a little underwhelming combination as oxymoronic as that sounds. The Mojo 2 simply represents the PHöNIX with perhaps a touch more resolution and focus on microdetail when compared to the other sources in this review without any particular emphasis on tonality apart from (maybe) a slight more warmth and presence in the mid-bass. The result of this is an excellent IEM with slightly more excellency to the listening experience. There is not much to write home about with this pairing but rather a simple conclusion that it works and it works well at that.

Hiby R6 Pro II:​

The R6P2 is a source that I would characterise as more v-shaped in its tonality, seeking to elevate sub-bass and place some edge on the treble region of whatever IEM you are listening to. It also benefits from a perceived boost in terms of dynamic performance in which swings of volume are much more pronounced, creating a sense of greater dynamic range and a more enveloping listening experience.

The R6P2 matches well with the PHöNIX for those who are looking for a more engaging and less laid-back listening experience. The heavy emphasis on sub-bass injects a fun factor into the PHöNIX with certain songs and the dynamic swings between silence and blistering volume create a heavily engaging listening experience that retains the control and detail of the PHöNIX.

Ultimately, I feel that this combination is definitely one to note for those who may find themselves a little bored of the PHöNIX upon first listening. Unlike the Shanling M6U which seemingly colours tonality on the whole, the R6P2 seeks to boost regions that don’t detract from the overall character of the IEM but rather simply inject some engagement into the mix.

Value and Quality of Life:​

Coming at 3900 USD, the PHöNIX is a TOTL-priced IEM that commands a hefty price tag for its sound. In terms of a value proposition, it is impossible to say that this is 200x better than a Moondrop Chu but rather it is important to look at its competitors in the price bracket and consider what the PHöNIX does better than the rest.

I do not have a huge amount of experience with TOTL IEMs but when compared to the FiR kit that I had (the RN6 and XE6) with somewhat similar pricing, I feel that the PHöNIX is a much more liveable and enjoyable listening experience for the long-term. Whilst the PHöNIX doesn’t necessarily blow your socks off with any particular element, it retains an easy-going listening experience with a healthy amount of warm and technical prowess that elevates long-listening sessions into a wondrous experience.

The PHöNIX doesn’t stand out on first listen and this may be disappointing to anyone paying as much as the PHöNIX commands but it remains something that I feel would be a stalwart within a person's collection, something that remains distinctly enjoyable despite not being able to point out anything in particular. The PHöNIX is a reference for what is possible when someone simply wants to sit back, relax and put on some tunes without being punched in the face with bass or treble. It is a simple experience, but there is excellence in this simplicity and as such, I don’t feel remiss saying that the PHöNIX is worth 3900 USD when contextualised against other TOTLs in the market. I would simply just ask you to temper your thoughts on first listen and give it some time.

The PHöNIX takes a rather exaggerated approach to ear-piece design and seeks to sit very neatly in your ear canal and while it was successful with my ears, I feel that this IEM is likely not going to be suited to ears of all shapes. The weight of the earpieces is a definite bonus with the carbon fibre construction seemingly reducing weight to the point of being unnoticeable over long listening sessions.

The cable included in the package is sufficient from an audio and ergonomic standpoint but nothing particular stands out about for the rather hefty price tag. The zip-case is well made from leather and the included accessories are a bit spartan comparatively speaking but other, the accessory package is half decent.

Conclusion:​

The VE PHöNIX is a wonderful listening experience that attempts to go for a more low-key sonic tuning. Opting for warmth and a rather smoothed-out response curve, the PHöNIX is the quintessential relaxed listening IEM in my books. One would generally expect standout portions of the IEM for the price tag commanded and unfortunately, I do not feel that the PHöNIX offers that. However, becoming used to listening to the PHöNIX and drawing out all of the great detail and natural timbre over long listening sessions leads to a huge sense of wanting when switching to lesser IEMs. There is simply no real deficiency that I can see in the PHöNIX despite not having any real standout strength. Whether balance and subtle excellence are enough for 3900 USD is a question for you and your wallet but I am simply enamoured with the PHöNIX and would love to one day own one.

If you go to the website of my local Head-fi store, Minidisc, and sort all of their IEMs by price, you would see Vision Ears Phonix at the top of the list, just one step behind the UM Multiverse Mentor. The Phonix itself is the reincarnation of the legendary VE Erlkönig, another IEM that broke the price barrier. What kind of sound can you get for the same amount of money as a used car or months of rent? Today, we look at the birds - VE Phonix.

Forewords​

• What I look for in an IEM is immersion. I want to feel the orchestra around me, track individual instruments, and hear all of their textures and details. I’m not picky about tonality, as long as it does not get in the way of immersion.
• I rate IEMs within with a consistent scale from 1 (poor) to 3 (Adequate) to 5 (outstanding). Ratings are assigned by A/B tests against benchmark IEMs, regardless of the retail price.
• Ranking list and measurement database are on my IEM review blog.
• This review is possible thanks to the Australian tour arranged by @Damz87, Vision Ears, and Minidisc Australia. The unit retails for A$6000 at the time this review was published. Aussies can find out more info and get yourself a unit from Minidisc

Sources for listening tests: Shanling M6U (DAC) + Topping G5 (Amp)

Local FLAC files ripped from CDs or bought from Qobuz were used for most casual listening and A/B tests. My playlist for A/B tests can be found on Apple Music here.

All of my listening was done with the stock Spinfit CP155 ear tips. I listen at a medium volume. I usually turn up the volume until the midrange is fully audible and detailed, unless a treble peak or overwhelming bass prevents me from doing so.

Specs​

• Driver: 13 BA drivers, 5-way crossover
• Connector Type: 2-pin 0.78mm
• Impedance: Unknown
• Sensitivity: Unknown

Build and Comfort​

Accessories: The Phonix comes with a set of accessories that consist of a 2.5mm cable, a 2.5mm-to-4.4mm adapter, spin-fit eartips, and a custom leather case. Among these accessories, I found the case to be particularly appealing. It not only offers a protective enclosure for the IEM but also provides a comfortable fit, unique aesthetics, and a luxury feel. It is important to note that the accessories included with my tour sample may differ from those provided with the official retail units of the Phonix.



Stock cable: The stock cable of the Phonix has a plain appearance, primarily due to the shiny black plastic sheathing and black metal hardware. In terms of functionality, the cable is soft and well-behaved, exhibiting minimal tangling and coiling tendencies. One aspect that disappointed me was the default termination with a 2.5mm connector. This design choice, combined with the use of a 4.4mm adapter, resulted in a longer and potentially more delicate jack, making it less suitable for portable use. It is worth mentioning that, unlike some of the recent IEMs I have reviewed, I did not observe any noticeable sonic improvement when swapping the stock cable with an aftermarket cable, indicating that the stock cable of the Phonix is of high-quality.



Earpieces: The Phonix stands out as one of the most visually captivating IEMs I have come across thanks to the reflective faceplates that create mesmerizing color shifts under varying lighting conditions. These earpieces are crafted from a lightweight resin material, ensuring a comfortable wearing experience. However, it is worth noting that the earpieces are on the larger side, and the nozzles feature an oval shape, which adds to their substantial size. To accommodate the size of the nozzles, I had to use the provided CP155 ear tips, as the nozzles proved too large for my CP145 and W1 ear tips. For individuals whose ear canals can accommodate the chunky nozzles of the Phonix, the fit should be comfortable. Personally, the Phonix fit my ears as if they were custom-made, providing an optimal seal. However, during extended listening sessions, I did experience some pressure build-up, which may be a potential concern depending on individual comfort preferences.

In terms of isolation, the Phonix performs well when used indoors. I did not test these A$6000 IEMs in outdoor environments such as walking or commuting, so I cannot speak to their performance in those scenarios.

Tonality​

Frequency response of Phonix against the Andromeda 2020 and U12T. Measurements were done with an IEC-711-compliant coupler and might only be compared with other measurements from this same coupler. Visit my graph database for more comparisons.



It is helpful to think of an IEM as a filter that highlights or subdues different parts of the incoming audio signal. This effect can be measured objectively by the squiggly lines above, called Frequency Response (FR) graphs, which measure how loud an IEM is at different frequencies from 20Hz (bass) to 20kHz (upper treble). Subjectivity is how your ears and brain interpret the effect of that filter on your music and decide whether it is “enjoyable.” There are some “rules of thumb” when it comes to tonality, but most interesting IEMs usually bend the rules masterfully.

In one sentence, the sound signature of the Phonix can be described as natural-warm or “mid-centric” with excellent resolution and detail.

The midrange of the Phonix exhibits a warm coloration, reminiscent of the Campfire Audio Andromeda 2020. This characteristic makes it appealing to those who prefer a deviation from the flat midrange found in many IEMs today. At the same time, the coloration of the Phonix’s midrange remains within the realm of “natural,” without pushing boundaries like the FirAudio XE6. Despite what the graph suggests, the Phonix sounds more natural and balanced, possibly due to the use of balanced armature (BA) drivers rather than “slow” and woolly dynamic drivers.

Listening to “Jolene” by Pentatonix and Dolly Parton, I found that the Phonix renders all the voices naturally and realistically, with a pleasant warm hue. Each vocal is equally present and natural, without any noticeable sibilance. The voices are positioned more forward and closer together at the center of the stage, creating an intimate soundstage. Similarly, when I listened to “Livin’ On a Prayer” by Bon Jovi, I didn’t detect any sibilance or harshness, even at higher volumes. Bon Jovi’s energy remains intact without any harshness.



The Phonix’s midrange also excels with instrumental music. For instance, when listening to Mozart’s String Quintet No. 3 in C Major by Quatuor Ebene & Antoine Tamestit, I noticed that all instruments had a warm yet natural tonality. The BA drivers contribute to a slightly thinner note weight, balanced out by the warmer tuning. Another advantage of Phonix is that is can faithfully reproduce the dynamic variations in the recording, offering a sense of ebb and flow and is sometimes missing with my Andromeda 2020. Even in dense orchestral pieces featuring multiple cellos, the Phonix maintains clarity without muddiness. For example, in “Game of Thrones Medley” by 2CELLOS, the background strings cut through the foreground cellos, allowing discernment and tracking of the violins placed at the periphery of the stage. Even during the intense sections from 1:30, the lower midrange remains clear, making it easy to pinpoint and appreciate the nuances and details of the cellos.

In terms of instrument balance, nothing stood out or felt buried. The bass was present, vocals were prominent, and cymbals and hi-hats were clearly audible. What sets the VE Phonix apart is its ability to maintain razor-sharp instrument separation and placement, extracting nuanced details from the midrange despite its warm and colored tuning.



The bass response of the Phonix relies solely on BA drivers and does not attempt to hide the “BA timbre.” This means that the bass notes have sharp attacks and quick decay, lacking the noticeable “bounciness” and decay found in high-quality dynamic drivers. This effect is evident when listening to drums in tracks like “Battle Bar” by Yuki Hayashi and the opening drum line of “Hotel California” by Eagles (Live on MTV, 1994).

What surprised me about the Phonix was its ability to reproduce dynamic swings, or rapid and large jumps in loudness. In simple terms, Phonix is an energetic and toe-tapping IEM. During impactful moments like the downbeats played by the orchestra in “Let the Battles Begin!” by Square Enix Music and Nobuo Uematsu, the Phonix delivers powerful slams. The slams created by the bass guitar and drums in “G.O.A.T.” by Polyphia are also faithfully reproduced. Due to the bass decay of the BA drivers, the bassline remains clean and “fast” despite the dynamic swings.



The treble response of the Phonix takes a step back, providing support to the midrange and bass. Cymbals and hi-hats in “G.O.A.T.” are present and easy to track without being overly loud or overpowering. The Phonix maintains a comfortable and non-fatiguing treble presentation, even with tracks that tend to emphasize sibilance. At the same time, it excels in reproducing details and texture of high-pitched instruments. When paying attention, one can discern a multitude of small details rather than just high-pitched splashes. The tonality and timber of the treble are also natural, evident in the authentic-sounding claps at the beginning of “Synchro (Bom-ba-ye)” by Tokyo Kosei Wind Orchestra.

If there is one aspect of the Phonix’s treble to criticize, it would be the reserved upper treble. In comparison to IEMs with strong treble extension, the Phonix feels milder and less extended. For instance, when listening to Bach’s “Flute Partita in A Minor, IV: Bourree Anglaise” by Emmanuel Pahud, it was slightly harder to discern the reverb and decay of the flute in the venue compared to my U12T and Andromeda 2020.

Soundstage Imaging​

Stereo imaging or “soundstage” is a psychoacoustic illusion that different recording elements appear at various locations inside and around your head. Your brain creates based on the cues in the recording, which are enhanced or diminushed by your IEMs, your DAC, and your amplifier. Some IEMs present a wide but flat soundstage. Some present a “3D” soundstage with layering, depth, and height. In rare cases, with some specific songs, some IEMs can trick you into thinking that the sound comes from the environment (a.k.a., “holographic”)

The Phonix demonstrates excellent imaging capabilities. It excels in accurately placing instruments with precise boundaries, allowing for easy tracking of individual instruments and voices even in busier sections of the music. In addition to the well-defined left-to-right separation, Phonix is also effective at conveying a sense of distance and layering among the instruments. This results in a soundstage that goes beyond a flat plane, creating a three-dimensional sphere where instruments can be positioned closer or further away, higher or lower. There is noticeable separation between the foreground, such as the singer and the band in “Hotel California,” and the background elements, such as the cheers of the audience.

However, the Phonix does have limitations when it comes to the overall shape of the soundstage. Most instruments tend to be concentrated around the center of the soundstage rather than spreading out widely across the stage. Furthermore, the center of the soundstage feels more localized within the listener’s head. As a result, the Phonix may not convey an expansive perception of soundstage size like some other top-of-the-line (TOTL) IEMs.

Resolution​

Resolution is a fascinating subject due to the difficulty of pinning down what it really is. To me, “resolution” can be broken down into three components: (1) Sharpness, incisiveness, or “definition” of note attacks (see the figure above). (2) The separation of instruments and vocals, especially when they overlap on the soundstage. (3) The texture and details in the decay side of the notes. The first two give music clarity and make it easy to track individual elements of a mix. The last provides music details and nuances. Smooth and well extended treble response plays a crucial role.

The VE Phonix impresses with its exceptional resolution, evident in various aspects such as instrument separation, note definition, and detail retrieval. The strong separation between voices in songs like “Jolene” by Pentatonix, featuring Dolly Parton, allows for effortless isolation and tracking of individual voices, even during dense sections of the music from 1:30. Each voice line is rich in detail, surpassing the performance of my venerable U12T. A similar observation holds true when listening to “Livin’ On a Prayer” by Bon Jovi, where it becomes easy to follow individual instruments, especially the guitar on the side of the stage.

Moreover, the Phonix excels in revealing background ambience and details that might often go unnoticed. In “Beat It” by Michael Jackson, I could hear electronic sounds acting as the background ambience, particularly noticeable on the far right of the stage. This background ambience is something that I missed with most of my other IEMs. Similarly, the background cheers in “Hotel California” (Live on MTV, 1994) by Eagles were crisp, clear, and detailed, while still maintaining a sense of distance within the soundstage.

Comparison and Rating​

Tonality: The tonality of the Phonix is pleasantly colored without becoming niche or unnatural. This tonal characteristic synergizes well with the characteristics and timbre of the BA drivers, showcasing the tuning prowess and refinement of the VE team. I would rate it as excellent (5/5).

Percussion Rendering: Aria (3/5) < Blessing 2 (4/5) < U12T / E5000 (5/5) = Phonix (5/5)

While Phonix’s bass utilizes BA drivers with their distinct “BA timbre,” it manages to turn this characteristic into a strength. The result is energetic and clean bass lines with satisfying dynamic swings. Personally, I find the bass to be excellent (5/5).

Resolution: SE215 (3/5) < Blessing 2 (4/5) < Andromeda 2020 (4.5/5) < U12T (5/5) < Phonix (6/5???)

Despite its warm and colored tonality, the Phonix effortlessly outperforms my benchmark for excellence, the venerable U12T, in terms of resolution. The resolution of the Phonix is among the best I’ve experienced in an IEM. It is truly outstanding (5/5).

Soundstage: SE215 (3/5) < Blessing 2 (4/5) < Andromeda 2020 (5/5) = Phonix (5/5)

The Phonix boasts exceptional imaging capabilities, accurately placing instruments on the stage with razor-sharp precision. It also excels at pushing the background layer of the soundstage, such as the cheers in live recordings, into the surrounding environment, creating a holographic presentation. However, the overall shape of the soundstage may be considered relatively small due to the thick and warm midrange. Nevertheless, the impressive instrument separation and placement compensate for this, resulting in an excellent soundstage (5/5).

Conclusion​

The Vision Ears Phonix is undoubtedly an impressive top-of-the-line (TOTL) IEM. Its unique sound is a result of masterful tuning skills combined with strong technical performance. Phonix boasts a pleasantly colored tonality and avoids any harshness or sibilance, ensuring a smooth listening experience. At the same time, it delivers TOTL resolution and detail, showcasing its ability to reproduce intricate nuances in the music. The razor-sharp instrument separation and placement further contribute to its impressive technical performance.

As for cons, the soundstage may not feel particularly large, which might be a drawback for those seeking a more expansive and spread-out soundstage experience. Additionally, some listeners might desire a more pronounced emphasis on the upper treble frequencies. And, of course, the price tag is shocking.

In terms of target audience, the Phonix is well-suited for individuals who appreciate a colored and musical sound signature, along with top-notch resolution. If you prefer a more intimate and closed-in presentation, the Phonix could be an appealing choice.

Pros:

• Pleasantly coloured tonality
• No harshness or sibilance
• Dynamic sound
• TOTL resolution and detail
• Razor sharp instrument separation and placement

Cons:

• The soundstage does not feel large
• Upper treble could be more highlighted
• Price

Updated: July 9, 2023

Introduction

This is the most expensive IEM I have ever listened to - I listen to IEM only. My daily go to is Jomo Audio Trinity which I bought when it was on sale. I thought I was finally going crazy spending more than 2k for earphones - I ended up using a lot more for other gears, sigh. Apparently, this is double the price. So with its price tag, I am going to be very critical on how this IEM can resurrect music (this is a little spoiler).

Yes there are many that claim headphones are the way to go. Endgame is always the speakers. I agree with some parts and disagree with some parts. I am not a fan of headphones due to comfort issues and a personal reason. I can't use speakers in my 600sqft condo unless I am inviting my neighbour for a medieval duel. Hence, I have to look for other means to satisfy my listening needs.



Gears used:
iFi Zen Dac Signature + Schiit Jotunheim V2 headphone Amp
Shanling M8

Can't comment on non-audio components as it was loaned to me as a part of Canadian IEM tour setup by Rockwell (Would like to express my gratitude and respect to him once again)

Comforts

I was using Azla Xelastec tips. While it was comfortable, it was heavier than other IEM's I have tried. I don't have exact weight though. However, with support from cable and balance of the weight, long time listening was not an issue. At the same time, I've never had comfort issue with high-end stuff. I think that's the minimum requirement.


Tonal characteristics:

I am not good with talking about treble, mid and bass. All I can say is that it was very neutral, not particularly emphasizing any frequencies. Once again, this is the characteristic of high-end gears and I feel it's bare minimum requirement for the price. We have standards when spending 4k on IEM and it meets them all

Having said that, since I am skipping treble, mid and bass, I am going to do this review with different methods. My main gear is Jomo Trinity SS + Shanling M8 for portable and Zen Dac + Schiit for sitting down listening. I am going to go over songs in my playlist and how it sounds compared to my current and previous gears that I have listened with. I strongly recommend you check the music out if you haven't heard this song!



P!nk - Try
I feel P!nk (Pink) is one of the misunderstood artists. Yes, she dresses up weirdly with short hair and is seen dancing naked in front of the camera. However, she sends out strong messages in her song. How this song is mixed is very interesting. During the verse, there isn’t anything that’s special about the song. Some pop/rock instruments here and there, Pink vocal is positioned very intimately, etc. However, when it reaches the chorus, the vocal is sung from the back of your head. This decision coincides with the theme of the music. There are going to be many hardships in life that make you fall, but you still have to get up and try. She’s helping you to get up and helping you get up and carry you from the back. This style of mixing doesn’t get revealed with gears that don't have good staging and 3d projection of sound. Phoenix does it immaculately.

The thing is, I knew this from Jomo Trinity. However, Phoenix showed me one holysh*t moment. I have always thought vocal positioning from the verse and chorus is disconnected. So the vocal in verse is intimate -> there is an instrumental part before chorus -> chorus is positioned a step away from the back of your head.

I was wrong.

Phoenix showed me that the chorus starts out as intimate but within 1 seconds, she moves back. This changed the portrayal of music. She was walking with me, I fell. So she moved to the back and tried to help me. This kind of detail retrieval in 3d imaging was not produced by a permutational combination of my gears: Jomo Trinity, empire ears odin, hifiman Ananda, ibasso dx300Max, etc. This was truly holysht moment which I love about music as a whole.

IU - Celebrity.

IU is one of the most popular k-pop artists in Korea. She’s not just a singer but writes her own lyrics and songs. Amount of effort and fine detail she puts in her song is worthy of praise. The entire song is pretty straightforward except it uses marching band style drum beats. Instruments used are quite minimal. This is to build up the emotion for the chorus. When the chorus begins, there are three lines of vocals: main line, and right and left whispering. This whispering is not just a backing chorus because it is there to seduce you with an alluring voice: this is the whole goal of this song. Balance between three vocal lines is everything in this song.

My Jomo Trinity fails in this aspect. It produces a beautiful main vocal line, even more so than Phoenix, tbh. However, it somewhat ignores the whispering lines. Odin did somewhat ok by portraying well on the whispering line but was a little harsh on the main vocal line (why I didn’t keep Odin over Jomo Trinity).

VE did awesome. It found it’s very thin balance very well and gave me a goosebump when she was whispering her words to me. I still have to say the strong emotion of the main vocal line was tad (like 0.001%) lacking than Jomo Trinity (this is THE reason for Trinity’s existence though).

Once again, I had to applaud for detail retrieval, staging and 3D holographic imaging of Phoenix.


Aimer - Ref:rain

Jpop and Jrock were dominating asian pop culture in the 90s and 00s. Unfortunately, it started to take a big downturn around mid-00’s. I am going to say it because I was such a fan of Jpop. Overall, it sucks. However, I want to introduce you to one of few hopes in Jpop: Aimer.
This song is interesting because detail retrieval and 3d holographic imaging don’t play a big role in this song. Rather, portraying the vocal's emotion and dynamics of background are what decides the song. Its ambiance is very solemn. Sometimes it’s very quiet. Sometimes it’s super wide, like wider than any song I know. On top of everything is her vocal and the vibrato: very, very emotional and personal. You can almost imagine how she is singing: crouched forward, holding mics in front of her heart.

When I was first listening to this song, I was asking myself: is this pure BA IEM? (I didn’t look into details so it doesn’t cloud my judgement.) Yes it was. For me, the most iconic example of BA sound signature is the Westone w80: super sterile sound. Phoenix showed very little sign of it. And it was not working well with the song. Don’t get me wrong, I still enjoyed listening to its core. However, compared to Jomo Trinity, it lacked that 0.001% of emotion which was everything to this song. If I didn’t own Trinity, I wouldn’t know this btw.)

However, Aimer's song's high needs fine tuning from the IEM because it can get harsh. It's a fight between getting massive stage vs being slight harsh. Trinity does it really well producing massive stage and stays just before it is harsh. Odin was harsh but massive stage. VE was not harsh and bigger stage than Trinity.



Conclusion

Vision Ears Phoenix is otherworldly. It resurrected the music that I was so used to and showed me even truer form. I don’t think you can get this experience with 4k USD or 3k USD (used). I stress this because this IEM is easy to drive and not very source dependent. If you want a good music experience and have about 3k to spend, I recommend finding used and stop right here. It will give you all the eargasm you will ever need. You won’t have to look for something better, especially, something better will make you enter the 10k arena.