DISCLAIMER
I would like to thank Simgot for providing this review unit.
The SuperMix 4 can be gotten here: https://www.linsoul.com/products/simgot-supermix-4 (no affiliate links).
SPECIFICATIONS
ACCESSORIES
Other than the IEM, these are included:
- 3 pairs of silicone eartips (S/M/L)
- Cable
- Carrying case
The accessories are disappointing for something retailing north of a 100 bucks. Usually, gear at this pricing would incorporate a variation of eartips, in addition to perhaps a modular cable.
The sole set of silicone eartips are ergonomic and are serviceable sound-wise, though as stated, a wider selection of silicone tips or even foam tips would have been much appreciated.
The stock cable is an oxygen-free copper silver-plated cable, coming in a 2-pin termination. There is only a single-ended 3.5 mm option available, and it is nothing to write home about in terms of haptics. This cable is Litz braided and hefty, though it is somewhat tangly with a smattering of microphonics. There is a chin cinch for securing the IEM during usage.
Last but not least, we have a semi-rigid zipper carrying case. The innards have webbing and a soft material to cushion the contents, and the externals are tough enough to survive some compression.
The rest of this review was done with the stock cable and stock silicone tips. No aftermarket accessories were used, so as not to add any confounders to the sound.
BUILD/COMFORT
The shells are fashioned from black 3D printed resin, with CNC-machined matte metal faceplates.
Weight and size is moderate, and comfort is surprisingly decent even when using the SuperMix4 for longer listening sessions. The inner aspects are smooth, with a concha protrusion for stability.
Isolation is above average, and it can be used in outdoor environments without much issues. I did not find any driver flex on my set.
INTERNALS
The SuperMix4 sports an eclectic array of drivers. We have 4 disparate driver types paired in a 4-way RC crossover design:
- 1 x 10 mm polymer diaphragm dynamic driver handles the bass.
- 1 x self-developed balanced armature settles the midrange - we do not have any information on the brand of the BA unfortunately.
- 1 x micro-planar driver takes care of the treble.
- 1 x piezoelectric driver with a multi-layer ceramic + copper coating pushes the upper treble.
DRIVABILITY
I tested the SuperMix4 with the following sources:
- Apple dongle
- Cayin RU7
- Chord Mojo 2
- Fiio KA11 dongle
- Fiio KA17 dongle
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone
In terms of headroom requirements, the SuperMix4 is moderately drivable, and should be okay to be driven off weaker sources.
However, due to its ultra-low 7.2 Ω impedance, this IEM may be a potentially tricky pairing for sources with high output impedance, due to the rule of 8ths. Ideally, it should be used with sources with < 0.9 Ω output impedance, otherwise the frequency response might be skewed, and it may sound bassier (this may or may not be desired).
SOUND & TECHNICALITIES
Graph of the Simgot SuperMix4 via IEC711 coupler. 8 kHz is a coupler artefact peak.
Tonally, the SuperMix4 can be described as having a U-shaped signature when paired with a low output impedance source. This frequency response is pretty all-rounder for most music genres.
The SuperMix4 is sub-bass focused, with good extension and rumble. It isn't a basshead IEM, though the sub-bass is quite copious. The mid-bass has average texturing, though it is speedy with no mid-bass bleed.
The lower midrange has a small scoop-out as per the U-shaped signature, though it isn't as deeply depressed as a typical V-shaped IEM. This region is clear and transparent, with no mid-bass encroachment. The upper mids hit about 8 dB ear gain, which is at the edge: at low to moderate volumes, this region is forwards without shout - but at louder volumes (as per the Fletcher Munson curve), it may possibly be harsh for female vocals.
After the upper mids peak, the SuperMix4's treble tails off early, and this translates to minimal sibilance and a smooth treble. This will be a safe recommendation for the treble-sensitive, though understandably, trebleheads might want a bit more pizzaz here.
The SuperMix4 has commendable technicalities. It has an expansive soundstage in all 3 dimensions, with music projecting beyond the ears and forehead. Imaging is pinpoint, with superb layering and instrument separation. Indeed, the SuperMix4 handles complex tracks with aplomb. For something not overly steroid-boosted in the treble, the SuperMix4 still retains a good grasp of micro-details, but perhaps there are rivals which have better resolution.
I appreciate that despite packing a Frankenstein-mix of diverse driver types, the SuperMix4 has decent timbre for acoustic instruments and vocals. The myriad types of drivers match each other in speed and coherency, unlike some less well-implemented quad-brids, which suffer from phasing issues between the bass and treble for example, or have marked timbral differences.
COMPARISONS
The SuperMix4 will be compared against another MidFI quad-brid with a similar heterogenous driver configuration in the Kiwi Ears Quintet. The latter does have an additional BA, but otherwise is a suitable comparison, compared to traditional hybrids, single DDs, multi-BAs, and pure planars, which have their own pros and cons cause of the different transducers.
Kiwi Ears Quintet
The Quintet is more expensive at > $200 USD, and it utilizes a 10 mm diamond-like carbon (DLC) DD, 2 Knowles BA drivers, a 5 mm MPT (micro planar transducer) driver, and one piezoelectric driver.
The Quintet has a thinner note weight, with less bass but more treble. The Quintet also has less natural metallic timbre, and is notably more aggressive and harsher in the treble region, with sibilance in spades.
In technicalities, the Quintet has better micro-detailing, with imaging on par. However, the SuperMix4 beats it in soundstage and layering.
CONCLUSIONS
The SuperMix4 is a unique quad-brid, accommodating a varied - and exotic - array of driver types. This mishmash of transducers could easily flop in terms of timbre or coherency, but I'm pleased to report that Simgot has put them all in without much penalties in balancing.
Espousing a consumer-friendly U-shaped signature with a smooth treble, transparent midrange and speedy bass, the SuperMix4 is pretty all-rounded for most music genres. This set also has superb imaging and soundstage, and one can easily pinpoint instruments on a dark background. And this is without veering to an overly sterile soundscape or overzealous treble, with the robust sub-bass adding some musicality back to the equation.
Perhaps some minor flaws would be the upper midrange being at the border of shoutiness - this is apparent at louder volumes (as per the Fletcher Munson curve); using the SuperMix4 at lower to moderate volumes mitigates this - and the mid-bass could do with better texturing.
The SuperMix4 is ergonomic enough despite the moderate sized shells, with above average isolation. Sadly, the accessory line-up is lacking for the price, and its ultra-low 7.2 Ω impedance may potentially be a problem with higher output impedance sources, as per the rule of 8ths.
In the big scheme of things, the SuperMix4 does most departments well for a $100ish set, balancing musicality and technicalities, and it is something different from the run-of-the-mill sidegrades we see on a weekly basis.
I would like to thank Simgot for providing this review unit.
The SuperMix 4 can be gotten here: https://www.linsoul.com/products/simgot-supermix-4 (no affiliate links).
SPECIFICATIONS
- Driver configuration: 1 x 10 mm polymer diaphragm dynamic driver + 1 x balanced armature driver + 1 x micro-planar driver + 1 x piezoelectric driver
- Frequency response: 20 Hz - 20 kHz
- Impedance: 7.2 Ω
- Sensitivity: 120 dB/Vrms
- Cable: 2-pin, 0.78 mm; oxygen-free copper silver-plated cable; 3.5 mm termination
- Tested at: $149.99 USD
ACCESSORIES
Other than the IEM, these are included:
- 3 pairs of silicone eartips (S/M/L)
- Cable
- Carrying case
The accessories are disappointing for something retailing north of a 100 bucks. Usually, gear at this pricing would incorporate a variation of eartips, in addition to perhaps a modular cable.
The sole set of silicone eartips are ergonomic and are serviceable sound-wise, though as stated, a wider selection of silicone tips or even foam tips would have been much appreciated.
The stock cable is an oxygen-free copper silver-plated cable, coming in a 2-pin termination. There is only a single-ended 3.5 mm option available, and it is nothing to write home about in terms of haptics. This cable is Litz braided and hefty, though it is somewhat tangly with a smattering of microphonics. There is a chin cinch for securing the IEM during usage.
Last but not least, we have a semi-rigid zipper carrying case. The innards have webbing and a soft material to cushion the contents, and the externals are tough enough to survive some compression.
The rest of this review was done with the stock cable and stock silicone tips. No aftermarket accessories were used, so as not to add any confounders to the sound.
BUILD/COMFORT
The shells are fashioned from black 3D printed resin, with CNC-machined matte metal faceplates.
Weight and size is moderate, and comfort is surprisingly decent even when using the SuperMix4 for longer listening sessions. The inner aspects are smooth, with a concha protrusion for stability.
Isolation is above average, and it can be used in outdoor environments without much issues. I did not find any driver flex on my set.
INTERNALS
The SuperMix4 sports an eclectic array of drivers. We have 4 disparate driver types paired in a 4-way RC crossover design:
- 1 x 10 mm polymer diaphragm dynamic driver handles the bass.
- 1 x self-developed balanced armature settles the midrange - we do not have any information on the brand of the BA unfortunately.
- 1 x micro-planar driver takes care of the treble.
- 1 x piezoelectric driver with a multi-layer ceramic + copper coating pushes the upper treble.
DRIVABILITY
I tested the SuperMix4 with the following sources:
- Apple dongle
- Cayin RU7
- Chord Mojo 2
- Fiio KA11 dongle
- Fiio KA17 dongle
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone
In terms of headroom requirements, the SuperMix4 is moderately drivable, and should be okay to be driven off weaker sources.
However, due to its ultra-low 7.2 Ω impedance, this IEM may be a potentially tricky pairing for sources with high output impedance, due to the rule of 8ths. Ideally, it should be used with sources with < 0.9 Ω output impedance, otherwise the frequency response might be skewed, and it may sound bassier (this may or may not be desired).
SOUND & TECHNICALITIES
Graph of the Simgot SuperMix4 via IEC711 coupler. 8 kHz is a coupler artefact peak.
Tonally, the SuperMix4 can be described as having a U-shaped signature when paired with a low output impedance source. This frequency response is pretty all-rounder for most music genres.
The SuperMix4 is sub-bass focused, with good extension and rumble. It isn't a basshead IEM, though the sub-bass is quite copious. The mid-bass has average texturing, though it is speedy with no mid-bass bleed.
The lower midrange has a small scoop-out as per the U-shaped signature, though it isn't as deeply depressed as a typical V-shaped IEM. This region is clear and transparent, with no mid-bass encroachment. The upper mids hit about 8 dB ear gain, which is at the edge: at low to moderate volumes, this region is forwards without shout - but at louder volumes (as per the Fletcher Munson curve), it may possibly be harsh for female vocals.
After the upper mids peak, the SuperMix4's treble tails off early, and this translates to minimal sibilance and a smooth treble. This will be a safe recommendation for the treble-sensitive, though understandably, trebleheads might want a bit more pizzaz here.
The SuperMix4 has commendable technicalities. It has an expansive soundstage in all 3 dimensions, with music projecting beyond the ears and forehead. Imaging is pinpoint, with superb layering and instrument separation. Indeed, the SuperMix4 handles complex tracks with aplomb. For something not overly steroid-boosted in the treble, the SuperMix4 still retains a good grasp of micro-details, but perhaps there are rivals which have better resolution.
I appreciate that despite packing a Frankenstein-mix of diverse driver types, the SuperMix4 has decent timbre for acoustic instruments and vocals. The myriad types of drivers match each other in speed and coherency, unlike some less well-implemented quad-brids, which suffer from phasing issues between the bass and treble for example, or have marked timbral differences.
COMPARISONS
The SuperMix4 will be compared against another MidFI quad-brid with a similar heterogenous driver configuration in the Kiwi Ears Quintet. The latter does have an additional BA, but otherwise is a suitable comparison, compared to traditional hybrids, single DDs, multi-BAs, and pure planars, which have their own pros and cons cause of the different transducers.
Kiwi Ears Quintet
The Quintet is more expensive at > $200 USD, and it utilizes a 10 mm diamond-like carbon (DLC) DD, 2 Knowles BA drivers, a 5 mm MPT (micro planar transducer) driver, and one piezoelectric driver.
The Quintet has a thinner note weight, with less bass but more treble. The Quintet also has less natural metallic timbre, and is notably more aggressive and harsher in the treble region, with sibilance in spades.
In technicalities, the Quintet has better micro-detailing, with imaging on par. However, the SuperMix4 beats it in soundstage and layering.
CONCLUSIONS
The SuperMix4 is a unique quad-brid, accommodating a varied - and exotic - array of driver types. This mishmash of transducers could easily flop in terms of timbre or coherency, but I'm pleased to report that Simgot has put them all in without much penalties in balancing.
Espousing a consumer-friendly U-shaped signature with a smooth treble, transparent midrange and speedy bass, the SuperMix4 is pretty all-rounded for most music genres. This set also has superb imaging and soundstage, and one can easily pinpoint instruments on a dark background. And this is without veering to an overly sterile soundscape or overzealous treble, with the robust sub-bass adding some musicality back to the equation.
Perhaps some minor flaws would be the upper midrange being at the border of shoutiness - this is apparent at louder volumes (as per the Fletcher Munson curve); using the SuperMix4 at lower to moderate volumes mitigates this - and the mid-bass could do with better texturing.
The SuperMix4 is ergonomic enough despite the moderate sized shells, with above average isolation. Sadly, the accessory line-up is lacking for the price, and its ultra-low 7.2 Ω impedance may potentially be a problem with higher output impedance sources, as per the rule of 8ths.
In the big scheme of things, the SuperMix4 does most departments well for a $100ish set, balancing musicality and technicalities, and it is something different from the run-of-the-mill sidegrades we see on a weekly basis.
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Apple Lightning to 3.5mm
FiiO KA11
iFi Go Link