Penon Voltage

If you ask Penon fans which of the classic Penons catalog of IEMs represents their house sound. That would be the former flagship IEM, the Penon Volts. I did a review for that IEM here circa 10/2020. It was using a 10mm dynamic for bass, 2X Sonion BAs for mids, 4XSonion ESTs for highs. In hindsight I do believe this was the IEM that brought Penon into the limelight on the threads of headfi. Truth is Penon has always brought their best efforts when it comes to designing IEMs and even though the Volt has been out since 10/2020. We have had numerous new IEMs from Penon since including a new flagship in their Impacts.

It was only a matter of time before Penon started their cogs rolling on how to design a proper follow up to the Volts. This was going to be an important release as there are just too many enthusiasts and fans of the Volt that demand a proper follow up and I think Penon knew it. I have heard rumblings of a successor to the Volts since last year and today I am happy to report that tribrid follow up is now a reality.

The new Penon Voltage is the definitive follow up to the IEM that started a series of excellent higher end IEMs from Penon that sees a clear upgrade on their tribrid formula. The new all ruby red/ red marble colorway is an indicator of the caliente nature of its design. These not only look the part, stunning looking I might add but they certainly live up to the namesake as well. The new Voltage is utilizing upgraded drivers in sheer count and as well as its sound tuning to bring a new tribrid follow up to the Volts. Yes my friend it's finally here.

The Voltage is using 2x 8mm dynamics,2x Sonion BAs for mids and 2X Sonion BAs for highs 4X ESTs for ultra highs. Without even hearing the Voltage, this is a more proper count of drivers needed for a higher end tribrid. One of the only issues I had with the old Volt was that it lacked a bit of lower treble emphasis and could have had a bit more treble emphasis in general as the ESTs was handling all of the trebles. This works but it is well known ESTs are not proper for lower treble support. Hence you see BAs or other drivers handling that portion on most tribrid IEMs and the addition of 2x 8mm dynamics vs the single 10mm dynamic in the Volts.

Penon has been using a lot of the 2 dynamic arrays lately and for a good reason. Having two dynamics gives a bit more physicality, authority, reach agility and speed vs the single dynamic which I will get into in the sound section of this reader but for now. Just know Penon has utilized every single driver in the Voltage for full sonics.

But then they took it one step further. Included some very nicely done switches. Before you say switches are a gimmick. Not when it is done correctly it isn’t. Not only are the switches effective to give several sound designs in one but to my ears all the sound tunings involved with the addition of the switches to the base mode tuning are all done splendidly. Let's break it down.

With no switches on. The base tuning reminds me a bit of the Penon Impacts in tuning. Not exactly at that level of mids refinement but the signature is there. Full bodied, rich, fantastically detailed and layered extremely well all presented in a larger body of sound for IEMs. It's a more neutral leaning signature including a mild less colored 5dbs bass and mild treble emphasis that brings the mids more spotlight with a very nicely done balanced signature. This mode is all about acoustic music and clean vocal performances. You want natural timbre and an honest take on your music. This is the mode I would go with. This mode alone would have had neutral heads loving praising its signature but no my friends we get much more.

Turn up the 1 or bass switch and now we are tilting the bass end but this switch does more than just add 3dbs of more bass and it was done by design that it raises the lower mid portion of the tuning by a few dbs as well. This does a few things. While this little switch is more of a mild boost it brings a touch of a warmer tuning with a thicker note weight to music for the all important lower mids and bass. It is this mode that adds some traditional Penon coloration to the Voltages sound. This brings that warmth that Penon fans have grown to love in their tunings. Penon Fan2 anyone? This is the mode that brings body to male vocals, strings and impact to bass notes with greater texture and extension. Musicality is associated with the region which is also synonymous with Penon tunings. A Penon IEM is not a Penon IEM without this and this is where the folks that are familiar with the Penon Volts will appreciate.

Turn up 2 for trebles and this switch affects the upper mids and treble end of the tuning. Penon tunings are more traditionally has been about the mids. But I have seen a shift in their tunings and for the better. Upper mids get a mild db of extra boost but done very tastefully. The upper mids by the way are now at what I consider the goldilocks of upper mids emphasis at around 8dbs without the switch at around 6ish. With the addition of the upper mid boost it also gets a treble boost which brings better presence in the tuning for folks that want that. Without this switch the treble emphasis is mild and does remind me of the treble tuning on the old Volts but one with better presence for the lower trebles. With the switch on we get better extension, more sparkle and shimmer all handled by the EST drivers that were taxed with this important duty. This is one of those IEMs that you can’t really understand just by looking at a graph. While the trebles look decidedly rolled off. It really isn’t. Especially now that it has that necessary lower to mid treble emphasis that is crucial for IEM balance.

Trebles especially with the added switch is just simply excellent. Once again done in good taste. There is nothing in the trebles that will offend or step out of bounds and the tuning switch brings a variable treble option that is just as important as the 1 bass and lower mid switch. 2 treble switch on and 1 bass switch off brings a more traditional neutral tuning that folks will love for the best imaging and precision for the Voltage. This is the mode to go with for classical and orchestral scores where precision and imaging is clearly needed for a proper larger body of imaging for your music. Where strings and its proper decay and timbre is important, this is the mode I would go with.
Both switch up. Now we get some fireworks. Folks that own the 10th anniversary can relate to this mode. This brings a mild but once again tastefully done v shaped tuning. I know there is somewhat of a stigma attached to V shaped tunings but this sounds soo right. So good. It is this mode you want your rock, metal, EDM, pop RnB, Hip hop. Modern music. This is the mode that folks that loved the 10th anniversary for its tuning will appreciate. I find this tuning to be so tasty, infusing that musicality we love from Penon tunings that jives exceptionally well with most of my music collection. If you're one of those folks that just leaves a switch alone in the best available spot. That would be this mode. In this mode is where I feel the Voltage's use of extra drivers and more importantly them EST implementation comes into play. It is in this mode you can get your groove on with some exceptional textured bass, rich well imaged mids and sparkly extended treble. The mids don’t just disappear here. This was the mode that I felt the Volts follow up would be. It is in this mode that you folks will understand why Penon has used two bass dynamics and two Sonion BAs to handle lower treble notes. Just my opinion but I think Penon could have made an IEM with just this tuning and called it a day. But the other modes don’t play 2nd fiddle to the two switch tuning here. Not at all.

There is something to be said about an IEM that will adapt to your hearing state. The Voltage can be the type of IEM to scrutinize your music with, and could even be used as a monitor since its basic balanced, more neutral state is less colored and more honest about your music. Certainly can be used as a vocal monitor for Penons excellent take on its mids performance.

It could have used one more level of bass boost for basshead fanatics and one more level of treble for treble heads (I would explore other cable options if that's what you're after) but for what it is. The Voltage in all of its forms came out tastefully exceptional in every way possible. So none of the switch settings will fully satisfy a bass fanatic or a treble fanatic but Penon tunings have never been just about the bass end or the trebles in the first place. What is consistent in all of the tunings is their extremely well done mids profile.

Fitment/ size.
The size of the Voltage I would consider in the conservatively larger bracket for IEMs. I certainly have even larger sized IEMs that actually use less amount of drivers so this design is agreeable in that they are comfortable for my medium/ larger ears. Ergonomically sound vs some that are just uncomfortable. Considering it is using some smaller sized BAs 4 ESTs and 2 dynamics, a total of 10 big boy drivers stuffed handsomely inside the shells, the engineering that is involved takes some serious know-how. The all resin shell also gives above average passive isolation for your excursions outdoors. I would give it roughly 26- 28dbs from my subjective hearing which is outstanding, good passive isolation means they are excellent to take out in your outdoor excursions.

The cable that is included is a well reviewed Penon Obsidian black modular cable which is composed of 18k gold plated OCC hybrid cable in 4 cores. A slightly customized version of this cable was used for their flagship IEM, the Penon Impacts. This cable by default highlights the mid bands with a honest take on trebles adding a bass emphasis with greater note weight and a richer tonal character on all of the sonics- Traditional of Penon sound. I will say in my opinion this cable is an excellent match up with the Voltage to highlight just how dynamic and rich the sound is. It's a better match up with the Voltage vs the Impacts imo. While it’s an excellent matching modular cable, it's not the most technical of cables that can be used on the Voltage. Hence If you plan on getting the Voltage, cables will enhance or highlight parts or all of its sound design to your liking more so. Included cable is just fine, more than fine reason why the Voltage sounds so full bodied as somewhat to do with this cable so it was deliberately chosen to accent and support the sound of the Voltage. However cable rolling will tune the Voltage to your liking.

Technicals.
So let's get this out of the way. The sonics of the Voltage is a higher tier of sound. Utilizing 4 sound channels/ tubes into the nozzle of the Voltage means you get 4 distinct zones of sound that are all jiving to make up with Voltage sound performance. The OG Volt had 3 zones/ sound bores in comparison. These separated zones of sound gives clear distinction of each part of the sound signature. Sound imaging with better perceived texture and instrument separation is the result. Something that represents an actual higher tier of sound from what the Voltage presents will be at a supreme premium and we are talking megabuck IEMs that promise the heavens decent on your ears. As it stands. Penons ability to not only bring the goods when it comes to technicalities but it is always infused with solid musicality. Its stage is just as wide and deep as the OG Volts. But it is the Voltage's excellent variability that is the upgrade on the one Volt sound signature. Where the upgrade in tuning is in both its trebles and its bass definition. Has a more proper lower treble emphasis vs the Volts giving a complete sense of treble performance. I would say the mids sound a bit broader over the Volts mids which stands out just a touch more forward in comparison otherwise the upgrade is for real on the Voltage, tuning switches and all. Bass ends rumble and low bass extension has been improved from the OG Volts here as well. Its sound imaging, layering, definition and timbre here are all playing at a higher level of sound regardless of which switch you try though the treble switch does lend to a better sense of micro detail perception, even without the sound is not lacking here in the least bit. If you're sensitive to trebles and love your warmth. You get that here as well with the 1 bass option and 2 treble switch down. More detailed take on the Voltage 1 bass down 2 treble switch up. Anyway you do it. All of it is tasty.

Trebles are overall well balanced with a moderate emphasis and extension. No treble glare and where ESTs are involved brings the sparkle and shimmer we associate with EST infusions. I have grown to be a fan of the EST timbre and while some say it does not sound natural. To me it gives the necessary distinction of the upper treble notes where other drivers are weak at. This is where the strength of the EST implementations comes into play and where micro detailing is vital for Jazz, classical and really any music genre where precision is necessary. EST timbre is superior to a lot of try hard BAs and most dynamic setups. The Voltage EST implementation on the treble aspects of its tuning is better utilized vs the Volts as it handles the upper treble notes with distinction and cohesion.

Mids has always been a strong suit of the Penon made IEM and you will never read about Penon bringing a recessed midrange on any of their IEMs. It is a vital part of their tuning make up and here the Voltage has several tuning angles to provide some of the best mids in the industry. Utilizing 2 Sonion BAs with very likable and well establish timbre characteristics. The think I love about Sonion BAs is they are less likely to emit the BA timbre you read about from other hybrids and IEMs. Not only are timbre aspects spot on but you get that richer tonal character of a well implemented Sonion BA. Two drivers are better than one in the region as this gives better sense of the dimensional proportions of your recording. Both instrument and vocals alike are always a strong suit from a Penon made IEM and the Voltage is yet another fine example of just how masterful they can tune the mids. The Voltage goes from neutral to full bodied with a hint of warmth and the mids will never be an afterthought but always featured for Penon.

Bass
The soul of the music you listen to. If the rhythm section dont move you. You must be listening to the wrong type of music. Bass design traditionally has been handled by a capable dynamic that brings the beats. Utilizing dual 8mm dynamics. Penon has not disclosed exactly what material the dynamics here are. Regardless of type. I do know these bring a physical nature to the bass impact that seem to have a bit of an extra. Some folks worry about coherency and bass speed due to the physical nature of how a BA produces sound vs a diaphragm. By nature the bass diaphragm needs air to move for that physical bass. So the bass end will be slightly slower than that of a BA based bass. Unless you listen to just speed metal all day long. This is really not an issue. Even when listening to speed metal I don’t perceive the Voltage bass to be slow or sluggish in the least bit. Since the mids are presented is a natural manner the bass here jives extremely well with what the other bands of sound are doing for the Voltage.

Even without the extra bass 1 switch on. You are going to be surprised just how impactful and capable the standard mode for bass is on the Voltage. For a lot of folks this will be the preferred amount of bass as there is really nothing lacking in the ability for the bass end to come full bored. I would never describe the bass end as being bass light or bass neutral simply due to the bass quality being so very good on the Voltage. Let me put it this way. You don’t name your IEM something like the Volatage and not bring it in the bass department.

Bass is natural, clean, tight and has very good definition. I never thought the Volts bass end was ever an issue, infact I loved the bold but impactful bass end of the Volts but I have seen some folks feel sub bass could have been better. Voltages advantage of using 2 dynamics is that it's got a complete ability for the bass end. Sub bass rumble is not an issue, digs a bit deeper with a proper transient response meaning its decay is sustained realistically for a woofer design. Much like the mids and the trebles that specialize in their portions of sound the bass dynamics handle the bass end with no struggle or weakness that I can detect. Its tonal character is spot on. Its textured sub bass, very realistic. Bass end here is very satisfactory and in the 1 switch bass mode, bass is not a supporting role but one that is actually featured. Bass keeps up with the rest of the signature easily and since all the drivers her was deliberately selected for ultimate cohesion. There is no part of the sound that stands out on their own. Bass end included.

Overall
With a name that exudes energy, the sound of the Voltage easily encompasses the namesake. Voltage is the end result of years of designs from folks that are master craftsmen at their work. Their ergonomic fit will work well with most folks and a solid all resin build means excellent passive isolation for when we need to be into our music on the go. The sound tuning is more than versatile, unless you're an extreme bass head or like all your sound to be brighter than the sun. There will be an option of the Voltage sound tuning that you will most definitely like. Voltage uses a high level of technical ability to its advantage in bringing forth a very even handed dynamic sound, not the other way around where technicalities are the only redeeming feature. Voltage brings a higher end tribrid to the masses with variable tuning switches that turns them into a different IEM every time you feel the need, when you add together all the aspects of what it can do and sound like, Its quality construction, stunning looks, highly refined design in both looks and sound. You get a new classic from Penon.

ISN T-OCC

T-OCC is the newest creation from our friends at Penon/ISN. This one in particular is interesting for several reasons. It is using 3 types of copper based materials and while that alone is nothing exotic or new to the market. There seems to be specific reasons why they chose the materials they have for this product. The material descriptor for the cable is 3 different copper based cables with 3 different diameters. Unlike most companies that use a whole sale product to make a cable. Each element was chosen to bring a specific type of sound for these and even on open listen I can already tell the resolve of these cables are much greater than something that comes with your included cables.

The idea of making an aftermarket cable you specifically spend money on has to do with upgrading a sound profile for the IEMs you attach them to or at least that should be the idea right? So it would be a completel fail if something like the ISN T-OCC was not actually an upgrade.

However, I can say. These will be an upgrade to most cables that come with your IEMs. I say most because I do know TOTL level IEMs sometimes come with premium grade IEM cables that adds another $1,000 or more to the end cost of an IEM and of course that manufacturer will charge accordingly.

The ISN T-OCC is a solid 2 core cable with 181 shares of the material per core. The shares of the material has a weave of 3 distinct copper cores. 2 different types of crystal copper and the last type being what seems to be a mixed copper and silver alloy material. If any of you guys have owned prior “alloy” based IEM cables like the Penon Renata or ISN CS02 you will get a good idea of the resolving ability of the T-OCC. So you can say the T-OCC is a continuation of the alloy sound design from those prior cables.

Quality
T-OCC is a softer bendable good looking cable in all brown, no issues with microphonics or usability. Its not a noodly cable or is it so weak to cause tangling. These are excellent ergonomically for IEM use. I believe you can order these with ear guides or without. My unit I have on had does not have any ear guides. If you plan on being active with your T-OCC I recommend the ear guides to help keep the cable draped over your ears. They are soft enough to work without guides but I do notice the occasional movement will cause them to unhook over my ears. So that will be up to you. This particular chin slider you see in the below picture I have used in the past that didn't work so well but I am happy to report these actually work. Its not the best type where it clinches but it does hold in place when sliding the up the chin slider.

Performance
The sound of the T-OCC is interesting as it seems ISN has specifically chose the 3 elements to line up with the 3 zones of sound that we hear from our IEMs. Basic metallurgy for IEM sound profiles indicate, Copper is the foundation for all things related to sound. So a natural tonal character is expected of a cable based on 3 types of copper used. We get that. The breakdown in material goes as follows 98 shares of frozen single crystal copper, 48 shares of quenched single crystal copper, and lastly 35 shares of copper-silver alloy. Just a guess on my part but it seems these 3 was chosen to enhance each part of a sound make up. Single crystal copper for bass and mids, Quenched crystal copper for mids tonal, timbral character with the copper- silver alloy for its imaging and resolving highs. Then it is finished off with Penons OFC copper material for connectors and terminations. When put together you should have the T-OCC.

The T-OCC literally enhances every part of an IEM sound profile with an added stage and depth of sound all good upgraded cables should have. The first time I heard them. They immediately reminded me of the Penon Renata cables and to a lesser extent the ISN SC02 but somewhat different than both. I can hear the family resemblance to those cables but has a greater skew toward bass and tonality. The Renata is a more technical cable but the ISN being true to the ISN House sound profile seems to have addressed the bass foundation of their sound in the T-OCC. Its technicalities are where I thought they sounded like the Ranata and somehow is a more musical version of the ISN CS02 cable. More weighty, airy for trebles, a solid sense of slam for bass. If the deliberate use of the 3 elements that make up this cable was designed in this manner to address each part of the sound profile. Well it worked.

Testing the T-OCC yields very good sound separation, before you ask, it is not quite at the level of the Renata. These seem to enhance the bass end a touch more while the Renata is a more balanced type cable. I could have guessed they were using that copper- silver alloy material just due to their similarities for tonal enhancement, clarity and detail level. Again while not as spacious sounding as the Renata. It is close and if you didn’t have a Renata cable to compare it to. Yes I can officially say these will enhance stage, depth, and technicals: imaging, layering, sound separation, details. Enhances all 3 parts of a sound profile, trebles with a bit of extra shimmer, the mids get an upgraded sense of space and contrast. Bass gets a touch extra impact with a better sculpting ability. These don't quite reach the note weight like the ASOS or the new + model, they don’t quite reach the level of technicalities like the Rentata, they don't have the bass emphasis quite like the Penon bass cables but this could be it presenting with a more substantial mid band emphasis. On the other hand they don’t quite have the mid forwardness of the Penon Vocal cable. What they do have is a bit of the sound enhancement going on from all of these cables mentioned rolled up in one. Which is pretty astounding.

This would be the very definition of a cable that upgrades your sound. These are expertly engineered IEM cables that do the one thing they were made for. Upgrade your sound. My basis for this impression was based on going back n forth from a standard ISN C4 cable which uses single crystal copper for its cores. If you took the ISN CS02 material and braided that with the ISN C4 cable and then used the Penon OFC copper plugs and connectors. You would get something very similar.

Adding the extra material mix for the T-OCC clearly yields an enhancement to its base crystal copper cores. Making the T-OCC perform in a much higher end capacity vs standard copper type cables. Going back n forth from these two cables there enhancement for sounds as noted prior just makes your IEMs sound more spacious, sound elements better separated but one with full dynamics. And that my friends makes up what the T-OCC is about to my ears. Yet another compelling cable offering from ISN.

Lavricables Master Silver 22AWG IEM cables.

Lavricables was founded in Latvia in 2012, for folks that don't know who Lavricables are these guys are serious sound engineers/ sound geeks that deal with pure silver cables, interconnects, RCA cables, speaker wires, USB cables, XLR, all manor of audio cables, IEM and headphone cables to name a few. But with one distinct difference from most other companies. They use their higher grade of pure silver for just about all of it. You can check out their award winning history and their website here.

If you don’t know by now. Pure silver as a material in relation to audio gives the fastest, cleanest, purest transmission of all things related to sound. This is the reason why you will see silver and its many various forms, its geometry and purities used for audio cables of all kinds. These guys are sound purists hence they specialize in the properties of pure silver in all their products. Their site has over 100 plus types of audio cables in all sizes and forms. I was reached out from Lavricables to check out one of their Master Silver cables and here we are. A review sample was provided for the purpose of a review. You can look them up on their site here.

This is a first for me, I knew I was dealing with some serious sound guys because of this reason. I have never seen an actual burn in service for cables but Lavricables has this for some extra bucks. Too busy you are to burn in your own cables? Well they provide that as an option when you purchase one of their cables. 100 hours or 150 hours. I know some of you might be rolling your eyes right now. But there is a reason why pure silver cables need to burn in before they sound proper. I actually tested this myself. This was my review of the ISN AG8. The AG8 is also a pure silver cable but much thicker in substance. I had 2 of these cables, one well burned in and one fresh out of the box.

And there was a difference. The burned in one sounded more spacious, smoother, more full bodied in sound character, the non burned in version sounded a touch brighter and leaner sounding. The advice I was given from an engineering friend that makes silver audio cables is that yes these pure silver cables especially need burn in. I was in the camp that kinda believed it and kinda didn't at the same time. But my comparison was proof enough for me to understand. There is something that happens when you use these cables for an extended period of time.

Case in point the Master Silver V4 cable I have on hand was fully burned in from Lavricables before I even received it. And these are what to expect from them as far as sound enhancing goes.

First thing I noticed is an expansion of stage. This is a side effect of how silver highlights the technicalities: imaging, detail and sound separation. Brings better snappier transient qualities for your sound vs your garden variety of IEM cables. But then what surprised me the most is that the trebles are not as highlighted as I was used to from most silver based cable. Infact trebles for IEMs I used on them had clear control if not just slightly smoother than I would have originally thought. Believe me I don’t associate smoother trebles with pure silver but that is what I am hearing. That notion that pure silver leads to brightness well yes and no. I noticed lower end pure silvers do that. Not so much these Lavricables. There seems to be a slight upper mid skew for these cables that brings some highlights to stringed instruments and vocals.
This is the other aspect that surprised me. Vocal performances are airy. Delicate sounding. I have cables that enhance vocal performances. See Vocal cable review. The Lavricables give a more spacious account of your sound and in doing so vocals are nicely separated from the background instruments. Imaging quality is improved. When you have IEMs that have dimensional character, these cables seem to highlight this aspect to an even better degree. That smoother airy quality is some of the best I have heard from a pure silver cable.

Then there is how they do bass. The biggest shock of all the sound enhancing aspects. These are not like a pure copper cable when it comes to bass but at the same time they don't perform in the bass department like a standard pure silver cable I am used to using either. I bet when you use them you will be wondering if there are some copper elements to its make up, well just a bit. There is none minus the pure copper plugs and connectors it is using. I was asked what type of plugs I wanted to try on these. I purposefully chose a pure copper plug to balance out the pure silver here. Which turned out to be a great choice on my end.

They do provide Rhodium and gold plated ones. Which will provide a slight variation to the pure silver sound. Rhodium brings even a greater enhancement of details, clarity and trebles. Which unless you're a detail freak is not really needed on a pure silver cable. Just my opinion but I know there will be folks that want the most detail possible based on a cable performance and that is where Rhodium will come into play. Gold brings a bit of a darker hue to silver's cleaner sound profile and while it was a toss up for me between gold and copper. I went with pure copper to give more of a foundational character to V4 pure silver litz material.

I have a few pure silver cables that seem to lower the perceived impact and rumble from the host IEMs sound performance ( see NiceHCK 8 core pure silver and GU craftsman cable comparison below) but thus far I have to say I am very impressed with how the Lavricables does with bass for my IEMs. Sure these cables are not going to specialize in bass emphasis, impact and texture. But I don't perceive them to be taking much of it away from the glorious bass from my more bassier IEMs. Case in point. The Penon Quattro with 2 dynamics handling the bass emphasis. Since its overall tonal character is analogues, slightly warm in signature I figure this would be a good match to bring out its technical side.

And I was right. Not only does it synergize with the Quattro but leaves its bass impact and rumble the way it is from using its stock cable which is a silver plated copper type cable with graphene. It gets a nice noticeable expansion of stage. Better perceived details and with that smooth lush airy vocal performance. This is an excellent match up with the Quattros.

Moving onto the ISN NEO5 which is a bassy musical tuned IEM. The end result was very similar to what the Master Silver cable does on the Quattro. Expansion of stage. Smoother more airy mids, clean detailed trebles, better imaging, with surprising bass presence. The NEO5 included a good SPC type cable which does a good job giving a good account of what the NEO5 can sound like but higher end cables really bring the sound to be more audiophile. The Lavricable used on the NEO5 is not a small upgrade for the sound here; it is a clear leap in sound performance. NEO5 by nature has a fundamental warmth to the sound profile so it really likes pure silver to bring out better technicalities. Stage, imaging, instrument separation. Cleaner tonal character even leading to a more accurate timbre from the stock cable. This cable makes the NEO5 sound a good solid tier upgrade from what they initially sound like with its included cable.

Moving onto 4BA+2DD hybrid in the Tansio Mirai X. This IEM is very versatile due to its bass switches that you can easily manipulate for different levels of bass presence for its reference tuned U shaped balancing. What is interesting about this IEM is that it has plenty of treble presence and is by default a nicely technical sounding IEM with basshead levels of bass as an option. Adding the Lavricable Master Silver cable to the mix here yields a highly detailed, nicely imaged TSMR-X with an even greater airy quality to the sound. This cable does an excellent job maintaining the TSMR-X bass end while creating a greater atmosphere for your music to come pure clean and extremely musical sounding.

I remember when I first got these cables my first thought was. I must compare this cable with my other pure silver cables including a pure silver cable from China that cost a mere $38 for the sake of subjective sound science! Yes there is such a thing as pure silver cables that costs that much. So here are some comparisons from my other pure silver cables.

Vs NiceHCK 8 core pure silver priced at $38
Going from the Master Silver to this cheap pure silver cable. The difference here was about as clear as it gets. The only similarities I got from these two cables was that the tonal quality from using the TSMR-X on both sets were similar. However, the main difference? The NiceHCK cable made the sound overly flat with weak dynamics. Absolutely lacking the imaging and airy quality of the Master silver. The cheaper cable is much thinner in note weight. Made the very bassy TSMR-X sound anemic is the best way to describe it. Even with the full bass switch on, I couldn't get over just how lame the TSMR-X sounded using this cable. It basically made the TSMR-X sound like a budget fi level IEM.

On an ideal planet it would be great to be able to pay $38 and get a cable that matches up to one that costs $300. But this is wishful thinking. The NiceHCK cable, while using pure silver. The owner of the company provided a metallurgy sheet proving it. And to be fair it is the cheapest pure 8 core IEM cable but as far as sound enhancing goes. In the end is a $38 level IEM cable. Even though it is an 8 core variety, its cores are much thinner with a thicker PVC finish to make them look more substantial. That is how they make sound by the way. Thin sounding treble, thin sounding mids and thin sounding bass.

Vs ISN AG8 priced at $199
Now we are talking about a much more substantial pure silver cable. Now this cable is interesting as it is literally the opposite of the NiceHCK 8 core cables in that it is using much more material in its make up. This cable actually has the leg up on the Master Silver cable in note weight but only slight. Its stage presentation is very comparable here as well. Where it loses out to the Master Cable is in its inner details. The mids imaging is better on the Master silver. Trebles sound just a bit cleaner. Bass end for both sets of cables are comparable but in vocal tracks the Master silver wins out as the AG8 tends to smooth out the mids presentation a bit in comparison. Vocals and instruments seem to blend a bit more so vs being better separated in the Master Silver, this is what I meant by smooth out. Vocal performances seem better separated from the background instruments and have a better airy quality to the mids most of the other silver cables I tested them against does not quite have, including the AG8.

Vs GU Craftsman 6n pure silver priced at $130
Going from the GU Craftsman pure silver to the Master Silver. Well to my surprise the bass end of the Master silver is much more to my liking. Where the GU craftsman is excellent is in its technical ability. It is very comparable to the Master Silver for imaging, details, and sound separation. Where they differ is for dynamics. The Master silver is much better for bass impact and extension vs the GU Craftman pure silver. GU craftsman leans more neutral in all things treble mids and bass hence it sounds a bit light in what it does in comparison. It's not to the extent of the NiceHCK cheapo silver but it kinda leans that way in comparison to the Master silver. For folks that loved them some GU craftsman pure silver, a logical upgrade would be the Lavricables Master silver. Especially if you're using hybrid IEMs with dynamic bass in your IEMs.

Tri Wolfram. Priced at $89- on sale to $130ish
Now these are not exactly pure silver, they also use a OFC copper shielding surrounding pure silver cores. Interesting concept that yields some interesting sound properties. What's interesting on the Tri Wolfram here is that its technical properties mirror pure silver but the use of OFC shielding has an effect on treble presentations as it brings a slight smoothening of the trebles and also has greater enhancement for bass emphasis. It is more of a hybrid type cable vs pure silver so it will be its copper elements that adds to a more bass leaning treble smoothening aspect that pure silver cables do not do. It loses out to the Master Silver cable in the sheer size of stage and once again its inner mids performance is not as pristine or airy but otherwise for the money this is one of the better hybrid type cables in the industry that brings a bit of both copper and silver in the mix.

Penon Golden Armour priced at $699.
Ok much like the Wolfram before this comparison the Golden Armour is not just a pure silver cable. It is pure silver cable plated in pure 24K gold and deliberately has 8 thicker cores of it which is probably the reason why it costs about double of the Master Silver cable. One thing for certain you're not going to get double the value or double the sound enhancing properties from this particular cable in comparison to the Master Silver cable. The Golden Armour and cables that cost more than $700+ fall into the money is not an object category. The sound improvements here are more related to the idea of rounding the note edges of what pure silver does with the plating of pure gold. I also own copper cables plated in gold which to be completely honest are not really versatile. Now if you plate pure silver with gold, ok this is where things get very interesting. Gold material in how they translate to your IEM sound brings a darker hue to a sound. Meaning if you plate a warm copper cable with gold. That just brings a bit too much darkness and warmth to the table for sound enhancing properties.

The Golden Armour counters some of the edginess of pure silver for folks that love a richer silkier tonal quality. Golden Armour and Master silver are very comparable when it comes to their technical enhancing ability. Stage has similar expansion, mids have similar airy quality, and sound separation is amazing on both. Where the Master Silver loses out to the Golden Armour has to do with how gold brings more texture and a silky quality to treble notes. Brings a richer tonal quality with greater contrast to vocal performances, Bass contrast is a bit darker bringing even better separation and definition vs what the Master Silver does. This being said. This is one of those cases where if you never heard a 24K gold plated pure silver cable before using your higher end IEMs. The Master Silver clearly brings a better value. What you're really paying double here for is a richer tonal quality on top of what higher end pure silver does for your IEMs. For a rich/absolute sound purists, I do believe the Golden Armour is worth every bit of cash asked for a set as it brings a type of sound and imaging, pure silver cables just are not capable of by itself regardless of geometry. It's that inclusion of pure gold plating over silver that somehow works to give your IEM sound even more contrast and texture adding a vividness with a roundness of note that pure silver just can't do by itself.

Conclusion.
The Larvricable Master Silver V4 here is clearly a higher end refined silver cable completely worth the asking price. I say this because I have compared them to some of my best pure silver cables and the price is set correct on these. The idea that all silver cables are the same is completely false. If that statement was true then all pure copper cables should be the same too right? There is a reason why you see so much variety of cables for IEMs and headphones nowadays and at all price levels. I know a lot of you guys are wondering, If you spend $300+ on a pure silver cable will it be better than my $130 Tri wolfram or $200 ISN AG8. The quick answer to that is Yes it is.


It took several weeks of going back and forth and again and again in order to do these comparisons I laid out on this reader, at the end of it. It was clearly evident Lavricables has an exceptional pure silver cable they are offering to their patrons in the Master Silver V4. This is the 4th generation of this particular cable Lavricables has made in order to achieve its more refined state and that is something to be proud of. Definitely worthy of your hard earned cash when looking into a proper IEM cable. It has very minimum microphonics, fairly light, flexible and pliable. Most of all it will make your IEMs sound amazing. To be honest when I see some of the pure silver type cables others offer at ridiculous prices I wonder if those cables have true value in why they are charging so much. There is no mystery here. You are definitely getting a higher end pure silver cable to use with your favorite IEMs. Thanks for taking the time to read.

Simgot DEW4X

The Dac/amp dongle has seen a big surge in variety ever since folks have been tethered permanently to using our phones on a daily basis, it makes a lot of sense to amplify and qualify the sound we are using on the go. Folks that dip their toes in audiophilia or just want better quality sound from their phones, using a little dac/amp aka sound card that easily mitages the low quality and or weak sounding onboard sound we get from our phones and our computers makes a whole bunch of sense.

Simgot DEW4X is yet another smaller form dac/amp dongle but one made by Simgot, if you have been around the headfi threads. These guys have been more recognized for their outstanding dynamic IEMs. They recently introduced their one upgraded IEM cable the LC7 and now we have a series of Dac/Amp dongles that apparently they have been making for a while. The DEW4X is something like their 4th dac/amp dongle and is using dual C43198 Cirrus chips. Full specs are as follows

Dac chip Dual C43198 Cirrus
Decoding specs: PCM:384khz/32bit. DSD DOP128/ Native 256
Body Material: Sandblasted aluminum alloy. Oxidation black
Interchangeable line design
Connector: Type C/ OFC
Output: 3.5mm single, 4.4mm balanced
Output voltage -1SE,2V Bal( Low gain)
-2V SE, 4V Bal ( High gain)
Max output power: 70mW SE, 150mW Bal
THD+N:0.00025% SE,0.0002% Bal
SNR:125db SE, 130db Bal
DNR:125db SE, 130db Bal

This simple plug n play device has two gain settings easily accessible when connecting the device by pushing both buttons. Its tiny LED indicator will tell you what mode it is in, green for high gain and red for low gain. It is easier to just look into the plug end of the DEW4X to see the colors it is emitting vs straining to see the tiny LED light. Standard low gain setting is certainly enough power to drive just about any IEM in balanced but with more power hungry earbuds and full sized headphones, high gain is needed for full sound. Even then it's not the most powerful dac dongle I own. That title belongs to the Penon Tail.

So this one is more limited in use with most IEMs and efficient headphones at best. Will post some impressions using Fiios FT3 which is a 300 Ohm full sized can and Beyers Amiron Homes which is a 280 Ohm can. My IEMs testing was not an issue with ample volumes and power pushing the sonics no matter what it was connected to. My use case scenario was using them with my phone and an Android gaming device called the Retrid Pocket 4 pro and my main Gaming Laptop.

What they come with.
Simple box comes with a USB-C to C cable, a USB-C to A adapter for use on your computers and the unit itself. Instructions for the DEW4X is not all that instructive but if you have used DAC dongles before you will have no issue with this one. The unit is made of aluminum and is fairly small even for these DAC dongles. Some comparison pics. It's no bigger than an inch by 1.5inches in length. Small enough to use with most handheld, phone, tablet or gaming device on the go and certainly enough to give you much better sonics.
Sound
Utilizing dual Cirrus C43198, the sound signature here is certainly not too colored but does have a fundamental slight warmth to the sound with some surprising dynamics. The performance of the DEW4X is helped out by some excellent clean sound the unit emits. I did not detect any obvious noise in high gain minus a very hard to detect waterfall from using a 10 Ohm IEM. So overall it is very friendly for IEM use. It's silent background helps the sound to be more dynamic and detailed sounding.Overall I am impressed with its mostly silent clean background with no RFI or EMI noise detected at any time of use. It gives out a moderate stage and stays away from sounding canned or narrow. It's even handed sound performance matches extremely well with Simgots own IEMs the EA200, EA500, EA500LM, EA1000. All of them sounded fantastic using the DEW4X and somehow I have a feeling the DEW4X sound signature was tuned just to synergize with their own IEMs which makes a lot of sense. If the DEW4X sound was more of a brighter neutral tuning I don’t think it would have synergized as well with Simgots own IEMs is my point. Its overall balancing is linear with a slight boost for bass and a slight analog tonal quality. Music has good body with a decent sense of separation with added dynamism that your onboard sound just does not do. It makes music sound like well imaged music and that is the best compliment I can give to a simple device like the DEW4X.

Gaming. With UAC 1.0 game mode, these should work with game consoles just fine. Sorry didnt try in console mode but I did test on what I use now. Tested with my gaming device and gaming laptop. This is where I feel the DEW4X actually shines on a small device. My tester is with an Android gaming device called the Retroid Pocket 4 pro. Playing God of War 2 on the device with the DEW4X was so much better than using the included sound on the device. This is where it was very clear to me what the advantage here was. Gaming sounds and its music soundtracks just popped and had some physicality to the bass notes that let me be more immersed in the game I was playing. The difference between using the DEW4X and not using it was clearly evident and much more enjoyable. Just for this use case alone I would give two hardy thumbs up for the DEW4X.

Testing with my Samsung Galaxy phone.
Due to the sound tuning leaning toward neutral warmth vs neutral bright the DEW4X matches extremely well with neutral brighter and highly detailed IEMs and headphones. IEMs that already have a lot of bass and warmth to their tunings don’t match up as well. Testing the ISN NEO5 which already has a slight warm tonal quality the synergy was just not there. This is the reason why Simgots own IEMs sound so good using the DEW4X. The source is adding a bit of warmth and dynamism to their Simgot harmon tunings. Which ends up making the overall sound experience some of the best synergy from a source and IEM sound matching angle. How they test with cans?

In High gain with max volumes I was able to listen to the Fiio FT3 which is rated at 300 Ohms and I can tell the little device was struggling to keep up with that volume as it was getting a bit warm to the touch.. The cans I used were listenable but by no means was it able to actually push the Fiio FT3 to even moderate listening levels. (However I found out later when testing out of my laptop it does have good power to drive the FT3 but only on a computer.) The DEW4X did much better using a bit more efficient Beyer Amiron Homes rated at 280 Ohms but one thing for certain. This little device was not really made for full sized moderately difficult to drive Cans, unless you are using your computer to use the DEW4X. Even then I don't feel these little dac dongles do justice for full sized cans in general. Moving over to one of my favorite portable cans in Thinksounds ON2. Which is rated at 50 Ohm. Ok now we are talking. The DEW4X was actually able to give these cans with some solid volumes in single ended. More efficient headphones in the 32-50 Ohms is where I would set the limit of their power ability using your phones. IEMs I used with the DEW4X had no issue with them pushing the sonics. I can see folks with buds in the 150-300 Ohm area might have some issue with the power output of the DEW4X. Testing the 300 Ohm TGXear Serratus. I was able to get the volumes to be fairly loud using max volumes in balanced but otherwise that would be roughly the limit of their power and driving ability.

Using the EA500LM. This is where the DEW4X really shows how good it can sound. There is no comparison to how dry and non dynamic the stock sonics sounds using my Phones output in comparison and this is really the best use case scenario for the DEW4X. Using your phone on the go. It's small enough to let it hang and unlike some dongles that are physically bigger I am not worried about the weight of the DEW4X damaging the USB-C port of my phone.

Testing with my laptop.
So apparently using a dedicated computer helps to get much more power to the little unit. The DEW4X now has much more volume using my laptop vs my phone. I can now use the DEW4X with plenty of volume in high gain using the Fiio FT3. Which was difficult to drive using my phone. The sonics using my laptop? Well it's not my Fiio K9 Pro ESS but I was pleasantly surprised with how good the unit sounded using my laptop.

I can see a use case scenario where if you own a light portable laptop for work and some media watching or gaming on the side how the DEW4X would come in handy. My laptop is a gaming laptop with beefy a 350 watt power brick so apparently it will put out more power based on the power of my laptop. Something the specs don’t relay.

This is something I will mention in the positives and negative section descriptor for the DEW4X as I feel it is that much more significant in power difference going from the much weaker phone vs the power from a laptop connected to a wall. I suppose it makes a lot of sense that only efficient IEMs and cans can be used when the DEW4X is used for portability. I suppose the benefit of the DEW4X using your phone is that it will not draw too much power from your phones and gaming devices. But will show its full power on a laptop.

The good news is you can use your gaming Cans up to 300 Ohms on a laptop. Sonics wise again you can’t expect the dynamism of a full blown Dac/amp in comparison and it doesn't. Even with plenty of volume the Fiio FT3 lacks the punch in the bass and sounds more neutral and much less engaging vs my dedicated Fiio K9 pro ESS. But using them efficient IEMs like my Tansio Mirai-X and any of the Simgot IEMs. The dynamics, punchier extended bass, slightly richer, more full bored mids with a clean treble is heard.

Conclusion.
The DEW4X is a solid little Dac/amp with good sound and will serve the purpose of getting you better sonics to be heard with your favorite more efficient IEMs and Cans. Its slightly warm yet dynamic sound tuning is more agreeable vs a slightly bright neutral tuning for sources of this type. It is a very easy plug and play device that will be a clear upgrade on your phone's sound output and overall sound quality. Where it truly struts its power is unfortunately not going to be on your phones and tablets. It will be from your plugged-in laptops and desktop computers. Overall, for the asking price of $80 the Simgot DEW4X is very similar to the value proposition of their own IEM, the EA500. I think most people will agree that the EA500 was an outstanding value at its price and so I feel the same way about the DEW4X. It seems very clear to me that Simgot as a company and sound designers know exactly what they are doing with how they tune their sources and IEMs.

I mean how else can you explain just how well their own IEMs match up so well with the sound design of the DEW4X? Overall the value and ease of use makes the DEW4X a solid source for on the go for both media and music. A small portable design to get you greater sonics. In that regard they are excellent at what they do. Thanks for taking the time to read.

Disclaimers. I would like to thank Simgot for the review sample of the DEW4X. You can purchase a DEW4X here and or here.

Some comparisons.
Fiio KA3. This little amp/ dac is using ES9038Q2M with output power of 130mW @ 32 Ohm single ended and 240mW @ 32 Ohm balanced. The sound signature of the KA3 is more neutral with a clean tuning and lacks a bit of that warmth emitted by the DEW4X. It gives out a touch wider stage and dynamics are on a similar level to the DEW4X but it is more neutral, brighter in character vs neutral slightly warm on the DEW4X. The K3 does have superior specs and power output on paper is a bit weaker but I would say it's fairly similar in power vs the DEW4X. This sound signature does not mesh as well with Simgots IEMs. In this case a clean to brighter sounding source connected to a clean and brighter sounding IEM does not equal synergy. It's not bad here but certainly not exactly how the DEW4X synergizes with Simgots own IEMs. Now if you own warmer bassy IEMs that is where something like the KA3 will synergize better.

Penon Tail
The DEW4X and the Penon tail share Cirrus logic dacs, dual CS43131 in the Tail vs dual CS43198 in the DEW4X. I will say the Tail here is a much more powerful Dac/amp by default. Its specs are something like 4X the power output of the DEW4X and the only real issue with the Tail is that it is not as refined a product as the DEW4X. I can tell both these units share similar SQ but the Tail here has a clear leg up on power and efficiency over the DEW4X. I don't have a can the Tail can’t drive to full blaring levels. It is more powerful on a phone as well. SQ wise both units have similar dynamism but I will give the slight edge to the Tail here because its got that extra juice that makes it more versatile over the DEW4X. Tail sounds a bit more spacious vs the DEW4X but otherwise both units have very similar signatures including a slight subbass lift. I would imagine if Simgot came out with an upgraded or newer version of the DEW4X that would be something like the Penon Tail. The tail is a larger unit vs the DEW4X and while easy to use it does not have independent volume adjustment. It goes 100% when connected to a laptop which can be dangerous if you have IEMs and Cans attached to it. I found this out first hand several times I used it. Otherwise the DEW4X is a more polished product less power and all. Sound quality wise I would give a slight nod to the Penon Tail in comparison. It sounds a bit more spacious, more rangy and even more dynamic vs the DEW4X this could be due to the added power output of the device that makes it sound more dynamic. I can’t say the DEW4X lacks in these areas in comparison but perhaps a better amplification stage for next version of the Simgot Dac/Amp can aim for such advances. Thanks for taking the time to read.

TSMR-FEAT is the newest IEM from Tansio MIrai that brings something new and unexpected from the group. What you guys have to understand is that these guys are not really known for their bass driven sound. Nope if there is one trait for the group that stands out. That would be how they tune for trebles more so than the low end. Tansio Mirais sound tuning has traditionally been about the trebles and all the sound aspects that audiophiles enjoy with a full bored treble end. However they have always had good to excellent bass for their IEMs as well.

The TSMR-FEAT uses dual knowles BAs for its mids and trebles and dual 8mm carbon coaxial dynamics for its bass performance. The first thing I noticed beyond just how good looking these IEMs are is that they no longer use the Tansio Mirais switch system they have used on every single IEM they have made till now.

However this one signature they have used on the TSMR-FEAT happens to be a good one. In true hybrid fashion. We get the technical leaning precision and imaging associated with BA performance but then they added these outstanding coaxial dynamics to handle its bass performance.

The new FEAT will be sold at a lower price bracket than the TSMR-X. Safe to say as these are not exactly going for a better TSMR-X. What's interesting here is that I can hear the family resemblance to the TSMR-X especially on the bass boost 1 switch but there are a few aspects about the FEAT that are different.

Folks that have never heard a Tansio Mirai IEM before and you're a bass fan, these might be a good place to start. For the guys that own the TSMR-X do you need to get this one? Nope not really. Well that is unless you feel the need to get a more simpler bass driven version of the TSMR-X for out and about. And or your just a huge fan of what Tansio Mirai has been cooking up lately and have to have them all.

The TSMR-FEAT is all about giving the listener a true hybrid presentation. It's not masking the fact that it uses BAs for its clean detailed sound presentation or its push pull coaxial dynamics for its brawny bass end. This is a sound that maximizes what both types of drivers are good at. On one end you get a sound bore connected to the dual BA that throws out the mids to trebles the other sound tube is connected directly to dual 8 mm carbon dynamics that are stacked on top of each other in dual push pull configuration. It looks similar to what the TSMR-X is using for bass with a vent out the back of the shells. I can see tonal and cohesive purists not liking this one as Tansio Mirai is not hiding a damn thing when it comes to what both these types of drivers are doing for the sound here.

One firm warning, the bass end was more than brawny out of the box. It's clearly a sub bass focused sound but had a burly presentation out of the box I was not ready for. I can literally hear the bass end tighten and is starting to get better definition now that I have had 50 hours or so of burn in. The bass end on these definitely needs a good run in before they start to sound correct.

What is interesting about these is that this is Tansio Mirais idea of a fun tuning. For folks that make IEMs dedicated for audiophiles that means these are bassy but also has a clean detailed sound tuning out of the box. Its clarity is on point but is nowhere near what the prior Tansio Mirai Sands or the Lands represent. These are the least treble focused Tansio Mirais to date actually. That bit of extra treble energy Tansio is known for is now focused toward the bass end. The balancing of the treble and the mids are closer to the recent TSMR-X more than anything they have brought out in the past. Where the sound cranks up a notch or two is in the bass department.

Its bass end is burly, rumbly with a slower realistic sub bass decay. They sound like subwoofers in the ears. These are pushing at least 8 dbs if not a bit more so toward the lowest of the lows. It is interesting when I first heard the bass end I could have sworn it was closer to the 1 switch on the TSMR-X but the more I listen to these they are actually tuned a bit like the reference 2 switch than the 1. It might be due to how impactful the sub bass is but it's not shy about bringing the bass. Let me put it that way. I can hear the air pushing the subs to new depths on this one. Before you ask. I don't feel the quality of the bass on the FEAT is up there with the TSMR-X. It has a slightly darker bass tonal character in comparison. Which provides a different contrast from what the TSMR-X bass end is doing. On the opposite end they don't have the same treble emphasis or the extension of the TSMR-X either. Which again brings a bit more attention to the low notes on this one. The good news there is that its bass is cleanly separated from the mids performance, helped out by utilizing a single bass bore to the ears separated from the mids and treble BA.

Let's get this out of the way. Really the TSMR-X is at a different level vs the FEAT in SQ and its overall presentation. The FEAT is priced at $239 for a reason. However it does have its own SQ.

Where the sound is engaging for the TSMR-X the FEAT has this going for it as well. But I can see a bit of a different scenario for the FEAT. TSMR-X is more of a home IEM, more refined and boutique in the way it presents sound. The FEAT on the other hand makes for a perfect out and about companion. Reason why I say this. The bass end on these are wild! Its sub bass performance you have to hear to believe. It is remarkable just how much these sound like real subwoofers. Its passive isolation is above average as well which helps you hear all of its glorious rumbly bass.

The contrast of clean well imaged mids and treble with a full bored sub woofer like sound profile is what the TSMR-FEAT is about. If any of you guys owned the old GR07 back in the day. These are like a modern day version of those but actually has dimensional qualities to the sound profile and not so flat sounding like the GR07. None of the treble spikes associated with that monitor as well..This one is a much more refined experience in comparison.

Audiophile bass IEM? You bet. In a way the FEAT is focusing its sound on some of the better aspects of what the TSMR-X does but using less drivers. Sound is not as airy or as spacious as the TSMR-X, they don't have the same type of sound separation or the detail level either, you have to expect that as it is using 2 less BAs for its sound.. However it shares some similar aspects like balancing, and shares similar tonal qualities. What is surprising here is it retains much of that holographic sound presentation of the TSMR-X, which in turn allows the same ability to be able to pull off accurate acoustic and orchestral listening but is obnoxiously great for EDM, rock metal and hiphop just like the TSMR-X.

The crazy thing about the FEAT is that you can’t tell just how brawny the bass end is until a tune clearly has some subwoofer engagement. Meaning it has some very clear clean mids. Which I don’t think can work with just how much bass these things have from something like a single dynamic using a single sound channel for example. Folks that like clean sound tunings should love these things but then when the subs are engaged. Get ready to rumble!

This bass ability makes for an ideal IEM for out and about not to mention will be ideal for gaming and media watching due to its technical level and bass emphasis.

Bass here is tuned a bit differently than the bass end of the TSMR-X, while both are using carbon based dynamics and both are using that push pull configuration. These sound a bit more closed in by nature and dbs per db actually sounds more impactful, has just a bit more physical nature to its impact and rumble. Don’t know if it is the venting driver that was used on the TSMR-X but these are not quite as well controlled, I don’t feel the bass end here is sloppy on the other hand.

Bass can and does get burly, definitely has more sub bass vs mid bass If I put the bass quality at a 8 out of 10 for the TSMR-X I would put the bass end at a respectable 7 out of 10 for the FEAT. Sub bass on the FEAT is where these become straight smile inducing experience. Its addictive rumble is shocking at times and has a slow decay for its sub bass rumble like a real subwoofer. As brawny as the bass can be, it is once again the control aspect for its bass which is clearly there. The bass for the FEAT has actually grown on me and you know you're dealing with a colored sounding IEM when other IEMs I go back to sound like they have weak bass in comparison.

I think if these came out before the TSMR-X I would have been head over heels over this one but as things stand, the TSMR-X has been making waves and I have a feeling it will be Tansio Mirais most popular IEM to date for a good reason. I do believe the TSMR-FEAT is a younger brother to the TSMR-X and as such there are a lot of striking resemblances to its sound formula.

So how does the TSMR-FEAT slot in the scheme of things? In my guesstimate it gives a good solid 85% sound performance of the TSMR-X and it is sold at a bit over 60% of the price of the Tansio Mirai-X. Which makes them a good value proposition for IEMs. But then it has its own sound going for it.

Its less aggressive treble balancing actually makes for easier listening while maintaining that clean mid-range, Tansio is known for. The mids are positioned very similarly as the TSMR-X and this one is not for folks that like a more forward warmer mids profile. It's more neutral in its mids presence but still has that dimensional quality to the mids that becomes addictive to listen to.
If any of you guys reading this was curious about what the fuss was about on the TSMR-X. This is a very good option to get yourself a legit audiophile bass infused IEM. If your curious about my take on the TSMR-X here is my review of them.

Several negatives on this one, for folks that are curious about them but feel the TSMR-X is a bit too spendy for you. The TSMR-FEAT will make you curious about the TSMR-X. On the other hand it is most definitely competent enough of a sound on its own with its own flavor.

It has two contrasting tonal qualities, clean and dark at the same time. I feel cohesion has improved greatly since burning them in but it would be difficult to have this much dynamic bass emphasis for BAs to jive with tonally. If you have a 2.1 or 5.1 system at home you might get a good idea of how the sound projects in the ears for this one. Short nozzles, yes these have short nozzles. I had to revert to using a double flange which brings forward the mids and trebles a bit forward for better balancing. Otherwise I am waiting to find out what these will be sold for. In the end these are true audiophile bass IEMs. You want your detail and imaging a clean sound signature with a low visceral rumble? That is exactly what the TSMR-FEAT are all about.

NiceHCK Himalaya

It has been a while since I dove into the HCK waters. Jim and crew at NiceHCK have been at it during the Pandemic and today we see the culmination of numerous IEM designs that now sees a new flagship.

The Himalaya is a type of name given to a flagship level IEM and that is what I am hearing from their newest creation utilizing the tried-and-true single 10mm CNT dual layered dynamic.

Himalaya uses an all metal, titanium alloy housing with a very plain all metal sandblasted surface. Nothing about them catches the eye and screams. Here, look at me or anything like that. This to me is appreciated as I have had plenty of great looking IEMs that don’t end up sounding all that great. The Himalaya is the opposite. To be honest they look a bit too plain. But what matters most and foremost is how they sound. It is sound and function over looks. You would never guess the sound that emanates from these IEMs happens to be one of if not the best sounding NiceHCK IEMs I have ever heard.

There I said it. These things are a marvel and can easily hang with some of the best designed single dynamic IEMs I have and own. I still consider my Dunu Luna the best dynamic IEM with honorable mention to Fiios FD7 but I have to admit the Himalayas tuning is actually more versatile in comparison and shares some similarities with the FD7 of all IEMs in its sound balancing from how I hear them.

What they come with.
The Himalaya comes with an assortment of 7 different sets of silicone tips in various sizes and colors. A modular silver plated OFC cable with 3 different connectors. 2.4mm balanced. 4.4mm balanced, 3.5mm single ended. An all black square zip up case to carry your goods with and 3 sets of nozzle screw on filters for fine tuning your Himalaya experience.

Disclaimers. I would like to thank Jim and crew at NiceHCK for providing the Himalaya for the purpose of a review. The Himalaya has been burned in for a week's time and is now ready for review. They have been tested using my sources. The Fiio K9 Pro ESS, Fiio M15, M15S, IBasso DX300Max, IFI Gryphon, IFI Signature, IBasso PB5 amp.

Sound
If any of you guys have had NiceHCK IEMs in the past. These guys have a tuning angle that can be referred to as their house sound and it always incorporates excellent vocal performances from male and female vocals. Reason why I say this is, I noticed NiceHCK does not do too many steep V shaped tunings where vocals sound recessed or do they have too many overly neutral monitor like IEMs on the other hand. I would say their tunings are generally more balanced as NiceHCK always incorporates a good solid bass foundation and always incorporates some substantial mids to play in their IEMs. The Himalaya is a reference level sounding IEM meaning it incorporates a lot of nuanced refinements into their sound profile while providing a very versatile balanced sound signature. What is great about the Himalaya is that when you hear it, even on open listen, it is not easy to spot faults in the sound tuning. In fact the sound is more than just the integration of highs, mids and lows on this one.

These are the most refined sounding NiceHCK IEM I have ever heard from them.

The two other filters tweak the treble end a bit to where one accentuates a bit more upper mids and trebles and the more narrow filter lowers the treble aspect to the point where the mids and bass is more of the focus. My review is based on the preinstalled stock gold copper nozzle which for me is the best nozzle filter out of the 3. I will just say I am not a fan of narrowing the sound channel on the nozzles for the sake of detuning a sound and that is what one of the filters are doing. To be fair the dark blue filter curbs the treble and upper mids where the focus of the sound is squarely on the bass and its lower mids for a warmer tuning. Some may like this but for me it kinda neuters why the stock filter makes the Himalaya sound so good. Will get into that much more here on the sound descriptor.

Technicalities.
Beyond the well-balanced tuning on the Himalaya. It has some of the best timbre for both instruments and vocals I have heard from a single dynamic. Its natural accurate tonal character at all parts if its sound performance really gives a picture of what you're hearing to be more about your music than it is about what the IEM is doing for that music if that makes sense. To me that is the best compliment I can give a sound tuning as the Himalaya is a transparent vessel to hear what you want to hear, your tracks the way you know and hear it. Nothing on the tuning is overly exaggerated, overly emphasized or do they throw out some type of colored bias tonal character.

Then there is how they image. The Himalayas imaging is more substantial vs most Harmon tuned IEMs as these have the necessary lower mids to bring body/ thickness to a sound profile. Good clarity but one with a body of note which a lot of harmon tuned IEMs are missing or lack in. Vocals have some meat and fullness with a natural lower end substance attack and decay to a sound, Male vocals and instruments such as Cellos, bass guitars and Pianos sound more grounded and more substantial. That fullness of note is something that these IEMs do a lot better than soo many recent me too harmon tuned IEMs. It is one of those aspects that you don't realize how important it is until you start analyzing the sound and comparing them to said harmon tuned IEMs “Simgot EA1000” that shows what those are lacking in.

Its relatively large deep full bodied sound profile is what makes the Himalaya sound so right. I have IEMs that are more grounded in the detail aspects but will lack the note weight and fullness of sound of the Himalayas. Strictly Harmon tuned IEMs can sound very detailed but none of that matters when you have a thinner sound profile. Sound separation is actually done really well on the Himalaya I will say is above average for dynamics that will be sold at this price range. The resolve of the 10mm DLC dynamic chosen by NiceHCK clearly shows. Again I have other dynamics that out resolves the Himalaya but those IEMs will cost you a whole bunch more money. At the price NiceHCK is asking for this set, it is ideal. There is nothing in the sound that sounds flat, canned, brittle, thin, confined or cripled. It is the exact opposite. Open, broad, rangy, well separated, substantially natural yet meaty and refined sounding at the same time.

Detailed aspects of the Himalaya are more groundined on its macro details vs micro. Could be due to the fact that it has this excellent note weight and fullness to its sound that masks a bit of the micro nuances that presents a bit easier on thinner sounding multi BA IEMs and or harmon tuned IEMs that has much upper mids and trebles to offset the rest of its tuning for the sake of a detailed sound signature. The trade off is that you get a full bodied sound which I would take 10 out of 10 times over an overly neutral signature that sounds thin and unnaturally too energetic which ends up being fatiguing in the long run.

Nothing on the Himalaya sounds forced, not the treble and not its upper to lower mids and certainly not its bass either. I keep using that word natural to describe the Himalaya but that is what I feel the overall sound does best. Its very natural full bodied tonal character but one that shows excellent accurate timbre. A bold balanced sound profile gives a really great overall enjoyment factor to how they relay your music.

Trebles
The trebles of the Himalaya has a moderate level of emphasis with the most emphasis toward its lower trebles, and has no treble grain of any type. It's not an overly rolled off treble emphasis I am hearing but does seem to incorporate a fairly larger dip at the sensitive 7khz area. ( NiceHCK likes to do this particular treble tuning on their IEMs) This could be the reason why I hear the Himalayas lack a touch in micro details. However the trebles overall have solid footing on the Himalayas overall sound presentation where trebles have the right amount of emphasis showing a good amount of sparkle. The balancing here is done well as the trebles take equal footing to the sound balancing of the mids and bass. Trebles sound clean, crisp and extend well enough. It could use just a bit, 2dbs less dip in the 6-7Khz range but otherwise I have nothing to really complain about. What is a bit puzzling here is that the black nozzle and the gold nozzle seem to be roughly the same in emphasis and sound character, don't know if it is me but I feel the black nozzle could be of a different material yielding just a slight extra emphasis for upper harmonics but otherwise the differences are miniscule. It is when you use the dark blue nozzle that really changes up the sound balancing of the Himalaya.

Using the dark blue narrow nozzle the treble is lowered quite a bit where the overall tonal character turns warm with its balancing skewed a bit more towards its bass and lower mids emphasis. That natural tonal character shifts to more of a warm balanced sound and while some may like this profile. It kinda neuters that exquisite balancing of the stock nozzle. Trebles sound a touch muted vs the other two and lowers the 6-7khz emphasis even more than what came with in its stock tunings. This neuters a lot of presence for vocals and stringed instruments and ends up sounding a touch dull in comparison. But for folks that like warmer signatures, here is your warmer signature.

Mids.
This is the real star of the Himalaya. Both vocals and instruments throw out a very natural tonal character but with clean distinction and an accurate timbre that has that excellent body of note I referred to earlier.
The driver chosen for the sound on the Himalaya is a very good one for its mids performance. The layering for the mid bands are clearly evident and music that requires them layers to bring forth the full sound experience. The Himalayas can perform to the degree that puts a lot of higher end IEMs to shame. Its airy but rangy vocal performance has more than the correct tonal character. That fullness of note here comes to play more so than a lot of IEMs I have been reviewing lately and I forgot just how good NiceHCK tunes the mid bands. It is quite remarkable the depth and height with a spacious stage of sound that the Himalayas perform with.

Lower mids presence for instruments and vocals alike are on clear display. It seems it is always the upper mids that more Chifi IEMs focus on but not as much for the lower mids where we perceive a lot of that body of note. Lower mids and bass related to the overall quality of a sound performance here is ideal in relation to its standard upper mids skew for better clarity. The Himalaya has both. I know a certain headfier that keeps asking me which IEM to buy for male vocals. I would put the Himalaya on your list my friend because there are not too many better for male vocals. This substantial lower mids presence and warmth reminds me of Fiios flagship pure Beryllium dynamic IEMs the FD7. Which cost approximately double that of what the Himalayas will be sold for. So in that regard these are a solid value.

The level of detail is not anything spectacular but more of how breathy, natural and weighty the sound can be at the same time. Mids detail level is solid but more so how it is presented with some excellent imaging to go with it. Tracks that are recorded with dimensional values you can clearly hear how excellent the Himalayas portray a dynamic recording.
Add to the element of a stage and projects with excellent height, depth and width of sound and you get something that leads to better sound immersion.

A lot of harmon tuned IEMs take precedence for female vocals and stringed instruments which the Himalaya does well but sometimes a bit too much for the sake of sacrificing lower mids for a bit of extra emphasis in the upper regions. This is where I feel the Himalaya gets it right. Sometimes a lower mids dip is necessary in order to get a bigger bass profile to happen if that is what the maker of the IEM is going for. But with the Himalaya it not only has the right amount of lower mids emphasis but also the bass end to go with it.

Bass
This aspect is a bit surprising. NiceHCK has always done bass well. They don’t do too many IEMs that are bass light but on the other hand, they don't do too many IEMs with bass being the emphasis for their sound signatures on the other hand. Bass has roughly a moderate 7dbs of emphasis for both mid and sub bass. The goldilocks for accurate bass emphasis the Himalaya has a surprising quality aspect to its bass impact and rumble. Bass definition is not only outstanding but is not afraid to come out to play for tracks that call for it. It's got a tight and fairly speedy bass presentation that much like its mids performance comes out clean and natural in ability.

I have always been a fan of CNT bass which stands for Carbon NanoTubes. Carbon based dynamics excel in detail especially for its bass performance. I have yet to hear a carbon-based dynamic that can’t bring a solid bass performance. The Himalaya is lauded as a flagship for NiceHCK and it is a title well deserved and it certainly helps that the bass is tasty and brings a tight accurate transient quality. Its bass end works amazing in conjunction with the lower mids emphasis to bring a very natural slightly warm tonal character with a body of note that some IEMs miss altogether. You just simply can’t have a natural descriptor without that warmth is what I am saying. Bass is very much fundamental and complementary to the tasteful mids of the Himalayas but it can be the focus at times depending on the track that calls for it.

Unlike other IEMs where bass is an afterthought. The bass end on the Himalaya can be featured due to their outstanding quality. Bass fans will not be disappointed with the quality but true bass fans will just want more of it. Moderate accurate bass brings the punch and a proper low bass rumble. If that's the area of sound that takes precedence for you, and it is because of the sheer quality of its bass performance, you're probably going to want a bit more of it.
To that I say, that is what bass boost on amps and or eq are for. The dark blue nozzle filter does bring more attention to NiceHCKs bass end as its treble sounds a bit muted which while still sounding balanced tilts the tonal character toward the Himalayas warm side of things. In analyzing the Himalaya I wish there was a filter option that was somewhere between the dark blue and with most of the treble aspects of the stock filters in place. This would have been ideal.

Now I am nitpicking more than anything. By the way this is something that you can actually do, especially if you own any of the Simgot IEMs. Simgot IEMs include tuning nozzles for their IEMs. EA500, EA500LM and the EA1000. Why am I mentioning this? Two reasons. For some of you the relatively short nozzles on the Himalaya will mean you might have a more difficult fitment to get a good seal. I just use a larger Azla Sendafit tip to compensate for that for me but this is a valid issue. Well the Simgot nozzle makes the nozzle longer. Not to mention you can tweak the treble and upper mids to be at the sound emphasis level that you want. This makes the Himalaya very moddable for anyone getting a set. You can get the Simgot EA500 tuning filter set bought on Aliexpress and fine tune your own treble dampening via mesh filters and foams that is included on the set.

Final
The Himalayas was a surprise to me with so many positives to its sound performance and comfort. I have to give props to Jim and his crew at NiceHCK. They have finally made what was good on their former flagship the Lofty into something that is not just more refined but easily represents some of the best dynamics you can buy at the price point. Its solid construction means they will last the test of time. Its easy 2 pin construction means you can cable roll to your hearts content to add or take away and sound characteristics you would like on the sound profile. Its one part highly technical and another part very musical and that makes for a great combo for an IEM sound. The Himalaya will be launched very soon for their world audience at the RP price point of $329 on NiceHCKs website on aliexpress, at that price these will more than meet your expectations of just how good single dynamics have become. Thanks for taking the time to read.

Simgot EA500LM

I remember when I was approached by Fia Lam of Simgot to do a review of the Simgot EA500. I was thinking OK yet another single dynamic IEM. Hey why not, so I agreed to give it a good listen and write up my thoughts in the form of a review for the EA500. Little did I know that Simgot was on a roll with their line up of IEMs. Then soon followed the release of their EA1000. OK now we are heading into the higher end sound segment and now we have a new EA500 revision in the EA500LM. The LM boasts some new addition to its make up in that it is using a completely new dynamic driver. The single dynamic design mostly remains the same from the prior EA500 model using the same housing with their dual magnetic, dual cavity design but this time using a Lithium Magnesium alloy dome diaphragm vs the Diamond Like carbon composite diaphragm used in the EA500.

Different driver material yields a tonal and performance shift from the prior EA500. Does that equate to a superior IEM? The quick answer to that is yes it is but not exactly a superior SQ upgrade. Let me explain. Testing the EA500 vs the EA500LM using their default filters both have similar tunings but where I notice a difference comes in the form of technicalities. EA500LMs driver seems to be a level above the prior EA500 in resolution. The sound stage seems a bit wider vs the EA500 which is a result of the more detailed and less forward lower mids of the LM version. Gives an increase of imaging and sound separation from the EA500. Then the tunging got a bit of a tweak it seems as well. Bass digs a bit deeper in the LM and trebles seem just a smidge smoother. All leading to a nice refresh of the EA500 in the EA500LM. While the technical level is not exactly at the EA1000 level. There really aren’t going to be too many single dynamics in the sub $100 level that will out technical these things so once again Simgot is offering the enthusiast something that is worth taking a good look at in its price category. However just because an IEM shows better technical characteristics does not automatically make it a clear upgrade.


Disclaimers: I would like to thank Fia Lam of Simgot for providing a sample of the EA500LM for the purpose of a review. They have been burned in for a period of a week's time and are now ready for evaluation using my sources. IFI signature, Fiio K9 pro ESS, Fiio M15, M15S, IBasso DX300Max. IBasso PB5 amp. You can purchase a set for you here

Single dynamics will alway have a place in the audiophiles collection of IEMs simply due to their best in class timbral characteristics, natural tonal character and seamless coherence for the various sound tunings. In general Simgot is like an alternate Moondrop or Dunu in that they generally tune based on harmon curves with all the Harmon tropes both good and bad depending on how you like your harmon tunings. Simgots are generally balanced designs with some outstanding technical aspects to their IEMs. This being said, it is unusual to see a manufacturer make IEMs with exotic dynamic materials at the prices these guys are charging which leads to another aspect that your enthusiasts will gravitate to. It seems each manufacturer that makes these are striving for “better” performance out of the materials they chose with their house tuning aspects. This leads directly to what Simgot does best and is offering the EA500LM under the magical $100 mark for IEMs. What was clear to me on even open listening to the EA500LM was that these are a different take on what they have established with the prior EA500 and in some way a bit of an upgrade in the sound department. But this aspect will more or less be about what one likes in a sound profile. I have seen the various reviews online about the EA500LM and the views about them are, more or less, varied. From my own subjective view, on a technical level yes these are better than the EA500 and have slight sound tweaks to the same formula. Does it warrant another purchase if you own the EA500? The EA500LM to my ears leans a bit more toward being a side grade vs a clear upgrade. I think your average sound loving person that buys an IEM for occasional music listening or gaming using one of these IEMs would find just as much enjoyment out of the old EA500 which is about $10 cheaper vs the EA500LM. Now if you're a hobbyist and collect as many good to great sounding IEMs that suit your musical taste. Yes these are worth diving into just for that driver upgrade and the technical enhancements it provides.

What they come with.
The EA500LM comes with the darker gray colored shiny chromatic shells. Its all metal universal design is about medium size, oval design with a fairly shorter nozzle. The entire housing was made to fit inside your ears. Overall the design is identical to the older EA500 in just about every way. Same shape, same materials for the sounds, same cavity design with similar interchangeable tuning nozzles. They have included a new colorway for the included single ended cable to match with the EA500LM. This silver plated OFC cable will show you what the EA500LM is about but is by no means optimizing the full potential of the EA500LM. Includes their standard oval shaped all black zip up case. A bunch of extra nozzle rings two sets of extra nozzles that slightly rebalance the tuning and a single set of silicone tips. You can’t expect a huge variety of tips and a premium cable for a sub $100 IEM. This is basically Simgot telling you. You need to get some better upgraded cables and use your better tips. If you plan on maximizing the sound of the EA500LM. I highly suggest you look into your collection of tips and cables to enhance what they are about.

Dynamic based IEMs do extremely well when amped. If you want to maximize the dynamic contrast of your EA500LM and its overall performance, it can easily be driven from a simple source but it is when using your DAPs balanced out that will get you that extra bit of power so you will have to use another cable to do that anyway is my point. Might as well get something that suits the sound character of the EA500LM to your liking is my point. More copper based cable for fullness, warmth, a smoother treble with the boldest bass. A more silver based cable to highlight the technical aspects of the EA500LM to a greater extent or a mixture of both to get the best of both aspects from a cable to use on the EA500LM.

This review is mostly based on what was included but just know these sound better to my ears in balanced configuration using an aftermarket cable. Using Simgot’s own upgraded cable, the LC7. Brings bigger fuller dynamics an expansion of its stage, better sounding in every way possible vs the stock cable.

Use cases.
It is interesting to me that the descriptor for the EA500LM states it can be used for both music and gaming. Considering Simgot IEMs in general have good to great imaging, this makes a lot of sense to me. Testing the EA500LM with my Retroid Pocket 4pro and the DEW4X. OK now I can understand what Simgot meant by these being good for gaming, and I have to agree. These are not just good for gaming, they are excellent for media in general. The DEW4X dac/amp by the way is an excellent portable source for your phones/ gaming devices as it counters the general brighter tonal character of their IEMs by providing a punchy dynamic, warmer sounding source. The match there is undeniable in their synergy.

Using the EA500LM on my gaming laptop out of my Fiio K9 pro. Ok now we are talking about a serious source here. I have to admit for a portable solution the DEW4X is about as easy as it gets to a source that just jives well with Simgots own IEMs but when connected to my laptop out of my Fiio K9 Pro ESS. The performance is definitely maximized. I still say the synergy with the DEW4X is better but this is the reason why I mentioned earlier that the EA500LM deserves a better cable to use in balanced out. The EA500LM easily scales with more power and amplification, preferably with a warmer sounding source.

Music out of my IBasso DX300Max and PB5 Nutube Amp. For all the guys that say EA500LM don’t sound so cohesive. That's because you haven’t heard the EA500LM out of this combo I am using for music listening. This is absolutely bonkers sounding due to just how good this combo sounds. The EA500LM scales to better sources, let me put it that way.

Sound.
Harmon tuned IEMs are both good and bad depending on how you like your sound. If you're into your more warm/ smoother sounding IEMs, unfortunately that is not exactly what the Simgot house tunings are about. Simgot IEMs all have ample 10dbs of upper mid/ pinna gain which brings immediate clarity and detail. An added plus is that the tonal character of the upper harmonics for trebles and vocals also includes a touch of sweetness to the sound. Harmon tuned IEMs are generally more technical in approach and then when you have a treble that continues from the upper mids and extends over to the 8Khz range and then starts to deemphasize from there for extensions. You get a more technical leaning sound profile. Bass this time gets a bit of a sub bass boost over the original EA500. I would say it's a more technical sounding EA500 with an increase of subbass emphasis and a slight deemphasis for its mids forwardness.

I can understand what some folks mean by how they hear the EA500LM to be a bid disjointed. There is a bit of a contrast in tonal characters for this IEM. You get brighter, crisp more delicate treble notes and upper mid clarity and the detail associated with it but then you get a slight warmth, fullness and a bass bloom that introduces a bit of warmth to the overall sound.This would officially bring somewhat of a disjointed tonal character however that is not how I would perceive it.

I suppose if you had a darker sounding treble note to go along with what the EA500LM is doing that would bring a better cohesive tonal character but to be honest I don’t see it as an issue if anything this brings a bit of a multi speaker effect from what the EA500LM sounds like. It sounds like it has dedicated treble tweeters and a dedicated bass driver. As crazy as that sounds. It's not that the actual sound is disjointed, it is because there is a tonal shift from a warmer lower harmonics to thinner brighter upper harmonics.

Using the other two nozzle filters introduces even more trebles vs the stock brass nozzle. Most of my review was based on using the stock brass nozzle which I feel brings the best balanced version of the EA500LM..

Trebles.
Ample in emphasis and even more so using the two extra nozzles. The trebles of the EA500LM brings treble sparkle and presence for the sound balancing and it is one of those aspects that will depend a lot on how you like your treble emphasis. Simgot would not be Simgot if they had a rolled off treble or trebles that lack emphasis. I have yet to hear a Simgot IEM with a darker tonal character due to less emphasized treble. Simgot IEMs tend to lean a bit towards clarity and bright vs anything overly warm or muted especially regarding its trebles. The EA500LM here is no different if anything this area is where I feel Simgot can really give the enthusiast some real variation. The stock copper nozzle having the least amount of treble emphasis, even these will clearly have trebles being a part of its sound make up.
Simgot has introduced a kit in the past that incorporates an extra fitting nozzle with various density foams that brings down the treble emphasis to even a greater extent. Trebles are the area where some folks love a lot or don’t like even a moderate amount. I feel there is a lost opportunity to give a real variance in the treble tunings here. Because essentially what you are getting is a moderate emphasized trebles with their stock copper nozzles, silver nozzle with red ring brings even more emphasis with leans more brighter and then the silver nozzle with black ring brings the most emphasis out of the 3. It is more or less 3 different levels of emphasis in the treble department and it is just my opinion but it would be even better if they took the silver nozzle with black rings to go the opposite of the silver nozzle with red rings for a slightly warmer smoother treble signature.

This is in fact the same exact complaint I had with their EA1000 IEM. Because as it is constituted you go from sparkling to bright to glaring with these 3 nozzles. Would make more sense to go from smooth, sparkling to bright instead is my point to give a real variance on the tuning.

The trebles as it is constituted has plenty of sparkle and shimmer when called for and has a good amount of detail aspects to its make up. I do like the stock treble ability and emphasis for the base EA500LM tuning. You're getting a good balanced treble emphasis with some excellent tight transient qualities. Its solid treble emphasis provides a balanced combination of ability and presence, excellent details for trebles with a good amount of extension to boot. There is no lack for the trebles and nothing blunted in the treble presence. Shimmer and sparkles are always present for the stock tuning. Its overall presentation is balanced enough from the opposite end where there is a good amount of mid to sub bass presence to balance out its presentation.

Its included brass nozzles= best balancing of the Simgot harmon tuning.
Silver nozzle/ red ring = slightly brighter treble notes with uplift in slightly brighter tonality
Silver nozzle/ black ring= bright harmon tuning shifting sound signature toward trebles.

Mids, is a touch laid back vs the treble presence and the bass presence. I don't necessarily perceive the mids and being recessed here but it's not exactly forward in the mix either. I have seen some complaints of others saying the mids seem a bit thin sounding. Well yes when you're listening to them with the included cable and especially noticed more so when using the silver nozzles. This is where if you care enough to try for a $89 IEM, Simgots own LC7 cable. These are remarkable as it synergizes with the Simgot IEMS and provides that bit of added note weight that is missing from the stock presentation and does not actually enhance more of the treble emphasis in the process. This makes a bunch of sense that Simgots own cable synergizes well with Simgot's own IEMs. In any case the included cable is enough to show you what they are about and that is about it. It is a more technical leaning cable too meaning it provides enough transparency for the IEM to show what you are listening to but does not exactly optimize and maximize the sound of the EA500LM.

Mids technical aspects like layering, sound separation, imaging and its sense of space is good actually very good for a sub $100 IEM, even slightly better than the OG EA500. However its forward trebles and its more extended sub bass presence brings a bit of a V shaped sound profile, which is not exactly a bad thing but in doing so some may prefer a more forward lower mids presentation. The EA500LMs lower mids especially sound a bit more laid back vs the more pronounced upper mids which makes the mids sound more neutral for the mids for its balancing this time. The slightly uneven mids with the upper mid skew brings a clear- standard brass nozzle to bright- silver nozzle overall tonal character.

Mids performance varies with the sources and cables you attach to the EA500LM. A more neutral sounding source will make them sound a bit leaner. A more full bodied warm sounding source will bring more substance to how the EA500LM will sound so experimenting with your sources will certainly help if you feel the EA500LM can sound a bit thinner in makeup.

Bass
Leans more emphasis towards sub bass this time vs the OG EA500 more linear mid to sub bass emphasis. The ability of this new driver can dig deep at the same time brings excellent extension for trebles on the opposite end. The Lithium magnesium alloy dome shows it is capable of covering the entire gamut of why we listen to music in the first place. However, while I feel its speed and tactile nature is slightly improved from the prior EA500. It does not provide the same type of texture of the carbon composite dynamic used for the OG EA500. It's certainly not bad here and again it will come down to just how finicky you are with your bass presentations. Its bass performance is quite good here even though I am nit picking more than anything.

Bass end keeps up with the more technical presentation and certainly has a good solid tight quality to the sound. It's not as impactful in the mid bass for the EA500LM but certainly does not lag too far behind.

A bit of a suggestion for Simgot but if you guys want to use your Diamond like carbon for bass and this new Lithium Magnesium alloy dynamic for mids and trebles and then use the front passive radiator tech thrown in from the EA1000 for a new dual dynamic IEM. Now that would make for an interesting IEM.

Sub bass fans will like this new tuning angle vs the prior EA500s in that it does have more emphasis leaning toward sub bass and digs deeper in comparison . Where it lacks a bit of texture is easily made up for in its tight speedy presentation. Bass overall like all of Simgots IEMs are satisfactory. Some might prefer having a bit more mid bass emphasis but overall there is really not much to complain about. This slight tweak to the harmon tunings from the prior EA500 actually opens up more of the mids which leaves the tonal quality to be influenced more by the same 10dbs of upper mid gain more so than the warm low bass presence. Hence I hear a bit of sweetness on top of its overall clarity for the EA500LM. Don't know if it is due to the tonal quality brought by this material or if it is a residual effect of having ample trebles for this material.

Overall
I would say the EA500LM is a nicely technical clean sounding IEM but can be a bit strident when using their other filter sets. Which brings me to my biggest criticism for Simgot. Why include 2 even more treble infused nozzles when the stock tuning already has plenty. It would be very interesting to see an actual count of just how many folks use the other nozzles. The whole idea of the nozzle filters is to bring some variance/ variety for the tunings but so far from all their sets that have tuning nozzles, they only include nozzles that actually increase the trebles and none that actually lower the trebles. This to me does not make much sense. I get that Simgot is going for specific harmon tunings. Some of the best IEMs I have ever heard and I have heard more than a lifetime's worth of IEMs, do not adhere to Harmon tunings. I am just saying.
But then they provide a tuning kit you can buy? I know each manufacturer has their own style of tuning, be it the main tuning engineer or a committee that makes the final decision on how to design a sound. But just how many of these reviews must you guys read before you realize. Hey, maybe our Simgot harmon curve needs reinventing? A lot of these reviewers are saying the Simgot harmon curve sounds a bit bright? You have to know this bright version of the Harmon tuning is fatiguing meaning it's not the type of sound even for the most treble enthusiastic person to actually listen to for a longer period of time.

I am telling you guys. Your Harmon Target curve is too bright and this is coming from a middle aged enthusiast that don't hear as well as some of these younger folks that review these IEMs. There is a fine line of being technical and bright and technical and just right. You guys are so very close to getting Technical and just right but it isn’t just right. It is just a hair over just right. Hence the need for an actual greater variance with your tuning curves when you include your nozzles. Giving the consumer something that actually dips into the warmer side of tuning vs having 3 variations of what is essentially the same thing increasing treble presence with each one. Otherwise the trebles for the EA500LM is highly detailed and with plenty of addictive sparkle in the mix. I do like the EA500LM quite a bit and not too many sub $100 IEMs will be exactly what these Simgot IEMs are doing at the prices they are sold for. However I feel the inclusion of tuning nozzles can use a bit of a reshuffle as it is pretty much the same idea with all their IEMs. It goes from clean--glaring in treble performance.

Who prefers glaring? Not too many people I know to be honest and that is my point. Tuning nozzles are effective in getting the tonal and balancing right for the end user but if the options are just limited to bright and even brighter. That is not much of an option if I am to be honest. Simgots IEMs are definitely worth owning due to the positives I have laid out but at the same time there is potential to be even better and it has to do with the various nozzles you guys put out with the same tunings. Just some food for thought.

Penon Renata. ( pic shown with Penon Quattro )

The Renata has been a cable Penon has been working on for a while. It seems the manufacturing process for this cable is more complicated than just sourcing the cable material and calling it good.

Recent newer cable trends for Penon have them diving into the alloy arena for cable material and I associate the alloy version of the tried and true copper material a bit different than your garden variety copper. Let me explain. The reason why I have come to this conclusion is because if you look at their more recent cable offerings the Penon Bass, ISN CS02 and now the Ranata all 3 of these cables have in common one ingredient that are included in the 3 cables. Alloy copper. Just from how I am hearing the base makeup for these cables. Alloy copper brings a bit of a higher end copper sound properties meaning while traditional warm and dynamic descriptors apply to copper and its sound properties.

Alloy copper brings a bit more precision with better transient properties into the mix making the alloy copper material worth exploring. It can enhance the bass end which is the specialty of the Penon Bass cables. It can also enhance all regions of the sound with better perviced details yet a relaxed take on the cable sound, one where precision and details reigns supreme as in the ISN CS02. And now we get the Renata.

Searching up the meaning of the name Renata. Means reborn or renewed. Penon does not name such cables a random name. Their naming scheme usually indicates what the cable is made of or what the cable is about. In other words it was given the name Renata for a reason. So what is the Renata and why is a cable given such a name? Because it will renew your love for your IEMs.

Renata uses some upgrades from the previously mentioned Bass and CS02 cables in the mix. Specifically silver. When silver is mixed with alloy copper these two ingredients in a cable should yield a more technical enhancing type cable. And that is what we get with the new Renata. But what is curious about this particular cable is that it also includes a process of apparently using some liquid nitrogen for its crystal silver and then the other half of the cores using silver plating over copper alloy. Sounds exotic yes. Which is great but how does that translate to your IEM sound experience?

Penon is not new to trying out new methods and materials for cables. From what I remember they were the first to use mineral oil soaking for the ISN Solar, and the first to use graphene for the Penon OSG. Liquid nitrogen single crystal silver+ Furukawa copper alloy plated silver? Sounds like a chemistry experiment is what I am thinking. The bulk of the strands are using that alloy copper plated in silver and then about a 6ths of the strands has that liquid nitrogen single crystal silver thrown in.

The base sound performance is ever so slightly warmer than leaning brighter which matches well with more brighter tuned IEMs. I know most cable folks refer to having a type of pure silver and silver content as leaning toward details and treble emphasis, it seems the silver cores here was deliberately used to get better upper harmonics involved with its musical based alloy copper cores.

To my ears these don't sound like your traditional silver leaning type sound but definitely a bit more in the way of copper properties vs the silver. So this one is a bit nuanced in what it does, definitely versatile but has some unique properties which I will explain a bit more in the read.

Its all black PVC finish does not really allow one to check out the inner workings for the Renata cable so it will be purely based on how the cable performs for IEMs. As stated before ultimately these are a type of hybrid cable which actually specializes in the inner workings of how your IEMs sound. The Renata is not the thickest of 2 core type cables I have experienced. That title belongs to Effect Audios Code23. I would say these are similar in gauge to their more recent Code24c. Similar in thickness and pliability. These can conform to the traditional hand wrap but they are decidedly on the thicker side of cabledom. Not the most flexible but certainly not bad here. It does need them ear guides to conform to your ears so just now these are a bit bulky but moderately flexible at the same time. Minimal microphonics is heard and once again will not detract from the sound getting to your ears.

In testing the Renata and how it enhances a sound character, it is clearly evident to me that it does sound separation and imaging better than the other two cables that use alloy copper, the bass and CS02 cables. And due to its thicker, substantial cores adds more of a thicker note weight vs those other two especially the CS02 in comparison. If you ever had a 4 cored version of an IEM cable and then tried the same cable with double the core count you might know what I am talking about here.

Renata does not enhance a stage like how pure silver or more silver based cables do. You get a moderate sound expansion in comparison again more akin to higher end copper properties. But what it does do is give a proper spacing for the inner workings of the sound of an IEM. Notes are better separated hence giving you better imaging. Vocals to instruments no longer are one image. You get better space in between elements of your music making your IEM sound dare I say it. Higher end. And here is where that definition of the word Renata comes into play. These cables will renew your love for your IEM sound. I like that it's more alloy copper based vs the silver element here. Which means your musical sounding IEMs will continue to be musical and your brighter IEMs to sound a bit more musical as well. Unlike cables that lean heavily for their transparent nature. As transparent as the Renata is, it does not actually focus the listener's attention toward the trebles. Which makes the Renata more versatile than something like a pure silver cable for example.

The specialty of the Renata is how it focuses the layers of the mids and that sound separation that it helps with and this type of presentation is relegated to higher end IEMs in general where you pay the uber bucks for that sound separation. Renata gives you a taste of this aspect from whatever IEM you attach them to. These do wonders for dynamic based IEMs due to its ability to chop socky that imaging. If you feel your IEMs have somewhat of a veil to their sound. These cables will help in that department. If you feel your IEMs could use a bit better imaging or already have good imaging, this aspect will just be more enhanced with the Renata.

It is a well balanced cable but due to the cable elements helping out with the imaging this affects the bass end to sound a bit more sculpted and defined. Bass emphasis is retained from the original sound but not only sounds a bit better separated from the mids but will have better definition from your stock cable. It's like a higher end Penon Bass cable but with even better separation of the sound elements and a thicker note weight. That in of itself is an improvement but the fact that this cable enhances just about every aspect of both the Bass and the CS02. I can understand what Penon was going for on this one and why it was apply named Renata. ( Pic with ISN NEO3)

Overall the Renata is yet another brilliant cable in a line of brilliant cables made by our friends at Penon Audio. If you own the ISN CS02 and or bass cable but want a higher end version of them both that is exactly what I feel the Ranata is. It is the CS02 that is definitely the first version of the Renata.

In the end it is a hybrid type cable that brings a higher level of imaging and inner details of your IEMs. It will work wonders for IEMs that seem a bit veiled sounding but even with IEMs that are much more resolving the Renata shows consistency in how it presents your IEM sound. It will be versatile and excellent for numerous types but more specifically dynamic based IEMs. Once again thanks for taking the time to read.

Disclaimers the Renata sample is the property of Penon Audio. Was provided for the purpose of a review. The thoughts on the sound properties were from just using them for a period of a month's time. If you would like to purchase a set for you. You can get them on Penonaudio.com.

( Rhodium plated plug, Palladium plated purple plug, OFC copper plug shown)
Extra
So I posted about the Renata a bit on the Penon and ISN thread. The cable can be enhanced a bit further by using Plugs made specifically for Penon modular cables. I noticed these plugs do have an effect on the overall performance of the Ranata cable. If you want to lean the tonal character of your IEM to be a bit more brighter in focus with better clarity. The Rhodium plated plug adds better clarity to the Renata cable make up. The Palladium/ purple plug enhances what the Renatas strengths are in the form of bass sculpting and even better imaging. The OFC plug gives the greatest note weight, fullness and body to the Renata sound.

Being able to customize how the Renata performs to an even greater extent is what these plugs are about. My favorite on the Renata is the Rhodium plug on them. Absolute best detail from IEMs it is attached to with this plug.

Tansio Mirai-X

Tansio Mirai has been making hand crafted premium IEMs for 10 years. How we know that is because they just released an IEM apply titled the 10th anniversary or simply TSMR-X .

Any IEM that titles a product with an anniversary edition in theory should bring the best efforts from said manufacturer regardless of who it is. I mean you don’t call it the 10th anniversary for no reason right? This is basically that company telling you. This is one of their finest efforts to date.

It is my firm belief that if you have been making audiophile grade IEMs for the past 10 years then you should by the end of that 10 years of experience come out with something substantial. Something to live up to the name of the 10th.

The new TSMR-X has a host of trickle down tech from the drivers chosen to the way it uses venting for its overall sound to bring something not only new but something very substantial for the audiophile. In this report I will go over the details of why I consider the TSMR-X a very appropriate title for this product. If you follow along the discovery thread I posted a few impressions about them giving an early depiction of how they sounded even out of the box. I feel I got enough time to figure out what the sound is all about and here are my findings.

The TSMR-X introduces something new from the company, a venting module they call “Custom film retarding driver” which affects the full frequency sound of the TSMR-X. This in conjunction with dual Sonion BAs for treble. Dual Knowles BAs for mids and 2x8mm carbon mixed/ composite dynamic for bass. Essentially it is a 6 driver IEM but Tansio describes the IEM as having a 7th with this vent module. I know there is some debate regarding this newer venting driver they have used on the TSMR-X but it does have an affect on the sound and your overall user experience in the end so it's not a wrong descriptor that it is using a 7th driver.

On top of what you get for the premium drivers used on the TSMR-X, Tansio Mirai incorporates an effective 3 switch instant bass sound eq system via tiny switches on the shells. The Switches adds legit variability to the sound profile for the TSMR-X. If you didn’t know, the tuning switch is not new to Tansio Mirai. They have been doing tuning switches on basically all their IEMs from TSMR-2 all the way to the RGBs. So these guys have had 10 years of know how to do this right. Will go into that much more so in the reader.

I asked what the vent module does and this is the answer.
“ The film slow pressure driver creates a more comfortable and relaxed listening feeling which not only expands the sound field, but also makes the sound overall more natural and smoother, and the bass is more flexible. Using more efficient filtering technology, the background is cleaner, the mid-frequency vocal is cleaner, the spatial stratification and positioning are clearer, and the high frequency is smooth and non-irritating.”

So apparently this vent driver affects the overall tonal character, technicalities: imaging, staging, sound separation and details. Also helping out the bass get more air and trebles to become a bit more smoother in presentation. And this is the aspect that really sets the TSMR-X to be different from your garden variety hybrids especially at the price it is being sold for. The venting driver also relieves any type of pressure build up that can happen to all BAs or hybrid sets that are closed in design. The end result is a comfortable listening environment where it's just you and the sound.

What it comes with.
TSMR-X comes with 2 sets of standard silicone tips. A smaller white square zip up case and what has become standard for Tansio Mirai. A very transparent SPC OCC cable that I am very familiar with. This is the same cable that I have seen Tansio Mirai use for the Akiba, RGB and the Sands.

I will go into why it might be a good idea to dig into your cable collection on this one. What's included in the box is actually a nicely transparent cable. However this is a case where transparency, while always a good thing for an included cable, does not match exactly well for the IEMs sound tuning. Some may not like how the cable enhances treble aspects of the TSMR-X tuning. Hence a highly transparent cable does not necessarily provide the best synergy when it comes to the sound profile of the TSMR-X. I will go into that much more in the cable pairings toward the bottom of the read. To be fair this SPC OCC cable that was included is a better option than what they have used in the past so this is a case of giving the consumer what they had on the shelves vs creating a new cable just for the TSMR-X.

I don’t find it necessarily as a negative, but for something that is lauded as a 10 anniversary limited edition. You figure they would match the cable up a bit better for better synergy between the IEM and the cable. In any case it is worth exploring different aftermarket cable options and this was also the case for the Lands, Sands and the RGB. The cable does a great job at leaning the sound a bit toward the Xs analytical side but much less in the way of musicality or warmth. And that is my reasoning for exploring different cable options. Folks that are dealing with IEMs at this level will roll cables anyhow so just know the TSMR-X will sound even better with better cable matchups that will suit your taste in how the TSMR-X can sound for you. As you will find out in this reader, variability is one of the TSMR-Xs strong points. With the inclusion of your favorite cables, even more so. This report however is mostly based on what was included so you know what to expect from the stock accessories.

Disclaimers. I would like to thank Penon and Tansio Mirai for the early review sample of the TSMR-X. My report here is strictly based on how I perceive its performance. The sample was burned in for a period of a week's time and is now ready for evaluation. You can order a set for you on penonaudio.com. I always review IEMs based on a minimum of 5 sources to test how they do with various source pairings and source signatures. The TSMR-X was tested using my Fiio K9 pro ESS, Fiio M15S, M15, Ibasso DX300Max, PB5 amp, Fiio BTR7, and IFI signature.

It seems 100% of the focus for this TSMR-X project was in the tuning and the RnD it took to get the vent driver to work for the sound they are going for. And they are also using a coaxial dual push pull bass design for the first time and much of the attention for its design was focused on these bass drivers and how it affects the rest of the sound tunings for Tansio Mirai. The accessories seem like it is the stuff they had on hand. The tips aren’t bad here and certainly usable but once again not exactly perfect for you and or how you want to hear the TSMR-X. I am sure you will dig into your canister of tips to try out. As all things that are worthy. Try this and try that to get the best sound experience using the TSMR-X which goes without saying.

How much you will like the included cable will depend on if you want the most detailed version of the TSMR-X. Let me explain. The tunings- I say tunings as the switches on the set will give great variability on the sound design on the TSMR-X is fantastic but the included cable enhances technical aspects with a skew toward trebles and detail. Which means you might think I am smoking something when you first hear these out of the box. Ya burn them in, smart guy! If you know what's good for you. They don't require a large burn in but some music played through the drivers for a few days will do wonders for overall sound coherency. Trebles do seem to smooth out a bit as well. Bass becomes more defined and tighter after some run in and here is where the TSMR-X needs that music to burn in. It will be the dual 8mm dynamics that will benefit the most.

How they sound?.
The TSMR-X are using some of the most effective switch systems I have seen since the InEar ProPhile 8- Look these up on the google if you're not familiar. And more recently the Penon Turbo. The default switch gives the most balanced take on the Xs sound and will be called reference as this is the mode the TSMR-X comes with. This time there is not a big variety of mix match switches. Each of the 3 switches gives you different levels of bass engagement. The 1 switch is roughly about 10dbs of bass and an increase of lower mids, the mid switch is about 7-8dbs of bass which is balanced with its upper mids region giving the most tonally balanced take on the TSMR-X sound. The 3 switch gives a more neutral leaning sound with a mild 5-6dbs of bass performance increasing clarity with a focus on treble and upper mids.

So to get it straight, you can’t mix and match these switches as it will default to the most boosted bass switch. The good news there is that. Each switch gives you a different sound profile that is not an afterthought on how the TSMR-X was designed. The #1 switch gives an effective bass focused sound that works great for EDM, hip hop, Reggae and RnB for example. A more L shaped design. The #2 switch gives a nicely balanced U shaped tuning that gives the best tonally balanced character and also a much cleaner mid band which works wonders for something like jazz, rock, metal, acoustical, pop, vocal and orchestral music. The #3 switch is the most technical as it has the least amount of bass from the 3 switches which effectively focuses the sound balancing toward details, upper mids and treble emphasis for acoustical, classical scores, vocal and even monitoring.

The default mid switch is on when you first get the TSMR-X and this is the best balanced tuning out of all the switch combos. What is interesting is you can make them sound absolutely ruler flat neutral with the switches all in the down position, which I believe turns off the bass altogether. But then you can add a big boy bass amount for the dual 8mm carbon dynamics for a bonafide basshead level of bass by throwing the bass or 1 switch up. It is madness just how different each flick of the switch will get you for sound. It's interesting that the bass switch tips the bass end which already has an ample 7-8dbs of bass and sub bass in reference mode to roughly 3dbs more. That is a legit bass boost from 7dbs. Not is all good however as the bass in this configuration brings instant attention to the bass area, but some folks like that. If you're the type that sacrifices other aspects of sound just for that big bass then this can be a good thing. Think audiophile basshead mode. I always tell fellow enthusiasts. You don’t include two powerful dynamics in a sound design to get you a paltry 5dbs of bass is my point. But then for those folks that want that, that's what the # 3 switch is about.

For an eclectic music listener you might want to stick with the mid #2 switch in the up position and the rest down which gives you what Tansio Mirai was intending you to hear from the TMSR-X, but then when your in the mood that #1 switch is always there for when you feel you need some extra boom for your music or the #3 switch which effectively drops that big bass end to more neutral levels. This brings a legit variability that you can’t say you get from your typical hybrid IEM.

In its reference form, the sound of the TSMR-X utilizing all of its drivers plus vent system sounds like a neutral harmon reference type tuning with a slight upper mid skew and bass emphasis leaning toward sub bass. Has extended treble emphasis with a rich, punchy rumbly very high quality dynamic bass end for a U reference balanced tuning. Tansio Mirai has always tuned IEMs with treble emphasis, monitor like presentations and always with bass. Their vision of sound balancing is not just about trebles and the details associated with the region.

Mids of the Xs reference tuning takes a step back in the mix to give a grander scope of what your hearing vs something more intimate. These might not appeal to folks that love their mids more forward in the mix. If you listen to larger set pieces that grander scale of sound comes into play with this type of balancing. TSMR IEMs have always excelled at classical orchestral pieces and the new TSMR-X is very exemplary due to its tuning.

I am used to having Penon tuned IEMs where mids are more forward with more prominence which are always a part of the Penon house sound. It is quite refreshing to hear a contrasting IEM where mids are not exactly forward in the mix, however this does not mean the mids are somehow lacking or are 2nd place to the trebles and or bass here. I wouldn’t call it recessed mid range on the other hand either. But more neutral in balancing. Even though the mids are not as forward as today's harmon tuned IEMs can be, what it does have is a crazy sense of air, imaging and some outstanding spacial qualities to the sound that seems to be a part of its design make up. Perhaps due to that vent driver and partially due to the relaxed nature of its balancing. You get a nicely wide above average stage with some really good depth to the sound. The real surprise with the TSMR-X even though I make it sound like it is more tuned for classical music. Which it excels at. Is just how versatile the TSMR-X is. It can be very precise and detailed for classical, it can give you a speedy bass end and that edgy guitar presence for something like speed metal, then it can give you the room filling low end proper for hip hop, EDM and reggae. Its versatility has everything to do with having a legit bass end and an addictive sparkly treble end to go with that reference level of technicalities.

There is some variance to the mid bands when you add the #1 bass switch with the rest of the switched down. This also adds some lower mid forwardness which actually works better for male vocals. Adds a slight warmth to the lower mid tonal character while adding body in the region. Once again showing the TSMR-Xs variability. Usually with tuning switches we get a very mild boost here and there and that is that however, the TSMR-X has to be the most versatile Tansio Mirai IEM to date due to how effective the switches are. You want 10dbs of bass for out and about? You get it. You want the absolute best technical performance out of the TSMR-X for some detailed listening?. Go back to the reference tuning with the #2 middle switch. You want absolute detail from your TSMR-X sound? Go for the #3 switch. Just from my own experience with the use of tuning switches. Most of the time I set it to one configuration and I just leave it at that. Not so much the TSMR-X. The switches are there when you're in the mood.

Generally, when we talk about reference tuned IEMs we are talking about forking out a small ransom of your life savings for the privilege to own a pair. Not so much the TSMR-X. On the Penon site, you will see that they value the TSMR-X at $699 but then they are sold for $399. What gives? Tansio Mirai does not have to give you a discount. What have you done for them?

The price is the price. However what they are doing is making the TSMR-X more accessible at a price that folks can actually afford. I know $399 is not a cheap amount of money but a comparable product at $399 is just not something you will see on the regular. What I mean by that is. Even though folks have tried cheaper reference neutral IEMs and sold them for cheaper. There is always something lacking about the end sound. Take the Geek wold GK100 for example. This is a cheaper set going for a reference type tuning for half the price of the TSMR-X.

Its brighter upper mid skewed IEM got some good qualities about them but the piezo treble with thinner notes with a more warmer bass dynamic end does not make it sound too cohesive or natural. Not bad but you can tell each set of drivers used does something a bit different and not all together there. It does not have the same sense of air nor does it have the stage element down for a real reference tuned IEM like the TSMR-X. Its stage is decently wide but has almost no depth to the sound. It was a good attempt at a cheaper reference tuned IEM, but in the end its driver quality and tuning is not exactly what the TSMR-X is. TSMR-X is more comparable to higher end products and while you might read reviews saying this IEM is good as an IEM that cost twice as much.. I am gonna tell you from first hand experience. I do believe the TSMR-X is easily just as good if not better than a lot of IEMs costing a whole much more cus I regularly review and own much more expensive IEMs. So Tansio Mirai is not pulling some magical number out of the air when they say its value is stated to be $699. IEMs with 3 legit sound profiles and the level of technical sound performance you get from the TSMR-X is much more closer to IEMs that the RP price has listed. Not so much for the current going rate at $399. If you ask me if the IEM has value in mind at $399. Sure hows about getting 3 legit sound signatures all can be sold at $399 each if you do the math on that rounding off the price to $400, that would be $1,200 total for 3 different hybrids that the TSMR-X can represent.

Trebles
Is Tansio Mirais specialty. These guys dare to give you a larger treble shelf injecting a well balanced weighty treble notes with airiness and extensions people chat about on the threads. These guys are not shy about bringing the treble. I am no treble head but I do appreciate a good treble end for a hybrid design and you can’t say you have a reference tuning with a weak rolled off treble end.Two Sonion BAs were tasked to do trebles for the TSMR-X and its trebles are balanced extremely well including a mild emphasis in the 6-8Khz region. I know what you're thinking. Wow these are gonna be sibilant and will poke my ear drums out with sharp trebles. Nope. That's not how I am hearing the treble end on the TSMR-X. The trebles do have some presence in this sensitive region from what I am hearing, but it does not have a dip in this area either, meaning it was deliberately tuned to cover this sensitive area. What this does is brings a more weightier treble note that for the most part does not step out of bounds. This is where the whole notion of the cable pairings will be so crucial to how you're hearing the TSMR-X. A warmer copper based cable will tip the treble scale to be smoother than the intended tuning or if you like the stock cable, actually brighter.

In its stock form, it brings an extremely well balanced treble end from lower trebles all the way to the upper trebles. The TSMR-X has the treble notes and definition it does due to a more complete coverage of the trebles vs using a dip around the region that can cause a bit of an unbalanced treble. I have yet to hear a Tansio Mirai IEM with a rolled off treble by the way and they certainly are not going to start with the TSMR-X. The balancing on the sparkly treble end is done exceptionally well and just enough emphasis of very resolving and borderline edgy but at the same time this tuning gives a much more complete treble without the use of piezos or EST drivers. The end result is, there will not be a treble note or treble tonal quality you will miss on the TSMR-X. It's all there in full glory with some very addictive sparkle and shimmer to boot.

One aspect I appreciate about that treble is that it has a solid note weight to the treble end and has that addictive sparkly treble note that makes you take notice. Don’t mistake ample trebles with treble fatigue. As much as I have grown to appreciate the masterful design of its coaxial bass end, it is the treble end that has steadily grown on me since listening to them for the first time. To be honest I was initially a bit worried as their last hybrid offering the Sands had one of the largest treble shelves of any IEM in existence that can cause hearing fatigue if you're using the stock included cable, which so happens to be the same cable included on the TSMR-X. The good news here is that this time around, the treble area has a much better execution, better balanced and works extremely well with all 3 bass modes at play. The switches do not seem to increase the amount of emphasis for the region but the #3 switch with the least amount of bass emphasis out of the switch options brings more attention to the upper mids and treble emphasis for folks that want maximum detail.

Mids
Mids are handled by a dual Knowles BAs and I can tell why this particular set of BAs was chosen for the task. Unlike Sonion BAs with their more richer tonal character, this set of Knowles BA is a bit more precise in its tonal and technical character and here we get a mids performance that suits the TSMR-X and its goal of tuning variability from flat neutral to a more musical take on sound.

Mids have just enough forwardness to the sound to not be recessed with a slight upper mid skew for solid clarity and presence at around 8dbs of emphasis for the pinna gain aka upper mids. Female vocals stand out just a bit more so than male vocals but this aspect can be mitigated by using the 1 or bass switch which gives a bit more emphasis for the lower mids region. Again the variability on the sound is strong with this one. The mids tonal character is just ever so slightly on the dry side, which is not a bad thing especially if you're a tonal purist. While some of that rigid BA character comes through with its performance, what makes the mids bands stand out is not necessarily how the mids are so technical and clean or how it is balanced overall in the scheme of things. It is its dimensional and airy quality.

Well recorded tracks in larger venues you can actually hear the air and size of the venue, the patrons clapping in whichever area they are sitting. The plucking of strings. The breathing of the vocalists. The subtle strum of the brush work. Macro and micro details in space at this level is something you do not associate with IEMs at the price and here is my reasoning why these can easily be worth that $699 price point. I have yet to hear just how ambient the sound performance can be from any IEM I have heard at the $399 price point. Well, the Taniso Mirai Sands can sound like that but it has its share of flaws the TMSR-X does not thankfully share with. It is the sound layering in space that is spectacular on this IEM. Then you add a very high level of precision and that dimensional imaging and you get some spectacular results for larger Orchestral scores.


But then if you're in the mood for some grunge rock. Ya these excel at that as well.

The mids don't have the most realistic timbre which does show your typical slightly hard-edge timbre from BAs. However, its tonal character from anything for vocals, acoustics and synths sound exceptionally clear, vibrant and precise. Then add this crazy level of sound separation with layers you would expect for using two dedicated drivers for the mid bands that all have a part in a grand scheme of the sound profile.

I have plenty of IEMs with either forward mids or mids being the focus for the IEM sound tuning which takes a bit of that spaciousness and air out of the equation with a more intimate stage at the same time. Tuning an IEM is such an art form. If the sound is too forward, you don't get a grander sense of stage. But then on the other hand if you tune with recessed mids you get that stage element but then music sounds a bit unnatural. The TSMR-X has a nice balance of a broad stage with good depth and a true dimensional character to the sound that can make the TSMR-X regularly sound. Spectacularly immersive. This is yet another aspect that you have to explore with cable pairings. Mids can have more note weight and forwardness in the mix with the right cable.

Then there is its Bass.
Two very capable 8mm carbon based dynamics were stacked on top of each other in a coaxial push pull configuration. My prior experience from this dynamic design dates back to some old school Audio Technical days circa year 2014, the ATH-CKR9 and CKR-10. I still own. More recently Dunus, DM480 & Vulkan IEM. Just know the bass in this configuration doesn't mess around. Faster tighter bass, better texture with some very satisfying impact. This configuration for bass gives some clear advantages vs the standard single dynamic taxed with the low end.

First of all the whole entire sound tuning hinges around just how much emphasis the bass end the TSMR-X has. But what it has is a doozy. Push pull coaxial bass is something to behold, it isn't just two dynamics bringing the boomstick. It can do that but more so much like the rest of the sound signature, it is about precision. This configuration helps the speed of the dynamic. While speed is not exactly as fast as a pure BA bass design. It more than makes up for it with a speedy addictive highly defined bass end. With proper burn in the bass can be the highlight for the TSMR-X or play a clear supporting role depending on the switch you are using.

You're not going to hear a slow unrefined sloppy bass end here at all. The quality here ramps up just as much as how detailed the overall sound experience can be. The Bass end is one of the best in its class. If you wondered what your higher end all BA or hybrid set using BAs for bass could sound like with a very high quality potent dual dynamic bass in coaxial configuration can sound like instead. Look no further than the TSMR-X. If the broad wider sound profile and its breathtaking airy sound quality dont WOW you at first, the bass here certainly will.

Bass has the quality level yet once again that is not exactly common at the price you're paying for a set. Its sub bass reach is serious business. Its textured rumble is addictive and proper for any music that requires some authority down low. The TSMR-X variability is large in part to do with just how capable and complete the bass end here is. Not enough bass for you? Just flick on the 1 switch. I think even basshead folks will be impressed. In fact what you're actually getting is a bass quality akin to some of the better hybrids in existence and no one is going to think. Ok these could be better. Sure there is better but that's if you're willing to spend a whole lot more.

For what's included, the quality bass end and its variability is what truly separates the TSMR-X from the many me too hybrid IEMs that use a dedicated dynamic driver for the bass. This is how you do it right. This is how you give a choice to the end user. The bass end if anything gets an A+ from this bass head. Its tasty bass end makes this set a legit audiophile basshead set and I can’t really say that about too many IEMs I own. All IEMs include bass in the tuning process but not all of them have the quality level we are talking about here. Even at the big boy bass 1 switch we are talking about bass that is well controlled. It's bigger and controlled at the same time. It becomes a musical beast but that same bass can be moderate and delicate at the same time. How many IEMs you own that can do that with an adjustment of the switch? Is my question.

In the end I know this one went a bit longer than my usual review but hey these deserve every bit of praise you're going to read on the dedicated thread here. These are exactly the type of IEM we have to encourage manufacturers to come up with. It took a statement piece by a little unknown manufacturer in the scheme of things that bring so much value to really bring their name into the mainstream. Tansio Mirai is serious and if you can’t tell the TSMR-X is in fact a statement piece.I am here to tell you it does more than that. It raises the bar for hybrids sold anywhere near this price range that others will have to reckon with. It's the type of IEM you take on a long trip overseas as you can’t take. One IEM for EDM, one IEM for classical, and another for speed metal. No, you can just take the TSMR-X as it will excel at all of it.

I think the one area the TSMR-X will not be the absolute bees knees will be for vocal music. Believe me its broad spacious mids does a number on your favorite vocal tracks but I know most vocal lovers would prefer a much more intimate experience with vocal projection when it comes to listening to vocal music. But otherwise you want to talk about having 3 legit sound profiles in one IEM. These aren’t just slight tweaks to the same sound formula like what you see in most tuning switch varieties. The tuning switches will give you 3 different sounding IEMs in one. This do it all IEM is one of those rare IEMs that comes along that is so very much different from its peers in a good way that you have to take notice. If the sparkly treble and deep full impactful agile bass don’t get you into your music. Its airy broad holographic mid range will. Thanks for taking the time to read. Oh yea I am not done. Here are my findings for cable pairings.

Something this good in your collection deserves a better cable. These are my findings when it comes to cable pairings. The resolving nature of the TSMR-X means it will be very flexible to what type of sound you're going for more so than most IEMs. Cable matchups will make them sound a touch warm all the way to neutral bright. The cables I am pairing with the TSMR-X do not change what the essence of its sound signatures are but it will tilt the tonal character more towards how you prefer to hear the TSMR-X.

First off is one of the absolute best cables you buy at the $100 level. The ISN G4. This cable is a hybrid type cable meaning it uses both copper and silver plated copper but then it introduces some graphene in the mix as well. The end result is something that is both technical yet bringing the best of copper properties. This cable and the TSMR-X match extremely well as I feel it enhances and highlights the TRMR-Xs strengths. A better sense of bass impact. Adds some meat to the mids all while not degrading any of the detail aspects including its lovely sparkly treble end. The included cable is a similar makeup but I feel it's not exactly what the G4 here gives you. Love the spacious imagery of the TSMR-X the G4 actually enhances this aspect. These just synergizes with the X to the point where I thought it was one of the better matchups including higher end cable options.

Penon OSG. Ok so you want a cable that is a direct upgrade on what was included as you like what that cable does. That would be the OSG. The OSG is not only a more refined experience out of the TSMR-X but much like how the prior ISN G4 does not hamper any of the technical aspects of the X if not just outright enhance these aspects. Better stage, better depth, even better imaging, sound separation and details overall are all enhanced using these cables. What I like about this particular cable pairing is just how even handed the entire sound performance is using this particular cable. Very nice matchup. If you love the Technical aspects of the TMSR-X and want that as a highlight to your sound experience the OSG is one of the best in that regard.

The third is an Effect Audio cable.
The Cadmus X Ares S cable. Reason why this cable matches up so well with the TSMR-X is due to just how well balanced this cable performs for the 3 tunings on the TSMR-Xs sound profiles. The UPOCC copper type cable and the other half being cable cores from the Cadmus is something to behold on the TSMR-X. These cables give the best tonal character to the TSMR-X. Bass performance is just outstanding using this cable as its mostly high end copper cores it is using. Its mids have more substantial note weight to the sound. Yet at the same time, much like the prior cables there is absolutely no loss of technical aspects to the Xs sound profile. If anything this cable gives a distinct black background to your music which enhances that holography aspect of the TSMR-X. When a cable just synergizes with the TSMR-X. It just synergizes with it and that is what I feel this cable pairing is doing. The truth is I like all 3 of these cables and how they actually enhance the strengths of the TSMR-X but this cable pairing I felt is special.




ARES S & TSMR-X
I am continuing the experiment with cable pairings and some of you have expressed the need to mitigate a bit of the treble sheen on the stock sound of the TSMR-X. Again a lot of the cable pair ups I am posting about is subjective on my part but so I happen to own a lot of cables. The Effect Audio ARES S is an excellent match on the TSMR-X as it enhances its bass mids, retains its stage and its technical aspects but slightly smooths out the trebles. Gives a more tonally correct aspect to the TSMR-X sound. Instrument and vocal timbre is enhanced using this cable as it is a highly resolving UPOCC copper cable. I actually tried some of my other pure copper cables and I can tell a lesser resolving copper qualities that come from those pairings. Some actually make the TSMR-X sound a bit veiled which is a big no no.
In my opinion if your going to upgrade or enhance the TSMR-X a higher resolving copper cable is what synergizes with them. Not so much your garden variety cheaper cable that comes with many of your IEMs. If you want an enhancement of its tonal, timbral character with more of a focus for the TSMR-Xs mids and bass with a smoother treble note while maintaining that technical edge of the original sound. ARES S gets my vote for the best pure copper cable to use on the TSMR-X. If you can get a hold of the ARES S 8w that will be even better. Which will enhance the TSMR-X stage with even greater note weight. If you can't afford the 8w version. This impression was from just using the 4w version. It is very much a proper copper upgrade for the TSMR-x

( This was my entire early impression of the Penon Quattro. Will be turning into a full review. You can tell it was an early sample due to the cable not being all blue as it is now. The cable that is shown here is actually the same cable as the all new blue cable that comes with the Quattro shown here.) You can now purchase the Quattro on Penon web site as of today.


Penon naming scheme for IEMs and cables just makes a whole lot of sense and while there is an extra t tacked in for a bit of wordplay on the QUATTRO. You all get why these new 4DD IEMs from Penon was named as such.
I am certain Penon has been working on this particular model for quite some time, the reason why I know this is because of just how popular their former 3DD IEM the Serial was and still is. The good news there is that the Quattro is not exactly a revised Serial. It is a different IEM but one with some clear upgrades on the older Serials. This being said don’t stash away your old Serial thinking these are just gonna be the replacement. Well they might be due to how engaging they sound but there is an old school soul to the Serial sound which will forever cement its place in the Penon hall of fame. I will get much more into the differences between the Serial and the new Quattro in this impression to give you good folks a foundational idea of what to expect in the new Quattro.

First there is the size of the shells. Even though the new Quattro includes 4DDs vs the 3DD in the serial. Its actual shape is very similar to the Serail shell shape. The only difference is it is a bit bulkier. Physical size feel when you insert the IEM in the ear will be no different. But it will stick out of the ears a bit more vs the Serial. I would guess the thickness of the shells to be about 3mm thicker vs the Serial shells but the actual shape and fit will be identical. Considering Penon threw in 2 10mm composite dynamics for bass I would imagine this is about as tight as the shells are going to get which includes 4 dynamic drivers altogether. For me it isn’t that these have 2 specialized bass drivers and a new 8mm graphene driver for mids that does a splendid job for the important mids. It's the new micro 6mm dynamic Penon is using for its treble that brings something new for the Quattro.

In simple terms, the Serial is a bit more laid back/ analogues in its sound character and balancing with a mild treble boost and sub bass emphasis. The new Quattro is a bit more in your face, more lively. A more engaging full bodied sound in comparison. But It goes more than that. The balancing is meticulous on this one and the way these drivers play inside the shells just works a sound that I feel is a clear example of Penons know-how to tune an IEM for musicality and full immersion.

I can hear what each driver is doing on this one and all 3 regions of sound are well represented yet clearly cohesive at the same time. The first to stand out for me in a good way was its trebles.

Ok so much to do about that new 6mm micro driver. Based on my own experiences with micro HD drivers, anything smaller than a 6mm dynamic would unofficially be called a micro driver. These things pack some serious sound. This is a case where bigger does not mean better. I have owned numerous JVC IEMs in the past that utilize even smaller micro HD drivers and I have never heard a micro driver not representing the treble end to a full extent. Since this driver was dedicated just for the treble notes. It is tuned and utilized like a tweeter for its sound profile. Its treble definition is on point.

They kinda remind me of EST implementation with a combination of BA drivers for trebles. Yes it's that good. Airy, extended with the right amount of treble sheen and sparkle. The crisp treble notes stand on its own but somehow mixed extremely well with the rest of what the other drivers are doing. Treble notes come clean, collected well extended with excellent accurate transient qualities . Jazz folks will love how the new Quattro sounds with Jazz music. Drums especially sound fantastic with this new micro driver. High hats, crash & ride cymbals sound real and distinct. The tuning here is fantastic in that you're going to hear every treble note your recording has. The detail aspect of the trebles is so very good. EST what? Lol. The treble sounds like it is using multiple drivers to attain its articulation. That my friends is a stand out treble presentation and in the best of ways.

Then there is the mids. Not that long ago you had to deal with your hohum garden variety of plastics for dynamic drivers used for IEMs but nowadays, manufacturers can reach out for all types of dynamics infused with some of the best materials in the industry. Carbon based dynamics have been around for a long time but it was when the carbon based dynamic took on a more rigid form in the graphene dynamic and even the carbon nanotube dynamic that brought a bit of a plus for the sound. Graphene sound in general has a timbre aspect to its makeup that brings a realistic tone with an added texture to the sound that is a bit unique to graphene. Vocals and instruments sound amazingly real on the Quattro if not just simply natural sounding and is this not why we spend the money to hear? The 8mm graphene dynamic here was once again very much selected for its tonal and accurate timbral character and it has most definitely paid off for the Quattro.

Its vocal texture, imaging in space, accurate timbre, mixed with a very natural full bodied tonal character and you get a clear example why folks love the Penon sound. Much like the treble aspect of the Quattro. The mids are not a second thought here. It is actually featured. Organic in presentation, natural in delivery with a musically rich tonal character is what the mids are all about. The mids have a body to the sound you guys will appreciate. And who doesn't like them some body to the sounds? Multi BA set ups for higher end IEMs does imaging and sound separation better but those multi BAs have nothing on the naturalness and realistic timbre of the mids on the Quattro.

These sound amazing for vocal performances be it male or female. The layering for its sound is a stand out. There is nothing on the sound of the Quattro that sounds flat or unnatural in any way. All of it presented in a wider than average IEM headspace with ample depth and height to the sound. Best way to describe the mids is, up in your face! Very very immersive. It has some lovely mids and the type that I personally gravitate to. You're gonna love how good the mids were tuned with this specific driver that does the mids like a boss!.

And then there is the bass end.
Well 2 10mm composite dynamics were used. More recent dynamic duos handling the bass for both the Fan2 and the 10th means these will be outputting both drivers to handle the bass notes. But with the biggest drivers to be placed in a quad configuration. So what does that mean?

The tuning was deliberate in a balanced w shaped mixed with a U shaped tuning. Its not going to be the overplayed type of bass, we are talking about accurate well balanced bass performance and much like the Serials sub bass focused.

Going back on the organic theme, but this time for bass. Bass quality and presence is ideal for the sound performance on the Quattro, but it is clearly not going to be a bass cannon. This is a balanced tuning and not one where one part of the sound is a standout. The bass here has moderate yet rangy emphasis. I would wager to guess around 8dbs in bass emphasis. Which again is a goldilocks level of emphasis for accurate bass depiction. Bass notes are not only tight, clean and weighty but is extremely well behaved in how they portray bass. It only comes out to play if it is in the track you're listening to that has bass emphasis . Bass control and tightness is key to a higher end sound and we get that in the new Quattro. What is the advantage of using two dynamics for bass?. Can’t say exactly, could be for its control aspects, could be for better bass definition. Could be for a bass end that sounds not only accurate with solid impact and is also extended extremely well on the low end. Its got a well textured bass end that has some excellent realistic bass decay in the process. Or it could be for bragging rights.

I can’t argue with the end results here. Bass is very nicely defined if not just a rich bass experience and easily morphs into any type of bass note your music calls for. I can listen to Miles Davis as well as listen to some Tribe called quest. And guess what, both genres sound on point. Its balanced bodes extremely well to all types of music.

Bass is also not playing a support role here like some IEMs do. Pound per pound you have BA bass that does 8dbs of bass and or you have dual 10mm composite dynamics with the same 8 dbs of emphasis. Which one you gonna choose or better yet which one will sound like the real deal? Sure you don't get the speed of a BA but these clearly make up for it with very accurate tonal character for all things bass. Satisfying yes but I can clearly tell they were detuned a bit to not get involved with any of the lovely mids or cause any tonal shifts. Bass quality with an accurate tonal blend with the right amount of bass decay. Bass doesn't struggle, nore does the mids or the treble on the Quattro and that is the very definition of a well balanced IEM.

By the way I just found out the included cable is a nice higher end quality silver plated copper with graphene. A simpler Penon OSG cable? Nice,

So here is what you want to know: how does it compare to Serial?
As I mentioned before. I wouldn't necessarily stash away the Serials just because there is a new sexy 4DD dynamic from the same folks that made the Serial. There is a certain charm to the Serials that make them a classic in the Penon stable. However the new Quattro throws out a more focused balanced technical tuning over the Serials. Trebles gets a bit of an upgrade. I noticed recent Penon IEMs dont have the larger 6-7khz dip for trebles like they did when the Serial was introduced. I can tell Penon learns tuning aspects from prior tunings and tries to improve on aspects of their balancing. The treble here for the Quattro has better articulation and a touch more highlighted definition over the Serial treble. Its mids has an organic tonal quality vs the slightly brighter mids quality of the Serial due to the difference in drivers and their tunings. Serials are not a bright sounding IEM per se but if you focus on vocal performances in comparison. You can tell the difference in how the drivers here influences the tonal character for music.

The Serial uses a titanium plated 8mm dynamic vs the new 8mm graphene dynamic in the Quattro. The differences are like if the Serial was using BAs it is like it was using some Knowles BAs while the new Quattro would be using Sonion BAs let me put it that way.

The end result is a more natural mids tonal performance with a more realistic timbre for both vocals and instruments.

Its stage is similar to the Serial, but does have a bit better depth and space to its sound which makes them sound more full bored and airy vs the Serial.

Serial uses a 10mm bio dynamic for bass that I have seen some folks say sounds a touch loose. I can see that but that is actually not a con for me. I listen to hip hop and R n B at times and these genres are not exactly about the tightest bass presentations.

Bass on the Quattro is a bit more seamless in how it sounds and its bass definition and control is better here. Its realistic decay with excellent sub bass texture is damn good too but not the best I have heard. But then I don’t expect these to be sold anywhere near the endgame bass texture of something like the IER Z1R for example.

Penon is not going for an uber expensive 4DD so I am sure they are working with the best they can do at the price they plan to sell it for. I really have no complaints on the bass end of the Quattro. Its emphasis for bass level is very similar to that of the Serial but with better tonal control, tightness with better quality here. Bass has a certain new found roundness and clearly defined notes that the prior Serials does not quite reach for bass. Otherwise its impact and sub bass emphasis is similar to how the Serials were tuned. That extra tonal control might have to do with this particular bass driver chosen and the use of two of

This read ended up being quite the longer un but hey. They deserve it. I have yet to fully burn them in so these are just the initial thoughts of how they be. One thing the Quattros clearly have over the Serial is that they actually sound fantastic out of the box. Can’t say that about the Serial that's for certain. If the sound improves even more so from here on with some burn in, as all dynamics need burn in imo. I can’t even imagine.

Simgot LC7

Simgot has been a company on a mission. Their newer IEMs just resonates with the headfi community and has garnered a following that has put them on the Map. I can tell they care about their products as the workmanship shows in each product they make. I knew they made IEMs but I had no idea they also created a cable to match up with their IEMs called the LC7. This high purity OFC cable plated in silver comes at a price tag around $70 and at this price range one would expect a more refined IEM cable.

I will get into what makes the LC7 a good addition for the Simgot fanatics and or fans of their products. Cables that hover at this price range at the $70- $100 range are facing a huge uphill battle simply because there are so many variations on the aftermarket IEM cables out there. In fact the most numerous types of IEM cables all fall into the sub $100 category of IEM cables. Owning a kings share of IEM cables at all levels of the game I use on a daily basis. I have a very good understanding of what to expect at the given price ranges and how they shape a base IEM sound signature for the better or in some cases for the worse and with this report I will lay out the goods as far as what to expect when looking into Simgots first premium IEM upgrade cable in the LC7

Cables do not magically somehow change your IEM sound to be something it isn’t but it is however much like the tips you use on your IEMs, a good cable matchup can be the difference in liking an IEM to loving the IEM. The subtle sound shaping and or enhancing ability of a good IEM cable for the audiophile is a viable tool to get the best synergy possible for a given IEM it is attached to. At the LC7s cores, it is made with what was advertised as a higher purity Oxygen Free Copper then plated with pure silver to bring out the best traits of both materials and how that ultimately translates to your end IEM sound. This type of cable finish is fairly common but not all SPC type cables are the same.

What makes SPCs sold at different levels has a lot to do with material purity, the cost associated with it and its geometry involved with its overall quality. While even cheap budget SPC type cables say they are at a certain purity grade. Of course you can’t really believe in any of that as there is no real way of knowing if marketing purity is actually what it is. So we are always left with actually trying out a cable and deciding whether or not it works well with your IEMs. I know that is not the most scientific way of figuring things out but it is more or less trial and error for these types of cables. The more affordable the easier it is to just try one. This being said, when Simgot says they are using a higher purity copper. I have a tendency to believe them simply because of the value they put out on the market for their own IEMs. So going off of that. These are my take on the FC7 as follows.

The LC7 comes in a simple box package and its specs are as follows.
OFC silver plated
732 shares, 18AWG thickness per core x 2 cores
Copper alloy hardware
Transparent PVC
Modular plugs, 3.5mm single ended
And 4.4mm balanced.
3 Month warranty

My tester is simple. I will use Simgot’s own IEMs and a few others vs their included cables. There is a reason why the LC7 costs an extra $70 and does not come with the EA500 and or the EA1000 for example. The included cable on the EA1000 interestingly enough seems to be made of the same or similar material in that it is also using silver plated OFC. So a direct comparison against the stock cable will be an interesting one. Does the $70 cable warrant its price tag? Let's find out.

Standard disclaimers: The LC7 was provided by Simgot for the purpose of a review. You can look up their product page here.

What I have observed thus far in pros and cons.

Pros
-Well made solid modular cable
-Ergonomic and easy to use
-No extra cord noise.
-Good clean looking cable
-Pliable with no noodling
-Stage enhancing-spacious presentation
-adds slight note weight and forwardness to mids
-weightier bass notes.
-maintains an IEM tonal balance
-transparent, clean overall profile.
-Easy pull in and out for plugs

Cons
-Decent but not at a high value for what it does
-not the best for precision or enhancing technicals like stage, sound separation, imaging
-pull out modularity. Some do not like modular option

It was the EA1000 included cable that first came to mind. I wanted to try with the LC7 first.
After using the cable for a period of a week's time these are the results from going back and forth from the stock cable.

EA1000 included cable is very similar in makeup and is described similarly as well as a high purity OFC silver plated in litz. The only real physical difference between the LC7 and this cable is that the LC7 clearly has more substance and is a thicker cable in comparison. I have done reviews for 4 cored vs 8 cored vs 16 cored cables and it comes down to materials of the cable make up and just how much of it is being used for its sound output. From how I understand it, more cores make for more efficiency therefore the sound perception of a more expansive stage with greater note weight to sound is more due to this factor. It has been fairly consistent in how more cores/ material relates to sound performance and this is also true using the LC7.

Connecting the LC7 to the EA1000 seems to be what the designer of the earphones had in mind vs its included stock cable. There is a limit to what IEM manufacturers can include with a package of an IEM or they will have to charge more for including a higher end cable. So what was included with the EA1000 is a LC7 lite cable meaning it comes close but not exactly what the LC7 does for the sound. The EA1000 overall tonal balance and how they sound remains the same but what did change for the better was its overall presentation being more spacious, slightly more expansive, more airy with an uptick in dynamism in comparison. The stock cables match well with the EA1000 but it only comes in single ended. This again was a business decision on the part of Simgot as there is no balanced option when ordering a set of EA1000. EA500 or the EA200. The EA1000 package is so close to the $200 price point that most will refer to the EA1000 as a $200 level IEM but not so much if the price hikes to $250-$270 or more due to adding an upgraded cable. Simgot probably wanted to see what they can do for the price point and it is a more potent statement with the price hovering at the target price point for the IEM.

Differences vs the included cables are subtle but noticeable especially when listening to an entire track and then replacing the cable and then listening again. This was using single ended. It will be more beneficial to go 4.4mm balanced as it is already known dynamic IEMs expand with more power so it made sense to compare with the stock cable vs the LC7 in single ended than balanced just to see what the cable is doing. What the LC7 does for the EA1000 is that it now sounds more meatier in all regions of its sound output. I have cables that do stage perception better but these do a remarkable job opening up the goodness of the sound that is the EA1000. Slightly more expansive stage which includes its depth perception. Meatier/ more body to music notes. Which seem to align with the use of more material for the cables. If the EA1000 base sound with the LC7 is now at 100%. I would estimate the sound output of the stock cable and the EA1000 to be at around 95%. I know that does not seem much but there are a lot of you that love the EA1000 so much that chasing after that last final 5% of sound performance will be worth the cost to attain.

OFC copper cables seem to expand the sound of a base IEM; this was evident from other cables I have done reviews for in the past that use the same type of OFC silver plating. I am referring to the Penon OS133 cables and Penon Space cables. I would put the performance of the LC7 somewhere in the middle between the OS133 and the Space cables. More leaning toward the Space cables which is simply double core count of the OS133 OFC silver plated cables.

This puts the price point at what LC7 cables are actually valued at to be accurate. Certainly not a bad price point. So basically if you want something that is a level above the OS133 but would like something closer to the Space cable than that is where the LC7 falls. I would put the stock cable the EA1000 comes with at a very similar level to the Penon OS133 cables. Both cables have similar thickness and material count.

Simgot EA500. With the budget level at sub $100 for the entire package. The EA500 which sells for as much as the LC7 cable itself. Simgot is using once again very similar OFC silver plated cable here but even thinner and less material than what came with the EA1000 cable. Now here is where the bigger differences lie in comparison. What enhanced the EA1000 enhances the EA500 even more so due to the included cable being at a bare minimum for what it does. LC7 enhances the EA500 to a degree that is much more perceivable vs the EA1000. Heck I can throw on the stock cable for the EA1000 on the EA500 and it will do one better but with the LC7 with its more substantial core count makes the EA500 absolutely the best it can here getting the stage at a similar level to the EA1000 even. EA500 definitely benefits even more so than the EA1000 in that regard.

A 3rd IEM I checked with its included cable, a silver-plated crystal copper with graphene, is the cable that was included with the new 4 dynamic IEM in the Penon Quattro. This time since the Quattro I have come with a 4.4mm pentacon connector I will compare both cables in balanced 4.4mm for the Quattro and 4.4mm with the LC7

The Quattros included cable is actually a very good matching cable that was hand selected for its transparent properties that enhances the base Quattros technical ability. But Penon like all manufacturers has a limit to what they can include for an IEM. The value on this particular cable I feel is very close to the value on the LC7 as the Quattros RP is at $400. So exactly how do they compare? From just eyeing both cables side to side. It seems the LC7 is using more material for its cable make up. The thinner 4 cored included cable with the Quattros are not exactly the most substantial when it comes to core count, I sound say it is barely above what I would consider thinness in make up. It would have been great to see an 8 core version of this cable which Penon being a cable maker might actually do at one point. But for now the differences are as follows.

My initial assessment of both these cables trading punches was correct. The LC7 seems to give a light uptick in note weight and fullness and an uptick in bass impact and presence but the Quattro cable lends to a slight uptick in perceived detail and imaging and treble articulation as a trade off. The Quattro cable seems to bring a bit more in the way of details and treble uplift while the LC7 does a bit more with the Quattros mids adding that fullness with a spacial quality for its mids presentation. Bass being more impactful with added body here as well. Both of them are very similar in how they project stage and but the depth of stage going to the LC7. A bit more airy presentation going to the stock Quattro cable due to the increase in resolution of the sound with a slight elevation to the treble area.

In the end
The LC7 is a cable in makeup that is familiar to me as I already did a review for a very similar cousin of what this cable is made of. Silver plated OFC. Its sound enhancing characteristics are very close to the Penon Space cable using very similar materials. I suppose it is a win for the LC7 that its RP is cheaper, but it isn’t exactly the same as the Space cable. I do believe these are brothers from another mother meaning they were designed completely different from two different manufacturers but found that this particular material is indeed an upgrade from your standard variety of cables included with a lot of IEMs.

The LC7 is a musical body enhancing IEM cable as it injects a bit of soul to your IEM pairings with an added presence for stage and fullness to your IEM sound profile. Sometimes that is all that your IEM needs to make it sound the very best it can. It's not the type of cable that is all about enhancing details nor does it somehow change the tonal balance of an IEM. However this aspect does make the LC7 more versatile to use for a variety of IEMs. The LC7 is a good solid upgrade to what comes with your IEMs especially if you need a cable for balanced connection to make use of more power from your sources. It's not revolutionary or does it represent the absolute peak for IEM cables at the price point. What is does is gives a consistency in its sound enhancing ability, it is a clear upgrade to what was included with for Simgots own IEMS. And I suppose that was the clear purpose for the existence of the LC7. Thanks for taking the time to read and happy listening always.

ARES S X CADMUS

Christmas edition 2023
Those crazy Christmas Elves have been working up their magic to come up with something unique for the Holiday season. While the signature series have been popular for Effect Audio. It wasn’t till now we see, for a very limited time, a unique marriage of their Ares S and Cadmus cores in the ARESSxCADMUS Christmas 2023 edition. Though it deserves its own name cuz who wants to refer to these as what they are, a combination of the ARESS and CADMUS. ARCAD? ARECADMUS?

ARCADxMUS? Ok so there is no real way of combining the names of the two for a better name. How about ARCAMUS-X. In any case the end result of the two established cables yields something new for cable land. If you read the individual reports on both the Ares S and the Cadmus obviously you're getting the full results of both cables in a thick substantial new 8 cored cable. This marriage of cables into one just makes a whole lot of sense to me and I will go into detail exactly what this wholy marriage of material does for your end sound.

The thickness is very close to either of the Ares S 8wire or the Cadmus 8w variants. 26 gauge 8 wire cable, yes it's thick and substantial but nothing that is too unwieldy. It's a meticulously handcrafted cable that yields the transparency of the Cadmus with the foundational musicality of the Ares S. Both of these cables are using Effect Audios outstanding Ultra Pure OCC at their cores. It is not exactly the 8w cadmus or the 8w version of the AresS however what you end up getting is a finely tuned cable that will be extremely versatile. Well balanced and highly musical with the blackest of backgrounds for your music. Basically if you don't know which version of the signature series would match up well with your IEMs. How about both at once?

First of all let's talk about the foundation that is the ARES S
Pure copper cables are a necessity and a must have for folks that own BA based IEMs or if you value a natural warm tonal quality and dynamics applied to your base IEM sound profile. The ARES S provides one of the best pure copper materials around which provides that catalist for all things dynamic and emotive in your sound profile. Enhanced bass, enhanced body to the mids, natural treble presentation. Increase of black space for your music which in turn enhances imaging. The ARES S is the foundation for this new hybrid cable and then you add half the cores from the Cadmus

Cadmus adds a bit of a plus on top of the base UPOCC cores. Pure silver plating. The silver addition on the Cadmus yields better transparency and technical enhancing ability on top of the foundational UPOCC cores. Cadmus sacrifices a slight bit of that natural warmth of the pure Ares S with a more transparent detail ability. I was lucky enough to actually try out all 3 signature cables and to me the middle ground of the EROS S and ARES S was indeed the Cadmus. When the 8 wire version became available I had to own it for my ever growing stable of IEMs. As it stands, my 8w Cadmus is the litmus test for other cables around the price range. Absolutely one of the top tier silver plated copper cables in the industry.
Cadmus brings a wider and deeper stage with a higher level of detail retrieval from your IEM sound. Bringing the best of both UPOCC and silver but when you marry 4 of these cores with 4 cores of the ARES S?..

You get something a bit more musical, adding a bit of warmth to that extra body of note, still has that great transparency of details with an amazing black background for your IEMs sound to shine. It enhances note weight with an increase of stage and depth. A clean black background makes it possible to hear better sound separation for better imaging. The more musical Cadmus is here or the more transparent ARES S. Either way you look at it but the more I use the new ARES S x Cadmus the more I am understanding the brilliant marriage of the two materials together.

As versatile as the other two cables that make up this cable, I can argue this particular cable is Effect Audio's most versatile cable of them all simply due to the fact that it covers all the important aspects of why we look into an upgraded IEM cable in the first place.

You all should know by now how both cables do but the combination of both now yields literally the best of both aspects for a new cable that is truly one of the best of the best in the signature line up. The body of note is substantial. The new AresS x Cadmus now with the sheer amount of cable cores adds a grander stage element with a fuller body of note for your IEMs. Within that larger sound presentation. You get a more involved textured mid range. A cleaner background enhancing imaging for your IEMs. You get the full impact of bass notes with the best texture possible for bass. Treble is nicely represented with excellent added treble transparency and clarity for trebles.

This cable is the do-it-all cable that makes a whole lot of sense. It’s one of those cables that sounds fantastic on every type of IEM you own. Tested on a highly detailed Simgot EA1000 and it brings that IEM to a level that I never thought was possible with a cable change. Tested on the new Penon Quattro. Once again all the elements that could be enhanced, is in fact enhanced. It sounds more impactful in the bass, its mids sounding more substantial, its treble even more articulate and cleaner.

The cable leans a bit more toward higher end copper properties vs leaning more toward silver properties due to the sheer make up of both types of cores but this is not a bad thing. The cable is substantially musical and extremely well balanced in what it does. It has to be one of the absolute best hybrid type IEM cables I have ever used on anything. Sometimes when you purchase a nice higher end cable you want to be able to buy with confidence and connect it to an IEM and just get the best sonics you can without too much thought brought into the equation. And that is exactly what this cable does. It will match well with anything you put them with. Thus far the plus and minuses of this cable.

Plus
-Stunner looking and feeling cable.
-Premium in workmanship, hand crafted
-Substantially thick weighty cable, but not too noodly
-Nice looking new all metal chrome colorway for hardware
-Enhances stage width depth height of an IEM.
-Enhances the dimensional character for multi BA IEMs.
-Enhances texture for both instruments and vocals.
-Enhances with a natural slightly warmer tonal character.
-Enhances for a bigger sound with a fuller body of note.
-Enhances imaging due to a clean black background.
-Enhances bass texture, impact and extension.
-Enhances treble clarity, its transient qualities and shimmer.
-Enhances musicality with a solid technical ability
-Extremely versatile for all types of IEMs

Minus
-Very limited for the Holidays 2023
-Limited means they will not be sold afterwards
-Thicker cables some don’t like. Not a con for me.

Tested on 4 IEMS:

EA1000 by Simgot single dynamic
Penon Impacts 10BA+4EST
Penon Quattro 4DD
Night Oblivian Butastur 10BA

Simgot EA1000
Superb addition to the highly resolving IEM that is the EA1000. This single dynamic IEM at the price point is one of, if not the most resolving single dynamic IEM with excellent above average technicalities in its price class. As technical as this IEM is, its included cable does a fair job at showing what the EA1000 is about but by no means does the cable maximize the sound of the EA1000.

With Ares S x Cadmus. Sound becomes much more musical with a fuller bigger body of note for both vocals, instruments and its bass comes out to play. Some of my fellow reviewers mention the quality of the bass being excellent on the EA1000 but would have loved a bit more in the way of impact Aka mid bass. Well bass is just one aspect this cable enhances. Music has a greater presence is the best way to describe the effect of this cable on the EA1000. Everything is grander: its stage, its bass, its treble articulation. Which results in a much more musical and enjoyable EA1000. The cable helps present with some of the cleanest separated vocal notes for any IEM just bringing a lot of joy for vocal music. I know this special edition cable cost more than the IEM itself but my goodness do they synergize. It is the best pairing for this particular IEM I have tried on them. Going back to the stock cable is a big sad face, let me put it that way.

Penon Impacts
The included cable is a higher end white Penon Obsidian cable, mostly 4 cores of crystal copper and a few cores of gold-plated crystal copper. This is a fantastic cable for BA based IEMs as it brings focus for the mids and bass end of IEMs with the added richness from the gold plating. However, the one aspect the cable does not do like the Ares S x Cadmus does is enhance the stage on its stock presentation using the Obsidian cable.

With Ares S X Cadmus. What a pairing this is, the Impacts has some of the best mids for any IEM I own and so there is not a fall off from its full bodied mids presentation, if anything the addition of the Special edition cable here makes it sound more grand in scale in every way. While the slightly richer tonal enhancing ability of the stock cable is better the rest of the sound characteristics gets a nice uptick which ultimately is a better trade off. All of it from stage, depth, imaging, body of note, bass texture and reach, treble articulation. Adding a nice bigger, wider more spacious stage and sound to the mix.

It is the Cadmus Founders Edition that is the absolute best pairing for the Impacts but the Ares S x Cadmus is not far off and is in no way a clear drop off. It would actually take the FE a cable that is valued at almost 3x the Ares S x cadmus to reach the absolute peak of what the Impacts are about but this cable gets remarkably close and that is saying something about how good the Ares S x Cadmus is.

Penon Quattro
These are the newest IEMs from Penon audio and uses a super rare combination of 4 dynamic drivers per side for the sound output. The Quattro has not been released yet but will be Penons next IEM and they are frantically making as many as they can as I am typing. These IEMs are one of two IEMs I know in existence that are using 4 dynamic drivers, the other one being the Oriolus Monachaa.

Its included cable is a nicely matching SPC type cable with some graphene. Adding the Ares S x Cadmus. Yields an immediate grander bolder sound. Punchier bass, a more textured visualized vocal performance, cleaner treble extension and air. Its well balanced sound presentation is by no means lacking in dynamic character but using the Ares S x Cadmus brings the sonics to a different level here. Music gets added weight and texture, presentation wider, deeper and thicker. Going back to the stock cable while actually not lacking, actually sounds for lack of a better word, a bit lacking. It is one of those things where you can’t unhear the results of this combination. In an ideal planet all IEMs would be packaged with premium Effect Audio made cables to maximize the sound performance of the given IEM but as you all know, that is about as realistic as hooking up with a supermodel.

Last but not least the Night Oblivion Butastur.
Why this particular IEM? Well that's because the Butastur, if you don’t know, has a reference balanced tuning that easily picks off any addition or subtraction to what they are connected to. It is the one IEM that clearly tells me what the cables, tips and sources are doing. This being said it has easily become one of my go to tester IEMs for such parameters.

With the AresS x Cadmus
Its stock cable is a 4 core crystal copper cable. Nicely resolving pure copper cable that does its job perfectly. However there is a clear difference when connecting to the Ares S X Cadmus. Once again where stage and note weight matters, the Ares S x Cadmus is very consistent in bringing a grander more musical sound experience. It's like the base sound gets an uplift and is more magnified in its sound performance from the stock cables sound. Bass gets better impact as it takes on a dynamic like impact quality, musical notes get a greater note weight and presence, details become more easily apparent with a better perceivable layering of the mid bands. Ultimately presenting a more dimensional holographic sound. Treble gets cleaner, more crystalline with enhanced shimmer. Sure I am comparing a decent included cable that probably is not worth more than lets say $50 vs a $350 custom made Effect Audio cable. But it is as you would expect. No comparison to the former on what the cables here do for the Butastur.

In the end
During the holidays when you get something and it leaves that not so fresh feeling like the lovely gift of getting socks for Christmas. This is not that, there is no question you're getting the value represented in what this new cable offers. Ares S x Cadmus is the happy marriage of two outstanding cables into one that when connected to your favorite IEMs. There will be no question if the cables are affecting what you hear. Going back and forth to do this cable pairing report was a lot of fun. It clearly showed me just how much of a difference a well engineered cable makes and if you're on the fence and can’t figure out which signature series of cables to get, Ares S or the Cadmus. I highly advise you to get both in the new Christmas edition. While they are available in the AresS x Cadmus. From what I was told these are limited for this season and that as they say, will be that. Merry Holidays to all my fellow headfiers and the fine folks from Effect Audio. Keep on keeping on and who knows what 2024 has to offer the enthusiasts but I am personally looking forward to it.

Simgot EA1000

Simgot is an IEM manufacturer that has surprised a lot of folks with their IEM designs, especially noticed more recently with some outstanding offerings. While the established norms for similar designed IEMs, referring to Dunu and Moondrop continue to bring out IEMs with their version of single dynamic IEMs. Simgot has quietly garnered some serious buzz for their IEMs. For me what put them on the map was their fantastic EA500. To this day it is arguably one of the best dynamic IEMs in its price class.
Another very notable budget offering from the group is the EA200 which I did a review for here. The new EA1000 is an all metal dual cavity, dual magnet design with a high level of sound balancing and an added passive radiator for its make up. I know that seems to be a lot of design cues for a single dynamic but the end results more than speaks for itself. In this read I will get into what makes the EA1000 leap into a different category of IEMs at the price level, what's good about it and what is not so good about it.

The EA1000 was provided by Simgot for the purpose of a review. They have been burned in for a period of a week straight and are now ready for evaluation using my sources. Fiio K9pro ESS, Ibasso DX300Max, IFI gryphon, IFI Signature, Fiio M15S, Fiio M15, Shanling M6 Pro. You can look up the EA1000 on their website here.. You can purchase a set for you from your favorite online retailers.

The new EA1000 is double the RP of their outstanding EA500 with the EA500 being a very affordable sub $100 offering from Simgot that really incorporates a lot of their tuning and know how which turned out be a fan favorite among budget enthusiasts and or just fans of good sounding single dynamic IEMs. So how does Simgot do one better than the EA500? For one it is using a new whats called SDPGD diaphragm. Or Sputter Deposition Purple-Gold Diaphragm. Supposed to have a golden purple hue to the look to the drivers. Regardless of what it is called I do know the driver being used for the EA1000 is highly resolving. Then there is the 6mm passive radiator up front of the housing that supposedly helps with bass control and its deep textured rumble. Add to that their dual chamber dual magnets optimized for enhanced magnetic flux. Then adding to all this is 3 highly precise tuning nozzles that give you slightly tweaked harmon tunings from these nozzles that mostly affect upper mids to trebles for each nozzle and even more options if you explore the EA500/EA1000 tuning filter kit sold on Simgot website. I will go into this aspect a bit more toward the end of the read.

What you get.
The new EA1000 comes with an all metal designed shell with a passive radiator up front of the shell. Very nice comfortable design for my medium sized ears. I was able to use them pretty much all day at work without much in the way of discomfort or a fidgety fit. A squarish sized magnetic lid case. The cable that comes with the EA1000 is a well matching cable that enhances the technicalities for the sound. A silver plated litz OFC cable in single ended. The only complaint I have about the cable is I wish there was a balanced option. The EA1000 scales amazingly to more power like all dynamic based IEMs. Hence the need for balanced cable. However for what is included no complaints really, not to mention it matches well with the chrome metal scheme of the EA1000. 2 sets of standard silicone tips and 3 sets of tuning nozzles. The tuning nozzles are fine tuned with specific upper mid and treble emphasis for different types of harmon tunings. To be specific. The red ringed nozzle for harmon 2019 target, a black ringed nozzle for a Simgot classic target, basically Simgot’s version of the harmon tuning, finally a clear ringed nozzle on a brass nozzle that is slightly tweaked Simgot target called the 2023 target. All 3 nozzles influence the tonal character, imaging and treble related to the area it affects.

Sound character is more tuned for energetic balance, as harmon tuned IEMs goes. What makes the EA1000 stand out for me however is just how resolving the sound is vs your garden variety single dynamic offerings. When I say detailed I mean out of the ordinary, highly technically detailed. Trebles that shimmer and sparkle all over the place added with precision. Imaging that is enhanced with above average sound separation that pops when you hear your favorites. It will make you wonder if you're hearing a single dynamic IEM vs highly detailed multiBA IEM. It will surprise you just how resolving and detailed the EA1000 is. Fairly big spacious sound presentation on top of all that detail to boot.

However not all is perfect on the EA1000 land. The sound might come off a bit too detailed regardless of nozzles used. I know that sounds like sound fatigue and it can be based on your sensibilities for upper mids and treble presence. All 3 nozzles have some healthy pinna gain/ upper mids with full extended trebles. This is the area I wished Simgot would have provided a greater variety for tunings instead of doing 3 different versions of what is essentially harmon tunings. I find the harmon 2019 red tuning nozzle to be the most agreeable for my own likes, however even with this filter, rock and metal music can sound a bit glary/ edgy noticed in the treble area, which clearly comes through during drum solos with a lot of crash symbols going on. This is the reason why I bring up mention of a tuning nozzle kit that was made for what was essentially the same issue for the EA500.

So I get why the harmon tuning is so popular and most Asian folks are not going to be listening to rock or metal music so there is that. They do however listen to a lot of female vocals and I feel harmon tunings play a pivotal role in portraying vocal performances catered more for Asian sensibilities. Especially female vocals. Ample pinna gain will get you some “Female poison” look that up if you don’t know what that is.

Back to the sound profile of the EA1000.
Regardless of the tunings on the EA1000, it has to be one of the most resolving single dynamic IEMS in the market at anywhere near its price point. I say this with confidence as I have heard and own numerous dynamics at the price point that don’t resolve like the EA1000. If you're willing to play with some aftermarket cables, tips and even go as far as trying out a nozzle filter kit for the EA1000. You will be rewarded with one of if not the absolute best you can buy at this price point. Simgot got something special with the EA1000 and yes it takes a bit of trial and error but I will get into more of those aspects later on in this read.

The EA500/EA1000 tuning kit that you can buy from Simgot provides an empty nozzle. 3 different nozzle meshes with different densities and two tuning insert foams to tweak the sound nozzle for some personalized modding goodness. The idea with this kit is to lower the upper mids and trebles from the stock tunings on the EA1000. My friendly advice for folks that get either of the EA500 or the EA1000 is to invest a bit into this kit. I was able to use this kit to get a better tonal balanced sound from the EA1000 and it was as easy as throwing in one of the foams inside the gold filter nozzle. There is literally no effort of taking off anything, you're just adding a foam piece underneath into the nozzle tube, installing the newly modded nozzle and taking a good listen.

I know by now you're thinking. Why should I buy a tuning kit for a $220 IEM? Again all this is subjective and will depend on your hearing sensibilities. If you are the type that values clarity and a highly resolving level of details in your sound then no filter mod really needed but if you want the absolute best tonal balance from the EA1000 you will understand why I mention that filter mod. My review here is based on the 2019 harmon nozzle.

Sound profile.
As harmon tuned IEMs goes. It's mostly a balanced tuning and has supreme clarity especially noticed for the upper regions of its sound profile. The EA1000 also pulls some astonishing details for the mids and low end bass as well. It is perhaps one of the most technical sounding single dynamic IEMs in the market at its price point. Imaging, sound separation, both macro and micro details all stand out. It has a moderate body of note, similar to the EA500 but even better as the imaging and layering stands out fantastically for the EA1000.

Trebles. Harmon tunings with ample 10dbs of pinna gain/ upper mids itself brings clarity to the overall tonal character for the EA1000 but then there are some deliberate treble peaks that bring even more highlighted treble to the sound. Then the fact that Simgot is using a highly resolving driver in the mix and you get a clear upgrade in the detail department for sound vs their EA500. It's more than just the trebles that show how resolving the EA1000 is, it's the entire sound profile. Its trebles are notable as it is so detailed it stands well separated from the mids and this is coming from a single dynamic. Usually for this type of stand out extended treble to take place for a sound profile, we are talking about multiple drivers and or drivers just dedicated for trebles.

This is how resolving the trebles are for the EA1000. It's got a very clean clear crisp note to the trebles with ample shimmer/ sparkle when called for. Trebles are highlighted from just about every track you're listening to and so it will be track dependent on how you feel the treble plays here. I do appreciate a full treble note and the EA1000 delivers on all fronts for trebles. It has to be one of the most detailed tactile treble ends for a single dynamic but at the same time this causes a touch of glare for the treble notes that can cause you to FF some tracks. Specifically crash cymbals from drum sets and how much emphasis that has. The harmon 2019 has the least amount of upper mids emphasis out of the 3 tuning nozzles to my ears so it was the one that was installed by default and the one I like the most. However even with this nozzle there is a touch of hotness. Its detailed treble aspect will be the point of contention but for what it is. There is no question the trebles show just how resolving the EA1000 is.

Mids
Continuing on the detailed theme of the trebles. The mids get its share of auditory definition. Mids tonal balance and timbre here is where they remind me a lot of the EA500 but done with an upgraded technical level. Specifically its sound separation and imaging is clearly a stand out on the EA1000. Mids have accurate tonal and timbral aspects but what makes the EA1000 stand out is how well it does with sound layering and that precise imaging. Mids is a strong suite for the EA1000 with a dimensional accurate sound all within a moderate wide spacious stage. You love some detailed mids presentations for your dynamic sound? The EA1000 provides this in spades. I find the mids especially engaging with the EA1000 played through a desktop amp/ dac or with some power behind it. My Fiio K9 pro ESS my Ibasso DX300Max. The EA1000 sounds spectacular with better quality sources.

Vocal and instrumental textures for the mid bands are solid as is its timbral accuracy but its tonality can shift a bit with use of the other two tuning nozzles. It isn’t that the sound becomes brighter per se but upper mid harmonics become a key ingredient for both vocal and instrumental presence. The other two filters have a bit extra in the upper mids and treble area, it will clearly be noticeable especially if you listen to rock and metal music where there are a lot of crash cymbals and screaming going on. If you ever wonder how you test for treble glare. Listen to some RUSH and check out the drum work of Neal Peart. You find yourself lowering the volume or even worse wincing due to the sharp crash cymbals. There is a bit too much treble in the mix. How does that affect the mids? Well that means you will end up lowering the volume you like to listen to your music with. It's good not to blast music into your ears but I found myself lowering the volume on the tracks I listen to.

Mids can lean a bit analytical at times but this is again using its included nozzle filter sets. If you want to shift the tonal qualities to be a bit warm and musical I have seen new photos of an actual EA1000 filter set, I suppose is very similar to the EA500 filter set. Don’t be afraid to experiment with these filters as it will get you what you're looking for. While you lose a bit of that treble articulation and shimmer, it won't cause you to lower your volume in the same token.

The mids comes clean with a lot of details but it would have been good to see Simgot actually do a moderate pinna gain at 7-8dbs and a slight reduction of the trebles using one of their nozzles for better tonal balancing. I can understand the basis for their Simgot harmon tuning. It has the most upper mids and trebles out of the 3 nozzles. These are basically the Asian influence of the harmon tuning for female vocals and it does that just fine but this causes an upper harmonics swing that will make listening to anything with brighter instruments sound even brighter.

Why the criticism? Well because these get so darn close to becoming a giant killer. There I said it. The driver potential here is immense. Its detail ability I can say is unique among single dynamics. Yet it was tuned for “more detail” I would have preferred more natural with that “more detail.” to be completely honest and let the driver take care of the details vs the tuning. I do know how the EA1000 sounds like with optimal filters, cables and tips.. 3 things that don’t come inside the box for the EA1000 when you buy them. Let me put it this way if Simgot threw in a toned down harmon nozzle, a nicely resolving pure copper cable and at least 3 more sets of tips? Then we are talking benchmark IEM and a serious giant killer. As they are, they leave you to modify and tune them yourself. Is it still worth tracking down a set for your collection? ABSOLUTELY. There is nothing that comes close to the resolve of the EA1000 at its price. I own flagship dynamics from both Fiio and Dunu that cost exponentially more that these hang with when it comes to sheer details. And all it takes is a bit of DIY that a child could do to make them sound tonally correct and you got yourself a crazy deal of an IEM.

Bass is interesting in a good way. The 6mm passive radiator used on the EA1000 supposedly enhances its bass performance and I don’t know if it is due to the drivers and the dual magnets or this passive radiator doing its job or perhaps a combination of all of it but it will be the bass quality that will surprise you here. For a single IEM to have this type of bass definition is remarkable. I own pure Beryllium flagship dynamics that the bass texture here competes with. The EA1000 bass definition is some of the best I have heard from a single dynamic. Its quantity is moderate but its quality lives up to just how resolving the entire sound is. Bass has excellent texture, can be impactful when called for and is nicely controlled with good speed. It's never the sloppy slow type bass but one that sounds remarkably accurate given the type of track you're listening to. Given the entire sound is so highly technical it does not surprise me that the bass unto itself is also technical. Its low sub rumble is addictive just wish there was just a bit more emphasis for both mid to lower bass otherwise I can’t complain about the bass here. It digs deep with very good tactile rumble when called for and has an excellent textured bass end. Bass is nimble, speedy, tight and definitely adequate. There must be something to that passive radiator that brings a solid bass end to the EA1000. If you own amps with bass boost. These sound marvelous with a bit of a boost, highly recommend giving that a try.

Overall the EA1000 gets soo very close to becoming one of those IEM that don't come around too often in the industry. So very close to being a killer of giants. But it requires a different cable, your very best tips and a easy DIY filter mod to actually fully realize their potential. I do applaud Simgot for realizing that a filter mod was needed and hence provides one for sale.

But then it would have been so much easier if they made one of the filters to not have so much upper mids and trebles in the first place. I know my review here might turn off potential adaptors for the EA1000.. But then you will be missing out. The EA1000 just due to its sheer resolving sound profile is a sound you have to hear to believe. Even better once you get them with the right tonal balanced using said filter mod. Without it I would give these a good 4.5 stars for Simgot giving the consumer a highly resolving driver and tech behind its sound profile. I have to admit the EA1000 stands out among other single dynamic offerings. But then I would give it a solid 5 star if just one of its nozzle filters was provided with a more smoother musical listening experience for a nice contrast to the other two nozzles provided. Just saying.

Otherwise. The prize goes to the bold and the EA1000 is just this. Thanks for taking the time to read.

Night Oblivion Butastur

The Butastur was a joint project between a well known friend to the community, American Spirit and an experienced Chinese IEM designer Jinny Tan of Night Oblivion. I first heard of the project from the man himself on the Discovery thread and unlike the myriads of reviewer sanctioned slightly tweaked tunings of the colab IEM the Night Oblivian Butastur seemed to be a well thought out well designed new IEM with a new brand name. I hope these guys continue to make more IEMs as the goal of this offering is to bring to the enthusiast the best you can buy for the money.

Utilizing a total of 10 BAs per side. Stuffing 10 drivers in a single shell of an IEM seems daunting but what is even more challenging is not necessarily using so many drivers per side but more so keeping the size of the shells to a minimum for better longer term comfort. The Batastur is using 8 premium Knowles drivers and 2 Sonion drivers for its bass end with a very innovative air pressure balanced vent on the front of the nozzle. To be more specific. 2 Sonions for bass+ 2 Knowles mids-lows+ 4 Knowles mids-highs + 2 Knowles for ultra highs, 3 way crossover + 2 tuning switches. One for trebles and one for a very mild boost for lower mids-bass.

The shell size is closer to a compact medium actually knocking on the doors of a smaller shelled IEM. Which is quite the feat considering just how many drivers it is using. The included accessories come with a 2 pin 6N 4 cores crystal copper litz cable with modular plugs. 3.5mm single ended, 2.5mm and 4.4mm balanced plugs. 3 sets of silicones and standard clam shell case.


Butastur in size vs Tansio Mirai TSMR-10/ medium sized shell.

The Butastur from the beginning was designed for the purpose of being a reference tuned balanced IEM meaning it will be leaning more toward neutrality and accuracy with a balanced presentation vs being too colored in any one region or another for a flavored sound profile. It incorporates 2 tuning switches in the design, one that boosts the treble and another that adds a mild boost for lower mids to the bass end. Their Balanced armature drivers were all hand selected for their ability and sound performance given the particular regions of sound they are taxed with. A 3 tube nozzle design provides a nice natural separation of the 3 parts of the sound but then adds a 4th tube in the nozzle for a pressure balancing vent which effectively eliminates pressure build up that can happen when listening to your IEMs. This is important as nothing ruins an enjoyable sound experience like an uncomfortable pressure build up in the ears.

The Butasturs sound profile incorporates well designed technical traits that are not as common at the price they are sold for but some may have some issues with their evenly balanced tuning. I have seen complaints of the Butastur not being so good for Rock and Metal for example which to be honest I don't hear them that way. I suppose if you're used to a traditional V shaped tuning which are more emphasized for guitars and drum impact with vocals not being as forward in the mix then yes I can see how a person can view the Butastur as not being so good for that genre of music. To be honest I don't hear it being terrible for rock and metal. I do know a lot of old rock and metal recordings are not that great in the first place. Could it be a case of the Butastur being more revealing of the source material? The Butastur is easy enough to drive but ultimately the Butastur will sound best with your best parts of the sound chain in effect as they are sensitive to sources, cables and tips. If you have a leaner sounding source the Butastur will sound lean and neutral. If you have a fuller sounding warm musical large and in charge sounding source that is how the Butastur will sound.

Butastur out of my DX300Max is just the ticket for a full warm well imaged and detailed spacious sound experience.
Standard disclaimers. The Butastur was provided by Penon Audio for the purpose of a review. They have been used for the past month and has been tested with my sources IBasso DX300Max, Fiio M15, M15S, Fiio K9 Pro for amping and numerous cables. You can get yourself a Butastur here on penon web page.

Its transparency is such that what you feed the Butastur will translate to exactly every part of the sound chain that is attached to the Butastur. So much so that the Butastur has quickly become a nice reference tool for all things sources and cables for me. I review cables and the occasional source so it is remarkable just how good the Butastur translates to how your sources and cables influence the Butasturs sound.

I will go over cable pair ups toward the end of the read but for now the sound of the Butastur is the very definition of a well balanced sound signature. You can even call this a good example of a reference type balanced tuning.

Trebles of the Butastur are defined and refined with no overemphasized spikes to grind your well recorded tracks to a halt well at least with the treble switch down. Even with the treble switch on, yes there is an increase in treble presence but again I have heard plenty of IEMS that are tuned with spikes that cause trebles to sound a bit artificial. Overall the switch was done tastefully and it will not add too much to overly color the sound for the Butastur. The base treble tuning is just forward enough to give a good sense of presence and space for your trebles with a solid extension and details for trebles. Butastur being BA based does a remarkable job with micro details for treble notes including a sense of air. Clean, clear well defined treble notes appear and while higher end IEMs will have even better articulation for treble notes, the treble notes will not leave a person wanting. A complete fully realized treble note with the right amount of presence and sparkle. The treble does a remarkable job at a refined well established treble presentation. The tuning switch enhances the treble which will add more emphasis for a brighter timbre to the trebles, enhancing transparency. It's nice to have that option but my own personal taste for treble notes sounds more natural on the off potion. Trebles overall are satisfactory and being an all BA set the trebles makes an easy transition to the upper mids and mid notes of your given music. Coherency is an aspect the Butastur also excels at due to this factor.

Butastur has a mild upper mid lift to give it enough prominence with both vocals and instruments alike. While the going rate for a lot of Chifi IEMs nowadays is to increase the upper mids for clarity and better presence, too much in this area also can infuse some artificialness of sound. Making some IEMs sound sterile or a bit too analytical. This is not an issue at all with the Butastur, I doubt anyone will complain that the Butastur has too much upper mid presence. It has a goldilocks amount of presence due to this aspect, something a lot of IEM manufacturers can learn from. It has a very similar tuning philosophy in common with Yanyin IEMs. Hence I will compare the Butastur with the Yanyin Moonlights toward the end of the review. Mids presence in relation to the trebles and bass is expertly balanced, which as a side effect will ultimately sound a bit mid focused and will sound like the treble and bass end is complimenting the mids tuning on the Butastur. Again similar tuning philosophy to how the Yanyin Moonlights and to a lesser extent the Yanyin Aladdin are tuned.

Mids of the Butastur has enough forwardness with very good technicalities for a proper mids performance. Anything considered reference needs proper mids and here the Butasturs strength comes in the form of some of the better mids for your cash. Its mids layering, sound separation and imaging that really sets the Butastur as having a higher level mids performance. A bit of a warning however. If you connect the Butastur to a thinner sounding source, you're going to get a thinner sounding Butastur. On a side note the included cable is decent for an included cable and has its function due to modularity and its copper cores which enhances musicality for the Butastur but by no means is it the best match up. For owners of the Butastur try your other cables, I am very certain you will be pleasantly surprised. Again more about this toward the end of the read.

Some will judge the Butastur based on whatever source they own and use however it is highly recommended to try the Butastur on at least 3 different sources. I find it interesting that while the Butastur is rated at 30 Ohm sensitivity, it literally becomes the best or the worst of what your source sounds like. For example I can tell just how much richer the Fiio M15S sounds like in comparison to the more neutrally tuned original Fiio M15. I can listen to the same tracks and pick up on that richer tonal character going from one source to the other. I can feel the superior dynamic qualities from my DX300Max vs the other sources. This with an added better resolving cable you have something that not too many IEMs in the price range will get you. Nearly a TOTL level sound performance. I say nearly because it's not exactly there. For my own taste in IEM sound. I would prefer this tuning with a nice capable dynamic handling the low bass notes. But that is more nitpicking than anything.

That saying good things in, equals better things out applies to the Butastur. If you know you have good dynamic and musical sounding sources with a decent collection of nicer cables. You will be good to go with the Butastur. I have seen reports of some users saying the mids sound thin to them. It can but again this will be more based upon what you connect the Butastur to more than any other aspect. On my end its neutral tonal character with just enough warmth to its lower mids brings out a very natural sound character that is more than addictive, it becomes near reference level. As with all things that sound nice. Try this and try that, this is one IEM you need to find synergy with your sound chain, otherwise you will make a statement like how it is not good for rock and metal only to find out once you upgrade your source and cable that it actually sounds darn good. Again I get why some of the fellas are saying this. If you're coming from a colored sounding prior IEM then this will apply more so. But for the rest of you that want more of an accurate sounding IEM, that is what the Butastur does best. I agree it might not be the absolute bees knees when it comes to rock and metal music but they certainly hold their own. It is with vocal, and instrumental music that the Butastur really shines. They are more suited to be an allrounder more so than being a specialist in any way.

Bass of the Butastur is a strong point. Much like the rest of the sound signature. The Butastur has a natural impactful bass character that will surprise. Sonion vented acupass bass BAs were hand selected for their dynamic like sound quality and due to being an all BA set up. Bass integration is as fluid as it gets for the given design. I have a handful of IEMs in my possession that use the Sonion vented bass BAs and just about all of them do bass better than other types of BA bass when it comes to bass definition, its impact and extension. Once again using that word to describe the sound of the Butastur. Natural.

The advantage of BA bass is that it does not require air like dynamics do for its full impact and presence, hence the immediate speed of the bass end is ideal for speedy bass emphasis. However the disadvantage of BA bass is that it has some difficulty portraying a realistic organic sub bass rumble and texture. Hence the reason why a lot of hybrid IEMs use dynamics vs using BA bass drivers. So the inherent weakness for the Butastur is its sub bass rumble. Which sounds a touch softer and lacks a real woofer like texture when compared directly to a vented bass form a higher end dynamic.. However the impactful nature of the bass is not only ideal for the Butastur balancing but shows that the bass end was not an afterthought in its design. I can’t say that the Butastur is lacking in sub bass because it has some solid extension, it does however lack a realistic bass texture that only a good vented dynamic can provide. This being said, the bass end here is just as good as the other sets I have using similar drivers. Dunu SA6, Penon Legend, Penon Impacts, Penon Turbo, Tansio Mirai RGB ect. All these IEMs share very similar bass ability, some are more elevated in emphasis than others but overall bass impact, bass tonality, bass definition and extensions are solid, but all of them also share a similar lack of a real sub bass texture.

It's not that the bass emphasis and ability is lacking here, it is just the limitation of the drivers that is being used. Bass is in the good category and in some ways more accurate to the recording of tracks due to its sheer speed. Butasturs bass is tuned nicely to get the full deal out of these drivers but again bass lacks the one aspect BA drivers just can’t do and that is texture. This being said, even if the Busatur was using a dynamic driver, due to its tuning angle being more of a balanced tuning. Bass will not have the extreme texture of bass driven sets simply due to the lack of emphasis. Hence what's being used on the Butastur is very adequate, natural and fluid for the tuning altogether.

Bass is satisfactory with accurate tonal characters but given its design, there is a bit of a trade off. If a dynamic was used for bass, you're not going to get the same type of speed and coherence in an all BA design. Dynamic bass is usually slower and will have a different transient response with a slower decay than BA bass. Then you would also have to incorporate a larger housing to fit the dynamic going from a smaller medium to an actual medium or even a large in size due to the dynamic implementation. Everything on the Busatur was designed with the single goal to bring out a reference level of sound for the bucks and for the most part these guys did an wonderful job creating a well tuned, natural tonal balanced set, a splash of musicality, a touch of natural warmth with a higher degree of technicalities; imaging, layering, good timbre, all presented in a spacious moderate sized stage and depth and you get the Butastur.

In the end
The design and end results of its compact efficient design was a success. The one aspect of the Butastur I appreciate is that it is so transparent of what it is attached to that it has easily become one of my go to IEMs for testing sound sources and cables. I have IEMs that cost exponentially more that I can’t use them in this manner and this clearly shows how well the Butastur was designed. It's all BA design has to be one of the best in the price range. I own a former Empire Ear flagship Zeus which uses 14BAs, the reason why I bring this particular IEM up is that the Butastur is the IEM that the Zeus so much wanted to be but at a much cheaper price. Folks that have owned the Zeus in the past will understand if they ever get a hold of the Butastur. Butastur fixes the issues that I personally had with the Zeus. Both these sets are tuned to be neutral balanced reference however the Zeus has a bit much in its treble region with a treble spike in the sensitive 7-8 Khz region. Is overly sensitive and its bass end has a lot to be desired. Lacks in both impact and its sub bass extension and rumble is nonexistent. Here is a case where more drivers don’t get you more or better sound. The only aspect of the Zeus that betters the Butastur is its stage. Zeus clearly is playing with the big boys when it comes to stage but tuning wise. I would take the Butastur 9/10 times.

Butastur shares in common with Yanyin house tungings. If you own a Yanyin aladdin and or moonlights you will understand why I state this.

In comparison both the Aladdin and the Moonlights are balanced very similarly for all parts of their sound signature much like the Butastur. Where does the Butastur sit between these IEMs? I would say if you added a dynamic to do the bass end of the Butastur. You would get something similar to how the Moonlight performs more so than the Aladdin. Aladdin for the bucks is a fantastic set but lacks a bit of dynamism and its technicalities are about average for hybrids in the upper budget realm for IEMs.

The Moonlight is the Aladdin with much better everything and hence is more closer to Yanyins flagship IEM level vs the intro hybrid IEM the Aladdin. The Moonlights has a richer tonal quality and its mids are pushed just a bit more forward in the mix vs the Busatur. Trebles get a bit more in the way of micro details for the Moonlights otherwise both sets will trade punches when it comes to imaging, stage and detail. Even though Moonlights use a bio dynamic for its bass its emphasis is at a very similar level to the Butasturs bass but due to its outstanding bio dynamic it is using, it has a solid low reaching rumble for sub bass that brings a natural bass character for the Moonlights.

This being said, I would actually like to see a revised Busatur with a potent dynamic in it for bass and maybe adding two ESTs for its upper trebles with a similar balanced tuning. I know this would add more to the cost of a revised Butastur but I bet it will make the Butastur that much more higher end vs how they sound now. Considering the Butastur here actually cost less vs the Moonlight I would actually put the Butastur in a similar playing level SQ wise to that of the Moonlights more so than the Aladdin.

Cable matchups.
Included copper cable is a good included cable and I can tell it is a true higher end crystal copper rated at 6N cable. A good resolving copper cable was selected to bring the best tonal character and a touch of warmth to the Butastur sound profile. I agree with what was selected here but you can shape the Butastur to how you feel sounds right on the Butastur by doing a bit of cable swapping.

Penon Obsidian@$149
Obsidian is 4 cored copper cable that is similar in makeup to the stock cable of the Butastur. If you are happy with the stock sound performance of the Butastur but would like a bit more density for its sound with greater note weight. That is what the Obsidian will do. It does not enhance the stage like the other cables I will mention here but I figure I would start with this cable as this cable is a much better version of the stock cable that comes with the Butastur. Also introduces a touch of gold plating for a few of its cores. Which adds a touch more richer flavoring for the Butasturs tonal qualities. Bass to vocals to treble everything gets an uptick in weight with this cable. Folks that love the musical qualities of the Butatur but want an upgrade on that musicality. The Obsidian is the cable to go with. Its 3 in 1 modular system is identical to the stock Butatur cable as well.

Penon Vocal @ $69.
Ok so these cables are a specialty cable with 4 cores made of silver plated gold foil over crystal copper. If you take a premium to the Butasturs vocal and instrumental clarity and detail. These cables will help in that department as not only does it slightly enhance the stage perception of the Butastur but also makes an impact on imaging and sound separation, especially noticed for the mids. These cables are an excellent match up for several reasons, I know the color may be a bit out there for some but heck if you are going for bang for bucks in cable land that will make a difference for the Butasturs technical ability. These cables enhance the Butaturs technical ability, especially noticed for vocal and instrumental timbre. Out of the 3 cables connected to the Butastur these are the best value as they easily make a difference like the other two but at half the price of the other two cables. Better clarity, better sound separation and imaging as a result when compared to the stock cable. Yes these are indeed an upgrade for the Butatur.

New Penon ASOS@ 169
This is an immediate upgrade for the Butastur. Folks that feel Butastur could use a touch more note weight with a natural expansion in its stage. The ASOS is just the ticket for this effect. ASOS is a more transparent cable using a lot of higher end copper with a good dose of silver plating. I feel these bring out a more expansive and better detailed Butastur. These cables are new to the market but has quickly become a favorite of mine to use on the Butastur. If you are looking for a clear upgrade for the Butatur for all the reasons mentioned above on the other two cable with a natural expansion of stage and depth This cable is clearly the upgrade on The ASOS. It has a magnifying effect for the Butastur sound. Every aspect of its sound is enhanced for the better and if you connect the Butastur with this cable to a richer sounding source like Fiios M15s or the IBasso DX300Max. You will get the absolute best of what the Butastur can do.
Fuller bigger body of note. More immersive, better technicalities with a bigger expansion of stage.

Penon ASOS

8cores, 25 strands per core, silver plated single crystal copper & alloy copper. PVC wire sheath
W Carbon fiber accents for plugs and accessories.

A sound chain is described as the elements connected to your ear speaker that influence how we hear from said ear speaker. Be it the source, the amp, the cable, the tips carefully chosen to get the best seal in the ear for the best sound. If you skimp on one aspect of what is on your sound chain. It might be the difference of why some love a sound and some don’t. In our hobby, everything counts from the type of music files to the type of drivers used in the IEM that will determine if we get a nice sound experience or not. This goes without saying but a cable as minor or as important as you think does make a difference. Let's say you got all the parts right except you're using the included cable on your IEMs as much as you are a believer of cables or not. Will pique your interest when reviews say this or that cable makes a big difference.

OK so I am guilty of being one of them reviewers. I own and have used too many cables to count to say that they don’t make much of a difference. I am a firm believer of cables enhancing or detracting a sound. The last thing you want is a cable that detracts from a sound. Believe me a lot of the included cables with todays IEMs do no justice to exactly how good your IEMs can sound. This being said the new cable from Penon is yet another serious option for cable land and I will go into details why.

The newest cable from Penon is a stunner. First and foremost. It is a substantial cable. Looks to be about 24Awg in thickness meaning it is Chonky one. 8 thicker cores of the stuff. The ASOS is a mix of two types of silver plated copper. Alloy copper and crystal copper both with a healthy plating of silver then it is finished off in Penons 3-1 modular plug system.

Just like the local amphitheater with the high school rock wars going on. There is a lot of heavy METAL going on here. If you're not into your heavier thicker IEM cables I would look into a 4 cored variety for the rest of you who don’t mind a thicker more substantial cable. Keep reading.

Even though the ASOS is clearly in the thick and chonky IEM cable category. It is rurpisingly pliable meaning it wont take on much memory if at all. It is how they look with your IEMs that will get the sound geek in you praising to the high heavens how good that looks. Case in point! ( ASOS w Dome pictured above.)

The ASOS RP goes for $169 and at this price these are a relative bargain and here is my reasoning for why I feel that way. These are comparable to some of Penons competition that sells their version of the silver plated copper cable at almost double the price. I should know as I actually did reviews for said competition at almost double the price..

Cables that cost over the magical $100 mark has to be more substantial over what is included with your IEMs. It has to be a cable that once connected to an IEM. Should be more than “ well I think I hear a difference.” There has to be a definitive. “ WOW I hear a difference!” Because let's get real. You can buy a decent IEM for that price which includes a throw in cable and if you're not a believer in cables, that cable they threw in for free is just as good right? Might as well get the IEM instead. So that money spent has to actually improve an IEM sound. Why would you buy a cable if it doesn't? Just for looks?.

The ASOS will improve your sound. In what way you ask? The sound changes/ enhancements are as follows. Using the Night Oblivian Butastur/ Penon Dome/ Penon Impacts.

-Stange enhancement in all axis including depth of sound.

Yes, these cores are thick and thicker cores enhance stage especially with a healthy dose of silver in the mix. It will be the first thing you notice when connected to the ASOS. In the headphone game you have to have a completely different type of headphone an open CAN in order for better stage perception but for IEMs which by default is a much more intimate experience enhancing stage with a cable change is out right magical. Tell me an IEM that sounds better with a more narrower stage? Of course, we want a more expanded stage and I am happy to report. Much like all great cables do these will enhance the sense of stage perception in all directions.

-Enhance note weight.

Note weight? Ya that is the difference in hearing your thinner sounding IEM vs a thicker fuller bodied sounding IEM. The ASOS due to its ability to enhance the overall picture of your sound also has a side effect of thickening the notes your hearing. And that is a good thing. Nothing ruins a natural timbre for sound like thinner notes. This is the source of all things “brittle”. Never heard a true earphone fan say they love a thinner sound. If so than you have very specific taste in how you want to hear your music. Nothing wrong with that per se but just know you're not going to hear much thinness using the ASOS.

-Enhances technicalities

Imaging, sound separation, definition of the sound all of it will be enhanced and in cases where you are comparing the ASOS vs copper type cables will have better clarity. The ASOS is a much more transparent cable than what is included with most IEMs so this is something to be expected. This effect has a relation to the more substantial note weight and sense of stage. That sound your hearing is now more expansive and denser so what was once perceived as a certain level of imaging for example also expands. Which also has a side effect of increasing how your hearing the smaller details from your music. It will be easier to hear vs your cable.

-Best of pure silver and copper?

Yes indeed. Copper enhances dynamism from your IEMs and adds greater note weight and warmth. Pure silver helps with the technicalities; stage, imaging, clarity and details. Here you get the mix of both elements and while you might see a lot of cables with this particular mix. Not all SPC types are the same. The ASOS is clearly playing at a different level for these types of cables and hence they are priced competitively for what they are.

Penon sees these being an upgrade on the classic do it all OS849 and the Orbit. I have to agree. While these 3 cables share some similarities in their make up the new ASOS includes an extra type of silver plated copper, alloy copper. Which seems to be in the vein of higher transparent coppers. Cheaper version of the UPOCC cables? Could be. Which brings me back to the cables I feel they are very comparable to

That is Effect Audios Cadmus 8w. This cable goes for almost double that of the ASOS and for a good reason. It is using some of the purest most transparent copper type for cables in the UPOCC base cores also plated in pure silver. The Cadmus 8wire is imo the best of the signature series as it is the most versatile out of the 3 cables that was introduced over a year ago.

For my own curiosity I had to compare the two using the Impacts.

Going back and forth from the ASOS and the Cadmus 8w I have to say the general technical enhancing abilities on both sets of cables are at very similar levels here. I will say the Cadmus has just a smidge more in the way of stage width wise but that is due to the mids not being as dense as it is using the ASOS which also has a bit more note weight over the Cadmus 8w. Cadmus 8w brings a bit more for sound separation but otherwise if you compared these two in a blind test you're going to have a very tough time telling these two apart in both form and sound.

Out of the box listening using the ASOS I was thinking about the Cadmus 8w. These are brothers from another mother. No question which cable here has the leg up in value. The differences on both these are more like splitting hairs than obvious differences in cable abilities and that says something about the ASOS. No question these are an upgrade on the OS849.

Vs the OS849.
The ASOS brings a different level of detail for the Impact sound profile. Treble sounds a touch more articulate because of the transparent nature of the ASOS. It gets a touch more fullness/ note weight over the OS849. OS849 is a well balanced classic SPC type cable that has been a favorite cable of mine ever since I did a review for it long time ago. It is the OS849 that is the gateway to higher end cables and the beginning for diminishing returns in cable land. So Penon got the pricing right, a more transparent OS849? That is very much what the ASOS represents.

Overall
The new ASOS is one of those cables that will be a mainstay for audiophiles that are looking for value in an IEM cable. It is most definitely versatile and will upgrade any IEM you throw on them. Its transparent ability is actually greater than what Penon is selling them for. Comparable to some of the best SPC type cables in the market sold for almost double. The ASOS drawbacks is that it is a chonky boy very similar to the Cadmus 8w which is a 24awg cable.
Otherwise these are extremely handsome accessory and sound enhancing cable that will go with just about any type of IEM. Yet another excellent cable by Penon Audio.

Eros S 1st anniversary

Hybrid cables by sheer description means at its base cores are using two types of materials. The Eros S is a well-reviewed true hybrid cable utiling UPOCC copper litz and UPOCC silver litz materials interweaved in 8 cores. To be specific 26AWG in 8 cores.

The new 1st anniversary edition ditches the stock gray sleeving of the original and goes for a fresher looking, shiny black with gold accents. This carries over to the brushed/polished aluminum and carbon fiber accents that makes the 1st Anniversary version stand out.

I own and use several pure silver and copper hybrid cables, so I have some clear expectations of its performance. It is the Eros S out of the 3 signature series cables that is arguably the top tier of the signature series, and it has to do with it being the only cable out of the 3 to include cores of pure silver.

If you have ever used pure silver cables for IEMs, then you will have a good understanding of its properties when connected to your IEMs. And on the opposite end of the Eros S make up includes a very good standard copper material for EA, UPOCC copper. This particular type of copper material happens to be some of the best in the industry when it comes to its sound enhancing ability and here, we get a marriage of both materials that form the cohesive sound enhancing ability of what the Eros S represents.

The 1st anniversary now has a new look called the stardust noir theme vs the standard Eros S more standard gray colored sleeving. All black shiny PVC with gold flakes enhanced with gold plated anodized aluminum conx 2 pins and a Rhodium plated plug that really make the cables stand out. Arguably one of the better-looking IEM cables I have ever used. The 1st anniversary is a stunner out of the box. The new all black look really enhances any IEM it touches as its thicker 26AWG 8 wire configuration is softer than it looks and is lighter compared to similar cables, its brother the 8 wire Cadmus for example is the same thickness but is not as light or as soft as the Eros S.

The new Eros S finish is not only soft but is also much more pliable than most sets that use this much material. Has no memory and while there is a certain element of cord noise it's not any worse than any other type of cable with a PVC finish when used over the ears. The Eros S 1st also comes with a new specialized stardust noir themed pouch to use with the cables.

You can look up more information about the Eros S 1st anniversary on their official pages shown here. The Eros S 1st anniversary was provided for the purpose of a review.

As per their sound enhancing capabilities. These observations are as follows. Tested on several of my well-reviewed IEMs, the Penon 10th anniversary, Penon Impacts, TSMR RGB, Penon Turbo, and ISN Neo5. All testing was done using the cables these earphones come with to get a good idea of what the Eros S 1st is doing vs the stock cables.

It was clearly evident that the Eros S is using higher end materials for its make up. You can tell due to how resolving the cables are. UPOCC copper is one of my all-time favorite materials for cables and Effect Audio uses only the best copper materials in the industry for all their cables. The signature series all utilize this material with excellent results. The Eros S 1st uses the UPOCC copper as a base for the cable's sound shaping properties but then adds cores of pure silver. Which enhances the copper's ability for enhancing technical aspects for a sound.

The first aspect of the ErosS attached to my IEMs was its ability to enhance a stage perception. Sound gets wider with a deeper stage on all the sets I have tested the cables on. Stage enhancing ability has to do with how a cable enhances details and imaging which the pure silver has a lot to do with these aspects. Overall emphasis for the Eros S in general is more of a U shaped in emphasis meaning while it does not enhance mid bands to have a greater note weight it does enhance extension for the IEMs on both ends. The copper working on the bass, the silvers working on the trebles a combination of both working for the important mids of your IEMs sound signature to enhance an IEMs technical ability.

Its mids enhancing is a bit more grounded meaning the Eros s will not add an added thickness or fullness to a sound profile but will provide a level of transparency, detail and imaging that is easily some of the best for cables at this price range.

The consistency of the UPOCC coppers used in Effect Audio cables are that they give a reference level of black background which makes your IEMs sound more dynamic as a result. The Eros S clearly benefits from this base material. Your IEMs tonal character is not skewed to be brighter or darker using the EROS S while your IEMs technical aspects. Its sound stage, imaging, sound separation, clarity and detail levels are all enhanced.

You might be asking if the Eros S does all these things then why spend more for a higher end cable like the Fusion 1 for example?

The differences from the Fusion 1 is that it is using much more variations of copper material with gold and silver but more importantly it is using much more sophisticated geometry to attain what those cables can do for an IEM. The Eros S has excellent base sound enhancing ability but does not layer a sound quite like the Code 23 or the Fusion 1 cables. Which makes both these cables cost accordingly and in the industry where anything that enhances a sound level to a “higher level” will demand a price tag to match.
Sure the Eros S 1st anniversary is not at the level of prior mentioned cables by Effect Audio but at the same time it is clearly playing at a higher level when it comes to sound enhancing ability. I own and have reviewed numerous cables at the price ranges of $150-$350. In fact I find this is the price range where you will get a clear distinction from the sub $100 level cable category for a good reason. Price is always subject for debate on these things but for what it's worth the Eros S might be a part of the signature series, what Effect Audio considers an intro level cable. According to them but not when I compare similarly priced cables against them. These are competitively priced. What you can expect connected to an Eros S cables are as follows.

-Superb ergonomics, pliable with no memory
-Not a heavy cable compared to other 26AWG 8 core cables
-Enhances stage perception
-Enhances detail of an IEM
-Better dynamics, bass punch,bass reach and rumble
-Enhances mids clarity, imaging and sound separation
-One of the best looking aesthetically pleasing cables at any price.

Improvement for sound separation and layering and stage perception was heard listening to this track.

Connected to the ISN NEO5
Neo5 is a Dynamic + 4BA warm musical full bodied sounding IEM with an equal full bodied bass response. The dynamic on the Neo5 due to its ample impact and emphasis for bass is not the quickest when it comes to transient response hence needs a bit of better sound separation and stage for speedier complex tracks. This metal track with the stock cable brings almost a wall of sound effect due to its speedy yet paced dynamic guitar riffs, vocals and the snappy pace of the drum work. While the tuning of the Neo5 bodes better for more bass infused genres but with the right cable these IEMs was able to keep up with this track much better than the stock ISN S4 cable. Bass end seemed a touch snappier yet did not lose any of the bass impact and emphasis.

Improvement for sound stage, imaging, sound separation, details and body of note noticed for the Penon Turbo a 6BA pure balanced armature set.. Sound gets a clear expansion of stage with much better separation of the elements for this track.

This track gets an uptick in precision, clarity and the sound expansion is so clearly evident I can make out the room the track was recorded in. The stock cable for the Turbo is not a bad one but this is a case where the upgrade for the Turbo is easily heard from using the Eros S. Bass rumble and treble sizzle is enhanced which clearly enhances why the Penon Turbo is such an addictive IEM in the first place. Wish the Turbo actually came with the Eros S. I love how the Eros S does not lean out a bass end like pure silver cables do. Case in point.


Bass impact. Connected to the Penon Impact a 10BA+4EST hybrid. By default the impact has some really good bass using 4 Sonion acupass vented BAs. Impacts are called the Impacts for several reasons but one of them is not because they don't have it on the bass. Its stock cable is a $150 white Penon obsidian cable, mostly a pure crystal copper cable with some gold-plated copper cores mixed. This cable was provided due to how it enhances the mids of the Impacts. Introducing the Eros S to the Impact is a bit of the opposite of what the stock obsidian cables do. The Eros S brings a more balanced take on the Impact sound signature. A wider stage, better treble articulation, and its bass end is not sacrificed to do so. It already has one of the best sound layering of just about any IEM but this aspect also gets a slight increase. Sounds more holographic as a result. The stock cable skews the sound to be a bit more mid centric with a more intimate stage presentation. The Eros S gives more credence to the excellent well extended trebles and its bass presence much better than the stock cable does. While the mids are not as forward as the stock Obsidian this tradeoff for a wider deeper sound to get a more balanced Impacts is what the Eros S does for the impacts.

Penon 10th is a tribrid utilizing 2x dynamic+ 2 BA + 2EST. The 10th is an excellent testbed for IEM cables I found out as I have tested both the Fusion 1 and now the Eros S on them with some excellent results. Once again the expansion of stage is the first aspect I notice going from its stock cable to the Eros S. And here is a bit of a comparison against Effect Audios newest Fusion 1. The Fusion 1 specialty is its ability to separate notes in the given track and compared to the Eros S. It gives a greater noteweight to vocals and instruments. I feel the strengths of the Fusion 1 has to do with what it does for the mids more than any other aspect of its tuning. And here is where the differences really are. Fusion 1 simply has a supreme level of sound layering the Eros S or any of the signature series cannot touch. This should be the case but considering the Fusion1 cost roughly 3X as much as the Eros S. You would expect that, but here is the surprise. As far as stage enhancement goes the Eros S is right there with the Fusion 1. Its technical enhancing ability, specifically imaging is not at the Fusion 1 level but this is a case where if you haven't heard or used the Fusion 1 then that saying, ignorance is bliss. Eros S clearly enhances imaging vs the stock cable counterparts of all these IEMs I am testing them on and hence at the price range you really can’t do much better.

In the end
In an ideal world all IEM cables would utilize the best copper and the best pure silver for its makeup but unfortunately these materials cost more to produce and make. If you're going for higher end cable to enhance your favorite IEM the Eros S makes a compelling statement for one of the absolute best you can get for your hard earned money. Its stunning looks is arguably a clear upgrade from the original in every way imo. Not that the original was necessarily a bad looker but shiny black with gold accents is classy. The cables are consistent in what it does which brings a mix of what a higher end copper and a higher end pure silver can do for your IEMs and this will make it extremely versatile for all types of IEMs they are connected to. Stage enhancing with an increase for your IEMs technicalities are what the Eros S is about but then they look stunning on just about anything you attach them to. Looks and better sound, what makes for a better IEM cable? Thanks for taking the time to read.

Simgot EW200

Today's budget sets have gotten good. So good they mimic some of the best tuned dynamic IEMs from just a few years ago. Competition for the best sound for your hard earned money has ramped up so much that we get sets that are pushing the envelope at all price levels. The EW200 is simply put one of the best IEMs I have heard at the meager price Simgot is asking for a set. Being an IEM reviewer. It surprises me to no end that these $40 IEMs can easily compete with some of the better $100 level IEMs in sound quality especially if you're willing to upgrade the cable that comes with the EW200. Will get into that more so later on the read.

No question, the value just based on its sound and tuning is there. If you already read some of the reviews for the set you will see that others agree with the quality in general of the EW200 but it will be its sound quality that will agreeable with many.

The EW200 uses a silicone crystal polymer, supposedly a combination of the DLC and an LCP diaphragms. 10mm dynamic, dual magnets and dual cavity design. Something you don't see much if at all for sub $50 sets. So right away its design stems from much more expensive single dynamic IEMs. The tuning is a cross between the 2016 harmon and Simgot target. So the treble gets a slight elevation over harmon tuning.

What it comes with
A set of silicones, a silver plated OFC cable in single ended and a pouch. What you would expect for budget level sets. So nothing here revolutionary but I do like the cable it comes with. Which is functionable, light and gets the job done. No concerns for the accessories given the price it is sold at. Again this set is more based on what Simgot is offering the consumer for the IEMs themselves more so than getting anything noteworthy for accessories.

Build.
The all metal shells of the EW200 have a comfortable smaller side of medium in size shape. Its ergonomic shell shape and size will bode well for people of all ear shapes and sizes. It might be a great pick up for folks that do walks or jogging, bike riding and such due to its flat outer shape. The flat outer shape will help reduce wind noise when doing physical activities. It is usually shells that protrude outside the ears that will catch wind noise more so than something like the EW200. Passive isolation is not the best for metal builds, I would say about average but certainly not bad here either. I can tell the shells will handle a drop here and there with no issue. So the build and the shape is actually one of the better aspects of the EW200.

I would like to thank Simgot for a sample of the EW200. It was provided for the purpose of a review. You can read more about the EW200 on their official website. Here. The EW200 was burned in for a period of over a week. They have been tested on my sources. Fiio M15, M15S, BTR7, Shanling M6 pro, Ibasso DX300Max, Fiio K9 ESS, and IFI Signature for amping.

Sound.
Here is the reason why these are worth picking up at the price point. The EW200 presents with a mostly balanced tuning with a slight emphasis towards its bass and just enough mid treble emphasis to balance its tonal qualities. The EW200 will be versatile for all types of music, and while the EW200 is not exactly at the sound quality level of its older brother the EA500. It definitely hangs easily with some of the absolute best sounding IEMs for the bucks and against others that I have tested at the price range. While the EW200s tuning aspects, its 10mm driver and the overall design associated with the set mimics higher end IEMs. It also mimics higher end sound characteristics but is not exactly at the same level of said higher end IEMs. But truth be told, at this price range, it more than lives up to its billing and sound quality. Harmon tuned IEMs in general are more based on balance of sound vs being overly emphasized in any one part of its sound design. The EW200 is a prime example of a well balanced tuning with a higher level of a natural and slightly organic tonal quality you would never associate with budget sets at this price point.

The EW200 incorporates a simple .78mm 2 pin cable design meaning, Simgot clearly encourages the user to try your better aftermarket cables to help enhance its sound characteristics. With better cable matchups these will come very close to the stock EA500 in sound and that is quite the achievement. Due to its lack of included tips and while its stock cable will give you a good idea of what the sound will be. I highly recommend using your best aftermarket tips and cable pairings. Since the sound tuning and its balancing is there. This is the one set that I can easily break my own rule of not using cables that cost more than the IEMs. Forget that. It does bring the sound quality up a notch or two.

Trebles of the EW200 have just enough presence and sparkle to balance the sound signature. It's got just a touch more emphasis than a true harmon target and an intentional slight extra emphasis in the upper trebles create an airy quality for the sound that has just the right amount of air with no artificial glare anywhere to the sound. The end results makes the EW200 sound presentation a touch airy and never canned. Not exactly open sounding but more semi open in sound quality.

I think the one aspect of its sound that could have been a bit better would have been its stage emphasis. I consider it a moderate average stage for IEMs but it is due to just how well this set is tuned, I can only imagine if the EW200 had a wider stage with this exact tuning. Would definitely contend against much higher sets. I am a firm believer of housing integration and driver positioning inside that housing that leads to a sounds stage perception. The flat shells of the EW200 sit relatively flat against your ear when worn. Meaning the drivers and its sound production is actually inside your ear. This leads to an average more intimate stage for IEMs. If the housing was a touch bigger and its drivers were not set inside the ears. I do believe it would have made the EW200 sound even wider than its current sound profile shows. Just a nit pick on my end but the sound quality is very good, only if it had a wider more spacious sound presentation. It would have put the EW200 in a rare level for IEMs at the price.

The trebles macro details are solid and even have some decent micro details which usually much higher end IEMs do better but for a $40 IEM to show that it is using a higher end driver that does so much right including its treble aspects. I really can’t fault the sound quality on this one.

I still own a variety of cheaper sub $50 IEMs I have collected through the years and I might have a set or two from the Audio Technica line that matches the detail level of the EW200 but then the rest of the sound aspects are not tuned as good. Yesteryear's sub $50 IEMs don't match the balancing or the timbre level of the EW200. The one aspect I appreciate about the EW200 is that ultimately its sound is fluid, cohesive with very good balancing. No forced trebles with large spikes with just enough sparkle and air to bring a higher quality sound and ability to a $40 IEM.

Mids is where the Harmon tuned IEMs bring presence for both vocals and instruments alike. Especially for female vocals and stringed instruments. Harmon tuning favors the upper harmonics and it clearly shows for the EW200. Its layering is also done very well with good but not outstanding note weight. Lower registered notes, while not exactly ideal, does a great job even for male vocals. This is the one area that can lack for harmon tuned IEMs the EW200 has enough presents for its lower mid range to not thin out the sound to the point of an unnatural leaner sound like a lot of pure V shaped tunings you see rampant at this price level. Here is where I feel its older brother the EA500 does better. EA500 has a fuller, more substantial note weight vs the EW200 but if you never have heard the EA500 before. This is a case of ignorance is bliss as the note weight for the EW200 is more than acceptable.

Mids tonality sounds a bit more neutral vs the richer tonal character for the EA500 but has a touch of that richer tonal character going on at the same time. A bit organic with very good timbre characteristics. The EW200 technicalities as far as imaging, sound separation, its stage and details are all at some of the better levels at the given price minus the stage which is give or take about average, I posted about earlier. Again if that stage was more expansive. One can wish I suppose. Gives something for Simgot to think about here. Otherwise I have not heard too many that can outdo the EW200 in the sub $50 range, it will take a higher end set to do one better. Cheaper BA sets in the price might give some competition as far as details goes but no way will the sub $40 BA set sound better for naturalness with a proper timbre for vocals and instruments at the price. Mids are proper on the EW200 hence the love for it from the other reviewers and myself. The most important aspect of any IEM if the mids don’t have proper presence and detail it will lose to others in the game.

I have owned numerous dual cavity and dual magnet dynamic IEMs and essentially a dual magnet set up is a bit like having two dynamic drivers without the need for a 2nd dynamic driver. The dual magnet array does a more efficient job at helping the driver produce a quicker response than using one magnet hence this is usually reserved for more expensive sets. Not too many IEMs will have a dual magnet set up for sub $50 IEMs. This also shows a better more tactile ability for bass.

Bass is indeed as solid as the rest of the sound profile and a strong suit. EW200 has a moderate 7db average bass elevation for its bass emphasis. Which is like a goldilocks of bass presence, impact and rumble for sub bass performance. Its moderate bass foundation is just enough for something like pop music and even bass genres like EDM and hiphop to come correct. Its bass presentation is tight, has good speed for dynamics and has zero sloppiness in the form of a bass shadow. This aspect alone makes the EW200 stand out as one of the better bass performing sets at the price. I have done bassy V shaped IEMs that have nowhere close to the balancing for the EW200 let alone a proper well representing bass end at the price. Bass definition here is definitely above average as its texture represents an accurate bass ability. Its got good solid definition for bass impact with an actual realistic bass decay that is associated with much more expensive bass sets. While the sheer quantity may not be anywhere close to a basshead level. Then it would clearly not put the EW200 in the balanced category for sound. Bass has some moxie for what it is and that's certainly not a bad thing. Regardless of price, if the bass end is weak, it gets no play from me. The EW200 bass ability and its defined bass characteristics is what makes the set more versatile. It clearly stays well controlled has excellent tonality when it comes to bass and is is playing easily with some of the better tuned IEMs for bass at the sub $100 level let alone at $40.

Overall the EW200 has been a great experience for me. As a reviewer of all things that sound good in my ears, the EW200 has shined. It is the type of set you can never feel guilty about buying for loved ones and friends and even more importantly for yourself. They all will clearly enjoy it for its sheer sound quality, Its balancing, its very good tonal and timbral characteristics with a nicely deep reaching textured and tight bass end to go along with it makes the EW200 not only versatile but one of the best sets I have ever tested and reviewed at the price. I am thinking if Simgot actually made the stage of the EW200 to a nice higher end level. They would have probably charged accordingly is my thought. For what you're paying for a pair, in our hobby, it just doesn't get much better. I have heard plenty that are worse at double the price. Let me put it that way. Its solid all metal construction will make them last for a lifetime with the ability to use much better aftermarket cables. This one is in the very good category for IEMs my friends and it didn’t take some random reviewers collab to bring you the goods. Thanks for taking the time to read. Remember, friends don't let friends buy bad sounding IEMs. Give them the EW200 instead.

Bonus cable pairings.
The EW200 at 16 Ohm is a very easy to drive IEM. Will work well with its included cable but much like other dynamic IEMs it will clearly take advantage of more power. Easiest way to do that is to use a balanced cable and the balanced out from your better DAPs or sources. The stock cable is quite good at producing a base sound for the EW200 but it is afterall a sub $40 IEM so the relatively thin 2 core OFC based cable is ok but if you want to maximize what the EW200 can sound like. Use your better aftermarket cables for more power while optimizing its sound. My recommendation is to try your other 2 pins and see how that affects the EW200 and go from there. These are my own findings from better cables on the EW200

Penon CS819
These cables are a mixed copper and silver plated copper type cable but in 8 cores vs the thin 2 cores of the stock cable. This cable is like a much better version of the stock cable that comes with the EW200. And yes out of the gate the CS819 cost more than the IEMs themselves, which can be bought at a cool $49. However one can argue that the combination of the CS819 and the EW200 will challenge even its older sibling the EA500 for sheer sonics. The sound becomes more expansive, more spacious. Since the cables make up is similar to the stock cable this cable does not tweak with the tonal character of the EW200 but it will give a definitive upgrade on what the stock cable does. Better depth and weight of sound as a result of this cable and the more powerful dynamic sound qualities associated with balanced power out of your players.

Pure silver cables/ Xinhs/ NiceHCK/ KBear
These cheaper $20-$40 pure silver cables from these manufacturers are actually made with real pure silver. NiceHCK showed me an actual metallurgy certificate of its purity at 99.99% pure silver. So yes the good news is you can buy a pure silver IEM cable at some budget friendly prices. If you want a more analytical take on the EW200 sound signature. This is how you achieve it. These pure silver cables does exactly as advertised. Gives you the cleanest fastest signal path to the EW200. When it comes to the EW200s technical ability a pure silver cables enhances these aspects. Its tonal character shifts ever so slightly to a cooler neutral but still very much natural sounding. Bass end becomes a touch leaner but brings more focus to its treble emphasis. Hence you will get a slightly more neutral more detailed version of the EW200 sound. If you like your sound as detailed as possible. These cables will do that for you but will not cost more than the EW200. A set of these cables are worth getting anyhow since it is pure silver. I recommend spending a bit to get the 8 core variant. It is a level above the 4 cored version in my testing. Worth the extra imo.

Generic copper. Xinhs, NiceHCK, KB EAR
Copper cables are a staple of a cables make up and here you dont have to spend a lot to achieve a slightly warmer more dynamic take on the EW200 sound. Unlike how the pure silver cable leans out the bass end. The pure copper variant enhances it. If you love the bass end of the EW200 and want to focus its sound characteristics toward a fuller body of note for its mids and bass. A pure copper variety is what you should be using. If you are sensitive to treble notes and want the smoothest treble in the sound balancing of the EW200. It is the pure copper variety that you should be using on the EW200. There are differences in higher end copper and lower end copper but for now I will assume you plan on getting relatively cheaper copper cable to pair with the EW200. Both Xinhs and NiceHCK sell a big variety of the copper cable and just about all of them will focus the sound profile toward the mids and bass and not as much for its trebles. If you prefer warmth and a dynamic sound character over detail and brightness. Go for a pure copper type cable.

Last but not least the Effect Audios Cadmus FE. Yes I am pairing a $1000 cable to a $40 IEM. Why not!
The question is does a $1,000 cable make a $40 sound like a $1,040 IEM? Nope! But you know what, this Effect Audio cable makes the EW200 sound better than anything I have ever heard in the $40 easily and will be equivalent to any of the better $200 level IEMs. Not really worth investing $1000 for a $40 IEM but since I had a set on hand. It was worth trying. If your asking me what the difference is between a $49 cable and the $1000 EA Cadmus FE. Pretty substantial differences actually. There are much more exotic materials that warrant the cost of the Cadmus FE. Gold, silver and a very high end UPOCC copper cores.
Sound expands to a stage that I would have loved to hear in its base form. The FE Cadmus brings a detail level that is much more what you hear for IEMs that cost 4X as much. It enhances more than its technical ability. Better sound separation, imaging and details but also enhances its tonal character to be richer due to the gold content of the Founders Edition.
Don’t ever buy a $1000 cable for a $40 IEM. Thats just plain stupid. But hey I am just showing you what is possible. Lol.

Penon Turbo! An early look into Penons next IEM.

All BA sets are a part of the IEM scene and has been for a very long time. There is a reason why some of the highest regarded IEMs are BA based, with the base performance of their sound using premium BAs. Today’s all BA sets in the mid fi range have several aspects in common. Highly technical, meaning you're going to get those bits of auditory information in the form of higher levels of detail that some of the other types of drivers can struggle at. The physical size of the small moving iron AKA balanced armatures allows for multiple speaker layouts within the smaller confines of an IEM shell. This allows for a level of sound layering and imaging that once again other types of drivers sometimes struggle with. Of course the negatives of a BA set is that the sound can come off a bit rigid, with cheaper unrefined sounding BAs sounding metallic lacking in a natural timbre. AKA BA timbre.

There is a vast variety of the Balanced Armatures and to me it will be more dependent on the drivers chosen for the design of the IEM more so than grouping all BA sets to have this rigid tonal and timbre qualities. You all know Penon uses BAs based on what meets their house sound requirements. Which to say is the opposite of what the dreaded BA timbre represents. The new Turbo is a midfi level set utilizing 3 x dual BAs or the ability of 6 BAs in a single all resin vented housing for bass.

Penons newest all BA set uses some very interesting techniques and while the aspects of the Turbo design, has been done on other sets. The new Turbo introduces to you an actual TURBO switch, AKA bass boost switch with 3 enhancement switches which ends up giving you something like 12 different levels of bass boost. It does have mids and treble boost which is actually dependent more on the amount or boosted bass you choose on the Turbo. Bass for BA sets have been a hit or miss depending on implementation and purpose. Penon is no stranger to boosted bass. Most of their ISN line up is just this minus the recent ISN H30. Which is the most neutral of all of Penon and ISN products to date. Including its bass end.

The new Penon Turbo incorporates Sonions best vented acupass dual BAs for lowes + dual mid range Knowles BAs for mids+ Sonion dual BAs for highs. 3 active switches with a boost switch a 4th. 3 way crossover + 3 sound tubes. All resin form in a light moss green all clear color + light pearl green plates. Very unique, good looking, summer fresh looking IEM.

Something new for Penon.
The tuning is a true Penon IEM in that you're going to get your mids in order, some of the industry's best mids for IEMs can arguably come from Penon made IEMs but what about the bass? Well how you perceive bass performance for BA based sets might change after you hear the new Tubro. The Tubro incorporates an on/turbo button next to the 1,2,3 switch. 1 represents bass, 2 mids and 3 trebles. Tuning switches are nothing new to Penon but one they call turbo has to be more than just a small bump for the given regions.

These remind me of the balancing of the Penons Legend on 2 mode and a bit of the tonality of the Impacts, some of the technicals in these higher regarded sets in a few ways but these are the first to include an actual bass boost switch. The Legends have tuning switches but not exactly the way it is implemented on the new Turbo. Which separates the new Turbo from its older higher end brothers. Actually separates it from all other BA sets. The boost switch in how it works with its cross over circuitry is brilliant in a few ways. The way the boost switch works when activated seems to bring up the mid to lower bass emphasis by more than a few dbs if I was a guessing man about 10dbs from what is already a decent 8dbs of boost for the region with the bass switch or 1 switch on you get 5dbs of boost if you add the turbo with the 1 bass switch your getting the entire grunt of almost 20 dbs of bass boost on the turbos.. With no switches the base tuning seems to have roughly 8 to 10 dbs of bass. Which is basically what Penons competition has as well. However what the turbos do is substantial for bass performance. Yes boys n girls we are talking 10 dbs of BA bass in their base form with the boost switches adding a substantial 8-10dbs of MOAR BASSS!. 20dbs of bass in a Penon IEM?

Mids and trebles also get a boost but not as much as the bass end; actually the mids and trebles are more affected based on how much bass boost you got going on. The mids switch for example increases the bass a few dbs which also increases the amount of lower mids for the tuning. Even more so with the 1 bass switch and 2 mid switch for example. The combination of the switches with the boost on is varied and you can boost the mids to become a bit more impact-like. Boost all of it to become more L shaped in form like an extreme ISN EST50. Only have the bass boost 1 switch on for an effective bass boost for your RnB, EDM and hiphop. The difference in what the Turbo does vs others is that it actually throws down double the boosted bass from using the 1 switch. You can hear a clear difference there and it isn't just a mild boost.

With this much bass. Yes there is some bleeding going into the mids and encroaching the treble for something like Vocal trance and or hip hop with bass boost. So the effect is nice and dirty. It has nothing to do with accuracy at this point. It does help to have its own sound bore for the dual Sonion bass BAs. I had no idea you can boost the bass end this much for these Sonion Bass BAs. I had no idea you can incorporate that with a flick of a switch. You want that bass big n loose? You are getting a whole heaping loving full of it. Accuracy be damned. It's a freaking nightclub in your ears. Next time you're at a club, feel that thump. Drown in its glory with that room filling bass.

My sweet spot for the turbo is actually the 1 switch in the on position without the turbo kicked in. This provides a modest boost, if you can call 4dbs of boost over 8-10 dbs of base bass or roughly 12-14 dbs of bass, modest boost which is all the Turbo needs for its base fun tuning and gives a semblance of balancing. However the turbo switch is always there, inviting, waiting for you to push play. Just in case you feel the need.

Turbo is not all bass, you gotta remember it's got the Penon name associated with it. It's technical yet musical bassy in performance. It’s after all a true Penon IEM but one with a trunk of funk added to its bass BAs. With a two step bass boost you get something that sounds more like an ISN IEM, specifically the EST50 comes to mind, yes it's very noticeable without it, it sounds like a traditional all BA set, a damn good one. Despite Penon making numerous IEMs. They only have 2 prior BA sets, the Sphere and the Legends. All their others are dynamics, hybrids or tribrids. So it was time Penon introduced a mid range all BA set that had something new going on and that is exactly what the Turbo represents.

Many of you own or have heard the Dunu SA6. These are competing directly with that set. I am going to doubt the sheer bass quantity even the new SA6 MK2 will have. Might be fairly comparable with the MK2 without the bass enhancement on the Turbo but with. The Turbo becomes another beast. Will have a comparison to the SA6 at the bottom of the read.

Dr, Jekyll Mr. Hyde.
Two personas that represent two contrasting personalities but from the same person. The Turbo without the switch, brings more of an accurate, relaxed balanced sound and leans to a more mild v almost neutral in signature. The Turbo could have been released without the switches but then why call it Turbo?. With the switch on. We get a rather large boost from the bass which also affects the 3 bands of the Turbos sound for a much more exciting, more energetic bass infused listen. More substantial lower harmonics brings a fuller lower more substantial mid range and a much more authoritative bass.

So, you want to party or not? They are like 3 IEMs in one with 2 contrasting voices that come out. Actually with minor adjustments a lot more than that but let's talk about the 2 contrasting tunings that come to play on the Turbo. One is well mannered and pleasant, a bit relaxed with good balance and technicalities associated with all BA sets. The other is an exciting mix of big bass, a more forward upper mids and a minor treble lift with very good details across all of its sound.

Some new ground for Penon IEMs.
As you know Penon loves to use Sonion BAs for mids. The new Turbo uses a dual Knowles for its mids. If you're worried that the Turbo will not stay true to a traditional Penon sound. No worries as this Knowles BA acts and plays on a similar level to its Sonion counterparts. The mids have very good fullness and sound natural with technicalities associated with good BA sets. Its tonal quality especially with the mid switch up and rest down is the closest to a traditional Penon tuned sound. However even on this form you will notice the bass. And this time around the trebles. Its lower mids tuning is a touch laid back in emphasis to the bass. It was deliberately done this way to enhance how bass is presented. Big, full, loud and proud.

The turbo does not have the traditional anti sibilance dip Penon incorporates at the 6-8Khz region. It has a mild boost in the region. Treble is enhanced this time to counter the effects of a beefier bass note. Trebles has a slight edginess to it at times but nothing that's going to cause fatigue. This is something that you guys should be familiar with for the recent 10th anniversary. The good news is somehow this set does not sound harsh for its treble performance. If anything a bit of the treble boost was done on purpose to offset the tonal influence of bass boosting. Without it, the warm bass skew will be for real on the Turbo. Treble tonal and timbral qualities are more grounded vs being overly airy. Has more of a moderate extension vs Penon sets with ESTs involved. The treble is more affected when the boost does not apply and here is where you will notice the treble aspect of the turbo tuning a bit more as it will slightly shift tonal qualities towards its trebles. Its cohesion is admirable considering just how much it has to offset on the opposite end. Even with the boost switch we have a semblance of balance which is how you want to hear a bass boosted set. So here is what you want to know: how's the bass quality?

If you have heard other Sonion Acupass vented BAs, I would put the bass in the good just due to how awesomely boosted it actually is. A technical marvel if you think about how much bass that is. It's pretty much the most optimized vented Sonion BA bass and clearly in the fun category for sound. It's more than musical; it becomes a trunk of funk sounding set with boost. My reference for quality bass comes from my IER-Z1R. Bass rumbles fairly stout but manages to actually have some semblance of control even though It is much more brawny vs the mids and treble both enhanced. Surprisingly does not skew the sound to be warmer than it could have been coming from something like a single dynamic driver with the same type of boosted bass.

Bass is big with an authoritative rumble and impact, but you can tell it comes from a BA set vs a dynamic. It's not the texture you hear from something like the new ISN Neo5 or even the 10th anniversary. The bass is bigger on this set vs both but does not have the same type of visceral feel as those sets mentioned. Dynamic timbre for bass vs BA timbre for bass you can look at it that way. Any way you manipulate bass from a BA set will have a lesser physical presence. The 18dbs of a dynamic will be eyeball shaking vs the BA set in the Turbo. You can say the rumble characteristics are slightly softer around the edges vs a comparable boosted dynamic. It's the bass impact for its mid bass in quantity that will play a similar ball to a dynamic. Its tonal qualities for bass performance is surprisingly good especially given the sheer amount of boost we are talking about.

Bass sounds like big bass with that impressive full blown impact of the 8-15dbs of bass end even without the Turbo on. With it on, it becomes another monster. Transient qualities are not ideal on a BA bass set as its decay is slightly quicker vs a well implemented dynamic; which shows a slower more lingering decay with better textures. So the Turbos bass texture is not exactly perfect, this is perhaps the real difference between a well implemented dynamic and a well implemented vented BA. Its tighter transient qualities and faster speed makes the Sonion Vented BA bass somewhat of a give and take. The take is. It is a very capable basshead set including its rumble capability but the give is that you do have to accept that its BA bass boosted to silly quantities. Is it accurate? Not really, but is it fun? You bet your arse!. These are a blast to listen to your bass tracks with. Somehow the sheer quantity helps with its slight lack of quality if that makes sense.

The advantage of an optimized full BA bass in the turbo will be its speed. Beefy is what you want with incredible impact for bass? That is the advantage for the Turbo. The Turbo for something like speed metal is a pleasure as its sheer speed is something to behold. Beefy punchy double bass drum sets become ethereal. Bass decay for something like hip hop just by sheer brute force comes up with something that is actually very enjoyable for the genre as the decay becomes more sustained with a bigger boost. Sub bass reach is deep just by that sheer brute force.These in the end sound like a fully cooked pair of subs in your ears. The bigger the bass the more encroachment it has for its balancing, this goes without saying but somehow the Turbo manages to pull off some balancing even with the full brunt of its bass end on full display. Its bass end is big and brawny make no mistake about it. Something you can’t say about all your BA IEMs.

You will have to tip and cable roll more so on this set than most IEMs you have. Each flick of the switch gives you adjustments for the sound properties so having the right tip to enhance and balance its tonal qualities will be crucial to getting the sound the way you want it. The bass end's impact is substantial. There is a bit of bass shadowing the rest of the sound especially with the Turbo switch. But nothing you're not used to if you own a 2.1 or 5.1 speaker set up. The bass end become woofers basically. If you're looking for a neutral balanced set? The Turbo is not it. If you end up getting a set and come on the thread to complain about how much bass you're getting with these..Then it is simple get yourself a Penon Fan2 or any other Penon set.

These are a complete departure of something like the Fan2 with its neutralish tuning. Even its stock 8-10dbs of BA bass will clearly be more bass impact and presence than your used to from other all BA sets.

And before you even ask. The very first question I had for Penon was. Can this boost switch be done for a capable bass dynamic? The answer to that would be yes but I would imagine a lot more RnD would have to be done and who knows based on how successful the Turbo becomes. Could we see a Turbo MK2 one day using something like a silicone dynamic? They might very well be looking into that. But for now this is the most bass I have heard from an actual Penon branded set. To call it a Penon Turbo means it has to be in the premium category for its sound. These could also be called Penon Fun. Not to be confused with Penon Fan. Lol.

Welcome to the fun, Penons 1st ever basshead IEM!

SA6 vs the Turbo.

Here we get comparable technicalities. With comparable sound qualities. Both very capable but one with a clear bass boost advantage. The SA6 leans a bit more neutral in its tuning vs the Turbo. SA6 also incorporates a boost type switch called atmosphere. The boost here is more subtle at 2-3dbs than actually giving you a boost. Nothing like what the turbo does.The obvious differences makes the Turbo a more exciting and energetic listen vs the SA6. Turbo's precision and imaging is a stand out and the SA6 is right there with the Turbo in its no switch mode however with the turbo switch on is where the big difference between the two IEMs comes to play. SA6 has somewhat of a safe tuning even more so in their newer MK2 but once you hear the bass emphasis of the Turbo and get used to having that bass foundation of the Turbo. The SA6 while actually not lacking for bass. Sounds lacking. Looking at the graph of the newer MK2 variant of the SA6. It seems the bass switch on is very similar in emphasis to the base tuning of the Turbo. Imagine adding a 5 db increase after turning on the 1 bass switch. Then add another 5dbs with the turbo on top of that. There is a difference.

So far my favorite tuning variant of the turbo is the 1 plus 2 switch in the on position. Occasional Turbo boost when called for. Bass goes from room filling to beefy. If you want it. It's now an option on the Turbo. Get ready for a fun set of IEMs from Penon as that is what I like to call these. It's like having a Turbo on your engine. Which adds a lot more fun and power to your cars power output. Adding a turbo switch will add a big dose of bass boost to your IEM sound. In doing so the Turbo is not only Penons most Bassiest IEMs to date but it's done the Penon way. Thanks for taking the time to read.

Fiio K9

It's no secret that Fiio has been “ upping their game” with so much competition that promises a lot with modern day sources. Fiios latest DAC/AMP is not exactly the highest end DAC/AMP they make. That title belongs to the Fiio K9 pro ESS. However inquiring minds want to know. When looking at the spec sheet for the latest K9. It is strikingly similar to the K9 pro minus a bit of power. The K9 pro uses two flagship ES9038pro DACs, the new K9 uses two ES9068AS. Both use THX AAA 788+ for amplification and QCC5124 for bluetooth. Uses the same aluminum chassis, and very similar linear power supply. Question is, is this a case of Fiio giving the consumer something very close to their flagship product for cheaper or is it simply a brilliant move on Fiios end to do one better which ended up getting closer to their flagship?

A bit of a backstory about me and why I ended up getting a K9 pro ESS and now the K9 I have here to review. I do a lot of IEM reviews on headfi and so I am always on the lookout for sources to feed the hobby much like everyone else. My own philosophy in reviewing IEMs and headphones is that it is very important to use a variety of sources with different sound signatures to see how that particular IEM or headphone does with different sound profiles and power from various sources. This gives me a greater understanding of what the phones are doing vs the sources I am using. What type of sound creates synergy with an IEM and what doesn’t. Desktop solutions in my opinion are valuable as they provide more power for amplification and arguably some of the best sound quality for the bucks. Naturally I try all my IEMs I review but beyond that I am trying to replicate how a prospective buyer would use for said items I review. Hence the need for a greater variety of sources.

If you own a few dac dongles, an underpowered DAP or even worse you're using your phone as a source. Do not overlook a quality sounding desktop DAC/AMP. As easy to drive as most IEMs are, a lot of them really don’t come full bloom until you add some power with that quality sounding source. More times than not it is the desktop source with ample power and one with a good low noise floor will optimize an IEM sound to a level you're not aware of, until you try it. This is the reason why I amplify every IEM I review just to see if more power elevates its sound. Some types of IEMs scale to greater power better than others. Dynamic IEMs > Planars > Tribrids= hybrids> and lastly the all BA type. In this order generally benefit from amplification or more powerful sources.

It was when Fiio asked me to review their K7 DAC/AMP that surprised the heck out of me of what Fiio has accomplished lately with what they have plenty of experience at. The DAC/AMP. I was so impressed with the K7 and what it had to offer for the money that I went straight to the top and ordered me a brand new K9 pro ESS from Aliexpress during black friday sales last year. I was all too happy to splurge the money to buy Fiios top end DAC/AMP. And yes it paid off huge. To me, the Fiio K9 Pro ESS has better sound quality than all of my top end DAPs. No question the K9 pro ESS is my top sounding/reference source easily using my IEMs and CANs. It was the K9 Pro ESS that made me realize. It's not the expensive DAP that has the SQ for your IEMs. It is the desktop DAC/AMP. Case in point, the new K9’s sound quality. I doubt there is anything comparable for DAP or DAC dongles that comes close to its sheer sound quality and power. Yes, those other devices are portable and they have their uses. But I am talking about sound quality from a source. Quality and power for the money we are talking about. It is when you get to the kilobuck class for DAPs that you reach the sonic capability of the K9 and even then you're not exactly getting the clean power available from the K9.

With that I would like to thank Fiio for graciously offering me another gander at their handy work in the K9. You can read more about the K9 here on their official page and purchase one here on their official aliexpress page. Once again I was asked to test out the K9 and report to you good people all about the new K9. It has been used, burned in and tested by yours truly and my report here is the culmination of over a month of getting lost in my media from my laptops using a variety of IEMs and CANs I own. My review will also have a direct comparison to the K7 and the K9 pro ESS.

With the introduction of the new K9, it came to me as a bit of a surprise as it shares more than a few design aspects with the flagship K9 Pro and does a few things even better, 7 preset PEQ settings via control app for bluetooth connection. Higher DSD output DSD512 vs DSD256. One aspect I can share with you all. The K9 seems to be better cooled vs both the K7 and the K9 pro ESS. Could be due to the ES9068AS chips needing less power vs the ES9038pros in the K9 pro. And could be due to the much larger, more substantial chassis of the K9 in comparison to the smaller form factor in the K7.

It definitely runs cooler vs the K9 Pro ESS. Otherwise they both share a lot of similarities; the same aluminum alloy chassis, similar AC- built in linear power supply, QCC5124 Bluetooth chip. Same options for digital inputs and analog inputs, same output modes. While the K9 has less overall power vs the K9 pros. The power difference is not huge for the K9 vs the K9 pro. It will be safe to assume you should be able to drive whatever hard to drive CAN in your collection just fine with either of these sources. The other omissions from the K9 pro design that didn’t make it to the K9 is no MQA and the USB-C input on the side of the K9 pro. I have to admit this little feature was one I enjoyed a lot from the K9 pro as I can connect any of my DAPs via USB C cable directly to the K9 pro. Not a big deal as you can plug your player into the K9 in numerous other ways. Coaxial, optical, RCA in, balanced in which also works great or via bluetooth.


What you get.
Love how Fiio packages their larger DAC/AMPs. This is not a DAP you're carrying around; this thing has some weight and girth. It's all aluminum alloy chassis is 200x220x72mm or 7.9”x 8.7”x 2.8 inches thick. Weighing in at a hefty 2660g almost 6 pounds. It's inside their larger box when you get them new but the box itself is double boxed with foam inserts in between. That is how to ship one of these things. Opening the large black box yields the source itself. A rather short power cord. 6 sets of rubber foot nubs, 6.35mm male to 3.5mm female adapter, instructions and USB-A to USB-B cord to connect to your computers a replacement fuse and finally a plastic foot stand just in case you need to free up some space around the desktop by placing the K9 on its side.

One suggestion I have for Fiio is that they should include a power cord that is actually longer. The length of the power cord is 4ft or 1.21 meter, which is actually not long enough when you have the K9 next to your laptop on your desk and you have to plug into a wall or power outlet on the floor which is my case. Average desks stand around 3ft or a meter high in height. That leaves not much extra cord to get to the wall. I had to revert to using a longer cord I got from an old monitor plug to connect to the K9 as the one included is simply not long enough. The good news there is that these power cords are a dime a dozen and easy enough to change out. I would have preferred at least a 2 meter cord instead.

Most use case scenarios have you connecting the K9 via USB-B to USB-A to your laptop or music server. My windows 11 laptop recognized the K9 right away and uses a generic driver and I am off and running. You can download a dedicated driver for the K9 for higher bit rates and better stability via the Fiio download link here. You can use the K9 preamp function for active speakers on your desktop. Its connectivity options are numerous in that you can connect other sources to it. Your gaming console via optical. Use Bluetooth functionality to connect your phone or laptop and can change how the K9 sounds via preset EQ on Fiios control app. All of it functions through its outstanding sound quality.


Gaming/media on the K9. I am an avid gamer and having good audio for your gaming brings another level of immersion and here the K9 finds superb synergy with Fiios own FT3 headphones. Testing the sound performance with my current addiction. Diablo 4 on my gaming laptop. The difference between onboard sound vs the K9 is substantial. FT3 requires amplification as it is a 350 Ohm CAN. Once fed the necessary power, the FT3 has a well balanced dynamic tuning to its sound make up. The K9 feeding that ample power. The sound properties become fully dimensional. 3D sound processing is not a part of the K9 but it certainly sounds like it. Diablo 4 is a AAA title that took something like 20 years for the designers to make and has one of the best epic soundtracks and sound effects for any game. I can’t tell you just how fully blown the sound that comes from using the K9 and the FT3. It was meant to be. It is as they say. Once you go there you can’t go back. No way am I ever going to use onboard sound processing out of my computers. There is no comparison there. Fantastic for all media in general using the K9.

Movie watching, watching high-definition movies with the K9 processing its sound is how you want to watch movies on your down time. Pumped through speakers even better. K9 provides so much dynamism, better clarity and definition. It is funny to me that I used to think my onboard ASUS sound processing was decent. NOPE. Not by a mile. The K9 is a great companion for computers in general as it will bring a sound level you are not used to from your lame onboard sound.

Music listening/ Sound
The K9 is a prime example of Fiio giving the consumers more for what you're paying. As previously noted the K9s ability/ use/ and more importantly SQ comes dangerously close to the flagship K9 pro ESS. The benefit of folks that end up getting a K9 is that it was introduced well over a year after the release of the first K9 pro. The cost savings on paper is the use of a lesser ESS chip in the EA9068AS with a few minor omissions like MQA and USB-C connectivity and that is it. Everything else seems to be intact. Including the sound quality.

What you're essentially getting is a new DAC/AMP that is not exactly the same as the K9 pro ESS but not all that far off either, especially for sound quality. Here is what you wanted to know, the SQ difference is minor but audible with the K9 pro pulling ahead in a few aspects, instrument separation, dynamic range and imaging. Otherwise we are talking about identical sound qualities, its tonal and timbre characteristics, its sound layering, overall definition with identical balanced tuning carried over from the K9 Pro topology.

Fiios base sound signatures are always neutral especially the more mature the product range is the more balanced neutral the performance is, however in utilizing some of the best audio chips and amplification in the industry. An extremely low noise floor is achieved which brings some of the cleanest black space for a background for your music. This matters as you get a level of transparency from your tracks that is “better” than what you normally hear that same track with by any other method. Where SQ matters is just how dynamic your tracks can sound using the K9 and this is what the recent Fiio DAC/AMPs all have in common. The K9 has a superb clean sound quality and when I say clean I don’t mean bright or warm. Just clean meaning your tracks sounds like what it was meant to sound like with every tonal character, precise imaging, a higher level of layering in check depending on how your music was engineered. Superior transparency equates to better perceived details and the ability for the K9 to get you that much closer to what the sound engineer had in mind when laying down the tracks for your favorites.

Its superb dynamic range with a reference level of balancing is something more reserved for higher end sources including Fiios own K9 Pro models. But in the K9 you get a whole heaping loving of what makes your tracks sound so good in the K9. IEM listening is an absolute treat as this extreme low noise floor translates perfectly with IEM listening, not to mention via speakers or your favorite CANs. It is not perfect for the most sensitive IEMS but the K9s dynamic sound qualities are superbly relayed when your music plays. I have no issue with any of my IEMs including very sensitive ones in low gain. It is on the higher gains when I start to hear the noise floor creep up on my Solaris or AndromedaS. But these are the outliers, most of my IEM collection does just fine. It's reference level of balancing, its rich textured layering which equates to a more holographic imaging stemming from that superb black background heard via my best IEMS and I can’t even tell you just how much music enjoyment is to be had from the K9.

The sound quality shows a pristine sense of clarity with superb dimensional imaging finished off by a richer denser tonal quality, a large spacious sound presentation with power behind its sound. What you're getting is a higher level of sound quality for the price. Let me put it this way, I don’t have a comparable product anywhere close to how the K9 performs in sheer sound quality and its power at the price point. There is not a DAC dongle that can match its driving power, there is nothing close DAP wise that has its fully balanced architecture with its full dynamic range with a rich tonal character. If so I will gladly go buy it. Nothing that I have heard that has its superior layering and articulation. It is when you hear Fiios own M15S in DSD mode in Ultra power desktop mode is when the sonics reaches a similar level. That player cost more than the K9 Pro ESS is my point. If sound quality and ample power matters to you. You have to take the K9 very seriously.

So how does it sound vs the K9 PRO ESS?
The only way you can hear the actual differences is if you do what I am doing. Have them stacked on top of each other going from the K9 to the K9 pro ESS back and forth. It is crazy to me what Fiio is giving the consumer for almost half the cost of its own flagship. The SQ is in my estimation about 92% of what the K9 PRO ESS is. 92%! This makes the K9 clearly a better value over the K9 PRO ESS.

And if you're wondering how the new K9 compares to the K7 to justify a purchase at over 2X the cost of the K7. You can imagine with the sound performance being closer to the K9 Pro ESS. We are talking about a more refined sound and power vs the K7. A wider stage with better instrument separation, more articulate treble, a tighter cleaner, a more vivid sound with a blacker background. Going back and forth from the K7 to the K9. The K7s slight warmth and smoothness to its tuning has to do with the dual AK4493SEQ implementation and its ample bass end. K7 for the money is still to this day something astonishing and I really don't know too many sources at that price that can top the K7 for sound quality. The K9 will give you a definitive upgrade on the sound quality. This however, will depend on what your sound references are, and your use case scenarios, as some might like its full bass slightly smoother, more intimate sound presentation of the K7.

Listening to the K9 simply sounds more refined, It's more than just having more power on tap, music has a greater sense of scale overall on the K9. The K7 with Fiios own dedicated low noise power supply the PL50 might get it to be closer to the K9. What's nice about listening to the K7 is that it's got its own sound quality that is a bit different vs the K9 and the K9 ESS. Again more due to the AKM DAC implementation. However once you hear the K9 you will understand why I consider it a definite upgrade from the K7. It's got a much more substantial premium build, built in linear power supply and all the upgraded components of the K9 in comparison.

The value is stunning if you can understand what I am typing here. I will argue that the K7 for its price punches above its price for performance. The K7 has a dynamic full bodied sound quality with a full bass end that folks will gravitate to. For media and gaming the K7 easily hangs with its bigger brothers, but for music with more power? That's where the differences are. The K9 is simply more audiophile vs the K7 in comparison. Better articulation, richer tonal character, a tighter better defined bass, better layering, more dimensional, volume per volume a blacker background. It's a more grown up sound in comparison.

You are getting what is essentially a flagship level sound quality in the middle child of the Fiio DAC/AMP line up. There, I said it. This brings a new value leader for sound performance to the K9 over the K7 in my opinion as good as the K7 is. You get a more refined sound quality in the K9. An upgrade in the noise floor department which helps with that sound articulation and dynamism. A more detailed, better balanced sound, a wider more spacious presentation, better precision and imaging in the process. K7s dynamics are excellent for its price point and that is what makes its sound so intriguing. It does have a slight edge in warmth overall, a bit smoother in its sound presentation over the K9 and K9 pros. The K7 can sound just as good as any of its older brothers in comparison with the right IEM or CAN combination but sound quality overall clearly gets an upgrade in the K9. Knowing what I know now about the new K9 and how it performs vs the K9 Pro ESS, heck if the K9 was around when I was going all in on the K9 PRO ESS. I would have bought the K9 instead. It is that close.

To be fair, I still consider the K9 PRO ESS my absolute best sounding source I own. That extra 8-10% in sound quality for me is worth it. Laws of diminishing returns start with the K7, but you get something that is so close to Fiios own flagship product for so much less in the K9. It was actually head scratching for me when I did this comparison. Why did Fiio bring out a product so close to their flagship in the K9 Pro ESS? This is not a case of if the SQ of the K9 PRO ESS not being somehow competitive or just average for its price. I own sources that cost over double that of the K9 PRO ESS. It is the K9 PRO ESS I consider the best out of my collection of sources for sound quality. Is it more about Fiio bringing out a clear value statement in the K9, a cheaper version of their flagship that comes strikingly close? Maybe that is why they call it the K9 without the pro. The PRO gets you that 8-10% SQ and power uptick. The leap from the K7 is clearly evident. The leap from the K9 to the K9 PRO ESS, not so much.

In the end
This could be the result of Fiio just getting better with what they are doing with these ESS chips. Due to the AKM factory burn, Fiio much like the rest of the industry had to move on to different DAC chips. Fiio adopted ESS chips as a natural replacement for the AKM chips they have been using. In doing so they have gotten good at tuning the ESS chip, very good. I have noticed Fiio always advancing and getting better with each new iteration of a product and it could be just that they have managed to get the absolute best out of using the two ES9068AS in the K9. With the amplification, its clean power circuits, flagship build, connectivity and functionality all remain very similar to the K9 PRO ESS. The sound quality comes strikingly close.

This is Fiio coming out with a better product for less money. Better value as Fiio always learns a thing or two from prior DAC/AMPs and brings their know-how to the masses at a more affordable cost. It will be the enthusiast that will benefit. Just know if you upgrade from the K9 to the K9 pro, you’re not going to get a clear upgrade like you will get when you go from the K7 to the K9. The K9 Pro ESS is an upgrade in a few ways but I could think of so many other aspects to your sound chain you can spend that extra $350 you will save by getting the K9 instead. Get yourself a new Fiio FT3 open can to go with your brand new K9 to truly enjoy your K9 sound quality with is my point.

The build, the functionality, its power and most of all its sound quality has to be one of the absolute best at its price point and class. The K9 delivers on so many fronts for its intended use if you're in the market for a substantial upgrade in a desktop level DAC/AMP the K9 is a substantial product and works extremely well with all types of IEMs, CANs and active speakers.

If you didn’t get the message from reading my review and already own the K9 PRO ESS. No worries you have Fiios best sounding product. Be a proud owner to have one of Fiios absolute best efforts. The K9 however is now the new value king for desktop applications.

A message to my fellow IEM enthusiasts. You gotta try the K9 with your IEMS. You can thank me later. Thanks for taking the time to read and happy listening always.

FiiO M15S

I am going to start this review with a bit of a background of what I do and why I choose the gear I use for reviewing IEMs. Most folks know who I am and the community I belong to at headfi.org. I started one of the most popular threads on headfi.org simply called the Discovery thread. You can read the over 5K worth of pages here. This single thread has got the patrons of the thread including yours truly to “discover” what is new and fresh in the industry and while the subjects of the thread are mostly IEM based. We pretty much banter about anything related to audio and our crazy hobby. That thread is still going strong as ever and what got me to start reviewing gears was that people were always asking me to compare an IEM to another IEM and I was always posting my thoughts about a new IEM I would gladly buy with my own money. This constant posting about what I am hearing eventually got me to write reviews on headfi and here I am writing yet another review but this time of the new Fiio M15S.

So what does that have to do with the Fiio M15S? In reviewing more IEMs than I can count. It is all about what the IEM is doing and not so much what the source is doing. Sure there is always the aspect of synergy when it comes to our sources but I needed a source with enough power, battery life and neutrality to where the IEMs connected to it would clearly show me what the IEM is doing, how it actually sounds. How much treble mids and bass was involved, what type of tuning and its technical ability ect. I own a lot of sources and amps due to this reason alone. A bit too much if I am being honest but in figuring out what sources work best with the IEMs I am reviewing. I was looking for a source that would play extremely well with all manner of phones I would review. 3 years ago I found that source. It was to me the most uncolored sound yet clearly dynamic in the former flagship Fiio M15.

Each company that makes a DAP or dac/amp has a tuning angle and so I was searching for the one source that I can easily take with me to work, use it during lunch breaks to evaluate the IEMs I am writing about. Out of all my sources it was the M15 that got the most usage. It is for me the most uncolored neutral yet dynamic sounding source I have ever used and hence a much needed reference tool for evaluating IEMs. 3 years later and granted the battery is not as stout as it once was, still charges to 100% and plays all my music as good as it ever did. When the news broke about the new M15S, I told myself. I gotta get one, plain and simple.

So here it is, the new M15S. With that I would like to thank Fiio for providing the M15S for the purpose of a review. You can read more about the new M15S on the official release page here. My method of testing sources is based on trying it out with numerous IEMs and headphones to check out a consistency for its sound performance and usability. Which is what you will read about on my review.

Proof that Fiio listens to their customers and always improves. The new M15S comes with a very nice form fitting leather case with heat dissipating grills out back, right out of the box. Most DAPs nowadays you get some screen protectors and a plastic sleeve type case at the most but an included leather case already on the player is a novel idea. It is something most folks buy as an added accessory to protect your precious anyhow, so why not throw it in? The old M15 came with a very nice wood box. This wood box will get the collective Oooos and Aaahs of the person that opens the package and then you are left to buy an aftermarket case for the M15. Useless is the word that comes to mind. The M15S thankfully foregoes the wood box but now comes with the one accessory that is a 100% must. The leather case. Fiio gets an A+ just for this included case. You can brag all you want about how nice your players are, but did you get a nice case to go with it? This should be the industry standard as far as I am concerned. Don’t give me a useless fancy box. Give me a form fitting protective case! Then they added a stand fan called the DK3S. That was also included with their flagship M17 player for use when activating desktop mode. The most power output from the player when connected to a power source. It is simple, more power = more heat so the need for external cooling. Again a nice touch by Fiio. The remainder of the accessories includes two sets of cables a USB-C cable and a USB-A adapter and a thinner USB-C - USB-A cable to use with the fan only.

A minor negative I noticed about the new M15S is that your other USB-C cables might not charge the M15S correctly. If you connect an insufficient cable to the M15S to charge it, it will just blink like it wants to charge but not actually charge. Using the included cable is the way to go always. Then there is the battery of the M15S itself. It's got a physically smaller battery vs the former M15. 7490mAh with its real world usage at about 13-14 hours. The new M15S uses a 6200mAh battery with a real world usage time at a more modest 8-9 hours.

Why the smaller battery? It has to do with the more powerful output and a more robust power supply of the M15S to achieve its reported 1,200mW @32 Ohm per channel in balanced out via desktop mode leaving less room in the case or a larger battery. That my friends is a stout output for a portable player. So you're sacrificing some extra battery life for more power via desktop mode. A good compromise? The unit itself on battery has 4 different gain switches and a 5th when connected to a charging port.The 5th gain is apply called “Ultra High” this is the reason why it needs an external cooling fan. Much like the flagship M17 the M15S can be used either portably or at home or office connected to more power. The M15S was designed with a smart charging function where it can auto detect the type of charger you have connected to the M15S and charge accordingly. While on desktop mode you can bypass the battery altogether. Smart charging gives an optional function where you can put the max charge at 90% of full capacity when in portable mode to maximize the battery life span.

The new M15S physical dimensions are as follows. 140 x 80 x 18.9mm or 5.5 x 3.1 x .75 inch. Weighs in at 345g. Equivalent to a thinner brick. It's got similar dimensions to a modern day larger cell phone but thicker with much more substance. It does have some weight to it but nothing that will cause any type of muscle fatigue. Certainly pocketable be it a larger pocket or a carry pouch. It's using a large sharp 720p vivid 5.5inch HD 2.5D curved tempered glass with excellent color saturation, a clean black background with good but not great brightness, a clear improvement from the prior 5.15 inch screen of the former M15. Fiio did not provide a plastic film for the new screen for several reasons. While this screen is not the gorilla glass of their former M15. I am very confident in saying you can forego the flimsy plastic film to protect the screen from scratches. Fiio has confirmed that the screen is durable and will not scratch so easily as it is tempered glass. I have used my Fiio M15 for 3 years, thrown in my pockets and in my bags without any type of scratches whatsoever. I would assume it will be of a very similar toughness for the screen used on the M15S.

Internally the M15S is based on a tried and true now about 7 year old Qualcomm 660 snapdragon processor with Android 10 for its operating system. Also utilizes a QCC5124 for Bluetooth 5.0 compatibility. The Sound design comes from a single desktop ESS ES9038 pro DAC chip and two units of OPA926 for amplification. You can read the specs of the M15S here.

UI and usability.
I can understand why people want the latest and greatest processors and OS for android stuff. I get it but folks always complain about the latest fastest processor and android version for these audio players. OK so it costs $1,000. Are you looking for the latest smartphone or are you looking for a music player? Are you looking for a media tablet or a music player to enhance that media tablet with proper sound? The M15S is a music player which utilizes a faster processor and a proper OS that allows you to have the latest software for online and offline music listening. There is a difference there. Yes the processor is outdated and so is the operating system, however if you are talking about speed and being able to run any music app available today, last time I checked Android 10 and the Snapdragon 660 can run circles for any music program and be very quick about it. If you must, you can look stuff up via the web and use it like a smartphone but let's get real. No one buys a dedicated Android player like the M15S to play games or browse the web with, that is not what the Fiio M15S was made for.

If you accept it for what it was meant to be and the fact that it has no limitations on any music service or way of listening to your music at all, then you will appreciate the hardware used for its sound and its performance. The M15S boots up and plays in less than 20 seconds fairly quickly and is extremely responsive when browsing my music files with no lag issues or slow downs any time I have used it. Sure it would have been nice to have Android 12 and upward but so it would be a bit more future proof you say? By the time Android 10 is obsolete you're going to have to upgrade the M15S in its totality anyways. I bet the battery will wither away before Android 10 will be obsolete. I personally have no issue with Android 10. It's not the Android 7 that is being used on the old M15 so I am ok with it.

M15S has 6 different operation modes preloaded. Fiio exclusive mode: is what I use the most with my preloaded 512 gig memory card. Android mode for downloaded programs to use for the M15S, Spotify, Amazon music, Qobuz ect. Airplay mode for iOS devices. USB dac mode when you feel your phone or computer just isn't cutting it for sound quality. Bluetooth receiver mode with all the latest high res codecs including LDAC and APTX HD ect. Just in case you want to connect to your device via bluetooth for some wireless high fidelity sound. And lastly Roon ready.

I have to apologize to my readers for not testing out Roon as I don't have Roon at all. I own Flac and MP3 versions of more CDs than I can count of my music so that's where I get my music. I did read an online publication where the reviewer tested out Roon here, this guy was testing more of the android and functionality side of the M15S more vs its power and sound. I know it's not good form to refer to an outside review for parts of my own review but in this case, you will get a good idea of how Roon works with the M15S in this read. I felt it was pertinent to cover the basics of the review for the M15Ss full functionality including Roon. I don't have it and don’t use it at all so might as well refer folks that are interested in it to a person that does using the M15S. My review here is more based on how the player performs, usability and its sound quality. Onto the read.

Operating the M15S is snappy and intuitive, especially if you already own any other modern Android device of any type. Fast with a nice large clear colorful display, connecting to the internet is easy enough via 2.4/5Ghz options and will bring some extra functionality to the M15S. Bluetooth connection is done via Qualcomm QCC5124 chipset with two way functionality.

Testing the new Fiio FW3 and Fiios BTR7 yielded excellent results and a very stable connection to both TWS products and at a good solid 30-50 ft away from the M15S without breakup depending on indoors or outdoor usage. Connecting through bluetooth to use as an external sound card for my laptop also worked impressively well with excellent sound quality to boot. I do prefer the USB connection as this brings the best sound quality via computer or tablet out to the M15S but bluetooth is a simple way of using the M15S for an easy upgrade for sounds from your devices.

Beyond the extra steps Fiio did to make sure all the power the M15S didn't melt down the player or bloat the battery. Graphene heat dissipation technology, high thermal conductive gel and a stainless steel battery compartment. Engineering a proper player is more than just a speedy processor and the OS to run it. Extra attention went into the shielding for zero external noise or interference. One thing is very clear about the M15S. It has a supreme richer dynamic sound quality with a clean black background and yes, it is an upgrade in sound and power from the M15. Will get much more in detail in the sound section of my reader later on.

Physical button layout makes a bunch of sense and this time around includes a nice RGB light indicator at the base of the analogue volume knob at the top right of the player that changes color based on the type of music files you're listening to. Fiio is not shy about using the RGB lighting, in fact if you own a Fiio source nowadays, without it, it might be an older product. Next to the volume knob on top are the 3 types of phone plugs, center is 4.4mm a 2.5mm next to it and lastly the standard 3.5mm jack on the left top portion of the player for your headphones and or line out. When placed inside a larger pouch or pocket it is easy to operate without looking at your screen. There are also physical volume buttons located to the right side of the player. Specifically a hold toggle which is a good option so you don't accidentally forward to the next track unintentionally. Below that are volume buttons up and down with a multifunction button at the bottom.

On the left side of the player are the music control buttons. Top to bottom. Power button, previous track, play/pause, and next track. This layout of buttons all with good functional response make navigating music just that, functionable with no fuss. Having two ways of controlling volume is a welcomed design choice as I end up using both and aesthetically the RGB coloring in the bottom of the analog volume wheel is a nice touch. Bottom of the device has its USB plug for charging or connectivity and next to that is the card slot which is similar to your android phone's memory card slot frame where you have to push a pin into a hole to release the frame insert where you place the micro SD card into to place the entire frame back into the slot for the player to read the card. I actually prefer this way of inserting memory cards vs the more simpler push in card slot. Push in card slots can break after prolonged use. Unless you're not paying attention to how you insert your cards. No way of messing that up on these types of frame slots.

Sound.
Ok so this is the section where I will get into the real reason why you should take interest in this player. Fiio, has outdone themselves. The one aspect of Fiio design philosophy that you, the consumers of all things Fiio should know. Fiio does not release side grades from prior offerings. I have never once heard a newer update on a Fiio product that was not an upgrade from the former design the new item was based on. Ever. Their newer audio goods clearly shows what the group is about. Fiio employs a lot of folks over a 100 from what I read. That just means they employ a huge amount of sound/ electrical/ design engineers in a very large facility and without even going to one of their group meetings I can already tell what their business model is. That is to one up the competition and more importantly themselves. Fiio learns and keeps notes of what is critical, what works and what doesn’t for their future designs. Reads every review good or bad and take comments on the threads very seriously. It is pretty obvious to me. Since I have been reviewing audio goods from Fiio for the past 4 years with ownership of their very first DAP the X3 and their first ever Android DAP the X5iii onwards, I can clearly see with each newer audio goods just how much of a step up this “new” item is vs what they developed in the past. Case in point the subject of this read. The M15S is a step up for Fiio beyond the hardware which gets them their goal of achieving an upgrade for sound quality.

They have to give the consumer a reason to spend that cash for their shiny new player. The M15S has more power than your DAP with 5 gain settings, it has more functionality than your DAP, roon, android google play and 2 way bluetooth ready, DAC mode, Desktop mode, Line out in both 3.5mm and balanced. It comes with a fancy leather case your DAP does not provide. But the sound? It plays a big role in what's going on with the new M15S.

The sound of the former M15 is as familiar to me like the back of my hands as it was used the most out of all my sources. It was the one consistent source I used for the past 3 years and still use today. I love the old M15 for several reasons, the main aspect is that it was true to the source material it would play. It was neutral if not a touch analytical, a bit dry in its presentation in how it portrayed sound but accurate with good dynamics, clean and balanced sounding at the same time. Which was exactly the tool I was looking for to evaluate my IEMs. The aspects I wanted as an improvement from it was a better tonal character, its dynamics was good but not fantastic. Better dynamics with better texture for its sound performance, a more musical take on the neutral sound tuning is what I wanted. Getting some extra power never hurts a portable player to be truly versatile in use either.

And this is exactly what is happening on the new M15S. I remember the very first time I threw on one of my reviewed IEMs I was testing at the time, the day I got the M15S. The smile on my face was immediate as I knew right away it was an upgrade in sound. The sound of the M15S still leans neutral and balanced in delivery but this time the sound had a new sophistication I can recognize from being an owner of Fiios top desktop source the K9 Pro ESS. How much I wanted a similar sound experience on the go and to my surprise, I am getting that from the M15S. I will say the K9 Pro ESS is still my bench mark for sheer sound quality but we are talking about a desktop unit vs the portable powerhouse in the M15S. Knowing that the M15S was using the ES9038pro, the same DAC chips that are on the K9 Pro ESS. I had some high expectations of its sound performance and it met them easily from the first time I hit play.

Fiio did an outstanding job squeezing out the best performance they could using the ES9038PRO on a portable format. Despite what you read about the dreaded “Sabre glare” some of their older DACs come to mind, ES9018K2M for example. You're not going to hear yesteryear's Sabre DAC, let me put it that way. As they say in the industry, it is all about the implementation.

What's interesting about the old M15 vs the new M15S is that the older M15 used two AKM4499EQx2 and the new M15S uses a single ES9038Pro. If you went by the whole Sabre glare reputation of Sabre DAC chips and the Velvet sound of the AKM chips you would figure it would be the new M15S that is the more analytical sounding source. NOPE. That would be the older M15. Its accurate neutral depiction of sound is not the most musical or even all that velvety as the DAC chip makers would have you think. Well at least the old M15 wasn’t. It's not the smoothest, warmest sounding source, I give that honor to Shanling products and their house sound approach. Its neutrality was both a blessing and a fault.

To me, real music is not actually neutral. When have you ever heard a live concert and everything was “neutral?” On the other hand a source cannot have too much coloration in what it does either as that will skew everything you're listening to. To me accuracy was more important than coloration hence the use of the old M15. The new M15S presentation is still very much balanced in every aspect of the word but now it has an added tonal quality I appreciate about the M15S the old M15 did not actually have. The new M15S has a richer tonal quality, a better textured sound, the dynamics of your music sounds more vivid, a blacker background is absolutely crucial to hear the best details from your music and I am getting that with the M15S. This is the area I can clearly pick off as an upgrade from the M15. Not only is the new M15S supremely IEM friendly but it is headphone friendly, easily driving CANs up to 350 Ohms with plenty of head room.

Driving Fiios newest FT3 headphones yields some very surprising results. I have been using the FT3 on my K9 pro ESS and you figure it would be a downgrade in performance from using it as such to the M15S. Not really. Superb dynamics in the form of punchy defined bass, a spacious sound presentation, a denser meatier presentation with a richer sound that is just as capable but this time I can take the source and headphones with me to my backyard.

Its sound presentation is a pleasant departure for the overly neutral analytical presentations of Fiios past DAPs. It was immediately evident that I was dealing with an upgraded sound quality from the onset. After using the M15S for the past month it has clearly shown me what the real upgrade here was from the M15, and that was in its sound quality where it truly mattered. The sound stage of the M15S is impressively wide, a touch more spaced out even over the M15 and now seems to have a slightly taller and deeper sound presentation/ with a better density of sound as well. It is how Fiio manipulated the sound within that stage that has impressed me the most.

M15S treble presentation is clean in the truest sense and is superbly defined but is not as forward sounding as the old M15. How is that an upgrade? The old M15 can sound slightly brighter in tonal character using neutral monitors. This clearly showed me that its trebles were enhanced or slightly elevated in presence over its mids and bass presence. Trebles now has a more rounded even note with a heavier attack that brings a rounder, more substantial picture of the trebles when you listen critically. A more accurate timbre character to the trebles as a result. It is no secret that trebles from your sources can dictate the difference between a standard good sounding source to an articulate high end sounding source. Trebles sound more mature, more lounge if you will in characteristics. That richer tonal character carries to the treble presentation of the M15S and seems to have more contrasting sound characteristics vs the prior M15. Treble notes have a slightly darker colored edge to the sound giving the M15S treble presentation more weight and body for its treble presentation.

To be clear the sound and the differences I hear are subtle between the players but one that defines how they perform and sound. Based on what monitor you connect to these players will have a clear effect on its overall sound but these observations are more based on uniformity of the performance of the M15S.

The treble aspects you have to listen intently to pick off the differences but the differences are there. The mids however have more differences in how it is portrayed. I already mentioned Fiios prior sound characteristics are more neutral and definitely more dry in its presentation. The M15S leaves that dryness out of the M15S wheel house, now we are dealing with a richer even encroaching on a lush sound. This is where the real differences are perceived for me. Mids now have that richer tonal quality, resulting in a better contrast for its sound, in a way, the new screen being more vivid, more colorful and more dense looking vs the old screen is a very good analogy and insight into the actual sound upgrade you should expect from the new M15S vs the old M15.

I suppose you can say a slightly darker tonal character was achieved which leads to that rich tonal character but I don't know about you but I rather have rich vs dry any day of the week. It's not overly colored here but yes the tonal coloration of the M15S brings a more mature upgraded sound aspect to the M15S that I sorely missed from the M15 sound presentation. When folks say this or that has a higher end sound quality. This is what I am talking about. The technicalities for the players sound is what you would expect out of a 1K level player. It's got a supreme black background. This by the way with every new source Fiio makes has improved year in and year out. The pitch black background has improved from the old M15 in my testing. Which brings that superior dynamic contrast to the sound on the new M15S. As good as the older M15 player was, it is much improved on the M15S. Mids instrument and vocal timbre character sounds more fleshed out and realistic vs the prior M15 as a result. Imaging is superb on the player no matter what headphone or IEM you're using on the M15S.

Body of note is something real and substantial when we are talking about a higher end sound. Musical notes in how you're hearing them have to have a certain level of texture and these are the very fine details when you're listening to your favorite tracks that the M15S also seems to do better and more effortlessly. For a portable player to have these qualities, there is no question the sound quality is some of the best I have heard on a portable player at this price level.

My frame of reference comes from how this player sounds vs my older IBasso DX300Max. Which cost more than double the price of the M15S but I have to be honest and say the M15S here is easily just as dynamic sounding as the 300Max. Max might have a slight edge in stage presence but I feel the M15S makes up for it with a more tactile, denser and textured sound vs the DX300Max. They have different sound qualities but I would put the SQ level at an equal footing and that is saying something about a player that doesn't even cost half the price of that player. Then there is the bass end.

Bass of the M15S is simply more dynamic sounding vs the older M15. Actually even more so compared to most audio players sound presentations. Slightly more punchier and has some excellent deep reaching authority when portraying sub bass notes. Bass end imaging is just as engaging and defined as the mids and trebles. I don’t necessarily feel the bass notes are more elevated here but the bass end certainly feels more tactile. It's that richer sound coming through on the M15S that has yet another effect on the bass end. You figure it would be the AKM4499 integration that would present a more authoritative bass. Amplification chips make a difference for bass authority and the amplification used on the M15S seems to be leaning more toward the bass end of the sound spectrum in its sound characteristics vs the treble end. A more musical M15S?

Bass comes effortlessly in presence and can sound as delicate or as punchy as the sound engineers mixes the bass in your favorite tracks. If you're not the type to pick off real differences between sources and how they present music to your ears. If you can’t tell the difference between a dry tonal character vs a richer one, it will be the bass end you will notice just how dynamic the bass end will sound from the M15S. This is how bass is supposed to sound. It's certainly more accurate than beefy or elevated for the sake of just having more quantity but the punchy tight low rumbly bass here is a clear example of the upgraded dynamics that is a part of a richer tonal character of M15S sound.

Bass performance coming from a source has to sound like real bass. I have attended enough performances in my lifetime to know what real bass sounds like in person. A rich tonal character not only affects the treble and mids but also the bass note. Bass end has to have some gumption, some moxie and authority. Power and punch when called upon and delicate and tactile when not. If the bass end is soft or too neutral, it is simple, it won't get much play from me. Music is not music without an accurate detailed bass note and its emphasis associated with that note. This is where I feel the M15S does better in that regard and is a clear example how good bass can sound from a portable source. Bass sounds superb on the M15S and is yet another reason to love its sound presentation. You're a bass fan and want some extra bass from your M15S quality bass presentation. Get your bassy IEM pairings going on and you will love how this combination sounds.

Gain settings.
Messing around with the 5 gain settings on the M15S yields varying degrees of power and the noise floor associated with that gain. Ultra power in desktop mode for higher impedance Cans like Fiios own FT3 sound just as good as my dedicated desktops. But then on lower gain levels the noise floor is so low, my most sensitive IEMs pairings show no appreciable hiss. Tested with Yanyin moonlight and CA Andromeda. Higher gains will start to show a bit of a waterfall, a low level of noise but that is to be expected. But once you turn down that gain it is as pitch black as you would expect for a modern day player to have. This shows true versatility in form, function and its power levels.

DSD mode.
So this mode is selectable in setting options or drop down menu on the player itself. This was also an option on the old M15 but one that never really got used much as I didn’t hear a drastic benefit from it. On the new M15S however, it does provide a smoother, more analogue, slightly more organic, larger sound profile to all the tracks you're listening to. Don't know exactly what the process is to turn all your files to DSD but this does seem to give a different take on the sound vs the standard mode. My write up is all about the standard mode and what to expect but DSD mode was a bit of a surprise to me as it does seem to affect the sound and it will depend on if you want the absolute best sonics available at the cost of some battery life or its standard SQ which is excellent in the first place. And this is the only real negative in using DSD mode; it does drain the battery at about 45 minutes to an hour less.

In the end.
This is one of my longer reviews I have written, and I could have gone on even more, but I feel I have conveyed what I wanted to for my readers. To me it is simple. Unless you absolutely must own the fastest SOC and the latest OS on your Digital Audio Player. The new Fiio M15S is your one stop source for all things music. If sound quality and its versatility with good power is what you care about for your music player. The M15S needs some serious consideration. Its price to performance ratio is outstanding. Its sound presentation is not just good my friends, it sounds stunning. That is a sound descriptor I honestly can’t say about their former M15 as much as I loved using it.

At the time I thought it was clearly worth the $1300 I paid for to own and believe me; I got my money's worth in usability and enjoyment out of that player. The New M15S is $1000 and is a clear upgrade on that player, it's not a sidegrade at all as some reviews might tell you. Take it from someone that has been using that player just about every day since it came out. Fiio has read my mind and has come through huge on all fronts for this player. If you're looking for a player you will get real value with. That player, my friends, is the one you have been reading about. Thanks for taking the time to read, happy listening always.