Acknowledgement:
I would like to thank FLC Technologies and MusicTeck for providing the FLC 8N IEM for the review. This review was originally posted on Twister6.com back in August.
Introduction:
Tuning Systems on IEMs have existed for many years (AKG K3003, RHA T20, Dunu IEMs, Sennheiser IE80, ES Velvet etc) and is implemented in many ways. But not a single IEM came even close to FLC 8S’ 36 possible tuning options when it was released in 2015. Although, I would argue that some of the combinations wouldn’t be practical or applicable for real time use, it takes a brilliant mind (Forrest Wei) to come up with such a sophisticated tuning system. But the tuning system was only part of the reason for 8S’ success. It was its inherent sound quality and performance that contributed to IEM’s success for the most part. And with the customizable tuning options on top of that, one were able to get close to their preferred signature. Leaving the sound aspect aside, there were a couple of quibbles about the FLC’s hardware. For some people, the shape did not provide a perfectly comfortable fit. And the cable was simply too finicky and microphonic.
After 3 years of working on a successor, FLC recently launched an update to the 8S called the FLC 8N. The 8N follows along the same concept of the 8S which is, 36 different tuning options achieved through mixing and matching 10 pairs of swappable filters on the body of the IEM. The external shape of the IEM has gone through a complete redesign and the cable seems to have gone through some changes too. While I won’t be able to comment on the nature of the changes and the differences between the 8N and the 8S, what I can do is, offer my objective + subjective view on the 8N and how it performs for a $360 IEM. Let’s find out.
Accessories:
Leaving the IEM+Cable aside, what you get in the box are the usual suspects; a case, cleaning tool, shirt clip and a few pairs of ear tips, plus the tuning system. The round metal case is hard and feels like it could even take a bullet and still survive. But for my personal use, this is a bit of a cumbersome case due to its weight. But I have seen some people on the forum preferring such cases. As for the ear tips, you get a total of 8 pairs. 4 pairs of white tips and 4 more pairs of black tips of sizes; XS, S, M and L.
As for items that make up the tuning system; you get a total of 10 pairs of filters. These filters are housed in a compact metal canister that looks like a lip-balm stick. You also get a small tweezer that helps to change the Ultra-Low-Frequency (ULF) filters and Low-Frequency (Filters). You also get a spare filter for each of the rubber ULF and LF filters, just in case you lose one of these (yes, you can easily lose the ULF and LF filters if you are not careful). A manual that gives you an index of the filters and other basic information about the IEM is also included.
Looks, Build, Comfort, Isolation and Cable:
I am not a fan of the electric-blue color of the IEM. I personally would have preferred a more neutral color like grey, black or silver. But the build feels sturdy and the finish seems decent. The finish may not be perfect like what you’d see on Sennheisers, but nothing to complain here. As the IEM is light, small in size and is contoured with smooth curves, it is super comfortable to wear. The isolation is not top notch, but when music is playing, it is pretty good. Just don’t expect custom IEM level of isolation.
The cable is again a dark blue color to accent the vivid blue shell of the IEM. It is a bit springy and feels a little plasticky. But other than that, from a functional perspective, it is a very good cable. Meaning, it doesn’t tangle that easily and is not microphonic (at least when worn over ear). So it does look like FLC has made some improvements. As to what kind of sockets the IEM uses, I was neither able to confirm nor deny as I thought it was best left untouched.
Sound:
For sound impressions, I would like to begin with the default configuration, which is; Gunmetal + Grey + Gold (Med ULF + Med LF + Most MF & Med HF). In this configuration, the sound of the 8N is warm, balanced and smooth. This results in a relaxed and fatigue-free listening experience. The bass is slightly enhanced and has a gradual downward slope into the center mid-range. The result is a warm and well integrated bass into the mid-range that provides warmth and body without creating a veil. Sub-bass and mid-bass balance each other out well that, there is satisfactory level of impact, as well as warmth/body without one over powering the other. Also, as the 8N uses DD for the low-end, you get the nice natural decay.
Although, the Gold filter is the one that offers most MF, the mid-range is actually a touch relaxed. The mid-range is sufficiently bodied and is slightly warm in tone, as the upper-mids are slightly smoothed down. If you are someone who finds the 15dB rise in the 3kHz on headphones/IEMs a bit shouty or harsh, you will feel right at home on the 8N, because this bump is rather polite on the 8N. But it is sufficient in amplitude to provide overtone reach and solidity for the vocals, while keeping them rounded and smooth. But for these reasons, the transparency in the mid-range, although good enough, is not of high class. While I would say the mid-range is slightly laid-back their positioning is not backward. So they offer good presence, but just subtly polite without causing any aggressiveness.
The treble follows along the same line as the mid-range and stays smooth with a gentle peak in the lower treble, which is followed by a toned down upper treble. The lower treble makes it up by providing sufficient articulation to the notes and maintaining the balance in the signature. The downside of the upper treble being toned down is, the resolution is not very high and you won’t get the feeling of finesse you experience on high end IEMs. As the resolution and transparency are not of the highest order, this is not an IEM geared towards detail retrieval. But what you get in return is a smooth, laid-back sound that is very forgiving of poorly recorded material.
FLC claims that one of the areas of improvement on the 8N, over the 8s is the soundstage. Although I cannot comment on whether it is an improvement or not, all I can say is that the soundstage on the 8N is spectacular. It is not just very spacious, but also open and airy, almost approaching CA Andromeda level soundstage. This just might have dethroned the IE80 from the sub $400 category soundstage-king position. The stage has sufficient depth to an extent it doesn’t sound flat. With the help of the soundstage, the instrument separation is really excellent on the lateral plane, although layering may not be its forte. The whole presentation of the IEM just keeps you immersed in the music.
Tuning System:
FLC 8N has a 3 point tuning system. What that means is, you can tune 3 distinct frequency ranges of the IEM at the same time. This is achieved though swappable tuning filters. You get; 3 x Ultra Low Frequency filters (ULF), 3 x Low Frequency filters (LF) and 4 x Mid Frequency & High Frequency filters (MF & HF). The port for the ULF is located on the inner side of the IEM that faces your ear. The port for the LF filters is on the faceplate of the IEM shell. The MF & HF filters are screwed in at the nozzle of the IEM.
Ultra-Low Frequency and Low Frequency Filters (ULF & LF):
ULF – ULF filters are the ones those look like a rivet and are made of plastic. These filters primarily affect the lower bass and the sub-bass region, which are all frequencies below the 100Hz. This filter determines the sub-bass extension, power, rumble and weight of the impact. You get 3 pairs of filters: 1) Red = Most ULF, 2) Gunmetal = Med ULF and 3) White = Min ULF.
LF – LF filters are the ones made of rubber with a small flange on one end. These filters primarily affect the mid-bass, upper-bass and lower-mid regions, which are frequencies between 100Hz to 700Hz. These filters determine the warmth, weight and body of the notes in the lower mids. You get 3 LF filters, but the color codes are different. 1) Black = Most LF, 2) Grey = Med LF and 3) Transparent = Low LF.
When it comes to ULF and LF filters, these need to be analyzed in combo rather than individually. This is because they go hand in hand and the result they produce are relative to each other.
Red + Black (Most ULF + Most LF)
This is the bassiest combo and meant for bass lovers. You get great sub-bass extension, lots of sub-bass power, rumble and impact. The bass starts to bleed a little into the mids and starts to tighten the stage that the instrument separation is not the best. Bass takes a dark tone and the pace of the IEM is slowest on this combo.
Gunmetal + Black (Med ULF + Most LF)
This combo is more like a more controlled version of the above one. There is adequate sub-bass power and impact supporting the warm and thick upper-bass and lower-mids. This is not the cleanest sounding combo, but works well if you want to unleash male vocals.
Transparent + Black (Less ULF + Most LF)
This combo creates a bump in the upper-bass region and makes the IEM to sound thick and syrupy. This creates a veil over the mid-range. Not the best combo, unless an upper-bass bump is exactly what you are looking for.
Red + Grey (Most ULF + Med LF)
This combo has a slightly enhanced bass response, but with strong bass impact and power. Sub-bass kind of steals the attention with the bass impact and power. This combo actually quite nice for electronic music when paired with the Green MF&HF filter as it creates a nice U shaped sound.
Gunmetal + Grey (Med ULF + Med LF)
This is the default combo. This combo gives a slightly enhanced bass that is slightly warm and full-bodied with good sub-bass extension. Sub-bass and mid-bass don’t fight for attention and so there is a nice balance in low end of the spectrum. This is a very versatile combo that would work for all genres. It just won’t give you any extreme effect.
Transparent + Grey (Less ULF + Med LF)
This is another good combo that works well for male vocals as it is warm and the sub-bass is rolled off and the impact and rumbles take a back seat. The notes are not too warm and thick, so you don’t have the congestion and veiling problem like the Transparent+Black combo.
Red + White (Most ULF + Less LF)
With the White LF filter, bass becomes very neutral. But with the Red filter, you still get some nice impact and sub-bass power. This is also another combo that would work well for electronic music if you prefer slightly leaner bass notes.
Gunmetal + White (Med ULF + Less LF)
This is another highly recommended combo. You get a neutral level bass with good the sub-bass extension but without strong impacts and rumble from the sub-bass. What this combo also does is, because the bass is nicely controlled, it lets the mid-range pop out a little more, so that you don’t feel it is too relaxed in the upper-mids, as you would on the Gunmetal+Grey combo. You get nice separation and an airy stage. This is not only the best combo for classical, but is also one of the versatile combos. People preferring some warmth may prefer the Gunmetal+Grey combo over this one. But if you like a neutral, ruler flat bass that goes well into the sub-bass, this is just the combo you need.
Transparent + White (Min ULF + Less ULF)
This is really a bass light combo with the mid-range in the spotlight. Bass lacks body, warmth and weight. But if you like lean bass and want to get a mid-centric signature, this might work.
Mid Frequency & High Frequency Filter:
These are the screw able metal filters. These filters affect the upper-mids, lower-treble and the center-treble, which are frequencies between 1kHz to 10kHz. These don’t have much of an impact on the upper treble, so do not expect to customize the upper-treble per your preference. As I already discussed how the Gold filter sounds in the sound impressions section, let’s see what changes are observed when going from the Gold filter to the other 3 filters. Btw Gold filter is Most MF & Less HF.
Switching from Gold to Green (Less MF & Max HF)
This relaxes the mid-range further, but brings up the treble noticeably. If you want to improve the articulation in the treble or if you are shooting for a bright and airy treble, or if you are trying to get to a U shaped sound, this is the filter you would choose.
Switching from Gold to Gunmetal (Med MF & Med HF)
Compared to the Gold filter, the Gunmetal filter relaxes the mid-range further, while keeping the treble at the same level. This creates an even more laidback sound. Can come in handy if you want a completely forgiving and a too laidback sound.
Switching from Gold to Blue (Less MF & Less HF)
Blue just shelves the mid-range and the treble down even further compared to the Gunmetal. I seriously wonder why this filter even exists. Because even the Gunmetal filter is already relaxed enough. Unless all you want to hear is bass and lower harmonics of an instrument/vocals, I can’t imagine anyone using this filter. Although one could argue it can be used to create a light sound signature when used in combination with Transparent+White filters, you could achieve that with the Gunmetal filter already.
FLC should have made this filter into a Most MF & Most HF filter, as I feel that is what is missing in FLC’s configuration.
Possible Combos for some Popular Signatures:
- Warm and Balanced: Gunmetal + Grey + Gold
- Neutral Balanced: Gunmetal + White + Gold, Transparent + Grey + Gold
- Mid-Centric: Transparent + White + Gold
- Treble-Centric: Gunmetal + White + Green, Transparent + White +Green
- V/U shaped: Red + Grey + Green, Red + Black + Green
- Balanced with Strong Bass: Red + Black + Gold, Red + Grey + Gold
- Dark and Bassy: Red + Black + Gold, Red + Black + Gunmetal
- Warm and Thick: Gunmetal + Black + Gold, Transparent + Black + Gold
Comparisons:
FLC 8N vs IE80S:
IE80S has a U shaped signature as a result of enhanced bass and treble (6kHz peak). In terms of tuning capabilities, it only has a bass tuning knob to adjust the sub bass. There is no way to bring the mid-range forward or reduce its 6kHz treble peak. This makes the IE80S not the best IEM for some genres. For example, the vocals sound recessed and the instruments do not sound accurate nor natural. This is purely a fun tuning.
The 8N on the other hand, because of its highly tunable feature, makes it a more versatile IEM than the IE80S. Even with the Green filter which is Med MF & Most HF, the mid-range is not as recessed as on the IE80S. While neither IEMs qualify to be called as accurate sounding IEM, 8N can get close to sounding accurate and has better transparency than the IE80S.
In terms of resolution, both are almost on the same level. One of the greatest strengths of the IE80S is its soundstage. 8N has a similar level of soundstage. But because the stage is not warmed up by the bass, it sounds more open and airy. This also results in better separation on the 8N. So in terms of sound quality, it is not even a contest. 8N takes the win with a comfortable margin.
In terms of physical features, 8N offers better comfort and more isolation. IE80S on the other hand has better build quality, reliability and a better cable.
FLC 8N (Gunmetal, Grey, Gold) vs Simgot EN700 Pro:
While 8N’s signature in the Gunmetal+Grey+Gold combo can be described as warm, balanced and laidback, 700P’s tuning is more neutral-like with a slightly enhanced bass. The bass response on these 2 IEMs are almost similar in the sense that both have similar level of impact and power. But 700P’s bass is warmer. But the overall bass quality is better on the FLC.
8N goes for a laidback sound with a slightly relaxed mids and treble. Whereas 700P goes for a more accurate sound with better presence in the mid-range, particularly in the upper mids and has a slightly brighter treble. There are no filters for 8N that can reproduce this tuning (because the green filter may help bring the treble up, but it relaxes the mid-range further). Due to these differences, 700P is just more transparent in the mid-range and is less forgiving in the treble.
8N has a more spacious soundstage and better overall resolution. As a result, 8N displays better instrument separation. 8N also has a darker background and a more precise imaging than the 700P. Overall, 8N is a bit laidback and musical in nature that you can play some of the poorly recorded tracks and not be punished. While the 700P does have a slightly enhanced bass to inject some fun aspect into the sound, it is still a more serious tuning. Both are balanced sounding and very versatile IEMs. 8N is laidback, whereas the 700N is engaging.
Source Pairings, Sensitivity and Hiss:
The 8N is not a demanding IEM when it comes to power. It just sings even straight out of a smartphone. Any current generation DAPs should have more than enough juice to drive the FLC sufficiently. When I tried the 8N on the Hugo 2 and the desktop amp, there was a nice jump in performance. But there was a slight hiss. But its hiss performance is well within the acceptable standard. Meaning, while it does hiss with sources that are powerful or have a high noise floor, it is hiss free from most portable sources.
As for tonal synergy, as the IEM is already laidback in character, it is better to stay away from sources that have a laidback or a soft sound. Also best to avoid thin sounding sources as it destroys the character of the 8N making the presentation feel empty.
Critical Comments and Suggestions:
- Replace Less Mid & Less HF filter with a Most Mid + Most LF filter
- Build quality and finish could be slightly better
- A more neutral color for the shell would be nice
Conclusion:
The portable audio has seen some accelerated progress over the few years with so many competitors entering the market. With such high competition, in order to survive, let alone succeed, manufacturers have been coming out with really nice products for very competitive prices. So it is not difficult to come across a nice product in the mid-fi segment. But there are some products that stand out from the rest of the competition, as they do things right and offer a little more than that. And FLC 8N is one such gem in the mid-fi realm.
While the signature of the 8N is completely neutral, its signature is not too far from the natural response of a speaker in a room. It is balanced and smooth and is just an easy listen. It may not be the most accurate IEM. But it immerses you in your music with a large stage and a musical signature. You could say, this is the fun sound done right. It may not be suitable for someone looking for accuracy or neutrality. But, if you are in the market for a balanced and smooth sounding IEM in the $500 price range, just get the FLC 8N, choose a filter combo that suits your preference and works for your music and take a break from this hobby.
Purchase Link:
MusicTeck Store: https://shop.musicteck.com/products/flc8n-the-latest-version-of-flc8
Amazon: https://www.amazon.com/Balanced-Arm...1&sr=8-2&keywords=flc8n&tag=3340693-headfi-20
I would like to thank FLC Technologies and MusicTeck for providing the FLC 8N IEM for the review. This review was originally posted on Twister6.com back in August.
Introduction:
Tuning Systems on IEMs have existed for many years (AKG K3003, RHA T20, Dunu IEMs, Sennheiser IE80, ES Velvet etc) and is implemented in many ways. But not a single IEM came even close to FLC 8S’ 36 possible tuning options when it was released in 2015. Although, I would argue that some of the combinations wouldn’t be practical or applicable for real time use, it takes a brilliant mind (Forrest Wei) to come up with such a sophisticated tuning system. But the tuning system was only part of the reason for 8S’ success. It was its inherent sound quality and performance that contributed to IEM’s success for the most part. And with the customizable tuning options on top of that, one were able to get close to their preferred signature. Leaving the sound aspect aside, there were a couple of quibbles about the FLC’s hardware. For some people, the shape did not provide a perfectly comfortable fit. And the cable was simply too finicky and microphonic.
After 3 years of working on a successor, FLC recently launched an update to the 8S called the FLC 8N. The 8N follows along the same concept of the 8S which is, 36 different tuning options achieved through mixing and matching 10 pairs of swappable filters on the body of the IEM. The external shape of the IEM has gone through a complete redesign and the cable seems to have gone through some changes too. While I won’t be able to comment on the nature of the changes and the differences between the 8N and the 8S, what I can do is, offer my objective + subjective view on the 8N and how it performs for a $360 IEM. Let’s find out.
Accessories:
Leaving the IEM+Cable aside, what you get in the box are the usual suspects; a case, cleaning tool, shirt clip and a few pairs of ear tips, plus the tuning system. The round metal case is hard and feels like it could even take a bullet and still survive. But for my personal use, this is a bit of a cumbersome case due to its weight. But I have seen some people on the forum preferring such cases. As for the ear tips, you get a total of 8 pairs. 4 pairs of white tips and 4 more pairs of black tips of sizes; XS, S, M and L.
As for items that make up the tuning system; you get a total of 10 pairs of filters. These filters are housed in a compact metal canister that looks like a lip-balm stick. You also get a small tweezer that helps to change the Ultra-Low-Frequency (ULF) filters and Low-Frequency (Filters). You also get a spare filter for each of the rubber ULF and LF filters, just in case you lose one of these (yes, you can easily lose the ULF and LF filters if you are not careful). A manual that gives you an index of the filters and other basic information about the IEM is also included.
Looks, Build, Comfort, Isolation and Cable:
I am not a fan of the electric-blue color of the IEM. I personally would have preferred a more neutral color like grey, black or silver. But the build feels sturdy and the finish seems decent. The finish may not be perfect like what you’d see on Sennheisers, but nothing to complain here. As the IEM is light, small in size and is contoured with smooth curves, it is super comfortable to wear. The isolation is not top notch, but when music is playing, it is pretty good. Just don’t expect custom IEM level of isolation.
The cable is again a dark blue color to accent the vivid blue shell of the IEM. It is a bit springy and feels a little plasticky. But other than that, from a functional perspective, it is a very good cable. Meaning, it doesn’t tangle that easily and is not microphonic (at least when worn over ear). So it does look like FLC has made some improvements. As to what kind of sockets the IEM uses, I was neither able to confirm nor deny as I thought it was best left untouched.
Sound:
For sound impressions, I would like to begin with the default configuration, which is; Gunmetal + Grey + Gold (Med ULF + Med LF + Most MF & Med HF). In this configuration, the sound of the 8N is warm, balanced and smooth. This results in a relaxed and fatigue-free listening experience. The bass is slightly enhanced and has a gradual downward slope into the center mid-range. The result is a warm and well integrated bass into the mid-range that provides warmth and body without creating a veil. Sub-bass and mid-bass balance each other out well that, there is satisfactory level of impact, as well as warmth/body without one over powering the other. Also, as the 8N uses DD for the low-end, you get the nice natural decay.
Although, the Gold filter is the one that offers most MF, the mid-range is actually a touch relaxed. The mid-range is sufficiently bodied and is slightly warm in tone, as the upper-mids are slightly smoothed down. If you are someone who finds the 15dB rise in the 3kHz on headphones/IEMs a bit shouty or harsh, you will feel right at home on the 8N, because this bump is rather polite on the 8N. But it is sufficient in amplitude to provide overtone reach and solidity for the vocals, while keeping them rounded and smooth. But for these reasons, the transparency in the mid-range, although good enough, is not of high class. While I would say the mid-range is slightly laid-back their positioning is not backward. So they offer good presence, but just subtly polite without causing any aggressiveness.
The treble follows along the same line as the mid-range and stays smooth with a gentle peak in the lower treble, which is followed by a toned down upper treble. The lower treble makes it up by providing sufficient articulation to the notes and maintaining the balance in the signature. The downside of the upper treble being toned down is, the resolution is not very high and you won’t get the feeling of finesse you experience on high end IEMs. As the resolution and transparency are not of the highest order, this is not an IEM geared towards detail retrieval. But what you get in return is a smooth, laid-back sound that is very forgiving of poorly recorded material.
FLC claims that one of the areas of improvement on the 8N, over the 8s is the soundstage. Although I cannot comment on whether it is an improvement or not, all I can say is that the soundstage on the 8N is spectacular. It is not just very spacious, but also open and airy, almost approaching CA Andromeda level soundstage. This just might have dethroned the IE80 from the sub $400 category soundstage-king position. The stage has sufficient depth to an extent it doesn’t sound flat. With the help of the soundstage, the instrument separation is really excellent on the lateral plane, although layering may not be its forte. The whole presentation of the IEM just keeps you immersed in the music.
Tuning System:
FLC 8N has a 3 point tuning system. What that means is, you can tune 3 distinct frequency ranges of the IEM at the same time. This is achieved though swappable tuning filters. You get; 3 x Ultra Low Frequency filters (ULF), 3 x Low Frequency filters (LF) and 4 x Mid Frequency & High Frequency filters (MF & HF). The port for the ULF is located on the inner side of the IEM that faces your ear. The port for the LF filters is on the faceplate of the IEM shell. The MF & HF filters are screwed in at the nozzle of the IEM.
Ultra-Low Frequency and Low Frequency Filters (ULF & LF):
ULF – ULF filters are the ones those look like a rivet and are made of plastic. These filters primarily affect the lower bass and the sub-bass region, which are all frequencies below the 100Hz. This filter determines the sub-bass extension, power, rumble and weight of the impact. You get 3 pairs of filters: 1) Red = Most ULF, 2) Gunmetal = Med ULF and 3) White = Min ULF.
LF – LF filters are the ones made of rubber with a small flange on one end. These filters primarily affect the mid-bass, upper-bass and lower-mid regions, which are frequencies between 100Hz to 700Hz. These filters determine the warmth, weight and body of the notes in the lower mids. You get 3 LF filters, but the color codes are different. 1) Black = Most LF, 2) Grey = Med LF and 3) Transparent = Low LF.
When it comes to ULF and LF filters, these need to be analyzed in combo rather than individually. This is because they go hand in hand and the result they produce are relative to each other.
Red + Black (Most ULF + Most LF)
This is the bassiest combo and meant for bass lovers. You get great sub-bass extension, lots of sub-bass power, rumble and impact. The bass starts to bleed a little into the mids and starts to tighten the stage that the instrument separation is not the best. Bass takes a dark tone and the pace of the IEM is slowest on this combo.
Gunmetal + Black (Med ULF + Most LF)
This combo is more like a more controlled version of the above one. There is adequate sub-bass power and impact supporting the warm and thick upper-bass and lower-mids. This is not the cleanest sounding combo, but works well if you want to unleash male vocals.
Transparent + Black (Less ULF + Most LF)
This combo creates a bump in the upper-bass region and makes the IEM to sound thick and syrupy. This creates a veil over the mid-range. Not the best combo, unless an upper-bass bump is exactly what you are looking for.
Red + Grey (Most ULF + Med LF)
This combo has a slightly enhanced bass response, but with strong bass impact and power. Sub-bass kind of steals the attention with the bass impact and power. This combo actually quite nice for electronic music when paired with the Green MF&HF filter as it creates a nice U shaped sound.
Gunmetal + Grey (Med ULF + Med LF)
This is the default combo. This combo gives a slightly enhanced bass that is slightly warm and full-bodied with good sub-bass extension. Sub-bass and mid-bass don’t fight for attention and so there is a nice balance in low end of the spectrum. This is a very versatile combo that would work for all genres. It just won’t give you any extreme effect.
Transparent + Grey (Less ULF + Med LF)
This is another good combo that works well for male vocals as it is warm and the sub-bass is rolled off and the impact and rumbles take a back seat. The notes are not too warm and thick, so you don’t have the congestion and veiling problem like the Transparent+Black combo.
Red + White (Most ULF + Less LF)
With the White LF filter, bass becomes very neutral. But with the Red filter, you still get some nice impact and sub-bass power. This is also another combo that would work well for electronic music if you prefer slightly leaner bass notes.
Gunmetal + White (Med ULF + Less LF)
This is another highly recommended combo. You get a neutral level bass with good the sub-bass extension but without strong impacts and rumble from the sub-bass. What this combo also does is, because the bass is nicely controlled, it lets the mid-range pop out a little more, so that you don’t feel it is too relaxed in the upper-mids, as you would on the Gunmetal+Grey combo. You get nice separation and an airy stage. This is not only the best combo for classical, but is also one of the versatile combos. People preferring some warmth may prefer the Gunmetal+Grey combo over this one. But if you like a neutral, ruler flat bass that goes well into the sub-bass, this is just the combo you need.
Transparent + White (Min ULF + Less ULF)
This is really a bass light combo with the mid-range in the spotlight. Bass lacks body, warmth and weight. But if you like lean bass and want to get a mid-centric signature, this might work.
Mid Frequency & High Frequency Filter:
These are the screw able metal filters. These filters affect the upper-mids, lower-treble and the center-treble, which are frequencies between 1kHz to 10kHz. These don’t have much of an impact on the upper treble, so do not expect to customize the upper-treble per your preference. As I already discussed how the Gold filter sounds in the sound impressions section, let’s see what changes are observed when going from the Gold filter to the other 3 filters. Btw Gold filter is Most MF & Less HF.
Switching from Gold to Green (Less MF & Max HF)
This relaxes the mid-range further, but brings up the treble noticeably. If you want to improve the articulation in the treble or if you are shooting for a bright and airy treble, or if you are trying to get to a U shaped sound, this is the filter you would choose.
Switching from Gold to Gunmetal (Med MF & Med HF)
Compared to the Gold filter, the Gunmetal filter relaxes the mid-range further, while keeping the treble at the same level. This creates an even more laidback sound. Can come in handy if you want a completely forgiving and a too laidback sound.
Switching from Gold to Blue (Less MF & Less HF)
Blue just shelves the mid-range and the treble down even further compared to the Gunmetal. I seriously wonder why this filter even exists. Because even the Gunmetal filter is already relaxed enough. Unless all you want to hear is bass and lower harmonics of an instrument/vocals, I can’t imagine anyone using this filter. Although one could argue it can be used to create a light sound signature when used in combination with Transparent+White filters, you could achieve that with the Gunmetal filter already.
FLC should have made this filter into a Most MF & Most HF filter, as I feel that is what is missing in FLC’s configuration.
Possible Combos for some Popular Signatures:
- Warm and Balanced: Gunmetal + Grey + Gold
- Neutral Balanced: Gunmetal + White + Gold, Transparent + Grey + Gold
- Mid-Centric: Transparent + White + Gold
- Treble-Centric: Gunmetal + White + Green, Transparent + White +Green
- V/U shaped: Red + Grey + Green, Red + Black + Green
- Balanced with Strong Bass: Red + Black + Gold, Red + Grey + Gold
- Dark and Bassy: Red + Black + Gold, Red + Black + Gunmetal
- Warm and Thick: Gunmetal + Black + Gold, Transparent + Black + Gold
Comparisons:
FLC 8N vs IE80S:
IE80S has a U shaped signature as a result of enhanced bass and treble (6kHz peak). In terms of tuning capabilities, it only has a bass tuning knob to adjust the sub bass. There is no way to bring the mid-range forward or reduce its 6kHz treble peak. This makes the IE80S not the best IEM for some genres. For example, the vocals sound recessed and the instruments do not sound accurate nor natural. This is purely a fun tuning.
The 8N on the other hand, because of its highly tunable feature, makes it a more versatile IEM than the IE80S. Even with the Green filter which is Med MF & Most HF, the mid-range is not as recessed as on the IE80S. While neither IEMs qualify to be called as accurate sounding IEM, 8N can get close to sounding accurate and has better transparency than the IE80S.
In terms of resolution, both are almost on the same level. One of the greatest strengths of the IE80S is its soundstage. 8N has a similar level of soundstage. But because the stage is not warmed up by the bass, it sounds more open and airy. This also results in better separation on the 8N. So in terms of sound quality, it is not even a contest. 8N takes the win with a comfortable margin.
In terms of physical features, 8N offers better comfort and more isolation. IE80S on the other hand has better build quality, reliability and a better cable.
FLC 8N (Gunmetal, Grey, Gold) vs Simgot EN700 Pro:
While 8N’s signature in the Gunmetal+Grey+Gold combo can be described as warm, balanced and laidback, 700P’s tuning is more neutral-like with a slightly enhanced bass. The bass response on these 2 IEMs are almost similar in the sense that both have similar level of impact and power. But 700P’s bass is warmer. But the overall bass quality is better on the FLC.
8N goes for a laidback sound with a slightly relaxed mids and treble. Whereas 700P goes for a more accurate sound with better presence in the mid-range, particularly in the upper mids and has a slightly brighter treble. There are no filters for 8N that can reproduce this tuning (because the green filter may help bring the treble up, but it relaxes the mid-range further). Due to these differences, 700P is just more transparent in the mid-range and is less forgiving in the treble.
8N has a more spacious soundstage and better overall resolution. As a result, 8N displays better instrument separation. 8N also has a darker background and a more precise imaging than the 700P. Overall, 8N is a bit laidback and musical in nature that you can play some of the poorly recorded tracks and not be punished. While the 700P does have a slightly enhanced bass to inject some fun aspect into the sound, it is still a more serious tuning. Both are balanced sounding and very versatile IEMs. 8N is laidback, whereas the 700N is engaging.
Source Pairings, Sensitivity and Hiss:
The 8N is not a demanding IEM when it comes to power. It just sings even straight out of a smartphone. Any current generation DAPs should have more than enough juice to drive the FLC sufficiently. When I tried the 8N on the Hugo 2 and the desktop amp, there was a nice jump in performance. But there was a slight hiss. But its hiss performance is well within the acceptable standard. Meaning, while it does hiss with sources that are powerful or have a high noise floor, it is hiss free from most portable sources.
As for tonal synergy, as the IEM is already laidback in character, it is better to stay away from sources that have a laidback or a soft sound. Also best to avoid thin sounding sources as it destroys the character of the 8N making the presentation feel empty.
Critical Comments and Suggestions:
- Replace Less Mid & Less HF filter with a Most Mid + Most LF filter
- Build quality and finish could be slightly better
- A more neutral color for the shell would be nice
Conclusion:
The portable audio has seen some accelerated progress over the few years with so many competitors entering the market. With such high competition, in order to survive, let alone succeed, manufacturers have been coming out with really nice products for very competitive prices. So it is not difficult to come across a nice product in the mid-fi segment. But there are some products that stand out from the rest of the competition, as they do things right and offer a little more than that. And FLC 8N is one such gem in the mid-fi realm.
While the signature of the 8N is completely neutral, its signature is not too far from the natural response of a speaker in a room. It is balanced and smooth and is just an easy listen. It may not be the most accurate IEM. But it immerses you in your music with a large stage and a musical signature. You could say, this is the fun sound done right. It may not be suitable for someone looking for accuracy or neutrality. But, if you are in the market for a balanced and smooth sounding IEM in the $500 price range, just get the FLC 8N, choose a filter combo that suits your preference and works for your music and take a break from this hobby.
Purchase Link:
MusicTeck Store: https://shop.musicteck.com/products/flc8n-the-latest-version-of-flc8
Amazon: https://www.amazon.com/Balanced-Arm...1&sr=8-2&keywords=flc8n&tag=3340693-headfi-20