Over the last years, the custom in-ear market has been on the rise, emanating a growth of boutique manufacturers. As a result, it might seem as if more traditional manufacturers as Westone have taken a step back, but nothing is less true – Westone remains a powerhouse in the industry, and keeps working hard to improve themselves in the background. A short while back they launched their new universal flagship, the W80, tuned with the traditional Westone house-sound. But shortly after came the ES80, a more technical tuning, aimed at musicians and producers. At least, that might have been the target – with its top performance, the ES80 is equally bound to find a way to the heart of the modern audiophile.

Westone ES80
Drivers: 8 BA drivers
Design: 3-Way passive crossover
Sensitivity: 111 dB @ 1 mW
Impedance: 80 Ohms

PRICE: $1899



Build and design

Westone isn’t particularly known for extravagant designs. Which can’t be contributed to their lack of trying, for they offer one of the most varied options for customization. They offer a wide selection of options for the shell body, besides countless faceplate materials and designs. To make matters worse, since you can easily spend a day on mixing and matching, there are even additional options for customization of the faceplates. It’s fun to check out and play around with their custom builder. I personally opted for silver flakes with a granite faceplate.

The monitor is built with a silicone nozzle and acrylic shell, a mixed design that Westone traditionally uses for their custom in-ears. It ensures a comfortable fit, while maintaining the advantages of the acrylic shell in terms of durability and maintenance. Despite its 8 drivers, the ES80 is a bit larger than most ciems, protruding slightly more out of the ear. The build quality is impeccable: very smooth, and without noticeable bubbles. The fit is perfect, and very comfortable due to the silicone lower body.

Accessories

The ES80 diverges from the standard accessory package by providing a fairly large carrying case, with ample room to fit the ES80, as well as both cables. In addition, there’s a fixed space for Westone’s insertion gel, a cleaning tool, and dehumidifying package. As a nice extra, there’s a cleaning cloth with the Westone logo. The ALO Ref 8 cable comes in a neat carrying pouch of its own. All in all, a quality package.



Cables

The ES80 comes stock with two cables: a standard Epic OFC copper cable, as well as the quality ALO Ref 8 cable; an 8-braid copper and SPC hybrid. The two cables differ in ergonomics; the Epic is lightweight and thin, while the Ref 8 is more rigid, and passes on some microphonics. More importantly however, are their differences in sound, for the two give the ES80 quite a different character when it comes to tone and presentation. The Ref 8 gives the ES80 a more aggressive, forward character. Its instruments have greater body, while its mid-bass gains in quantity, and accordingly, impact. At the same time however, the signature is somewhat void of warmth. While this results in greater clarity, there’s a slight tradeoff for tone, depending on preference. The ES80 hovers around neutral, and is somewhat dependent on the cable in this regard. In addition, its stage is a bit deeper compared to the pairing with the Epic cable.

When paired with the standard Epic cable, the ES80 is lightly warm, and smoother in tone – a more linear signature. Its instruments are leaner in body, and placed in a flatter, but wide, stretched out stage. In addition, its imaging is slightly more precise, resulting in a more focused image. It is near-impossible to predict which cable pairing one might prefer, as they each have their own advantage, and pair better with different types of music or sources; but it's nice to have the options. For this review, I based the sound impressions on the ES80 paired with the Epic cable, and my RW AK380cu.

Sound impressions

Presentation
Paying $1900 for a custom in-ear monitor comes with certain expectations, especially if it’s the first time. The high cost should yield a certain reward in terms of improvement, an upgrade over previous equipment. When it comes to high-fidelity sound, this doesn’t just translate to tone, but performance: a precise image, resulting from high definition. The ES80 was built for resolution. It doesn’t just provide that sense of improvement over sub-par gear, but in certain aspects, even over top-tier equipment. This emanates from its excellent extension on both ends, and fairly linear signature. The deeper origin: its custom-built BA drivers, specifically designed for this purpose. Accordingly, the ES80 provides an exceptionally highly resolved sound, while maintaining a neutral, yet smooth signature.

Similarly, the ES80’s presentation is neutral in terms of stage positioning. Neither overly forward, nor laidback. Its stage is wider than average. But again, it’s its technical proficiency that stands out; the quality within the stage. Not only is its imaging precise, but its notes are set against a stable black background. The result is a remarkably clean and focused image, despite a lightly warm tone. It’s a presentation that allows detail to stand out, by means of the stability of the image – its separation is excellent. For even though its stage isn’t overly deep, its layering is precise, and the ES80 never tends to congestion; the ES80 takes full advantage of its high resolution, and leaner instrument size.



Bass
The quality of its top-end extension has far-reaching effects, returning throughout the signature. Starting from its role in shaping the bass: the mid-bass is highly resolved, with precise contours marking its form – a well-defined mid-bass, with excellent separation between the sub- and mid-bass. A controlled bass, and a fast one. Even so, it's not a lean bass, which leaves one wanting. Despite remaining close to neutral in quantity, its mid-bass provides sufficient impact, and a rhythmic dynamic to the sound.

But it’s especially its bottom-end extension that provides a sense of power to the sub-bass: a tight, but hard-hitting impact, especially enjoyable for electronic beats. Overall, it’s a bass tuning in line with its technical approach. Importantly, this doesn't mean it lacks engagement by any means; especially the depth to which its sub-bass hits is addictive. Rather, its technical proficiency contributes to the sense of enjoyment, by constructing a complete bass on many fronts: definition, detail, and low-end impact, rather than mere quantity.



Midrange
But the advantages of its highly resolved bass transcend the definition of bass notes – the control of the mid-bass creates a particularly airy stage. In addition, a clever dip in the upper-bass helps to construct a rather clean-sounding midrange. The midrange is lightly warm in tone, and rather smooth. Its instruments are slightly leaner in size, ensuing from the upper-bass dip; especially heavier rock guitars or cellos might come across as a bit leaner. But altogether, the ES80’s note size is close to neutral. And importantly, it’s a presentation that sufficiently fills the headspace – an engaging sound.

Similarly, vocals are commonly awarded a certain forwardness, giving them an advantage in size over their fellow instruments. The ES80 won't have anything of it, following a more egalitarian principle. Its vocals are clearly defined and smooth, though somewhat compact. It’s a presentation that aids in creating the abundance of space on the stage. Even so, it’s not a thin vocal presentation. Vocals might be smaller in size, but they’re still sufficiently dense; it’s a well-rounded vocal presentation, providing enough depth to a singer’s voice. Compact, yet powerful, and highly enjoyable as well. And because of its neutral tone, one that doesn’t discriminate between male and female vocals.



Treble
The ES80’s signature is fairly linear, save a lower treble peak. Lifting the lower treble provides more articulation in its note, while bringing a touch of clarity to a piano or violin. Even so, the ES80 doesn’t come across as bright by any means, or sparkly for that matter; it simply brings its tone closer to neutral, by balancing the bass. On occasion, the lower treble peak can act up with poorly mastered tracks; but overall, the ES80 can be considered a smooth monitor.

In line with the rest of the signature, the treble tone is neutral. This isn’t a treble that either sparkles, or feels emphatically natural. But make no mistake; the treble delivers an outstanding, above average, performance. Just like its bass, the treble shines by means of its technical prowess. Besides being well-defined, it’s exceptionally fast: quick on the draw, but natural in its decay. It ensures a complete presentation of the treble note, with even the fastest of notes. And as a result of its excellent and very linear top-end extension, the ES80 delivers a full display of the overtones, in all their glory. In sum, a technically outstanding treble performance.

Comparisons

Custom Art 8.2 (€1100)
Despite maintaining a lightly warm and smooth sound, the ES80 takes a somewhat technical approach; it excels in terms of stage presentation and performance. Compared to the 8.2, its top-end extension plays a dominant role in controlling the bass, and creating an airy stage. In addition, both its resolution and transparency is greater. The 8.2 in turn subdues the listener with its warm and smooth presentation, while adding a pleasant thickness to its note. Their stages are roughly similar in overall dimensions, with that of the ES80 being a bit wider. But as a result of its only average extension, the bass affects the airiness of the stage, and accordingly, the effortlessness of its separation. ES80 is overall more precise, resulting from its clean stage and high resolution.

The 8.2 has a richer bass response, which provides warmth and body to the sound. Even though their midranges are fairly similar in terms of forwardness, the added bass creates a fuller sound, with thicker instruments, and warmer vocals. The ES80’s bass in turn is more controlled, with greater low-end extension. As a result, its impact is primarily based on its sub-bass, compared to the 8.2’s mid-bass; it’s a tighter, but equally engaging bass. And its midrange is only very lightly warm, compared to predominantly warmer 8.2. Similarly, the 8.2’s upper midrange is warmer, and more natural in tone. The ES80 in turn offers more clarity, resulting from its lower treble peak. The treble itself is quicker, with greater definition. The 8.2’s treble on the other hand is smoother, though significantly more laid-back.

Jomo Samba ($1725)
When it comes to comparisons, the first iem that comes to mind is the Jomo Samba. For even though they differ in tone, there are striking parallels in their presentation; for starters, their slightly leaner, and somewhat drier sound. But most specifically, the way they dazzle with performance. Both monitors demonstrate the true importance of high performance, and the unique sense of enjoyment that follows from experiencing it; the cleanliness of the presentation, the high resolution, and the extraordinary detail that follows: listening to one of these monitors is really something special.



While both share high resolution and precise imaging, they differ in their presentation: Samba’s stage is more holographic, as a result of its added depth. The ES80’s stage on the other hand, is wider. Similarly, both construct a leaner instrument size, resulting from an upper-bass dip. But their tone is significantly different; Samba sounds a bit more technical and transparent, due it its upper treble peak. Accordingly, Samba offers a bit more sparkle, and is more upfront in its detail retrieval. ES80 on the other hand has a warmer and smoother tone, bringing it closer to neutral. And while the ES80 doesn’t throw details at you like the Samba, its actual resolution is higher. In addition, the ES80 has the superior bass in terms of performance and engagement, primarily resulting from its greater bottom-end extension.

Vision Ears VE8 (€2399)
Similarly, the VE8 shares some similarities with the ES80, though ultimately being quite different. This time not in its presentation, for the VE8 creates a fuller sound, powered by a rich bass; compared to the ES80, the VE8’s notes are thicker, while its vocals have more body. The similarity between the two lies in their relatively neutral tone; neither the ES80 nor VE8 is overly warm, or bright. When paired with the Epic stock cable, the ES80 is even slightly warmer. But when paired with the ALO Ref 8, the ES80's notes gain in size, while its tone becomes clearer, bringing it closer to the VE8.

Still, the two monitors stem from a different philosophy: the VE8 is the easy-going all-rounder, while the ES80 takes a more technical approach. Starting at the bass, the VE8 has more mid- and upper-bass emphasis. Yet despite its enhanced bass, it manages to retain a clean stage, based on its top-end extension. The ES80’s emphasis in turn lies on sub- over mid-bass, resulting in greater sub-bass impact, with less mid-bass quantity. As a result its bass is tighter, while its notes are leaner. In addition, the ES80’s separation is more effortless, based on its leaner note structure, and blacker background. Finally, the both iems performs exceptionally well when it comes to treble: quick, and articulate. The VE8 however has the more natural treble timbre, while the ES80 has the better extension.



Concluding thoughts

The ES80 shares similarities with monitors like the EarSonics S-EM9, Hidition NT6-pro, and Jomo Samba in terms of general presentation: a slightly leaner sound, excellent separation, and high resolution. An engaging sound, by means of performance. Within that framework, they each have slight variations throughout their signature, which allow them to shine in their own way. But to simply state that the ES80 is just one of the many variations of a multi-BA design, would be surpassing that extra bit of specialness it has to offer. I didn’t mention the 64 Audio A18 in the comparisons due to its price, but it’s worth noting the ES80 is the one of the few monitors with similar resolution, although the A18's 18 drivers produce a bigger and slightly brighter sound.

Like fine wine, high performance might require a bit of audiophile experience in order to fully appreciate it; but for those that do, the ES80 proves quite a delight. Its bass is a bit on the drier side, but I’d still rate it exceptionally high; excellent definition, pace, and bottom-end extension. And it’s a fun bass, because of it. Similarly, it’s technical proficiency like speed and articulation that allows its treble to shine; not only by boosting the sense of rhythm, but in uncovering finer detail. Its subtleties like these that makes me truly appreciate what Westone has accomplished with the ES80 – besides its overall excellent resolution, of course. Even more impressive perhaps is how they managed to match this with an almost perfectly neutral signature, which remains very smooth – the ES80 is a top performer.



Manufacturer website:
www.westone.com

I would like to thank Max from EarSonics for providing me with the EM10 in return for my honest opinion.

For many audiophiles that have come in touch with EarSonics at some point along their journey, the France-based manufacturer has become synonymous for a very special type of ‘musical’ sound; one that combines an emotional signature, with excellent technical performance. I’ve personally reviewed more EarSonics models than for any other company, for only one reason: when it comes to preference, Franck Lopez seems to understand my deepest desires – sometimes before I understand my own. In fact, iems like the Velvet and S-EM9 have played an important role in shaping my preference over the years.

Even so, EarSonics has been moving in different directions. While earlier models as the S-EM6, EM3, and SM64 provided a warm, smooth, and midcentric tuning, their latest line of models, starting with the EM32 and later the S-EM9, went for a more exciting, stimulating sound, by means of a U-shaped signature. The EM10 is their latest creation, taking over the EM32's position as flagship custom monitor. And this time it’s tuned for audiophiles rather than musicians, despite their heavy roots in the professional musician industry – something that quickly becomes evident from its tuning. For with the EM10, EarSonics is diverging yet again from their path, with a new type of sound – one that's especially easy to listen to, and has a very special type of tone.



EarSonics EM10
-Drivers: 10 BA drivers (2 low, 4 mid, 4 high)
-Design: 3-way crossover, 3 sound bores
-Impedance: 26,6 Ohm
-Sensitivity: 119 dB
-Fit: Custom

-PRICE: €2000

Packaging

EarSonics iems traditionally come in a matte black box. While some people found their iems could be included with a larger selection of accessories, the box itself eludes an elegant sense of understatement. I was expecting the classic EarSonics box I’ve opened regularly over the last years, but was pleasantly surprised to see they’ve spent renewed attention to their packaging, as it has a high quality feel to it. The top of the case flips open to reveal the nested earphones, after which you need to slide the case out. Admittedly, it took a moment to figure it out, but all in all, it’s a packaging that matches the expectations that come with a top tier product. Being a custom earphone however, the accessories are pretty slim; a 6.3 mm adapter, cleaning tool, and the classy matte black ES carrying case, which of all the cases remains my favorite to use. But nothing out of the ordinary here, as a custom earphone really doesn’t need any more. The cable is the trusty Plastics One that comes stock with all of the EarSonics earphones.



Build and design

The EM10’s design options follow Henry Ford’s classic quote: “You can have any color, as long as it’s black”. The EM10 is only available in a glossy piano black finish, combined with a golden letter/number combination on the shells. The S-EM9’s design had more prominent logo’s filling the sides, but the flamboyant design didn’t appeal to everyone. Since then, EarSonics decided to tone it down a bit, resulting in a more subtle and 'timeless' design for the EM10 with smaller logos, reminiscent of the S-EM6v2. The build quality itself is impeccable, feeling completely smooth to the touch without any imperfections. The nozzles contain one large and two smaller bores, similar to the S-EM9.

Sound impressions

Presentation
EarSonics whisks us away with a dreamy, euphoric type of sound that feels pleasantly familiar, yet unlike anything I've heard. The EM10’s intended focus of the tuning is clearly on tone – but it's a special, unique kind of tone. It's a signature intent on letting the upper midrange shine. The sound is clear, but it isn't bright; there’s a special, soft type of glow behind the sound – the combination of a rich bass and mid-treble tuning. According to Franck, the key to the EM10's special tone lies in combining pairs of subtle peaks around 8, 10, and 12 KHz for ultimate musicality and finesse – because apparently, our ears love paired harmonics. Franck must be on to something, because the EM10 certainly seems to be agreeing with my ears. But even so, the treble region as as whole is relatively laid-back, and it's mostly the 12 KHz region adding some colour to the sound. The result is a melodious signature, which remains silky smooth.

The S-EM9 seemed to be optimised for separation and resolution; a precise, articulated sound. The EM10 in turn takes a different direction, with different priorities. The difference resides in the upper bass and attenuated lower treble tuning. Where the S-EM9's leaner notes formed a perfect match with its stage dimensions, the EM10 sounds rich and bodied. So while both construct a similar average-sized stage with even proportions in width and depth, the EM10 creates a full and more engaging sound, where the S-EM9 sounds cleaner and organised. And due to the EM10's softer treble approach, the imaging doesn't strike you as pinpoint precise. But rather than striving for analytical precision, it's a very coherent presentation, that seamlessly weaves together. And by means of its depth, the EM10 makes good use of its layering ability to perform well at separation.



Bass
The EM10’s bass leans towards the fun range, due to its slightly greater than neutral quantity. It’s a bass that comes with a nice mid-bass punch. Even so, its low-end extension is about average, and it isn’t a mean, hard-hitting bass. It is however a natural-sounding bass. Due to the lower treble tuning, the bass has a soft touch. It’s a rounded bass, with a gentle decay. It’s decisively not a stereotypical dry, lean BA bass. While manufacturers often choose to dip the upper-bass in order to create a cleaner sound, the EM10 maintains a fairly linear tuning throughout the upper-bass region, in favour of tone. Taken together, it's a fun bass with a gentle touch, which contributes to the overall tone.

Midrange
There's a special glow over the EM10's midrange. It’s exciting and engaging, but most of all, easy to listen to. The most common way to add some excitement is by lifting the lower treble, which also results in a brighter sound. But the EM10 instead lifts the higher treble regions combined with a classic 5 KHz dip, effectively avoiding the whole sensitive area. But the signature seems centred around its enhanced upper mids; a touch of added beauty, while remaining smooth. The purist might say it’s coloured, but it’s purposefully, and most of all, tastefully done. Which isn't to say the tuning is wildly inaccurate, as instruments nevertheless have a fairly accurate timbre, resulting from the attenuated lower treble tuning. And combined with the rich bass, it isn't an overly clean-sounding midrange; but it is a very harmonious one. It's a tuning that invites to forget about analytical dissection – the hallmark of a coherent signature.



Accordingly, the EM10 creates a nicely full sound, and vocals are a treat. Full-bodied and slightly forward, as a result of a characteristic bump in its centre midrange frequencies. It’s a solidified, rounded vocal presentation, with sufficient vocal power. There's body and depth to male vocals, but equally, a sweetness to that of female's. It’s clear to hear the vocal presence was prioritised within the tuning, as they jump out from within the stage. But they do so gently, as the vocal articulation is incredibly smooth, in line with the rest of the presentation.

Treble
To accomplish its tone, the treble itself is slightly laid-back. It's an articulate treble nonetheless, but one that doesn't demand your attention. The EM10 breaks with its predecessors, by dipping the lower treble region. The result is not only an incredibly smooth treble, but one that results in a very coherent presentation as well. Selflessly, the treble takes a step back in favour of guitars, background choirs, and especially synthesised notes. It’s a treble reminiscent of something like the UE18+ perhaps, smooth, and warm in tone. But a crucial difference is that the EM10’s signature nevertheless sounds clear, exciting, and melodious. This is a tuning that seems to be fare especially well with our guilty pleasures – pop music for instance, or 80’s hits any true audiophile will never admit they listen to.

Comparions

EarSonics S-EM9 (€1490)
The universal S-EM9 shares some similarities with its co-flagship, but in their core, the two are ultimately quite different. The priority of the EM10’s tuning lies in its tone, where the S-EM9 takes a more technical approach. Both share a fairly similar, deeply enjoyable bass. It’s north of neutral with a nice bit of impact, and lengthier decay. It’s from the midrange on where the two truly depart; the EM10’s midrange has greater body, with a more forward and denser vocal presentation. However, due to the S-EM9’s laid-back vocal position and leaner instruments, its stage is cleaner. As their stage dimensions are fairly similar, this results in a more effortless separation of the S-EM9. In addition, its midrange resolution is a bit higher.

However, the EM10’s midrange not only has greater body, it is more beautiful in tone. The S-EM9 is tuned with an upper midrange dip, followed by a lift in its lower treble. It’s a tuning that provides a detailed, articulated sound, with a fairly neutral tone. As a result of the EM10’s lower treble dip however, its treble is smoother, and warmer in tone. It’s a tuning that not only provides a more pleasing treble timbre, but contributes to a more natural signature, and coherent sound as a whole. The S-EM9 might be the more precise; the EM10 has the smoother and more inviting signature to listen to.



Spiral Ears 5-Way Ultimate (€1699)
Similar to the EM10, the 5-Way is tuned with a focus on tone. But even so, it’s a classic audiophile tuning. The 5-Way sounds warmer, darker, but most of all, more serious. The EM10 sounds joyous by comparison, a more playful sound. There’s more clarity in its sound, although both share a general smoothness throughout the signature. I can see many people finding the EM10 the more appealing iem listen to depending on music preference; the 5-Way’s warmer tuning leads you to smooth, easy listening type music. The EM10 on the other hand invites you to choose something more stimulating. Arguably, it has the more engaging signature. Even so, the 5-Way has its advantages over it. For starters, its stage is larger and more 3D, and accordingly, its separation is better. In addition, its resolution is higher.

But the two really are more different than similar. The difference starts from the bass, where the 5-Way has the better low-end extension, as well as higher resolved mid-bass. It’s a more precise bass from a technical perspective. Even so, the EM10’s bass isn’t far behind in performance, while it in turn adds a touch more mid-bass impact. In both cases, the midrange is warm, with slightly forward and bodied vocals. The main difference lies in the upper mid and treble tuning. While both have smooth, attenuated treble, the EM10’s upper mids have greater clarity, and a more engaging tone. The 5-Way’s general treble region is more laidback, resulting in a darker tuning. However, it has the more accurate timbre, while its top-end extension is greater.

Jomo Samba ($1725)
Samba again goes in a completely different direction, as a technical hardliner – its priorities strictly reside with performance. Compared to the EM10, it constructs a significantly cleaner image, resulting from its stable black background, and high resolution. By creating leaner midrange notes and somewhat laidback vocals, it excels in separation – a presentation reminiscent of EarSonics’ own S-EM9. The EM10 counters with a warmer, smoother, and more melodious signature. It might not sound as clean as the brighter Samba, there’s more body to its sound.

Samba’s bass is tight and punchy, but also a good deal drier than the EM10’s due to a dip in its upper bass. It provides a more stereotypical BA bass response, where the EM10 opts for a fuller and warmer bass. Similarly, the richer bass provides a warmer tone throughout the signature, although as a result, its stage isn’t as clean as Samba's. But both its instruments and vocals have more body, while their tone is more appealing. The Samba might sound cleaner, its technical approach results in a drier midrange. Its treble in turn is brighter, with greater top-end extension. The more prominent treble results in a more articulated sound, although it isn’t as smooth. The EM10 on the other hand sounds clear without sounding bright, and opts for a smoother treble tuning. But more than anything, this is the hallmark difference between tone and performance – and each has its appeal.



Concluding remarks

When you get to listen to more and more earphones from the same manufacturer, you start to know the designer in a certain way, their own tastes and preferences. EarSonics used to be known for their warm and emotional signatures, with iems like the EM3, and especially the first version of the S-EM6. But starting with the EM32, Franck Lopez went in a different direction, experimenting with a new type of sound focusing on excitement, resulting from a more prominent treble tuning. The Velvet was the offspring of that philosophy, resembling pure fun and excitement, though a little bit raw around the edges perhaps. With the S-EM9, Franck sought out more balance and finesse, while maintaining a similar musical element.

But it's with the EM10 that his search and experimentation seems to have fully blossomed. It goes in yet a different direction, while maintaining typical elements of the EarSonics house sound. The EM10 eludes that same feel of joy and excitement, but sounds more beautiful than before. Despite having experienced a wide range of iems, the EM10 seems to fill a void I didn't know existed, with a tuning that seems to make so much sense. I've become too lazy to come up with catchy titles; but if I'd use one for the EM10, it would be something with 'euphoria'. With its dreamy upper mids, engaging vocals, and extremely smooth sound, the EM10 pulls you away into a hazy state of being, drifting away on the pleasantness of music. Franck has finally created his 'end-game' ciem, and I'm thankful he's letting us, the dreamers, join the ride. Like every iem, the EM10 isn't perfect; but what an excellent addition to an already crowded market.



Manufacturer website:
Earsonics.com

I would like to thank Joseph from Jomo Audio for providing the Flamenco in return for my honest opinion. Pics were provided by Jomo.

Introduction

The customised earphone industry is increasingly expanding - a few years back there were only a handful of TOTL ciems to choose from that grazed passed the $1K mark. The market has changed in many ways. Not only is the competition growing fiercer with the rise of new boutique manufacturers, even the options in the summit fi level passing $2K are numerous. Multi-BA iems as Layla and Zeus were initially pioneers in this segment, but in Singapore alone AAW currently offers the W900, Dita recently unveiled the Dream, and Jomo now follows with its new flagship, the Flamenco.

Jomo has been steadily working on its ascension, starting with models as the Jomo 6R, which was swiftly followed by Samba and Flamenco. Safe to say, a line has begun to emerge throughout the lineup: Jomo is differentiating themselves with their pursuit for precision. The Jomo Samba defined itself by its highly technical sound – I can only think of a few iems that come close to it when it comes to aspects as transparency, resolution and imaging. So if Samba is already topping the charts in those aspects, can Flamenco improve upon them even further? Well, no, not really at least. But it can offer a more balanced signature, as well as the option of tweaking the sound with its two built-in switches for bass or treble.

Jomo Audio Flamenco
-Drivers: 11 BA drivers: 1 sub, 2 low, 4 mid, 2 high, 2 super high
-Design: 5-way passive crossover, 3 sound bores, 2 switches
-Frequency range: 20 Hz – 40 KHz
-Impedance: 106 dB
-Sensitivity: 35 Ohm

-MRSP: SGD $2999 (US $2140)



Accessories

Jomo has stepped up their unboxing experience and accessories since the last time I checked, for the Samba review. The Flamenco is delivered in seriously stylish cube-sized matte black box. Where the Samba was shipped in an anonymous Peli case with a few basic accessories, Flamenco comes in a shiny blue hockey-puck style case, which sits tightly in a hollowed out enclosure in the box. The brand name ‘Jomo’ reflects in silver letters on the top, contrasting the metallic blue. Similar as with Samba, Jomo includes a 6.3 mm and airline adapter as extra accessories. The dark metal warranty card is a nice finish that adds to the luxurious feel of the package.

The cable

When ordered from Jomo's local distributor Music Sanctuary, the Flamenco is offered with three different cable options. The three choices are all pure copper cables priced at $150, but offer slight variations in sound. The HanSound Audio Zen has a lightly enhanced mid- and upper-bass, resulting in a pleasantly warm and smooth tonality. It creates slightly thicker notes than both the Ares II and No. 5. PW Audio's No. 5 in turn sounds a bit cleaner, as a result of a relatively attenuated upper bass. It's not overly warm, but it has the best timbre, as well as a nicely balanced vocal presentation.

However, as Flamenco is the official stock cable for Flamenco, sound impressions will be based on that pairing. The Ares II cable is the same stock cable option provided with Samba; a quality copper cable in looks and sound. The copper strands are visually pleasing, while the silver-plated jack with black and gray carbon finish and silver-colored 2-pin connectors provide a qualitative look and feel. The silver and black carbon splitter is slightly on the heavier side, but it provides a nice finishing touch and matches the carbon jack in design.

The Ares II provides a clean and controlled bass response, with good balance between sub- and mid-bass, while not being overly warm. The controlled mid-bass response further results in an airy stage structure. The midrange is relatively uncolored, but also slightly dry, as it doesn’t provide an overly warm or forward sound. The focus is more on providing a relatively neutral and clear sound, with good articulation and definition of individual instruments; the result of a well-extended treble in comparison to a stock OFC cable. Accordingly, the Ares II provides good resolution and transparency, especially when taking its price into consideration.



Sound impressions

Impressions were done with both switches down, unless mentioned.

Presentation
Flamenco shares a somewhat similar reference-oriented signature as Samba, with a slightly brighter than neutral tonality due to an upper midrange peak. Similarly, Flamenco’s bass is enjoyable in its quantity and impact, even in its neutral setting. They differ in their midrange tuning: Flamenco boosts the center midrange frequencies, a 2-3 KHz bump reminiscent of flagships as Zeus and W900. While Samba already has a highly focused vocal presentation, Flamenco adds more density and body, forming a more solidified center vocal. Generally speaking, Flamenco’s vocal and instrument presentation carries more weight and size. Samba is a bit brighter by comparison, although their tone is similar with Flamenco’s treble switch up.

The stage has fairly even proportions in depth, width, and height, resulting in a cube-sized stage. In overall size, the stage borders on intimate. While this might be associated with a less separated presentation, many iems with similar dimensions as EarSonics’ S-EM9, Jomo’s own Samba, or the Warbler Prelude tend to outperform the TOTL average in this regard. Size doesn’t matter – it’s what you do with it. By means of their precision of imaging, stability of the background blackness, and layering ability, these iems are able to convey a highly focused image – relying on the quality of the separation, rather than the absolute size. In addition, smaller stage dimensions have the advantage of being more readily able to follow the presentation as a whole; maintaining oversight of all the elements combined.

Jomo is setting a high standard for technical ability – even for itself. Jomo’s 8-driver Samba is a paragon of performance, excelling in transparency, resolution and imaging. Flamenco continues the tradition, exceeding the flagship average. Its resolution translates to high definition of midrange notes, while its level transparency uncovers the more subtle detail. Accordingly, its detail retrieval relies on separation, resolution and transparency, rather than its stage dimensions; the result however, is Flamenco being one of the most detailed ciems.



Bass
Flamenco’s low end is tight and moderately impactful, with an overall quantity slightly north of neutral. Similar to Samba, this results in an engaging and dynamic low end, which adds a bit of rhythmicity and power to the presentation. The low-end extension is roughly average, as is its mid-bass resolution. The virtues of Flamenco’s bass lie in the speed and airiness of its presentation. Flamenco delivers its bass hits in a fast and controlled manner, allowing the bass to keep up with the pace of the music, yet with sufficient quantity to be considered engaging. In addition, the stage maintains its airiness despite the quantity of the bass impact, contributing to the cleanliness of the separation.

Enhancing the bass switch adds more quantity, increasing the body of the bass, although the bass itself is not necessarily more impactful in the lowest registers. While the bass maintains a relatively airy structure, the added weight and prominence of the mid-bass affects the cleanliness of the separation in bass-heavy-music – an inevitable tradeoff. Bass enthusiasts will undoubtedly prefer the bass switch on, while purists might prefer the off setting. It’s good to have the choice, to vary between listeners or music styles.

Midrange
While Jomo boosted the center midrange frequencies, Flamenco’s lower midrange is relatively laidback. Accordingly, the vocal range is centered on pronunciation, rather than warmth or depth. The overall body of vocals is fairly neutral in size. This results in a dense, focused center image. Although vocals aren’t necessarily very warm in tone, the slight forwardness and solidity of the image adds to a sense of realism in their portrayal. More importantly, the outstanding transparency of the midrange results in a clear and pure image – a lack of veil between you and the singer. In addition, the clean space surrounding the vocal is impressive.

Flamenco’s signature is further characterized by an upper midrange peak, which enhances the overall clarity of the presentation. Boosting the upper midrange results in a more natural form of clarity, without resorting to sounding overly bright. While the upper midrange could have been a bit warmer to sound completely accurate, the midrange tone is fairly neutral, and seems to work especially well with classical music – a sweeping violin, or the full range of a piano. This can partially be attributed to its outstanding transparency, as well as the full-bodied size of instruments.

Treble
The Flamenco’s treble is lightly enhanced, contributing to the clarity of the presentation, as well as its precision in imaging and transparency. In addition, its excellent top end extension results in its high resolution and airiness within the stage. It’s an essential treble tuning in construing its technical presentation, and successful in what it seeks to achieve.

The treble itself is slightly brighter in tone, while refraining from sounding bright or harsh altogether. This is very much an articulate treble: well-defined, moderately fast, and with sufficient quantity, altogether resulting in a highly detailed treble presentation. It’s a lively treble, that isn’t too shy to capture your attention. Importantly, the treble stays on the safe end of sibilance, even when specifically tested.

Turning the treble switch on makes the treble more prominent, boosting the clarity throughout the presentation. Accordingly, the detail retrieval is more upfront, while the image is slightly more holographic. As Flamenco relies on its extension rather than brightness for resolution, it doesn’t necessarily need the added brightness for detail - but it adds a bit of liveliness and stimulation, which may or may not be appreciated based on personal preference. I was surprised to find myself very much liking the versatility of the treble switch; more so than that of the bass, which I found sufficient in its neutral position. Guess there might be a casual treblehead lurking in me somewhere.

Comparisons

Unique Melody Maestro V2
UM’s retuned Maestro has a fairly neutral tonality, balancing between warmth and clarity. Though it can’t be classified as warm altogether, it is relatively warmer than Flamenco. Flamenco bests the Maestro in top end extension, and has greater resolution as well as transparency, while being slightly drier in its tone. Accordingly, the Maestro has the upper hand in tonal accuracy, while Flamenco is more precise.

Maestro’s stage is both wide and deep, resulting in an evenly proportioned and large stage. Its imaging is sufficiently precise to result in a holographic presentation. Flamenco equally has precise imaging, but its stage is more intimate by comparison. In terms of separation, both are top performers, with the Maestro relying on its stage dimensions and precision of imaging, and Flamenco on the focus of the image – its imaging and resolution.

Both monitors share a moderately enhanced bass impact, which adds a sense of dynamism to the music. In both cases, the control and pace of the bass results in an airy bass room, benefitting the stage and separation. Maestro’s midrange is slightly warmer, with a different vocal presentation. Vocals are greater in size, offering a nice balance throughout the vocal range. Flamenco’s vocals might be slightly more compact, they are greater in density, and create a more solid image. Maestro has a full-bodied instrument size, accurate in tone. Flamenco on the other hand offers higher definition of its instruments, due to its further extension treble and more prominent treble tuning. Finally, as Flamenco’s treble is a bit brighter it offers more sparkle and detail, while Maestro’s treble is smoother and more accurate in tone.

Advanced AcousticWerkes W900
Flamenco faces off with its first local competitor: Singapore’s AAW recently released flagship 8+1 hybrid. The W900 is slightly warmer than neutral; Flamenco’s more prominent upper midrange results in an overall slightly brighter tuning. Both monitors share some faint similarities, though ultimately differing in their presentation. They share an impressive treble extension, with the W900 offering one of the furthest extensions on the market. In terms of transparency and resolution, the two cut it close, as well as in their precision of imaging.

The W900 impresses with its vastly wide stage, impressive for iem standards. Although it is significantly wider than deep, it combines a good bit of height with width to create an overall large screen. Accordingly, the W900 primarily relies on its width for separation, while Flamenco falls back on its depth and layering. Due to the smaller space, the image is more concentrated and focused.

Similar to Flamenco, the W900 has an enjoyable bass, north of neutral in terms of overall quantity and body of the bass. It’s a rounded bass, with a sub-bass that extends slightly further than Flamenco. Despite the bass being produced by a dynamic driver, the bass is particularly airy and quick, somewhat out of character. While they differ in their texture and decay, they aren’t vastly different in terms of sheer enjoyability. The W900 has a forward center midrange, with a slightly more prominent lower midrange than Flamenco. Accordingly, vocals have similar density, although the W900 has slightly more body. However, due to the W900’s upper midrange dip, its vocal presentation smoothens over the top end of vocals, with Flamenco displaying more balance in the top end of the vocal range. Finally, the W900’s treble is fairly neutral in quantity and slightly thicker in its definition, although its tone is not completely natural. As Flamenco’s treble tone is brighter, it isn’t completely accurate either – it is however more articulate.



Dita Audio Dream
Local competitor #2, the Dita Audio Dream, strives for a reference tuning, but does things its own way. Using a full range single dynamic driver, the Dream combines a powerful bass response with a relatively neutral tuning. Although both monitors share an upper midrange peak, the midrange tone of the Dream is warmer, due to its significantly enhanced bass response. As a result, Flamenco bests the Dream in terms of transparency. In addition the Flamenco’s treble extends further, giving it the advantage in midrange resolution.

The Dream creates a vast, 3D stage, with even proportions in width and depth, similar to the Maestro V2. Accordingly, its stage dimensions are larger than Flamenco, while its imaging is precise enough to create a holographic image. However, the enhanced bass response affects the airiness of the stage. Due to Flamenco’s airier stage and greater transparency, it is more upfront in its detail retrieval, while the effectiveness of their separation relies on different means. Flamenco sounds cleaner, while the Dream’s stage is simply larger.

Dream’s low end is monumental – it reaches low, and hits hard. It’s a deep, rounded bass, with beautiful texture and impressive weight. Unfiltered dynamic power. Flamenco’s bass is faster, but can’t match the sheer power of the Dream’s quality bass. The Dream’s enhanced bass produces more warmth to the stage and the midrange, resulting in a warmer tone. The midrange itself however is laidback, with a relatively distant vocal presentation. Flamenco’s vocal is not only more forward, it creates a denser, more focused center image. The Dream primarily creates its clarity based on an upper midrange peak, while its treble is relatively linear. Flamenco’s treble in turn is more articulate, while it adds a bit more sparkle on top.

Empire Ears Zeus-XIV
Zeus-XIV combines technical proficiency, with an outspoken forward and midcentric signature. At the time, its forwardness and flavour seemed counterintuitive for the general expectancy of a summit-fi flagship, eventually resulting in its later revision. Even later, Empire Ears included the option of ADEL technology. The original, unaltered Zeus-XIV however boasts a full and forward midrange, with a relatively neutral bass and treble. With similar treble extension, Zeus’ performs at the highest level in terms of transparency and resolution – similar to Flamenco.

With a stage that is wide, deep and tall, Zeus’ stage is larger in all directions. Flamenco’s stage is similarly proportioned, but more intimate by comparison. In both cases, the imaging is precise, with excellent layering ability. As neither iem outperforms each other in individual aspects, Zeus has a natural advantage in separation, based on its larger stage dimensions.

Zeus’ sub-bass is lightly enhanced, but overall still relatively close to neutral. Flamenco adds a bit more quantity and body to the bass, although the overall impact is fairly similar, at least without the added bass setting. Flamenco and Zeus share a similar forwardness in the center midrange, but due to a more prominent lower midrange as well as less treble emphasis, Zeus’ vocal presentation has more body and balance throughout the vocal range – truly Zeus’ specialty. Flamenco’s vocals are dense and slightly forward, but more compact in size. In addition, Flamenco's midrage is less warm in tone. Finally, while both iems share an articulate and detailed treble, Flamenco offers more sparkle up top, and increasingly more clarity with the treble switch on.



Concluding thoughts

Back in the day when there were only a handful of flagship ciems to choose from, Hidition made its name as the ‘king of clarity’ – leader of the pack when it came to technical performance, a role that Jomo seems comfortable in taking on. Following its latest flagship releases, Jomo’s house sound has started to emerge – a philosophy with as starting point that technical excellence should be expected at this price, and variations in signature depending on the models. Preference for signature might be subjective; technical performance isn’t. When it comes to aspects as transparency, resolution, imaging and separation, very few iems can come close to the Flamenco’s performance.

Flamenco and Samba share several commonalities: high resolution and transparency, and precise imaging as well as layering. In addition, their overall stage dimensions are fairly similar. I for one tend to be very appreciative of such a solid technical foundation. Jomo had already set a high standard for performance with Samba – one of the most technically proficient iems, with a signature in service of performance: a racecar, not a saloon. Due to the added body and more forward vocal presentation, Flamenco’s space is a bit tighter compared to Samba; Samba’s vocal presentation is relatively more laidback by comparison, taking a more central role on the stage. Accordingly, the leaner note structure results in a more effortless separation, especially since Samba’s background is just a bit blacker. I mentioned resolution, transparency, and imaging; but when it comes to separation, hardly any monitor can outperform Samba – not even Flamenco.

However, by boosting the center midrange frequencies, Flamenco’s midrange is more in line with summit-fi competitors as Zeus, 5-Way and the W900, to name a few. The midrange carries more weight, while there’s more tonal balance throughout the signature. The Flamenco successfully marries Jomo’s signature technical performance, with a mature and competitive flagship tuning. Best of both worlds?



Manufacturer website:
www.jomoaudio.com

Local distributor:
music-sanctuary.com

I would like to thank Christian from plusSound for providing the X8 GPC in return for my honest opinion.

Introduction

PlusSound started making cables around 2012, and has consistently been growing since then. Ater rapidly making their name for high quality cables, they successfully collaborated with Unique Melody to provide upscale stock cables within a few months of their conception. PlusSound slowly started expanding there workforce, allowing them to reach a wider audience through a network of distributors. Not long after, they started looking forward to new lines of development, resulting in the well-received Cloud Nine amplifier, and more recently their 3D printed earplugs. From what I understand, there not leaving it there, but will continue to expand their horizon in 2017 with even more products. But for now, we’ll focus on one of their cables: their gold-plated copper cable, a smooth sounding cable with a very natural tonality.

 

plusSound X8 Gold-Plated Copper
Alloy:                   Gold-plated copper
Conductors:         8 braid
Construction:       Litz construction
MRSP:                 $825 (4-braid = $400)

Packaging

PlusSound delivers the cable in a stylish matte black box with the recognizable plusSound logo. Inside the box, you’ll find the cable comfortably seated on a foam bed for protection. Besides the cable, there’s a greeting card with product information and a plusSound band for stacking dac/amps.

Build & Design

With its 8 wires, there’s no denying the GPC is a full-sized cable that you’ll feel, and others will notice. I'm not sure if people usually don't notice the large customs and cables I wear when walking around, but with the GPC I got a few remarks. Nothing negative, just basically acknowledging its existence. 'Huh, fancy cable'.

The beige brown wires are on the thicker side, so in the full glory of its 8 wires configuration its among the larger cables I own. For someone coming off a stock OFC it might be a significant difference, although that isn’t necessarily a bad thing. I'm accustomed to upgrade cables and personally enjoy a quality 8-braid in looks and size, so I don’t mind its presence. Despite its thicker size, the cable remains flexible and has good ergonomics for practical use. It doesn’t pass on microphonics during portable use except when rubbing on hard surfaces, but nothing out of the ordinary for an upgrade cable. Overall, while the cable might be heavier than usual, in remains easy in its use.

The wires are braided together tightly in a cube braid, the craftsmanship is very good. The connectors and splitter are all in a matching matte black. The GPC comes with plusSound’s own gold-plated jack with golden screws, finished off with the plusSound name and logo. The splitter is a similar matte black color with golden screws. It’s somewhat sober compared to the wooden or metal splitters other brands use, but there’s also a certain elegance to the simplicity. The cable is finished off with matching connectors with golden screws on the outside, and the PS logo on the inside.

Sound Impressions

The GPC has a smooth midcentric tonality, with a focus on tonal accuracy. While the tonality is on the warmer side, the cable doesn’t sound overly warm. It’s an inherent warmth in the midrange that gives it a natural sound, rather than a warm atmosphere due to an enhanced mid-bass presentation. Compared to a stock OFC copper cable, the GPC has slightly more body in the midrange, and a transparent upper midrange. The midrange has greater resolution, resulting in better definition and air around individual notes. As such, notes aren’t overly colored or thicker than neutral. More importantly, the mid-bass isn’t overly warm and very well controlled. This results in a clean stage and accordingly, very good separation. This makes for a detailed yet smooth presentation. While the GPC doesn't necessarily affect the width of the stage, it offers nice depth to the presentation.

While there are more expensive cables that might offer a higher resolution, the GPC’s focus is on tonality, and dare I say - it outperforms most of those in this regard. This is where the GPC excels: by simply having a very natural presentation, with an accurate instrument tonality.

Bass
The GPC has a relatively neutral bass in overall quantity, leaning slightly towards north of neutral, specifically its mid-bass. There’s slightly more mid-bass compared to sub-bass, resulting in a warm and softer tone, rather than emphasizing a deep or punchy bass. This results in a natural, lifelike bass; an instrumental bass, rather than a hard-hitting punchy bass suitable for electronic music. As such, bass lines are mostly characterized by a satisfying tone and definition. In addition, the GPC offers a nicely resolved mid-bass, with good control. This isn’t an overly warm mid-bass, which benefits the airiness of the stage. Similarly, the sub-bass quantity is not enhanced, but tighter in its definition and positioning.

Midrange
The GPC shines in the midrange. Not by coloring the signature with warmth or size, but by sounding natural, smooth, and accurate. This is a midrange that has just the right amount of warmth and density to sound natural. The midrange isn’t as forward and warm as something like SilverFi’s IEM-R2, but at the same time it doesn’t impose its signature on the iem as much. It might not be as emotional, but it provides a more uncolored sound, which can equally be seen as an advantage. There’s an inherent warmth to the midrange that not only adds smoothness to the sound, but aids in recreating an emotional vocal reproduction. The lower midrange has enough presence, but isn’t overly forward. Similarly, the upper midrange sounds clear and beautiful, without overpowering the lower and center midrange. The tonal balance throughout the lower to upper midrange is simply very good. Accordingly, the midrange sounds natural, but also quite clean and airy.

The vocal presentation is smooth, with a nice bit of body and density, making the GPC my preferred cable of choice for iems that already excel here like Zeus or the 8.2. Similarly, the upper midrange can be considered uncolored, but transparent. This adds a nice bit of realism, a natural form of clarity, rather than an artificially brightened upper midrange. Cables like Labkable’s Samurai III or the Rhapsodio Golden add a bit of brightness here that gives it more clarity, though sacrificing on naturalness and accuracy. While I’ll use something like that to listen to electronic music with the S-EM9 or NT6pro, the GPC has a tone that brings the best out of instruments from an audiophile perspective, by sounding accurate.

Treble
The GPC offers a smooth treble presentation, an essential finish for its natural presentation that fits very will in the complete picture. While the treble isn’t laidback altogether, it has a warmer tone that sounds tonally accurate. Snare drums or cymbals can easily sound too bright, especially with iems that might have a brighter treble like the NT6pro or Samba. While a brighter treble can improve the note articulation, a warmer, smoother treble will sound more coherent, bringing the music together rather than dissecting it in tiny pieces.

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Comparisons

Rhapsodio Golden ($700)
The Golden has a warm V-shaped signature, a combination of thick notes with a brighter signature that creates a distinct, euphoric type of sound. Compared to the GPC it has a more forward bass presentation, with an enhanced sub- and upper bass presence. This gives it a thicker note recreation, as well as richer lower harmonics. However, it reduces the stage airiness, while its imaging is less precise. It sounds a bit messier compared to the cleaner and more neutral sounding GPC. The GPC has a slightly warm midrange, with an uncolored but clear-sounding upper midrange. Despite the thicker notes, the Golden’s midrange is less warm, and its upper midrange is brighter. Similarly, the upper treble region is brighter. The Golden offers a high level of clarity, but the upper treble can sound sharp with already bright iems. This works very well for pop and electronic music, really making synthetic melodies shine. But it is obviously colored, especially compared to the smoother and more natural sounding GPC. The GPC’s treble is articulate, smoother, with a warmer and more natural tonality. The Golden and GPC: pop art versus contemporary.

Labkable Samurai III ($875)
The Samurai has less bass quantity, specifically its mid-bass. This gives it a more spacious feel, even thought the stage dimensions are roughly similar. The Samurai’s stage might be slightly wider and the GPC’s deeper, but the Samurai’s stage appears as cleaner. Its bass hits are leaner, with less impact than the rounder and warmer sounding GPC. Both cables share a similar thickness in the midrange, but where the GPC sounds purer and more natural, the Samurai adds a bit of brightness to the upper midrange, though not to the same extent as the Golden. This is reflected in the treble, where the Samurai’s is a bit brighter, while remaining smooth. As the GPC, it is articulate, though not overly prominent. Taken together, the GPC has a fuller bass presentation combined with a more natural midrange, while the Samurai combines a leaner bass with an airier stage and slightly brighter midrange.

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Concluding thoughts

When I first started listening to the GPC, I wasn’t necessarily wowed by it, at least directly. It doesn’t impress with a larger soundstage, or a more detailed upper midrange. However, I kept coming back to it. At first because I was still in obligatory listening phase since I’d eventually have to write about it. But then it just started becoming my go-to cable. Especially if I didn’t want to alter a smooth or warmer iem’s signature too much, but simply get the most out of it. And it remains one of my most used cables. The X8 GPC can be seen as a counterpart to something like the recently reviewed Pandora, which offers a higher resolution, but a less natural sound. As such, they each have their specialty and use.

The GPC offers a solid upgrade in performance, a cleaner stage and better extension, but really sets itself apart when it comes to tonality. This is just a very natural sounding cable, without overly coloring the sound. It can either pair well with midcentric iems, my main use, or to make a brighter iem smoother. I can imagine its 8-wire version being a bit too much in terms of size, ergonomics, and price, but there’s always the 4-wire at half the price. Cables remain expensive either way, but if you’re looking for an improvement in performance while retaining an accurate tone and natural sound, plusSound’s GPC comes highly recommended.

I would like to thank Ken from Campfire Audio for providing me with a review sample in exchange for my honest opinion.

Introduction

ALO Audio has been an established name in the industry for quite a while, popular for their cables and especially amps. So it’s hard to imagine they only consist of a small team of 5 people fabricating all the items. With enough work on their hands, I bet those 5 people were really happy to hear Ken decided to launch a new iem line, which consequentially became one of the biggest hits of 2016. Pack your sleeping bags to work guys, nobody’s going home for a while - we can discuss weekends later.

Anyone who has spoken to Ken knows he’s an incredibly busy man. But when you’re driven by passion and can see the result of what you’re building, the work only inspires to go harder. Ken is constantly backordered, trying to keep up with the success he brought upon himself and his team. And if that wasn’t enough, Campfire just released two new co-flagships: the Vega and Dorado. But despite the work pressure, Ken is calm and collected, and remains responsive and just a generally pleasant person to communicate with. A lot has already been written about the Andromeda, so I’m trailing a bit – but here’s a retrospective look at one of the most popular iems of 2016.

Campfire Audio Andromeda
-Drivers:                      5 BA drivers; 2 low, 1 mid, 2 high
-Design:                      passive crossover with acoustic expansion chamber
-Frequency range:     10 Hz – 28 KHz
-Impedance:              12.8 Ohm
-Sensitivity:                115 dB
-MRSP:                      $1099

Accessories

As I’m used to customs, I don’t care too much about accessories. That doesn’t mean I can’t appreciate a quality package when I see one. A recent exemption was the Fidue Sirius that came with a very nice cable and balanced adapters. Campfire provides a nice selection, focusing on quality rather than unnecessary filling. The tip selection is generous, including the popular Spinfits, Complies and some basic black tips. A carrying case is always a very relevant and useful addition. I’m not a huge fan of the Peli cases that come with customs. I really don’t see the point of taking a big box with me that can fit 6 pairs of iems when I really just want to bring one or two. Campfire includes a classy dark brown leather-look case that is just the right size for carrying an iem with upgrade cable. It’s lined with soft wool, and looks very cozy. Now if I were an iem, that’s exactly where I’d want to kick back. Last but not least, Campfire includes a high quality 4-braid SPC Litz cable. The cable is built well, relatively tangle free and looks slick. I’m glad to see more manufacturers taking the effort to include a proper cable for added sonic benefits as well as ergonomics and looks; an investment that in my humble opinion is worth it’s cost.

Design

Andromeda’s BA drivers are packed in Campfire’s recognisable machine-crafted aluminium design. The design looks sturdy, built to last; a modern, industrial design that goes in a somewhat different direction than the industry standard, that usually aims for a classy, distinguished look to represent a luxury item befitting the price tag. The Andromeda looks like it could be packed alongside gear to go camping or mountain climbing. It looks like something the U.S. army would issue for their marines, especially due to the combination of the metal housing with its green color. You know, if they’d ever need to bring along high-end iems for modern warfare.

There were some complaints after the first release about the edges being uncomfortable for some listeners, as was the case when Fidue released their flagship, the Sirius. In the end, there will always be some people that don’t fall into the average range with their unique anatomy; one size can’t always fit all. But if I understood correctly, they incorporated feedback to modify the curvature of the shell to make it more comfortable. Personally, I haven’t encountered any fit issues with the Andromeda. They protrude a good bit out of my ears when I check in the mirror, but nothing out of the ordinary.

Sound impressions

Presentation
Due to Andromeda’s popularity, there are already an abundance of reviews and impressions available. As is often the case, there seems to be a lot of variation in the opinions on several aspects of Andromeda’s signature. Some find its bass too light or more than enough, or find its treble either too sparkly or even laidback. Naturally, a great part of this is due to differences in preferences and sensitivity. But I can’t help think that it’s also partially due to the fact that Andromeda’s signature doesn’t completely fit in a category. Its tonality and signature are fairly neutral, with a clear and open sound and nice treble prominence and sparkle. Yet the midrange is thick and slightly warm. This gives Andromeda the full-bodied vocal and instrument presentation of a midcentric tuning, with the general tonality and treble presentation of a neutral signature: ‘neutral+’, if you will. A unique combination, that makes the sound very coherent, versatile, but most of all highly engaging.

Andromeda’s slightly forward midrange is presented in a grand stage, especially in width, with an average height and depth. Andromeda has a full-bodied presentation, which fills up the stage for an overall full sound. Due to the excellent stage dimensions, separation is still very good, although the layering can be a bit tight as the stage isn’t overly deep in relation to the thicker note presentation (Campfire's Vega has an advantage here). However, the wide stage prevents it from tending towards congestion. In addition, the imaging is precise, without verging into analytical territory. The focus of Andromeda is a fun, musical and foremost engaging experience, rather than having a completely neutral or reference presentation. Which isn’t to say the Andromeda is technically lacking, it just isn’t the primary goal. Instead, Andromeda offers an excellent balance between an engaging and coherent musical experience, with a solid technical foundation.

Bass
Much has been said about Andromeda’s bass, with some finding it either light or more than sufficient. Ultimately, perception will always differ based on preference. I personally like my bass north from neutral; a solid bass impact and lively mid-bass that adds rhythm and a bit of warmth to the music. With universals, tip selection also plays an important role. I played around a bit with the provided Spinfits and silicone tips and then went with Spiral Dots, as they added some mid-bass for a slightly warmer sound. Later I came back to the Spinfits, as the stage becomes a bit cleaner due to the attenuated mid-bass warmth. Since Andromeda already creates thick notes, the extra mid-bass isn’t really necessary. With a solid seal, the Andromeda gives me a proper bass impact, with a nice bit of power when driven properly by a good source. It keeps a safe margin from basshead territory, but it doesn’t have a shy role in the presentation.

The sub-bass has good lower end extension. It might not be the most powerful; the sub-bass hits are tight and impactful, creating a dynamic sound. The mid-bass comes close to neutral, and certainly isn’t laidback. Bass lines have good size as well as definition, and contribute to the overall liveliness of the sound. The decay is nice and quick, which aids in creating an airy sound.

Midrange
Andromeda’s midrange is full, and inherently warm. If it had less treble presence, this would have been an excellent midcentric iem. But Andromeda combines a clear, open tonality with a beautiful midrange. Vocals have great size and density, and especially male vocals can put on a powerful display due to a full lower midrange. This gives notes an excellent subsection of the body, an extra thickness that makes them sound slightly colored but very engaging. While one could argue the coloration means the sound isn’t presented in its most purest form, the more important argument would be that it only makes it sound better – as testified by Andromeda’s immense popularity. Similarly, the upper midrange is slightly brighter than neutral, adding a nice bit of sparkle and excitement without sounding artificially bright. While the stroke of a violin might sound slightly thicker, there’s a nice shimmer to the sound, without sounding harsh. I’ve mentioned vocals, but electric guitars equally sound captivating and energetic, as well as synthetic melodies in pop or dance music. This is a midrange with many strengths, that easily lends itself towards different music.

Treble
Andromeda’s treble consists of a great mixture of presence and sparkle, while retaining a smooth presentation. The treble is deliciously thick; this gives it an engaging quality, a certain prominence in the signature without relying on being overly bright. The treble has enough sparkle and air, but keeps in line with the rest of the signature, being neither relatively forward or laidback. This is a treble that simply refuses to take backseat to a midrange that’s already hitting you full frontal - quite an accomplishment considering the rest of the full-bodied presentation. Andromeda gets a nice bit of sparkle from a 9 KHz treble peak that gives it a slightly brighter tone, but remains smooth due to a more relaxed lower treble region that prevents it from sounding analytical. Rather than aiming to being the most articulate or refined, this is a treble that simply sounds musical due to its thickness and sparkle.

Comparisons

Custom Art 8.2 (€1100)
Custom Art’s revamped flagship is retuned to a smooth midcentric signature. Both iems share a similar rectangle-shaped stage, but the Andromeda’s is wider and slightly taller. Despite the Andromeda’s advantage in width, both perform equally in separation due to Andromeda’s thicker notes. The 8.2 has a more powerful sub-bass, as well as a warmer mid-bass presentation. In addition, the 8.2 has a slightly more natural bass decay.

Both share an inherently warm midrange, capable of conveying emotion in vocals. Vocals sound similar in density and overall size. The 8.2’s upper midrange is slightly thicker, while Andromeda’s is slightly brighter. This gives Andromeda a slightly clearer and more open sound, while the 8.2 is smoother with a relatively more uncolored upper midrange. Similarly, Andromeda’s treble is more prominent and thicker, while the 8.2’s is relatively laidback, warmer in tonality and generally more non-fatuiging for sensitive listeners. Overall, Andromeda sounds clearer with more prominent treble, while the 8.2 has a warmer and smoother mid-centric signature.

Lime Ears Aether  (€1150)
Lime Ears tuned the Aether with a focus on naturalness, and as a result the Aether offers a pleasing variation of neutral. Both share a very nice stage, although Andromeda’s is wider, while Aether’s is deeper. A variable bass switch is a nice bonus that allows you to adjust the bass from light to full-bodied, and has slightly more or less mid-bass than Andromeda depending on the setting. Andromeda’s bass is however better defined, with Aether having similar bass resolution but less impact in the low setting.

Andromeda’s midrange has more body, while the Aether’s is slightly more distant in comparison. While Andromeda’s midrange has thicker notes, Aether has more presence in the upper midrange. This also gives the Aether’s midrange more air, with a slightly more accurate tonality for string instruments and pianos. The Aether sounds very natural, which is further exemplified by its smooth treble. It isn’t completely laidback, but less prominent than Andromeda’s. Andromeda in turn offers more sparkle, as well as thicker treble notes.

EarSonics S-EM9 ($1490)
Andromeda has a slightly wider stage, but the S-EM9’s is deeper. Due to Andromeda’s thicker note presentation, the stage placement is relatively full. The S-EM9 stage feels slightly more intimate, but the combination of leaner notes with greater treble extension and an airier stage gives it a cleaner sound. Simply said, Andromeda comes at you strong with a full-bodied sound, while the S-EM9 has a more delicate but refined presentation. Andromeda’s full sound makes it engaging, while the S-EM9’s better definition and separation gives it a different type of musicality, sounding very detailed without resorting to a brighter signature.

Both share a similar sub-bass, while the S-EM9's has more mid-bass impact, and its mid-bass is more resolving. However, Andromeda’s tighter bass is overall slightly quicker. While the S-EM9 scores points for its bass, Andromeda gets a win for its midrange: it has more body, power and warmth compared to the S-EM9. Vocals have greater size and density, especially male vocals. Both share an engaging treble, but Andromeda contrasts a thicker treble with a bit more sparkle against the S-EM9’s greater extension, which gives it an airier sound with better treble definition and articulation.

Jomo Samba ($1725)
Samba’s recently released 8 BA flagship is designed with a reference tuning in mind. The sound is relatively uncolored, with a focus on accuracy. Both have a large stage, but Samba’s is deeper while Andromeda's is taller. Due to the combination of Samba’s clean stage with leaner notes, it has the advantage in separation, with overall more air between the instruments. Andromeda’s notes are thicker and warmer, a contrast with Samba’s dryer but more highly resolved notes; the Andromeda has a more ‘fun’ tuning, compared to the Samba’s more technical presentation.

The Samba has more sub-bass impact, with less mid- and upper bass emphasis. This aids in its cleaner stage, while giving Andromeda the fuller and warmer sound. This continues in the lower midrange, where the Andromeda has a nice fill giving good body to the sound. Samba’s lower midrange is more distant in comparison, creating leaner notes. Overall, Andromeda’s midrange is warmer and fuller, with greater vocal density. The Samba’s midrange has more clarity and definition, and its upper midrange is more uncolored compared to the slightly brighter Andromeda. Similar to the S-EM9, the Samba’s treble is more articulate, while Andromeda’s is thicker. However due to a 7 KHz peak, Samba has a greater tendency towards sibilance.

Conclusion

If you’re planning on selling a lot of units, it’s probably best to tune a signature that will appeal to a wide audience. When I first started browsing through the forums, I used to think that ‘neutral’ was associated with boring, as it neither specializes in mids or treble. The more iems I started to listen to, the more I’m starting to realize that achieving a neutral signature is coming closer to perfection. Done right, a neutral signature isn’t a compromise between the bass, midrange and treble – it’s a perfect harmony. While the Andromeda isn’t truly neutral, it is a poster boy of this philosophy – the ability to perform well in every aspect of the spectrum. Not as a compromise, but a stellar display of coherency.

When different people discuss the Andromeda, some might want a little bit more sparkle, or a little bit less. But more often than not, both of them will agree the Andromeda sounds good. If the signature had been brighter or less bright, you’d have lost one of the groups. The balance between excitement and non-fatuiging is just very well done. But this is all after the fact - Andromeda’s popularity has already proven that.

A great deal of Andromeda’s success naturally comes down to its tuning – in the end we all do it for the sound.  A winning formula of an engaging signature, combined with excellent technical capabilities. Andromeda’s signature is a full package, and its ability to do well in all departments makes it incredibly versatile. But the other part of the success lies in its pricing. While prices in audio unfortunately continue to rise, Campfire is sending a powerful message that top of the line performance is also attainable around the $1000 mark. Andromeda isn’t good for its price – it’s good regardless of its price.

Curious to see where the Andromeda ranks against other flagships? Shootout of 16 flagship iems starting next year here on Head-fI, on this thread. ​

​

I would like to thank Joseph from Jomo Audio for providing me with a review sample in exchange for my honest opinion.

Introduction

Jomo Audio has swiftly started to depart from the label ‘startup’, to established manufacturer. Following the worldwide success of the Jomo 6R as a viable alternative for a reference monitor, it’s time for the next step: a flagship competing with iems at the highest level. The story of Jomo is becoming common knowledge: Joseph Mou is another hobbyist gone pro, next in the line in a tradition of manufacturers as Custom Art or Lime Ears. Jomo is located in Singapore, one of the Mecca’s for high-end audio. The competition might be fierce, there seems to be enough to go around there for everyone, making it a fruitful birthing place for young companies.

The link with Effect Audio, a cable manufacturer from Singapore, is easily made – two upcoming companies form Singapore, swiftly making their mark. After having previously collaborated on making a limited edition ‘Genesis’ ciem, the two partner up again for a more permanent agreement. Jomo’s new flagship Samba is not only delivered with a quality upgrade cable from Effect Audio, the Ares II, the internal wiring also consists of the same wire.

Jomo Audio Samba
-Drivers:                      8 BA drivers; 2 low, 2 mid, 4 high
-Design:                      3-way passive crossover, 3 sound bores
-Frequency range:      20 Hz – 20 KHz
-Impedance:               19 Ohm
-Sensitivity:                 116 dB
-MRSP:                       SGD $2399 (ca. US $1725)

Accessories

Samba is delivered in a standard Peli case. Besides the mandatory cleaning tool, Jomo goes the extra mile with a 6.3mm and airline adaptor, as well as a clip to attach the peli case to a bag or jacket. It further comes with a very nice dark metal warranty card with ‘Jomo’ cut out diagonally; a classy touch of personalization. All in all, the Samba comes with a nice set of accessories that gets some bonus points for the extra effort.

The Effect Audio Ares II cable

But the highlight of the accessory pack is undoubtedly the Ares II cable. More companies are starting to include a quality cables as stock, a development I can only applaud and encourage. Recent examples are the Westone W80, Campfire’s Andromeda or the Rhapsodio Galaxy. The Samba’s stock cable is a quality upgrade cable from Effect Audio, a 26 AWG copper Litz cable which sells separately for $150. The cable is beautifully built; copper cables often have an orange-pinkish color that I just can’t grow fond of, but the Ares has a more rustic brown that gives it a more classic look. The fine plastic shielding displays the Litz wires, where you can see how every wire consists of multiple individual strands. The cable is finished with nice components that give it a qualitative feel: a silver-plated jack with black and gray carbon finish, silver 2-pin connectors with the Effect logo, and a silver and black carbon splitter that is slightly on the heavier side. Personally, I wouldn’t have minded if it was a bit smaller to spare some weight, but it looks good. You can feel a slight pull, but it’s not overly bothersome.

To get an impression of the Ares II, I tested it separately with some other iems such as Zeus-XIV, S-EM9 and Aether. Copper cables are usually characterizes as warm, primarily due to an enhanced mid-bass that gives warmth to the presentation, but can also reduce the airiness or cleanliness of the stage due to the warm air. The Ares II departs from that, sharing more characteristics with a classic SPC signature (though this is a generalization). It provides a clean and controlled bass response, with good balance between sub- and mid-bass, while not being overly warm. The midrange is relatively uncolored, but also slightly dry, as it doesn’t provide an overly warm or lush sound. The cable leans towards an open tone. The focus is more on providing a relatively neutral and clear sound, with good articulation and definition of individual instruments. Compared to a stock 3-wire OFC cable, it provides a cleaner stage with better treble extension. Taken together, the sound is primarily flat and uncolored, and offers a clean stage with good precision.

Build and Design

With its 8 drivers, Jomo manages to keep the Samba quite compact. In overall size, it falls somewhere around the average, being neither or large. Insertion depth is also around average, and the fit is snug. The craftsmanship is above average; the shells are smooth, and lack any noticeable bubbles. Jomo offers a wide variety of shell options and faceplates, including some unique materials and designs that I haven’t seen before with other companies. It’s worth taking a look through, there’s undoubtedly something nice for everyone. I gave Joseph a few pointers for the design, but let him do his thing. The result is a gray shell, matched with a stylish swirl of grey and brown tones as faceplate, with ‘Samba’ printed in gold letters along the side. The finish not only looks beautiful, but feels nice and smooth.

Sound impressions

Presentation
The Samba is reference tuned – a linear and relatively uncolored sound. It’s clear to hear the tuning philosophy is focused on an accurate delivery of the original intending of the recording. The midrange isn't warm or bright; notes aren't colored by and additional thickness to make the sound more impressive than it should. With high resolution as well as clear articulation of individual notes, the Samba can be considered technically highly proficient. This is further demonstrated by a clean and airy stage. Although the Samba has slightly leaner average note thickness, the combination with excellent stage dimensions provides a high level of instrument separation. The combination of both a wide and deep stage with pinpoint precise imaging creates an almost holographic presentation – a term I don’t easily use. As such, the Samba effortlessly presents every detail in the music. This sense of precision is further pronounced by a quick decay; traces of notes are cut off somewhat quick. This gives the midrange and treble a sense of urgency, and Samba truly excels with fast-paced electronic or rock music, as well as string quartets. The quick pace of notes in a clean stage adds to the total sense of accuracy in a faithful reproduction of the music; there's a sense of control and calmness in the production of complex passages.

Bass
Samba’s low end packs a powerful punch – tight, controlled, but deliciously impactful. For my personal taste, this is pretty much as good as it gets when it comes to BA driven bass. Overall, the sub- and mid-bass are very well balanced. The sub-bass is by no means shy; it powerfully dictates the sense of rhythm. The sub-bass hits deep, providing good depth to the stage. The mid-bass is detailed, clearly defined, and mostly controlled. The excellent control of the mid-bass aids in a clean and spacious stage: it doesn’t provide warm air to the stage, or to the midrange for that matter. While it’s sub-bass rumble might be considered a dissonant for a truly reference signature, it’s a more than welcome one. It adds that extra bit of power and dynamics to the presentation - this is a bass you can feel, while it retains a clean and technical presentation.

Midrange
The midrange is very close to neutral in its positioning. It can be predominantly characterized as uncolored; this isn’t a particularly warm or lush midrange, but it isn’t bright or harsh either, nor is it recessed by any means. Due to the lack of coloration, it’s clear Jomo is aiming for a truly neutral presentation, rather than coloring the midrange for additional, but artificial, excitement. Instead, the Samba delivers an accurate portrayal of the music, with a high level of precision and separation in the delivery of individual instruments. As the lower midrange is slightly laid back, the vocal presentation isn’t focused on power or density; but both male and female vocals have good size, are clearly articulated, and detailed. The same story applies to the upper midrange; the trait that stands out most is a lack of coloration. Adding warmth or thickness to a midrange disrupts the purity of a chord of an acoustic guitar or violin, or the key of a piano; it might sound thicker, but it isn’t true to the tone. The Samba’s upper midrange is neither warm nor bright, but tonally accurate - you can get a clear sense of the original recording. While it isn’t overly sparkly, it isn’t laidback either. As it isn’t brightened to emphasize detail, it remains fairly smooth.

Treble
The treble is articulate, detailed, with a quick decay. Similar to the rest of the signature the treble isn’t thicker or particularly colored, but retains a focus on accuracy in its tone, rendering of detail, and pace. In line with Samba’s reference oriented tuning, the treble is very slightly forward, boosting its note articulation, and the overall sense of precision. In addition, it’s a rare case of an iem that manages to extend significantly further than the 10 KHz mark before rolling off. I wouldn’t classify the treble as either laidback or prominent. With brighter than neutral sources as the Lotoo Paw Gold or QPR1 however, the treble will not be completely smooth or non-fatuiging for sensitive listeners, due to a slight 7 KHz peak. In addition, the Samba doesn’t remain completely free of sibilance if it’s in the recording. The Samba is somewhat source dependent in this regard, and will sound more natural and smoother with a warmer or reference dap like the AK; especially its treble presentation.

Comparisons

Campfire Andromeda ($1099)
Campfire’s Andromeda is easy to listen to, and easy to like. It’s more of a ‘fun’ tuning, compared to the precision-oriented Samba. The exception is in sub-bass rumble, where the Samba delivers more power. It has tighter and more impactfull sub-bass. Andromeda has a more forward, warmer, and thicker midrange. Especially male vocals benefit from the additional lower midrange fill, although vocals sound slightly clearer with Samba. Samba’s notes are slightly leaner, though more neutral and uncolored in tonality. Andromeda has just a little bit more sparkle in the upper midrange, compared to the more neutral Samba.

Andromeda’s treble is thicker, while Samba’s has better definition. Both are enjoyable in a different way, with Andromeda’s being more engaging, but the Samba’s offering more precision and detail. They share a similar treble tonality, being slightly more prominent than completely neutral, although Andromeda’s is a bit more forgiving of bad recordings with brighter sources. Both share a high quality stage, large in all dimensions. However, the Samba offers a cleaner instrument separation in accordance to the leaner notes and airier stage, while its imaging is more precise.

Lime Ears Aether (€1100)
While both the Aether and Samba can be considered a variation of neutral, their tuning philosophy results in a different focus. The Aether’s focus is naturalness, with a warmer and more colored midrange, and smoother treble. With its variable bass switch, it has similar sub-bass impact as Samba in its upper position, but with a greater emphasis on mid-bass. This creates a warmer and smoother sound, and vocals are reproduced with more emotion. On the other hand, the Samba’s stage is consequently cleaner due to the tighter bass. Even in the Aether’s low bass position, the Samba’s bass is tighter and more controlled.

The Samba is a reference-oriented version of neutral, characterized by a tighter yet impactful bass, and an uncolored midrange. While the Aether has a beautiful tonality, the Samba has a more accurate reproduction of instruments due to the lack of coloration, and greater transparency. Piano and string instruments are purer, more true, compared to the thicker and warmer notes of the Aether. In addition, the Samba’s treble is more precise and articulate, although it is less smooth. This also results in more precise imaging. Both have a nice stage with good separation, although the Samba’s stage is larger and cleaner in comparison. Taken together, the Aether sounds more natural for easy-going band oriented or rock music, while the Samba offers a more accurate recreation of instruments for classical and jazz, while its precision makes it more suitable for electronic music.

Earsonics S-EM9 ($1490)
EarSonics offers its own variation of a neutral signature, albeit with a more pronounced U-shape. Both share a nice bass presentation, although the Samba’s sub-bass is more impactful. The S-EM9 in turn has slightly more mid-bass emphasis, though both have a controlled and quick bass response in common. Both share a relatively neutral midrange, although the S-EM9’s is slightly more colored in comparison. While Samba’s upper midrange remains neutral and uncolored, the S-EM9 has EarSonics’ trademark dip, making it smoother, but also sacrificing a bit of sparkle and clarity. In addition, this makes the Samba’s midrange more full and slightly closer in comparison. While both have a good technical presentation of the treble and a similar tone, the Samba’s decay is quicker.

The Samba has a larger stage, especially in width. Both offer good depth to the presentation, but due to the stage dimensions, the Samba offers a more effortless separation. Both perform very well when it comes to precision of imaging. With their stock cables, the Samba offers a cleaner stage, with an advantage in instrument definition. With a similar cable, the two come closer in price as well as technical performance.

Rhapsodio Solar ($1550)
Both the Samba and Solar have a powerful sub-bass rumble, that really knocks at the door when called upon. The Solar adds a hefty mid-bass, that adds warmth and fullness to the presentation. Accordingly, the Solar creates thicker notes; the Samba on the other hand is more neutral and cleaner, with an airier stage and greater transparency. The Solar’s upper midrange is also more laidback compared to the Samba, and the combination with the warmer sound makes it smoother overall, while the Samba offers more clarity and definition. This continues in the treble, where the Samba’s treble is slightly more prominent. The Solar in turn has a more natural treble tone. Both offer a great deal of precision in the treble tuning.

Both iems have a nice open stage, with well-proportioned width, height, and depth. Additionally, the instrument positioning and imaging is both excellent. Their main difference is the result of the Solar’s warmer mid-bass response; the Samba has a noticeably cleaner stage, with greater emphasis of subtle details. Overall, the Solar is warmer, thicker, and smoother, though less accurate in its tonality and precision. The Samba has greater resolution, transparency, as well as stage airiness.

Concluding thoughts

Jomo’s previous former flagship, the 6R, was tuned with a reference signature in mind; aiming to be a viable alternative to iems as the UERM. With the Samba, Joseph is continuing in the same direction. A neutral signature, with a focus on technical abilities as clarity, resolution and separation. If I’d had to describe the Jomo in two words, it would be clean and organized; an accurate, high fidelity reproduction of music. Often, manufacturers might add a bit of warmth or size to make a midrange more impressive, or make it brighter to enhance detail. While this works for some genres like pop or rock, it affects the purity of an instrumental presentation, the tones of a piano or string instruments.

It is somewhat sensitive and source dependent though; with a brighter dap, such a signature can come across as dry and analytical, while it will present itself as more musical and natural with a neutral to warmer dap, though retaining its reference precision. As is, the Samba might not have the most emotional or lush midrange, it's not a signature that shouts for attention; but its reference tuning offers a benchmark for flat and uncolored sound – a level of accuracy I’ve seldom come across.

Curious to see where the Samba ranks against other flagships? Shootout of 16 flagship iems starting next year here on Head-fI, on this thread. ​

I would like to thank Michael from Fidue for providing me with a review sample of the Sirius in return for my honest opinion.

Introduction

Fidue is an established player with a loyal following, having made their mark in the entry level regions of the audiophile market with popular products like the A83 and A73. Now that they’ve conquered that market, it’s time for a step up. After years of intensive research, Fidue presents their new flagship: the A91 Sirius.

I didn’t get wind of any mission statement from Fidue about their new flagship. Something like ‘Fidue is challenging the status quo in the sub $1000 segment, with high quality sound for an affordable price’. I mean, something like that would make sense coming from a manufacturer that comes from operating in the lower regions of the audiophile market. But they didn’t have to. It’s visible in the product, and their choice of tuning – a well thought out signature that shows a certain refinement, and is very easy to listen to.

I’ve had a couple of 4+1 hybrids in the same price range in the past, and none of them really pleased me. They all felt like they were trying too hard, and lost a certain bit of refinement compared to the TOTL’s they were trying to be. With the Sirius, it’s different. It isn’t tuned to impress you with powerful bass, a forward midrange, or sparkly treble. Instead, the Sirius convinces with a smooth and balanced signature. It knows what it can do, and it does it with class.

Fidue A91 Sirius




-Drivers: Hybrid configuration with 1 dynamic driver and 4 balanced armatures
-Frequency range: 4 Hz – 45 Khz
-Impedance: 20 ohm
-Sensitivity: 113 dB
-MRSP: $899

Build & Design

I personally wasn’t a big fan of the A83’s looks, the red and blue plastic had more of a toyish feel than the allure of a high end product. How different with the Sirius – it truly is a masterful piece of design. The metal housing feels solid, and is in a distinguished dark gray color. It’s finished off with a slim silver lining around the edge, that I hadn’t noticed at first. Seriously classy; these have got to be one of the most beautiful universals I’ve seen. They are a bit on the larger side; I have medium/small ears so they fit me snugly, almost filling up the space like a custom. I get a good seal with the standard tips, but the bores don’t protrude very deep in the ears. I might have preferred to see them go a bit deeper, but overall I don’t really have any complaints about the fit and especially design. The cable connectors are MMCX, which I haven’t been much of a fan of in general due the sound cutting out on a regular basis with previous iems. But with the Sirius there’s an additional screw in red or blue to further fasten the cable. The system works well and feels solid, while ensuring a secure seal.

Accessories

The Sirius comes in a matte black cube-shaped leather case that reminds me of the nice cases you get with high quality daps. When you open the lid, the shells are presented on the first layer with four pairs of tips pressed against bores in the case, along with a separate pair of complys. It further comes with some standard accessories like a ¼ inch and airline adapter, and a hockey puck style case I’ve been seeing before with the Galaxy and Primacy. The one that comes with the Sirius is a bit more ornamental, with some nice curves compared to the straightforward design of the others. But similar to those, it’s more functional as a storage unit for tips or random items floating on my desk, than as an actual carrying case for on the go.

But Fidue has packed along something really special: a modular system to use the Sirius with both balanced and regular sources. The cable is terminated in a 2.5 mm trrs jack for daps like the A&K or Onkyo players, but it comes with two adapters: one for balanced 3.5mm trrs players like my Plenue S and 901S, and a regular 3.5 trs for the rest. Balanced outputs are gaining in popularity, and alongside the high end daps more and more midtier sources have started to incorporating balanced outputs. It’s becoming the standard rather than exception, so chances are the modern audiophile will have one or more balanced sources. Incorporating the modular system saves having to buy a separate aftermarket cable, which would then be restricted to that source only. How thoughtful, and incredibly useful. 10/10 for the selection of accessories, I can’t think of a better total package I’ve come across.

But the modular system also comes with a downside. As is, the cable is already on the thicker side, especially below the Y-split. It’s a cloth-sheathed 8 core cable, and while beautiful, is also a bit heavier than a regular cable. The weight of the cable isn’t an issue for me, as I have an unnatural passion for 8 wire cables. So I’m used to it, and like the heavy feel as I associate it with quality. But since I have either regular or balanced 3.5mm outputs, I always need to use an adapter. The rhodium-plated plugs have a high quality look and feel to them, in the same color as the dark gray shells. But while the cable itself isn’t that heavy, the extra length and weight of the plugs tends to pull a bit while wearing them. So all in all the modular cable is a big plus, that comes with a slighter con.

Sound Impressions

Presentation
The Sirius has a well-balanced signature with a mid-centric focus. A hint of warmth that adds an emotional touch to the music, without overdoing it. The instrument positioning is slightly close to the listener, with the vocals placed a bit further behind. Because of the proximal front line positioning spanning along the width, the stage has a bit of a ‘front row’ effect where you're close to the music. The instrument size is well proportioned within the stage; neither thick nor thin - just exactly right, which gives a nice sense of spaciousness. The stage is wide and has good height, creating an overall large screen. In my initial impressions with the Cowon Plenue S I found that the Sirius lacked some depth, but this is source dependent as the Lotoo Paw Gold provides more depth and air, at the cost of some of its width. On the other hand, the Sirius' tonality comes across as more natural with the warmer Plenue S, mainly due to a more prominent and brighter upper midrange with the Paw Gold.

Bass
The bass is fairly neutral, with a slight emphasis on mid- over sub-bass and an overall warm tone. The sub-bass is a pure delight. I spend most of my time listening to multi-BA drivers, so the gorgeous ‘thump’ of a dynamic driver is refreshing. That texture and decay - it’s with good reason people say a BA can never deliver that same type of quality. Kick drums sound magnificent, very realistic due to that decay. Not to mention bassy electronic music – possibly with the bass amped up a bit. I believe the proper audiophile terminology for this would be ‘awesome’. The mid-bass is well-controlled, although there is a tradeoff for speed compared to faster BA drivers. Overall the bass is punchy and textured with a natural decay, and I rate it highly.

Midrange
The Sirius has a beautiful and sweet midrange, alongside the nicely textured bass. Slightly forward, but mostly balanced and refined - a tuning I liked from the go. The midrange is warm and smooth, with a natural timbre of vocals and instruments. In accordance with its mid-bass it has a slight lower midrange fill, giving the Sirius the right amount of note thickness without overdoing it. The midrange emphasis is on the upper midrange; guitars have good bite and vocals are clearly articulated, though not as deep or dense as a truly midforward iem as the S-EM6 or Zeus-XIV that have an emphasis on the center midrange. This gives the Sirius an excellent sense of balance, as vocals are neither particularly forward nor distant. The upper midrange peak is followed by a dip around 4-5 khz which adds some fullness to the presentation, adding to the overall smoothness rather than artificially brightening the midrange. Its midrange resolution is good within its price tier.

Treble
The treble takes a slight step back in the presentation, giving the Sirius a smooth and more mid-centric signature. A lower treble dip is followed by a peak around 7 kHz; a common tuning in many iems. It’s a necessity to add some clarity, especially in a mid-centric signature that might get too stuffy otherwise (we’ve seen this recently in the Primacy). The peak gives an iem a more ‘hi-fi’ sound, although there is a tradeoff for tonal naturalness at higher volumes. With a treble rolloff around 10 Khz, the Sirius performs according to the iem average. The treble is foremost smooth and non-fatiguing, and tends to stay on the safe side of sibilance. Overall, I’m a bigger fan of the bass and midrange; the treble is there doing its thing, but lacks that final bit of precision. This isn’t a treble that will bother anyone, but it doesn’t excite me much either.

Comparisons

Sirius vs Fidue A83 ($299)
The main question that might be on the mind of many of Fidue’s loyal followers: how does the A83 compare to the new number 1 in line. The Sirius has a wider and taller soundstage, creating an overall bigger screen. In addition, notes are proportionally thicker to the larger stage; the A83 has a more distant instrument positioning. Because both the stage and instrument size is bigger, the sound is fuller and overall more engaging. In addition, the Sirius has better instrument definition.

This fuller sound is due to the more forward midrange, while the Sirius also has more mid-bass emphasis compared to the A83. While the A83’s sub-bass is punchy with bass-heavy tracks, the Sirius has a higher impact overall. The Sirius has a warmer and more pronounced midrange, with more vocal depth; vocals have greater density, and the A83 can sound a bit hollow in comparison. The A83’s signature is tilted slightly more towards the treble, compared to the more mid-centric Sirius; this can make A83’s tone sound a bit metallic in comparison, with a greater tendency towards sibilance. Overall, the Sirius retains the smooth house sound of the A83, while improving in all directions.

Sirius vs. DN-2000j ($299)
The Sirius’ stage is slightly wider, but mostly taller. Both share a quality bass response with nice texture and a natural decay, although the DN-2000j’s has a colder tone compared to the relatively enhanced mid-bass of the Sirius. This gives the Sirius thicker notes and a fuller sound, although the DN-2000j’s stage is cleaner. Compared to the midcentric and more forward presentation of the Sirius, the DN-2000j’s tone is skewed towards the treble. This gives it a high sense of clarity and detail retrieval, while simultaneously making it sound thinner, with a less natural tone.
 
The Sirius and DN-2000j are tuned with a very different presentation, and overall have fewer similarities than differences. The DN-2000j presents music from an analytical perspective; the Sirius in turn, has a more natural, effortless and fuller presentation.
 
Sirius vs EarSonics S-EM6 ($950)
The S-EM6 is EarSonic’s contender in the same price range. While it also has a mid-centric signature, it is more midforward than the Sirius. The enhanced mid-bass plays a prominent role, giving a great deal of warmth and size to the midrange. The Sirius’ bass is more neutral and cleaner in comparison, while adding a natural decay from the dynamic driver. The S-EM6 has more of a center midrange peak (around 1kHz), giving vocals more depth and density than the Sirius. Vocals are forward and powerful, and truly the S-EM6’ specialty. Its signature is however tilted more towards the midrange, with less treble emphasis. This gives the S-EM6 a darker sound, taking some of the bite off instruments with a less airier sound overall.
 
The S-EM6’ stage has similar height and width, but is deeper. This gives the S-EM6 an advantage in its instrument positioning. However due to the thicker notes, the stage doesn’t necessarily feel more spacious compared to the cleaner and relatively more neutral Sirius. The S-EM6 is warmer, thicker and more forward in comparison, but this tends to make it more of a specialist. With its mid-bass and center midrange bumps, the S-EM6 is the equivalent of a curvy, bubblicious woman: there’s a whole lot to love, if it’s your thing - the enhanced bass and warmth won’t be for everyone. The Sirius is relatively more linear in the lower frequencies and cleaner in comparison, with a refined signature that makes it more all-round.

Sirius vs Perfect Seal AR6 ($950)
The AR6 is another great performer with a similar price, also utilising 6 BA’s compared to the hybrid Sirius. The AR6 has a more neutral mid-bass tuning, and greater emphasis on sub- rather than mid-bass. The AR6’ bass hits deep, but is overall lighter and less warm. The AR6’ bass is faster, but it can’t match the natural decay and overall impact of the Sirius. The Sirius’ has overall more bass impact with nicer texture. This contributes to Sirius’ warmer midrange with slightly thicker notes, while the AR6’ stage is cleaner and airier due to it having less mid-bass and lower midrange fill. The AR6’ treble in turn has more sparkle, while the Sirius’ is smoother.

The AR6’ unique selling point is its wide and airy stage; its stage dimensions are both wider and deeper with similar height, and an instrument positioning that is slightly more distant than the proximal placement of Sirius. The AR6 is more spacious, and has the upper hand in separation. While the two iems are very different, they both steer me towards easy listening, singer/songwriter type music. But they take a very different approach, with the AR6’ focus on clarity and sparkle resonating in acoustic instruments, besides its spacious stage. The Sirius on the other hand has that delicious bass, and enveloping warmer midrange better capable of conveying emotion.

Sirius vs EarSonics S-EM9 ($1490)
The Sirius has a slightly wider stage, while the box-shaped stage of the S-EM9 is deeper and airier which gives it an advantage in layering. Both the Sirius and S-EM9 share a bass tuning that is relatively neutral yet exciting; punchy, with good definition. While the BA driven S-EM9’s bass has the better speed, the Sirius brings texture and that beautiful natural decay to the table. The S-EM9 is pretty linear throughout the lower and center midrange, with a dip in the upper midrange giving the S-EM9 a more distant vocal positioning. The Sirius on the other hand has more lower midrange fill, while getting most of its energy in the upper midrange. This gives it better vocal articulation; vocals are more forward and pronounced than with the S-EM9. Due to its slightly mid-centric signature the Sirius also has the warmer midrange, with overall thicker notes.

The S-EM9 has a U-shaped signature with slightly enhanced treble. While the Sirius’ midrange is clearly the more lush of the two in both warmth and size, the S-EM9 displays its refinement in the tuning of its treble, midrange resolution and separation. The S-EM9’s treble extends further, and is more clearly defined. Furthermore the S-EM9 betters the Sirius in its overall speed, the attack and decay. While this gives the S-EM9 a more dynamic sound, it doesn’t say the Sirius underperforms; speed happens to be the S-EM9’s specialty, even compared to other TOTL’s. The Sirius gets points for its overall signature, the excellent bass and midrange. The S-EM9 in turn for its precision in timing and positioning.

Sirius vs Rhapsodio Galaxy ($1600)
As a somewhat ‘exotically’ priced single double dynamic driver, the Galaxy’s bass shares that delicious impact and decay of the Sirius, although the Galaxy’s bass is overall more linear compared to the slightly more enhanced mid-bass of the Sirius. In fact, the Galaxy’s signature is very linear from the bass on through the midrange, only to peak in the lower treble. In comparison, the Sirius is warmer with a more forward upper midrange. Because of this, the mid-centric Sirius sounds enveloping and smooth, while the Galaxy’s tone is skewed towards the treble.

The Galaxy has a more distant stage, with vocals positioned further back in comparison to Sirius. The Galaxy’s stage is slightly wider, but less tall, while the Sirius has a relatively more even proportioning between the width and height of the stage. The Galaxy has the better midrange resolution and cleaner separation due to the relatively more distant instrument positioning, although its stage is also not particularly airy. Taken together, the Sirius tends to pull you in the music with its enveloping midrange placed closer to the listener, with a focus on a natural and smooth tonality. The Galaxy’s presentation is more distant and flatter, although instruments are better defined with an overall higher level of detail.

Concluding thoughts

The Sirius has a slight mid-centric signature, but it’s ever so well balanced. The sound isn’t too forward or thick, while having the right amount of warmth to sound natural. The treble is inoffensive, which means it can be played for days on end. It’s a type of signature that drifts me towards band-based music, soothing guitars and beautiful vocals. Its tuning is very mature, and seems designed to please all types of listeners in the market. With the Sirius, Fidue has delivered an excellent addition in the sub $1000 segment. With its natural and smooth midrange it has its own strengths, even compared to higher end monitors. The delicious bass is just a bonus at this point.

Whether or not Fidue is publicly stating it, they are implicitly sending a message; high quality is possible for a (relatively) affordable price. They’ve shown they can do it in the affordable segment, and they’re taking it to a higher level now with their all new flagship. The modular system is a very nice extra. With the lower regions of the market covered, they’re coming for more. As a complete product, the Sirius oozes with class; the design, packaging and distinguished tuning.

 

Originally posted at theheadphonelist.com:
http://theheadphonelist.com/headphone_review/fidues-new-flagship-hybrid-the-a91-sirius/

I would like to thank Lear for providing me with this cable in return for my honest opinion.
 
Lear C8 Libra modular cable
Lear is a heavy weight in the iem world with an innovative approach to the industry. Perhaps best known for their flagship the LBD4.2, with an advanced hybrid configuration with four balanced armatures and two dynamic drivers; and more recently releasing an iem with their new natro-sound technology, utilizing a new crossover to achieve better frontal projection of sound. This should an ensure an out-of-the-head projection, rather than inside. The technology should be especially useful for watching a screen or in combination with virtual reality.
 
However, Lear also has a nice selection of cables in various price ranges. The C8 is a midrange offering consisting of a copper and silver-plated copper hybrid design with Teflon reinforcement.
 
Build
Rather than a regular four braid, the cable consists of four twisted wires in alternating orange and silver colors. A very unique and truly beautiful design, with something of a Persian flair to it, or something like an ornamental pillar in a carrousel with its colorful design and sparkly reflection. It comes with a black plug, which is slim but firm. A little higher, a plastic seal is used as a splitter. Up top, the cable is finished with a black/gray soft memory wire. I’m personally not a fan of memory wire, but its more for aesthetical considerations than practical ones as I’m also not really bothered by it.
 
Modular system
This version of the C8 comeswith a similar modular system as the CCPH cable I recently reviewed; this particular version is terminated in 2.5 mm trrs, and for a marginal price of $30 two extra adapters are included. One to regular 3.5 trs, and one for balanced 3.5 trrs outputs. This means you can use one cable for multiple sources, balanced or regular, which is either very handy if you either have multiple balanced sources or would like to try them out. The adaptors are miniature versions of the C8 cable, with matching orange/white wires and black connectors.
 

 
Sound impressions
The C8 is best characterized as having a clean stage with a U-shaped signature; a clear midrange with transparent treble.
 
The bass is slightly attenuated, with a bit less sub-bass impact than a regular copper but a very well-controlled mid-bass. Although an overall less authoritative impact, the consequence is less mid-bass air which contributes to a clean stage. Overall the separation is very good, which is well exemplified when paired with an iem like the Solar with its enhanced mid-bass. The emphasis in the mids, is on the upper midrange over the lower and center midrange; vocals sound clear and detailed, but can be slightly distant. In accordance with the controlled mid-bass, notes are slightly leaner as they get less fill from the mid-bass.
 
The upper midrange and treble however is very transparent, and one of the C8’s selling points. There is a very clear note articulation, and instruments are clearly defined. Overall the C8 offers a good amount of detail.
 
Comparisons
Audiominor Mahogany Copper
The Mahogany cable is the warmer of the two, with an enhanced mid-bass compared to the more neutral C8’s bass presentation. While the Audiominor’s midrange is the more lush and full sounding, the C8 has the cleaner stage with better separation. The two cables have a similar treble tone, being neither enhanced or laid-back.
 
CC PH copper iem cable
The CC PH has a similar modular system as the Lear. The Lear’s focus leans toward clarity and note articulation, and instruments have slightly better definition. The CC PH on the other hand is smoother (especially in the upper mids), while also having slightly thicker and warmer midrange. Overall, the Lea’r is slightly more U-shaped and detailed compared to the more midcentric CC PH, which has a fuller and more linear midrange.
 
Concluding thoughts
With its beautiful and unique design, practical modular system, and clear and transparent signature the C8 ‘Libra’ has selling points for different types of customers; those simply looking for something pretty, to use with alternative sources, or sonic improvement over a stock cable. Or best of all, when all three apply – then one certainly goes home a winner.
 

I would like to thank CCPH for providing me with this cable in return for my honest opinion.
 
Introduction
CC PH is a Philippine-based cable manufacturing company run by Ren Lazibal. Ren is part-time cable-maker, full time audiophile – first and foremost an enthusiast who is very active on multiple fora and blogs. Ren has an impressive collection of iems and daps, that even I am partially jealous of. In fact, we first came in contact discussing the Plenue S after it was released. His personal preference is a neutral signature, which is partially reflected in his iem cable. But more importantly, his mission is to offer a good price to quality ratio - in both build and sound.
 

 
The build
The Nuovo has a relatively standard copper cable look. The four wires have a pinkish/orange copper colour, and are braided together in a standard cross braid. The jack is a good quality and slim fitting black plug, and higher up a transparent plastic sphere serves as a slider. The cable is finished up top with black memory wire. The cable is a bit stiffer than a standard stock cable, but still very supple and easy to wind in a slim case. Overall the cable is very well built, and of the quality and class you might expect for its price.
 
Modular system (balanced adapters)
The real star of the system however, is the modular system that is included for a marginal extra fee of $30. The cable is terminated with a 3.5mm trrs balanced jack for the Plenue S/Hifiman/ZX2 players, but two other adapters are included: one that terminates as 2.5mm trrs (for AK and Onkyo etc.), and an adapter for regular 3.5mm trs. The modern audiophile is spoiled with choices for daps, and balanced outputs are growing in popularity. The only frustrating thing is when you have either two different ones, or switch from one dap to the next, or simply want to try something at a store or show. For this reason CC PH offers a very practical system that is cheap and easy to use on all systems.
 

 
Sound Impressions
The Nuovo has a very neutral tuning with a slight midcentric character that isn’t overly warm or bright, and doesn’t create particularly thin or thick notes (though closer to the thicker side). The mid-bass is fairly controlled, and gives warmth to the presentation without overdoing it. There is a slight coloration in the upper midrange; it is slightly brighter, giving vocals good presence and overall clarity. The treble has sufficient sparkle, although the upper treble, like the overall signature is predominantly smooth.
 
Comparisons
Lear C8 ‘Libra’
The Lear cable has a similar modular system as the Nuovo, but consists of a hybrid copper and SPC configuration with a more SPC-like tone.  With a brighter upper midrange, its focus leans toward clarity and note articulation, while instruments have slightly better definition. The Nuovo on the other hand is smoother, especially in the upper mids, while also having slightly thicker and warmer midrange. The Lear’s upper treble is more prominent and sharper defined, while the Nuovo is again smoother and non-fatuiging. Overall, the Lear is slightly more U-shaped and detailed compared to the Nuovo, which has a fuller and more linear midrange.
 
Audiominor ‘Mahogany’ Copper Litz
The chocolate brown Audiominor shares a similar tonality, with a slightly more enhanced mid-bass presentation making for an overall warmer atmosphere. While the cable has similar transparency, the CC PH has a bit more tendency to sibilance on occasions with the Audiominor being slightly smoother in the lower treble, though overall the signatures are very similar.
 
Conclusion
With a high quality build and ingenious modular system, Ren’s CC PH cable has a lot to offer, even for the non-believers. Add a relatively flat and smooth signature, and everybody goes home a winner. With his excellent service, Ren offers a personal touch and is extremely pleasant to deal with – just be prepared to engage in lengthy discussions about anything related to music.
 
 
*Last two photos credit to Ren Lazibal

This is an edited version of a Headfonics review, focusing on sound impressions. Full version is available here:
http://headfonics.com/2016/02/the-s-em6-by-earsonics/
 
Introduction
Released two years ago, the S-EM6 was the first universal iem with 6 BA drivers. Having owned the SM64, Velvet, EM32, S-EM9 and now S-EM6, I’ve had my fair share of experience with EarSonics’ products. So you can trust me when I say EarSonics has never had the ambition to create particularly neutral sound signatures. Their iems share a very recognizable house sound: emotional over analytical. With thick and smooth notes, minimal to no sibilance, and high quality impactful bass as trademark characteristics. Simply said – their aim is a very musical and engaging presentation. They also share a forgiving nature, and a relatively high impedance ranging between 40 and 90 ohms. At first their general sound was tilted towards midcentric, with the S-EM6 following the path of the SM64 and the SM3 before that. More recently a switch was made towards a more U-shaped signature with the models that followed after (EM32, Velvet and S-EM9). But it doesn’t matter which one you play – you instantly hear it’s an EarSonics.
 
 
 
 
Technical Specifications
Sensitivity: 124 db/mW
Frequency response: 10 Hz – 20 kHz
Impedance: 60 ohms
Design: 6 BA drivers (2 low, 2 mid, 2 high), 3-way passive crossover
 
Price: €948 / $948
 
 
Accessories
EarSonics doesn’t shower you in accessories (like something as the Dunu DN-2000J), but their iems come in a fairly luxurious presentation that breathes an air of professionalism. The box is a simple matte black, both on the outside and inside. Upon opening of the box you’re greeted by a thank you card for purchasing an EarSonics item, written in French. Not to panic, most people will understand the general gist from the prominent display of the word ‘Merci’, followed by ‘produits de EarSonics’. My French doesn’t exceed asking directions to the bakery, but I can manage. The French card contributes to the authenticity, after all there aren’t that many European earphone manufacturers. The accessories consist of an extra pair of the standard gray biflanges, a smaller pair of black biflanges, a large pair of mushroom tips and two pairs of foams. The carrying case is also matte black, compact and very stylish – I’ve been using the one I got with the Velvet on a daily basis for whichever iem I decide to pack. It fits exactly one iem (with upgrade cable), and its soft feel and edges are ergonomic in a bag or jacket. Finally, there’s a 6.3mm to 3.5mm adapter and a cleaning tool.
 
 
Sound Impressions
Tonality
The S-EM6 has midforward signature with enhanced bass. The midrange is lush and engaging, while its treble is a bit laidback in comparison. The S-EM6 sounds big: due to the full midrange, tones are presented as pillars of sound, fortified by the bass. Despite the relatively thick notes, instrument separation is very good; the S-EM6 handles congestion well due to the excellent stage and imaging.  The same holds for detail retrieval, which is based on the imaging rather than clarity from a brighter signature.
 
Bass
The first bass-light EarSonics iem is still to be made; the company clearly values the intricate role of bass in the musical presentation, and has an excellent reputation to uphold. The S-EM6 is no exception; the bass plays a prominent role in its signature. The sub-bass has decent extension, but the S-EM6 gets most of its punch from the enhanced mid-bass. The mid-bass slam is powerful in bass heavy music. This becomes even more apparent when amped, although it trades a bit of control for power compared to something like the Empire Ears Apollo. The bass has a warm tone, and gives a great deal of warmth to the midrange. Bass texture is nice with slight decay, and the mid-bass displays good speed and detail. Overall the S-EM6’ bass portrays a high level of quality, and equally important, a very satisfying punch.
 
Mids
The S-EM6 has a very full, lush and warm midrange – this is where the magic happens. The lower midrange get its fullness and warmth from the enhanced midbass, but S-EM6’ midrange also has a great deal of inherent warmth. The center midrange is forward, and takes the spotlight in the presentation - vocals are its strong suit. The S-EM6 has no problems creating a clear center image. Both male and female vocals sound very dense and clear, with great depth; articulating the perception of sound being produced from the chest. The warmth gives it an emotional resonance, and vocals are portrayed with a sense of naturalness and realism. The same holds for cello’s that get that require a good deal of lower end extension to recreate a deeper sound, while electric guitars sound full and powerful. The upper midrange is again quite forward, although slightly less compared the center mids. But it contributes to the excellent portrayal and definition of vocals, as well instrument. All together, the midrange is very full, coherent and powerful. The S-EM6 has good detail retrieval in the midrange, but based on its imaging rather than tonality. While all the detail is still there, it’s less upfront and ‘in your face’. The same holds for its speed; it can easily keep up with faster guitars, although nuances can be perceived as less apparent due to the warmer atmosphere.
 
Treble
The S-EM6’s treble is very smooth, and takes a slight step back to the midrange. The treble has a soft, warm tone and is never bright or piercing. High hats have good presence, but are never sharp or offensive. EarSonics has applied their trademark dip in the lower treble, which not only contributes to a very smooth sound, but is specifically designed to eliminate all sibilance and harshness. And this is saying a lot, because from my experience almost every iem I’ve had has some degree of sibilance. Some of the rare exceptions being the S-EM6’s smaller brother, the SM64, and the Sony XBA-Z5 for instance. I suspect EarSonics’ origins in developing stage monitors for musicians plays a role here. The lower treble dip makes for a smooth presentation of electric guitars; it takes the sharp edges off the top, the ‘bite’, but this also results in a bit of less upper end definition. This is an area of presence where iems like the Dunu DN-2000J or Perfect Seal AR6 will have a bump to enhance detail retrieval. The downside of the dip is its effects on the airiness; the S-EM6 sounds big and full, but not particularly airy. It trades a bit of transparency for its smooth presentation; acoustic guitars for instance sound thick rather than clear, although still very emotive due to their tonality. The upper treble and treble extension on the other hand is good, providing the S-EM6 with good resolution. The prominent warmth in the signature has its effect on the treble; detail and microdetail are presented due to the resolution, they can get lost in the warm atmosphere. The treble has good speed and decay; the S-EM6 handles cymbals in faster jazz well.
 
Soundstage
The midcentric signature aides in creating a realistic stage: the S-EM6 creates a clear center image, the vocal is prominent in core of the presentation. The vocals in turn are flanked by the instruments, presented to the rear and side. The stage is about average in width, but has excellent depth and height; the overall space can be considered large.
The thicker note presentation can make the soundstage appear narrower, due to the relatively larger space instruments claim within the confinement of the total area. By contrast, something like the IE800 for instance has a recess in the lower midrange, which creates an airy soundstage which more space between the instruments – at the sacrifice of instrument size and fullness. It’s not a question of better or worse, the S-EM6’ full and warm midrange brings power and emotion to the presentation of genres like rock; while the IE800’s thinner midrange makes it highly suitable for disentangling complex musical ensembles with a lot of instruments in genres like classical or jazz. The S-EM6 is less prone to congestion as its thicker note presentation would suggest; the separation is still good with faster electric guitars. This is due to the soundstage size and quality imaging. Instruments are very clearly located in space, and can be accurately placed in width and depth.
 
 
Select Comparisons
Dunu DN-2000J
The Dunu and the S-EM6 can be considered polar opposites. In fact, they have so little in common that if you’d stick them in a room together and force a conversation, nothing but an awkward silence would follow. The U-shaped Dunu, with its prominent treble and distant midrange, sounds analytical and bright in comparison. But then again, it has a cleaner background and sounds a great deal more transparent and sparkly with string instruments. The DN-2000J outperforms the S-EM6 with classical music; violins and pianos sound crystal clear and are presented with good micro-detail. But when it comes to the mids, the DN-2000J never stood a chance; the S-EM6’ midrange conveys power and size, while its warmth conveys the emotion the brighter DN-2000j lacks. Compared to the prominent lower and center midrange of the S-EM6, vocals lack depth and can sound hollow with the DN-2000j. Due to the dynamic driver, the DN-2000j’s bass has slightly a nicer texture with a more natural decay, while the S-EM6’ pronounced mid-bass hump has a warmer tone and more overall quantity.
 
EarSonics Velvet
The Velvet was released shortly after the S-EM6, and indicated the start of a new direction. While both are still immediately recognizable as ES iems and share aspects of the same house sound, the Velvet has a pronounced U-shape with punchy bass, and a lift in the upper midrange and treble. The Velvet has a wide and airy soundstage, with good separation, and its signature seems designed for energetic V-shaped music. The Velvet particularly shines with synthesized treble: for R&B, hip hop, pop or EDM, go with the Velvet. In addition, its airy stage and excellent dynamics make it highly suitable for fast guitars such as punk rock or metal. While both have excellent bass, the Velvet’s bass has better sub-bass extension and sounds punchier, especially when amped. The tables turn in the midrange, and it’s here that the two are polar opposites. While both share a fun and engaging sound that’s nowhere near neutral, the S-EM6’ midrange is full, warm and engaging. The Velvet’s midrange is sufficient to be labeled allround; but its relative weakness in all the excitement is vocals – they sound distant, and lack the depth and warmth of the S-EM6.  For instrument-based music like rock, the S-EM6 is a clear step up from the Velvet; but in absolute terms, their signatures are too different to speak of better or worse - only preference can determine which is the better pick.
 
Perfect Seal AR6
Two identically priced 6 BA driven iemsAn MRSP of $950, and 6 BA drives – so far the similarities. ,The AR6 that demonstrates the effect of a very different bass presentation tuning on the soundpresentation. The AR6’ sub-bass extends deeper, and hits faster with more control. Its mid-bass is dead neutral, and a great deal lighter on impact than the S-EM6. The leaner mid-bass provides the AR6 with its unique wide and airy soundstage; while it is only a bit wider than the S-EM6, it is a great deal more airier. The neutral mid-bass contributes to the clean presentation, and imaging and separation are its outstanding traits. The S-EM6’ bass on the other hand hits with a great deal more authority, while also providing a great deal more warmth and size to the midrange. The AR6’ center midrange is neutral and thinner compared to the warm and lush S-EM6; while not laidback or recessed, vocals and instruments are smaller in size. The S-EM6’ midrange is a great deal more forward and denser, presenting vocals much closer on the stage. Due to a lift in the upper midrange, the AR6 has a clear tonality with greater transparency; the S-EM6’ upper midrange is more forward and smoother, but less detailed while it sacrifices some of its clarity and transparency due to the warmth. The AR6’ treble is more prominent with a brighter tone, but has a bit less control compared to the S-EM6. A lift in the lower treble provides the AR6 with its unique wide and airy soundstage; while it is only a bit wider than the S-EM6, it is a great deal more airier. The S-EM6’ treble is more laidback, but has slightly better speed. From a holistic perspective, the S-EM6 has a midcentric signature that is warmer, fuller and bassier. The AR6 is clearer and airier, and prides itself on its unique soundstage. Its lower midrange is less prominent, and accordingly notes are leaner in comparison, but its treble is more prominent and detailed.
 
Empire Ears Apollo
The Apollo represents Empire Ears’ take on a neutral ‘reference’ monitor; and as such its presentation vastly differs from the S-EM6. Apollo’s sub-bass has slightly better extension, but it’s mid-bass is far more neutral and cleaner compared the enhanced and warm mid-bass of the S-EM6. Accordingly, Apollo’s midrange is clearer compared to the warm and prominent lower midrange of the S-EM6. The S-EM6’ midrange is fuller, but Apollo’s is clearer, which aids gives it an advantage in instrument separation - although the S-EM6 doesn’t not fall far behind in imaging. The S-EM6 has thicker notes, and gets the advantage for male vocals, while female vocals sound clearer with the Apollo, but smoother and a bit fuller with the S-EM6. Female vocals sound great with both, but have a more realistic tone with Apollo.  The biggest difference is in the upper midrange; with the S-EM6’ being more forward, resulting in a more intimate presentation of vocals, with greater detail in nuances. Apollo seems to have a slight dip there, but in no way can be considered laidback – it’s relatively speaking. The S-EM6 has thicker notes, and gets the advantage for male vocals, but consider the S-EM6 a specialist in this department. Female vocals sound clearer with the Apollo, but smoother and a again a bit fuller with the S-EM6 - it’s hard to point a winner there.  Though not to the extent of tThe S-EM6 , Apollo also seems to have a slighthas its trademark dip in the lower treble, displaying another difference with the Apollo; but it doesn’t affect itsit is a great deal more airinessairy, asand  overall there is more space between the instruments compared to the S-EM6’ thicker presentation. In fact, the airiness within the soundstage and clear treble are really standout traits of Apollo. Apollo’s stage has a lot of space, and its treble portrays a great balance between smoothness and sparkle, without sounding fatiguing. In comparison, the S-EM6’ treble is more laidback and takes second place to the midrange. 
 
 
Final thoughts
For the last two weeks I’ve been listening to the S-EM6 non-stop, without having the urge to reach for more expensive flagship ciems. Which for me is saying a lot, since this is not always the case with iems I’ve had in the past. The S-EM6’s power lies in its holistic presentation: a full and engaging sound with thick notes, that has the capability of drawing you in the music; not in the last part because of the smooth and warm tonality, and excellent midrange. Vocals sound full and captivating, with the flanking instruments in a supportive role. Despite having thick notes, the S-EM6 still has good detail and separation due to the quality of the stage and imaging. The upper midrange dip and smooth treble eliminate sibilance and harshness, and the S-EM6 is very forgiving of bad recordings – while sounding engaging and very musical. The S-EM6 reminds me why I started with this hobby in the first place, to simply sit back and enjoy music.
 
The moment you hear the S-EM6, it becomes clear there was a purpose behind the design; again, it is a very musical and emotional sounding iem. As the S-EM6 has its own character that strays from neutral, it might not be for everyone. The S-EM6’ defining characteristics are its bass driven ‘big’ sound, warm atmosphere, and lower treble dip. Stubborn as it is, even listening with a very clear and transparent source like the 901S or switching to silver cables won’t affect the lush midrange or warmth of the presentation, although it does bring out more detail in the higher frequencies. The lower treble dip takes the edge off of sharp sounds, and eliminates all sibilance. But in doing so, can attenuate the top end of instrument definition, while some detail can get lost in the warm atmosphere. As such it will be less appealing to analytical listeners, seeking an approximation of reference-tuned sound. But for fans of a warm and pleasing midrange, and especially fans of vocals, it will deliver in spades. Its thick notes are captivating and engaging, conveying a great sense of power and emotion. So while it might not be the optimal signature for something like classical musical or jazz; for those about to rock – the S-EM6 salutes you!
 

Introduction
A while back, one of my closest friends @MikePortnoy and I participated in a winter exchange program for underprivileged cables that want to travel the world. My Rhapsodio 2.98 8-strand cable, born and raised in a warmer climate, missed the sun so I sent it off to Turkey. @MikePortnoy shipped over his SilverFi IEM2 cable to Amsterdam in return; today’s topic of review. As long as I’ve known my good friend he’d been going on about the special tone of SilverFi cables, so my expectations were high; although I wasn’t sure in which way they would manifest.
 
SilverFi is a Turkish-based company, run by Sezai Saktanber; a passionate craftsman, and very pleasant person to communicate with. SilverFi differentiates itself by manufacturing its own raw material, where most cable makers will buy the materials to produce the cables. The IEM2 cable is the entry model for iems; but their product line ranges up to a whopping $1999 for the IEM-R4 cable. Yes, that’s almost $2000 for a cable.
 
Build
The IEM product line all consists of 4-braid cables in a cream-colored sleeving. I find the color very chic, and the cable itself is one of the most beautiful I have ever seen. But in order for the unique wires to be attached to the connectors and plug, the connectors are finished with a red and blue plastic that looks like memory wire, but isn’t implemented for that function – it’s for connection purposes. The jack is also covered with a blue plastic. So its design has a pro and con from an aesthetic perspective.
 
Impressions
Truth be told; the first minutes I listened to the IEM2 cable (connected to Zeus), I realized I was hearing something special. It’s warm and soft sound, the realistic tone of instruments – I was stunned. Ask anyone on the forum what the difference is between silver and copper cables. Even though a large group unfortunately still doesn’t ‘believe’ in differences between cables, I think most people will be familiar with the stereotype of copper cables being warm, and silver cables being bright or analytical. A more experienced user will know that the differences aren’t that simple, as every cable has its own signature - just like iems or daps. But generally speaking, while silver cables can have a very balanced tonality, their atmosphere is generally very clear – not warm.
 
The SilverFi cable line is a very rare exception to the rule. The IEM2 cable is noticeably warm; not in response to the mid-bass, just an inherently warm and pleasant atmosphere. I still don’t understand the physics behind a pure silver having this tone. Rumor has it, mr. Saktanber is aided by elves and fairies in the fabrication process – it’s an explanation that makes the most sense. Yet mr. Saktanber insists all labor is done by himself. I guess I’ll have to believe him on his word.
 
The IEM2 cable produces a sound that doesn’t really appeal to an analytical breakdown of its components. The magic is in its holistic presentation: its tonality is just right, instruments sound very realistic, yet this realism isn’t coupled to a dry presentation. Its atmosphere is warm, and tones are thick and smooth; this is a romantic realism, inviting and enveloping rather than distant or analytical.
 
The sub-bass is punchy, and hits with good depth and detail. The mid-bass is vey slightly enhanced, contributing to the overall thicker note presentation. The midrange is warm and creamy, and the IEM2 cable truly brings out the best in vocals. But it’s in the treble where the IEM2 differentiates itself from most silver cables; most silver cables open up the treble, allowing for more detail while making them more prone to sibilance and harshness. The IEM2 cable attenuates the lower and mid treble, taking the sharp edge off of bright sounds. Instead, tones are smooth and soft, while still having a very realistic tonality – the level of transparency is quite good. The upper treble appears to be a bit more attenuated, which can affect the resolution of iems that already have smoothed over treble. As such, the IEM2 cable is a better match with neutral or brighter iems. The presentation is slightly more forward and upfront, which brings the soundstage closer to the listener; it’s precise, but slightly more intimate. 
 

 
Select comparisons
Toxic Cables Silver Widow ($325)
The Silver Widow brings out the best in the upper mid and treble region, improving resolution and detail. It’s a dynamic sounding cable, with an accurate display of quick transients. While the treble improves overall instrument definition, it comes at a cost of a recess on the lower midrange, resulting in thinner notes. Electric guitars sound less full, while affecting the depth of male vocals. The open treble improves the soundstage width, providing an overall airier sound. The Silver Widow’s background is clear, and only very slightly bright. The IEM2 cable has a very different approach; the overall tone is richer and more musical, compared to the slightly more analytical Silver Widow. The Silver Widow brings out more detail in the treble, but can also sound harsher and less controlled compared to the smoother IEM2 cable. The IEM2 cable falls slightly behind in resolution, but has a far thicker note presentation, and a more realistic tone.
 
Rhapsodio 2.98 Silver-Gold 8-strand ($550)
Rhapsodio’s 2.98 cable is another cable that departs from the silver cable stereotype of being bright or cold. It has a warm tone, and an enhanced mid-bass that gives a very full sound with thick notes. Notes are thicker than the IEM2 cable, the 2.98 sounds fuller overall. But the 2.98 also has a warmer atmosphere that seems to muddy the presentation a bit, although actual resolution and detail retrieval is higher. While the 2.98 impresses with its size, the IEM2 has a more natural and realistic tone. The 2.98 has a more midforward presentation; this cable was built for rock, giving electric guitars size and power. But the IEM2 performs better with acoustics and vocals, they sound more natural and transparent.
 
Final thoughts
I’ve heard and owned quite a few cables, but SilverFi’s IEM2 still managed to surprise me. It’s a cable meant for synergy; it will work best in certain combinations. Bright iems have their advantages, but can also be harsh or fatuiging in longer listening sessions. The IEM2 cable with its soft, romantic tone brings out the best of such an iem. It also works well for brighter daps that can use a touch of warmth. The 901S is an outstanding dap, that delivers a sound that borders on technical perfection; its resolution, transparency and dynamics are hard to beat. But in doing so, it trades its warmth for clarity and precision. The IEM2 cable brings that warmer touch back, while still uncovering abundant detail. Its tone is reminiscent of sitting by the fire on a cold winter day; a touch of warmth and light in a colder atmosphere.
 
SilverFi IEM2 cable
Wire: 4-strand pure silver
Price: $389
 
Iems used for listening:
Empire Ears Zeus, Rhapsodio Solar, Rhapsodio RTi2, EarSonics Velvet.

Introduction
EarSonics (ES), a French company with their roots in custom monitors for the musician market, has been around for a while. They might not be as known as popular brands as Ultimate Ears, JH Audio or Westone, but they have made their mark and earned the respect of the audiophile community. Most seasoned Head-Fi’ers will know them and have come across one of their iems along the way.
 
One of ES’ midrange models happened to be my first step in the audiophile world. I’d been listening to iems for over 15 years myself in the $25-$200 price range, before I decided to buy a second hand EarSonics SM64 based on the recommendation of a friend. It had a nice tonality, with smooth and thick notes and a very dark background – a solid allrounder, but nothing too spectacular yet. The logical next step arrived when ES released its bigger brother – the Velvet. A U-shaped iem with powerful, punchy bass combined with energetic and sparkly treble and relatively distant mids, although not to the point as to be recessed. Its signature was allround enough to play most genres, but really came to life with V-shaped music like rock or EDM due its energetic treble and good dynamics. To top it off, the wide soundstage was a big bonus. It portrayed a high level of detail, while still remaining very forgiving. An important quality for the general enjoyment of music, that I would only come to appreciate later after more and more experience with sensitive iems. In short, I absolutely adored the Velvet.
 
In case you’re wondering where this is going, I’m not just going on about how great the Velvet was or my personal history. The point I’m trying to get at, is it was the ES house sound that got me hooked. The Velvet’s signature, as the SM64, reflects the ES design philosophy; you will never be able to accuse an ES iem of being analytical, thin or light on bass. Music is first and foremost for an engaging and emotional experience, and iems should reflect that; instead of a reference signature, revealing every detail in the music – for better or worse. Not that I don’t appreciate such signatures, for they are great in their own right of course - just to indicate a difference in philosophy.
 

EarSonics' 9 driver flagship - the S-EM9
 
The S-EM9
Specs:
9 BA drivers (1 low, 4 mid, 4 high)
3-way passive crossover
38,5 ohm impedance
5-20 khz frequency response
 
price: $1490 / €1490
 
Design
The S-EM9 has its roots in the Velvet. It incorporates some DNA from the Velvet and EM32, such as the 3-way crossover and an evolution of the single big bass driver. The choice of a single bass driver has given the S-EM9 a unique configuration: 9 BA drivers. Despite incorporating more drivers, the S-EM9 is just as big as the S-EM6, and marginally bigger than the Velvet (with respectively 6 and 3 BA drivers). But for the S-EM9, ES went with a handmade, acrylic shell instead of molded plastic. This gives the pianoblack S-EM9 the look and feel of a TOTL custom, while the red ‘9’ and white ‘ES’ give it a sort of racecar finish. The fit is very ergonomic and comfortable to the ears.
 
Accessories
The S-EM9 comes with exactly the same box and accessories as the Velvet so there were no surprises there. This includes a cleaning tool, 3.5 to 6.3mm plug, carrying case, and three different types of tips with the standard set being the notorious gray biflange tips that come with all ES iems. The tips are hard at first, but soften up after a few days of use. While there have been more than a few complaints on the threads, I’ve tried other tips with the Velvet but always come back to the ES biflanges tips due to their SQ. They can feel like a plunger in your ear, but the firm seal improves the bass response giving an overall fuller sound with thicker note impact, while also softening the upper treble a bit. But YMMV of course, and tiprolling is relatively cheap. Others have had success in combing both comfort and sound with other tips. From experience I decided to stick with the biflanges for the S-EM9.
 
The second comment is about the carrying case – a matte black case that fits exactly one iem and upgrade cable, and looks very classy while being smaller than the standard hard plastic otterbox cases almost every company provides. While I appreciate the fact that the otterboxes and such can withstand a fall down five stories of stairs or the impact of a car crash, from life experience I have learned I very rarely encounter such events on a regular basis and much prefer the stylish, smaller and softer case that you receive with ES iems. The best case I’ve had by far, and the only one I use on a daily basis.
 

The accessories that come with ES iems, including the stylish matte black case
 
Impressions
Listening is done with a Cowon P1 and Hifiman 901S. The P1 provides a warmer and darker sound, while I might occasionally amp up some extra bass via a Headstage Arrow 5P amp. The S-EM9 however scales up with a better source, as the Hifiman 901S brings out the best of the S-EM9 in resolution, transparency and dynamics. Both pair very well though, albeit differently. As a tribute to ES and the S-EM9, I will use French tracks as examples.
 
After the relatively warm, dark and midforward SM64 and S-EM6, the designers chose a new route with a more U-shaped signature for the EM32 and Velvet. And they didn’t stray far for this one. In fact, its signature bares so much resemblance to the Velvet, it can be considered more or less a direct (vertical) upgrade. ES stuck with the same type of signature, while improving its technical capabilities. What remained was the dynamic signature with exciting treble; but while the Velvet has a very pronounced U-shape, the S-EM9 has a more balanced tuning with an improved midrange that equally captures the spotlight.
 
Bass
The sub-bass has a nice punch, and hits with good depth. Not to the extent to call it bassy, but very satisfying for most and suitable for bass heavy genres. ES stepped up the quality, for bass has good detail and excellent control. This is also reflected in its quick speed, which matches its dynamic signature. Bass decay is relatively quick, in accordance with it being a BA driver. The mid-bass is fairly neutral and clean with a slightly warm tone; overall the S-EM9’s punch comes from a good balance between the sub- and mid-bass, without any bloat.
 
Mids
The S-EM9’s midrange is very clear, there is no leak or veil from the mid-bass. It doesn’t have a great deal of warmth, either inherently or from the mid-bass, which gives a very clean background with a lot of air between the instruments - separation is outstanding. The S-EM9’s lower midrange is a bit less prominent, with the center mids being close to neutral. In accordance, average note thickness is slightly smaller in comparison to ciems as the Solar or Zeus. The upper midrange is forward and very detailed, with great transparency. This allows female vocals to really shine on the S-EM9 - the vibrato in Edith Piaf’s voice in the French classic “Non Je Ne Regrette Rien” is displayed with great accuracy, while the trumpets and violins have a realistic tone with nice shimmer.
 
Treble
You know how people describe the bass of the Noble K10 or Rhapsodio Solar for instance as ‘authoritative when called upon' - this is how I would describe the S-EM9's treble. The S-EM9's treble is slightly forward compared to the midrange, but overall finding a great balance. High hats are a bit more present, while refraining from being sharp or splashy. A nice example is Air’s “Run”, an ambient, dreamy track. The synthetic lower treble tones sounds very clear due to the great transparency, while still having a very soft and smooth tone. However when the treble is 'called upon' in treble oriented music such as rock with fast guitars or genres that use a lot of synthetic treble such as pop, EDM or hip hop, the S-EM9's treble comes to life and displays a great sense of speed, energy and sparkle, while still remaining incredibly linear and smooth. The surplus of energy and sparkle invites you to turn up the volume, like stepping on the gas of a fast car. But this is only possible because of the linearity of the treble; there are no nasty peaks making for a very smooth sound. An impossible mix, that ES has somehow managed to concoct. The treble has good extension, which gives it a very airy sound up top and contributes to a high level of transparency and resolution.
 
Soundstage and Dynamics
One of the S-EM9’s most outstanding qualities however, is its dynamics. The S-EM9 has a great sense of rhythm; the onset of notes is very articulate, with a quick but smooth attack. Decay is also quick, but there is a well timed sustain; meaning tone on and offset might be quick, notes don’t rapidly vanish in thin air, but have proper articulation. This is demonstrated in one of my favorite electro tracks: Justice’s “Phantom”. It’s how I like to picture computers would sound like if you could here them communicate. Basically it sounds like your brain is being electrocuted, but you know, in a good way. With the S-EM9 the sustained longer tone lights up your headspace, reflecting a great deal of energy; while the rapidly shifting of tones between back and front and left and right display a showcase of quick dynamics – a quick and accurate tonal onset and shift of music around the headspace, as well detail in fast nuances of the electronic tones.
 
Overall soundstage size is slightly below average, but it has good height and depth in very even proportions. Very clearly, a tradeoff has been made for quality – it’s not about size, it’s what you do with it. The imaging within the soundstage is pinpoint precise; and among the absolute best I have ever heard. Instruments fan out evenly in all directions, while layering is excellent. In comparison to other TOTL’s the soundstage might a bit on the intimate side; but it gives the feeling of a recording studio, or a cockpit - there’s total oversight and control. If you think of soundstage as a 3D room you’re looking at, you’re normally standing a bit far away and see all the different elements with varying precision. With the S-EM9 the room might be slightly smaller, but you’re standing with your face over it, and can see every element with incredible precision; which different elements there are, how clear they sound and how fast they’re moving. Like looking closely at an ant farm from above. The S-EM9’s soundstage works best with a different, more intent focus while listening. If you sit and listen critically, you realize you’re hearing more.
 

The S-EM9 utilizes a handmade acrylic shell 
 
Select Comparisons
 
EarSonics Velvet ($700)
The Velvet and S-EM9 share a similar signature with punchy bass and forward, energetic treble. But the Velvet has a more pronounced U-shape: the midrange is more distant with less clarity, while treble is more prominent. This combination of pushed back mids with enhanced treble makes the Velvet sound brighter, while having a thinner midrange. The S-EM9 brings more balance, with a closer, and more detailed and lively midrange. While they share a roughly similar amount of overall bass quantity, the S-EM9’s sub-bass hits deeper, with more control and precision. They both share a great deal of treble energy as a key characteristic, but the S-EM9 makes a big step up in smoothness and transparency, while retaining the amount of sparkle. The S-EM9 also has far better extension, giving it more air and clarity. Simply put, the treble sounds a great deal more refined, while still having the exciting characteristics of the Velvet’s: sparkle and energy.
 
The one area where the Velvet has the upper hand, is soundstage width, giving it a more spacious sound. The S-EM9’s soundstage however is both taller and deeper, and more importantly, improves greatly on imaging. The S-EM9 also steps up in dynamics and note articulation; separate notes are more clearly defined, especially in fast succession. The S-EM9 is a Velvet come to age, matured in every aspect. While it retains a fun and exciting signature, its technical capabilities have improved to TOTL level.
 
EarSonics S-EM6 ($950)
The S-EM6 and S-EM9 are both still very recognizably from the same family, albeit with a different signature. The S-EM6 packs a powerful punch, but with a more prominent mid-bass that gives a warmer presentation to the midrange. The S-EM9’s sub-bass in turn hits deeper with more control. The S-EM6 has a more midforward signature; the lower and center mids are more prominent, while treble is smooth but attenuated. High hats for instance are far less prominent with the S-EM6. The S-EM9’s treble is more extended; which greatly improves the transparency and resolution. The S-EM6 has good midrange speed, but again, its treble is a great deal slower.
 
The S-EM6 has a somewhat similar soundstage width in the midrange, although the higher frequencies are presented wider. The S-EM9 has a deeper soundstage, and more precise imaging within the soundstage. Overall, the S-EM6 has a more laidback, smoother (non fatuiging) presentation centered around the midrange. The S-EM9 has a more forward, and technically superior presentation that finds more balance between the frequencies.
 

Left the S-EM6, right the Velvet, below the S-EM9. Despite their driver count, all 3 are very similar in size.
 
Rhapsodio Solar ($1550)
Both the S-EM9 and Solar share a signature with slightly enhanced bass and treble. But due to the cleaner mid-bass, the S-EM9 has more midrange transparency; the background is airier, while notes are slightly more transparant. The fuller midbass gives the Solar in turn a greater average note thickness. Note onset of the Solar and S-EM9 is equally smooth, but the Solar has a lengthier decay, giving a bit smoother musical presentation, but with less temporal accuracy. Not a technical difference in terms of better or worse, just in tuning. The Solar’s upper midrange is more enhanced, bringing vocals and guitars a bit more to attention, albeit from a more laidback presentation. Female vocals are closer with the S-EM9, but male vocals are a bit less deep in comparison.
 
An easier way to describe their difference without getting lost in the details; the Solar has slightly thicker, but slower notes. The S-EM9 in turn trumps the Solar with agility and precision. The S-EM9’s soundstage is smaller, but there is more air between the instruments, with slightly more precise imaging.
 
Empire Ears Apollo X ($1600)
Both Apollo and S-EM9 immediately impress with a TOTL level of refinement. They share a very clean and airy soundstage with excellent imaging, although Apollo’s is wider. This gives them a somewhat similar presentation. The S-EM9’s sub-bass hits slightly harder and deeper, while the Apollo has slightly more mid-bass. The Apollo has a more prominent lower midrange; and accordingly male vocals sound deeper, while the overall sound is fuller with thicker notes. The S-EM9 however has better resolution and transparency in the upper midrange; acoustics and female vocals have better definition. The S-EM9’s treble is tuned a bit more towards sparkle, Apollo’s towards smooth and non-fatuiging although both sound technically proficient with great speed and definition.
 
Overall the Apollo has a slightly smoother and wider presentation, with greater midrange density; the S-EM9 in turn a more dynamic presentation, tuned a bit more towards the higher frequencies resulting in greater transparency and upper midrange definition.
 

Left the Empire Ears Apollo X, right the Rhapsodio Solar, below the S-EM9.
 
Conclusion
The S-EM9 is a teenager in heart that puts on a suit everyday to go to work.  It has the energy, vigor and playfulness that reflects a youthful spirit; while having the audiophile properties to be taken serious among the big boys. The intention behind the design is very clear. It was built for one purpose only, the pure enjoyment of an engaging musical experience. It doesn’t make me want to do A/B comparisons with volume matching at a moderate level. No, the S-EM9 wants to be amped, and its volume turned up high.
 
It took me a while to realize why the slogan for the S-EM9 was “discover how the music was recorded”, because its signature doesn’t come across as completely neutral, nor does it appear as if its intention is to sound as neutral as possible in the first place. Overall, The S-EM9’s signature finds a great balance between punchy bass, a lively midrange and slightly enhanced treble. But the audiophile properties are showcased in its technical capabilities, the imaging and dynamics: the precise articulation and decay of notes, its speed and energy. From a pure technical perspective, the S-EM9 is among the absolute best I have heard. Its signature follows that need; notes might be slightly leaner, but the lighter tread is translated to agility, separation and precision. The S-EM9 is the Brazilian football star Ronaldo in his prime; his speed and agility made him one of the best strikers the game has seen. For the Americans, the featherweight boxing champion Floyd Mayweather Jr. might be a better description.
 
One of its most remarkable feats is that the S-EM9 makes music sound faster. The S-EM9 gets your toe tapping from the moment the music starts. Even when I’m listening to ambient, slow-paced music with acoustic guitars, I catch myself bobbing my head to the rhythm when I’m not paying attention. It makes the musicians sound technically better, as if their more skillfulled doppelgangers just stepped in to take over and show how it’s done. There’s more detail and precision in faster music, ‘in-between’ notes that tend to get lost with slower speed are more apparent, such as nuances in chords being struck or quick dynamic changes in electronic music. The treble contributes to the speed, high hats dictate the pace without sounding harsh or dominating the sound.
 
The same holds for its soundstage, while it is on the intimate side, the precise imaging and layering within that soundstage of the highest level. The balance is not only in the tuning of the frequency range, but in its combination with the dynamics and imaging. A delicate balance where every aspect of sound, speed, and audiovisual placement come together in harmony.  With audiophile or ‘reference’ precision as a result.
 
Somehow I can’t imagine Lil’ Wayne sitting in the studio after recording his latest track, suggesting the bass to be turned down a notch as it might cloud the midrange airiness. Or Motley Crue discussing the effect of treble roll off after 16 khz on the perception of microdetails in the recording. So I’ll add an extension to the slogan: Discover how the music was recorded.. by the artist - not the producer.
 

The S-EM9 was reviewed with standard cable. On display my cable of choice, a silver litz 8-strand.
 

Introduction
You know that feeling of waking up when you’re on holidays and opening up the window in the morning. Taking in a deep breath, and looking out over the countryside hills or the sea; some little sheep here and there, a couple of trees and in between: all that space.. That’s the AR6 in a nutshell. The soundstage might only be slightly above average in width - but the airiness between the instruments gives it a unique spacious feel.
 
Perfect Seal
You know back in the day - I mean like way back, hundreds of years ago - men had honest professions working with their hands. You’d go in training as a kid, and emerge a master blacksmith or woodworker in your late teens. A skillful artisan, that knows his trade. That’s the kind of guy Mike from Perfect Seal is. Or at least how I’d like to picture him in the spirit of the underdog, compared to the big established companies. Mike made his mark in the hearing aid business, but his main focus and interest has been reshelling and designing custom in ears. At the moment, Perfect Seal is still only one of the few companies worldwide that can work with both silicone and acrylic, as well as provide all kinds of hybrids with the two materials.
 
The current Perfect Seal lineup is the PS series, with models ranging from 2 – 8 BA drivers. It's aimed at both audiophiles and musicians. Perfect Seal also offers the Sportbud series for general music use in every day activities like working out, or working in the yard etc. But he’s taking a completely different direction with the ‘Ambiance’ series – geared more towards a reference tuning for audiophiles, although musicians will also enjoy them. The name couldn’t have been chosen better - the new line is devoted to a pleasant atmosphere, although each model will have a different ‘feel’ to it. Presenting the first model in the range: the 6 BA driver AR6.
 
Specifications
-6 BA drivers (1 low, 2 low/mid, 2 mid, 1 tweeter)
-5-way passive crossover
-4 soundbores
-Impedance: TBA
-Frequency range: TBA
-Price (acrylic/silicone): $950 / $1150
 

 
Impressions
Listening was done with a Hifiman 901S (minibox amp card). The reviewed AR6 is the acrylic model. The AR stands for ‘Ambiance Reference’, and I’d say it leans a bit closer to the first word than the second. While it’s not completely reference-tuned, there’s all the more ambiance. The AR6’ signature is neither particularly warm or bright, but is pretty neutral up until an upper midrange lift which gives it an overall pleasant and clear tonality.
 
But this is one of the rare cases where signature is secondary to a different feature: the soundstage. The AR6 was specifically designed for a wide and airy soundstage. The AR6’ soundstage is wider in width, than depth and height. Instruments and vocals diffuse out evenly in a half circle, creating a spread out but realistic soundstage. The clean mid-bass doesn’t interfere with the midrange, allowing a great deal of space and airiness between the instruments, and consequentially the instrument positioning and separation is outstanding. The AR6’ presentation is neither too forward or laidback, although the soundstage and instrument size can make the instruments positioning appear distant at times.
 
Bass
The sub-bass is fast, clean and precise, while hitting with good depth and control. The mid-bass’ tone is fairly neutral, with good detail, but a bit on the low side of impact. The mid-bass’ presentation does not interfere with the midrange, but does its work steadily in the background. Overall the AR6’s bass tone is very close to neutral, with good technical abilities.
 
Mids
The lower midrange is not very prominent, but this is where the designer’s intention becomes apparent: while it is not the fullest midrange, this provides a vast amount of space and airiness between the instruments. The center midrange has a neutral tone and is relatively clean. The upper midrange has a lift, which besides giving it a pleasant tonality provides a great deal of transparency and detail. Acoustics sound realistic and very inviting. Female vocals are clear and slightly forward while male vocals can sound a bit more distant due to the lower midrange dip. In accordance, average note thickness is on the lower side, although this in turn again contributes to the excellent separation. Try your best, and you will never be able to find a track that sounds congested. Overall, the midrange has good resolution, while the upper midrange lift gives it a nice tone as well as transparency.
 
Treble
The treble is clear, with good extension and sparkle. Its tone is a bit bright, with a hint of warmth. The AR6’ treble has good speed and decay, although the resolution can suffer with fast music. But the treble has good presence and energy, and sounds relatively smooth although there is a slight peak in the lower treble on occasion. As such it can lack a bit of refinement compared to TOTL’s, but overall the treble has all the important factors to sound exciting, while contributing to overall transparency.
 

 
The AR6’ standout trait is of course its soundstage and airiness. It’s second is its tone, marked by the upper midrange lift, and the clean and flat bass. The AR6 is the scout that goes ahead and climbs up high. It treads with light foot, but peers far around into the horizon. As such, the AR6 has qualities what will easily appeal to a large crowd. So how are these properties translated to music? I’m going off record here, as this is the part where it gets very subjective. In line with its name, I find myself reaching for ambient music: acoustics with beautiful female vocals, nice jazz where the transparency shines through or ambient electronic music because of the clear tones. Softer rock like Radiohead will also work wonderfully. While it has the tonality and treble sparkle for energetic electronic music, its bass is on the lighter side. The airiness and separation works as an ‘anti-congestant’ for rock music, although there is a tradeoff here for the average note thickness. But keep in mind opinions will differ as I have spoken to some that appreciate the soundstage presentation especially for rock or metal.
 
Select Comparisons
 

 
EarSonics Velvet 
The Velvet and AR6 share some key features: a wide spacious soundstage with a lift in the upper midrange that defines their tonality, and helps with detail retrieval. The AR6’ soundstage does have more depth and airiness. Their treble is more or less similar, both having a good deal of sparkle with the Velvet putting out more energy. This is partially due to the Velvet’s pronounced U-shape: the midrange is pushed back a great deal more, with the enhanced treble on the foreground. The AR6 finds more balance between the midrange and treble, and this is reflected in its soundstage: instruments and vocals diffuse out more evenly in all directions. Their biggest difference is in the bass department: The Velvet’s bass is significantly enhanced compared to the neutral AR6. So while they do share some similarities, the difference is in their presentation. The Velvet is the basshead iem, the AR6 the balanced ‘ambient’ one.
 
Rhapsodio Solar 
You could consider the AR6 a bit of a Solar ‘light’, as they share a somewhat similar tonality. Both have an upper midrange lift and slightly enhanced treble. But while the Solar’s bass is also clean and fast, it is a great deal more enhanced, specifically the mid-bass. This provides more size, fullness and warmth to the midrange, at the cost of soundstage width and airiness. Note sustain is longer with the Solar; notes linger a bit longer giving the Solar slightly smoother and more laidback presentation in the midrange. The AR6 has slightly more treble presence, although the Solar has better note articulation with faster notes. Concerning soundstage, the AR6’ is slightly wider, while the Solar’s is deeper. The AR6 and Solar share some similarities; specifically the upper midrange lift and slightly forward treble. But if I’d have to summarize their main difference in one sentence, it would be: bass-fueled fullness versus soundstage space and airiness, where only preference will determine the outcome.
 

 

This is a short review of a very special cable; the Rhapsodio “2.98” silver/gold OCC litz alloy 8-strand cable. The cable get its name from its relative high gold count of 2% (98% silver). This cable is without a doubt the most special cable I’ve ever heard – but just to be clear, I’m not saying it is by definition the best sounding cable; it just has a very different, and truly unique sound than a standard silver or silver/gold alloy cable. Most cables, especially silver cables, will generally speaking have a tighter bass providing a clear and open sound, with a cleaner background and more treble energy; usually giving a slight recess to the lower mids, basically giving a more V-shaped signature to an earphone. The 2.98 does something very different – for it is a truly midforward cable, which imposes a different effect on an iem’s signature.
 
Impressions
Listening is done with the Rhapsodio Solar, a 10BA driver ciem with a balanced signature with a full midrange, but enhanced bass and treble giving it a slightly more V-shaped signature compared to completely neutral (full review). With the standard silver-plated copper (SPC) cable, the Solar has a clear midrange with good size, and abundant treble sparkle with great energy. Bass is enhanced, but fast and clean.
 
With the 2.98, the mid-bass is slightly enhanced, but most of all more resolving. Overall bass impact increases, and hits with more authority. The midrange is inherently warm, though not particularly airy. The lower midrange gets more fill and size, and overall the midrange is slightly more forward. The warmth reduces the background clarity; it does not have a particularly clear background like you would expect from a silver cable. But its resolution is above average compared to standard silver cables, and uncovers more detail in the lower/mid midrange by means of definition rather than brightness. The upper midrange is slightly less enhanced, but a great deal smoother. Treble is articulate and detailed, though tonally the focus is on the midrange. 
 
The sound is overall fuller due to the greater lower/mid midrange presence and noticeable warmth; but less airy and sparkly up top. Notes are thick and carry a lot of weight, giving it more of an authoritative sound overall. This effects the soundstage accordingly; the standard V-shape which gives a monitor the perception of an airier, wider soundstage feels slightly reduced in width.
 
Ergonomics
Despite its 8 wires, the 2.98 8-strand is a very thin cable; a great deal thinner than the 8-strand cables I’ve had so far, even besting one of my favorite 4-strand cables, the Toxic Silver Widow, by a great deal (but that cable has pretty thick wires). Its Kevlar reinforced center makes it very supple. The cable is completely microphonic free, although I am personally never bothered by microphonics anyhow since I do my listening on the go (from my experience microphonics are worst in contact with hard surfaces like desks). But it is an important factor for many people to note.
 
Concluding thoughts
As I stated in the introduction, the 2.98 really is a very special piece of work. It has the unique ability to add some more body and warmth to a V-shaped monitor – I know most people don’t ‘believe’ in cables, but I don't think this is an exaggeration. It is best matched with an iem that has an excellent midrange, like the Rhapsodio Solar, Empire Ears Zeus or the Heir 8.A I had before. But even then, its sound will not be to everyone’s liking and this is very important to note. But those who like it, absolutely love it. Its warm, full sound with thick notes can bring the best out of certain genres, but will be less applicable to others. I alternate the Solar ever so often between the standard SPC and 2.98 cable, and will change my music accordingly. With the 2.98, I’ll listen to heavier or alternative rock; bands like Chevelle, Django Django, Beck or Soulwax if any of those is familiar to you. For some reason, it also sounds spectacular with reggae, so I’ll listen to classics as UB40 and Bob Marley. With the standard SPC cable, I will listen to classic rock where you prefer a more cleaner, airier sound with that nice sparkle on top, or EDM for instance. It’s hard to say if it is my favorite cable or the ‘personal best of all time’, but again, it’s without a doubt one of the most unique I’ve heard so far, and trust me – I’ve had a few.
 
Rhapsodio 2.98 silver/gold OCC litz
http://www.rhapsodio.com/products/cables/litz-series/
 
4-strand = $380
8-strand = $550
(silver alloy 3.5mm jack + $30)
 
Note: the cable reviewed was the 8-strand + silver jack.

EarWerkz was already a flourishing company with a respected lineup. But after the merger with Savvitek, Earwerkz has reborn from the ashes as Empire Ears. Everything about the company screams grandeur and ambition, from their company name to the model line up - this is a company heading somewhere. After the launch we were kept in suspense for a grand revealing. It happened to be their proudest feat. One that mirrors that ambition, and puts their money where their mouth is: the world’s first monitor with 14 BA drivers.

Specs
Drivers: 14 BA drivers (2 low, 6 mid, 6 high)
Design: 6 way, 5 point crossover, 4 sound bores
Impedance: TBA
Freq. response: TBA
Price: $2099


Zeus has gained its initial status and recognition primarily because of its 14 drivers. But there are many different drivers that differ in quality and size of course. Zeus utilizes 3 clusters of 4 very small drivers around 2 big bass drivers, and because of this design it remains within proportion for a multi BA TOTL. The Rhapsodio Solar for instance has 2 big bass drivers, 4 big mid drivers and 4 small treble drivers. Because of the 4 large mid drivers, it takes up more space requiring a larger housing. Due to the design choice with 12 smaller drivers the custom Zeus still has quite an average size, and I don’t think people with small ears need worry that it won’t fit (I have small ears myself). The only possible issue might be that the 4 bores take up a bit more space in the canal, but this is also well within proportion.



Impressions
Zeus is very transparent to the source as it doesn't utilize any dampers, resistors or filters to manipulate the frequencies, and its signature can vary accordingly. With the P1 (connected to Headstage Arrow 5P amp), Zeus has a warm background from a thicker midbass presentation, while treble is smoothed over a bit. With the 901S, Zeus has a clear background with a cleaner midbass presentation and relatively enhanced treble, and an overall more balanced signature.

Presentation
Zeus has an engaging, forward presentation with a somewhat midcentric signature: slightly enhanced bass and a very full midrange, topped off with refined treble with a more than adequate amount of sparkle to satisfy. The soundstage is quite wide, while also very tall and deep in good proportions. It wouldn’t suffice to say imaging is excellent, for it has a precision and 3D feel that reflects an incredible degree of technical engineering. Instrument position is very precise in the different layers spreading along the width and depth of the field, and together with the exceptionally high resolution provides a clear image of the instruments in space. For Zeus’ soundstage, picture an ancient Greek temple, built by mere mortals to show their proper respect. The vast surrounding Corinthian pillar formation is sturdy and tall, built with eye for detail and beauty. In the center a statue, cultivated by one of the masterful Greek sculptors. Several items are spread out throughout the hall, varying in size and form - each created with precision and dedication.

Tone onset has an accurate articulation; smooth and fast, with good sustain - notes tend to linger a bit. The combination of this smooth and lengthy decay with the high resolution helps to create a clear center image, while accentuating subtle effects of echo and reverberation – making them more present, while contributing to that sense of standing in a great hall. This resolving nature brings detail to the foreground, but from a warm background rather than an analytical or bright one. This reflects quality, as it is technically more challenging than simply turning the light up as a brighter signature would do.

Signature
Zeus’ bass is slightly north from neutral. With bass heavy music it is powerful, and slams with the authority one can expect from its name. Bass speed is about average, but has great detail. The sub-bass goes very deep, providing great depth in the soundstage. The mid-bass provides a powerful slam, and warmth and fullness to the lower mids. The lower midrange presence gives great size and power to the presentation. Rock ‘n roll guitars (think AC/DC) sound big and engaging, where a more neutral iem will miss that lower end extension, resulting in a relatively smaller size and different tonality. A fine example is Courtney Barnett’s “Small Poppies”, where she sings a duet with a beautifully tuned electric guitar. The guitar has a unique sound; much lower and deeper than a normal guitar, similar to the difference between a regular and alt violin. But to appreciate its signature, a significant lower midrange presence is required. The same holds for an instrument like the cello.

But where this midrange impresses most, and truly is one of the highlights of listening to Zeus, is male vocals. The Zeus is in its element with heartfelt songs like Chris Isaak’s “Wicked Game”, the Righteous Brother’s “Unchained Melody” or R.E.M’s “Everybody Hurts”. Songs where you can feel the heartbreak is sincere; not only by the lyrics, but the emotion behind the vocal. To tap into that pain, the anguish; the sound must come from deep - very deep. Zeus’ midrange provides exactly that: warm, full and clear, making male vocals sound incredibly deep and powerful. The note articulation with well timed sustain adds a certain calmness and confidence to the singer’s presentation.




But for the ultimate experience you need to go one level higher: singers like Andrea Bocelli – that’s where the magic happens. Because of the high resolution, you are captivated by a crystalized image of his performance: sound is being produced from deep within the chest; you can feel the air being released from the lungs. Subtle dynamic changes in his voice are accurately displayed: you can see the position of his mouth affecting the quantity and tone of the sound being produced. Beginning down the lower mids, extending to the upper midrange with unparalleled detail in nuances and smoothness. When opera singers like Bocelli perform, you can feel the effortless production of a high volume of sound, the ample power in reserve. A surplus of power, that is mirrored by Zeus’ technical ability and midrange. I never listened to the guy before, but Zeus’ midrange invites you to find the limits of what is possible, to seek how powerful and full a voice can truly sound.

The upper midrange sounds relatively neutral, up into the treble. In comparison to other iems as the Solar, S-EM9 and AR6, the upper midrange is less enhanced, so instruments like (acoustic) guitars or violins have less prominence and spotlight attention. Female vocals sound very smooth, and have a sensual undertone due to the inherent warmth of the lower/mid mids. The treble consists of a balance between a good amount of frivolous sparkle, but due the high level of control it remains polite and very linear. All in all, very refined. The treble has good speed, while treble energy reflects the choice for control and a smooth, non-fatiguing sound. A gentleman’s treble, without sounding dull. I can understand and appreciate the philosophy behind the design, as it adds to the overall smoothness of the presentation.

Zeus wasn’t designed to be as neutral of reference-tuned as possible – far from it. Zeus has a strong, and coloured personality. Because of the full midrange, Zeus sounds massive; tones are thick and carry a lot of weight, while treble sounds smooth and refined. This gives a very solid, full and weighty sound. But one of the general impressions is that Zeus’ value is not inherent to its signature. What makes Zeus special and unique is its presentation; the high resolution and 3D imaging. A certain fluency that results from an articulate tone production, in combination with a smooth note decay and precise dynamics: subtle changes in the articulation of a vocal or a chord. This combination of clarity and fluency has a mesmerising effect: a vocal will envelope you in its presentation, while the continuity and smoothness has a captivating but dreamy effect that drifts you off. While its signature might not be particularly airy, the instrument separation and air between the instruments is the best I've heard. Zeus projects a certain confidence and effortless, a subtle power that feels like it’s holding back but can be unleashed at any moment. A big American V8 engine going 40 mph, while it can easily do 200.

Select Comparisons
As god of the gods, Zeus doesn’t have to be the best at everything. He has other gods for that. We deliver a parcel by Fedex, he sends Hermes. But as their ruler, he must have power and authority. Zeus’ technical capabilities are outstanding such as note articulation, resolution and imaging. Being quite midforward, it has a strong but also unique character compared to others.



The god of wind and air: Perfect Seal AR6 ($950)
At less than half the price and less than half the drivers (6), the AR6 might seem out of place here. But because of a very different signature, the AR6 demonstrates the effect of design concerning signature, and its relation to soundstage. The AR6’ bass is linear, and relatively neutral compared to the bass of Zeus. The mid-bass is leaner, and creates a very spacious presentation. Not to say the midrange is recessed - the lower midrange just doesn’t get the fill from a more prominent mid-bass like Zeus. A lift in the upper midrange gives the AR6 a pleasant tonality, but Zeus has a much fuller sound; instruments are bigger and have more power, while vocals sound deeper.

But because the AR6 lacks lower midrange presence in combination with a lift in the lower treble, its soundstage is noticeably larger and airier; instruments fan out further in all directions, both in width and depth. The smaller midrange size makes them sound further in distance, similar to like an object in the distance is visually smaller. Zeus’ soundstage however is taller. The thick and full Zeus sounds like standing in a massive hall; with the AR6 you take a step outside to catch some air. The AR6’ treble is more forward, but also less controlled and can sound a bit splashy in comparison. Zeus not only sounds a lot fuller throughout the range with a more powerful slam and fuller midrange, its treble is also smoother and more refined.

The AR6 was specifically designed for its soundstage. Because of the clean mid-bass and distant lower mids, the size of the soundstage is vast and airy. Instruments have good focus and separation. The AR6 for instance performs outstanding in rock with fast guitars, where the Zeus can encounter resistance due the fuller presentation. But this gives the midrange power and size; notes are full and thick, while also a great deal smoother. The AR6 has a great separation of instruments due to its airiness and soundstage; Zeus impresses with its smooth presentation built on resolution and imaging.

The god of energy: EarSonics S-EM9 ($1490)
EarSonics is a French company with their own house sound; a focus on musicality and enjoyment, rather than going for a classic audiophile signature of being as neutral and revealing as possible. A very recognizable and audible signature that is present throughout their lineup; their iems are forgiving, engaging and emotive. EarSonics recently released a new flagship: the universal S-EM9 with a 3-way crossover design and 9 BA drivers. And with the S-EM9, they didn’t stray far from that philosophy.

The S-EM9 is fast, and precise. The attack is razorsharp and decay is quick, providing a great sense of pace. Both share great bass that is slightly enhanced. While they both have powerful sub-bass slam, Zeus hits with more authority due to its relatively enhanced mid-bass, while also having a more forward lower midrange. Compared to Zeus, the S-EM9’s treble is more forward and energetic, while still remaining controlled and smooth – a remarkable feat. The S-EM9 begs you to turn the volume higher and higher. High hats are slightly more pronounced, and dictate the sense of rythm. The S-EM9 is first and foremost engaging: the fast attack and decay, along with the energetic treble gets your toe tapping the moment the music speeds up - an absolute delight for fast-paced electronic music or rock.

But the roles are very different for guitar-based music and vocals, due to Zeus’ midforward signature. The midrange sounds full and powerful, and its performance here overshadows the S-EM9. The S-EM9’s mid-bass doesn’t give as much size to the lower midrange, affecting the size and depth of especially male vocals. As the upper midrange is more accentuated our friend Bocelli’s voice is now coming from the throat and mouth; the perception of ‘chest’ is far less tangible. While the S-EM9 has more sparkle and treble energy, Zeus has more size and power in the midrange: a calm but confident presentation.

The S-EM9’s soundstage is slightly more intimate, but has good proportions in width, height and depth. Zeus’ soundstage however is larger in all directions. Both the S-EM9 and Zeus share excellent imaging evenly diffused in all directions, but Zeus presents a higher quality of layering. While the localization of instruments is similar, Zeus’ resolution is higher, resulting in greater midrange transparency and instrument definition.

Zeus and S-EM9 are both outstanding flagships, with nothing in common other than that fact. The S-EM9 is U-shaped, bringing the upper midrange and treble to the foreground, while having a great sense of speed and rhythm. Zeus is midforward; and impresses with its full and authoritative sound, while being more resolving. Its soundstage is larger, and resolution is on a higher level. The S-EM9 is the vigorous teenager, Zeus the authoritative father figure.

God of Thunder: Rhapsodio Solar ($1550)
Rhapsodio made their entrance in top of the line territory with their first 10 BA driver monitor: the Solar, a warm and smooth operator with thick notes and a powerful bass slam that is not for the light-hearted!

Like Zeus, the Solar shares a punchy sub-bass that can hit with authority when called upon, although Zeus’ has better extension and can hit deeper. Both share excellent lower frequency resolution, although I’d give the edge to Zeus. The Solar’s mid-bass however is more enhanced, giving good size and especially warmth to the midrange; overall the Solar has a warmer atmosphere, which also gives it thicker notes compared to Zeus. The Solar excels with electric guitars, sounding full and powerful. Due to the boosted lower midrange, male vocals sound clear and full, but they do not have the depth and density of Zeus – this is Zeus’ territory, due to its forward center mids. In addition, Zeus’ upper midrange is also more forward bringing out more emotion and intimacy with vocals. The roles reverse again for the lower treble; the Solar’s significant peak here gives it a more spacious sound, although it is still less airy due to the warmer mid-bass presentation. But after the Solar’s lower treble peak Zeus catches up, and starts to trump the Solar on technical ability; better presence in the mid treble area contributes to Zeus’s greater transparency - acoustics and string instruments not only have a clearer, more realistic tone, but also more sparkle. Finally, Zeus has better treble extension; contributing to the significantly better resolution, especially in the midrange.

Both have an average to slightly above average soundstage width. The Solar has impressive soundstage depth and imaging; but Zeus adds a higher resolution and better layering. The Solar has a great sense of detail, which can be attributed to the lift in the upper midrange and treble. Zeus presents detail from its resolving nature, the high resolution and precise imaging.

Two TOTL’s that both impress in a very different way. Zeus' midforward signature, with a massive and tall soundstage, conveys power and size. The Solar’s midrange is more laidback in comparison, with thicker and warmer notes due to its warmer mid-bass. Zeus presents detail due to the high resolution, in a forward and very stimulating way. The Solar in turn has a warmer and smoother sound, compared to highly transparent and clear Zeus.



Conclusion
When you hear a company is launching the worlds first 14 BA driver, you’d automatically assume its aspiration is to sound as neutral and technically proficient as possible. A flat audiophile signature if you will. Not in this case; the designer has had a great deal of liberty to create his own version of a super iem. A choice that I both respect and appreciate, because Zeus has its very own character that sets it apart from the rest. I don’t know anything about the designer, but while listening to the Zeus I have gotten to know him a bit, and we bonded over music. For it is apparent that Zeus was designed with a certain preference in mind.

Zeus has a strong personality; a forward presentation, midcentric signature with great average note thickness, while its articulation remains incredibly smooth. This allows for a very rich and relaxing presentation, where you can truly be captivated by a center image with a great sense of detail, and still drift away on the soothing tonality.

But Zeus is a god of many faces. It might have a strong character, Zeus is very submissive to the source and will change accordingly. The combination with the P1 > Arrow is a magical one, as the full midrange impresses with its size, power and midrange density, while presenting detail from a warm environment based on technical ability and resolution. With male vocals like Paul Simon, Neil Diamond, or the Dire Straits, Zeus is an absolutely spectacular musical experience: like seeing a 3D movie the first time when Avatar hit the cinemas. It excels even more when listening to some of the greatest voices of our time: Frank Sinatra, Elvis Presley or Andrea Bocelli. I can confidently say that this is probably the best iem for male vocals out there. Zeus, the powerhouse. With the sidenote that it is heavily coloured, reflecting the equally midcentric and smoother signature of the P1. As such it absolutely excels with its midrange, but is a bit limited in its allround capabilities. How different with the 901S, where the warmth makes place for a clear background, quicker bass and increased treble presence; giving Zeus overall a more balanced, dynamic and forward signature. Zeus proudly boasts its technical capabilities and full range in a more upfront, aggressive manner. I had listed ‘signature varies with source’ as a con; but I have a hard time choosing which pairing I prefer, since they’re so different – in general I’ll reach for male vocals with the P1, and acoustics and female vocals with the 901S, as well as more dynamic music.

The million dollar question (or actually $2099 to be precise) that might be on a lot of people's mind is can you hear Zeus' price return in its sound. For Zeus costs roughly $500 more than your average TOTL ciem, which a lot of people might already find exorbitant. Zeus has its own signature, and this will ultimately determine someone’s preference. You can never say one signature is better than the other – that also holds for a completely neutral one. But what Zeus does have, is a natural authority over others - regardless of signature. It’s high resolution and resolving nature, total sense of control and linearity in the upper frequencies, subtle presentation of detail from a warm background and 3D imaging reveal a masterful piece of engineering. For me its signature is partially secondary; it could have been either U-shaped or midforward, and I would have appreciated it the same. When I hear Zeus, I hear something special – from the first moment I heard it. So I would say yes, you can.

The name ‘Zeus’ was a logical choice for a flagship of Greek inspired names. But there are parallels to the mighty god besides its status based on price and driver count. A female god like Athena just wouldn’t have fit - Zeus sounds serious, powerful and masculine. If the mighty god Zeus himself had a voice: rumbling, deep, and awe-inspiring – this is the monitor you’d want to hear it with.

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Scientific articles always start with an abstract, a brief summary of the content of the article. If I would have to write an abstract for this review, it would be this: . Holy cow, somebody call the Guinness book of records, I think I just wrote the worlds shortest abstract - word count 0. Dat bass.. The musical moderator of rhythm and pace, what’s not to love? And with the W500, there’s a whole lot to love.

Introduction
Every purchase starts with a story, and this one begins with Jelt2359’s “Fit For A Bat” flagship comparisons, where he compared 8 TOTL ciems: the JH13, LBD4.2, K10, A12, CT6E, 5-way ultimate, Harmony 8 pro, as well as the W500 AHMorph. If you haven’t read those, I strongly urge you to read them before, during or after this review. The big boys were all standing around talking smack about who would win this thing - the Adel A12 with 12 BA’s and new ADEL technology, the TOTL reference monitor SE 5-way Ultimate, and Head-Fi’s local superstar the K10 of course. In the meanwhile the relatively unknown Advanced AcousticWerkes (AAW) W500 sat patiently in the corner with its mouth shut, waiting for the games to begin. Spoiler alert – it ended second, snuggled in nicely between the A12 and SE 5-way ultimate, both costing almost twice as much. Even at second place, the W500 felt like the moral winner due to its affordable price.

I decided to take the plunge and contacted Null Audio. They were very friendly along the way and come highly recommended. Good customer service is not always a given in this industry. I placed my design for a red shell with custom design faceplate and waited anxiously for a couple of weeks.

When it arrived, the W500 and I got off on the wrong foot – repeatedly. It started with the design: I had gambled, and failed. Not AAW’s fault to be clear, I lacked experience with custom prints and didn’t know how it would turn out. No biggie, we live and we learn. Time to fire up some music! Amp up the bass, select an awesome EDM track, and let’s go! *phiiet* *phiiit* *phiiieet* what the hell?? Is this the acclaimed bass I’ve been waiting for!? Turns out it was on its ‘dyanamic driver completely off’ setting, confirming the adjustable settings work. Switching it to its intermediate position fixed that, and its stunning bass revealed itself. But the tonality was still off. I had a beautiful silver 8-strand cable waiting for it, only to learn that the W500 does not take kindly on silver. It has a much more natural tone with copper, so I’ve being using Null Audio’s Vitesse copper 8-strand. But after all of this was remedied and the smoke cleared, I was finally ready to go and was impressed by the instrument size and display within the soundstage – and again - that bass.


Some beautiful examples from the AAW website

Impressions
Since it’s become known for its great bass, one might automatically assume that it has a ‘fun’ type of V-shaped tuning. But as mentioned in its name, the W500 is engineered for reference tuning – it just happens to have great, hard-hitting bass as well. So its signature is more or less flat across the frequency range. It has a slightly prominent midrange while its treble is not very forward, giving it a more of a relaxed warm tonality; it is not so much intended as a particularly ‘sparkly’ monitor.

The W500’s presentation is detailed, without being detail-oriented. A detail-oriented monitor will present its detail either by an overall brighter sound, or high level of transparency or resolution. The W500 instead presents a high level of detail by being relatively flat across the frequency range, so no specific frequencies repress each other, as well as its imaging. While resolution might not be particularly high, there is a tradeoff for note thickness. Because of the rather thick note impact, instruments have good size. They’re spread out evenly in front of you in a relatively flat half circle; the soundstage is wide, but not as deep – reminiscent of sitting on the front row of the cinema. Just to be clear - it’s not shallow either. Layering is of high quality. The percussions play neatly at the back, fired on by the pounding of the sub-bass, while the vocals are singing neatly in the middle with the guitars laid out before them. Imaging within the soundstage is top notch: instruments are clearly located in space, and the presentation gives a good sense that the instruments are pointing towards you, especially in the extremities (in the width) of the soundstage.

Bass
Much has been said and written about the W500’s bass. AAW developed their own 9mm dynamic driver in house, and with great success. The bass is punchy and well defined - rapid bursts hit like a machine gun. In overall quantity the W500 is definitely north from neutral, while staying behind in mid bass quantity of more bassy multi BA iems like the Velvet and Solar. But the sub-bass hits deep.. The mid-bass punch gives the W500 a bit of its warm tonality, which also comes at the slight cost of airiness between the instruments.

Mids
The lower midrange sounds thick, and receives warmth from the mid-bass punches which contributes to its full sound and instrument size. In the upper midrange there is a certain brightness – I’m guessing it was either tuned this way to provide more detail, or possibly to give the midrange more clarity to prevent it from sounding dull. While it succeeds in adding more sparkle, it sometimes comes at the cost of smoothness in the presentation resulting in a bit of harshness.

Treble
As mentioned, treble is not very forward and based on personal reference can be considered laidback. While it has good extension, treble sparkle and energy is about average and speed is a bit on the slower side. I would summarize it as follows: overall it sounds engaging, without being very energetic.

Comparisons

EarSonics Velvet
With its 3 big BA drivers and $370 cheaper price, it might appear as if these 2 iems have very little in common, and besides the Velvet is also a universal. But they share one important commonality: even though it is reference-tuned, the W500 is gaining status as a basshead iem due to its hard-hitting bass. The Velvet in its own right is a true basshead iem. Both have great bass, but due its big BA bass driver the Velvet produces more overall quantity with less control, while the W500 hits harder with more depth and better texture due to the dynamic driver. Their signatures differ dramatically. The Velvet has a pronounced U-shape, with forward treble and laidback mids. While mids are not recessed, instruments and vocals sound relatively distant and small in size compared to the W500. The Velvet however wins on smoothness, resulting in softer tones. Looking at treble their roles reverse: the Velvet has forward, energetic treble compared to the more laidback W500. While the W500’s mids have more clarity, the Velvet’s treble has more sparkle. Translated to music, the Velvet takes a step back for instrument-based music and vocals, but it comes to life with pop, hip hop or rock with energetic fast guitars. Looking specifically at EDM, the Velvet performs better for melody-based music relying on treble, while the W500 might perform better at darker genres like minimal techno or drum and bass. The Velvet is a great deal more forgiving, and its U-shaped signature functions as an EQ by filtering out sound in the midrange, which contributes to a smoother sound with good sense of air and separation between instruments. The W500 is more balanced throughout the frequency range, and therefore produces a greater deal of detail in the midrange. Overall this contributes to the sense of more information being presented.

Rhapsodio RTi2
The RTi2 with two dynamic drivers – again a very different design and signature. While it shares having a dynamic driver for bass with the W500, it shares a U-shaped signature with the Velvet. Due to its dynamic driver, the RTi’s bass has nice texture. It has more overall quantity than the W500, but its mid-bass hump also affects the overall signature more. The upper bass gives instruments as electric guitars good size, but also makes it sounds a bit warm and bassy. The W500’s sub-bass hits harder, but is also cleaner. The RTi2 laidback and less prominent mids than the W500, while having more forward and faster treble. Fast electric guitars have better definition and sound more exciting, but overall the W500 sounds more balanced, with cleaner bass. In comparison the RTi2 has a pronounced U-shape, with its prominent bass and forward treble.

Rhapsodio Solar
Similar to various other TOTL monitors out there, the Solar utilizes a 10 BA driver design and is priced significantly higher than the W500. It has a clear and natural sound with just a hint of warmth, and a slightly enhanced upper midrange and treble that gives it a beautiful tonality. Its bass is elevated but relatively clean and fast. The W500’s sub-bass hits harder with better texture, while the Solar has more mid-bass presence and overall quantity. Both have a full sounding midrange with great instrument size, but the Solar has a greater resolution, more airiness, clarity and smoothness in the midrange due to its dedicated 4 mid BA drivers. Center vocals on the other hand are presented slightly closer to the listener with the W500. While they match each other for treble energy, the Solar adds more sparkle and smoothness up top. The W500’s imaging is a hair better, giving a better sense of the instruments positioning towards you, while the Solar's soundstage has more depth.

Conclusion
Previous reviews have already mentioned the W500 AHMorph is a very capable monitor competing with TOTL ciems above its pricerange. The in-house designed bass driver is of a high caliber, and positively influences the soundstage and imaging. The W500 has a full sounding and warm midrange, but there is a bit of funkiness going on in the upper midrange. The brighter notes add clarity and liveliness to the presentation. But at times this can come at the slight cost of smoothness as it puts some stress on the tonal presentation. This is a minor issue, but the W500 is sensitive to bad recordings. When faced with lower quality, the slight coloration and brightness in the upper midrange of the W500 can become amplified, resulting in a bit of a metallic and harsh sound while some sibilance can be detected. This also occurs when using silver cables as mentioned in the introduction, resulting in the W500’s stronger preference for smooth copper cables. But rest assured - this is a sidenote and will not be an issue for most, only listeners that prioritize a smooth presentation.

With their changeable hybrid design, AAW have created a reference-tuned iem with impactful yet clean bass that is steadily gaining legendary status. With its allround signature and excellent imaging, it will please a lot of people with a wide variety of music - not in the last part to that addictive bass.

I am a cable enthusiast, which is pretty much the Head-Fi equivalent of proclaiming I’m a Jehova’s witness or Scientologist. My hearing is decent, but by no means extremely sensitive. Which is why I am till this day baffled that cables remain such a controversy on the forum. Cables can sound midforward or V-shaped, slow or ‘analogue’ versus quick, have more or less controlled bass and vary between cold or warm. Each cable has its own personality – similar to iems or daps.
 
I recently purchased an Advanced AcousticWerkes W500 AHMorph via Null Audio, a Singapore-based retailer for a variety of prominent Asian ciem brands such as Rooth, AAW and Hidition. I experienced the customer service of Null Audio as very responsive and friendly, which is not a given in this industry. They’ve been making cables for quite a while, and provide the standard cable for the AAW W500 AHMorph that I recently purchased via them. Which is incidentally how I came across their Vitesse Silver Cryo 8-strand: I am a sucker for 8-strand silvers and couldn’t resist at the price they were offering it for. A standard quality silver cable usually goes for around $300. And that’s a 4-strand; add another 2 to 300 dollars for an 8-braid. In comparison, this cable is an absolute steal at $274. 
 
Impressions
Most listening is done with the EarSonics Velvet, so I’ll compare the Vitesse with the standard provided EarSonics cable. I’ll start by a classic stereotype of silver cables: they sound bright, cold or analytical. This is not the case with the Vitesse; it sounds clear, without sounding bright. Brightness results from an overrepresentation of the higher frequencies, but most silver cables have long departed from this. I’ve had a lot of quality silver cables and the only one I found to be overly bright was the Whiplash TWag V2 (although I’ve heard great things about the V3). The Vitesse sounds very balanced across the frequency range. The EarSonics copper cable sounds warmer, but also muddier and more unclear especially in the midrange. Mids have a bit more presence with the Vitesse, sounding a bit more forward. The Vitesse provides more clarity, although it retains some warmth; from my experience 8-strand silver cables generally sound warmer than their 4-strand counterparts. Therefore it doesn’t sound analytical, but also not detail-oriented for that matter. Instead, it has a general tendency to smooth over sound, especially in the treble; compared to other silver cables it is more forgiving for fast-played electric guitars that can sound spikey for example. The onset of tones is fluent, rather than fast and sharp. Bass is round and impactful, and has more definition compared to the standard EarSonics cable.
 
A few comparisons with other silver (alloy) cables to further help distinguish its sound.
 
Rhapsodio Silver Litz ($300)
The Rhapsodio cable shares a similar balanced presentation across the frequency range, but has a higher resolution; the background is blacker and instruments are sharper defined. However it is also colder, and sacrifices warmth for precision. The Vitesse silver has a more allround pleasant tonality, sounding noticeably warmer in comparison. Although instruments might be slightly lesser defined, the Vitesse provides a thicker note impact and smoother tonality.
 
Toxic Cables Silver Widow (1% gold) OCC Litz ($325)
The Silver Widow has a faster attack; the onset of tones is quick and precise. The Silver Widow is more detailed in the upper midrange and treble, but at the cost of a slightly recessed lower midrange making it more V-shaped in comparison to the Vitesse. While the top end of electric guitars is better defined with the Silver Widow, they can also sound more edgy and fatuiging. The Silver Widow’s bass is more punchy, while the Vitesse slams with more authority.
 
Rhapsodio Luna Pure Silver 8-strand ($500)
The Luna has a clearer background, while sharing a similar light tendency towards warmth. Both cables have a thicker tone presentation, but the Luna pulls ahead with a clearer background enabling better tonal definition within the presentation. The Luna also provides a more powerful punch from the bass, although the Vitesse’s doesn’t fall far behind.
 
Rhapsodio 2.98 Silver/Gold (2% gold) Litz 8-strand ($550)
The 2.98 cables sounds noticeably warmer, and is the warmest of these cables, while simultaneously having the most detailed midrange and lower midrange presence. The Vitesse sounds clearer, but the 2.98 has a higher resolution resulting in better instrument definition. The 2.98 comes off as analogue, presenting tones a bit more laidback in comparison to the Vitesse. The two cables share the same round, authoritative bass impact.
 
Conclusion
The Vitesse Silver has a clearer sound compared to a standard copper cable, while retaining a slightly warm sound giving it a very pleasant signature. It is less detail-oriented than higher priced silver litz cables, but instead presents a very smooth tonality that can eliminate treble harshness. Its bass is rounded and defined. More importantly, its price to quality ratio is unbeatable, offering a 8-strand silver for an affordable price. An inviting step into the world of upgrade cables!

A short while back Rhapsodio launched two new flagships: the 10 BA, 5 way crossover Solar which I recently reviewed here, and more recently the RTi2; successor to their former flagship, the RTi1. “RTi” standing for ‘Reference Titanium’, referring to the 8mm titanium dynamic driver developed in-house by Rhapsodio. The ‘2’ however not only indicates it’s the sequel of the Rti1; it also sports a second dynamic driver built in the same driver shaft.
 
Specs
-MRSP (custom): $1200
-Double dynamic driver design
-Frequency response: 20 – 20,000 Hz
-Impedance: 16 ohm
www.rhapsodio.com
www.facebook.com/rhapsodiohk
 

 
For this review I’ll be mainly comparing the RTi2 with its predecessor, the RTi1, to provide a baseline for comparison of its sound, but also my impression of the intention of its design. Please note that I’m going off memory concerning the RTi1 though since I previously owned it but sold it off for certain reasons I will come back to later on.
 
RTi1
The RTi1 share some similarities with Sennheiser’s flagship iem, the IE800. Both are single dynamic driver designs and have somewhat similar signatures. The RTi1 has till date the most clearest and precise upper midrange I have heard, that can rival most multi BA TOTL iems in beauty and precision. Although the treble can border on hot, it portrays similar beauty. While its soundstage is slightly narrower than top tier iems, imaging within the soundstage is pinpoint precise. The RTi1 is described as a “detail monster” on the Rhapsodio website and rightly so, the effortless presentation allows you to pick up on fast dynamics and transient sounds. But more impressive is detail in the form of subtle nuances in how tones are reproduced: the precision with which you can hear the reverberation of a chord of an acoustic guitar being struck, or a silent breath before a vocal sets in – it all provides a feeling of ‘enhanced realism’ the sound is more precise and beautiful than what you’re used to hearing. Especially female vocals sound mesmerizing. If I had to pick a song that represents the RTi1, it would be something from Alela Diane, like “To Be Still”. Three guitars that are gently plucked sound like glistening diamonds in the sun, with Alela’s voice sounding clear like an angel. I don’t listen to much unplugged music, but the RTi1 made me want to listen to violins, acoustic guitars and the sort. Simply because acoustic instruments sound so realistic, it feels like you can touch them while they are being played before you.
 
And here comes the ‘but’ – The RTi1 sounds like it’s tuned from the top down. As beautiful and clear as it is, the relatively more pronounced upper midrange that extends on up to the treble comes at the cost of the lower midrange and the bass. Take a look at the graph provided by Rhapsodio on their website. 
 

 
So what you see is that the peak starts rising from 3 Khz on up – the sweet spot for vocals and the upper end of a lot of instruments. The dip below 2 Khz however affects the bottom end of electric guitars and male vocals for instance. See, the peak indicates that certain frequencies will be reproduced louder, and consequentially other frequencies are, relatively speaking, silenced, resulting in a thinner sound: electric guitars sound small in audiovisual proportions. What this basically comes down to is that the RTi1 is a specialist; it is the best iem I’ve heard for female vocals and acoustic instruments. If you listen to folk or singer/songwriter type music, classical or jazz, the RTi1 would still be my ‘endgame’ recommendation. But it is clearly not in its element for rock, while it lacks the bass impact for electronic-based music. At the time, its lack of allround capability was my reason for selling. Now that I have multiple and very different iems I would have appreciated it more; with a varied collection a specialist as the RTi1 increases in value.
 
RTi2
For this review I’m listening with a Cowon P1 connected to a Headstage Arrow 5P amp. The standard silver-plated copper has the look and feel of an upgrade cable, the handwoven 4-braid is thicker and sturdier than most provided cables. However, most listening was done with the Rhapsodio Silver Litz cable. The reason for this is, that besides that it significantly improves the SQ, the RTi2 was also tuned with the Silver Litz cable in mind. And it makes an excellent combination. The Silver Litz is a fairly neutral, transparent cable. The RTi2 with SPC cable can be considered warm, dark and somewhat bassy. It has good speed and definition. With the silver cable it is a great deal colder, but the background is blacker - improving the space between instruments. Without the Silver Litz the bass has a less pronounced delicious and addictive ‘round’ feel to it, but still has good texture and impact. The Silver Litz also makes the RTi2 more allround. Tones are tighter and better defined, making the RTi2 sound nice for rock and EDM – which quite frankly shattered my expectations based on their former flagship the RTi1. For now it suffices to say the RTi2 and Silver Litz cable are a match made in – well, in Rhapsodio’s studio, but you get my point. A sidenote is that the cable is not completely free of microphonics, compared to the standard silver-plated copper.
 
So, finally without further adue: the sound. My first impression of the RTi2 was that Rhapsodio had simply added a second driver that was tuned from the bottom up, to compensate and balance out the sound. My main issue with the RTi1 was its thinner sound. The imaging was precise, and the focus of instruments was razor sharp: the edges of instruments were clearly defined in space. The RTi1 has a pronounced upper midrange. Like the Solar, it sounds like it makes music more beautiful than it is – like photoshopping an already foxy lady. But the disproportionate ratio between the upper and lower midrange reduces the total quantity of perceived sound. The RTi2 sounds full, warm and dark. It doesn’t aim at enhanced beauty. Instead it sounds realistic, and more non-fatuiging, although a slight peak around 5-7 Khz gives it a lively edge. Electric guitars have size and power, while retaining that precise definition. This results from the RTi2 being more balanced throughout the whole spectrum, up until the treble peak. This makes electric guitars for instance sound more forward then the Solar, but also improves their definition. In tracks with faster guitars iems with a mid centric sound signature are more easily prone to congestion. But overall, the RTi2 comes much closer at approaching the flat frequency of reference sound, as if it’s making a play for the ‘R’ in its name. The RTi2 sounds more serious than its predecessor. And that bass.. I’ve mentioned it before and I’ll probably mention it again. I just love that punch of a dynamic driver. I tend to leave my Arrow’s bass setting on I with the RTi2, but I imagine most people will be satisfied with its ouput. But the RTi2 really discerns itself from the hoard with its high resolution sound. Try to imagine a visualization of how you hear different components of a song – the guitar, vocals, etc. With the RTi2 the different components have more and smaller pixels – similar to watching high definition video. Tones are clear and precise, and have superior definition compared to TOTL, multi BA iems.  
 
For instance, the RTi2’s treble peak gives it some similarities with the EarSonics Velvet’s U-shaped signature since on both treble is bit more forward, although the Velvet’s mids are pushed back further. While the Velvet has a thick note impact, notes are diffuse. This is where the high resolution of the RTi2 comes in to play; in comparison the Velvet’s tones are thick, but consist of larger pixels. With the RTi2, guitars and tones are precise and highly defined, and vocals sound clear and realistic.
 

 
Conclusion
The RTi1, RTi2 and Solar each share separate similarities. Both the RTi1 and Solar share a more pronounced, beautiful upper midrange. In fact they can be viewed as following the same philosophy although with it's 10 BA drivers the Solar provides a much fuller sound and stronger bass. The Solar and RTi2 share a nice overall full sound compared to the RTi1, but are overall the most different from the three. But while the RTi1 and RTi2 share a precise, clear and highly detailed midrange, Rhapsodio’s new dynamic driver flagship has gone a different direction from its predecessor. The RTi1 has incredible strengths - that divine upper midrange and treble - but also weaknesses: a thinner sound, and relatively bass light. With the implementation of a second dynamic driver, the RTi2 fixes those issues: it sounds full and provides a powerful punch, while widening the soundstage. This makes the RTi2 more allround for different genres; I switch from rock to easy listening, and absolutely love it for EDM. When playing electronic music it sounds dark and somewhat analogue (although the Cowon’s signature is also contributing to this) providing a very different sound what I’m used to with the Velvet and Solar. It is much flatter, more balanced, than the RTi1 since the upper midrange is less pronounced. This provides very relaxing, non-fatuiging listen, but fans of the RTi1’s upper midrange should be aware that the two are more different than similar, which is probably why the RTi1 is still being sold besides the RTi2. The RTi2 doesn't have the same level of midrange transparency or treble extension as the RTi1. Their similarities lie in the high definition presentation of sound, complimentary to the high tech 8mm titanium driver. The RTi2 is very revealing, but also more dependent on high quality recordings than my other iems, which I think is reflected in its relatively low impedance of 16 ohm. But that fits the picture; with a black background, high definition portrayal of tones oozing with detail and nuance, and a neutral, balanced sound, Rhapsodio presents their high resolution iem: the RTi2.

Introduction
Ever thought of what your perfect signature for an iem is, if you had to specify it as accurate as possible? I was once discussing a custom iem project with one of our local ciem makers, and he asked to list my preference for a sound. I told him I wanted bass that was as powerful as possible, while remaining fast and clean as it shouldn't distort the rest of the frequency. A full sounding midrange like the Heir 8.A was an absolute must, but with more sparkle and airiness up top. Unfortunately we did not proceed with the project, and a few months later I decided to gamble on a relatively unknown ciem based on limited information available: the Solar, by a small company called Rhapsodio.
 
Rhapsodio is a boutique company based in Hong Kong, that recently celebrated their 3 year anniversary. The two owners Sammy and Sam are passionate about their craft, constantly experimenting with new innovative designs and improving their products. Rhapsodio was the first company for instance to introduce a hybrid design encorporating two dynamic drivers, a while back. Despite their high quality products and satisfied customers, they never managed to make that final ascension to the top of the audiophile community. With two new flagship models, the Rti2 sporting two dynamic drivers and the Solar with ten balanced armature drivers, as well as a new line of upgrade cables, Rhapsodio has come storming again in a fresh attempt to win over the audiophile community.
 

 
The Solar
-10 balanced armature drivers (2 bass, 4 mid, 2 high and 2 tweeters)
-Frequency response: 20 – 20,000 Hz
-Impedance: 26 ohm
-MRSP (custom): $1550
http://www.rhapsodio.com
 
Sound impressions
For this review I’m listening with a Cowon P1 connected to a Headstage Arrow 5TX. The Cowon has a fairly neutral presentation, with smooth tonality. The 5TX is also neutral, but provides a slight increase in tone definition and separation, and widens the soundstage by placing instruments a step back from the listener. It can also boost bass significantly while remaining nice and punchy. Most listening was done with the provided Copper Litz cable. -edit- note, this is a different cable than the current standard cable, the Pandora SPC. The Pandora is warmer, and fuller sounding; while the Copper Litz has slightly leaner notes with more treble sparkle.
 
Overall, the Solar has a clean and natural presentation. The 4 BA drivers dedicated to the mids provide a solid foundation for a full and lively midrange, with nice thick note impact and clear, beautiful treble. Its signature is best described as natural, in a lively and colorful way. Soundstage width is not more than average compared to other top tier iems, but depth perception and layering is excellent. The precision with which you can hear the different rows of instruments is uncanny. Take the Eagles’ classic hit “Hotel California”. The song starts with the lead guitar presented close and intimate to the listener. The arrangement becomes more enveloping with guitars chiming in to the left and right, topped of by a drum to the right announcing the vocals are about to set in. Instrument separation is spot on - close your eyes and you can identify each instrument from the moment it sets in, as well as the distance between the guitars in the front to the vocals and guitars in the back. Depth perception and separation within the soundstage does not rely on subtle cues that required trained ears - I played the track to a non-audiophile friend that can get a decent fit. She was shocked by the accuracy of the 3D presentation, besides the beautiful tonality of course.
 
Bass
The Solar’s bass is fast, tight, and controlled. The high level of control prevents it from leaking to the mids, contributing to the overall clean sound. The bass is not ever present such as with the 8.A and Velvet, but comes with authority when called upon. While I wouldn’t consider the Solar bassy, quantity is definitely more than adequate for most – even for a basshead as myself. It provides ample punch for bass heavy genres as hardcore, hardstyle or hip hop. But its speed is its most remarkable feat. Even with rapid bursts of bass, the definition from the first to the last tone remains intact. Partially because bass decay is rather quick; the bass does not linger for any more time than necessary.
 
Mids
Ah, that gorgeous midrange. The Solar’s mids are full, clear and colorful. Now what I mean with colorful is that compared to other iems, it’s like peeling off that plastic protector from a new smartphone. It looked great before, until you realize what you’d been missing. The lower midrange provides that bottom end extension to fill up those classic rock ‘n roll guitars as in AC/DC’s “Who Made Who” (wait for the second guitar to kick in!), creating that nice full sound. It also contributes to the depth required for male voices. Consider Fink’s “Pilgrim”. The song starts with the drumming chords of two guitars, portraying a sense of urgency. The chords being struck should not only be heard, but felt. The vocal sounds deep, providing the perception that sound is being produced from the throat. A lacking midrange will miss that quality, appearing as sound comes only from the mouth. But the upper midrange is where the Solar really shines, especially higher pitched guitars like Mark Knopfler playing away on his Fender Stratocaster in “Sultans of Swing”, or Slash playing one of those heavenly solos in pretty much any Guns ‘n Roses track – this is how an electric guitar should sound: full bodied, clear, and extending smoothly up in to the treble. Vocals sound well defined and realistic with just a hint of warmth to bring out emotion, while the clarity helps female vocals to really shine.
 
Treble
The Solar’s treble keeps on extending up to the point you think it might break, but never does. The upper midrange extends on fluently to the treble, contributing to that overall clear and beautiful sound. As with the mids, rather than thin, the treble has a thicker presentation – violins sound beautiful and full, but less sharp and precise in their definition – emotive, rather than analytical. For synthetic treble however the thicker note presentation contributes to a more engaging experience, where you need that nice note impact to feel the music.
 
Overall, the Solar sounds very lively and has the right properties for an allrounder: fast, punchy bass with enough quantity without distorting the sound. A solid midrange for instruments and vocals, and treble that extends far enough for classical music, but excites for electronic-based music.
 

From left to right the Solar, Heir 8.A, Rooth LS-X5, Rhapsodio Rti2, and EarSonics Velvet
 
Comparisons
EarSonics Velvet ($700)
The Velvet is U-shaped, with energetic highs and excellent punchy bass that will satisfy most bassheads (full review). The Velvet finds a great balance between being detailed without sounding cold and analytic, due to pleasant warmth that comes off the bass. Following the EarSonics house sound, the Velvet has nice thick note impact, providing a great sense of energy and musicality. When playing Muse’s “Defector”, treble is clearly more forward giving the electric guitars a more upfront ‘in your face’ sound compared to the Solar. The Solar is both smoother and more balanced – the guitars are less prominent and don’t dominate the overall sound. The same holds for EDM, where you want the main melodies to be more prominent. The U-shaped signature of the Velvet however gives it an exciting edge, partly due to the enhanced bass quantity. The Solar’s bass doesn’t fall far behind in quantity, but steps up in quality. The Velvet cannot match its level of speed and precision. So far for the good – the midrange is where the Velvet falls far behind. When directly switching between the Velvet and the Solar (or 8.A for that matter) for most instrument-based music, it can sometimes feel like there’s a hole where the mids used to be: the overall quantity of sound being heard feels reduced. Vocals lack depth and can sound hollow, while the lack of presence in the lower midrange makes instruments sound thinner and less dynamic. Due its U-shaped signature, the Velvet still sounds fun for V-shaped genres – EDM, hip hop, pop and energetic rock, but must admit defeat when it comes to music relying on instrument definition and vocals. While the Velvet's soundstage is slightly wider, the Solar steps up with imaging and depth perception.
 
Heir 8.A ($1200)
I’m guessing a lot of people are anxious to hear how the Solar compares to Head Fi's local celebrity: the Noble K10. Best I can offer, is the K10’s stepbrother from a broken marriage - the 8.A. With its gorgeous lush and thick midrange, the 8.A has a full and warm sound, partly due to that copious, ever present bass. The 8.A is the iem equivalent of 70’s American muscle car: strong and powerful - but lacking some precision and refinement. Details tend to get lost in the warm sound, and full and lush as it is, its midrange lacks a bit of clarity. The number one complaint of 8.A owners is probably the lack of sparkle in the treble, the 8.A just doesn’t go there. Bottom line however, is that the 8.A presents a very impressive midrange. The Solar calls  – and raises with detail and clarity in that beautiful upper midrange. The top end of electric guitars are better defined and have that sparkle that let them really shine. The 8.A however has more presence in the lower midrange, giving the bottom end of grungy electric guitars a bit of extra rumble. Due to the warmer sound, male voices sound slightly deeper. However with the Solar, vocals sound clearer and less veiled; vocals can come off a bit more distant with the 8.A. Part of the 8.A’s charm is in its slow ‘analogue’ sound, which presents its main weakness with fast music. Be it metal or EDM, the 8.A wants no part of it. EDM tones and fast guitars - the Solar is much quicker. The same holds for the bass; the Solar’s bass is faster and punchier, as well as more controlled and detailed. In a direct comparison they both share a beautifully full midrange, but differ in their upper vs. lower midrange presence. The 8.A has a unique charming signature, but there’s no denying that the Solar is technically on a higher level due to its speed, precision and clarity. If the 8.A is a 70’s classic muscle car, the Solar is a ’15 Porsche.
 
Rhapsodio Rti2 ($1200)
With two dynamic drivers Rhapsodio’s other flagship follows a different design, as well as philosophy (full review). Where the Solar strives for beauty, the Rti2 aims at realism. The Solar has a fuller midrange, and its treble extends higher. The Rti2 sounds darker than the Solar, in which the upper midrange and treble sounds slightly more accentuated, making the Solar sound a bit livelier and more colorful. The Rti2 might not have that full, multi BA sound, but music is portrayed with a higher resolution: instruments are sharper defined, while the Rti2 takes midrange clarity to a next level. The nuance of the chord of an acoustic guitar being plucked, a silent breath before singing - it’s all there. In short, acoustic instruments sound better with the Rti2, electric guitars with the Solar. The Rti2’s bass is slower, but has that nice round feel of a dynamic driver. Decay is slower and more natural, giving kickdrums that nice ‘thump’. The Solar is a clear winner concerning quantity, but the Rti2's seems to be less variable than the Solar's. While the Solar's bass doesn't require amping, I'll keep my Arrow's bass setting on I or II when listening to the Rti2. While the Solar’s bass is faster and more precise, my preference for bass goes to the Rti2 - albeit amped. You just can’t beat a high quality dynamic driver. Overall, the two flagships are more complimentary than similar. When comparing, either’s strength is also a relative weakness. The Solar has a fuller, but as a consequence, less pinpoint precise midrange as the Rti2. The Solar sounds livelier, the Rti2 more balanced and realistic.
 
Summary
If I had to describe the sound of my iems in one word, I’d say the Velvet was designed to excite. With its forward highs and thunderous bass it sounds emotive and energetic. The 8.A was built to sound cool. The 8.A basically sounds great for any type of music where artists perform in sunglasses and leather jackets, irrespective of their age. It doesn’t care if it’s too slow for modern synthesized music; it was made to rock. It’s certainly too cool to add any ‘sparkle’ in the treble. The high resolution Rti2 provides every subtle nuance in the music, the dynamics of instrument being placed: the Rti2 aims at realism. The Solar’s natural and colorful sound is built from a solid foundation of mids, extending on up to that sweet, beautiful treble. Detailed, without being analytic and full bodied without lacking clarity, and all of that perfectly balanced: the Solar was built to sound beautiful.
 

 
Cable matching
If you are interested in the Solar, it’s worth asking Sammy about their new cable collection. He might be inclined to give you a good deal on an additional purchase of one of their new upgrade cables. Switching between cables drastically changes the Solar’s signature, and slowed down the process of writing this review. Every time I thought I pinned down exactly what the difference between say the Solar or Rti2 was, switching cables reversed my perception of their relative differences forcing me to rewrite the review a couple of times.
 
RSD OCC Copper Litz 8-braid
When I inquired about their copper 8-braid, the first thing that Sammy said was that it is a hard cable. He warned me twice more before I purchased it, but I am personally not deterred by cable ergonomics. He wasn’t lying though, it’s probably the stiffest cable I’ve ever had – that being said, it also brings out the upper midrange and treble with a clarity like no other cable I’ve ever had. Female vocals, acoustic instruments or gently plucked electric guitars: this is the one cable you’ll ever need. It is somewhat of a specialist though, since the Solar becomes quite a bit more V-shaped. The consequence of the upper midrange clarity comes at the cost of a lower midrange recess affecting rock ‘n roll guitars, and sometimes the depth of male voices.
Recommend for: acoustics, vocals, singer/songwriter type music, classical
 
RSD Silver Litz
Sammy recommended the 4-braid over the 8-braid due to that the Silver Litz remains very true to the sound of the iem. The 8-braid is warmer, but also adds more coloration. So, reluctantly, I got the 4-braid. The Silver Litz is a very balanced cable, bringing out detail in the treble without recessing the lower mids. It sounds slightly colder than the standard copper, without sounding bright. It’s a very transparent cable, although it doesn’t add that sparkle on electric guitars like the OCC Copper 8-braid. Bass is punchier than the standard Copper Litz and OCC Copper Litz 8-braid, and better defined. Of the three cables it is the most neutral.
Recommend for: EDM, metal, rock, pop
 
RSD Silver/Gold 2.98 OCC Litz 8-braid
Of the three cables, this is the most serious sounding one. The cable is warm and midforward, and regularly brings out abundant detail in the (lower) midrange and bass that I overlooked before. Music sounds weightier, with increased note impact. The same holds for the bass, which becomes rounder and again, weightier. The treble appears slightly attenuated; this is not a ‘sparkly’ cable, as one would expect of a silver alloy cable. Not that treble is recessed, it is just as extended, but the relative forward mids dominate the overall signature more. I picture the 2.98 as the cable equivalent of the Heir 8.A, with it’s warm, midforward and somewhat analogue sound. As such this cable is also somewhat of a specialist. It excels for band-based music. Vocals, electric guitars, just anything that rocks. It is somewhat of a specialist though, as it doesn't have a clear background. Instead it sounds very heavy, which cannot be mistaken for muddiness as it has a high resolution. It’s best matched with iems that have strong mids, like the Solar or 8.A. The 2.98 can be considered the opposite of the RSD OCC Copper 8-braid; midforward vs. V-shaped. Rhapsodio: where you get a silver cable for the mids, and a copper for treble. Shocking.
Recommend for: rock
 

Top to bottom: 2.98 Silver/Gold 8-braid, Silver Litz, OCC Copper Litz 8-braid and standard Copper Litz. 
 
Comparisons with the Solar in other reviews:
AAW W500:
http://www.head-fi.org/products/advanced-acousticwerkes-w500-ahmorph/reviews/14596
 
Empire Ears Zeus:
http://www.head-fi.org/products/empire-ears-zeus/reviews/14716
 
Perfect Seal AR6:
http://www.head-fi.org/products/perfect-seal-ar6/reviews/14957
 
EarSonics S-EM9:
http://www.head-fi.org/products/earsonics-s-em9-in-ear-earphones/reviews/14990
 

Introduction
Robert started Headstage when he built the first Arrow – an incredibly thin and portable amp, providing power and sound quality rivaling amps several times its size. Although the Arrow gradually evolved over the years, retaining its small appearance but improving performance, the company didn’t - Headstage is still a one-man company, building one product: the Arrow. Robert develops and builds the Arrow by himself. Due to numerous unforeseen problems the development of the new Arrow, the 5TX, kept on being postponed. But being a one-man company Robert is forced to deal with all aspects of running a company by himself. As a consequence customer service, more specifically communication, tends to suffer. Customers that ordered the Arrow had to wait with hardly any updates or projection when the 5TX would arrive.
 
The waiting became gruesome for many customers, which was reflected on the thread. Being part of the Headstage thread felt like being stranded on an island with a small community. There was the wait, that endless wait, without having any clue when news would come or what we could expect since communication with Robert was sparse. The waiting became desperation, and from desperation came chaos leading to mutiny. Customers who had purchased the 5TX started filing paypal claims, if only to get in contact with Robert – a fruitless attempt. See Robert was focused on his amps, and would only bring the 5TX on the market if it met his high standards. But the ‘senior’ members of the thread who had owned previous generations were loyal and always preached patience, being very satisfied with former versions. If you wanted the latest Arrow, this was all part of it; and it is always worth it in the end. With the 5TX it’s no different - Robert has once again delivered a magnificent product.
 
The Arrow 5TX
Most important features from the Headstage website:
 
MRSP: €359 euro (in the EU, incl. VAT) / $399 (outside the EU, excl. VAT)
• 25 Hours Battery Play Time
• AD8620 and BUF634 Buffers at Output Stage
• USB DAC for PC/MAC/Android/iPhone/iPad 
• Three Selectable Gain Settings
• Two Bass Switches (Amount and Range)
• Treble Switch 
• Size: 8.5mm x 56mm x 98mm (0.33'' x 2.20'' x 3.86'')
• Weight: 100g
 

 
The Arrow is roughly the length and width of a pack of cigarettes - maybe 1 cm longer, depending on your cigarettes But it's as thin as a smarthone, making it incredibly compact. Despite that it will play endlessly, the 25 hours in the product description isn't an exaggeration.
 
Nice features are the automatic power switch that turns the Arrow on when your source sends a signal and turns it off when it’s idle. The bass frequency switch is also a nice gimmick that allows you to boost bass in the low, mid or high bass frequencies. It has a very noticeable effect, which simply said sounds like you’re adding a higher quantity of bass, although it can become more bloated and uncontrolled each step depending on your iem/source. There’s also a switch to determine whether the power source should come from the computer, the Arrow itself, or the dac should be switched off when you’re just charging it from a computer.
 
The 5TX comes in 2 versions: a normal version that can add +0/+6/+9 db’s of bass, and a boosted version that can add +0/+9/+18 db’s. I went for the boosted version.
 

 

 

 
Equipment
For this review I’m using an EarSonics Velvet (->Toxic Silver Widow cable); first of all because my review of the Arrow 5P was also written with it, and second of all because of its characteristics. It’s fairly neutral and detailed, without being analytical. And frankly it just has awesome bass to amp up. Powerful and punchy, delicious for bassy genres as rock, EDM, hip hop and pop. Good characteristics to test the sound signature of the 5TX  (opposed to with a very coloured iem as the Heir 8.A). The 5TX is connected to a Cowon P1. The P1 is fairly neutral, with a smooth tonality designed to give a natural sound, often referred to as analogue. It is not inherently warm as some might think.
 

 
Impressions
Embarking on the only part that matters: the sound. I’m going to use the following track to describe the sonic improvement of the 5TX over the P1 unamped: Gui Boratto’s “Atomic Soda” (soundcloud link). Better yet, only the first 50 seconds. The reason for this track is that the analytic nature of electronic music like progressive makes hearing slight differences easier (for my ears), compared to instrument-based music with 'big' sounds as vocals and electric guitars. Bass and treble switches are all set to ‘0’.
 
So the track begins with the bass and a monotone tone to the right. After about 15 seconds a high hat comes in the left and the second bass line kicks in, with an occasional brief drum burst in the center. Shortly after small flashes start to light up the soundstage in different areas like fireworks. The second high hat begins to the right. 
 
Now without the 5TX, the bass is more uncontrolled and bloated, which represses the first tone to the right as well as the second bass line. The 5TX tightens the bass up considerably giving it more punch, but thereby also giving the first tone more room to breath, as well as separate space for the second bass line. The high hat is pushed further to the left, slightly widening the soundstage. The flashes of sound are much better defined in space and have more of a 3D, holographic feel.
 
When the 5TX was first mentioned on the Headstage website about 8 months ago, it was described as the warmer sibling of the 5N and 5P, the ‘T’ standing for tube-like sound (although this is no longer mentioned, and the other models aren’t for sale right now). That being said, the 5TX is still better described as fairly neutral with a hint of warmth. The Arrow doesn’t impose it’s own signature on the P1’s sound, similar to the 5P. But the bass is far more controlled, and tones are better defined: focus is improved with more black space around them. The improved definition allows for more detail retrieval, since there’s less overlap between the separate components. Simply said, it doesn’t add more detail but it is much easier to hear it.
 
Coming to one of the Arrow’s most important features, the bass switch. Like the 5P, the 5TX is really a basshead’s best friend (especially the boosted version). I'll refer you to my 5P review for a more lengthy and colorful description, but in short the 5TX packs one hell of a punch. I don’t think I’m exaggerating when I say the Arrow can make the bass 2 or 3 times as powerful, without sounding bloated (in the L freq setting). But especially with bass, your mileage will very depending on your iems/headphones and source.
 
When I still used the DX90 I’d always have the 5P (that has the same specifications) in setting I (+9db), and go for II (+18db) when I listened to bassy music. But the DX90 provides far less bass compared to the P1’s as is, so I usually don’t really add more bass due since the low end can become too overpowering – even for a basshead as myself. Detail tends to get lost more easy due to the clouding from the bass. But that’s while listening with the Velvet. With relatively bass light iems as the Rhapsodio Rti1 or Ocharaku Kuro you can easily max out the bass without the lower range becoming too dominant or clouding the overall signature. When switching iems or sources, playing around with the bass and treble switches is incredibly fun to fine tune songs, or give you that extra boost when listening to tracks that call for it.
 
As with the previous generations, the inception of the 5TX came with a long waiting period along with long periods of silence, that frustrated many customers who had paid for one in advance in good faith. But now production has started - and like the many loyal owners of previous generations they too will realize it’s all part of the magic of owning one, which has made the Arrow somewhat of a head fi cult classic. Incredible sound, and power to drive full size headphones in a miniscule package. A philosophy that Robert has built on for many years, and still managed to improve with every generation.
 
-edit-
Just to be clear, when I'm mentioning 'the wait' I'm referring to the pre-production phase of development. Now that production has commenced, the amps should be on their way within a reasonable amount of time if you decide to order. I'd also like to thank Robert; while I've extensively mentioned the waiting period, I was personally hardly affected by it since Robert was generous enough to provide a 5P on loan in the meanwhile (as mentioned in my 5P review).