Reviews by SeeSax
A Little About Me
Another year, another review. That’s about how often I review a product, in fact, and the “About Me” piece seems to rotate as equally often it seems. Although what remains consistent is my love for trying new gear and my fond memories of Earsonics across my audio journey. Sure, I’ve tried about 80-90% of the high-end IEM offerings over the last few years, but I only enjoy writing reviews on what really stands out from the rest. Whether it be due to a tuning that resonates with me, bombastic low end to satisfy my bass cravings or an otherwise intriguing feature that puts a smile on my face, there have been a few IEMs over the years that have truly excited me. The Onyx from Earsonics is one of them.
Typically I purchase all of my own gear and as mentioned above, I review what puts a smile on my face (or whatever I have time for). In this instance, I must mention that I received my pair of Onyx IEMs in exchange for my honest opinion. I won’t do anything differently in this review, meaning that I will give my honest, open and unfiltered opinion. Anything to the contrary would be a disservice to the awesome Head-Fi community and not be something I would ever agree to.
My Earsonics Journey
My journey with Earsonics began many years ago when I talked my wife into purchasing the S-EM6 IEMs for me for my birthday. As the saying goes, it was all downhill from there. I believe the S-EM6 was the first IEM to use six drivers and they were leaps and bounds better than anything I had ever heard. They were also what I would have classified as an “insane” amount of money to spend on an IEM at the time, but thank you Massdrop and a wife willing to front the bill in the spirit of an audio addiction birthday present.
I loved the S-EM6 so much that in the coming months/years, I owned the Velvet, S-EM6 V2, the Purple (okay this one was on loan and I barely gave it back), the S-EM9, the Grace, the Stark and the Grace Platinum. As you can see, I’m no stranger to Earsonics and they’ve always been a company I have a soft spot for. Maybe it’s that their head dude is a bass player and always pays special care to that frequency range, or maybe it’s their exceptional customer service in the event that you do need help, or maybe it’s that they fly under the radar on Head-Fi? Either way, I like what they do. So again, special thanks to Earsonics for allowing me the opportunity to review the latest and greatest on offer.
My Setup
I see a lot of discussion about synergy, proper amounts of power and even disagreements over “your source isn’t good enough” type of thing. So, I’ll just lay out the details here about how I’ve listened to these IEMs. My main source is a Ifi iDSD Signature desktop DAC/Amp which can run either solid state or tube output stages. My music feeds through via Tidal “Master” where available, or at least “Hi-Fi” which is basically FLAC files. I would say 80% of my listening is done on this setup and the rest was done on my trusty Cayin N6 Ti DAP, which includes the R2R R01 module. I run Tidal on that DAP as well, so nothing super fancy. During the course of the review, I also obtained a Shanling M9, which I used a few times with Onyx as well.
Worth a quick mention here is that Onyx only came with a 3.5mm cable and given that all of my sources are 4.4mm balanced, I thought it appropriate to use the 4.4mm cable that came with my Grace Platinum. This is still an Earsonics-branded cable and I felt it was best to utilize this rather than 3.5mm because I am so familiar with the 4.4mm sources I have in that output configuration. Sorry for any confusion.
Onyx – Accessories, Fit and Tech
If you’ve purchased an Earsonics IEM in the past, there won’t be any new surprises here as it is a fairly standard offering from Earsonics. Inside the box, you get the IEMs and cable displayed proudly, some tips, a small case, a cleaning cloth and some literature to help you practice your Francais.
If you’ve used the last one or two generations from Earsonics, then the fit will not be any new surprise either. The shells of the IEMs are quite similar to the Stark, Blade and Grace Platinum. The shells are solid metal and built like they could withstand being run over by a car. They’re not super heavy, but definitely feel more substantial than an acrylic IEM. While somewhat large in size, fit for me is spot on and they disappear in my ears (unless it’s cold and then they’re a bit of a wake up call upon insertion). Nozzles are somewhat narrow, though my go-to Final E tips work just fine. It’s hard to comment if the shape of these will bother anyone, but they certainly feel amazing in my ears and I have not reached a point where any pain is felt. Contrast that with something like the Erlkonig where I struggled every step of the way and I am very pleased with how these fit.
The tech inside Onyx is a dynamic driver and three balanced armatures, which is a fairly standard setup. But of course, execution is key and these IEMs use the hardware very well. At 490 euros, they provide an incredible value from a trusted, time-tested manufacturer who builds their IEMs by hand in France and knows how to tune an IEM to use the drivers to their fullest.
General Sound Signature and Characteristics
Before I talk about the sound, I should state that I knew absolutely nothing about Onyx when I agreed to this review. Believe me, I badgered Earsonics repeatedly to understand what I was getting myself into and was kept in the dark the entire time. It reminded me of a quote from the movie “The Departed” where one of the agents states “My theory on Feds is they're like mushrooms. Feed 'em s*** and keep 'em in the dark.” I was the Fed.
So, you can imagine my relief when a package arrived from Earsonics, containing IEMs, that when I placed them in my ears were immediately exciting. They sounded different from any Earsonics I had ever heard before, whether it be a fun hybrid with a dynamic driver or a 10-armature masterpiece like Grace. Less than 10 seconds into my first track, I knew this was some of the best bass I had ever heard with an exciting and musical signature to follow.
Onyx’s signature can be characterized by power. There is a muscular force behind the bass, something that will immediately draw your attention. But while hard-hitting bass-driven IEMs are a dime a dozen, Onyx does it in a way that doesn’t sideline the rest of your music. That massive bass is balanced with incredibly full-sounding instruments and vocals, ringing through with speaker-like physicality. Up top, things are controlled, but adept to keep up with the rest of the frequency band. It’s incredible to hear the power behind Onyx, while also being very capable portraying of the subtleties of the music. Make no mistake that this is a bass monster, but it doesn’t sacrifice anything else. Below, I’ll drill down on the individual components that make up the sound, but the overall signature is that of rambunctious musicality combined with plenty of technical prowess. If I had to attribute the signature to a letter, I would call it a W-shape with a boosted front side of the W and a slight smoothing of upper treble on the tail end of the W. That sounds ridiculous, but in normal terms I would confidently say that the bass is the star of the show with an elevated quantity, followed by thick-but-not-too-thick mids that sit forward enough to keep up with the bass, and then a sparkly treble with a pleasant smoothness at the very top. That really is a mouthful, so let’s get into the specifics.
Bass
As mentioned, I think the bass is the star of the show on the Onyx IEMs. Starting with the sub-bass, you get a massive and full impact reaching to great depths and providing an abundant punch if the music calls for it. Extension specifically is very impressive, though not reaching to the very bottom of what humans can hear like something akin of the Legend Evo, but extremely impressive nonetheless. Listening to that clean and massive punch down low leaves nothing wanting, and I cannot get enough of the full, impactful bass presentation. Into the mid-bass, there is a solid and punchy sound on display that is some of the best mid-bass I’ve heard. Nothing is bloated and nothing is bleeding into other frequencies, but instead you get a great physical feel from that dynamic driver that is always in control. It’s very impressive, given the price point, what these IEMs can unlock as far as bass is concerned from many genres of music. Listening to Onyx with my regular music, I’m hearing note tracks in the lower registers that I never paid particular attention to, though with Onyx I find myself immersed. Very, very impressive bass and before Earsonics told me what was inside these IEMs, I swore there were two dynamic drivers. While I don’t have a Legend X anymore, these sure brought that bass slam back from memory.
Mids/Vocals
Earsonics is no stranger to the mids and the Onyx portrays vocals/instruments in a very pleasing fashion. Vocals ring through with authenticity and demand your attention, while not being forward in a way that distracts from the rest of the signature. Again, the bass is quite full and emphasized, but so are the lower mids to where the transition gives a sense of balance. Vocals from both male and female singers are quite textured and energized, giving exciting impact and engagement. These are the opposite of a boring-tuned IEM, especially in the bass and midrange. You won’t miss the subtleties of a vocalist like Adele, yet you’ll undoubtedly enjoy the rasp of Foo Fighters or other rock bands. Mids have always been a strong suite of Earsonics and the Onyx delivers with an above average clarity and presentation of detail. I’ll finish the mids section by saying the tuning is done incredibly well, where there are no harsh peaks into the upper mids that could offend those sensitive to such an emphasis. We have a very linear transition into the upper mids, and perhaps even a slight drop off, that ensures these are an easy listen for hours and nothing comes across as “shouty.” Mids do lean toward intimate, but not closed off in any way. Listening to your favorite singer is such a treat on Onyx.
Treble
Treble on the Onyx is delivered in a manner where a wide range of preferences will find it very pleasing. It’s smooth, detailed, natural and won’t produce any harshness. Extension is very good, though these IEMs do not soar into the upper-most registers. Instead, they are tuned to a more relaxed and natural signature that is wonderful for an all-day listen. I always said I wanted the Legend X to have a touch more treble and surprisingly, these deliver that (with comparable bass). I would say the lower treble has a nice density, though still offers precision and speed where needed. Upper treble is smooth and again has a nice roll-off, though I’ve not seen any graphs to confirm.
Imaging/Separation/Resolution/Stage
For the price, I find imaging and resolution to be spectacular. While these may not give an insanely stretched stage like the Oriolus’s Traillii, they sure do provide an incredibly engaging listen thanks in no small part to the high resolution, great separation of instruments and a perpetual sense of clarity in the signature. Stage stretches wide and deep, though it’s more realistic than something like Traillii where it’s completely out of your head. Onyx gives a true to life feel and a believable image of the music you’re enjoying. This area is where I really see Onyx punching above its price class, because it’s difficult to pinpoint what a $3,000 IEM does better in regards to imaging and resolution. While IEMs costing five to 10 times more should offer a much greater quantity of resolution and clarity, the Onyx is just so damn good in this perspective that it highlights the rule of diminishing returns. If I had to put any flaw here, it would be that micro-details are a bit behind top of the line IEMs (but better than anything at this price range I have heard).
Comparisons
A small disclaimer: the Onyx is my least expensive IEM by a significant margin, so if the comparisons seem off-caliber it is because this is all I have. But, thankfully, Onyx punches way above its weight class and therefore I’ve included a few heavy-hitters below that I normally wouldn’t given the cost difference.
Earsonics Grace: I have owned two versions of Earsonics’ Grace (the original and Grace Platinum) and this is their top of the line flagship. While Grace costs over three times what Onyx does, it’s still worth comparing given the value Onyx brings and even a few areas where Onyx really challenges Grace. Starting with the bass, there are major differences here. While Grace has some of the best balanced armature bass I’ve ever heard (coming close to rivaling Oriolus’s Traillii in fact), it is no match for the dynamic driver in the Onyx. Sub bass reach and impact are greater on Onyx, where Grace has a slight roll-off on the deepest of notes. Texture is great on both and once we get into the mid-bass, things equalize a tad although there’s still a lot more physical punch in Onyx. Into the mids is where Grace really shines, with pleasantly textured vocals and energetic instrument reproduction. Grace has a sense of space and air, with Onyx being more intimate and warmer. While stage dimensions are pretty good on Onyx, especially for its price, Grace has a more open and vast stage that stretches further. Imaging precision is strong on both, but Grace has the upper hand in picking out individual nuances given its technical abilities. Up into upper mids and lower treble, Grace has more energy and clarity with a more forward presence. Onyx in contrast, has the easier listen with a smoother tonality and an easy-going almost analogue-like sound. While I don’t think Grace’s treble or upper mids would really bother anyone, Onyx is the safer tuning here with a more relaxed sound. For extension and sparkle up top, again Grace has more energy while Onyx presents has a little less bite. The treble on Onyx is fantastic, with a pleasing tonality and very solid extension, it just has less energy than Grace.
Earsonics Stark: given that the Stark has one dynamic driver and four balanced armatures, I figured this comparison was somewhat apples to apples. While Onyx has one less driver and costs roughly one third the price of Stark, these two are surprisingly even-matched (to me) with several wins going to the Onyx in fact. Starting with the bass, Onyx has a more physical presence with greater impact and punchier dynamics. Stark has a similarly-reaching deep sub-bass, with even a bit more control, but Onyx has this punch that makes you feel like you’re experiencing the music in a more physical sense. Where Stark has a very deep and controlled sub-bass, Onyx has nearly the same sub-bass reach with greater quantity and also a mid-bass that really presents with impact. I don’t know if the difference is just tuning or an entirely different driver, but the Onyx’s bass just has this slamming, toe-tapping quality that brings out bass notes in your music that you never knew were there. Into the mids, Stark is a little leaner where Onyx has a bit more thickness that give vocals a nice feel and more natural tone. Not a huge difference here, but Onyx gives that extra note weight in the vocals and instruments that add to the musicality factor. Stark, alternatively, is a more V-shape tuning with mids that are thinner and more articulate in nature. Different tuning, different focus, but not miles apart here. Up into the treble, I hear the Onyx treble to be more sparkly and also more textured. Oddly enough, I can declare a “win” here for the Onyx because the treble is just so pleasant in nature. Great extension, great sparkle and energy, while never fatiguing. Stark has great treble also, with an airer quality, but given similar extension I think I would rather hear the Onyx treble. Technicalities are pretty similar between the two IEMs and any differences here are likely attributable to the tuning differences. Where Onyx really shines in this comparison is the tonality, and specifically timbre. Onyx just sounds so natural while being super engaging, where Stark has a tonality that is almost a touch artificial in direct comparison. Overall, while I love the Stark, it’s hard to recommend it for nearly three times the price of the Onyx.
Noble Sultan: Since I don’t have a lot of IEMs in the price range of Onyx, I’ve opted to compare to the Noble Sultan which I know and love well. Sultan uses a 10mm dynamic driver, four balanced armature drivers for the mids and two estats for the treble. In overall signature, Onyx is the more musical and warmer flavor, while Sultan has a greater sense of fidelity and extension from top to bottom. In the sub-bass region, Onyx and Sultan are evenly extended. But the weight of Onyx’s bass is heavier, with an increased physicality carrying up into the very-punchy mid-bass while Sultan remains more controlled and a touch cleaner. Lower mids are thicker on the Onyx, while Sultan portrays a more articulate sound. Mids and upper mids are somewhat similar, with Sultan displaying a more clarity-focused presentation and Onyx giving huge, lush mids with an awesome texture to vocals and stringed instruments. Into the treble region, Onyx is the smoother monitor, with Sultan giving a snappier and faster treble, especially into the upper treble. Levels of sparkle are somewhat similar, with an airier sound going to the Sultan. Onyx has a “listen all day” treble that I won’t call relaxed, but rather pleasant and rounded. While both monitors are tuned for musicality, Onyx takes that further and Sultan stays truer to the “HiFi” sound and greater technicalities. But damn is Onyx fun, of course. For stage dimensions, imaging and separation, I would give a slight nod to Sultan, but the Onyx gives a very grand musical presentation with quite impressive stage as well. Also, given the price delta here ($3,000 vs. $600), pretty impressive showing from Onyx even if it cannot keep up technically to the top of the line Noble offering.
Noble K10: ah yes, a true classic and one of the best-known TOTL IEMs on Head-Fi. While K10 started out as a very expensive ($1,500+ was it?) monitor, it has since gone through a few iterations where it could be had for ~$700 on Drop (formerly Massdrop). These IEMs are quite different, with the K10 offering 10 balanced armature drivers and the Onyx of course sporting a dynamic driver and far less balanced armatures. Full disclaimer that the K10 is an IEM I have known and loved for many years, so I was happy to have a friend loan me one for this comparison. Starting with the bass, it is probably unsurprising that the sub-bass reaches deeper and provides more impact on the Onyx. Into the mid-bass, these two are fairly evenly-matched with a nice punch and great thumping musicality. I still think Onyx has a bit more punch, but K10 gives a really fun and punchy presentation that still to this day is one of the best at straddling musicality and clarity. Mids have more precision on the K10, where Onyx gives more texture and weight especially to vocals. K10 has an airy presence in the mids, but I wouldn’t say either is more forward. Up into the treble, K10 is again lighter on its feet where Onyx is natural and a little more dense. With lower treble, K10 has a very precise, responsive character and Onyx is more nuanced, subtle and smooth. With upper treble, I feel like the K10 extends a touch higher, but sparkle levels are similar and it comes down to a tuning preference. K10 provides a little more of a neutral, HiFi sound and Onyx gives a sense of fun that satisfies cravings for musicality.
Conclusion
It’s been a very fun journey with Onyx, and quite a refreshing one given the price these can be acquired for. IEMs seem to be trending upward at an alarming rate, with prices rising into the five digits of US dollars. The concept of diminishing returns applies here and I’m truly impressed with what Onyx bring to the table. Granted, my concept of pricing is also jaded and while most people would balk at paying $500+ for an IEM, I really feel that these bring an insane value to the high-end IEM market for what they deliver. I think Earsonics knew this too, given that they refused to tell anyone the price and demanded that we simply listen to them and write a review.
Earsonics Onyx IEMs knock it out of the park in several areas, including fit, build quality, bass response, tuning/signature and overall musicality. It’s hard to find any fault with these, especially at the price point, and no deficiencies exist that present any roadblocks to a recommendation. They’re not at the level of multi-thousand dollar IEMs as far as technicality goes, but I will put the tuning and enjoyment up there with the best of the best of the best. I simply want to listen to them all the time and the smiles they give me are worth many times their asking price. I have to hand it to Earsonics, because I truly feel they have created a classic here with the Onyx. In fact, I worry that they have priced them too low to be taken seriously! So, it’s probably time they create a “Limited Edition” version and charge three times the price to gain the attention of the more demanding Head-Fi crown
Another year, another review. That’s about how often I review a product, in fact, and the “About Me” piece seems to rotate as equally often it seems. Although what remains consistent is my love for trying new gear and my fond memories of Earsonics across my audio journey. Sure, I’ve tried about 80-90% of the high-end IEM offerings over the last few years, but I only enjoy writing reviews on what really stands out from the rest. Whether it be due to a tuning that resonates with me, bombastic low end to satisfy my bass cravings or an otherwise intriguing feature that puts a smile on my face, there have been a few IEMs over the years that have truly excited me. The Onyx from Earsonics is one of them.
Typically I purchase all of my own gear and as mentioned above, I review what puts a smile on my face (or whatever I have time for). In this instance, I must mention that I received my pair of Onyx IEMs in exchange for my honest opinion. I won’t do anything differently in this review, meaning that I will give my honest, open and unfiltered opinion. Anything to the contrary would be a disservice to the awesome Head-Fi community and not be something I would ever agree to.
My Earsonics Journey
My journey with Earsonics began many years ago when I talked my wife into purchasing the S-EM6 IEMs for me for my birthday. As the saying goes, it was all downhill from there. I believe the S-EM6 was the first IEM to use six drivers and they were leaps and bounds better than anything I had ever heard. They were also what I would have classified as an “insane” amount of money to spend on an IEM at the time, but thank you Massdrop and a wife willing to front the bill in the spirit of an audio addiction birthday present.
I loved the S-EM6 so much that in the coming months/years, I owned the Velvet, S-EM6 V2, the Purple (okay this one was on loan and I barely gave it back), the S-EM9, the Grace, the Stark and the Grace Platinum. As you can see, I’m no stranger to Earsonics and they’ve always been a company I have a soft spot for. Maybe it’s that their head dude is a bass player and always pays special care to that frequency range, or maybe it’s their exceptional customer service in the event that you do need help, or maybe it’s that they fly under the radar on Head-Fi? Either way, I like what they do. So again, special thanks to Earsonics for allowing me the opportunity to review the latest and greatest on offer.
My Setup
I see a lot of discussion about synergy, proper amounts of power and even disagreements over “your source isn’t good enough” type of thing. So, I’ll just lay out the details here about how I’ve listened to these IEMs. My main source is a Ifi iDSD Signature desktop DAC/Amp which can run either solid state or tube output stages. My music feeds through via Tidal “Master” where available, or at least “Hi-Fi” which is basically FLAC files. I would say 80% of my listening is done on this setup and the rest was done on my trusty Cayin N6 Ti DAP, which includes the R2R R01 module. I run Tidal on that DAP as well, so nothing super fancy. During the course of the review, I also obtained a Shanling M9, which I used a few times with Onyx as well.
Worth a quick mention here is that Onyx only came with a 3.5mm cable and given that all of my sources are 4.4mm balanced, I thought it appropriate to use the 4.4mm cable that came with my Grace Platinum. This is still an Earsonics-branded cable and I felt it was best to utilize this rather than 3.5mm because I am so familiar with the 4.4mm sources I have in that output configuration. Sorry for any confusion.
Onyx – Accessories, Fit and Tech
If you’ve purchased an Earsonics IEM in the past, there won’t be any new surprises here as it is a fairly standard offering from Earsonics. Inside the box, you get the IEMs and cable displayed proudly, some tips, a small case, a cleaning cloth and some literature to help you practice your Francais.
If you’ve used the last one or two generations from Earsonics, then the fit will not be any new surprise either. The shells of the IEMs are quite similar to the Stark, Blade and Grace Platinum. The shells are solid metal and built like they could withstand being run over by a car. They’re not super heavy, but definitely feel more substantial than an acrylic IEM. While somewhat large in size, fit for me is spot on and they disappear in my ears (unless it’s cold and then they’re a bit of a wake up call upon insertion). Nozzles are somewhat narrow, though my go-to Final E tips work just fine. It’s hard to comment if the shape of these will bother anyone, but they certainly feel amazing in my ears and I have not reached a point where any pain is felt. Contrast that with something like the Erlkonig where I struggled every step of the way and I am very pleased with how these fit.
The tech inside Onyx is a dynamic driver and three balanced armatures, which is a fairly standard setup. But of course, execution is key and these IEMs use the hardware very well. At 490 euros, they provide an incredible value from a trusted, time-tested manufacturer who builds their IEMs by hand in France and knows how to tune an IEM to use the drivers to their fullest.
General Sound Signature and Characteristics
Before I talk about the sound, I should state that I knew absolutely nothing about Onyx when I agreed to this review. Believe me, I badgered Earsonics repeatedly to understand what I was getting myself into and was kept in the dark the entire time. It reminded me of a quote from the movie “The Departed” where one of the agents states “My theory on Feds is they're like mushrooms. Feed 'em s*** and keep 'em in the dark.” I was the Fed.
So, you can imagine my relief when a package arrived from Earsonics, containing IEMs, that when I placed them in my ears were immediately exciting. They sounded different from any Earsonics I had ever heard before, whether it be a fun hybrid with a dynamic driver or a 10-armature masterpiece like Grace. Less than 10 seconds into my first track, I knew this was some of the best bass I had ever heard with an exciting and musical signature to follow.
Onyx’s signature can be characterized by power. There is a muscular force behind the bass, something that will immediately draw your attention. But while hard-hitting bass-driven IEMs are a dime a dozen, Onyx does it in a way that doesn’t sideline the rest of your music. That massive bass is balanced with incredibly full-sounding instruments and vocals, ringing through with speaker-like physicality. Up top, things are controlled, but adept to keep up with the rest of the frequency band. It’s incredible to hear the power behind Onyx, while also being very capable portraying of the subtleties of the music. Make no mistake that this is a bass monster, but it doesn’t sacrifice anything else. Below, I’ll drill down on the individual components that make up the sound, but the overall signature is that of rambunctious musicality combined with plenty of technical prowess. If I had to attribute the signature to a letter, I would call it a W-shape with a boosted front side of the W and a slight smoothing of upper treble on the tail end of the W. That sounds ridiculous, but in normal terms I would confidently say that the bass is the star of the show with an elevated quantity, followed by thick-but-not-too-thick mids that sit forward enough to keep up with the bass, and then a sparkly treble with a pleasant smoothness at the very top. That really is a mouthful, so let’s get into the specifics.
Bass
As mentioned, I think the bass is the star of the show on the Onyx IEMs. Starting with the sub-bass, you get a massive and full impact reaching to great depths and providing an abundant punch if the music calls for it. Extension specifically is very impressive, though not reaching to the very bottom of what humans can hear like something akin of the Legend Evo, but extremely impressive nonetheless. Listening to that clean and massive punch down low leaves nothing wanting, and I cannot get enough of the full, impactful bass presentation. Into the mid-bass, there is a solid and punchy sound on display that is some of the best mid-bass I’ve heard. Nothing is bloated and nothing is bleeding into other frequencies, but instead you get a great physical feel from that dynamic driver that is always in control. It’s very impressive, given the price point, what these IEMs can unlock as far as bass is concerned from many genres of music. Listening to Onyx with my regular music, I’m hearing note tracks in the lower registers that I never paid particular attention to, though with Onyx I find myself immersed. Very, very impressive bass and before Earsonics told me what was inside these IEMs, I swore there were two dynamic drivers. While I don’t have a Legend X anymore, these sure brought that bass slam back from memory.
Mids/Vocals
Earsonics is no stranger to the mids and the Onyx portrays vocals/instruments in a very pleasing fashion. Vocals ring through with authenticity and demand your attention, while not being forward in a way that distracts from the rest of the signature. Again, the bass is quite full and emphasized, but so are the lower mids to where the transition gives a sense of balance. Vocals from both male and female singers are quite textured and energized, giving exciting impact and engagement. These are the opposite of a boring-tuned IEM, especially in the bass and midrange. You won’t miss the subtleties of a vocalist like Adele, yet you’ll undoubtedly enjoy the rasp of Foo Fighters or other rock bands. Mids have always been a strong suite of Earsonics and the Onyx delivers with an above average clarity and presentation of detail. I’ll finish the mids section by saying the tuning is done incredibly well, where there are no harsh peaks into the upper mids that could offend those sensitive to such an emphasis. We have a very linear transition into the upper mids, and perhaps even a slight drop off, that ensures these are an easy listen for hours and nothing comes across as “shouty.” Mids do lean toward intimate, but not closed off in any way. Listening to your favorite singer is such a treat on Onyx.
Treble
Treble on the Onyx is delivered in a manner where a wide range of preferences will find it very pleasing. It’s smooth, detailed, natural and won’t produce any harshness. Extension is very good, though these IEMs do not soar into the upper-most registers. Instead, they are tuned to a more relaxed and natural signature that is wonderful for an all-day listen. I always said I wanted the Legend X to have a touch more treble and surprisingly, these deliver that (with comparable bass). I would say the lower treble has a nice density, though still offers precision and speed where needed. Upper treble is smooth and again has a nice roll-off, though I’ve not seen any graphs to confirm.
Imaging/Separation/Resolution/Stage
For the price, I find imaging and resolution to be spectacular. While these may not give an insanely stretched stage like the Oriolus’s Traillii, they sure do provide an incredibly engaging listen thanks in no small part to the high resolution, great separation of instruments and a perpetual sense of clarity in the signature. Stage stretches wide and deep, though it’s more realistic than something like Traillii where it’s completely out of your head. Onyx gives a true to life feel and a believable image of the music you’re enjoying. This area is where I really see Onyx punching above its price class, because it’s difficult to pinpoint what a $3,000 IEM does better in regards to imaging and resolution. While IEMs costing five to 10 times more should offer a much greater quantity of resolution and clarity, the Onyx is just so damn good in this perspective that it highlights the rule of diminishing returns. If I had to put any flaw here, it would be that micro-details are a bit behind top of the line IEMs (but better than anything at this price range I have heard).
Comparisons
A small disclaimer: the Onyx is my least expensive IEM by a significant margin, so if the comparisons seem off-caliber it is because this is all I have. But, thankfully, Onyx punches way above its weight class and therefore I’ve included a few heavy-hitters below that I normally wouldn’t given the cost difference.
Earsonics Grace: I have owned two versions of Earsonics’ Grace (the original and Grace Platinum) and this is their top of the line flagship. While Grace costs over three times what Onyx does, it’s still worth comparing given the value Onyx brings and even a few areas where Onyx really challenges Grace. Starting with the bass, there are major differences here. While Grace has some of the best balanced armature bass I’ve ever heard (coming close to rivaling Oriolus’s Traillii in fact), it is no match for the dynamic driver in the Onyx. Sub bass reach and impact are greater on Onyx, where Grace has a slight roll-off on the deepest of notes. Texture is great on both and once we get into the mid-bass, things equalize a tad although there’s still a lot more physical punch in Onyx. Into the mids is where Grace really shines, with pleasantly textured vocals and energetic instrument reproduction. Grace has a sense of space and air, with Onyx being more intimate and warmer. While stage dimensions are pretty good on Onyx, especially for its price, Grace has a more open and vast stage that stretches further. Imaging precision is strong on both, but Grace has the upper hand in picking out individual nuances given its technical abilities. Up into upper mids and lower treble, Grace has more energy and clarity with a more forward presence. Onyx in contrast, has the easier listen with a smoother tonality and an easy-going almost analogue-like sound. While I don’t think Grace’s treble or upper mids would really bother anyone, Onyx is the safer tuning here with a more relaxed sound. For extension and sparkle up top, again Grace has more energy while Onyx presents has a little less bite. The treble on Onyx is fantastic, with a pleasing tonality and very solid extension, it just has less energy than Grace.
Earsonics Stark: given that the Stark has one dynamic driver and four balanced armatures, I figured this comparison was somewhat apples to apples. While Onyx has one less driver and costs roughly one third the price of Stark, these two are surprisingly even-matched (to me) with several wins going to the Onyx in fact. Starting with the bass, Onyx has a more physical presence with greater impact and punchier dynamics. Stark has a similarly-reaching deep sub-bass, with even a bit more control, but Onyx has this punch that makes you feel like you’re experiencing the music in a more physical sense. Where Stark has a very deep and controlled sub-bass, Onyx has nearly the same sub-bass reach with greater quantity and also a mid-bass that really presents with impact. I don’t know if the difference is just tuning or an entirely different driver, but the Onyx’s bass just has this slamming, toe-tapping quality that brings out bass notes in your music that you never knew were there. Into the mids, Stark is a little leaner where Onyx has a bit more thickness that give vocals a nice feel and more natural tone. Not a huge difference here, but Onyx gives that extra note weight in the vocals and instruments that add to the musicality factor. Stark, alternatively, is a more V-shape tuning with mids that are thinner and more articulate in nature. Different tuning, different focus, but not miles apart here. Up into the treble, I hear the Onyx treble to be more sparkly and also more textured. Oddly enough, I can declare a “win” here for the Onyx because the treble is just so pleasant in nature. Great extension, great sparkle and energy, while never fatiguing. Stark has great treble also, with an airer quality, but given similar extension I think I would rather hear the Onyx treble. Technicalities are pretty similar between the two IEMs and any differences here are likely attributable to the tuning differences. Where Onyx really shines in this comparison is the tonality, and specifically timbre. Onyx just sounds so natural while being super engaging, where Stark has a tonality that is almost a touch artificial in direct comparison. Overall, while I love the Stark, it’s hard to recommend it for nearly three times the price of the Onyx.
Noble Sultan: Since I don’t have a lot of IEMs in the price range of Onyx, I’ve opted to compare to the Noble Sultan which I know and love well. Sultan uses a 10mm dynamic driver, four balanced armature drivers for the mids and two estats for the treble. In overall signature, Onyx is the more musical and warmer flavor, while Sultan has a greater sense of fidelity and extension from top to bottom. In the sub-bass region, Onyx and Sultan are evenly extended. But the weight of Onyx’s bass is heavier, with an increased physicality carrying up into the very-punchy mid-bass while Sultan remains more controlled and a touch cleaner. Lower mids are thicker on the Onyx, while Sultan portrays a more articulate sound. Mids and upper mids are somewhat similar, with Sultan displaying a more clarity-focused presentation and Onyx giving huge, lush mids with an awesome texture to vocals and stringed instruments. Into the treble region, Onyx is the smoother monitor, with Sultan giving a snappier and faster treble, especially into the upper treble. Levels of sparkle are somewhat similar, with an airier sound going to the Sultan. Onyx has a “listen all day” treble that I won’t call relaxed, but rather pleasant and rounded. While both monitors are tuned for musicality, Onyx takes that further and Sultan stays truer to the “HiFi” sound and greater technicalities. But damn is Onyx fun, of course. For stage dimensions, imaging and separation, I would give a slight nod to Sultan, but the Onyx gives a very grand musical presentation with quite impressive stage as well. Also, given the price delta here ($3,000 vs. $600), pretty impressive showing from Onyx even if it cannot keep up technically to the top of the line Noble offering.
Noble K10: ah yes, a true classic and one of the best-known TOTL IEMs on Head-Fi. While K10 started out as a very expensive ($1,500+ was it?) monitor, it has since gone through a few iterations where it could be had for ~$700 on Drop (formerly Massdrop). These IEMs are quite different, with the K10 offering 10 balanced armature drivers and the Onyx of course sporting a dynamic driver and far less balanced armatures. Full disclaimer that the K10 is an IEM I have known and loved for many years, so I was happy to have a friend loan me one for this comparison. Starting with the bass, it is probably unsurprising that the sub-bass reaches deeper and provides more impact on the Onyx. Into the mid-bass, these two are fairly evenly-matched with a nice punch and great thumping musicality. I still think Onyx has a bit more punch, but K10 gives a really fun and punchy presentation that still to this day is one of the best at straddling musicality and clarity. Mids have more precision on the K10, where Onyx gives more texture and weight especially to vocals. K10 has an airy presence in the mids, but I wouldn’t say either is more forward. Up into the treble, K10 is again lighter on its feet where Onyx is natural and a little more dense. With lower treble, K10 has a very precise, responsive character and Onyx is more nuanced, subtle and smooth. With upper treble, I feel like the K10 extends a touch higher, but sparkle levels are similar and it comes down to a tuning preference. K10 provides a little more of a neutral, HiFi sound and Onyx gives a sense of fun that satisfies cravings for musicality.
Conclusion
It’s been a very fun journey with Onyx, and quite a refreshing one given the price these can be acquired for. IEMs seem to be trending upward at an alarming rate, with prices rising into the five digits of US dollars. The concept of diminishing returns applies here and I’m truly impressed with what Onyx bring to the table. Granted, my concept of pricing is also jaded and while most people would balk at paying $500+ for an IEM, I really feel that these bring an insane value to the high-end IEM market for what they deliver. I think Earsonics knew this too, given that they refused to tell anyone the price and demanded that we simply listen to them and write a review.
Earsonics Onyx IEMs knock it out of the park in several areas, including fit, build quality, bass response, tuning/signature and overall musicality. It’s hard to find any fault with these, especially at the price point, and no deficiencies exist that present any roadblocks to a recommendation. They’re not at the level of multi-thousand dollar IEMs as far as technicality goes, but I will put the tuning and enjoyment up there with the best of the best of the best. I simply want to listen to them all the time and the smiles they give me are worth many times their asking price. I have to hand it to Earsonics, because I truly feel they have created a classic here with the Onyx. In fact, I worry that they have priced them too low to be taken seriously! So, it’s probably time they create a “Limited Edition” version and charge three times the price to gain the attention of the more demanding Head-Fi crown
Attachments
subguy812
Great job Collin!
Kerouac
Oh... and please let's also not forget the maybe underrated, but outstanding and visually very important pose contribution of Tucker's reflection in the ONYX box! That cute little dog certainly deserves a treat after such a tough day of 'posing work' 
ngoshawk
I paired the Onyx with the Burson Funk for that review, and the duo is quite stunning together. The vibrant sound of the Funk pairs exceptionally well with the sound emanating from the Onyx.
I can’t say it’s a new appreciation, but fondly remembered and embraced.
I can’t say it’s a new appreciation, but fondly remembered and embraced.
About Me
A few brief words about the lunatic behind the keyboard for this review. I became an “audiophile” a few years ago and started climbing the ladder to insanity pretty quickly. I started with some decent IEMs, a few earbuds, dabbled in headphones and eventually ended up on track to own almost every single flagship ever released. I do not believe I am a “reviewer,” per se, but instead just love trying gear and then writing about it when something really strikes a chord with me. You’ll notice a lot of my reviews I have posted are pretty positive and if I’m being honest, I don’t bother writing reviews on a mediocre product. Maybe that’s a polarizing, or lazy view, but I buy all my own gear and am not constrained to write about something I don’t want to. Liberating, really. That said, I’m also not as good as the real reviewers, so this will probably be more about the feels and the enjoyment factor than a true technical analysis. But hey, I promise to do my best either way. I've had a long journey with Unique Melody IEMs, so on that note...
My Unique Melody Journey
While it may not be super important to bore you with the other Unique Melody IEMs I’ve had, I am amongst the few that have owned: Mason, Mason II, Mason V3, Mason V3+ and now Mason Fabled Sound. You could say I am a Mason fan and you would be right, and the Mason IEM holds a special place in my heart because my son’s name is Mason as well. Does that make me biased? Absolutely and I committed to owning every one of them (although this one tested my price tolerance, but more on that later), so I had to have the Mason Fabled Sound as soon as I saw it. The Mason line, to me, has always stood for natural, engaging sound that never had an over-the-top sound signature. It was always a mature, refined tuning – something that is underrated in today’s bombastic approaches to sound. The Mason line focuses on the music, the nuances, the emotions within, and the Fabled Sound is the best of them yet.
The Fit, Finish, Accessories and Extra Goodies
I promised myself I would try not to immediately go here, but I have to and cannot resist. I own two IEMs in this price segment and both of them sound wonderful, but one comes with an incredible set of accessories and one comes with a cardboard box that belongs in the recycle bin. Now, with that out of the way, you get some really cool and unique stuff with the Mason. First, the IEMs themselves, which are crafted carefully with a stabilized and resin shell that looks quite unique (in fact, no two look alike). The shells are a gorgeous translucent blue with segments of wood that really make the IEM look special. Physically, they are on the large side, but they’re quite comfortable to me and the medium-sized nozzle accepts pretty much any tips I would choose to use (Spiral Dot++ for the win for me). The wood itself is apparently harvested from a Cholla, which is a type of cactus, normally found in the Southwest part of the United States and Mexico. Unique Melody isn’t the first to make these stabilized wood shells (Noble. Makes some incredible Prestige designs as well), but they give you some goodies in the box that show their commitment to outside the box thinking. In fact, you get a piece of the stabilized wood and resin that your very own IEM was crafted out of, which is pretty cool.
Moving along to what else you get, well, let’s talk about the cable. It is made by PW Audio and is called the “Attila” cable. It reminds me of the 1960 cable from PW Audio, which is definitely not a bad thing. Handsome black sheathing, UM-branded (and lovely) hardware and fancy shielding that makes it sound like unicorns singing in the night. I like the trend of newer flagship IEMs coming with top of the line cables and this package takes it to the summit-fi level. For that reason, I didn’t bother with cable rolling (yet) and will update the review if I do. I’m normally overly loud about throwing all stock cables in the trash can, but not here – no way. For better or worse, UM has abandoned the 4-pin “Dual Tone” cable, which allowed you to change between different cable material configurations. For me, this was painful because I owned the $2,100 Effect Audio “Phanes” cable that was an 8-wire beauty that no longer works on the latest flagship, but I think the general audience will greatly appreciate that the UM flagships are now standard 2-pin. The sky is the limit for cable options, but it’s sort of a moot point if you plan to enjoy the high-quality stock cable. Only complaint here is that it’s a little stiff, but I’ve gotten used to it and generally enjoy its sound and build to a high degree.
Included with my unit was a really nice leather case, as well as a monstrous Van Nuys case that can probably hold a DAP and two pairs of IEMs. That may just be for the first few buyers, but either way this is outfitted with some seriously nice gear. You also get a great assortment of tips (Comply, Sedna and UM). While I won’t say this packaging is up the level of something like the VE Erlkonig, it’s a carefully thought out and impressive package that I really enjoyed perusing about.
Mason FS – Fabled Sound or FuSang?
I’m going to put a small blurb on this because by the time I finish writing this review, maybe all 20 units of the first run of Mason Fabled Sound will be all gone. Since I began writing and listening to my Fabulous Sidekick, another version has been released that is called the Mason FuSang. This has identical internals (12 balanced armatures, one bone conduction system) and comes in an acrylic shell and includes a different cable. For all intents and purposes, the sound should be the same on both with minor differences due to the materials and cable. So, I guess what I am getting at, is that hopefully you find this review applicable to both versions and you choose which one suits you best based on price. I went all in YOLO-style when I saw the Fabled Sound hit the MusicTeck website, but would be equally happy with the FuSang.
Test Setup
This part is also boring, but it’s important to know what was used as a testing bed. If it’s a 3.5mm jack out of a mid-range cell phone, I believe results will be different than if a top-tier desktop rig was used. Most of my testing was done on my trusty. Ifi iDSD Pro desktop DAC/amp, utilizing the tube amp setting. This is a very neutral source, even on the tube setting, sort of akin to the Hugo 2. It’s capable of presenting extremely detailed sound and a massive, spacious stage. Additionally, I used my Hiby R8 DAP. For when I. was not at my desk. Source files were played from Tidal HiFi (FLAC or “Masters” aka MQA) and the stock cable was used.
Finally, the Sound
Okay, so here we are. The Mason Freshly Sensational is a very special IEM in the way it produces sound. There are 12 balanced armatures which together cover the whole frequency range, along with a bone conduction system that also covers (and enhances) the full spectrum. The sound signature of the Mason Faithful Star is HiFi neutral/natural to me, meaning there is very little enhancement in any one frequency area. I have not seen a graph of this IEM, but I would guess that it is fairly flat with a faint hint of W-shaped curve. This is a very versatile IEM, yet I think it is best served to music with vocals (more on that later). It covers a wide range of genres and can be an incredible all-rounder, with nuanced and subtle tricks that make music sound sublime. Overall, the sound is absolutely top-of-the-line quality and careful tuning becomes immediately obvious when you place these in your ears. Also worth mentioning, this IEM requires a lot of power. I find that out of all my IEMs, this requires the highest notch on the volume knob.
Bass
Let’s go through the range, starting with the bass. The bass is tight, punchy, has a slight bias toward mid-bass where the sub-bass is fairly neutral. The bass on these is miles away (in quantity) from IEMs with a dynamic driver like the Fourte Noir or Noble Sultan, yet they never feel dry or lacking down low in the range. Instead, you get the sense that bass is presented exactly how it is supposed to be presented and accurate to a fault. Sub-bass rumble is neutral as I said, with mid-bass punch being pretty neutral but slightly enhanced. Kick drums, for example, thumb quickly and impactfully, but synthetic rumble from certain sound tracks is on the lighter side. Bass is great overall, but judging it on its own does a disservice to this IEMs overall character. It’s a fine bass, done well in a neutral manner. No complaints, but the rumble will not be knocking your socks off anytime soon.
Mids and Vocals
I joke that I have a difficult time describing mids and always just case for bass and treble, but friends, the mids have arrived! Wow, the female vocals on the Mason Fantastic Singers are simply out of this world and provide a feeling of realism right into your ears. Male vocals do the same, with weight and texture that truly make you feel like you are there at the show. Electric guitar riffs subtly (and sometimes vigorously) tickle your senses and ears with realism that makes you look around the room and wonder. I don’t know if this is the bone conduction system, the masterfully-tuned balanced armatures or both, but these IEMs present the best vocals I have ever heard. The entire mid-range, from lower mids all the way to upper mids, are quite linear but with incredible texture, detail and air. A friend recommended trying “Nightlight” by Illenium to showcase the abilities and seriously, this was an epic experience. Now, I’m not saying the bone conduction system vibrates your ears or anything like that (well maybe it does on a subconscious level), but it absolutely does its job to make things sound just a touch more present and near you. At least, that is my guess on what it is doing and what I am hearing. Anyway, back to the sound, I am incredibly impressed with the mid-range. There is not any feeling of dryness, but the mids are neutral, natural and crystal clear with air and space. They are ever so slightly more forward than the bass, but they are not bathed in warmth or enhanced with any thickness. There’s just so much headroom in here that makes the mids the star of the show, giving absolutely effortless and lifelike sound track after track. The overall technicalities and abilities of the Mason Fascinating Satisfaction with regards to vocals especially has to be heard and experienced; I think it’s pretty much the closest I’m going to get in my lifetime to Dua Lipa whispering sweet nothings in my ear!
Treble
The trend these days is estat hardware for the highs, but I am slightly unconvinced of their necessity. I’ve had numerous all-BA IEMs and many estats and I’ll go out on a limb to say the implementation/crossover/tuning is what really matters. So here, we have some beautifully-tuned treble with sparkle and extension that deserves the designation of summit-fi. High hats are incredibly quick and precise, while the highest registers of vocals have a spine-tingling realism and feel. This IEM is not overly-sparkly and I do not see anyone being truly bothered by that sparkle, but it goes up to the highest of highs with an effortless attack that ensues so much air in those frequencies. Again, it’s a nuanced and refined tuning that carefully straddles the line of enhanced sparkle and smoothed treble. It’s perfect (for me, a slight treble-head) and I’m really impressed with what UM have tickled out of “normal” balanced armature drivers. And with the bone conduction system adding texture and feeling to the highs, well, it’s a real high that has to be experienced.
Stage and Separation
Probably the most difficult part of any review for me is describing the dimensions of a stage. Thankfully, I’ve clocked in some serious hours on the Mason Favorite Sauce and am confident enough to say that the stage is a selling point of this IEM. While not as out-of-your-head vast as a competing $6,000 IEM, it’s an adequately spacious, accurate and lifelike perception of stage that still wows on first listen. If I were to describe the dimensions, I would say the width is the star of the show with the height and depth falling in line at a slightly lesser degree. Overall, while listening to live music tracks, it’s very easy to close your eyes and picture the concert as you would experience it, without feeling overly enhanced or out of your head. You’re closer to the musicians than some other IEMs with a massive stage, but everything feels lifelike. Hard to describe really, and I seem to be doing a properly mediocre job of that. Essentially, the Mason Fearless Sound presents music in a way that really makes you feel close to it, rather than testing the distance of just how far that drummer can be off to the left, or that bass guitar off to the right.
Separation on the Mason Fashionably Sassy is above average with impressive depictions of instruments. This IEM is not all about detail, with resolution not being the defining trait. But, it still presents massive amounts of detail, just in an effortless and natural way. Nothing sounds clinical, nothing sounds forced and you won’t find yourself testing whether or not you can hear someone sneeze in the third row. Instead, this is a tuning that takes you past analyzing each sound and lets you enjoy an soundscape that has all the details in the right place. Natural, neutral, very high-resolution and never overdone. It’s impressive and I never tire of listening.
Comparisons
UM Mason V3+: I loved the V3+ from the day I got it for its natural, smooth sound with sublime layering and texture. It sounded like a big IEM, and needed a lot of power to get the best from it. I’m happy to say that the Mason Follow-up Sound does not stray too far from the V3+, but there are differences worth mentioning. The V3+ has a thicker, warmer tone to it where the latest and greatest goes for ultimate neutrality and realism. V3+ has a big more bass impact, where Fabled Sound goes for speed, clarity and precision. Mid-range is similar tonality-wise, but the Mason Freakin’ Special gives that texture I mentioned earlier where you can feel the singers notes. For vocals, nothing can touch the Mason Fantabulous Singers’ ability to make you feel like you are part of the music. Treble sparkle is enhanced and more extended to my ears on the Fabled Sound, but that may be the smooth tuning of the V3+. Detail-wise, I think I hear a bit more clarity in the latest version of Mason, though V3+ is obviously no slouch. Stage is comparable on the two of them, but perception of being in a live concert goes to Mason Full Stadium due to its magic and unicorn dust in the mids, courtesy of the bone conduction system.
EE Odin: this is an interesting comparison because these monitors are miles apart in technology and sound, yet they’re both going for super high-fidelity neutral tuning to give you ever last ounce of your music with nothing lost. I should note that I’m using the wonderful Effect Audio Code51 cable with the Odin, which adds a touch more resolution and transparency in comparison to the stock PW Audio 1960. With that said, let’s start with the bass: Odin wins here. Whether you’re a bass head, neutral head, whatever head, the bass is just better on the Odin. It hits harder, rumbles deeper and has an incredible sense of texture. The rest, I’m afraid, I think would go to the Mason Frequency Star. Into the mids, the Mason has texture, realism, warmth and timbre that the Odin does not compete with. Odin is a very neutral, dry mid-range that may have a touch more detail, but the Mason really presents mids and vocals in a more effortless way that is less fatiguing and more enjoyable to my ears. Treble is where these two IEMs also differ, with Odin being more precise and sharper while Mason has a denser and more relaxed upper end. It’s hard to tell which has higher extension and I would probably call it a tie, but Odin has been reported to bother treble-sensitive listeners (but I love it and crave that precision). Stage dimensions sound roughly similar to me, where it’s a little hard to judge or declare a winner because of the different tuning nature. Mason Feels Soft in comparison to Odin, where Odin is sometimes too much for a relaxing listen.
Noble Sultan LE: the Sultan LE has been my favorite all-rounder hybrid because of its fun bass with a W-shaped signature. In this test, I paired the Sultan LE with the awesome Eletech Iliad, which takes all of the Sultan’s characteristics and turns them up to 11. The Sultan never does anything wrong, it’s just pure fun with dynamics in spades and an engaging but non-fatiguing listen. The Mason Familiar Secret is a more nuanced, more mature sound that has a lighter touch on everything. That’s not to say there is less body in the Mason Fully Satisfied, but the Sultan is the energetic party animal where Mason is more reserved. Resolution and detail, despite having wildly different tuning, seems to be on-par. Bass on the Sultan LE goes deeper and hits massively harder, where Mason is tighter and quicker as to be expected. Mids, again with Mason Freakishly Special, have a physical touch that no other monitor I’ve heard can compete with. But Sultan is still excellent here and the W-shaped signature really works well for it. The mids and vocals, despite bombastic bass and sparkly treble, are always present thanks to the Wizard’s clever tuning. Into the higher notes, I hear Sultan having a thicker, denser treble (as is consistent with most estats I’ve heard, sans Odin). The Sultan is the more fun of the two, where Mason’s Final Solution is that it gives the best interpretation of vocals/singers that I’ve heard to date.
64 Audio Tia Fourte Noir: of course the Noir has to be included in this comparison, given its musicality, technical prowess, somewhat-cult following and unique sound. That said, these IEMs give the listener quite different experiences and sound signatures, so I’ll declare right now that it’s again hard to pick a “winner” and will depend on what the listener prefers for themselves. Starting with the bass, the Noir has a warm, thick, analogue-sounding dynamic driver kick that is one of the best I’ve heard. Still no Legend X in quantity, but it’s definitely north of neutral. It’s on the slower side, where the quicker attack of the Mason Faster Slam is immediately obvious. Quantity-wise, the Noir has much more bass, both in the sub and mid-bass regions. Into the mids (and acknowledging that the Noir is an improvement over the original Fourte here), the Mason Fancy Specimen has a more lifelike feel and has a greater ability to connect the listener to the vocals. Noir has a nicely textured and warm mid-range, but the Mason vocals shine through clearer and with more air. Into the treble, Noir is hard to compete with given its Tia driver and very high extension. These two are fairly close, with perhaps a very slight edge going to Noir in extension. Mason Frequency Spectrum comes close, with plenty of sparkle and extension and sounding the more natural of the two. Performance is fairly close here and I find myself struggling a bit to find any other differences in the highs, which is a great thing for Mason. Detail and separation is similar on the two, though Noir sounds a little less natural and Mason sounding more effortless in its detail portrayal. It’s hard to believe that just a bit ago, Noir was on the very extreme end of IEM pricing – but Mason Financial Sadness has changed that right quick! Oh and I almost forgot to mention, Noir was paired with a beautiful pure silver cable lovingly crafted by Justin (@doctorjuggles) at Khanyayo Cables.
Oriolus Traillii: I could probably spend a few days just listening to these back to back and I do actually question my own ability to fully report on the differences between these two summit-fi IEMs. But what the hell, let’s give it a go. I promise not to talk about Traillii’s cardboard box anymore as well. The first thing that struck me upon listening to Traillii was an insanely wide stage that extends fully out of your head and into your neighbor’s yard. It’s almost uncanny and is very special in that regard. Once you get over that jaw-dropping stage, you hear an incredibly deep, impactful bass that would make you wonder if there actually is a dynamic driver contained within. Switching over to Mason Feeling Second-best, there are plenty of tricks up its sleeve to not only compete with Traillii, but surpass it in some areas. Stage, while not as insanely wide or deep, gives the sense of being inside the music and actually at the live show thanks to the physicality and texture (likely from the bone conduction system). Dimensions are narrower, but you get a similar grin-inducing feel and immediately know the IEM is special in its own right. Bass is quicker, though less impactful than Traillii and doesn’t extend as deep. Into the mids, the Traillii is very good in its own right with a very clear, natural and airy presentation of vocals. Mason Formally Surpasses in the area of vocals for me, though, with a more bodied sound in the singers’ voices and that texture that I’ve talked so much about (Dua Lipa...whispering...you know...). Traillii is quite balanced, though somehow Mason almost makes the Traillii sound a touch U-shaped given how present the vocals are on the Mason. Into the treble region, damn, this is a tough one. Traillii extends way up into the maximum registers with an effortless air and sparkle that is some of the nicest treble I’ve ever heard. Mason Fresh Shine has incredible sparkle and extension too, but it’s not as effortless and natural as Traillii. Notes up high are a touch thicker, where Traillii is so light on its feet here. Neither will bother treble sensitive listeners in my opinion, because they don’t sound bright at all. It’s treble done perfectly in my book, with Traillii being the airier and sparklier of the two, with a touch more thickness on the Mason. For detail and separation, I really cannot choose a winner here given the different way these IEMs portray the sound. What I will say is this: putting either in your ear gives you the summit-fi experience and both perform so exceptionally well. Traillii might be a “safer” bet because it does nothing wrong, but Mason Fascinating Solution really brings home a special texture and sound. Both come with top of the line cables and both will give you endgame performance several times over. One comes with a cardboard box. Sorry.
Conclusion:
Here we are at the end of the review and I’m left with this feeling that I haven’t managed to even scratch the surface of describing what Mason Faithful Soulmate is capable of and I blame my own lack of creativity and writing for that. But at the end of the day, I think it should speak volumes that I spent $6,000 on an IEM and I am pleased with it. And yet, that is the elephant in the room: should anyone actually be crazy enough to spend that on an IEM? Well, let me tell you my justification and you can take it with a grain of salt: I know myself too well, and I know that I will never be happy until I own the best. It’s sick, really, but I am chasing that last ounce of performance and fully acknowledge that it comes at great financial cost.
This IEM brings a lot to the table other than just great detail, stunning looks and top of the line accessories. It brings a realism to vocals that I have not heard on anything else, it brings an immersive experience that has to be heard to be believed. While it does most things exceptionally well, it does vocals the best I’ve heard and some might say that in itself is worth the price of entry. Others may say there is nothing on earth that this IEM can do that would be worth that price of entry, and that’s fine too. At the end of the day, this IEM is absolutely a keeper among my stable of gear and it will be with me for a long time (I hope). Whether you go with the Fabled Sound or the FuSang, you’ll get a unique IEM that exudes quality and engineering, with love and soul installed by Unique Melody. In this segment of the market, Mason Firmly Sits at or near the top depending on your preference.
Huge, huge thanks to Andrew at @MusicTeck for allowing me to reserve serial number 001 of this. I will keep it forever and give it to my son Mason when he is old enough to appreciate it. He will probably wonder why the hell there are thick black wires coming out of it and won’t have a device to plug it into, but those are problems for tomorrow.
A few brief words about the lunatic behind the keyboard for this review. I became an “audiophile” a few years ago and started climbing the ladder to insanity pretty quickly. I started with some decent IEMs, a few earbuds, dabbled in headphones and eventually ended up on track to own almost every single flagship ever released. I do not believe I am a “reviewer,” per se, but instead just love trying gear and then writing about it when something really strikes a chord with me. You’ll notice a lot of my reviews I have posted are pretty positive and if I’m being honest, I don’t bother writing reviews on a mediocre product. Maybe that’s a polarizing, or lazy view, but I buy all my own gear and am not constrained to write about something I don’t want to. Liberating, really. That said, I’m also not as good as the real reviewers, so this will probably be more about the feels and the enjoyment factor than a true technical analysis. But hey, I promise to do my best either way. I've had a long journey with Unique Melody IEMs, so on that note...
My Unique Melody Journey
While it may not be super important to bore you with the other Unique Melody IEMs I’ve had, I am amongst the few that have owned: Mason, Mason II, Mason V3, Mason V3+ and now Mason Fabled Sound. You could say I am a Mason fan and you would be right, and the Mason IEM holds a special place in my heart because my son’s name is Mason as well. Does that make me biased? Absolutely and I committed to owning every one of them (although this one tested my price tolerance, but more on that later), so I had to have the Mason Fabled Sound as soon as I saw it. The Mason line, to me, has always stood for natural, engaging sound that never had an over-the-top sound signature. It was always a mature, refined tuning – something that is underrated in today’s bombastic approaches to sound. The Mason line focuses on the music, the nuances, the emotions within, and the Fabled Sound is the best of them yet.
The Fit, Finish, Accessories and Extra Goodies
I promised myself I would try not to immediately go here, but I have to and cannot resist. I own two IEMs in this price segment and both of them sound wonderful, but one comes with an incredible set of accessories and one comes with a cardboard box that belongs in the recycle bin. Now, with that out of the way, you get some really cool and unique stuff with the Mason. First, the IEMs themselves, which are crafted carefully with a stabilized and resin shell that looks quite unique (in fact, no two look alike). The shells are a gorgeous translucent blue with segments of wood that really make the IEM look special. Physically, they are on the large side, but they’re quite comfortable to me and the medium-sized nozzle accepts pretty much any tips I would choose to use (Spiral Dot++ for the win for me). The wood itself is apparently harvested from a Cholla, which is a type of cactus, normally found in the Southwest part of the United States and Mexico. Unique Melody isn’t the first to make these stabilized wood shells (Noble. Makes some incredible Prestige designs as well), but they give you some goodies in the box that show their commitment to outside the box thinking. In fact, you get a piece of the stabilized wood and resin that your very own IEM was crafted out of, which is pretty cool.
Moving along to what else you get, well, let’s talk about the cable. It is made by PW Audio and is called the “Attila” cable. It reminds me of the 1960 cable from PW Audio, which is definitely not a bad thing. Handsome black sheathing, UM-branded (and lovely) hardware and fancy shielding that makes it sound like unicorns singing in the night. I like the trend of newer flagship IEMs coming with top of the line cables and this package takes it to the summit-fi level. For that reason, I didn’t bother with cable rolling (yet) and will update the review if I do. I’m normally overly loud about throwing all stock cables in the trash can, but not here – no way. For better or worse, UM has abandoned the 4-pin “Dual Tone” cable, which allowed you to change between different cable material configurations. For me, this was painful because I owned the $2,100 Effect Audio “Phanes” cable that was an 8-wire beauty that no longer works on the latest flagship, but I think the general audience will greatly appreciate that the UM flagships are now standard 2-pin. The sky is the limit for cable options, but it’s sort of a moot point if you plan to enjoy the high-quality stock cable. Only complaint here is that it’s a little stiff, but I’ve gotten used to it and generally enjoy its sound and build to a high degree.
Included with my unit was a really nice leather case, as well as a monstrous Van Nuys case that can probably hold a DAP and two pairs of IEMs. That may just be for the first few buyers, but either way this is outfitted with some seriously nice gear. You also get a great assortment of tips (Comply, Sedna and UM). While I won’t say this packaging is up the level of something like the VE Erlkonig, it’s a carefully thought out and impressive package that I really enjoyed perusing about.
Mason FS – Fabled Sound or FuSang?
I’m going to put a small blurb on this because by the time I finish writing this review, maybe all 20 units of the first run of Mason Fabled Sound will be all gone. Since I began writing and listening to my Fabulous Sidekick, another version has been released that is called the Mason FuSang. This has identical internals (12 balanced armatures, one bone conduction system) and comes in an acrylic shell and includes a different cable. For all intents and purposes, the sound should be the same on both with minor differences due to the materials and cable. So, I guess what I am getting at, is that hopefully you find this review applicable to both versions and you choose which one suits you best based on price. I went all in YOLO-style when I saw the Fabled Sound hit the MusicTeck website, but would be equally happy with the FuSang.
Test Setup
This part is also boring, but it’s important to know what was used as a testing bed. If it’s a 3.5mm jack out of a mid-range cell phone, I believe results will be different than if a top-tier desktop rig was used. Most of my testing was done on my trusty. Ifi iDSD Pro desktop DAC/amp, utilizing the tube amp setting. This is a very neutral source, even on the tube setting, sort of akin to the Hugo 2. It’s capable of presenting extremely detailed sound and a massive, spacious stage. Additionally, I used my Hiby R8 DAP. For when I. was not at my desk. Source files were played from Tidal HiFi (FLAC or “Masters” aka MQA) and the stock cable was used.
Finally, the Sound
Okay, so here we are. The Mason Freshly Sensational is a very special IEM in the way it produces sound. There are 12 balanced armatures which together cover the whole frequency range, along with a bone conduction system that also covers (and enhances) the full spectrum. The sound signature of the Mason Faithful Star is HiFi neutral/natural to me, meaning there is very little enhancement in any one frequency area. I have not seen a graph of this IEM, but I would guess that it is fairly flat with a faint hint of W-shaped curve. This is a very versatile IEM, yet I think it is best served to music with vocals (more on that later). It covers a wide range of genres and can be an incredible all-rounder, with nuanced and subtle tricks that make music sound sublime. Overall, the sound is absolutely top-of-the-line quality and careful tuning becomes immediately obvious when you place these in your ears. Also worth mentioning, this IEM requires a lot of power. I find that out of all my IEMs, this requires the highest notch on the volume knob.
Bass
Let’s go through the range, starting with the bass. The bass is tight, punchy, has a slight bias toward mid-bass where the sub-bass is fairly neutral. The bass on these is miles away (in quantity) from IEMs with a dynamic driver like the Fourte Noir or Noble Sultan, yet they never feel dry or lacking down low in the range. Instead, you get the sense that bass is presented exactly how it is supposed to be presented and accurate to a fault. Sub-bass rumble is neutral as I said, with mid-bass punch being pretty neutral but slightly enhanced. Kick drums, for example, thumb quickly and impactfully, but synthetic rumble from certain sound tracks is on the lighter side. Bass is great overall, but judging it on its own does a disservice to this IEMs overall character. It’s a fine bass, done well in a neutral manner. No complaints, but the rumble will not be knocking your socks off anytime soon.
Mids and Vocals
I joke that I have a difficult time describing mids and always just case for bass and treble, but friends, the mids have arrived! Wow, the female vocals on the Mason Fantastic Singers are simply out of this world and provide a feeling of realism right into your ears. Male vocals do the same, with weight and texture that truly make you feel like you are there at the show. Electric guitar riffs subtly (and sometimes vigorously) tickle your senses and ears with realism that makes you look around the room and wonder. I don’t know if this is the bone conduction system, the masterfully-tuned balanced armatures or both, but these IEMs present the best vocals I have ever heard. The entire mid-range, from lower mids all the way to upper mids, are quite linear but with incredible texture, detail and air. A friend recommended trying “Nightlight” by Illenium to showcase the abilities and seriously, this was an epic experience. Now, I’m not saying the bone conduction system vibrates your ears or anything like that (well maybe it does on a subconscious level), but it absolutely does its job to make things sound just a touch more present and near you. At least, that is my guess on what it is doing and what I am hearing. Anyway, back to the sound, I am incredibly impressed with the mid-range. There is not any feeling of dryness, but the mids are neutral, natural and crystal clear with air and space. They are ever so slightly more forward than the bass, but they are not bathed in warmth or enhanced with any thickness. There’s just so much headroom in here that makes the mids the star of the show, giving absolutely effortless and lifelike sound track after track. The overall technicalities and abilities of the Mason Fascinating Satisfaction with regards to vocals especially has to be heard and experienced; I think it’s pretty much the closest I’m going to get in my lifetime to Dua Lipa whispering sweet nothings in my ear!
Treble
The trend these days is estat hardware for the highs, but I am slightly unconvinced of their necessity. I’ve had numerous all-BA IEMs and many estats and I’ll go out on a limb to say the implementation/crossover/tuning is what really matters. So here, we have some beautifully-tuned treble with sparkle and extension that deserves the designation of summit-fi. High hats are incredibly quick and precise, while the highest registers of vocals have a spine-tingling realism and feel. This IEM is not overly-sparkly and I do not see anyone being truly bothered by that sparkle, but it goes up to the highest of highs with an effortless attack that ensues so much air in those frequencies. Again, it’s a nuanced and refined tuning that carefully straddles the line of enhanced sparkle and smoothed treble. It’s perfect (for me, a slight treble-head) and I’m really impressed with what UM have tickled out of “normal” balanced armature drivers. And with the bone conduction system adding texture and feeling to the highs, well, it’s a real high that has to be experienced.
Stage and Separation
Probably the most difficult part of any review for me is describing the dimensions of a stage. Thankfully, I’ve clocked in some serious hours on the Mason Favorite Sauce and am confident enough to say that the stage is a selling point of this IEM. While not as out-of-your-head vast as a competing $6,000 IEM, it’s an adequately spacious, accurate and lifelike perception of stage that still wows on first listen. If I were to describe the dimensions, I would say the width is the star of the show with the height and depth falling in line at a slightly lesser degree. Overall, while listening to live music tracks, it’s very easy to close your eyes and picture the concert as you would experience it, without feeling overly enhanced or out of your head. You’re closer to the musicians than some other IEMs with a massive stage, but everything feels lifelike. Hard to describe really, and I seem to be doing a properly mediocre job of that. Essentially, the Mason Fearless Sound presents music in a way that really makes you feel close to it, rather than testing the distance of just how far that drummer can be off to the left, or that bass guitar off to the right.
Separation on the Mason Fashionably Sassy is above average with impressive depictions of instruments. This IEM is not all about detail, with resolution not being the defining trait. But, it still presents massive amounts of detail, just in an effortless and natural way. Nothing sounds clinical, nothing sounds forced and you won’t find yourself testing whether or not you can hear someone sneeze in the third row. Instead, this is a tuning that takes you past analyzing each sound and lets you enjoy an soundscape that has all the details in the right place. Natural, neutral, very high-resolution and never overdone. It’s impressive and I never tire of listening.
Comparisons
UM Mason V3+: I loved the V3+ from the day I got it for its natural, smooth sound with sublime layering and texture. It sounded like a big IEM, and needed a lot of power to get the best from it. I’m happy to say that the Mason Follow-up Sound does not stray too far from the V3+, but there are differences worth mentioning. The V3+ has a thicker, warmer tone to it where the latest and greatest goes for ultimate neutrality and realism. V3+ has a big more bass impact, where Fabled Sound goes for speed, clarity and precision. Mid-range is similar tonality-wise, but the Mason Freakin’ Special gives that texture I mentioned earlier where you can feel the singers notes. For vocals, nothing can touch the Mason Fantabulous Singers’ ability to make you feel like you are part of the music. Treble sparkle is enhanced and more extended to my ears on the Fabled Sound, but that may be the smooth tuning of the V3+. Detail-wise, I think I hear a bit more clarity in the latest version of Mason, though V3+ is obviously no slouch. Stage is comparable on the two of them, but perception of being in a live concert goes to Mason Full Stadium due to its magic and unicorn dust in the mids, courtesy of the bone conduction system.
EE Odin: this is an interesting comparison because these monitors are miles apart in technology and sound, yet they’re both going for super high-fidelity neutral tuning to give you ever last ounce of your music with nothing lost. I should note that I’m using the wonderful Effect Audio Code51 cable with the Odin, which adds a touch more resolution and transparency in comparison to the stock PW Audio 1960. With that said, let’s start with the bass: Odin wins here. Whether you’re a bass head, neutral head, whatever head, the bass is just better on the Odin. It hits harder, rumbles deeper and has an incredible sense of texture. The rest, I’m afraid, I think would go to the Mason Frequency Star. Into the mids, the Mason has texture, realism, warmth and timbre that the Odin does not compete with. Odin is a very neutral, dry mid-range that may have a touch more detail, but the Mason really presents mids and vocals in a more effortless way that is less fatiguing and more enjoyable to my ears. Treble is where these two IEMs also differ, with Odin being more precise and sharper while Mason has a denser and more relaxed upper end. It’s hard to tell which has higher extension and I would probably call it a tie, but Odin has been reported to bother treble-sensitive listeners (but I love it and crave that precision). Stage dimensions sound roughly similar to me, where it’s a little hard to judge or declare a winner because of the different tuning nature. Mason Feels Soft in comparison to Odin, where Odin is sometimes too much for a relaxing listen.
Noble Sultan LE: the Sultan LE has been my favorite all-rounder hybrid because of its fun bass with a W-shaped signature. In this test, I paired the Sultan LE with the awesome Eletech Iliad, which takes all of the Sultan’s characteristics and turns them up to 11. The Sultan never does anything wrong, it’s just pure fun with dynamics in spades and an engaging but non-fatiguing listen. The Mason Familiar Secret is a more nuanced, more mature sound that has a lighter touch on everything. That’s not to say there is less body in the Mason Fully Satisfied, but the Sultan is the energetic party animal where Mason is more reserved. Resolution and detail, despite having wildly different tuning, seems to be on-par. Bass on the Sultan LE goes deeper and hits massively harder, where Mason is tighter and quicker as to be expected. Mids, again with Mason Freakishly Special, have a physical touch that no other monitor I’ve heard can compete with. But Sultan is still excellent here and the W-shaped signature really works well for it. The mids and vocals, despite bombastic bass and sparkly treble, are always present thanks to the Wizard’s clever tuning. Into the higher notes, I hear Sultan having a thicker, denser treble (as is consistent with most estats I’ve heard, sans Odin). The Sultan is the more fun of the two, where Mason’s Final Solution is that it gives the best interpretation of vocals/singers that I’ve heard to date.
64 Audio Tia Fourte Noir: of course the Noir has to be included in this comparison, given its musicality, technical prowess, somewhat-cult following and unique sound. That said, these IEMs give the listener quite different experiences and sound signatures, so I’ll declare right now that it’s again hard to pick a “winner” and will depend on what the listener prefers for themselves. Starting with the bass, the Noir has a warm, thick, analogue-sounding dynamic driver kick that is one of the best I’ve heard. Still no Legend X in quantity, but it’s definitely north of neutral. It’s on the slower side, where the quicker attack of the Mason Faster Slam is immediately obvious. Quantity-wise, the Noir has much more bass, both in the sub and mid-bass regions. Into the mids (and acknowledging that the Noir is an improvement over the original Fourte here), the Mason Fancy Specimen has a more lifelike feel and has a greater ability to connect the listener to the vocals. Noir has a nicely textured and warm mid-range, but the Mason vocals shine through clearer and with more air. Into the treble, Noir is hard to compete with given its Tia driver and very high extension. These two are fairly close, with perhaps a very slight edge going to Noir in extension. Mason Frequency Spectrum comes close, with plenty of sparkle and extension and sounding the more natural of the two. Performance is fairly close here and I find myself struggling a bit to find any other differences in the highs, which is a great thing for Mason. Detail and separation is similar on the two, though Noir sounds a little less natural and Mason sounding more effortless in its detail portrayal. It’s hard to believe that just a bit ago, Noir was on the very extreme end of IEM pricing – but Mason Financial Sadness has changed that right quick! Oh and I almost forgot to mention, Noir was paired with a beautiful pure silver cable lovingly crafted by Justin (@doctorjuggles) at Khanyayo Cables.
Oriolus Traillii: I could probably spend a few days just listening to these back to back and I do actually question my own ability to fully report on the differences between these two summit-fi IEMs. But what the hell, let’s give it a go. I promise not to talk about Traillii’s cardboard box anymore as well. The first thing that struck me upon listening to Traillii was an insanely wide stage that extends fully out of your head and into your neighbor’s yard. It’s almost uncanny and is very special in that regard. Once you get over that jaw-dropping stage, you hear an incredibly deep, impactful bass that would make you wonder if there actually is a dynamic driver contained within. Switching over to Mason Feeling Second-best, there are plenty of tricks up its sleeve to not only compete with Traillii, but surpass it in some areas. Stage, while not as insanely wide or deep, gives the sense of being inside the music and actually at the live show thanks to the physicality and texture (likely from the bone conduction system). Dimensions are narrower, but you get a similar grin-inducing feel and immediately know the IEM is special in its own right. Bass is quicker, though less impactful than Traillii and doesn’t extend as deep. Into the mids, the Traillii is very good in its own right with a very clear, natural and airy presentation of vocals. Mason Formally Surpasses in the area of vocals for me, though, with a more bodied sound in the singers’ voices and that texture that I’ve talked so much about (Dua Lipa...whispering...you know...). Traillii is quite balanced, though somehow Mason almost makes the Traillii sound a touch U-shaped given how present the vocals are on the Mason. Into the treble region, damn, this is a tough one. Traillii extends way up into the maximum registers with an effortless air and sparkle that is some of the nicest treble I’ve ever heard. Mason Fresh Shine has incredible sparkle and extension too, but it’s not as effortless and natural as Traillii. Notes up high are a touch thicker, where Traillii is so light on its feet here. Neither will bother treble sensitive listeners in my opinion, because they don’t sound bright at all. It’s treble done perfectly in my book, with Traillii being the airier and sparklier of the two, with a touch more thickness on the Mason. For detail and separation, I really cannot choose a winner here given the different way these IEMs portray the sound. What I will say is this: putting either in your ear gives you the summit-fi experience and both perform so exceptionally well. Traillii might be a “safer” bet because it does nothing wrong, but Mason Fascinating Solution really brings home a special texture and sound. Both come with top of the line cables and both will give you endgame performance several times over. One comes with a cardboard box. Sorry.
Conclusion:
Here we are at the end of the review and I’m left with this feeling that I haven’t managed to even scratch the surface of describing what Mason Faithful Soulmate is capable of and I blame my own lack of creativity and writing for that. But at the end of the day, I think it should speak volumes that I spent $6,000 on an IEM and I am pleased with it. And yet, that is the elephant in the room: should anyone actually be crazy enough to spend that on an IEM? Well, let me tell you my justification and you can take it with a grain of salt: I know myself too well, and I know that I will never be happy until I own the best. It’s sick, really, but I am chasing that last ounce of performance and fully acknowledge that it comes at great financial cost.
This IEM brings a lot to the table other than just great detail, stunning looks and top of the line accessories. It brings a realism to vocals that I have not heard on anything else, it brings an immersive experience that has to be heard to be believed. While it does most things exceptionally well, it does vocals the best I’ve heard and some might say that in itself is worth the price of entry. Others may say there is nothing on earth that this IEM can do that would be worth that price of entry, and that’s fine too. At the end of the day, this IEM is absolutely a keeper among my stable of gear and it will be with me for a long time (I hope). Whether you go with the Fabled Sound or the FuSang, you’ll get a unique IEM that exudes quality and engineering, with love and soul installed by Unique Melody. In this segment of the market, Mason Firmly Sits at or near the top depending on your preference.
Huge, huge thanks to Andrew at @MusicTeck for allowing me to reserve serial number 001 of this. I will keep it forever and give it to my son Mason when he is old enough to appreciate it. He will probably wonder why the hell there are thick black wires coming out of it and won’t have a device to plug it into, but those are problems for tomorrow.
Attachments
PeteSTRADAMUS
Nice! You covered all the comparisons I was waiting for.
rantng
Bit of a missed opportunity, Colin. You could have ended with ‘Mason Full Stop’ 
Intro: either by luck, chance, misfortune or misalignment of the universe, I have never reviewed a cable before. But, rest assured, I have owned as many cables as I have IEMs, and that number is vast. With regard specifically to Effect Audio, I have owned nearly all of them. I am a longtime customer, user, advocate, fan and stalker. When I saw the impending release of the Evo 10, a reasonably priced upgrade cable with style and attitude, I eagerly accepted an invitation to get my hands on this beauty. On that note, I purchased this cable from Effect Audio, albeit with a discount, and agreed to provide my thoughts, for better or worse. So, here they are!
Me: normally I write some spiel about why I am qualified to review a product, but this time I will just say maybe I am and maybe I am not. You can be the judge, and I am just here to tell you how I feel about this cable. I am an advocate of upgrade cables, and I have had everything from an Ares II up to a Horus Octa. So, I clearly have a problem when it comes to cables, but who better to write about cables than an addict like me? Good, glad we agree on that.
Evo 10, What is this thing? I am going to borrow from EA’s website here, because they say it better than me:
The Package, What You Get: I think this is a pretty luxurious experience at the $588 price point. I spent more time than I should have with the unboxing step, admittedly highly entertained. Nice box, nice accessories, mystery behind each layer and ultimately leading to a wonderful cable. EA have been around long enough to know that there needs to be a pleasant experience when you drop some hard-earned coin on an upgrade cable that may increase you sound quality anywhere from 1-100%, and thankfully the Evo 10 is a joy to dig into (and listen to).
This cable comes with: well, the cable, duh. Then three faceplates (which EA will choose for you...I know, I know, more on this), some documentation on how to take these damn faceplates off, and a cool box. That’s it, but really, what more do you need?
Positioning, Competition: this cable comes in at $588, which puts it above the likes of the Vogue series and Premium series, but just below some of the Heritage series and way below the Hall of Fame series. Clear as mud, right? To be totally honest, I wouldn’t really place this cable in a segment based on price alone. It’s got a lot to offer, and EA found a notch in between some other product lines that this cable can not only shine, but offer some capabilities of it’s more-expensive siblings. I like to see that.
Handling & Hardware: a lot of an upgrade cable for me revolves around its comfort, it’s hardware and the general build quality. That includes, of course, the comfort in wearing the cable to listen to music. Too often, we see these behemoth cables that promise ultimate sound quality, but wearing them feels like a torture device. I shy away from these and while I love a soft, supple 8-wire cable, a 4-wire variant almost always wins out for comfort and doesn’t usually require a concession in sound quality. Thankfully, the Evo 10 is of that camp.
Taking the cable out of the box, you’re greeted with a handsome black cable that is very soft and supple in nature, though a half-step behind something like the Leonidas II which is just a tad softer. The housing on this does feel durable, neatly braided and completely adequate from a comfort perspective. Microphonics are kept nearly dead-silent, and it has an overall feel of quality and longevity. Ear guides are on the larger side, but no terrible memory wire here and I find them very comfortable with most IEMs. They’re formed with a black PVC (I think) housing and hold their shape around the ear very nicely.
The Y-split is where you find the fun, with color variations and exposed wires showing the cable’s genetic makeup. I find this playful and super cool, though I am a cheap date on wire composition (or nerd, call me what you will). It’s really cool to see the wires, and be able to customize to your preference. I like the purple faceplate, but to each their own, and you have choices!
For hardware, my set came with the newly-released ConX configuration, which allows you to change the connectors between MMCX, 2-pin, In-Ear, etc. And it’s a brilliant idea. No longer will you have to send in cables for re-termination, or buy new cables should you update your IEM. This is a really, really cool feature and I think it shows that EA wants you to enjoy their cables for a long while. In the game of revenue, you would think a cable company would aim to sell you as many cables as possible, but here it’s refreshing to see an eye on longer-term enjoyment. Thank you, EA!
Other hardware details are the 4.4mm plug on mine, and it’s quite nice! It’s not that fancy Pentaconn-branded plug of the higher-end series, but it’s a 4.4mm plug that works just fine and exudes quality. It’s flat, with an EA logo, and fits the bill perfectly. No issues here, and no concerns.
Testing: I have this cable primarily paired with an Empire Ears Odin, given its transparency and strong ability to show changes in the chain. Source was primarily the iFi iDSD Pro, with some listening done also on the Hiby R8 DAP on medium gain and Turbo mode enabled.
Sound: what the hell else is this review about? Well, lots of babbling I guess, but here we are at the sound section. I’ll get right to it: this cable offers an exciting, playful (like its appearance), energetic sound that is sure to bring out the traits of your IEM that you enjoy. Well, unless you don’t like the bass of treble of your IEM, in which case I am not sure any cable will help you all that much. What the Evo 10 offers is an enhanced, impactful and visceral bass slam, which is matched by its energy in the upper frequencies that provide a persuasive sparkle and wonderful extension. I might call it a v-shaped cable, but in fear of detracting love from the mid-range, I will just say that it enhances the bass and treble. I own EA’s Code 51 and while that cable costs four times the price, I have heard the Evo 10 referred to as the Code51’s little brother and I agree with that sentiment. What we have here is a detailed, impactful, transparent and energetic presentation. Further, we have an enhanced portrayal of the bass where notes are not thicker or warmer, but instead carry a natural, weighty tone in a neutral fashion. Imagine a cable that provides clarity, energy, impact and transparency but doesn’t add warmth: that’s Evo 10.
Resolution, a difficult topic when it comes to cables, sounds adequate to me. I don’t mean for that to sound lackluster at all, the opposite in fact, but I find it difficult to A/B cables in a sense where I can say one has more absolute resolution than another. That said, I feel I am missing nothing in comparison to more expensive cables. This is a feat, because this cable is on the lower pricing tier than what I usually have connected.
Stage on the Evo 10 is fantastically clean and organized, given its slight v-shape and neutral tone. With the Odin especially, I hear the cable not muddying any precision whatsoever, and surely this cable has the ability to present a detailed sound where the background is black and the stage is portrayed in a realistic manner. Very impressive in this price segment and again, a great ability to convey sound in a natural, neutral and ever-so-heavier manner without chipping away any detail. Most genres of music gave the feeling of realism and clarity, but with a softer touch than a pure silver cable. And there I go into some comparisons...
Comparisons:
Conclusion:
It’s not hugely surprising that I love this cable. It has a lot of fun, playful aspects that I haven’t gotten in other cables. From the faceplates, to the ConX system, to the slamming bass performance, I really think this cable slots in nicely to EA’s current lineup. You’ve got the Cleo up the chain, and others below, but this is a sweet spot in my view for price to performance ratio. I never felt like I was missing performance or resolution compared to more expensive cables in my arsenal, and it was refreshing to see a ~$588 cable with quality hardware and solid build quality. I know this is still more than many will want to spend on an upgrade cable, but I feel the Evo 10 brings enough value to the table to be a strong recommendation. No cable is going to shift an IEMs sound into the love or hate category if you weren’t already there, but the Evo 10 has a real shot at improving sound with the lower and upper registers for you, while giving a very clear tone, expansive stage and a playful sound signature that brings on a smile. When I heard about this cable, I really wondered how EA could find another market segment to enter without being met with redundancy, but here we are with the Evo 10 carving out a place for itself as a real keeper. There is something about this cable’s ability to render the fun parts of the frequency that keep me coming back and excited to use it. From strong build quality, to great ergonomics, to pleasing sound and customizability, I can very easily recommend EA’s Evo 10; it’s a very innovative and original idea that showcases EA’s commitment to continued excitement in the cable world.
Me: normally I write some spiel about why I am qualified to review a product, but this time I will just say maybe I am and maybe I am not. You can be the judge, and I am just here to tell you how I feel about this cable. I am an advocate of upgrade cables, and I have had everything from an Ares II up to a Horus Octa. So, I clearly have a problem when it comes to cables, but who better to write about cables than an addict like me? Good, glad we agree on that.
Evo 10, What is this thing? I am going to borrow from EA’s website here, because they say it better than me:
- 26AWG 4 Wire
- Interchangeable E-Face Y-Split Design
- Selected Gold Plated & Silver Plated UP-OCC
- Individually Enamelled Strands Septupled Core
- Bundled Litz Enhanced Surlyn® Insulation & EA UltraFlexi™ Jacket
The Package, What You Get: I think this is a pretty luxurious experience at the $588 price point. I spent more time than I should have with the unboxing step, admittedly highly entertained. Nice box, nice accessories, mystery behind each layer and ultimately leading to a wonderful cable. EA have been around long enough to know that there needs to be a pleasant experience when you drop some hard-earned coin on an upgrade cable that may increase you sound quality anywhere from 1-100%, and thankfully the Evo 10 is a joy to dig into (and listen to).
This cable comes with: well, the cable, duh. Then three faceplates (which EA will choose for you...I know, I know, more on this), some documentation on how to take these damn faceplates off, and a cool box. That’s it, but really, what more do you need?
Positioning, Competition: this cable comes in at $588, which puts it above the likes of the Vogue series and Premium series, but just below some of the Heritage series and way below the Hall of Fame series. Clear as mud, right? To be totally honest, I wouldn’t really place this cable in a segment based on price alone. It’s got a lot to offer, and EA found a notch in between some other product lines that this cable can not only shine, but offer some capabilities of it’s more-expensive siblings. I like to see that.
Handling & Hardware: a lot of an upgrade cable for me revolves around its comfort, it’s hardware and the general build quality. That includes, of course, the comfort in wearing the cable to listen to music. Too often, we see these behemoth cables that promise ultimate sound quality, but wearing them feels like a torture device. I shy away from these and while I love a soft, supple 8-wire cable, a 4-wire variant almost always wins out for comfort and doesn’t usually require a concession in sound quality. Thankfully, the Evo 10 is of that camp.
Taking the cable out of the box, you’re greeted with a handsome black cable that is very soft and supple in nature, though a half-step behind something like the Leonidas II which is just a tad softer. The housing on this does feel durable, neatly braided and completely adequate from a comfort perspective. Microphonics are kept nearly dead-silent, and it has an overall feel of quality and longevity. Ear guides are on the larger side, but no terrible memory wire here and I find them very comfortable with most IEMs. They’re formed with a black PVC (I think) housing and hold their shape around the ear very nicely.
The Y-split is where you find the fun, with color variations and exposed wires showing the cable’s genetic makeup. I find this playful and super cool, though I am a cheap date on wire composition (or nerd, call me what you will). It’s really cool to see the wires, and be able to customize to your preference. I like the purple faceplate, but to each their own, and you have choices!
For hardware, my set came with the newly-released ConX configuration, which allows you to change the connectors between MMCX, 2-pin, In-Ear, etc. And it’s a brilliant idea. No longer will you have to send in cables for re-termination, or buy new cables should you update your IEM. This is a really, really cool feature and I think it shows that EA wants you to enjoy their cables for a long while. In the game of revenue, you would think a cable company would aim to sell you as many cables as possible, but here it’s refreshing to see an eye on longer-term enjoyment. Thank you, EA!
Other hardware details are the 4.4mm plug on mine, and it’s quite nice! It’s not that fancy Pentaconn-branded plug of the higher-end series, but it’s a 4.4mm plug that works just fine and exudes quality. It’s flat, with an EA logo, and fits the bill perfectly. No issues here, and no concerns.
Testing: I have this cable primarily paired with an Empire Ears Odin, given its transparency and strong ability to show changes in the chain. Source was primarily the iFi iDSD Pro, with some listening done also on the Hiby R8 DAP on medium gain and Turbo mode enabled.
Sound: what the hell else is this review about? Well, lots of babbling I guess, but here we are at the sound section. I’ll get right to it: this cable offers an exciting, playful (like its appearance), energetic sound that is sure to bring out the traits of your IEM that you enjoy. Well, unless you don’t like the bass of treble of your IEM, in which case I am not sure any cable will help you all that much. What the Evo 10 offers is an enhanced, impactful and visceral bass slam, which is matched by its energy in the upper frequencies that provide a persuasive sparkle and wonderful extension. I might call it a v-shaped cable, but in fear of detracting love from the mid-range, I will just say that it enhances the bass and treble. I own EA’s Code 51 and while that cable costs four times the price, I have heard the Evo 10 referred to as the Code51’s little brother and I agree with that sentiment. What we have here is a detailed, impactful, transparent and energetic presentation. Further, we have an enhanced portrayal of the bass where notes are not thicker or warmer, but instead carry a natural, weighty tone in a neutral fashion. Imagine a cable that provides clarity, energy, impact and transparency but doesn’t add warmth: that’s Evo 10.
Resolution, a difficult topic when it comes to cables, sounds adequate to me. I don’t mean for that to sound lackluster at all, the opposite in fact, but I find it difficult to A/B cables in a sense where I can say one has more absolute resolution than another. That said, I feel I am missing nothing in comparison to more expensive cables. This is a feat, because this cable is on the lower pricing tier than what I usually have connected.
Stage on the Evo 10 is fantastically clean and organized, given its slight v-shape and neutral tone. With the Odin especially, I hear the cable not muddying any precision whatsoever, and surely this cable has the ability to present a detailed sound where the background is black and the stage is portrayed in a realistic manner. Very impressive in this price segment and again, a great ability to convey sound in a natural, neutral and ever-so-heavier manner without chipping away any detail. Most genres of music gave the feeling of realism and clarity, but with a softer touch than a pure silver cable. And there I go into some comparisons...
Comparisons:
- Effect Audio Cleopatra: the Cleo is a four-wire silver cable made of UP-OCC silver and priced above the Evo 10 ($799 at the time of this writing). The cable sits in the “Heritage” series and has a very nice build quality, slightly above the Evo 10 in my opinion. This cable is known to have a very substantial bass impact, but upon first listen I actually heard it to have less slam than the Evo 10. The cable, while very smooth, does have more of a “silver” sound with less weight in the notes and less warmth than the Evo 10. Clarity and extension are very focused on the Cleo, where Evo 10 trades a bit of that for a warmer and weightier presentation. Not substantially so, but when A/B tests are done I hear Cleo to be the leaner cable and Evo 10 to be the more rounded. I love them both and there is no clear winner, just preference. Resolution-wise, my brain tells me the Cleo has just a touch more nuance in the fine details, but I cannot imagine the Evo 10 trades all that much for the more exciting and impactful signature.
- PW Audio Monile: moving on to the Monile and Evo 10 comparison, there are more stark differences here than the Cleo and Evo 10. The Monile is a similarly-priced cable as the Evo 10 and has some of the famed 1960 DNA in its genetic make-up. In this comparison, I hear the Monile to be smoother, more relaxed and with a blacker background, where Evo 10 has a more energetic presentation with tighter and more enhanced bass that has a real punch. Mids are a touch smoother and fuller on the Monile, where the Evo 10 gives a pretty clear and flat presentation up through the upper mids. Into the treble, I hear a thicker note density on Monile, where Evo 10 has more energy and sparkle, but in a thinner sense. Monile puts a smooth texture over everything, where Evo 10 takes it to (Evo) 11. This was a fun comparison because the differences were very clearly audible. TLDR is that Monile is a smooth, natural sounding copper cable with a very accurate timbre, where Evo 10 brings excitement, fun and a v-shape to the table to enhance bass and treble. Really, it comes down to what you’re looking for sound-wise. I will say, the Monile is incredible light and comfortable, though I find the Evo 10 ear-hooks to fit my ears better.
- PW Audio Loki: I heard this Loki cable a while back when I participated in the PW Audio tour and liked it. As I am older and wiser by a few months, I still like it! It’s a “budget” cable by today’s standards coming in around $370 and has a makeup of 70% silver and 30% copper. This is a no-frills cable that is built well and gives a truly accurate sound. This, to me, is kind of a reference cable not in that it is flat, but that it’s an honest reproduction without much of a skew in any direction. Where Evo 10 enhances bass and treble, Loki gives a sense of refinement of the reference sound. Bass is more impactful and fuller on the Evo 10, where the Loki has a very linear response. Into the mids, it is quite difficult for me to discern any differences here, though I blame my ears more than I would say the cables are identical. Into the treble. I hear a weightier sparkle on the Evo 10, but extension is very similar on both with perhaps a nod to Loki as extending into the most extreme registers. Honestly, we need not dwell on the minute differences here of which cable goes into the 20khz range; the more important factor at play is whether or not you want enhanced bass and lower trelbe, or a fairly neutral and accurate rendition of sound. It all depends on your preferences and which IEM you will pair the cable with. And on that note, on to the pairings...
- Empire Ears Odin: I did most of my listening with this pairing and I have to say, it’s a winning combination. The Odin, while perhaps thin in some areas and energetic in others, sounds very pleasing with the Evo 10. The Odin is an IEM that in my ears, can use some enhancement in the bass. The quality is there in spades, but it needs a little extra “oomph” and the Evo 10 delivers. The dual DDs are woken up with this cable and brought to life. Mids are extremely clear and open on the Odin and the Evo 10 preserves that. Treble is quite sparkly on Odin, so Evo 10 gives a slight touch of weight to the notes beyond the mid-range and it makes the overall signature quite pleasing. Odin is quite energetic on its own and while Evo 10 brings the bass even more forward in that regard, it’s just pure fun and excitement. Now, if you already find the Odin to be too forward and energetic, the Evo 10 and quite frankly Odin in general, are probably not for you. The only glaring issue here is that the stock cable, a PW 1960, is already quite good. But Evo 10 has its own charm being more V-shaped and bringing it’s own flavor to the table with stronger bass and weightier treble.
- Empire Ears Legend X SE: here’s an IEM that doesn’t need any bass enhancement, but surprisingly it works! The Evo 10 doesn’t add a ton of quantity, but instead gives a clean slam with ever-so-slightly more extension than the stock Ares II cable. Mids are clearer and easier to hear the nuances than the Ares II, while the notes of instruments have a greater separation to my ears. Into the upper registers, I love the energy that Evo 10 brings to the LXSE (which needs more energy there IMHO). Treble is more sparkly and extended, giving a nice splash on drums and articulation on higher notes. This is a fun pairing and wow does that bass slam.
- Hyla CE-5: I included the CE-5 because it is a rather V-shaped IEM and so is the Evo 10, so I wanted to see how the pairing went. Let’s start with the bass: oh my goodness. The CE-5 has bass that rivals the LX in my opinion and with the Evo 10, can probably surpass it assuming the Ares II is in play. The bass has insane extension into the lower registers with a punch that you can feel in your chest almost. Mids, well, the CE-5 is not known for mids; not a lot happening actually. But once you reach the upper mids and lower treble, the energy in this combo comes alive and wow does it shine. I thought this might be a terrible combo due to the V-shape + V-shape, but surprisingly it works due to the rounded notes and weighty texture. The CE-5 extends all the way up with the Evo 10, and sounds fuller than with a traditional silver cable. Nice pairing, incredible technicality and this will show you just how amazing EDM can sound.
Conclusion:
It’s not hugely surprising that I love this cable. It has a lot of fun, playful aspects that I haven’t gotten in other cables. From the faceplates, to the ConX system, to the slamming bass performance, I really think this cable slots in nicely to EA’s current lineup. You’ve got the Cleo up the chain, and others below, but this is a sweet spot in my view for price to performance ratio. I never felt like I was missing performance or resolution compared to more expensive cables in my arsenal, and it was refreshing to see a ~$588 cable with quality hardware and solid build quality. I know this is still more than many will want to spend on an upgrade cable, but I feel the Evo 10 brings enough value to the table to be a strong recommendation. No cable is going to shift an IEMs sound into the love or hate category if you weren’t already there, but the Evo 10 has a real shot at improving sound with the lower and upper registers for you, while giving a very clear tone, expansive stage and a playful sound signature that brings on a smile. When I heard about this cable, I really wondered how EA could find another market segment to enter without being met with redundancy, but here we are with the Evo 10 carving out a place for itself as a real keeper. There is something about this cable’s ability to render the fun parts of the frequency that keep me coming back and excited to use it. From strong build quality, to great ergonomics, to pleasing sound and customizability, I can very easily recommend EA’s Evo 10; it’s a very innovative and original idea that showcases EA’s commitment to continued excitement in the cable world.
Attachments
Xinlisupreme
In doubt to pair monile or evo 10 with EE Hero that has recessed mids and bright lower highs… what you suggest?
Kerouac
Loved the review! I have a loaner here atm and was so impressed with that one that I just picked one up (4.4mm) myself. Thanks Collin!
Intro & About Me
I will keep this short and sweet, because we have much more important things to discuss today. I became an “audiophile” a few years ago and started climbing the ladder to insanity pretty quickly. I started with some decent IEMs, a few earbuds, dabbled in headphones and eventually ended up on track to own almost every single flagship ever released. I do not believe I am a “reviewer,” per se, but instead just love trying gear and then writing about it when something really strikes a chord with me. You’ll notice a lot of my reviews I have posted are pretty positive and if I’m being honest, I don’t bother writing reviews on a mediocre product. Maybe that’s a polarizing, or lazy view, but I buy all my own gear and am not constrained to write about something I don’t want to. Liberating, really. That said, I’m also not as good as the real reviewers, so this will probably be more about the feels and the enjoyment factor than a true technical analysis. But hey, I promise to do my best either way. This IEM deserves it.
About Noble
At the helm of Noble’s successful audio brand is John Moulton, known as “The Wizard” in these parts of town. I had the good fortune of speaking to John after receiving this pair of IEMs because he either got sick of my endless private messages loaded with questions, or he enjoys talking shop with other audiophiles. We had a great conversation, so I will assume it was the latter with a little bit of the former. I admit that I was a little nervous to talk to the man behind the gorgeous bespoke offerings and blockbuster successes like the K10, but quickly realized that this is what John loves to do and his passion for the industry was immediately apparent. But life is short and thankfully his sense of humor is not lost; my stomach turned when he suggested that the IEMs really open up after 5,000 hours of burn-in. I knew we would get along just fine.
A little more about the Wizard, because I think this paints the picture of how the Noble journey has transformed into what it is today. John has a degree in Audiology, but had been passionate about HiFi long before that, citing a fascination with the emotional response humans get from music and quality sound. John also mentioned that he has a deep appreciation for the big brands like Onkyo, Kenwood, Toshiba and enjoys learning about their storied history. John draws inspiration from one individual in particular, Amar Bose, not only due to the huge success of Bose, but the fact that it was accomplished essentially coming from nothing and building a name for himself based on his accomplishments. John eventually ended up in the Audiology program at college in Texas where shortly after, the IEM work began. Years later, the K10 (which went on to be one of the most successful flagship IEMs in Head-Fi history) was finalized at a dinner table in China, complete with impedance calculations done during the main course. This solidified Noble’s position as a top-tier offering in the high-end IEM market.
Technology has changed quite a bit since the K10, though, so I was curious to know some details on Noble's philosophy when building an IEM. Does Noble create an IEM around the latest and greatest technology? Or does Noble start with an intended sound and match components to reach that target? Well, it turns out that the answer is both. You will not find Noble competing in driver wars (although John did build a 20 driver IEM just to see if it could be done) or racing to implement something first unless the sound is fully vetted, though. I see Noble as a very innovative company who is also very much in touch with what their customers want. In fact, some IEMs Noble have created were at the very request of their customers or distributors, which shows an appreciation for the folks shelling out their hard-earned cash on Noble’s offerings.
It is widely accepted that Noble creates some of the most visually stunning and unique IEMs, so I also was curious to understand how that fit into John’s passion for good sound. To my surprise, these “one-off” designs were actually born out of John’s lack of owning a machine to do proper laser etching, like JH Audio used to do for example. Instead, John would source unique and exotic wood and craft a face plate out of that, adding his own final touches to create a truly unique set of earphones. This eventually became the Wizard offerings from Noble, but the artistic design didn’t stop there. Further down the road, John’s wife expressed interest in partnering on some of the artwork, given her past profession of manicures and pedicures. Noble began to offer one-of-a-kind bespoke IEMs which were a collaboration between the Wizard and Joy (I own one of these in the form of a Katana), and this raised the bar yet again for uniquely stunning artwork. Fast forward to modern day and we now have the “Prestige” program where the entire shell, faceplate and driver assemblies are done by hand by the Wizard himself, again with no two offerings being alike. From exotic maple, to obscure flower designs, to eye-catching patterns, you will be blown away once you venture over to the Prestige gallery on the Noble website. The first time I saw a Prestige offering from Noble, I knew I wanted to own one. Today, I am very fortunate to be able to write about a Prestige version of the Zephyr.
The Noble Zephyr – Design, Fit and Accessories
Noble’s new IEM, the Zephyr, was designed from the ground up with carefully chosen components and the final product is strictly to the Wizard’s specifications – and liking! Inside, we have “just” three drivers in an age where it seems like everyone is competing to implement the most variety of technologies, with “tri-brids” and even “quad-brids.” I agree, the naming is getting confusing. Here we have a good ole hybrid approach with a dynamic driver serving up the sub-bass, a balanced armature serving up the bass and mids and then a second balanced armature serving up the mids and highs. One of the balanced armatures is apparently a custom design which John had some influence over with Knowles, purpose-built for this application. The result is an incredibly coherent, natural sound, but I will touch more on that later. For exterior shell options, we obviously have a prestige version, but joining this will also be the standard version and the standard pro CIEM version.
Included with the Zephyr is the newer eight-wire OCC copper cable, which I find to be one of the best stock cables on the market. Despite being an eight-wire format, the individual wires are extremely soft and supple, super flexible and provide zero microphonics. Sound quality wise, I find no fault whatsoever in this cable and I will touch on this more in the cable comparisons later. The fit and finish of the cable is quite premium, as are the terminations at both ends; a true “upgrade” cable by all considerations. Also included is the usual Pelican 1010 case, the Noble straps for stacking source equipment, a soft pouch and an assortment of ear tips. For me, I was very happy to find that my go-to JVC Spiral Dot++ tips first perfectly and provide the desired sound. Given the fairly standard nozzle shape and size, I do not anticipate that most folks will have issues with “tip rolling,” or rather you will not have to drive yourself insane getting a seal like some other IEMs. This is a relief, because you’ll be neck deep into audio bliss before you know it.
On the fit of the IEM, again I have zero complaints and find them to be extremely comfortable. Shell size is average for a hybrid monitor, where I would say they are roughly similar to the Khan but a bit more ergonomic for me with softer edges. They fit me very well and the highly ergonomic stock cable adds to that physical enjoyment factor. There is nothing worse than buying a top of the line IEM, unboxing it, and then struggling for fit constantly which detracts from the enjoyment. I’m looking at you, Sony IER-Z1R. Also surprising was zero detectable driver flex, which sometimes can be an issue when utilizing dynamic drivers.
As for the Prestige designs, each offering is entirely unique and it is a bit futile to tell you all about mine since your eventual Prestige will be different. But, alas, it is so damn cool that I want to mention it. Mine is made with a banksia seed pod, which is native to Australia and shares some similarities with a pinecone. When was the last time you said that about an IEM? Anyway, this is just one example of how Noble are redefining bespoke designs and really thinking outside the box to create a truly unique piece of art that you can cherish for years to come. The sky is the limit with these designs, so I urge you to keep an eye of the unique offerings and when one suits your fancy, get out your checkbook!
Sound Analysis
Let me start off by saying that I was not quite sure what to expect upon first listen of the Zephyr. I have purchased and own a lot of IEMs, but I am rarely comfortable “blind buying” an IEM that I have not read extensively about or that I have not personally heard. Noble, however, is a company I trust not to make a product that sounds anything less than stellar. Thankfully, as soon as I put these into my ears I knew that there was going to be a long road of success ahead and I was immediately fond of what I was hearing.
Starting with sound signature, this is a fairly neutral, studio-like monitor that lacks any kind of extreme enhancements across the frequency range. That’s not to say it’s a boring monitor, far from it, but it’s not a monitor that produces thunderous bass or treble into extreme registers. Instead, the Zephyr reproduces music with a neutral tone, extremely natural timbre, and it portrays an effortless soundscape that is quite easy to get lost in. I feel like this is a very sought after tuning, yet few acomplish it like the Zephyr. Everything just sounds “correct” for lack of a better word. Will some folks want more bass? Sure. Will some treble-heads want more sparkle and energy? Maybe. But the Zephyr is an IEM that stays true to its purpose. It’s lack of inherent enhancements is what allows it to excel in accuracy and quite frankly honesty. Zephyr lays it all out on the line, for better or worse.
Bass: Let’s start with the bass, specifically the sub-bass. Zephyr has a very clean, punchy, sub-bass response that leans toward the fast, tidy, neutral kind. Bass digs deep, has adequate layering ability, but it’s not boosted to skew the signature. I find this quite rare in the “neutral” category as most IEMs within that scope are purely balanced armatures, but the use of a dynamic driver provides the air and impact with satisfying sensation. Mid-bass isn’t emphasized, but provides abundant cleanliness and restraint. Kick drums have a nice punch, while nothing bleeds into mids or muddies the waters. Overall bass is tight, clean, low-reaching and quick. Certainly not something for bass-heads, but much more satisfying than purely balanced armature IEMs to my ears.
Mids: This is a frequency range that has always been sort of in between the others for me, but with Zepjhyr I really hear things come alive. Electric guitars, male vocals, all of that “I’m at the concert” feeling. Starting with electric guitar, strings don’t have an ear-ringing bite, but they have a warmth and roundness that sounds like a Fender tube amp of yester-year. Listening to Stevie Ray Vaughan’s “Mary Had a Little Lamb” provides attention-grabbing rifs that sound true to form. Instruments just sound lush, natural and defined in the space of the IEMs presentation. I would say that the mids are where Zephyr really shines, but the upper and lower registers being under such control are what allow this to happen.
Vocals: Like I said several hundred times, the Zephyr is a natural monitor that gives true life to anything being played. Let’s start with female vocals, even if a bit generalized. Eva Cassidy’s voice has a roundness, a texture, a halo if you will, portraying her in her own space relevant to the music. Again, nothing is enhanced, but a soft glow illuminates her sound. Really, really special, with a soft analogue feel to most female vocals I tried. Moving on to male vocals, things are pretty similar with an added dose of authority given to male vocals. Take “The Sound of Silence” for example (yes, I know it’s Simon and Garfunkel!), the power, strength and focus is quite impressive. Summarizing what I hear, vocals are relayed with emphasis and power, while still falling into the natural and neutral category even if a bit colored. Life is good here in the vocals.
Treble: Let’s just get this out of the way, I am a treble-head that loves me some sparkle! If I had to pick any are I wanted to see a bit more “oomph,” it would be the treble. But, that’s probably good news for you! Many friends on Head-Fi have told me that the IEMs I love to death (Khan...) have too much treble presence, so I truly feel like the treble on the Zephyr will please most folks. Treble is rather neutral, well-defined, adequately sparkly and in certain instances, estat-like. In fact, I asked John if these had estats because I found the treble so smooth and pleasing. But alas, good-ole balanced armatures. Putting on my critical-listening cap, I hear the treble to have excellent extension, but not striding into extreme registers. I am confident this treble will not offend those who are sensitive to the higher frequencies, but it still extends into sparkle territory. It does not veer into U18T territory or Khan territory, bit instead it is a warmer, wetter, thicker treble that I really feel gives a dose of liveliness to the music. Well-done, Noble, a treble that extends healthily but doesn’t offend. That is what I like to see! Well, I love treble, I could stand just a tad more, but really feel that this is where mainstream treble tuning should lie.
Separation, Soundstage and Resolution: I freely admit that this is not the easiest area for me to review, but alas I will provide my thoughts. Separation, which I define as the clarity and space between instruments and notes, is quite high on the Zephyr. I can clearly hear different instruments giving me notes in different parts of my ear with the Zephyr. It doesn’t provide an out of head experience like, say, the Tia Fourte, but instead I can clearly depict resulting sounds through their instrument. While these monitors provide a sense of natural warmth, there is still easily detectable layering between instruments. As for soundstage, things are wide, deep and tall while listening to a binaural recording. Again, things don’t expand out of your head, but I hear a very accurate stage representation. Zephyr gives a natural and realistic soundscape that really puts you in the front row of an intimate acoustic concert. In the resolution category, I would give the Zephyr an above-average grade, close to the top. You won’t miss subtle queues of your favorite song, in fact you may hear passages where you notice artifacts you haven’t before. I love this abou the Zephyr – it sounds so natural and reserved upon first listen, but play an up-tempo pop track and you will hear it ALL. Again, for better or worse.
Comparisons
Noble Khan: Khan is a flagship “tri-brid” IEM from Noble which employs a dynamic driver for bass, four balanced armatures for the mids and a piezo-electric tweeter for the highs. The Khan was a departure from the familiar CNC aluminum shells of Noble’s prior flagships and employed a really cool silver pattern within a black shell. The Prestige shell of the Zephyr one-ups this of course, being a one of a kind design by nature, but then again Khans are one of a kind as well with no two being alike in their appearance. Well anyway, on to the sound. Bear with me while I say something unintelligent (as if that’s a huge departure from the rest of this review, please...): the tuning is quite similar and quite different at the same time. Starting with the bass, I hear a clean, impactful sub-bass impact that strikes a nice balance between emphasis and speed. This isn’t a bass that makes you immediately know that it’s a dynamic driver either, but as you listen you start to know it’s there. Mid-bass is similarly clean, impactful on both, but never bloated and always speedy in its decay. Bass, to my ears, is quite similar with the Zephyr being a tad warmer, a touch softer and slightly more natural with Khan’s sub-bass being a little deeper. This is bass done very well on both. Moving into the mids, I hear more warmth and emotion in the Zephyrs, while Khan prioritizes clarity and air. Vocals have a roundness to them in the Zephyr that makes Khan sound a little colder in comparison. Again the tunings aren’t far off here, but listening back to back, you start to hear the natural timbre of the Zephyr shining through. As with many high-end earphones, I wouldn’t declare a winner here, but instead I appreciate the difference in sound. I see band-based music absolutely shining in the Zephyr, with satisfying crunch in things like electric guitars and a natural touch to other stringed instruments, but the air and space in Khan’s mids really lends well to some types of modern pop and synthetic tracks like Enya, Yanni, etc. The treble, however, is where the tunings diverge rather quickly. Treble on the Khan is energetic, sparkly, splashy at times and extended into a dog’s range of hearing. Treble on the Zephyr is warm, natural and thicker. I can confidently say there are very few people who would take any issue with the treble in the Zephyr, but Khan is on the other end of the spectrum where it’s not what I would recommend for an eight hour listening session. Don’t get me wrong, I LOVE the treble on the Khan, but these are quite different trebles. I find the treble in the Zephyr closer to the Katana, which I mentioned had a softer touch in my Khan review. Overall, I find the Zephyr more musical, natural and neutral, where Khan provides more perceived clarity, but takes to a slight U-shape in the signature with the treble and bass. It’s hard to say which has a higher resolution because I’m certainly not missing any details in the Zephyr, but Khan is one of the highest resolution IEMs I’ve ever heard. I love both these IEMs dearly.
Noble Sultan: Sultan is the new flagship “tri-brid” IEM from Noble, and I realize I just said the same thing about the Khan. When I started listening to Zephyr and writing this review, Sultan did not exist for purchase and now it does. Special thanks to Mark for loaning me his Sultan for the purposes of comparison. Upon first listen, switching to the Zephyr from Sultan offers a more neutral, less V (or W) shape allowing vocals to shine through with greater emphasis, while Sultan has larger enhancements to the bass and treble. Sultan has an energetic and exciting fun sound with thumping sub-bass, punchy mid-bass and warm, crunchy mids. Treble sounds like it extends ever slightly further in the Sultan, where Zephyr is smoother and a little less sparkly. Stage seems wider and grander on Sultan, though both have pinpoint accuracy. Sultan also manages to eek out the most detail to my ears, but neither are slouches. Other differences include the fact that Sultan is a tad easier to drive, where Zephyr required a few more notches of volume. Fit is equal for me on both, very comfortable and I could wear either for hours. It’s hard to declare a winner here, but Sultan just has more of everything: more bass, more sparkle, more enhancements to the frequencies top to bottom. But Zephyr provides that all-day listening comfort with natural tonality, true timbre and an incredibly well-executed neutral response that lets the music shine through. Honestly, I want them both. Noble has often done this in the past, released two flagships and allowed the users to choose which sound is for them. This is almost like a Katana/Encore redeux, where we have a fantastic neutral offering and an enhanced, bold, fun sounding IEM that provides details galore and an ear to ear grin.
Dita Dream XLS: I have always been a fan of Dita’s single dynamic driver approach, so today I will compare with the latest flagship in the form of the Dream XLS. Dream XLS has a rather natural sound, but with engaging bass and a warm tone overall. The tuning philosophies are somewhat similar in that they both strive for a natural, neutral listen that isn’t cold or sterile. The two share a similar dynamic driver bass impact, but not enhanced to the degree of flooding you with bass. Sub-bass digs equally deep on both, though the XLS has a slight emphasis on mid-bass where the Zephyr provides a more neutral bass response, preserving the cleanliness of the sub-bass. Mids are a tad more forward on the XLS, but blended nicely into the mix with the Zephyr. I would say that vocals have a softer touch on the Zeyphyr, making the XLS sound slightly more energetic. Treble sounds more rounded, thicker and more natural on the Zephyr, giving the XLS a more sparkly presentation. I started this comparison thinking the XLS was the king of being natural and neutral, but the Zephyr actually makes the XLS sound enhanced and less reference in certain frequencies. I would probably declare the Zephyr the king of being neutral and natural, while the Dream XLS provides a bit more lively response in certain frequencies, such as mid-range and treble. Stage dimensions are quite wide, deep and tall on both, but imaging is extremely precise on Zephyr and gives the feeling of being able to reach out and touch the instruments. Fit is way better on Zephyr for me, but that’s getting way into personal preference so please take that with a grain of salt. I would also put the resolution and separation fairly equal on both, which means reaching impressive levels.
Campfire Solaris SE: These are both gorgeous IEMs, both visually and audibly, but they are also quite different with the Zephyr being a wooden shell and Solaris being metal with a cool abalone face plate. While both employ a hybrid design housing a dynamic driver for bass and balanced armatures for mids and treble, their tuning philosophies and sound hit a fork in the road right from the get go. Solaris SE is a great all-rounder that works well for many genres, while its tuning is enhanced in all the right places to my ears. Slight bass bump, open and clear mids, sparkly treble that doesn’t extend into sibilant territory. It's a very likeable tuning. Zephyr’s focus, however, is to stay truer to the music and provide a neutral sound as the artist intended. Before I get into the sound further, I want to say that the Solaris SE is ridiculously easy to drive and has an audible hiss on both my DAPs (Cayin N6ii and Kann Cube), so I prefer to drive it from a phone. It’s eerily easy to drive and the impedance provides issues if you’re sensitive to hiss, where the Zephyr has a fully black background on all of my sources and while it’s more difficult to drive, I feel it is way less sensitive to impedance issues or high noise floor devices. Just throwing that out there because it’s my biggest complaint with Solaris SE. Okay, now back to the sound and tuning, starting with bass. Solaris SE provides a greater bass quantity, while Zephyr gives a cleaner bass response. I would say both dig equally deep, but Solaris SE has a higher quantity and greater punch with kick drums. Moving into mids, the Solaris SE had improved over the normal Solaris (apparently, I don’t own the original), but Zephyr is the IEM that gives a more organic, rounded presentation with vocals and guitars. Solaris SE gives a little more air and clarity to mids, but Zephyr presents this frequency range with euphoric-like timbre, so you have to decide which you prefer. Into the treble, Solaris SE seems to offer more sparkle, further extension, but Zephyr again offers the more natural and delectable treble. Hard to declare a winner, just different of course. Resolution and clarity are quite similar, but stage seems expanded on Solaris SE. On the flipside, Zephyr offers the more natural, pleasing timbre.
Oops, I forgot to take a photo
A Few Words on Cables: always my favorite part...not! Don’t get me wrong, I love aftermarket cables, some of which have changed the sound of an IEM very audibly, but this is a tough section. If you like an IEM’s sound signature, no cable is going to change that. Alternatively, if you dislike an IEM’s sound signature, you’re probably not going to find a cable that fixes that. All that said, I had a few preferred pairings with the Zephyr.
Effect Audio Cleopatra: the Cleopatra is a wonderfully comfortable, smooth and detailed cable. I would say its primary strength is sub-bass and it does a great job of enhancing what the Zephyr has to offer as far as bass on tap. Sub-bass hits low and deep, while staying clean and controlled. Into the mid-range, everything is clear and transparent and I don’t hear any major changes here versus the stock cable. Perhaps a tad less thick, but I’m splitting hairs. Into the treble, I also find this to be pretty comparable to the stock cable, with a little more smoothness whereas the stock cable sounds more like a traditional silver despite it being copper. Cleo is a great pairing if you want to hear the bass at its best.
PW 1960 2w: this cable has built a reputation on enjoyment factor, with pleasing bass, holographic mids and stage, and a sparkly yet refined treble. It performs at a very high level on Zephyr, while also being extremely comfortable. Sound signature is very similar to the stock cable, with a little more rumble in the bass and a little more precision in the mids. Treble is yet again pretty similar, with the 1960 eeking out a tad more detail. Another fantastic pairing, but it should be for nearly four digits in price (USD).
Eletech Plato: I tried this cable at a later date than the rest, and I am glad because it is outstanding. This is another pure silver cable which prioritizes smoothness and detail, similar to the Cleopatra. It takes the midrange clarity to new heights, while still offering very clean, impactful sub-bass and smooth, extended treble. It’s more natural and neutral than Cleo, and maybe more tame than the 1960, but to my ears it matches and synergizes with the Zephy’s qualities best. Again, it performs on a very high technical level and is very comfortable to wear.
Eletech Iliad: this is the super car of cables, and it probably costs nearly the same as the IEM. That said, it gives a roundless and punch to the bass that is addicting. Mid-range is largely unchanged, but with the addition of a holographic stage and a detail focus. Treble is fairly similar to the 1960, with texture and sparkle that really make the IEMs sing. I think it does bring out more bass and treble, but given the neutral, natural and relaxed focus of the Zephyr, Plato is still my favorite.
A Few Words on Sources: I will admit that I don’t spend a ton of time A/B testing different sources because each of my sources are for different purposes. That said, some IEMs are very source-dependent to sound their best and I am happy to report that Zephyr is very flexible. They are not super sensitive to where they have hiss on any of my sources (Cayin N6ii, Hugo 2 or LG V60) and there aren’t any weird impedance issues where frequencies are skewed. They also sound just fine out of my iPhone with dongle, which I mention because there seemed to be a concern with that on the Khan. Personally, I do not expect amazing results when pairing a $2,300 IEM with a $9 dongle, but I digress and suppose it should work properly.
Given the natural, slightly relaxed nature of the Zephyr, I found it to sound its best with neutral sources like the Hugo 2. Shocking, I know. Hugo 2 brings a lot of dynamics out of the IEMs and gives them an energetic sprinkling throughout the frequencies. Not far behind, I really loved the N6ii with the E01 module in AB mode. Class A was a little too warm and relaxed given that the Zephyr already veers in that direction, but AB mode was pure bliss. Similar to Hugo 2, details were eeked out of every nook and cranny and there was enough sparkle to give a perception of clarity that was very much to my liking. Honestly, The Zephyr sounded great out of my phone as well, which is an LG V60 with the “quad DAC” setup. To get the best out of Zephyr, I had to trick the phone into a higher gain mode, but LG users will be very used to that by now with the goofy implementation of a powerful amp that is pretty much hidden until you much with settings. I guess what I am trying to say is that Zephyr’s enjoyment factor was there for me on all of my devices, but my first choice would be something on the neutral side and not overly warm.
Summary and Conclusion: this journey has been a lot of things for me. Given that I have had the Zephyr for months now, it allowed me to take my time and really get to know them. I also got to experience the Prestige craftsmanship up close and personal and for that I am thankful. Zephyr is an IEM that doesn’t shout at you upon first listen. It doesn’t jump out with any enhanced frequencies, any gimmicks or any clever tricks up its sleeve. Zephyr is an IEM that once you really take the time to get to know them, they impress with their nuanced subtleties and mature tuning. I hope my description does not give a boring impression, but rather articulating that they’re special in their own right and their own methodology. From an incredible timber in the midrange, to a clean, precise sub-bass and then smoothness up into the higher registers, I cannot help but feel that I am hearing music exactly as it was meant to be heard. For that, I know that Zephyr will stay with me for a long time. While the IEM market races from milestone to milestone with different technologies and marketing strategies (which, don’t get me wrong, I love), Zephyr is the IEM you relax and recharge with while remembering (and hearing) the finer things in life.
Additional Photos:
I will keep this short and sweet, because we have much more important things to discuss today. I became an “audiophile” a few years ago and started climbing the ladder to insanity pretty quickly. I started with some decent IEMs, a few earbuds, dabbled in headphones and eventually ended up on track to own almost every single flagship ever released. I do not believe I am a “reviewer,” per se, but instead just love trying gear and then writing about it when something really strikes a chord with me. You’ll notice a lot of my reviews I have posted are pretty positive and if I’m being honest, I don’t bother writing reviews on a mediocre product. Maybe that’s a polarizing, or lazy view, but I buy all my own gear and am not constrained to write about something I don’t want to. Liberating, really. That said, I’m also not as good as the real reviewers, so this will probably be more about the feels and the enjoyment factor than a true technical analysis. But hey, I promise to do my best either way. This IEM deserves it.
About Noble
At the helm of Noble’s successful audio brand is John Moulton, known as “The Wizard” in these parts of town. I had the good fortune of speaking to John after receiving this pair of IEMs because he either got sick of my endless private messages loaded with questions, or he enjoys talking shop with other audiophiles. We had a great conversation, so I will assume it was the latter with a little bit of the former. I admit that I was a little nervous to talk to the man behind the gorgeous bespoke offerings and blockbuster successes like the K10, but quickly realized that this is what John loves to do and his passion for the industry was immediately apparent. But life is short and thankfully his sense of humor is not lost; my stomach turned when he suggested that the IEMs really open up after 5,000 hours of burn-in. I knew we would get along just fine.
A little more about the Wizard, because I think this paints the picture of how the Noble journey has transformed into what it is today. John has a degree in Audiology, but had been passionate about HiFi long before that, citing a fascination with the emotional response humans get from music and quality sound. John also mentioned that he has a deep appreciation for the big brands like Onkyo, Kenwood, Toshiba and enjoys learning about their storied history. John draws inspiration from one individual in particular, Amar Bose, not only due to the huge success of Bose, but the fact that it was accomplished essentially coming from nothing and building a name for himself based on his accomplishments. John eventually ended up in the Audiology program at college in Texas where shortly after, the IEM work began. Years later, the K10 (which went on to be one of the most successful flagship IEMs in Head-Fi history) was finalized at a dinner table in China, complete with impedance calculations done during the main course. This solidified Noble’s position as a top-tier offering in the high-end IEM market.
Technology has changed quite a bit since the K10, though, so I was curious to know some details on Noble's philosophy when building an IEM. Does Noble create an IEM around the latest and greatest technology? Or does Noble start with an intended sound and match components to reach that target? Well, it turns out that the answer is both. You will not find Noble competing in driver wars (although John did build a 20 driver IEM just to see if it could be done) or racing to implement something first unless the sound is fully vetted, though. I see Noble as a very innovative company who is also very much in touch with what their customers want. In fact, some IEMs Noble have created were at the very request of their customers or distributors, which shows an appreciation for the folks shelling out their hard-earned cash on Noble’s offerings.
It is widely accepted that Noble creates some of the most visually stunning and unique IEMs, so I also was curious to understand how that fit into John’s passion for good sound. To my surprise, these “one-off” designs were actually born out of John’s lack of owning a machine to do proper laser etching, like JH Audio used to do for example. Instead, John would source unique and exotic wood and craft a face plate out of that, adding his own final touches to create a truly unique set of earphones. This eventually became the Wizard offerings from Noble, but the artistic design didn’t stop there. Further down the road, John’s wife expressed interest in partnering on some of the artwork, given her past profession of manicures and pedicures. Noble began to offer one-of-a-kind bespoke IEMs which were a collaboration between the Wizard and Joy (I own one of these in the form of a Katana), and this raised the bar yet again for uniquely stunning artwork. Fast forward to modern day and we now have the “Prestige” program where the entire shell, faceplate and driver assemblies are done by hand by the Wizard himself, again with no two offerings being alike. From exotic maple, to obscure flower designs, to eye-catching patterns, you will be blown away once you venture over to the Prestige gallery on the Noble website. The first time I saw a Prestige offering from Noble, I knew I wanted to own one. Today, I am very fortunate to be able to write about a Prestige version of the Zephyr.
The Noble Zephyr – Design, Fit and Accessories
Noble’s new IEM, the Zephyr, was designed from the ground up with carefully chosen components and the final product is strictly to the Wizard’s specifications – and liking! Inside, we have “just” three drivers in an age where it seems like everyone is competing to implement the most variety of technologies, with “tri-brids” and even “quad-brids.” I agree, the naming is getting confusing. Here we have a good ole hybrid approach with a dynamic driver serving up the sub-bass, a balanced armature serving up the bass and mids and then a second balanced armature serving up the mids and highs. One of the balanced armatures is apparently a custom design which John had some influence over with Knowles, purpose-built for this application. The result is an incredibly coherent, natural sound, but I will touch more on that later. For exterior shell options, we obviously have a prestige version, but joining this will also be the standard version and the standard pro CIEM version.
Included with the Zephyr is the newer eight-wire OCC copper cable, which I find to be one of the best stock cables on the market. Despite being an eight-wire format, the individual wires are extremely soft and supple, super flexible and provide zero microphonics. Sound quality wise, I find no fault whatsoever in this cable and I will touch on this more in the cable comparisons later. The fit and finish of the cable is quite premium, as are the terminations at both ends; a true “upgrade” cable by all considerations. Also included is the usual Pelican 1010 case, the Noble straps for stacking source equipment, a soft pouch and an assortment of ear tips. For me, I was very happy to find that my go-to JVC Spiral Dot++ tips first perfectly and provide the desired sound. Given the fairly standard nozzle shape and size, I do not anticipate that most folks will have issues with “tip rolling,” or rather you will not have to drive yourself insane getting a seal like some other IEMs. This is a relief, because you’ll be neck deep into audio bliss before you know it.
On the fit of the IEM, again I have zero complaints and find them to be extremely comfortable. Shell size is average for a hybrid monitor, where I would say they are roughly similar to the Khan but a bit more ergonomic for me with softer edges. They fit me very well and the highly ergonomic stock cable adds to that physical enjoyment factor. There is nothing worse than buying a top of the line IEM, unboxing it, and then struggling for fit constantly which detracts from the enjoyment. I’m looking at you, Sony IER-Z1R. Also surprising was zero detectable driver flex, which sometimes can be an issue when utilizing dynamic drivers.
As for the Prestige designs, each offering is entirely unique and it is a bit futile to tell you all about mine since your eventual Prestige will be different. But, alas, it is so damn cool that I want to mention it. Mine is made with a banksia seed pod, which is native to Australia and shares some similarities with a pinecone. When was the last time you said that about an IEM? Anyway, this is just one example of how Noble are redefining bespoke designs and really thinking outside the box to create a truly unique piece of art that you can cherish for years to come. The sky is the limit with these designs, so I urge you to keep an eye of the unique offerings and when one suits your fancy, get out your checkbook!
Sound Analysis
Let me start off by saying that I was not quite sure what to expect upon first listen of the Zephyr. I have purchased and own a lot of IEMs, but I am rarely comfortable “blind buying” an IEM that I have not read extensively about or that I have not personally heard. Noble, however, is a company I trust not to make a product that sounds anything less than stellar. Thankfully, as soon as I put these into my ears I knew that there was going to be a long road of success ahead and I was immediately fond of what I was hearing.
Starting with sound signature, this is a fairly neutral, studio-like monitor that lacks any kind of extreme enhancements across the frequency range. That’s not to say it’s a boring monitor, far from it, but it’s not a monitor that produces thunderous bass or treble into extreme registers. Instead, the Zephyr reproduces music with a neutral tone, extremely natural timbre, and it portrays an effortless soundscape that is quite easy to get lost in. I feel like this is a very sought after tuning, yet few acomplish it like the Zephyr. Everything just sounds “correct” for lack of a better word. Will some folks want more bass? Sure. Will some treble-heads want more sparkle and energy? Maybe. But the Zephyr is an IEM that stays true to its purpose. It’s lack of inherent enhancements is what allows it to excel in accuracy and quite frankly honesty. Zephyr lays it all out on the line, for better or worse.
Bass: Let’s start with the bass, specifically the sub-bass. Zephyr has a very clean, punchy, sub-bass response that leans toward the fast, tidy, neutral kind. Bass digs deep, has adequate layering ability, but it’s not boosted to skew the signature. I find this quite rare in the “neutral” category as most IEMs within that scope are purely balanced armatures, but the use of a dynamic driver provides the air and impact with satisfying sensation. Mid-bass isn’t emphasized, but provides abundant cleanliness and restraint. Kick drums have a nice punch, while nothing bleeds into mids or muddies the waters. Overall bass is tight, clean, low-reaching and quick. Certainly not something for bass-heads, but much more satisfying than purely balanced armature IEMs to my ears.
Mids: This is a frequency range that has always been sort of in between the others for me, but with Zepjhyr I really hear things come alive. Electric guitars, male vocals, all of that “I’m at the concert” feeling. Starting with electric guitar, strings don’t have an ear-ringing bite, but they have a warmth and roundness that sounds like a Fender tube amp of yester-year. Listening to Stevie Ray Vaughan’s “Mary Had a Little Lamb” provides attention-grabbing rifs that sound true to form. Instruments just sound lush, natural and defined in the space of the IEMs presentation. I would say that the mids are where Zephyr really shines, but the upper and lower registers being under such control are what allow this to happen.
Vocals: Like I said several hundred times, the Zephyr is a natural monitor that gives true life to anything being played. Let’s start with female vocals, even if a bit generalized. Eva Cassidy’s voice has a roundness, a texture, a halo if you will, portraying her in her own space relevant to the music. Again, nothing is enhanced, but a soft glow illuminates her sound. Really, really special, with a soft analogue feel to most female vocals I tried. Moving on to male vocals, things are pretty similar with an added dose of authority given to male vocals. Take “The Sound of Silence” for example (yes, I know it’s Simon and Garfunkel!), the power, strength and focus is quite impressive. Summarizing what I hear, vocals are relayed with emphasis and power, while still falling into the natural and neutral category even if a bit colored. Life is good here in the vocals.
Treble: Let’s just get this out of the way, I am a treble-head that loves me some sparkle! If I had to pick any are I wanted to see a bit more “oomph,” it would be the treble. But, that’s probably good news for you! Many friends on Head-Fi have told me that the IEMs I love to death (Khan...) have too much treble presence, so I truly feel like the treble on the Zephyr will please most folks. Treble is rather neutral, well-defined, adequately sparkly and in certain instances, estat-like. In fact, I asked John if these had estats because I found the treble so smooth and pleasing. But alas, good-ole balanced armatures. Putting on my critical-listening cap, I hear the treble to have excellent extension, but not striding into extreme registers. I am confident this treble will not offend those who are sensitive to the higher frequencies, but it still extends into sparkle territory. It does not veer into U18T territory or Khan territory, bit instead it is a warmer, wetter, thicker treble that I really feel gives a dose of liveliness to the music. Well-done, Noble, a treble that extends healthily but doesn’t offend. That is what I like to see! Well, I love treble, I could stand just a tad more, but really feel that this is where mainstream treble tuning should lie.
Separation, Soundstage and Resolution: I freely admit that this is not the easiest area for me to review, but alas I will provide my thoughts. Separation, which I define as the clarity and space between instruments and notes, is quite high on the Zephyr. I can clearly hear different instruments giving me notes in different parts of my ear with the Zephyr. It doesn’t provide an out of head experience like, say, the Tia Fourte, but instead I can clearly depict resulting sounds through their instrument. While these monitors provide a sense of natural warmth, there is still easily detectable layering between instruments. As for soundstage, things are wide, deep and tall while listening to a binaural recording. Again, things don’t expand out of your head, but I hear a very accurate stage representation. Zephyr gives a natural and realistic soundscape that really puts you in the front row of an intimate acoustic concert. In the resolution category, I would give the Zephyr an above-average grade, close to the top. You won’t miss subtle queues of your favorite song, in fact you may hear passages where you notice artifacts you haven’t before. I love this abou the Zephyr – it sounds so natural and reserved upon first listen, but play an up-tempo pop track and you will hear it ALL. Again, for better or worse.
Comparisons
Noble Khan: Khan is a flagship “tri-brid” IEM from Noble which employs a dynamic driver for bass, four balanced armatures for the mids and a piezo-electric tweeter for the highs. The Khan was a departure from the familiar CNC aluminum shells of Noble’s prior flagships and employed a really cool silver pattern within a black shell. The Prestige shell of the Zephyr one-ups this of course, being a one of a kind design by nature, but then again Khans are one of a kind as well with no two being alike in their appearance. Well anyway, on to the sound. Bear with me while I say something unintelligent (as if that’s a huge departure from the rest of this review, please...): the tuning is quite similar and quite different at the same time. Starting with the bass, I hear a clean, impactful sub-bass impact that strikes a nice balance between emphasis and speed. This isn’t a bass that makes you immediately know that it’s a dynamic driver either, but as you listen you start to know it’s there. Mid-bass is similarly clean, impactful on both, but never bloated and always speedy in its decay. Bass, to my ears, is quite similar with the Zephyr being a tad warmer, a touch softer and slightly more natural with Khan’s sub-bass being a little deeper. This is bass done very well on both. Moving into the mids, I hear more warmth and emotion in the Zephyrs, while Khan prioritizes clarity and air. Vocals have a roundness to them in the Zephyr that makes Khan sound a little colder in comparison. Again the tunings aren’t far off here, but listening back to back, you start to hear the natural timbre of the Zephyr shining through. As with many high-end earphones, I wouldn’t declare a winner here, but instead I appreciate the difference in sound. I see band-based music absolutely shining in the Zephyr, with satisfying crunch in things like electric guitars and a natural touch to other stringed instruments, but the air and space in Khan’s mids really lends well to some types of modern pop and synthetic tracks like Enya, Yanni, etc. The treble, however, is where the tunings diverge rather quickly. Treble on the Khan is energetic, sparkly, splashy at times and extended into a dog’s range of hearing. Treble on the Zephyr is warm, natural and thicker. I can confidently say there are very few people who would take any issue with the treble in the Zephyr, but Khan is on the other end of the spectrum where it’s not what I would recommend for an eight hour listening session. Don’t get me wrong, I LOVE the treble on the Khan, but these are quite different trebles. I find the treble in the Zephyr closer to the Katana, which I mentioned had a softer touch in my Khan review. Overall, I find the Zephyr more musical, natural and neutral, where Khan provides more perceived clarity, but takes to a slight U-shape in the signature with the treble and bass. It’s hard to say which has a higher resolution because I’m certainly not missing any details in the Zephyr, but Khan is one of the highest resolution IEMs I’ve ever heard. I love both these IEMs dearly.
Noble Sultan: Sultan is the new flagship “tri-brid” IEM from Noble, and I realize I just said the same thing about the Khan. When I started listening to Zephyr and writing this review, Sultan did not exist for purchase and now it does. Special thanks to Mark for loaning me his Sultan for the purposes of comparison. Upon first listen, switching to the Zephyr from Sultan offers a more neutral, less V (or W) shape allowing vocals to shine through with greater emphasis, while Sultan has larger enhancements to the bass and treble. Sultan has an energetic and exciting fun sound with thumping sub-bass, punchy mid-bass and warm, crunchy mids. Treble sounds like it extends ever slightly further in the Sultan, where Zephyr is smoother and a little less sparkly. Stage seems wider and grander on Sultan, though both have pinpoint accuracy. Sultan also manages to eek out the most detail to my ears, but neither are slouches. Other differences include the fact that Sultan is a tad easier to drive, where Zephyr required a few more notches of volume. Fit is equal for me on both, very comfortable and I could wear either for hours. It’s hard to declare a winner here, but Sultan just has more of everything: more bass, more sparkle, more enhancements to the frequencies top to bottom. But Zephyr provides that all-day listening comfort with natural tonality, true timbre and an incredibly well-executed neutral response that lets the music shine through. Honestly, I want them both. Noble has often done this in the past, released two flagships and allowed the users to choose which sound is for them. This is almost like a Katana/Encore redeux, where we have a fantastic neutral offering and an enhanced, bold, fun sounding IEM that provides details galore and an ear to ear grin.
Dita Dream XLS: I have always been a fan of Dita’s single dynamic driver approach, so today I will compare with the latest flagship in the form of the Dream XLS. Dream XLS has a rather natural sound, but with engaging bass and a warm tone overall. The tuning philosophies are somewhat similar in that they both strive for a natural, neutral listen that isn’t cold or sterile. The two share a similar dynamic driver bass impact, but not enhanced to the degree of flooding you with bass. Sub-bass digs equally deep on both, though the XLS has a slight emphasis on mid-bass where the Zephyr provides a more neutral bass response, preserving the cleanliness of the sub-bass. Mids are a tad more forward on the XLS, but blended nicely into the mix with the Zephyr. I would say that vocals have a softer touch on the Zeyphyr, making the XLS sound slightly more energetic. Treble sounds more rounded, thicker and more natural on the Zephyr, giving the XLS a more sparkly presentation. I started this comparison thinking the XLS was the king of being natural and neutral, but the Zephyr actually makes the XLS sound enhanced and less reference in certain frequencies. I would probably declare the Zephyr the king of being neutral and natural, while the Dream XLS provides a bit more lively response in certain frequencies, such as mid-range and treble. Stage dimensions are quite wide, deep and tall on both, but imaging is extremely precise on Zephyr and gives the feeling of being able to reach out and touch the instruments. Fit is way better on Zephyr for me, but that’s getting way into personal preference so please take that with a grain of salt. I would also put the resolution and separation fairly equal on both, which means reaching impressive levels.
Campfire Solaris SE: These are both gorgeous IEMs, both visually and audibly, but they are also quite different with the Zephyr being a wooden shell and Solaris being metal with a cool abalone face plate. While both employ a hybrid design housing a dynamic driver for bass and balanced armatures for mids and treble, their tuning philosophies and sound hit a fork in the road right from the get go. Solaris SE is a great all-rounder that works well for many genres, while its tuning is enhanced in all the right places to my ears. Slight bass bump, open and clear mids, sparkly treble that doesn’t extend into sibilant territory. It's a very likeable tuning. Zephyr’s focus, however, is to stay truer to the music and provide a neutral sound as the artist intended. Before I get into the sound further, I want to say that the Solaris SE is ridiculously easy to drive and has an audible hiss on both my DAPs (Cayin N6ii and Kann Cube), so I prefer to drive it from a phone. It’s eerily easy to drive and the impedance provides issues if you’re sensitive to hiss, where the Zephyr has a fully black background on all of my sources and while it’s more difficult to drive, I feel it is way less sensitive to impedance issues or high noise floor devices. Just throwing that out there because it’s my biggest complaint with Solaris SE. Okay, now back to the sound and tuning, starting with bass. Solaris SE provides a greater bass quantity, while Zephyr gives a cleaner bass response. I would say both dig equally deep, but Solaris SE has a higher quantity and greater punch with kick drums. Moving into mids, the Solaris SE had improved over the normal Solaris (apparently, I don’t own the original), but Zephyr is the IEM that gives a more organic, rounded presentation with vocals and guitars. Solaris SE gives a little more air and clarity to mids, but Zephyr presents this frequency range with euphoric-like timbre, so you have to decide which you prefer. Into the treble, Solaris SE seems to offer more sparkle, further extension, but Zephyr again offers the more natural and delectable treble. Hard to declare a winner, just different of course. Resolution and clarity are quite similar, but stage seems expanded on Solaris SE. On the flipside, Zephyr offers the more natural, pleasing timbre.
Oops, I forgot to take a photo
A Few Words on Cables: always my favorite part...not! Don’t get me wrong, I love aftermarket cables, some of which have changed the sound of an IEM very audibly, but this is a tough section. If you like an IEM’s sound signature, no cable is going to change that. Alternatively, if you dislike an IEM’s sound signature, you’re probably not going to find a cable that fixes that. All that said, I had a few preferred pairings with the Zephyr.
Effect Audio Cleopatra: the Cleopatra is a wonderfully comfortable, smooth and detailed cable. I would say its primary strength is sub-bass and it does a great job of enhancing what the Zephyr has to offer as far as bass on tap. Sub-bass hits low and deep, while staying clean and controlled. Into the mid-range, everything is clear and transparent and I don’t hear any major changes here versus the stock cable. Perhaps a tad less thick, but I’m splitting hairs. Into the treble, I also find this to be pretty comparable to the stock cable, with a little more smoothness whereas the stock cable sounds more like a traditional silver despite it being copper. Cleo is a great pairing if you want to hear the bass at its best.
PW 1960 2w: this cable has built a reputation on enjoyment factor, with pleasing bass, holographic mids and stage, and a sparkly yet refined treble. It performs at a very high level on Zephyr, while also being extremely comfortable. Sound signature is very similar to the stock cable, with a little more rumble in the bass and a little more precision in the mids. Treble is yet again pretty similar, with the 1960 eeking out a tad more detail. Another fantastic pairing, but it should be for nearly four digits in price (USD).
Eletech Plato: I tried this cable at a later date than the rest, and I am glad because it is outstanding. This is another pure silver cable which prioritizes smoothness and detail, similar to the Cleopatra. It takes the midrange clarity to new heights, while still offering very clean, impactful sub-bass and smooth, extended treble. It’s more natural and neutral than Cleo, and maybe more tame than the 1960, but to my ears it matches and synergizes with the Zephy’s qualities best. Again, it performs on a very high technical level and is very comfortable to wear.
Eletech Iliad: this is the super car of cables, and it probably costs nearly the same as the IEM. That said, it gives a roundless and punch to the bass that is addicting. Mid-range is largely unchanged, but with the addition of a holographic stage and a detail focus. Treble is fairly similar to the 1960, with texture and sparkle that really make the IEMs sing. I think it does bring out more bass and treble, but given the neutral, natural and relaxed focus of the Zephyr, Plato is still my favorite.
A Few Words on Sources: I will admit that I don’t spend a ton of time A/B testing different sources because each of my sources are for different purposes. That said, some IEMs are very source-dependent to sound their best and I am happy to report that Zephyr is very flexible. They are not super sensitive to where they have hiss on any of my sources (Cayin N6ii, Hugo 2 or LG V60) and there aren’t any weird impedance issues where frequencies are skewed. They also sound just fine out of my iPhone with dongle, which I mention because there seemed to be a concern with that on the Khan. Personally, I do not expect amazing results when pairing a $2,300 IEM with a $9 dongle, but I digress and suppose it should work properly.
Given the natural, slightly relaxed nature of the Zephyr, I found it to sound its best with neutral sources like the Hugo 2. Shocking, I know. Hugo 2 brings a lot of dynamics out of the IEMs and gives them an energetic sprinkling throughout the frequencies. Not far behind, I really loved the N6ii with the E01 module in AB mode. Class A was a little too warm and relaxed given that the Zephyr already veers in that direction, but AB mode was pure bliss. Similar to Hugo 2, details were eeked out of every nook and cranny and there was enough sparkle to give a perception of clarity that was very much to my liking. Honestly, The Zephyr sounded great out of my phone as well, which is an LG V60 with the “quad DAC” setup. To get the best out of Zephyr, I had to trick the phone into a higher gain mode, but LG users will be very used to that by now with the goofy implementation of a powerful amp that is pretty much hidden until you much with settings. I guess what I am trying to say is that Zephyr’s enjoyment factor was there for me on all of my devices, but my first choice would be something on the neutral side and not overly warm.
Summary and Conclusion: this journey has been a lot of things for me. Given that I have had the Zephyr for months now, it allowed me to take my time and really get to know them. I also got to experience the Prestige craftsmanship up close and personal and for that I am thankful. Zephyr is an IEM that doesn’t shout at you upon first listen. It doesn’t jump out with any enhanced frequencies, any gimmicks or any clever tricks up its sleeve. Zephyr is an IEM that once you really take the time to get to know them, they impress with their nuanced subtleties and mature tuning. I hope my description does not give a boring impression, but rather articulating that they’re special in their own right and their own methodology. From an incredible timber in the midrange, to a clean, precise sub-bass and then smoothness up into the higher registers, I cannot help but feel that I am hearing music exactly as it was meant to be heard. For that, I know that Zephyr will stay with me for a long time. While the IEM market races from milestone to milestone with different technologies and marketing strategies (which, don’t get me wrong, I love), Zephyr is the IEM you relax and recharge with while remembering (and hearing) the finer things in life.
Additional Photos:
Attachments
SBranson
Great review. Your comments about timbre really make these seem like something special.
KickAssChewGum
Excellent review! Thanks so much!
Sebastien Chiu
Thanks for the review @SeeSax ! I'll give this a shout on our socials eventually
Intro & Me:
I entered the IEM game a few years ago and have completely fallen victim to the wide variety of sounds, technologies, methodologies and bespoke creators of these nifty little in-ear devices. I maintain a collection of around 10 “TOTL” IEMs and really enjoy comparing, contrasting, listening (of course) and writing about them. I’m not a reviewer per-se, but what fun is owning all of this goodness without sharing it with friends of the community? I apologize in advance if I have ever caused you to spend your hard-earned money.
Sarda – The Basics:
Let’s start with the name: Sarda. Not exactly the sexiest name for an IEM (unlike Grace, Layla, various other names, etc.) but I understand Sarda to mean either a type of fish or a type of goat. Take your pick and I’m sure you’ll be ecstatic to have either one in your ear.
I have been a long-time fan of Hyla and for the most part, Oriolus, their parent company. While the latter is typically a more mature, refined and musical sound, Hyla seems like Oriolus hired a wild child intern and let them go wild with sounds and technologies. From the infamous CE-5 to the monstrous TE-5B and the specialist the TE-5T, there are quite a few variations that somehow cover the bases but also stay true to the Hyla brand. If I had to sum it up, I would say extension and enhancements in all directions rather than an emotional, intimate sound. Again, these are all out fun.
The Sarda seems to be an evolution on the CE-5 sound, where the predecessor had some of the best sub-bass response in the industry, challenging the likes of the Legend X and Dita Dream in my book with a prominent, energetic treble. Mids were there somewhere, but certainly not a highlight of the sound. The Sarda seems to fix a few of the complaints of the CE-5, but I’ll get to the sound later. In typical fashion, Hyla is only producing a few hundred of these. I guess they didn’t give the intern an unlimited production budget.
Fit, Package, Cable, All That:
When I was greeted with a plain brown box upon unpackaging, I was left pretty underwhelmed, especially after recently unboxing the Dita Dream XLS, Mason V3+, etc. But inside that cardboard box is one of the nicest IEM cases I have ever seen: the Van Nuys. I am really not a fan of the recent trend of giving customers a metal case with a screw cap that barely fits the IEM with a stock cable, let alone an upgrade cable. The Van Nuys case from Hyla is amazing. It has partitions, it’s big enough for all the goodies, it is secure and strong. I love it and wish I could buy more.
The cable continues the traditional partnership between Hyla (and Oriolus) and PW Audio: it’s a nicely-built copper cable that is very comfortable. I don’t spend much time with stock cables and most of this review content is based on upgrade cables, but the stock cable is much, much nicer than the usual Plastics One cables offered with something like Earsonics in the past.
You also get the usual tips in the box and that’s really it. Not a lot of fanfare here, but keep in mind that this flagship is priced at $1,250 as opposed to skyrocketing prices from other manufacturers. Let’s touch on that for a second: you get a dynamic driver, two balanced armatures and a piezo-electric tweeter for $1,250. You can get something similar (albeit with two more Bas) in the Noble Khan for $2,400, or you can enter the world of electret tweeter “tri-brids” and the sky is the limit on pricing. While the CE-5 cost around $900 brand new, the following TE-5B, TE-5T and Sarda all stuck to the $1,250 price which I love. Also I would like to give a shout out to MusicTeck, Hyla’s US-based distributor for getting this to me in just two days when I finally decided I wanted one. Highly recommended to buy from them if you’re in the United States and want a Hyla product.
Sound – Where Technology Meets Precision:
I wasn’t quite sure what to expect when I put these in my ears for the first time. I loved the CE-5, but understood its shortcomings. I then went for the TE-5B because it was said to be improved in the bass and mids and while that was true, it lost a little of the magic with more mid-bass and overall a warmer signature. I missed that knife-like precision of the CE-5 with crushing sub-bass and sparkly treble. The Sarda, upon first listen, made me understand immediately what Hyla was going for. That magical sub-bass is still there, but slightly subdued in comparison to the CE-5. Mid-bass is extremely punchy, but not warm or elevated to detract from that famous sub-bass. Mids are crystal clear, vocals are crisp, everything is more balanced and coherent. Treble, by memory, is roughly similar to the CE-5 but a tad thicker and warmer. Still, the Sarda provides awesome sparkle and this is definitely an enhanced treble. So, I would characterize this sound is still the Hyla v-shape, but pushing closer to a “w” for lack of a better word. I think this is without question a refinement of the CE-5 and I am so, so happy they have accomplished this.
Bass:
The star of the show for Hyla’s past monitors have been the bass and this is no exception. Although it veers more into the balanced category than all-out bass head territory, there is still a lot to love here. The bass is no longer over-powering, just powerful and ever-present in all the best ways. Tracks like “Lose Yourself to Dance” will still startle you on first listen, though more mellow tracks are blessed with a softer touch. In accordance with the revised tuning, bass sounds even faster and punchier, albeit at the expense of sub-bass rumble. I do believe the Sarda is a tuning that will be more in line for “the rest of us” rather than just bass heads. Mid-bass is probably the biggest departure from the CE-5 where, um, it’s actually there. The CE-5 was a pretty extreme v-shape with sub-bass falling off rapidly into the mid-bass and the Sarda begins that roll off much later into the frequency range. It works well, it’s very punchy and it does not bleed into the mids at all.
Mids and Vocals:
I’m going to lump these together because this is where the CE-5 needed the most help and with Sarda, it’s there. As I mentioned, mids and vocals are crystal clear and while they’re still not what I would consider forward, they are not so recessed as to make this IEM a genre-specific uni-tasker. Sure, the Sarda still shines with electronic and modern pop music, but there is still a lot of enjoyment with band-based music and the likes. You can’t have everything, but I think the slight sacrifice in bass quantity from the predecessor has been showcased beautifully in the enhanced mids and vocal presentation. You won’t find a ton of weight around male or female vocals, just a focus on clarity. Not the most natural sounding monitors with timbre leaning toward neutral, but that was never the focus to begin with. In comparison to something like the EE Phantom, the vocals may sound on the thinner side, but in return you get a crunchy, textured electric guitar as an example. I love it – basically a neutral and clear mid-range that can do a wide array of tasks well.
Treble:
Treble fits into that Hyla house sound category with lots of sparkle and clarity, though I would not anticipate anyone finding this sibilant. I have owned four electret “tri-brids” now and have sold every one of them in favor of these piezo-electric tweeters. I love the extension, the clarity, the sparkle and the speed. The treble on the Sarda is reminiscent of the CE-5, but I thing in similar fashion to the bass it has been pulled back into the safe zone a bit. You get a ton of detail and sparkle, but no shrill, thin or edgy peaks. This is some of the best treble I have ever heard, which I will touch on in the brief comparisons. Spoiler, I like it better than the Legend X and the Grace.
Soundstage, Imaging, Separation, the Intangibles:
I am highly unqualified to really analyze the soundstage of an IEM, but I’ll give it my best shot. The Sarda does not have the out-of-head feeling of something like the Fourte, but instead I hear the dimensions to be expansive and even. What I mean is that I do not hear crazily enhanced right-left expansion, or depth or height. I hear it to be a realistic, “cube-shaped” stage and I guess on the “normal” level. Legend X and Fourte extend wider out of your head, but Sarda performance is less intimate than others like the Flamenco I previously had.
Imaging and separation are sharp and easy to pick up individual placement of instruments. The clarity-focused sound is likely responsible for this, as is the technical prowess of this configuration. Resolution seems top-notch, with nothing getting lost in the mix. Nuanced sounds come through with ease, notes have plenty of air around them and I would say the Sarda is above average for its price. I think the Fourte can eek out more detail (as it should for its price), but this doesn’t take away from the enjoyment factor.
Comparisons:
I normally spend a lot of time here, but truth be told I do not have a lot to compare to in this price range. Let’s start with the heavy-hitters:
Noble Khan: Khan has a similarly clarity-focused signature, but provides a sharper, more sparkly treble response. In turn, the Sarda sounds warmer and provides a more impactful bass. I would say that the Khan is overall more neutral and balanced, making Sarda’s v-shape more apparent. Mids are clear and open on both, but Khan gives a smoother and more natural touch here. For bass, the Khan and Sarda both share a dynamic driver impact, but Sarda’s quantity is much higher. I hear the Sarda to reach lower, hit harder and provide a bigger slam than the Khan, where Khan has a more neutral bass caliber. I love both these IEMs and the Sarda competes impressively for nearly half the price. Khan, however, is a more refined sound overall.
64 Audio Tia Fourte: I am not sure how many people will narrow down their short list of IEMs to the Fourte and Sarda, but what the heck. Starting with bass, quantity is roughly similar, but Fourte has a softer, more analogue feel where Sarda is quicker, more impactful and sharper. Mid-bass is also warmer and softer on the Fourte where it is punchier on the Sarda. Mids are a controversial topic on the Fourte, but let’s stick to the facts: I hear more clarity, openness and air in the Fourte. Sarda provides a very clear and precise mid-range, but Fourte has more air around each note and makes the sound a bit more natural. Treble extension is better on Fourte reaching into the stars, but sparkle is roughly similar on both. The Tia treble sounds a tad more natural, where Sarda provides a nice energy with pleasing thickness. I am confident saying these two IEMs are both treble and bass superstars, but with very different technologies and tuning philosophies.
Earsonics Grace: this IEM is one of my all-time favorites for an easy listen. It sports 10 balanced armatures and none of that fancy hybrid stuff, but provides a surprising sub-bass impact not too dissimilar from Sarda. Starting from bass, Grace has an impactful sub-bass that reaches as deep as I’ve heard any balanced armature go, but it’s softer and moves less air than the Sarda. Sarda is clearer, harder hitting and reaches even deeper. Mid-bass is warmer and more enhanced on the Grace, with a clearer, quicker presence on the Sarda. Mids are warmer and more emotional on Grace, providing a pleasing and natural tone on vocals. Sarda is clearer, more neutral and has more air in the mids. Stage dimensions are wider and deeper on Grace, but Sarda sounds a bit more direct in the sense that you feel as though you’re sitting right in front of the stage. Treble is sparkly and extended on the Grace, but the natural nature of it makes Sarda sound more energetic and sparkly. Treble is faster, sharper (not in a bad way) and provides clarity in the notes that Grace doesn’t.
Cable Pairings:
More controversy I’m sure! Here are very brief impressions rolling through a few of my favorite cables.
PW Audio 1960 2-wire: in comparison to the stock cable, bass quantity is roughly similar with greater extension and cleaner, more controlled hits. Mids provide more air and resolution. Treble is the easiest to hear the enhancement with the 1960 providing more sparkle and clarity. This was an awesome pairing, with resolution and impact really benefiting.
PlusSound Tri-copper X6: Huge shout out to my buddy Erik (@Wyville) for loaning me this cable – it’s one I have wanted to hear for a while. On the Sarda, it’s right at home with an overall warmer tone than the 1960, but plenty of control. More bass, a little more warmth in the mids and a sufficiently sparkly treble provides an awesome tuning that strikes me as what the manufacturer would want the IEM to sound like. It provides the same benefits as the 1960, though does everything in a slightly more natural, warmer manner. It’s a dead-sexy cable too, who am I kidding.
PW Audio no. 10: I threw this into the mix because not everyone wants to spend an entire paycheck on a cable. For around the $200 mark, the no. 10 provides a seriously great pairing with the Sarda. Bass is similar in quantity to the Tri-copper, but more of an analogue feel with big, bold notes. Mids are nicely textured and provide similar warmth, which I think the Sarda benefits from nicely. Treble is slightly softer and more relaxed on the no. 10, which again should not take anything away from the Sarda. If money was a concern, I would have no problems recommending the no. 10 with this IEM. It’s still a noticeable improvement over the stock cable.
Effect Audio Cleopatra: Cleo always provides interesting pairing results because of it’s copper-like tone and immense sub-bass presence. On the Sarda, this works quite well if that’s the direction you want to take it. I hear a very clean, impactful sub-bass that is higher in quantity to the 1960. Probably closer to the Tri-copper, but less warm and a bit more on the controlled side. Mids are crystal clear with the Cleo and may have less emotion than the copper cables mentioned previously. Treble is also nicely extended, but less sparkle to my ears than the 1960. This is still a lovely pairing, but I feel that the Sarda benefits most from a high-quality copper cable to provide that natural timbre that the Sarda can benefit from. Keep in mind that differences are very subtle of course.
A Note on Sources: while I do not typically compare sources back to back, I will say that the Sarda sounded lovely with all my sources. Most of the review and listening were done out of the A&K Kann Cube, with some listening also done with the N6ii (E01 module) and my LG V50 phone. The V50 phone can drive the Sarda well enough, but I felt that it sounded better with a dedicated DAP. Kann provided a clean, authoritative sound and it was my favorite match up. A close second, however, was the N6ii with the E01 module set to “AB” mode. Pure class A mode was a little too warm and relax for my tastes.
Conclusion: honestly, I really like the Sarda. I am very impressed at what they have accomplished at this price point and it is an easy recommendation. For anyone who loves a strong, authoritative bass presence, neutral and clarity-driven mids and sparkly treble with enhancements in the right place, it’s a very strong contender. Those who are looking for warmth and emotion in the vocals are probably the only group I would say are better served instead by something from Oriolus perhaps. But for me, I love the sound of the Sarda, I love the technicalities of the Sarda and I really feel that this is where Hyla’s R&D have brought incredible technology to create a brilliantly-refined sound. I think this is their best IEM yet and I will be rooting for them on each and every release.
I entered the IEM game a few years ago and have completely fallen victim to the wide variety of sounds, technologies, methodologies and bespoke creators of these nifty little in-ear devices. I maintain a collection of around 10 “TOTL” IEMs and really enjoy comparing, contrasting, listening (of course) and writing about them. I’m not a reviewer per-se, but what fun is owning all of this goodness without sharing it with friends of the community? I apologize in advance if I have ever caused you to spend your hard-earned money.
Sarda – The Basics:
Let’s start with the name: Sarda. Not exactly the sexiest name for an IEM (unlike Grace, Layla, various other names, etc.) but I understand Sarda to mean either a type of fish or a type of goat. Take your pick and I’m sure you’ll be ecstatic to have either one in your ear.
I have been a long-time fan of Hyla and for the most part, Oriolus, their parent company. While the latter is typically a more mature, refined and musical sound, Hyla seems like Oriolus hired a wild child intern and let them go wild with sounds and technologies. From the infamous CE-5 to the monstrous TE-5B and the specialist the TE-5T, there are quite a few variations that somehow cover the bases but also stay true to the Hyla brand. If I had to sum it up, I would say extension and enhancements in all directions rather than an emotional, intimate sound. Again, these are all out fun.
The Sarda seems to be an evolution on the CE-5 sound, where the predecessor had some of the best sub-bass response in the industry, challenging the likes of the Legend X and Dita Dream in my book with a prominent, energetic treble. Mids were there somewhere, but certainly not a highlight of the sound. The Sarda seems to fix a few of the complaints of the CE-5, but I’ll get to the sound later. In typical fashion, Hyla is only producing a few hundred of these. I guess they didn’t give the intern an unlimited production budget.
Fit, Package, Cable, All That:
When I was greeted with a plain brown box upon unpackaging, I was left pretty underwhelmed, especially after recently unboxing the Dita Dream XLS, Mason V3+, etc. But inside that cardboard box is one of the nicest IEM cases I have ever seen: the Van Nuys. I am really not a fan of the recent trend of giving customers a metal case with a screw cap that barely fits the IEM with a stock cable, let alone an upgrade cable. The Van Nuys case from Hyla is amazing. It has partitions, it’s big enough for all the goodies, it is secure and strong. I love it and wish I could buy more.
The cable continues the traditional partnership between Hyla (and Oriolus) and PW Audio: it’s a nicely-built copper cable that is very comfortable. I don’t spend much time with stock cables and most of this review content is based on upgrade cables, but the stock cable is much, much nicer than the usual Plastics One cables offered with something like Earsonics in the past.
You also get the usual tips in the box and that’s really it. Not a lot of fanfare here, but keep in mind that this flagship is priced at $1,250 as opposed to skyrocketing prices from other manufacturers. Let’s touch on that for a second: you get a dynamic driver, two balanced armatures and a piezo-electric tweeter for $1,250. You can get something similar (albeit with two more Bas) in the Noble Khan for $2,400, or you can enter the world of electret tweeter “tri-brids” and the sky is the limit on pricing. While the CE-5 cost around $900 brand new, the following TE-5B, TE-5T and Sarda all stuck to the $1,250 price which I love. Also I would like to give a shout out to MusicTeck, Hyla’s US-based distributor for getting this to me in just two days when I finally decided I wanted one. Highly recommended to buy from them if you’re in the United States and want a Hyla product.
Sound – Where Technology Meets Precision:
I wasn’t quite sure what to expect when I put these in my ears for the first time. I loved the CE-5, but understood its shortcomings. I then went for the TE-5B because it was said to be improved in the bass and mids and while that was true, it lost a little of the magic with more mid-bass and overall a warmer signature. I missed that knife-like precision of the CE-5 with crushing sub-bass and sparkly treble. The Sarda, upon first listen, made me understand immediately what Hyla was going for. That magical sub-bass is still there, but slightly subdued in comparison to the CE-5. Mid-bass is extremely punchy, but not warm or elevated to detract from that famous sub-bass. Mids are crystal clear, vocals are crisp, everything is more balanced and coherent. Treble, by memory, is roughly similar to the CE-5 but a tad thicker and warmer. Still, the Sarda provides awesome sparkle and this is definitely an enhanced treble. So, I would characterize this sound is still the Hyla v-shape, but pushing closer to a “w” for lack of a better word. I think this is without question a refinement of the CE-5 and I am so, so happy they have accomplished this.
Bass:
The star of the show for Hyla’s past monitors have been the bass and this is no exception. Although it veers more into the balanced category than all-out bass head territory, there is still a lot to love here. The bass is no longer over-powering, just powerful and ever-present in all the best ways. Tracks like “Lose Yourself to Dance” will still startle you on first listen, though more mellow tracks are blessed with a softer touch. In accordance with the revised tuning, bass sounds even faster and punchier, albeit at the expense of sub-bass rumble. I do believe the Sarda is a tuning that will be more in line for “the rest of us” rather than just bass heads. Mid-bass is probably the biggest departure from the CE-5 where, um, it’s actually there. The CE-5 was a pretty extreme v-shape with sub-bass falling off rapidly into the mid-bass and the Sarda begins that roll off much later into the frequency range. It works well, it’s very punchy and it does not bleed into the mids at all.
Mids and Vocals:
I’m going to lump these together because this is where the CE-5 needed the most help and with Sarda, it’s there. As I mentioned, mids and vocals are crystal clear and while they’re still not what I would consider forward, they are not so recessed as to make this IEM a genre-specific uni-tasker. Sure, the Sarda still shines with electronic and modern pop music, but there is still a lot of enjoyment with band-based music and the likes. You can’t have everything, but I think the slight sacrifice in bass quantity from the predecessor has been showcased beautifully in the enhanced mids and vocal presentation. You won’t find a ton of weight around male or female vocals, just a focus on clarity. Not the most natural sounding monitors with timbre leaning toward neutral, but that was never the focus to begin with. In comparison to something like the EE Phantom, the vocals may sound on the thinner side, but in return you get a crunchy, textured electric guitar as an example. I love it – basically a neutral and clear mid-range that can do a wide array of tasks well.
Treble:
Treble fits into that Hyla house sound category with lots of sparkle and clarity, though I would not anticipate anyone finding this sibilant. I have owned four electret “tri-brids” now and have sold every one of them in favor of these piezo-electric tweeters. I love the extension, the clarity, the sparkle and the speed. The treble on the Sarda is reminiscent of the CE-5, but I thing in similar fashion to the bass it has been pulled back into the safe zone a bit. You get a ton of detail and sparkle, but no shrill, thin or edgy peaks. This is some of the best treble I have ever heard, which I will touch on in the brief comparisons. Spoiler, I like it better than the Legend X and the Grace.
Soundstage, Imaging, Separation, the Intangibles:
I am highly unqualified to really analyze the soundstage of an IEM, but I’ll give it my best shot. The Sarda does not have the out-of-head feeling of something like the Fourte, but instead I hear the dimensions to be expansive and even. What I mean is that I do not hear crazily enhanced right-left expansion, or depth or height. I hear it to be a realistic, “cube-shaped” stage and I guess on the “normal” level. Legend X and Fourte extend wider out of your head, but Sarda performance is less intimate than others like the Flamenco I previously had.
Imaging and separation are sharp and easy to pick up individual placement of instruments. The clarity-focused sound is likely responsible for this, as is the technical prowess of this configuration. Resolution seems top-notch, with nothing getting lost in the mix. Nuanced sounds come through with ease, notes have plenty of air around them and I would say the Sarda is above average for its price. I think the Fourte can eek out more detail (as it should for its price), but this doesn’t take away from the enjoyment factor.
Comparisons:
I normally spend a lot of time here, but truth be told I do not have a lot to compare to in this price range. Let’s start with the heavy-hitters:
Noble Khan: Khan has a similarly clarity-focused signature, but provides a sharper, more sparkly treble response. In turn, the Sarda sounds warmer and provides a more impactful bass. I would say that the Khan is overall more neutral and balanced, making Sarda’s v-shape more apparent. Mids are clear and open on both, but Khan gives a smoother and more natural touch here. For bass, the Khan and Sarda both share a dynamic driver impact, but Sarda’s quantity is much higher. I hear the Sarda to reach lower, hit harder and provide a bigger slam than the Khan, where Khan has a more neutral bass caliber. I love both these IEMs and the Sarda competes impressively for nearly half the price. Khan, however, is a more refined sound overall.
64 Audio Tia Fourte: I am not sure how many people will narrow down their short list of IEMs to the Fourte and Sarda, but what the heck. Starting with bass, quantity is roughly similar, but Fourte has a softer, more analogue feel where Sarda is quicker, more impactful and sharper. Mid-bass is also warmer and softer on the Fourte where it is punchier on the Sarda. Mids are a controversial topic on the Fourte, but let’s stick to the facts: I hear more clarity, openness and air in the Fourte. Sarda provides a very clear and precise mid-range, but Fourte has more air around each note and makes the sound a bit more natural. Treble extension is better on Fourte reaching into the stars, but sparkle is roughly similar on both. The Tia treble sounds a tad more natural, where Sarda provides a nice energy with pleasing thickness. I am confident saying these two IEMs are both treble and bass superstars, but with very different technologies and tuning philosophies.
Earsonics Grace: this IEM is one of my all-time favorites for an easy listen. It sports 10 balanced armatures and none of that fancy hybrid stuff, but provides a surprising sub-bass impact not too dissimilar from Sarda. Starting from bass, Grace has an impactful sub-bass that reaches as deep as I’ve heard any balanced armature go, but it’s softer and moves less air than the Sarda. Sarda is clearer, harder hitting and reaches even deeper. Mid-bass is warmer and more enhanced on the Grace, with a clearer, quicker presence on the Sarda. Mids are warmer and more emotional on Grace, providing a pleasing and natural tone on vocals. Sarda is clearer, more neutral and has more air in the mids. Stage dimensions are wider and deeper on Grace, but Sarda sounds a bit more direct in the sense that you feel as though you’re sitting right in front of the stage. Treble is sparkly and extended on the Grace, but the natural nature of it makes Sarda sound more energetic and sparkly. Treble is faster, sharper (not in a bad way) and provides clarity in the notes that Grace doesn’t.
Cable Pairings:
More controversy I’m sure! Here are very brief impressions rolling through a few of my favorite cables.
PW Audio 1960 2-wire: in comparison to the stock cable, bass quantity is roughly similar with greater extension and cleaner, more controlled hits. Mids provide more air and resolution. Treble is the easiest to hear the enhancement with the 1960 providing more sparkle and clarity. This was an awesome pairing, with resolution and impact really benefiting.
PlusSound Tri-copper X6: Huge shout out to my buddy Erik (@Wyville) for loaning me this cable – it’s one I have wanted to hear for a while. On the Sarda, it’s right at home with an overall warmer tone than the 1960, but plenty of control. More bass, a little more warmth in the mids and a sufficiently sparkly treble provides an awesome tuning that strikes me as what the manufacturer would want the IEM to sound like. It provides the same benefits as the 1960, though does everything in a slightly more natural, warmer manner. It’s a dead-sexy cable too, who am I kidding.
PW Audio no. 10: I threw this into the mix because not everyone wants to spend an entire paycheck on a cable. For around the $200 mark, the no. 10 provides a seriously great pairing with the Sarda. Bass is similar in quantity to the Tri-copper, but more of an analogue feel with big, bold notes. Mids are nicely textured and provide similar warmth, which I think the Sarda benefits from nicely. Treble is slightly softer and more relaxed on the no. 10, which again should not take anything away from the Sarda. If money was a concern, I would have no problems recommending the no. 10 with this IEM. It’s still a noticeable improvement over the stock cable.
Effect Audio Cleopatra: Cleo always provides interesting pairing results because of it’s copper-like tone and immense sub-bass presence. On the Sarda, this works quite well if that’s the direction you want to take it. I hear a very clean, impactful sub-bass that is higher in quantity to the 1960. Probably closer to the Tri-copper, but less warm and a bit more on the controlled side. Mids are crystal clear with the Cleo and may have less emotion than the copper cables mentioned previously. Treble is also nicely extended, but less sparkle to my ears than the 1960. This is still a lovely pairing, but I feel that the Sarda benefits most from a high-quality copper cable to provide that natural timbre that the Sarda can benefit from. Keep in mind that differences are very subtle of course.
A Note on Sources: while I do not typically compare sources back to back, I will say that the Sarda sounded lovely with all my sources. Most of the review and listening were done out of the A&K Kann Cube, with some listening also done with the N6ii (E01 module) and my LG V50 phone. The V50 phone can drive the Sarda well enough, but I felt that it sounded better with a dedicated DAP. Kann provided a clean, authoritative sound and it was my favorite match up. A close second, however, was the N6ii with the E01 module set to “AB” mode. Pure class A mode was a little too warm and relax for my tastes.
Conclusion: honestly, I really like the Sarda. I am very impressed at what they have accomplished at this price point and it is an easy recommendation. For anyone who loves a strong, authoritative bass presence, neutral and clarity-driven mids and sparkly treble with enhancements in the right place, it’s a very strong contender. Those who are looking for warmth and emotion in the vocals are probably the only group I would say are better served instead by something from Oriolus perhaps. But for me, I love the sound of the Sarda, I love the technicalities of the Sarda and I really feel that this is where Hyla’s R&D have brought incredible technology to create a brilliantly-refined sound. I think this is their best IEM yet and I will be rooting for them on each and every release.
Pr3ssAltF4
Just picked one up! I'm probably the only other person who read this who has a Grace as well lol @pstickne. That comparison was much appreciated and wicked helpful. Also just happy that someone else likes the Grace . The Sardas should arrive tomorrow or Saturday, and I'll let you know what I hear between the two.
Oh and the pre-2018 flamenco that's also on my shelf...
. The Sardas should arrive tomorrow or Saturday, and I'll let you know what I hear between the two.Oh and the pre-2018 flamenco that's also on my shelf...
Pr3ssAltF4
So the Sardas are ****ing phenomenal. Love these things. Definitely a lot of fun. I have a bit of annoying driver flex in mine. Treble can get a little harsh at times. Otherwise, I have no real nitpicks. Definitely a keeper. Still gotta say that I prefer the Grace's bass, but that's a controversial opinion lol.
SeeSax
@Pr3ssAltF4 awesome, glad you received them and like them. Hyla is a really fun company to follow with their clever IEMs.
Intro & Me: I am an audio enthusiast and have fallen pretty deep into the audio rabbit hole. Special thanks to @subguy812 for allowing me to also post this review on his awesome audio review site. For my audio journey, I started about five years ago when I wanted something better than the included earbuds with my Samsung Galaxy phone and my first “real” purchase was a Yamaha EPH-100. This rocked my world; the bass impact, the treble sparkle, the mids defining themselves as more than just what is in between the bass and treble – it was all there. That $99 felt so extravagant at the time and let me tell you friends, I wish I could go back to that price segment and be content. That’s where the Audio Rabbit Hole first bit me and has kept me in its grasp ever since. Only now, the grasp is tighter, more expensive, more serious and most of all, more controversial! This hobby has been a fun one and I have met some great folks over the years, but it has also become apparent that when you begin to own several different top-of-the-line models, audio life gets exponentially more complicated.
I am an IEM guy at heart. I am a cable believer. I drink 40oz bottles of snake oil and use unicorn dust to style my hair. I have never done a blind test because that might tell me something I do not wish to hear. I have published a few reviews over the years, have never made a “ranking list” and generally agree with at least 50% of the opinions I read on the internet. I do not know how to make audio graphs, describe certain frequency ranges or peaks and I couldn’t tell you why balanced sounds better than single-ended. But what I can say is this: I have owned over 20 top-of-the-line IEMs and I am here today to give you my thoughts about one of my very favorite ones, the Noble Khan.
Test Equipment: during my ownership of the Noble Khan, I have had several different sources. Most of my listening has been done on a desktop DAC and amp combo in the form of a Sony TA-ZH1ES, with numerous other sessions spanning across a recently-acquired (and LOVED) Astell & Kern Kann Cube (known as “Kube” by the cool kids, and let me tell you what a pain in the ass it is spewing out words between a source called the Kann and an IEM also called the Khan), a wonderful Cayin N6ii and a Sony PHA-2A which I use at work. There are different sound signatures with these sources and I will touch on that a bit later. You will notice that all of these sources are balanced, so I opted to use the Noble 8-wire balanced cable rather than the “stock” cable that came with the Khan. Also more on that later. Finally, my music all comes from the same place: Tidal Hi-Fi streaming using master quality where available and the rest Hi-Fi. The only other accessories used in this review were my ears, several (okay, several hundred) cans of beer and maybe a glass of wine or ten when music called for a slightly fancier listen. Oh, and my tried-and-true Spiral Dot tips. Speaking of tips…
Ordering, Accessories, Tips, Packaging: for buyers mostly anywhere in the world, Noble has you covered. Ordering from their own site is straight forward, several distributors exist around the world with equally-seamless options and if you are so inclined, you can even PM the Wizard himself on Head-Fi with any questions. I have found Noble’s customer service and support to be a cut above the rest and they operate as a stand-up and honest business. This is something you are not always guaranteed in the boutique IEM world and Noble is a breath of fresh air in that sense. So, once you receive your Khan, what’s in the package?
First, you’ll see the familiar packaging to include a Pelican 1010 hard case that probably could have stopped Chernobyl from melting down, a nice assortment of high-quality Noble tips, a cleaning tool, the IEMs/cable and some cool Noble-branded straps to keep your portable rig sandwiched together. Fairly typical of any high-end offering. No complaints here. I will mention that the tips are not an off-the-shelf variant like Spinfits or Comply, but Noble-branded and fit exceptionally well on the IEMs. They also offer numerous size/shape options and I cannot imagine many folks will have to venture out for other tips. Personal preference really, but that is my take on the tip situation here. Still, I prefer JVC’s Spiral Dots for familiarity and known-fit.
A quick note on price: this is not a cheap IEM. At $2,399, it’s probably a few months’ rent, a mortgage payment, a semester of college, a minor service on that second-hand Mercedes you wish you didn’t buy…but guess what? It’s actually cheaper than many other flagships of 2018/2019/2020. Perceived value and within-reason pricing sadly stirs up too much controversy in this industry, so all I will say is that if you are in the market and looking within this segment, you would do yourself a great disservice to not strongly consider the Noble Khan.
Fit and Cable: the Khan is a stark departure from the universal IEMs Noble has created in the past, and I think it is great. While we all know (and some love) the egg-shaped aluminum shell of nearly every recent universal Noble IEM prior, these are quite different. While large, they’re very ergonomic and I immediately got a good seal with my preferred size of tips. The nozzle is on the longer side, so the IEMs stick out of my ears a bit, but this hasn’t caused any issues. Though I will say, I am not one of those folks who sleeps on the size of my head with IEMs in my ears. I do not imagine this shape would lend well to that sort of use. Besides, the sound is way too exciting to sleep through! But let’s not get ahead of ourselves. Overall, fit works extremely well for me and the nozzle design lends itself to accepting a wide variety of tips. While the IEMs are on the larger side and will likely not sit flush in your ear like, say, the Earsonics Grace, they do provide extended comfort over long listening sessions and I am of the belief that many users will find them quite comfortable. I cannot say the same for the Dita Dream XLS, but there I go getting ahead of myself again (comparisons!).
The cable included with the Khan is a nice looking four-wire black and white braided design, terminated in 3.5mm TRS. Nothing super special here, but I found the cable to be light, comfortable and did not get in the way. The Khan has recessed 2-pin sockets, so the sky is the limit as far as third party cable options go. As I said before, I’m a cable believer so this cable did not spend much time on the IEM if I’m being totally honest.
Sound Signature: thank you for bearing with me thus far while I babble about things that are all completely irrelevant to what you came here for: the sound! The Khan is a highly refined, highly technical IEM with an overall balanced sound. I do not think this IEM fits into any categories such as “bass-head” or “timbre-licious,” but instead it is a carefully thought out tuning that portrays music in a manner that is slightly enhanced in all areas. The dynamic driver provides that impactful and air-moving bass we all crave, the mids ringing through balanced armatures provide a level playing field for all types of vocals and the highs are drenched in clarity and sparkle from that piezo-electric tweeter. I have heard a few IEMs with similar “tri-brid” configurations, but none have matched the Khan’s refinement and targeted sound reproduction. What we have here is an IEM that responds well to a wide array of musical genres, provides a sense of excitement and most importantly, does it with a technical prowess that is up there with the best (and warrants its price IMHO, but there I go getting ahead of myself again). This is not an IEM that I would classify as warm, uber-natural or overly-musical and I mean that in a good way. While it’s not unnatural, per se, the treble energy separates it from the likes of the Empire Phantom as one example. It is a chiseled tri-athlete rather than the current dad-bod I am sporting…
Bass: let’s start with the dynamic driver’s opening act, that sweet and impactful bass. Noble’s prior flagships have been all based on balanced armature drivers and I believe this is their first hybrid. There have been dynamic driver implementations in Noble’s past, but none at this level. Starting with sub-bass, I hear a textured and extended rumble that digs down deep for those subwoofer-like air feelings. Quantity is slightly north of neutral, way off from something like the Empire Ears Legend X, but extension, texture and impact are incredibly well placed and fit into the scope of Khan’s overall sound signature. Skip to about three and a quarter minutes in to “Why so Serious?” by Hans Zimmer and you will be blessed with a deep, solid rumble that may even startle you at first. In the quality vs. quantity debate, Khan takes the quality home easily.
Moving into the mid-bass, things are fairly tame here. While I’ve heard numerous IEMs that have mid-bass bleeding into mids, there is no such outcome here. I would venture to say the sub-bass is at the center of the Khan’s bass focus and the mid-bass, in order to preserve a clean canvas for the mids and vocals to be painted, is neutral. No issues here as I am not a fan at all of bloated mid-bass and despite being on the neutral side, I still hear nice warmth and texture in bass guitar, kick drums and this frequency range still has a solid kick when called upon. Bass in general is very fast for a dynamic driver and never feels bloated or slow. It’s a bass that kicks in when it needs to and retreats equally fast into the enveloping surroundings. Controlled, textured and delicious!
Mids: I have owned many Noble IEMs in the past and have always been impressed with their mid-range tuning, allowing vocals to sing in a clear atmosphere and guitars to ring through with a feeling of realism. A song I think that shows this is Eric Clapton’s “Change the World” because the stringed instruments and vocals are a great test of mids. Here, the Khan provides an incredible sense of realism within instruments and vocals are layered and defined through the complex passages. While this tuning does not offer “thick” or “meaty” enhancements around the mids, the dynamics are so engaging because the music just seems to form an atmosphere around the vocals which stay at the forefront despite not being “forward.” At the same time, the sub-bass focus and neutral mid-bass give the mids a precise sound as you would expect from a highly-technical and refined neutralish monitor. I am simply addicted to band-based music with these, especially songs with a crunchy electric guitar and toe-tapping bass guitar.
Treble: ah, the treble. If there is any area that might cause a bit of controversy with the Khan, this will be it. It’s not the level of controversy of, say, should we impeach Trump or is the Popeyes chicken sandwich better than Chick-Fil-A’s, but it may cause a slight riff amongst the outspoken audiophiles. For me, I find the treble wonderfully sparkly, highly-extended and energetic. I do not like to use the term bright because it suggests a more unpleasant treble in my view, but to my ears these are not going to be the “everyone can listen for eight hours straight” side of the treble fence. I personally love a sparkly treble, so I am addicted to the higher registers of the Khan’s sound reproduction. The piezo-electric tweeter reproduces high notes with an ultra-high dose of clarity and detail, which may offend some treble-sensitive listeners. But once you’ve heard it, it’s hard to go back to a “normal” treble and I find myself craving the Khan any time I need some sparkle in my life (or ears really). Upper treble especially provides an injection of energy and rockets the perceived clarity through the roof. No, it’s not a boosted treble to enhance details, it’s a highly extended treble that responds when the music calls for it. I will not conclude it to be warm, lush or smooth like some of the estat IEMs I have heard, but rather a sparkly energy that will soar to the highest registers. On that note, and without referencing or creating any graphs that are not worth the HTML they are printed on, I will venture to guess that these fare very well when comparing to other TOTL offerings whose treble falls off sharply into the upper regions. In my opinion, the treble is the star of the show on the Khan IEMs, but it still fits coherently into the rest of the spectrum and allows all frequencies to shine.
Vocals: I touched on the vocals a bit when discussion the mids, but they deserve their own section. Accurately describing vocal reproduction is a challenge for me because, well, I’m a cheap date. I hear lovely female vocals and get taken pretty quickly, no matter the IEM. My wife says the same about me when I shop at Bed Bath and Beyond. I have not heard an IEM in all my years that ever made a stunning vocalist sound not-stunning. That said, after digging deep and critiquing my own hearing more than anything, I am ready to confidently say that the Khan is a class act at reproducing vocals. Like I mentioned prior, the Khan is not going to add thickness or warmth to the vocals, but instead will keep things true-to-form per the voice of the singer. The Khan will not make Avril Lavigne sound like Nora Jones and going the other way, they will not make Eva Cassidy sound like an anemic squirrel. During critical listening, I detect a nuanced separation of vocals from the rest of the pack that highlights the singer while not recessing instruments or other sounds to the back of the stage. This is all a fancy way of saying the vocals are natural, ever-so-slightly forward and to my ears, emotionally stimulating. I have not been left wanting for more warmth or thickness, but instead have marveled at just how awesome a crystal clear vocal presentation can sound. I will say that compared to other more musically-enhanced monitors (Legend X for example), the vocals may seem slightly lean in comparison. But that clean stage really allows the listener to be captivated by the Khan’s vocal presentation.
Soundstage, Separation & Timbre: I don’t make it a secret that I have difficulty reviewing, let alone describing soundstage dimensions. Instead, I am just a simpleton that can tell you the Khan has an expansive and vast soundstage, most of which I will assume is derived by the cleanliness of the background and balanced tuning. I tested a few tracks (notably Amber Rubarth’s stuff) and can pinpoint exactly where each instrument is placed and where she is standing in the stage. Musical sounds expand very wide and give the “out of head” impression on many live recordings. I am highly impressed with the large, enveloping soundstage on these.
The clarity-driven focus of these IEMs works in favor of separation and imaging and I am not left wanting anything else in technicality. There is an effortless presentation of detail and separation where the Khan gives the impression that it is not even breaking a sweat with highly complex and specifically-placed instrumental tracks. Again, an incredibly impressive technical showing on this front. As for timbre, I have seen these monitors referred to as lean and while I agree to a certain extent, the clarity and neutrality are what I believe to be intentional tuning by Noble. These are a little too energetic and technical to be considered absolutely “natural” in my opinion, but at the same time I would not change the tuning one bit.
Comparisons: comparisons are always fun and I have chosen a few IEMs in my collection to compare the Khan with that I feel are in a similar price and performance bracket.
Empire Ears Legend X: while both are hybrid configurations containing a dynamic driver (actually two in the Legend X), handling the bass, the similarities sort of end there. The Legend X contrasts the Khan’s tuning and heads more into the L-shaped tuning with massively impactful and large doses of bass slam. I love, love, love the bass on the Legend X, but it is not the monitor I would choose for every genre of music like I would the Khan. While the Legend X reaches deeper, rumbles harder and thumps right up into the mid-bass, the Khan is clean, controlled, slightly softer and rolls off into the mid-bass sooner. The Legend X provides a bass track whether you want it there or not and while I do not mean this in a bad way at all, the Khan is the most “daily driver” of the two for my ears. Moving up into the mid-range, the Legend X provides a more lush and thick experience with the vocals sounding intimate and emotional where Khan is more believable that you are actually at the show. Khan is dryer and airier in the mids, where Legend X is enhanced, sweetened and will probably leave a little bit of residual lipstick around your ear lobes if you’re not careful. Khan is refined, clean, marriage material. Treble is another area of departure for the Legend X and Khan with Khan having more sparkle and perceived clarity and Legend X being smoother, more relaxed, but still quite extended. I would venture to guess that actual extension and technicality of the treble is similar on both monitors, but the Khan brings the quantity of sparkle out in highest doses in comparison to Legend X. Overall, it’s really a question of tuning and your preferences with Legend X being warm and lush with monstrous bass and Khan being more neutral, sparkly and clean. This is why I own both!
Dita Dream XLS: here is an interesting comparison where we have the latest single dynamic driver from Dita in a gorgeous titanium shell (which is not nearly as comfortable as the Khan) and an accessory package befitting of a king (despite Khan’s slogan of “The King of Kings”). These two monitors really only share the fact that they have a dynamic driver and cost around the same price. Dita’s tuning of the Dream XLS is all about natural, emotional and musical listening, but still with a high dose of technicality. Starting with the bass, Khan extends deeper with similar quantities of rumble, but the Dream XLS focuses a tad more on mid-bass whereas Khan focuses on clean and textured sub-bass with a dryer mid-bass. Both thump appropriately hard and provide that dynamic driver sweetness, but the Dream XLS is an awfully engaging sound given the balance between mid and sub-bass, with slight enhancements to quantity and a pleasing texture. It’s the rounder bass of the two while Khan is the sharper and faster bass. Mids on the Dream XLS are natural and slightly warmer than Khan, where Khan focuses on cleanliness and accurate reproduction. Female vocals just melt into your ears with the XLS, where as Khan delivers them on a silver platter. Khan feels airer whereas Dream XLS gives a warmer and thicker touch. Treble is again quite different with Khan being more sparkly, though Dream XLS’s full-range dynamic driver is capable of very impressive extension and sparkle where the track calls for it. I would call the Dream XLS the more balanced of the two, though with a feeling of warmth sprinkled across the frequency range. Did I mention the much prefer the fit of the Khan?
Noble Katana: Noble’s prior flagship was something I went back and forth on as far as which to purchase for several months and I ended up buying both because I am clinically insane and addicted. That said, the prior monitor that shared the flagship monitor with the Encore definitely can still hold its own. The Katana is all balanced armatures, though has a surprisingly impactful and pleasing sub-bass and mid-bass. Dare I say, the mid-bass is even punchier on the Katana because of it’s overall speed and cleanliness, hence the name Katana. Bass digs deeper on the Khan of course, but there was less of a difference here than I thought. Into the mids, the Katana sounds slightly warmer, though still very neutral and airy. Mid-range is quite similar until you really A/B between these and I find the Noble “house sound” is alive and well in the vocal reproduction of both. Into the treble, Khan sounds a little more sparkly and more extended, but Katana has a little more warmth in the lower treble that causes a more “fatigue-free” listen in my opinion. I am honestly very happy with both monitors and plan to keep both, but overall the bass extension and treble extension are superior on the Khan, for better or worse in accordance with your tolerances and preference. Oh, Katana is tiny, I love the fit, and mine is the “Wizard” version with a unique acrylic shell.
Earsonics Grace: I have a soft spot for Earsonics, but I will try to remain as unbiased here as I can. I love the Grace. It’s a highly-musical, 10 balanced armature monitor that pretty much has zero in common with the Khan other than my large amount of unconditional love for both. Starting with bass, Grace has a soft, but oh-so-pleasing bass response that provides smooth and solid impact, as well as nuanced notes of something like a bass guitar. Khan digs deeper once again, provides more slam in the sub-bass, but the mid-bass from Grace is deliciously musical, warm and pleasing. Khan is noticeably more neutral in the bass tone, while Grace provides emotion. Into the mids, Grace is again warmer, but still manages a large and holographic stage for vocals to arise from in a crystal clear manner. Khan is more neutral, but also more accurate in my opinion. Khan gives that feeling of a “correctness” whereas Grace puts you in the same venue but adds a few glasses of wine to the perception. It’s neutral vs. natural here in my book. Treble is softer, though still highly extended on the Grace where Khan is the more sparkly and energetic. Khan feels more technical, higher resolution and more open in its sound, but Grace is a lesson in deliberate tuning that creates one of the most pleasing sounds I have ever heard in a monitor. Also, Grace is remarkably ergonomic and much smaller than Khan, though Khan is still extremely comfortable for me.
More on Cables: if you’re still with me thus far, you have probably gathered that the Khan might be a little too spritely for some. Queue the cable rolling! In my opinion, Khan performs best with a high-quality copper cable or a silver-based cable with some mixture of gold or other alloys. Sticking a pure silver cable, while acknowledging that not all silver cables are not created equal, did not provide the best results for me. Well, that is unless you want to take the highs from energetic to holy-mother-of-God. The Noble 8-wire OCC copper cable is actually a terrific match for the Khan, slightly thickening the highs and adding a wonderfully round texture to the bass. But I couldn’t stop there, I had to try others in my collection…
With a cable made by Triton Audio using Cardas Clear Light copper wires (very similar composition to the PW Audio 1960 4-wire), the Khan was at its best. Bass notes had a firm, powerful, growly texture and highs were still remarkably sparkly. Some feel that copper wires subdue the highs in a sense and this cable betrays that notion quite handily. Mids were largely unchanged, but soundstage expanded in all directions by a small margin to really take the technical abilities of the Khan to the max. What an amazing listen with all strong points of the Khan punching through to world-class levels.
Strapping an Effect Audio Leonidas II & Cleopatra bespoke cable on to the Khan provided interesting results as well. This cable provided a very clean and controlled bass response, kept the mid-range pretty similar to the above copper cables, but added a dose of sparkle to the treble that may or may not be needed by most listeners. Technicality left nothing wanting, though I cannot help but feel the Khan is more at home with copper cables.
Final Thoughts: I have had the Khan for a while now, but it was a fun journey to put all of my accumulated thoughts into the form of a review. I have been an advocate of Noble IEMs, especially the Khan, for a while now and was excited to see Noble come out with a highly-engineered and refined “tri-brid” in this race of technology. Many of these “tri-brids” missed the mark for me from either a tuning perspective or coherency, but I have found my life partner in the Khan. It’s a highly refined and technical sound, but it’s also an all-day enjoyment piece depending on your preference, musical tastes and cable selection. I have seen that since my ownership of the Khan, the “Tux 5” has been released and has been penned a slightly more relaxed Khan, so perhaps that may suit some folks who are sensitive to treble. For me, however, what makes the Khan most remarkable is its unwillingness to compromise and intentionally energetic sound. Every time I put these IEMs on, they bring a smile to my face no matter the music or source. While I do think these benefit from a slightly-warmer source and a high-quality copper cable, I am happy to report that I consider these a five star showing in all regards. If you enjoy clean, textured and fast dynamic bass, crystal clear mids and vocals with an energetic treble sparkle and large soundstage, I honestly believe these should be at the top of your list. That is, of course, if you have reached the level of Audio Rabbit Hole where two and a half grand is an acceptable hole in your wallet. I would personally forgo quite a few meals and months’ worth of rent for the Noble Khans.
I am an IEM guy at heart. I am a cable believer. I drink 40oz bottles of snake oil and use unicorn dust to style my hair. I have never done a blind test because that might tell me something I do not wish to hear. I have published a few reviews over the years, have never made a “ranking list” and generally agree with at least 50% of the opinions I read on the internet. I do not know how to make audio graphs, describe certain frequency ranges or peaks and I couldn’t tell you why balanced sounds better than single-ended. But what I can say is this: I have owned over 20 top-of-the-line IEMs and I am here today to give you my thoughts about one of my very favorite ones, the Noble Khan.
Test Equipment: during my ownership of the Noble Khan, I have had several different sources. Most of my listening has been done on a desktop DAC and amp combo in the form of a Sony TA-ZH1ES, with numerous other sessions spanning across a recently-acquired (and LOVED) Astell & Kern Kann Cube (known as “Kube” by the cool kids, and let me tell you what a pain in the ass it is spewing out words between a source called the Kann and an IEM also called the Khan), a wonderful Cayin N6ii and a Sony PHA-2A which I use at work. There are different sound signatures with these sources and I will touch on that a bit later. You will notice that all of these sources are balanced, so I opted to use the Noble 8-wire balanced cable rather than the “stock” cable that came with the Khan. Also more on that later. Finally, my music all comes from the same place: Tidal Hi-Fi streaming using master quality where available and the rest Hi-Fi. The only other accessories used in this review were my ears, several (okay, several hundred) cans of beer and maybe a glass of wine or ten when music called for a slightly fancier listen. Oh, and my tried-and-true Spiral Dot tips. Speaking of tips…
Ordering, Accessories, Tips, Packaging: for buyers mostly anywhere in the world, Noble has you covered. Ordering from their own site is straight forward, several distributors exist around the world with equally-seamless options and if you are so inclined, you can even PM the Wizard himself on Head-Fi with any questions. I have found Noble’s customer service and support to be a cut above the rest and they operate as a stand-up and honest business. This is something you are not always guaranteed in the boutique IEM world and Noble is a breath of fresh air in that sense. So, once you receive your Khan, what’s in the package?
First, you’ll see the familiar packaging to include a Pelican 1010 hard case that probably could have stopped Chernobyl from melting down, a nice assortment of high-quality Noble tips, a cleaning tool, the IEMs/cable and some cool Noble-branded straps to keep your portable rig sandwiched together. Fairly typical of any high-end offering. No complaints here. I will mention that the tips are not an off-the-shelf variant like Spinfits or Comply, but Noble-branded and fit exceptionally well on the IEMs. They also offer numerous size/shape options and I cannot imagine many folks will have to venture out for other tips. Personal preference really, but that is my take on the tip situation here. Still, I prefer JVC’s Spiral Dots for familiarity and known-fit.
A quick note on price: this is not a cheap IEM. At $2,399, it’s probably a few months’ rent, a mortgage payment, a semester of college, a minor service on that second-hand Mercedes you wish you didn’t buy…but guess what? It’s actually cheaper than many other flagships of 2018/2019/2020. Perceived value and within-reason pricing sadly stirs up too much controversy in this industry, so all I will say is that if you are in the market and looking within this segment, you would do yourself a great disservice to not strongly consider the Noble Khan.
Fit and Cable: the Khan is a stark departure from the universal IEMs Noble has created in the past, and I think it is great. While we all know (and some love) the egg-shaped aluminum shell of nearly every recent universal Noble IEM prior, these are quite different. While large, they’re very ergonomic and I immediately got a good seal with my preferred size of tips. The nozzle is on the longer side, so the IEMs stick out of my ears a bit, but this hasn’t caused any issues. Though I will say, I am not one of those folks who sleeps on the size of my head with IEMs in my ears. I do not imagine this shape would lend well to that sort of use. Besides, the sound is way too exciting to sleep through! But let’s not get ahead of ourselves. Overall, fit works extremely well for me and the nozzle design lends itself to accepting a wide variety of tips. While the IEMs are on the larger side and will likely not sit flush in your ear like, say, the Earsonics Grace, they do provide extended comfort over long listening sessions and I am of the belief that many users will find them quite comfortable. I cannot say the same for the Dita Dream XLS, but there I go getting ahead of myself again (comparisons!).
The cable included with the Khan is a nice looking four-wire black and white braided design, terminated in 3.5mm TRS. Nothing super special here, but I found the cable to be light, comfortable and did not get in the way. The Khan has recessed 2-pin sockets, so the sky is the limit as far as third party cable options go. As I said before, I’m a cable believer so this cable did not spend much time on the IEM if I’m being totally honest.
Sound Signature: thank you for bearing with me thus far while I babble about things that are all completely irrelevant to what you came here for: the sound! The Khan is a highly refined, highly technical IEM with an overall balanced sound. I do not think this IEM fits into any categories such as “bass-head” or “timbre-licious,” but instead it is a carefully thought out tuning that portrays music in a manner that is slightly enhanced in all areas. The dynamic driver provides that impactful and air-moving bass we all crave, the mids ringing through balanced armatures provide a level playing field for all types of vocals and the highs are drenched in clarity and sparkle from that piezo-electric tweeter. I have heard a few IEMs with similar “tri-brid” configurations, but none have matched the Khan’s refinement and targeted sound reproduction. What we have here is an IEM that responds well to a wide array of musical genres, provides a sense of excitement and most importantly, does it with a technical prowess that is up there with the best (and warrants its price IMHO, but there I go getting ahead of myself again). This is not an IEM that I would classify as warm, uber-natural or overly-musical and I mean that in a good way. While it’s not unnatural, per se, the treble energy separates it from the likes of the Empire Phantom as one example. It is a chiseled tri-athlete rather than the current dad-bod I am sporting…
Bass: let’s start with the dynamic driver’s opening act, that sweet and impactful bass. Noble’s prior flagships have been all based on balanced armature drivers and I believe this is their first hybrid. There have been dynamic driver implementations in Noble’s past, but none at this level. Starting with sub-bass, I hear a textured and extended rumble that digs down deep for those subwoofer-like air feelings. Quantity is slightly north of neutral, way off from something like the Empire Ears Legend X, but extension, texture and impact are incredibly well placed and fit into the scope of Khan’s overall sound signature. Skip to about three and a quarter minutes in to “Why so Serious?” by Hans Zimmer and you will be blessed with a deep, solid rumble that may even startle you at first. In the quality vs. quantity debate, Khan takes the quality home easily.
Moving into the mid-bass, things are fairly tame here. While I’ve heard numerous IEMs that have mid-bass bleeding into mids, there is no such outcome here. I would venture to say the sub-bass is at the center of the Khan’s bass focus and the mid-bass, in order to preserve a clean canvas for the mids and vocals to be painted, is neutral. No issues here as I am not a fan at all of bloated mid-bass and despite being on the neutral side, I still hear nice warmth and texture in bass guitar, kick drums and this frequency range still has a solid kick when called upon. Bass in general is very fast for a dynamic driver and never feels bloated or slow. It’s a bass that kicks in when it needs to and retreats equally fast into the enveloping surroundings. Controlled, textured and delicious!
Mids: I have owned many Noble IEMs in the past and have always been impressed with their mid-range tuning, allowing vocals to sing in a clear atmosphere and guitars to ring through with a feeling of realism. A song I think that shows this is Eric Clapton’s “Change the World” because the stringed instruments and vocals are a great test of mids. Here, the Khan provides an incredible sense of realism within instruments and vocals are layered and defined through the complex passages. While this tuning does not offer “thick” or “meaty” enhancements around the mids, the dynamics are so engaging because the music just seems to form an atmosphere around the vocals which stay at the forefront despite not being “forward.” At the same time, the sub-bass focus and neutral mid-bass give the mids a precise sound as you would expect from a highly-technical and refined neutralish monitor. I am simply addicted to band-based music with these, especially songs with a crunchy electric guitar and toe-tapping bass guitar.
Treble: ah, the treble. If there is any area that might cause a bit of controversy with the Khan, this will be it. It’s not the level of controversy of, say, should we impeach Trump or is the Popeyes chicken sandwich better than Chick-Fil-A’s, but it may cause a slight riff amongst the outspoken audiophiles. For me, I find the treble wonderfully sparkly, highly-extended and energetic. I do not like to use the term bright because it suggests a more unpleasant treble in my view, but to my ears these are not going to be the “everyone can listen for eight hours straight” side of the treble fence. I personally love a sparkly treble, so I am addicted to the higher registers of the Khan’s sound reproduction. The piezo-electric tweeter reproduces high notes with an ultra-high dose of clarity and detail, which may offend some treble-sensitive listeners. But once you’ve heard it, it’s hard to go back to a “normal” treble and I find myself craving the Khan any time I need some sparkle in my life (or ears really). Upper treble especially provides an injection of energy and rockets the perceived clarity through the roof. No, it’s not a boosted treble to enhance details, it’s a highly extended treble that responds when the music calls for it. I will not conclude it to be warm, lush or smooth like some of the estat IEMs I have heard, but rather a sparkly energy that will soar to the highest registers. On that note, and without referencing or creating any graphs that are not worth the HTML they are printed on, I will venture to guess that these fare very well when comparing to other TOTL offerings whose treble falls off sharply into the upper regions. In my opinion, the treble is the star of the show on the Khan IEMs, but it still fits coherently into the rest of the spectrum and allows all frequencies to shine.
Vocals: I touched on the vocals a bit when discussion the mids, but they deserve their own section. Accurately describing vocal reproduction is a challenge for me because, well, I’m a cheap date. I hear lovely female vocals and get taken pretty quickly, no matter the IEM. My wife says the same about me when I shop at Bed Bath and Beyond. I have not heard an IEM in all my years that ever made a stunning vocalist sound not-stunning. That said, after digging deep and critiquing my own hearing more than anything, I am ready to confidently say that the Khan is a class act at reproducing vocals. Like I mentioned prior, the Khan is not going to add thickness or warmth to the vocals, but instead will keep things true-to-form per the voice of the singer. The Khan will not make Avril Lavigne sound like Nora Jones and going the other way, they will not make Eva Cassidy sound like an anemic squirrel. During critical listening, I detect a nuanced separation of vocals from the rest of the pack that highlights the singer while not recessing instruments or other sounds to the back of the stage. This is all a fancy way of saying the vocals are natural, ever-so-slightly forward and to my ears, emotionally stimulating. I have not been left wanting for more warmth or thickness, but instead have marveled at just how awesome a crystal clear vocal presentation can sound. I will say that compared to other more musically-enhanced monitors (Legend X for example), the vocals may seem slightly lean in comparison. But that clean stage really allows the listener to be captivated by the Khan’s vocal presentation.
Soundstage, Separation & Timbre: I don’t make it a secret that I have difficulty reviewing, let alone describing soundstage dimensions. Instead, I am just a simpleton that can tell you the Khan has an expansive and vast soundstage, most of which I will assume is derived by the cleanliness of the background and balanced tuning. I tested a few tracks (notably Amber Rubarth’s stuff) and can pinpoint exactly where each instrument is placed and where she is standing in the stage. Musical sounds expand very wide and give the “out of head” impression on many live recordings. I am highly impressed with the large, enveloping soundstage on these.
The clarity-driven focus of these IEMs works in favor of separation and imaging and I am not left wanting anything else in technicality. There is an effortless presentation of detail and separation where the Khan gives the impression that it is not even breaking a sweat with highly complex and specifically-placed instrumental tracks. Again, an incredibly impressive technical showing on this front. As for timbre, I have seen these monitors referred to as lean and while I agree to a certain extent, the clarity and neutrality are what I believe to be intentional tuning by Noble. These are a little too energetic and technical to be considered absolutely “natural” in my opinion, but at the same time I would not change the tuning one bit.
Comparisons: comparisons are always fun and I have chosen a few IEMs in my collection to compare the Khan with that I feel are in a similar price and performance bracket.
Empire Ears Legend X: while both are hybrid configurations containing a dynamic driver (actually two in the Legend X), handling the bass, the similarities sort of end there. The Legend X contrasts the Khan’s tuning and heads more into the L-shaped tuning with massively impactful and large doses of bass slam. I love, love, love the bass on the Legend X, but it is not the monitor I would choose for every genre of music like I would the Khan. While the Legend X reaches deeper, rumbles harder and thumps right up into the mid-bass, the Khan is clean, controlled, slightly softer and rolls off into the mid-bass sooner. The Legend X provides a bass track whether you want it there or not and while I do not mean this in a bad way at all, the Khan is the most “daily driver” of the two for my ears. Moving up into the mid-range, the Legend X provides a more lush and thick experience with the vocals sounding intimate and emotional where Khan is more believable that you are actually at the show. Khan is dryer and airier in the mids, where Legend X is enhanced, sweetened and will probably leave a little bit of residual lipstick around your ear lobes if you’re not careful. Khan is refined, clean, marriage material. Treble is another area of departure for the Legend X and Khan with Khan having more sparkle and perceived clarity and Legend X being smoother, more relaxed, but still quite extended. I would venture to guess that actual extension and technicality of the treble is similar on both monitors, but the Khan brings the quantity of sparkle out in highest doses in comparison to Legend X. Overall, it’s really a question of tuning and your preferences with Legend X being warm and lush with monstrous bass and Khan being more neutral, sparkly and clean. This is why I own both!
Dita Dream XLS: here is an interesting comparison where we have the latest single dynamic driver from Dita in a gorgeous titanium shell (which is not nearly as comfortable as the Khan) and an accessory package befitting of a king (despite Khan’s slogan of “The King of Kings”). These two monitors really only share the fact that they have a dynamic driver and cost around the same price. Dita’s tuning of the Dream XLS is all about natural, emotional and musical listening, but still with a high dose of technicality. Starting with the bass, Khan extends deeper with similar quantities of rumble, but the Dream XLS focuses a tad more on mid-bass whereas Khan focuses on clean and textured sub-bass with a dryer mid-bass. Both thump appropriately hard and provide that dynamic driver sweetness, but the Dream XLS is an awfully engaging sound given the balance between mid and sub-bass, with slight enhancements to quantity and a pleasing texture. It’s the rounder bass of the two while Khan is the sharper and faster bass. Mids on the Dream XLS are natural and slightly warmer than Khan, where Khan focuses on cleanliness and accurate reproduction. Female vocals just melt into your ears with the XLS, where as Khan delivers them on a silver platter. Khan feels airer whereas Dream XLS gives a warmer and thicker touch. Treble is again quite different with Khan being more sparkly, though Dream XLS’s full-range dynamic driver is capable of very impressive extension and sparkle where the track calls for it. I would call the Dream XLS the more balanced of the two, though with a feeling of warmth sprinkled across the frequency range. Did I mention the much prefer the fit of the Khan?
Noble Katana: Noble’s prior flagship was something I went back and forth on as far as which to purchase for several months and I ended up buying both because I am clinically insane and addicted. That said, the prior monitor that shared the flagship monitor with the Encore definitely can still hold its own. The Katana is all balanced armatures, though has a surprisingly impactful and pleasing sub-bass and mid-bass. Dare I say, the mid-bass is even punchier on the Katana because of it’s overall speed and cleanliness, hence the name Katana. Bass digs deeper on the Khan of course, but there was less of a difference here than I thought. Into the mids, the Katana sounds slightly warmer, though still very neutral and airy. Mid-range is quite similar until you really A/B between these and I find the Noble “house sound” is alive and well in the vocal reproduction of both. Into the treble, Khan sounds a little more sparkly and more extended, but Katana has a little more warmth in the lower treble that causes a more “fatigue-free” listen in my opinion. I am honestly very happy with both monitors and plan to keep both, but overall the bass extension and treble extension are superior on the Khan, for better or worse in accordance with your tolerances and preference. Oh, Katana is tiny, I love the fit, and mine is the “Wizard” version with a unique acrylic shell.
Earsonics Grace: I have a soft spot for Earsonics, but I will try to remain as unbiased here as I can. I love the Grace. It’s a highly-musical, 10 balanced armature monitor that pretty much has zero in common with the Khan other than my large amount of unconditional love for both. Starting with bass, Grace has a soft, but oh-so-pleasing bass response that provides smooth and solid impact, as well as nuanced notes of something like a bass guitar. Khan digs deeper once again, provides more slam in the sub-bass, but the mid-bass from Grace is deliciously musical, warm and pleasing. Khan is noticeably more neutral in the bass tone, while Grace provides emotion. Into the mids, Grace is again warmer, but still manages a large and holographic stage for vocals to arise from in a crystal clear manner. Khan is more neutral, but also more accurate in my opinion. Khan gives that feeling of a “correctness” whereas Grace puts you in the same venue but adds a few glasses of wine to the perception. It’s neutral vs. natural here in my book. Treble is softer, though still highly extended on the Grace where Khan is the more sparkly and energetic. Khan feels more technical, higher resolution and more open in its sound, but Grace is a lesson in deliberate tuning that creates one of the most pleasing sounds I have ever heard in a monitor. Also, Grace is remarkably ergonomic and much smaller than Khan, though Khan is still extremely comfortable for me.
More on Cables: if you’re still with me thus far, you have probably gathered that the Khan might be a little too spritely for some. Queue the cable rolling! In my opinion, Khan performs best with a high-quality copper cable or a silver-based cable with some mixture of gold or other alloys. Sticking a pure silver cable, while acknowledging that not all silver cables are not created equal, did not provide the best results for me. Well, that is unless you want to take the highs from energetic to holy-mother-of-God. The Noble 8-wire OCC copper cable is actually a terrific match for the Khan, slightly thickening the highs and adding a wonderfully round texture to the bass. But I couldn’t stop there, I had to try others in my collection…
With a cable made by Triton Audio using Cardas Clear Light copper wires (very similar composition to the PW Audio 1960 4-wire), the Khan was at its best. Bass notes had a firm, powerful, growly texture and highs were still remarkably sparkly. Some feel that copper wires subdue the highs in a sense and this cable betrays that notion quite handily. Mids were largely unchanged, but soundstage expanded in all directions by a small margin to really take the technical abilities of the Khan to the max. What an amazing listen with all strong points of the Khan punching through to world-class levels.
Strapping an Effect Audio Leonidas II & Cleopatra bespoke cable on to the Khan provided interesting results as well. This cable provided a very clean and controlled bass response, kept the mid-range pretty similar to the above copper cables, but added a dose of sparkle to the treble that may or may not be needed by most listeners. Technicality left nothing wanting, though I cannot help but feel the Khan is more at home with copper cables.
Final Thoughts: I have had the Khan for a while now, but it was a fun journey to put all of my accumulated thoughts into the form of a review. I have been an advocate of Noble IEMs, especially the Khan, for a while now and was excited to see Noble come out with a highly-engineered and refined “tri-brid” in this race of technology. Many of these “tri-brids” missed the mark for me from either a tuning perspective or coherency, but I have found my life partner in the Khan. It’s a highly refined and technical sound, but it’s also an all-day enjoyment piece depending on your preference, musical tastes and cable selection. I have seen that since my ownership of the Khan, the “Tux 5” has been released and has been penned a slightly more relaxed Khan, so perhaps that may suit some folks who are sensitive to treble. For me, however, what makes the Khan most remarkable is its unwillingness to compromise and intentionally energetic sound. Every time I put these IEMs on, they bring a smile to my face no matter the music or source. While I do think these benefit from a slightly-warmer source and a high-quality copper cable, I am happy to report that I consider these a five star showing in all regards. If you enjoy clean, textured and fast dynamic bass, crystal clear mids and vocals with an energetic treble sparkle and large soundstage, I honestly believe these should be at the top of your list. That is, of course, if you have reached the level of Audio Rabbit Hole where two and a half grand is an acceptable hole in your wallet. I would personally forgo quite a few meals and months’ worth of rent for the Noble Khans.
Missha1981
noble audio khan has the best treble I have ever heard in an iem it has the maximum microdialization but at the same time the sound is natural with a long decay of each note, clean and has good weight
Intro & Me: Does anyone actually read this part? Does anyone actually care about who I am? Didn't think so. Well, a few words anyhow! I have made a lot of friends on these forums by doing two things consistently: giving my unapologetic, honest opinions of gear and managing to get my cute dog in the photos of my IEMs/cables/gear. I love a wide array of sound qualities, musical genres and gear and writing a review of fantastic audio hardware such as the Empire Ears Legend X comes naturally (and eagerly) for me. That said, I have nearly zero ability to articulate the technicalities of sound equipment. Instead, I will do my best to explain how these wonderful IEMs sound to my ears, how they compare to other IEMs in my collection and generally how they respond to a wide variety of music that I listen to on a daily basis. I hate to give a spoiler so early on, but these have impressed me so much that I inadvertently sold another pair of IEMs that many people probably would have wanted me to compare these to. Oops! On that note, I purchased these directly from Empire Ears, albeit it at a partial discount, with my own hard-earned money.
Test Equipment: As far as sources go, a majority of my listening was done on my desktop Gustard A20H DAC/amp combo via the balanced output. This has dual AK4497 DACs and is on the musical side rather than clinical, but it does produce very high amounts of clarity and detail while having tons of headroom to drive a wide variety of headphones. For portable sources, I primarily use the AK70 mk2, as well as my DX200 with the Amp3 balanced module. All testing was done via 2.5mm balanced connections. Music was streamed via Tidal HiFi (FLAC, or "Master" where available) and this is consistent with my daily listening habits.
Ordering, Accessories, Tips, Packaging: Unlike many other IEM makers who will remain unnamed, Empire Ears has a nice, functional web page for ordering with some great visuals of their various offerings. Throughout the process of shopping, checkout and delivery of the IEMs you can expect a smooth process with no guesswork of what you will receive or when you will receive it. I mention this because sometimes cutting-edge equipment is actually fairly difficult to order and even harder to know when you will receive it. Once my Legend X arrived, I was extremely impressed with the packaging and accessories on offer in the box. Granted, this is my first pair of Empire Ears IEMs, but I have purchased many-a-TOTL pair and this is up there with the best as far as presentation goes. The case, for example, is engraved with my name and upon first sight, I screamed in joy so sharply that my wife thought our one-year-old son had fallen out of his crib. Nope, it was just me Babe! Included are the highly-regarded Final Audio tips, a cleaning cloth/tool and to my surprise, a very high quality Effect Audio Ares II cable. Seeing such a high quality "stock" cable quickly reminded me that these really are a serious offering.
Fit and Cable: I mentioned the cable, so let us start there. Effect Audio and Empire Ears have recently partnered and it is great to see such a nice cable included with these IEMs. Not only is the Ares II highly-regarded for its sound quality, but it is one of the softest, most supple and comfortable cable I have used. There is nothing worse than taking a pair of TOTL IEMs out of the box and learning that they come with the same cable as the $200 entry-level model (Earsonics, I am looking at you!). The cable has very comfortable bends around the ears with no memory wire and again, it is extremely flexible, lightweight and exhibits zero microphonics. This is a big win.
Moving on to fit, the elephant in the room (or in your ears in this case) is that these are massive IEMs in size (and sound, but more on that later!). They are, however, extremely lightweight and ergonomic. Too often do folks assume big, bulky IEMs will not be comfortable. Once I found the right sized tip and got these planted in my ears, I discovered that they can be left there for hours with zero discomfort. They are just so comfortable, despite their size, that I do not believe many people will experience any issues with fit or comfort. I applaud this effort because I do get the impression that a lot of thought went into designing the shape of these. It is no small feat to cram two dynamic drivers and five balanced armatures into a shell that you actually want to wear, so high-five to you Empire Ears!
Sound Signature: Without measurements or frequency graphs, my ears tell me that these fall somewhere in the V-shaped category which is fine by me. That said, you aren't going to find super exaggerated bass or super sparkly treble missing mid-range impact. Instead, everything is just done well. The bass is the star of the show, but I'll get to that as we dive into each range. The IEMs are extremely musical, very detailed and while I've said this about certain other IEMs, no other has managed to make me say with such confidence that I can listen to these all day long.
Bass: Again, the star of the show, but not in the traditional sense. I had high hopes for the dual dynamic drivers, yet at the same time I was slightly concerned that they would be overly bassy. My concerns were not only unfounded, but I quickly realized that this is some of the most controlled and impactful bass I have ever heard. Think of the bass as energetic and forward, while reaching extremely low (lowest I've heard, in fact) and never becoming muddy. It just sounds different. I love bassy IEMs and am never turned off by slow, "analogue-like" bass, but these don't have that. Instead, these have bass that is like a race horse ready to be let out of the gate in a precise, tuned manner. You can hear it, always, waiting and waiting to let loose until the music calls for it. It doesn't muddy any music and it doesn't ever become too much, but you know it's there. It reminds me of when I drove my friend's Nissan GTR in that it was so civilized and drove like a normal car, but when you mashed the gas pedal it was like an explosion of power ripping the asphalt in half. Then when it's done, you pull onto your 25mph suburban side street and all is normal again. Until you hit the throttle again, that is. I cannot overstate how much I love the lower frequencies on this IEM. In fact, I find myself awake at night worried that bass this good will become illegal and I will have to give them up to the authorities. Seriously, a terrifying thought. A test track I like to use for bass is "Why So Serious" by Hans. If you scroll to about 3:15 in the song, you'd better have your seatbelt on and be ready for what is to come. It is horrifyingly deep, authoritative and I'm pretty sure it just took several years off my hearing abilities. And I will do it over and over.
Mids: I feel bad for the mid-range. It's like the damn-good athlete that has to run a lap around the track behind Usain Bolt. He may be the fastest runner in his class or school district for that matter, but how do you stand out when an Olympic runner just got finished making his move before you? That said, the mids are warm, smooth, lush and overall have a nice thickness to the vocals that are very pleasing to the ears. You'll hear that thick, crunchy electric guitar here and emotional male/female vocals. The mid-range actually contributes to the musicality of this IEM in a big way, giving a euphoric tone and spicing up stringed instruments very nicely. It's a pretty epic showing for a V-shape IEM where clearly bass is the star, so I think this is another check in the box of incredible tuning by Empire Ears.
Treble: Being somewhat of a treblehead, I think the treble has a decent amount of sparkle. I would welcome a bit more, but not at the cost of unsettling the wonderful bass and mid-range. In other words, it's just right. I think for most people, even those sensitive to trelbe and sibilance in general, there is a lot to love here. Again, musicality is the key and you can't have a super musical IEM that also has ear-piercing treble. It's a nice, extended treble that reaches high and has very good decay. Playing electronic music on these IEMs yields a very tasty treat, which quick and precise treble keeping everything tidy and coherent. That bass does slightly take your attention away, but if you give yourself an ounce of a nudge to really listen and appreciate the treble, you will hear that it's doing its job perfectly. Let me mention again, these attributes mean I can listen to this IEM all day long.
Vocals: I touched on this in the mid-range a bit, but let's go a little deeper. I'm an unapologetic lover of modern pop country music and one of my go-to favorite songs is Easton Corbin's "A Girl Like You." Singing through these IEMs, there is so much clarity and precision while still being emotional and not cold in any way shape or form. When I think about something like the Dita Dream (which I'll compare with further down), the Legend X gives the vocals so much more life to the vocals and while I don't think vocals are super forward, I just think they sound damn good. On the female side, and in keeping with my addition to modern pop country, Carrie Underwood shuts down the show. There's a lavish quality that makes you feel like you're in the room with the singer and it's so enjoyable. Female vocals sound every so slightly overpowered by the mid-bass, but that is only on certain tracks and given how great that bass is, it's a very small tradeoff that I am more than willing to make.
Soundstage, Separation & Timbre: If you have read any of my other reviews, I have not been shy about pointing out that I am an idiot when it comes to measuring soundstage. Well, I am happy to report that the Legend X has come to my aid and actually made it slightly easier for me to describe the various stages that this IEM portrays (a win in and of itself!). On a few of my test tracks recorded with binaural microphones, I noticed immediately how wide the stage was. Certain attributes of tracks are so clearly defined, yet you can tell that they are very distant on both sides. This was sort of what made me understand what it means when someone says an IEM has a wide soundstage. I could picture members of the band and where they stood, clearly defined. Depth seems to be similarly portrayed, although not to the extent of the left/right extension. Height, sorry, couldn't tell you. But what I can say about soundstage is that I got a very clear picture in my head of where everything was and it overall added to the sepration of instruments. Sometimes I use the term separation synonymously with detail, but in this case not only can I hear the clear separation of instruments, but I can also hear loads of micro-details on each track. Detail is sometimes associated with reference tuning, but not here. Musicality with this much detail is just another factor that makes these IEMs incredible to listen to. As far as timbre goes, well this is a V-shaped IEM after all and I think that may be somewhere that the Legend X doesn't slaughter its competitors. I briefly owned the Phantom and while I much prefer the Legend X based on what suits my style of listening and preference, it was ahead in timbre.
Comparisons: For better or worse (worse if you ask my wife), I have owned a lot of TOTL IEMs throughout the years. For the better, I am able to compare the Legend X to some other popular IEMs that buyers may be considering. Let's dig in!
Rhapsodio Zombie: I think the only thing the Zombie and Legend X have in common is that they're hybrid designs. While both also exude monstrous bass, they do so in a completely different fashion. Where the Legend X is precise, tight, punchy and controlled, the Zombie gives off that analogue, slow, relaxed feeling. If you read my Zombie review, you know that I am a huge fan of the sound and while it's not going to win any awards technically for being a "reference" IEM, it's just good old-fashioned fun to listen to. In some ways, the Legend X feels like a grown-up, more mature version of the Zombie. Bass is actually deeper and harder hitting on the Legend X, but the huge mid-bass on the Zombie makes it sound like the bassier IEM. The mid-bass bleeds into the mids a bit on the Zombie, but that gives the vocals are very warm, lush sound and while they're not forward, they're soft and rounded. The Legend X is technically better here with a more natural timbre, but I love them both for these differences. I would say the treble is less sparkly on the Zombie and overall more relaxed, while the Legend X's treble sparkle is pretty fantastic. Given the different sound signatures of these IEMs, I would nto really declare a winner and just say that if you like a slow, relaxed, "analogue" sound then the Zombie has it. If you listen to a wide genre of music, appreciate monstrous sub-bass that is very controlled (and who doesn't?) with very natural mids and the perfect blend of treble sparkle and extension, then I have to say the Legend X is your trophy here. Well that's not entirely true, in the looks department the Zombie is the trophy
Dita Dream: Even more contrasting than the Zombie is the Dita Dream. I think literally the only similarities here are that they're both freaking expensive and contain a dynamic driver, but you already know that. Starting with the sub-bass, the Dream is praised for a very controlled, tight sub-bass rumble and I agree that it has that. For quantity, though, it's more on the leaner side and the Legend X easily outshines the Dream for me when it comes to my preferred bass representation. While they both reach low, the Legend X seems to just go deeper and deeper and never come across a note that it cannot hit with ease. The Dream is dryer in the mid-bass as well, making it sound cold in comparison. Clarity and detail are extremely high with the Dream, but it is not as enjoyable to listen to for me. Mid-range, the same applies: you have a very natural mid-range with the Legend X and while it is not recessed on the Dream, it is fairly cold and without the "emotion" you get on other IEMs. I'm not trying to say the Dita is losing in any way; it has been tuned this way on purpose and it achieves its excellent technical prowess from that very tuning, but for me I love the way the Legend X sounds with it's musical emphasis. Moving along to the treble, I do actually like the amount of sparkle on the Dream and wish the Legend X just had a tad more than it does. Many will find the Dream to be overly-bright, however, so again this really speaks to personal preference. At the end of the day, the Legend X puts a huge grin on my face every time I listen to it and the Dream only does once in a while.
Earsonics S-EM9: Ah, the S-EM9. I keep coming back to this pair of IEMs. They're older now, they don't have a dynamic driver, the nozzle design is the worst thing since the Ford Pinto and the cable that comes with them is undeserving of a barnyard animal chewing on it. But dang if I don't love them for what they are. Starting with the sub-bass, the Legend X has a much more pronounced rumble. The S-EM9 keeps everything neat, clean, but still has emphasized sub-bass, although it does not reach as deep. The mid-bass is similar in that the sub-bass is the star of the show and nowhere near that presence of the Zombie. The mid-range on the S-EM9 is a bit recessed in comparison to the Legend X, although again the S-EM9 has this clean, musical, but still technical ability. Pop music really shines through the S-EM9 and when you get up to the higher frequencies, I think the S-EM9 shows its magic and takes on the Legend X. I prefer the treble on the S-EM9 (or to any other IEM, bar none, for that matter), but that sub-bass of the Legend X is not only addictive, but it makes me forget any other minor complaints I have. This one is another tough call because they're so different. Someone preferring a U-shaped sound with incredible precision and speed for electronic music will likely prefer the S-EM9, where someone listening to a wide variety of music and craving that massive bass slam will undoubtedly want the Legend X.
Unique Melody Mason II: The Mason II holds a very, very special place in my heart for reasons that have nothing to do with its sound quality. So it's almost not fair here because I will never say a bad word about the Mason, but at the same time it's the only IEM I own that is actually MORE expensive than the Legend X. These prices are silly, folks, just silly. Anyway, the Mason II (not the Mason V2, this is the Japanese version) has 12 balanced armature drivers and no dynamic driver. Bass impact is great on the Mason, but it is tighter and a little leaner than the Legend X. The Legend X, as I have mentioned approximately 6,000 times now, has that insane bass slam and it makes the Mason II sound lighter on the bass in an A/B comparison. The tuning of the Mason II is more realistic, I would say, with an overall signature that just sounds natural from top to bottom. It has a more realistic timbre than the Legend X, but again I will say the Legend X is more fun. Mids are a bit more laid back on the Legend X and slightly more forward on the Mason, but it's not a night/day difference. Treble sparkle for me is actually similar on the two, which is a good thing. The choice comes down to whether or not you prefer a natural but still fun and musical tuning of the Mason, or the havoc that the dual dynamic drivers will undoubtedly wreak on the Legend X. Honestly, and yes I am biased here, if I could only have one pair of IEMs (oh, the horror of that thought), it would probably be the Mason II because it is such a wonderful all-rounder.
Cables, continued: Cables are always an interesting topic and it's sort of a new thing for me to comment on them in a review. I'll do my best here to offer up some meaningful thoughts on which cable(s) pair best with the Legend X and how they affect the sound. Non-cable believers, well, the door is over there...
Stock: The included Ares II with these IEMs is a great cable and one of the best you'll find in the box other than on the Dita Dream. I would also put it up there with the Pandora Dwarf that came with the Zombie as far as build quality and ergonomics. It's soft, supple, VERY comfortable and overall presents a natural and smooth sound on the Legend X. I think this pairing works well and was a smart choice by Empire Ears, but I quickly got tempted to try others as you can imagine.
Effect Audio EOS X Ms: A slightly re-done and more expensive version of the Ares II, I preferred this cable due its transparency, sparkle and natural tone. It has the same ergonomics and great build quality of the Ares II, but has slight internal upgrades and it's a very nice choice. It is, however, discontinued now so get one while you can. I would say that overall the Ares II is an ever-so-slightly warmer cable across the board, but the EOS gives that slight edge in transparency which I always expect of cable upgrades.
Effect Audio Thor Silver II+: I thought this was going to be my go-to pairing as a monstrous IEM surely needs a monstrous, 22awg cable! Well, it might be, depending on the sound you are looking for, but for me it missed the mark a bit. While the transparency and detail of this cable are incredible, it is a very smooth cable that gives the impression of a relaxed sound. For me, I wanted to brighten up the Legend X slightly and I figured any silver cable would do that, but this made things a bit too relaxed. Also, I must mention that similar to Twister's findings, this cable did add quite a bit of sub-bass to the mix and the Legend X already has plenty of that. Cable changes are usually pretty subtle, but in the case of the Thor Silver II+ the difference is pretty noticeable in A/B comparisons. It's not a bad pairing, per se, but for me I wanted a bit more sparkle and I was definitely not asking for more bass.
Effect Audio Leonidas + Thor Silver II: This was my favorite pairing. I have a one-off "bespoke" version of the Leonidas that has two normal wires of Leonidas wires and two Thor Silver II wires. Ergonomics on this are absolutely outstanding and sound quality is among the best I have heard. This cable tightened up that sub-bass and kept everything tight and controlled. Separation and detail is perfect on this cable and unlike the Thor Silver I+, the treble sparkle was still there and even slightly enhanced. The cable just sounded "right" on these IEMs, as if they were made for each other. I am guessing the Leonidas would sound equally good, if not better than this cable.
Triton Audio Cables Triton8 Silver: David over at Triton Audio cables makes some incredible cables that will not hurt your wallet as much as some of the Effect Audio stuff, so I wanted to try one of my personal favorites: the Triton8 pure silver edition. This cable consists of 8 wires of pure silver and high-end Eidolic connectors. This is a very transparent cable, presenting tons of detail and overall a very pleasing sound signature. It has very tight bass impact, along with smooth but detailed highs. I found this pairing to be up there with the best of the other cables I have tried. It certainly looks the part and build quality is fantastic and I could very easily recommend this cable for the Legend X (and I haven't been shy about doing so in the past). If I didn't have the Leonidas + Thor Silver II, the Triton8 would be my preferred choice here.
Final Thoughts: It took me 4,000 words to get here, but I think it's obvious now what I think of these IEMs. I used to think that spending this much money on IEMs really does produce diminishing returns, but the Legend X have done the unthinkable and have made me realize that every once in a while, a game-changer really does come around. I have never heard anything like these IEMs and I remember, clear as day, the first time I put them on and thinking "holy ****!" It was that immediate, that profoundly, that I knew these had risen to another level than what I was used to. For years, IEMs have walked the line of "emphasized" or "controlled" bass, but now you do not have to choose one or the other. The Legend X bring incredible tuning, top of the line hardware and a beautiful package to the table and I applaud what Empire Ears have done. It's so easy to recommend these and heck, you probably don't even need my review in the first place. Just check the several-thousand page thread on Empire Ears and see what people are saying. They have built a cult following and it is through their listening and dedication to their users, their unwillingness to compromise on getting the absolute best sound and building products that can make people grin ear to ear. These are IEMs that you will form a bond, a special relationship with, and you will probably cry like a baby if and when you ever have to take them out of your ears. I don't know about you guys, but I am considering quitting my job, moving to a remote island and I'll just send a child-support check from time to time because seriously, there are not enough hours in the day to listen to these gems.
Test Equipment: As far as sources go, a majority of my listening was done on my desktop Gustard A20H DAC/amp combo via the balanced output. This has dual AK4497 DACs and is on the musical side rather than clinical, but it does produce very high amounts of clarity and detail while having tons of headroom to drive a wide variety of headphones. For portable sources, I primarily use the AK70 mk2, as well as my DX200 with the Amp3 balanced module. All testing was done via 2.5mm balanced connections. Music was streamed via Tidal HiFi (FLAC, or "Master" where available) and this is consistent with my daily listening habits.
Ordering, Accessories, Tips, Packaging: Unlike many other IEM makers who will remain unnamed, Empire Ears has a nice, functional web page for ordering with some great visuals of their various offerings. Throughout the process of shopping, checkout and delivery of the IEMs you can expect a smooth process with no guesswork of what you will receive or when you will receive it. I mention this because sometimes cutting-edge equipment is actually fairly difficult to order and even harder to know when you will receive it. Once my Legend X arrived, I was extremely impressed with the packaging and accessories on offer in the box. Granted, this is my first pair of Empire Ears IEMs, but I have purchased many-a-TOTL pair and this is up there with the best as far as presentation goes. The case, for example, is engraved with my name and upon first sight, I screamed in joy so sharply that my wife thought our one-year-old son had fallen out of his crib. Nope, it was just me Babe! Included are the highly-regarded Final Audio tips, a cleaning cloth/tool and to my surprise, a very high quality Effect Audio Ares II cable. Seeing such a high quality "stock" cable quickly reminded me that these really are a serious offering.
Fit and Cable: I mentioned the cable, so let us start there. Effect Audio and Empire Ears have recently partnered and it is great to see such a nice cable included with these IEMs. Not only is the Ares II highly-regarded for its sound quality, but it is one of the softest, most supple and comfortable cable I have used. There is nothing worse than taking a pair of TOTL IEMs out of the box and learning that they come with the same cable as the $200 entry-level model (Earsonics, I am looking at you!). The cable has very comfortable bends around the ears with no memory wire and again, it is extremely flexible, lightweight and exhibits zero microphonics. This is a big win.
Moving on to fit, the elephant in the room (or in your ears in this case) is that these are massive IEMs in size (and sound, but more on that later!). They are, however, extremely lightweight and ergonomic. Too often do folks assume big, bulky IEMs will not be comfortable. Once I found the right sized tip and got these planted in my ears, I discovered that they can be left there for hours with zero discomfort. They are just so comfortable, despite their size, that I do not believe many people will experience any issues with fit or comfort. I applaud this effort because I do get the impression that a lot of thought went into designing the shape of these. It is no small feat to cram two dynamic drivers and five balanced armatures into a shell that you actually want to wear, so high-five to you Empire Ears!
Sound Signature: Without measurements or frequency graphs, my ears tell me that these fall somewhere in the V-shaped category which is fine by me. That said, you aren't going to find super exaggerated bass or super sparkly treble missing mid-range impact. Instead, everything is just done well. The bass is the star of the show, but I'll get to that as we dive into each range. The IEMs are extremely musical, very detailed and while I've said this about certain other IEMs, no other has managed to make me say with such confidence that I can listen to these all day long.
Bass: Again, the star of the show, but not in the traditional sense. I had high hopes for the dual dynamic drivers, yet at the same time I was slightly concerned that they would be overly bassy. My concerns were not only unfounded, but I quickly realized that this is some of the most controlled and impactful bass I have ever heard. Think of the bass as energetic and forward, while reaching extremely low (lowest I've heard, in fact) and never becoming muddy. It just sounds different. I love bassy IEMs and am never turned off by slow, "analogue-like" bass, but these don't have that. Instead, these have bass that is like a race horse ready to be let out of the gate in a precise, tuned manner. You can hear it, always, waiting and waiting to let loose until the music calls for it. It doesn't muddy any music and it doesn't ever become too much, but you know it's there. It reminds me of when I drove my friend's Nissan GTR in that it was so civilized and drove like a normal car, but when you mashed the gas pedal it was like an explosion of power ripping the asphalt in half. Then when it's done, you pull onto your 25mph suburban side street and all is normal again. Until you hit the throttle again, that is. I cannot overstate how much I love the lower frequencies on this IEM. In fact, I find myself awake at night worried that bass this good will become illegal and I will have to give them up to the authorities. Seriously, a terrifying thought. A test track I like to use for bass is "Why So Serious" by Hans. If you scroll to about 3:15 in the song, you'd better have your seatbelt on and be ready for what is to come. It is horrifyingly deep, authoritative and I'm pretty sure it just took several years off my hearing abilities. And I will do it over and over.
Mids: I feel bad for the mid-range. It's like the damn-good athlete that has to run a lap around the track behind Usain Bolt. He may be the fastest runner in his class or school district for that matter, but how do you stand out when an Olympic runner just got finished making his move before you? That said, the mids are warm, smooth, lush and overall have a nice thickness to the vocals that are very pleasing to the ears. You'll hear that thick, crunchy electric guitar here and emotional male/female vocals. The mid-range actually contributes to the musicality of this IEM in a big way, giving a euphoric tone and spicing up stringed instruments very nicely. It's a pretty epic showing for a V-shape IEM where clearly bass is the star, so I think this is another check in the box of incredible tuning by Empire Ears.
Treble: Being somewhat of a treblehead, I think the treble has a decent amount of sparkle. I would welcome a bit more, but not at the cost of unsettling the wonderful bass and mid-range. In other words, it's just right. I think for most people, even those sensitive to trelbe and sibilance in general, there is a lot to love here. Again, musicality is the key and you can't have a super musical IEM that also has ear-piercing treble. It's a nice, extended treble that reaches high and has very good decay. Playing electronic music on these IEMs yields a very tasty treat, which quick and precise treble keeping everything tidy and coherent. That bass does slightly take your attention away, but if you give yourself an ounce of a nudge to really listen and appreciate the treble, you will hear that it's doing its job perfectly. Let me mention again, these attributes mean I can listen to this IEM all day long.
Vocals: I touched on this in the mid-range a bit, but let's go a little deeper. I'm an unapologetic lover of modern pop country music and one of my go-to favorite songs is Easton Corbin's "A Girl Like You." Singing through these IEMs, there is so much clarity and precision while still being emotional and not cold in any way shape or form. When I think about something like the Dita Dream (which I'll compare with further down), the Legend X gives the vocals so much more life to the vocals and while I don't think vocals are super forward, I just think they sound damn good. On the female side, and in keeping with my addition to modern pop country, Carrie Underwood shuts down the show. There's a lavish quality that makes you feel like you're in the room with the singer and it's so enjoyable. Female vocals sound every so slightly overpowered by the mid-bass, but that is only on certain tracks and given how great that bass is, it's a very small tradeoff that I am more than willing to make.
Soundstage, Separation & Timbre: If you have read any of my other reviews, I have not been shy about pointing out that I am an idiot when it comes to measuring soundstage. Well, I am happy to report that the Legend X has come to my aid and actually made it slightly easier for me to describe the various stages that this IEM portrays (a win in and of itself!). On a few of my test tracks recorded with binaural microphones, I noticed immediately how wide the stage was. Certain attributes of tracks are so clearly defined, yet you can tell that they are very distant on both sides. This was sort of what made me understand what it means when someone says an IEM has a wide soundstage. I could picture members of the band and where they stood, clearly defined. Depth seems to be similarly portrayed, although not to the extent of the left/right extension. Height, sorry, couldn't tell you. But what I can say about soundstage is that I got a very clear picture in my head of where everything was and it overall added to the sepration of instruments. Sometimes I use the term separation synonymously with detail, but in this case not only can I hear the clear separation of instruments, but I can also hear loads of micro-details on each track. Detail is sometimes associated with reference tuning, but not here. Musicality with this much detail is just another factor that makes these IEMs incredible to listen to. As far as timbre goes, well this is a V-shaped IEM after all and I think that may be somewhere that the Legend X doesn't slaughter its competitors. I briefly owned the Phantom and while I much prefer the Legend X based on what suits my style of listening and preference, it was ahead in timbre.
Comparisons: For better or worse (worse if you ask my wife), I have owned a lot of TOTL IEMs throughout the years. For the better, I am able to compare the Legend X to some other popular IEMs that buyers may be considering. Let's dig in!
Rhapsodio Zombie: I think the only thing the Zombie and Legend X have in common is that they're hybrid designs. While both also exude monstrous bass, they do so in a completely different fashion. Where the Legend X is precise, tight, punchy and controlled, the Zombie gives off that analogue, slow, relaxed feeling. If you read my Zombie review, you know that I am a huge fan of the sound and while it's not going to win any awards technically for being a "reference" IEM, it's just good old-fashioned fun to listen to. In some ways, the Legend X feels like a grown-up, more mature version of the Zombie. Bass is actually deeper and harder hitting on the Legend X, but the huge mid-bass on the Zombie makes it sound like the bassier IEM. The mid-bass bleeds into the mids a bit on the Zombie, but that gives the vocals are very warm, lush sound and while they're not forward, they're soft and rounded. The Legend X is technically better here with a more natural timbre, but I love them both for these differences. I would say the treble is less sparkly on the Zombie and overall more relaxed, while the Legend X's treble sparkle is pretty fantastic. Given the different sound signatures of these IEMs, I would nto really declare a winner and just say that if you like a slow, relaxed, "analogue" sound then the Zombie has it. If you listen to a wide genre of music, appreciate monstrous sub-bass that is very controlled (and who doesn't?) with very natural mids and the perfect blend of treble sparkle and extension, then I have to say the Legend X is your trophy here. Well that's not entirely true, in the looks department the Zombie is the trophy
Dita Dream: Even more contrasting than the Zombie is the Dita Dream. I think literally the only similarities here are that they're both freaking expensive and contain a dynamic driver, but you already know that. Starting with the sub-bass, the Dream is praised for a very controlled, tight sub-bass rumble and I agree that it has that. For quantity, though, it's more on the leaner side and the Legend X easily outshines the Dream for me when it comes to my preferred bass representation. While they both reach low, the Legend X seems to just go deeper and deeper and never come across a note that it cannot hit with ease. The Dream is dryer in the mid-bass as well, making it sound cold in comparison. Clarity and detail are extremely high with the Dream, but it is not as enjoyable to listen to for me. Mid-range, the same applies: you have a very natural mid-range with the Legend X and while it is not recessed on the Dream, it is fairly cold and without the "emotion" you get on other IEMs. I'm not trying to say the Dita is losing in any way; it has been tuned this way on purpose and it achieves its excellent technical prowess from that very tuning, but for me I love the way the Legend X sounds with it's musical emphasis. Moving along to the treble, I do actually like the amount of sparkle on the Dream and wish the Legend X just had a tad more than it does. Many will find the Dream to be overly-bright, however, so again this really speaks to personal preference. At the end of the day, the Legend X puts a huge grin on my face every time I listen to it and the Dream only does once in a while.
Earsonics S-EM9: Ah, the S-EM9. I keep coming back to this pair of IEMs. They're older now, they don't have a dynamic driver, the nozzle design is the worst thing since the Ford Pinto and the cable that comes with them is undeserving of a barnyard animal chewing on it. But dang if I don't love them for what they are. Starting with the sub-bass, the Legend X has a much more pronounced rumble. The S-EM9 keeps everything neat, clean, but still has emphasized sub-bass, although it does not reach as deep. The mid-bass is similar in that the sub-bass is the star of the show and nowhere near that presence of the Zombie. The mid-range on the S-EM9 is a bit recessed in comparison to the Legend X, although again the S-EM9 has this clean, musical, but still technical ability. Pop music really shines through the S-EM9 and when you get up to the higher frequencies, I think the S-EM9 shows its magic and takes on the Legend X. I prefer the treble on the S-EM9 (or to any other IEM, bar none, for that matter), but that sub-bass of the Legend X is not only addictive, but it makes me forget any other minor complaints I have. This one is another tough call because they're so different. Someone preferring a U-shaped sound with incredible precision and speed for electronic music will likely prefer the S-EM9, where someone listening to a wide variety of music and craving that massive bass slam will undoubtedly want the Legend X.
Unique Melody Mason II: The Mason II holds a very, very special place in my heart for reasons that have nothing to do with its sound quality. So it's almost not fair here because I will never say a bad word about the Mason, but at the same time it's the only IEM I own that is actually MORE expensive than the Legend X. These prices are silly, folks, just silly. Anyway, the Mason II (not the Mason V2, this is the Japanese version) has 12 balanced armature drivers and no dynamic driver. Bass impact is great on the Mason, but it is tighter and a little leaner than the Legend X. The Legend X, as I have mentioned approximately 6,000 times now, has that insane bass slam and it makes the Mason II sound lighter on the bass in an A/B comparison. The tuning of the Mason II is more realistic, I would say, with an overall signature that just sounds natural from top to bottom. It has a more realistic timbre than the Legend X, but again I will say the Legend X is more fun. Mids are a bit more laid back on the Legend X and slightly more forward on the Mason, but it's not a night/day difference. Treble sparkle for me is actually similar on the two, which is a good thing. The choice comes down to whether or not you prefer a natural but still fun and musical tuning of the Mason, or the havoc that the dual dynamic drivers will undoubtedly wreak on the Legend X. Honestly, and yes I am biased here, if I could only have one pair of IEMs (oh, the horror of that thought), it would probably be the Mason II because it is such a wonderful all-rounder.
Cables, continued: Cables are always an interesting topic and it's sort of a new thing for me to comment on them in a review. I'll do my best here to offer up some meaningful thoughts on which cable(s) pair best with the Legend X and how they affect the sound. Non-cable believers, well, the door is over there...
Stock: The included Ares II with these IEMs is a great cable and one of the best you'll find in the box other than on the Dita Dream. I would also put it up there with the Pandora Dwarf that came with the Zombie as far as build quality and ergonomics. It's soft, supple, VERY comfortable and overall presents a natural and smooth sound on the Legend X. I think this pairing works well and was a smart choice by Empire Ears, but I quickly got tempted to try others as you can imagine.
Effect Audio EOS X Ms: A slightly re-done and more expensive version of the Ares II, I preferred this cable due its transparency, sparkle and natural tone. It has the same ergonomics and great build quality of the Ares II, but has slight internal upgrades and it's a very nice choice. It is, however, discontinued now so get one while you can. I would say that overall the Ares II is an ever-so-slightly warmer cable across the board, but the EOS gives that slight edge in transparency which I always expect of cable upgrades.
Effect Audio Thor Silver II+: I thought this was going to be my go-to pairing as a monstrous IEM surely needs a monstrous, 22awg cable! Well, it might be, depending on the sound you are looking for, but for me it missed the mark a bit. While the transparency and detail of this cable are incredible, it is a very smooth cable that gives the impression of a relaxed sound. For me, I wanted to brighten up the Legend X slightly and I figured any silver cable would do that, but this made things a bit too relaxed. Also, I must mention that similar to Twister's findings, this cable did add quite a bit of sub-bass to the mix and the Legend X already has plenty of that. Cable changes are usually pretty subtle, but in the case of the Thor Silver II+ the difference is pretty noticeable in A/B comparisons. It's not a bad pairing, per se, but for me I wanted a bit more sparkle and I was definitely not asking for more bass.
Effect Audio Leonidas + Thor Silver II: This was my favorite pairing. I have a one-off "bespoke" version of the Leonidas that has two normal wires of Leonidas wires and two Thor Silver II wires. Ergonomics on this are absolutely outstanding and sound quality is among the best I have heard. This cable tightened up that sub-bass and kept everything tight and controlled. Separation and detail is perfect on this cable and unlike the Thor Silver I+, the treble sparkle was still there and even slightly enhanced. The cable just sounded "right" on these IEMs, as if they were made for each other. I am guessing the Leonidas would sound equally good, if not better than this cable.
Triton Audio Cables Triton8 Silver: David over at Triton Audio cables makes some incredible cables that will not hurt your wallet as much as some of the Effect Audio stuff, so I wanted to try one of my personal favorites: the Triton8 pure silver edition. This cable consists of 8 wires of pure silver and high-end Eidolic connectors. This is a very transparent cable, presenting tons of detail and overall a very pleasing sound signature. It has very tight bass impact, along with smooth but detailed highs. I found this pairing to be up there with the best of the other cables I have tried. It certainly looks the part and build quality is fantastic and I could very easily recommend this cable for the Legend X (and I haven't been shy about doing so in the past). If I didn't have the Leonidas + Thor Silver II, the Triton8 would be my preferred choice here.
Final Thoughts: It took me 4,000 words to get here, but I think it's obvious now what I think of these IEMs. I used to think that spending this much money on IEMs really does produce diminishing returns, but the Legend X have done the unthinkable and have made me realize that every once in a while, a game-changer really does come around. I have never heard anything like these IEMs and I remember, clear as day, the first time I put them on and thinking "holy ****!" It was that immediate, that profoundly, that I knew these had risen to another level than what I was used to. For years, IEMs have walked the line of "emphasized" or "controlled" bass, but now you do not have to choose one or the other. The Legend X bring incredible tuning, top of the line hardware and a beautiful package to the table and I applaud what Empire Ears have done. It's so easy to recommend these and heck, you probably don't even need my review in the first place. Just check the several-thousand page thread on Empire Ears and see what people are saying. They have built a cult following and it is through their listening and dedication to their users, their unwillingness to compromise on getting the absolute best sound and building products that can make people grin ear to ear. These are IEMs that you will form a bond, a special relationship with, and you will probably cry like a baby if and when you ever have to take them out of your ears. I don't know about you guys, but I am considering quitting my job, moving to a remote island and I'll just send a child-support check from time to time because seriously, there are not enough hours in the day to listen to these gems.
deafdoorknob
yup, the local dealer in hong kong suggested it, it kept the bass more controlled without thinning it out, and let the treble become more articulated and the mids focussed.
klaimzlgd
Can you sign my T-shirt I tihnk I'm a fan of your reviews haha xd
Cagin
Fun read while waiting my own Legend X >:-]]
Intro & Me: I am guilty of being obsessed with headphone gear and will whole-heartedly admit to being a Rhapsodio fan boy. That said, I really enjoy testing all kinds of different equipment and IEMs are near the top of my list for listening pleasure and fun to engage with. I’ve slowly moved up the food chain (read: become crazier) and here I am writing a review for a set of $1,800 IEMs. As I’ve mentioned in prior reviews, I’m not a “technical” reviewer, I don’t know how to measure and provide frequency graphs, nor can I tell you much about the tuning or construction of IEMs. But what I can offer is a “review for the people” of sorts that want to know how these sound, how they compare to other similarly-priced IEMs and why I spent my hard-earned money on them. What you will receive here is an honest review – I can guarantee that.
Test Equipment: For this review, my source is Tidal desktop and Android apps, Gustard A20H DAC/amp, Pioneer XDP-300r balanced DAP, Astell & Kern AK70 and a bit of time with my new iBasso DX200. All listening was done in balanced mode via 2.5mm TRRS termination. Most genres were used, including rock, electronic, pop and even some country. I only used the Rhapsodio RSD Silver mk3 cable, but I would love to add to this review with some cable-rolling details if time permits, given my collection of cables from both Rhapsodio and other favorite makers.
Ordering, Physical Appearance, Fit and Tips: Why don’t we start with how you should probably go about ordering these, because it is unconventional in comparison to something like Sennheiser or even Campfire Audio for that matter. Rhapsodio is a small, boutique company based in Hong Kong consisting of a few employees. The captain of this masterful ship is Sammy, who I think is a really cool guy to talk to. I suggest reaching out via Facebook and you will almost certainly get a quick reply from Sammy. He is always willing to give opinions, suggestions, recommendations and you can always count on an honest answer. I’ve inquired with him about his most expensive products and his most cost-effective products and guess what, if a $100 cable will pair better than a $900 cable, he will tell me honestly to save my money. I can really appreciate that, because this “game” is a slippery slope as all of us Head-Fiers know. Sure you can go right to his website and order the IEMs, but why wouldn’t you want a friendly chat with the man who designed these himself first?
So back to the IEMs, they have a large-and-in-charge presence to them that will not go unnoticed. They have incredible details on the sides and they are made of a very smooth acrylic shell. I find them to be more comfortable than the Rhapsodio Solars, despite them being roughly the same size (although different shapes). They come with, I believe, a Rhapsodio Pandora Dwarf copper cable that is incredibly supple and comfortable, as well as an assortment of tips. They’re a fairly standard nozzle size and I find that my tried-and-true JVC Spiral Dots suit my needs best. Spinfit work fine, as to most of your other favorites such as Sony hybrids. Thankfully, I don’t find this IEM to be hugely affected by tip rolling. Again while they’re large, they’re not heavy like the Galaxy and they stay in my ears just fine. No issues wearing them for long periods of time. These also come with a really nice aluminum Rhapsodio case.
I’ve always loved the look of Rhapsodio IEMs and these do not disappointed. They’re a swirled blue/purple design on the outer shell and elegant black on the rest of the casing. Of course, the Rhapsodio cables also sport jewelry-like looks and while this is a gorgeous looking IEM, it is not as flashy as say the solid brass of the Galaxy or clear shells of the RDB mk4. Being the next generation of the RDB mk4, they follow the same type of hybrid design, but Sammy tells me they have a new dynamic driver and twice the number of balanced armatures, so it’s quite an evolution of that earlier mk4. I loved the mk4 and gave it five stars for its fun, smooth musicality and these turn everything up a notch in every department. And, they should for twice the price.
Sound: Let’s first talk about the sound signature and overall sound quality. Signature is right up my alley where they trade neutrality for musicality to some degree, but these are not extreme V or U-shaped IEMs. These are warm, bold and powerful-sounding IEMs with very nice texture and detail, especially in the lower registers. Everything is there and everything is huge. These are as close to full-size-sounding headphones as I have ever heard in an IEM with perhaps the only other one coming close being the Vega. These just sound massive. It’s rounded out nicely and while it is tuned on the “fun” side with slamming sub-bass, warm and punchy mid-bass, the largest departure I think from the mk4 is that the treble now does not take a backseat like before. It’s all here, and lots of it. Detail is also superior to the mk4 and perhaps even superior to the Solar, but more on that once I get to comparisons. These are IEMs that you just want to listen to, for a long time. These are very dynamic IEMs covering a wide range of genres. They’re quite resolving and while I don’t find them lacking at all technically, they are simply tuned different than something like the Dita Dream or Galaxy V1/2. I really find them to be the best “all-rounders” I’ve ever listened to.
Bass: Starting with sub-bass, I have a feeling these reach deeper and slam harder than most of my IEMs sans perhaps the Vega. I loved the sub-bass on the RDB mk4 and these are even better with the 11mm new dynamic driver. To me, you can’t replace that subwoofer feel in the ear that a dynamic driver provides and these showcase that excellently. It’s not muddy, it’s not flabby, but it’s powerful and it sure does not disappoint. Put on “Why So Serious?” by Hans Zimmer and scroll to 3:20 and be prepared to have the hell scared right out of you. Maybe that’s why they’re called Zombies? I kid you not, these beasts can reproduce the low frequencies in a way that will startle you if you don’t know it’s coming. You could even call these bass-head IEMs, but you’d be doing them a disservice because there is so much more to love. Mid-bass is quite prominent; it’s punchy and warm, but these are definitely tuned such that the mid-bass is there more often than not. I really like this tuning because I love gobs of bass, but to each their own. A good example of this is “Talk Shows on Mute” by Incubus, where you’ll hear the bass guitar being the star of the show.
Mids: I think mids are hard to review because each type of music can showcase them very differently. On the Zombies, I would call them slightly recessed but not to the point where the IEMs exhibit a huge V-shape. Mids are lush and vocals sound great, with nice texture – I especially like female vocals like Haley Reinhart, which produce a nice, smooth tone. That prominent mid-bass does a very slight disservice to the mids, but again I prefer this sound signature. Mids are not muffled or attenuated, they’re just not standing out from the bass in such a way that the Earsonics S-EM6 would for example. Electric guitars sound appropriately thick and crunchy and I really think most people will find little fault with the mids on these.
Treble: I’m pleased to see the higher notes get more attention on these IEMs in comparison to their previous iteration. While the treble is nicely extended and articulate, you will find zero sibilance and I would still call these recessed in the higher registers, though not nearly as much as the mk4. To me, this is a double-edged sword. On one hand, you can listen to these for hours and hours and I cannot imagine treble fatigue setting in, but on certain tracks (“Feel it Still” by Portagul. The Man) I could stand a tad more extension in the treble. Now, I’m not very sensitive to treble at all, so I believe these will strike a perfect balance for most folks. Electronic tracks really showcase the amount of detail that these IEMs can produce in the highs, so I honestly have no complaints here and applaud the tuning by Sammy and team. Try something like “Frontier” by Doctor Vox and you will find your toes tapping and quickly realize that those four balanced armatures for the highs are getting things just right.
Detail, Separation and Soundstage: I think a lot of reviewers are better qualified than me write on soundstage and I am not afraid to admit that. So a quick word on my methodology here, and that’s when I write about soundstage I am using it as an all-inclusive term for how large and detailed the theoretical and portrayed “stage” is and how I can place the instruments on that stage. My ears are not good enough, usually, to tell me exactly how tall the stage is, how wide the stage is or how deep the stage is (and certainly not what color socks the drummer on the left is wearing). Instead, I will say that the Zombies are cable of portraying sounds from all directions extremely well and from quite a large stage. Specifically when listening to something recorded with a binaural microphone, sounds feel extremely realistic and quite far out of my head with fantastic separation between instruments. The soundstage is very realistic and I can very clearly hear where certain instruments are placed. Detail retrieval is extremely impressive on good recordings and I don’t find anything lacking here. Keep in mind, these are not cold, analytical IEMs favoring details over musicality, though. Other IEMs can produce more realistic details and clarity (perhaps the Dream), but for a musical IEM that I can listen to all day, I’m quite impressed with the amount of resolution these provide (especially with Sammy’s excellend Silver mk3 cable). While I won’t call any part of this a tradeoff, I will say that if I could ask for that perfect blend of detail, clarity and musicality then these would be as close as I’ve ever heard.
Comparisons: Now the fun begins, right? At this level of price and performance, I stand firmly in my belief that it is very hard to declare “winners” rather than just appreciating and embracing differences. Take Nic’s shootout, for example. Were there any losers? Hello no! Were there any winners? Maybe, but one’s winner may be another’s loser, and so forth and so on. So in this case, I will do my best to tell you how these compare to some other IEMs I have and your homework is to interpret my thoughts with the understanding that your preferences are ultimately much more important than mine! Right?
Rhapsodio Solar: The obvious comparison that I envisioned long before I started writing this review. The Solar, a very popular 10 balanced armature IEM on Head-Fi that many love for their luscious musicality, wonderful detail retrieval and fun sound signature. I went into this thinking that it would take a lot for me to like the Zombie more than the Solar and the verdict is: I do. Right out of the gate, you hear that dynamic driver sub-bass of the Zombie that the Solar does not provide. The Zombie hits deeper, harder and overall will satisfy someone craving bass. Mid-bass is similar on the two in that it is prominent (still more prominent on the Zombie), warm and provides that crunchy and thick electric guitar. Moving into the mid-range, the Solar provides a more balanced and forward midrange. Vocals sound slightly thicker on the Zombie where as they are slightly clearer on the Solar. Personal preference here, but I think the mids/vocals on the Solar are more versatile with numerous types of music, but the difference is not huge. Treble is very nicely extended on both IEMs, but tuned differently. The Solars are brighter overall and give the impression of increased clarity in the upper regions in comparison to the Zombie, but again the differences are subtle. Overall I prefer the sound signature of the Zombie, hugely prefer the bass and love the mids and treble on each in different ways. Soundstage is larger to me on the Zombie and more intimate on the Solar, while detail retrieval also feels superior on the Zombie. The Zombie is also just so coherent that you wouldn’t know you’re listening to 8 balanced armatures and a dynamic driver. So many hybrids get this wrong and yet, the Zombie feels like a Solar that is improved in nearly every way.
*Cable used for testing: Rhapsodio Silver Knight 4-braid pure silver
Campfire Vega: I love the Campfire Vegas and thought this would be a fun comparison. The technology and configuration similarities start and stop with both IEMs having a dynamic driver, but that’s about it. Heck, they don’t even take the same cables. The Vega has one, fancy, 8.5mm diamond something or other driver coated in unicorn dust that absolutely rocks my face off. The sub-bass on the Vega is hard to beat with its authoritative punch and deep rumble, but the Zombie definitely competes with its 11mm dynamic driver. Mid-bass rolls off much quicker on the Vega where it continues to be elevated in the Zombie, giving the Zombie a warmer transition into the mids and overall warmer tone in general. The Zombie has almost an analog character in comparison to the sometimes-sharp Vega. The Vega has a lot of energy where the Zombie seems more rounded, though it still slams you with authoritative bass. Mids, too, are thicker on the Zombie than the Vega. I might prefer the Vega for electronic or pop music, where the Zombie just screams with band-based music such as rock (though I still love its bass slam for nearly everything). The Vega overall just sounds a tad cleaner, but also thinner. The highs on the Vega are more extended and present than on the Zombie, so this will be either a pro or a con depending on your tuning preference. I love the brighter and energetic of the Vega, depending on genre. So let’s take those extremely disorganized thoughts and provide a TL;DR, shall we? The Zombie is thicker, warmer and more polite up top while the Vega is a touch cleaner, more energetic and extended in the higher regions. I love both!
*Cable used for testing: Triton Audio custom 8-braid pure silver (this may contribute to the Vega being brighter than how it would sound with the stock SPC cable)
Earsonics S-EM9: I won’t mince words here, these are two very different IEMs despite sharing a driver count of nine. I think my time is best spent here pointing out the differences, because there are not many similarities (well, price tag!). The S-EM9 have long been a favorite IEM of mine due to their lovely sound signature, technical abilities, comfort and completely idiotic nozzle design that you cannot fit any of your favorite tips on. So let’s start with the bass, which is quick, punchy, fun and very articulate and detailed on the S-EM9. In comparison to the Zombie, quantity is lower but quality may be higher where fast-paced kick drums are concerned. The Zombie reaches lower and just moves more air in your ear to create that subwoofer feel, where the S-EM9 still has great sub-bass extension but not in the quantity that the Zombie provides. Mid-bass on the S-EM9 is also quick and punchy and with electronic music, it provides a very clean and clear kick to the music where the Zombie sort of shoves that slower, more lush bass in your ear whether you want it or not. The S-EM9 is the more neutral IEM of the two. Mid-range on the S-EM9 seems more forward to me, though thinner, clearer and more transparent. Earsonics knows how to do mids and they have done it here. While not thick and creamy like the S-EM6, there is very little to fault the S-EM9 for in regards to mid-range frequencies. That said, the Zombie is thicker in the mids, a bit more laid back and overall will come down simply to personal preference. I declare no winner here of course, just difference. The treble on the S-EM9 is probably the largest difference between the two IEMs where it is extremely detailed, extended and just crystal clear. The upper frequencies give the S-EM9 a sense of clarity that I have not heard in many other IEMs, if any. It’s not bright, per se, but the treble is definitely a showcase of what the S-EM9 can do on not only a technical level, but it’s just flat out enjoyable to hear. Soundstage is larger on the Zombie, but instrument separation and placement is right up there on the S-EM9. The S-EM9 is really great balance of musical energy and incredible technical abilities. No winner here, but I would say the Zombie is for the bass-lovers who prefer an overall thicker sound, while the S-EM9 is pretty hard to beat for clean pop or electronic music.
*Cable used for testing: SilverFi X pure silver cable, slightly modified so that I can actually use it in my ears (this is known to be a warm cable)
Dita Dream: While I have not had the Dream for very long (a month or so), I thought it might be fun to compare the sounds of these very different IEMs. The Dream needs no introduction with its unapologetic flagship price tag and status, seemingly heroic stock cable and the promise of providing sonic details that the musicians didn’t even know were there. While both IEMs have a dynamic driver, the similarities stop there and the Dream makes no denial that it is a reference monitor. But as Nic points out in his brilliant review, this can be a very good thing. The sound signatures are so different than it makes a comparison both very easy, and very difficult. Sub-bass reaches very deep and remains extremely clean and controlled on the Dream, but the quantity is drastically less than on the Zombie. Mid-bass remains very clean, punchy and controlled on the Dream, while it is much more prominent in the Zombie (although slower and less controlled, as the sub-bass). I don’t see either of these as bad things, they’re just quite different. The quality of the bass on the Dream is a very strong point, whereas the quantity is much higher on the Zombie. I know that seems like an oversimplified description of the bass on each IEM, but it’s very true to my ears. The Dream, after all, is geared toward a reference tuning and does not exaggerate any frequencies. Instead, this is as close to as “the artist intended” as I think you are going to find. That said, it still is a fun IEM in that it provides loads of clarity and detail and it is not completely dead-cold-flat. The bass still, to my ears, is slightly more elevated and emphasized than something like the Earsonics S-EM6 V2, which can sometimes sound like they forgot to put a driver in that handles the lower bass regions. Moving onto the mid-range, I think ultimate clarity was achieved here and it too is very clean and neutral. The Zombie is thicker in the mids and despite them being somewhat recessed, the vocals and guitars still sound more musical and textured in the Zombie. Like the S-EM9, the Dream is fantastically clean, controlled and offers stunning resolution and detail. The highs continue the trend of clarity and resolution and are quite different from the Zombie. The Zombie again provides great extension, but they are very tame compared to the cooler, brighter highs of the Dream. Anyone sensitive to treble may take slight issue with the Dream’s bright, resolving upper frequencies, but I certainly enjoy what it provides. Another TL;DR, buy both the Dream and the Zombie, they go nicely in your collection together. I kid, but really they are very different IEMs and someone who wants warm, musical, fun bass should consider the Zombie where someone trying to eek out every last detail might be better served by the Dream. For me, the Zombie is the more enjoyable listen day-to-day by a fair margin.
*Cable used for testing: the extremely uncomfortable, stiff Van der Hul “Truth” Dita cable that comes with the dream, which can also be used for repelling off a mountain due to its strength
Conclusion
This review took me a while to write and not because it’s any good, but because I have been enjoying listening to the RDB mk8 Zombie so much. Okay, having a little boy being added to our family has not helped either, but I digress. I think it should come as no surprise that I absolutely love the Zombie IEMs and they have, for all intents and purposes, risen to the top of my collection. Some of my IEMs are more technical, some are more neutral, some are more comfortable and some are a hell of a lot cheaper. But none are as fun and at the end of the day, I give five stars based on the fact that if I walked into my room and opened my IEM drawer (yes, I have one), these are the ones I would grab over any others. In fact this weekend I went out of town in Sonoma County and brought the Zombies, a 2.5mm balanced cable and only a smart phone. I think I suffered some serious depression and considered driving two and a half hours back home to either get an adapter or a balanced 2.5mm source so that I could listen! These are emotional, musical and fun IEMs that really showcase what Sammy and Rhapsodio are capable of and that’s creating beautiful IEMs that just sound incredibly good. They’re not for everyone (and no IEM is) given their fun sound signature and tuning, but they sure are for me and I’m the one writing the review, right? Listening to IEMs like these make me excited to see what is in store for Rhapsodio next and there is a reason that I pretty much buy every release that comes out, and do so rapidly with enthusiasm. These gems make nearly all of my music sound fantastic and I start to forget the things like what DAC chip my source has, whether or not I am listening to FLAC files and if my cable has 1% gold in it. I really like the trend that flagship IEMs don’t have to sound cold, flat or boring. These are a wonderful example of tireless testing, tuning and refining to create an IEM that is unapologetically fun to listen to. Yes, it is expensive, but in this pay-to-play “hobby” I will gladly shell out my hard-earned cash for these masterpieces.
Supporting Links:
Rhapsodio RDB mk8 Zombie: https://www.rhapsodiostore.com/products/rdb-mk-8-zombie
Rhapsodio Silver mk3 cable: https://www.rhapsodiostore.com/products/rsd-silver-mk3
Triton Audio cables (seen on Vega): http://tritonaudiocables.com/Triton8-Flagship-Hybrid-Cable_p_35.html
SilverFi cables (seen on S-EM9): http://www.silverfi.com/
Nic’s shootout/review: https://www.head-fi.org/threads/ran...ut-introduction-and-reviews-on-page-1.826876/
Test Equipment: For this review, my source is Tidal desktop and Android apps, Gustard A20H DAC/amp, Pioneer XDP-300r balanced DAP, Astell & Kern AK70 and a bit of time with my new iBasso DX200. All listening was done in balanced mode via 2.5mm TRRS termination. Most genres were used, including rock, electronic, pop and even some country. I only used the Rhapsodio RSD Silver mk3 cable, but I would love to add to this review with some cable-rolling details if time permits, given my collection of cables from both Rhapsodio and other favorite makers.
Ordering, Physical Appearance, Fit and Tips: Why don’t we start with how you should probably go about ordering these, because it is unconventional in comparison to something like Sennheiser or even Campfire Audio for that matter. Rhapsodio is a small, boutique company based in Hong Kong consisting of a few employees. The captain of this masterful ship is Sammy, who I think is a really cool guy to talk to. I suggest reaching out via Facebook and you will almost certainly get a quick reply from Sammy. He is always willing to give opinions, suggestions, recommendations and you can always count on an honest answer. I’ve inquired with him about his most expensive products and his most cost-effective products and guess what, if a $100 cable will pair better than a $900 cable, he will tell me honestly to save my money. I can really appreciate that, because this “game” is a slippery slope as all of us Head-Fiers know. Sure you can go right to his website and order the IEMs, but why wouldn’t you want a friendly chat with the man who designed these himself first?
So back to the IEMs, they have a large-and-in-charge presence to them that will not go unnoticed. They have incredible details on the sides and they are made of a very smooth acrylic shell. I find them to be more comfortable than the Rhapsodio Solars, despite them being roughly the same size (although different shapes). They come with, I believe, a Rhapsodio Pandora Dwarf copper cable that is incredibly supple and comfortable, as well as an assortment of tips. They’re a fairly standard nozzle size and I find that my tried-and-true JVC Spiral Dots suit my needs best. Spinfit work fine, as to most of your other favorites such as Sony hybrids. Thankfully, I don’t find this IEM to be hugely affected by tip rolling. Again while they’re large, they’re not heavy like the Galaxy and they stay in my ears just fine. No issues wearing them for long periods of time. These also come with a really nice aluminum Rhapsodio case.
I’ve always loved the look of Rhapsodio IEMs and these do not disappointed. They’re a swirled blue/purple design on the outer shell and elegant black on the rest of the casing. Of course, the Rhapsodio cables also sport jewelry-like looks and while this is a gorgeous looking IEM, it is not as flashy as say the solid brass of the Galaxy or clear shells of the RDB mk4. Being the next generation of the RDB mk4, they follow the same type of hybrid design, but Sammy tells me they have a new dynamic driver and twice the number of balanced armatures, so it’s quite an evolution of that earlier mk4. I loved the mk4 and gave it five stars for its fun, smooth musicality and these turn everything up a notch in every department. And, they should for twice the price.
Sound: Let’s first talk about the sound signature and overall sound quality. Signature is right up my alley where they trade neutrality for musicality to some degree, but these are not extreme V or U-shaped IEMs. These are warm, bold and powerful-sounding IEMs with very nice texture and detail, especially in the lower registers. Everything is there and everything is huge. These are as close to full-size-sounding headphones as I have ever heard in an IEM with perhaps the only other one coming close being the Vega. These just sound massive. It’s rounded out nicely and while it is tuned on the “fun” side with slamming sub-bass, warm and punchy mid-bass, the largest departure I think from the mk4 is that the treble now does not take a backseat like before. It’s all here, and lots of it. Detail is also superior to the mk4 and perhaps even superior to the Solar, but more on that once I get to comparisons. These are IEMs that you just want to listen to, for a long time. These are very dynamic IEMs covering a wide range of genres. They’re quite resolving and while I don’t find them lacking at all technically, they are simply tuned different than something like the Dita Dream or Galaxy V1/2. I really find them to be the best “all-rounders” I’ve ever listened to.
Bass: Starting with sub-bass, I have a feeling these reach deeper and slam harder than most of my IEMs sans perhaps the Vega. I loved the sub-bass on the RDB mk4 and these are even better with the 11mm new dynamic driver. To me, you can’t replace that subwoofer feel in the ear that a dynamic driver provides and these showcase that excellently. It’s not muddy, it’s not flabby, but it’s powerful and it sure does not disappoint. Put on “Why So Serious?” by Hans Zimmer and scroll to 3:20 and be prepared to have the hell scared right out of you. Maybe that’s why they’re called Zombies? I kid you not, these beasts can reproduce the low frequencies in a way that will startle you if you don’t know it’s coming. You could even call these bass-head IEMs, but you’d be doing them a disservice because there is so much more to love. Mid-bass is quite prominent; it’s punchy and warm, but these are definitely tuned such that the mid-bass is there more often than not. I really like this tuning because I love gobs of bass, but to each their own. A good example of this is “Talk Shows on Mute” by Incubus, where you’ll hear the bass guitar being the star of the show.
Mids: I think mids are hard to review because each type of music can showcase them very differently. On the Zombies, I would call them slightly recessed but not to the point where the IEMs exhibit a huge V-shape. Mids are lush and vocals sound great, with nice texture – I especially like female vocals like Haley Reinhart, which produce a nice, smooth tone. That prominent mid-bass does a very slight disservice to the mids, but again I prefer this sound signature. Mids are not muffled or attenuated, they’re just not standing out from the bass in such a way that the Earsonics S-EM6 would for example. Electric guitars sound appropriately thick and crunchy and I really think most people will find little fault with the mids on these.
Treble: I’m pleased to see the higher notes get more attention on these IEMs in comparison to their previous iteration. While the treble is nicely extended and articulate, you will find zero sibilance and I would still call these recessed in the higher registers, though not nearly as much as the mk4. To me, this is a double-edged sword. On one hand, you can listen to these for hours and hours and I cannot imagine treble fatigue setting in, but on certain tracks (“Feel it Still” by Portagul. The Man) I could stand a tad more extension in the treble. Now, I’m not very sensitive to treble at all, so I believe these will strike a perfect balance for most folks. Electronic tracks really showcase the amount of detail that these IEMs can produce in the highs, so I honestly have no complaints here and applaud the tuning by Sammy and team. Try something like “Frontier” by Doctor Vox and you will find your toes tapping and quickly realize that those four balanced armatures for the highs are getting things just right.
Detail, Separation and Soundstage: I think a lot of reviewers are better qualified than me write on soundstage and I am not afraid to admit that. So a quick word on my methodology here, and that’s when I write about soundstage I am using it as an all-inclusive term for how large and detailed the theoretical and portrayed “stage” is and how I can place the instruments on that stage. My ears are not good enough, usually, to tell me exactly how tall the stage is, how wide the stage is or how deep the stage is (and certainly not what color socks the drummer on the left is wearing). Instead, I will say that the Zombies are cable of portraying sounds from all directions extremely well and from quite a large stage. Specifically when listening to something recorded with a binaural microphone, sounds feel extremely realistic and quite far out of my head with fantastic separation between instruments. The soundstage is very realistic and I can very clearly hear where certain instruments are placed. Detail retrieval is extremely impressive on good recordings and I don’t find anything lacking here. Keep in mind, these are not cold, analytical IEMs favoring details over musicality, though. Other IEMs can produce more realistic details and clarity (perhaps the Dream), but for a musical IEM that I can listen to all day, I’m quite impressed with the amount of resolution these provide (especially with Sammy’s excellend Silver mk3 cable). While I won’t call any part of this a tradeoff, I will say that if I could ask for that perfect blend of detail, clarity and musicality then these would be as close as I’ve ever heard.
Comparisons: Now the fun begins, right? At this level of price and performance, I stand firmly in my belief that it is very hard to declare “winners” rather than just appreciating and embracing differences. Take Nic’s shootout, for example. Were there any losers? Hello no! Were there any winners? Maybe, but one’s winner may be another’s loser, and so forth and so on. So in this case, I will do my best to tell you how these compare to some other IEMs I have and your homework is to interpret my thoughts with the understanding that your preferences are ultimately much more important than mine! Right?
Rhapsodio Solar: The obvious comparison that I envisioned long before I started writing this review. The Solar, a very popular 10 balanced armature IEM on Head-Fi that many love for their luscious musicality, wonderful detail retrieval and fun sound signature. I went into this thinking that it would take a lot for me to like the Zombie more than the Solar and the verdict is: I do. Right out of the gate, you hear that dynamic driver sub-bass of the Zombie that the Solar does not provide. The Zombie hits deeper, harder and overall will satisfy someone craving bass. Mid-bass is similar on the two in that it is prominent (still more prominent on the Zombie), warm and provides that crunchy and thick electric guitar. Moving into the mid-range, the Solar provides a more balanced and forward midrange. Vocals sound slightly thicker on the Zombie where as they are slightly clearer on the Solar. Personal preference here, but I think the mids/vocals on the Solar are more versatile with numerous types of music, but the difference is not huge. Treble is very nicely extended on both IEMs, but tuned differently. The Solars are brighter overall and give the impression of increased clarity in the upper regions in comparison to the Zombie, but again the differences are subtle. Overall I prefer the sound signature of the Zombie, hugely prefer the bass and love the mids and treble on each in different ways. Soundstage is larger to me on the Zombie and more intimate on the Solar, while detail retrieval also feels superior on the Zombie. The Zombie is also just so coherent that you wouldn’t know you’re listening to 8 balanced armatures and a dynamic driver. So many hybrids get this wrong and yet, the Zombie feels like a Solar that is improved in nearly every way.
*Cable used for testing: Rhapsodio Silver Knight 4-braid pure silver
Campfire Vega: I love the Campfire Vegas and thought this would be a fun comparison. The technology and configuration similarities start and stop with both IEMs having a dynamic driver, but that’s about it. Heck, they don’t even take the same cables. The Vega has one, fancy, 8.5mm diamond something or other driver coated in unicorn dust that absolutely rocks my face off. The sub-bass on the Vega is hard to beat with its authoritative punch and deep rumble, but the Zombie definitely competes with its 11mm dynamic driver. Mid-bass rolls off much quicker on the Vega where it continues to be elevated in the Zombie, giving the Zombie a warmer transition into the mids and overall warmer tone in general. The Zombie has almost an analog character in comparison to the sometimes-sharp Vega. The Vega has a lot of energy where the Zombie seems more rounded, though it still slams you with authoritative bass. Mids, too, are thicker on the Zombie than the Vega. I might prefer the Vega for electronic or pop music, where the Zombie just screams with band-based music such as rock (though I still love its bass slam for nearly everything). The Vega overall just sounds a tad cleaner, but also thinner. The highs on the Vega are more extended and present than on the Zombie, so this will be either a pro or a con depending on your tuning preference. I love the brighter and energetic of the Vega, depending on genre. So let’s take those extremely disorganized thoughts and provide a TL;DR, shall we? The Zombie is thicker, warmer and more polite up top while the Vega is a touch cleaner, more energetic and extended in the higher regions. I love both!
*Cable used for testing: Triton Audio custom 8-braid pure silver (this may contribute to the Vega being brighter than how it would sound with the stock SPC cable)
Earsonics S-EM9: I won’t mince words here, these are two very different IEMs despite sharing a driver count of nine. I think my time is best spent here pointing out the differences, because there are not many similarities (well, price tag!). The S-EM9 have long been a favorite IEM of mine due to their lovely sound signature, technical abilities, comfort and completely idiotic nozzle design that you cannot fit any of your favorite tips on. So let’s start with the bass, which is quick, punchy, fun and very articulate and detailed on the S-EM9. In comparison to the Zombie, quantity is lower but quality may be higher where fast-paced kick drums are concerned. The Zombie reaches lower and just moves more air in your ear to create that subwoofer feel, where the S-EM9 still has great sub-bass extension but not in the quantity that the Zombie provides. Mid-bass on the S-EM9 is also quick and punchy and with electronic music, it provides a very clean and clear kick to the music where the Zombie sort of shoves that slower, more lush bass in your ear whether you want it or not. The S-EM9 is the more neutral IEM of the two. Mid-range on the S-EM9 seems more forward to me, though thinner, clearer and more transparent. Earsonics knows how to do mids and they have done it here. While not thick and creamy like the S-EM6, there is very little to fault the S-EM9 for in regards to mid-range frequencies. That said, the Zombie is thicker in the mids, a bit more laid back and overall will come down simply to personal preference. I declare no winner here of course, just difference. The treble on the S-EM9 is probably the largest difference between the two IEMs where it is extremely detailed, extended and just crystal clear. The upper frequencies give the S-EM9 a sense of clarity that I have not heard in many other IEMs, if any. It’s not bright, per se, but the treble is definitely a showcase of what the S-EM9 can do on not only a technical level, but it’s just flat out enjoyable to hear. Soundstage is larger on the Zombie, but instrument separation and placement is right up there on the S-EM9. The S-EM9 is really great balance of musical energy and incredible technical abilities. No winner here, but I would say the Zombie is for the bass-lovers who prefer an overall thicker sound, while the S-EM9 is pretty hard to beat for clean pop or electronic music.
*Cable used for testing: SilverFi X pure silver cable, slightly modified so that I can actually use it in my ears (this is known to be a warm cable)
Dita Dream: While I have not had the Dream for very long (a month or so), I thought it might be fun to compare the sounds of these very different IEMs. The Dream needs no introduction with its unapologetic flagship price tag and status, seemingly heroic stock cable and the promise of providing sonic details that the musicians didn’t even know were there. While both IEMs have a dynamic driver, the similarities stop there and the Dream makes no denial that it is a reference monitor. But as Nic points out in his brilliant review, this can be a very good thing. The sound signatures are so different than it makes a comparison both very easy, and very difficult. Sub-bass reaches very deep and remains extremely clean and controlled on the Dream, but the quantity is drastically less than on the Zombie. Mid-bass remains very clean, punchy and controlled on the Dream, while it is much more prominent in the Zombie (although slower and less controlled, as the sub-bass). I don’t see either of these as bad things, they’re just quite different. The quality of the bass on the Dream is a very strong point, whereas the quantity is much higher on the Zombie. I know that seems like an oversimplified description of the bass on each IEM, but it’s very true to my ears. The Dream, after all, is geared toward a reference tuning and does not exaggerate any frequencies. Instead, this is as close to as “the artist intended” as I think you are going to find. That said, it still is a fun IEM in that it provides loads of clarity and detail and it is not completely dead-cold-flat. The bass still, to my ears, is slightly more elevated and emphasized than something like the Earsonics S-EM6 V2, which can sometimes sound like they forgot to put a driver in that handles the lower bass regions. Moving onto the mid-range, I think ultimate clarity was achieved here and it too is very clean and neutral. The Zombie is thicker in the mids and despite them being somewhat recessed, the vocals and guitars still sound more musical and textured in the Zombie. Like the S-EM9, the Dream is fantastically clean, controlled and offers stunning resolution and detail. The highs continue the trend of clarity and resolution and are quite different from the Zombie. The Zombie again provides great extension, but they are very tame compared to the cooler, brighter highs of the Dream. Anyone sensitive to treble may take slight issue with the Dream’s bright, resolving upper frequencies, but I certainly enjoy what it provides. Another TL;DR, buy both the Dream and the Zombie, they go nicely in your collection together. I kid, but really they are very different IEMs and someone who wants warm, musical, fun bass should consider the Zombie where someone trying to eek out every last detail might be better served by the Dream. For me, the Zombie is the more enjoyable listen day-to-day by a fair margin.
*Cable used for testing: the extremely uncomfortable, stiff Van der Hul “Truth” Dita cable that comes with the dream, which can also be used for repelling off a mountain due to its strength
Conclusion
This review took me a while to write and not because it’s any good, but because I have been enjoying listening to the RDB mk8 Zombie so much. Okay, having a little boy being added to our family has not helped either, but I digress. I think it should come as no surprise that I absolutely love the Zombie IEMs and they have, for all intents and purposes, risen to the top of my collection. Some of my IEMs are more technical, some are more neutral, some are more comfortable and some are a hell of a lot cheaper. But none are as fun and at the end of the day, I give five stars based on the fact that if I walked into my room and opened my IEM drawer (yes, I have one), these are the ones I would grab over any others. In fact this weekend I went out of town in Sonoma County and brought the Zombies, a 2.5mm balanced cable and only a smart phone. I think I suffered some serious depression and considered driving two and a half hours back home to either get an adapter or a balanced 2.5mm source so that I could listen! These are emotional, musical and fun IEMs that really showcase what Sammy and Rhapsodio are capable of and that’s creating beautiful IEMs that just sound incredibly good. They’re not for everyone (and no IEM is) given their fun sound signature and tuning, but they sure are for me and I’m the one writing the review, right? Listening to IEMs like these make me excited to see what is in store for Rhapsodio next and there is a reason that I pretty much buy every release that comes out, and do so rapidly with enthusiasm. These gems make nearly all of my music sound fantastic and I start to forget the things like what DAC chip my source has, whether or not I am listening to FLAC files and if my cable has 1% gold in it. I really like the trend that flagship IEMs don’t have to sound cold, flat or boring. These are a wonderful example of tireless testing, tuning and refining to create an IEM that is unapologetically fun to listen to. Yes, it is expensive, but in this pay-to-play “hobby” I will gladly shell out my hard-earned cash for these masterpieces.
Supporting Links:
Rhapsodio RDB mk8 Zombie: https://www.rhapsodiostore.com/products/rdb-mk-8-zombie
Rhapsodio Silver mk3 cable: https://www.rhapsodiostore.com/products/rsd-silver-mk3
Triton Audio cables (seen on Vega): http://tritonaudiocables.com/Triton8-Flagship-Hybrid-Cable_p_35.html
SilverFi cables (seen on S-EM9): http://www.silverfi.com/
Nic’s shootout/review: https://www.head-fi.org/threads/ran...ut-introduction-and-reviews-on-page-1.826876/
Intro & Me: I'm best described as someone who loves music, loves gear and loves to combine them into a "hobby" that focuses on all of these important ingredients from Head-Fi. I have quite a few IEMs, though I still do not consider myself an audiophile. Instead, I like what I like, I'm not scientific in my "testing" and I am here today to simply give you my thoughts on a really fun, addictive pair of IEMs that I have recently purchased: the Rhapsodio RDB mk4.
Test Equipment: What I have used for testing in this review is my home desktop setup which is a Gustard A20H balanced DAC/amp, my Pioneer XDP-300r player and my ALO International+ DAC/amp which I use at work. I used Tidal "HiFi" streaming exclusively with tracks from almost all genres, including rock, electronic, country and pop. I used both the supplied cable and also a Rhapsodio RSD Silver cable, which I will go into later.
Ordering, Physical Appearance, Fit and Cables: This time, I'm going to spend a little more time than I normally would on this section because when I took these out of the box, I was blown away. Let's take a step back and talk about Rhapsodio for a minute: they are not Sennheiser. They are not Sony. They are not a large manufacturer. Instead, they are a few extremely talented, friendly and downright awesome folks who share a love and passion for creating some of the best IEMs on earth (in my not-so-humble-opinion). Sammy, who is very well-known on the forums, usually answers messages sent to Rhapsodio inquiring about making purchases. I had never bought a Rhapsodio product before, so I had a few questions that Sammy answered immediately via Facebook Messenger. I love that he's always happy to answer questions and that he's not shy to give his opinion. Truth be told: I had no idea what I wanted, I just knew I wanted a Rhapsodio IEM. The RDB falls on the lesser-expensive side of their lineup and when I asked Sammy how it sounded compared to the Solar and the Galaxy, he replied that he loved it because of its huge dynamic range and great sound quality. When I was ready to order, I got to choose the color I wanted and the overall appearance, similar to a custom IEM experience. I went with an orange shell and carbon fiber face. He sent me photos that blew me away and I was so excited. Then, when I received them, I was just taken aback by how beautiful they were in person, including the Pandora Dwarf copper cable he included with them for me.
The RDB mk4 is the "hybrid" of Rhapsodio's lineup in that it has a single dynamic driver and then four balanced-armature drivers. This sounds like a very potent mix and given the similar configurations, I expected it to sound somewhat like my Shockwave 3 IEMs. I couldn't have been more wrong and that just goes to show that driver configuration is never indicitive of sound quality. The IEMs came in an awesome aluminum case, came with an assortment of silicon tips and also came with a beautiful cable with a leather tie on it. Overall, the package just felt completely awesome. Shipping times were very fast from Hong Kong to the United States and I have no complaints whatsoever.
Let's move onto the fit of these IEMs. They are somewhat large, but very comfortable for me. My preferred tips are JVC Spiral Dots and I am happy to report that these fit the RDB IEMs perfectly. I didn't try any tips that Sammy provided because, why mess with a good thing. Everyone's ears are different and for me, wherever Spiral Dots fit the nozzle, I use them. Unless in rare circumstances I have an IEM where a wide nozzle doesn't work well with the sound, I love them and recommend them. The RDB is no exception, though chances are there's something for everyone in the package.
Sound: Sound is a very subjective thing, but I will do my best to hit all the big points with regards to sound quality and sound signature. Summarizing my take on the IEMs, they are pleasantly dark, musical and very fun with a slamming and deep bass, lush, warm mid-range and a smooth treble that I have never found fatiguing at any volume. These are the IEMs you listen to all day, toe tapping and head bobbing. These are NOT the IEMs you use to hear every single last detail in the music. Now that's not to say they don't produce great amounts of detail, but they stray from the "analytical" side of things in favor of total "musicality" and for that, I love them. Let's dig a big deeper into the different frequencies.
Bass: I think I'm somewhere in between bass-head and north-of-neutral bass preference, meaning I like a lot. I'll just come right out and say it: the bass on the RDB mk4 is the best bass I have heard in regards to my sound preference. The dynamic driver produces a very low, deep sub-bass rumble and still provides an ample punch in the mid-bass. I love, love, love the sound of the lower frequencies through these IEMs. It is well-controlled, deep and definitely more toward fun than neutral. The bass makes itself known sometimes even when the track does not call for it, but not in an overwhelming way. It's just fun and games and like I said, these are not the most analytical IEMs, but darn near the most fun. I rank the bass in the same league as the Velvets I have, where the sub-bass goes a bit deeper on the RDB and the mid-bass on the Velvets is slightly faster and punchier. I guess if I'm splitting hairs, the bass could be a tad tighter and quicker on the RDB, but that also might change the sound signature in a direction that I wouldn't want. These aren't bass-head IEMs, but they're as close as I'm willing to get.
Mids: I really enjoy the mid-range of the RDB mk4. Thankfully all of the wonderful bass I mentioned above does not create any issues with the mid-range on these IEMs. Instead, the mids are warm, lush and vocals sound smooth with enough texture. Electric guitars really sing, with real meat on the bones so to speak and the mids never seem lean or recessed. Male vocals are full and presented with authority and similarly, female vocals are clear, detailed and never sound veiled. The bass blends nicely into the lower mids and I just love the way these IEMs make everything so musical. The mids remind me of my Earsonics S-EM6 IEMs, but not as forward and out in front of the bass.
Highs: To me, the treble on the RDB mk4 is best described as relaxed. The treble is smooth, detailed and relaxed and you will find zero evidence of any sibilance or treble fatigue here. This can be a good thing or a not so good thing depending on the music you choose to listen to. These are not V-shaped IEMs; in fact, I don't even know what shape these would be given the strong bass presence, neutral-yet-warm mids and slightly smooth, relaxed treble. For me, it's uber-musical (sorry for broken record, I'm running out of adjectives) and very enjoyable for long listening sessions. Treble-heads or EDM fans may wish for more treble presence, but the treble I hear is so pleasing to my ears with the right amount of sparkle and character. Symbals and high hats have a wonderful crash that will not pierce your eardrums and pop music has clear, defined high notes. To me, this is very close to the perfect tuning.
Detail, Separation and Soundstage: As I mentioned, these would not be my first choice for an analytical listening session aimed toward eeking out every last detail. I find them wonderfully detailed, but the strong bass presence and warm mid-range may leave some resolution in favor of a more "fun" sound signature. Not a bad thing for me; I love the way these present details and I find no fatigue after spending hours with them. Separation between instruments is very good, but not quite as good as something like the Earsonics S-EM9 (and nor should it be at less than half the price at the time of this writing). Soundstage, however, really surprised me with a very wide stage. I've accumulated a few test tracks that were recorded with a binaural microphone and these IEMs do the recordings justice. While listening with your eyes closed, it is very easy to imagine where each instrument is located and some sound quite distant, while some sound near you. This, for me, is a win on the soundstage front.
Cable Improvements: Ah, one of the most controversial subjects on Head-Fi. I'm going to keep this very simple: I tested these IEMs with two cables. The first, and what I primarily used for a majority of the review, is the copper Pandora Dwarf in 3.5mm single ended. The second cable I tried is the Rhapsodio RSD Silver which I asked Sammy to terminate in 2.5mm balanced. So, while I can't exactly offer an apples to apples comparison, I prefer the RSD silver with the balanced connection. It tightens up the bass, brings the treble a bit forward and generally leaves the mid-range alone. The differences are VERY subtle, but they are there. This cable currently sells for $220 and I think it's a wonderful "upgrade" cable for these IEMs. Once this review is complete, I plan to use the RDB mk4 with the RSD Silver cable indefinitely. Given that the RDB are very warm by nature, this combination really works for me.
Some Comparisons: A lot of folks look for comparisons when choosing IEMs, so I'll do my best here with what I have and what I think some contenders might be. First and foremost...
Earsonics Velvet: The Velvets are one of my favorite pairs of IEMs because of their slamming, authoritative bass and very fun V-shape signature. I actually am finding it difficult to choose a winner on the bass front because they both have such awesome, powerful bass. The bass on the Velvet is quicker, while on the RDB it extends lower and has a softer feel to it. The mids on the Velvet are recessed where they are full and neutral on the RDB. The highs on the Velvet are quite extended and can get bright depending on where you adjust the tuning dial, while the RDB have a smooth, relaxed treble. Someone who prefers a V-shape sound for EDM or pop would likely choose the Velvets where someone who wanted a better IEM for rock and vocals would likely choose the RDB mk4. I give them a completely tie as they are just different sound signatures, but similar quality.
Sony XBA-Z5: Sony's triple-hybrid design with a big dynamic driver and two balanced-armature drivers came to mind in this test because of price point and overall quality. The bass on the Z5 is a bit more refined, though less in quantity than the RDB. Where the RDB bass is seemingly always present, it is there when called for in the Z5. Both extend very deep and are very punchy with kick drums and overall, I think the bass-head would prefer the RDB while someone looking for a slightly more neutral tuning might favor the Z5. Mid-range is a bit warmer on the RDB, while a bit clearer and very slightly recessed on the Z5. Treble on the Z5 sounds energetic compared to the RDB where it is more relaxed and smooth. Z5 leans closer to a V-shape sound with strong, powerful bass, lean mids and extended treble where the RDB is smooth, lush and overall a very dark and warm IEM. I prefer the sound of the RDB mk4 myself. The fit is way better on the RDB for me as well, where the Z5 looks like two USB thumb drives sticking out of your ears!
Noble Django (6): The Noble Django is a six balanced-armature unit tuned toward fun, musicality. Starting with the bass, it is punchy, quick and defined on the Django where it is deeper, a bit looser and slower on the RDB. Again, I think the bass-head would prefer the RDB and someone wanting a bit quicker punchier bass would prefer the Django. The Django has a V-shape signature with recessed mids, where the RDB has warm, lush mids as I mentioned before. Treble is very energetic on the Django and more relaxed and smoother on the RDB. Neither IEM is sibilant or bright, but the treble energy is on a higher level on the Django. This is a tough call as the Django are one of my all-time favorite IEMs. The fact that the RDB mk4 are $350 cheaper than the Noble Django make them a win for me, and I also prefer the dark, rich sound of the RDB. But I can see how someone looking for a more neutral tuning, but still musical an fun, might prefer the Django.
Earsonics S-EM6: The S-EM6 is another six balanced-armature design like the Django, but tuning is completely different. The S-EM6 bass is quite warm and relaxed, though it does not extend as deep as the RDB mk4. It is ever so slightly quicker, but the sub-bass rumble on the RDB mk4 is much better. Mid-ranges are similar here in that they're warm and lush, though the S-EM6 brings the mids forward to be in front of the treble and bass, making vocals sound noticeably forward (and pleasing usually). The RDB vocals are similarly warm and lush, but are not nearly as forward. Treble on the S-EM6 and RDB mk4 might be their most similar traid: relaxed and non-fatiguing. The sound signatures are not too far off in total, with the mid-forward focus of the S-EM6 being the only large differentiator. For me, the IEM for my tastes is the RDB mk4. I love the S-EM6 with certain types of music, but the more versatile and fun IEM is the RDB mk4. Prices vary considerably on the S-EM6 and it's worth noting that I only have the V1 version and not the V2. At retail price of nearly $1k for the S-EM6, the RDB mk4 is an easy winner. At the Massdrop price of $549 that I got them for, it's not as sure a win.
Wrapping Up: I really like Rhapsodio as a company. They're not afraid to step outside the bubble and make IEMs that they think people will love and if it isn't evident yet, I love the RDB mk4. You can see that there are things that I feel some folks might want to change or wish different upon, but these are just so fun for me that I cannot give them any less than five stars. I similarly gave the Velvet five stars because of how much I loved their fun, musical nature and these RDB mk4 are no different (and better in many ways). At the price of $650 including an upgraded Pandora Dwarf cable, they earn my highest mark. At the original retail price of $800 with a Pandora OCC cable, I would probably drop that rating to 4.5 stars. I would still pay it, but, I wouldn't be as blown away as the price to performance ratio that Sammy is now offering with these. In closing, yes there are more detailed IEMs out there and yes, there are more technically superior IEMs out there, but I have yet to hear an IEM that is as fun as these. Now, I've recently obtained a pair of Rhapsodio Solars as well and my statement may change of which of my IEMs are the most fun to listen to, but for right now my ultimate joy is found in the RDB mk4. These are very well done and worthy of your consideration and have turned me overnight into a Rhapsodio fanboy.
-Collin-
Test Equipment: What I have used for testing in this review is my home desktop setup which is a Gustard A20H balanced DAC/amp, my Pioneer XDP-300r player and my ALO International+ DAC/amp which I use at work. I used Tidal "HiFi" streaming exclusively with tracks from almost all genres, including rock, electronic, country and pop. I used both the supplied cable and also a Rhapsodio RSD Silver cable, which I will go into later.
Ordering, Physical Appearance, Fit and Cables: This time, I'm going to spend a little more time than I normally would on this section because when I took these out of the box, I was blown away. Let's take a step back and talk about Rhapsodio for a minute: they are not Sennheiser. They are not Sony. They are not a large manufacturer. Instead, they are a few extremely talented, friendly and downright awesome folks who share a love and passion for creating some of the best IEMs on earth (in my not-so-humble-opinion). Sammy, who is very well-known on the forums, usually answers messages sent to Rhapsodio inquiring about making purchases. I had never bought a Rhapsodio product before, so I had a few questions that Sammy answered immediately via Facebook Messenger. I love that he's always happy to answer questions and that he's not shy to give his opinion. Truth be told: I had no idea what I wanted, I just knew I wanted a Rhapsodio IEM. The RDB falls on the lesser-expensive side of their lineup and when I asked Sammy how it sounded compared to the Solar and the Galaxy, he replied that he loved it because of its huge dynamic range and great sound quality. When I was ready to order, I got to choose the color I wanted and the overall appearance, similar to a custom IEM experience. I went with an orange shell and carbon fiber face. He sent me photos that blew me away and I was so excited. Then, when I received them, I was just taken aback by how beautiful they were in person, including the Pandora Dwarf copper cable he included with them for me.
The RDB mk4 is the "hybrid" of Rhapsodio's lineup in that it has a single dynamic driver and then four balanced-armature drivers. This sounds like a very potent mix and given the similar configurations, I expected it to sound somewhat like my Shockwave 3 IEMs. I couldn't have been more wrong and that just goes to show that driver configuration is never indicitive of sound quality. The IEMs came in an awesome aluminum case, came with an assortment of silicon tips and also came with a beautiful cable with a leather tie on it. Overall, the package just felt completely awesome. Shipping times were very fast from Hong Kong to the United States and I have no complaints whatsoever.
Let's move onto the fit of these IEMs. They are somewhat large, but very comfortable for me. My preferred tips are JVC Spiral Dots and I am happy to report that these fit the RDB IEMs perfectly. I didn't try any tips that Sammy provided because, why mess with a good thing. Everyone's ears are different and for me, wherever Spiral Dots fit the nozzle, I use them. Unless in rare circumstances I have an IEM where a wide nozzle doesn't work well with the sound, I love them and recommend them. The RDB is no exception, though chances are there's something for everyone in the package.
Sound: Sound is a very subjective thing, but I will do my best to hit all the big points with regards to sound quality and sound signature. Summarizing my take on the IEMs, they are pleasantly dark, musical and very fun with a slamming and deep bass, lush, warm mid-range and a smooth treble that I have never found fatiguing at any volume. These are the IEMs you listen to all day, toe tapping and head bobbing. These are NOT the IEMs you use to hear every single last detail in the music. Now that's not to say they don't produce great amounts of detail, but they stray from the "analytical" side of things in favor of total "musicality" and for that, I love them. Let's dig a big deeper into the different frequencies.
Bass: I think I'm somewhere in between bass-head and north-of-neutral bass preference, meaning I like a lot. I'll just come right out and say it: the bass on the RDB mk4 is the best bass I have heard in regards to my sound preference. The dynamic driver produces a very low, deep sub-bass rumble and still provides an ample punch in the mid-bass. I love, love, love the sound of the lower frequencies through these IEMs. It is well-controlled, deep and definitely more toward fun than neutral. The bass makes itself known sometimes even when the track does not call for it, but not in an overwhelming way. It's just fun and games and like I said, these are not the most analytical IEMs, but darn near the most fun. I rank the bass in the same league as the Velvets I have, where the sub-bass goes a bit deeper on the RDB and the mid-bass on the Velvets is slightly faster and punchier. I guess if I'm splitting hairs, the bass could be a tad tighter and quicker on the RDB, but that also might change the sound signature in a direction that I wouldn't want. These aren't bass-head IEMs, but they're as close as I'm willing to get.
Mids: I really enjoy the mid-range of the RDB mk4. Thankfully all of the wonderful bass I mentioned above does not create any issues with the mid-range on these IEMs. Instead, the mids are warm, lush and vocals sound smooth with enough texture. Electric guitars really sing, with real meat on the bones so to speak and the mids never seem lean or recessed. Male vocals are full and presented with authority and similarly, female vocals are clear, detailed and never sound veiled. The bass blends nicely into the lower mids and I just love the way these IEMs make everything so musical. The mids remind me of my Earsonics S-EM6 IEMs, but not as forward and out in front of the bass.
Highs: To me, the treble on the RDB mk4 is best described as relaxed. The treble is smooth, detailed and relaxed and you will find zero evidence of any sibilance or treble fatigue here. This can be a good thing or a not so good thing depending on the music you choose to listen to. These are not V-shaped IEMs; in fact, I don't even know what shape these would be given the strong bass presence, neutral-yet-warm mids and slightly smooth, relaxed treble. For me, it's uber-musical (sorry for broken record, I'm running out of adjectives) and very enjoyable for long listening sessions. Treble-heads or EDM fans may wish for more treble presence, but the treble I hear is so pleasing to my ears with the right amount of sparkle and character. Symbals and high hats have a wonderful crash that will not pierce your eardrums and pop music has clear, defined high notes. To me, this is very close to the perfect tuning.
Detail, Separation and Soundstage: As I mentioned, these would not be my first choice for an analytical listening session aimed toward eeking out every last detail. I find them wonderfully detailed, but the strong bass presence and warm mid-range may leave some resolution in favor of a more "fun" sound signature. Not a bad thing for me; I love the way these present details and I find no fatigue after spending hours with them. Separation between instruments is very good, but not quite as good as something like the Earsonics S-EM9 (and nor should it be at less than half the price at the time of this writing). Soundstage, however, really surprised me with a very wide stage. I've accumulated a few test tracks that were recorded with a binaural microphone and these IEMs do the recordings justice. While listening with your eyes closed, it is very easy to imagine where each instrument is located and some sound quite distant, while some sound near you. This, for me, is a win on the soundstage front.
Cable Improvements: Ah, one of the most controversial subjects on Head-Fi. I'm going to keep this very simple: I tested these IEMs with two cables. The first, and what I primarily used for a majority of the review, is the copper Pandora Dwarf in 3.5mm single ended. The second cable I tried is the Rhapsodio RSD Silver which I asked Sammy to terminate in 2.5mm balanced. So, while I can't exactly offer an apples to apples comparison, I prefer the RSD silver with the balanced connection. It tightens up the bass, brings the treble a bit forward and generally leaves the mid-range alone. The differences are VERY subtle, but they are there. This cable currently sells for $220 and I think it's a wonderful "upgrade" cable for these IEMs. Once this review is complete, I plan to use the RDB mk4 with the RSD Silver cable indefinitely. Given that the RDB are very warm by nature, this combination really works for me.
Some Comparisons: A lot of folks look for comparisons when choosing IEMs, so I'll do my best here with what I have and what I think some contenders might be. First and foremost...
Earsonics Velvet: The Velvets are one of my favorite pairs of IEMs because of their slamming, authoritative bass and very fun V-shape signature. I actually am finding it difficult to choose a winner on the bass front because they both have such awesome, powerful bass. The bass on the Velvet is quicker, while on the RDB it extends lower and has a softer feel to it. The mids on the Velvet are recessed where they are full and neutral on the RDB. The highs on the Velvet are quite extended and can get bright depending on where you adjust the tuning dial, while the RDB have a smooth, relaxed treble. Someone who prefers a V-shape sound for EDM or pop would likely choose the Velvets where someone who wanted a better IEM for rock and vocals would likely choose the RDB mk4. I give them a completely tie as they are just different sound signatures, but similar quality.
Sony XBA-Z5: Sony's triple-hybrid design with a big dynamic driver and two balanced-armature drivers came to mind in this test because of price point and overall quality. The bass on the Z5 is a bit more refined, though less in quantity than the RDB. Where the RDB bass is seemingly always present, it is there when called for in the Z5. Both extend very deep and are very punchy with kick drums and overall, I think the bass-head would prefer the RDB while someone looking for a slightly more neutral tuning might favor the Z5. Mid-range is a bit warmer on the RDB, while a bit clearer and very slightly recessed on the Z5. Treble on the Z5 sounds energetic compared to the RDB where it is more relaxed and smooth. Z5 leans closer to a V-shape sound with strong, powerful bass, lean mids and extended treble where the RDB is smooth, lush and overall a very dark and warm IEM. I prefer the sound of the RDB mk4 myself. The fit is way better on the RDB for me as well, where the Z5 looks like two USB thumb drives sticking out of your ears!
Noble Django (6): The Noble Django is a six balanced-armature unit tuned toward fun, musicality. Starting with the bass, it is punchy, quick and defined on the Django where it is deeper, a bit looser and slower on the RDB. Again, I think the bass-head would prefer the RDB and someone wanting a bit quicker punchier bass would prefer the Django. The Django has a V-shape signature with recessed mids, where the RDB has warm, lush mids as I mentioned before. Treble is very energetic on the Django and more relaxed and smoother on the RDB. Neither IEM is sibilant or bright, but the treble energy is on a higher level on the Django. This is a tough call as the Django are one of my all-time favorite IEMs. The fact that the RDB mk4 are $350 cheaper than the Noble Django make them a win for me, and I also prefer the dark, rich sound of the RDB. But I can see how someone looking for a more neutral tuning, but still musical an fun, might prefer the Django.
Earsonics S-EM6: The S-EM6 is another six balanced-armature design like the Django, but tuning is completely different. The S-EM6 bass is quite warm and relaxed, though it does not extend as deep as the RDB mk4. It is ever so slightly quicker, but the sub-bass rumble on the RDB mk4 is much better. Mid-ranges are similar here in that they're warm and lush, though the S-EM6 brings the mids forward to be in front of the treble and bass, making vocals sound noticeably forward (and pleasing usually). The RDB vocals are similarly warm and lush, but are not nearly as forward. Treble on the S-EM6 and RDB mk4 might be their most similar traid: relaxed and non-fatiguing. The sound signatures are not too far off in total, with the mid-forward focus of the S-EM6 being the only large differentiator. For me, the IEM for my tastes is the RDB mk4. I love the S-EM6 with certain types of music, but the more versatile and fun IEM is the RDB mk4. Prices vary considerably on the S-EM6 and it's worth noting that I only have the V1 version and not the V2. At retail price of nearly $1k for the S-EM6, the RDB mk4 is an easy winner. At the Massdrop price of $549 that I got them for, it's not as sure a win.
Wrapping Up: I really like Rhapsodio as a company. They're not afraid to step outside the bubble and make IEMs that they think people will love and if it isn't evident yet, I love the RDB mk4. You can see that there are things that I feel some folks might want to change or wish different upon, but these are just so fun for me that I cannot give them any less than five stars. I similarly gave the Velvet five stars because of how much I loved their fun, musical nature and these RDB mk4 are no different (and better in many ways). At the price of $650 including an upgraded Pandora Dwarf cable, they earn my highest mark. At the original retail price of $800 with a Pandora OCC cable, I would probably drop that rating to 4.5 stars. I would still pay it, but, I wouldn't be as blown away as the price to performance ratio that Sammy is now offering with these. In closing, yes there are more detailed IEMs out there and yes, there are more technically superior IEMs out there, but I have yet to hear an IEM that is as fun as these. Now, I've recently obtained a pair of Rhapsodio Solars as well and my statement may change of which of my IEMs are the most fun to listen to, but for right now my ultimate joy is found in the RDB mk4. These are very well done and worthy of your consideration and have turned me overnight into a Rhapsodio fanboy.
-Collin-
Attachments
Intro & Me: I’ve been buying IEMs and audio gear for a few years now and it is safe to say I have an addiction. So with that out of the way, let’s dive right into these wallet-friendly earphones this time around! Musical genres that I like are pop, electronic, blues, jazz, rock and country, so you could say that I enjoy everything for the most part. I enjoy writing reviews because let’s face it: head-fi isn’t as much fun if you just buy gear, use it, love it, and don’t get to write or post about it! So I am here today to offer some thoughts on the “Whizzer” A15 IEM.
Test Equipment: For these IEMs, I primarily used my LG V20 and my iPhone 7 Plus connected to both my Chord Mojo and my Centrance DACport HD. This gave me a pretty good idea of how they sound given that those sources range from bright and analytical (V20) to warm and musical (DACport HD).
The IEMs and What’s In the Box: I bought these from my favorite store on AliExpress called NiceHCK. I have been buying gear from Jim for a while now and he’s always been great. I actually was buying some other IEMs, the Simgot EN700 Bass, and he suggested these to me saying they were getting very positive reviews. I decided for $69, why not give them a try. The packaging and presentation of this IEM is rather nice for the price point and I’ve gotten less for much, much more money from other manufacturers. These come with a wide array of tips, a nice leather-like carrying case and some other other goodies. Here is a link to read more about the IEMs and purchase them if you wish: https://www.aliexpress.com/store/product/2016-New-RWhizzer-A15-In-Ear-Earphone-HIFI-Earphone-Metal-Earphone-Headset-Tri-frequencies-Equalization-With/1825606_32786673635.html
In a nutshell, these are single dynamic driver earphones which use a standard MMCX cable connection. The cable is of great quality, being covered in fabric and resisting tangles pretty well. The memory wire over the ears is very soft and easy to flex into a comfortable position. And that leads me to my next point, comfort. One thing to note is that they are only 98dB on the sensitivity side, so they are more suited to something with decent power. If powered by a mobile device, I would say iPhone does fine with them. But if your headphone output is on the low side, you may find yourself wishing for more volume.
Comfort: These IEMs are incredibly comfortable and very much remind me of the shape of the MEE Audio Pinnacle P1. That is a good thing as I found those to be incredibly comfortable. These have actually become my go-to workout IEMs because I don’t even feel them in my ears. I have absolutely no complaints on the ergonomics.
Sound: The sound signature of the A15 is warm, musical and non-fatiguing. I would not call these “reference” IEMs, but rather a very pleasant consumer sound signature on the warmer side. I love them for long listening sessions because of their comfort and non-harsh sound. You can tell that some careful thought went into the tuning on these and if a lush, warm sound is what you are after then I think you will be very pleased with these.
Bass: The bass on the A15 can reach thunderous levels depending on your source, volume and whether or not the music calls for it. I would call the bass on the warm, elevated side and can very slightly become over-powering at times depending on your kind of music. Now keep in mind I am borderline basshead, so I love this sound and have no complaints. Most of head-fi, however, seem to prefer neutral and accurate bass so this is definitely on the Norther side of that. Being a larger dynamic driver, the bass is relaxed and not the fastest or the tightest, but like I said it is a warm almost euphoric like experience and I very much enjoy it.
Mids: Mids on the A15 do what they are supposed to in a very clean, detailed and behaved manner. Vocals on the A15 are lush, if a bit of a step back from the mid-bass. On music like Eric Clapton for example, the vocals are very smooth and plenty detailed. Guitars and other stringed instruments have good character and sound very pleasing. These are not eeking out every last drop of detail in the mids, but I do not consider that a drawback depending on your musical preferences.
Highs: Treble on the A15, while somewhat smoothed and recessed, is very pleasant and textured. Like I said, these are very musical IEMs and you can listen to them for hours on end and the treble plays no small part in that. You will not find any sibilance here, but instead just a nice, smooth treble that is energetic enough if the music calls for it. The details are there, it’s just that the treble doesn’t shout or become fatiguing in the least.
Detail and Separation: I find that the A15, for the price, have a great amount of detail in their presentation. Instruments are clearly separated and while something like the Pinnacle P1 provides more clarity, the A15 wins in a musical and laid-back sense. It’s really hard to complain about the amount of detail here for $69 and keeping the price in mind, I’m very impressed with what these IEMs can do. The dynamic driver is obviously very coherent and has been tuned with precision. A pretty darn nice showing.
Bluetooth MMCX Cable: As I mentioned, the A15 has become my go-to workout IEM for morning jogs and at the gym. I find normal cables to be extremely clumsy in that environment, so I also obtained a Bluetooth MMCX cable from the nice folks at NiceHCK which can be seen here: https://www.aliexpress.com/store/product/2017-New-NiceHCK-HB1-Wireless-Bluetooth-4-1-Earphone-Upgrade-Cable-MMCX-Cable-Support-For-Aptx/1825606_32789274984.html?spm=2114.12010615.0.0.xZCkX9
Honestly, the pairing of the A15 and this MMCX cable has been absolutely outstanding. I have never been a believer in Bluetooth because of extra batteries to charge, loss of details, etc. but all of my concerns were wrong and I am very glad I have revisited things in 2017. I cannot say enough good things about this cable and for a mere $49, it has brought new life to my A15s. I have at the time of writing, over 15 pairs of IEMs and I hate to say it, but the A15 might only get worn once or twice a week with the normal cable. Nothing wrong with the normal cable at all, but, I have a ton of wired earphones. Now, with the MMCX cable, I am able to get the same fantastic sound quality I am used to with wired headphones and the comfort of wires not flailing all over the place. Sure, the battery life is only somewhere around four hours, but for my use case this cable is just awesome. It’s also got a rather powerful amp, so it works very well with the A15. Consider this pairing if you want great sound quality, but don’t want to spend a fortune.
Conclusion: I am really impressed with these A15 IEMs from Whizzer. It’s pretty incredible to see what you can get for significantly less than $100 in the quality department. These punch well above their price point. They provide a pleasant, musical, fun and engaging sound and they do it in a very nice looking package with above average build quality. To think that you can enjoy music on this level for years to come at this price point I would have thought impossible a few years ago. Truth be told, I think these sound even better than the Simgot EN700 (at least much more fun) which I was originally purchasing when Jim told me about these. I don’t think anyone will find any major complaints with the A15. For me, it’s probably the best budget IEM (budget in a relative sense) I have ever tested. They are definitely here to stay and they put a smile on my face when I put them on every morning to go for a run. Very, very well done.
Test Equipment: For these IEMs, I primarily used my LG V20 and my iPhone 7 Plus connected to both my Chord Mojo and my Centrance DACport HD. This gave me a pretty good idea of how they sound given that those sources range from bright and analytical (V20) to warm and musical (DACport HD).
The IEMs and What’s In the Box: I bought these from my favorite store on AliExpress called NiceHCK. I have been buying gear from Jim for a while now and he’s always been great. I actually was buying some other IEMs, the Simgot EN700 Bass, and he suggested these to me saying they were getting very positive reviews. I decided for $69, why not give them a try. The packaging and presentation of this IEM is rather nice for the price point and I’ve gotten less for much, much more money from other manufacturers. These come with a wide array of tips, a nice leather-like carrying case and some other other goodies. Here is a link to read more about the IEMs and purchase them if you wish: https://www.aliexpress.com/store/product/2016-New-RWhizzer-A15-In-Ear-Earphone-HIFI-Earphone-Metal-Earphone-Headset-Tri-frequencies-Equalization-With/1825606_32786673635.html
In a nutshell, these are single dynamic driver earphones which use a standard MMCX cable connection. The cable is of great quality, being covered in fabric and resisting tangles pretty well. The memory wire over the ears is very soft and easy to flex into a comfortable position. And that leads me to my next point, comfort. One thing to note is that they are only 98dB on the sensitivity side, so they are more suited to something with decent power. If powered by a mobile device, I would say iPhone does fine with them. But if your headphone output is on the low side, you may find yourself wishing for more volume.
Comfort: These IEMs are incredibly comfortable and very much remind me of the shape of the MEE Audio Pinnacle P1. That is a good thing as I found those to be incredibly comfortable. These have actually become my go-to workout IEMs because I don’t even feel them in my ears. I have absolutely no complaints on the ergonomics.
Sound: The sound signature of the A15 is warm, musical and non-fatiguing. I would not call these “reference” IEMs, but rather a very pleasant consumer sound signature on the warmer side. I love them for long listening sessions because of their comfort and non-harsh sound. You can tell that some careful thought went into the tuning on these and if a lush, warm sound is what you are after then I think you will be very pleased with these.
Bass: The bass on the A15 can reach thunderous levels depending on your source, volume and whether or not the music calls for it. I would call the bass on the warm, elevated side and can very slightly become over-powering at times depending on your kind of music. Now keep in mind I am borderline basshead, so I love this sound and have no complaints. Most of head-fi, however, seem to prefer neutral and accurate bass so this is definitely on the Norther side of that. Being a larger dynamic driver, the bass is relaxed and not the fastest or the tightest, but like I said it is a warm almost euphoric like experience and I very much enjoy it.
Mids: Mids on the A15 do what they are supposed to in a very clean, detailed and behaved manner. Vocals on the A15 are lush, if a bit of a step back from the mid-bass. On music like Eric Clapton for example, the vocals are very smooth and plenty detailed. Guitars and other stringed instruments have good character and sound very pleasing. These are not eeking out every last drop of detail in the mids, but I do not consider that a drawback depending on your musical preferences.
Highs: Treble on the A15, while somewhat smoothed and recessed, is very pleasant and textured. Like I said, these are very musical IEMs and you can listen to them for hours on end and the treble plays no small part in that. You will not find any sibilance here, but instead just a nice, smooth treble that is energetic enough if the music calls for it. The details are there, it’s just that the treble doesn’t shout or become fatiguing in the least.
Detail and Separation: I find that the A15, for the price, have a great amount of detail in their presentation. Instruments are clearly separated and while something like the Pinnacle P1 provides more clarity, the A15 wins in a musical and laid-back sense. It’s really hard to complain about the amount of detail here for $69 and keeping the price in mind, I’m very impressed with what these IEMs can do. The dynamic driver is obviously very coherent and has been tuned with precision. A pretty darn nice showing.
Bluetooth MMCX Cable: As I mentioned, the A15 has become my go-to workout IEM for morning jogs and at the gym. I find normal cables to be extremely clumsy in that environment, so I also obtained a Bluetooth MMCX cable from the nice folks at NiceHCK which can be seen here: https://www.aliexpress.com/store/product/2017-New-NiceHCK-HB1-Wireless-Bluetooth-4-1-Earphone-Upgrade-Cable-MMCX-Cable-Support-For-Aptx/1825606_32789274984.html?spm=2114.12010615.0.0.xZCkX9
Honestly, the pairing of the A15 and this MMCX cable has been absolutely outstanding. I have never been a believer in Bluetooth because of extra batteries to charge, loss of details, etc. but all of my concerns were wrong and I am very glad I have revisited things in 2017. I cannot say enough good things about this cable and for a mere $49, it has brought new life to my A15s. I have at the time of writing, over 15 pairs of IEMs and I hate to say it, but the A15 might only get worn once or twice a week with the normal cable. Nothing wrong with the normal cable at all, but, I have a ton of wired earphones. Now, with the MMCX cable, I am able to get the same fantastic sound quality I am used to with wired headphones and the comfort of wires not flailing all over the place. Sure, the battery life is only somewhere around four hours, but for my use case this cable is just awesome. It’s also got a rather powerful amp, so it works very well with the A15. Consider this pairing if you want great sound quality, but don’t want to spend a fortune.
Conclusion: I am really impressed with these A15 IEMs from Whizzer. It’s pretty incredible to see what you can get for significantly less than $100 in the quality department. These punch well above their price point. They provide a pleasant, musical, fun and engaging sound and they do it in a very nice looking package with above average build quality. To think that you can enjoy music on this level for years to come at this price point I would have thought impossible a few years ago. Truth be told, I think these sound even better than the Simgot EN700 (at least much more fun) which I was originally purchasing when Jim told me about these. I don’t think anyone will find any major complaints with the A15. For me, it’s probably the best budget IEM (budget in a relative sense) I have ever tested. They are definitely here to stay and they put a smile on my face when I put them on every morning to go for a run. Very, very well done.
superuser1
I got a pair of these a few weeks back and i am really amazed at what i am getting for the price point. Build quality is also fantastic. However i see the cable being not very durable IMO. At the end of the day a great buy!
SeeSax
I totally agree, they sound too darn good for the price they are!
kyuuketsuki
Hilariously I'm buying a few pairs of MMCX IEMs to pair with the NiceHCK bluetooth cable I've bought. I got it for my Shures, but I just bought the Tennmak Pro, and these might be next on my list. I just want options, because I'm honestly impressed with the HB1 cable, I might even get a second one!
Intro & Me: I admittedly have amassed way too many IEMs. I have owned a lot of gear across the spectrum and I have yet to be as excited as I am now to do this "shootout" review of the Audiofly AF1120. Within the last few months, I have been on a buying spree of balanced armature-based IEMs and somehow as luck would have it, I ended up with three such IEMs that would be really fun to compare: the Audiofly AF1120, the Noble Django and the Earsonics S-EM6. While these three IEMs have a similar driver configuration, their sound and tuning could not be further away from each other. For that reason, the results might be somewhat predictable, but I figured this was as good a time as any to give a proper review of this unheard of IEM that is the AF1120. Spoiler-alern: I love it. Like I said in my past reviews, I don't know how to make a frequency graph, I don't have golden ears and I'm probably not the most qualified to write a review of higher-end IEMs. What I do have, though, is the enthusiasm and an unabashed opinion that I'm not afraid to share and it is hopefully worth the price of entry for you to read. Enjoy.
Test Equipment: This one is pretty simple this time, I'm going to do all of my testing through my desktop computer hooked up to my Grace M9XX. Normally when I review an IEM, I would test it with my M9XX, my Chord Mojo, my LG V20 and anything else I have. In this case, well, forgive me for being blunt but that is too much damn work with three pairs of IEMs!
The Contenders & Photos:
Audiofly AF1120: A lesser-known Australian outfit who apparently makes the CIEMs for the Australian X-factor show. The AF1120 are their flagship IEMs with six balanced armature drivers in a 2x low, 2x mid and 2x high three-way design. I bought mine on Amazon through the seller by the name of "HiDEF Lifestyle" and I have to give a real shoutout to them, because they offered great prices and world-class customer service. These are the least expensive of the bunch with a suggested retail of $699 USD. More information can be found here: https://www.audiofly.com/shop/af1120/
Noble Audio Django: These are the update to the well-received Noble 6. Another six driver, balanced armature design and that's about all Noble is willing to tell you! I have no idea what the crossover design is or what driver is doing what, but that's typical Noble for you. These retail at $999 and more information can be found here: https://nobleaudio.com/en/shop/universal/
Earsonics S-EM6: Apparently as of a week ago, these are obsolete! The "V2" version is out now with a supposed more "neutral" sound signature, so it is worth noting that I am using the "V1" version. Similar to the AF1120, these use six balanced armature drivers in a 2x low, 2x mid and 2x high three-way design. Prices are kind of all over the board, but the suggested retail price from Earsonics is 999 Euros. Don't pay that – look around for better deals from other sellers.
Packaging: Between these three IEMs, packaging and contents vary significantly. I won't go into exactly what IEM comes with what tip and all that, but it is worth mentioning that my favorite is the Noble Django. You get a lovely Pelican hard case, plenty of tips, a pretty supple and good-sounding stock cable and some rubber straps for stacking a mobile rig together. In the Earsonics box, you get a carrying case that pales in comparison to the Noble, a few double flange tips (none of which fit me) and a pretty decent stock cable. In the Audiofly box, you get an incredibly large, luxurious fabric carrying case and some tips with an interesting cable. The cable is fabric up to the Y-split and then after that, it's very thin. I love the cable, but, the non-shielded part that does not have fabric tangles extremely easily. I'm using aftermarket cables on the Nobles and the Earsonics, so I'm not going to go into a cable comparison. TL;DR, Noble comes in first, Audiofly comes in second and Earsonics comes in a close third for what you get in the box.
Tips: I'll keep this brief. The AF1120 use a pretty small nozzle, much like a Westone IEM, so my tip of choice is the Spinfit CP800. Westone Star tips work just fine as well. For the Django, I'm using JVC Spiral Dots, but Sony hybrids also work well. For the Earsonics, I'm also using the Spinfit CP800 tips because the nozzle is tapered and gets narrow, so a normal Sony hybrid or JVC Spiral Dot will fall right off. I am like zero for 10 on getting stock tips that come in the box to fit me!
Sound: For the sound portion of the review (the important part), I will focus on the AF1120 and then after, will offer comparisons with the Django and the S-EM6. The latter two have been reviewed in more detail, so I really want to give the AF1120 some face time here. So, let's get started!
Sound signature: To me, the AF1120 is a very neutral, reference-like IEM that does not exagerrate any frequencies. I can tell that Audiofly went for "accurate" rather than "fun" on this IEM and for that I cannot complain. I do not hear any signs of a v-shape signature and overall, the sound signature reminds me of my MEE Audio Pinnacle P1 (which is a good thing). In stark contrast to this are the other two, the S-EM6 and the Django. The S-EM6 has an incredible, lush and warm mid-range with rolled off treble and slightly rolled off sub-bass. The sound signature is opposite of a v-shape. Then we have the Django, which wears its sub-bass, mid-bass and treble energy loud and proud. This is the typical and fun v-shape. As you can see, these three IEMs could not be more different.
Bass: The bass on the AF1120 is of extremely high quality, but very much on the polite side of the spectrum. It's hard for me to say whether it is dead neutral or slightly elevated since I am not using frequency graphs, but this is not an IEM that bassheads will enjoy. Sub-bass is present, but is not the strong suit of this IEM. Mid-bass punch is there when the music calls for it and I find it overall very pleasing despite not being earth shattering. Bass is fast, engaging and very accurate. In comparison to the AF1120, the S-EM6 has a warmer and stronger bass presence both on the sub-bass and mid-bass levels (mid-bass more obvious). As I mentioned, the S-EM6 is a warmer IEM and the bass is more pleasant to me. I am probably classified as a borderline basshead, so this does not surprise me. For those who are looking for accuracy and neutrality, the AF1120 is the better choice. For those that like a warm bass, the S-EM6 is the better choice. Then there is the Django which has slamming sub-bass and mid-bass punch. Bass is definitely emphasized on the Django and it is the most bass-heavy of the three IEMs. I love the bass. It is clear, fast, punchy and overall extremely fun with most types of music. For me, the Django wins hands-down if you are a basshead. The deep levels that this bass can reach is impressive for a balanced armature IEM. It is addicting.
Mids: The midrange is extremely detailed and engaging on the AF1120. Things like an electric guitar really sing through this and I feel like this is the strong suit of the AF1120. Vocals are crystal clear, while both male and female sound wonderful. I want to emphasize that similar to the AF1120's bass response, the mid-range is on the accurate side and does not push any certain frequency forward. This leads me to the comparison to the S-EM6, with a very warm and forward mid-range. Where vocals are crystal clear on the AF1120, they are warm and lush on the S-EM6. This leads to the AF1120 sounding thin in comparison to the S-EM6, despite being the more accurate IEM (in my opinion at least). With the S-EM6, treble and bass take a back seat to the mids, while on the AF1120 everything is wrapped nicely together. On the Django, the mids are also crystal clear, but the most recessed of the three. As is typical with a v-shaped "fun" earphone, vocals can be slightly overshadowed by the treble and bass at times. These are all different IEMs and I think would be best chosen based on sound preference and musical genres. In my opinion, however, the AF1120 would be the best all-rounder "jack of all trades" IEM if you want to listen to everything.
Treble: The treble on the AF1120 sounds slightly smooth to me in comparison to other IEMs (Django in particular). You will not find any sibilance here, but instead you will find a non-fatiguing very detailed treble presence. High hats crash with reassuring power and texture, but will not leave you in pain afterward. Pop and electronic music really come to life with the highs on these IEMs and you can enjoy it for hours on end. In comparison to the S-EM6, the treble presence is more engaging and I find it better in this regard. The treble is just too rolled off on the S-EM6 to be a go-to IEM for all genres, but it has its place and that's part of the S-EM6's charm. The treble is beautifully textured and lush on the S-EM6, but I just want more of it. And that brings me to the Django. Treble energy is the most pronounced on the Django of the three for me, but still does not exhibit any sibilance or unpleasant shrill. I love the treble on the Django and it offers detail and clarity in spades, making the IEM feel fun, snappy and detailed. Electronic music really shows off the energy here and while I love the sound, this would not be my first choice for long listening sessions with a lot of treble-rich music. Once again, the neutrality and polite nature of the AF1120 shines here, making it my preferred IEM for a well-rounded treble experience.
Soundstage, Separation and Clarity: I'm a relative newbie to testing soundstage, but the AF1120 exhibited a very wide soundstage with great instrument placement. I spun up some binaural recordings and the AF1120 did not disappoint. I found the soundstage to be expansive and pleasant. I could get a very real sense of the stage and while it wasn't to the level of my HE-560 Planar headphones, it was very impressive for an IEM. Separation of instruments and overall clarity were, however, tremendous on the AF1120 beating both the Noble Django and S-EM6 (though just slightly on the latter). Whether or not the AF1120 is actually producing more details than the other two is a tough call, but the neutral response of the AF1120 gives an overall sense of detail and clarity that place it above the other two IEMs. It has a definite wow-factor to the detail-rich sound; overall extremely impressive. For soundstage, I did not hear a big difference between the S-EM6 and the AF1120, both slightly edging out the Django in soundstage vastness.
Comfort: This one is easy: the AF1120 is way, way more comfortable to wear than either the Django or the S-EM6. The latter two are massive in comparison to the AF1120 and just feel so clunky after putting the AF1120 in your ears. It's lightweight, super ergonomic and unobtrusive. I am amazed that they managed to get the same amount of drivers in a shell that feels like miniscule compared to the other two. The S-EM6 are comfortable, but they are very large and I really have to pull on my ear lobe to get them to sit in there properly. The Django are very large and I have a difficult time getting them to fit well because of their protrusions. No issues whatsoever on the AF1120. I put them in my ears and forget they are there. Add to that a very soft and supple fabric cable and I could wear these all day long. The other two, no way.
Wrapping Up: This has been a really fun test for me. I wouldn't have guessed that three IEMs of a similar configuration could sound so vastly different, but this goes to show that it is all about the tuning. Number of drivers means very little in terms of sound signature and overall, it is really hard to choose a "winner" in this shootout. Instead, I think each IEM has its strong points and each does something better than the other. That said, for me the winner is the AF1120. It is not a perfect IEM for me, but it is darn close. If literally it had just a smidgen more bass presence, it would be my end-game IEM (if such a thing exists). For nearly all genres, it performed the best and the comfort is just world class – I cannot stress that enough. I find the sound of the Django more "fun" and I find listening to something like Eric Clapton through the S-EM6 to be a euphoric experience, the IEM that I would reach for every day and listen to for hours on end has to be the Audiofly AF1120. This is an incredibly well-done IEM and I have a feeling that with some EQ tweaks that I am normally not a fan of, this can literally be perfect for me. I am so impressed that a company with very little presence on Head-Fi can knock one out of the park like this. Like I said, I love all three IEMs for different reasons, but I'll grab the AF1120 as a first choice. It is also the cheapest of the three. Now if you only listen to electronic or pop, the Django may be the best choice. Similarly if you only listen to female vocalists, the S-EM6 might be the most pleasing of the three. But if you listen to everything, I think you would be very hard pressed to find a more versatile, perfectly-executed IEM than the AF1120. For me, they are about 4.75 stars, but can definitely be 5 stars for most people who do not require more bass. But at the $700 mark which is out of range for a lot of consumers to spend on an IEM, I have to be discerning, even if it is personal preference.
One last complaint, if you would like to call it that: while this uses a version of an MMCX connector, it is NOT compatible with generic MMCX cables. This is stupid. There are notches on both sides (the IEM and the cable) that make this a proprietary design. It serves to keep the connector from twisting much like a Sony MMCX plug, but on Sony's you can use a generic cable just fine and it simply will not have the locking feature. On this, however, you're stuck with Audiofly's cable. Recently they have started to offer a silver upgrade cable, so I suppose there is that option.
And now one other praise: Audiofly's support is fantastic. I had a few questions before ordering and their support email (Josh in particular) replied within an hour and it was well outside normal business hours. I cannot say enough great things about how friendly and helpful they were. Know that when you invest in one of their IEMs, your support experience will mirror the amazing audio fidelity of their products.
Test Equipment: This one is pretty simple this time, I'm going to do all of my testing through my desktop computer hooked up to my Grace M9XX. Normally when I review an IEM, I would test it with my M9XX, my Chord Mojo, my LG V20 and anything else I have. In this case, well, forgive me for being blunt but that is too much damn work with three pairs of IEMs!
The Contenders & Photos:
Audiofly AF1120: A lesser-known Australian outfit who apparently makes the CIEMs for the Australian X-factor show. The AF1120 are their flagship IEMs with six balanced armature drivers in a 2x low, 2x mid and 2x high three-way design. I bought mine on Amazon through the seller by the name of "HiDEF Lifestyle" and I have to give a real shoutout to them, because they offered great prices and world-class customer service. These are the least expensive of the bunch with a suggested retail of $699 USD. More information can be found here: https://www.audiofly.com/shop/af1120/
Noble Audio Django: These are the update to the well-received Noble 6. Another six driver, balanced armature design and that's about all Noble is willing to tell you! I have no idea what the crossover design is or what driver is doing what, but that's typical Noble for you. These retail at $999 and more information can be found here: https://nobleaudio.com/en/shop/universal/
Earsonics S-EM6: Apparently as of a week ago, these are obsolete! The "V2" version is out now with a supposed more "neutral" sound signature, so it is worth noting that I am using the "V1" version. Similar to the AF1120, these use six balanced armature drivers in a 2x low, 2x mid and 2x high three-way design. Prices are kind of all over the board, but the suggested retail price from Earsonics is 999 Euros. Don't pay that – look around for better deals from other sellers.
Packaging: Between these three IEMs, packaging and contents vary significantly. I won't go into exactly what IEM comes with what tip and all that, but it is worth mentioning that my favorite is the Noble Django. You get a lovely Pelican hard case, plenty of tips, a pretty supple and good-sounding stock cable and some rubber straps for stacking a mobile rig together. In the Earsonics box, you get a carrying case that pales in comparison to the Noble, a few double flange tips (none of which fit me) and a pretty decent stock cable. In the Audiofly box, you get an incredibly large, luxurious fabric carrying case and some tips with an interesting cable. The cable is fabric up to the Y-split and then after that, it's very thin. I love the cable, but, the non-shielded part that does not have fabric tangles extremely easily. I'm using aftermarket cables on the Nobles and the Earsonics, so I'm not going to go into a cable comparison. TL;DR, Noble comes in first, Audiofly comes in second and Earsonics comes in a close third for what you get in the box.
Tips: I'll keep this brief. The AF1120 use a pretty small nozzle, much like a Westone IEM, so my tip of choice is the Spinfit CP800. Westone Star tips work just fine as well. For the Django, I'm using JVC Spiral Dots, but Sony hybrids also work well. For the Earsonics, I'm also using the Spinfit CP800 tips because the nozzle is tapered and gets narrow, so a normal Sony hybrid or JVC Spiral Dot will fall right off. I am like zero for 10 on getting stock tips that come in the box to fit me!
Sound: For the sound portion of the review (the important part), I will focus on the AF1120 and then after, will offer comparisons with the Django and the S-EM6. The latter two have been reviewed in more detail, so I really want to give the AF1120 some face time here. So, let's get started!
Sound signature: To me, the AF1120 is a very neutral, reference-like IEM that does not exagerrate any frequencies. I can tell that Audiofly went for "accurate" rather than "fun" on this IEM and for that I cannot complain. I do not hear any signs of a v-shape signature and overall, the sound signature reminds me of my MEE Audio Pinnacle P1 (which is a good thing). In stark contrast to this are the other two, the S-EM6 and the Django. The S-EM6 has an incredible, lush and warm mid-range with rolled off treble and slightly rolled off sub-bass. The sound signature is opposite of a v-shape. Then we have the Django, which wears its sub-bass, mid-bass and treble energy loud and proud. This is the typical and fun v-shape. As you can see, these three IEMs could not be more different.
Bass: The bass on the AF1120 is of extremely high quality, but very much on the polite side of the spectrum. It's hard for me to say whether it is dead neutral or slightly elevated since I am not using frequency graphs, but this is not an IEM that bassheads will enjoy. Sub-bass is present, but is not the strong suit of this IEM. Mid-bass punch is there when the music calls for it and I find it overall very pleasing despite not being earth shattering. Bass is fast, engaging and very accurate. In comparison to the AF1120, the S-EM6 has a warmer and stronger bass presence both on the sub-bass and mid-bass levels (mid-bass more obvious). As I mentioned, the S-EM6 is a warmer IEM and the bass is more pleasant to me. I am probably classified as a borderline basshead, so this does not surprise me. For those who are looking for accuracy and neutrality, the AF1120 is the better choice. For those that like a warm bass, the S-EM6 is the better choice. Then there is the Django which has slamming sub-bass and mid-bass punch. Bass is definitely emphasized on the Django and it is the most bass-heavy of the three IEMs. I love the bass. It is clear, fast, punchy and overall extremely fun with most types of music. For me, the Django wins hands-down if you are a basshead. The deep levels that this bass can reach is impressive for a balanced armature IEM. It is addicting.
Mids: The midrange is extremely detailed and engaging on the AF1120. Things like an electric guitar really sing through this and I feel like this is the strong suit of the AF1120. Vocals are crystal clear, while both male and female sound wonderful. I want to emphasize that similar to the AF1120's bass response, the mid-range is on the accurate side and does not push any certain frequency forward. This leads me to the comparison to the S-EM6, with a very warm and forward mid-range. Where vocals are crystal clear on the AF1120, they are warm and lush on the S-EM6. This leads to the AF1120 sounding thin in comparison to the S-EM6, despite being the more accurate IEM (in my opinion at least). With the S-EM6, treble and bass take a back seat to the mids, while on the AF1120 everything is wrapped nicely together. On the Django, the mids are also crystal clear, but the most recessed of the three. As is typical with a v-shaped "fun" earphone, vocals can be slightly overshadowed by the treble and bass at times. These are all different IEMs and I think would be best chosen based on sound preference and musical genres. In my opinion, however, the AF1120 would be the best all-rounder "jack of all trades" IEM if you want to listen to everything.
Treble: The treble on the AF1120 sounds slightly smooth to me in comparison to other IEMs (Django in particular). You will not find any sibilance here, but instead you will find a non-fatiguing very detailed treble presence. High hats crash with reassuring power and texture, but will not leave you in pain afterward. Pop and electronic music really come to life with the highs on these IEMs and you can enjoy it for hours on end. In comparison to the S-EM6, the treble presence is more engaging and I find it better in this regard. The treble is just too rolled off on the S-EM6 to be a go-to IEM for all genres, but it has its place and that's part of the S-EM6's charm. The treble is beautifully textured and lush on the S-EM6, but I just want more of it. And that brings me to the Django. Treble energy is the most pronounced on the Django of the three for me, but still does not exhibit any sibilance or unpleasant shrill. I love the treble on the Django and it offers detail and clarity in spades, making the IEM feel fun, snappy and detailed. Electronic music really shows off the energy here and while I love the sound, this would not be my first choice for long listening sessions with a lot of treble-rich music. Once again, the neutrality and polite nature of the AF1120 shines here, making it my preferred IEM for a well-rounded treble experience.
Soundstage, Separation and Clarity: I'm a relative newbie to testing soundstage, but the AF1120 exhibited a very wide soundstage with great instrument placement. I spun up some binaural recordings and the AF1120 did not disappoint. I found the soundstage to be expansive and pleasant. I could get a very real sense of the stage and while it wasn't to the level of my HE-560 Planar headphones, it was very impressive for an IEM. Separation of instruments and overall clarity were, however, tremendous on the AF1120 beating both the Noble Django and S-EM6 (though just slightly on the latter). Whether or not the AF1120 is actually producing more details than the other two is a tough call, but the neutral response of the AF1120 gives an overall sense of detail and clarity that place it above the other two IEMs. It has a definite wow-factor to the detail-rich sound; overall extremely impressive. For soundstage, I did not hear a big difference between the S-EM6 and the AF1120, both slightly edging out the Django in soundstage vastness.
Comfort: This one is easy: the AF1120 is way, way more comfortable to wear than either the Django or the S-EM6. The latter two are massive in comparison to the AF1120 and just feel so clunky after putting the AF1120 in your ears. It's lightweight, super ergonomic and unobtrusive. I am amazed that they managed to get the same amount of drivers in a shell that feels like miniscule compared to the other two. The S-EM6 are comfortable, but they are very large and I really have to pull on my ear lobe to get them to sit in there properly. The Django are very large and I have a difficult time getting them to fit well because of their protrusions. No issues whatsoever on the AF1120. I put them in my ears and forget they are there. Add to that a very soft and supple fabric cable and I could wear these all day long. The other two, no way.
Wrapping Up: This has been a really fun test for me. I wouldn't have guessed that three IEMs of a similar configuration could sound so vastly different, but this goes to show that it is all about the tuning. Number of drivers means very little in terms of sound signature and overall, it is really hard to choose a "winner" in this shootout. Instead, I think each IEM has its strong points and each does something better than the other. That said, for me the winner is the AF1120. It is not a perfect IEM for me, but it is darn close. If literally it had just a smidgen more bass presence, it would be my end-game IEM (if such a thing exists). For nearly all genres, it performed the best and the comfort is just world class – I cannot stress that enough. I find the sound of the Django more "fun" and I find listening to something like Eric Clapton through the S-EM6 to be a euphoric experience, the IEM that I would reach for every day and listen to for hours on end has to be the Audiofly AF1120. This is an incredibly well-done IEM and I have a feeling that with some EQ tweaks that I am normally not a fan of, this can literally be perfect for me. I am so impressed that a company with very little presence on Head-Fi can knock one out of the park like this. Like I said, I love all three IEMs for different reasons, but I'll grab the AF1120 as a first choice. It is also the cheapest of the three. Now if you only listen to electronic or pop, the Django may be the best choice. Similarly if you only listen to female vocalists, the S-EM6 might be the most pleasing of the three. But if you listen to everything, I think you would be very hard pressed to find a more versatile, perfectly-executed IEM than the AF1120. For me, they are about 4.75 stars, but can definitely be 5 stars for most people who do not require more bass. But at the $700 mark which is out of range for a lot of consumers to spend on an IEM, I have to be discerning, even if it is personal preference.
One last complaint, if you would like to call it that: while this uses a version of an MMCX connector, it is NOT compatible with generic MMCX cables. This is stupid. There are notches on both sides (the IEM and the cable) that make this a proprietary design. It serves to keep the connector from twisting much like a Sony MMCX plug, but on Sony's you can use a generic cable just fine and it simply will not have the locking feature. On this, however, you're stuck with Audiofly's cable. Recently they have started to offer a silver upgrade cable, so I suppose there is that option.
And now one other praise: Audiofly's support is fantastic. I had a few questions before ordering and their support email (Josh in particular) replied within an hour and it was well outside normal business hours. I cannot say enough great things about how friendly and helpful they were. Know that when you invest in one of their IEMs, your support experience will mirror the amazing audio fidelity of their products.
SeeSax
I think you're absolutely right on the treble, I've edited the review to show smoothness rather than "rolled off." I will keep giving some other tips a try to see if I can increase the bass. Thanks!
jgosroc
Man that was very helpful review. I'm in the 6 BA shop in general these days. Though this fact is firmly owed to my iem addiction and *not* because of the superlative state of my finances! Owning a 6 BA Noble (the Django equivalent), gave me a great reference point to imagine (and lust after) the other two, based on your descriptions. Embarrassing to admit right now given how many reviews I've read, but only now do I genuinely understood what 'rolled off' meant! It was a combination of this review, and auditioning a set of Westone W60 the other day, which helped me have that 'ah ha' moment at recognising the pleasure of a smooth lush vocal and slightly recessed (in a good way) treble as described for the 1120 and ES9. The description of the Django's top end, was interesting and also very true to my finding. It is one big and loud iem! I've found the bass of the Django more dominating than on the Noble6/Django than the alleged 'bass head' Dulce Bass / Noble 5. The Noble 6/Django definitely has oozes of high end detail while remaining generally non-fatiguing, the combination of which certainly makes the signature sound so V shaped with all its' bass and sub-bass (and less felt mids). Man I am going out to try some 1120s - those AudioFly boys owe you a beer... like I do for the review! Cheers.
SeeSax
Thanks my friend, appreciate the kind words. Your thoughts on the Django/6 mirror mine. It's the guy that walks into a party and immediately starts headbanging and knocking over furniture. LOL! Then the Earsonics guy walks in, gets disgusted with how rowdy the party is and leaves. Then the AF1120 walks in and says guys, calm down, someone is going to call the cops. Pass me a glass of Pinot.
About Me:
I own way too much stuff. I need another pair of earphones like I need a hole in the head. But when I was offered a pair of the LZ A4 IEMs to sample, I literally jumped on the chance as fast as I could. Full disclaimer: I’ve bought every IEM that LZ has offered for sale, so you could say I’m an LZ junkie. I still remember getting the A2 and being blown away. The chance to try these latest and greatest after what I thought was a slight misstep with the A3 was something I was not going to pass up. LZ sent me this sample to review, but spoiler alert: I have purchased my own pair as well because I loved them so much.
As for me, I love headphones and earphones and my gear ranges from a simple mobile setup to an Audi-GD Master-11 and everything in between. I also have an MHDT Atlantis tube DAC connected to a Project Ember tube amp.
As I’ve said before, I’m not a professional reviewer, I don’t have golden ears, there’s nothing in this for me other than the love for amazing audio quality and the enjoyment of chatting with friends on Head-Fi about what we’re going to spend our next paycheck on. I love all genres of music and all types of gear. Think of me as the guy who can’t turn away a single dish at the all-you-can-eat buffet.
Test Equipment:
While I have some elaborate desktop rigs, my primary use of IEMs is in a somewhat mobile environment. Because of that, these were tested with three setups consisting of a Chord Mojo, a Centrance DACportable and also straight out of my LG V20. All music was streamed from Tidal HiFi via USB Audio Player Pro. The majority of my time was spent with the Mojo, given that I have been using this for my reviews lately.
The IEMs:
LZ's packaging and presentation has improved with each iteration of his IEMs. The A4s come in a very nice box that is magnetically sealed with lots of tips and accessories to make you happy. The bright red carrying case is of ample size and can easily fit the IEMs with perhaps a spare cable if you wanted to. It's irritating when a company provides a case that you have to be a structural engineer to fit the IEMs inside of and thankfully that is not a problem here with this carrying case. There is also a nice brochure that gives an insight into what the different filter options are. Ah, the filters, I'll get to those. These use a removable MMCX cable and I find the cable to be very nice. It's soft, supple and I do not experience any microphonics with it. It is an upgrade over the A3 cable.
Here are some photos:
I made the joke that these look like Mitsubishi turbos:
Right?!
Links:
I bought mine from Jim at NiceHCK:
https://www.aliexpress.com/store/product/New-LZ-A4-In-Ear-Earphone-Dynamic-With-2BA-Hybrid-3-Unit-HIFI-Earphone-Earbud/1825606_32771039693.html?spm=2114.12010608.0.0.PtuPKz
I am not affiliated with this store in any way, but I have bought all of my LZ products from them and they provide top notch service. Highly recommended by me.
Comfort:
I won't dance around this point: these are large IEMs. That said, they are thankfully extremely comfy especially given their dimensions. I find the most success wearing them down and have never had an issue of them shifting or falling out of my ears. You will not forget that they are there, though. Compared to something like the Pinnacle P1 where I can just forget they are in my ears, the A4 always make them presence known, but at the same time have never bothered me. I feel a bit silly wearing them in public, but I won't blame LZ for that and I will work on my own self image instead! I will wear these with pride!
Tips & Filters:
Some other folks on Head-Fi have done a great job of explaining the filter situation and I suggest referencing that. With that said, there are a whole host of combinations that can accomplish a huge variation of sound with these IEMs. Add to that the fact that many popular tips fit these just fine and I can confidently say that you are likely to find something that works very well for you (or even several combinations). In a nutshell, the front nozzles as well as the rear filters can be changed and there are several combinations available in order to tune the sound to your liking. These IEMs can go from bright, to neutral, to approaching bass-head levels depending on your need. My ideal combination that I have settled on for daily use (and the entirety of this review) are the black front nozzles, the red rear filters and a pair of ML-sized JVC Spiral Dot tips.
Sound (and a brief LZ history):
I make no secret that I am a huge fan of LZ and the "LZ sound." I remember purchasing my A2 IEMs a while back and thinking "finally, someone got a triple-hybrid right." All the others I tried (DN-2000J, Altone200, etc.) just did not sound right to me. Treble was exagerrated and they just did not have a coherent sound. The A2, while it brought in very strong bass and slightly rolled-off treble, handily beat those IEMs in my eyes because of just how pleasant they were to listen to. Then, The A3 came out and I bought them immediately. Packaging was different, the shell was different, they had removable cables. They had to be better, right? No, they were a step back for me. Overall a bit more detail and neutrality than the A2, but many did not like the fit and the sound was overall a bit relaxed for some. Then the A2S came out and I bought those. They were a slight improvement over the A2 or a step back again, depending on what you like. Most people preferred the A2S I believe as it offered a bit better clarify on the upper end of the frequencies. Then came the A3S and while that was also an improvement over the A3, having tried the A4 prototype and falling in love I quickly returned the A3S and decided I would just wait for the latest and greatest. I am so glad I did.
Back is the slamming bass of the A2. Back is the comfortable, easy-wearing IEM. Newcomers to the show are incredible upper frequency detail, smooth and lush mids and a tuning system that I think can make 99% of the people happy. This is a bold IEM from LZ and I applaud his efforts. I waited a long time for the final version and like I said while I was given a set to sample, I immediately bought my own after listening to them for two days. I was so over the moon that I also bought the A2 Pro.
Sorry, I digress, back to the sound. I love it. I've had these for nearly two weeks now and I have listened to them every day. They put a smile on my face every time and I have not found any weakness to speak of. The fact that they bring this level of detail, refinement, flexibility and comfort for $200 is fantastic. You'll notice in my comparison below that I am putting them up against some IEMs costing four times the price with very established brands. While normally I would compare apples to apples as far as price goes, there is only one IEM even remotely close to the A4 that is worth mentioning at $200 and for most people, the A4 will come out on top nine times out of 10.
LZ has managed to make an IEM that checks all the boxes for my sonic preferences: incredible sub-bass that is clean, punchy and tight while still providing a rumble when the music calls for it, mids that offer up a smooth but detailed presentation and highs that exhibit zero sibilance and overall a very pleasing sparkle to them. Honestly I think this is the perfect sound and I have no complaints.
Bass: I love my bass and while I don't think I'm a bass-head, I guess my preference for quantity is higher than some. The A4, with the red back filters and black front filters is just perfect for me. Pop songs have a very authoritative punch, along with a very deep rumble when the music calls for it. The bass is very articulate and accurate, not bloated or overly-warm. I don't notice the bass detracting anything from the mids and that is a great accomplishment. Sub-bass extension is among the best I have heard (rivaling my Z5 and IE800) and mid-bass is very punchy and warm, but not overly warm. I have no complaints at all with the bass and I can tell that LZ took the time (and suggestions) to make this perfect.
Mids: I do not think the mids are recessed, but they are not as immediately noticeable and intoxicating as the bass. This is not a bad thing because I have sort of been of the mindset that mids should just stay out of my way. What I mean by that is that I do not prefer a mid-forward sound signature and the A4 is extremely pleasing to me. Vocals and instruments sound wonderfully detailed, crisp, clear and are never harsh. I would not call them laid back, but again they will not make the impact the bass will in the red back/black front combination of filters. This is ideal for me. Would I change anything with the mids? Nope.
Highs: Similar to the mids, I find the highs are very detailed, smooth, lush and overall pleasant. They are not overpowering and with the right filter combination, I do not experience any sibilance or "ice pick" that some other triple hybrids have given me. I will say that the highs are very much affected by filter choice, so while you may have to choose wisely and try many combinations, again I believe there is something for everyone here. The ability to make these bright or laid back depending on preference is a huge benefit. For someone like me who likes the treble on the brighter side, it is easy to accomplish. For someone who suffers with fatigue or bright treble, it is also manageable. I have no complaints about the treble.
Detail & Clarity: The A4 are very detailed IEMs. They handle tracks with very subtle details and can also show off clarity and cohesion in very complex songs. I tested a wide array of tracks and always came away thinking that these were superb. Micro details are there, but at no time do they sound artificial or exagerrated to me (sort of like the Shockwave 3 do). I can't really comment on holographic or 3D sound because quite frankly, I don't know what that means or how to test it. These sound extremely detailed and are never tripped up by a "busy" song like some IEMs can. A good example of this is in Jack Garratt's "Surprise Yourself," which during the chorus can either sound like a tidal wave of complex sounds or a huge mess resembling a train wreck. The A4 makes this sound probably the best I've ever heard. Give it a try, it starts at 1:28 in the song.
Comparisons:
Sony XBA-Z5: The Sony Z5 are a favorite of mine because...you guess it, the bass. These have a very deep sub-bass rumble and while they are overall a somewhat dark IEM, I really enjoy listening to them. They do not have the mid-bass kick that the A4 have, but they make up for it with that deep subwoofer-type bass that on certain tracks, can be really fun. As for an everyday IEM, my choice would be the A4 for several reasons. First, I think the A4 is better with most genres of music due to it's more neutral sound signature, but also the comfort is leaps and bounds better on the A4. I find the treble on the Z5 to be of a very high quality, but I also find it lacking and there are no filters to tweak in order to bring out a brighter sound. I think the key takeaway here is this: the A4 is able to not only compete, but best the Z5 in many key areas at one third of the price. The only area I would give the Z5 the slight nod is in that deep sub-bass, but again I think for an everyday IEM the A4 is the winner.
Earsonics Velvet: This is a tough one for me. I recently reviewed the Velvet and I gave them a very high five-star mark simply because of how musical and fun they were. Are they the most analytical, “audiophile” IEM? No. But it has been a long time since I’ve had as much fun with an IEM than with the Velvet. Now, I have the daunting task of comparing them to another new favorite of mine: the A4. I’ll say this right off the bat, if money is of any concern to you then save yourself the $600 and go with the A4. Now, if you find a deal on the Velvet like I did (Black Friday), then it makes things a little more complicated. They were still over twice the price, but they are comparable IEMs in my opinion. Where the A4 takes the cake in sub-bass slam, the Velvet bests the A4 in mid-bass punch. The Velvet still has a wonderful amount of sub-bass punch and clarity, but not quite on the level of the A4 for me. I think this comparison may come down to what type of music you listen to. Mids can sound slightly forward for me on the Velvets, but almost thinner to a degree. They’re very clear and detailed, but sound far away in a sense. This is surprising as the Velvets are so warm and really put that mid-bass up front, you would think that this would bleed in to the mids but it doesn’t. I wish I could describe this better, but vocals sound simply different on the two. I guess my review isn’t very helpful when I say “you just have to hear them both,” but, you have to hear them both. Treble quality and quantity is fairly even for me and I can’t really declare a winner. They’re both nicely extended and non-fatiguing. Fit is WAY better for me on the A4, they’re ¼ the price and the cable is way nicer as well. There aren’t many situations I would recommend the Velvet over the A4 in unless it was mids like I described above, but you can fix this with filters! So, overall, for most people, I would give the win to the A4. I still think the Velvet are the more fun IEM because of their warm, punchy, musical presentation, but the very fact that I’m even comparing a $200 IEM with an $800 IEM almost makes this a sure win for the A4. Or you can be like me, just own them both. If I had to pick one of these two to take with me to a deserted island, I would close my eyes and flip a coin.
Sennheiser IE800: This was a surprising outcome. Right off the bat, I noticed a more V-shaped sound signature on the IE800. These IEMs, while I love them both, sound even more different than the A4 and Velvet comparison. The recessed mids of the IE800 really make the treble and sub/mid-bass stand out. It’s hard to say which wins because they have such different sound signatures. Sub-bass is similar for me with the IE800 having a slight advantage in the mid-bass punch. Mids, I will give the nod to the A4 as they are a bit more to my liking being more forward. The treble, well, I’m going to have to declare the IE800 the winner on this. Now this may be due to it standing out in comparison to the mids and therefore giving an overall sense of increased clarity. Fit for me is great on the IE800 and overall I find it the preferable IEM physically because of its unassuming size and weight, but with the A4 being so comfortable it is not a deal breaker. Let’s take a step back and realize again that we are comparing an $800 IEM to a $200 IEM and that calls for another round of applause for LZ. Honestly I love these both and it would really come down to your sound signature preference. The upper frequencies on the IE800 are very special to me and the fact that they can cover such an amazing spectrum of sounds with one tiny 7mm dynamic driver is a masterpiece of engineering. All that said, however, if budget is of any concern to you then I would recommend the A4. Simply put: I think these IEMs are on somewhat level playing fields and that is just incredible. If we’re splitting hairs (isn’t that what head-fi is about?), then I think overall I get a tad more clarity and detail out of the IE800.
Music Maker Shockwave 3: The SW3 is an impressive five-driver hybrid from Music Maker. When testing these in an A/B environment, I immediately notice the ear-piercing treble of the SW3 in comparison to the A4. This is interesting because the treble never seemed so bright to me as to be uncomfortable, but after a good listening session with the A4 it is hard to go back to the SW3. The SW3 is VERY bright in comparison to the black/red combo I am using on the A4, but with somewhat comparable bass. I find the SW3 to have an ever-so-slight advantage in detail and separation, but the A4 is the more enjoyable listen for me. It’s simply more musical, less fatiguing and while the SW3 might be another technical masterpiece, I find myself preferring the A4 not only because I can tune it to my liking, but because it is more comfortable and musical. The A4 has a more warm, lush mid-bass than the SW3. Mids are comparable on both, but the treble (quantity) is really what sets them apart. The SW3 sounds analytical, bright (but VERY detailed) in the high frequencies and the A4 is the one I want to listen to. The treble isn’t rolled off on the A4 per se, but it’s easier to get lost in the music and simply enjoy it. The SW3 was praised for bringing amazing sound to the table at under $300 and I still give it that praise. It’s just the I prefer the more comfortable listen of the A4. That said, if I wanted an extremely critical listen to test a DAC or amp or something, that would be one area I could probably recommend the SW3 over the A4 given the crazy micro detail and airy presentation of them.
MEE Audio Pinnacle P1: To me, the only IEM that can hold a candle to the A4 in the $200 range is the Pinnacle P1. For me, the only areas where the P1 might beat the A4 is in comfort (which is subjective) and in the neutral presentation. The A4 is the more fun IEM, with the stronger bass and the overall bigger and fuller sound. The P1, on the other hand, is probably more neutral, although spending more time with the filter combinations may negate this. For me, I would choose the A4 over the P1 and trust me when I say I love the P1. The A4 is, however, what I think to be a better IEM for most people. The bass is in another league and the mids/highs are mouth-wateringly good for the $200 price tag.
JVC FX1100: I recently obtained the JVC FX1100 (also called the FX1200 in other regions) "woody" IEM for around the $200 mark, so I thought I would update my review to include this contender. It's not exactly a fair fight as this IEM is primarily for the Japanese market and was around the $400 mark at launch. But as I mentioned, I'm having trouble finding IEMs in the $200 range to compare to the A4! I'll get this out of the way up front: the FX1100 and A4 both look equally ridiculous sticking out of my ears in the office, but both are equally comfortable. The FX1100 is substantially heavier (or at elast feels that way), but similarly both use the MMCX cables and are typically worn down. The FX1100 has one dynamic driver and is not a hybrid design like the A4. So how does the sound compare? Very well, actually. Where the A4 has several tuning options, the JVC falls into what you see is what you get. And that's a very good thing. I have settled on the red back filters and either blue or black fronts, depending on whether I want a more relaxed warm sound or a more analytical sound. Right off the bat, I notice that the A4 is the more balanced IEM. The FX1100 has a very pleasant and warm signature that some might find dark. Where I find a real mid-bass presence in the FX1100, the A4 has a more accurate sub-bass and almost a recessed mid-bass depending on the filter for tuning. I would almost say that the FX1100 has exaggerated mid-bass emphasis (which I am fine with and consider to be fun-sounding). Both IEMs extend very deep when the music calls for it, with the FX1100 bass ever so slightly bleeding into the mids. Neither are basshead levels, but the FX1100 sounds like it has more bass because of that mid-bass that always seems to be present and it is rather punchy on some tracks. Moving to the mid-range, the A4 has quite clear and smooth mids that I find very pleasant. No complaints on male vocals and while they're not recessed, they're also not in your face. That's my ideal mid-range tuning and the FX1100 is similar in this regard. That said, the mid-bass presence gives the feeling of the mids taking a bit of a back seat. They're clear and well-defined, though they seem to have a bit more grain and bite to the music tracks. Where the A4 has a very smooth mid-range, the FX1100 has a grit to it that really makes something like an electric guitar sing and stand out. That is assuming the bass player or drummer are not slapping the E-string or nailing the kick-drum as hard as they can! Moving onto the highs, I find them very well defined on both, though the FX1100 again have a certain grain to them. I find the highest frequencies to be more recessed on the FX1100, though it is still a very pleasant tuning signature. While they're slightly recessed, they still have that nice bite that I described in the mid-range. It's hard to declare a winner here as they both simply sound different. If I were to make an overly-simplified conclusion, I would say that the FX1100 is the more fun IEM while the A4 is the more accurate, versatile and better all-arounder. For me, I really like both. I think resolution is every so slightly better on the A4, but that punchy mid-bass of the FX1100 can be a lot of fun on certain types of music. On others, you may tire of it. Side note: the wood IEM casing is really, really cool!
Conclusion:
The value that the A4 brings to the table is very, very impressive. Certain higher priced IEMs may do one or two things better, but as an overall package at $200 I would recommend this to anyone and everyone, including my neighbor’s deaf dog. As I mentioned before, I was given a set of these for sampling purposes and I loved them so much that I bought my “own” pair for when the zombie apocalypse happens and I can no longer buy them. Actually more accurately, LZ stopped the production of the A2 and I got frightened that these may not be available again at some point. I have never bought a backup pair of IEMs before until now. They’re sort of a jack of all trades. Normally I find tuning to be bothersome and non-beneficial, but in the case of the A4 there is really is a sound for everyone. I feel that these deserve a solid five-star rating. The sound quality is simply astounding, the flexibility is pretty much unrivaled, the quality of workmanship (cable, IEM shell, filters) is top notch and I see no faults. Since nothing is ever perfect, they can be bested in the micro-detail and clarity department by an IEM that costs four times as much. I do not consider that a loss, or even a drawback. Again, overall, I think these do everything right and there’s something here for everyone. I had so much fun during this review that I am already anticipating buying the A4S, A5, A5S and so on. Thanks for reading.
I own way too much stuff. I need another pair of earphones like I need a hole in the head. But when I was offered a pair of the LZ A4 IEMs to sample, I literally jumped on the chance as fast as I could. Full disclaimer: I’ve bought every IEM that LZ has offered for sale, so you could say I’m an LZ junkie. I still remember getting the A2 and being blown away. The chance to try these latest and greatest after what I thought was a slight misstep with the A3 was something I was not going to pass up. LZ sent me this sample to review, but spoiler alert: I have purchased my own pair as well because I loved them so much.
As for me, I love headphones and earphones and my gear ranges from a simple mobile setup to an Audi-GD Master-11 and everything in between. I also have an MHDT Atlantis tube DAC connected to a Project Ember tube amp.
As I’ve said before, I’m not a professional reviewer, I don’t have golden ears, there’s nothing in this for me other than the love for amazing audio quality and the enjoyment of chatting with friends on Head-Fi about what we’re going to spend our next paycheck on. I love all genres of music and all types of gear. Think of me as the guy who can’t turn away a single dish at the all-you-can-eat buffet.
Test Equipment:
While I have some elaborate desktop rigs, my primary use of IEMs is in a somewhat mobile environment. Because of that, these were tested with three setups consisting of a Chord Mojo, a Centrance DACportable and also straight out of my LG V20. All music was streamed from Tidal HiFi via USB Audio Player Pro. The majority of my time was spent with the Mojo, given that I have been using this for my reviews lately.
The IEMs:
LZ's packaging and presentation has improved with each iteration of his IEMs. The A4s come in a very nice box that is magnetically sealed with lots of tips and accessories to make you happy. The bright red carrying case is of ample size and can easily fit the IEMs with perhaps a spare cable if you wanted to. It's irritating when a company provides a case that you have to be a structural engineer to fit the IEMs inside of and thankfully that is not a problem here with this carrying case. There is also a nice brochure that gives an insight into what the different filter options are. Ah, the filters, I'll get to those. These use a removable MMCX cable and I find the cable to be very nice. It's soft, supple and I do not experience any microphonics with it. It is an upgrade over the A3 cable.
Here are some photos:
I made the joke that these look like Mitsubishi turbos:
Right?!
Links:
I bought mine from Jim at NiceHCK:
https://www.aliexpress.com/store/product/New-LZ-A4-In-Ear-Earphone-Dynamic-With-2BA-Hybrid-3-Unit-HIFI-Earphone-Earbud/1825606_32771039693.html?spm=2114.12010608.0.0.PtuPKz
I am not affiliated with this store in any way, but I have bought all of my LZ products from them and they provide top notch service. Highly recommended by me.
Comfort:
I won't dance around this point: these are large IEMs. That said, they are thankfully extremely comfy especially given their dimensions. I find the most success wearing them down and have never had an issue of them shifting or falling out of my ears. You will not forget that they are there, though. Compared to something like the Pinnacle P1 where I can just forget they are in my ears, the A4 always make them presence known, but at the same time have never bothered me. I feel a bit silly wearing them in public, but I won't blame LZ for that and I will work on my own self image instead! I will wear these with pride!
Tips & Filters:
Some other folks on Head-Fi have done a great job of explaining the filter situation and I suggest referencing that. With that said, there are a whole host of combinations that can accomplish a huge variation of sound with these IEMs. Add to that the fact that many popular tips fit these just fine and I can confidently say that you are likely to find something that works very well for you (or even several combinations). In a nutshell, the front nozzles as well as the rear filters can be changed and there are several combinations available in order to tune the sound to your liking. These IEMs can go from bright, to neutral, to approaching bass-head levels depending on your need. My ideal combination that I have settled on for daily use (and the entirety of this review) are the black front nozzles, the red rear filters and a pair of ML-sized JVC Spiral Dot tips.
Sound (and a brief LZ history):
I make no secret that I am a huge fan of LZ and the "LZ sound." I remember purchasing my A2 IEMs a while back and thinking "finally, someone got a triple-hybrid right." All the others I tried (DN-2000J, Altone200, etc.) just did not sound right to me. Treble was exagerrated and they just did not have a coherent sound. The A2, while it brought in very strong bass and slightly rolled-off treble, handily beat those IEMs in my eyes because of just how pleasant they were to listen to. Then, The A3 came out and I bought them immediately. Packaging was different, the shell was different, they had removable cables. They had to be better, right? No, they were a step back for me. Overall a bit more detail and neutrality than the A2, but many did not like the fit and the sound was overall a bit relaxed for some. Then the A2S came out and I bought those. They were a slight improvement over the A2 or a step back again, depending on what you like. Most people preferred the A2S I believe as it offered a bit better clarify on the upper end of the frequencies. Then came the A3S and while that was also an improvement over the A3, having tried the A4 prototype and falling in love I quickly returned the A3S and decided I would just wait for the latest and greatest. I am so glad I did.
Back is the slamming bass of the A2. Back is the comfortable, easy-wearing IEM. Newcomers to the show are incredible upper frequency detail, smooth and lush mids and a tuning system that I think can make 99% of the people happy. This is a bold IEM from LZ and I applaud his efforts. I waited a long time for the final version and like I said while I was given a set to sample, I immediately bought my own after listening to them for two days. I was so over the moon that I also bought the A2 Pro.
Sorry, I digress, back to the sound. I love it. I've had these for nearly two weeks now and I have listened to them every day. They put a smile on my face every time and I have not found any weakness to speak of. The fact that they bring this level of detail, refinement, flexibility and comfort for $200 is fantastic. You'll notice in my comparison below that I am putting them up against some IEMs costing four times the price with very established brands. While normally I would compare apples to apples as far as price goes, there is only one IEM even remotely close to the A4 that is worth mentioning at $200 and for most people, the A4 will come out on top nine times out of 10.
LZ has managed to make an IEM that checks all the boxes for my sonic preferences: incredible sub-bass that is clean, punchy and tight while still providing a rumble when the music calls for it, mids that offer up a smooth but detailed presentation and highs that exhibit zero sibilance and overall a very pleasing sparkle to them. Honestly I think this is the perfect sound and I have no complaints.
Bass: I love my bass and while I don't think I'm a bass-head, I guess my preference for quantity is higher than some. The A4, with the red back filters and black front filters is just perfect for me. Pop songs have a very authoritative punch, along with a very deep rumble when the music calls for it. The bass is very articulate and accurate, not bloated or overly-warm. I don't notice the bass detracting anything from the mids and that is a great accomplishment. Sub-bass extension is among the best I have heard (rivaling my Z5 and IE800) and mid-bass is very punchy and warm, but not overly warm. I have no complaints at all with the bass and I can tell that LZ took the time (and suggestions) to make this perfect.
Mids: I do not think the mids are recessed, but they are not as immediately noticeable and intoxicating as the bass. This is not a bad thing because I have sort of been of the mindset that mids should just stay out of my way. What I mean by that is that I do not prefer a mid-forward sound signature and the A4 is extremely pleasing to me. Vocals and instruments sound wonderfully detailed, crisp, clear and are never harsh. I would not call them laid back, but again they will not make the impact the bass will in the red back/black front combination of filters. This is ideal for me. Would I change anything with the mids? Nope.
Highs: Similar to the mids, I find the highs are very detailed, smooth, lush and overall pleasant. They are not overpowering and with the right filter combination, I do not experience any sibilance or "ice pick" that some other triple hybrids have given me. I will say that the highs are very much affected by filter choice, so while you may have to choose wisely and try many combinations, again I believe there is something for everyone here. The ability to make these bright or laid back depending on preference is a huge benefit. For someone like me who likes the treble on the brighter side, it is easy to accomplish. For someone who suffers with fatigue or bright treble, it is also manageable. I have no complaints about the treble.
Detail & Clarity: The A4 are very detailed IEMs. They handle tracks with very subtle details and can also show off clarity and cohesion in very complex songs. I tested a wide array of tracks and always came away thinking that these were superb. Micro details are there, but at no time do they sound artificial or exagerrated to me (sort of like the Shockwave 3 do). I can't really comment on holographic or 3D sound because quite frankly, I don't know what that means or how to test it. These sound extremely detailed and are never tripped up by a "busy" song like some IEMs can. A good example of this is in Jack Garratt's "Surprise Yourself," which during the chorus can either sound like a tidal wave of complex sounds or a huge mess resembling a train wreck. The A4 makes this sound probably the best I've ever heard. Give it a try, it starts at 1:28 in the song.
Comparisons:
Sony XBA-Z5: The Sony Z5 are a favorite of mine because...you guess it, the bass. These have a very deep sub-bass rumble and while they are overall a somewhat dark IEM, I really enjoy listening to them. They do not have the mid-bass kick that the A4 have, but they make up for it with that deep subwoofer-type bass that on certain tracks, can be really fun. As for an everyday IEM, my choice would be the A4 for several reasons. First, I think the A4 is better with most genres of music due to it's more neutral sound signature, but also the comfort is leaps and bounds better on the A4. I find the treble on the Z5 to be of a very high quality, but I also find it lacking and there are no filters to tweak in order to bring out a brighter sound. I think the key takeaway here is this: the A4 is able to not only compete, but best the Z5 in many key areas at one third of the price. The only area I would give the Z5 the slight nod is in that deep sub-bass, but again I think for an everyday IEM the A4 is the winner.
Earsonics Velvet: This is a tough one for me. I recently reviewed the Velvet and I gave them a very high five-star mark simply because of how musical and fun they were. Are they the most analytical, “audiophile” IEM? No. But it has been a long time since I’ve had as much fun with an IEM than with the Velvet. Now, I have the daunting task of comparing them to another new favorite of mine: the A4. I’ll say this right off the bat, if money is of any concern to you then save yourself the $600 and go with the A4. Now, if you find a deal on the Velvet like I did (Black Friday), then it makes things a little more complicated. They were still over twice the price, but they are comparable IEMs in my opinion. Where the A4 takes the cake in sub-bass slam, the Velvet bests the A4 in mid-bass punch. The Velvet still has a wonderful amount of sub-bass punch and clarity, but not quite on the level of the A4 for me. I think this comparison may come down to what type of music you listen to. Mids can sound slightly forward for me on the Velvets, but almost thinner to a degree. They’re very clear and detailed, but sound far away in a sense. This is surprising as the Velvets are so warm and really put that mid-bass up front, you would think that this would bleed in to the mids but it doesn’t. I wish I could describe this better, but vocals sound simply different on the two. I guess my review isn’t very helpful when I say “you just have to hear them both,” but, you have to hear them both. Treble quality and quantity is fairly even for me and I can’t really declare a winner. They’re both nicely extended and non-fatiguing. Fit is WAY better for me on the A4, they’re ¼ the price and the cable is way nicer as well. There aren’t many situations I would recommend the Velvet over the A4 in unless it was mids like I described above, but you can fix this with filters! So, overall, for most people, I would give the win to the A4. I still think the Velvet are the more fun IEM because of their warm, punchy, musical presentation, but the very fact that I’m even comparing a $200 IEM with an $800 IEM almost makes this a sure win for the A4. Or you can be like me, just own them both. If I had to pick one of these two to take with me to a deserted island, I would close my eyes and flip a coin.
Sennheiser IE800: This was a surprising outcome. Right off the bat, I noticed a more V-shaped sound signature on the IE800. These IEMs, while I love them both, sound even more different than the A4 and Velvet comparison. The recessed mids of the IE800 really make the treble and sub/mid-bass stand out. It’s hard to say which wins because they have such different sound signatures. Sub-bass is similar for me with the IE800 having a slight advantage in the mid-bass punch. Mids, I will give the nod to the A4 as they are a bit more to my liking being more forward. The treble, well, I’m going to have to declare the IE800 the winner on this. Now this may be due to it standing out in comparison to the mids and therefore giving an overall sense of increased clarity. Fit for me is great on the IE800 and overall I find it the preferable IEM physically because of its unassuming size and weight, but with the A4 being so comfortable it is not a deal breaker. Let’s take a step back and realize again that we are comparing an $800 IEM to a $200 IEM and that calls for another round of applause for LZ. Honestly I love these both and it would really come down to your sound signature preference. The upper frequencies on the IE800 are very special to me and the fact that they can cover such an amazing spectrum of sounds with one tiny 7mm dynamic driver is a masterpiece of engineering. All that said, however, if budget is of any concern to you then I would recommend the A4. Simply put: I think these IEMs are on somewhat level playing fields and that is just incredible. If we’re splitting hairs (isn’t that what head-fi is about?), then I think overall I get a tad more clarity and detail out of the IE800.
Music Maker Shockwave 3: The SW3 is an impressive five-driver hybrid from Music Maker. When testing these in an A/B environment, I immediately notice the ear-piercing treble of the SW3 in comparison to the A4. This is interesting because the treble never seemed so bright to me as to be uncomfortable, but after a good listening session with the A4 it is hard to go back to the SW3. The SW3 is VERY bright in comparison to the black/red combo I am using on the A4, but with somewhat comparable bass. I find the SW3 to have an ever-so-slight advantage in detail and separation, but the A4 is the more enjoyable listen for me. It’s simply more musical, less fatiguing and while the SW3 might be another technical masterpiece, I find myself preferring the A4 not only because I can tune it to my liking, but because it is more comfortable and musical. The A4 has a more warm, lush mid-bass than the SW3. Mids are comparable on both, but the treble (quantity) is really what sets them apart. The SW3 sounds analytical, bright (but VERY detailed) in the high frequencies and the A4 is the one I want to listen to. The treble isn’t rolled off on the A4 per se, but it’s easier to get lost in the music and simply enjoy it. The SW3 was praised for bringing amazing sound to the table at under $300 and I still give it that praise. It’s just the I prefer the more comfortable listen of the A4. That said, if I wanted an extremely critical listen to test a DAC or amp or something, that would be one area I could probably recommend the SW3 over the A4 given the crazy micro detail and airy presentation of them.
MEE Audio Pinnacle P1: To me, the only IEM that can hold a candle to the A4 in the $200 range is the Pinnacle P1. For me, the only areas where the P1 might beat the A4 is in comfort (which is subjective) and in the neutral presentation. The A4 is the more fun IEM, with the stronger bass and the overall bigger and fuller sound. The P1, on the other hand, is probably more neutral, although spending more time with the filter combinations may negate this. For me, I would choose the A4 over the P1 and trust me when I say I love the P1. The A4 is, however, what I think to be a better IEM for most people. The bass is in another league and the mids/highs are mouth-wateringly good for the $200 price tag.
JVC FX1100: I recently obtained the JVC FX1100 (also called the FX1200 in other regions) "woody" IEM for around the $200 mark, so I thought I would update my review to include this contender. It's not exactly a fair fight as this IEM is primarily for the Japanese market and was around the $400 mark at launch. But as I mentioned, I'm having trouble finding IEMs in the $200 range to compare to the A4! I'll get this out of the way up front: the FX1100 and A4 both look equally ridiculous sticking out of my ears in the office, but both are equally comfortable. The FX1100 is substantially heavier (or at elast feels that way), but similarly both use the MMCX cables and are typically worn down. The FX1100 has one dynamic driver and is not a hybrid design like the A4. So how does the sound compare? Very well, actually. Where the A4 has several tuning options, the JVC falls into what you see is what you get. And that's a very good thing. I have settled on the red back filters and either blue or black fronts, depending on whether I want a more relaxed warm sound or a more analytical sound. Right off the bat, I notice that the A4 is the more balanced IEM. The FX1100 has a very pleasant and warm signature that some might find dark. Where I find a real mid-bass presence in the FX1100, the A4 has a more accurate sub-bass and almost a recessed mid-bass depending on the filter for tuning. I would almost say that the FX1100 has exaggerated mid-bass emphasis (which I am fine with and consider to be fun-sounding). Both IEMs extend very deep when the music calls for it, with the FX1100 bass ever so slightly bleeding into the mids. Neither are basshead levels, but the FX1100 sounds like it has more bass because of that mid-bass that always seems to be present and it is rather punchy on some tracks. Moving to the mid-range, the A4 has quite clear and smooth mids that I find very pleasant. No complaints on male vocals and while they're not recessed, they're also not in your face. That's my ideal mid-range tuning and the FX1100 is similar in this regard. That said, the mid-bass presence gives the feeling of the mids taking a bit of a back seat. They're clear and well-defined, though they seem to have a bit more grain and bite to the music tracks. Where the A4 has a very smooth mid-range, the FX1100 has a grit to it that really makes something like an electric guitar sing and stand out. That is assuming the bass player or drummer are not slapping the E-string or nailing the kick-drum as hard as they can! Moving onto the highs, I find them very well defined on both, though the FX1100 again have a certain grain to them. I find the highest frequencies to be more recessed on the FX1100, though it is still a very pleasant tuning signature. While they're slightly recessed, they still have that nice bite that I described in the mid-range. It's hard to declare a winner here as they both simply sound different. If I were to make an overly-simplified conclusion, I would say that the FX1100 is the more fun IEM while the A4 is the more accurate, versatile and better all-arounder. For me, I really like both. I think resolution is every so slightly better on the A4, but that punchy mid-bass of the FX1100 can be a lot of fun on certain types of music. On others, you may tire of it. Side note: the wood IEM casing is really, really cool!
Conclusion:
The value that the A4 brings to the table is very, very impressive. Certain higher priced IEMs may do one or two things better, but as an overall package at $200 I would recommend this to anyone and everyone, including my neighbor’s deaf dog. As I mentioned before, I was given a set of these for sampling purposes and I loved them so much that I bought my “own” pair for when the zombie apocalypse happens and I can no longer buy them. Actually more accurately, LZ stopped the production of the A2 and I got frightened that these may not be available again at some point. I have never bought a backup pair of IEMs before until now. They’re sort of a jack of all trades. Normally I find tuning to be bothersome and non-beneficial, but in the case of the A4 there is really is a sound for everyone. I feel that these deserve a solid five-star rating. The sound quality is simply astounding, the flexibility is pretty much unrivaled, the quality of workmanship (cable, IEM shell, filters) is top notch and I see no faults. Since nothing is ever perfect, they can be bested in the micro-detail and clarity department by an IEM that costs four times as much. I do not consider that a loss, or even a drawback. Again, overall, I think these do everything right and there’s something here for everyone. I had so much fun during this review that I am already anticipating buying the A4S, A5, A5S and so on. Thanks for reading.
mikek200
Great Review Para,a bit long but,very thorough
I found it very educational,and I agree on almost all of what you've highlighted,like the comfort
As of now,I am using the same filter combo as you,& find it perfect
Nice job with this review,and thank you for taking the time to write it.
Mike
I found it very educational,and I agree on almost all of what you've highlighted,like the comfort
As of now,I am using the same filter combo as you,& find it perfect
Nice job with this review,and thank you for taking the time to write it.
Mike
SeeSax
@dw1narso Apparently the A2 Pro has identical sound to the A2. I haven't received them yet, but will comment back when I do. Thanks for the kind words.
@Yobster69 I just listed three IEMs for sale to fund the new cable for my Velvet
@mikek200 Thanks buddy, but I'm not Para, I'm SeeSax (Collin). Is that beer I sent you too strong? Cheers :-D
-Collin-
@Yobster69 I just listed three IEMs for sale to fund the new cable for my Velvet
@mikek200 Thanks buddy, but I'm not Para, I'm SeeSax (Collin). Is that beer I sent you too strong? Cheers :-D
-Collin-
Rhythmy
Thank for your great review! I'll order A4 soon
About Me:
I came into the world of audio from a guitar background, buying up tube amps from when I was a kid and was always fascinated with them. Then I ended up buying my first decent pair of IEMs one day for a long flight (Yamaha EPH-100) and it was downhill from there. For a year or two, my only source were cell phones + a DAC/amp combo. Recently, I've invested in a desktop setup consisting of an Audio-GD Master 11 (which I absolutely love). I'm still no professional, I don't know all the right terms and I can really only offer an opinion of what I like. I don't have golden ears and I would not be considered a sommelier of the audio world. But what I do have to offer is the fact that I buy pretty much every IEM that looks interesting and give it some good listening time. As for preference of music, as cliché as it sounds, I love everything with a definite nod toward pop, country, electronic, rock and blues.
Test Equipment:
I used a few different setups for this review, but I will note that I primarily use IEMs with “mobile” setups, meaning I do not typically test them with either of my desktop setups. This time around, however, I did play the Pinnacle P1s through my Audio-GD NFB-1 DAC and amp before I sold them. I did this because the P1s are quite difficult to drive from mobile phones and I’ll expand on that later. Most of the testing was done, however, with my Chord Mojo and my LG V20 playing Tidal HiFi streaming. I used Tidal via USB Audio Player Pro when using the Mojo to avoid the Android upsampling.
The IEMs:
Physical presentation when you open the box is first rate and I have not seen this on a $199 IEM before (well, maybe I did on the RE-600 but that was originally $399). The IEMs have a very classy metal housing and they come with a large assortment of tips and two different cables. One has smartphone controls and is your average cheap MMCX cable, but the other is silver-plated copper ($50 on Amazon) and I stuck with that from the get-go. I don’t like the feel of the other cable with smartphone controls as it is thicker and heaver and overall feels cheaper. I liked the silver-plated copper cable so much that I bought an extra to use with my Sony XBA-Z5s. I also love the leather carrying case with a folding magnetic flap. They IEMs are a bit of a tight squeeze into it, but it’s a great case that isn’t bulky and overall has a classy and quality feel.
Comfort:
This one is easy: these are the most comfortable IEMs I have ever worn. You simply forget they are in your ear and I can easily listen to them for hours upon hours without any pain points or annoyances. The cable does not have memory wire, though these are still worn over-ear and I absolutely love them. They fit right into my ear canal and never come loose, never need fiddling and the shape is incredibly well thought out.
Tips:
Tips are a very personal thing and while the Pinnacle P1s come with plenty, I had the best success with Sony’s foam-filled hybrid tips. These are somewhat hard to find, but you can get them from the usual places like eBay and Amazon if you are okay waiting for shipping from Japan. These fit the P1s perfectly and I enjoy them because they hold the P1 firmly in my ear given the somewhat firmer feel than the non-foam stuffed ones. I also had success with JVC’s Spiral Dots, but they did not sound as good to me as the Sonys.
Sound:
The Pinnacle P1 IEMs are what I consider to be the most neutral IEMs I have. They are not bright, they are not bass-heavy, they are not mid-forward. They have no offensive characteristics and I do not believe many people would find any fault whatsoever in any of their range. Would I like more of certain things? Sure, but that is personal preference. What I mean is that anyone who puts these on will be very unlikely to find something to complain about such as sibilance or anything of that nature. What the P1s trade in bass impact or sharp treble is an overall sound signature that is incredibly neutral, detailed, enjoyable and polite. I love this about them.
Bass: If these had just a bit more bass slam from their dynamic driver, I would give them five out of five. That is literally the only thing I would ask for out of these is a bit more bass quantity. The bass is very accurate, it can reach very low when the music calls for it and it will likely satisfy non-bass heads or people who love a very neutral IEM. Me, well, I want just a tad more please. The bass they do have is punchy, but not as punchy as something like a triple-BA IEM like the Sony XBA-300. It is not muddy or loose like some other dynamic driver IEMs. I honestly think it will be “just right” for quite a few folks, but I love my bass!
Mids: The mids on this IEM are the star of the show for me and it’s not because they’re forward or in your face, it’s just because they’re incredibly detailed. Vocals through these IEMs rival some of my IEMs that cost three times as much and outperform others of the same cost (vocals on these sound better than on my XBA-Z5). There is no bass bleeding into the mids and overall, this tuning is extremely well-done by MEE Audio. They give such a clear presentation of how I think vocals should sound (both male and female).
Highs: I’m going to categorize the highs into the same camp as I did with the bass: they’re wonderful, but I would love a bit more. Like I mentioned, I do not think anyone will find these sibilant if you have a proper source and get a good fit. The highs are sparkly, detailed, non-offensive in any way and very smooth. While I love my bass, I love my treble too and I could stand a bit more treble presence in these. Not a lot, but a tad more might give them even more perceived clarity than they already have (which would be an insane amount of clarity!). Everything sounds good on these from cymbals, electronic beats and instruments.
Detail and Clarity:
I have not heard detail like this in a $200 IEM (or, perhaps, even a $400 IEM). The instrument separation on these is among the best I have heard and it’s very noticeable on first listen. They just sound crystal clear. You’ll hear strings being plucked, you’ll hear small sounds that you may have missed before and I’m quite impressed that this was achieved with a single dynamic driver. I’m not an audio engineer and I couldn’t begin to design an earphone, but this greatly impresses me. This is my favorite part about these IEMs – the clarity and detail. Well done, MEE Audio, well done.
Comparisons:
For my comparisons, I try to compare against similarly priced IEMs and avoid apples to oranges comparisons. So, below are some of the IEMs I have that I think are a good match against the P1 that cost similar amounts.
HiFiMan RE-600: The RE-600 was my go-to IEM for a neutral, detailed and comfortable IEM. The Pinnacle P1, in my eyes, has beat the RE-600 on all three counts. The bass presence is stronger on the P1, the comfort is even better despite them weighing much more and the detail retrieval is superior on the P1. Don’t even get me started on the cable on the RE-600 vs. the P1 as I’m sure you’ve read all of the cable failures on the RE-600. Not acceptable for a $400 IEM at launch (and still not acceptable on a $200 IEM). Sound-wise, I don’t find any real faults with the RE-600, but I found the P1 to just sound bigger, fuller and more detailed. Given that these are now the same price, I’d choose the P1 every time.
Sony XBA-300: This IEM couldn’t be more different technically speaking from the P1, but since they’re around the same price and both are considered to be pretty neutral IEMs, I wanted to compare them. For this comparison, I will not declare the P1 a winner per se, but a different IEM altogether. Where the P1 sounds neutral, polite and musical, the XBA-300 can get harsh in the treble and has light but very punchy bass. Something like a kick drum will really slam your ear in the XBA-300 whereas on the P1, it’s a less controlled boom. The P1 is not boomy at all, but in comparison to the XBA-300’s triple-BA design it does not offer the tight and controlled bass that the XBA-300 does. The XBA-300 has that extra treble that I asked for from the P1, but it might be a bit too bright for some people. Both IEMs are very neutral to me, but the XBA-300 may give people a bit more trouble if you’re listening at louder volumes and the track has anything that can be perceived as “piercing” highs. I would say that detail retrieval is similar on both IEMs, but soundstage and separation are still a bit better on the P1 for me.
LZ A4: I debated on including this IEM because I have only had it for about five days, but given that it’s a $200 triple-hybrid design and my initial impressions are through the roof, it seemed appropriate. I’ll keep the specifics light as I need more time with the approximate 6,745 filter combinations, but overall the LZ A4 to me is a superior IEM. It offers slamming, deep bass, clear and detailed mids and highs that can be tuned to the user’s liking. It has everything I have asked for extra from the P1 and for that reason, for now, this would be the IEM of my choice in the $200 range without question. I would say the only area the A4 falls short of the P1 is in comfort. It is comfortable, but it is a MASSIVE plastic housing designed to be worn down and for the first time in a while, I’m almost embarrassed to wear them in public. The last time that happened was when I wore my Sony Z5s outside.
MusicMaker Shockwave III: This IEM is a bit more pricey at around $240, but it’s not so far off that it should be excluded. Where I thought the XBA-300 couldn’t get more different them the P1, the SW3 does. This is a 5-driver IEM with four balanced armature drivers and one dynamic driver. The bass on this is similar to the LZ A4 and I find it superior to the P1 in its reach and impact. The mids on the SW3 are slightly recessed and that is exaggerated with the very bright treble. The SW3 is definitely a V-shaped IEM and I think the P1 wins in overall listening pleasure to be totally honest. I love the SW3, but it is not an “every day” IEM for me that can fit every musical taste like the P1 can. Sure it has that deep bass I am craving, crisp and bright treble, but it does not have what the P1 has: the ability to sit in my ear for hours and put a smile on my face with ANY kind of music I put through it. If I tried that, I might end up deaf. It’s also huge and nowhere near as comfortable as the P1.
Conclusion:
The Pinnacle P1 IEMs came dangerously close to being a perfect IEM for me. They might be perfect for most people who do not require “basshead” levels of bass. They do everything well, they’re polite, they’re comfortable and for a first stab at a flagship IEM I think MEE Audio knocked this one out of the park. Their customer service is first rate and their packaging and attention to detail are wonderful. I love these IEMs and am hugely impressed with them for $200. The detail and clarity alone is worth the price of entry and I can literally wear them all day. They miss out barely on a few things that I want a little more of, so I’m going to go with 4.5 stars with the confidence that these will be 5-star IEMs for a lot of people. They’re that good.
Note: These are some of the most difficult to drive IEMs I have had. They absolutely require more power than most smartphones can produce (sans for maybe the V10, V20, HTC 10 or iPhones). Sure they will work, but in my experience they need to be properly driven with a proper headphone amp of some sort. I would NOT choose the P1 if you are going to be driving them straight from an average smartphone.
I came into the world of audio from a guitar background, buying up tube amps from when I was a kid and was always fascinated with them. Then I ended up buying my first decent pair of IEMs one day for a long flight (Yamaha EPH-100) and it was downhill from there. For a year or two, my only source were cell phones + a DAC/amp combo. Recently, I've invested in a desktop setup consisting of an Audio-GD Master 11 (which I absolutely love). I'm still no professional, I don't know all the right terms and I can really only offer an opinion of what I like. I don't have golden ears and I would not be considered a sommelier of the audio world. But what I do have to offer is the fact that I buy pretty much every IEM that looks interesting and give it some good listening time. As for preference of music, as cliché as it sounds, I love everything with a definite nod toward pop, country, electronic, rock and blues.
Test Equipment:
I used a few different setups for this review, but I will note that I primarily use IEMs with “mobile” setups, meaning I do not typically test them with either of my desktop setups. This time around, however, I did play the Pinnacle P1s through my Audio-GD NFB-1 DAC and amp before I sold them. I did this because the P1s are quite difficult to drive from mobile phones and I’ll expand on that later. Most of the testing was done, however, with my Chord Mojo and my LG V20 playing Tidal HiFi streaming. I used Tidal via USB Audio Player Pro when using the Mojo to avoid the Android upsampling.
The IEMs:
Physical presentation when you open the box is first rate and I have not seen this on a $199 IEM before (well, maybe I did on the RE-600 but that was originally $399). The IEMs have a very classy metal housing and they come with a large assortment of tips and two different cables. One has smartphone controls and is your average cheap MMCX cable, but the other is silver-plated copper ($50 on Amazon) and I stuck with that from the get-go. I don’t like the feel of the other cable with smartphone controls as it is thicker and heaver and overall feels cheaper. I liked the silver-plated copper cable so much that I bought an extra to use with my Sony XBA-Z5s. I also love the leather carrying case with a folding magnetic flap. They IEMs are a bit of a tight squeeze into it, but it’s a great case that isn’t bulky and overall has a classy and quality feel.
Comfort:
This one is easy: these are the most comfortable IEMs I have ever worn. You simply forget they are in your ear and I can easily listen to them for hours upon hours without any pain points or annoyances. The cable does not have memory wire, though these are still worn over-ear and I absolutely love them. They fit right into my ear canal and never come loose, never need fiddling and the shape is incredibly well thought out.
Tips:
Tips are a very personal thing and while the Pinnacle P1s come with plenty, I had the best success with Sony’s foam-filled hybrid tips. These are somewhat hard to find, but you can get them from the usual places like eBay and Amazon if you are okay waiting for shipping from Japan. These fit the P1s perfectly and I enjoy them because they hold the P1 firmly in my ear given the somewhat firmer feel than the non-foam stuffed ones. I also had success with JVC’s Spiral Dots, but they did not sound as good to me as the Sonys.
Sound:
The Pinnacle P1 IEMs are what I consider to be the most neutral IEMs I have. They are not bright, they are not bass-heavy, they are not mid-forward. They have no offensive characteristics and I do not believe many people would find any fault whatsoever in any of their range. Would I like more of certain things? Sure, but that is personal preference. What I mean is that anyone who puts these on will be very unlikely to find something to complain about such as sibilance or anything of that nature. What the P1s trade in bass impact or sharp treble is an overall sound signature that is incredibly neutral, detailed, enjoyable and polite. I love this about them.
Bass: If these had just a bit more bass slam from their dynamic driver, I would give them five out of five. That is literally the only thing I would ask for out of these is a bit more bass quantity. The bass is very accurate, it can reach very low when the music calls for it and it will likely satisfy non-bass heads or people who love a very neutral IEM. Me, well, I want just a tad more please. The bass they do have is punchy, but not as punchy as something like a triple-BA IEM like the Sony XBA-300. It is not muddy or loose like some other dynamic driver IEMs. I honestly think it will be “just right” for quite a few folks, but I love my bass!
Mids: The mids on this IEM are the star of the show for me and it’s not because they’re forward or in your face, it’s just because they’re incredibly detailed. Vocals through these IEMs rival some of my IEMs that cost three times as much and outperform others of the same cost (vocals on these sound better than on my XBA-Z5). There is no bass bleeding into the mids and overall, this tuning is extremely well-done by MEE Audio. They give such a clear presentation of how I think vocals should sound (both male and female).
Highs: I’m going to categorize the highs into the same camp as I did with the bass: they’re wonderful, but I would love a bit more. Like I mentioned, I do not think anyone will find these sibilant if you have a proper source and get a good fit. The highs are sparkly, detailed, non-offensive in any way and very smooth. While I love my bass, I love my treble too and I could stand a bit more treble presence in these. Not a lot, but a tad more might give them even more perceived clarity than they already have (which would be an insane amount of clarity!). Everything sounds good on these from cymbals, electronic beats and instruments.
Detail and Clarity:
I have not heard detail like this in a $200 IEM (or, perhaps, even a $400 IEM). The instrument separation on these is among the best I have heard and it’s very noticeable on first listen. They just sound crystal clear. You’ll hear strings being plucked, you’ll hear small sounds that you may have missed before and I’m quite impressed that this was achieved with a single dynamic driver. I’m not an audio engineer and I couldn’t begin to design an earphone, but this greatly impresses me. This is my favorite part about these IEMs – the clarity and detail. Well done, MEE Audio, well done.
Comparisons:
For my comparisons, I try to compare against similarly priced IEMs and avoid apples to oranges comparisons. So, below are some of the IEMs I have that I think are a good match against the P1 that cost similar amounts.
HiFiMan RE-600: The RE-600 was my go-to IEM for a neutral, detailed and comfortable IEM. The Pinnacle P1, in my eyes, has beat the RE-600 on all three counts. The bass presence is stronger on the P1, the comfort is even better despite them weighing much more and the detail retrieval is superior on the P1. Don’t even get me started on the cable on the RE-600 vs. the P1 as I’m sure you’ve read all of the cable failures on the RE-600. Not acceptable for a $400 IEM at launch (and still not acceptable on a $200 IEM). Sound-wise, I don’t find any real faults with the RE-600, but I found the P1 to just sound bigger, fuller and more detailed. Given that these are now the same price, I’d choose the P1 every time.
Sony XBA-300: This IEM couldn’t be more different technically speaking from the P1, but since they’re around the same price and both are considered to be pretty neutral IEMs, I wanted to compare them. For this comparison, I will not declare the P1 a winner per se, but a different IEM altogether. Where the P1 sounds neutral, polite and musical, the XBA-300 can get harsh in the treble and has light but very punchy bass. Something like a kick drum will really slam your ear in the XBA-300 whereas on the P1, it’s a less controlled boom. The P1 is not boomy at all, but in comparison to the XBA-300’s triple-BA design it does not offer the tight and controlled bass that the XBA-300 does. The XBA-300 has that extra treble that I asked for from the P1, but it might be a bit too bright for some people. Both IEMs are very neutral to me, but the XBA-300 may give people a bit more trouble if you’re listening at louder volumes and the track has anything that can be perceived as “piercing” highs. I would say that detail retrieval is similar on both IEMs, but soundstage and separation are still a bit better on the P1 for me.
LZ A4: I debated on including this IEM because I have only had it for about five days, but given that it’s a $200 triple-hybrid design and my initial impressions are through the roof, it seemed appropriate. I’ll keep the specifics light as I need more time with the approximate 6,745 filter combinations, but overall the LZ A4 to me is a superior IEM. It offers slamming, deep bass, clear and detailed mids and highs that can be tuned to the user’s liking. It has everything I have asked for extra from the P1 and for that reason, for now, this would be the IEM of my choice in the $200 range without question. I would say the only area the A4 falls short of the P1 is in comfort. It is comfortable, but it is a MASSIVE plastic housing designed to be worn down and for the first time in a while, I’m almost embarrassed to wear them in public. The last time that happened was when I wore my Sony Z5s outside.
MusicMaker Shockwave III: This IEM is a bit more pricey at around $240, but it’s not so far off that it should be excluded. Where I thought the XBA-300 couldn’t get more different them the P1, the SW3 does. This is a 5-driver IEM with four balanced armature drivers and one dynamic driver. The bass on this is similar to the LZ A4 and I find it superior to the P1 in its reach and impact. The mids on the SW3 are slightly recessed and that is exaggerated with the very bright treble. The SW3 is definitely a V-shaped IEM and I think the P1 wins in overall listening pleasure to be totally honest. I love the SW3, but it is not an “every day” IEM for me that can fit every musical taste like the P1 can. Sure it has that deep bass I am craving, crisp and bright treble, but it does not have what the P1 has: the ability to sit in my ear for hours and put a smile on my face with ANY kind of music I put through it. If I tried that, I might end up deaf. It’s also huge and nowhere near as comfortable as the P1.
Conclusion:
The Pinnacle P1 IEMs came dangerously close to being a perfect IEM for me. They might be perfect for most people who do not require “basshead” levels of bass. They do everything well, they’re polite, they’re comfortable and for a first stab at a flagship IEM I think MEE Audio knocked this one out of the park. Their customer service is first rate and their packaging and attention to detail are wonderful. I love these IEMs and am hugely impressed with them for $200. The detail and clarity alone is worth the price of entry and I can literally wear them all day. They miss out barely on a few things that I want a little more of, so I’m going to go with 4.5 stars with the confidence that these will be 5-star IEMs for a lot of people. They’re that good.
Note: These are some of the most difficult to drive IEMs I have had. They absolutely require more power than most smartphones can produce (sans for maybe the V10, V20, HTC 10 or iPhones). Sure they will work, but in my experience they need to be properly driven with a proper headphone amp of some sort. I would NOT choose the P1 if you are going to be driving them straight from an average smartphone.
Ting Tiew Yik
I owned xba 300 and p1 and I would say p1's bass is more punchy and xba is more detail.
Nice review!
Nice review!
mikek200
Great review Collin
I also used the P1 for a while,& liked them a lot
Your reviews is very precise,and really explains the thinks are most important on the P1's.,
as I am not a basshead either,I search for the musicality of ,every IEM,& headphone,I own.
I did have an issue, with the fit on these,,and it caused me to sell them.
Thank you ,for taking the time to write this review...it is good reading.
I also used the P1 for a while,& liked them a lot
Your reviews is very precise,and really explains the thinks are most important on the P1's.,
as I am not a basshead either,I search for the musicality of ,every IEM,& headphone,I own.
I did have an issue, with the fit on these,,and it caused me to sell them.
Thank you ,for taking the time to write this review...it is good reading.
killz4gold
can you compare to VSD5 or GR07 ?
About Me:
I came into the world of audio from a guitar background, buying up tube amps from when I was a kid and was always fascinated with them. Then I ended up buying my first decent pair of IEMs one day for a long flight (Yamaha EPH-100) and it was downhill from there. For a year or two, my only source were cell phones + a DAC/amp combo. Recently, I've invested in a desktop setup consisting of an Audio-GD Master 11 (which I absolutely love). I'm still no professional, I don't know all the right terms and I can really only offer an opinion of what I like. I don't have golden ears and I would not be considered a sommelier of the audio world. But what I do have to offer is the fact that I buy pretty much every IEM that looks interesting and give it some good listening time. As for preference of music, as cliché as it sounds, I love everything with a definite nod toward pop, country, electronic, rock and blues.
Test Equipment:
I used a few different setups for this review, but I will note that I primarily use IEMs with “mobile” setups, meaning I do not typically test them with either of my desktop setups. That said, the majority of my listening (and the most enjoyable) was on my LG V20 playing Tidal HiFi via USB Audio Pro Player and then connected to my Chord Mojo. I also used the Centrance DACportable briefly and also tried the Velvets straight out of the LG V20. All produced outstanding results, with my slight favorite being the Mojo setup.
The IEMs:
I wasn’t sure what to expect from Earsonics honestly. I had read differing things such as lackluster build quality, cheap plastics, nothing-special cables and so on and so forth. When these arrived, I must have drooled over the box for a good minute or two due to the beauty of just the package! Opening the box, that continued as I stared in awe of these crystal clear, unique-looking (to me anyway) IEMs. The tip selection is okay and the carrying case is fairly standard, but the presentation was overall very nice. The cable feels very soft and while the memory wire is very short, it holds the IEMs firmly in place. I have been rather vocal in the past about my distaste for over-ear IEMs, but I approached these with an open mind and I actually find them to be tied as the most comfortable IEMs I have owned (tied with the Pinnacle P1, that is). You simply forget these are in your ear and you can then just enjoy the music. They are nowhere near as fussy as the Sony XBA-Z5 to me. Also, they have a screw for tuning the sound signature. You can choose between warm, balanced or tight. I prefer the balanced position and that is what my review is based on.
Tips:
I feel like this needs its own section. The tips that come with the Velvets are primarily double flange silicon. I would not say there is a wide array of tips like you get with some other IEMs of this caliber (XBA-Z5, for example). As someone who does not much care for double flange tips, I had to investigate my own options and ultimately settled on a Westone Star tip that works perfectly. It is hard to tell if this changed the sound or not because I was not getting a good deal with the Earsonics tips. Note: the Westone silicone tips fit these just fine, but they require some patience to install. I do not, however, think the foam Westone tips will fit because they are not nearly as flexible going over the nozzle. I’d pass on those. These also came with Comply tips, but I’ve never been a fan of them so I am not a good person to ask how they sound with those.
Update: I have found some tips that I LOVE with the Velvets. These tips came with (I believe) my LZ A2 earphones, so I am unsure where to buy them separately unfortunately. For me, the fit is outstanding and they really allow a proper seal. This proper seal gives the me the full benefits of the Velvet's sound characteristics and I'm 100% pleased with these tips. Below is a photo to show what they look like. The black and white are identical, just different colors. I highly recommend these tips.
Sound:
Right off the bat, I knew I would love these. Despite a less than perfect seal, I was immediately taken by the sound signature of these. Gobs of warm, powerful bass, smooth mids and a really nice and textured treble sparkle. This was on the “balanced” setting as I mentioned. Once I got the Westone tips installed, isolation and bass impact improved further for me and I can honestly say these are some of the most fun IEMs I’ve ever heard. Here’s a bit more of a breakdown on the different sonic characters.
Bass: Extremely powerful, warm and fun. Not bloated, but definitely makes its presence known and these are definitely north of neutral for me in the bass department. They do not have the sub-bass rumble that my Shockwave 3 or Sony XBA-Z5s have, but they trounce other IEMs like the XBA-300, Pinnacle P1, RE-600 (no comparison whatsoever) and overall I find it extremely pleasing. I do notice it bleed into the mids a bit on certain tracks, but not nearly enough to be bothersome. I love a warm, musical sound signature and these have it.
Mids: Apparently this is where Earsonics really shine and these are no exception. Vocals are fantastic and I have no complaints about the mids. They’re the neutral, smooth and probably the most accurate of the frequency range and while I don’t have the technical know-how to go into much more detail, these are my perfect balance of neither recessed nor overly-forward (which something like the Simgot EN700, for example is).
Treble: This is a very fun sounding IEM on the highs. They have a certain grain or texture to me that makes them sound euphoric. They’re still extremely detailed and accurate, but they have a bit of extra sparkle that makes me really enjoy cymbals or rhythms on electronic music. I do not find these fatiguing in the least, but I can imagine someone who is treble-sensitive to maybe want to try a few different tip combinations to keep the treble in check. Again, it’s very enjoyable for me, but the treble is there and you won’t forget that it’s a main factor in the overall sound signature.
Separation: These are very, very detailed IEMs and at the same time sound incredibly smooth. Those probably conflict one another, but hey I’m writing the review and that’s how they sound to me! I won’t go on to say “I’m hearing things I’ve never heard before in a recording,” because I’ve had at least 20 headphones/IEMs and it’s unreasonable to think that these would uncover instruments I never knew were there. They are, however, among the best from a separation standpoint on any IEMs I’ve heard. I think they slightly edge out the Z5s for me, and they destroy the RE-600 which I had thought had pretty good separation. They’re even slightly better than the Pinnacle P1 in that sense, which is a strong point of that IEM.
Comparisons:
Sony XBA-Z5: The obvious comparison for me is the Sony XBA-Z5 because they are similarly priced (I paid about $500 for each) and they each have three drivers. The similarities stop there, however. The Velvet are overall more musical to my ears. I absolutely love my Z5s, but they are a different animal. Where there are gobs of sub-bass on the Z5s, the bass is a bit warmer and extends up closer to the mids on the Velvet. This gives them the overall feeling of more warmth and I like that. The mids are clear and up front on the Velvets where they are slightly recessed in the Z5s. Treble quantity is somewhat similar for me, but I give the nod to the Velvets due to their pleasing texture to me. Overall if I had to pick between both, it would probably be the Velvet and that is just because I think they are more versatile. Fit and isolation are WAY better for me on the Velvet, though I do love the Z5’s sound with something like electronic music. For an everyday IEM, the Velvets would win for me. But they are in no way going to make me get rid of my Z5s.
Sony XBA-300: This seemed like a logical choice because they are both three-BA units. Again, the similarities stop there. In a nutshell, the Velvet are very fun sounding IEMs that trade a bit of accuracy for musicality and color and the XBA-300 are bright, dry, almost-reference sounding IEMs. The bass is definitely there on the XBA-300s, but not to the levels of the Velvet. The XBA-300 has sort of become my reference test against my other IEMs because they’re so detailed, articulate and they have a flat neutral sound signature. I prefer the Velvets for every day listening with pretty much any genre of music.
Musicmaker Shockwave 3: These IEMs don’t have much in common other than me owning both of them. I’ll say right off the bat that the SW3 might be the more technical IEM with loads of drivers, but I prefer the sound of the Velvet nine times out of 10. I get deeper sub-bass rumble out of the SW3, but the extremely bright treble and simply massive shell make these less enjoyable to just relax and listen to music. The Velvet have a warmer signature, nearly as much sub-bass, better mids and a much more pleasing treble to me. I love the SW3, but, I love the Velvet more.
Sennheiser IE800: Now this is tough. Really tough. I have seen these compared in the past and for good reason, they are similar in price and both very well-regarded IEMs. For me, they are different, but equally good. I am biased toward wearing IEMs down and I LOVE the fit of the IE800, yet I also read that it’s a problem for some people. So for me, I prefer the IE800 as far as comfort goes, but there is very little to complain about either one. The sound? Seriously, this is tough. They sound so different, yet I am having a very hard time choosing a winner. There may be no winner, per se. I get more of the deep, hard hitting bass with the IE800, but I get that kick-drum-to-the-head sensation from the Velvets slightly up the frequency ladder. The mids are ever so slightly recessed on the IE800 while they are ever so slightly forward on the Velvets. Treble has a similar texture and grain and I have a really hard time declaring either a winner. Separation and detail I give a VERY slight win to the IE800. Seriously, they’re both equally amazing for me. If I had to choose, I’d buy the cheaper one.
Others: Pinnacle P1, while I love this IEM for its comfort, neutral sound signature and great separation and detail, it isn’t in the same league as the Velvets (nor should I expect it to be at ¼ the price). The RE-600 might have been the biggest disappointment here since at $400 initially, it was said to punch well above its weight. Simply put, it doesn’t punch the Velvet anywhere or in anything. Now, I just received an pair of LZ A4 for review and I cannot wait to pit them against the Velvets.
Conclusion:
I had immediate buyer’s remorse after jumping on these Velvets at the $500 Black Friday sale price. I had been wanting them for a long time, but then I bought them and immediately felt that sensation of “man, did I really just kiss another $500 goodbye on another set of IEMs?” I debated canceling the order, but I left it and I am so glad I did. While these are not “reference” IEMs and they do not have 15 drivers in each ear in an exotic configuration, they have potentially the funnest sound signature of any IEM I have tried to date. They’re just a beautiful IEM to listen to. They will slam the bass into your ear when the track calls for it and they will display elegance the rest of the time. Call me crazy, but these are the perfect wife! They know how to party, but you will not wake up the next morning regretting your decision. If I’m going to get really picky (and I should because these retail for $799), the plastic does feel cheap, the cable is whatever and the memory wire is very short. None of this, however, detracts from some of the best sounding IEMs I’ve ever heard. I do not regret my decision in the least and if I didn’t have the IE800 I would say these were my solid number one. Since I do have the IE800s, though, these are solidly TIED for my number one. I can’t wait to listen to them even more.
I came into the world of audio from a guitar background, buying up tube amps from when I was a kid and was always fascinated with them. Then I ended up buying my first decent pair of IEMs one day for a long flight (Yamaha EPH-100) and it was downhill from there. For a year or two, my only source were cell phones + a DAC/amp combo. Recently, I've invested in a desktop setup consisting of an Audio-GD Master 11 (which I absolutely love). I'm still no professional, I don't know all the right terms and I can really only offer an opinion of what I like. I don't have golden ears and I would not be considered a sommelier of the audio world. But what I do have to offer is the fact that I buy pretty much every IEM that looks interesting and give it some good listening time. As for preference of music, as cliché as it sounds, I love everything with a definite nod toward pop, country, electronic, rock and blues.
Test Equipment:
I used a few different setups for this review, but I will note that I primarily use IEMs with “mobile” setups, meaning I do not typically test them with either of my desktop setups. That said, the majority of my listening (and the most enjoyable) was on my LG V20 playing Tidal HiFi via USB Audio Pro Player and then connected to my Chord Mojo. I also used the Centrance DACportable briefly and also tried the Velvets straight out of the LG V20. All produced outstanding results, with my slight favorite being the Mojo setup.
The IEMs:
I wasn’t sure what to expect from Earsonics honestly. I had read differing things such as lackluster build quality, cheap plastics, nothing-special cables and so on and so forth. When these arrived, I must have drooled over the box for a good minute or two due to the beauty of just the package! Opening the box, that continued as I stared in awe of these crystal clear, unique-looking (to me anyway) IEMs. The tip selection is okay and the carrying case is fairly standard, but the presentation was overall very nice. The cable feels very soft and while the memory wire is very short, it holds the IEMs firmly in place. I have been rather vocal in the past about my distaste for over-ear IEMs, but I approached these with an open mind and I actually find them to be tied as the most comfortable IEMs I have owned (tied with the Pinnacle P1, that is). You simply forget these are in your ear and you can then just enjoy the music. They are nowhere near as fussy as the Sony XBA-Z5 to me. Also, they have a screw for tuning the sound signature. You can choose between warm, balanced or tight. I prefer the balanced position and that is what my review is based on.
Tips:
I feel like this needs its own section. The tips that come with the Velvets are primarily double flange silicon. I would not say there is a wide array of tips like you get with some other IEMs of this caliber (XBA-Z5, for example). As someone who does not much care for double flange tips, I had to investigate my own options and ultimately settled on a Westone Star tip that works perfectly. It is hard to tell if this changed the sound or not because I was not getting a good deal with the Earsonics tips. Note: the Westone silicone tips fit these just fine, but they require some patience to install. I do not, however, think the foam Westone tips will fit because they are not nearly as flexible going over the nozzle. I’d pass on those. These also came with Comply tips, but I’ve never been a fan of them so I am not a good person to ask how they sound with those.
Update: I have found some tips that I LOVE with the Velvets. These tips came with (I believe) my LZ A2 earphones, so I am unsure where to buy them separately unfortunately. For me, the fit is outstanding and they really allow a proper seal. This proper seal gives the me the full benefits of the Velvet's sound characteristics and I'm 100% pleased with these tips. Below is a photo to show what they look like. The black and white are identical, just different colors. I highly recommend these tips.
Sound:
Right off the bat, I knew I would love these. Despite a less than perfect seal, I was immediately taken by the sound signature of these. Gobs of warm, powerful bass, smooth mids and a really nice and textured treble sparkle. This was on the “balanced” setting as I mentioned. Once I got the Westone tips installed, isolation and bass impact improved further for me and I can honestly say these are some of the most fun IEMs I’ve ever heard. Here’s a bit more of a breakdown on the different sonic characters.
Bass: Extremely powerful, warm and fun. Not bloated, but definitely makes its presence known and these are definitely north of neutral for me in the bass department. They do not have the sub-bass rumble that my Shockwave 3 or Sony XBA-Z5s have, but they trounce other IEMs like the XBA-300, Pinnacle P1, RE-600 (no comparison whatsoever) and overall I find it extremely pleasing. I do notice it bleed into the mids a bit on certain tracks, but not nearly enough to be bothersome. I love a warm, musical sound signature and these have it.
Mids: Apparently this is where Earsonics really shine and these are no exception. Vocals are fantastic and I have no complaints about the mids. They’re the neutral, smooth and probably the most accurate of the frequency range and while I don’t have the technical know-how to go into much more detail, these are my perfect balance of neither recessed nor overly-forward (which something like the Simgot EN700, for example is).
Treble: This is a very fun sounding IEM on the highs. They have a certain grain or texture to me that makes them sound euphoric. They’re still extremely detailed and accurate, but they have a bit of extra sparkle that makes me really enjoy cymbals or rhythms on electronic music. I do not find these fatiguing in the least, but I can imagine someone who is treble-sensitive to maybe want to try a few different tip combinations to keep the treble in check. Again, it’s very enjoyable for me, but the treble is there and you won’t forget that it’s a main factor in the overall sound signature.
Separation: These are very, very detailed IEMs and at the same time sound incredibly smooth. Those probably conflict one another, but hey I’m writing the review and that’s how they sound to me! I won’t go on to say “I’m hearing things I’ve never heard before in a recording,” because I’ve had at least 20 headphones/IEMs and it’s unreasonable to think that these would uncover instruments I never knew were there. They are, however, among the best from a separation standpoint on any IEMs I’ve heard. I think they slightly edge out the Z5s for me, and they destroy the RE-600 which I had thought had pretty good separation. They’re even slightly better than the Pinnacle P1 in that sense, which is a strong point of that IEM.
Comparisons:
Sony XBA-Z5: The obvious comparison for me is the Sony XBA-Z5 because they are similarly priced (I paid about $500 for each) and they each have three drivers. The similarities stop there, however. The Velvet are overall more musical to my ears. I absolutely love my Z5s, but they are a different animal. Where there are gobs of sub-bass on the Z5s, the bass is a bit warmer and extends up closer to the mids on the Velvet. This gives them the overall feeling of more warmth and I like that. The mids are clear and up front on the Velvets where they are slightly recessed in the Z5s. Treble quantity is somewhat similar for me, but I give the nod to the Velvets due to their pleasing texture to me. Overall if I had to pick between both, it would probably be the Velvet and that is just because I think they are more versatile. Fit and isolation are WAY better for me on the Velvet, though I do love the Z5’s sound with something like electronic music. For an everyday IEM, the Velvets would win for me. But they are in no way going to make me get rid of my Z5s.
Sony XBA-300: This seemed like a logical choice because they are both three-BA units. Again, the similarities stop there. In a nutshell, the Velvet are very fun sounding IEMs that trade a bit of accuracy for musicality and color and the XBA-300 are bright, dry, almost-reference sounding IEMs. The bass is definitely there on the XBA-300s, but not to the levels of the Velvet. The XBA-300 has sort of become my reference test against my other IEMs because they’re so detailed, articulate and they have a flat neutral sound signature. I prefer the Velvets for every day listening with pretty much any genre of music.
Musicmaker Shockwave 3: These IEMs don’t have much in common other than me owning both of them. I’ll say right off the bat that the SW3 might be the more technical IEM with loads of drivers, but I prefer the sound of the Velvet nine times out of 10. I get deeper sub-bass rumble out of the SW3, but the extremely bright treble and simply massive shell make these less enjoyable to just relax and listen to music. The Velvet have a warmer signature, nearly as much sub-bass, better mids and a much more pleasing treble to me. I love the SW3, but, I love the Velvet more.
Sennheiser IE800: Now this is tough. Really tough. I have seen these compared in the past and for good reason, they are similar in price and both very well-regarded IEMs. For me, they are different, but equally good. I am biased toward wearing IEMs down and I LOVE the fit of the IE800, yet I also read that it’s a problem for some people. So for me, I prefer the IE800 as far as comfort goes, but there is very little to complain about either one. The sound? Seriously, this is tough. They sound so different, yet I am having a very hard time choosing a winner. There may be no winner, per se. I get more of the deep, hard hitting bass with the IE800, but I get that kick-drum-to-the-head sensation from the Velvets slightly up the frequency ladder. The mids are ever so slightly recessed on the IE800 while they are ever so slightly forward on the Velvets. Treble has a similar texture and grain and I have a really hard time declaring either a winner. Separation and detail I give a VERY slight win to the IE800. Seriously, they’re both equally amazing for me. If I had to choose, I’d buy the cheaper one.
Others: Pinnacle P1, while I love this IEM for its comfort, neutral sound signature and great separation and detail, it isn’t in the same league as the Velvets (nor should I expect it to be at ¼ the price). The RE-600 might have been the biggest disappointment here since at $400 initially, it was said to punch well above its weight. Simply put, it doesn’t punch the Velvet anywhere or in anything. Now, I just received an pair of LZ A4 for review and I cannot wait to pit them against the Velvets.
Conclusion:
I had immediate buyer’s remorse after jumping on these Velvets at the $500 Black Friday sale price. I had been wanting them for a long time, but then I bought them and immediately felt that sensation of “man, did I really just kiss another $500 goodbye on another set of IEMs?” I debated canceling the order, but I left it and I am so glad I did. While these are not “reference” IEMs and they do not have 15 drivers in each ear in an exotic configuration, they have potentially the funnest sound signature of any IEM I have tried to date. They’re just a beautiful IEM to listen to. They will slam the bass into your ear when the track calls for it and they will display elegance the rest of the time. Call me crazy, but these are the perfect wife! They know how to party, but you will not wake up the next morning regretting your decision. If I’m going to get really picky (and I should because these retail for $799), the plastic does feel cheap, the cable is whatever and the memory wire is very short. None of this, however, detracts from some of the best sounding IEMs I’ve ever heard. I do not regret my decision in the least and if I didn’t have the IE800 I would say these were my solid number one. Since I do have the IE800s, though, these are solidly TIED for my number one. I can’t wait to listen to them even more.
hqssui
Great review, thanks.
