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.
Oh and the pre-2018 flamenco that's also on my shelf...