Two years after the S-EM9 EarSoncis is coming back with a kind of EM10's universal adaptation and so much more…
Based in South of France, near Montpellier, EarSonics created his reputation 8 years ago with his flagship at this time, the SM3, the first 3 drivers / 3 ways the brand created. Since then many other IEM were released and EarSonics opened some new ranges dedicated to audiophiles: Music, Signature and Classic. The excellent but old-fashioned SM3 is now discontinued, but they have worthy successors.
A year after the EM10’s release and due to numerous customer’s expectations regarding an universalization. As a result, EarSonics recently unveiled the Grace, which is almost identical on paper, but they improved the bass, mids and treble departments.
The Grace are sold at 2000€ and are marketed as the Music range’s flagship. Like the S-EM9 and the S-EM6v2, they’re produced through a 3D printing process, then varnished. Despite its 10 drivers, the Grace seem to have the same shell as the S-EM9, but with a different look.
Packaging
As for their other high end products EarSonics delivers the Grace in a soft carton box which is very pleasant to open as it lets you discover the IEM in their slot. They are no as many accessories provided as other manufacturers do. Although, the essential tools needed are provided: a small or rather middle carrying box, a jack adaptor, some hydroalcoholic wipes, a cleaning tool and 6 pairs of ear tips in S and L sizes.
Comfort and ergonomics
Despite having 10 BA drivers, the Grace’s shells remain very compact. They have the same short cannula as the S-EM9 and S-EM6 do, thus finding the seal is very easy. As a result the comfort is close to what a custom can offer and it is even less invasive.
Many friends of mine tried the Grace and confirmed their user friendliness thanks to the shell and the cannula’s smart ergonomics. Nevertheless, the Grace’s sound depends a lot on ear tips, therefore be careful to use an appropriate size for the sound tube.
Isolation to external sound is not exceptional as the seal is situated at the beginning of the ear canal, the custom version EM10 can be a better compromise for noisy environment but with a less refined sound.
Compared to the 5 BA drivers Phantom, the Grace are more compact and feel stronger.
Sound summary
The Grace achieve a TOTL performance where the EM10 were more focus on tone beauty. With an impressive holographic and out of the head sound stage, the Grace are like a super S-EM9, but more precise, detailed and accurate. In that regard, the Grace are not the revolution some music lovers would expect. Franck Lopez, the CEO and Grace inventor, told me some months ago he was working on a more spatial and layered EM10, those were the Grace.
Coming from the EM10 the Grace’s openness and instrument separation impressed me especially because of the stage clarity and deepness. Unlike the EM10 and the S-EM9 which stage distance is closer to the center of the head and voices more backwards, the Grace push ahead the instrument imaging and improve mids’ clarity and presence. The bass department is still very engaging and pure EarSonics house sound, but the S-EM9 and EM10’s sub part sounds looser. The Grace exceed the S-EM9 capabilities regarding resolution and micro-detail retrieval and that is mainly due to a more extended treble and a better high mids articulation, contributing to make them comparable to the SE5U and VE8’s performance.
The lower notes have a quick and impactful attack, with a bit longer than usual decay, making the bass spatial but powerful. They are propagated in an airy stage without bleeding on mids and trebles, but fulfilling the space between instruments. Bass’s presence is higher than what we usually call “neutral bass” and that’s a nice trade-off: quantity for pleasure when it needs to and quality resulting in a high resolution imaging. Compared to the mid-bass centric VE8 the Grace sound is lifted in the high-bass/low-mid region. As a result, the soundstage and the imaging are cleaner where the EM10 had some difficulties to layer precisely and impactfully lower notes. The SE5U are even cleaner and organic with a very technical and beautiful bass imaging which can be addictive, but sometimes a bit too analytical.
Grace’s low-mids are neither backward, nor forward, and give more coherency to male vocals which sometimes lacks on the EM10. Indeed, they share a very controlled low-mids presence which can sound off compared to the bolder and energetic VE8, but on the other hand they remain bright and articulated with a touch of warmth. On the other side, the SE5U sound mainly organic and full with still an excellent and now legendary separation and can be seen as a compromise between the VE8 and the Grace: rich but highly transparent.
Grace’s mid region is technically and to me the best part of the IEM. Voices are soft, accurate and true to the record, with a lot of micro-details and nuances which makes us feel the studio's atmosphere. During the first seconds of listening I was focused on high-mid’s region and are peculiar as I needed some time to get used to the tone. Indeed, compared to my other custom monitors the Grace gave me the feeling they were tuned for female vocals but in fact they are more balanced than the EM10. The voices are neither presented forward like the Zeus nor backforward like the EM10, but well integrated in the stage’s center a bit farther than the eyes. Like the EM10, the Grace are able to differentiate easily two singers on the same tone especially on choral concert and in that regard best the SE5U and VE8. Emotion is conveyed thanks to a realistic, rich and highly detailed tone. Although, the imaging’s space volume created by the EM10 and the VE8 on electronic genres offers more openness and an impressive feeling of fullness compared to the Grace.
The high-mid’s region is more present than usual with EarSonics products and sounds a bit more loud, but quickly the Grace reveal a level of control and sumptuousness with a great dynamic and tonal accuracy on violin or piano. Although their level of details is fairly similar, the SE5U and VE8 sound fuller and a bit more transparent than the Grace sometimes. The Grace are both less discriminant on poor records and less prone to sibilance. They maintain the EarSonics’ touch of softness through a real boost in that region.
Trebles are softer and more delicate than in the EM10, but a bit more present. Cymbals crash are realistic, neither too smooth nor too bright. EarSonics knows how to make energetic trebles with lots of harmonics and achieve with the Grace a high level of performance without aggressiveness. The VE8 are nevertheless still the best in the treble region. Notes reproduction is more realistic with finer nuances and a very engaging way of sounding.
Treble’s extension and high-mids’ dynamics contribute to open the Grace’s soundstage giving sometimes a strong feeling of tridimensionality. Technical criterias such as separation, resolution, width and depth are high rated, but the Grace feel more alive than the S-EM9 with a more stable and holographic soundstage than the EM10.
Ear tips
EarSonics single flange have two sizes and have an interesting and comfy shape for the Grace use. Bass impact can be improved for my ear size, the sound’s signature is clearly on the brighter side, which often describes a poor seal.
EarSonics double flange have two sizes too and offer a stronger seal due to a harder silicone. The sound tube’s diameter is wider than the cannula and bolsters from top to bottom the sound signature. Unfortunately the material is a bit too firm for long listening sessions and people will certainly prefer the single flange which have a softer feel.
Symbio W are shorter than the EarSonics tips, but the tube is as wide as the Grace’s cannula. The sound signature is not as firm as with the EarSonics double flange, but they are more on the warm side. The peach skin effect of the tips is very comfy and the foam brings more insulation to external noise than usual single flange tips. That’s not the best sound with the Grace but that could be a reasonable compromise.
The Type E by Final Audio have a shorter tube width than Grace’s cannula and therefore the soundstage is congested and voices more distant with a kind of veil covering them.
Spinfit double flange (CP240) have a bit smaller tube width than the Grace, but the fit is comfy with a great seal. The size of the stage is smaller than with the EarSonics biflange, but that can be like a trade-off between sound quality and comfort.
Other tips can surely be used with the Grace despite their rather short cannulas, but that’s a matter of personal choice and I can only recommend to first try the regular tips given by EarSonics.
Cables
EarSonics stock cable is, as I perceive it, an excellent entry level due to its smart ergonomics. The ear’s hook is short, the jack is right angled and made for smartphone’s cases and most of all it’s tangle free. All that said, the Grace are like many other earphones: sensitive to cable changes.
The Effect Audio Ares II pairing improves clarity and the instrument’s separation, as a result the whole soundstage is cleaner and focus on micro-details is also easier. The high mids are a bit more enhanced as the bass line is more precise. That kind of combination can be pleasant for people who are looking for a more controlled low end and a bit more high mid’s presence and, in my opinion, the Ares II improves Grace’s value for classic or acoustic genres.
The Moon Audio Bronze Dragon improves the global transparency too, but it contributes mainly to boost and enhance bass depth with a quicker attack. Cord instruments’ resonance are a bit more discernible among the other instruments, but the rhythm is focused on bass with a warm ambiance.
Comparison
ES5 - EarSonics/France - 950€
EarSonics 5 BA drivers model is not very famous despites their great qualities. Yet not as spacious, extended and transparent as TOTL contenders, they deliver a great sense of rhythm thanks to their impactful and relatively quick and organic low mids. Details retrieval is pretty good, but compared to more spacious, effortless and layered presentations like Grace’s one, the ES5 show difficulties to image them.
The Grace manage more homogeneously the full bandwidth, the bass is more deep and layered, voice’s definition or treble fineness are clearly brought a step further, but most importantly, the ADSR profile of the ES5 is not the same as the Grace’s one. The attack in low mids is more present and the bass release is quicker with the ES5, which can be more pleasant for some people.
Phantom - Empire Ears/USA - $1799 or 1799€
Phantom’s sound signature is focused on lows and high mids with a warm grain, delivering a smooth but engaging feeling on most modern genres. Their spatial presentation is not the best in depth but they handle well a stage presenting several instruments. Grace presentation is wider and deeper with a better overall tone.
On classical music the Phantom are outperformed due to their warmer tone which is sometimes excessive when mids are invited. Saxophones like pianos can be excessively colored and as result miss some harmonics. That’s not obvious when listening to electronic music like goa or minimal, but when switching on classical music like Yann Tiersen, who is a contemporary artist, the experience is really different compared to the Grace. The Phantom’s warmer presentation hides the nuances of tones especially due to the mid bass’s thicker image. The Grace’s presentation is wider, lighter, it displays a more accurate tone and is also less veiled than the Phantom.
On electronic music the Phantom may be very interesting because the tone’s accuracy is not as critical as with acoustic instruments. With a great bass impact and an overall warm sound signature compared to the Grace’s lifted mid bass, the Phantom are more engaging, but with trebles, like cymbals or strings instruments, they can sound off and we are missing the enjoyment.
The Grace offer a nice performance which combine both high level of technicity and pleasure where Phantom are more focalized on the second one, with a grainy bass which may be very pleasant for a lot of people but the Grace go simply further.
VE8 - Vision Ears/Germany - 2330€
The VE8’s sound approach is a warm one too, with a full mid bass sound giving a density to voices which reminds me of the ACS Encore. The acrylic shell filled with silicone does contribute to offer that organic kind of sound which sometimes seems to reduce the transparency, but at the end trebles and high mids are never forgotten, a domain where the VE8 excel.
The Grace’s sound signature is overall more neutral with their lifted mid bass, but differences are more on the ADSR profile of the VE8, quicker during the attack on mid bass and high mids. The bass’s plucked strings, the electric guitar or violin's bow are faster paced and convey an engaging feeling especially on rock music, something that Grace are not completely able to reproduce.
The Grace are nonetheless excellent on acoustic rock or folk, indie music like Mumford and Sons, Angus and Julia Stone, Ben Howard or Fairport Convention. The lifted mid bass offer a great place to light up the acoustic guitar and open the stage, where the VE8 has a more lateralized and frontal imaging.
Whatever the strengths or the weakness of the Grace or the VE8, both of them are TOTL IEM with focus on strong qualities which can complement each other well.
EM64 - EarSonics/France - 1140€
Both Grace and EM64 were released at the same period this year, but the latter are designed for a professional use and replace the EM32. For those who are used to the professional range of Earsonics products they will find the same dynamics range’s control and the special atmosphere of EarSonics custom ear monitors.
The EM64’s sound signature is more on the neutral side with an impactful but highly controlled bas. The note is sustained and released during a shorter period than it is usually with the EM32, EM10 and now the Grace. The new professional flagship is not as bass friendly as other EarSonics product, but they’re not missing them. Indeed, EM64’s bass tightness is great, but compared to the Grace they don’t have that flattering and airy imaging.
Mids and high mids are greatly improved on the EM64, with more presence and definition than usually in EarSonics professional offer though still very controlled and without any aggressiveness.
Like the EM32’s trebles, EM64’s ones are distinct, harmonic, but can be discriminant on poor track records where the Grace and EM10 are less likely to discriminate.
Dynamics is where the EM64 and Grace hold their main difference, because developed for different purposes. The Grace sound like all the sliders are up, spatialization, resolution, openness, when the EM64 remain controlled despite a better efficiency to easily sound loud.
Though a huge price difference, the Grace and the EM64 share a high level of transparency, details and resolution. The Grace are doubtlessly more spacious, with big instrument’s imaging like high volume of air out of the head, but the EM64 sound more “live”, with a big frontal picture which labels the EarSonics pro sound.
EM10 - EarSonics/France - 1990€
The Grace and EM10 share a lot of common character traits, while having neither the exact same sound signature, nor the same sense of space. That distinguishes the two flagships.
The EM10 soundstage is wide and high but not as in-depth layered as the Grace. Their sound is powerful and direct, while the Grace are more contemplative and spatial and also more comparable to the SE5U and VE8. Indeed, the EM10 are less precise in instrument separation and while their bass are extremely natural because of their tone, the depth and resolution is beaten by the more tridimensional Grace.
SE5 Ultimate - Spiral Ear/Poland - 2075€
The SE5U are like chameleons, their stage can vary as defined in the track’s master. The sound imaging can be thinner or thicker, but it’s overall a weighty atmosphere while keeping a high level of transparency and articulation. As the soundstage’s size varies from one record to one another that’s frequent that the Grace sound more open and out of the head, while the SE5U stay organic and focused on the note imaging. As a result, the SE5U seem to be warmer than the Grace, but they are less dense and spatial during the bass note’s decay and release and also less open in the highs due to more mid bass presence.
The Grace are more an all-rounder IEM compared to the less flattering SE5U, but more true and serious to the sound reproduction. That’s two different kinds of windows on the music which are finally clearly comparable as they tend to technically achieve a realistic performance.
Conclusion
The Grace are undisputedly the best universal earphones EarSonics has produced to date, surpassing the EM10 on technical criterias, but keeping the same house sound: refined mids without aggressiveness, emotional bass and soft but extended trebles.
With the Grace, EarSonics technical know-how reaches its highest level. The bass is richer than ever with a controlled impact to minimize listening fatigue, mids are transparent and realistic in conveying well emotion, while trebles are rich, smooth, but clearly present and extended. A year after the EM10’s release, EarSonics shows how research and development can improve an already great sounding IEM: more control, more details, more mids presence, more trebles refinement! A clever mix for an excellent all-rounder.
As I conclude, I should like to thank Max Capgras, EarSonics head of Ear Monitors division, who gave me the chance to try and review the Grace during 5 long weeks.
Based in South of France, near Montpellier, EarSonics created his reputation 8 years ago with his flagship at this time, the SM3, the first 3 drivers / 3 ways the brand created. Since then many other IEM were released and EarSonics opened some new ranges dedicated to audiophiles: Music, Signature and Classic. The excellent but old-fashioned SM3 is now discontinued, but they have worthy successors.
A year after the EM10’s release and due to numerous customer’s expectations regarding an universalization. As a result, EarSonics recently unveiled the Grace, which is almost identical on paper, but they improved the bass, mids and treble departments.
The Grace are sold at 2000€ and are marketed as the Music range’s flagship. Like the S-EM9 and the S-EM6v2, they’re produced through a 3D printing process, then varnished. Despite its 10 drivers, the Grace seem to have the same shell as the S-EM9, but with a different look.
Packaging
As for their other high end products EarSonics delivers the Grace in a soft carton box which is very pleasant to open as it lets you discover the IEM in their slot. They are no as many accessories provided as other manufacturers do. Although, the essential tools needed are provided: a small or rather middle carrying box, a jack adaptor, some hydroalcoholic wipes, a cleaning tool and 6 pairs of ear tips in S and L sizes.
Comfort and ergonomics
Despite having 10 BA drivers, the Grace’s shells remain very compact. They have the same short cannula as the S-EM9 and S-EM6 do, thus finding the seal is very easy. As a result the comfort is close to what a custom can offer and it is even less invasive.
Many friends of mine tried the Grace and confirmed their user friendliness thanks to the shell and the cannula’s smart ergonomics. Nevertheless, the Grace’s sound depends a lot on ear tips, therefore be careful to use an appropriate size for the sound tube.
Isolation to external sound is not exceptional as the seal is situated at the beginning of the ear canal, the custom version EM10 can be a better compromise for noisy environment but with a less refined sound.
Compared to the 5 BA drivers Phantom, the Grace are more compact and feel stronger.
Sound summary
The Grace achieve a TOTL performance where the EM10 were more focus on tone beauty. With an impressive holographic and out of the head sound stage, the Grace are like a super S-EM9, but more precise, detailed and accurate. In that regard, the Grace are not the revolution some music lovers would expect. Franck Lopez, the CEO and Grace inventor, told me some months ago he was working on a more spatial and layered EM10, those were the Grace.
Coming from the EM10 the Grace’s openness and instrument separation impressed me especially because of the stage clarity and deepness. Unlike the EM10 and the S-EM9 which stage distance is closer to the center of the head and voices more backwards, the Grace push ahead the instrument imaging and improve mids’ clarity and presence. The bass department is still very engaging and pure EarSonics house sound, but the S-EM9 and EM10’s sub part sounds looser. The Grace exceed the S-EM9 capabilities regarding resolution and micro-detail retrieval and that is mainly due to a more extended treble and a better high mids articulation, contributing to make them comparable to the SE5U and VE8’s performance.
The lower notes have a quick and impactful attack, with a bit longer than usual decay, making the bass spatial but powerful. They are propagated in an airy stage without bleeding on mids and trebles, but fulfilling the space between instruments. Bass’s presence is higher than what we usually call “neutral bass” and that’s a nice trade-off: quantity for pleasure when it needs to and quality resulting in a high resolution imaging. Compared to the mid-bass centric VE8 the Grace sound is lifted in the high-bass/low-mid region. As a result, the soundstage and the imaging are cleaner where the EM10 had some difficulties to layer precisely and impactfully lower notes. The SE5U are even cleaner and organic with a very technical and beautiful bass imaging which can be addictive, but sometimes a bit too analytical.
Grace’s low-mids are neither backward, nor forward, and give more coherency to male vocals which sometimes lacks on the EM10. Indeed, they share a very controlled low-mids presence which can sound off compared to the bolder and energetic VE8, but on the other hand they remain bright and articulated with a touch of warmth. On the other side, the SE5U sound mainly organic and full with still an excellent and now legendary separation and can be seen as a compromise between the VE8 and the Grace: rich but highly transparent.
Grace’s mid region is technically and to me the best part of the IEM. Voices are soft, accurate and true to the record, with a lot of micro-details and nuances which makes us feel the studio's atmosphere. During the first seconds of listening I was focused on high-mid’s region and are peculiar as I needed some time to get used to the tone. Indeed, compared to my other custom monitors the Grace gave me the feeling they were tuned for female vocals but in fact they are more balanced than the EM10. The voices are neither presented forward like the Zeus nor backforward like the EM10, but well integrated in the stage’s center a bit farther than the eyes. Like the EM10, the Grace are able to differentiate easily two singers on the same tone especially on choral concert and in that regard best the SE5U and VE8. Emotion is conveyed thanks to a realistic, rich and highly detailed tone. Although, the imaging’s space volume created by the EM10 and the VE8 on electronic genres offers more openness and an impressive feeling of fullness compared to the Grace.
The high-mid’s region is more present than usual with EarSonics products and sounds a bit more loud, but quickly the Grace reveal a level of control and sumptuousness with a great dynamic and tonal accuracy on violin or piano. Although their level of details is fairly similar, the SE5U and VE8 sound fuller and a bit more transparent than the Grace sometimes. The Grace are both less discriminant on poor records and less prone to sibilance. They maintain the EarSonics’ touch of softness through a real boost in that region.
Trebles are softer and more delicate than in the EM10, but a bit more present. Cymbals crash are realistic, neither too smooth nor too bright. EarSonics knows how to make energetic trebles with lots of harmonics and achieve with the Grace a high level of performance without aggressiveness. The VE8 are nevertheless still the best in the treble region. Notes reproduction is more realistic with finer nuances and a very engaging way of sounding.
Treble’s extension and high-mids’ dynamics contribute to open the Grace’s soundstage giving sometimes a strong feeling of tridimensionality. Technical criterias such as separation, resolution, width and depth are high rated, but the Grace feel more alive than the S-EM9 with a more stable and holographic soundstage than the EM10.
Ear tips
The Grace are sensitive to tips like many earphones, hence the sound tube’s diameter must be at least as wide as the cannula. Tips with hard silicone offer a strong seal in the inner ear’s canal and thus a more impactful and controlled low end. Soundstage’s size, high mids imaging and bass control are directly related to tip’s choice which is highly personal and is often a trade-off or a long quest…
EarSonics single flange have two sizes and have an interesting and comfy shape for the Grace use. Bass impact can be improved for my ear size, the sound’s signature is clearly on the brighter side, which often describes a poor seal.
EarSonics double flange have two sizes too and offer a stronger seal due to a harder silicone. The sound tube’s diameter is wider than the cannula and bolsters from top to bottom the sound signature. Unfortunately the material is a bit too firm for long listening sessions and people will certainly prefer the single flange which have a softer feel.
Symbio W are shorter than the EarSonics tips, but the tube is as wide as the Grace’s cannula. The sound signature is not as firm as with the EarSonics double flange, but they are more on the warm side. The peach skin effect of the tips is very comfy and the foam brings more insulation to external noise than usual single flange tips. That’s not the best sound with the Grace but that could be a reasonable compromise.
The Type E by Final Audio have a shorter tube width than Grace’s cannula and therefore the soundstage is congested and voices more distant with a kind of veil covering them.
Spinfit double flange (CP240) have a bit smaller tube width than the Grace, but the fit is comfy with a great seal. The size of the stage is smaller than with the EarSonics biflange, but that can be like a trade-off between sound quality and comfort.
Other tips can surely be used with the Grace despite their rather short cannulas, but that’s a matter of personal choice and I can only recommend to first try the regular tips given by EarSonics.
Cables
EarSonics stock cable is, as I perceive it, an excellent entry level due to its smart ergonomics. The ear’s hook is short, the jack is right angled and made for smartphone’s cases and most of all it’s tangle free. All that said, the Grace are like many other earphones: sensitive to cable changes.
The Effect Audio Ares II pairing improves clarity and the instrument’s separation, as a result the whole soundstage is cleaner and focus on micro-details is also easier. The high mids are a bit more enhanced as the bass line is more precise. That kind of combination can be pleasant for people who are looking for a more controlled low end and a bit more high mid’s presence and, in my opinion, the Ares II improves Grace’s value for classic or acoustic genres.
The Moon Audio Bronze Dragon improves the global transparency too, but it contributes mainly to boost and enhance bass depth with a quicker attack. Cord instruments’ resonance are a bit more discernible among the other instruments, but the rhythm is focused on bass with a warm ambiance.
Comparison
ES5 - EarSonics/France - 950€
EarSonics 5 BA drivers model is not very famous despites their great qualities. Yet not as spacious, extended and transparent as TOTL contenders, they deliver a great sense of rhythm thanks to their impactful and relatively quick and organic low mids. Details retrieval is pretty good, but compared to more spacious, effortless and layered presentations like Grace’s one, the ES5 show difficulties to image them.
The Grace manage more homogeneously the full bandwidth, the bass is more deep and layered, voice’s definition or treble fineness are clearly brought a step further, but most importantly, the ADSR profile of the ES5 is not the same as the Grace’s one. The attack in low mids is more present and the bass release is quicker with the ES5, which can be more pleasant for some people.
Phantom - Empire Ears/USA - $1799 or 1799€
Phantom’s sound signature is focused on lows and high mids with a warm grain, delivering a smooth but engaging feeling on most modern genres. Their spatial presentation is not the best in depth but they handle well a stage presenting several instruments. Grace presentation is wider and deeper with a better overall tone.
On classical music the Phantom are outperformed due to their warmer tone which is sometimes excessive when mids are invited. Saxophones like pianos can be excessively colored and as result miss some harmonics. That’s not obvious when listening to electronic music like goa or minimal, but when switching on classical music like Yann Tiersen, who is a contemporary artist, the experience is really different compared to the Grace. The Phantom’s warmer presentation hides the nuances of tones especially due to the mid bass’s thicker image. The Grace’s presentation is wider, lighter, it displays a more accurate tone and is also less veiled than the Phantom.
On electronic music the Phantom may be very interesting because the tone’s accuracy is not as critical as with acoustic instruments. With a great bass impact and an overall warm sound signature compared to the Grace’s lifted mid bass, the Phantom are more engaging, but with trebles, like cymbals or strings instruments, they can sound off and we are missing the enjoyment.
The Grace offer a nice performance which combine both high level of technicity and pleasure where Phantom are more focalized on the second one, with a grainy bass which may be very pleasant for a lot of people but the Grace go simply further.
VE8 - Vision Ears/Germany - 2330€
The VE8’s sound approach is a warm one too, with a full mid bass sound giving a density to voices which reminds me of the ACS Encore. The acrylic shell filled with silicone does contribute to offer that organic kind of sound which sometimes seems to reduce the transparency, but at the end trebles and high mids are never forgotten, a domain where the VE8 excel.
The Grace’s sound signature is overall more neutral with their lifted mid bass, but differences are more on the ADSR profile of the VE8, quicker during the attack on mid bass and high mids. The bass’s plucked strings, the electric guitar or violin's bow are faster paced and convey an engaging feeling especially on rock music, something that Grace are not completely able to reproduce.
The Grace are nonetheless excellent on acoustic rock or folk, indie music like Mumford and Sons, Angus and Julia Stone, Ben Howard or Fairport Convention. The lifted mid bass offer a great place to light up the acoustic guitar and open the stage, where the VE8 has a more lateralized and frontal imaging.
Whatever the strengths or the weakness of the Grace or the VE8, both of them are TOTL IEM with focus on strong qualities which can complement each other well.
EM64 - EarSonics/France - 1140€
Both Grace and EM64 were released at the same period this year, but the latter are designed for a professional use and replace the EM32. For those who are used to the professional range of Earsonics products they will find the same dynamics range’s control and the special atmosphere of EarSonics custom ear monitors.
The EM64’s sound signature is more on the neutral side with an impactful but highly controlled bas. The note is sustained and released during a shorter period than it is usually with the EM32, EM10 and now the Grace. The new professional flagship is not as bass friendly as other EarSonics product, but they’re not missing them. Indeed, EM64’s bass tightness is great, but compared to the Grace they don’t have that flattering and airy imaging.
Mids and high mids are greatly improved on the EM64, with more presence and definition than usually in EarSonics professional offer though still very controlled and without any aggressiveness.
Like the EM32’s trebles, EM64’s ones are distinct, harmonic, but can be discriminant on poor track records where the Grace and EM10 are less likely to discriminate.
Dynamics is where the EM64 and Grace hold their main difference, because developed for different purposes. The Grace sound like all the sliders are up, spatialization, resolution, openness, when the EM64 remain controlled despite a better efficiency to easily sound loud.
Though a huge price difference, the Grace and the EM64 share a high level of transparency, details and resolution. The Grace are doubtlessly more spacious, with big instrument’s imaging like high volume of air out of the head, but the EM64 sound more “live”, with a big frontal picture which labels the EarSonics pro sound.
EM10 - EarSonics/France - 1990€
The Grace and EM10 share a lot of common character traits, while having neither the exact same sound signature, nor the same sense of space. That distinguishes the two flagships.
The EM10 soundstage is wide and high but not as in-depth layered as the Grace. Their sound is powerful and direct, while the Grace are more contemplative and spatial and also more comparable to the SE5U and VE8. Indeed, the EM10 are less precise in instrument separation and while their bass are extremely natural because of their tone, the depth and resolution is beaten by the more tridimensional Grace.
SE5 Ultimate - Spiral Ear/Poland - 2075€
The SE5U are like chameleons, their stage can vary as defined in the track’s master. The sound imaging can be thinner or thicker, but it’s overall a weighty atmosphere while keeping a high level of transparency and articulation. As the soundstage’s size varies from one record to one another that’s frequent that the Grace sound more open and out of the head, while the SE5U stay organic and focused on the note imaging. As a result, the SE5U seem to be warmer than the Grace, but they are less dense and spatial during the bass note’s decay and release and also less open in the highs due to more mid bass presence.
The Grace are more an all-rounder IEM compared to the less flattering SE5U, but more true and serious to the sound reproduction. That’s two different kinds of windows on the music which are finally clearly comparable as they tend to technically achieve a realistic performance.
Conclusion
The Grace are undisputedly the best universal earphones EarSonics has produced to date, surpassing the EM10 on technical criterias, but keeping the same house sound: refined mids without aggressiveness, emotional bass and soft but extended trebles.
With the Grace, EarSonics technical know-how reaches its highest level. The bass is richer than ever with a controlled impact to minimize listening fatigue, mids are transparent and realistic in conveying well emotion, while trebles are rich, smooth, but clearly present and extended. A year after the EM10’s release, EarSonics shows how research and development can improve an already great sounding IEM: more control, more details, more mids presence, more trebles refinement! A clever mix for an excellent all-rounder.
As I conclude, I should like to thank Max Capgras, EarSonics head of Ear Monitors division, who gave me the chance to try and review the Grace during 5 long weeks.