AüR Audio Aurora

Having had the possibility to try so many different sets in a relatively short time I felt obliged to go ahead and express my gratitude by trying to help some lost souls out there, just as I was when I first stumbled upon this weird hobby about wired earphones – "so yesteryear!", I thought ... I was wrong. Possibilities are seemingly endless and only by getting to meet the right people did I manage to jump onboard the train heading the 'right' direction without getting off-track thousands of times along the way. Make sure to understand the helping person's preferences and you too can find your footing and hit the ground running in no time.

A Quick Intermezzo About Me

I won't bore you for too long with personal trivia, however my quick & short background resume goes as follows. Currently I am 27 years old and more in awe of sheer power of music by the day. I have always been moved by music just that slight bit more than average, I'd say. My spending started with a roughly 200€ Bose bluetooth speaker back in my first grade of highschool. What an extraterrestrial thing that was in early 2010s. And it keeps on playing to this day – a true testament of quality. Also sounded fantastic back then, nowadays … yeah, not so much. Lots of BT speakers, TWS, car audio speakers, IEMs, etc., later bring me to this day when I truly consider myself an audiophile. What brings me the most joy beside listening to music is singing, so I am currently participating in a choir and challenging myself with solo vocal covers (check the links in my signature to hear my projects). Unsure where all this leads, but the journey itself is marvelous and life is nothing but a journey.

A Quick Word About the Company

AüR Audio is a young and rising Singaporean brand that specialises in in-ear monitors.

Just like most businesses it started as a small team, in this case of two actors. It came around as an idea by two friends, Nicholas Teo from Singapore and Abel Hsu from China. Abel handles the research, development and building IEMs, while Nicholas manages the sales, marketing and distribution.

Feel free to check out their current line-up on their website HERE.

A combination of their honest work and reasonable pricing strategy - in today's over saturated market with some highly dubious marketing schemes - has manifested in a decently sized fanbase to quickly get established. After owning 4 of their sets, I consider myself a fan too. Keep in mind, since I am not made of money and I cannot be purchasing sets left, right and forward, all my impressions are still based on an honest-to-myself approach.

How The Review is Structured

I will start off by mentioning the packaging and accessories, then place it in my special trademarked graph and give it a score on certain qualities to reach the final star score. Those that are seriously considering a quality hybrid that is still within financial reach of many, please read the lengthy song examples below too to get as much of a feel on what to expect. I really tried my best to cover a wide variety to paint the sonic picture of the set for as many of you as possible.

I will mention some songs of varied genres and try to convey what one can expect from the AüR Audio Aurora. As sources I have been using my FiiO BTR7 on high gain and Venture Electronics RA2B-FE + Prime DAC (on the pic below). Certainly no lack of power and quite a different taste on both. Listening was done at a volume ranging between 80-90dB. I am using the Aurora with the Kinera Leyding cable and Feaulle H570 tips.



Disclaimer: I purchased this one at its early bird price nearly a year back now at a minimal discount. I am in no way incentivized to speak highly of this set.

Unpackaging & Accessories

There isn't much to say about this side of things. It is very spartan. Tips come in one flavour in 3 different sizes plus one of those double-flanged ones - I have tried plenty of tips (tip-rolling is always a wild ride, see below), but lately I have settled on medium-sized Feaulle H570 and these seemingly aid the treble and clean up the bass, but also make its fit just about perfect for my ears. The included case is a small aluminium(?) puck and not too thrilling but does its job of protecting the set very well. The cable is of very decent quality and handling characteristics are nice with no obvious drawbacks. I still decided to do some cable rolling, and the Kinera Leyding fit the bill of a beautiful aesthetic and second to none handling qualities.

Usual tip-rolling shenanigans and thinning the herd down to two finalists:



Equipped with stock cable and in the original packaging:


Equipped with Kinera Leyding cable (and temporarily Tri Clarion tips):


Another bonus pic just because she is a stunner!



Let's Get Going!

Graph & Scores

This trademarked graph I came up with does not come with a thick user manual. All you need to know is that sets further left are warmer than sets further right, and sets higher up are better technically than sets lower down. Those little yellow lines on both axis represent where sets with average technicalities and neutral overall balance lay. I have also added the AüR Audio Neon Pro (10BA), AüR Audio Aure (1DD+6BA), AüR Audio Ascension (1DD+5BA+2EST) to help form a better perception of where the Aurora slots into their lineup of sets I have heard.


Aurora is the warmest of AüRs. Upon first listen it might sound just a tad dull, depending on what your ears and brain are used to hearing. That in turn weakens the perceived technicalities from the get go, but after spending a fair amount of time with it, it impresses with certain technical aspects too. Aure is a brighter take and the closest technically to Aurora. Ascension and Neon Pro are a different sort of sets with much stronger technicalities which are noticeable instantly. The difference among those two is in perceived brightness where Ascension sounds more balanced than Neon Pro. That is also down to different driver setups in both.

Here is another visual idea I came up with to try and present how these four sets actually sound like to my ears. The curvy line represents the amplitude of individual spectrum, going all the way from bass through treble. The middle line upon which I wrote the line is what I would equal to flat - neither pushed nor attenuated. Essentially a graph, but without any x- and y-axis naming and numbers because I feel that can often affect our expectations and ultimately play with our minds into 'hearing the graph' instead of listening by ourselves.



Below are my scores on the Aurora in individual categories. All three subcategories of each of the frequency divisions can be rated 1-5. Keep in mind that I am scoring regardless of the price, so cheaper sets getting a 3 in any given subcategory is already good going. I had to approach this in a simplistic manner so to keep it easy to understand and compare sets. For now, I have not reviewed a hybrid, so it might prove interesting to see where adding BA's and another DD places the Aurora compared to my two previously scored affordable single DD's.




Aurora still does something unique that no other set I have tried managed thus far. It sounds exceptionally speaker-like to me – yes, similar to Venture Electronics SIE, an affordable single DD, in that regard, but a very different take on it. It must be a combination of factors which I am yet to untangle. First one being fantastic fit that lets you forget your ears are clogged with anything at all. And secondly, let's play detectives and try to find the culprit based on Aurora's graph below while remembering that I mentioned this for SIE too, so let's compare their graphs – there are some similarities: non recessed mids, a slower pinna gain starting from roughly 800Hz to 2,5kHz, similar slight peaks at 6 and 8kHz and then quite a large drop all the way to 15kHz, where they both peak again, both extend after 15kHz somewhat too. Now to talk about noticeable differences which might explain why SIE still sounds even larger to my ears: warmth on SIE extends all the way up to 800Hz where pinna actually begins, after pinna there is a slight reduction between 3 and 4kHz before ascending towars the 6kHz peak whereas Aurora descends towards that little 6kHz peak, 8kHz is the most pronounced peak on SIE's graph (taking into account the coupler-induced peak it is similar to 6kHz), whereas Aurora starts descending already from its tallest pinna gain point at 2,5kHz, the valley between 8kHz and 15kHz is much steeper on SIE and 15kHz is boosted by about +14dB while on Aurora it is about +8dB from the lowest point. Hm, definitely interesting and something I will be keeping an eye – no, ear – on with any upcoming sets I get to hear.

Aurora's graph:


SIE's graph:



14 Song Examples For the Curious

Song #1:
First minute of this song offers a quick sample to test piano, bass, trombone, and sax timbre as well as female vocals and the perception of stage.


Creep by Scott Bradlee's Postmodern Jukebox feat. Haley Reinhart

This song's lowest register is covered solely by bass, so getting that right is critical. Aurora does it in a specific manner with rumbling bass which maintains composure and does not bleed too much into low mids, so following the bass throughout is simple. Note definition of the lower register is what is sacrificed here for the sake of rumble and fascinating unique decay – surely down to two high-quality DDs installed in this fashion. Texturally, bass instrument feels a touch too muddy to really offer what the song requires – slightly less so on FiiO BTR7 as source instead of VE Stack, probably due to FiiO's more prominent high mids. Still, to get the ultimate of bass resolution I would choose another set (where BA's cover bass) for really dissecting the information within low frequencies. By far the most energy is focused in the mids. Allowing all the instruments their space and delivering them in a natural way is what a set needs to excel at. Overall width is not too mind-blowing, but I never really cared about largeness of stage too much in the IEM world – what matters to me is that the use of space at hand is good. To elaborate further, I require that instruments do not step on each other's toes when the recording allows it and is meant to sound open. Aurora does well here where it never feels boxed in and notes never feel trapped. It is primarily a vocal-driven piece, so Haley needs to be upfront for it to be to my liking. Happy to report that she is not holding back in terms of positioning. She is, however, just a bit more nasal sounding than on sets with maybe a bit less carefully done pinna gain with a later peak in the frequency spectrum. She never gets shouty or uncomfortable throughout this song on Aurora which can be an issue quickly if pinna gain is too prominent or any nasty peaks are present in high mids. When the song gets a move on a bit before its end, it is indeed slightly more difficult than usual to pay attention to every performer's work due to not having the widest stage to work with. That said, all performers are within their bubbles, still feel sufficiently life-like and carry good note weight. How you might feel about that depends mostly on whether you are the sort of guy that ascends the mountain and enjoys the vista as a whole or prefer dissecting individual elements with that panorama. Nevertheless, Aurora somehow manages to sound speaker-like to my ears here, despite clearly being more of an intimate presentation. Piano sitting close right can quickly get overwhelmed by all other accompaniment in this song, thankfully with Aurora there is no such issue to report. Mids are timbrally wonderful, no unnaturalness to be found here. Treble isn't too busy in this track. But I can see how some might find it a bit disconnected with the bass which is categorically different. Sibilance does not occur no matter the volume. Sax and trombone lack a bit of bite. Cymbals are crisp but reduced in their 'zinginess' and too safe. Treble is extended but it does not feel like the highlight at first but spend an hour at which point brain gets accustomed and catching detail becomes second nature. Final score: 7.5/10


Song #2:
Angelic male vocal slowly transforming into a sharp male vocal and the usual rock accompaniment. Allows to better understand different sets' capability of perceived emotion, layering, timbre, etc.


Castaway Angels by Leprous

Guitars and that alienish sound in the background are carefully done and present the foundation in a mesmerizing way. Possibly not the most truthful guitar replay due to that slightly warmer tilt to the overall tone. Imagine listening to the guitar in a smaller echoey room instead of in a studio. His soft and dreamy vocal joins the aforementioned duo and it adds to the angelic setup – prime example of how a song can quickly lure the listener in and feel very aptly titled too. Going into the chorus we get carried even higher and closer to the heaven when he brings his head voice into the mix in such a well done fashion. Nothing to point out as a negative regarding Aurora quite yet. Going forward layers keep on adding on top of each other. Those ever so delicate cymbals are rendered naturally. Strings join and add to the epicness of the arrangement. Aurora is keeping up and having everything positioned in its place while forming a gorgeous sound picture. Drum kicks were the first thing to 'bother' me because of their lack of definition and punch, thus covering the bass guitar in certain parts towards the end. His vocal really gets a move on in the last third of the song – here is where I could do with a bit more bite and definition to really continue carrying the message in this very crowded tune. The back vocal saying »!now there's a chance« at 4:29 just before the magical ending of his vocal part and the guitar bringing us to an end had my skin covered in goosebumps. This song gets an easy 8.5/10 for me on the Aurora.


Song #3:
Let's plug those guitars in and stop being gentle with the drums. Pace, space, rhythm, male vocal.


The Pot by Tool

The overall character of the song calls for a set with tremendous technical prowess and slightly tamed low mids to avoid thickness and that slow feeling of presentation as well as high mids to avoid sharpness with all guitars and drums showing off. Aurora manages the high mids very well and never am I worried to get absolutely overflown with energy and get an overload of messy information. Low mids, however, are just a tad too soft and pillowy to really carry this song's rhythm in a groovy fashion. Not the ultimate set for hard rock and metal, but also not too disappointing because overall technicalities are above average and instrumentation is kept separated. Vocals are done tastefully and never burried under whatever might be going on around them. Male vocals are overall very well rounded and lack absolutely nothing except for sibilance which is a good thing. Overall, the attenuated low treble means guitars can feel a bit sleepier than they ought to. It all results in simply just a calmer presentation of this great tune. Not really meant for it, 6/10.


Song #4:
What a gorgeous tune to listen to … while testing bass texture, layering, and the fine minutiae of each guitar pluck, like us audiophiles do.


London Paris Cardiff by Dominic Miller

I begin by really getting into whether those guitars carry the story in a captivating way. While being wonderfully natural without excessive bloat or piercing details, they do not feel the most crisp and following individual plucks is not that joyous. Still, not really meant in a bad way, but maybe the BAs are not up to the absolute pinnacle standard in detail retrieval. All of this is floating atop a thick layer of bass that continues throughout. Very well counters the BAs in providing a majestic decay and very good texture. It could be argued, however, that there is a significant difference here between how BAs and how DDs go about their job – in a slightly disjointed fashion. Not too bothersome, but apparent. And that is only amplified in this particular song due to the minimalistic arrangement with guitars and bass. Those occasional hi-hats are very easily discernible, but somewhat shy and lacking the ultimate in air. Never sharp, though, which could easily occur had treble extension been tuned too spiritedly. The disconnected feeling in certain parts brings the score down to a 6.5/10.

Song #5:
If this does not bring me close to tears on the set, the set is doing something wrong either in guitars, female vocals, or overall sonic balance.


All About You by Sophie Zelmani

Upon first listen, the beginning part felt just a bit too hollow in those powerful guitar plucks. When it gets supported with the low end it picks up a bit, but it once again strikes a weird balance of emptiness to the notes. Then, she joined as well and felt out of place and as if she was singing another song altogether. Hm, not what I expected. Let's start problem solving. Check the gain on my BTR7 – High gain. Check again not to have any weird EQ chosen on the BTR7 – No EQ. Okay, maybe this song is simply not meant for the BTR7's rather analytical and sterile presentation. Switch to VE Stack. YES! We're back on track. Guitars get a much needed body and each note is supported much better. With other parts joining I can also sense just a better balance among them – Sophie feels like she belongs into this song again and throws all of her heart out. Another alarming difference was a wider overall sound field. All is well again, so let's concentrate. Now, does this song move me as it should on the Aurora? Close my eyes and listen again. I am not sure. Great sounding – yes, moving – not so much. I blame only one thing for this – lack of midbass warmth to add a layer of that comfortable feeling of cosiness. Enough has been said in other tunes about guitars and female vocals too. Final score: 4.5/10 – lacking emotion here.

Song #6:
Let's continue the theme of calmer but so powerful tunes.


An Evening I Will Not Forget by Dermot Kennedy

Piano and calm weighty male vocals are very engaging without any pronounced issues. I find such setups are difficult to keep interesting and it depends fully on production quality and playback chain capability. Piano's individual notes could be kept even clearer but it becomes a double-edged sword quickly. Get the clarity right and quickly it sounds just a bit too sterile. So here I can happily report Aurora walks right in the middle and delivers both note definition and note weight. A dreamy sort of synth joins to provide another layer. It's kept nicely at bay but can be followed in the background on the Aurora. When Dermot starts to pour his soul out the grit is very palpable and touches the heart through the Aurora. 'S' and 'Sh' sounds are very safely tuned even for my 27-year-old ears, however attenuate that area too much and overall balance starts sounding skewed and unnatural – thankfully not the case on the Aurora. It simply means Aurora can be listened to at (very) loud volumes too and maintain its composure. 8.5/10.

Song #7:
Upbeat pop rhythms with plenty going on.


The Thrill Is Gone. by RAYE

Not really the sort of stuff I listen to often, but I cannot deny the nice flow and a simplistic arrangement really getting a groove on allowing to just float away. Not too easy to judge individual aspects when you start grooving, though, so Stop it immediately, Nik! Okay, let's see. Bass is quite playful here and it needs a nimble DD to keep up and deliver individual notes with authority and lets notes stay apart to really follow the awesome bass line throughout the song. Female vocals are never shrill and annoying, even in such Pop beats which are tuned quite bright usually. RAYE is very well positioned for my taste with just a slight forwardness to her vs the rest. She is supported by all the back vocalists and their voices are a nice combination to keep the energy up in certain parts of the song where they join. It is because of that and a fantastic bass performance that this song is just a joy on the Aurora. All the microdetails can be picked out and you won't miss any paramount info to make the song a whole, but what really stands out is the bass and the vocalists. Just as it should be, I feel. I listened to this song three times in a row and tried justifying it by having to write about it, but frankly, the third replay was solely for my personal enjoyment and you get no extra info due to it Haha! Amazingly done, 9/10.

Song #8:
Jazzy love tunes for the ones deep in love and us audiophiles.


Since I Fell For You by Willie Nelson

I could use just a bit more spaciousness in the beginning to really feel as if I were there. Imaging is quite decent, though, so it makes up for the intimacy of soundstage. Timbre of brass is a tad digital due to lack of bite I would like it to have. When all performers are doing their thing Aurora still provides sufficient space and focus for each of them. Male vocals are once again just about perfect. The seductiveness and wettness of his vocal is so descriptive and it makes the listener engaged. Drums lack a bit of tactility and end up sounding just a bit congested and as if the drummer is hiding behind a curtain. Overall very inoffensive but lacks in vividness and broadness. 5/10.

Song #9:
Slow and moody jazz. Requires spaciousness, timbral accuracy and a playful vibe.


Rosita by Coleman Hawkins, Ben Webster

Here the recording is done differently than with the previous song and Aurora manages to impress even with the perceived soundstage height and width. Then again, since the recording is done this way it sounds even bigger again on other IEMs. Focus is put mainly on timbral qualities and here the story repeats. Piano is on the 'slower' and more musical side, while brass and drums both could be more daring. Still, this one is enjoyable in a different sort of way. Makes it easy to float away into your dreams. I would know, Aurora is one of my favourites to keep by the bedside. I could not suggest this set to someone who wants their jazz to sound vigorous and atmospheric, however it can do such tunes to quite a high standard as well. 7/10.

Song #10:
Oh, welcome crazy bass lines, please make yourselves comfortable along with tasteful drops and story-telling male vocals about an ill-intentioned lady.


Love is a Bitch by Two Feet

How low do you want to go is a question Aurora happily provides to its listener. Whatever the answer might be, Aurora delivers in an authoritative fashion. Not a basshead set per se, but a well executed L-shape that never really feels lacking in subbass. Song starts with a storm going on and the rain panning around the head while a guitar lays a foundation. Starting seconds are a good test for soundstage dimensions and rain presentation, which is essentially band-limited pink noise. Welcome, bass, please make yourself comfortable. And comfortable he is. Just a joy again with these longer lingering low notes. None of them feel stressed or overly amplified. I had to switch back to the BTR7 to see if the lower power changes the joy factor in a deal-braking sort of way. I first noticed the slightly more reserved soundstage width simply by following the rain noise. Bass notes come in, moment of truth. BTR7 definitely rumbles just as hard or even more pronounced than the VE Stack. Where it falls short is in the individual bass notes feeling like each of them has a story of their own, yet coming from the same family. On BTR7 the lowest notes are much heftier than those higher bass notes within the bass line. It all culminates in an overall presentation that feels more strained and uncontrolled than on the VE Stack. This definitely proved to me that Aurora, despite being rather easy to drive, really loves power and scales well. This song gets a great score of 9/10.

Song #11:
Not really something I could jam to for long, but I used just the last minute which can tell a whole lot about the set's bass and highs.


Handle With Care by Andy Stott

DDs are getting a workout of their lifetime. It's such a difficult bass line to get right, Aurora rumbles and decays about as wonderfully as I could wish for, especially at this price. There is a reason this double DD setup keeps reappearing in various sets. When it comes to subbass it is all about the capability of the drivers to move a 'large' amount of air (relative to their size) and keep the movement under control without bottoming out or reaching high distortion figures. What you can do to aid those drivers is to feed them nice clean power. Venture Electronics Stack does just that and Aurora awards me with a gorgeous low end in this electronic specialty. Quite a large part of the song is up in the higher registers – I must say I do miss the precision and airiness of something like ESTs or some other BAs. I would like more crispness and dryness to some of these sounds in order not to sound blurred. This affects the end score which I'd put at 6/10.

Song #12:
A pleasant and somewhat creepy look into the unknown. Needs serious bass to form the template and good imaging.


Satsang by Sumiruna

To really get one to look around and feel scared this song requires a technically capable set. Aurora tries its best and still renders this weird tune enjoyably despite not being a technical monster. The reason for Aurora's success despite average technicalities lies in its tonal balance. This song should be bass-driven and Aurora lends its helping hand to present it that way. What that ends providing is a creepy story-telling aura for your mind to wander and try to make sense of the sounds. I must have heard this song about 50 times by now on various sets and still I struggle to come up with my own story – case in point that this song is a journey without obvious whereabouts. Genres such as this can quickly get dull on subpar sets and Aurora does not fall victim to that. Do not expect all the details to be as crisp as on brighter-tuned sets or EST-equipped sets. In that regard, Aurora makes you work hard (but feels so fulfilling) to really catch every grain of sand on a sandy beach. 8/10.

Song #13:
Definitely a competitor for best song title. It also gets the juices flowing and makes it impossible not to tap your feet or nod your head.


God is in the Soundwaves by Armin Van Buuren, Xoro, Yola Recoba

The clapping sounds and her voice are on the more reserved sound, definitely not sharp ever. She could use just a bit more forwardness to really make me alert and listen to what she has to say about this soundwave god. She stays clear from any sibilance, and it is not a too pronounced frequency response dip like certain sets go about dealing with cutting out sibilance. That way of reducing annoying sibilant peaks could quickly backfire in sounding unnatural and that luckily is not the case here. When the bass comes in it shifts the balance into a very enjoyable L-shape just as Aurora is supposed to be. The individual bass kicks are very powerful here, unlike the slight midbass calmness would suggest – a 3W per channel amp such as the VE RA2B-FE doesn't hurt. The rumble and fullness are impressive. Those higher cymbal-like and rattlesnake electronic sounds are not too detailed, however the effect on the overall enjoyment factor is minimal. A 9/10.

Song #14:
Turning up the wildness to 11. Aliens are upon us.


Alien Alert by 1200 Micrograms

Such a creepy sort of track. The distortion and his eerie introductory speech are a marvelous way of getting this track on the way. Punch is strong and quick. The layer of bass these two DDs playing in unison can provide is something to behold. I only heard a bass as tight and driving in very high-end car audio systems which are known to be able to provide a ridiculous amount and quality of bass due to their low cabin volume if executed correctly. Yes, this is the set I would choose for this song despite its slightly subpar technicalities versus some of its direct competitors. It is a journey. The mids are never veiled nor too far back or in your face. The balance among bass and mids is done tastefully. Highs can be a bit disjointed due to their intentional reduction which are countered by a tsunami of bass. Tremendous performance warrants the Aurora an amazing 9.5/10.

This concludes my song examples and hopefully you find some information useful to compare to your listening habits!


To Sum Up The AüR Audio Aurora

To sum up the Aurora, a bass and mids first experience with reduced but sufficiently detailed treble makes this one an easy recommendation to anyone with bass-heavy electronica or, due to its naturalness and timbral brilliancy for those who get their music fix mostly from calmer acoustic and jazz tunes – with just a slight preference towards male vocals prior to female. This set has been pushed into the background due to other AüR releases since then, but it's a thing of its own and no other sets really offer a similar experience.

Thanks for reading and stay wonderful.

Preamble:​

Many thanks to @Damz87 and to Nicholas Tsu for arranging the Australian tour of the Aurora and to chowy for ensuring their safe delivery.
The sources used to form this review included:
- Chord Mojo 2;
- Shanling M6 Ultra; and
- Cayin RU7,
all fed with lossless FLAC files.

There is something in the water in Asia. The dominance of the region in the proliferation of a large number of IEMs in the last decade has been nothing short of amazing. Whilst Chi-Fi gets all the praise, there are a number of other nations providing a number of noteworthy IEMs. I have previously reviewed Symphonium, a Singaporean maker with ties to two other noteworthy compatriots in the form of Subtonic and Nightjar. Today’s review concerns another burgeoning IEM maker from the city-state of Singapore, the Aur Audio Aurora. With a small operation consisting of two friends, there appears to be an attention to detail and loving care that only a smaller shop can bring to deliver what they state on their website as being “the ultimate in sound quality and clarity unlike any other”. Rather lofty words let’s see if they can deliver such an experience with their Aurora.

The Factual Stuff​

The Aurora does not come with a box but rather in a puck style case containing:

• The earpieces;
• A twisted, cloth covered cable;
• Silicone eartips; and
• A cleaning brush.

Within the earpieces are an 8 driver setup consisting of two “opposed” 7.5mm dynamic drivers and 6 balanced armatures, with two of those being tweeters focused on the higher ranges and 4 being focused on the mids.
The Aurora is available for 560 USD.

The Opinion Stuff​

Sound​

The review was conducted with Spinfit CP145s. The stock tips included were tested and an insight into their quality is provided in the section entitled “Quality of Life”.

Bass​

The Aurora provides a rather heathy dose of bass in the form of both an elevated sub and mid-bass lift that ensures that it is present in nearly every song that you listen to. The sub-bass presents itself as a rather pleasing rumble in songs such as “THE PLAN” from the TENET soundtrack in a manner that is neither overbearing nor overly recessed. There is a rather good balancing act here and the sub-bass shelf remains nicely elevated for that sense of presence with modern-produced music. There is a decent quality to the sub-bass as well as it remains textured and detailed.
The mid-bass is ever so slightly elevated to present a nice sense of punch and added weight to the upper-bass/lower mid regions without treading on any other part of the frequency response. There is a tendency for a mid-bass boost to muddy up some male vocals and portions of the mids but testing the Aurora demonstrates that there is little to none semblance of this.
There is a detriment to the bass on the Aurora and that is there is not a great sense of attack and dynamism to the bass in that the quantity is good yes, but it does not provide the physicality and speed you would get in other IEMs. There is a sense of a laidback and smooth reproduction of these bass frequencies and I didn’t mind it that much, however, for more aggressive basslines in trap and EDM tracks, the Aurora did not keep up that well.

Mids​

The mids on the Aurora are potentially the most well executed portion of the IEM, providing a smooth and natural tonality throughout. “2easy” by Nive and Heize is a female/male duet with rather lilting runs throughout and both vocalists receive an equal amount of attention from the Aurora. The timbre remains natural and “analogue” sounding in nature leading to a very laid-back listening experience. With more aggressive higher mid songs such as “4walls” by f(x) there is no real shoutiness or brightness to be heard throughout. This creates a rather easy-going listening experience that is non-fatiguing but there is a sense of a loss of sparkle throughout this region.
As previously mentioned, the mid-bass boost imparts a good sense of weight and warmth to the mids as well without detracting from male vocalists such as those in “Out of Time” by the Weeknd as it remained nicely separated and easily discernible.
The smooth reproduction, whilst enjoyable, appears to detract from certain instrumentalization throughout tracks such as “Starman” by David Bowie or “Just the Two of Us” by Grover Washington and Bill Withers with the guitar and the saxophone (respectively) losing a sense of “edge” and being more rounded in their reproduction.
Ultimately, the vocal reproduction of the Aurora is the most noteworthy element of the IEM and is definitely something that surprised me with how well it was executed. However, it does seem to be at the cost of some clarity and sparkle with upper mids and the speed and resolution of some instruments.

Treble​

Carrying on from the discussion of the upper-mids, the treble region of the Aurora is very smoothed out and rolled off in my opinion. There is a lack of engagement in this region even when throwing sibilant and very bright tracks at it. “Reckoner” by Radiohead has a wonderful string of percussion throughout the track and the Aurora provides a slightly limp and not very engaging reproduction of it, lacking speed and sparkle. “You & Me (Flume Remix)” by Disclosure/Flume has a very aggressive synth in the chorus that cuts throughout the rest of the mix with its extremely sharp ascent into the highs and it remained rather non-engaging with the Aurora.
There is a benefit with this tuning as I feel that the Aurora avoids any sense of fatigue over long listening periods with its forgiving and smooth treble regions but there is a lack of engagement and drama with instruments within the region. There is a distinct lack of airiness and crispness as cymbals do not crash with the same brain-tickling effect and a hi-hat ringing throughout a track remains recessed and indiscernible from the rest of the mix.
Overall, I feel as though the treble remains the sore spot for the Aurora as it is too recessed, smoothed out and rolled off to present the sense of sparkle and ear-tickling effect that one would expect. I see what they were going for in aligning the region with the sound signature of the rest of the IEM but ultimately it remains a disappointment for me.

Technicalities​

The Aurora’s smooth tonality belies some rather good technical chops. Despite not having detail “jump out at you” in the case of brighter IEMs, a careful listening elicits some good detail retrieval for the price range. However, the smoothed out and rolled-off nature of the Aurora ultimately limits its ability to communicate very subtle details in well-recorded tracks such as Haliene’s “Rush Over Me (Acoustic)” wherein there is a loss of detail with the piano player floating his fingers over the keys and the mechanics of the press against the pedal are not presented in the same manner as it was with other IEMs.
The staging is somewhat confined as I feel that the lack of airiness of the Aurora and the mid-forward nature leads to a rather limited width and depth to the music as things seem to present right in front of you and do not pan out very far from the immediate left and right of you. Centre imaging is a wonderful thing with the Aurora however, as the intimacy of the staging combined with the vocal quality of the Aurora with tracks such as “Everything Has Changed” by Taylor Swift creates a very analogue reproduction of what one would imagine an intimate performance would be like.
Overall, the technicalities require a keen ear, a rather high volume and critical listen to present themselves in fullness. The staging is rather confined, but this lends itself to the key strength of the Aurora in its vocal presentation.

Overall​

The Aurora presents itself as a vocal specialist with a dash of fun with its high quality lower-end reproduction. Where the issues (in my mind) lay is the movement into the upper mids and treble region wherein the pursuit of smooth and laid-back listening has limited the ability to communicate the drama of certain tracks and perhaps engagement with entire genres such as EDM.
Whether the great timbre of the mids and the balanced yet fun execution of the bass is enough to forgive this rather glaring limitation is dependent on your own preferences and the genres that you enjoy listening too. More acoustically focused and enjoy folksy music? The Aurora is a no brainer if your budget permits. Grating synths and harrowing percussion? Probably look elsewhere.

Synergy:​

One thought coming to my mind here namely lessons learnt after multiple DAPs, DACs and Amps plus headphones and IEMs is synergy! Hoping for the one and only holy grail Setup is maybe just a nice wish unless buying according synergy transducers and I don't believe even the best sources are an exception here. There's a reason why people are having multiple devices in parallel or reducing inventory and keeping only the ones with right synergy.

Shanling M6 Ultra:​

I would characterise the M6 Ultra (M6U) as a smooth, slightly warm source with an increased sense of presence in the mids and a strong note weight.
The M6U coalesces with the Aurora in a very forthright manner. The smoothness of the M6U combined with the already smooth nature of the Auroras present butter in audio form. There are no hard edges here and the result is a rewarding and inviting listening experience as there is not fatigue at all over the course of several hours. There is a loss of engagement by taking this approach as notes no longer really “attack” but rather simply float out for your ears to listen to.
A rather interesting presentation that will be sure to attract more easygoing listeners but sure to disappoint those looking for a more extreme experience.

Chord Mojo 2​

I would characterise the Mojo 2 as a very, very slightly warm neutral tonality with a more natural reproduction of instruments and voices with no DSP enabled.
The Aurora and the Mojo 2 has a rather straightforward interaction with one another, with the relatively neutral tonality of the Mojo 2 bringing a greater sense of engagement and dynamism with the rather smooth Aurora. The attack and speed of certain notes is an obvious difference between the M6U and the Mojo 2. There is a greater sense of engagement with the Mojo 2 rather than having some pleasant-sounding background music.
Playing around with the DSP on the Mojo 2 affirms my previous insights into the treble region as EQ with the upper mids and treble brought about a greater sense of sparkle in the region and improved the overall experience in my mind.
The Mojo 2 synergises well with the Aurora in my mind, and I can happily recommend it with the benefit of DSP.

Cayin RU7​

I would characterise the RU7 as smooth, slightly rolled off and warm (depending on your settings). The sound signature is meant to replicate a more “analogue” sound signature and the result is a more calming and relaxed approach.
In the same vein as the M6U, the RU7 seems to amplify the sound signature of the Aurora by smoothing it out even further. Unlike the M6U, the RU7 imbues a rather healthy soundstage and a great sense of detail and imaging in microdetails by separating the mix. The soundstage factor is a welcome element as it widens out the Aurora and provides a nicely layered listening experience.
Otherwise, the experience may be described as overly smooth by some but the experience is a rather euphonic one and I can definitely recommend this for more relaxed, laid-back listens over long periods of time that will retain your interest.

Comparisons​

Vs Moondrop Variations​

Occupying a rather similar price range, the Variations present what one could term as the antithesis of the Aurora’s tuning ethos. Leaner and more thin in its midrange, the Variations opts for a more sharp dip in the mid-bass to more cleanly separate the midrange and the bass. Sub-bass is the Variations forte and there is a greater sense of impact in the cleanliness of its tuning but the Aurora remains a very, very close competitor.
There is a loss of mid warmth and a lighter note weight overall but in return is a cleaner tonality that seems to highlight greater microdetails throughout the frequency response. The Variations feel more sparse and wide in its presentation but similar to the Aurora, there is a lack of depth. The vocals with the Variations are more recessed in the mix and thus there is a loss of emotional engagement with certain instrumentalization and vocals. There is a definite preference for female vocals and higher frequencies in the Variations as there is a prominent edge in the sparkle factor of belted female vocals and edgy percussion. This is a definite win in the Variations favour.
Overall, I feel that the Auroras and the Variations represent similar technical capabilities with the difference being their tuning. If you prefer a warmer and smooth reproduction, the Aurora is the clear choice.

Vs Sony IER-M9​

The IER-M9 represents in my mind, the gatekeeper of the kilobucks. With its rather inoffensive (and perhaps boring) tonality combined with its technical prowess, it presents $1000 vanilla ice-cream by which others may be tested.
The warmer than neutral tuning of the IER-M9 presents a similarly smoother experience than a lot of modern IEMs in the market but not the same extent as the Aurora. Sub-bass takes a definite hit in quantity but the quality of its detail and texture present a win over the Aurora. The mid-bass punch is also similarly impressive for the IER-M9 being an all-BA set, the Aurora does not win in the quality region but the balance in tuning of the Aurora provides it with a tonality that is more agreeable to me.
Treble is also more impressively executed on the IER-M9 with greater extension and greater prominence in the mix compared to the smoothed out and rolled-off nature of the Aurora. The IER-M9 remains rather sparkly and airy in its reproduction of the treble that lends itself to a rather enjoyable listening experience rather than being an afterthought in the mix.
Detail retrieval on the IER-M9 is also better in that microdetails are revealed to a greater extent in well recorded songs. Staging is somewhat similar with that centre-presenting vocal mix but there is a greater sense of depth and layering in the mix on the IER-M9 that gives a more textured quality to the recording than on the Aurora.
This is somewhat of an unfair comparison considering the price difference but where the Aurora can hang its hat on is its smooth, easy listening experience that is vocally focused and a better balance between mid and sub bass.

Vs 7th Acoustics Supernova​

The Supernova is another smooth criminal in the IEM space that I am in the process of writing a review for. Considering these arrived concurrently, I compared the two due to their similar approach to tonality despite their price difference (Supernova = 800 USD, Aurora = 560USD).
The bass presents itself more forwardly in the Aurora with a more generous helping of sub-bass throughout that adds to the fun factor. The more level bass response leading into the mids of the Supernova leads to some issues with male vocals whereas the Aurora’s shelf and subtle mid-bass boost creates greater separation.
The mids on the two IEMs seek out to create a smooth and natural tonality that is pleasing to the ear. Where the Supernova separates itself is the upper mids extending into the treble region wherein the spine-tingling reproduction of female vocalisation creates a more engaging experience compared to the slightly limper production of the Aurora. Vocal fry and the inhales of the vocalist running through their lyrics seem to present themselves with far greater detail and emotional engagement on the Supernova than the Aurora. Instrumentalization such as dramatic piano solos also seem to engage more thoroughly on the Supernova compared to the Aurora.
Treble extension is not the forte of either IEMs here but the Supernova remains more sparkly than the Aurora and creates a greater sense of drama with certain instruments.
Technicalities on the Supernova take the W in that detail retrieval, staging and resolution all seem to be bumped up from the Aurora in a noticeable manner.
Overall, the Aurora and the Supernova are more similar than they are unalike, however, the Supernova represents a noticeable step up in nearly all aspects save for bass quantity and the mid-bass control.

Quality of Life​

The 3D resin shell of the Aurora is very well made but the shells themselves are rather beefy. Whilst I had no issues with fitment, I would not be surprised if the rather wide and deep earpieces pose some issues to more smaller ears.

The included accessories are rather limited, and I was not a fan of the stock eartips in any case given they seemed to jump from rather small to very large. With that being said, the cleaning brush is always a nice addition, and I am a big fan of the puck case that does a good job of being rather ergonomically shaped and with a very nice silicone friction fit.
The stock eartips are rather wide nozzle openings that lead to a rather odd sound signature wherein soundstage is improved somewhat at the cost of some dynamics. The bass is sucked out with the stock large tips and lends itself to an even more relaxed and laid-back listening experience that I would liken to having a smaller speaker in a rather larger room. Not the ideal listening experience which is why I opted for a CP145 for my review but would likely be quite ideal for those looking to maximise the inherent qualities of the Aurora.
The included cable is soft and well-made but the memory of the cable and perhaps any cable utilising cloth covers is a rather annoying aspect as it wants to retain its shape.

Whilst related to sound quality, the Auroras are best presented whilst listening at rather high volumes, giving a greater coherency across the frequency response curve. This however, is not an ideal situation given that it may lead to some rather poor consequences. The rolled off treble was alleviated at higher listening volumes that provided a greater sense of excitement but was untenable for longer listening sessions and with songs with greater dynamic swings in volume.

Value​

I feel that the Auroras reside firmly in their price point and do not seem to punch too high up. The comparison against the Variations, priced at 520 USD usually is a rather telling one. The two trade blows in more “objective” elements such as technical performance with the main difference being tuning, which is a more preference based aspect of the game.

The accessory package is quite middling at the price point as I found the puck case on Aliexpress for $4 and the cable, whilst nicely smooth, provided some ergonomic issues for me.

Overall, at 560 USD, I don’t believe that the Aurora is a revelation at its price point but remains a very good option for a specialist IEM that excels in vocal reproduction and for those seeking out a smooth, easy listening experience.

Conclusion​

There isn’t much to dislike about the Aurora, it is a very easy listen in that I can freely just place them in my ears and leave my library to play on shuffle without any song feeling as though they have been wronged in their reproduction. Vocal reproduction is the forte of the Aurora and the intimate staging and smooth reproduction of all facets of the frequency response lend itself to a honeyed and euphonic mid-region.
However, there is a loss of overall engagement with music due to the treble performance of the Aurora that removes from the “drama” and “excitement” of certain instruments and notes hit by vocalists.
I am by no means a treblehead but the Aurora provides very little in the sense of engagement in this region and I sorely miss a more “revealing” tuning and a sense of sparkle and hair-raising peril of certain instruments.
The Aurora is not an IEM I can recommend for everyone but if you are looking for an intimate, smooth and warm listen and understand that this IEM is somewhat of a specialist, then I cannot fault it. More discerning individuals and those looking to jump up to the Aurora’s price point may find the lack of treble excitement sorely lacking.

Few IEM brands have developed a strong fanbase as quickly as AuR Audio, a Singaporean IEM brand founded by two friends, Nicholas Teo and Abel Hsu. Today, we take a look at one of the newer releases from the company, the 8-driver hybrid IEM Aurora.

Forewords​

• What I look for in an IEM is immersion. I want to feel the orchestra around me, track individual instruments, and hear all of their textures and details. I’m not picky about tonality, as long as it does not get in the way of immersion.
• I rate IEMs within with a consistent scale from 1 (poor) to 3 (Good) to 5 (outstanding). Ratings are assigned by A/B tests against benchmark IEMs, regardless of the retail price.
• Ranking list and measurement database are on my IEM review blog.
• Terms used in my reviews are consistent with the glossary by Headphonesty
• This review is possible thanks to the Australian head-fi tour organised by @Damz87 and supported by AuR. I have no affiliation with or financial interest in AuR Audio. The unit retails for $560 at the time this review was published.

Sources for listening tests:

• iBasso DX300 (for all A/B tests)
• HiBy R3 Gen II

Local FLAC files ripped from CDs or bought from Qobuz were used for most casual listening and A/B tests. My playlist for A/B tests can be found on Apple Music here.

All of my listening was done with Spin-fit W1 medium ear tips. I listen at a medium volume. I usually turn up the volume until the midrange is fully audible and detailed, unless a treble peak or overwhelming bass prevents me from doing so.

Specs​

• Driver: 2x7.5mm DD + 4 E-Audio BA + 2 Knowles BA
• Connector Type: recessed 2-pin
• Impedance: 19ohm
• Sensitivity: 104dB@130mV

Build and Comfort​

The review sample came with a plastic puck carrying case, a set of wide-bore silicone ear tips, a cleaning brush, cable, and the earpieces themselves.

The cable is quite lovely. It is one of the most well-behaved cables I have ever used. There was no kink, no memory, and the cable can lay flat on the table.



The earpieces are of medium size, but with longer nozzles. In the “correct” fit, where the earpieces rest against the concha of my ears, the nozzle would reach relatively deep in the ear canal. I recommend using slightly smaller ear tips than usual to support this fit. Of course, you can opt for shallower fit, but I recommend a proper deep fit with Aurora to preserve its treble extension, and the corresponding technical performance.

Tonality​

Frequency response of Aurora against Moondrop Aria. Measurements were done with an IEC-711-compliant coupler and might only be compared with other measurements from this same coupler. Visit my graph database for more comparisons.

It is helpful to think of an IEM as a filter that highlights or subdues different parts of the incoming audio signal. This effect can be measured objectively by the squiggly lines above, called Frequency Response (FR) graphs, which measure how loud an IEM is at different frequencies from 20Hz (bass) to 20kHz (upper treble). Subjectivity is how your ears and brain interpret the effect of that filter on your music and decide whether it is “enjoyable.” There are some “rules of thumb” when it comes to tonality, but most interesting IEMs usually bend the rules masterfully.

The overall sound signature of Aurora can be described as downward tilted. You have more prominent (but not overpowering) bass response, mostly neutral midrange, and relaxed treble.

Subjectively, the overall tonality of Aurora strongly reminds me of Moondrop Aria. It’s warmer than true neutral or “flat”, but at the same time, the tonality is still correct. Aurora has correct ear gain tuning, starting from around 800-1000Hz and peaking around 3kHz. The lower midrange of Aurora is flat rather than having a “hump” to create the warmth and somewhat muffle sensation in vocals and instruments like the tuning of some Western boutique IEM brands. Most of the “warmth” of Aurora actually comes from the less contrast between lower and upper midrange.



The treble of Aurora is relaxed. It starts to roll off after the upper midrange. On the plus side, this tuning creates a sense of smoothness to the presentation of Aurora. In fact, this IEM is quite effective at subduing harshness and sibilance of most of my recording, even the more sibilant ones. At the same time, cymbals and hi-hats are still present in the mix. The resolution in the treble region is also good. I can hear nuances and textures in these high-pitched instruments rather than just splashy high-pitched sounds.

On the negative side, I wish that the upper treble has a bit more emphasis. The treble extension is not a strength of Aurora, which negatively impact the perceived detail retrieval and staging of Aurora.

Bass and Dynamic​

A good pair of IEMs/earbuds/headphones should be able to convey, even emphasise, the sense of rhythm and the ebbs and flows of music. In general, this energy requires IEMs to be able to convey rapid volume swings on the downbeat of an orchestra or the leading edge of bass note. It also requires tactile physical sensation of the bass, and the sense of rumble and texture accompanying the bass drops. An IEM can have loud bass, but still fail to convey energy should it lack other features above.

Click to expand...

The bass of Aurora also has a smoother presentation to it. Aurora does not focus the energy to the attack of bass notes like ThieAudio Hype2 or Effect Audio Gaea. Hence, at a glance, Aurora does not sound ultra dynamic or explosive. This presentation contributes to the calmer and easy-going sound that AuR audio aims for.



The strength of Aurora’s bass is in the detail and decay of the bass. Abel describes the bass as “elastic”, and I agree. There is a sense of “bounciness” to the bass guitars and kick drums that is quite nice to listen to. The details that Aurora extract from the bass line are also high. I find myself paying more attention to bass guitar and double bass when listening to music with Aurora.

Soundstage Imaging​

Stereo imaging or “soundstage” is a psychoacoustic illusion that different recording elements appear at various locations inside and around your head. Your brain creates based on the cues in the recording, which are enhanced or diminushed by your IEMs, your DAC, and your amplifier. Some IEMs present a wide but flat soundstage. Some present a “3D” soundstage with layering, depth, and height. In rare cases, with some specific songs, some IEMs can trick you into thinking that the sound comes from the environment (a.k.a., “holographic”)

The tuning of Aurora favour coherency and cohesiveness rather than separation. It means that when I listen to a band or an orchestra, all the main (louder) instruments at the foreground are placed closer to each other and closer to me.

As I mentioned, Aurora does not have strong treble extension, which in turns hurts the perception of the background and expansion of the soundstage, which is created by “air”, reverb, and ambience embedded in the recording. For example, when I listen to violin sonatas and partitas by Kavakos, the sound of violin bouncing against the concert hall is hard to discern. On IEMs with stronger treble extension, this reverb can sound like a dome behind the main violin, contributing positively to the enjoyment of the recording.



Because the foreground is cohesive and closer to the listener and the background is not highlighted and expanded, I find the soundstage of Aurora to be smaller and more intimate. Personally, I prefer more exaggerated sense of space, though I think many would enjoy the intimate sound of Aurora.

Soundstage imaging with games (CS GO Gameplay by Throneful): Aurora does a good job, but not outstanding. The left-to-right sound placement is good, but the front-to-back and low-to-high placement is not better or worse than most IEMs.

Resolution​

Resolution is a fascinating subject due to the difficulty of pinning down what it really is. To me, “resolution” can be broken down into three components: (1) Sharpness, incisiveness, or “definition” of note attacks (see the figure above). (2) The separation of instruments and vocals, especially when they overlap on the soundstage. (3) The texture and details in the decay side of the notes. The first two give music clarity and make it easy to track individual elements of a mix. The last provides music details and nuances. Smooth and well extended treble response plays a crucial role.

The more subdued treble response also hurts the perception of separation and detail retrieval of Aurora. I used the word “perception” because the actual resolution of Aurora, in other words, how it dissects dense and complex recordings, is rather strong.

For example, when I listen to Bohemian Rhapsody cover by Pentatonix, I found that it is easy to track individual voices, even the ones at the sides of the stage. Moreover, each voice has nuances and details. However, all voices tend to have softer “edge” and are more “blended” rather than separated with sharp boundaries than IEMs with razor-sharp separation like Symphonium Helios or Effect Audio Gaea. So, at a glance, Aurora can come across as slightly dull and lack incisiveness.



However, I do not think that the true resolution of Aurora belongs to the top echelon just yet. When I listen to my usual test tracks for detail retrieval, the Bach violin sonatas and partitas by Kavakos, I found that a layer of nuances that contributes to the “realness” of the performance, such as the friction of the bow against the strings, does not come through. I could squeeze out a little bit more from Aurora by turning up the volume very high, but that’s not practical.

Source Pairing​

Aurora is sensitive to source characteristics. I did not have good listening experience when pairing Aurora with HiBy R3 Pro Saber, as the bass decay sounds duller and less textured, and the separation is not impressive. The R3 Gen II does a better job. The DX300 expands the stage of Aurora a little bit more, but it’s not significant for me. I ended up using R3 Gen II most of the time, as Aurora sounds good enough, and the whole setup is much more portable.

Comparisons​

Moondrop Aria:

• Very similar tonality
• Aurora is better on all technical aspects

Moondrop Variations:

• Day and night different in tonality. Your preference determines which one you like
• Nearly identical resolution, both macro/separation and micro/detail
• The Variation has more open soundstage, meaning the instruments at the foreground has more “space” from each other. This effect is baked into the tuning.
• Bass of Variation has stronger impact but less “bounciness” and detail than Aurora

Campfire Audio Andromeda 2020:

• Both have warm tuning, but Aurora has a more modern and natural approach. Andromeda is obviously coloured. Your preference determines which one you like
• Andromeda has better resolution, both macro and micro.
• The soundstage of Andromeda is more diffused and spread out. This can be somewhat explained by the way it tunes the upper midrange.
• The perception of space, “air”, reverberation of Andromeda is noticeably stronger.
• The bass of Aurora is much better, especially in the decay and texture.

AFUL Performer8:

• The tonality of P8 feels flatter, less coloured. In rare occasions, P8 can sound thin because it dips the 250Hz.
• The bass of P8 is more snappy, but the overall sense of bounciness and texture is better on Aurora
• Both IEM push the foreground toward the listener and opt for a more cohesive presentation
• The background expansion of P8 is noticeably stronger
• The micro detail retrieval of P8 is better, especially when listening to detail-rich recordings

My Take​

In summary, Aurora mostly lives up to its reputation. Yes, I wish that it has better treble extension and more incisive presentation. But I also know that if Aurora is more snappy and incisive, it would be a different IEM rather than Aurora. As it stands, Aurora is a smooth IEM that is done right, a relatively rare breed in the current market.

Absolute Sonic Quality Rating: 3.5/5 - Very Good

Bias Score: 4/5 - I’m happy to add this IEM to my rotation.

Pros:

• Comfortable, cohesive presentation
• Beautiful timbre and tonality of midrange
• Great bass texture and decay

Cons:

• The soundstage is more cohesive and compact rather than expansive
• Smooth presentation reduces the perception of resolution

Updated: September 13, 2023

A brand new day has risen with AüR Audio Aurora

Disclaimer

The Aurora is my third IEM from AüR Audio, I bought it with own money with a very small discount. All impressions are my own subjective thoughts after having used them for a good time. I am a customer of AüR, I get nothing for writing this. These are my thoughts at this moment, and as time moves I might change my opinion.
This is also a very subjective hobby where everything from experience, anatomy or age will affect what we hear. Also keep in mind that it is easy to use bold words when talking about differences, while it may be perceived as a small change for you.
While I can perceive something as natural sounding, I do believe we can never get a perfect performance similar to what is achieved live.



About me and my gear used for the review

My audio preference is neutral with good extension and some warmth, mids should be neutral or forward but not too much. I can also handle some treble spikes if it is not excessive. I am a believer in having different tuned IEMs for different genres or moods instead of chasing the single perfect one.
Main music genres I listen to are metal, electronica, jazz, indie rock, and pop. I am a music lover, and can also listen to almost all the genres out there. I have been into music gear since the mid 90s, gifted some big speakers at an early age. Then moved more and more into headphones with the Koss Porta Pro and a Sony Discman and Minidisc.

I have also tried playing many instruments over the years from piano to sax and have a feel for what's a natural tone, but not the biggest patience in learning to play. My wife has also played many instruments from string to wind instruments.

My current standard in Headphones is ZMF Verite and Beyerdynamic T1 G2.

My current standard in IEMs is AüR Audio Neon Pro and Penon Serial. The Neon Pro has 10 BAs, and has a near perfect tonality for me on the brighter side. The Penon Serial that also has a near perfect tonality for me, that is more relaxing and organic sounding with it is triple DD configuration. Both of them have sound signatures that I can listen to almost all types of music.

Gear used in the main rig is Topping E70 DAC together with the Topping A90 Discrete headphone Amp. I also have a Schiit Lokuis I can swap in if I want to do a little analogue EQ.
I also use the Feliks Audio Echo, one of the more silent OTL amps.

Portable gear used during the review: Cayin N7, Hiby R6 III, Quidelix 5k DAC/AMP, FIIO BTR7 and Penon Tail.

I have a good range of cables from Gladiator Cables, ISN, DUNU, Penon, NiceHCK, XINHS and some others.



Who is Aür Audio

AüR Audio is a Singapore brand who makes in-ear monitors and is founded by two friends, Nicholas Teo and Abel Hsu. It is a small business where Abel handles the research and development while Nicholas manages the sales, marketing and distribution.

On the other side of AüR is Nicholas who has his customers in mind, one of the most helpful sellers I have contacted. When I have asked something about their products or recommendation for other audio related gear, he has been more than happy to help me out.

The IEMs are now 3D printed and handmade by Abel from start to end, carefully ensuring that everything is perfect with a quality control that is above the usual chi-fi market. The models from before this were not 3D printed and is a new way for AüR to have higher QC and productivity forward.

https://www.auraudio.store/

Allure 6 BA (Discontinued)
Neon 10 BA (Discontinued)
Neon Pro 10 BA
Aure 8mm DD and 6 BA (Discontinued)
Alita 12 BA
Aurora 2 DD and 6 BA
Ascension Configuration unknown
Allusion Configuration unknown



So what is the Aurora

The Aurora is a hybrid IEM with 2 DD and 6 BA, tuned to be neutral in sound with some warmth. This is the first model from AüR Audio that is 3D printed from the start of launch, the other models have also moved to 3D printing. I was sceptical at first when I heard this, but I have nothing to complain about the quality here.

They have focused on selling the Aurora in the cheapest way possible. Accessories and cable are not much, but enough to get you going. The cable is the same as on the Alita, a much nicer cable than the Neon Pro and Aure cable. Silver plated copper with soft and flexible blue fabric, you also get a hard case with some tips.

The form factor is very ergonomic and the shells are average in size, they are also very light. AüR knows how to make comfortable shells, same goes for the nozzles having good length while not too long. It also has a very perfect angle and width so I can use 1 size smaller tip and still get a perfect seal.

The design is changed a little from the hand made Neon Pro and Aure and this should be more ergonomic for more people. The Part going toward the nozzle is slimmer and the ear fin is gone.

My only nit-pick is that I liked the old ergonomic design on NP more, perfect for my ears. The design now is better for the people who tested my Aurora. This is a personal thing for me, I can still use the Aurora for many hours before discomfort.



Taken from the product listing:

Aurora offers a balanced tuning with a detailed and organic midrange. The 2DD+6 balanced armature configuration delivers a wide, spacious and holographic presentation that handles complex recordings with ease. Aurora can handle nearly all genres, the organic tonality and resolving power particularly suit is for all genres of music

50-100 hours of burn in is recommended

GENERAL SPECIFICATIONS

Frequency Response: 20 Hz - 20 kHz

Impedance: 19Ω

Sensitivity: 104dB (@130mV)

DRIVER CONFIGURATION

Bass (2): Dual Opposed 7.5mm PU+PEEK DD with N52 magnet
Midrange (4): E-Audio Improved RAB Dual Drivers
Treble (2): Knowles Dual Tweeter


HOUSING MATERIAL
Shell: 3D Printed Resin

CABLE SPECIFICATIONS

Wire Material: 2 Core, High-Purity, Monocrystalline, Silver-Plated Copper
Length: 1.2 ± 0.1
Connector: 2-Pin (0.78 mm)
Monitor plug: 4.4mm

https://www.auraudio.store/product-page/aurora







Timbre

First off, what is Timbre?
From the Wikipedia:
The Acoustical Society of America (ASA) Acoustical Terminology definition 12.09 of timbre describes it as "that attribute of auditory sensation which enables a listener to judge that two nonidentical sounds, similarly presented and having the same loudness and pitch, are dissimilar", adding, "Timbre depends primarily upon the frequency spectrum, although it also depends upon the sound pressure and the temporal characteristics of the sound"

First minutes of trying a new set of gear, what I always listen to is how natural and musical it sounds. Much of this goes down to how I perceive the Timbre.

The sound of the Aurora is neutral with great extension in both the lowest and highest frequencies. Mids is in focus and is very clear on both instruments and vocals, there is no bass bleeding into mids. Bass is on the warm side with great nuance and impact, very good balance of decay and speed.
The upper mids and treble has no problem peaks and is also clear and relaxing at same time.

So the Aurora is neutral sounding with a slight bass boost, making music sound very natural.

Going to use the ranges here in review:





Details and soundstage

One of the best parts of Aurora is maybe how detailed it is while not relying on boosted frequency areas. When I got the Aurora I had no need to reset my ears to the sound, immediately I noticed a detailed and clear sound. The neutral balanced timbre helps everything to be resolving, without any part taking over. Even with just two BAs for the treble it is plenty of air and detail.

Soundstage is also quite deep and wide, great layering and separation so imaging is very spot on. I have heard larger soundstage than this, but it is not a big difference and it is still above average sets. I would say the sound is circular with a little more width than depth, it has very accurate imaging cues in all directions. Depending on the recording it sounds more like some rows back on a performance.



Bass

I read some first impressions from Nicolas' visit to Vietnam, I was not expecting to be totally satisfied from the bass when reading the impressions. I got an impression of the type of music they listened to, most likely Asian vocal oriented music or classical. This helped take my expectations down a few steps, what I expected was good bass that would be too light for my taste.

Good for me, the bass performance is much better than my expectations.
The Aurora has more than a neutral amount of bass, with superb extension. Not by any mean bass head level, it is more a level that should satisfy both camps.

First thing that impressed me was how detailed the bass is, lots of resolvement on each drum hit or bass pluck. The resolution is most likely higher than all IEMs I have tried, bold statement but it is what I believe going from memory.

Another thing is how visceral each bass hit is, usually I associate great slam with more bass than this. But here Aurora has great impacting bass that has a very natural decay not making it feel slow or too fast where it gets dry.


Bass is more focused on the sub bass than mid bass, so music using the sub bass range is going to give you some great rumble. When the music is centered more on mid bass the Aurora lacks a little mid bass for me personally, but also after having used it for a while this amount is very correct. This makes some music have less of the WOW factor that some want, but in exchange give you a more detailed mid range without any bleed.



Mids

The mid range of the Aurora truly shines, and is one of the Aurora’s biggest calling cards. Everything is super clear and detailed, and can show everything that is in the recording be it soft or intense. My expectations were actually to get something similar to the Aure, but this is different.

Clean forward female vocals is perhaps the best thing here, it is very nuanced with airyness when called for. If you have ever heard people complain about vocals being veiled due to bass, this is the sound they are striving for. It is also good with males and darker females, but if you are used to a sound with more mid bass the vocals will sound thinner than what you are used to. Some time to reset your hearing will help, and then it will sound full and you will not lack anything.

How midrange is tuned make this a very good IEM for Asian focused tracks like J-Pop, never fatiguing or too thick.
Instruments are also on the resolving side, and just sound very natural. I have experienced some eye opening moments with piano arrangements or just classical music in general. Hard to explain in detail, but especially on piano it sounds so real to life. Never to hot brass instruments and this is a big one for me, I am often sensitive to the upper midrange.



Treble

The treble is detailed but also relaxing with plenty of air, extension is really good.
I have a feeling this treble is very similar to the AüR Audio Alita treble amount, but probably less resolving.

Since the treble is not as forward you can increase the volume more without getting fatigued, this also makes the bass and mids come forward more.

Violins, Cymbals and Wind instruments sound good and true to life, never having any of the piercing character some sets have that is overly boosted in the highs.

The upper air is also very good but lacks some of the little extra that EST driver's show, still this is very good considering that it is only using two balanced armatures for the treble.



Synergies

A small part about what gear I have been enjoying the most with the Aurora.

All my dongles or amps have sounded good with Aurora, be it based on ESS, AKM or CS chips in the DACs. The resolving Penon Tail has clearly been the most resolving and full sounding dongle for Aurora. Going into DAPs and AMPs, the Cayin N7 in Class A does give the Aurora more warmth and make it sound more organic and lively. Even better than my desktop dac amp being highly resolving and also musical.

As for tips most of my open bore tips work perfect, but what I have used that is the best for the Aurora is Canal Works CWU-GDECS gel tips. This is wide bore tips with gel between the bore and outer layer. Making bass more prominent and even tighter, while retaining full mid and treble presence. As for cable I first used my Gladiator Cables in copper, delivering great bass and resolution. Then tried to use my Penon Mix, this cable does seem to push the treble more forward and give more detail. Then I landed on my DUNU DUW-03, which is a hybrid cable. I loved this one also, but I still prefer my Gladiator.
All of them are great cables to use with Aurora and I can go for each of them.




Music

I will just talk about some of the music I have used for the evaluation, the music I mention here are some of my reference tracks. When I am listening to music and not evaluating, I prefer to listen to whole albums. That goes for most of the songs here, all of them have great albums. When doing the comparing I have used the tracks listed here, together with some more music.



Aurora - Runaway

First track from Aurora’s debut album, if you are from Norway, you have likely heard this hundreds of times on radio. Her voice is ethereal at parts, and the track has a wide range of expressions.

At start you get a nice slow decaying bass kick accompanied by vocalizing, the start is so nice and you get dragged in. When she starts to sing you get entranced by both her voice and the lyrics. In general this track is perfect for checking vocal capability, never any sense of sibilance on Aurora that some other sets show here. Amount of detail is at a high level, and has some warmth in both the vocal and instruments. The silent parts are very black, when it is pushed it is full sounding. As for details it is a few parts where the recording is not perfect, and the Aurora shows it when it happens. So even if the Aurora is more relaxed in pinna gain and upper treble it does not hide a bad recording, not that runaway is bad recording it is just not perfect.



Jacob Gurevitsch - Lovers in Paris

Danish artist who plays the Spanish guitar, his guitar technique is sublime. Mexican margarita was recommended by Akros, and has stuck with me as one of my best test tracks. Perfect for evaluating how capable a set is in its dynamic range and expression, I bet I can use this one track alone and know if I like a set or not.

Aurora is very technical here and you can hear every detail going on, no doubt about that. If I go straight from a more thick sounding set like EST50 I hear more nuances and a more light presentation. Not in attack but more in the thickness of the guitar and rest, and the more I have become accustomed to the sound of the Aurora I like it more on this than EST50.

I advise checking the track out, technical and perfect for evaluating or comparing. Or just enjoy it, it is with few instruments but also complex and magical. Main focus for me is here on the guitar playing, but need to say that both the bass and drum is also perfect and make the track whole.



Dominique Fils-Aimé - Birds

The perfect song to show how emotional and breath-taking the vocal presentation of how the Aure is. The song has Dominique's voice with some acapella, a cello and some clapping going on. Nothing more but sounds so perfect and full, I get moved by this song.

I also used this track in Aure review, it was spectacular on the Aure. But what I see here is that it is equally good with even more detail going on, just a change in warmth. The stage is quite different, here it is larger with more depth. For Example how the clapping appear much more to the sides and decay further out. The different vocal parts have a wide range of layering, more than the other sets I compare with in this review.

The double bass is so nuanced and in harmony with vocals, a breath-taking track. I find the amount of bass and mids to give everything a very correct timbre, very organic and true to life presentation.




Alba by Søren Bebe Trio

Jazz trio from Denmark introduced by my friend Carlos, they use piano, drums and double bass. Beautiful arrangement with great dynamic sound, nice small nuances all over. Like how the cymbals are hit or how the bass is plucked, really great emotion in everything and it is not done at random. The piano is gently played, with high resolution from the recording.

I have been a lover of jazz music for a long time, I can say that I never heard an IEM I like more for jazz. At first listening to Aurora I had moments of euphoric pleasure, the upper tuning makes it a joy.
The amount of expression going on, and how the Aurora picks up all the emotional playing is at high end level. The tonality of Aurora has just the perfect tuning for this, relaxed but detailed.

How piano is played is magical, be it the low notes or higher it sounds natural and true to life. The drums are great, cymbals sound real and have nice shimmer to it. Double bass have great detail, and you hear subtle changes. I can not ask for more, unless I want to have more warmth for jazz.



Symbolico - Gaian Portal

Thanks Alberto for introducing Symbolic, been into similar music for a long time but this group has gone past me. Psychedelic electronica or glitch hop, but genre doesn't matter. What matters is how good this guy from Israel is at mixing together into something magical.

The beat is addicting, you do get into a trance-like state of mind listening to this. This was one of the first tracks I tested with Aurora, at first when I read about Aurora I never thought it would have a satisfying sound for electronica. I was so wrong and it's maybe my favourite set now for most electronica.

Bass is tactile and the DD truly shines on every bass kick, perfection is the word I want to use.
I can be a true basshead, and here I am satisfied without it being bloated or taking over the rest of tonality. All the sounds in the mid and treble range are resolving and not peaky, and again make the bass shine even if it is not super elevated.

Just how all the sound cues go together is effortless, resolution is top notch. I am guilty in that I maybe turn the volume up more here than what is safe for long listening sessions.




The Comet is Coming - Birth of Creation

Nu jazz from London, a group consisting of King Shabaka on sax, Danalogue on keyboard and Betamax on drums. This album is special and has been in my listening rotation since it came out, the track Birth of Creation is one of the best tracks on the album.

Sax is played with finesse and has a mellow and dark sound, almost like a voice singing. The drums gave a nice mix of sparkling cymbals, hits and nice kicks. While the keyboard makes this more of a mix between electronica and jazz, it's a cool track with a story being told.

First off this music is spectacular on Aurora, neutral sound that is not so bright is excellent here. Amount of sub and mid bass is perfect, every drum hit is nice. Sax is played more mellow but it is not veiled.
I have another set I like very much I am reviewing later this year, that can not do this song justice and is a veiled and muddy experience.




SHAUN - Shooting Star

I have had some interest in Korean music the last months, lots of good tracks to choose from. But this track is one that has the power to make me happy and I feel good listening to it.

The tonality of the Aurora makes vocals shine, his voice is mesmerizing and you don't want it to stop. Drums are nice with great tactile bass feedback, and the bass guitar sounds good. Same for the acoustic guitar and keyboard while they stay more in the background behind the drums and voice. Great layering of all the instruments and no thick veil, and it sounds almost like a live recording where he stands singing in front of me.





Dead Can Dance - Anabasis

The vocals and spatial cues are epic and also perfect for checking soundstage and microdetail. With the AuroraI the space is very large. The drum here is supposed to sound big and heavy, it is an epic experience on the Aurora. Reminds me almost of a ritual about to happen, with many drums being hit in unison.

Her vocal when it starts is powerful and clear, emotional in a way that for example Neon Pro can not do.

Soundstage is on the larger side with perfect imaging capability, I would almost say the soundstage is wider than deep. It's not the biggest I have heard but above your average set, but again I know that soundstage is affected by our perception and ear canal. So keep this in mind.

It is a super nice track, and can quite easily show differences in your sets.





Ihsahn - South Winds

This is a Prog Metal track I like very much and also the whole album for that matter, I use South Winds for something weird. I check how much I need to increase the volume to get a satisfying bass kick at the start of the track, then to see how intense the rest is.

When it gets intense later I need to turn down the volume on some sets, the Aurora can be turned up here without any need to turn it down later. This is maybe a given due to the upper mids and treble not being too hot, so the Aurora passed my little check with a full score.

As for the music, I find the vocals here stellar and the tuning of Aurora do the track justice. I do not always understand why some types of metal are better than others with the Aurora, but this album works great.



Black Sabbath - N.I.B

Always been a fan of the earlier works from Black Sabbath, this is a classic that many have heard before. Music like this I prefer on more thick sounding sets like the Penon Serial making it all sound fuller.

What the Aurora does well is having a superb instrument performance and giving Ozzy a clear and detailed sound. But I still would have liked more fullness here.

The guitar has a good grunt, and bass guitar is also nicely done. The drums are also very well done, but a little thin for my taste.

It is not bad, while this is not a set I would pick for Black Sabbath, or more heavy black or death metal.




Hikaru Utada - First Love

A popular love song, or heartbreak song is more correct. From the year 2000 when Hikaru was 15 years old, has been well received back then and over time. She wrote the song herself not very normal for one her age, both touching and sad lyrics.

Emotional with high production quality, she sings more deeply than what was usual in Japan. Recorded close to the microphone with superb breathiness and detail, very pleasant and not as high pitched as many female J-Pop artists.

Drum kick here I am quite sure is from a keyboard or synth, gives off a great thump that does not overpower her voice. Strings in the background are also most likely digital, but sound nice. Same for guitar and synth, nice smooth detail not being thick or veiled.

And the best part is how Aurora does her voice, just the amount of emotion going on. The throbbing sound in her voice is super nice and same for her intense parts.
As an example the EST50 can not touch this and feel almost lifeless in comparison.



Wolfgang Amadeus Mozart - Lacrimosa

Most likely my favorite classical piece, this recording is superb and Sir Neville Marriner has let it be on the more faithful side to the original. I am not a person who listens much to classical music, but from time to time I do. I often tend to like classical music that has choir in it, or smaller quartets or piano pieces.

Why I include it here is because of how the Aurora is tuned, it is like made for classical. Just how the vocals and instruments are so powerful and emotional, while still not blowing your eardrum to pieces. But I promise you it gets intense with the Aurora also when asked for, the dynamic range is huge. The whole piece starts so gentle and dramatic, building up more to an intense piece. Perfect for showing dynamic range and more complex passages.

The wind instrument portrays such an airy and soft sound that is beautiful. The strings sound so dynamic and real, soft parts are clear and soft while the intensity is intense. The whole orchestral part is a work of art, and the choir and opera part top it to perfect performance.

The resolution is superb and everything is shown clearly, but if I listen with the Neon Pro it is a step above. But at the trade off at more intense sound, and slightly less organic timbre. Soundstage is very similar on both Neon Pro and Aurora, perhaps a very small edge to Neon Pro. But imaging positioning is spot on, and perhaps a step above NP for me, how you clearly hear exactly where they are performing from.




Comparisons

When evaluating the sets I use experience from the past and fresh comparing, it takes a long time and not done in one sitting. The most critical comparison is done on my desktop setup that is highly resolving, with volume matching through a microphone to take away loudness variance.
I am using the same silicone ear tip Kbear 07, and a XINHS SPC wire on all sets.





AüR Audio Neon Pro

Neon Pro is a IEM from AüR Audio that has 10 balanced armatures per side, it is maybe my favorite set and my standard in coherent tonality.

Overall resolution is good with both, I do put the Neon Pro a step ahead on everything except the low frequencies and low mid range.

None of them have pronounced sibilance. But if you listen to music that is already on the bright side where sibilance is naturally present, the Aurora is the most pleasing with less upper energy.

The dynamic driver of the Aurora beats the Neon Pro in bass with switch on and off, when looking at quality and resolvement of the lower part of frequencies.

Aurora seems to have more sub bass in comparison to the Neon Pro, the slam is stronger on the Aurora with more natural decay. Mid bass is similar in amount, but the increased sub bass on the Aurora makes it less noticeable than the Neon Pro.
The tuning switch ON with NP does turn it around making it more sub and mid bass on the Neon Pro. Great versatility and give extra fullness for some music, at the cost of also thickening the mids.

Mid range on the Aurora is better than Neon Pro, both on vocals and on instruments. It just seems to have the upper hand in the low mids detail and how it is pushed more forward in the mix.
Both have detailed and clear midrange, just something extra on the Aurora that also makes it sound more natural.

Aurora has very clear and forward female and male vocals, it has good balance so it's not shouty or tiresome. Neon Pro lacks some of the emotion that Aurora has with voices, the Neon Pro is similar in forwardness but the extra mid bass and treble shadow it to a small degree.

With switch on the vocals on the Neon Pro get thicker than Aurora, but not more detailed.
The switch also boosts instruments in the lowest frequencies, they can be too overpowering on a few tracks.

Treble is more relaxing on Aurora, but it's not veiled or dark. Just the overall energy is less than the Neon Pro, so naturally Neon Pro is the one with the best clarity and detail.
The Neon Pro has more resolution on most brighter instruments, and has also slightly more airiness.
The soundstage is on the Neon Pro further out with similar layering, but both have over average soundstage depth. The depth is bigger on Neon Pro but not the width, slightly more oval on the Aurora with wider sides.

Great song to use as an example is N.I.B, the sound on the Aurora is thinner and lacks some energy that the Neon Pro has. But then you try and listen to Ozzy or the distorted guitar and you notice more micro detail going on the Aurora, so both have strengths but I would pick up Neon Pro every day for this. And Switch ON for me here totally changes it, so it is very one sided which I prefer.

Then testing Perceiving all the bass on the Neon Pro is less noticeable than Aurora, and the energy in the treble makes it become tiresome after longer listening. On the Aurora there is never any fatigue and the bass seems bigger as the tonality is different, this can also make me turn the volume up more so the bass hit is even harder.

On First Love Utada voice is more airy on the Neon Pro but also more energetic and tiresome. And there is more detail going on her voice with more emotion on the Aurora, so my pick is the Aurora for J-Pop or K-Pop music in general.



AüR Audio Aure

The Aure is now discontinued by AüR, due to not having more dynamic drivers in good enough quality. They made the Aurora as a new model to replace the gap in their line-up, this is not supposed to be the Aure 2.0.

The Aure is also a hybrid , using 1 DD and 6 BA drivers. The config is quite different, first off the 1 dynamic driver on the Aure and 2 on the Aurora. Aure used 2 BA for midrange and 4 in the treble range, the DD is also used more as full range driver backing up the rest.

Resolution is similar with a slight edge to the Aurora, depending on the song it can be more similar.
Soundstage is great on both sets but they have different types of soundstage, on the Aure you are inside the recording and music is closer. So while the soundstage is not the deepest and widest you get an extremely good sense of imaging all around you. So in theory this is like standing on the scene where they are playing, while the Aurora you sit in the audience listening.

The sub bass rumbles and hits harder on Aurora, the decay is also faster than the Aure. Going into the mid bass the Aure has a more full mid bass tonality, so certain music will sound more bassy and full with the Aure.

If you listen to strings that use the lowest octaves, the bass on the Aure is very full and fun. But at the same time it is too much and more than real life, then go to the Aurora and the amount is more correct.

Both are sets that have a really good midrange, Aure is known for its superb vocal capability.
Vocals on the Aure are thick and full, with great detail showing every emotion. The Aurora is very similar but it is thinner and shows more nuances, both are great in my book. I would say that the Aure is better on male vocals and the Aurora is better on female, but this can depend on music and your taste. If you try a sibilant song, the Aurora does it better not pushing too much. I consider both great without sibilance, but the extra fullness on the Aure can affect it on a few songs.

Strings have some extra fullness, this is very fun and makes recordings very enjoyable. Strings are still more real to life on the Aurora with more resolving capability. When listening to jazz that uses intense sounding brass parts, the Aure do not tame it as well as the Aurora. But this goes back to how sensitive you are to instruments like sax, trumpet or other instruments.

The treble is more forward and hot on the Aure, so certain songs can be more tiresome. Weird thing is that I find them both to have great treble detail and similar airyness, even with two less drivers on the Aurora.

The track Alba has some great piano playing, and truly shows the extra thickness I'm talking about with the Aure. The Piano is both closer and more in your face than the Aurora, same is for the double bass. But in the end I like it more on the Aurora than Aure.

The track from AURORA Runaway is magical on both sets, I could go both ways to which I prefer. Both have fullness here that is not on the Neon Pro, while it is slightly having more note weight on the Aure. It is more resolving on the Aurora making the separation of the sounds more clear.

Then if I listen to N.I.B I would pick up Aure over the Aurora, as the guitar and Ozzy sound more full. But the other way with South Winds, as the Aure can get to forward sounding.

Then over to Birth of Creation the Aure is slightly too thick for me and lacks some resolving capability in comparison to the Aurora. Both are great but i am nit picking here, to show the difference.



ISN EST50

The EST50 is a tribrid that I own and love, it fits quite well in here for a comparison. It is priced similarly, and I recently finished my review for it. The sound of the EST50 is more L shaped in the sound signature with the bass taking the spotlight. Price is $449 and you get 1DD for low end, 1 BA for the mids and 1 for the high frequencies. Also for ultra high frequencies you get 2 EST drivers.

The EST50 is not the most resolving set, but it is not doing a bad job at it. Aurora is just more resolving in all aspects, this can be from the bass kicks to all the instruments playing. Soundstage on EST50 is very wide and has an average depth, maybe not the best layering. Aurora is not as wide, but is deeper with better imaging capability to pick up where things are positioned.

Bass is what impressed me the most with the EST50, it is known for its great low end. Providing textured bass that is boosted and reaching very low, almost like a subwoofer backing up a stereo system. Impactful bass kicks that make you smile, at least if you are a bass lover like me.
Both have impactful sub bass, but the EST50 is the most bass heavy. This can make certain songs be overbearing if they are already boosted in the sub bass, while the Aurora never does. The special thing is that even if the bass is louder on the EST50, the Aurora slams harder on the sub range. It is more layered and is just a higher resolving low end, and the EST50 is no slouch. Mid bass is the other way and is both thicker and with a more strong kick on the EST50.

Mids on the EST50 has been the weakest link for me, it is not bad but not good enough compared to competition. It is a little affected by bass bleed, making vocals and some string instruments more thick. While some other instruments sound thinner, and also slightly grainy at times. Male vocals are clear and full sounding, while females can at times be sibilant and too thick or even grainy. This depends on music and artist, most music is fine and is mostly noticeable when going from better sets for vocals like the Aurora.

Upper mids and treble are darker on EST50 than the Aurora, and at times can seem shouty when playing some music. Not because of the forwardness but just maybe a part of the driver quality that is starting to show it is age, development of IEMs has moved fast the last few years and the EST50 is now 2 years old. Extension is very good on EST50 and has similar airyness as the Aurora, maybe slightly better due to the ESTs character.

The track Mexican Margarita goes really well with the tonality here, the bass helps the whole thing sound more full and lively. Guitar is highly resolving and the same for the rest of the instruments. But even so the Aurora does make it sound better with more resolving capability, and even if it is leaner in the bass it sounds more forward.

The Runaway track is where I notice the bass being overbearing, slightly affecting both vocal and the bass beat and shadowing some of the rest in the mix. Her vocal can also almost be sibilant at times or grainy.

First Love is perfect to show what I mean about the graininess or sibilant side of EST50, it just lacks the finesse.

Gaian Portal is a song I can go both ways, the extra rumble is fun on the EST50. While the impact of the bass is better and the rest of the sounds is more clear and detailed on the Aurora.



Conclusion

Aurora is a good name for their new IEM, the Aurora light is a natural light occurring in the northern sky and looks magical. The Aurora is a very natural sounding IEM, same as the northern light it brings magic to our music.

I have been impressed by the Aurora, it has lived up to all my expectations and more. You get a sound that is both fun and detailed while never being tiresome. Perfect combination where I can listen for hours. Depending on your taste in sound or music, this might be the perfect set for you.

It is not the sound that blows you off your chair, but more a sound that lures you in and gets you addicted. Except maybe for the bass, perhaps the best low end I have tried when looking at detail and quality. Mids that are detailed and neutral with some warmth, perhaps one of the best sets if you're afraid of veiled or too thick vocals. Treble that have great detail, but remain relaxed and never fatiguing.

AüR Audio has proven that they can make another product that can be unique in their line-up, and I trust that whatever Abel and Nicholas is coming with next will also succeed.

Ranking System

1 Very bad or unlistenable
2 Listenable but not good
3 Average
4 Very good
5 Exceptional or having a special sauce

Going by this ranking system together with my deeper evaluation matrix, the Aurora get a 4 in sound qualities. Personal bias and enjoyment pushes it up, together with one of the best vocals out there. So in end deserve for me might deserve 4.5 star, but it's not perfect.