Advanced Sound GT3 Superbass - Reviews
Pros: Outstanding build quality - Comprehensive accessory kit - Smooth, coherent signature
Cons: Filters don't have a massive effect - Treble could use a slight boost to enhance clarity further - Not a great value at the current price

Earlier this year ADVANCED released the GT3, an earphone with a super speedy driver, lots of treble, and tons of detail. It's a quality listen and a beautifully built piece of equipment but catered to a more rigid crowd looking for accuracy and clarity than outright fun.

Bass. It is the bane of an audiophiles existence. It doesn't sound natural when it's boosted that much. It's too consumer. It's not as the artist intended. Thank God we've got an EQ to fix it. HA! Get your earplugs ready, because if that's how you feel about bass the earphone we're covering today is your kryptonite. Enter a variant of the ADVANCED GT3. Enter Superbass.



A big thanks to Hannah at ADVANCED for arranging a sample of the Superbass for review. The thoughts within this review are my own and do not represent ADVANCED or any other entity. There was no financial incentive provided to write this review.

At the time of this writing, the Superbass was retailing for 199.00 USD:

Edit (01-mar-2019): Current price is 349.00 USD. Much harder to recommend at this price, though it is still a good earphone. Score and cons updated accordingly.

Since there is so much overlap with the regular GT3 in terms of fit, build, packaging, etc., those sections of my GT3 review will be repurposed and tailored to the Superbass.

Source and Amping:

For at home use the Superbass was powered by a TEAC HA-501 desktop amp with my Asus FX53V laptop sourcing music. For portable use, music was sourced by an F.Audio S1, LG G6, HiFi E.T. MA8, Shanling M1, or Shanling M0. While all of these can drive it to my low listening volumes adequately, the Superbass is a demanding earphone. As such, many of the above were paired with the Walnut F1 or Auglamour GR-1. I find amping makes the Superbass sound tighter and more controlled.

Personal Preferences:

I listen primarily to various EDM sub-genres (liquid drum and bass, breakbeat, drumstep, etc.), hip hop, and classic rock. While I enjoy a variety of signatures in my headphones I generally lean towards slightly warm with elevated treble and sub-bass, an even and natural mid-range response, with reduced mid-bass. The HiFiMan RE800, Brainwavz B400, and thinksound On2 offer varied examples of signatures I enjoy. I generally listen at very low volumes, so keep this in mind when reading my thoughts on how an earphone sounds.

  • Driver: Ultra-thin diaphragm (6µm) mass-coil dynamic driver
  • Impedance: 84ohms+/- 15%
  • Frequency Response: 10Hz – 40,000Hz
  • Sensitivity: 95dB+/-3dB at 1kHz
  • Rated Power: 1mW
  • Input Power: 5mW
  • Cable Length: 1.5m (SPC) / 1.2m (mobile)
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Packaging and Accessories:

If you've been following ADVANCED over the years, you'll be right at home with the Superbass' excellent unboxing experience. From the masterfully designed exterior sheath to the neat presentation inside, it's nothing short of impressive.

The front of the sheath contains a high resolution, glossy and ever so slightly raised close up image of the Superbass' ear pieces. Top left is the ADVANCED logo, top right their slogan “Designed for Musicians”, bottom left the Hi-Res Audio logo, and bottom middle the model designation with Superbass written in cursive. The left side of the sleeve contains a breakdown of the driver construction along with a description of the goals of this driver design;

“The proprietary driver in GT3 Superbass uses 6µm ultra-thin diaphragm that is specially designed to improve the overall vibration stroke and low-frequency performance. Its voice coil is made with high-purity copper wire which increases its moving mass by nearly 30% compared to it's traditional counterparts. Combined together, GT3 superbass ____ unprecedented level of detail and ____ in its sub/mid-bass region – where ____ reigns supreme over many in its class. ”

All the areas where there is a series of underscores can't be read because part of the image of the Superbass from the front cover wraps around the side and covers the text. While that is in my opinion poor packaging design and layout, it's also pretty funny. To me that shows awareness that the majority of people could care less about what's on the packaging, besides the words 'bass' and a bunch of pretty pictures. The right side of the sleeve contains some marketing fluff, some of which is also covered by the front image overlapping.

Flipping to the rear you are provided a lot of information. Top left is a frequency response graph that shows how each of the three tuning filters alters the Superbass' signature. I expect it will be fairly accurate too, given that was the case with the original GT3 when comparing it to third party measurements. Top right is an image of the ear piece and a single filter, in this case the red treble filter. Just below is an explanation of the Hi-Res logo and what it means. Further down they show off the included MMCX cables, one being silver plater copper and the other equipped with an inline mic for mobile use. Finally, you find an expansive list of what is included with the Superbass, as well as the specifications. In all you get quite a bit;
  • GT3 Superbass earphones
  • Silver-plated copper cable
  • 3-button remote/mic cable
  • 3 pairs of foam tips
  • 3 pairs of single flange silicone tips
  • 3 pairs of dual-flange silicone tips
  • Clam-shell carrying case
  • Magnetically clasped leather cable tie
Finally, the user guide is included in three languages; English, Japanese, and Korean. It covers The MMCX system and how to unplug the cable, how to wear the Superbass, the filter system and how to use it, the inline mic and remote functions, and the various ear tips. It also goes over an extremely generous 3-year warranty.

Overall this is a fantastic unboxing experience. The packaging is attractive, the Superbass is easy to unbox, and you get a slew of accessories that are actually useful. Good stuff as always from ADVANCED.

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Build, Comfort, and Isolation:

I've yet to come across anything from ADVANCED that feels poorly constructed. Not even the all-plastic S2000. The Superbass certainly isn't an exception. The second you pick them up you know you're holding something that has been built to last.

The CNC machined steel housings are nigh flawless with amazing fit and finish. The seams that join the front and rear halves of the each housing are impossibly tight. The threading for the interchangeable nozzle filters is smooth and precise, letting you easily screw new filters into place without having to worry about the threads binding. Each filter is also equipped with a rubber gasket preventing unwanted vibrations from de-threading them unexpectedly. They stay securely in place. GT3 and ADV are laser printed on each housing so you don't have to worry about paint interacting with the oils from your skin and wearing off over time. On the top of each housing is a dense rubber protrusion containing the MMCX receptacles. These too line up and follow the curvature of the housings perfectly. Other companies could learn a thing or two from ADVANCED when it comes to the construction of their housings. The Superbass is drop dead gorgeous, especially in the black color scheme they chose to differentiate it from the regular GT3. Now, if I were to levy criticism it would at the rear of each housing which is quite sharp. Thankfully, the way the Superbass fits keeps this edge away from your ear so comfort isn't an issue.

The two cables are quite nice as well. Let's start with the silver-plated copper one. The clear sheath feels extremely dense and tough and shows off the shimmering strands of wire within. The braids are tight and uniform with excellent strain relief everywhere, including both entering the exiting the y-split which is not at all common. The chin cinch slides freely but holds position well and does a great job of minimizing the already limited cable noise. The preformed ear guides are long and flexible, extending well past the bottom of the ear making for a very secure fit. The y-split and compact straight jack are all metal, matching the indestructible build of the ear pieces.

The mobile cable is more traditional with a rubber sheath above the y-split and a cloth sheath below. The rubber section is a touch on the thin side, but the material feels fairly dense so there is little worry about durability issues. The y-split and 90 degree angled jack feel excellent as a result of their steel and rubber construction and are well relieved. The knurling is pronounced and grippy with some laser etched branding that won't rub off. The inline mic and remote is really nice too with a layout that seems to be taking hold within the industry; the multifunction button is on the bottom with the volume controls denoted by + and - signs sitting above. This feels more natural than when the volume controls surround the multifunction button, leading to fewer mispresses. Lastly, the preformed ear guides are flexible and comfortable with a significant rubber relief that also seems to act as a weight for some extra stability.

Comfort is better than you'd expect from a fairly large, steel-bodied earphone. The slight angle of the nozzle combined with the weight displacing ear guides leads to something you can wear comfortably for quite a while. Isolation is good too, slightly above average for a single dynamic in my experience. This is especially noticeable with the foam tips installed. I had no issues listening to these at a comfortable volume while walking around the city.

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Tips: The stock tips provided with the Superbass pair well with the device, with my preference leaning towards the large bi-flange silicone tips. They let the treble shine which opened up the sound a bit and also reduces mid-bass presence. I also really enjoyed the Superbass with Spinfits which upped the bass slightly over the stock bi-flange.

The Superbass has a fairly intimate vocal presence set within the same large, spacious sound stage as the regular GT3. Depth and width are notable, giving your music a satisfying amount of space to play within. Instrument separation is quite good, further enhancing the sense of space. The presentation is quite layered as well, allowing you to easily discern individual instruments with ease.

Bass is the front runner as you would expect from the product name. While I find it fairly quick, the presentation isn't particularly impactful with notes having a pillowy softness to them. There are exceptions, such as on Skindred's “Ease up” where the Superbass captures the chunky low end quite well. Texture is also fairly good, but not as impressive as something like the TFZ King Pro. The Superbass' low end balance is quite pleasing to my ears. The sub-bass focus keeps the midrange clear and unaffected.

The midrange is thick and sweet with a warm and welcoming tone. The unique qualities and emotions of vocalists shine through, regardless of whether you're listening to Rage Against the Machine's Zach de la Rocha or Sarah Barthel of Phantogram fame. Instruments sound accurate with a realistic timbre and have a fairly snappy attack and decay.

The Superbass' treble is dialed down quite a bit and as such pulls up the rear in terms of emphasis. This serves to greatly emphasize the warmth in the signature. Thankfully, unlike the Massdrop x Mee Audio Planamic that I recently reviewed, treble isn't so recessed as to make some high range sounds almost disappear completely. It's still quite audible and extends well, it just doesn't have a commanding presence. This is a great trait for those who are sensitive to treble but don't want to give up on detail and clarity.

Just as with the regular GT3, the Superbass comes with three different filter options. The filters direct their efforts on a focused frequency range between the upper and lower treble, or between 3K and 5K with lesser affect further up the frequency ranges. They don't have a huge effect on the sound, but it is noticeable and I'm glad they were included. Personally, I spent nearly all my time with the red “treble” filters since they gave the Superbass the most energy. They also benefited the Superbass's sound stage and come across slightly more open and spacious than the other two options, especially the black “bass” filters which to my ears darkened the sound a bit too much. The silver “reference” filters make for a wonderful balance. Free of peaks. Smooth. Detailed. That's the filter I pick when I want to sit and relax.

Select Comparisons: Red filters on Superbass, volumes matched using Dayton iMM-6 & Audiotool

ADVANCED GT3 (silver filter): The Superbass and GT3 are more or less identical when it comes to build, comfort, accessories, isolation, etc. When it comes to sound, they sit on opposing sides of the spectrum.

The GT3's treble is greatly accentuated over the Superbass giving it a lighter, leaner, more nimble impression. This gives the GT3's sound stage some more air to it over the Superbass, though not nearly to the extent you might expect. It's sound stage is only slightly larger. The Superbass's mid range has a thicker, softer presentation compared to the GT3 which comes across much more aggressive. The GT3 also shows more sibilance when pressed. Bass on the GT3 is similar in presentation, but much less forward, more sub-bass prominent, and a little more textured. The GT3 is overall more crisp and detailed, but also much more fatiguing. Those who find the GT3 too treble heavy and aggressive will likely enjoy the Superbass more. Those who find the Superbass too bassy or lacking resolution will likely find more pleasure in the standard GT3. Again, they cater to completely different crowds.

Massdrop x Mee Audio Planamic: The Planamic provides an experience very much focused around the low end. Compared to the Superbass, it relies on a 4K bump to give it energy with a sharp roll off afterwards. As a result, compared to the GT3 it loses out on a lot of track detail that would normally be present in the upper ranges. They're there, just very difficult to pick out in some instances. Not a problem with the Superbass. The Superbass' mid-range is a bit leaner and less forward in the upper regions, with similar emphasis in the lower. Both are fairly lush here, though I'll give the Planamic's unique hybrid dynamic/planar driver the edge in detail and clarity. Bass is where both earphones shine, though the experiences are very different. The Superbass has a softer, more mellow feel to it that envelops you in sub-bass and warmth. The Planamic is much more visceral and aggressive. You feel everything.

When it comes to build, few can compete with the GT3 Superbass. It's steel housings look and feel more premium than the Planamic's 3D-printed setup. The Planamic's low profile housings are more comfortable, though they can only be worn cable up while the Superbass can be worn cable down if you swap out to a cable free of preformed ear guides. Both earphones have amazing cables. The Superbass' silver-plated cable is the best of the four, though both of the Planamic's cables feel more durable and premium than the Superbass' mobile option. The rest of the accessory kits for each earphones are excellent, providing lots of wearing options.

If you're simply looking for the best bass experience the Planamic can't be beat, though you have to be willing to live with the sacrifices it makes in the treble. The Superbass on the other hand has a more well-rounded sound that doesn't sacrifice anything while continuing to provide a high quality low end, along with better build quality. It's a case of a one-trick pony vs. a trained show horse.

Final Thoughts:

The Superbass is a great variant of an earphone that was already outstanding. It takes the signature of the original GT3 then turns it on it's head to avoid redundancy in their lineup. The Superbass caters beautifully to a crowd wanting a bassy earphone that tiptoes into a more premium segment, yet still without costing an arm and a leg.

In addition to the excellent sonic performance (pending it falls in line with your personal preferences) the Superbass is immaculately built and more comfortable than the solid steel housings would suggest. The included cables are nicely made and should last a long time. That said, should they break the Superbass uses standard MMCX connectors so they can be easily replaced. The rest of the accessory kit is comprehensive too, giving you a slew of varied tips to help ensure you can find a good fit. You also get a nice case to store everything in.

If you're in the market for a new earphone and like your bass abundant, give the Superbass an audition.

Thanks for reading!

- B9Scrambler

***** ***** ***** ***** *****​

Some Test Tunes:

Aesop Rock – The Impossible Kid (Album)
Hail Mary Mallon – Are You Going to Eat That? (Album)
King Crimson – Lark’s Tongues in Aspic (Album)
King Crimson – Starless and Bible Black (Track)
Supertramp – Crime of the Century (Album)
Infected Mushroom – Legend of the Black Shawarma (Album)
Gorillaz – Plastic Beach (Album)
Massive Attack – Mezzanine (Album)
Fleetwood Mac – Rumors (Album)
Run the Jewels – Run the Jewels (Album)
The Prodigy – The Day is My Enemy (Album)
Tobacco – F****d Up Friends (Album)
Felt – Felt 2 (A Tribute to Lisa Bonet) (Album)
Michael Jackson – Thriller (Album)
The Crystal Method – Grace (feat. LeAnn Rimes) (Track)
Jidenna – Long Live the Chief (Track)
Skrillex – Ragga Bomb (Track)
Big Grams – Run for Your Life (Track)
Funkadelic – Maggot Brain (Track)
Aesop Rock – Fishtales (Track)
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Nice review, the comparison to the Planamic was timely for me b/c I was just looking at the frequency charts and thinking they seem pretty similar.
Pros: Outstanding bass performance, tuning filters, solid construction, great accessories, includes two cables, visually appealing, each tuning filter has a listenable, yet distinct, sound signature.
Cons: Upper treble could use a 1-2dB boost with the red filter, cymbals are quiet
Advanced Sound GT3 Superbass Review: Bass Heaven
I am no stranger to Advanced Sound’s products. The M4, the Model 3, the Alpha, the 747; there are tons of examples to point to in reference to Advanced Sound’s skill in developing unique and well-executed products. The original GT3 was released not too long ago; its release signaled that Advanced was serious about innovating in the dynamic-driver part of the IEM market. The Superbass, the new variant of the GT3, is the Ying to the original GT3’s Yang. It is billed as a rumble and impact-focused IEM that doesn’t compromise the speed and precision of the standard GT3. To that end, I think Advanced was largely successful.

You can find the GT3 Superbass available for $200, here, on Advanced Sound’s official website.

About My Preferences: Heads up, I’m a person! As such, these words are my opinion, and they are tinged by my personal preferences. While I try to mitigate this as much as possible during my review process, I’d be lying if I said my biases are completely erased. So for you, my readers, keep this in mind:

  • My ideal sound signature would be an extended sub-bass with a leveled, but textured, mid-bass.
  • I have a mild treble sensitivity.
Source: The GT3 Superbass was powered like so:

HTC U11 -> USB-C adapter -> earphones


Hidizs AP100 3.5mm out -> FiiO A5 3.5mm out -> earphones


HiFiMAN SuperMini -> earphones


PC optical out -> HiFiMe SPDIF 9018 Sabre DAC 3.5mm out -> earphones

All music was served as MP3 @320Kbps or as FLAC. The Superbass performed at its best when amped through my FiiO A5.

Tech Specs
  • Driver: Ultra-thin diaphragm (6μm) mass-coil dynamic driver
  • Impedance: 84ohm+/-15%
  • Sensitivity: 95dB+/-3dB at 1kHz
  • Frequency response: Ultra Wideband 10Hz — 40kHz
  • Rated power input: 1mW
  • Input power: 5mW
  • Cable composition: Silver-plated copper
  • Cable length (SPC): 1.5M
  • Cable length (Mobile): 1.2M
  • IEM connector: MMCX
Sound Signature
Please note that all impressions, from here and below, will be taken using the silver (neutral) filters unless otherwise stated (such as in the tuning filter section).

Sonic Overview:
The GT3 Superbass’ sound signature is fun and L-shaped. Its treble is capable and resolving, its midrange clean, its bass full and sonorous. The Superbass’s treble is “recessed” compared to its lower midrange and bass, but, strangely, it doesn’t feel that way after a brief adjustment period. The Superbass’s midrange has the usual spike for the vocals ~2KHz, then recedes down to the 500Hz mark where it picks back up again, steadily increasing up to the 20Hz region.

Sonic Breakdown:
Treble: Songs used: In One Ear, Midnight City, Outlands, Satisfy, Little One, Show Me How To Live (Live at the Quart Festival)

The Superbass’ treble is an interesting beast; it is quick and resolving, due to the lightweight nature of the Superbass’s diaphragm, but is stepped into the Superbass’s overall L-shaped sound signature. That is to say, some treble-bound details will appear further “inside” the music than they might in a more treble-forward IEM (such as the standard GT3). This effect is distinct from what one might call “blurring”; the details are still very much intact. That’s part of what makes the Superbass such an outstanding IEM: it generates a very large amount of high-quality bass without compromising the integrity of the upper register.

The Superbass was able to resolve the breathing and mumbling in the intro of In One Ear with no problems at all. I was genuinely surprised to see how well it was able to pick up on many of the micro-details that proved to be elusive to even more detail-oriented IEMs. Small inflections in the vocals, the sliding of a pick across a string; you name it and the Superbass will likely pick up on it.

Midrange: Songs used: Flagpole Sitta, Jacked Up, I Am The Highway, Dreams, Too Close, Little Black Submarines

The GT3 Superbass’ midrange is warm but still clear. It’s still a mystery to me how it achieves this effect, but hey, I’m not complaining. This added warmth does wonders to songs with dryer mastering such as Flagpole Sitta. The somewhat flat under-layers of the instrumentation are given some much-needed body and weight that contrast beautifully with the shimmering high-hats seated in the background.

Vocal performance is still superb on the Superbass. The GT3’s L-shaped sound signature certainly favors male vocals but hardly shys away from articulating and staging female ones. I am consistently impressed with the GT3 Superbass’ capacity to reveal the nuance in vocals played through it.

Bass: Songs used: Moth, Gold Dust, In For The Kill (Skream Remix), War Pigs (Celldweller Remix)

Ah, bass, the crème de la crème of the Superbass’ sound profile. The Superbass is, after all, a reformulated GT3 designed specifically to produce incredible lower-register performance. And you know what? The GT3 Superbass certainly delivers. From staging a powerful and competent display of bass guitars in songs such as Moth to dropping the bass in songs like Gold Dust, the Superbass consistently hits home runs. Its lower register extends deep into the sub-bass region of the sound spectrum, strongly performing all the way down to 20Hz. The sonorous bass line of In For The Kill was expertly displayed, catching much of the detail and oomf I’d expect from a real subwoofer.

What's more impressive is the fast attack and decay of the bass. While it isn’t quite as nimble as the standard GT3’s is, it's clear to see that the GT3 Superbass has a commanding lead on its peers in terms of bass performance. This, combined with its ability to not bleed over into the midrange makes it a top performer in my books.

Tuning Filters

The GT3 Superbass’ filters are designed to manipulate primarily the 3KHz region, though they do affect other parts of the frequency response. The red filter, the treble filter, peaks the 3KHz region the strongest, and as such, produces the most V-shaped sound signature of the bunch. That is to say, the red filter produces the largest amount of treble, though it still doesn’t sound as V-shaped as a more traditionally-tuned IEM might.

It’s worth noting that these filters do not change the core characteristics of the Superbass’s sound; it always has a warm sound midrange, a fast attack and decay, and a well-extended bass and treble.


The silver filters, which are the “reference” ones, are semi-L-shaped. In this way, they provide an excellent middle-ground between going full-on bass-cannon and maintaining some degree of “balance”, as loaded a term that seems to be. I find this to be my second favorite filter, lead only by the bassier black filter.


The black filter, the bass filter, is my favorite one. I am a massive basshead at heart, so whatever extra rumble and impact I can eek out of my IEMs I tend to take, barring that it affects the integrity of their midranges. The black filter doesn’t induce a massive change in the Superbass’ frequency response, but it does flatten out the upper register, committing fully to an L-shaped sound signature. I find myself enjoying its relaxed, yet still powerful take on music. On first listen, the midrange does seem a bit hushed though. This, of course, comes as a natural result of depressing the 3KHz spike. I don’t mind this change, but if you do, the silver filter will most certainly fit your preference.

Packaging / Unboxing

The GT3 Superbass’ packaging is identical to the packaging of the original GT3, structurally. Sturdy, premium, and protective. Can’t ask for much more than that.

Construction Quality
The Superbass’ chassis is identical to that of the original GT3: stainless steel, three-piece, construction. You gotta love that PVD (physical vapor deposition) paint job. It is understated but absolutely gorgeous.

The Superbass’ tuning filters are similarly well-built. The silver and red ones, in particular, have a striking contrast to the chassis. The filters have a very well-machined lip. Adjacent to the lip is the debris filter which, I would imagine, also plays a role in the “tuning” part of the tuning filters.

The GT3 Superbass has a feature that sets it apart from many of the IEMs on the market: removable cables. This offers numerous advantages over having fixed cables ranging from increased product lifespan to enabling more customization of the product. The GT3 happens to use the MMCX standard for removable cables.

The only part of the GT3’ chassis that isn’t metal is the MMCX stem. This component of the GT3 is made out of a hard plastic. It secures the MMCX connectors in place with no wiggle. Snapping the cables in feels sturdy and precise.

The GT3 comes with two cables: one silver-braided TRS cable and one nylon-sleeved TRRS cable.

The silver braided cable uses a metal 3.5mm jack housing and Y-splitter with generous plastic stress relief. The nylon-sleeved cable, which actually turns into a standard plastic cable above the Y-splitter, uses a hybrid 3.5mm jack housing that features both metal and a tough rubberized plastic. Its Y-splitter is the same, using both metal and that plastic. Both cables feature earguides, though neither are moldable.

The nylon-sleeved TRRS cable has an inline-control/mic combo on it. The entire housing is made from plastic, as are its buttons, though the assembly feels tough and unlikely to break. The mic and controls are posited to work on both Android and iOS, though I was only able to confirm compatibility with my HTC U11 as I don’t have an iOS device.

The GT3 Superbass is very comfortable. I am able to wear it for extended periods of time with no issues. I’ve gone four or five hours without removing them, experiencing only a very subtle discomfort towards the last half of my final hour of listening.


1: Rose Cappuccino Mk. II ($355)

This is a match-up that I’ve been excited to write about since I first heard that the Superbass was in production. I demoed the Rose Cappuccino Mk. II to Peter at Canjam SoCal 2018 hoping to convince him to build an L-shaped sound signature. And finally, the day has come.

Now, obviously, from a pricing and technological point of view, this comparison is a bit dubious. After all, the Cappuccino Mk. II has two dynamic drivers and two balanced-armature drivers and costs over $150 more. That said, I can say that the Superbass compares favorably to the Cappuccino, taking the price-gap into account. The Superbass most closely aligns to the Cappuccino Mk. II most closely when using the red filters. Even still, the Cappuccino has a more treble-friendly signature that highlights high-hats and cymbals more vividly. That said, the Superbass does have a more cohesive and smoother treble, something that I took for granted during the time I spent with it. The Cappuccino, unfortunately, lacks these traits.

In terms of bass performance, the Superbass and Cappuccino are quite close. The Cappuccino has a more forward and wetter midbass while the Cappuccino takes the lead in producing more sub-bass.

2: Periodic Audio Ti ($200)

The Ti is a V-shaped IEM that tries to target the ideal V-shaped sound signature. The Superbass, on the other hand, does not. It is focused on generating the best possible low-end without compromising clarity and the integrity of the midrange. As such, they don’t align very well for direct “which one is better” comparisons. With that said, I can very clearly say that these two IEMs both have a spot on my shelf. The Ti excellently nails its target frequency response, giving the listener a robust mid-bass, extended sub-bass, and sparkly treble, all with a recessed midrange. The Superbass, on the other hand, targets a more bass-heavy sound signature. It still has a “recessed” midrange, but its treble is less prominent than the Ti’s. The Superbass’s lower register is far more prominent than the Ti’s is, relative to their distinctive trebles, and it shows. The Ti doesn’t produce nearly as much sub-bass as the Superbass does, nor does it do so with as much precision as the Superbass.

When I asked Peter of Advanced Sound what made him want to build the Superbass, the answer was surprisingly simple: “we happened to find a driver configuration, out of the 10+ configs that we individually developed, that would work well for it while developing the original GT3”. I am thoroughly satisfied with the GT3 Superbass’s performance. It excels in the lower register, maintains a musical and expressive midrange, and is capable of capturing wonderful treble-bound details. In conjunction with its outstanding build quality, the GT3 Superbass’s sonic performance makes it a hard IEM to beat at its price-point, so long as you’re looking for an IEM on the bassier side. So if you are like me, and like some grunt to your frequency response, definitely check out the GT3 Superbass.

As always, happy listening!
Thanks for the review. How is the noise isolation on these?
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@hqssui You are welcome! I figured the Cappuccino fans on Head-Fi would appreciate it!

@earplug The Superbass's isolation, for me at least, is pretty darn good. The included foam eartips get the job done with aplomb.
The GT3 superbass really shines when Amped. I have an HTC 10 which is a very good source but out of the Mojo the sound especially the bass made me dance in my seat with EDM that combo surprisingly also made blues and even acoustic music gorgeous this review is right on i agree with it fully this IEM has spectacular potential when Amped. Bravo to Advanced Sound!!
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