FR Graph by Timmy Vangtang of GizAudio​

Verdandi has the most balanced, “right” sounding tuning Kinera has achieved yet in the kilobuck range. I especially liked how linear it sounds throughout the entire frequency without any sudden spike of suck-out. Tonality-wise, Verdandi is a warm-neutral monitor with some extra emphasis on bass and lower treble.



The bass response of the Verdandi is my favorite aspect of this IEM. Verdandi is not particularly a basshead IEM, but the texture and layering are easily among the absolute best under $1500. I specifically loved how natural the kick drums sound on the Verdandi, making hard rock and fast-paced metal an absolute joy. There is this sensation of sub-bass enveloping around the skull, which is quite unique for an IEM in this price range. The sheer capability of the bone conduction driver on the Verdandi is no joke.

The midrange is smooth, warm-leaning, and uncolored with a slight recess. I found nothing fundamentally wrong with the mids here. I will not necessarily coin the term “lush” for Verdandi’s midrange, as Kinera did not opt for a velvety warm presentation. The vocals are crystalline, have enough heft to not sound thin, and are never harsh or shouty. The midrange execution is fantastic here and gets a solid thumbs up from me.



Verdandi’s treble is rather interesting. It is not hard-edged or shimmery, especially when paired with slightly warm/Smooth sources like the Cayin RU7 and Questyle CMA 18 Portable. It is not elevated in the upper treble, especially past the 12-13k region. I think it was a conscious tuning choice and the right one; otherwise, Verdandi would have lost its natural,warm-neutral underpinnings. Trailing edges of notes in the treble region are sharp and well-defined but do not cause fatigue, especially when the seal Is deep and secure. With wrong tips and shallow fit, the lower treble energy can go slightly haywire, though fortunately, kinera already provides a generous selection of tips with the Verdandi. Proper fit is absolutely crucial to tap the full potential of this IEM.

Verdandi is among the absolute bests under $1500 as far as soundstage and separation are concerned. It even trades blows with the legendary Sony IER Z1R in this regard. Goodbye to Romance by Ozzy Osbourne was a mesmerizing experience for me with the Verdandi, and so were 80’s funk and disco tracks, which are often mastered to be very wide. The resolution is decent. I personally have no qualms regarding the detail level of the Verdandi. It is comparable to the Sennheiser IE900 and IER Z1R in terms of raw detail, which is more than good enough in my book. Imaging is above average for the price and on par with its fantastic staging capabilities.

Comparisons:

Sennheiser IE900:
The IE900 is more V-shaped and shimmery in the treble. I find the Verdandi to be a better all-rounder than the IE900. I am not too keen on the IE900’s imaging capability, either. Bass quality is about equal on both, though the presentation is slightly different. IE900 focuses on tactile, sharp punch, while the Verdandi has an enveloping, rumbly sub-bass. IE 900 is very comfortable thanks to its ultra-small footprint,, but it is not that ideal for noisy environments as bass attenuation from outside noise sort of alters the IE900's signature. Verdandi isolates and performs well in noisy environments just fine.



Symphonium Helios:
Helios is a bit of an anomaly as it can push ToTL-level detail and technicalities. It is brighter in the upper treble and has a leaner midrange compared to the Verdandi. Thanks to its unconventional shape and large footprint, Helios is also less comfortable than the Verdandi, especially for those with small ears. Helios is even more sub-bass tilted than the Verdandi, while the Verdandi has more balance between sub-bass and mid-bass. Helios is also very hard to drive and source picky. Without high end sources, Helios will noticeably underperform while the Verdandi has no such prerequisites.



Sony IER Z1R:
The Z1R is still the champion of old school bass. It punches harder than the Verdandi though the decay is noticeably slower on the Z1R. Z1R has a drier midrange which is more recessed than the Verdandi. Detail and soundstage capability is about equal on both. Z1R has very large Zirconium shells and comfort is a common grip for a lot of audiophiles with them. Verdandi on the other hand, is quite comfortable with the right tips.

IEMs used:

Craft Ears Omnium

Fatfreq Grand Maestro

FlipEars Aurora

FlipEars Aether

DITA Project M

Kinera Verdandi

Sony IER M9

Campfire Ponderosa

Campfire Cascara

Sources Used:

Sony WM1ZM2

Aroma Audio A100TB

Questyle CMA 18 Portable

Colorfly CDA M1P

Fosi Audio SK02

*A variety of sources ranging from ultra-budget to flagship tier has been used

Astral Audio Reference Silver:

Price and Specs:

$750

4x 23.5 AWG Type 6 Litz 5n Silver

Lead time: 5 days with 50 hours burn-in

Warranty: Three years



The Reference Silver cable has one singular focus: pushing all the details in an uncolored manner but without introducing extra treble shimmer. To test the limit of the Reference Silver, I decided to pair it with the brightest IEM in my inventory: The DITA Audio project M. Project M is a ridiculously well-tuned and technical IEM at an astoundingly aggressive price point of only $325. Project M’s treble is handled by a single BA placed directly in the nozzle. On sizzly tracks, its treble can get quite hot and shimmery. I usually do not listen to modern hip-hop tracks with Project M, as almost everything from this genre is terribly mastered nowadays. Interestingly, the stock cable of this IEM is pretty high-end itself, as it uses genuine CARDAS clear internals. Therefore, Project M seemed like the perfect acid test for the Reference Silver Cable to me.



I loved Project M’s synergy with the Reference Silver Cable. True to Astral Acoustic’s claim, the treble shimmer was a lot more controlled and even. “Riders on the Storm” Snoop Dog remix from NFS Underground 2 is a track I religiously avoid with Project M, thanks to its murderous treble spikes. With the Reference Silver, I had no qualms playing this track, even at a higher volume. Another important change this cable brings is the enhancement of background details. Details that are otherwise difficult to catch or focus on become more vivid and accentuated.



Referene Silver also had awesome synergy with the Kinera Verdandi, which was a bit shouty and shrill with its stock Flash Acoustics cable. With the reference silver, the upper midrange to lower treble transition is much smoother and linear. Verdandi’s otherwise elevated bass response became more neutral, though the overall improvement in timbre and linearity made this minor trade-off a non-issue for me.

I had an identical experience with the FATfreq Grand Maestro as well, and I would highly recommend the reference silver for this particular IEM. The Grand Maestro has a slightly intense top end, which became richer and more palatable with the Reference Silver. Midrange and Bass were faithful to the original tuning, with a noticeable improvement in front-to-back imaging. With IEMs that have a velvety smooth top end, the FlipEars Aurora and Craft Ears Omnium, for example, the Reference Silver's synergy was great, but I would much recommend the Pulse for these particular IEMs instead, which I would discuss in the next segment.

Astral Acoustics Pulse:

Price and Specs:

$550

Material: 4x 23 AWG Type 6 Litz Multi-Sized LCOFC Copper

Lead Time: 1 Week with 50 hours burn-in

Warranty: Three years



The Pulse is the continuation of the discontinued Stage 1 copper cable, which is a major part of Astral Acoustic’s structure experiment journey, where different-sized strandings were experimented with. This is also the cable from which Astral’s series of “King Copper” derived. The pulse has identical build quality, weight and comfort to the Reference Silver. The Reference Silver is softer and more butter-like when handled, while the Pulse cable has a springy, slightly stiff skin feel.

The pulse cable is energetic and colorful and had ridiculously good synergy with my FlipEars Aether IEM. I could not believe I was listening to a $700 USD IEM. The upper treble opened up by a significant margin. The Bass became less wooly and much more dynamic and tactile, like a proper dynamic driver bass rendition. Aether has fantastic bass for an all-BA set. But with the Pulse cable, the low-end and treble enhancement was just ridiculous. Pulse pumps in some upper midrange energy, which works wonders with velvety IEMs like the Aether and Aurora.



Among the ToTLs I have tried the Pulse with, the Craft Ears Omnium was by far the best match. Omnium’s stock cable is pretty basic and it does not have much bass elevation in its stock config. With the Pulse+ Aroma A100TB combo, Omnium can give basshead IEMS a serious run for their money. Omnium is a non-offensive, ultra-safe sounding IEM overall. Pulse gives it just enough spice to make it subtly fun and aggressive without altering the base signature.



I would not recommend the pulse for Project M, Verdandi, or anything aggressive in the treble. I think the Reference Silver is the superior match for that type of tuning.

Astral Acoustics Mars:

Price and Specs:

$650

Material: Long Crystal Copper

Lead Time: 1 week with 50 hours burn-in

Warranty: Three years



According to Astral Acoustics, the Mars cable is crafted to be an all-rounder. It is an interesting-looking cable. Unlike the Reference Silver and Pulse cables, Mars uses two separate wires (or cores?) divided into one on each side instead of four divided into two on each side. Overall, the thickness and weight of the Mars cable are similar to those of the Pulse. Mars's flexibility and comfort are identical to that of the Pulse.

The Mars is actually the continuation of the “King Copper” series after the making of the Pulse. Astral Acoustics has toned down the internal wire gauge and taken a more gentle approach to tuning when crafting the Mars. A lot of thought and experiments went into Mars, the most apparent of all being the coaxial structure. It is not a real shielded cable. Astral has termed this structure a “passive shield,” achieved via the coaxial structure.



The Mars cable I have at my disposal is MMCX, so I had only three options to try with it. Fortunately, all three were great acid tests to gauge the Mars cable's capability. I tried it with the Campfire Audio Ponderosa and Cascara. Both are bassy IEMs with intimate soundstage. The Mars cable kept the tuning largely untouched but expanded the stage. Images became easier to pinpoint. The whole sound just opened up like a magnifying glass.



The Sony IER M9 is even more intimate and does not want to work with most aftermarket cables other than its own and the Sony Kimber Kable. With Mars, the M9 performed similarly to the Kimber Kable combo but with a more expanded stage and tighter bass. The Mars cable significantly increased comfort across all three IEMs I paired it with. It is a very safe cable to blind-buy in case you are confused regarding which direction you want your IEM to take. It has generally great synergy across signatures.

"Measurement by Timmy Vangtan"
​

Scarlet Mini is bassy and brutally, unabashedly so. Its 30 dB sub-bass shelf is not something to scoff at. Interestingly, It remains strictly controlled just under the 200 Hz mark and does not cloud the lower Mids in any circumstances. The bass here is also more rumbly than punchy. It vibrates and rocks the back of your brain. The immediate, sharp punch is also pretty present, but the low rumble is the star of the show here. Midbass still has a commendable presence and authority, but the bass lift is skewed more towards the lowest registers; otherwise, there would have been bleeds into the lower midrange. This sort of bass presentation highly favors electronic music, R&B, hip-hop, or any bass-boosted modern music in general. Power by Kanye West is one of my benchmarks for sub-bass test. I am yet to find an IEM that can create that subwoofer in your head impression like the Scarlet Mini while playing this track.

Scarlet Mini is quite nicely extended in the air frequency range, just like the rest of the Maestro lineup, especially when amped properly. Without proper amplification, the leading edges of notes can become ultra smooth and non-offensive, so amplification is a crucial factor here. Scarlet Mini loves power, and giving it what it demands rewarded me with a sufficiently airy, sparkly top end. Dongles will not cut it, not even the flagship ones. I would suggest proper portable DAC Amps like the iFi Gryphon, Mojo 2, or CMA 18P for this IEM. There is no sibilance or harshness whatsoever. The treble is one of the most sophisticated or refined in this price category if properly amped.

Midrange has always been FATfreq's forte, and Scarlet Mini's midrange is actually on par with other kilo-buck midrange masters like the Sony IER M9 and FlipEars Aether. It is a vocal specialist, and I actually enjoyed Scarlet Mini's vocals more than neutral/near-neutral sets like the Bellos Audio X4 and Campfire Ponderosa. The overwhelming bass focus can take attention away from the marvelous mids at times; it is truly the unsung hero of Scarlet Mini's overall tuning.



Detail retrieval is decent for the price. With proper amplification, finer background nuances come alive to their full potential. Scarlet Mini has a resolution similar to other sub-$1000 sets. The soundstage is on the intimate side but never feels closed in or claustrophobic. Imaging and separation prowess are pretty decent; I faced zero issues playing multiplayer games with it. Footsteps and directional cues were easy to pinpoint. Dynamics are through the roof and is one of the key selling factors of this IEM. Ironically, metal and rock tracks also sound awesome with the Scarlet Mini alongside the usual suspects, AKA Hip-hop, trap music, and EDM, as I have already mentioned once. I thoroughly enjoyed Megadeth, Mastodon, and my Power Metal playlists with the Scarlet Mini. Thanks to the marvelous midrange and sparkly, airy top end, it is also quite enjoyable if you primarily listen to orchestral music, instrumentals, or smooth jazz. The bombastic bass adds a different flavor to these genres compared to more neutrally tuned IEMs.

Comparison

Campfire Audio Cascara and Ponderosa
The Cascara is also a bass monster, though the presentation is different. It has a more emphasized midbass and punches hard, while the Scarlet Mini is the rumble king. Cascara has a warmer treble response as well. Ponderosa is a more neutral and resolving set than both. It still has great bass, but not as much as the Cascara or the Scarlet Mini. Both Ponderosa and Cascara are more intimate-sounding.





FatFreq Grand Maestro
It's not a fair comparison, I know. I would compare the tuning profile only. The Grand Maestro, while still quite bassy, is more of a calm and collected individual rather than a rowdy rocker boy like the Scarlet Mini. The GM is a champion allrounder with a more u-shaped generalist tuning. The Scarlet Mini, on the other hand, is primarily a bass specialist.


Sony IER M9
M9 is a warm-neutral professional IEM aimed at musicians. It is also a fantabulous IEM for general listening as a bonus. M9 is the master of precision and timbre, yet Scarlet Mini's strength is M9's Achilles heel, as the M9 is noticeably rolled off in the low sub-region. I also feel the resolution level of M9 is beginning to show its age, as the Scarlet Mini can showcase more nuance when A/B ing.



FlipEars Aether
Aether is tuned very similarly to the M9 but with far superior bass and a lush, velvety midrange. While Aether is also a master of bass despite its all-BA underpinnings, it is not nearly as bassy and tactile as the Scarlet Mini. Aether is a specialist but in a different way, with a dedicated concentration on the midrange. Scarlet Mini is kind of reverse as it concentrates on bass while retaining a great midrange tonality.



Scarlet Mini is pretty versatile, though bass is its primary focus. The fantastic coherence and non-interference between frequencies make it a viable choice for a broad array of genres. It is a unique yet highly organic-sounding, collectible IEM that is a great addition to anyone's arsenal

"FR Measurement by @aaf evo"​

Unboxing, build, and comfort

The unboxing experience is actually quite minimalistic and straightforward. Bellos X4 arrives in a simple white packaging, inside which is a heavy, hockey puck-style case milled entirely from solid metal, some OEM tips (foams and hypoallergenic latex tips), a cleaning tool, and the IEMs themselves. The case is very heavy and offers good protection. It is a screw-on lid type case, so closing it perfectly might take some time for people accustomed to magnetic/zipper-style cases.



The earpieces are made from a matte-finished polymer material with a Butterfly resembling insignia on the faceplates that feel great to touch and hold. It reminds me of soft-touch plastic used in high-end electronics and luxury car interiors. Bellos X4 offers fantastic comfort, especially when paired with the right ear tips. According to Bellos Audio, the earpieces are completely 3D printed while retaining nanometer precision. The matte finish is employed later, and the primary logic behind this coating is to ensure a constant, grippy seal. While a grippy seal is essential for custom IEMs, this also vastly improves the ergonomics of the universal version as a much-welcome byproduct.



The stock cable is functional and malleable. Although it could have been of higher quality, it is perfectly okay for day-to-day use.



Sound:

Firstly, a small disclaimer: the Bellos X4 universal will sound different from the custom version, and I do not have firsthand experience with what the universal version sounds like. Therefore my experience with the universal version will not align one hundred percent with owners who got the custom version. This is true for all custom vs. universal scenarios, as we must consider factors like unique ear canal resonances and insertion depth varying from person to person while dealing with universal IEMs.

Tonality-wise, the universal X4 variant is a warm neutral IEM with some treble emphasis. Though I am not an artist or music producer, warm-neutral profiles seem to be standard for studio-related applications. Bellos Audio has implemented a plethora of new techs in this IEM. The In-Air-Canals technology is exclusive to the custom version only, and sadly, the universal variant does not benefit much from it. The proprietary RCX cable is another CIEM-only neat feature that boasts a certified 5000 detachments and re-attachments rating. The universal version comes with standard two-pin connectors. Bellos also employs the fabulous Atom venting technology tricked down from Fir Audio IEMs. Atom venting alleviates annoying air pressure build-up while simultaneously retaining the perfect seal. The CIEM version also features modular drivers, making driver replacement much more accessible for average users.



The bass is definitely the highlight for me on the Bellos X4. It has this quintessential good DD driver bass with some minor reminiscence of the incredible Fir Audio XE6, though not quite at the same level. It is not exclusively skewed towards the sub-bass but has a nice, even transition from mid-bass to the sub-bass region. A few sub $1000 IEMs have more bass quantity. Campfire Audio Cascara, for example, has more quantity, but I like the bass region's overall balance and natural decay on the Bellos X4. “Seven Nation Army” is a favorite track of mine which really pops with some proper bass decay. And the Bellos X4 universal does a swell job doing so.

The midrange is also quite lovely. It is a bit thick and warm-tilted rather than razor-sharp and crystalline, though it does not sacrifice clarity. The midrange resembles some of its Fir Audio cousins, especially the Fir E12’s midrange sounds very similar to the Bellos X4’s midrange. Guitars and vocals have brilliant heft and nuance. I think the Bellos X4 would generally satisfy mid-heads and considerably so.

I decided to do some tip rolling to see its effect on Bellos X4's treble region. I experimented with a few different tips alongside the stock foam and silicone ones. The Bellos X4 universal is quite spicy in the lower treble, accentuating cymbal crashes and percussions to be more energetic. I found my sweet spot with the Pentaconn Coreir brass and Final E type alongside the stock ear tips. Achieving a deep seal is crucial for the universal X4 variant. It will ensure a treble response closer to the CIEM version. The XE6 generally performs well with soft and sticky aftermarket ear tips, from my observation. Divinus velvet oddly took away some bass energy from the mix as I was having a hard time with the non-sticky, sandy texture of these tips. Tip rolling, in general, is a rewarding experience with the Bellos X4.



The Bellos X4 is a masterclass in imaging performance, and I think not many IEMs would really match its imaging prowess under $1000. The soundstage is perfectly decent for the price. Fir's higher-end ToTLs stages even better, but the X4 universal showcases a respectable staging prowess nonetheless. I found the soundstage height and depth of the Bellos X4 more impressive than the width. Detail retrieval is also very decent and comparable to similarly priced sets.

Drivability:

The Bellos X4 is extremely easy to drive and does not require a lot of juice or kick. However, being a sensitive IEM makes it susceptible to higher noise floors from non-quiet sources. Pairing it up with whisper-quiet sources like the Sony WM1ZM2 or the Aroma Audio A100TB provides the best synergy for this particular IEM.

Comparison:

FATfreq Scarlet Mini:

Scarlet Mini is a heavily colored set sporting a whooping 30dB sub-bass shelf. It is significantly bassier and mellower than the Bellos X4. Interestingly, the Scarlet Mini has a leaner midrange, which is less warm than the Bellos X4. The X4 universal sounds more balanced in its presentation thanks to a more "normal" sounding bass response. Scarlet Mini is significantly more subdued in the treble region than the X4.

Sony IER M9:

M9 is another "professional" IEM targeted towards musicians. It is kind of a legend on its own for its supreme timbre and imaging prowess. While the M9 BA Bass is commendable and very "dynamic" like, the sub-bass roll-off is quite apparent when A/B ing with the Bellos X4. The M9 is completely sealed; thus, air pressure build-up can become annoying. X4 has even more impressive imaging prowess, better detail retrieval, and a far superior bass response.

Campfire Audio Ponderosa:

Ponderosa is a newer all-BA offering from Campfire Audio. It is a part of their Chromatic series alongside the Campfire Cascara and Supermoon. The Ponderosa has a commendable, almost dynamic driver-like bass response, but it is still clearly BA Bass. It is also intimate, warm, and comparatively more subdued in the treble. Detail retrieval is about equal on both.

Symphonium Helios:

The Helios is an anomaly, given its technical prowess for a shockingly low price point. It is leaner and significantly more anemic-sounding than the Bellos X4 Universal. Helios is more refined in the treble, though the low end is a bit too sub-bass tilted for my taste and still has some "BA bass" limitations. Helios is also much harder to drive and requires higher-end sources for maximum performance.

Although the Bellos team's unique innovations might be mostly CIEM-focused, the universal variant still provides an excellent warm-neutral sound profile, fantastic dynamic driver bass, and commendable technical performance. I give the X4 universal an optimistic thumbs-up.

Build, comfort, unboxing experience:

The unboxing experience Grand Maestro provides is among the most grandiose I have seen. A few other IEMs that go such extravagant routes are the DITA Perpetua, Sony IER Z1R, and some Noble IEMs. I understand that the unboxing experience does not affect the sound quality and is only superficial to many people. That being said, an extravagant unboxing experience is also a testament to a manufacturer's pride and confidence in their product.





Removing the Grand Maestro's blue outer cardboard shell reveals the exquisitely polished large wooden box, which again reveals a gorgeous golden metal hockey puck-style case, some regular grey OEM tips, and a set of large bore tips, which I suspect are "Tri Clarions." The gold-plated modular upgrade cable feels high-end. The modules also feature a screw-in shroud mechanism which protects the 3.5mm/ 4.4mm modules from losing friction over time from continuous tug and pull.











The earpieces/shells are larger than usual, in stark contrast to the tiny Scarlet Mini/ Maestro mini earpieces. They are almost as large as the infamous Sony IER Z1R shells, though lightweight, thanks to their resin construction. I found them reasonably comfortable with the stock gray tips, Azla Sednaearfit Max, and Pentaconn Coreir Brass tips. There were minor SQ differences with each tip, which I will discuss in detail in the sound review section.



Sound:

Judging the Grand Maestro's sound is tricky. It offers four different configurations, and the type of ear tips you pair them with directly affects how they sound. I found my sweet spot with black NOAH modules with bass switches off and will base my review mainly on that.



The frequency graph here (courtesy of "Tone Deaf Monk") showcases each of the four possible tunings. The black Filter + Vocal switch-off combo is the bassiest of the bunch but also the second most elevated in the air frequencies. Turning the vocal switch on considerably tones down both the bass and treble region but slightly elevates the entire midrange band. The Blue NOAH module with vocal switches off is slightly reigned in the sub-bass compared to the black module. The midrange remains identical primarily, while the treble gets some minor boost. It is the most neutral-sounding config among the bunch, though the bass still remains as authoritative as ever. The Blue NOAH module with the vocal switches on has the least amount of bass and treble, while the midrange band is identical to the Black module + Vocal switch-on config.



It is a FATfreq IEM, so of course, the Grand Maestro offers fabulous endgame level bass that interestingly does not go as overboard in the bass region as their lower tier offerings. The bass here is not a mere mindless sub-bass shelf but offers nuance and texture with the perfect amount of fun. The bass lift is also strictly restricted in the lowest registers therefore, the Grand Maestro does not come off as obviously bassy in most tracks at all. When I played some old Kanye West and Daft Punk tracks on it, the bass instantly lit up and positively accentuated the said tracks.

Acoustic tracks and jazz, on the other hand, are not affected by any sort of bass overlap. In fact, the subtle bass undertones of the string instruments sound euphoric. Grand Maestro's bass knows precisely when to play the second fiddle and when to take center stage. It is definitely a proper basshead IEM but with cautious restraint.



Treble, I think, is one of the most overlooked aspects of this IEM. Most people view FATfreq as a basshead holy grail and do not notice how masterfully tuned the Grand Maestro’s treble is. It has proper restraint in the presence region without being overly velvety, handles the often troublesome lower treble region with polite finesse, and then adds some mid-treble sizzle and a generous amount of upper treble, rendering the presentation airy and spacious but not at the cost of fatigue or sibilance.

Sleeping Sun by Nightwish is a track where the excessive presence and treble get rowdy on maximum IEMs. On the Grand Maestro, the treble becomes much more civilized and sibilance-free, as if the entire track went through a fine whetstone.



The midrange is a common ground where all FATfreq IEMs shine. The mids here are present, transparent, and detailed, showing no signs of lean glassiness. In my opinion, the Grand Maestro easily outclasses the Subtonic Storm in the midrange department and stands on equal footing with the Craft Ears Omium and DITA Perpetua, both midrange masters in this price category. From my observation, vision Ears X and Aura (Astell and Kern collab with Vision Ears) also do midrange pretty well, but they do not have the overall clarity and refinement of the Grand Maestro.

That being said, I do not like the Grand Maestro’s midrange with the blue modules and vocal switches on as much as I do with the rest of the configs. The upper midrange gets too forward and messes up the timbre a bit. Blue module with vocal switches off sounds as good as black module with vocal switches off, albeit slightly less warm.



From a technical standpoint, Grand Maestro is a champion and leaves no room for complaints. It's impressively spacious and has excellent soundstage verticality (height and depth). It does not sound as wide as some other IEMs in this price range, but it does not come off as overly intimate. The Grand Maestro's imaging performance is easily among the best I have tried under $4000. The Images it can create are grandiose and headphone-like, reminiscent of the Empire Ears Odin. Granted, It does not sound as holographic as the Odin, but that only becomes apparent after intense A/B ing. Micro-contrasting abilities and resolution are as good as any other ToTL IEMs. Some anomalies like the Aroma Audio Jewel and Fei Wan can take detail and separation to a whole new level, but those IEMs also cost significantly more.



Grand Maestro is also a fantastic all-rounder without any particular penchant for specific genres. This is oddly a rare characteristic I find in ToTL IEMs, most of which are genre specialists. I enjoy old-school hip-hop on it as much as Jazz and heavy metal. It is genuinely a “Maestro” of all trades.

Drivability, Source Pairing, and Tip Rolling:

The Grand Maestro is very hard to drive, which seems to be a common trope associated with all IEMs from Singapore. The Subtonic Storm, for example, requires desktop-grade amplification to open up. The same goes for Symphonium and DITA IEMs. Dongles are definitely out of the question. The Questyle CMA 18 Portable, which is an otherwise very powerful portable device, required high gain and 26 out of its 32-step volume control to make the Grand Maestro sing. It required slightly more power than the Arya Organic, which is a full-sized planar magnetic headphone. I would highly recommend a portable amp paired with the DAP of your choice (preferably the Aroma Audio A100TB, iBasso Osprey DB5, or the Brise Audio Tsurangi) to churn the best out of the Grand Maestro.

With this IEM, I liked the Pentaconn Coreir brass tips the most. The Grand Maestro has huge earpieces, and I had difficulty getting a proper seal with most aftermarket ear tips. Coreir brass worked the best for me. Final Audio E type and Divinus velvet also worked well, though the latter often loses grip. Azla Sednaearfit Max worked well for comfort but made the treble a bit too aggressive for my liking.

Comparisons:

Craft Ears Omnium:

Hailing from Poland, Craft Ears is another highly sophisticated boutique brand offering both CIEMs and universal options. Omnium is the current flagship from Craft Ears. While the full Grand Maestro package is significantly more expensive than the Omnium, the base package is not too far off. Omnium is less pronounced in the low end compared to the Grand Maestro. Bass is more polite and subtle in the mix but gets some extra boost from certain amplifiers, the Aroma Audio A100TB, for example. Omnium has a slightly warmer and more organic midrange, though the level of clarity remains similar. Omnium's midrange is handled by a highly competent planar driver; therefore, picking apart background details is more effortless. Grand Maestro's treble is more airy and spacious compared to Omnium's. Trailing edges of notes are smoother on the Omnium, sometimes making it comparatively less exciting than the Grand Maestro.

Vision Ears x A&K Aura:

Priced almost identical to the Grand Maestro, this collab IEM boasts amazing timbre and technical performance. Aura is heavy, and getting a good seal can be bothersome. It is way less pronounced and less dynamic in the low end compared to the Grand Maestro and less refined in the treble as well. The upper treble of the Aura can cause fatigue occasionally. Midrange is warmer and more lush in the Aura than in the Grand Maestro. I find the Grand Maestro to be a better allrounder than the Aura.

Fir Audio XE6:

Fir Audio XE6 is another bass monster from the USA, but its presentation is wildly different. XE6 presents bass in a punchy, weighty, and brutal manner. It has a midbass tilted emphasis, while the Grand Maestro's bass sort of works counterclockwise. XE6 is a heavily colored set that requires a specific pair of ear tips (Symbio Mandarin Hybrids) to sound balanced. RN6 is less colored, but its bass tuning is similar to that of XE6.

DITA Perpetua:

Perpetua is the best single DD IEM one can get, period. It is very difficult for me to choose a clear favorite between the Grand Maestro and the Perpetua. Perpetua does not have the domineering bass response of the Grand Maestro, yet it does something special on its own. Perpetua has a very organic and natural decay in its low end, which I find unique to this particular set. DITA's low-cost Project M has some reminiscence of that bass. Midrange timbre is more natural on the Perpetua, while Grand Maestro has a markedly superior treble response. Perpetua retains its soundstage superiority, though the resolution level is a notch below the Grand Maestro.

Elysian Annihilator:

Annihilator is a specialist IEM catering to treble-heads. It is also one of the most technical IEMs you can buy, regardless of price. It is not an allrounder, though, and handily loses to the Grand Maestro in both bass and midrange. Bass is the weakest link of the Annihilator and A/B ing with the Grand Maestro makes that fact clear as a day. Annihilator also sports large shells, but it is not as comfortable as the Grand Maestro, from my experience.

Grand Maestro might have a hefty price tag, but I think it does more than enough to warrant that level of cost. It is a delightful set without any jarring flaws, minus maybe the large shell size if you have tiny ears (easily alleviated via the right ear tips). A "Maestro of all trades, Jack of none."

Build Quality, Comfort and Accessories:
The unboxing experience of upscale Letshuoer models is generally quite satisfying. Cadenza 12’s unboxing is a standard affair for a $2300 set. I have hardly anything to nitpick here. The Cadenza comes packed in a fairly large box. The accessory package includes a high-quality leather case with Shuoer’s logo imprinted on it, 9 pairs of ear tips (3 pairs of 3 different types), a cleaning cloth, and a modular cable (2.5mm, 3.5mm, and 4.4mm modular terminations are included).



The earpieces are made of Titanium and are built like tanks. Feels quite hefty and substantial when held. The smooth mirror finish is fingerprint magnet though and I would suggest exercising caution while handling the Cadenza 12 as small scratches usually appear more obviously on mirror-finished surfaces. I do not like the included stock cable though. It is a decent cable spec-wise and does its job well but the stiffness reminds me of some Cardas headphone cables. I can live with stiff cables when it comes to headphones but ergonomics is a crucial factor for IEM cables which the Cadenza stock cable fails to nail IMHO. The comfort is excellent. I experienced zero irritation in prolonged listening sessions. However, Cadenza earpieces are on the heavier side so if you are looking for something that ‘disappears’ into ear canals, Cadenza 12 will not fit the bill.



Sound:
I have already mentioned that Cadenza must do something exceptional to justify its rather steep price tag. So I mustered all the skepticism I could and played the first track. To my surprise, Cadenza 12 is a surprisingly ‘normal’ sounding set. It is tuned to be neutral and balanced with some added spice up top. It is not as V-shaped as the Sennheiser IE 900 nor it is as fatiguing in treble as A8000 or Softears Turii Ti.



The bass response is commendable but not overdone. Cadenza’s does not have the tactility of IE 900 or the physicality of Z1R but it will satisfy most people except maybe the hardcore bassheads. There is a good balance between midbass and subbass and I would praise Letshuoer for not blindly following the annoying trend of complete midbass omission which is all in rage lately.

The midrange is neutral, super clean, and natural sounding overall. It sounds faithful to the recording and avoids relying on lower mid-recession (which usually creates an illusion of transparency at the expense of male vocals). There is some upper-mid energy though that makes female vocals pop more. Male vocals sound great as well though a bit more grunt in the male voices would have been perfect. Cadenza pretty much nails the midrange in my opinion. It is non-offensive, smooth yet crystal clear at the same time. This trait is not something I notice much in Chi fi IEMs, including Shuoer’s lower-end offerings.



Treble is where things become slightly complicated. The treble is fine for the most part. It does not sound as shimmery as IE 900, MEST MK2 or A8000. However, poorly recorded tracks and heavy metal music are not something I enjoy with the Cadenza as the treble resonance accentuates cymbal hits, making them more sizzly and intense than I prefer. Treble remains smooth and controlled in other genres. I love the Cadenza for jazz and classical music.

Detail retrieval is decent for a $2300 set but it is not as incisive as other hybrids and all BA sets in the same price range. 64audio U12T and Symphonium Crimson, for example, sound more detailed when A/B ed. Instrument layering and separation, however, is a masterclass. Cadenza does an amazing job separating the space between each instrument. This makes live music recordings a breathtaking experience. Imaging is precise and comparable to its similarly priced peers. Staging has excellent height and depth but width is just adequate. The 3000 USD Dita Perpetua sounds cavernous in comparison while the Cadenza 12 is fairly intimate.



Comparisons:
64audio U12T: The U12T is the closest competitor both specs and price tags considered. It is a cult classic and beloved by audiophiles all over the world. U12T is technically better than the Cadenza. It is more resolving and more microscopic in comparison. However, the U12T is also bland sounding and while the bass is great for a BA set, it is still kinda one notey. I do not think they necessarily 'beat' each other. Many might feel comfortable buying the U12T given its already established status. I personally veer towards the Cadenza 12 a bit more.

Symphonium Helios: Helios is half the price yet easily goes toe to toe as long as technicality is concerned. The Helios is also bright but it is less forgiving than the Cadenza 12 in poor recordings. Midrange on the other hand, is massively better with the Cadenza. Bass response will boil down to personal preference. Helios is subbassy with very little mid bass presence. Cadenza 12 is more balanced in that regard.

Sennheiser IE 900 and Sony IER Z1R: IE 900 and Z1R are insanely fun single DD IEMs but are not directly comparable with the Cadenza 12. Both have very unique sound signatures and are special on their own. Cadenza 12 has one big advantage though. It is a supreme allrounder which the former two are not.

DITA Perpetua: Perpetua sounds like a grown up, more mature Cadenza 12. Both are balanced, pleasant sounding allrounders. Dita is more natural sounding especially in the midrange and has a massive soundstage that the Cadenza 12 cannot really compete with. Perpetual also has a bit more organic and tactile bass response.

Final thoughts: Letshuoer Cadenza 12 is an impressive IEM with commendable technical prowess and a beautiful timbre. It does a great job standing out from the popular crowd following a neutral, minimally colored yet organic approach. The only other IEM that pursues a similar tuning philosophy is the more expensive DITA perpetua. Sometimes raw detail becomes a detriment when we long for balance and ‘’musicality’’. I think Cadenza 12 fits the bill perfectly, albeit the price to pay is steep.

The resolution is decent for the price. I wouldn’t use the term “punching above the price point” here though. While macro details are amazing on the Twin Pulse Be, some all-BA/Hybrid contenders do micro details better, e.g., Sony IER M9, UM MEST MK2, Symphonium Helios, and Flipears Aether.​

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Soundstage is quite good, especially the stage depth is exceptional though I didn’t find it particularly wide. That is an inevitable trade-off you have to make with warm, midrange-focused IEMs, I find.​

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Imaging is accurate: I faced zero issues detecting positional cues while gaming. Separation and layering of instruments are also satisfactory, I could effortlessly distinguish between notes, even during the busiest passages.​

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Remember, fit is essential to churn out the best out of Twin Pulse Be. Spend some time figuring out the ear hook bending and fit and the reward will be well worth the effort.​

Specs:
Driver config: 4 Balanced Armature Driver, 4-way Crossover + Bass Switch
Driver setup: 1-Sub low, 1-Low, 1-Mid, 1-High
Sensitivity: 109dB @ 1mW
Frequency Response: 5HZ – 20kHz
Price: $700

Sources Used

1. Sony WM1ZM2
2. Earmen Angel
3. Aroma Audio Air

Build Quality, Aesthetics and Comfort:

Many of my friends who buy aftermarket cables often buy them for ergonomic improvement and aesthetics, rather than sound quality improvement. Take the Quintet for example. Commendable IEM for the price but comes bundled with an extremely flimsy and cheap feeling cable. Subpar stock cables plague even the ToTL offerings from top manufacturers.



Penon bass is an extremely well made cable with exquisite finishing from top to bottom. Good quality fabric sheathed cables in the sub 100 USD are rarities and Penon Bass is probably the best example of this particular cable variant. It is slightly stiff though so if you are looking for something uber-malleable then the two times cheaper Penon OS133 might be up your alley. OS133 is much thinner and tangles easily though, two annoying issues that are totally non-existent in the Penon Bass cable.



Penon/ ISN cables generally do not feature cable guides and Penon Bass is not an exception. I personally like fabric cables without cable guides as they often mess with the comfort and weight balance. I had to make sure that my IEMs were in the right polarity every time while attaching the cable. A minor inconvenience that is easy to overlook once you get the hang of it.



Penon has bundled extremely good quality connectors and termination with the Bass cable as they always do. Mine is the 2-pin 4.4mm balanced variant and the 4.4mm plug attaches to all my DAC Amps with a secure and satisfying click. The 2-pin connectors are of high quality and fit securely yet are easy to attach and detach. Aesthetics can be a mixed bag though. Penon bass has a rather unorthodox colorway which I have personally named ‘Spiderman’ and depending on the IEM attached, it can look really gorgeous.

Sonic properties and changes/improvements:

The spoiler is already in the name, Penon Bass does indeed increase bass. There is also some lower midrange uplift that adds extra heft to male vocals. With the Kiwi Ears Quintet, I immediately noticed the extra grunt in the bass, and going back and forth between the stock cable and penon bass only reaffirmed my perception. Treble is sweeter and less incisive, which might be a pro or con depending on the IEM the Penon Bass is being paired with. With the warm and bassy Penon Turbo, penon bass was not a particularly good combo, as everything sounded slightly muddier and more veiled. I also noticed that the soundstage shrinks slightly with the Penon bass cable. Separation is actually slightly better with stock Quintet cable as well though I’d pick the Penon Bass over the stock cable any day due to the added note weight and a far more palatable treble response that transforms the Quintet from a good to a great IEM.



Pairing with the Flipears Aether (the best sub-1000 USD IEM in my opinion) was satisfactory. Aether already has very good-quality bass which is accentuated further by the bass cable. I would not call the bass cable outright better compared to stock (the stock Flipear cable is excellent) but the Penon Bass provides a nice middle ground between the stock sound and the 5 DB bass boost switch which I like and appreciate.

Comparison with the ISN G4:



You can spend 20 USD more and get the ISN G4 from Penon which has a striking silver-gold colorway. G4 has a slightly different approach to sound. While the Penon bass cable veers towards bass and intimacy, G4 favors spaciousness and clarity. I much preferred the G4 cable with the Penon Turbo IEM but the opposite happened with the Kiwi Ears Quintet. Both were markedly better than stock though so either of them can be considered a win. If you find the Quintet (or similar IEM) too energetic and in your face then Penon Bass is the right choice for you.

Conclusion:
At 79.99 USD, Penon Bass is a strikingly well-made, affordable cable that can be a good match for your aggressive, overly clinical IEMs. It is worth buying even for the skeptics given the above-average build quality and ergonomics.

About Penon Audio:

Penon is a Hong Kong-based audio store that carries your usual chi-fi best-sellers as well as their own in-house developed IEMs, earbuds and cables. I have been aware of Penon for some years now but never got to try out any of their in-house products until Fan 2 arrived.

Unboxing, build quality, comfort:



Unboxing Penon fan 2 was quite the unusual experience. The outer packaging is as barebone as it gets. It is basically a plain yellow box with Penon's brand logo printed on the top side. No mention of the IEM model or anything similar anywhere on the outer packaging.



Inside I was greeted with a fairly substantial blue hard shell case with yet another Penon logo. I like this case a lot. It is spacious inside with ample velvet material cushioning to keep your IEM and accessories safe. There are separate cut outs for the earpieces so that they don't knock on each other while in transit.



Inside the case you are greeted with the IEMs themselves, alongside two sets of silicone tips (blue wide bores and grey regular tips), cable winder, cleaning tool and a metal shirt clip. Penon did not cheap out on cable quality. The stock cable is an in-house Penon cable that is sold for 39 USD separately in their store (model name: OS 133).



Build quality is solid all around and impressively so. The earpieces are made of medical grade resin with excellent fit and finish. I am particularly in love with the Fan 2 faceplate. It looks gorgeous in real life and in my opinion, easily trounces the likes of Dunu SA6 as long as outward beauty is concerned.



The stock cable is sheathed in flexible black paracord material and I like the lightweight, malleable characteristic of it, which reminds me of high end gaming mouse paracords. It does not have any cable guide though so make sure both earpieces have identical polarity when connected.



Comfort can be quite divisive depending on user preference and ear canal variations. I for one, prefer long and deep reaching nozzles personally(probably owing to being a longtime etymotic/Sony M9 user) and fan 2 was extremely comfy with the stock grey green tips for me. I did find the blue wide bores uncomfortable though.

TLDR: Build. comfort, accessories and aesthetics gets a solid A+ from me

Sources used:

• Apple type c dongle (brief)
• Meizu hi fi DAC (brief)
• Jcally AP10 (brief)
• Cayin RU7 (extended)
• Aroma Audio Air (extended)
• Earmen Angel (extended)
• Sony WM1ZM2 (extended)

Track sources: Tidal HiFi, Spotify, Offline FLAC

Sound
My ears have been trained by listening to mostly higher end IEMs and headphones over the last few years therefore it is becoming increasingly difficult for me to be overly impressed by ‘budget’ stuff. Among the ones that grabbed my attention were the Letshuoer S12 pro, Etymotic ER3XR and Sennheiser IE200. Despite the high voltage hype for the Kiwi ears Quintet, I approached this IEM with cautious optimism as I usually do.

My first impression of the Quintet was not positive. It sounded splashy, thin and hollow. Then I fiddled around with different tips and guess what, the culprit turned out to be the wide bore stock tips. With the regular narrow bore tips, things took a quick 360 degree turn. I’d describe the Quintet as a mostly neutral monitor with some bass boost.

Bass response is decent, above average for the price in fact. Quintet does struggle to reach the very low bass notes but that is expected from a sub 500 USD set. Bass has good texturing and rumble and can be authoritative when the track calls for it. Good examples would be Lorde’s 'Royals', NWA’s 'Chin Check',Ice Cube’s 'Gangsta rap made me do it' and Kanye West’s 'Power'. In all these tracks, Quintet demonstrated its bass capability to the fullest with commendable finesse. I am turned off by most budget IEMs nowadays as they either have poofy, anaemic bass or overpowering bloat that clouds everything. Quintet follows an approach that successfully balances between fun and control. I do wish for a bit more oomph and midbass punch occasionally though but overall the bass kept me satisfied.

Midrange on the Quintet is quite palatable. It's not particularly recessed, is lively and energetic but never veers on the edge of being shouty/shrieky. There was another IEM I quite liked in this price range for its natural midrange (softears volume) but that IEM had a 3k spike and lean lower mids that often made male vocals sound dry. I don’t find any thin/lean vibe here but I do find the male vocals slightly less impressive compared to female vocals. Don’t get me wrong, vocals on the Quintet are excellent. It's just that female vocals are specifically impressive compared to their male counterparts. Audiophiles who love expressive vocals and guitars will quite enjoy the quintet. But if your preference is laid back, tame kinda midrange presentation then Quintet can get a bit overwhelming.

Treble is a bit of a double edge sword. Quintet has some of the most extended and present treble I’ve heard. Even when compared to the masters of treble e.g.; Elysian Annihilator and Symphonium Helios, Quintet holds its own. There is one gripe though and that is the piezo zing that contributes to the slightly metallic timbre of Quintet on certain tracks. 'Love makes the world go round' by The Hollies is a prime example. It was hardly bothersome in most tracks though. I actually like the Quintet treble way more compared to the likes of 7hz timeless, S12/S12 pro and all Dunu/moondrop IEMs.

Technical performance is impressive and not just for the price. One of the first things I immediately noticed while listening to this IEM was the coherence. Coherence had every opportunity to go haywire in such a complicated quadbrid setup. While not at the Sony IER series or Helios level (well, not many things are, even in the kilobuck range) coherence is still commendable. Detail retrieval, layering and separation are excellent. On Sublime's 'Santeria', the detail and presence of background notes I get on the left channel are eerily reminiscent of my beloved Hifiman Arya Organic. I wish the stage was slightly more spacious and holographic though but it is fine nonetheless. Imaging is also fine, befitting of Quintet’s price tag. My daily driver IEM is the Sony IER M9 which is basically the god of imaging (and one my personal GOATs alongside the Aroma Audio Jewel, Sennheiser IE900,Annihilator and Dita Perpetua) therefore it generally takes a lot to impress me in this segment. Quintet is accurate enough and gaming is never troublesome with it.

Timbre is kinda similar to the Monarch MK1 (also a linsoul product, haven’t tried the other monarch variants). It's not as natural as Sony IER series or Sennheiser/Dita but I don’t find the timbre off putting like 99 percent of Chi Fi releases out there. Timbre gets a solid 7.5 out of 10 from me.

Conclusion

I like the Quintet, a lot. It offers a lot for a more than reasonable price tag. Other than the slightly underwhelming stock cable, I don’t find anything particularly deal breaking. All in all, it is a solid value for money IEM (And still an excellent one even when the value aspect is omitted) and worth keeping even if you already own higher end stuff.