Admittedly I had heard quite a bit of buzz surrounding this IEM, but I didn’t investigate it as I have been satisfied with my current line-up / burned out with the hobby and didn’t want to spring for another kilobuck offering.

Fortunately, I was afforded the opportunity to spend some time with the Mirai RGB and I must start off by saying it surprised me on many fronts.

First thing I wasn’t expecting was its size. It’s probably one of the smallest form factors in an IEM that I have seen for quite some time. Go figure, I was taken back by the size, only to look inside and see a mass of drivers quite unlike anything I’ve seen. This thing is jam packed, seriously… 17 drivers lol? Like What mate?

Then I turned it over and learned it had switches for different tuning modes. Ok, color me impressed at this point and I haven’t even heard the damn things. Now, after playing with the modes, I ultimately left it with ‘1’ switch up for maximum low-end performance which is where I found it to my liking. So, all my impressions are coming from that orientation.

I decided to run it through a few sources, such as: Chord Hugo 2, LPTG, iFi xDSD Gryphon and the iFi GoBlu (for that budget OTG listener). It scales well and I am summarizing all the sources average in my impressions.

The bass isn’t pumped out by dynamic driver’s, which is what I typically enjoy most, but it is enjoyable since it is still encompassing (especially the mid bass) and it’s very accurate. Sub bass is honestly probably at the correct elevation or presence for most tracks, but it lacks the reach, impact and textured rumble of dynamic drivers. Despite their typically slower response and reproduction rate, it’s a tradeoff that I still prefer since dynamic drivers have come a long way. However, the Mirai RGB incorporates bass well into the overall cohesive nature of the IEM. Very snappy, tight and separated.

Mid-range is a completely different experience with all the attention given to its neutral-ish tonality and micro-details. I’m guessing it has to do with that extra EST given full-range abilities to give those little extra details that push. Either way it works out to provide some extra texture in vocals, and instrumentation in that range. It’s not something that gets in the way or is in your face, its just there as a bonus. It was also something I noticed pretty immediately, which sent me on a mission to see exactly what was incorporated in the IEM to produce that. So, it wasn’t a case of, “Oh, I know that’s in there and supposed to do that”, it was the opposite. Simply put, the Mirai RGB has an incredibly detailed and seamless overall mid-range. It isn’t as warm as something like the Traillii but it avoids being sterile sounding as well.

I could definitely go on and on about the execution of the Mirai RGB’s treble. It has all the extension, detail, and air you could ever hope for in any piece of audio equipment. It’s fantastic treble as a whole but, it did come off a bit cold at times, ever so slightly lacking that warmth or richness, I personally enjoy. I am also open to being incorrect about that and just not being used to the sheer amount of treble being rendered in such detail at once. It’s not in your face or over-taking anything else, rather a philosophy of no trebles left behind. Laser precise attack and decay with all the texture, and I mean all of it. If a drummer even looks at a cymbal, you hear it. This could end up being your reference set for treble or it could be a tad bit too distracting for you. It’s glorious either way. I’d recommend “Polyphia – Playing God”, to really get a feel for the treble rendering because Clay Aeschliman dances around on cymbals like few others I have heard.



Overall, what I quickly learned was this little Mirai RGB left the same initial impressions as the Traillii did. I wasn’t blown away by anything in particular, but that was because everything is executed so well, it almost goes unappreciated or unnoticed without further listening. That to me, is a party trick in itself and one I have learned to value over almost any other trait in this hobby. The bass, mids and treble are all good but the Mirai RGB’s specialty to me, is the fact that the entire frequency range is addressed individually. It’s obvious every driver is maximized to be as revealing and detail oriented as possible. It’s not 17 drivers for the hell of it, its 17 drivers because they found a way to use all 17 individually to detail the cohesive sound they were looking for. Again, the treble does stand out a bit but not in the traditional, overly elevated position in the tuning. It’s just the nature of that frequency when you really put in the effort to make it all available.

For $2999 new they are fairly represented and for the asininely depreciated secondhand market used prices, these things will be nearly unbeatable. Unless you need that DD bass or a bit more warmth.

Personal ranks against others in the realm- I only rank IEM’s against other IEM’s that I have extensive time with and that are currently available for sale. Some demo units I have heard are subject to change. So, if some aren’t represented, those are the reasons why.


Bass: Odyssey > Rn6 > Odin > Traillii > Mirai RGB > U18s > Trifecta


Mids: Traillii > Mirai RGB > Odin > Rn6 > Odyssey > U18s > Trifecta


Treble: Mirai RGB > Odin > Odyssey > Traillii > Rn6 > Trifecta > U18s

A big thanks to Thibault from EarSonics for entrusting me in the review and deployment process for this exciting new product. They even used a picture I provided them early on for their technical sheet which was a pleasant surprise!

If you want them, which you should, they can be ordered factory direct here!
https://www.earsonics.com/onyx/index.html





SPECIFICATIONS:

Metal black mat shell
Sensitivity : 122dB/mW
Frequency response : 10Hz-20kHz
DCR: 16.5 ohms
Drivers (QUAD)
1X dynamic bass
2X balanced medium
1X balanced treble


So, as many others, I was sent this unit in exchange for my honest review. I had no idea of the configuration, and I got the good old diversionary tactics when I probed for information. I took that as a blessing to let my ears do the judging, devoid of any expectations based on price or internal components. Keeping that in mind, I was fortunate enough to have been provided with the tech specs prior to releasing this review. This allowed me to revisit my initial findings, now comparable with my newfound knowledge of price to performance. This brings me to my point, which I felt was compelling, as I thought the ONYX was performing in the $1200-$1500 range. I also thought there had to be much more going on inside to produce what I was hearing. This was humbling and quite a deviation from the on-going trend of cramming components inside and demanding asinine prices. This level of performance resting in between the $500-$600 range is quite an accomplishment. One I would have never guessed. Hats off to EarSonics.




After a fair bit of throwing any genre at them where adequate amounts of bass need to be rendered to achieve the intended sound, I was pleasantly surprised. The ONYX pumps out extremely fast, clean, and deep bass. Keeping that in mind, it never overwhelms the other frequencies and isn’t overly elevated. The decay is reminiscent of BA texture and speed, but it is dynamic driver bass. They have managed to deploy some of the fastest and tightest DD bass on the market today, with the exception of titans such as the Empire Ears Legend EVO. The deeper sub bass registers grunt out the 30hz region before rolling off and being unbale to project those wildly almost indiscernible 10-20hz notes. The sub bass rolls linearly into the mid bass, which puts off a nice snappy punch that is palpable. Upper bass is nicely present while responsive and fills out the sound profile without giving off that zingy almost ‘boing’ type noise when drivers distort from the higher pitched bass frequencies in a busy, layered passage.






So, I figure that I will just get this out of the way now... the ONYX probably has the most pronounced and crystal-clear vocals I have heard in an IEM. They are dead neutral with good body and live above all else in the frequency response range. It’s like they are on their own channel. Not sure how they did it. The non-vocal response of the ONYX mid-range is clean and very resolving. Instruments have a crisp snap to them in addition to bearing enough weight to not sound dry and clinical. Going from the lower to upper mid-range, there is no harshness or accentuation to the upper mids. At first, I was expecting some decently elevated upper mid action based on how damn resolving and present the vocals were, but that was not the case. The upper mids are well reserved and never gave me a feeling that they were too much. They also separate nicely from the vocals that fall in the same response range, which is a nice party trick.


The top end is akin to the mid ranges presentation as it is very perceivable but never gets to the point of over-doing it. There is a balanced sparkle with sufficient air and no thinness or sharpness from heavy cymbal crashes. The word elegant best summarizes the treble rendering of the ONYX. Tonality wise, the treble retains a bit of warmth, which gives it a nice body to co-exist with the powerful nature of the ONYX. It is not overly warm but it’s warm enough to have personality and avoid analytical, or sterile precision. These aren’t for mixing and mastering, after all. In the interest of not being overly wordy or carrying on, the treble is great. It does nothing wrong and blends well with the entire signature flawlessly.






Layering and separation are the first things that stood out to me upon first listen. There is not bleed over in any of the frequency range transitions. They remain well divided without losing coherence. Staging is a bit above average due to this perceived level of sounds living in their own space while coming together as one. It’s not a spherical out of head experience like the $6500 Oriolus Traillii or the $3000 Empire Ears Legend Evo but it’s more than acceptable in the HiFi realm. Tonality is what I would consider as a warm-neutral due to the crisp detail that cuts through the powerful sub bass and punch. Tuning sounds to be a fairly linear ‘W’ shaped sound signature.




As mentioned previously, these comparisons were set into motion based on what I heard, not knowing price range or it’s technical prowess. I’ll keep this part very simple….


ONYX vs. Andromeda 2020: The Andromeda comes out a bit warmer and more analogue in nature, but I personally preferred the overall coherence and bass performance of the ONYX, which is where the Andromeda falls behind.


ONYX vs. MEST MKII: The ONYX really makes a compelling argument against the MEST. It’s performing nearly the same, provides much of the wow factor delivered by the MEST but is a heck of a lot less to get there. Aside from the obvious advantages that the MEST receives from its bone conduction, the ONYX goes toe to toe with it. Bass is nearly the same but a bit punchier with ONYX, Mids are both revealing and tonally similar. MEST treble is a just a bit more extended but also thinner sounding. Staging is the most obvious difference between the two, as MEST provides that oval out of head experience and the ONYX is of typical staging without bone conduction.


ONYX vs. Legend X: I had to compare ONYX against, probably my all-time favorite, Legend X. This was by no means fair, but it did provide an interesting data point, as to where I felt the ONYX lived amongst the giants, knowing nothing about it besides how It performed. Bass wise, there no competition, the Legend X kills most everything in this department still to this day. The ONYX however does not feel as if it lacks bass or dynamics in this region, even after comparing it to the Legend X, which is an accomplishment in and of itself. The mid-range, especially vocals of the ONYX are a good deal more revealing and clearer, but the Legend X has a buttery smooth mid-range that just feels right; natural. Not to mention the Legend X also provides quite a good deal of detail and definition in the mid-range for being a god of thunder. Treble is a bit more vibrant and shimmery than the smooth but further extended treble of the Legend X. I enjoy both presentations so it will come down to either preferring one or the other or wanting a contrasting sound profile. The Legend X are still my favorite, but the ONYX is an awesome contrasting sound for the price. They truly work well together.





The single best word I can find to describe the ONYX is, “Flanker”. This sucker impressed me whilst coming from out of nowhere. The price and performance of the ONYX will undoubtedly redefine the $1000-$2000 price bracket, and it does so costing only $500 or so. It provides much of the performance, enjoyment, and quality that the much more expensive options do. This really allows those with a constrained budget or the financially responsible types to get into their music at the best bang for their buck.

Preamble… ​

I was provided early access to the Legend EVO by Empire Ears in exchange for my honest opinion. This in no way influences my assessment and I have not been compensated or promised anything from Empire Ears in exchange for a positive review.

If you’d like to purchase the Legend EVO, I’d highly recommend checking out Bloom Audio, here! They also have their own stellar published review of the Legend EVO.

Specifications…​

Legend EVO:

• Dual W9+ Subwoofers
• Five Precision Balanced Armatures
• Weapon X Bone Conduction Ultra Driver
• 9-Way synX Crossover Network
• Dual Conduction Architecture
• ARC Resonance Mitigation Technology
• Impedance: 4.5 Ohms @ 1kHz
• Frequency Response: 5Hz-35kHz
• Sensitivity: 103dB @ 1kHz, 1mW

GENESIS CABLE - EMPIRE X PW AUDIO:

• 24AWG Ultra-Pure OCC Copper
• Quad Conductor, Polypropylene Reinforced Core
• Insulated UV-Resistant Polyvinyl Chloride Sheath
• 4 Balanced Pentaconn Termination

In the box…​

The first 400 launch edition units will come with your standard Empire Ears affair Final Audio Type E tips, Genesis cable, paperwork, cleaning cloth and cleaning tool. Unique to the launch edition units only will be a gorgeous, handcrafted leather puck case, as pictured below.



(Launch edition hand crafted leather carrying case. Limited to first 400 units sold.)



(The new Empire Ears mesh drawstring IEM pouch shown with the Launch Edition leather carrying case.)



The units sold after the launch edition will come with the items mentioned above minus the handcrafted leather case. Instead, the robust metal pandora case will be included in its place. A unique and welcome addition this time around for all Legend EVO retail units will be the new mesh IEM drawstring divider. I can’t even tell you how handy these things come, especially when you want your gear to remain pristine.



(The Legend EVO standard retail pandora case with etched EVO design included with standard retail units after the 400 launch edition units are sold.)

Let’s start with the meh…​

My only Critique comes by way of the cable oddly enough. I am very familiar with Empire Ears IEM shell fit and finish which have yet to disappoint me. Cables have typically been “thrown down” cables just to get you up and running without jacking up the price of entry. During its announcement, the EVO was introduced with a 4.4mm PW Audio Genesis cable that looked as if it was revolutionary and on par with the stormbreaker that is included with Empire Ears very own, Odin. Then I received it… The cable isn’t terrible, but it was much less impressive in person. The ergonomics are average, and nothing really jumped out at me that felt premium. It does sound great though, I just wish it was a bit more substantial elsewhere.



Some objective things others can look out for would be based upon fit, cost and tolerance to bass, mids or treble as we all have our own sensitivities that no one can justify for us. Also, Empire Ears tunes for instrumental realism… instruments can be very loud, so listen at a reasonable volume. Keep in mind, I am only one data point and I always recommend a first-hand experience to qualify your own biases for the aforementioned.

Now on to the nerdy subjective sound stuff…​

Test tracks:

Rock Candy Funk Party – Groove is King

Hi-Lo - Zeus

Breakdown of Sanity – Story of a Stranger

Issues – Drink about it

PVRIS - Use Me

Soundgarden – Fell on Black Days

The Weeknd – Prisoner

After the Burial – Behold the Crown

Moneybagg Yo – Rookie of the Year

Wunna - Feigning

Animals as Leaders – Physical Education

Tool – Stinkfist

Chris Stapleton – Tennessee Whiskey

Becky Hill - Gecko



Sources: LPTG Ti and L&P W2


Bass: The EVO is unlike anything I have ever heard regarding its approach and execution throughout the entire bass frequency response range. It starts with unbelievable detail retrieval and projection from incredibly low bass lines that in most cases aren’t even discernable. We’re talking like 20hz here. The EVO extracts these typically imperceivable or empty-sounding driver excursions and mimics the likes of a large bandpass or ported woofer enclosure. Not only are they able to be heard but they portray a sense of power and control that is mind-bending for any monitor, let alone one that fits in your ear. For reference, if you wanted to reproduce these frequencies in the same manner at a larger scale, you would need an abundance of space for an acoustic enclosure, a very stout subwoofer, and amplification. When you move up to your normal sub-bass ranges, the EVO dominates this area with a thunderous and articulate wallop. This would lead most to believe that it must crowd out or drown the remaining sound profile, and that’s where they’d be wrong. The bass on the EVO images. Yes, you read that correctly. It remains respectfully in place and approaches your senses from its intended location. It’s powerful, dynamic, and demonstrates layering that removes it from harming or distorting higher frequencies and their respective details. This allows the end-user to avoid sacrificing their love for bass and detail retrieval at the same time, which has often not been the case. This sub-bass layering and control also assists another game-changing dynamic: mid-bass punch. The mid-bass punch is layered away from the rumble of the sub-bass, which is awe-inspiring once it all comes together. You enjoy can a low rolling sub bassline that incorporates a sophisticated or powerful mid-bass textured impact without any merging or distorting over one another. In and of itself, the mid-bass punch, amongst the rest of the bass, is class leading. It punches with impeccable control and speed, there’s no lagging or blooming as it thumps along; it’s always tight and detailed. It’s present when it’s called upon and remains reserved where intended. The EVO isn’t simply ‘elevated bass’, it’s an accurate reproduction of bass characteristics at a technical level that is currently class leading. Typically, we self-proclaimed audiophiles seek neutral tuning to remove the element of powerful bass having its way with the mid-range and treble. Not the case here, it’s all articulate, distinguishable, and powerful while separated from the remaining signature. The addition of the Weapon X and its conductive properties add an attack, decay, texture, and transient advantage (technicalities) that no dynamic driver array on the market can rival. It’s not a gimmick and that is quickly realized if you compare the bass performance to the defacto basshead monitor in which the EVO is an EVO-lution to, the Legend X. The EVO has compartmentalization of its bass display while the LX just has bass everywhere. Don’t get me wrong though, despite the larger flooding of bass throughout the LX’s signature, it’s quite an impressive technical monitor. Purely going by bass performance, the EVO has more controlled and separated bass with a noticeable projection advantage, likely due to the Weapon X conduction. This may seem long-winded but, in all fairness, the bass of the EVO could fully justify its own review entirely.



(Peeking through the top is the all-new Empire Ears Weapon X. This is a built from the ground up bone conduction driver constructed from a nickel plated SPCC housing and combined with a rare earth N52 neodymium magnet to ensure resistance to demagnetization.)



Mid-Range: The mid-range is where things get interesting compared to the original Legend X but in a positive way. One well-known fact regarding the LX is that it performed poorly in the mid-range when paired with thick or warmer sources. This was likely due to just too much mid-bass and lower mid-range density playing tug of war. This inevitably moves on to drag down much of the mid to upper mid dynamics and you are left with boomy, non-dynamic mud. The EVO remedies this thanks to its overall bass separation and improved mid-range resolution. The lower mid-range carries a healthy amount of body in note weight without going too far in either direction (analytical or warm). 300-2k Hz sounds accurate with the harmonics of almost any instrument. 500 to 1k Hz isn’t honky or shouty sounding, it produces a natural note weight that exercises a balanced clarity. The lower to mid mid-range has a linear elevation up into the upper mid-range that avoids any peaky shrillness or sibilance. From 2k-4k Hz, there’s a distinct elevation over the Legend X, but this does not portray that of Odin’s upper-mid forwardness; rather, adding clarity to the EVO in this region. I suspect this is the result of a slower, more gradual, or linear rise from 500 Hz to 2K Hz whereas the Odin accelerates this elevation, as I hear it. Another interesting thing about the mid-range is the width, which produces a reverberation effect in certain tracks. This reverb not only can seem like echoes bouncing between the bass and treble, but it can also diffuse vocal subtleties out in front of your head. Imaging of the EVO is also well-executed. Its stereo separation and pinpoint accuracy placing of sounds throughout a track are the best I have heard from anything Empire Ears has produced. The Odin has precise imaging as well, but it does not share the same width as the EVO. This perceived width naturally offers more psychoacoustic space to arrange these sounds, thus adding just that little bit more reality to the experience. The overall mid-range tonality is natural with more slightly more body than transparency but there is a very close balance. Chesty, soulful male voices such as Chris Stapleton, sound dynamic and enveloping with accurate tonal weight or density. I am not picking up on any injected artificial warmth. On the other side of the spectrum, Female's voices such as Becky Hill who can sound chesty but quickly clear up as they modulate to their upper registers, have accurate transitional tonality and no vocal vibrato detail is lacking. Texture in the exhalation to achieve a pitch or note is perceivable and adds a pleasant air (no pun intended) to vocal presence. Lastly, there is a slight rounding to the higher vocal registers which I assume is to prevent any aggressive peaks but may also slightly blunt maximum detail retrieval. Considering the EVO was not designed with mixing and mastering in mind, this mild sacrifice makes sense.







Treble: I can sum the EVO treble up in two words, dense and natural. I will have to elaborate but it is that simple. The single biggest factor that achieves this is the linear transition of the mid-range into the lower treble. It provides a coherence that blends the transition seamlessly. I would not call the lower treble overly reserved, but I would not consider it in your face either. It has a natural weight and presence to it without any artificial splash or gritty metallic crunch sometimes present to force perceived detail retrieval. The Weapon X adds an almost full-size tweeter density to the lower treble that can absolutely be felt, especially in heavier cymbal crashes. Transient attack and decay are crisp and clean also contributing to the natural accuracy of the lower treble. The upper treble does just enough to add that extension to the higher frequencies and as certain instrumental decay transitions into and beyond the upper treble region. Again, nothing artificial here, I am only picking up on sufficiently detailed, clear, and accurate reproduction. Relative to the Legend X, the EVO treble comes across as more tonally accurate and with more body in this region. The million-dollar question is does it image just like the mid-range? Yes, it certainly does, and I would argue to say the Weapon X adds height to the soundstage via the treble regions imaging. The higher notes appear and dissipate around your head with an infinite blackness in between. Stretching high and low in the treble while the mid-range is pulling wide left to right creates this oval shape to the sound stage. The EVO obtains its holographic nature from these aspects which I will touch on later in this review.

How it compares to other heavy hitters…​

Empire Ears Legend X: I figure we can start here, where it all began for the EVO, its predecessor. The LX, for brevity, was hands down the bass king and somewhat of an unsuspecting technical marvel. Many gave it a 5-minute audition and discarded it completely while the rest of us gave it a chance and learned what it was all about. It’s a chameleon with an L shaped sound that can quickly present as much more balanced given the source pairing, tips, and cable. The EVO comes in and off the bat keeps the bass elevated but refines it thanks to the Weapon X. The extra speed and control the EVO displays in the bass region over the LX is immediately apparent. LX can bloom bass and the EVO does not, yet the bass is just as powerful and more textured. The EVO extracts more detail out of the mid-range and boosts the upper mid-range which makes the LX sound veiled in an A/B comparison. The EVO has just a bit more extension in the treble and the tone is more accurate and natural than that of the LX. The EVO presents as more balanced and technically impressive of the two. Imaging and staging are also noticeably more open and holographic than the LX. The kicker is, if bass is your metric for enjoyment, then the LX and EVO as a duo is a cheat code and will leave you smitten and not looking back.



Empire Ears Odin: The EVO has the bass technicalities of the Odin, which are incredible, and elevates the dB. The added Weapon X in the EVO adds air and texture to the bass, putting it a bit ahead of Odins bass reproduction finesse. The mid-range of these two are tonally similar, but the Odin accelerates the elevation from 1k to 4k which is also a few dB over the EVO. The treble of Odin is more extended and airier than the EVO which is a more dense and natural sound. I find the Odin is intended to be an intimate life like representation of instrumentation in the rawest form and the EVO takes that, sacrifices some top end technicalities but brings the better bass and overall energy to the music. Imaging was a bit more tangible for the EVO and I also found the EVO a bit wider sounding overall. The EVO and Odin to me don’t make as ideal of a pairing as the EVO and LX would. On the contrary, if you listen to a fair bit of piano based music amidst your other varying library, then yes, EVO and Odin would cover you very well.



Oriolus Traillii: The heavy weight both in price and performance, known as the bird. So… much to the “which one is better”, crowds dismay, I can’t tell you. They are both technical marvels for very different reasons. The Traillii is exciting in an atypical way as its tuning, and coherence is executed so well that it just finesses your brain. The EVO is exciting in the typical aspect as it gets in your blood and connects you with the energy of the music at a very high level. Going bass for bass, the EVO wins and it’s an easy call. Mid-range is tough because the Traillii is warm and wiiiiiiiide in this region. It has an ever-present intimacy at the same time. EVO has a more resolving and up-front mid-range that is not as warm or wide but it’s not lacking technicalities. Doing an A/B between Traillii and EVO, I did not perceive any veil from one to the other so they both resolve well in the mid-range. Treble of Traillii sounds a bit more rounded in the lower range which can overly smooth harmonics but then the higher treble range sounds a bit more transparent and shimmery when compared to EVO. The EVO has a bit more body in the lower treble, has well extended upper treble but does not have the transparency or airiness going beyond those ranges that Traillii does. The EVO upper treble sounds more accurate and realistic but I know some prefer that extra sparkle at times so this will come down to what you prioritize when listening. I will go out and subjectively say that the Trailii is NOT worth its asking price, even if you consider it better. Objectively speaking, the Trailii and EVO could be an end game duo if your pockets lack a bottom.



64 Audio U18s: I really enjoy the U18s and in layman’s terms, I find it a less impressive Traillii but not any less enjoyable. Compared to the EVO, the bass once again easily goes to EVO. Mid-range here is so different that it’s hard to directly compare. Lower mids are thicker and slower on the U18s, while beefier, punchier, and more dynamic on the EVO. Upper mid-range shares the same intimacy, but it comes across a bit more veiled or distant on the U18s when compared to EVO. The EVO also expands the mid-range width compared to the U18s. Treble is a bit subdued on the U18s whereas the EVO exhibits a denser and greater extended feel in the top end. Considering I could have both IEM’s for less than a retail cost of Traillii, that’s the route I would take if money was a factor.



64 Audio Fourte: Can you guess which one has better bass performance? I guess it’s becoming a pattern here so why not be cheeky about it, right? EVO has better all-around bass and that will apply to anything you compare it to. The mid-range of the Fourte has always sounded veiled to me and in fairness, that is because I typically listen to resolving IEM’s, especially in the mid to upper mid-range. After allowing brain burn in to take effect, the Fourte sounds great but the minute I swap over to EVO it’s jarring. EVO is more present, resolving, detailed, and balanced in the overall signature. Treble is what 64 Audio is known for thanks to its tubeless Tia design in the Fourte, and yes it has awesome albeit sometimes peaky, treble. Awesome but a bit artificial and splashy sounding to me. It’s more of a guilty pleasure treble to me than it is accurate. The EVO is just accurate and natural. I have grown up in a family of musicians and been around live instruments my entire life. EVO is more natural which I prefer and Fourte is brighter and more artificial, but it still sounds good, especially if you’re a treble head. Just be prepared for that recessed vocal region of the Fourte.



Noble Audio Sultan: I am putting this here as more of a transparent disclaimer. I do not like anything about the Sultan and I am beyond pleased that, yet another manufacturer put something out at the $3k price range that shows Nooble what $3k sounds like. If you like it, I am happy for you and you can ignore me, but I do not. I only put this here, so people don’t ask for the comparison as they share a similar price bracket.

In Summary…​

The overall presentation of the EVO would be dependent upon which configuration you settle on, but I am speaking from the presentation as intended (Final E tips & Genesis cable). It is hands down a thunderous king of bass presence, depth, texture, and overall technicalities. There is a sense of razor-sharp layering amongst the entire response range, yet the coherence remains intact and then some. The largest sense of space is created by how the bass interacts with the remaining frequencies in not obstructing them. This coupled with natural tonality of the mid-range and perceived coherency of its linear rise to the treble, really gives you all the clarity one could want from a high-grade monitor, let alone one with bass on this level. The overall sound with its Weapon X driving depth and air throughout, plus the imaging and width places you in the center of an oblong sphere or oval dome. The EVO seems as if it was made to reproduce the experience of an amplified concert or club speaker feel and refine it to the most enjoyable portable experience that can be crammed inside an in-ear monitor.

In contrast to many reputable reviewers, I did not cable, tip, or source roll EVO during my review. Although I commend those who do, I personally feel that those variables are extremely specific to me, even more so than how an IEM sounds to me in general versus how it sounds to you. I went for the most baseline, neutral approach possible so that any desired tweaks or changes in one direction or the other are easy to decipher for your intended use case or outcome. Now get out there and give them a listen!

Final Audio A4000 Review


Thank you to Audio46 for sending these for a review. You can find them Here.




Preamble: I have authored many reviews, and this was an interesting chance to try something a bit different. Most things I have had the opportunity to review have been well beyond the price point of the A4000, I mean well… for example, I am currently working on a review for the Traillii, a $6600 offering. I guess this begs the question… how does an IEM approximately 40 times less perform in the scheme of things? Well, stick around and find out. Also, pardon my lack of self-generated photography. The SD card took a swim in my laundry machine .


Sources: Apple Music Lossless and various FLAC files played on the L&P W2, Lotoo Paw S1, powered by an iPad Pro 12.9 (M1) and MacBook Pro (M1). I did not pair this relatively budget friendly A4000 with multi-kilo buck audio players as it’s not practical at this price point. Not to mention the aforementioned dongle’s get you 80-90 % of the way to high end DAP’s.


Packaging and Accessories:

• Silicon carrying case
  • Product Code : FI-A4DPLDN
  • Housing : ABS Thermoplastic
  • Driver : 6mm dynamic driver f-CORE DU
  • Connector : 2 Pin
  • Cable : 3.5mm/1.2m Oxygen Free Copper cable
  • Sensitivity : 100dB/mW @ 1kHz
  • Impedance : 18 Ohm
  • Weight : 18 g
• 
  Fit:
  
  Before diving into the sound, I must mention the fit and finish of the A4000. I achieved a great fit, and these were some of the most comfortable IEM’s that I have ever worn. They literally disappeared thanks to their ergonomics and plastic construction. Speaking of plastic, these are budget IEM’s and cutting cost translates to the end consumer benefitting. That being said, they don’t feel cheap or lack robustness so it’s an overall win at the price point.
  
  
  Sound Analysis
  
  The Bass of this single dynamic driver IEM is fairly impressive. It extends well into the sub bass region and offers consistent decay and rumble. I was unable to detect and bleeding into the mid bass region, which was clean but offered good impact. It is not extremely elevated in this region and some bass heads may want more but overall; I would say it is enjoyable. The speed of the dynamic driver in this range is what left the biggest impression. Bass slopes downward to the mid-range without any extreme dips or steepness.
  
  I have found that Mids typically ‘flavor’ the tonality of an IEM. I have also found that this is where many manufacturers will play tricks to achieve a large soundstage or certain presentations in depth. The A4000 struck me as a bit veiled in this region. Not veiled in a bad way but rather veiled as if they were tuning them in such a way to create a grander stage. Vocals seem a bit pushed back in the lower mid region and sometimes a bit too forward in the upper mid-range harmonics. The escalation from low mid to high mid seems less linear and more aggressively transitioned. The overall tonality of the mid-range isn’t bad, but it isn’t really on par with my preferences. It reminds me of the trick that 64 Audio used to make the Tia Fourte sound massive, just implemented poorly.
  
  Treble can be a make or break for many people’s tolerance in any audio device. I find the A4000 to lean a bit towards the thinner and brighter side but not in an outwardly harsh way. The A4000 does lack control in this region, and I picked up on metallic smearing quite a bit. This can definitely lead to the perception of being harsh. When brighter treble is well controlled, you perceive the added detail without fatigue, but when it is not controlled, it sounds splashy when it should have precise attack and decay, especially in the higher frequencies. This leads to an exhausting grate on your ears as they steamroll the other frequencies and nuances. I didn’t enjoy the treble implementation here. I find it to lack control and proper timbre to such a degree that the accuracy and tonality missed the mark for me.
  
  Comparison(s):
  
  I could spend a bunch of time here, offering comparisons against many similarly priced IEM’s or even provide outlandish head to heads against top-of-the-line offerings but I’m not going to do that. What I am going to do is make it simple based upon financial means and categories. If you are looking for a truly entry level, cheapest price to pleasing performance and don’t care about gobs of detail in a single DD, go for a BLON-BL03. It makes spending the extra $100 or so seem unjustifiable to obtain the A4000.
  
  Conclusion:
  
  The A4000 is a decent overall IEM. I more or less find it in a purgatory of price to performance. If you want the overall best bang for your buck at nearly $160, I just don’t think it is here with the A4000 and I have heard many sub $100 chifi products that outperform them. The overall presentation for me is as if Final Audio wanted to make a single DD in ear monitor and take a swing at the big boys in how they tuned it. I believe they pushed it too far at the expense of creating an expansive sound stage. The tonality and accuracy suffer a bit because of this. As I said, the A4000 is by no means a bad IEM. I just find there to be too much of a smoke and mirrors situation going on with the tuning. It’s a shame though because based on the bass, they seem to have implemented a solid little dynamic driver. Hard to get excited about these.
  

Get yours from Bloom Audio



From 64 Audio:



64 Audio revolutionized the IEM industry in 2016 with its world class reference level U18t, the world's first 18-driver earphone. Now, with the introduction of U18s, 64 Audio has taken the heritage of the 18 driver platform and further pushed the envelope of innovation in sound and design. U18s combines proprietary drivers, LID technology and a new electronic crossover network to deliver a uniquely exceptional listening experience.



U18s is handcrafted in the USA from aerospace-grade aluminum billet. CNC milled, hand blasted, fly cut, and twice anodized - the result is a striking fractal design that is inspired by nature itself

• Tia:

“The tia system is comprised of three major elements: open balanced armature tia drivers, the tia single-bore design, and tia acoustic chambers. The Trio features two major elements of the tia system: the tia driver and the tia single-bore design.”

1. Tia Driver:

“An open balanced armature speaker design for realistic resolution and transparency. By opening a balanced armature, the diaphragm becomes fully unobstructed, reducing resonance in the IEM and allowing sound to travel more naturally to the ear.”

1. Tia Single Bore:

“A huge advancement in eliminating unwanted tube resonance. The large bore itself serves as a sound-shaping chamber and aids the tia high driver in delivering a linear and coherent frequency response. The short sound path provides remarkable high-frequency extension and smoothness. The large single bore also allows for easier maintenance”

• Apex:

“Apex, or Air Pressure Exchange, is a pneumatically interactive vent that releases air pressure from a sealed ear canal. It comes in two variations, m15 (-15dB) and m20 (-20dB).”

1. Alleviate Listener Fatigue

“When you seal a miniature speaker in an ear canal, the air inside becomes trapped. Apex relieves this air pressure, allowing the eardrum to move naturally, so you can comfortably listen longer.”

1. Extend The Soundstage

“Freely moving air extends the soundstage and provides a more natural listening experience. It also preserves bass frequencies and helps the listener distinguish individual instruments.”

1. Hear Your Audience

“Custom in-ear monitors provide amazing isolation and help you hear your mix more clearly and at lower volumes than a wedge monitor or earbuds. Apex lowers decibel levels while preserving the clarity of the sounds around you, so artists on stage can connect with their audience while protecting their hearing.”

• LID:

“LID, or Linear Impedance Design, enables a consistent, reliable sound regardless of what source. This proprietary circuit corrects the non-linear impedances of the drivers, restoring proper interaction with the source and preserving the desired sound signature.”



“Whether you’re a musician plugging into a variety of gear at different gigs or studios, or an audiophile listening from low-impedance sources, LID ensures your IEMs are delivering the desired sound signature consistently.”



“And like all our IEMs, this model can be used with a wide range of personal audio devices as well as all hard-wired and wireless monitor systems.”

• U18s Specifications:​

• Driver Type/Count: Eighteen precision balanced armature drivers
• Driver Configuration: 1 tia high, 1 high-mid, 8 mid, 8 low
• Frequency Response: 10Hz – 20kHz
• Sensitivity: 106 dB/mW @ 1kHz @ 1mW (84mV)
• Impedance: 8Ω Nominal
• Crossover: Integrated 4-way passive crossover
• Isolation: -20dB w/ m20 module, -15dB w/ m15 module,
• -10db w/ mX module

• IN THE BOX:​

1. U18s Universal In-Ear Monitors
2. TrueFidelity Eartips (S,M,L)
3. Silicone Eartips (S,M,L)
4. SpinFit Eartips
5. Ear Tip Holder
6. 8-Braid Silver Cable
7. Branded m20 apex Modules
8. Branded m15 apex Modules
9. Branded mX apex Modules
10. Round Sticker

• The Sound:​

(All analysis was done using the M15 Apex module.)



Bass: One constant you’ll most likely see referenced in the audiophile realm is the ‘lack’ of sheer depth and wallop regarding balanced armature bass. While I often agree dynamic drivers out-class balanced armatures in bass output and resolution, this is as close as it’s ever come for me. The U18s has deep bass with dynamic driver like decay, whilst adding a bit more texture than run of the mill dynamic drivers. Obviously thanks to the nature of the balanced armatures 64 Audio crammed in here. This lends a helping hand to create dynamic driver like rumble while retaining much of the balanced armature bass speed, tightness. Even a true basshead can appreciate the bass delivery here in the U18s. This bass extends well into the 20-30hz region and juts off in the other direction far enough to add some warmth to the lower mid-range. It does so without causing any bloating or bleed over. Mid bass offers enough punch to prevent drums and bass guitar plucks from sounding lifeless or flat. It’s not Legend X bass here but it’s healthy sounding for sure.



Mids: As I stated in my Trio review, “One thing I have noticed about many 64 Audio offerings is that they know how to tune the mid-range”. Welp… the story remains the same here. The U18s has a soothing and warm mid tuning, from the lower to upper. They achieved this all while maintaining exceptional vocal clarity for both male and female vocalists. Instruments are also rewarded from this boost. Certain string instruments or piano may not be as vivid but they certainly do not lose an ounce of resolution. Another interesting thing I enjoyed was, unlike most 64 Audio flagships, there is no, “illusion” here to make the stage seem expanded. The U18s doesn’t have any of those unusual dips or tuning anomalies to emphasize stage. Despite this, there is sufficient separation in layering present while allowing vocal ranges to sit up front or slightly back from front; not recessed. Typically, these tuning dips referenced earlier make the vocalist and other mid bearing instrumentation seem distant, sometimes behind other frequencies. While this is nice for the grand presentation of headspace, 64 Audio has already done that with the Trio, Fourte and Fourte Noir. I applaud the decision to keep the U18s a pure example of their technical prowess in proprietary technology. Of course, there is tuning going on here, but it’s devoid of tricks; reliant upon only a reference-y take on things. It really is lovely to hear. You’re afforded the warmth but maintain the resolution with zero compromises in an intimate presentation.



Treble: Very simply put, the U18s has a soft and warm tilted treble presence. Don’t get it twisted though, there are times those Tia drivers will jump out and shine. The U18s doesn’t throw down the etched and crispy treble often thought of when referencing 64 Audio and Tia. That being said… good, I’m glad. Once again, they already offer that in the likes of U12t, U18t, Trio, Fourte and the elusive Fourte Noir. Albeit a different treble tuning, I don’t find it lacking whatsoever. It doesn’t beg for your attention at all, but it also isn’t absent in the overall presentation. I find it highly resolving, properly weighted-yet relaxed. You really can’t ask for a more coherent treble output to match the overall temperature of the tuning. If it was brighter, it would stand out too much and seem disjointed. If it was warmer, it would pull the overall tuning into the veiled territory. There is a natural softness or airiness to the top end as well which allows it to remain separate from the lushness in the bass and lower mids. Thankfully, the balance is just right.

• Overall Sound Presentation:​

The 64 Audio U18s has more of a warm reference signature than dull analytical one. I wouldn’t call the stage enormous but there is enough by way of imaging and separation to avoid congestion. Bass is decently elevated without being distracting or disappointing. Mid-range has room to breathe and flex some clarity in vocal presence and instrument separation. Treble greets you with macrodynamics so good, the hell with the microdynamics. Cymbal splashes for example are finessed sounding while they deliver the all the detail needed to know you’re absorbing top notch sound. You can just as easily fall asleep with the U18s in your ears as you can use them for a relaxing critical listen.

• Comparisons:​

(All comparisons done using M11 PRO, Lotoo Paw S1 and DX300)

• 64 Audio u12t (M20):

Twister6 isn't the only one with a granite countertop!

The critically acclaimed U12t, yet sometimes described as ‘boring’ but hard to fault is no slouch in any regard. I feel that many who praise the U12t sound will appreciate the U18s but gravitate towards the U12t more, due to its more resolute, reference tuning. Bass is similar but a tad weightier sounding in the U18s. Mids are also heavier or more colored where the U18s is concerned. Treble is more on the crisp side with the U12t whereas it is softer in the U18s. They are both great, this ultimately will just come down to tuning preference. Unfortunately, I have never heard the U18t to offer a comparison.

• 64 Audio Nio (M15):

The bass seems a bit more forward and boomy on the Nio from sub bass carrying into mid bass regions. Bass is most definitely much more resolving and controlled with the U18s, although less present. Mid-range is more wet sounding with Nio and cleaner sounding with U18s. Treble is similarly tuned, but I find the U18s to deliver it in a more profound and effortless way. The Nio has a little more energy in some 6-8k regions but it sounds thinner to me. If you cannot afford the entry cost of the U18s, the Nio would get you much of the way there for less. With the M20 module, the Nio just introduced a lot of compression and overall is too thick for my liking.

• Empire Ears Legend X:

As I have said before, the Legend X has the best quality bass on any IEM known to date. The quantity, decay, texture, power, depth… the list goes on. As an obvious biased advocate of Legend X bass, I cannot fault the U18s bass or say it disappoints. I actually quite like it. Mids are similar in weight but the U18s does nudge the clarity a bit here, while the Legend X nudges the thicc’ness. Vocals seem slightly further back when compared to the U18s, but not much. Treble is also very similar in how it is perceived, maybe being just a tad ‘livelier’ with more bite on the Legend X. I often laugh at how much of a chameleon the Legend X is and how often it upsets other IEM’s when you least expect it. The U18s is a formidable opponent here though. If you want the Legend X sound with less bass and slightly more forward and less thick vocals, alas the U18s. The treble is too close to sway one way or another. The Legend X also presents a noticeably larger sound stage with greater separation and imaging.

• Campfire Audio Solaris OG/SE:

In simple terms, the U18s is a more engaging and colored Solaris with a less holographic soundstage. Bass hands down goes to the U18s. Mids offers a similar clarity with slightly more detail available in the U18s. Treble is more relaxed in the U18s and splashier while more elevated on the Solaris. That being said, for the going rate of the now discontinued original Solaris and Solaris SE, they are hard to argue with.

• Noble Sultan:

Price is the only thing similar here. The U18s is just, to me, a better all arounder. Where the U18s injects a warm, pleasant effortlessness, the Sultan just hulk smashes, and it overwhelms the frequency range. It’s just an unforgiving density that rolls into an uninspiring thin, glassy sounding treble range. I don’t have much good to say about the Sultan and maybe it was the fit, seal or whatever but yea, wasn’t impressed. Then again, I don’t know of a Noble IEM that I have heard to date that I enjoy. Maybe it’s the ergonomics. The U18s on the other hand, did impress me in pretty much every way.

• Empire Ears Odin:

My precious Odin... this was a hard one. As much as I, “all hail Odin”, I was actually appreciative of the tuning differences between the Odin and U18s. The Odin just throws this detailed, vividly clear and holographically layered sound over some amazing deep and well controlled bass, right at you. It commands your attention. The U18s manages to accomplish a good bit of detail while softening the projection. Odin bass is more linear and sub bass focused. It’s world class bass, seriously. The U18s bass is more elevated into the mid bass region which adds a nice warmth whereas Odin prioritizes the mid bass and lower mid region for obscene clarity and neutrality. Upper mids aren’t all that different. The Odin has more energy and clarity in this region but the U18s is one of the very few, if only monitors I have been able to A/B against Odin and not feel are veiled. The treble is where I feel the Odin achieves a more natural timbre and life like presentation. I’d be remiss if I did not summarize how these titans present soundstage. Simply put, the Odin presents a much larger, more separated sound. A friend of mine, Takao, nailed this perfectly… If you created a U18s with the width and dynamics of the Odin, you would surpass almost all monitors to date.

• Conclusion:​

The 64 Audio U18s is a welcome addition to the typical Tia tuning. It offers a warm velvety high-definition tuning that rarely disappoints and often lets one bask in the musicality. You can listen to them critically or just get lost in your favorite acoustic, vocal or high energy mix. Although it doesn’t possess the large holographic soundstage, it does offer a smooth, layered presentation that allows it to remain separated. Lastly, hats off to 64 Audio for really stepping up their stock cable game. The included silver cable is fantastic in all regards.

Get them here! Bloom Audio

From 64 Audio:


“The perfect in-ear monitor for listeners looking for the sweet spot between reference-level clarity and a smooth sound signature for extended listening. The tia Trió is a great earphone for audiophiles seeking a clear, laid back, 3D sound in any genre.



Tia Trió features our complete, three-part tia™ system housed in an ergonomic shell, machined from a solid piece of aluminum and finished with elegant, brushed aluminum faceplates.”



The Tech:

• Tia:

“The tia system is comprised of three major elements: open balanced armature tia drivers, the tia single-bore design, and tia acoustic chambers. The Trio features two major elements of the tia system: the tia driver and the tia single-bore design.”

1. Tia Driver:

“An open balanced armature speaker design for realistic resolution and transparency. By opening a balanced armature, the diaphragm becomes fully unobstructed, reducing resonance in the IEM and allowing sound to travel more naturally to the ear.”

1. Tia Single Bore:

“A huge advancement in eliminating unwanted tube resonance. The large bore itself serves as a sound-shaping chamber and aids the tia high driver in delivering a linear and coherent frequency response. The short sound path provides remarkable high-frequency extension and smoothness. The large single bore also allows for easier maintenance”

• Apex:

“Apex, or Air Pressure Exchange, is a pneumatically interactive vent that releases air pressure from a sealed ear canal. It comes in two variations, m15 (-15dB) and m20 (-20dB).”

1. Alleviate Listener Fatigue

“When you seal a miniature speaker in an ear canal, the air inside becomes trapped. Apex relieves this air pressure, allowing the eardrum to move naturally, so you can comfortably listen longer.”

1. Extend The Soundstage

“Freely moving air extends the soundstage and provides a more natural listening experience. It also preserves bass frequencies and helps the listener distinguish individual instruments.”

1. Hear Your Audience

“Custom in-ear monitors provide amazing isolation and help you hear your mix more clearly and at lower volumes than a wedge monitor or earbuds. Apex lowers decibel levels while preserving the clarity of the sounds around you, so artists on stage can connect with their audience while protecting their hearing.”

• LID:

“LID, or Linear Impedance Design, enables a consistent, reliable sound regardless of what source. This proprietary circuit corrects the non-linear impedances of the drivers, restoring proper interaction with the source and preserving the desired sound signature.”



“Whether you're a musician plugging into a variety of gear at different gigs or studios, or an audiophile listening from low-impedance sources, LID ensures your IEMs are delivering the desired sound signature consistently.”



“And like all our IEMs, this model can be used with a wide range of personal audio devices as well as all hard-wired and wireless monitor systems.”

• Trio Specifications:

Driver Type/Count: 2 precision BA drivers, 1 dynamic driver

Driver Configuration: 1 tia high, 1 high-mid, 1 dynamic mid/low

Frequency Response: 5Hz – 22KHz

Sensitivity: 104db @1kHZ @1mw

Impedance: 5.5 +.5/-1.5 Ω from 10Hz – 20kHz

Crossover: Integrated 3-way passive crossover

Isolation: -15dB internal apex technology

• IN THE BOX:

1. 64 Audio tia Trió Universal In-Ear Monitors
2. 64 Audio Personalized Protective Case
3. Dehumidifier
4. Cleaning Tool
5. Shirt Clip
6. “TrueFidelity” Eartips (S,M,L)
7. Silicone Eartips (S,M,L)
8. 48" Detachable Premium Cable
9. Round 64 Audio Sticker
10. Product Manual

• The Sound:

1. Bass: Having heard several top of line offerings, I have heard all types of bass ranging from great balanced armature bass to impossible lows from dynamic drivers. I have heard big pounding thick bass and I have heard lightning fast bass. The Trio combines nearly the best IEM bass characteristics and provides them in one neat package. The sub bass is guttural, textured well and deep enough to satisfy anyone who craves that visceral rumble off in the abyss. It is ever present but remains well separated. Mid bass nearly matches the decay and speed of some of the top balanced armature offerings. It's not quite there but for a dynamic driver it’s very impressive. It’s fast, it’s punchy and really portrays the intensity of the called upon impact.

1. Mids: One thing I have noticed about many 64 Audio offerings is that they know how to tune the mid-range. The Trio’s lower mids are fairly neutral in comparison to its elevated sub bass and punchy mid bass. This lends itself to create a bit more of a gap or separation from the coloration in the low end and maintain great clarity. The same goes with the upper-mids as they also maintain distance from the low end. Upper-mids are very detailed and clear especially noticed in vocals. They are slightly elevated and sound a bit bright but not in an offensive way. Rather, it seems clear that the Trio was created with intentions of making sure the upper mids stand apart from the bass. They didn’t want veiled vocals and that is immediately apparent.

1. Treble: Well if you have ever heard a tia driver smack dab at the nozzle opening of any 64 Audio IEM, you know what you’re in for. Trio treble is fantastic. It is clean, detailed and airy. emitting a crispness to it that often is hard to find in many other non 64 Audio offerings. It is emphasized a bit and just on the brighter side of neutral, but it manages to do so without killing your ears. The one word I often use to describe the treble is, “elegant”. It has a brightness about it while maintaining a softness; smooth. It’s not that typical dense violent brightness many associate with the term, its sparkle is always there but in a delicate, inoffensive way.

• Overall Sound Presentation:

The 64 Audio Trio has more of a “U” shaped signature than a “W”, but it almost presents like a “W” due to the vocal forwardness and clarity. The bass is deep and impactful without spilling into the mids. The mids are neutral and slightly forward in the upper registers but tastefully so. The upper mids transition with similar tonality into the dynamic and crisp treble which just adds such depth and coherence to the sound. The sound stage is nice and open; airy with a pitch-black background thanks to LID. Sounds just float around you with great precision which adds to the experience. Nothing sounds veiled or recessed, you get a bit of everything but not too much of anything.

• Comparisons:

(All comparisons done using M11 PRO, Lotoo Paw S1 and Fiio BTR 5)

1. 64 Audio u12t: The bass is a bit more elevated on the Trio but ever so slightly quicker on the u12t. The mids are more colored on the u12t whereas the Trio sounds a bit more neutral to my ears. Treble is fairly similar but a bit more forward and airier on the Trio. The u12t strives to be more of a chameleon by retaining a safe no thrills tuning but executes everything well. The Trio was tuned to do much of what the u12t does well but amplified to give it more personality.

1. 64 Audio Nio: The bass seems a bit more forward and boomy on the Nio with a definite mid bass tilt the Trio reigns back a bit. Don’t mistake it though, they both pack some boom, the Nio just more so. The mids are far more neutral on the Trio and very thick and warm sounding on the Nio. Treble is more relaxed on the Nio but still well detailed. The Trio treble has an order of magnitude more treble extension and air. The two sound nothing alike from the lower mids on. They complement each other quite well on the fun side of things.

1. Empire Ears Legend X: I’ll make this bass comparison simple… the Legend X has the best quality bass on any IEM known to date. The quantity exceeds the Trio as well but in the best way possible. The Legend X has seductive mids once you get over the small nervous breakdown from the bass department. They are warmer compared to the Trio and more coherent. That being said, they sound nothing alike when it comes to mids and neither can be faulted for their tuning and presentation. They were both done flawlessly as far as mids are concerned. The treble is very detailed but soft on the Legend X and not as far forward or bright as the Trio. The Legend X flows from the low to mids to highs and the Trio segments each frequency range to create more separation but doesn’t lose much coherency. Out of complete transparency, the Legend X are my 2nd favorite IEM and the Trio are my 3rd. It comes down to which tuning you prefer in this head to head.

1. Campfire Audio Solaris: Based on the ‘retail’ price difference this may not seem fair. Regardless, the Trio is the livelier more articulate of the two. The bass is very well executed on the Solaris variations and recently elevated on the latest 2020 iteration, but the Trio bass still stands ahead. It has more transparency to it while being deeper and more present. The mids overall are warmer on the Solaris with surprisingly smooth vocals. The lower mids of the Trio are more neutral but the upper mids come across a tad bit more colored but also more detailed than the Solaris. Treble extension is done well on the Solaris and they have that notorious Campfire Audio sparkle. The Trio takes the treble quality of the Solaris and adds a mind-bending excitement to it, overall just taking something good and making it great.

1. Noble Sultan: Probably another comparison you think is wildly unfair bearing the Sultan’s $2900 price tag. Again, at this top of line price point you’re usually splitting hairs. Notice I said, usually… In this case, I don’t feel the Sultan belongs here in the top of line conversation. It has a TOTL price but not TOTL performance. The Trio bests the Sultan across the entire frequency spectrum and does so without estats along with a fraction of the drivers planted in the Sultan. The Sultan takes what could be a tuning similar to the Trio and adds this unnecessary density to it, killing the extension. Effectively booting the attack, decay and transients of what could be. I still cannot for the life of me understand why they used estats if they tuned them the way they did. All that potential just forfeited for no reason.

1. Empire Ears Odin: (it’s humble pie time) Admittedly, this isn’t a fair comparison but there is a reason I am providing it. Reason being is to understand where the Trio falls short compared to the most outrageous sounding IEM I own and have heard. Candidly, it’s not extremely far behind. The Odin bests the Trio by its sheer depth, clarity, layering and sense of space. The Trio does all these things extremely well, as if you couldn’t tell by the glowing review, but the Odin turns them up to 11. The bass of the Trio is fantastic and lively, but the Odin’s bass is damn fast, perfectly textured and despite being tuned down, reaches as deep as the Mariana trench. The mids, lower and upper are more neutral with the Odin but so resolving that it’s ridiculous. The Trio mid-range spectrum is a bit more colored but still gives you all the information you need. Treble is a bit more contrasted between the two. Odin has estats that were tuned properly (we’re looking at you Sultan) but in such a way that they aren’t overpowering. Natural and smooth is my best way to describe the Odin. Although that may sound boring, the Treble of the Odin possess this extension and infinite space that I cannot get over. Many will demo Odin quickly but not spend the time to really explore the galaxy of overhead they can scale. Trio treble is in a league of its own thanks to the tia driver, but it sounds forced or emphasized when compared to the Odin. If you don’t compare the Trio to the Odin or $3k and $4k IEM’s it’ll eat most others alive.

• Conclusion:

The 64 Audio tia Trio is admittedly one of my favorite IEM’s to date. Only bested by the Legend X and Odin. They emit some of the most clearly defined and fun notes simultaneously. If I could make any pop culture reference to describe them, it would be the mullet… business up front, party in the back.

They have the technical chops to compete with any TOTL offering and yet they have so much life in their sound. One of the best balances between critical listening and fun tuning I have heard. The Odin bests the Trio for me as highlighted above but you have to respect an IEM that that can even be in that conversation. 64 Audio has demonstrated that they are fighting to put out unbelievably well-tuned offerings and don’t show any sign of slowing down. If you’re in the market for APEX and those crazy expensive 64 Audio Fourte’s or the limited Fourte Noir are invoking your lack of self-control, plunk the cash down on the Trio first. You’ll most likely be very glad that you did.

Empire Ears Hero (Founders Edition)

MRSP: Universal fit $1349 USD

The Hero can be purchased from the retailers below:

Bloom Audio


The Specs:

• 1 Sub-bass/Bass Next Generation 9mm W9+ Subwoofer
• 1 Mid Proprietary Balanced Armature
• 1 Mid-High Proprietary Balanced Armature
• 1 High Proprietary Balanced Armature
• 6-way synX Crossover Network
• ARC - Chassis and Components treated with our Anti-Resonance Compound
• ALPHA-IV (A4) 26AWG UPOCC Copper Litz Cable
• 105 dB SPL @ 1kHz
• 5Hz - 40kHz Frequency Response
• 17.6 Ohms @ 1kHz Impedance

The Hype:

THE VOCAL LEGEND
Hero is relentless, fierce and unapologetic – a renunciation of rules, preconceptions and
everything that’s expected from it. It represents a tour de force of Empire’s expertise and
craftsmanship, elevating musicality presentation to a level non-existent in its tier. With DNA
sourced directly from Legend X and Zeus XIV, Hero reveres our past to emulate flagship levels
of performance without the flagship admission.
The heart of Hero is a proprietary quad hybrid configuration comprised of proprietary triple
balanced armatures and a next generation W9+ subwoofer. This staunch combination generates
legendary bass response while delivering lush, intimate vocals and supreme detail retrieval via a
4-ways synX crossover network backed by ARC resonance mitigation technology.
Hero’s sophisticated design, proprietary technology and extraordinary audio reproduction
capabilities make it a class-dominating masterpiece.

A HEROIC HYBRID
Boasting two of the industry’s most advanced driver technologies, HERO is truly a standout
hybrid IEM with an uncompromising performance ethos focused on delivering the purest
connection between listener and IEM.
W9+ Subwoofer – Sub Bass/Bass
Our signature W9+ dynamic driver brought serious performance to the IEM world by
combining the breakthrough of an enclosed woofer in a tuned bass-reflex system. Elevating the
W9 design formula to its highest level, the W9+ boasts a larger internal coil diameter, more
linear excursion envelope along with a more capable suspension to handle peak-to-peak
excursion while mitigating distortion. W9+ extinguishes any limits the previous design had and
delivers breathtaking bass on all fronts.
Three Precision Balanced Armature Drivers – Mid, Mid-High, High
Hero comes equipped with 3 proprietary balanced armature drivers to deliver the signature
midrange that the world has come to know and love from Empire Ears.

LEGENDARY CROSSOVER SYSTEM
Genetically dissimilar from the rest of the IEM world, our synX crossover system truly stands
out with countless bespoke methods and technologies protecting it as a unique masterpiece. A
marriage of 2 different driver technologies become symphonized by a unique, proprietary 6-way
synX crossover system designed to maximize performance from each and every driver.

ALPHA-IV
At Empire Ears we believe that an extraordinary IEM requires an extraordinary cable. We’re
proud to introduce Alpha-IV (A4); a premium handcrafted 4 core cable comprised of a
proprietary 26AWG UPOCC Litz Copper with multi-size stranding. The advantage of multi-sized
stranded design within the same encapsulations enables A4 to achieve distinct highs and details
due to the signal transmission speed in thinner cable strands, while the thicker size cable
strands deliver smoother bass and mids.
A4 features a durable, overmolded .78 2-pin connector offered with either a 3.5mm right angle
or 2.5mm balanced termination and improves upon the previous cable design. 2.5mm to 4.4mm
adapters are available here (attach link).

BLACK TIDE
Donning a monochromatic black on white theme, Hero features our exclusive “Black Tide”
faceplate with the classic Empire wings spanned on the right and “HERO” on the left.
“Black Tide” is proudly handmade in the USA.

**ECT** Titanium Blizzard
Hero makes an even more powerful statement, inside and out, with the ultra-exclusive
“Titanium Blizzard” faceplate.
“Titanium Blizzard” is proudly handmade in the USA.

Empire Ears:

Operating from Norcross, Georgia, Empire Ears has created some of the most radical and technically sophisticated IEM’s to date. Founder Dean Vang is an absolute mad scientist of sorts and meeting him in his lab recently, and it was quite the experience. It allowed me to see the day to day operations and the inspiration for what precisely the team over at Empire Ears has set out to achieve. Many familiar with Jack Vang, the VP of Empire Ears, know he is a significant factor in the design, sound, and execution of the final product as well. He often spends endless hours in the lab over-seeing operations and managing the logistics for distributors overseas.

Additionally, I spent quite a while chatting it up with Josh Watkins, who handles most, if not all, of the domestic-related marketing. Fun fact, he’s quite knowledgeable about IEM’s and schooled me on how they are constructed, tuned, and the countless revisions that never see the light of day. All in all, the visit made me appreciate Empire Ears even more so. It is one thing to think you know how the process is managed, but to see with your own eyes, is another thing altogether. The undertaking involved is humbling. Hat’s off to Empire Ears for the unbelievable hospitality. I would highly recommend anyone who is a fan of their work to spend a few hours at their facility, and you will not be disappointed.

Fun fact, the Founders Edition Hero I will be reviewing today was hand-picked for me by Dean Vang. How awesome is that?!

My hard-earned money was spent on the Hero. There was no discount, nor was there a promise of anything in the future for a favorable review. I had the luxury of hearing these first hand , if I didn't like them during my listening session, I wouldn't have purchased them. In writing this review, my honest feelings are scribed. What I hear and what I feel.



Visuals:

The Hero has an elegant, simple black and white swirl type design but only to the untrained eye or poorly lit photo. In-person, the white in the shells has a deep white, almost layered marble appearance to them. The black swirling in adds depth and contrast that make them pop. I like the look of them a lot more after seeing them in person. What appears to be a simple color scheme, really opens-up and shines when you get to see them up close. Like most of the Empire Ears line, the Hero is made of hard acrylic. The acrylic can be great for resisting annoying blemishes from use but can be detrimental if dropped, so keep that in mind.

They can be strong but delicate if dropped on a hard surface. Luckily, Empire Ears stands behind their product and include the following warranty:

“Custom In-Ears Limited 2 Year Warranty Empire custom in-ear monitors are warranted against material defects and workmanship defects for a period of twenty-four (24) months from the original shipping date or manufacture date, whichever is later. During this period Empire will, at its discretion, repair the defective unit or replace it. Universal In-Ears Limited 1 Year Warranty Empire universal in-ear monitors are warranted against workmanship defects and material defects for a period of twelve (12) months from the manufacture date or original shipping date, whichever is later. During this period, Empire will, at its discretion, repair the defective unit or replace it.”

In addition to the warranty, if you are a complete dufus and bust them up, you can always send them in to be repaired for a fee, of course.





What’s in the box:

• (2) Hero in-ear monitors
• ALPHA-IV (A4) 26AWG UPOCC Copper Litz Cable
• Metal Pandora case (circular)
• Final Audio E Type silicon tips (from SS to XL)
• Cleaning tool
• User Manual
• Empire Ears branded stickers

The Founders Edition is limited to 100 units and exclusively includes:

• Personalized serial number
• Engraved serial number plate in place of the thank you card
• Dean Vang's (Founder & CTO) signature on the shell
• A photo of Dean building the IEM with a personalized thank you signed by the entire EE team

Review Setup:

• Fiio M11 Pro (2.5mm)
• Fiio BTR5 (2.5mm)
• FLAC files
• Tidal MQA streaming

Sound:

I tested the Hero on the 2.5mm balanced termination of my listed devices. There were Chord products available for me to use, but after a bit of listening, I determined it was not necessary being predominantly a mobile setup guy anyways.

The first thing I thought of when listening to the Hero was, “Damn… this is good.” There was no apparent sacrifice to achieve what many consider to be “fun neutral.” The holographic-ish soundstage was there, the clear vocals were there, and the plentiful treble was there, but what else was there? One word, bass.

Hero takes bass that is to the likes of the Valkyrie and improves the quality. The bass is executed well. The sub-bass grunt extends to the depths and reminds you there is an Empire Ears proprietary Weapon IX+ inside. The mid-bass is slightly elevated above neutral, but as far as I am concerned, there is no bleeding into or interfering with the mids, so party on, right? I love well-executed mid-bass enhancements because they provide that impact that is natural to many percussive instruments. Without that “feeling” mid-bass delivers, I often feel something is lacking. I understand the audiophile accepted parameters for neutral tuning, but having stood in front of a drumline, neutral and accurate means, you feel it.

The mid-range of the Hero is noticeably clear and present. It may not be the forefront of the sound signature, but it is not sitting back in the mix by any means; it is centered or slightly forward. The vocals just come across as dead-natural and crisp. Male vocals sound on point, and Female vocals sound exceptionally invoking.

Treble, the good ol’ make or break of many in-ear monitors. I am happy to report that the Hero provides enough treble energy and detail to satisfy the treble-heads and avoid harming the sensitive folk. The treble falls right on the line of reference and energetic and sounds like accurate treble should; lively. It is present in the signature, but it is not overpowering the mix, all while remaining crisp and impactful.

Overall, the Hero provides an incredibly unique sound that teeters on the line of reference and energetic, without being harsh or boomy. I perceive a decently wide stage, approaching holographic if you will, with fantastic imaging. Every sound has its place or location and is easily identifiable. The Hero is a coherent in-ear monitor that resembles a W shaped tuning to the likes of many other $1500 to $2300 IEM’s, except it is $1349. This thing can do it all and puts up a strong contention for an excellent price to performance ratio.




Comparisons:

Campfire Andromeda 2020

Bass is more impactful and accurate with Hero (DD vs. BA). Hero mids are more transparent and more engaging. The treble is a toss-up for me and is dependent upon what you want. The Hero provides a crisper and slightly more centered treble, whereas the Andromeda has a smoothed out but recessed treble from previous iterations. That said, I find the Andromeda 2020 preferable over the Solaris 2020 because of its improved tonality, it is just not quite at the level of the Hero.

Campfire Solaris 2020

The bass on the Hero is deeper and more present while not ruining anything, whereas the Solaris extends deep but often leaves you feeling that some passages were not as pronounced as they should be. The Hero quells that insufficiency. The mids are a hint warmer on the Solaris and a bit more etched but not cold on the Hero. The Hero comes off as more reference in the vocal region, but the lack of coloring here bodes well as you hear the vocalist precisely as intended. The Solaris is not bad by any means, but it is slightly colored for warmth. Sometimes I noticed that warmth and the bumped mid-bass of the Solaris 2020 sounded congested or veiled. The treble of the Solaris 2020 got a nudge back, so it is now less pronounced.

The Hero retains the likes of the previous Solaris models treble but adds a smidgen of flare. Some may perceive this as energetic, but in my view it as just squeezing out the last bit of detail without over-doing it. To be completely blunt, my feeling is they recessed the treble too far in the Solaris 2020. The original Solaris and the Special edition are closer competition for the Hero and will primarily come down to preference.

64 Audio Nio

This is just an odd comparison, but I will put it out there. First and foremost, they sound nothing alike. The Nio is highly capable but smooth and relaxing listen. The Nio’s bass is more emphasized in the mid-bass region, less so in the sub-bass. The Hero has an about even amount of sub-bass and mid-bass to offer. Neither which overpower the mids. The mids of the Nio are smooth and lush while the Hero lean more towards clarity and resolution. Both do vocals supremely well. The treble is more recessed or smoothed out on the Nio, and this is the most immediate difference upon first listen between the two. Just think Nio, soft treble, Hero, crisp, and more present treble. Hero is more oriented towards detail, and the Nio is more for smoothness.

Conclusion:
I feel that the Hero is a solid buy, and in the sea of $1k something IEM’s, it holds its own and even flaunts it’s worth. There are several factors when purchasing in this price range, and it’s tough to ignore how dynamic and well-executed the Hero is. I foresee many jumping from the Solaris train and getting aboard the Hero train. I also see the Hero making the Valkyrie obsolete, but I am confident the crew over at Empire Ears knows that as well. The Hero has better bass than the Valkyrie, better mids, better vocals, and the treble is cooled down enough to be still present but not so polarizing. Oh, and it’s also cheaper.

If I likened the Hero to any other IEM, it would be the 64 Audio Trio. They both possess much detail that presents a W shaped sound that some confuse as “V-shaped.” The difference lies within the Hero having more bass, both sub, and mid-bass, in addition to a warmer signature and more powerful overall sound. The Trio is brighter but softer and feels more open, or maybe elegant would be the word. The Trio is what most would consider the more technically proficient IEM, but I would say to be in the company of the Trio, Empire Ears knocked it out of the park with the Hero at $1349.