Reviews by Infoseeker
Penon Quattro :
4x Dynamic Driver iem
3-way crossover.
Two drivers for bass, 1 for mids, 1 for the highs.
So notice, 4 drivers but it's really only three different drivers doing the work.
Looks:
A beautiful blue faceplate. That reminds you of turquoise rocks.
Comfort:
I can fit this in my ear concha easily. Nozzle can let you deep fit the iem if wanted.
Sound:
Gear:
As you will read in the sound description. This iem is quite rounded feeling; so I used my Fiio R7 all-in-one to listen to it. As that is a more dry/intense source that this kind of iem synnergizes well with.
My main Desktop setup is already setup to give a euphonic feeling that wouldn't work with this iem.
This is a doozy of an iem:
I honestly didn't have such high expectations for coherency of the 3 crossovered drivers. But the iem's turned out to have such an amazing center-imaging.
Heck, the center-imaging is so good that it almost feels like I am using analogue chain sources. A very euphonic playback, with little even stereo imaging seperation.
Bass:
It has a pillowy midbass. Definitely not a well-rounded midbass hit. This is the only truly objective con of the iem.
Subbass rumble is fine and somehow never drowns out ahead. Subbass oddly somehow...doesn't come out as incoherent despite the bass tilt profile.
Mids:
The lower mids are colored, but remember this set is tuned to do so.
Vocals definitely tilts towards lower vocals.
A male recording made to emphasize deep vocals will come out with some weird edge to it. I.e.: Like a Johnny Cash track.
Most tracks without such deep emphasis are not as effected.
Vocals are well positioned with the rest of the mix.
Mids-Instrumental stuff:
String instruments seem to come off as if there is more lower octave stuff in the timbre. Will color a violin to sound like it's been tuned to be more baritone.
No strong imaging seperation to instruments. Just gives minimal-to-little layering between instruments, you just get pushed to focus on the later octave of stuff rather than being immersed by any staging quirks.
I have a special iem cable, the NightJar Mira, that came with my Subtonic Storm that is known for adding some euphonic mids and treble to the playback. While also centers the imaging a step further to color things more centered feeling........this Quattro already feels like it got Mira'd. o.O
Treble:
No harman-like crispness in the lower treble. Really well balanced treble in the lower parts.
Some peaking spice if you focus closely. Like heard in the higher octave stuff of vocals. Not sibilant, but you can hear a peak is happening, just it is rolling off well.
There are no problem with cymbals feeling too zingy.
The edge feeling to some strong instruments might be a little too rounded.
Treble overall is very safe. With no extra emphasis to higher-octave stuff.
Quite a nice timbre iem, but a colored timbre that is.
Conclusion:
This iem is definitely not a safe buy; to be your very first to own. It very much colors the timbre to things. A "warm" iem.
...but it is very much a fun iem to own and listen to.
Definitely do not expect to use this iem for professional work.
I don't know why, but this side-view of the turquoise faceplate looks really cool.
Size Differences:
Simgot EA1000, Quattro, Subtonic Storm
So the Nightjar Mira cable I mentioned....I tried it on.
Wow, this made the bass much more aggressive helping out this iem greatly. Heck everything is more aggressive.
Too bad it costs....yeah.
No cons to using this cable on the Quattro.
4x Dynamic Driver iem
3-way crossover.
Two drivers for bass, 1 for mids, 1 for the highs.
So notice, 4 drivers but it's really only three different drivers doing the work.
Looks:
A beautiful blue faceplate. That reminds you of turquoise rocks.
Comfort:
I can fit this in my ear concha easily. Nozzle can let you deep fit the iem if wanted.
Sound:
Gear:
As you will read in the sound description. This iem is quite rounded feeling; so I used my Fiio R7 all-in-one to listen to it. As that is a more dry/intense source that this kind of iem synnergizes well with.
My main Desktop setup is already setup to give a euphonic feeling that wouldn't work with this iem.
This is a doozy of an iem:
I honestly didn't have such high expectations for coherency of the 3 crossovered drivers. But the iem's turned out to have such an amazing center-imaging.
Heck, the center-imaging is so good that it almost feels like I am using analogue chain sources. A very euphonic playback, with little even stereo imaging seperation.
Bass:
It has a pillowy midbass. Definitely not a well-rounded midbass hit. This is the only truly objective con of the iem.
Subbass rumble is fine and somehow never drowns out ahead. Subbass oddly somehow...doesn't come out as incoherent despite the bass tilt profile.
Mids:
The lower mids are colored, but remember this set is tuned to do so.
Vocals definitely tilts towards lower vocals.
A male recording made to emphasize deep vocals will come out with some weird edge to it. I.e.: Like a Johnny Cash track.
Most tracks without such deep emphasis are not as effected.
Vocals are well positioned with the rest of the mix.
Mids-Instrumental stuff:
String instruments seem to come off as if there is more lower octave stuff in the timbre. Will color a violin to sound like it's been tuned to be more baritone.
No strong imaging seperation to instruments. Just gives minimal-to-little layering between instruments, you just get pushed to focus on the later octave of stuff rather than being immersed by any staging quirks.
I have a special iem cable, the NightJar Mira, that came with my Subtonic Storm that is known for adding some euphonic mids and treble to the playback. While also centers the imaging a step further to color things more centered feeling........this Quattro already feels like it got Mira'd. o.O
Treble:
No harman-like crispness in the lower treble. Really well balanced treble in the lower parts.
Some peaking spice if you focus closely. Like heard in the higher octave stuff of vocals. Not sibilant, but you can hear a peak is happening, just it is rolling off well.
There are no problem with cymbals feeling too zingy.
The edge feeling to some strong instruments might be a little too rounded.
Treble overall is very safe. With no extra emphasis to higher-octave stuff.
Quite a nice timbre iem, but a colored timbre that is.
Conclusion:
This iem is definitely not a safe buy; to be your very first to own. It very much colors the timbre to things. A "warm" iem.
...but it is very much a fun iem to own and listen to.
Definitely do not expect to use this iem for professional work.
I don't know why, but this side-view of the turquoise faceplate looks really cool.
Size Differences:
Simgot EA1000, Quattro, Subtonic Storm
So the Nightjar Mira cable I mentioned....I tried it on.
Wow, this made the bass much more aggressive helping out this iem greatly. Heck everything is more aggressive.
Too bad it costs....yeah.
No cons to using this cable on the Quattro.
Amp colorings;
A lil subtly hazy (in a positive holographic manner), gives some slammy midbass copium, is forgiving to the shrill of crisp transient DACs (like the DC2).
Gain Switch:
High GAIN,
Sounds less forgiving by a step. I mostly hear it in vocals. Not sure how to describe it.
High gain has more of a etch, that can compensate for details missing in your DACs presentation.
Low Gain,
Is more forgiving and further reduces the shrill/crisp nature of a DAC. Low gain does not have less slam than high gain. The low gain can slam just as hard on my dx300 or DC2 chains. It's just a matter of how forgiving you want the presentation to be.
Only time I found high gain was needed for slam was for an outlier headphone I have on hand my lcd-xc. But that is a quirky headphone.
With Dangerous convert 2 Dac & my DX300 Amp12 dap (Cirrus Logic DAC) , Piety's low gain works out better in synergy.
With my AKM & ESS stuff & other dongle's aroind, the high gain gives better synergy. They need more help in getting an extra crispness to the dynamics.
iFi Gryphon dac/Amp had a weird behavior that didn't work well for the Piety. As if the signal is being impeded somehow. Not as slammy, and just more hazy as a combo. Though, it oddly worked out great for my Focal Utopia headphone.
Oh on that note of impeding the signal....
I tried using my -10db Rothwell RCA attenuators to let my Dangerous Convert 2 9.75vrms hot signal pair with the Piety, and it worked fine.
BUT, when I used my Jbl MPatch2 passive preamp to bring down the hot signal of the Dangerous Convert 2 Amp, there was a crazy amount of more bass slam to the combo.
The Rothwell attenuators resulted in less of a contrast to the bass (slam).... Instead you got a more.....continuous rounded warmth to the bass/mids presentation.
As for the Treble, the Rothwell Attenuators gave rounded down feeling to the treble. Like less of an etch....but this might be less "fun" for many people. Though it did also feel cleaner.
Overall, I stopped using the RCA attenuators for the chaining.
My silliness with a compatible AC power bank, the Piety slams more on the bass, but the LO Gain becomes as unforgiving as the High gain.
-------------
________
Okay A/Bing the Magni Piety versus the Bryston BHA-1 amps:
Okay time to actually A/B.
DC2-to-MPatch2
MPatch2 outputs #1 Bryston BHA-1 & #2 Magni Piety
Headphone Focal Utopia
Out of the bat, BHA-1 feels more presenting with music from further a holographic plane. And the bass is less upfront. I need to go louder on the BHA-1 to reach the same slam on the Utopia.
The ending resolving movement of the bass excursion on the Utopia feels more controlled w/ a smoother movement in resolving back to position on the BHA-1.
Piety comes out more slammy. But that is in an expected compressed way. Bass resolves & ends notes much quicker. But not less fun to listen too. Just less sweet in the mids in comparison.
Piety does not make Bryston BHA-1 Amp obsolete for a solid state Amp that tries to emulate analog aspects. But Piety does an amazing job at emulating it as well...... and with more slam if that is your priority!
The song "Just the Two of Us" by Grover Washington really highlights the holographic difference between the BHA-1 & Piety.
If I am to set the BHA-1 as the baseline of being really analog and holographic presentation that encompasses feeling "ethereal". Then
Off the Piety, this song simply doesn't like the low gain mode.
On Piety high gain, the vocals sound with a step more intimacy compared to the BHA-1...but if you focus on the things around the vocals.....
Things sound as if in an airy cathedral room instead of sounding "sweet". On the BHA-1 however, rather than simply feel airy, things seem to be coming off from a different stage.
On the Piety, things are not happening on a seperate plane, but just there is an airy cathedral kind of dsp effect to things. Things still sound uncompressed and airy, but on the BHA-1, you get a sense of the echoes in the room rather than just the airiness of the cathedral.
Piety is still the more slammy presentation between them. You get an open airy sound that is great. It has plenty of fun strengths!
A lil subtly hazy (in a positive holographic manner), gives some slammy midbass copium, is forgiving to the shrill of crisp transient DACs (like the DC2).
Gain Switch:
High GAIN,
Sounds less forgiving by a step. I mostly hear it in vocals. Not sure how to describe it.
High gain has more of a etch, that can compensate for details missing in your DACs presentation.
Low Gain,
Is more forgiving and further reduces the shrill/crisp nature of a DAC. Low gain does not have less slam than high gain. The low gain can slam just as hard on my dx300 or DC2 chains. It's just a matter of how forgiving you want the presentation to be.
Only time I found high gain was needed for slam was for an outlier headphone I have on hand my lcd-xc. But that is a quirky headphone.
With Dangerous convert 2 Dac & my DX300 Amp12 dap (Cirrus Logic DAC) , Piety's low gain works out better in synergy.
With my AKM & ESS stuff & other dongle's aroind, the high gain gives better synergy. They need more help in getting an extra crispness to the dynamics.
iFi Gryphon dac/Amp had a weird behavior that didn't work well for the Piety. As if the signal is being impeded somehow. Not as slammy, and just more hazy as a combo. Though, it oddly worked out great for my Focal Utopia headphone.
Oh on that note of impeding the signal....
I tried using my -10db Rothwell RCA attenuators to let my Dangerous Convert 2 9.75vrms hot signal pair with the Piety, and it worked fine.
BUT, when I used my Jbl MPatch2 passive preamp to bring down the hot signal of the Dangerous Convert 2 Amp, there was a crazy amount of more bass slam to the combo.
The Rothwell attenuators resulted in less of a contrast to the bass (slam).... Instead you got a more.....continuous rounded warmth to the bass/mids presentation.
As for the Treble, the Rothwell Attenuators gave rounded down feeling to the treble. Like less of an etch....but this might be less "fun" for many people. Though it did also feel cleaner.
Overall, I stopped using the RCA attenuators for the chaining.
My silliness with a compatible AC power bank, the Piety slams more on the bass, but the LO Gain becomes as unforgiving as the High gain.
-------------
________
Okay A/Bing the Magni Piety versus the Bryston BHA-1 amps:
Okay time to actually A/B.
DC2-to-MPatch2
MPatch2 outputs #1 Bryston BHA-1 & #2 Magni Piety
Headphone Focal Utopia
Out of the bat, BHA-1 feels more presenting with music from further a holographic plane. And the bass is less upfront. I need to go louder on the BHA-1 to reach the same slam on the Utopia.
The ending resolving movement of the bass excursion on the Utopia feels more controlled w/ a smoother movement in resolving back to position on the BHA-1.
Piety comes out more slammy. But that is in an expected compressed way. Bass resolves & ends notes much quicker. But not less fun to listen too. Just less sweet in the mids in comparison.
Piety does not make Bryston BHA-1 Amp obsolete for a solid state Amp that tries to emulate analog aspects. But Piety does an amazing job at emulating it as well...... and with more slam if that is your priority!
The song "Just the Two of Us" by Grover Washington really highlights the holographic difference between the BHA-1 & Piety.
If I am to set the BHA-1 as the baseline of being really analog and holographic presentation that encompasses feeling "ethereal". Then
Off the Piety, this song simply doesn't like the low gain mode.
On Piety high gain, the vocals sound with a step more intimacy compared to the BHA-1...but if you focus on the things around the vocals.....
Things sound as if in an airy cathedral room instead of sounding "sweet". On the BHA-1 however, rather than simply feel airy, things seem to be coming off from a different stage.
On the Piety, things are not happening on a seperate plane, but just there is an airy cathedral kind of dsp effect to things. Things still sound uncompressed and airy, but on the BHA-1, you get a sense of the echoes in the room rather than just the airiness of the cathedral.
Piety is still the more slammy presentation between them. You get an open airy sound that is great. It has plenty of fun strengths!
Attachments
Will probably update this later.
Box
EDIT Update#1:
This is so weird.
My Nan-7 is actually slamming more out of the Gustard A22 dac than off the Dangerous Convert 2. And buy a big amount, actual bass fatiguing.
Both DACs are connected to a Bryston 3BST power amp w/ a passive preamp.
While it's the opposite on the HE6 6-SCREW. That sounds more dynamic and contrasting when chained off the Dangerous convert 2.
The Nan-7 is actually not polite sounding now when I am using my other DAC (Gustard A22 DAC).
Techs & Bass
Minimally warm/boxy. Flat bass and lower mids like most ToTL headphones in this area.
Not a lot of macro dynamics texture to that bass relative to my He6 6-screw; but not lacking bass either. There are lots of micro dynamics details; not much gets masked
Breaking ear pad seal on the Nan-7 does not increase bass like it does with the HE6..... But neither does it reduce bass. So similar to my HD800S in this behavior. In both seal and texture.
One more note, it has a very strong center image that feels natural. As in, it does not require a Crossfeed dsp in order to fix anything. No uncanny stereo feeling.
Pinna
Pinna is nuetral. Definitely has enough gain to keep the vocals forward and not miss out on the placement. But also it is not very shouty for female vocals though.
Treble
Presence-region has a lil crispiness but still not bright enough to make things like brass instruments to pop. But it does have a very good timbre for higher octave details for string instruments.
Pretty fatigue-less in the Treble. Not much emphasis for metallic-hits & energetic brass instruments or an airy last octave treble. Not going to have a gimmick of being hyper-engaging for late night listening. But neither is it rolled off. Like there is definitely some crispness to the playback.
Update Oct.20:
Nan-7 Nan7 Frequency Response Graph taken after the Subjective review earlier
FIT
Fit is great.
The leather strap does not touch the metal-headband. Clamp does not hurt for my head shape.
Yoke-rods tilt inwards like an Audeze headband.
Clamp is just right for my head shape. Nor is it so hard clamping that my ears touch anything inside the ear pad.
Notice the cable, itis tightly woven in fabric that makes it a little hard to use, but very easy to coil away. Similar to a hoodie's string or to a shoe-lace.
Earpad material is nice and soft. Fabric silky touch on the ear surface. And around that it's a leather like material.
Headphone earcup sockets use 3.5mm input Jack's.
Logo for the Nan-Z person on the side
Remainder of the pictures. Carbon fiber looking. Headphone does seem light weight. Seems to have sharp edges like the parts were stamped to produce the cut-outs.
It looks like carbon fiber, or it could be something like acetate wrapped. But one things for sure, it feels sturdy and light. And the cuts look like they are layered as if it's a multiple layerings.
Box
EDIT Update#1:
This is so weird.
My Nan-7 is actually slamming more out of the Gustard A22 dac than off the Dangerous Convert 2. And buy a big amount, actual bass fatiguing.
Both DACs are connected to a Bryston 3BST power amp w/ a passive preamp.
While it's the opposite on the HE6 6-SCREW. That sounds more dynamic and contrasting when chained off the Dangerous convert 2.
The Nan-7 is actually not polite sounding now when I am using my other DAC (Gustard A22 DAC).
Techs & Bass
Minimally warm/boxy. Flat bass and lower mids like most ToTL headphones in this area.
Not a lot of macro dynamics texture to that bass relative to my He6 6-screw; but not lacking bass either. There are lots of micro dynamics details; not much gets masked
Breaking ear pad seal on the Nan-7 does not increase bass like it does with the HE6..... But neither does it reduce bass. So similar to my HD800S in this behavior. In both seal and texture.
One more note, it has a very strong center image that feels natural. As in, it does not require a Crossfeed dsp in order to fix anything. No uncanny stereo feeling.
Pinna
Pinna is nuetral. Definitely has enough gain to keep the vocals forward and not miss out on the placement. But also it is not very shouty for female vocals though.
Treble
Presence-region has a lil crispiness but still not bright enough to make things like brass instruments to pop. But it does have a very good timbre for higher octave details for string instruments.
Pretty fatigue-less in the Treble. Not much emphasis for metallic-hits & energetic brass instruments or an airy last octave treble. Not going to have a gimmick of being hyper-engaging for late night listening. But neither is it rolled off. Like there is definitely some crispness to the playback.
Update Oct.20:
Nan-7 Nan7 Frequency Response Graph taken after the Subjective review earlier
FIT
Fit is great.
The leather strap does not touch the metal-headband. Clamp does not hurt for my head shape.
Yoke-rods tilt inwards like an Audeze headband.
Clamp is just right for my head shape. Nor is it so hard clamping that my ears touch anything inside the ear pad.
Notice the cable, itis tightly woven in fabric that makes it a little hard to use, but very easy to coil away. Similar to a hoodie's string or to a shoe-lace.
Earpad material is nice and soft. Fabric silky touch on the ear surface. And around that it's a leather like material.
Headphone earcup sockets use 3.5mm input Jack's.
Logo for the Nan-Z person on the side
Remainder of the pictures. Carbon fiber looking. Headphone does seem light weight. Seems to have sharp edges like the parts were stamped to produce the cut-outs.
It looks like carbon fiber, or it could be something like acetate wrapped. But one things for sure, it feels sturdy and light. And the cuts look like they are layered as if it's a multiple layerings.
Attachments
Infoseeker
Updated a new picture for those interested.
LeFaucon
How much is this please ?
BowWazoo
About 1000€ shipping and taxes incl.
I feel bad for the people who had to wait on their backorder.
The packaging box:
UTWS5 + Thieaudio v16 Divinity
Presentation and subjective sound description:
This actually isn't compressed sounding fore a Bluetooth solution! But I am using an all-BA iem. Quite a good compromise.
Vocals don't feel forward.
Imaging is actually being staged without compression. There is actually a some sense of depth for a Bluetooth setup.
There might be some extra treble-crisp on the top end in the air tones. But maybe that will go away with settings. Or after some power cycles go by.
Low end is really clean though. The BA bass drivers of my Thieaudio V16 are actually presenting as slammy and don't feel dry either. There is a sense of decay to drum hits.
Codecs: Aptx Adaptive & LDHC.
Fit is pretty comfortable. Though you got to push the module out of the way as you put it on. But is becoming quick and thoughtless to do over time
FIT:
Overall, I am quite satisfied with the results. And find this quite the combo with my all-Ba Thieaudio v16 Divinity iem.
The packaging box:
UTWS5 + Thieaudio v16 Divinity
Presentation and subjective sound description:
This actually isn't compressed sounding fore a Bluetooth solution! But I am using an all-BA iem. Quite a good compromise.
Vocals don't feel forward.
Imaging is actually being staged without compression. There is actually a some sense of depth for a Bluetooth setup.
There might be some extra treble-crisp on the top end in the air tones. But maybe that will go away with settings. Or after some power cycles go by.
Low end is really clean though. The BA bass drivers of my Thieaudio V16 are actually presenting as slammy and don't feel dry either. There is a sense of decay to drum hits.
Codecs: Aptx Adaptive & LDHC.
Fit is pretty comfortable. Though you got to push the module out of the way as you put it on. But is becoming quick and thoughtless to do over time
FIT:
Overall, I am quite satisfied with the results. And find this quite the combo with my all-Ba Thieaudio v16 Divinity iem.
Attachments
Also posted on:
https://www.audiodiscourse.com/2022/02/unique-melody-mext-review.html
Disclaimer:
I purchased the MEXT over the HeadFi special deal by MusicTeck at a discount for reviewers. I have no other conflict-of-interests.
Initial Impressions:
Bass-head iems no doubt, with an encompassing warmth to follow it. Does have last octave treble extension.
PACKAGING:
Nice presentation for something with such a small footprint. This is really well designed for simply packaging. Also has a pull-out drawer for accessories.
AZLA Xelastec tips are extremely isolating & did best against other third party tips.
The iems in the carrying case: There is a removable velcro-divider to keep the L & R units seperate.
Cable:
Sheathing is a little glossy and has a chemical smell that you will need to air out.
Y-splitter is really solid and premium feeling:
Chin strip detached:
Sound:
Gear Tested On:
Ibasso Dx300 dap with amp11mki amp module.
Ibasso Dx300MAX Stainless Steel edition iem.
Staging & Tech :
This iem does everything in its staging balance. Its is not specialized in depth nor is it specialized in wide stereo panning. It is both passable in Depth & Width that doesn't give an uncanny valley feeling from any extreme in either direction.
That said, the microdetails does a good job not neglecting details in music. Details are surrounding you, though they are reasonable and not wow you about it.
There is one speciality it has is in bass string instruments can kind of pop out even if its meant to be quite in a track. Interesting how subtly it can pop out these string plucks from a gradient of very quiet to loud without it getting masked; these are lower tones.
The upper-register instruments don't present with such a control at lower volume dynamics like the bass string instrumentals. They are the usual, binary on/off either their in the track or not; I mean it is normal in this sense. It is the bass strings you can hear be unique in that they can gradually present in very quiet to very loud.
I do not think these techs are representative of the bone condunction driver. I feel it is associated to the bass drive; a bass driver so tuned with intent that it kind of gives you driver-flex as you put the iem on (thedriver flex is not a problem in this case, but how its tuned).
Bass:
There is driver flex, and if you don't adjust for fit it will block the sound. So make sure to find a good tip size for your size. The AZLA Xelastecs especially make this issue more obvious by how well they seal. But these Xelastec tpis isolate so well it is a shame not to use them. Especially since this iem has significant bass ports that will not isolate outside people's voices from you (when the music is paused).
Again, no doubt a basshead iem. With a decadent warmth that will outshine other parts of the presentation. I did not find it masking things, but the bass does give a minimal boxy feeling to the playback (but that is reasonable & intentional for this iem's sound signature).
Bass can feel wet in the presentation whilst focusing on the subbass. Slam is quite satisfying, except when it comes to tom drums, where it is polite in the snap. Subbass slam is quite satisfying.
Mids:
Bass transitions into the mids with lots of warmth.
Voices depict a forwardness and are not lost to a track. No worries about sibilance. Not only is it not sibilant, but it feels like the presence region/later-mids are not as raised for people who love their shout. Female vocals and overtones to male-voices are defintly polite.
Piano notes in the lower register are quite satisfying, but when it comes to notes in the higher register, they are not as clear.
Treble:
Mids-to-Treble trasition happens with a lack of presence region between them and the lower treble region.
Voices are not sibilant or shouty, but neither are their overtones being given much "sweet" clarity.
Upper-register instruments don't have much "bite" to them. Violin main notes will encompass you in strength & the overtones will not get neglected, but neither will the violin notes feel positively-piercing to you.
Upper-piano notes have a twang; there is too much air/overtones noise that almost feels like the presentation of old-gen Balanced Armature's last octave treble seen in older IEMs. That twang feels off in timbre.
Lack of metallic timbre to the
This treble timbre problem doesn't present in other things in the playback. So not a problem for rock music, and not a problem from modern music (EDM, etc.). Or for older more synth tracks (ie., techno, old rap like Ludicris, etc.).
COMPARISONS A/B:
After noticing that this iem has warmth but with less upper-mids, I decided to compare to similar tuned iems I had around. IEMs also famous for being successful with their derivatives of such a sound signature: Sony ier-z1r, Sennheiser ie900, and my old Ultimate Ears TripleFis.
w/ Sony Ier-Z1r:
Being challenged in size. But the MEXT is the more comfortable to wear over. Both got similar passive isolating.
Ier-Z1r feels thinner and with a more treble tilt. Better worded, that MEXT has more forward low-end quantity, while both maintain a similar ratio for the bass as they hit similarly. Ier-Z1r may seem thin, but that is when put relatively to the MEXT it seems so.
Vocals have more shout on the Ier-Z1r. Also more borderline sibilance & metallic hit to things on teh ier-z1r.
Staging is similar on both iems, but there is more treble standing out on the ier-z1r. But the ier-z1r sibilance & metallic feeling are both pleasant as they play it close to fatiguing tolerance levels. No issue with upper piano notes like in the MEXT.
w/ Sennheiser ie900
About the same in isolation to MEXT.
Similar to the ier-z1r iem feels thinner & more treble tilted when in comparison to the MEXT. Sennheisser ie900 defintely has the bigger slam bass hit between the two of them. Bass on the ie900 also has a similar ratio of wetness to the Bass.
But when it comes to the mids, the ie900 details are getting masked more, despite being less thick and forward to the bass overall. MEXT has the advantage here.
Treble is definetly greater in quanitity on the ie900. Right away you feel the sibilance in vocals. Instruments overtones and air are more piercing and w/ sizzle. Despite ie900 having more treble quanitity than MEXT, I dont find the ie900 has the same problem I noticed with the piano-notes.
w/ UltimateEars Triple-FI TF10
These MEXT made me remember these old hit iems. I had to pull out from a back drawer of memories.
Okay this is really similar, but boy is the Triple-Fi showing off its age. This absolutely doesn't hold up.
Lots of bass but less in quantity & slam to the subbass in the TF10. More importantly, the bass overall has less control in presentation. Bass sounds drier and is waay to quick in how it resolves.
Mids are alot more masked in the TF10, with a less ideal transtion to the bass. Triple-Fi is just much worse in the mids.
Vocals are unforgivingly honky on the Triple-Fis. No sibilance on either iem or shout, both polite.
The treble indeed reminds me of the MEXT, these BAs depict the same timbre I get from the MEXT; I wonder if the BAs being used share some pedigree. Piano notes on both of these IEMs really got that twang like that are clipping in the high notes. They are being pushed too hard to implement for the iems. The do have some strengths though, they image well; though that cuold be just how it contrasts with the less upper-mids.
Closing Notes:
Only downside is the treble extension; it feels like it's clipping in certain treble notes, like they can't handle being even at the little loudness they are currently at. Still this is not a problem unless you listen to solo piano tracks; this is something I only took notice of to put into the review, but will not hold as practical signifigance to you. So please don't let this be a decision breaker before giving the MEXT a chance. I truly feel like these have a pleasant tonality and good staging that will match many people's preferences as their favorite.
This IEM has a specialty where you can feel it has extra control in the microdetails of the lower mids. Where it can present things in this range with so much control , that the imaging pops with details presenting from quiet to loud if the track calls for it.
Unique Melody MEXT is a pleasantly warm iem. That are a great value for their price; especially being cheaper than the similar tonality iems I compared it to earlier. Its got a satisfying bass, mids are not masked despite the warmth, and the treble has great extension. Good chance it will be the favorite for many people out there.
Supplementary:
How they looks worn. The Fit is very nice, though they are big. But they don't have any difficult bulging to their shape that will be problematic.
BEWARE OF MAGNETS! /s
Apparently this part is magnetic, as I learned pulling these out of my drawer overnight.
Attachments
I own a upgraded version of the Spirit Torino Twin Pulse turned into a Ragnar special edition (upgraded by the company for the last owner).
They fit well and have no strong clamps. I wish the headband had a lohb strap, but that is merely my preference.
The bass has a linear bass that is very good for an openback. It won't extend as forward in the subbass as a closed back. If you add a subbass high shelf the extension of the subbass becomes really noticeable.
The Twin Pulse mids are still present enough to to work with hollowed voice tracks like heavy metal. But they are definitely not forward, nor shouty.
I noticed they can go pretty loud with no noticeable resonance problems or peaks. This is the biggest surprise. Increasing volume doesn't make them more fun.
Compared to my Seinhesser hd800s, the Twin Pulse are trebled with as far in extension, but are tame with no annoying peak in the lower treble metallic involving FR area; very good for long term listening. But arguably too polite here for some people. Twin Pulse don't have that super-airy far away speaker sound of the Hd800S. Nor are they painful. Twin Pulse is more an HD650 euphonic outdoor live venue kind of sound.
If I eq the treble up on the Twin Pulse it quickly becomes simbilant. So while it seems smooth, it isn't recessed and barely a bump gets it there.
Tracks that I know will hurt my head on the hd800s, become tolerable on the Twin Pulse.
Tl;dr
A tamed treble with great extension headphone that'll work for most genres. Are peakless studio monitors. Why monitors? Cause in terms of techs, they behave less like a dynamic driver that has some level of excursion (ie. Focals), but resolve a little too quickly for me liking (ie, HD800S but even more than the HD800S).
Quite beautiful.
Huge ear cups made to be over-ears, not like a Grado's on-ear system. Alcantara material earpads. Replacing them is expensive.
You can see the beautiful custom Nhoord Red driver used revealing itself.
Purchased it 2020. Never made a head gear post for it.
It does not have a cold tonality. Warm organic presentation. Organic as in "not dark in the treble, yet forgiving somehow".
Track with normally harsh voices get softened on tracks. My reference track is Chun Li- Nikki Minaj.
Treble details do not become sibilant like cold tonality dacs. It has airy extension, but it forgiving in the lower treble/upper-mids area.
The real standinf-out factor is the bass extension I get with this dac/amp. The subtle hidden subbass in Kill Jill- Big Boi is presented well with no 1-note bass distortion. It actually gets defined as a rumbly wave. (time point 1:30 and 3:00 minute in song).
Gain switch is really small difference between low-medium-high on the single-ended output. You'll notice a greater power jump in the 4.4mm balanced output.
There is some usb type noise that comes through the output after 80/100 on the volume pot. It is dead quiet before 79 though. It is sudden. You will not need to go this loud as this device has a lot of power. 80/100 is beyond listening volume. Might benefit to have an Intona 7055-C on hand or such device; though if your connected source isn't noisy then it won't be needed.
Oh volume knob is the kind that solidly clicks as you move it. Not a smooth attenuator, but a digital knob. The knob will not change position as you carry it around.
Does not compress the 3d depth plane of songs. Like some cheaper implemented dacs. But in terms of width it isn't as great as its depth, almost feels like there is a crossfeed active.
Device is very very portable. Is light and the size of my Hiby R6 Pro dap. Gets hot with use, but that is expected with running off a battery. Build quality is great and confidence assuring. I guess the opamps are implemented to function in Class-A?
Other sources:
M400 got a less warm tonality compared to the Hiby R6 Pro. Though you can alter the R6 Pro with the global mseb. M400 is more reasonable.
The m400, subjectively to me, equivalent in enjoyment to my Chord Hugo 2. Hugo2 is more nuetral dry sounding compared to the M400. M400 being more organic & forgiving in its play on nuetral.
Hugo2 of course wins with the non-FR stuff like the exaggerated Chord Hugo imaging/seperation. That some people find uncanny.
Box it came in:
Can charge with any USB-A charger, but it also came with one:
Came with a Apple lightning to usb-C cable! Apple ready.
Used attached to a smaller dap as a music file source. Works with phones too of course.
It does not have a cold tonality. Warm organic presentation. Organic as in "not dark in the treble, yet forgiving somehow".
Track with normally harsh voices get softened on tracks. My reference track is Chun Li- Nikki Minaj.
Treble details do not become sibilant like cold tonality dacs. It has airy extension, but it forgiving in the lower treble/upper-mids area.
The real standinf-out factor is the bass extension I get with this dac/amp. The subtle hidden subbass in Kill Jill- Big Boi is presented well with no 1-note bass distortion. It actually gets defined as a rumbly wave. (time point 1:30 and 3:00 minute in song).
Gain switch is really small difference between low-medium-high on the single-ended output. You'll notice a greater power jump in the 4.4mm balanced output.
There is some usb type noise that comes through the output after 80/100 on the volume pot. It is dead quiet before 79 though. It is sudden. You will not need to go this loud as this device has a lot of power. 80/100 is beyond listening volume. Might benefit to have an Intona 7055-C on hand or such device; though if your connected source isn't noisy then it won't be needed.
Oh volume knob is the kind that solidly clicks as you move it. Not a smooth attenuator, but a digital knob. The knob will not change position as you carry it around.
Does not compress the 3d depth plane of songs. Like some cheaper implemented dacs. But in terms of width it isn't as great as its depth, almost feels like there is a crossfeed active.
Device is very very portable. Is light and the size of my Hiby R6 Pro dap. Gets hot with use, but that is expected with running off a battery. Build quality is great and confidence assuring. I guess the opamps are implemented to function in Class-A?
Other sources:
M400 got a less warm tonality compared to the Hiby R6 Pro. Though you can alter the R6 Pro with the global mseb. M400 is more reasonable.
The m400, subjectively to me, equivalent in enjoyment to my Chord Hugo 2. Hugo2 is more nuetral dry sounding compared to the M400. M400 being more organic & forgiving in its play on nuetral.
Hugo2 of course wins with the non-FR stuff like the exaggerated Chord Hugo imaging/seperation. That some people find uncanny.
Box it came in:
Can charge with any USB-A charger, but it also came with one:
Came with a Apple lightning to usb-C cable! Apple ready.
Used attached to a smaller dap as a music file source. Works with phones too of course.
Attachments
whitedragem
@Infoseeker - you have given me info (that I may not have known I sought), cheers.
Love the look of this unit, and that useful small (OLED?) screen... beaut.
thankyou
Also ’love’ how the word COAX has been abbreviated to COX. Can I buy a vowel? (not picking, it ‘fits’ and it is obvious what it is.....)
Love the look of this unit, and that useful small (OLED?) screen... beaut.
thankyou
Also ’love’ how the word COAX has been abbreviated to COX. Can I buy a vowel? (not picking, it ‘fits’ and it is obvious what it is.....)
LostnAmerica
Ditto, + Nice to see lots of pics too...did you see the specs (power ratings) on it? Thx!
Infoseeker
Oh here you go @LostnAmerica . Added it
Output level:
Single-ended MAX: 4.25VRMS
Balanced MAX: 8.5VRMS No load
Output level:
Single-ended MAX: 4.25VRMS
Balanced MAX: 8.5VRMS No load
Purchased by my own money. Bought directly from LetShuoer's website LetShuoer.net. So no conflict of interest.
While I said no conflict of interest, I am a fan of their previous work of the EJ07. So I am a fan of the brand. I pre-ordered this iem quickly when it went up.
Bass:
Bass is both high shelved but lacks a sense of a wet rounded bass hit. I feel planar drivers, like BAs, will always be sensitive to some level of seal leak and need some kind of extra bass in compensation for it.
The bass rounded note hit tactility is quite polite. Might need to use foam tips for an extra seal.
EDIT: Using reverb-inducing ultra-thin silicone tips help make this iem's bass hit better and more tactile....Spinfit tips, specifically cp1025 models. Oh wait, I'm silly, the supplied soft black tips with the collapsible core achieve this too, but the soft black tips push the sizzle of the iem, into the sibilance region, so still a new problem.
Also I noticed bass behavior seems reflective of the source & filters. My warmer Qudelix gives a nicer bass, my ibasso dap when I use the filter behind Nuetron-player's DoP dsd128 mode also makes the bass much better on the Shuoer S12.
Moving on. Bass snap for Tom drums exhibit nice detail, that whipping sound tied with what I am guessing is in the 6kHz region for snap.
Mids:
Vocals are effortless and not forward sounding (nor lost in the mix). Really good positioning. Very organic/"right" feeling if that makes any sense.
The vocals are not the sweetest I heard. Among the cheaper iems, the Moondrop Aria still has better vocals (if only for the sake of just listening to sweet vocals).
The S12 vocals are specifically nice for their positioning in the stage.
Instruments initial attacks have good dynamic presence & are not getting masked. But like the bass before, there is a limit to how tactile things feel (including for the harmonics and overtones).
Nothing in the presentation feels overly forward feeling. Nor do things feel compressed like with iems with little contrast in their tonality's upper-mids region.
Treble:
Sizzle. Might need a peak removed for my ears, either that 8kHz peak or more likely the 15kHz one for the sizzle.
Coming back to my repeating about tactile feeling and metallic sense. The IEM's tonality probably has less gain in the 3kHz-6kHz lower treble regions. This iem doesn't have a lot of those metallic details.
Discussion:
As for the positives. There is something interesting of how it stereo pans left & right. It has a good gimmick of how it pans things into existence into the stage field. Similar gimmick to Final Audio stuff. Exceptional dynamics in that sense.
I mentioned about the bass, not tactile feeling somehow. And this iem might need more lower treble/upper mids before the 6kHz. I guess I am too used to V signatures iems lately?
This iem does not lack presence in those regions, just I feel that I would personally want more for myself. Where is becomes problem about those regions are how they contrast too much with what comes after; letting the last octave treble sizzle stand out.
Funny take, I late tried this iem with my Qudelix 5k Bluetooth transceiver. And streaming off YouTube. The Qudelix being a warm & dark-ish source & YouTube 15kHz cut-off makes the iem sizzle-less. Haha
Sounds great like this. (Earlier I was using my Ibasso DX300MAX SS dap.) Even the bass is better rounded, not sure if that is the Qudelix 5k is extra warm? Or when this Planar driver doesn't have to playback an airy sizzle then it behaves better powered in the bass?
Disclaimer: The extra tactile feeling in the presence region that I want, might be cursed for other people, and the S12 as is, could be defined as the more normal approach. So I am not saying this as a critique but lets put it as a subjective take.
My EQ addresses my subjective concerns.
Especially the piercing-sizzle late treble.
Pregain set at -6db.
The bass shelf doesn't actually reach +12 in the presentable range, but if you are worried, then set the pregain at -12db and move the frequency of the low-shelf up until 60Hz if you want more bass.
Other than the extra sizzle, do take notice that last octave sizzle I mentioned in the cons (more a concern for younger people?). That nocks a little of the grade for me.
And my subjective preferences critiques nocks it down again, but it may not be relevant for other people's takes. You can ignore if it is what you like.
Put Spinfits truly wireless tips (cp1025) for a different tip on the S12.
This seems to have worked out better. No idea if the TWS cp1025 are as upper-mids/lower-treble transparent as the other models.
More importantly:
Thin silicone tips like Spinfits CP1025, tips that do the bass reverb thing (Unlike foam tips), seem to give back a small step of bass tactility to the S12. Also a warm source.
Miscellaneous:
When taken out of the shipping parcel, it was wrapped in this cool branded bubble wrap!
Box pictures & unboxing steps:
Unboxed 1st view:
Fully disassembled:
Cable has a thick plastic sheathing that reminds me of the old Hibiscus iem cable. Other than the thick plastic sticky feeling, it behaves really well coiling.
2-pin cable. Red for Right. There is no extra dot to help with insertion orientation, but there is the ear-guiding ear hook wrapping that will give you the orientation via the only way to put them/wear them.
Supplied tips are nice and give a fit & seal. Especially the clear ones with the solid core.
Other two is some good dekoni style foam tips.
And a soft black silicone tip.
The black ones have a more softer core you can collapse easily squeezing. Not sure what their specialty is for. It's all one piece the core & the outside.
The iem:
The tuning air ports: One by the 2-pin connectors. You can see the careful holed-filter with control of how much air may pass the port.
Also note the notched nozzle lip for eartips to grab onto.
Another that faces inwards by the nozzle, that sits against your concha when donned. Will this get blocked?
The nozzle: With a filter plate:
How the iem looks worn:
Packaged with its cable color scheme, it's quite fashionable if you ask me.
While I said no conflict of interest, I am a fan of their previous work of the EJ07. So I am a fan of the brand. I pre-ordered this iem quickly when it went up.
Bass:
Bass is both high shelved but lacks a sense of a wet rounded bass hit. I feel planar drivers, like BAs, will always be sensitive to some level of seal leak and need some kind of extra bass in compensation for it.
The bass rounded note hit tactility is quite polite. Might need to use foam tips for an extra seal.
EDIT: Using reverb-inducing ultra-thin silicone tips help make this iem's bass hit better and more tactile....Spinfit tips, specifically cp1025 models. Oh wait, I'm silly, the supplied soft black tips with the collapsible core achieve this too, but the soft black tips push the sizzle of the iem, into the sibilance region, so still a new problem.
Also I noticed bass behavior seems reflective of the source & filters. My warmer Qudelix gives a nicer bass, my ibasso dap when I use the filter behind Nuetron-player's DoP dsd128 mode also makes the bass much better on the Shuoer S12.
Moving on. Bass snap for Tom drums exhibit nice detail, that whipping sound tied with what I am guessing is in the 6kHz region for snap.
Mids:
Vocals are effortless and not forward sounding (nor lost in the mix). Really good positioning. Very organic/"right" feeling if that makes any sense.
The vocals are not the sweetest I heard. Among the cheaper iems, the Moondrop Aria still has better vocals (if only for the sake of just listening to sweet vocals).
The S12 vocals are specifically nice for their positioning in the stage.
Instruments initial attacks have good dynamic presence & are not getting masked. But like the bass before, there is a limit to how tactile things feel (including for the harmonics and overtones).
Nothing in the presentation feels overly forward feeling. Nor do things feel compressed like with iems with little contrast in their tonality's upper-mids region.
Treble:
Sizzle. Might need a peak removed for my ears, either that 8kHz peak or more likely the 15kHz one for the sizzle.
Coming back to my repeating about tactile feeling and metallic sense. The IEM's tonality probably has less gain in the 3kHz-6kHz lower treble regions. This iem doesn't have a lot of those metallic details.
Discussion:
As for the positives. There is something interesting of how it stereo pans left & right. It has a good gimmick of how it pans things into existence into the stage field. Similar gimmick to Final Audio stuff. Exceptional dynamics in that sense.
I mentioned about the bass, not tactile feeling somehow. And this iem might need more lower treble/upper mids before the 6kHz. I guess I am too used to V signatures iems lately?
This iem does not lack presence in those regions, just I feel that I would personally want more for myself. Where is becomes problem about those regions are how they contrast too much with what comes after; letting the last octave treble sizzle stand out.
Funny take, I late tried this iem with my Qudelix 5k Bluetooth transceiver. And streaming off YouTube. The Qudelix being a warm & dark-ish source & YouTube 15kHz cut-off makes the iem sizzle-less. Haha
Sounds great like this. (Earlier I was using my Ibasso DX300MAX SS dap.) Even the bass is better rounded, not sure if that is the Qudelix 5k is extra warm? Or when this Planar driver doesn't have to playback an airy sizzle then it behaves better powered in the bass?
Disclaimer: The extra tactile feeling in the presence region that I want, might be cursed for other people, and the S12 as is, could be defined as the more normal approach. So I am not saying this as a critique but lets put it as a subjective take.
My EQ addresses my subjective concerns.
Especially the piercing-sizzle late treble.
The bass shelf doesn't actually reach +12 in the presentable range, but if you are worried, then set the pregain at -12db and move the frequency of the low-shelf up until 60Hz if you want more bass.
Other than the extra sizzle, do take notice that last octave sizzle I mentioned in the cons (more a concern for younger people?). That nocks a little of the grade for me.
And my subjective preferences critiques nocks it down again, but it may not be relevant for other people's takes. You can ignore if it is what you like.
Put Spinfits truly wireless tips (cp1025) for a different tip on the S12.
This seems to have worked out better. No idea if the TWS cp1025 are as upper-mids/lower-treble transparent as the other models.
More importantly:
Thin silicone tips like Spinfits CP1025, tips that do the bass reverb thing (Unlike foam tips), seem to give back a small step of bass tactility to the S12. Also a warm source.
Miscellaneous:
When taken out of the shipping parcel, it was wrapped in this cool branded bubble wrap!
Box pictures & unboxing steps:
Unboxed 1st view:
Fully disassembled:
Cable has a thick plastic sheathing that reminds me of the old Hibiscus iem cable. Other than the thick plastic sticky feeling, it behaves really well coiling.
2-pin cable. Red for Right. There is no extra dot to help with insertion orientation, but there is the ear-guiding ear hook wrapping that will give you the orientation via the only way to put them/wear them.
Supplied tips are nice and give a fit & seal. Especially the clear ones with the solid core.
Other two is some good dekoni style foam tips.
And a soft black silicone tip.
The black ones have a more softer core you can collapse easily squeezing. Not sure what their specialty is for. It's all one piece the core & the outside.
The iem:
The tuning air ports: One by the 2-pin connectors. You can see the careful holed-filter with control of how much air may pass the port.
Also note the notched nozzle lip for eartips to grab onto.
Another that faces inwards by the nozzle, that sits against your concha when donned. Will this get blocked?
The nozzle: With a filter plate:
How the iem looks worn:
Packaged with its cable color scheme, it's quite fashionable if you ask me.
Attachments
carliber1
Thanks for sharing that with me.
I already knew that the dots must be oriented equally.
But what baffled me, and forced me to rely on listening through trials,
was whether to the backside Or frontside of the IEM together
-it makes a difference with my KZ AS10 and KZ ZS6, one way sounds balanced while the other way has more low-end and is slightly less detailed.
I already knew that the dots must be oriented equally.
But what baffled me, and forced me to rely on listening through trials,
was whether to the backside Or frontside of the IEM together
-it makes a difference with my KZ AS10 and KZ ZS6, one way sounds balanced while the other way has more low-end and is slightly less detailed.
Infoseeker
It's possible they soldered one side of that cable wrong. Making the dot useless, cause one side pins are reversed.
carliber1
Okay, I will give other known good cables a go at it and see what gives. Again, thank you.
Thieaudio V16 Divinity:
First thing I notice it's high shelved treble. Airy, but borderline metallic. Its alot like the ier-z1r treble timbre; this is a positive thing.
Can't let yourself go too loud. Sensitive iem, need good volume control with your device to find your good loudness sweetspot.
Optimally listened to at lower volumes than other iems.
Sounds at its best and more dynamic at lower volumes. Unlike other iems that take to louder volumes to hear more treble details. Imaging and depth of the V16 also shines through better at lower volumes.
I find the tonality so agreeable as is, it doesn't need a warm source to give any finishing touches. Better imaging will be rewarded from less fun/more clinical sources
Bass profile:
It can generate a wet bass profile when a song calls for it. And the subbass doesn't got distracting reverb. Very good enough for synth stuff..
Midbass is punchy in a drier/snappy sense, and is as rounded as the Sennheiser ie900 (but ie900 is a benchmark for so). So very competent. (this midbass behavior changes between my sources. Does better on my dx300 dap than the dx300max dap)
Mids:
Thick noted. Instrument overtones and harmonics are both being presented with not much masking.
Vocals are forward; you can notice/unforgiving to the distortion of old tracks in their vocals.
Very forward presentation. But lots of imaging & seperation that don't conflict.
Treble:
I mentioned earlier, high shelved. Will require brain burn-in to get used to. I haven't noticed anything cursed about the last octave treble.
Overall,
Lots of clarity but expect that it comes with a cost that it may be forward & fatiguing, but not cursed in so.
EDIT: Switching from the supplied white tips for JVC Spiraldots++ does help compensate positively. But I think I need to order a step smaller Spiraldots++.
Azla Crystals TWS I forced on and it stretch to the size of the nozzle...lmao....but it kind of makes the thick ass nozzle act like a ciem.
Alot like my Final Audio a8000 as I assumed before. But better seperation of the overtones & upper-harmonics from masking. More wetter bass on the v16.
Extra Note:
Hmm, interesting. Put back my amp11 mki, amp module into my Ibasso dx300 dap.
It has a really interesting compensating effect to the V16. Pushes the vocals back, where now I can increase the volumes and never get limited by the vocals forwardness.
Lots of stereo panning on this setup too. Good depth & imaging just like my Apple-dongle but less compromises to the overall enjoyment (Dx300 amp mki being better).
Pretty good synnergy.
Only downside, it pushes the metallic details a little closer to the edge of being sibilant/sharp. Not fatiguing so, but it has approached skirting near the edge of it; but it does give a nice intensity to things at the same time.
I now want to try this DX300/amp11 mki module with an EE Odin & it's upper-mids.
Simple box
Thieaudio V16 case conveniently fits the Ak240. If I wasn't using my other huge brick of a ibasso 300max dap instead.
Modular cable bulkier than the average. Other cable I have is a Linsoul LSC09.
Bass pressure relief port?
Nozzle length
just realized the right unit of the V16 has a fun little subtle detail.
Red for Right.
There is a splash of red in the faceplate's corner to indicate the right unit.
I got alot to compare it to if needed.
My Final Audio a8000 is of similar presentation for a comparison. But that is a single driver iem. It has the same forward presentation as the v16, but A8000 less treble zing, but more vocal sibilance. Less of a bass shelf than v16; polite bass that is still warmish sheved; V16 more wet presenting. Similar midbass punch between v16/a8000, but a8000 is less bass overall.
Sony Ier-z1r, this is definitely is of same tier of an iem. But too different to use-case scenario. But both these iems have a similar zing & sizzle to treble presentation. Ier-z1r a step back in staging, much less forward.
The Sennheiser ie900 is also a very different target fr. But like I said before, the ie900 has rounded notes and especially the rounded mid-bass notes are class-leading. V16 is drier punch in comparison, but very competent. Way more details are masked on the ie900, ie900 is less resolution.
Simphonio VR1. All in perfect clean balance, other than treble extension. Has a similar bass shelf to Final A8000. Low shelved, but very good bass timbre; less bass than the v16. Much less forward than V16; especially in vocals. Simphonio VR1 has less air and would need a treble EQ shelf to compete against V16. Simphonio sound great out of box without EQ though. Truly an organic sounding jack of all trades from a single-dd. Dunu Luna can be so too, but needs EQ to get it there; Luna will have extras aspects to its presentation like its small driver excursion. Amazing how effortless the Simphonio vr1 sounds; such a big driver needing less excursion.
The Dunu Luna might be relatable for a v16 comparison (but Luna is a single-dd iem). Nothing gets masked in the mids on the Dunu Luna. Bass is notn as rounded as ie900 unless EQ'd. The Luna has a similar shouty forwardness look v16, but Dunu Luna is too polite in lower treble without EQ. Not metallic feeling in treble at all until EQ'd.
Too bad I don't have like a Moondrop iem like the S8.
Vision Ears VE8, is very source dependent with its impedance swings. With my ibasso dap VE8 has a more pleasant midbass than v16, but less subbass. Ve8 mids quite pleasant are more masked than the v16. Everything on the ve8 feels less resolution than the V16. Everything feels a step more tamed on thr VE8 than the V16's intensity. The ve8 sounds equally as pleasant to listen too than the v16; ve8 has a step less forward vocals, a step less forward upper-mids, a step less forward treble. It's just more tamed, less intense, but less resolving; you can listen to the ve8 no matter your mood. No matter how tired you feel. V16 will give you all the details and you may feel it to forward presenting when you just want to relax.
Important points:
Ie900 midbass punch better than ier-z1r & others. Much more rounded and heartbeat like.
Ier-z1r has a forward subbass but it's distracting; it doesn't fit in organically to me. (This can be tamed with silicone tips that don't vibrate from being so thin). But very similar shimmer treble presentation to V16.
V16 better than both in "wet" bass presentation in my opinion. As in, V16 got a better subbass profile.
EDIT:
New update these make for an amazing combo with the 2-pin version of the Fiio Utws5 Bluetooth modules.
It has a good amount of bass slam for the playback. And might be a little hot in the treble. But ultimately had a very nice imaging seperation unexpectedly for a Bluetooth solution. Good synnergy.
The Peak ChiFi:
Thieaudio V16 Divinity + Fiio UTWS5 modules (2pin version)
First thing I notice it's high shelved treble. Airy, but borderline metallic. Its alot like the ier-z1r treble timbre; this is a positive thing.
Can't let yourself go too loud. Sensitive iem, need good volume control with your device to find your good loudness sweetspot.
Optimally listened to at lower volumes than other iems.
Sounds at its best and more dynamic at lower volumes. Unlike other iems that take to louder volumes to hear more treble details. Imaging and depth of the V16 also shines through better at lower volumes.
I find the tonality so agreeable as is, it doesn't need a warm source to give any finishing touches. Better imaging will be rewarded from less fun/more clinical sources
Bass profile:
It can generate a wet bass profile when a song calls for it. And the subbass doesn't got distracting reverb. Very good enough for synth stuff..
Midbass is punchy in a drier/snappy sense, and is as rounded as the Sennheiser ie900 (but ie900 is a benchmark for so). So very competent. (this midbass behavior changes between my sources. Does better on my dx300 dap than the dx300max dap)
Mids:
Thick noted. Instrument overtones and harmonics are both being presented with not much masking.
Vocals are forward; you can notice/unforgiving to the distortion of old tracks in their vocals.
Very forward presentation. But lots of imaging & seperation that don't conflict.
Treble:
I mentioned earlier, high shelved. Will require brain burn-in to get used to. I haven't noticed anything cursed about the last octave treble.
Overall,
Lots of clarity but expect that it comes with a cost that it may be forward & fatiguing, but not cursed in so.
EDIT: Switching from the supplied white tips for JVC Spiraldots++ does help compensate positively. But I think I need to order a step smaller Spiraldots++.
Azla Crystals TWS I forced on and it stretch to the size of the nozzle...lmao....but it kind of makes the thick ass nozzle act like a ciem.
Alot like my Final Audio a8000 as I assumed before. But better seperation of the overtones & upper-harmonics from masking. More wetter bass on the v16.
Extra Note:
Hmm, interesting. Put back my amp11 mki, amp module into my Ibasso dx300 dap.
It has a really interesting compensating effect to the V16. Pushes the vocals back, where now I can increase the volumes and never get limited by the vocals forwardness.
Lots of stereo panning on this setup too. Good depth & imaging just like my Apple-dongle but less compromises to the overall enjoyment (Dx300 amp mki being better).
Pretty good synnergy.
Only downside, it pushes the metallic details a little closer to the edge of being sibilant/sharp. Not fatiguing so, but it has approached skirting near the edge of it; but it does give a nice intensity to things at the same time.
I now want to try this DX300/amp11 mki module with an EE Odin & it's upper-mids.
Simple box
Thieaudio V16 case conveniently fits the Ak240. If I wasn't using my other huge brick of a ibasso 300max dap instead.
Modular cable bulkier than the average. Other cable I have is a Linsoul LSC09.
Bass pressure relief port?
Nozzle length
just realized the right unit of the V16 has a fun little subtle detail.
Red for Right.
There is a splash of red in the faceplate's corner to indicate the right unit.
I got alot to compare it to if needed.
My Final Audio a8000 is of similar presentation for a comparison. But that is a single driver iem. It has the same forward presentation as the v16, but A8000 less treble zing, but more vocal sibilance. Less of a bass shelf than v16; polite bass that is still warmish sheved; V16 more wet presenting. Similar midbass punch between v16/a8000, but a8000 is less bass overall.
Sony Ier-z1r, this is definitely is of same tier of an iem. But too different to use-case scenario. But both these iems have a similar zing & sizzle to treble presentation. Ier-z1r a step back in staging, much less forward.
The Sennheiser ie900 is also a very different target fr. But like I said before, the ie900 has rounded notes and especially the rounded mid-bass notes are class-leading. V16 is drier punch in comparison, but very competent. Way more details are masked on the ie900, ie900 is less resolution.
Simphonio VR1. All in perfect clean balance, other than treble extension. Has a similar bass shelf to Final A8000. Low shelved, but very good bass timbre; less bass than the v16. Much less forward than V16; especially in vocals. Simphonio VR1 has less air and would need a treble EQ shelf to compete against V16. Simphonio sound great out of box without EQ though. Truly an organic sounding jack of all trades from a single-dd. Dunu Luna can be so too, but needs EQ to get it there; Luna will have extras aspects to its presentation like its small driver excursion. Amazing how effortless the Simphonio vr1 sounds; such a big driver needing less excursion.
The Dunu Luna might be relatable for a v16 comparison (but Luna is a single-dd iem). Nothing gets masked in the mids on the Dunu Luna. Bass is notn as rounded as ie900 unless EQ'd. The Luna has a similar shouty forwardness look v16, but Dunu Luna is too polite in lower treble without EQ. Not metallic feeling in treble at all until EQ'd.
Too bad I don't have like a Moondrop iem like the S8.
Vision Ears VE8, is very source dependent with its impedance swings. With my ibasso dap VE8 has a more pleasant midbass than v16, but less subbass. Ve8 mids quite pleasant are more masked than the v16. Everything on the ve8 feels less resolution than the V16. Everything feels a step more tamed on thr VE8 than the V16's intensity. The ve8 sounds equally as pleasant to listen too than the v16; ve8 has a step less forward vocals, a step less forward upper-mids, a step less forward treble. It's just more tamed, less intense, but less resolving; you can listen to the ve8 no matter your mood. No matter how tired you feel. V16 will give you all the details and you may feel it to forward presenting when you just want to relax.
Important points:
Ie900 midbass punch better than ier-z1r & others. Much more rounded and heartbeat like.
Ier-z1r has a forward subbass but it's distracting; it doesn't fit in organically to me. (This can be tamed with silicone tips that don't vibrate from being so thin). But very similar shimmer treble presentation to V16.
V16 better than both in "wet" bass presentation in my opinion. As in, V16 got a better subbass profile.
EDIT:
New update these make for an amazing combo with the 2-pin version of the Fiio Utws5 Bluetooth modules.
It has a good amount of bass slam for the playback. And might be a little hot in the treble. But ultimately had a very nice imaging seperation unexpectedly for a Bluetooth solution. Good synnergy.
The Peak ChiFi:
Thieaudio V16 Divinity + Fiio UTWS5 modules (2pin version)
vasix
For such expensive IEMs the presentation should be better! Why are you wearing a mask? Don't expect the headphones to sneeze 
)
)
MusicSat
Thank you!
I have the Monarch Mk 2 - I love it - I wonder how they compare and if this one is technically superior without sacrificing the Monarch's dynamic timbre...
(I wish Vasix avoided commenting on your mask and the vibe of it - not relevant and does not help us feel good here)
I have the Monarch Mk 2 - I love it - I wonder how they compare and if this one is technically superior without sacrificing the Monarch's dynamic timbre...
(I wish Vasix avoided commenting on your mask and the vibe of it - not relevant and does not help us feel good here)
Purchased the Ikko OH2 myself. Not a review unit.
I feel the graph they put on the box is quite accurate. Except for the subbass, OH2 no doubt has lots of subbass just its no pushed forward.
Bass:
Seems quite bassy with some bloom, but no subbass distraction. Actually the subbass is so good, that I believe the on-box Frequency Response graph misrepresents the subbass extension....it has lots of subbass in a positive manner.
Mid bass profile, is more rounded than snappy to drums. But it is a nice rounded feeling like the ie900, but still remember everything is in a euphonic mix in the OH2.
Mids:
Good vocals with shout that don't stand out of the mix. Vocals are not forward....but then again nothing is forward in this iems presentation.
Too safely tuned to be fatigueless, instruments have less bite. More a good iem for disassociating when listening. Even electric guitar is euphonically thrown in the mix rather than standing out; unless the track purposefully does so.
Treble:
Polite, not metallic at all. In terms of airyness, these iems are more about a minimal width than depth & decay.
Might be pushing cymbals a little forward without it being fatiguing. But not enough to be an issue beyond waiting for brain burn-in. Could be distracting? But not yet there for me. Timbre of the cymbals sound believable.
Discussion:
Seems to be a more affordable OH10 (but possibly a step less in terms of techs?). An easy fitting iem too. I can't see it having deal breaker flaw for anyone; other than they can probably save up for better stuff. Great if not expecting critical listening, but a chill one.
Helps to have a cold source to compensate well for this iem. Especially a source with an exaggerated space of imaging seperation like a Chord Hugo 2, but that is a ridiculous source for such an affordable iem.
Miscellaneous continuation:
Oval nozzle and convexed oval ear tips are really a positive aspect to the experience.
I get less of an imbalance issue in discomfort from my left/right ear-canal differences from this.
My right ear doesn't feel as "full" as it does before I go for a smaller tip.
Cable is minimal but very passable. Nobody will feel they need to replace it. Even the earhooks have a passable curve. Oh and it came with an MMCX assist tool for removal.
IKKO being brave with a new hip-hop Waifu concept:
Front depiction of the character is a Refrigerator style magnet. With her reprinted right under:
Rest of the specifications information from the box. The FR graph seems trustable to me.
Just notice they have the graph peaking at 9khz, so you won't be able to overlap it over other graphs out there which usually have their microphone setup to cause that artifact appear at 8kHz.
That 9kHz peak is not hearable to me with my small tips and deep insertion. It's just an artifact of the recording equipment......so overall the iem is relatively darker in the treble, but it is not rolled-off.
As I said before the cymbals are a little forward. So treble extension is not rolled-off, it is just not as loud as the rest of of Frequency Response. I feel like this has some potential for people that like to EQ.
On-Box Frequency Response. (Again the subbass is much more than they have depicted it. The subbass is actually one of the OH2's strengths! )
Using the tips from the ikko OH2 actually work on the oval nozzles of the Samsung Buds Pro (truly wireless).
And the case closes for charging too.
I should see if these have any synnergy with the VE8 oval nozzle. Probably not, with how deep the insertion depth is on the VE8.
I feel the graph they put on the box is quite accurate. Except for the subbass, OH2 no doubt has lots of subbass just its no pushed forward.
Bass:
Seems quite bassy with some bloom, but no subbass distraction. Actually the subbass is so good, that I believe the on-box Frequency Response graph misrepresents the subbass extension....it has lots of subbass in a positive manner.
Mid bass profile, is more rounded than snappy to drums. But it is a nice rounded feeling like the ie900, but still remember everything is in a euphonic mix in the OH2.
Mids:
Good vocals with shout that don't stand out of the mix. Vocals are not forward....but then again nothing is forward in this iems presentation.
Too safely tuned to be fatigueless, instruments have less bite. More a good iem for disassociating when listening. Even electric guitar is euphonically thrown in the mix rather than standing out; unless the track purposefully does so.
Treble:
Polite, not metallic at all. In terms of airyness, these iems are more about a minimal width than depth & decay.
Might be pushing cymbals a little forward without it being fatiguing. But not enough to be an issue beyond waiting for brain burn-in. Could be distracting? But not yet there for me. Timbre of the cymbals sound believable.
Discussion:
Seems to be a more affordable OH10 (but possibly a step less in terms of techs?). An easy fitting iem too. I can't see it having deal breaker flaw for anyone; other than they can probably save up for better stuff. Great if not expecting critical listening, but a chill one.
Helps to have a cold source to compensate well for this iem. Especially a source with an exaggerated space of imaging seperation like a Chord Hugo 2, but that is a ridiculous source for such an affordable iem.
Miscellaneous continuation:
Oval nozzle and convexed oval ear tips are really a positive aspect to the experience.
I get less of an imbalance issue in discomfort from my left/right ear-canal differences from this.
My right ear doesn't feel as "full" as it does before I go for a smaller tip.
Cable is minimal but very passable. Nobody will feel they need to replace it. Even the earhooks have a passable curve. Oh and it came with an MMCX assist tool for removal.
IKKO being brave with a new hip-hop Waifu concept:
Front depiction of the character is a Refrigerator style magnet. With her reprinted right under:
Rest of the specifications information from the box. The FR graph seems trustable to me.
Just notice they have the graph peaking at 9khz, so you won't be able to overlap it over other graphs out there which usually have their microphone setup to cause that artifact appear at 8kHz.
That 9kHz peak is not hearable to me with my small tips and deep insertion. It's just an artifact of the recording equipment......so overall the iem is relatively darker in the treble, but it is not rolled-off.
As I said before the cymbals are a little forward. So treble extension is not rolled-off, it is just not as loud as the rest of of Frequency Response. I feel like this has some potential for people that like to EQ.
On-Box Frequency Response. (Again the subbass is much more than they have depicted it. The subbass is actually one of the OH2's strengths! )
Using the tips from the ikko OH2 actually work on the oval nozzles of the Samsung Buds Pro (truly wireless).
And the case closes for charging too.
I should see if these have any synnergy with the VE8 oval nozzle. Probably not, with how deep the insertion depth is on the VE8.
Wow Yin lu Mei S4 really is crazy powerful. But it is really clinical-nuetral, unforgiving, cold in its presentation. But this is a positive thing, as this is compensating for AKM DAC's "velvet" transients.
4 gain levels, 127 steps of volume adjustment, 8 kinds of filters.
Measure size: 81X32X13mm, about 50 grams.
Output Levels: w/127 volume steps:
Single-Ended:
4.5 VRMS at volume-127
2 VRMS at volume-99
Balance port:
9 VRMS at volume-127 (1KHZ sine wave)
4 VRMS at volume-99
THD + n,
SE port 0.0007%
BAL port 0.0006% 1KHZ weight, no load.
It really can drive the HD800S but it definitely is not a synergy match. I can EQ to compensate for its presentation on uapp. (or on apo for pc people) Presentation does well with brass instruments and other instrumental stuff or electronic music. Non-vocal stuff. This thing is really punishing me for owning an HD800S and is determined to use it with only genres like jazz. I own a E1DA PowerDac, the PowerDac is much more forgiving with the HD800S to have it work with more genres. The YinLuMei S4 does really well with nuetral/relatively darker stuff.
Tried this dongle with the Focal Utopia does alot lot better than the HD800S.
EDIT: Also tried using this on a PC with HQPlayer & Roon. HD800S straight out of the dongle sounds great for videos. But using a Roon EQ & Crossfeed and HQPLAYER filtering the HD800S sounds perfectly compensated for music-listening. Really a competent desktop solution for dynamic headphones.
This Yin Lu Mei S4 thing is powerful enough that I feel it could break headphones at max volume. Using a battery is not necessary, I only tested to see if the presentation would change with full power, but it didn't.
Device feels solid, build quality is great. Volume control works in steps, going up/down with a rotation click (not a potentiometer, as this turns endlessly). It also presses inwards to function as a button for the filter-switching.
The small side button on its own is the gain switch.
********
Using my Vision Ears VE8 via the 4.4BAL output there is no hiss. Having 127 steps of volume is nice; I just need about 49 for the VE8. Good volume control for sensitive iem. Presentation synnergy does well with this iem.
Just the HD800S is a picky headphone as usual.
Remaining Miscellaneous Pictures
4 gain levels, 127 steps of volume adjustment, 8 kinds of filters.
Measure size: 81X32X13mm, about 50 grams.
Output Levels: w/127 volume steps:
Single-Ended:
4.5 VRMS at volume-127
2 VRMS at volume-99
Balance port:
9 VRMS at volume-127 (1KHZ sine wave)
4 VRMS at volume-99
THD + n,
SE port 0.0007%
BAL port 0.0006% 1KHZ weight, no load.
It really can drive the HD800S but it definitely is not a synergy match. I can EQ to compensate for its presentation on uapp. (or on apo for pc people) Presentation does well with brass instruments and other instrumental stuff or electronic music. Non-vocal stuff. This thing is really punishing me for owning an HD800S and is determined to use it with only genres like jazz. I own a E1DA PowerDac, the PowerDac is much more forgiving with the HD800S to have it work with more genres. The YinLuMei S4 does really well with nuetral/relatively darker stuff.
Tried this dongle with the Focal Utopia does alot lot better than the HD800S.
EDIT: Also tried using this on a PC with HQPlayer & Roon. HD800S straight out of the dongle sounds great for videos. But using a Roon EQ & Crossfeed and HQPLAYER filtering the HD800S sounds perfectly compensated for music-listening. Really a competent desktop solution for dynamic headphones.
This Yin Lu Mei S4 thing is powerful enough that I feel it could break headphones at max volume. Using a battery is not necessary, I only tested to see if the presentation would change with full power, but it didn't.
Device feels solid, build quality is great. Volume control works in steps, going up/down with a rotation click (not a potentiometer, as this turns endlessly). It also presses inwards to function as a button for the filter-switching.
The small side button on its own is the gain switch.
********
Using my Vision Ears VE8 via the 4.4BAL output there is no hiss. Having 127 steps of volume is nice; I just need about 49 for the VE8. Good volume control for sensitive iem. Presentation synnergy does well with this iem.
Just the HD800S is a picky headphone as usual.
Remaining Miscellaneous Pictures
Attachments
I have owned the Simphonio Dragon 2 plus for a while now.
Great earbuds that can get loud. I received, and they indeed use the same body as the Yuin pk series; which makes them extremely comfortable for me. People complaining of the looks, the material is sparkly and feels solid/well built. Also the Yuin Pk mould they borrowed was made during the time when White earbuds got you targetted by thieves and pickpockets. These are premium products that can be used in the middle of the city with no concern. They seem to be similar to the pk1, but at maybe 90% of the pk1's capabilities.
The pk1 has a flatter bass, mids, and flat ear gain (bad low eargain) with more decay; are overall warmer sounding. But this is done with a sense of grain & distortion. The Dragon 2 Plus has much more subbass and less distortion.
The mids are about the same. But the lower mids may sound thinnish for transparency sake in the Dragon 2 plus.
The highs on the pk1 have more jump in your face feel; flat forward mids. While the Dragon 2 plus is more felt away from the stage with a small near simbilance good treble extension.
The pk1 has a smaller soundstage but more seperation in instruments (treble extension rolloff). The Simphonio are better in soundstage, but it gives notes a speaker feeling to it; not sure if a good thing or not. If you were to make a comparison, these are exactly tuned like the Seinhesser hd800!
I personally find the Pk1 super flat may be more enjoyable for some, but not a safe blind buy. Plus they really require an strong outputting player/source to drive them. Meanwhile the Simphonio can be used on any device or usb-c dongle; even used on my Nintendo Switch. The greater soundstage also makes them amazing for getting drawn into the environment when gaming.
Use the donut foams to help create a minimal seal for better lows. (Not the foams without a hole) . You want a seal, not a filter.
The leather case is really posh and lovely. Though, I would prefer a hard case to just throw in my chaos prone messenger bag; probably not a problem for those without a messenger bag.
Tl;dr: Work as intended and are perfect. Diffuse Field tuned; remind me of the Hd800S. Versatile, easily driven to work on any device. Soundstage/treble extension so big its almost speaker-like. Tilts more analytical rather than musical; that is an amazing feat for earbuds! The Hd800S of earbuds.
Many pictures from others so I will just show the box and instructions panel.
Great earbuds that can get loud. I received, and they indeed use the same body as the Yuin pk series; which makes them extremely comfortable for me. People complaining of the looks, the material is sparkly and feels solid/well built. Also the Yuin Pk mould they borrowed was made during the time when White earbuds got you targetted by thieves and pickpockets. These are premium products that can be used in the middle of the city with no concern. They seem to be similar to the pk1, but at maybe 90% of the pk1's capabilities.
The pk1 has a flatter bass, mids, and flat ear gain (bad low eargain) with more decay; are overall warmer sounding. But this is done with a sense of grain & distortion. The Dragon 2 Plus has much more subbass and less distortion.
The mids are about the same. But the lower mids may sound thinnish for transparency sake in the Dragon 2 plus.
The highs on the pk1 have more jump in your face feel; flat forward mids. While the Dragon 2 plus is more felt away from the stage with a small near simbilance good treble extension.
The pk1 has a smaller soundstage but more seperation in instruments (treble extension rolloff). The Simphonio are better in soundstage, but it gives notes a speaker feeling to it; not sure if a good thing or not. If you were to make a comparison, these are exactly tuned like the Seinhesser hd800!
I personally find the Pk1 super flat may be more enjoyable for some, but not a safe blind buy. Plus they really require an strong outputting player/source to drive them. Meanwhile the Simphonio can be used on any device or usb-c dongle; even used on my Nintendo Switch. The greater soundstage also makes them amazing for getting drawn into the environment when gaming.
Use the donut foams to help create a minimal seal for better lows. (Not the foams without a hole) . You want a seal, not a filter.
The leather case is really posh and lovely. Though, I would prefer a hard case to just throw in my chaos prone messenger bag; probably not a problem for those without a messenger bag.
Tl;dr: Work as intended and are perfect. Diffuse Field tuned; remind me of the Hd800S. Versatile, easily driven to work on any device. Soundstage/treble extension so big its almost speaker-like. Tilts more analytical rather than musical; that is an amazing feat for earbuds! The Hd800S of earbuds.
Many pictures from others so I will just show the box and instructions panel.
The fit is nice. The cables go around the ear. Somehow they tilt into your ear canal to give an almost custom style fit. So I suggest using smaller tips for a deeper insertion.
I got the A8000, very transparent sound signature. AKA U, whilst it maintains forward mids; so they never sound too thin either.
Good bass, but tilts more to the subbass. Can rumble like bigger drivers or smaller sealed drivers.
Voices are a step forward.
Little harsh but not ssssimbilant treble though; but it dances closely enough that bad mastered recordings treble will not be forgiving.
Very good soundstage that is not airy; keeps things dark as needed. Really deep cavernous feeling.
These remind me a lot of the sound signature of my brighter closed back Audio Technica headphones, but here as iems. Really good strike slam on high notes.
Do not seem to need a more powerful source to sound good.
But a source with certain aspects will synnergize well with it. Chord Hugo 2 gives it good voices representation.
The provided tips have a narrow bore to ease out the treble. If you are going to use your own favorite tips expect to have the treble more hot.
Comparison to my Shuoer EJ07:
Bass is not as tactile for the EJ07. EJ07 is more safely tuned with a slight V, making them a better fit for people's popular music selection.
Mids are a step back compared to the A8000 (which is an extra step forward) .
Highs in the EJ07 are much more smoother. Without leaving out the presence of any notes.
Soundstage in EJ07 is different, but I never felt it was small. Just that it is smaller than the A8000. Also the A8000 gives a deep dark cavernous soundstage, no air-feeling soundstage. The EJ07 gives the soundstage via a very small sense of air.
Imaging is great on both. Especially with the A8000 being able to handle heavy metal presentations. The EJ07 can have some notes coming off from an odd directions, using its Multi-driver setup. The A8000 can mimic this somehow which is amazing, though it does it with more energy than the EJ07 (which has a more practical smoother treble presentation) .
Compared to Imr Acoustics' Rah
Using my setup of the black nozzle and blue treble filter that I settled on.
Bass in the Rah goes as deep into the subbass, but its more forward. Can't raise the volume too much for the subbass will come through.
Voices come through cleanly. Actually... If the EJ07 is a step back, and the A8000 is a step forward, then the Rah is the nuetral goldilocks position. Very undistorted and smooth, does not contribute to effecting the soundstage. The Rah never has a track where voices sound wrong. Rah, has less eargain, but does have the essential lower-mids for the vocals.
Treble is less hot in the Rah than the A8000. But it is smooth like the EJ07 and contributes even more air for the soundstage. So like the EJ07, the soundstage is a more open airy stage style. (Unlike the A8000 dark silent cavern soundstage). The piezo ceramic driver gimmick is implented well.
Update 2022:
Comparison to Sennheiser ie900 & Dunu Luna
Sure, both have great subbass presentation.
A8000 has less a rounded hit in the midbass category.
A8000 has too fast a decay when compared to the IE900. Both the ie900 & a8000 have a fast decay if compared to the Dunu Luna. Luna is special in this regard.
A8000 has the better mids compared to the ie900. A8000 being best for clear vocals. Instrument notes hit too hard with the a8000, while harmonics get lost due to the fast decay. Ie900, doesn't hit as in-your-face (more reasonable in this sense), but lots of instruments are missing a sense of bite to them.
Both have a good metallic lower treble, with the ie900 being less harsh of the two. As for last octave treble, the A8000 decays too quickly to represent anything here other than having a good sense of cymbals. The ie900 does a better job in this front. While the Dunu Luna, being the best at this aspect (but Dunu Luna has a polite dip in the lower metallic treble for cymbal initial strike).
Closing remarks:
A8000 takes priority if you want to focus on vocals. Ie900, takes priority if you want that special midbass rounded hit.
A8000 has better instrument strike & intensity. Ie900 has better instrument trailing notes.
Both are kind of sibilant. Both have a great fit. It may help to use deep-fitting triple-felange tips with the Final A8000 to compensate for its sibilance. While the ie900 needs 3rd party tips that seal fully to not sound more treble-tilted.
Tl;dr
I would recommend the Final Audio A8000 iems. Everything has its niche; I especially recommend the A8000 to heavy metal fans.
Notice how the outside a little sticks out. This is not bulky, it just tilts into your ear.
Edit: November 2021
Applying some tricks to a8000:
Using triple felange tips for a deep fit. (Mechanical way to handle the metallic peaks)
Modified AutoEQ with extra subbass, flatter mids, & more last octave treble.
My dx300max with its amazing bass presentation as a source.
The copium power is strong. This works really well. As long as I don't read this outloud and hear myself how ridiculous it sounds
I got the A8000, very transparent sound signature. AKA U, whilst it maintains forward mids; so they never sound too thin either.
Good bass, but tilts more to the subbass. Can rumble like bigger drivers or smaller sealed drivers.
Voices are a step forward.
Little harsh but not ssssimbilant treble though; but it dances closely enough that bad mastered recordings treble will not be forgiving.
Very good soundstage that is not airy; keeps things dark as needed. Really deep cavernous feeling.
These remind me a lot of the sound signature of my brighter closed back Audio Technica headphones, but here as iems. Really good strike slam on high notes.
Do not seem to need a more powerful source to sound good.
But a source with certain aspects will synnergize well with it. Chord Hugo 2 gives it good voices representation.
The provided tips have a narrow bore to ease out the treble. If you are going to use your own favorite tips expect to have the treble more hot.
Comparison to my Shuoer EJ07:
Bass is not as tactile for the EJ07. EJ07 is more safely tuned with a slight V, making them a better fit for people's popular music selection.
Mids are a step back compared to the A8000 (which is an extra step forward) .
Highs in the EJ07 are much more smoother. Without leaving out the presence of any notes.
Soundstage in EJ07 is different, but I never felt it was small. Just that it is smaller than the A8000. Also the A8000 gives a deep dark cavernous soundstage, no air-feeling soundstage. The EJ07 gives the soundstage via a very small sense of air.
Imaging is great on both. Especially with the A8000 being able to handle heavy metal presentations. The EJ07 can have some notes coming off from an odd directions, using its Multi-driver setup. The A8000 can mimic this somehow which is amazing, though it does it with more energy than the EJ07 (which has a more practical smoother treble presentation) .
Compared to Imr Acoustics' Rah
Using my setup of the black nozzle and blue treble filter that I settled on.
Bass in the Rah goes as deep into the subbass, but its more forward. Can't raise the volume too much for the subbass will come through.
Voices come through cleanly. Actually... If the EJ07 is a step back, and the A8000 is a step forward, then the Rah is the nuetral goldilocks position. Very undistorted and smooth, does not contribute to effecting the soundstage. The Rah never has a track where voices sound wrong. Rah, has less eargain, but does have the essential lower-mids for the vocals.
Treble is less hot in the Rah than the A8000. But it is smooth like the EJ07 and contributes even more air for the soundstage. So like the EJ07, the soundstage is a more open airy stage style. (Unlike the A8000 dark silent cavern soundstage). The piezo ceramic driver gimmick is implented well.
Update 2022:
Comparison to Sennheiser ie900 & Dunu Luna
Sure, both have great subbass presentation.
A8000 has less a rounded hit in the midbass category.
A8000 has too fast a decay when compared to the IE900. Both the ie900 & a8000 have a fast decay if compared to the Dunu Luna. Luna is special in this regard.
A8000 has the better mids compared to the ie900. A8000 being best for clear vocals. Instrument notes hit too hard with the a8000, while harmonics get lost due to the fast decay. Ie900, doesn't hit as in-your-face (more reasonable in this sense), but lots of instruments are missing a sense of bite to them.
Both have a good metallic lower treble, with the ie900 being less harsh of the two. As for last octave treble, the A8000 decays too quickly to represent anything here other than having a good sense of cymbals. The ie900 does a better job in this front. While the Dunu Luna, being the best at this aspect (but Dunu Luna has a polite dip in the lower metallic treble for cymbal initial strike).
Closing remarks:
A8000 takes priority if you want to focus on vocals. Ie900, takes priority if you want that special midbass rounded hit.
A8000 has better instrument strike & intensity. Ie900 has better instrument trailing notes.
Both are kind of sibilant. Both have a great fit. It may help to use deep-fitting triple-felange tips with the Final A8000 to compensate for its sibilance. While the ie900 needs 3rd party tips that seal fully to not sound more treble-tilted.
Tl;dr
I would recommend the Final Audio A8000 iems. Everything has its niche; I especially recommend the A8000 to heavy metal fans.
Notice how the outside a little sticks out. This is not bulky, it just tilts into your ear.
Edit: November 2021
Applying some tricks to a8000:
Using triple felange tips for a deep fit. (Mechanical way to handle the metallic peaks)
Modified AutoEQ with extra subbass, flatter mids, & more last octave treble.
My dx300max with its amazing bass presentation as a source.
The copium power is strong. This works really well. As long as I don't read this outloud and hear myself how ridiculous it sounds
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Thank you @Infoseeker for sharing your impression with us. Those comparisons are real jewels!
Great write-up!