Reviews by lepermessiah | Headphone Reviews and Discussion - Head-Fi.org

As one gets into the rarefied air of higher realms of IEMs, the driver count can get out of hand. The BGVP V12 boasted as much drivers as its name did- twelve balanced armatures. The creatively named BGVP (I think it stands for Budget Gears for Various Personalities) was established in 2015 in China. The name didn’t sound very quirky for long as the brand quickly shot to fame with a slew of successful products such as DM6, DH5, DMG, NE5, DM8, etc. BGVP ensured that the value for money proposition and customer delight was maintained at whatever price points they sold their products. BGVP doesn’t seem to stop pushing the envelope either- IEMs like the DM8 and Phantom have wooden shells (the latter’s thermochromic shells changes colour as it comes in contact with one’s ears and has bone conduction drivers as part of its quad-brid setup). The BGVP V12 belonged to their more expensive ArtMagic lineup which offers customisation options in terms of faceplate designs as well as the option to order it as a custom IEM. I was lucky enough to try these out thanks to a close friend of mine.

I should probably mention that I have a significant preference to the classic rock, heavy metal and progressive rock genres and I hadn’t listened to songs from other genres with this IEM. I had tried out this IEM using two sources- local 16 & 24 bit lossless audio files on my Android phone + Lotoo PAW S2 and secondly, through a Lotoo PAW 6000.

Specifications
Drivers	12 BA drivers (Knowles & Sonion drivers)
Crossover	4-way crossover
Frequency Response	20 Hz to 40 KHz
Impedance	25 Ohms @ 1 KHz
Sensitivity	114 dB @ 1 KHz

Build Quality: The V12’s 3D printed shells were very well made out of medical grade resin and the faceplate with the dark blue colour scheme with flakes on it along with the translucent shells was beautiful. The shells were on the larger side since it had to fit in all those drivers in it. Still, they were smaller in comparison to some other peers sporting this kind of heavy artillery. I was unable to find any seams or mold lines. The brand's logo was stenciled on the faceplate. The V12 employed twelve Knowles and Sonion balanced armatures and a 4-way crossover. BGVP had boasted of the usage of a 3 channel bore for better transmission of sound. There were two dip switches on each shell of the V12 labelled 1 and 2 on the bottom and ON and KE on the top. Switch 1 was for enhancing the mids and high end while Switch 2 was for enhancing the bass. Playing with the aforementioned sound filter switches altered the sound signature in 4 ways. For the sake of simplicity, ‘0,0’ refers to as both 1 & 2 switches in the off position and ‘1,1’ as both 1 & 2 switches being in the on position.

Switch 1 & 2 positions	Sound Signature
0,0	Balanced
0,1	Bass boost (sub-bass)
1,0	Mids & high boost (upper mids and treble)
1,1	Boosted bass, mids and treble.

One thing that threw me off was that the ON and KE labels of the switches on both shells were on opposite directions. I had failed to notice that on the first listen and the sound signatures on both sides ended up being different. The V12 came with a stock 8 core Furukawa OCC and silver plated braided cable that used 2 pin connectors. I had tried out the V12 with a 8 core Nicehck cable.

Accessories: Though I did not have the original box with me in person, the V12 had a decent accessory bundle which consisted of a carry case, a cleaning tool and an assortment of silicon and foam tips. I had looked up the stock packaging for the V12 and the white sleeved box looked classy and discreet.

Comfort: Though the V12 had larger shells, it was still a very comfortable fit owing to its semi custom contours and smart design.

Isolation and cable microphonics: I had tried out the V12 with a pair of medium sized silicon tips, foam tips and JVC Spiral dots and all of which were comfortable. Sound isolation was good. The cable was supple and microphonics were almost non existent.

Drivability: The V12 had an impedance of 25 Ohms and sensitivity of 114 dB and both of my sources were able to drive these easily.

Sound Quality: The V12 immediately distinguished itself from the other IEMs that I had tried. It was apparent that this was from a higher segment. The bass was clear, detailed, warm and natural. The same was the case with the mids as well- clear, detailed, warm and natural. The treble section was well extended and it made the signature sound more open and spacious. The sound signature was quite detailed, but at the same time, the V12 was well balanced and had a hint of warmth so that it did not sound dry and boring.

Bass: Slightly north of neutral, natural sounding, slightly warm, clear, precise and detailed. Flipping on Switch 2 gave the sub bass section a slight boost. Can rumble when the song calls for it.
Midrange: Natural, slightly warm, slightly thick mids made this section lush, musical and wonderful to listen to. Vocals and guitars shined through.
Treble: Well extended treble section added openness and air to the signature and ensured that the V12 didn’t sound dark and congested. Flipping on Switch 2 gave the upper mids and treble section a nice boost (and did not add sibilance).
Technical Performance:
- Soundstage: Excellent- wide and deep- almost 3D-like in its presentation. This was on another class from the others here.
- Details and resolution: The V12’s resolution was top class and the level of details brought out was excellent.
- Instrument separation: All instruments were clearly separated and definition was also top class. It was also very easy to identify the positioning of the instruments.

Verdict: The V12 felt and sounded like it was from another segment. The technical side of the V12- especially the level of details, soundstage, immersion, resolution were clear step ups from the rest of the crowd. The dip switches were not a gimmick and had observable effects on the sound signature. The V12 managed to marry good technical qualities with musicality at a competitive price point in comparison with its rivals- this can actually be a good audiophile IEM as well as monitor. The competition at the top of the line segment is cutthroat, but I feel that the V12 merits consideration and holds its own.

TRI is a premium arm of KBear. The China based KBear brand was established in 2014 by Shenzhen Lingyin Technology Co Ltd and was primarily catering to the budget audio gear segment. Since they were doing well in providing quality equipment that didn’t cost an arm and leg, KBear decided to go premium by launching their TRI brand in 2018. Post some successful launches such as the I3, TRI Audio was on the map as a manufacturer of high performance audio gear that also delivered good value. Thanks to my friend, I was able to try out the Starshine over an extended period of time.

I should probably mention that I have a significant preference to the classic rock, heavy metal and progressive rock genres and I hadn’t listened to songs from other genres with this IEM. I had tried out this IEM using two sources- local 16 & 24 bit lossless audio files on my Android phone + Lotoo PAW S2 and secondly, through a Lotoo PAW 6000.

Specifications
Drivers	2 BA & 2 ES drivers (Knowles and Sonion drivers)
Crossover	3-way crossover
Frequency Response	20 Hz to 20 KHz
Impedance	56 Ohms
Sensitivity	98 dB

Build Quality: The Starshine’s shells were beautifully made out of medical grade resin and reminded me of the Aurora Borealis. The shells were on the larger side and the semi translucent housings gave a tantalising peek at the drivers and wiring inside. The logo was executed in a classy manner on the faceplate. The Starshine came with a 2 pin connector KBear Rhyme 8 core copper and silver mix cable that terminated in a 2.5mm balanced jack. TRI used Sonion electrostatic tweeters and Knowles balanced armatures for the Starshine.

Accessories: The Starshine was packed in a large sleeved box. The outer sleeve’s colors were reminiscent of the northern skies and the black box was also sparkly- no doubt a nice reference to shining stars on an inky night. The accessories included a silvery leather textured carry case that had a magnetic clasp, cleaning cloth and brush, 4.4mm and 3.5mm adapters and an assortment of silicon tips.

Comfort: Although the Starshine’s shells were on the larger side, I did not have issues with fit owing to its semi custom contours. However, those with smaller ears should try this and see if it fits them.

Isolation and cable microphonics: I had tried out the Starshine with a pair of medium sized foam tips, JVC Spiral dots and Final Audio Type E tips. All the above tips fit me well and were comfortable. Sound isolation was relatively good. The cable was well made, supple and microphonics were almost non existent.

Drivability: The Starshine had an impedance of 56 Ohms and sensitivity of 98 dB and it was quite power hungry. I had to almost max out the volume on my Lottoo S2 and had to tap the higher volume levels on the PAW 6000. Using the 4.4mm adapter and plugging into the 4.4mm balanced ports of both the sources was essential to make this IEM sing. Ironically, there was a pamphlet in the box that warned users against listening to the Starshine at higher volumes.

Sound Quality: Like the Symphonium Meteor, the Starshine’s sleeved box had also had a slogan on it: ‘Shine like stars, providing exquisite sounds’, which also was a sign of things to come and nicely summed up how they sounded. However, unlike the Meteor with its seismic bass shelf, this one took to the sky and had a bright, musical, detailed and sparkly sound.

Bass: Slightly more than neutral and can bring home the bacon when the songs call for it. Very detailed, attack and definition in notes and instruments was very good.
Midrange: The coloured mids were executed well. Vocals (especially female) were full and lush. Lower mids seemed to be a little smoothed out while the upper mids seemed to be elevated slightly.
Treble: The treble section was the highlight. The latter parts of the treble were boosted and was very shimmery. There was a lot of air in the signature and the Starshine sounded open and exciting. This was unlike something like the ESR’s treble section which though hot, was not as refined.
Technical Performance:
- Soundstage: Very good- quite wide and with average depth. The airy signature seemed to lend it more spaciousness- especially for live Pink Floyd albums.
- Details and resolution: The bright signature accentuated each and every detail in the recording. The resolution was very high and the level of details brought out was quite impressive.
- Instrument separation: The bright and resolving nature of the Starshine also meant that all instruments were clearly defined.

Verdict: The Starshine is a bundle of joy that spreads light on a dark and gloomy day. I had a lot of fun putting it through its paces. It was very musical, detailed and nuanced in its presentation. Though I loved the airy and detailed signature, those sensitive to treble should really try this out before making a purchase. Those who love it would be in for a treat with a highly musical and engaging partner to listen to their favourite tracks with.

Note: As mentioned before, I had tried the Starshine with foam, JVC Spiral dots and Final Audio Type E tips. Of the lot, I liked the sound signature with the Final Audio tips since the low end was more prominent and fleshed out the Starshine’s vivid signature. Still, the Starshine’s sound signature was quite tip dependent and a prospective buyer should try it out with multiple tips.

Symphonium Audio was born in 2016 out of a need of pursuit of perfection and the vision of three founders to carve their own path by revolutionizing the way the world listened to music. It was fitting that this company was born in Singapore- the land of opportunities, constant change and progress. Instead of rushing out in the market with a half-baked product, the guys at Symphonium Audio took their time in charting out their product roadmap and carefully cultivating relations with the right suppliers. Symphonium Audio broke into the scene in 2018 with the Aurora and Mirage IEMs. They also partnered with Subtonic Audio to manufacture their individual products. The brand has grown to a full fledged team and lovingly crafts each IEM in-house. The present lineup of Symphonium Audio consists of the reference based Helios (4 BA), the hybrid Triton (1 DD & 2BA), the bass head Meteor (4 BA) and the newly launched Crimson (4BA). Symphonium Audio maintains very high standards in production and very carefully match every cable and ear tip to their IEMs. They also undertake stringent channel and reference matching for their IEMs. This kind of attention to detail is endearing to see and drives home the fact that the team consists of passionate audiophiles who put quality and enthusiasm before anything else. I was able to try out the Meteor over an extended period of time thanks to my friend who was kind enough to trust me with them.

I should probably mention that I have a significant preference to the classic rock, heavy metal and progressive rock genres and I hadn’t listened to songs from other genres with this IEM. I had tried out this IEM using two sources- local 16 & 24 bit lossless audio files on my Android phone + Lotoo PAW S2 and secondly, through a Lotoo PAW 6000.

Specifications
Drivers	4 BA drivers (proprietary Symphonium Audio drivers)
Crossover	3-way crossover
Frequency Response	12 Hz to 21 KHz
Impedance	9.7 Ohms @ 1 KHz
Sensitivity	111 dB @ 1 Khz
Proprietary Tech	PHAT tech, TrueX 3-way crossover

Build Quality: The Meteors stood out from the sea of semi- custom shelled resin builds sported by a lot of IEMs. The magma red faceplate with the meteor name and graphic stenciled on it and the aluminum shells made it unmistakable. I could not find any seams, mold joints or sharp edges in the shell. The exceptional build quality bodes quite well for the Meteor’s durability. The Meteor came with a 26 AWG pure OCC Copper Litz cable from Nightjar Acoustics (a Singaporean based cable manufacturer with whom Symphonium Audio associated with for the Meteor’s cables) that plugged into a spring loaded 2 pin socket. Symphonium Audio had employed their own proprietary balanced armature drivers and crossover network for the Meteor. Their PHAT (phase harmony attention technology) tech ensured that they were able to make the Meteor as compact as possible while making sure that there were no unnecessary frequency inversions or phase cancellations. The TrueX 3 way crossover ensured that Symphonium Audio was able to tune each driver to the exact specifications that they desired.

Accessories: The Meteor came in a classy compact box. The small textured black box flipped open to reveal a translucent magma colored sturdy carry case, a drawstring pouch, cleaning tool, and an assortment of silicon and foam tips. On the whole, the packaging was minimalist, classy and efficient.

Comfort: Though the Meteor did not have semi custom contours, the fit was still very comfortable since it was very compact and had rounded contours. The Meteor should be a good fit for most ears out there.

Isolation and cable microphonics: I had tried out the Meteor with a pair of medium sized stock silicon tips which fit me well and were very comfortable. Sound isolation was good. The Nightjar Acoustics cable was well made, supple and microphonics were almost non existent.

Drivability: The Meteor had an impedance of 9.7 Ohms and sensitivity of 111 dB and it needed a good source to make it sing. I had to turn up both my sources to make sure that the Meteor was driven properly.

Sound Quality: The Meteor’s sleeved box proudly displayed the slogan ‘Small Size. Massive Sound.’, which was a sign of things to come and nicely summed up how they sounded. Whoever thinks that balanced armatures cannot do bass well should check this one out for size. The midrange was clear and clean and the treble section was well extended. The overall tuning made the Meteor easy and non-fatiguing to listen to.

Bass: Tastefully boosted, forward bass. Nice attack, punch, slam and impact. Could rumble like a gravel crusher in low gear if called for. Though the low end was boosted, the details in those sections were very much present and accounted for.
Midrange: The clear and flat mids, especially the lower part of the midrange made sure that all that bass did not spill over and muddy the whole sound signature. But this also meant that the male vocals and guitars took a couple of steps back in the big picture.
Treble: The treble was sparkly and well extended. This balanced out the boosted low end and prevented the sound signature from becoming too dark. The upper treble and air section were the parts that appeared to have a boost. It seemed that the lower parts of the treble section were smoothed out for preventing sibilance and ensuring a stress free listening experience.
Technical Performance:
- Soundstage: Good- wide and with sufficient depth. While the instruments did not feel too intimate nor sound cluttered, as mentioned before, they were taking a backseat in the presentation.
- Details and resolution: While the Meteor was able to convey the details in the recordings, they were a bit rounded at the edges. For this type of tuning, the resolution was not bad at all.
- Instrument separation: The flip side of the nature of this particular tuning meant that the instrument definition took a small hit.

Verdict: This is a bass head IEM done right. The tuning is tasteful and done expertly- this is a testament to the skill and mastery of craft of the folks at Symphonium Audio. There is also passion and flair in the Meteor’s build quality and the cable. The accessory bundle is also great. As with colored IEMs, this engaging little fellow should be tried out before making a purchase.

Cons: Mids and lower treble could use a little more spark (personal preference)

Use courier Brass Tips or remove the Dust/Wax guard. That will spice things up a whole lot. tried it myself. put them back on for a more relaxed listen.

I plan to try some other filters to let thru a little more air vs stock to reduce the Bass a little, while increasing the treble and mids energy.

These IEMs are very well tuned for what they are.

The ESR Mk 1 was the first Empire Ears IEM that I tried extensively courtesy of a dear friend of mine. Empire Ears is an American family owned establishment that has been around for about 30 years or so. They handcraft their products in the USA and are proud of the attention to detail lavished upon them. They apparently inspect their IEMs under a microscope before shipping them out. Their lineup (available in universal and custom fits) is broadly divided into two:

1. X Series- Purported to be ‘raw and instinctive, unwavering in its singular purpose: to overwhelm the auditory senses through the vigorous spirit and emotion of a live performance’- I think that translates to a heavily colored sound signature. The lineup presently consists of Odin, Hero, Legend X, Bravado MkII, Valkyrie MkII and Legend Evo.

2. EP Series- The Empire Professional Series is supposed to their reference audio division. They employ a raft of technologies like synX crossovers (apparently has more bandwidth per driver), anti-resonance compound (dampening technique to reduce resonance of components), proprietary balanced armature and electrostatic drivers and high end Effect Audio cables. The lineup presently consists of Wraith and ESR MkII. I had tried out the ESR MkI which had three proprietary Empire Ears balanced armatures managed by a 4 way synX crossover as opposed to its successor (ESR MkII) which has a five driver setup (three balanced armatures and two electrostatic drivers).

I should probably mention that I have a significant preference to the classic rock, heavy metal and progressive rock genres and I hadn’t listened to songs from other genres with this IEM. I had tried out this IEM using two sources- local 16 & 24 bit lossless audio files on my Android phone + Lotoo PAW S2 and secondly, through a Lotoo PAW 6000.

Specifications
Drivers	3 BA drivers (proprietary Empire Ears drivers)
Crossover	4-way crossover
Frequency Response	10 Hz to 40 KHz
Impedance	19.3 Ohms @ 1 KHz
Sensitivity	112 dB @ 1 Khz
Proprietary Tech	ARC anti resonance tech, synX crossover

Build Quality: The classy and kind of menacing looking black 3D printed shells with the Empire Ears logo on them were well made out of medical grade resin. The ESR came with a high end Effect Audio Ares II UP-OCC Litz removable cable that plugged into the flush 2 pin connector sockets of the ESR’s shell. I could not find any seams or mold joints in the shell. The build quality was top notch. As mentioned before, Empire Ears had employed their own proprietary balanced armature drivers and crossover network for the ESR.

Accessories: The ESR had extravagant packaging. It came in a black box with the Empire Ears logo embossed on it. The box contained a black colored metal carry case that was lined with silicon inside, cleaning cloth, and an assortment of Final Audio Type E tips. The whole experience screamed high end and Empire Ears aced it here.

Comfort: The semi custom contours fit me very well. Though the shells were a smidgen larger than usual for something with a triple driver setup I was still quite comfortable with them. Those with smaller ears should try it out for fit.

Isolation and cable microphonics: I had tried out the ESR with a pair of medium sized silicon tips which fit me well and were very comfortable. I had also tried out the ESR with a pair of medium sized foam tips. Sound isolation was good with both tips. The cable deserves a special mention again. This was the nicest cable I saw that came stock with any of the IEMs that I had tried out during that session. The output jack was the very definition of over engineering. The cable was supple and microphonics were almost non existent while sitting down and listening to music.

Drivability: The ESR had an impedance of 19.3 Ohms and sensitivity of 112 dB and both of my sources were able to drive these easily.

Sound Quality: After coming from trying out a set of neutral IEMs, the ESR’s sonic signature was like a shot of expresso in the morning. Empire Ears might have marketed this under their professional lineup stating that it has flat, pure, unadulterated reference class sound, but after listening to them, I wasn’t entirely sure that the ESR came under that bracket.

Bass: Slightly boosted bass. Nice attack, slam and impact when called for in a song. Details were also very much present without mush or bloat.
Midrange: The mids also had a slight boost, especially the lower part of the midrange. This lend more thickness to instrument notes. I had felt that the upper mids were comparatively more subdued than something like the Studio 4.
Treble: However, the treble section, especially the lower part was hotter than neutral. This gave the impression of clarity and air in the sound signature.
Technical Performance:
- Soundstage: Good- wide and with sufficient depth. Instruments did not feel too intimate nor did they sound cluttered or muddied.
- Details and resolution: For a triple driver setup, the ESR was no slouch in this department. Though details were very much present and accounted for, these kind of missed the refinement memo. This could also be attributed to the hotter treble signature. However, these IEMs are not as forgiving of the flaws in low res lossy files and recordings.
- Instrument separation: Again, for a triple driver IEM, instrument separation was very good.

Verdict: I think the ESR has a v- shaped sound signature instead of a neutral one! I like v- shaped sound signatures and for all its flaws, I loved listening to the ESR since it had character and went well with the kind of sleazy rock music that I listen to. This has good technical capabilities, but can be fatiguing to listen for longer sessions. For comparison sake, if the neutral IEMs are like track focused Porsches, the ESR felt like the older hot rodded Mustangs with live axles- not terribly sophisticated around the corners, but they are fast and fun! The build quality, cable and the accessory bundle are excellent. However, the ESR should be tried out before one pulls the trigger.

Note: I had also tried out the ESR with foam tips and I felt that boosted the low end a bit more and tamed the hot treble on deeper insertion.

I had the opportunity to listen to this classy pair of IEMs courtesy of a dear friend of mine for an extended period. I was trying out the more recent mid/higher end IEMs after a hiatus and what a place to start. Apparently, Softears was established in around 2017 in China and is associated with Moondrop, which in turn was founded by Herbert Zhang in 2015.

I consider Softears as an independent higher end arm of Moondrop even though they share the same impressive research and manufacturing facilities. Softears appears to be trying to break out of the cyclical loop of the Chi-Fi industry where a lot of manufacturers churn out products and hope one of them sticks by launching a product that is mature and wouldn't need revisions in 6 months. The Studio 4 seems to exemplify that.

I should probably mention that I have a significant preference to the classic rock, heavy metal and progressive rock genres and I hadn’t listened to songs from other genres with this IEM. I had tried out this IEM using two sources- local 16 & 24 bit lossless audio files on my Android phone + Lotoo PAW S2 and secondly, through a Lotoo PAW 6000.

Specifications
Drivers	4 BA drivers (proprietary Softears drivers)
Crossover	3-way crossover
Frequency Response	5 Hz to 40 KHz
Impedance	12 Ohms @ 1 KHz
Sensitivity	123 dB @ 1 Khz
Proprietary Tech	Flat impedance

Build Quality: The classy, understated black 3D printed shells were well made out of medical grade resin and had a black 4 core OFC (oxygen free copper) removable cables that plugged into the recessed 2 pin connectors of the shell. I could not find any seams or mold joints in the shell. The build quality was top notch. As for drivers, I think Softears had used their own components.

Accessories: The Studio 4 was packaged in a classy white sleeved box and came with a waterproof hard shell case, drawstring pouch, cleaning tool and cloth, an extension cable, and a healthy assortment of tips.

Comfort: The semi custom contours fit me very well and I was immediately comfortable with them.

Isolation and cable microphonics: I tried out the Studio 4 with the stock medium sized silicon tips which fit me well and were very comfortable. Sound isolation was also excellent. Microphonics were almost non existent on the stock cable.

Drivability: The Studio 4 had an impedance of 12 Ohms and sensitivity of 123 dB and both of my sources were able to drive these easily.

Sound Quality: The first thing that struck me when I listened to the Studio 4 was the added musicality and emotiveness in the sound when compared to something that would be ruler flat. The bass section was slightly and tastefully elevated, the midrange was mostly neutral, but had a splash of warmth in it and the treble section was warmer than what a neutral sound in this section would have been like. This treble tuning made it very easy to listen to at length without fatigue.

Bass: Very natural, accurate, emotive and slightly elevated than neutral. Very pleasing, satisfying and ties in well with the rest of the frequencies.
Midrange: It seems that the Studio 4 had a bit of ear gain and the mids had a dash of warmth to it. Guitars and vocals had more thickness to it than a completely neutral presentation. This made the mids more musical, but for reference heads, it would be a slight deviation from neutrality.
Treble: Smooth and clean with no unnatural peaks or spikes. As I had mentioned before, I think this made the Studio 4 quite smooth and non fatiguing. It’s not neutral and this kind of tuning robs it of some air, but I am pretty sure that no one would dislike the treble performance of this IEM.
Technical Performance:
- Soundstage: Average- not too wide and deep. Instruments did not feel too far apart nor were they too intimate.
- Details and resolution: The Studio 4 was very competent in the resolution and details department, but the lack of air in the upper registers probably held it back from being the best. But that meant that these IEMs would be more forgiving of the flaws in lossy files and low res recordings.
- Instrument separation: The same story repeats here. While the separation is very good, the lack of air made differentiating instruments, vocals and layering a bit more challenging.

Verdict: The Studio 4 is a great example of technical progress- it delivers near flagship levels of performance at a lower price point. It is an excellent IEM that can appease both the musician on stage as well as the audiophile at home or on the go. The excellent build and the accessory bundle make it a compelling choice for many.

Note: While I am not a cable connoisseur, but I am pretty sure that I heard the below differences with the cable swap. I had tried out the Studio 4 with a Linsoul 4 core 7N OCC cable and I felt that it opened up the upper registers more. I also tried out the Studio 4 with an Effects Audio Ares S cable and I felt that boosted the low end a bit more. I personally felt that the Studio 4 paired with the aforementioned Linsoul cable made it a borderline perfect IEM for me.

I had the opportunity to listen to this lovely pair of IEMs courtesy of a dear friend of mine for an extended period. The UE TF10 was one of the first recommendations that I had received from this forum when I was out to buy an IEM back in 2012. While I had missed the boat on that one, I did buy and use the consumer grade UE 350 & 500. This UE18+ Pro was the second gen version and has a universal fit shell. I'm sure that this version is discontinued, but it was fun to take this thing through its paces.

I should probably mention that I have a significant preference to the classic rock, heavy metal and progressive rock genres and I hadn’t listened to songs from other genres with this IEM. I had tried out this IEM using two sources- local 16 & 24 bit lossless audio files on my Android phone + Lotoo PAW S2 and secondly, through a Lotoo PAW 6000.

Specifications
Drivers	6 BA drivers (proprietary True Tone drivers)
Crossover	4-way crossover
Frequency Response	5 Hz to 40 KHz
Impedance	37.5 Ohms @ 1 KHz
Sensitivity	105 dB @ 1 Khz, 1 mW

Build Quality: The 3D printed shells were well made out of medical grade resin and had thin black colored Linum SuperBAX 4 wire removable cables that plugged into the 2 pin connectors of the shell that were supposed to be waterproof. The black faceplate was classy and discreet and there were no seams or mold joints in the shell. Apparently, the faceplates and cables could be customized while placing an order. It had felt like a top of the line product that it was.

Accessories: While I didn't have the original box for this one at hand, I think the retail package consisted of a very nice carrying case, pouch, cleaning tool and an assortment of tips.

Comfort: The semi custom contours fit my concha very well and I was comfortable with them right off the bat.

Isolation and cable microphonics: I had tried out the UE 18+ Pro with medium sized silicon tips which fit me well and were very comfortable. It isolated well and the since the cable was worn over the ear, microphonics were almost non existent.

Drivability: The UE 18+ Pro had an impedance of 37.5 Ohms and sensitivity of 105 dB and both of my sources were able to drive these easily.

Sound Quality: Right off the bat, the UE 18+ Pro sounded very balanced and coherent. There were no unusual dips or peaks in the sound signature since it was a relatively flat or neutral sound signature that was intended for live musicians to listen to at length without fatigue.

Bass: Natural, tight, relatively neutral, controlled and could extend low when required. No sub bass rumble unless called for. Mid bass frequencies were also in control.
Midrange: Clear, natural and a little bit forward to lend texture and thickness to instrument notes. Upper midrange felt linear. Vocals were slightly forward but were quite natural and balanced well.
Treble: Smooth and natural. Lower treble was a little warm and I think this made it quite smooth and non fatiguing. Great tonal clarity in the upper registers.
Technical Performance:
- Soundstage: Average- not too wide and deep. Instruments did not feel too far apart nor were they too intimate. Not as wide as modern flagships.
- Details and resolution: These were handled very well. Picking out details in the song and recording was easy and the IEMs were quite resolving. These IEMs were proficient in highlighting the flaws in lossy files and low res recordings.
- Instrument separation: It was also very good. Differentiating instruments, vocals and layering was easy.

Verdict: A fine IEM that would be right at home on the stage with a capable musician. It's a great choice for a well heeled audio connoisseur that loves and appreciate near neutrality or reference sound. The game has moved on now, but the UE Pro 18+ still holds its own and is a compelling argument for a relatively neutral IEM.

Damn..another one..

The Ultimate Ears 500 left me feeling lukewarm, to be honest. Though I had been initially impressed, as the days passed by, my liking for it faded rapidly with each passing day- something I never experienced with any other iem I owned.This was one IEM which I regretted buying, to be honest. No offense to any owners, but the UE500 didn't cut it for me. Fortunately, I spotted a JVC FXT90 going for sale along with an E7 and I pulled the trigger on them. I always wanted to own an FXT90 after hearing from Shotgunshane that these were the bomb for distortion guitars. Turns out he was absolutely right.

Packaging, Build Quality, Accessories

Bought these used. They were in pristine condition and very well maintained. Comes in a clear plastic box with the printed stuff inside and the iems on display. There's a small case for carrying the iems (which I haven't used) and three pairs of single flange tips. Considering the FXT90-s shallow fit, JVC could have bundled along a pair or two of double flanges or some Complys.

No exotic materials or fancy chrome stuff on board- just a simple, smooth housing made of strong, clear plastic which shows off the twin drivers. The nozzles are angled. The cables are very well relieved and it doesn't twist up into a knot easily nor develop bends. The jack's pretty sturdy too. Nothing much to complain here.

Comfort and Isolation

The angled nozzles, smooth and ergonomic shells ensure a good fit- albeit a shallow one. I get good results from the stock single flanges, but I get the funny feeling that I'm not getting a good seal when I actually do. Weird.. but they are comfortable and isolate reasonably well. In windy situations, however, I could hear the wind noise. Tried them out with UE single flanges and found that the stock ones were better. Didn't experience microphonics with the cables.

There is a huge caveat here- driver flex. The drivers flex loudly when I insert them and get a good seal. It's alarming and annoying. It's the first time I experienced this on an iem. This can be solved to an extent by holding up the tip of your pinnae with one hand, relaxing the jaw and slowly inserting the iem to your ear canal while pushing the eartip to one side of the ear inorder to prevent the seal. After it is inserted, let go of your pinna and it's done with much less or almost nil driver flex. A more expensive way to counter this would be to get foam tips.

Sound Quality

Bass: Dynamic, Strong, Excellent decay, great slam and impact, moves quite some air, not as fast as a BA, but thick notes sound very pleasing and satisfying. Absolutely no complaints at all. Drums sound good- though not of GR07 caliber.

Mids: Excels at bringing out the crunch and grit in distortion guitars (maybe due to the mild mid bass hump?)- very, very satisfying to listen to rock and metal on these. Decay times are also excellent- sounding natural and very musical. Solos are awesome with these.

Highs: Has the right amount of sparkle- more detailed than the UE500, not as harsh as the Pana HJE900. Cymbal crashes and high hats sounded good. No complaints here either. A/B-ing with the UE500 revealed that though the UE500 had good sparkle, it didn't have as much clarity and definition as the FXT90.

Soundstaging: Average. Not as wide as the UE500, not very intimate either. There's an airy and open feeling though. I can't find much to complain here either.

Hiss, Sensitivity

No hissing with portable sources or with my E7. Sensitivity was good. Not as sensitive as the W4-s, HJE900; about on par with my Grados and much better than the UE500.

Verdict

Again, like the HJE900, these puppies punch far above their weight and are great for rock and metal. The FXT90 has a more musical, natural & even sound signature with more powerful bass, thicker notes, decay times and that uncanny ability to make distortion guitars sound great. The Panas have more clarity and speed, but have hotter and more fatiguing highs. Both are great in their own way, but I prefer the FXT90. The only real issue with the FXT90 is the driver flex. This can be avoided, as I had mentioned earlier- but it's a point to note anyway. Still, these things rank right alongside my Grados after the W4 as my favorite go-to pair of ear gear to listen to. Highly recommended for fans of rock genres.

Do you think this is a good upgrade from the fxd80?

Why another iem?

The Creative EP630 was my 'beater' pair of iems- ie, a pair I used for casual and rough use. It was no SQ king, but it served me very well- it was more than 5 years old (IIRC) and it was still working when I gave it away to a friend. Now I didn't have a beater pair to use. I use the W4-s during my long commute and while studying, the Grado SR60-s when I don't feel like using an iem and my bro uses the Pana HJE900-s. I had my eye on the UE 500 while I had been shopping for an iem earlier. I saw that it was going really cheap on ebay and upon seeing that the seller was legit, I pulled the trigger on those.

Packaging, Build quality, Accessories

I found the packaging to be really cool. Quite elegant. Okay.. the accessory bundle wasn't too big- but all the essentials were included- a good selection of UE single flanges, a pair of Complys and a Logitech branded clam-shell carry case. The iems itself turned out to be a bit of a disappointment for me in the fit and finish department.

First off- the cables. I've got only one word for these- ****ty. I had read that the 500's cables were bad, but I didn't think it was this poor. The flat cable design and the tacky prints look cheap. I'm sure that these cables would stiffen and crack with time. They are microphonic too- every time they rub against your clothes..aargh. This can be solved to an extent by wearing them over-the-ear and using the cable cinch to hold it in place.

Next, there aren't any proper strain reliefs- either at the place where the cord exits the housings or at the 3.5mm plug (which is pretty sturdy, btw). Many people might not have an issue with the cable design or the strain reliefs, but I've been spoiled silly by the most excellent W4-s braided cables. It's not a fair comparison, but I've seen cheaper earphones with better designed cables than the UE 500.

Lastly, the chromed plastic housings. Lot of bling, but I don't like it because it can attract stains and oils quite easily. Quite a subjective opinion- feel free to disagree here. On a positive note, the housings are tiny and appear to be well made.

Comfort and Isolation

These things are really comfortable- aided in no small part by the small housings and the soft UE single flanges. The isolation is pretty good too- not as isolating as the triple flanges in my W4, but it comes close. The drawback with the UE tips are that they become loose over time- an issue my brother is already experiencing on his Pana HJE900 (he uses UE tips on those).

Sound Quality

Bass: Strong, not at all boomy, extends very well, has lots of slam and air, good impact. The bass is not a prominent part of the sound signature, but when called for it can be powerful, deep and impactful. The bass quality and presentation isn't natural like the Pana HJE900 but the UE 500 costs less than half of the Panas and I have to admit, sounds more enjoyable too- especially for casual listening and while watching movies.

Mids: Would have been slightly recessed if it weren't for the mid bass hump. Smooth, in offensive and non-fatiguing. Guitars and vocals sound clear- but do not jump out at you or envelop you with its warm, liquid smoothness like mid-focused iems.

Highs: Extends well and isn't harsh or sibilant. Smooth and relatively detailed. No complaints at all.

Sound staging: Wide and airy. Must be the widest among all the phones I own, as a matter of fact. Positioning is good and so is the instrument separation. There is no sense of intimacy for the tracks that demand it, though.

The UE 500 has a v-shaped sound signature. Unlike the HJE900, it isn't as drastic- it's only mildly v-shaped. The overall impression is that of a smooth, relatively clear and likeable sound signature.

Hiss, Sensitivity

A big drawback of the UE 500 is that they are not very sensitive. I need to go up to higher volumes on my Clip Zip to drive these things properly. Hisses a bit when connected to my LG Optimus 4X- none with the Clip or my laptop.

Verdict

For the price I paid for these, the UE 500 provides good sound quality for the dollar. There are certain caveats like the poor cable design, strain reliefs and the low sensitivity. If none of these are an issue, the UE 500 makes a good buy. However, the competition is stiff in this price range and if you are willing to extend your budget to $100, there are a lot of ace performers in the market. The sound signature and quality is hard to fault, but the feeling of fragility the cables give makes me a bit hesitant in recommending this whole heartedly.

I wrote a review on these and I mentioned the cable as well. To be honest, I would much rather have a flat cable because now I've figured out how to keep it straight and bendy and not have twists in it like standard cables.
And I think your EQ has an effect on these headphones; try setting your equalizer to 'classical' or 'electronic.'

I had read your review- nicely done. I could have lived with the flat cable design, but I haven't taken a shining to the material used and the lack of proper strain reliefs. Each to his own, at the end of the day.
I don't use an EQ- neither on my laptop nor on any of my portable devices.

Build Quality

The shells made of cubic zirconia is easily the most distinct aspect of the HJE900. It is almost indestructible and according to the literature, can only be scratched by diamond. The shells feel rock solid, has a cool blingy finish, looks and makes you feel good about your buy. The detachable cables with the non-proprietary connectors are a big bonus too. The solid build quality doesn't stop with the shells. The cable cinch has a brushed aluminum covering and the 3.5 mm jack socket is of the same material too. Ditto for the strain reliefs. Very classy.

The cable is a mixed bag. I'm nitpicking here- the cable is well made, but after being spoiled by the Westone 4's stellar braided cables, I found the cables on the HJE900 to be on the springy and energetic side. This can be a boon as there is not much memory for the cables and it doesn't get tangled easily. The cable cinch lacks sufficient grip to hold the cables for long.
Another drawback is that the mesh earwax filters at the tip of the nozzle have a tendency to fall off easily. However, this can be fixed by stuffing a small ball of foam just to cover the nozzle and gluing the mesh to it (or not).

Overall, there is nothing to fault with the tank like build quality that you get with the HJE900. In fact, it's better than most iems that cost much more than the HJE900.

Bundled Accessories

One Panasonic branded drawstring pouch, One Sony 'Amazing Spiderman' branded zippered pouch, 3 pairs of single flange tips.

None of the bundled tips were able to provide a good fit and seal for me and my brother. With UE single flanges, it is possible to get a reasonably good fit and seal.

Comfort, Isolation & Microphonics

Best worn straight down. I was unable to wear it over the ear like I wear my W4 due to the springy cable and the longish strain reliefs. Speaking of the strain reliefs, I found them a bit too long and this prevented me from inserting the iems deeper. The shells can be heavy for some people. A friend of mine who tried out the HJE900 found it too heavy for her ears and complained that they kept falling out. Neither me nor my brother experienced this issue with UE tips.

We found that using UE single flanges yielded the best results in terms of fit, comfort and isolation. The UE tips are really soft and comfortable- one forgets after sometime that they are present in your ear. Isolation is tip dependent as usual. Fine with UE tips- not as isolating as my W4 with the triple flanges. I'm thinking of trying Shure triple flanges with the Panas- has anybody experimented with this combo?
Microphonics was minimal. Again, not as non microphonic as the W4, but easily the best among everything else I've tried.

Sound Quality

Bass: Strong, has decent air, slam and impact. Extension is also good. The speed is also there- drums sound great with metal genres. I think that there is a mild mid bass hump, but I'm not too sure. In a nutshell, the low end sounds quite natural. The quality is hard to fault too.
Mids: A bit recessed, as is usual with iems with v-shaped sound sig. I wasn't too impressed here but that's because I've been spoiled silly by the W4 and the Grado SR60i. For a person who's upgrading to the Panas from lower end iems/earbuds, they are bound to be impressed by the warm, natural and detailed tonality of the mids. Distortion guitars and basses sound great.
Highs: Can be siblant and sharp for folks used to darker sound signatures. The highs are quite sparkling, but they aren't as detailed as that of higher end iems. Still, very entertaining to listen to.
Instrument separation is impressive.

I think 'Fun First, Details next' sums up the sound sig of these Panas. The sig makes it a great choice to listen to rock & metal. However, even though the SQ is very musical and entertaining, that doesn't mean that the details are bad- infact, it's pretty good for its price range.

Hiss, Sensitivity

The Panas are quite sensitive and doesn't require you to pump up the volume to hear things. They don't hiss with my Clip Zip, but when used with my SE X8 cellphone, I can hear the background hiss. The gigo rule applies here- the HJE900 is revealing of the deficiencies in poorly recorded low bit rate tracks.

Verdict

For $120, I would say that the HJE900 punches far above its weight. On the build quality alone it scores a lot compared to the competition. It's no slouch in the SQ department either. A very entertaining v-shaped sounding iem, it gives most competitors a run for their money. The only flaw I can see is the sparkly treble, but with the foam mod or after burn in, it might settle down. As far as I'm concerned, the HJE900 makes a great backup pair that you can use everyday, anywhere. As my friend vik1980 rightly remarked, they can even take the front line for non audiophiles.

The catch here is the availability. It's not readily available here in India. I was lucky enough to see it being listed at the low promo price online and to buy them. The normal price is twice what I had paid for- at that point however, I would take a long, hard look at the competition before buying. But for $120, it's a steal and one of the best purchases I've made.

I'd bought these from a head-fier. My purchase was off to a rough start unfortunately, The left channel used to die out after half an hour of listening. Luckily, they were covered under warranty and I was able to secure a replacement.

I listen to rock and metal (FLAC lossless) and the Grado SR60 was my choice to listen to them. Using the W4-s is a totally different experience.

Bass: I found the bass levels to be perfectly adequate for almost every song I've listened to. Instead of massive quantity, I find that it has a delicate detailed kind of bass. Not thundering earwax dislodging bass, but more detailed and layered than what an average guy like me am used to. But that doesn't mean it's thin and sharp sounding- I don't quite know how to describe it- it's got to be experienced. The kickdrums have the right amount of punch to them and the basses sound fuller and have some 'feel' to them.

Mids: Amazing vocals. Very smooth and pleasing. It's very hard to dislike the W4's midrange. Quite a departure from what I'm used to on my Grados but I like the W4-s mids too- a good change from the aggressive mids on the former.

Highs: The W4 is capable of producing some excellent highs but it's dependent on the tips. On the Complys, they sounded a bit too dark and recessed for me initially compared to the bright and forward sounding Grados. However, with other tips with a bigger bore like Sony Hybrids or Shure olives, I think it can open up some more..
The treble extension is another story. Cymbal crashes extend nicely and for live recordings it's amazing.

The details need a special mention. For a beginner to quality audio equipment like me, the sheer amount of details this little thing can bring out is astounding. I'm hearing new things in songs like the breathing of the artist before singing, details in picking an accoustic guitar, some vocals in the background that had been entirely drowned out on my Grados, etc. Simply amazing.

The build quality is pretty solid and the shells seem to be pretty sturdy without any visible moulding gaps or cracks. Though the cable looks fragile, it's actually quite well made- no kinks, microphonics, stiffness or cracking. The connector is also of solid quality. The strain reliefs seem to be well crafted at the connector jack. I'm a bit worried about the reliefs provided for the cables exiting the earphone tubs, but I guess I'm being paranoid.

Conclusion
In a nutshell, there's really nothing much not to like about the W4-s. The sound signature is smooth and well balanced (almost neutral for a listener like me who's used to colored phones) without any serious shortcomings. However, that might also prove to be its undoing- it may sound boring at times to some listeners. Still, it's a pretty hard to dislike it. The ergonomics are pretty comfortable, and the Westone customer service's excellent. The only drawback I see here is the price. The retail price isn't very cheap or even affordable by normal standards. But you get a good product in return. Buy one if you are passionate about music and if your wallet can stand it.

A huge thanks to shotgunshane for guiding me through the purchase and replacement process! It's people like you who make head-fi special!

Yes I do listen to Rock Metal music as well, however I notice that it sounds totally different than my UE 700.
I guess that I must use 320 kbps audio source or even FLAC.

Which tips do you use? The W4 can sound dark with certain tips (like the triple flanges) but can open up and add in more brightness and sparkle with other tips with a bigger bore. How does the UE700 sound? Is it a bright sounding iem?
The first thing I usually notice when I switch from a mp3 encoded song to a well recorded flac one is the amount of increased details in the high end. Many other details start popping up even if you aren't completely attentive.

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