BGVP ArtMagic VG4

Rating. 8.7
Sound: 8.7

Intro
After the DH3, the second IEM of the ArtMagic series from BGVP has now also made it into my hands. It is the middle class car within this series, so to speak, but it has the technical features to compete even higher. The VG4 is an IEM with wow-effect and knows how to convince with the first notes. Its immediately outstanding features are an extremely expansive stage, wonderful, clear and accurate mids, as well as trebles and a punchy BA bass which, however, has good dynamics. In short, the VG4 is exciting and in my opinion, another highly competitive IEM from BGVP, moving in a more neutral direction with the ArtMagic series, as opposed to the more mainstream DM-series.



Handling
BGVP always relies on a quite similar housing in universal "custom" construction for its models. In contrast to the more compact DH3, the VG4 is thicker and larger than its little brother, probably also due to the larger dip-switch panel. It even beats the DM7 in size, but that doesn't make it any more uncomfortable to wear. It adapts well to the shape of the ear, seals excellently and, due to its closed design, does not let any noise out.
A range of different colours (transparent or opaque) is also available for the housing selection.

I've already mentioned the extensive scope of delivery for BGVP a few times and of course this also applies to the VG4. Vocal, bass and standard silicone tips, as well as a pair of foam tips are standard equipment with BGVP, as is a robust case. To my delight, the wonderful, soft and high quality cable of the DM7 returns with the VG4.

Furthermore, this time three dip switches are used for sound modification, which also serves as a crossover.



Sound
In contrast to its little brother, the DH3, the VG4 has one more dip-switch, which gives us a total of 8 tuning options. With them you can influence the frequency response in the bass, the mids and the highs, with sometimes more, sometimes less effects. I'll limit myself to two settings (001 - bass/midrange & 000 - neutral), whereby the primary sound description will refer to setting 001, as I like this setting most due to the additional warmth and body and the resulting more emotional and natural mids.

In contrast to the DH3 the VG4 uses a BA driver for bass and although I prefer a hybrid with a dynamic bass, the bass BA driver is, as with the DM7, really powerful and competent. With the DM7 the bass is a bit softer and more voluminous. With the VG4 it is more direct, punchier and faster. The sub-bass is well covered, however, the mid-bass is in the foreground. Nevertheless, the quantity is quite similar to the DH3, which sounds more dynamic and natural, but has less bite. Depending on the genre I even like the bass of the VG4 a bit better, but in the end both are of equal quality, even if they set a slightly different emphasis.

As with the DH3, the mids are very detailed, transparent and captivate with their clarity and voice reproduction. In contrast to the DM7, they are not quite as warm and voluminous, but are more lively and forward without being uncomfortably prominent. As with the bass, the mids have a positive bite and are extremely accurate. This is also very noticeable in the instrument separation. I personally like the timbre of the VG4 men's voices a bit better, because women's voices sometimes radiate a bit too much energy. I prefer the somewhat reserved presentation of the DM7, but the VG4 is more to the point and has a better grip.

The trebles are basically the real improvement over the DH3. They sound more mature and no longer have that unpleasant peak that pops up every now and then with the DH3. Also the sibilants are better controlled, but they are not completely eliminated. On the other hand, the trebles of the VG4 are extremely detailed and are still quite stable even in the absolute high frequencies. But the absolute highlight of the VG4 for me is the expansive stage, where the highs play a big part due to their open and transparent nature. This stage is really remarkable, especially in width, but also in depth. In contrast to the DM7, the stage opens further upwards, making the DM7 look more intimate in comparison. The trebles still have room for improvement, as I think they could be a bit more level-headed, but they fit in very well with the overall sound concept of the VG4, which is designed to bring you on board with clarity, separation, detail and accuracy.

Let's move on to the neutral setting (000) with which the VG4 is also delivered. This is indeed one of my second favourite configuration.
In this setting the VG4 sounds flatter and more neutral. The frequency response is very linear and no area is really emphasized. As with the DH3, this setting is more for purists and goes in the reference direction. I prefer a little warmer and more voluminous, but this setting is highly recommended for classical music, for example. The mids and highs come more into focus in contrast to 001, which for me leads to fatigue more quickly, but as I said, this setting can be a blessing for some genres.

I deliberately omit the treble boost setting (1st switch), as it increases the presence of the treble and subjectively makes it sound a bit more sophisticated, but also amplifies the sibilants and unnecessarily brightens the signature, which can lead to fatigue. I also find the VG4 sounding more natural without this additional boost. The changes with the 2nd switch (midrange) are quite subtle and only in combination with the 3rd switch (bass) worth mentioning.



Outro
The VG4 starts where the DM3 reaches its limits and is an upgrade for me, although not a major one. Basically it stalks on my previous BGVP favourite, the DM7 and pulls even. Both go a different way in tuning, but that's what makes both so unique, in their own way. The DM7 is the unexcited, stoic all-rounder, which is one of my favourites with its fatigue-free, warm and detailed sound, without annoying overtones. The VG4, on the other hand, is the snappy, clear and transparent audiophile, which is dedicated to the open mid and high frequencies and comes across more lively, tidy and crisp.
In contrast to the DH3, it has better control of the more or less random sibilants, but is not completely free of them.

Due to its detailed, separated, bright and neutral presentation it is (like the DH3) especially good for complex and vocal music, but also as an allrounder it cuts a good figure, but may not always deliver the desired pressure in the absolute low frequencies, but shines more with punch in the mid-bass.

The scope of delivery is without complaint and also the versatile, even if sometimes only subtle tuning possibilities, make the VG4 for about 200 € an outstanding product in its price range.


___________________________________________________________
More reviews: CHI-FIEAR
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Before starting this review, I would like to share technical aspects and package details.

Also, I would like to thanks to BGVP Audio for this great opportunity. Here is the link of VG4: https://penonaudio.com/bgvp-artmagic-vg4.html


Specifications:

Drive unit: 4 balanced armatures

Rated power: 6mW

Distortion rate: ≤0.5% (1kHz)

Sensitivity: 115dB SPL/MW

Channel balanced: ≤1dB

Input impedance: 16 Ω

Frequency response: 10Hz-40kHz

Cable length: 1.2m ±5%

Weight: about 4.2g per unit

Plug: 3.5mm straight plug

Waterproof: IPX3

Dustproof: IPX3


Package Contents:

BGVP VG4

S/M/L vocal eartips

S/M/L balanced eartips

Storage case

Brush


Test Equipment:

THX AAA 789

Earmen TR-Amp

Topping D50s

Opus #1

Chord Mojo


Package, Design & Isolation;

Let’s start with unboxing. VG4 comes with a moderately big white cardboard box. After open the outer box, there is also a black box. There are 6 pairs of silicone tips and 1 pair of foam tips. Blue tips are for the vocal performance and white tips are for the bass performance, that’s what BGVP says. There is a nylon carrying case which is pretty small and easy to carry out.

Shell is made of resin and there is a ton of alternative colors that you can select or customize for your personal preferences. Also, you go with the custom shell as well. My VG4 is a translucent color on both shells and faceplate. It is really beautiful and I always like the translucent shell because you can see all the drivers and electronic parts inside. VG4 is not a small earphone but its shape is quite ergonomic and it is easy to wear it without any hassle. VG4 has 3 tuning switches, so you can try and find out which ones suit your preferences more. Also, it provides a great seal and isolation. Stock cable looks great and feels great. It is soft and light which easy to wear it. There are no microphonic issues whatsoever.

Overall unboxing experience, material, and build quality are impressive for its retail price.


Sound:

VG4 has a neutral but slightly warm sound and also has a great balance between frequencies. It is very safe tuning and easy to hook most people. Top to the bottom, it has great control on all frequencies without exaggerating any sound. You can also change the sound with the tuning switches and it really works. I’ve tried so many earphones that has switches and none of them were as effective as like VG4. These switches are work and make some significant changes to the sound.

The treble extends pretty well and has a bright and clean presentation, but I still think that it’s not the best area of VG4. Treble extends very well and has great extension and resonance, especially in stringed instruments, but relatively not very good in detail and resolution. Generally, BGVP has followed an extremely safe way of tuning the treble. I’m not actually a treble-head, but I still wish it was a bit more in quantity. The level of detail and resolution is very good for the price for sure, but… When switch number 1 is activated, it opens the upper mids and the tops have a more airy and clean presentation. There is absolutely no harsh presentation or sibilance as expected in the treble and has a smooth and non-aggressive presentation overall.

Mid frequencies have been my favorite area on VG4. It is extremely clean, detailed, and has a good tonality. Also, it has a very good body and fills well under the overall sound. Both the instruments and the vocal performance are definitely great. It was very enjoyable for me to listen to Le Trio Joubran tracks that I listened to and tested on my many earphones. I love the textured and emotional presentation on the stringed instruments. I think it has enough body, but the number 3 switch adds more body by activating it. I both liked and did not like to activate it. I like it because it creates a more emotional atmosphere in vocals and makes the vocalist closer to you, and it fills the stage more. What I don’t like is that it relatively narrows the stages to its width and it is not as good as separating the instrument. (when comparing switch off) Of course, this is my personal preference. In general, I really like the performance of the mids and it is one of the best earphones I have heard in this price band.

The VG4 has high-quality bass in terms of both speed and control. There is no bulky and punchy presentation and it is not on a bass head level. It cannot be called balanced or flat, but it certainly does not have a warm presentation. The bass manages to stay in control in fast tracks and doesn’t put the overall presentation in a muddy atmosphere. However, if switch 3 is activated, the bass increases both in quantity and power. I thought it would create a somewhat artificial and uncontrolled boost, but it is very controlled and managed to boost the bass frequencies without harassing other areas. BGVP has done quite well in terms of tuning. The bass drivers do not have a dry and cold presentation, even if I did not know that it has balanced armature drivers, I might say it is the dynamic driver. I found it very successful in tonality. Sub-bass is also very good at going deep, but still, it doesn’t have that powerful, bulky depth of the dynamic drivers.

The soundstage is quite wide and I can easily say that it is above the average in this price range. instruments sounds spread out very wide area and offer a spacious and airy presentation. The stage depth is also very successful and it is good at imaging and layering. The background is black enough to provide a clean presentation.


BGVP VG4 vs Audiosense T800:

Comparison:

T800 is one of my favorite earphones and its sound performance is way above its price tag in my opinion. Both earphones are beautiful in terms of material and build quality and ergonomics are great on both earphones. T800 has 8 armatures drivers per side while Vg4 has 4 drivers. T800 is warmer in tonality with a thicker and bolder presentation while VG4 has a more balanced side and slightly warmer. Trebles are airier and have more sparkle on VG4 while T800 is smoother and tamed. Details are more prominent and audible on VG4. The vocal performance is more forward, organic and natural on T800 while VG4 is more balanced, and laid back when I compare it side by side. Instruments are thicker and bolder on T800 and have more body overall. VG4 is slightly laid back and there is more room between instruments and vocals. This is where the difference is huge. Bass is more powerful, impactful, and deep on T800 which provides much more quantity while VG4 has more on the controlled and tighter side. It cannot match in terms of quantity and power but it provides more quality and detailed bass performance. The soundstage has better width and depth feeling VG4 while T800 is slightly narrower than VG4, but still has good wideness and depth overall.


BGVP VG4 vs Astell & Kern Billie Jean:

Billie Jean has 2 balanced armature drivers per unit while VG4 has 4 drivers as you know. Billie Jean shell material is ABS plastic and its body shape is way smaller than VG4. Although body material is ABS, it doesn’t look flimsy and cheap, but VG4 looks and feels much better. BJ provides a pretty good seal and isolation on-ear but VG4 doing a better job both isolation and seal. Bass is quite powerful and deep on Billie Jean and also it is not as controlled as VG4. VG4 is tighter and much more controlled more articulated. Side by side comparison, BJ is muddy and uncontrolled and resolution is not as good as VG4. BJ has more bodied and forward mid-presentation while VG4 has a more laid-back presentation. The resolution and details level is much better on VG4. Trebles are more pronounced and extended on VG4 which provides better details and resolution while BJ is more tamed and almost it feels like rolled off. The soundstage is wider and deeper on VG4 and the instrument's separation is much better.


Verdict:

BGVP has made a great impact on the market with their DM6 iem, and has been compared to more expensive earphones and liked by many people. It is very clear that BGVP aims to continue the success that they have achieved with the DM6 in their new series. It is especially pleasing that they making very good products in terms of price performance. This is a very expensive hobby and companies with the least damage to the wallet are always loved. The VG4 is a very successful product with its sound quality and the successful tuning of the switches it has. I can easily say that it offers much better performance than its price tag and I can definitely recommend in this price band.

For once, I'll put my sound analysis after my considerations, which due to some peculiar aspects of this IEM are needed as a sort of lengthy foreword to understand my experience and idea of this IEM.

This story starts on the tones of a horror novel. Right after unboxing, as per usual default I plug them to my R5. After 10 minutes I was about to trash them. They just sounded horrible. As in: I don’t remember last time I heard such an unhearable crap.

Bass was totally hollow. Not only “unbodied” as you might somehow expect by bad-tuned BA, but really lacking entirely. Almost as if the tips were not getting the seal. But they were.

Treble was live, sparkly and full of details – but way too much. It was also sibilant but most of all screachy, peaky, simply definitely unpleasant.

Trash or try? Try…

First attempt: tip rolling.

VG4 comes with 3 sets of tips (S/M/L each). Pre-installed are the black ones, soft silicon wide bore – these are what I initially used.

Blue stock ones (supposedly “for vocals”) are a pure joke: their stem is too large, and does not grip properly on the nozzles. When I tried them on they slid off the housings and I had to remove them from my canals with a pair of tweezers

White ones are stiffer and therefore recommended “for bass”. Which is kinda true, they enhance bass a bit (due to a firmer seal, as normal) but they also make sibilance even worse for me.

So much for stock tips. On with rolling. I tried: Spinfit, SpiralDot, SednaEarfit Light, SednaEarfit, Radius DeepMount, Symbio Peel, Final E, Acoustune ET07. The sole ones taming sibilance (for my ears) are SpiralDots. OK, on with them.

Sibilance is solved by the tips. SpiralDots are relatively stiff so bass gets a bit more bodied, but nothing remotely enough to call them decent. All the rest remains pure crap.

Is it maybe a never-so-severe-before pairing issue ??

So let’s try with my Fiio BTR5. Same stuff. With my Fiio X3-III. Same stuff. With my Meizu HDP and 2 other DAC dongles. Same, barred non-resolving variations.

Meh

X3-III is the warmest of all those sources, and in facts it tames trebles “a bit”. The situation remains crappy but why not trying to play with that a bit. So I keep X3-III in the game, lower volume to zero and start progressively raising to hear what happens.

VG4s are quite sensitive (110dB) so already at 20/120 they get nicely loud and vivid. Too bad that already at 20/120 trebles start going nuts. Bass is “off” or something, very hollow, un-present.

I keep going up. At 28/120: boom! Bass “turns on”. Instantly. Trebles get even shittier in the meanwhile.

And, almost immediately afterwards (31/120) basses go into evident distortion. In the meanwhile, trebles shout and peak-out like crazy.

One step back: at 30/120 mid and sub-bass “sound about right”… almost always. “Sometimes” they suddenly turn off, then on again, and so on. At 31/120 they stay on, but almost always distorting.

VG4 have a declared avg impedance of 12 Ω. That’s the problem.

Technically, it’s not a problem with or about VG4 to be honest. Fact is that all of my sources have a minimum recommended load impedance of 16 Ω. So by pairing with VG4 it’s me asking them to do something “out” of their scope. Can’t blame them.

It's equally honest to note that the overwhelming majority of portable budget source, and most of mid-tier ones do support 16 Ω ++ loads, not lower. This leads into wondering how brilliant is BGVP’s commercial choice about designing an IEM requiring special sources to drive. More on this later. Let’s go back to the technical part.

Barred exceptionally lucky cases, the pair of VG4 with my owned sources technically simply “could not” work. I’ve not been lucky, and in facts it didnt work.

Not going to write a treaty here but it’s worth to remember that low impedance IEMs sound louder or quiter, and “better” or “worse”, depending on how much current flows through them - unlike higher impedance drivers, which sound better or worse depending on how much voltage they get.

Portable sources have a much easier time providing good voltage swing into moderate impedance headphones, while it is much more difficult to design portable devices providing a high and accurately-managed current flow into low impedance IEMs. And, the lower the impedance, the exponentially harder the task. That’s why most budget- and even mid-tier portable audio devices are officially specced for impedance loads 16 Ω up.

So to find out how these VG4 really sound I have two options: find (borrow, buy…) a 12Ω-load-certified source and/or “fix” the situation externally.

The latter option seemed to me the golden opportunity to justify trying an item I’ve been watching for a while, but I never had the occasion (or the excuse…) to put to work: Ifi-Audio IEMatch.




IEMatch is presented as a one of a kind device.

It’s supposed to stay in the middle of the analog path, between the Amp and the IEM, much like a plug-size-adjusting adapter. It contains passive circuitry that, according to its specs:

• Presents the upstream Amp analog output with a predefined load impedance of 16 Ω
• Applies a significant attenuation to the analog signal passing through, selectable from two available preset values: – 12dB (“High setting”) and – 24dB (“Ultra setting”)
• Presents the downstream IEM with 2 possible Output Impedance values: 2.5 Ω (when “High setting” is selected) or 1 Ω (with “Ultra setting”)
• Is supposed not to introduce any FR or other sound alteration in the process

The declared main design purpose for IEMatch is to clean-off the hiss affecting ultra sensitive IEMs. In my case the idea is using IEMatch as a “high class impedance adapter”.

Once VG4s are connected to IEMatch, and that is connected that to my R5, the R5 will “sense” a 16 Ω load instead of a 12 Ω one, which will make its output circuitry behave within its designed range. On the opposite end, VG4 might potentially not “like” IEMatch’s High Setting too much as IEMs/HPs “sound best” when connected to output impedances not greater than 1/8th of their internal one. So I expect to get best results (if all goes well, and Ifi Audio’s specs are true to their product) on Ultra setting.

Which means I need to be prepared to cope with a -24dB attenuation. That’s a lot, and I do mean a lot. This is why for my test I got a IEMatch 2.5 (balanced ended) version: to exploit R5’s balanced output power reaching up to 1040mW into 16 Ω at fullscale.

And boy did it work !!

Starting from the bottom, R5 did keep its power promise. While R5 makes VG4 “badly shout” at 30/100 volume when straight-connected, I can get +- the same SPL via IEMatch High at 70/100, and Ultra at 95/100. And that’s on Low Gain so I still have the +6dB R5’s High Gain “reserve” available if need be.

What’s most important is that VG4 via IEMatch has a wonderful sound. And I really mean it.

Here below I’ll put my usual table-style analysis but I found VG4’s overall sound so good that I deem worth adding a more discursive description.

While this article is centered on VG4 lets first complete the brief about IEMatch behaviour in this case.
Exactly as theoretically expected :

• Interposing IEMatch totally solved R5’s inability to deliver correct powering to VG4
• When driven under IEMatch High setting (2,5 Ω output impedance) VG4 (12 Ω load impedance) sounds perceivably bassier, treble-tamed and narrower compared to IEMatch Ultra setting option (1 Ω output impedance). That’s totally physiological given Zout differences.
• So to let them play at their best I need to drive VG4 through IEMatch Ultra – hoorray for R5’s power!

Now finally on to VG4’s sound.

I’d one-line VG4 as a less elegant, yet more energetic and orchestral TIN P1.

With all switches on 0 position (more on this later) the general tonality is exceptionally clear-neutral. All sections (bass mid and treble) feature very fast transients, as on the other hand one would expect from BA drivers. Same general league as TIN P1, which is even faster though.

Unlike P1, VG4 bass curve is ruler flat, no rolloff in the subs. Beyond that, it sounds much fuller than P1, punchier, more engaging, still absolutely bleed-free. A very centered compromise between precision and body.

Mids are slightly recessed, quite defined and reasonably pleasant. Male vocals definitely better than Female, both, together with other instruments like guitars, benefit from SW2 (see below) the end result being good Males, just decent Females. In terms of quality, we are not in the same league as P1 here, not even close actually.

However good the lows are, the highs are even better. Again, I can hear a speed similar to P1 but with a world more of dynamics and rhythm. As much as P1 is at the same time crisp and liquid and relaxing, VG4 treble is full, sparkly, defined and entertaining. Details are eons ahead of P1, in the league of Shuoer Tape to make another comparison, but without a screech, zing or shouty peak, and most of all no hint of that somewhat “metallic” halo which I often find associated to highly-detailed treble presentations. Trebles are at the same time greatly detailed, full, and musical.

Now that VG4 is properly amped, sibilance also goes away and I can safely fallback into adopting stock black (wide bore) tips.

In addition to lows and trebles, the other VG4 fortes are no doubt its key technicalities: soundstage, imaging and instrument separation.

Stage is very wide and deep, not only much more than the aforementioned P1 (which indeed has a weak point there) but surpassing all other IEMs I heard in this price bracket and the one above. Instrument separation and imaging seem cut & carved with a laser tool: all sounds are crystal clear, perfectly separated and positioned onto a “well-lit” stage, where I kinda “see” each one on its own. A really, really well done job.


DIP SWITCHES
Each VG4 housing integrates a dip-switch block with 3 switches, aimed at offering some easily and instantly user-selectable tuning variations, one per spectrum section.

To “illustrate” my subjective hearing I’ll aid myself with measurements published by Jaakko Pasanen.

SW 1 – “Trebles”

SW1 adds a moderate hump (a “bell” in EQ jargon) at around 6K, and rolls high trebles off a bit sooner. Far from causing sibilance, the trick is actually very beneficial ! The overall treble presentation gets even more vivid and “complete” on most songs I tested it with. I like that.
As it is inherent with the dip-switch system, the added value also stays in its optionality, and easy, instant applicability.

SW 2 – “Mids”

SW2’s measured FR curve differs from SW1’s by less than 1 Ohm all over the range, so it should be audibly identical. I suspect a wrong measurement is plotted here as the effect of the switch is quite evident instead.
Mids (both voices and instruments, primarily guitars) get an obvious, not excessive “embodiment”. The result is a more intimate general feeling, which is particularly beneficial for acoustic / vocal bands of course, less important or even unwelcome in other cases.

SW3 – “Lows”

In this case the graph presents itself again consistent with my direct experience: SW3 enhances the low (logarithmical) half of the spectrum, that is low mids, midbass and subbass by some very audible amount, while taming highmids and trebles by a smaller amount.

Frankly, I don’t like this “as is”.

I do feel VG4 can benefit from an energic bump in sub-bass, especially in conjunction with some musical genres, but I would apply “just that”, not all the rest which is “moved” by SW3. Trebles don’t need taming. Mid bass don’t need raising. To my taste, of course.

My “custom SW3” is an EQ scheme much similar to the one I apply to TIN P1, as follows:

• Low Shelf 120Hz +1,5dB Q: 1,1
• Low Shelf 80Hz +2,5dB Q: 0,6

As I mentioned P1 once again, it’s worth noting here that VG4 bass is way more bodied right off the bat compared to P1, so this boost is in my taste “more-optional” than in P1 case, so-to-say.


Collateral notes

If you read my other review articles you know I just can’t be fussed by packaging, accessories, aesthetics etc. I encourage you to read the other available reviews for this which are much more “dressed up” than mine, as always.

Ergonomics are fine. Housings are on the big side, but not very heavy. Luckily their shape fits my concha very comfortably resulting in allowing me hours of fatigue-less usage. Being this an extremely subjective point, YMMV by a long shot of course.

A particular mention is worth for the cable which, for my limited experience, is of uncommonly good quality in the “chifi stock cables” category (more on this in the data tables below). Given the story above, I needed to swap it with a balanced cable – but that’s a real pity.


So… do I recommend VG4 ?

In its neutral-signature category, great sound quality is there and there’s some to spare too, no question about that. Simply put: sound is very nice, and technicalities near-superb.

So what could ever play against?

Well first of all the price tag is not so low in absolute terms: $274 MSRP, $224 typical street price. But that may be considered worth it, indeed.

The point is, unless you are a lucky (or provident!) owner of a DAP / AMP nimbly supporting 12 Ω quite sensitive drivers, high chances are you have to complement VG4’s cost with $60-ish for an IEMatch, and this assuming your source is able to deliver at the very least 900mW vs a 16 Ω load to cope with IEMatch Ultra setting – otherwise you need to further invest in an adequate AMP of course. So, again simply put, in the most adverse – but I’m afraid very frequent – case, VG4’s TCO (Total Cost of Ownership) easily climbs to $500 or more. And no I don’t think VG4’s sound is worth such an expense.


Test setup

Hiby R5 Balance Ended port – IFI Audio IEMatch 2.5 on Ultra setting
Stock black tips
NiceHCK 16core High Purity Copper balanced cable
Lossless 16/44.1 – 24/96 – 24/192 FLAC tracks.


Signature analysis

Tonality Neutral tuning, with a very clear, “solar” presentation. Very fast transients offered by the 4 BA drivers, paired with very good embodiement both on bass and trebles.

Sub-Bass Flat vs the midbass, no rolloff. Fast, textured, full although lacking in rumble. SW1 enhances them by 3-4 dBs making them more evident (but still not rumbly)

Mid Bass Same level and speed as sub bass, they are masterfully bodied. Their consistency is a fundamental contribution to the overal energy of the presentation. SW1 enhances them by 1-3 dBs making them fuller and punchier, without significant speed loss.

Mids Not forward, quite defined and generally pleasant. Male vocals definitely better than Female, both benefit from SW2 the end result being good Males, decent Females.

Male Vocals Well defined and natural, they get enhanced and forwarded by SW2 reaching a good overall level

Female Vocals Clear, quite detailed but on the lean side. SW2 also tries to embody them but does not succeed to an equally satisfactory result as with Males.

Highs Fast and precise, while at the same time full, rhytmical, musical and entertaining. No screech, zing or shouty peak. No “metallic” halo typically associated to super-detailed presentations.


Technicalities

Soundstage Very wide and deep, surpassing all other IEMs I heard in this price bracket.
Imaging The stage is not only ample but also “well-lit”, and hosts well separated instruments with laser sharp positioning.

Details A huge amount of details are delivered by the trebles, while never associating a cold analythical or metallic halo to this. Bass are well textured but not equivalently detailed.

Instrument separation All sounds are crystal clear, and well separated

Driveability Extremely picky. Very low soundstage and relatively high sensitivity call for solidly compliant sources, under penalty of an entirely horrible result.


Physicals

Build Resin housings appear quite solid, as their female MMCX connector and the DIP-SWITCH blocks integrated into them.

Fit In spite of a significant size, housing shapes fit my conchas like a glove. YMMV

Comfort Just great, due to great concha fit (and some luck)

Isolation Above average due to the housing “just right” size to fill the concha

Cable An uncommonly very good 6N copper foil + silver foil mixed braided single ended cable.


Specifications (declared)

Housing PMMA acrylic fiber resin shell, available in multiple colors
Driver(s) 2 Knowles + 2 Sonion BA + 4-way crossover
Connector MMCX
Cable 6N copper foil + silver foil mixed braided, 3.5mm single ended terminated
Sensitivity 110dB/mW
Impedance 12 Ω
Frequency Range 10-40000Hz
Package / Accessories 3 pairs of narrow bore white stiffer silicone tips (“Bass” recommended), 3 pairs of narrow bore blue softer silicone tips (“Vocals” recommended), 3 pairs of wide bore black soft silicone tips, 1 pair of foam tips, a cleaning brush, a semi-rigid carry case.
MSRP at this post time $ 274,00 ( < $ 225,00 deals)