Canpur CP54e

Today we look at CP54E, one of the high-end offering from the Dutch boutique CANPUR.

Forewords​

• What I look for in an IEM is immersion. I want to feel the orchestra around my head, track individual instruments, and hear all of their textures and details. I’m not picky about tonality, as long as it is not make the orchestra, violin, cellos, and pianos sound wrong.
• I rate IEMs within with a consistent scale from 1 (Poor) to 3 (Good) to 5 (Outstanding). An overall ranking of 3/5 or above is considered positive.
• Ranking list and measurement database are on my IEM review blog.
• The terminology for subjective impressions in this review is based on the Audio Wheel for reproduced sound defined in the technical report ITU-R BS.2399-0
• This review is possible thanks to the Audio Geek Australia and Lanstar (Thank you!). I have no affiliation with or financial interest in CANPUR and Lanstar.
• The unit retails for SGD$2379 at the time this review was published. Unaffiliated link: Lanstar Asia Webstore

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General Information​

First and foremost, I applause Canpur for their easy-to-understand naming scheme. Let me demonstrate this point by breaking down the model name of CP54E:

• CP: Canpur Performance series.
• 5: 5 balanced armature (BA) drivers.
• 4E: 4 Sonion electrostatic drivers

9 drivers of CP54E are controlled via a 4-way electrical crossover and fed into 4 separate tubes. Another tricks that CP54E packs is something CANPUR dubbed as “micro-inverter” tube design that aid the BA woofers to extend the subbass response.



The earpieces themselves are quite big but surprisingly light. The positioning of the nozzles is rather interesting as it makes the body of the IEM sit further to the back of my ears, somewhat similar to the the design of Vision Ears EXT, though not as extreme. Despite the large design, I find CP54E fit quite comfortable in my ears. The only problem is pressure build up in longer listening session.



Regarding accessories, my tour sample contains only a rather nice carrying case, which holds a cleaning tool, polishing cloth, the stock cable and a box of stock silicone eartips.

Sonic Performance​

Testing setup:

• Sources: iBasso DX300, HiBy R3II, L&P W4
• Cable: Stock cable with 4.4mm termination
• Ear tips: stock silicone eartips

The subjective impression is captured using the lexicon in the Sound Wheel below. I’ll clarify the terminology as I use them. If you want to see more details of the lexicon and related reference, please have a look at the technical report ITU-R BS.2399-0.



Timbre: Figure shows the frequency response of CP54E against the Harman in-ear target. Measurements were done with an IEC-711-compliant coupler and might only be compared with other measurements from this same coupler. Above 8kHz, the measurement likely does not match the response at the ear drum. Visit my graph database for more comparisons.



The tonal signature of CP54E can be described as “V-shaped”, but leaning more towards the lower frequencies. Across a variety of recordings in my library, I found that bass instruments like kick drums, bass guitars, cellos, and doublebasses are more highlighted and thus sit closer to me in the mix than other instruments. Treble instruments like cymbals, hats, and high brass instruments are also emphasised, though not as forward as the bass. Midrange instruments and vocals sit further back in the mix. Even though the midrange is not offensively recessed across my library, there were a few tracks when I wanted to turn the volume higher to hear the midrange but I couldn’t because the entire mix would become uncomfortably loud. On the plus side, this recessed midrange tuning tends to improve the illusion of depth in recordings, which can suit your preference.



The midrange tonality of CP54E carries the expected characteristics of a V-shaped tuning. Vocals would have more “oomph” in the lower notes and some higher notes also stand out more. The extra energy in the lower midrange can be beneficial with some male vocals but can cast a “veil” that smother other vocal types. One could say that CP54E sounds boomy with some tracks where bass and lower-midrange are also prominent. However, credit where credit dues, CANPUR does a great job at refining the V-shape signature of CP54E to avoid making it offensive. I did not hear shoutiness or harshness that usually accompany V-shaped tuning, even with more energetic recording.



The treble of CP54E is also nicely done. In my tests, I did not find any instance where the treble of this IEM sounds harsh or piercing. At the same time, it does not sacrifice treble articulation and energy to get that inoffensive tuning. The treble extension is also quite nice. This IEM really flexes its 4 EST supertweeters in sparse recordings with a lot of ambience, where I can focus on details.

Bass and perceived dynamic:

The bass of CP54E is handled by, I assume, a pair of Sonion woofers. Now, I know BA woofers do not have the best reputation in our hobby, but these modern BA woofer designs are not like the old one that sounds hollow and tinny. One of the defining factor of CP54E is the precision and power of its transients. It means if I listen to a repeated bass line, I find that every beat is cleanly reproduced with a proper tactile physical sensation accompanying it. When there is bit dynamic swing, when a SLAM suddenly happens after a quiet passage, CP54E can scale that dynamic rollercoaster, which I find rather impressive. At the same time, CP54E does not skim on subbass rumble or bass texture either. Bass guitars, lower strings of cellos, doublebasses sound very nice with this IEM.



My only complaint about bass and dynamic of CP54E is more about its intangible aspects that, I admit, are rather difficult to put into words. Simply put, the bass of CP54E feels … “stiff.” Great dynamic driver woofers and some BA woofers can convey a sense of elasticity or “bounciness” to the bass notes, whilst CP54E just does not do that for me. It mean, I would still take the snappy and dynamic bass of CP54E over most average DD woofers, but there is something artificial that keeps pulling my attention towards the bass of CP54E in a not-so-good way.

Resolution:



CP54E is quite resolving IEM. I would say it performs within the upper echelons of IEMs and in line with my expectations given its price tag. Note definition is sharp. Micro detailing is strong. Where CP54E flexes is sparse recordings such as Bach’s violin sonatas and partitas, where I can pay full attention to micro details in the violin and the reverberation of the recording hall. These 4EST supertweeters can squeeze out a lot of information, such as in the decay end of the note and the treble “air”.



However, the perceived resolution of CP54E takes a hit in most recordings that are more busy with more overlapping elements. Yes, if I pay more attention, I can still hear a similar level of micro detail. However, the separation of the elements in the mix are not exceedingly strong, so instruments tend to overlap a bit, making it harder for me to track and trace individual parts of the mix. Before moving on, I would like to noted that the phrase “not exceedingly strong” is not just to be wordy. It means that it means: whilst I think the instrument separation of CP54E could be improved further to match its excellent detail retrieval, it’s still quite a step ahead of most average and good IEMs in my collection in A/B tests.

Stereo imaging and soundstage:



With strong treble extension, great treble resolution, and a V-shaped tuning, the soundstage and stereo imaging of CP54E is expectedly good. The V-shaped tuning enhances the illusion of depth by creating a strong contrast between the bass, which sits upfront or even further to the back of my head, and other elements which sit further to the front of my head. The great treble makes instrument positioning precise and makes background elements in the mix convincingly distant. The treble air information also helps to make most mixes sound spacious. Together, these aspects helps CP54E shape a nice 3D soundstage illusion across most recordings, especially well produced soundtracks from modern AAA games. I particularly like how sound elements pop up at various places, in different direction and distance within and around my head with interesting recordings. Needless to say, CP54E also does a great job in FPS games.



Driveability: CP54E is a moderately sensitive IEM, clocking at 105.5dB/100mV @ 1kHz with an impedance of 8.6ohm @ 1kHz. In real world listening, it’s slightly more sensitive than my AFUL Cantor but noticeably less sensitive than most average IEMs out there. I find the IEM sound good directly from a modest source such as HiBy R3II, but it does sound a bit better with my DX300 and my desktop amplifier FiiO K7.

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Selected Comparisons​

Vs AFUL Cantor: Cantor is a 14BA behemoth from the Chinese boutique AFUL. The calling card of this IEM is a rather even “W-shape” tuning, superb resolution, and surprisingly capable BA bass. The biggest difference between these IEMs in A/B tests is the tonality. When I switch to CP54E after listening to Cantor, I waas pretty annoyed by the recessed mid. After getting used to the sound of CP54E and switching back to Cantor, I was immediately shocked by how upfront the midrange is. Ultimately, my preference leans towards Cantor as I did not need to adjust volume to hear the midrange clearly as often as with CP54E.



Regarding technical performance, these IEMs are very close. Cantor has an edge when it comes to instrument separation in busy tracks with its ability to peals apart complex mixes. On the other hand, in sparse recordings, the 4EST supertweeters of CP54E slightly edge out the 6BA tweeter array of Cantor in terms of detail retrieval, particularly the details of the treble air. The bass is quite close. CP54E has an obvious edge in terms of the amount of bass, whilst I find the “bounciness” of the bass that I missed in CP54E can be found in Cantor. Still, I wouldn’t bat an eye if you find the sheer amount of bass of CP54E makes its a better bass performer.

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Conclusions​

What do I think about CP54E? I admit I feel a bit conflicted. On the one hand, this IEM does great on almost every aspect I index for. On the other hand, the whole made from these individual aspects, somehow, failed to move me as much as I expected. That said, CP54E is still a highly technical IEM with a refined V-shaped tuning. If that sounds like what you want when you splurge for your next “end game”, I would say CP54E is worth an audition.

What I like about this IEM:

• TOTL-class technical performance, particularly detail retrieval
• Snappy, dynamic presentation
• Refined V-shaped tuning that is energetic but not harsh

What could be improved:

• The whole midrange could be brought forward a bit
• I wish the instrument separation to be stronger

Absolute Sonic Quality Rating: 4.5/5 - Great

• Timbre and Tonality: 4/5 - Great
• Bass and dynamic: 4/5 - Great
• Resolution: 5/5 - Outstanding
• Soundstage and imaging: 5/5 - Outstanding

Bias Score: 3/5 - I am lukewarm about this IEM



Updated: October 8, 2024

Disclamer

This IEM is part of the Audio Geek Tours and Joseph from Lanstar with no influence in my honest opinion. These impressions are my subjective experiences and, as always, as it was my daily driver not as I’m doing a surgery into the frequency response. Your experience may vary, so always consider auditioning the gear yourself. Respect your fellow forum members and have fun.

Introduction

The CP54E is part of Canpur’s Performance Series, enters the market with a promising hybrid configuration, which on paper looks the next step for the basic full BA configuration. Priced at $1999, it’s aimed at people looking for high-level performance, technicality, and detail retrieval. A more professional tuning use, per se. At this price and configuration, I can easily point that Canpur is targeting IEMS like 64a 12t and QDC VX.

While it excels in certain aspects, especially in treble extension and soundstage, the CP54E falls short in the crucial area of tuning, leaving some key elements, particularly in the upper mids, feeling less refined than they should be. I will compare this to some classics like the 64 Audio U12t and Empire Ears Legend X, two well-known and well-seasoned IEMs in the same price range and get some cable rolling to play around with the timbre.

The whole listening was done through:

• Sony WM-1Z High Gain, volume 10-15
• Hiby R3 II, volume 10-15
• Spin-fit W1 (Pictured Tips are stock. I compared with Divinus, Eletech Baroque and others, SF W1 is the best fit/performance ratio for me)
• Stock cable unless compared to others.

Tangibles: Build and Driver Configuration

The CP54E’s driver configuration combination of BA and EST drivers feels like a natural evolution in the high-end IEM landscape from those full BA ones. With its 9 drivers working in harmony through a 4-way crossover, the IEM is designed to deliver clarity across the frequency range. The BA and EST setup should theoretically provide fast transients, high detail retrieval, and expansive treble, and while it succeeds in many of these areas, the tuning leaves a bit to be desired, particularly in the upper mids.

Comparatively, the 64 Audio U12t, which uses a full BA configuration, strikes a more balanced and organic tonal profile, while the Empire Ears LX, though bass-heavy due to its dynamic driver, delivers a richer and more natural timbre in the mids.

The Canpur CP54E has a sophisticated, well-crafted build that follows general resin design. The faceplate follows Canpur’s signature design, featuring a sleek aesthetic with something like galaxies accents that exude luxury. While the faceplate design is elegant and visually appealing, the overall shell size is on the larger side, which could lead to fit and comfort issues for some users over extended listening periods. For those with smaller ears, testing a variety of tips to ensure a proper fit balance with sound performance will be essential.

Sound Signature: BA “V” with a twist

Bass

The bass on the CP54E is well-extended and provides good impact, well impressive for a full BA bass. But it lacks the visceral quality you get from dynamic driver IEMs like the Empire Ears LX, if that is your gig. The LX’s dynamic driver produces a more textured and fuller bass response, giving sub-bass lines a depth that the CP54E push hard, but can’t meet. However, within the realm of BA and EST drivers, the CP54E’s bass is articulate and clean, more in line with the U12t, which has a similarly fast and detailed bass response but without the added weight and slam of a dynamic driver.

Listening to Insomnium’s "Pale Morning Star," the CP54E keeps pace with the fast double-bass drum work, with a good and deep physical presence to the low end. On the other hand, the U12t offers a similar and well known accurate yet slightly less impactful low end. CP54E offers very distinctive separation of notes in the low end.

Mids

The midrange is where the CP54E stumbles a bit. The tuning of the upper mids, in particular, feels a bit off, leading to a slightly pushed back and metallic timbre that detracts from the naturalness of vocals and instruments. This issue becomes more pronounced when paired with its stock silver-plated copper (SPC) cable, which tends to emphasize treble and further accentuates this bit of unnatural character. Tracks like Katatonia’s "My Twin" reveal this downside, as Jonas Renkse’s vocals sound a bit hollow in the mids, lacking the energy and body that I was expecting coming from other IEMs.

In contrast, the 64 Audio U12t handles midrange tones with greater naturality, providing a more neutral, well-balanced presentation. The U12t’s mids are neither recessed nor overly forward, striking an excellent balance. Similarly, the Empire Ears LX offers a thicker, richer midrange that complements its bass-heavy signature, though its mids can sometimes feel overshadowed by the low-end emphasis.

But not all is bad in the mids for this great IEM. Switching the CP54E to a copper cable like the Effect Audio Ares S II or Code 24C helps to bring life to the mids, bringing warmth and smoothness to the upper mids and making vocals and instruments sound more natural. This pairing brings the CP54E closer to what I’d expect in terms of midrange realism, particularly on more vocal-centric tracks. If you prefer a forward presentation, a better SPC like Eletech Euclid will do a great job.


Treble

The CP54E treble region is something to keep an eye on, or an ear in this case, thanks to its 4 EST drivers. The high frequencies are crisp, airy, and well-extended, making the CP54E good for genres that demand high treble clarity. Listening to "Atoma" by Dark Tranquillity, the high-pitched synths and cymbals shimmer beautifully without sounding overly bright or harsh. The EST drivers provide excellent treble separation and detail retrieval, creating an airy top end that contributes to the IEM’s spacious soundstage.

Going back to our well known 12t, the treble airiness and extension is on par with CP45E with that extra spark from the EST drivers compared to BA and even the great TIA driver. The Empire Ears LX, on the other hand, has a more subdued treble response, making it more suitable for those sensitive to high frequencies, but at the cost of losing some of the sparkle and shimmer that the CP54E offers.

Soundstage and Imaging

The Canpur CP54E’s open-back design offers a spacious and expansive soundstage. The width and depth are particularly good, giving tracks a sense of space that’s ideal for staging and atmospheric music like Katatonia's "Fields of Sand." The openness allows instruments and vocals to be fairly separated and positioned across a wide plane. This enhanced imaging works especially well for high-frequency details, making it easy to pick out cymbals, synths, or guitar plucks in more sparse arrangements.

However, when the music gets more complex — especially with dense, multi-layered compositions like Insomnium’s "While We Sleep" — the imaging starts to lose precision. In busier passages, where multiple instruments and layers overlap, the CP54E’s imaging can become slightly blurred, making it harder to maintain the same level of instrument separation as in simpler tracks. While the overall soundstage remains large and expansive, the IEMs struggle with maintaining clarity in the thick of more complex arrangements. In comparison, the 64 Audio U12t offers more precise imaging in these scenarios, though at the cost of having a more intimate soundstage.


Some Random Cable Synergy

The stock SPC cable of the CP54E doesn’t do it many favors, particularly in the mid-range. Which I would suggest to account for an upgraded cable when considering a CP54E purchase.

The silver-plated copper emphasizes treble clarity but makes the already slightly metallic timbre in the upper mids more apparent and forward, if you like it, that will be pleasantly well done. For users looking to smooth out the mids and bring the timbre to a more natural place, switching to a copper cable like the Effect Audio Ares S II, Effect Audio 24C or Eletech Aristotle is highly recommended. These cables add warmth and smoothness, boosting the upper mids and delivering a more cohesive and realistic sound. This makes the CP54E feel more balanced overall and more up my alley for my library synergy.


Conclusion (TL;DR)

The Canpur CP54E is a technically impressive IEM with strong bass performance, stellar treble extension, and a spacious soundstage. However, its tuning, particularly in the mids, leaves room for improvement. The slightly off timbre in this region can detract from an otherwise enjoyable experience, especially when using the stock SPC cable. Pairing the CP54E with a copper cable helps to smooth out the mids and bring the timbre to a more natural and balanced place, making it a more versatile IEM. But have in mind that with such upgrades you can be reaching better IEM package options in the price range.

Compared to the 64 Audio U12t and Empire Ears LX, the CP54E stands out for its treble performance and soundstage but falls short in overall tonal balance, specially if one likes forward mids. Unfortunately, I don’t have a CP622B with me here, but from memory it is a big step up which I would recommend to consider if an Upgrade Cable is needed to bring CP54E to your taste.

For those looking for an airy treble, detailed IEM and are willing to experiment with cable pairings, the CP54E offers plenty of potential. However, if a more natural and cohesive tuning is your priority, there are other options in the market.

I recently had the pleasure to spend some time with the Canpur CP54E as part of a tour, many thanks to AudioGeek, Canpur and Lanstar for providing the tour kit!

Canpur CP54E has an RRP of $1,999, but I’ve seen it discounted recently at various outlets.

The CP54E comes with good packaging, and a nice case. The included tips look good, I’m not sure what brand they are, They look very similar to Final E tips, however I used my other go-to tip with these, the Azla Sedna EarFits. The included cable is decent, a nice soft, supple 4-wire, that appears to be silver-plated copper.



The shells are very well made, and have a custom-like shape to them with a longer stem for deep insertion that I thought worked well for getting a good seal. I did not observe any venting, and I did notice a bit of discomfort on longer listening sessions, over 90 minutes or so. But for shorter-term sessions they were great.




As far as the frequency response goes, bass digs very satisfyingly deep with pretty good texture, and I have to say this is among the very best BA sub-bass I've heard. Midbass has a moderate amount of warmth to it, but is at times hiding a bit behind the sub-bass. Any less midbass or lower midrange, and this IEM might veer into sounding too “sterile”, but fortunately that is avoided. Upper midrange and treble is peaky, and on some tracks I definitely heard it. While this gives CP54E a lively and engaging “fun” sort of sound that I enjoyed most of the time, I did at times find it a bit too much. Over longer listening sessions, coupled with the lack of venting, it was a bit fatiguing.

On the technical front, I think CP54E is pretty good for where it sits price-wise. Stage is nicely shaped, with perhaps a bit more height than depth, and details are well presented most of the time. My issue with the peaky treble here is that it lost resolution on some instruments and vocals could be a bit sibilant. Instrument separation and placement are decent, although because of the relative narrow-ness of the stage, could feel a bit cramped and lacking air.


A couple of tracks I listened to:

Everything goes along nicely on CP54E up to about the 5:00 mark when an additional layer of percussion comes in. The extra treble energy from CP54E is just too much and blows that percussion into a sibilant mess.




Here is another track where CP54E is mostly pretty great. However, there is a broken-chord synth pattern in the upper frequencies that CP54E loses control over on the highest note, and the percussion that starts around 2:30 is also just a bit loose and lacking precision.



A couple of comparisons:
Noble Spartacus ($1,799)
Spartacus uses 2xBA drivers for bass, one BA for midrange, and one BA for treble, plus 2x Bone conduction drivers that cover the entire frequency range. Spartacus sacrifices a little bit of sub-bass extension vs the CP54E, but its upper mids and treble are much better balanced, and the quality is also much better, without any hint of the CP54E's peaks. While the stage of CP54E is good, with nice height, Spartacus feels rather notably wider and deeper, which has the corollary effect of better instrument separation and a grander sense of space between notes & instruments. With Spartacus I feel like I can focus in on specific elements much more easily than CP54E if I want to, or just enjoy the entire presentation in a more relaxing manner.


64 Audio U/A12t ($1,999)
The U12t has been the $2k benchmark for many years, and is another good comparison point with the CP54E. The tuning between these two is rather different, with the 12t going for a much more neutral “correct” approach vs the CP54E’s fun V-shape. While the 12t’s bass doesn't dig quite as deep, likewise its upper midrange is also not near as hot, so you get a more balanced presentation of the entire FR. Where 12t really pulls ahead is in the technical areas, its stage is larger in all dimensions, and forms a near perfect sphere in shape, and it's detail resolution is far more accurate with never any hint of messiness. Again, like Spartacus, the 12t seems to have more room to breathe than CP54E. Another advantage 12t has is 64 Audio’s ATOM modules that allow you to increase/decrease isolation and bass response, while at the same time providing pressure relief to let you listen for many long hours with zero fatigue.


My bottom line on the Canpur CP54E is that it is a fun lively IEM that is quite enjoyable in smaller doses. I personally would struggle to justify its price tag over the longer term, but if you can forgive some of its technical shortcomings it’s not a bad guilty pleasure. I am left wondering about Canpur’s other offerings and look forward for a chance to spend some time with CP74E and CP622B.