DISCLAIMER: Custom Art provided me with the FIBAE 3 in return for my honest opinion. I am not personally affiliated with the company in any way, nor do I receive any monetary rewards for a positive evaluation. The review is as follows.
Custom Art is a company on the rise. Securing a place in porta-fi history with both their Music and Harmony line-ups, the Polish manufacturer’s recent efforts have been focused on breeding a new range of IEMs packed with unique and innovative technology. Enter: FIBAE. FIBAE stands for Flat Impedance Balanced Armature Earphone, promising monitors that maintain consistent sound signatures regardless of source. Today, we’ll be taking a look at the line-up’s latest: The FIBAE 3. Built from the ground up to adopt a reference philosophy, the FIBAE 3 marks Custom Art’s first foray into brighter pastures. But, it wouldn’t be a Piotr Granicki product without his more musical inclinations; resulting in a signature that balances exceptional clarity with boyish charms – a gorgeous amalgamation of transparency and fun.
Custom Art FIBAE 3
Custom Art delivered my FIBAE 3’s with a familiar slew of accessories: A soft pouch, cleaning tool, desiccant and their signature brochure; all nestled safely within a Peli 1010 case. I sincerely admire Piotr’s knack for simplicity, but part of me would love to see more from the Polish powerhouse. In a landscape rich with magnetic enclosures, logo-embossed packaging and personalised hard cases, presentation has become more crucial than ever. And, despite how immenselyCustom Art has matured in terms of technology and sound, I’d want nothing more than to see their packaging do the same. The FIBAE 3’s come in a sufficiently functional package, but nowadays, sufficient may not be enough.
However, with all that said, competition is sparse when it comes to Custom Art’s fit and finish. This is my third pair of in-ears from Custom Art and they’re my best-fitting ones yet. Finishing was an extremely painstaking process due to the ambitious design Piotr and I decided to attempt, resulting in a couple, minute rough spots along the faceplate edge. But, the end result is absolutely stunning. For my FIBAE 3’s, Piotr asked if I wanted my pair to be his first attempt at using mirror foil faceplates – a highly reflective material that’s as difficult to work with as it is magnificent to behold. After agreeing to the idea and a short bout of brainstorming, we finally settled on a minimalistic “F3” cut-out design.
And while it’s gonna take Piotr a bit more practice and a few-thousand-dollars’ worth of high-end equipment to push the material to its fullest potential, I can’t say I’m at all disappointed with how my IEMs turned out. Paired with a light turquoise shell, the monitors embody a simple, clean and futuristic motif. Wholly surrounded by smooth, even surfaces, the shells boast excellent transparency; proudly displaying the IEM’s tactfully-arranged innards. The faceplates screamclass, and the laser-cut designs display excellent precision. All in all, while Custom Art is in urgent need of a packaging revamp, the build quality they consistently put out continues to impress. Tackling bespoke design after bespoke design with inspiring enthusiasm, they are the epitome of unbridled passion, outlandish creativity and exceptional discipline.
FIBAE Technology
I gave a thorough outline of Custom Art’s innovative FIBAE technology in my review of the FIBAE 2 – with the inclusion of visual graphs and my own personal experiences with the feature. Click here to take a look.
Presentation
The FIBAE 3 is an IEM purpose-built for transparency, clarity and air. All its elements come infused with a delicacy and an effortlessness that’s almost unsubstantial in nature. But, it’d be a mistake to call this IEM uninviting or hollow. Because of an exciting sub-bass and a forwardly-placed vocal range, the FIBAE 3 mates remarkable technical performance with a playful felicity; creating an engrossing and engaging soundscape that captivates with detail. Recordings come through with finesse to spare, crafting micro-detail after micro-detail with inspiring ease. Stage expansion and organisation benefit from the FIBAE 3’s immense speed, orchestrating an even-handed, well-separated and expertly-resolved array of instruments; minimally and modestly decayed, yet extravagantly open and abundantly spaced.
And, it does all this whilst remaining smooth as a baby’s bottom. Due to an excellently-controlled upper-treble lift, the FIBAE 3 maintains strict composure. Headroom is always plentiful, and sibilance of any kind is non-existent. The only compromise it makes to achieve its performance is tone, as the FIBAE 3 adopts a noticeably brighter timbre. While it’s neither tinny nor plasticky, a word of warning is warranted for those looking for more natural signatures. Warmth is not its forte, but its tone never strays too far from reality either. The FIBAE 3 – with both speed and space – composes an aural mirage where everything is heard and nothing is out of place; attaining crystalline transparency without losing its giddily sense of juvenility. And while its organicity leaves much to be desired, it is ultimately what it was designed to be: A masterclass in doing ultra-clarity right.
Bass
The FIBAE 3 comes equipped with a tasteful low-end bump – favouring the sub-bass region in particular. Texture and physicality become second nature to this IEM, as bass notes come through with excellent grit and sufficient warmth. Although the FIBAE 3’s inherent tuning philosophy discourages wetness in its impact, rumble arrives in spades; complementing the IEM’s exceptionally clean stage with episodes of sonorous energy. Excellent bidirectional extension also benefits the bass’s technicalities. Separation, layering and clarity all impress; mating youthful exuberance with life-like definition. The FIBAE 3 segregates kick drums, bass guitars and baritone vocals with great precision, while excellent linearity through the mid-and-upper-bass allow for appropriate decays.
The FIBAE 3 exhibits excellent delineation from the bass, upwards – allowing both its low-end and midrange to shine on their own terms. However, fans of a more atmospheric response may find this undesirable. There’s a lack of interplay between the bass and the rest of the spectrum, which will detract listeners looking for a bit of groove. In return, though, the FIBAE 3 displays excellent stage cleanliness – further bolstering the air produced from its lifted upper-treble. Tone also remains consistent – i.e. erring on bright – but never leans anywhere close to brittle or artificial. The FIBAE 3’s bass is a game of compromise. Piotr has made the best out of the FIBAE 3’s more technical environment, but there’s only so much the man can do. In the end, the listener will have to decide whether bloom and warmth will be missed, if what you get is exceptional rumble, immediacy and control in return.
Midrange
As a reference signature would suggest, the FIBAE 3’s vocal range comes equipped with a brighter tone – imbued with gobs of air, energy and transparency. However, this brightness doesn’t stem from a subdued lower-midrange. In fact, the FIBAE 3 presents instruments with a palpable heft, deftly balancing physicality and buoyancy with male and female vocals alike. Singers occupy a vast and far-reaching expanse with neither bloat nor noise in sight. And yet, the FIBAE 3’s vocal presentation avoids the common trapping of an analytical signature: The upper-mid peak. Exceptional linearity throughout the entire midrange allows instruments to exist as a wholly complete structure – from the fundamental, all the way to the last overtone. Although articulation still takes top-billing, and resolution lacks a completely natural tone to be called top-class, the FIBAE 3 fares exceptionally well with a wide variety of genres, regardless.
And, much of this versatility comes from its surprising forwardness. Unlike most reference pieces, instruments and vocals take up a significant amount of the FIBAE 3’s stage. But, paired with the IEM’s stunningly black background and immensely open stage, this added presence injects the overall presentation with tons of musicality. Midrange notes certainly aren’t the largest – and they don’t cram the stage as much as they liberally occupy it – but it’s the spaces in-between that vastly improve the FIBAE 3’s dynamic energy. Voices pierce through the IEM’s black background, creating exciting contrasts throughout the stage. And, it does so with smoothness to spare. A richness licks every note, compensating for the brighter tone wherever it can. With all this in hand, the FIBAE 3 exudes confidence in its midrange – astounding in articulation, disciplined in decay and boundless in energy. Brightness be damned, this is a quality vocal presentation that showcases an inspiring balance between transparency and humanity; a truly remarkable feat.
Treble
The FIBAE 3’s top-end is absolutely its hallmark trait. A significant upper-treble lift fuels the IEM’s marvelous technical performance – infusing generous amounts of air, detail and transparency into its wide-open soundscape. Yet, smoothness is never lost in the process. A lower-treble dip prevents any amount of over-articulation, even if instruments – like hi-hats, hand claps, “T” sounds, and (sometimes) snare drums – lack solidity and togetherness as a result. It’s a compromise made for the greater good, but I can see why purists of rock music (for example) would dislike this particular trait. The treble is also where the FIBAE 3 draws its immense speed. Notes decay as fast as they form, imbuing its top-end with a graceful shimmer – a soft, silky fizz; rather than an artificially metallic tizz. But, sticking to theme, this benefits the FIBAE 3’s cleanliness – leaving little to no room for any sort of harmonic to exist beyond the fundamental.
And – just like with the FIBAE 2 – Piotr knocks it out of the park with the FIBAE 3’s stage organisation. Constructing an engaging soundscape within the confines of a reference signature is a true tightrope walk. An overtly upfront presentation risks aggression, while attempts at producing headroom may instead be perceived as recessed or uninviting. But – as a result of sheer treble extension – the FIBAE 3 is neither. Despite exceptional air, the FIBAE 3’s soundstage won’t be praised for its size. But, within its well-established parameters, it displays great focus, excellent imaging and admirable left-right separation. While top-end linearity isn’t one of its obvious strengths, mindful tuning has salvaged treble coherence – creating a presentation that’s neither too throaty, nor too hollow; simply open, well-defined and transparent. Again, the FIBAE 3’s treble is a brave gamble. Albeit compromises made in tone and lower-treble presence, the upper-treble rise is a smart move; vastly improving clarity without the harshness that usually comes with.
Select Comparisons
Custom Art FIBAE 2 (€475)
Despite similarly stellar performance in imaging and resolution, the FIBAE siblings produce two very different sonic palates. The FIBAE 2 carries a v-shaped response – emphasising mid-bass as well as the lower-treble – accompanied by a darker timbre and a contrast-y dynamic presentation. Its older brother, on the other hand, is more w-shaped, mating gorgeous transparency with pure engagement through boosts in the sub-bass, midrange and upper-treble. While the FIBAE 2 takes a more jab-y approach to transients – with more punch than sparkle – the FIBAE 3 is defined by its supreme air – letting notes float freely throughout the stage.
Contrasting the FIBAE 3’s more textured bass, the FIBAE 2 endows its low-end with great richness and sumptuous warmth. Notes spread farther with a more atmospheric sense of impact, while the FIBAE 3 chooses to prioritise clarity, layering and precision. Improved bidirectional extension gifts the FIBAE 3 superior technical performance. Though, surprisingly, the FIBAE 2 only just beats out its bigger brother in terms of quantity. The FIBAE 3 is – by no means – thin or feeble down low, even if its immense speed may somewhat suggest so. The FIBAE 2’s warmer and fatter response just sounds heavier in comparison; compromising on clarity and resolution in the process.
Sticking to theme, the FIBAE 2 has the weightier, richer and more harmonic midrange. Drawing warmth from the upper-bass and the lower-midrange, the IEM presents instruments with a softer touch, while the FIBAE 3 excels at micro-dynamic presentation; portraying micro-details as stars against a black, night sky. Because of the FIBAE 2’s relatively calmer upper-treble, vocals are also more concentrated and centre-focused, rather than open or airy. As a result, the FIBAE 3 has the more transparent presentation, but the FIBAE 2’s bodied notes pose great competition in resolution. Headroom benefits from the FIBAE 3’s midrange linearity, while the FIBAE 2 is equipped with the more natural tone.
Treble is where the two are least alike. The FIBAE 2 emphasises a lower-treble peak for articulation, sometimes introducing brittleness to poorer recordings. Here, the FIBAE 3 dips for smoothness, but – again – articulation may lack solidity as a result. The latter’s upper-treble lift causes an inherently brighter and more open timbre, while the FIBAE 2’s calmer top-end allows it to maintain both body and organicity. Superior extension solidifies the FIBAE 3’s stage – aiding its transparency – while the FIBAE 2 relishes in overtones to produce a bolder, more euphonic and cohesive soundscape. Both IEMs excel at spatial resolution, but the FIBAE 2 has superior central focus, while separation is the FIBAE 3’s forte.
Nocturnal Audio Avalon (S$629)
The Avalon is a three-driver CIEM from Singaporean manufacturer, Nocturnal Audio. Similarly targeting the mid-tier market with exceptional clarity, the Avalon and the FIBAE 3 tread different paths toward a common goal. The former focuses on contrast and articulation, producing dynamism and energy through lean, clean and crispy notes. Like the FIBAE 2, it adopts a v-shaped response to evoke explosiveness and immediacy, while the FIBAE 3 relies on sheer air to do the same. The latter is also the smoother IEM, while the Avalon is noticeably more aggressive up top and down low; the main contributor to its fun signature.
The Avalon’s bass response sits somewhere between the FIBAE 2’s and the FIBAE 3’s, deftly balancing voluminous, bodied impacts with precision in layering and clarity. There’s a nice mix of texture and wetness in the Avalon’s low-end, mostly due to its AEX technology – capable of exhibiting exceptional delineation between the bass and the lower-midrange. The FIBAE 3’s, by comparison, is less punchy, but it compensates with superior clarity, decay and definition. They share similarly neutral tones – though the Avalon is just slightly richer – but the Singaporean IEM wins out on organicity because of the FIBAE 3’s drier nature.
The midrange is where the two completely flip sides. The Avalon’s attenuated lower-midrange endows it with a heavily articulative vocal presentation. Instruments sound extremely crisp and crystalline, but they lack harmonic richness as a result. The Avalon’s upper bass does compensate for this to a degree, but it won’t be for those looking for a meatier midrange. The FIBAE 3 sports a better balance between the lower-and-upper midrange, balancing transient attack with exceptional smoothness and grace. Tone is still brighter here – due to the generous upper-treble lift – but the Avalon has the more fatiguing presentation due to its aggression; well-controlled, but aggressive nonetheless.
Again, the two diverge in the treble. A lower-treble peak further adds to the Avalon’s clarity, rounding out transients in an effort to boost note resolution. The FIBAE 3 does the complete opposite; introducing a lower-treble dip to ensure smoothness within its airy signature. As a result, transients within the FIBAE 3 feel more wispy. Both exhibit excellent separation, but they certainly differ in spatial presentation. The FIBAE 3 separates along the x-axis, while the Avalon is more depth-reliant. The Avalon showcases excellent extension as well – supporting its stable stage – but lacks the FIBAE 3’s upper-treble emphasis. This solidifies its neutral timbre, with the FIBAE 3 sounding brighter and airier in comparison.
Verdict
The Custom Art FIBAE 3 is a paragon of clarity. Boasting brilliant end-to-end extension and marvellous transparency, Piotr and his team have once again proven their reign over the mid-tier market. While their previous efforts have all approached warmer ends of the spectrum, the FIBAE 3 is as much a welcome change as it is a substantial risk – attempting the balancing act between clarity, smoothness, engagement and ease. But, despite some compromises along the way, the FIBAE 3 successfully delivers one of the most promising, value-oriented reference IEMs the market has ever seen. Evoking speed, cleanliness and finesse at every turn – yet never forgetting how important fun is in an IEM’s sonic palate – it just goes to show how far Custom Art have come from their humbler beginnings. And now, with the FIBAE line batting a thousand, I cannot wait to see what else they have up their sleeves.
Custom Art is a company on the rise. Securing a place in porta-fi history with both their Music and Harmony line-ups, the Polish manufacturer’s recent efforts have been focused on breeding a new range of IEMs packed with unique and innovative technology. Enter: FIBAE. FIBAE stands for Flat Impedance Balanced Armature Earphone, promising monitors that maintain consistent sound signatures regardless of source. Today, we’ll be taking a look at the line-up’s latest: The FIBAE 3. Built from the ground up to adopt a reference philosophy, the FIBAE 3 marks Custom Art’s first foray into brighter pastures. But, it wouldn’t be a Piotr Granicki product without his more musical inclinations; resulting in a signature that balances exceptional clarity with boyish charms – a gorgeous amalgamation of transparency and fun.
Custom Art FIBAE 3
- Driver count: Three balanced-armature drivers
- Impedance: 7.3Ω @ 1kHz
- Sensitivity: 110dB @ 0.1V
- Key feature(s) (if any): FIBAE technology
- Available form factor(s): Universal acrylic and custom acrylic/silicone IEM
- Price: €525
- Website: www.thecustomart.com
Custom Art delivered my FIBAE 3’s with a familiar slew of accessories: A soft pouch, cleaning tool, desiccant and their signature brochure; all nestled safely within a Peli 1010 case. I sincerely admire Piotr’s knack for simplicity, but part of me would love to see more from the Polish powerhouse. In a landscape rich with magnetic enclosures, logo-embossed packaging and personalised hard cases, presentation has become more crucial than ever. And, despite how immenselyCustom Art has matured in terms of technology and sound, I’d want nothing more than to see their packaging do the same. The FIBAE 3’s come in a sufficiently functional package, but nowadays, sufficient may not be enough.
However, with all that said, competition is sparse when it comes to Custom Art’s fit and finish. This is my third pair of in-ears from Custom Art and they’re my best-fitting ones yet. Finishing was an extremely painstaking process due to the ambitious design Piotr and I decided to attempt, resulting in a couple, minute rough spots along the faceplate edge. But, the end result is absolutely stunning. For my FIBAE 3’s, Piotr asked if I wanted my pair to be his first attempt at using mirror foil faceplates – a highly reflective material that’s as difficult to work with as it is magnificent to behold. After agreeing to the idea and a short bout of brainstorming, we finally settled on a minimalistic “F3” cut-out design.
And while it’s gonna take Piotr a bit more practice and a few-thousand-dollars’ worth of high-end equipment to push the material to its fullest potential, I can’t say I’m at all disappointed with how my IEMs turned out. Paired with a light turquoise shell, the monitors embody a simple, clean and futuristic motif. Wholly surrounded by smooth, even surfaces, the shells boast excellent transparency; proudly displaying the IEM’s tactfully-arranged innards. The faceplates screamclass, and the laser-cut designs display excellent precision. All in all, while Custom Art is in urgent need of a packaging revamp, the build quality they consistently put out continues to impress. Tackling bespoke design after bespoke design with inspiring enthusiasm, they are the epitome of unbridled passion, outlandish creativity and exceptional discipline.
FIBAE Technology
I gave a thorough outline of Custom Art’s innovative FIBAE technology in my review of the FIBAE 2 – with the inclusion of visual graphs and my own personal experiences with the feature. Click here to take a look.
Presentation
The FIBAE 3 is an IEM purpose-built for transparency, clarity and air. All its elements come infused with a delicacy and an effortlessness that’s almost unsubstantial in nature. But, it’d be a mistake to call this IEM uninviting or hollow. Because of an exciting sub-bass and a forwardly-placed vocal range, the FIBAE 3 mates remarkable technical performance with a playful felicity; creating an engrossing and engaging soundscape that captivates with detail. Recordings come through with finesse to spare, crafting micro-detail after micro-detail with inspiring ease. Stage expansion and organisation benefit from the FIBAE 3’s immense speed, orchestrating an even-handed, well-separated and expertly-resolved array of instruments; minimally and modestly decayed, yet extravagantly open and abundantly spaced.
And, it does all this whilst remaining smooth as a baby’s bottom. Due to an excellently-controlled upper-treble lift, the FIBAE 3 maintains strict composure. Headroom is always plentiful, and sibilance of any kind is non-existent. The only compromise it makes to achieve its performance is tone, as the FIBAE 3 adopts a noticeably brighter timbre. While it’s neither tinny nor plasticky, a word of warning is warranted for those looking for more natural signatures. Warmth is not its forte, but its tone never strays too far from reality either. The FIBAE 3 – with both speed and space – composes an aural mirage where everything is heard and nothing is out of place; attaining crystalline transparency without losing its giddily sense of juvenility. And while its organicity leaves much to be desired, it is ultimately what it was designed to be: A masterclass in doing ultra-clarity right.
Bass
The FIBAE 3 comes equipped with a tasteful low-end bump – favouring the sub-bass region in particular. Texture and physicality become second nature to this IEM, as bass notes come through with excellent grit and sufficient warmth. Although the FIBAE 3’s inherent tuning philosophy discourages wetness in its impact, rumble arrives in spades; complementing the IEM’s exceptionally clean stage with episodes of sonorous energy. Excellent bidirectional extension also benefits the bass’s technicalities. Separation, layering and clarity all impress; mating youthful exuberance with life-like definition. The FIBAE 3 segregates kick drums, bass guitars and baritone vocals with great precision, while excellent linearity through the mid-and-upper-bass allow for appropriate decays.
The FIBAE 3 exhibits excellent delineation from the bass, upwards – allowing both its low-end and midrange to shine on their own terms. However, fans of a more atmospheric response may find this undesirable. There’s a lack of interplay between the bass and the rest of the spectrum, which will detract listeners looking for a bit of groove. In return, though, the FIBAE 3 displays excellent stage cleanliness – further bolstering the air produced from its lifted upper-treble. Tone also remains consistent – i.e. erring on bright – but never leans anywhere close to brittle or artificial. The FIBAE 3’s bass is a game of compromise. Piotr has made the best out of the FIBAE 3’s more technical environment, but there’s only so much the man can do. In the end, the listener will have to decide whether bloom and warmth will be missed, if what you get is exceptional rumble, immediacy and control in return.
Midrange
As a reference signature would suggest, the FIBAE 3’s vocal range comes equipped with a brighter tone – imbued with gobs of air, energy and transparency. However, this brightness doesn’t stem from a subdued lower-midrange. In fact, the FIBAE 3 presents instruments with a palpable heft, deftly balancing physicality and buoyancy with male and female vocals alike. Singers occupy a vast and far-reaching expanse with neither bloat nor noise in sight. And yet, the FIBAE 3’s vocal presentation avoids the common trapping of an analytical signature: The upper-mid peak. Exceptional linearity throughout the entire midrange allows instruments to exist as a wholly complete structure – from the fundamental, all the way to the last overtone. Although articulation still takes top-billing, and resolution lacks a completely natural tone to be called top-class, the FIBAE 3 fares exceptionally well with a wide variety of genres, regardless.
And, much of this versatility comes from its surprising forwardness. Unlike most reference pieces, instruments and vocals take up a significant amount of the FIBAE 3’s stage. But, paired with the IEM’s stunningly black background and immensely open stage, this added presence injects the overall presentation with tons of musicality. Midrange notes certainly aren’t the largest – and they don’t cram the stage as much as they liberally occupy it – but it’s the spaces in-between that vastly improve the FIBAE 3’s dynamic energy. Voices pierce through the IEM’s black background, creating exciting contrasts throughout the stage. And, it does so with smoothness to spare. A richness licks every note, compensating for the brighter tone wherever it can. With all this in hand, the FIBAE 3 exudes confidence in its midrange – astounding in articulation, disciplined in decay and boundless in energy. Brightness be damned, this is a quality vocal presentation that showcases an inspiring balance between transparency and humanity; a truly remarkable feat.
Treble
The FIBAE 3’s top-end is absolutely its hallmark trait. A significant upper-treble lift fuels the IEM’s marvelous technical performance – infusing generous amounts of air, detail and transparency into its wide-open soundscape. Yet, smoothness is never lost in the process. A lower-treble dip prevents any amount of over-articulation, even if instruments – like hi-hats, hand claps, “T” sounds, and (sometimes) snare drums – lack solidity and togetherness as a result. It’s a compromise made for the greater good, but I can see why purists of rock music (for example) would dislike this particular trait. The treble is also where the FIBAE 3 draws its immense speed. Notes decay as fast as they form, imbuing its top-end with a graceful shimmer – a soft, silky fizz; rather than an artificially metallic tizz. But, sticking to theme, this benefits the FIBAE 3’s cleanliness – leaving little to no room for any sort of harmonic to exist beyond the fundamental.
And – just like with the FIBAE 2 – Piotr knocks it out of the park with the FIBAE 3’s stage organisation. Constructing an engaging soundscape within the confines of a reference signature is a true tightrope walk. An overtly upfront presentation risks aggression, while attempts at producing headroom may instead be perceived as recessed or uninviting. But – as a result of sheer treble extension – the FIBAE 3 is neither. Despite exceptional air, the FIBAE 3’s soundstage won’t be praised for its size. But, within its well-established parameters, it displays great focus, excellent imaging and admirable left-right separation. While top-end linearity isn’t one of its obvious strengths, mindful tuning has salvaged treble coherence – creating a presentation that’s neither too throaty, nor too hollow; simply open, well-defined and transparent. Again, the FIBAE 3’s treble is a brave gamble. Albeit compromises made in tone and lower-treble presence, the upper-treble rise is a smart move; vastly improving clarity without the harshness that usually comes with.
Select Comparisons
Custom Art FIBAE 2 (€475)
Despite similarly stellar performance in imaging and resolution, the FIBAE siblings produce two very different sonic palates. The FIBAE 2 carries a v-shaped response – emphasising mid-bass as well as the lower-treble – accompanied by a darker timbre and a contrast-y dynamic presentation. Its older brother, on the other hand, is more w-shaped, mating gorgeous transparency with pure engagement through boosts in the sub-bass, midrange and upper-treble. While the FIBAE 2 takes a more jab-y approach to transients – with more punch than sparkle – the FIBAE 3 is defined by its supreme air – letting notes float freely throughout the stage.
Contrasting the FIBAE 3’s more textured bass, the FIBAE 2 endows its low-end with great richness and sumptuous warmth. Notes spread farther with a more atmospheric sense of impact, while the FIBAE 3 chooses to prioritise clarity, layering and precision. Improved bidirectional extension gifts the FIBAE 3 superior technical performance. Though, surprisingly, the FIBAE 2 only just beats out its bigger brother in terms of quantity. The FIBAE 3 is – by no means – thin or feeble down low, even if its immense speed may somewhat suggest so. The FIBAE 2’s warmer and fatter response just sounds heavier in comparison; compromising on clarity and resolution in the process.
Sticking to theme, the FIBAE 2 has the weightier, richer and more harmonic midrange. Drawing warmth from the upper-bass and the lower-midrange, the IEM presents instruments with a softer touch, while the FIBAE 3 excels at micro-dynamic presentation; portraying micro-details as stars against a black, night sky. Because of the FIBAE 2’s relatively calmer upper-treble, vocals are also more concentrated and centre-focused, rather than open or airy. As a result, the FIBAE 3 has the more transparent presentation, but the FIBAE 2’s bodied notes pose great competition in resolution. Headroom benefits from the FIBAE 3’s midrange linearity, while the FIBAE 2 is equipped with the more natural tone.
Treble is where the two are least alike. The FIBAE 2 emphasises a lower-treble peak for articulation, sometimes introducing brittleness to poorer recordings. Here, the FIBAE 3 dips for smoothness, but – again – articulation may lack solidity as a result. The latter’s upper-treble lift causes an inherently brighter and more open timbre, while the FIBAE 2’s calmer top-end allows it to maintain both body and organicity. Superior extension solidifies the FIBAE 3’s stage – aiding its transparency – while the FIBAE 2 relishes in overtones to produce a bolder, more euphonic and cohesive soundscape. Both IEMs excel at spatial resolution, but the FIBAE 2 has superior central focus, while separation is the FIBAE 3’s forte.
Nocturnal Audio Avalon (S$629)
The Avalon is a three-driver CIEM from Singaporean manufacturer, Nocturnal Audio. Similarly targeting the mid-tier market with exceptional clarity, the Avalon and the FIBAE 3 tread different paths toward a common goal. The former focuses on contrast and articulation, producing dynamism and energy through lean, clean and crispy notes. Like the FIBAE 2, it adopts a v-shaped response to evoke explosiveness and immediacy, while the FIBAE 3 relies on sheer air to do the same. The latter is also the smoother IEM, while the Avalon is noticeably more aggressive up top and down low; the main contributor to its fun signature.
The Avalon’s bass response sits somewhere between the FIBAE 2’s and the FIBAE 3’s, deftly balancing voluminous, bodied impacts with precision in layering and clarity. There’s a nice mix of texture and wetness in the Avalon’s low-end, mostly due to its AEX technology – capable of exhibiting exceptional delineation between the bass and the lower-midrange. The FIBAE 3’s, by comparison, is less punchy, but it compensates with superior clarity, decay and definition. They share similarly neutral tones – though the Avalon is just slightly richer – but the Singaporean IEM wins out on organicity because of the FIBAE 3’s drier nature.
The midrange is where the two completely flip sides. The Avalon’s attenuated lower-midrange endows it with a heavily articulative vocal presentation. Instruments sound extremely crisp and crystalline, but they lack harmonic richness as a result. The Avalon’s upper bass does compensate for this to a degree, but it won’t be for those looking for a meatier midrange. The FIBAE 3 sports a better balance between the lower-and-upper midrange, balancing transient attack with exceptional smoothness and grace. Tone is still brighter here – due to the generous upper-treble lift – but the Avalon has the more fatiguing presentation due to its aggression; well-controlled, but aggressive nonetheless.
Again, the two diverge in the treble. A lower-treble peak further adds to the Avalon’s clarity, rounding out transients in an effort to boost note resolution. The FIBAE 3 does the complete opposite; introducing a lower-treble dip to ensure smoothness within its airy signature. As a result, transients within the FIBAE 3 feel more wispy. Both exhibit excellent separation, but they certainly differ in spatial presentation. The FIBAE 3 separates along the x-axis, while the Avalon is more depth-reliant. The Avalon showcases excellent extension as well – supporting its stable stage – but lacks the FIBAE 3’s upper-treble emphasis. This solidifies its neutral timbre, with the FIBAE 3 sounding brighter and airier in comparison.
Verdict
The Custom Art FIBAE 3 is a paragon of clarity. Boasting brilliant end-to-end extension and marvellous transparency, Piotr and his team have once again proven their reign over the mid-tier market. While their previous efforts have all approached warmer ends of the spectrum, the FIBAE 3 is as much a welcome change as it is a substantial risk – attempting the balancing act between clarity, smoothness, engagement and ease. But, despite some compromises along the way, the FIBAE 3 successfully delivers one of the most promising, value-oriented reference IEMs the market has ever seen. Evoking speed, cleanliness and finesse at every turn – yet never forgetting how important fun is in an IEM’s sonic palate – it just goes to show how far Custom Art have come from their humbler beginnings. And now, with the FIBAE line batting a thousand, I cannot wait to see what else they have up their sleeves.