DB (Debauche Bacchus) Monroe
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One sentence review: A good bass-leaning all rounder with a tasteful FR and OK technicalities, even so hard to recommend as a new purchase in today’s market.
I bought this set with my own money, after years of it living in my cart (at least three 11.11 sales).
I was attracted to it for several reasons:
- One of the very few available reviews referred to it as analogue / a revisit to the tape deck days.
- It relies on DDs for its sound.
- Fun fact: I was going to guess graphene for the low-end driver based on the sound of the sub-bass. I was correct! A slightly smaller titanium film driver apparently deals with higher frequencies. (10mm and 8mm)
- The over-the-top design and packaging
- How little coverage it has. I’ve always been delighted by “discoveries” and by owning unicorns for which there are no pre-established comparison/upgrade/sidegrade path laid out.
Included accessories/packaging:
I’ll segue from the cable mention to what is included, and the overall quality of it. I don’t usually care for too much to be included, I live in a small house so the box has to be got rid of in fairly short order in most cases - and as someone who has accrued carry cases and other accessories already, I’d prefer costs be diverted to the sound and build if the IEM itself.
This set is a bit of an exception. A bit like Paulthings’ MIXXTAPE, there’s a lot of nostalgic glee to be found in the included accessories when they fit a strong novelty theme. This set comes with some stickers cards with designs relating to each colorway, a pin, and a hard case emblazoned with a tape cassette. (I would not recommend using it for the IEMs due to a lack of padding inside, more on how that would not pair well with their finish later. There is a foam block that can go into the har case, but who disconnects their cables just so they can pop the IEMs into presentation blocks?)
The cable looks nice enough and has a button on it (I was unable to test this on Apple/Android). However the cable, which has a majority woven finish and is fairly narrow, might be one of the worst for self-tangling, and resistance to untangling. Even with no stylish matches for the shell, I had to swap the cable before long.
The included tips are Sony look-alikes, I didn’t use them but I tested it out with similar narrow-bore silicone tips.
(Neither the cable or not tips shown are included/original)
Build quality/notes
The shells aren’t heavy despite feeling solid. The caps are metal but the main body of the IEM, continuing into the nozzle, is plastic.
A nice attention to detail is how the screen in the nozzles with the lines of its lateral grate matching the overall look rather than being default off-the-shelf picks.
An issue with construction which will be returned to at the end, because buyers should be aware of what support they will get if there are any issues, is the paint. This is followed up in the “customer service” section.
Something not at all obvious is that the set has significant exterior venting. I have had IEMs where the venting is a big part of the design language (FiiO FD5 as one example) but when the nozzle is covered, you can hear little/no sound escaping from the “vented” side. While the DB Monroe doesn’t draw special attention to its venting (or it gets lost in the “greebling”) it has some of the most notable sound leaking out of any set where I’ve covered the nozzle and put the cap to my ear. I do think this plays a role in sound later.
Channel matching was really good. The included graph was by my good friend @MMag05 and makes it officially the available graph to my knowledge.
What worked for me:
I was actually ready to discount the set fairly quickly to begin with, but as always, tip rolling is key.
Using a set of SPinfit CP145 in a small size, everything changed. I also found small Final E tips to work. For my ear anatomy, either of these:
- Reduced some higher peaks
- Controlled the bass
- Made sure the mids were not suppressed
The Final E tips rounded edges down to an analog sound, probably more than this tuning has room for. The SpinFits allowed for greater depth and stage. The slightly wider bore alone makes sense of this. I find the bass has even more prominent immersion/resonance with the Spinfits though. They’re the tips that saved this set for me, and then lifted it a good deal beyond just OK. Thanks to my friend @ctjacks336 for the tips!
With either tip, isolation with the Monroes was fantastic for my ears. It’s very rare that I feel a shell sinks to “flush” with my ear like these seem to. I had no issues with pressure, but as mentioned it’s a very well vented set.
Photos of just how good of a fit it turned out to be for me:
My preferences:
It’s worth knowing what my “library” resembles to see if any of these opinions are relevant to what you like to listen to. I can’t really nail down what my taste covers, it’s easier for me to list what I know is excluded from my listening:
- K/J-Pop: I have a lot of female vocal music, but no vocaloid music or songs produced in this style
- Metal: The metal I have probably overlaps better with hard rock than the majority of metal, because it doesn’t include the usual 8000RPM drums, fully distorted/screamed vocals, and shredding on guitar. I have Nightwish, Pantera, Judas Priest, Motorhead and some others. I enjoy Neue Deutsche Haerte in general, and some Ewigheim with is more gothic.
- Rap: I do have some bass-heavy spoken-word type hip-hop (Buck 65, Aesop Rock) but very little from the 90s/00s and nothing at all from the recent waves of rap genres
- R&B: I’m trying to think of a category for things like Drake and the Weeknd etc. Basically no radio hits from the last couple decades is probably the easiest description. Is that called Top 40?
- Modern country: I have plenty of folk and singer/songwriter music, and music that shares timbre/instruments with older country music - but nothing from modern “country”.
A good sign when writing a review of a set is if the set has been free-playing while getting thoughts going, with few to no skips. So far on shuffle I’ve listened to Weyes Blood, Jordi Savall, Tom Waits, Nick Cave and the Bad Seeds, Buck 65, and Linkin Park, Massive Attack, Lyla Foye and Dead Pirates… and it’s all been very enjoyable. (This stayed true even as I added to and reworked this review).
Lows:
Mid over sub, but not pointedly so, fairly even. In my experience that’s a good thing - isolated sub bass leads to an indistinct underlying warmth everything sits on without any real punch. Too much isolated mid bass gives an unnatural bounciness. When about even, you get atmospheric rumbles as well as a decisive start, stop, and impact to the bass.
With tracks like Strange Behaviour by Roots Manuva, I’m satisfied with the blend of punch and rumble. With acoustic instruments like the drum at the start of Tinariwen’s Imidiwan Winakalin, the swell is true to a stretched skin being struck. In Tupelo by Nick Cave and the bad seeds, the bass guitar has menace and reverb. In White Bread by Buck 65, the repeating low notes give a center-of-the-head glow, while actual percussion hits further out. In tracks like Vehemence by Purity Ring and Alone by Alan Walker, the low end is providing the immersive atmosphere that it’s required to. When a sub-bass dependent track like most songs by Lorne comes on, I’m not left feeling that the low end was only traced or described, I can both feel and hear it, there is weight. In Lying from You by Linkin Park, I often used this track to see if a driver can give a significant “felt” dive at 7 seconds, and also the double hit during singing (around 2:55) without masking the vocals or being too subdued itself. I also like that double hit to be clean / have some texture, not just showing up as a blob. DB Monroe passes.
I would say the driver has about a medium speed to it, decay is slow enough for natural timbre, but has clear punctuation, not dragging too long for there to be a firm contrast of impact starting and stopping. I’m not sure if there’s any crossover inside, but like the Serial using multiple DDs, I think there’s an advantage to one driver providing a more incisive hit, while the other provides some lingering warmth for natural timbre.
Mids:
This is one of the main things tip rolling changed. With the Spinfits and deep insertion, mids are not recessed. Upper mids have more emphasis than lower, but I do not think this leads to any “shout”.
Female vocals/deeper: Weyes Blood: A Lot’s Gonna Change her voice is smooth, not husky. Intimate but not necessarily forward from the rest of the music. Saint Savior: Animal, I: her voice is crisp (this album can have too many “mouth noises” on the wrong sets unfortunately), smooth, and not recessed. (Woodwinds and strings have great timbre too.)
Female vocals/higher: Caroline Polacheck: Hey Big Eyes / Parachute: Even higher pitched sections from Parachute never become nasal or piercing, I find them smooth and emphasized enough to be very emotional.
Male vocals/deeper: Johnny Cash is resonant and clear in his largely acoustic songs, but Lemmy is a little lost in the wash in Evil Eye by Motorhead - despite parts of his singing still having a lot of texture to them. I don’t listen to Motorhead often enough to rule out that the album could just be mastered this way.
Male vocals/higher: Marvine Gaye in the album What’s Going On, and You’ve Got Everything Now by The Smiths: no lock of detail, neither forward nor recessed.
I find rhythm guitars in punk rock and heavy rock are something I’m particular about. When I’m listening to The Offspring, older Green Day, Stahlmann, Rammstein etc with driving guitars they have to both have meat/weight and bite/detail. Those requirements aren’t easily balanced.
Der Schmied by Stahlmann is a good test track for this, and the rhythm guitars are definitely crunchy and dense at the same time.
Highs:
I think the venting of the shell helps with this. The set graphs dark, and perhaps it is, at least in the sense that the Penon Serial is meant to be “dark” – but I never feel I’m missing any treble necessary for good cymbals, stage and general small noises that treble can rescue from being lost. However it’s not a set that *emphasizes* treble. From recent experiences, I would turn to the Simgot EN1000 or better still the Night Oblivion Butastur to scratch an itch of being able to hear all the treble there is to hear without fatigue. Different price ranges completely, they’re just the sets I know hit treble well, I haven’t tried any lower priced sets I can compare for treble.
The 7kHz spike is usually something unwelcome to me in a darker/warmer set. Usually a spike around 8kHz (beyond the usual artificial coupler resonance) brings some snap and contrast back in, but if it’s isolated, then to my ears it sounds rather obviously isolated, and too stark of an emphasis to come out of nowhere in the mix. My take is that to counteract a raised low end, you have to raise a ramp somewhere on the higher end, not an obelisk. However, it hasn’t been overdone in this set, having a moderate upper mids gain already tempers that. That also saves it from being an overt V-shape where a pocketful of pixie-dust “sparkle” is sprinkled on top to fight the mud.
For this signature, frankly I wouldn’t want any more than is there.
In Moonchild by King Crimson: Cymbals/bells all very convincing. In Der Schmied by Stahlmann which was already used earlier to reference rhythm guitars, the cymbals just about cut through during the chorus, without sounding grainy/distorted/rattley.
In something like Caroline Shut Up by Caroline Polachek, the synths reach some very high pitches, and they’re all present and adding to the mix. For reference I can hear up to 18KHz. It’s important to mention that as what we can hear varies and would significantly affect our opinions on treble extension. You may hear further, or less, but now you know what you’re adjusting for.
Stage/imaging:
The most subjective part of an already highly subjective write-up. There are no issues with L/R imaging, sounds come from decently far outside my head towards the sides. While the sub-bass can feel a little lower-and-behind me, I would say things don’t move forward or behind much. Things do not feel flat, things do not feel closed in or intimate, but I wouldn’t expect this set to be topping lists for competitive FPS or for tricking someone into thinking they’re on a stage or in a studio. No weaknesses for ordinary enjoyment of music and the intended panning of tracks.
Customer service:
I purchased my set from ShenzhenAudio on AliExpress, one of the few shops to stock DB IEMs.
Having taken a gamble on this set, which will be the case for anyone buying DB sets until there are more reviews and graphs available, being taken care of was an important factor.
The paint on my set started chipping off in under a month, when they were only listened to about once or twice a week at that point, and stored in a soft case. Even my Starfield’s didn’t chip after longer use, so this seemed like a weakness in the finish at least for that batch.
When I first contacted ShenzhenAudio things went the usual way of “that’s what you get for ordering from AliExpress” as far as an offer of a $5 refund, or me shipping the item to China.
HOWEVER, after I talked with them further (and communication was prompt, I had replies nightly) they changed their response to one I think was completely satisfactory - either a half refund, or a refund after shipping the set to a CONUS address.
It’s a shame it took prompting, but I am glad with their final decision.
This is all very important to note considering DB also have a Luna and Sunna set that are exponentially more expensive than this one, with even less information available. No one wants to lose their investment on a lemon, if taking a chance on a company.
Conclusion:
One of the only descriptions I had been able to find had these as leaning into an analogue tuning, and at least with the most successful tip pairing (the Spinfits) I’m not sure I agree. They have the right kind of warmth in the lower mids for that vibe, but so do many sets, and they don’t have me thinking of a tape deck. With other tips (like the Final E) some lo-fi fuzzy could be introduced I suppose.
So it seems I only have more or less good things to say about the sound. That is true. They are a set that once put on, have no trouble staying on. They can disappear and let me listen to music.
Do I recommend them? That depends. They do very little wrong, if at all. But there are two considerations:
- Cost: Their cost has barely lowered if at all over the years - and in the same years, the $20-$50 has reality exploded with sets that “do very little wrong” and $50-100 sets that “leave little to improve”, usually with at least one “woah factor” trait thrown in. The most direct comparison in my opinion would be the HBBxQKZ which shares some tuning traits and is muchcheaper. The HBB is even bassier, but for my ear only had one compromise (completely acceptable at the price) which was a slightly metallic timbre for upper mids. To its credit, the DB Monroe does not have a timbre issue.
- In fact, it just occurs to me that this would only marginally improve on the good old BLON BL03. The DBs would have a tad more control in the bass.
- Place in your rotation/collection: Admittedly this comes from a very privileged setup of having multiple sets with different strengths that can be changed between. I certainly didn’t always have that and recognize that many folks don’t. In my case, although these are easy listening for many genres for many hours without regrets, they don’t often elicit a “woah” during that time. If I wanted all-rounders with an even better low end and mids, I already own the Penon Serial*. If I wanted more energy and an even more open sound I already own the Simgot EN1000. However those are both pricier sets. If your budget was $100, you could do worse than the DB Monroe. I do believe that in today’s market they compete with $60-70 sets more accurately. If you can lose some sub-bass comfortably, then the EA500 is a set that *would* give a few more “woah” moments.
- They are a fun set, and their timbre is good - so for a fun set with good timbre that could be a mostly all rounder depending on library, I could imagine recommending them with a slight discount.
Which takes us back to the one sentence review: A good bass-leaning all rounder with a tasteful FR and OK technicalities, even so, hard to recommend as a new purchase in today’s market.
\* A note I can’t leave out: Although the Serial is still a top 2 set for me, and Penon has taken good care of me as a customer personally on multiple occasions - they try to influence how reviews are written and to remove anything less than glowing reviews of their products, so I can’t recommend a product of theirs without adding this disclaimer. This is based on communication with friends who Penon contacted after giving them a discount, asking them to then frame their reviews in certain ways. This is not speculation. If this review disappears it's probably just confirmation that sponsors have the last say on censorship here on Head-Fi and this mild caveat was noticed.
Introduction
DB is short for Debauche Bacchus, a new brand that brings to the market some daring IEMS, which have a totally retro air, almost eighty. The entire design is a tribute to the radio cassettes: from their packaging, which simulates the complete device, the transport box, which is the cassette itself, and the capsules, with their play symbols, light witnesses and grilles. Quite a waste of imagination made IEM.
Specifications
Packaging
The presentation of the DB Monroe is especially unique, an apotheosis tribute to the analogical world of our beloved and ancient cassettes and their reproducers. The box, once opened, simulates a radio cassette, with a ribbon inside it, which is nothing more than the box, decorated for this purpose, which contains the capsules. As the box is unpacked, more details appear that make this experience unique: now a numbered plate, with a slogan by Andy Warhol; now a metal and glass box, decorated like a cassette; a pile of small cardboard with retro drawings, small booklets with instructions; folding sheets where you can see the multiple color options... A lot of small surprises almost impossible to reproduce with words, or even with images...
Among the most common accessories are:
I would like to make special mention of two elements: the numbered plate and the transport box. The gold plate is inscribed with the following quote from Andy Warhol:
“The most exciting attractions are between two oppsites that never meet”
In addition, the serial number is also inscribed on it. Quite a luxury of detail.
On the other hand, the transport box is drawn like a cassette. The sides are metallic and the upper and lower faces are made of some kind of glass. It opens by sliding a spring loaded pin to the left side. Inside, in a generous foam mould, the capsules are embedded. It is clear that in order to store the complete set of IEMs with cable, this foam must be removed. To protect the capsules, the inside of the box is covered with a velvet simile. The box is unique, but the combination of metal, the glass surface and the size do not make it the most suitable transport box.
Without detracting from the final result, the presentation of the Monroe DBs is possibly the most special and imaginative that I have been able to unpack from all the products I have analyzed.
Construction and Design
DB Monroe take their analog tribute to the extreme: the capsules follow the line and their outer face represents a cassette. In this case the colour is yellow. The shape of this face is an irregular pentagon. The capsule is divided into two parts: the exterior, yellow, with the grids and symbols of Play and Rec. The interior, sober and black, with the letter of the channel and a hole near the mouthpiece. This nozzle has two levels of diameter: the closest to the base measures 4.5mm, the outside, which houses the metal grid that makes the filter, 5.4mm. Its approximate length is 5mm from the base. They are constructed in stainless steel 316L. The connection is MMCX and the cover of the connectors of the cable, reminds to the models of JH Audio, whose elbow is covered with plastic and have a kind of nut. In this case, this nut is merely decorative, because the connection is the typical MMCX. The cable, after this elbow, is protected by semi-rigid and curved plastic, which gives it the shape on the ear. When this protection ends, the cable has a fine rubbery protection, until it reaches the splitting piece. This piece is just a metal cylinder, with the letters "Monroe" in white. In this section there is an oval sliding piece, also metallic, for the adjustment of the cable. After splitting, the cable is covered with nylon. The sleeve of the plug is the same as the splitting piece, except that this time, the letters painted in white are "dB", as a logo of the brand. The pin is 3.5mm gold-plated.
An impeccable construction for a singular design, markedly retro and conceptual. Although I would have preferred a 4-core braided cable or higher.
Adjustment and Ergonomics
The capsules are made of stainless steel, which is why they feel somewhat heavy in the hand. Once put on, if the fit is good, as is my case, there is no problem. Personally, with my silicone tips filled with foam, the fit is perfect, because with its large size, I can plug the entire shell, getting an optimal fit and a fantastic seal. In this occasion, due to the limited length of the nozzles and the rounded body of the capsules, the use with tri-flange tips has not been adequate, as the insertion does not get to have the adequate depth. That's why I think that the best tips for its use are made of foam or silicone.
The inner face of the capsules is quite rounded, as are the vertexes of the pentagon. In no case does rubbing the parts of the ear cause any discomfort, despite the generous volume of the capsules.
The ear guides provide an extra comfortable fit and the cable does not have microphony.
Sound
Profile
The profile of the DB Monroe tends towards a light U, due to its emphasis on the sub-bass zone and the mid-high zone. It is true that it also has a warm tendency, but they really have a good balance, as their means are not as sunken in gain, as can be seen in their frequency response.
Bass
A sound that claims to be Old School must be grounded in its lower zone. Said and done. DB does not leave anything in the inkwell in its first model of IEM and bets on a double Dynamic Driver, so that nobody complains, in that sense. But do not expect wasted bass, but quite the opposite. The Monroe is a clear example of a thunderous sub-bass, but very controlled, fast and very deep. The zone is executed with calculated mastery, with impetus, claw and strength, but very polite. The Monroe are for Bass-Heads with class and etiquette, because the control they possess is one of their great virtues. The lower zone is not visceral, but full of stadiums. It is a joy to perceive how the bass spreads in all directions, but without staining or leaving an infinite trace. Each stroke begins and ends, with an impeccable and highly enjoyable definition. Meanwhile, along the way, one can taste the natural texture, tight and contained, of each LFO and the rest of the bass lines, in general.
As I said, the Monroe has a low zone whose emphasis is on the sub-bass, so this whole range is very sensory and is perceived very much. Its color is adequate, each frequency sounds in its place, naturally and without darkness, but with a lot of energy. This is a warning to navigators: energy is neither created nor destroyed. This power level requires something more amplification/volume. The second warning is so much sub-bass can strike those who are not prepared. But, in the meantime, I'm enjoying what's beautiful.
Mids
The bass gain descends smoothly towards 1kHz, compensating for the sensitivity of the human ear and respecting its natural perception. In this way, the lower part of the midrange does not appear too deep, just a little further away. Although it is true that the energy of the lower zone is so great, the initial perception does not seem to be so. Be that as it may, the Monroe offer, once again, a serious respect towards the vocal range and endows it with naturalness, clarity, detail and a certain spark. Although, perhaps, its main virtue is its softness. Again, and due to a greater emphasis in the high end of the mids, female voices stand out over male ones. Something similar happens with the instrumentation that occupies this area, something typical of that U-profile that the Monroe have.
But if there is something totally characteristic in the mid zone of the DB, it is, without a doubt, its marked analogical character. It's clear that it doesn't sound like a disc, but they want the soul of CrO2's cassettes. It's not a dark sound, but it's a bit muted, not at all crisp, but with all its attributes there, conveniently softened and elongated. All this generates that very special warmth, which they possess; a tuning which, I think, has been totally sought after.
Treble
The first feeling I had with the Monroe was that they don't have a regular tuning, it's something you can feel in the treble as well. Where many IEMs go up, they go down: the initial highs are slightly sunk. It is possible that because of this, the means are perceived in such a particular way. However, a little further on, there is a small, but controlled, peak. This generates a sensation of greater initial extension, which also offers a slightly different sonority, slightly penetrating, not unnatural, just different to what I have been analyzing lately. This particularity achieves a very revealing level of detail and allows to extract different nuances to those offered by other models.
But, in any case, the trebles are conveniently moderate and do not offer wheezing or any sharp traces. Within that balance, the only one but, is a slight feeling of lack of air, something that has become quite common in many models.
Soundstage, Separation
The analogical character of the Monroe makes a new act of presence, offering a very natural and realistic scene, with enough depth, but not artificially extensive. The image expands pleasantly wide, high and deep, almost equally, achieving a semi-spherical instrumental recreation, with a slight point of darkness, but decongested and open. Another great virtue is the surprising spatiality and separation of sound, capable of providing great directionality to small details and subtle nuances, being able to easily locate each of them.
Comparisons
Anew U1
Starting both from a very similar curve up to 2kHz, it is from there that the big differences glow. And, in addition, they are clearly perceived. But starting with the lower zone, the duel becomes quite hard, as both zones are produced by great dynamic drivers. But the Monroe has one more driver and you can see that in the power they provide. Thus, their bass enjoys greater depth, forcefulness and energy, sounding bigger, but content, very special. And it's not easy to beat the Anew U1 in this respect. But the bass of the Monroe DB are so powerful, that you notice them with time, getting to fatigue in a silent way.
In the mid range, the Anew have a somewhat more complicated profile, while the Monroe's tuning is practically perfect for my personal taste. Again, the power of the Monroe is perceived as inaccessible, showing a forcefulness and rotundity in its lower-middle zone, something that is perceived in the drums, even higher up, with the guitars. Male voices are also perceived with greater complexity, with more body and bass nuances. The U1 have a somewhat uneven mid-high part, they have more brightness and that makes them more sibilant, the voices are recreated thinner, but also with more nuances. Meanwhile, the Monroe move in a warmer and sweeter zone, less abrupt and also less distant, more homogeneous and linear. The Anew have a more distant central zone at certain points.
The highs in the Anew start high, stop decaying slowly. It is clear that in the upper zone there are several differences, because the U1 have a little more extension and brightness. The Monroe has a somewhat different curve in the upper part and its incidence in the rest of the sound makes it more peaceful, sweet, filing and less dangerous. The Anew are somewhat more sharp and edgy, but it also gives the sound more details.
The scene is perceived differently in both. The Anew have a brightness that enhances details, its clarity is greater and this benefits the scene, endowing it with a greater sense of separation. The scene in the Monroe is not reduced, far from it, it enjoys very good three-dimensionality, but the cleanliness of the sound of the Anew expands the sound more.
Cozoy Hera C103
The Hera are other IEMs with a curve similar to the Monroe. Again, the lower zone falls on the side of the Monroe, again their power and depth surpasses the Cozoy. The Monroe lower zone has more energy, especially in the sub-bass. In addition, the Hera's mid-low sounds a more coloured spot than the Monroe, feeling colder and brighter. This lower part, in both IEMs, is quite descriptive, well defined, with soft and realistic texture, good speed and natural timbre. But Monroe bass has a greater incidence on the overall sound of the IEMS, for better or worse.
In the middle zone, the Hera stand out for their elegant cleanliness. But, again, the body is perceived more complete and closer in the Monroe, producing an analog sensation difficult to overcome, where the voices and instruments fill the whole scene, enlarging the sound to a greater extent. The voices in the Hera sound pushed upwards, higher, with a cooler face certainly, but they are also perceived in a closer plane. The instrumentation is better integrated in the Monroe, while in the Hera, they enjoy better definition and a little more air and detail.
In the upper zone, the Hera has a peak at 5Khz and the Monroe at 6kHz. At first glance, the Cozoy look brighter, while the Monroe has that warmer, more sensual and relaxed profile, even above the Hera. Although the length of the treble is greater in the Monroe, the enormous energy of its lower zone, affects the sound globally hindering its clarity and nuances, points that the Hera resolve better.
Despite the Hera's clean sound and good sense of detail, the Monroe's sound is bigger, with more scene and a little more separation.
Conclusion
Debauche Bacchus has created a first iconic model, clearly conceptual, a spectacular tribute. From the packaging, through the multitude of details and images of its contents, to the capsules, no one can overlook the great effort devoted throughout this process. But, after all, the objective are the IEMs and their sound. And truly, both are up to the task. It is also worth noting that their profile tries to escape, albeit moderately, from the Harman curve, offering a powerful U-shaped sound, quite balanced, with clear analogical reminiscences, warm, but with enough light, mellow but spacious. Without a doubt, something different, whose listening does not suppose any effort to adapt to them. The Monroe are a true romantic tribute.
Sources Used During the Analysis
Ratings
Purchase link
https://penonaudio.com/db-monroe.html
You can read the full review in Spanish here:
https://hiendportable.com/2019/08/05/db-monroe-review/
DB is short for Debauche Bacchus, a new brand that brings to the market some daring IEMS, which have a totally retro air, almost eighty. The entire design is a tribute to the radio cassettes: from their packaging, which simulates the complete device, the transport box, which is the cassette itself, and the capsules, with their play symbols, light witnesses and grilles. Quite a waste of imagination made IEM.
Specifications
- Driver: Dual Dynamic Driver 10mm Graphene + 8mm Titanium film
- Frequency range: 18Hz – 22kHz
- Sensitivity: 99dB±3dB
- Impedance: 32Ω
- Maximum Power: 10mW
- Shell Material: 316L Stainless steel
- Plug: 3.5mm Gold-plated
- Type of capsule connection: MMCX
Packaging
The presentation of the DB Monroe is especially unique, an apotheosis tribute to the analogical world of our beloved and ancient cassettes and their reproducers. The box, once opened, simulates a radio cassette, with a ribbon inside it, which is nothing more than the box, decorated for this purpose, which contains the capsules. As the box is unpacked, more details appear that make this experience unique: now a numbered plate, with a slogan by Andy Warhol; now a metal and glass box, decorated like a cassette; a pile of small cardboard with retro drawings, small booklets with instructions; folding sheets where you can see the multiple color options... A lot of small surprises almost impossible to reproduce with words, or even with images...
Among the most common accessories are:
- 3 pairs of hybrid silicone tips, sizes SxMxL.
- 1 pair of foam tips, large size.
- 1 adapter from 3.5mm to 6.3mm
- 1 MMCX cable
- 1 transport box.
I would like to make special mention of two elements: the numbered plate and the transport box. The gold plate is inscribed with the following quote from Andy Warhol:
“The most exciting attractions are between two oppsites that never meet”
In addition, the serial number is also inscribed on it. Quite a luxury of detail.
On the other hand, the transport box is drawn like a cassette. The sides are metallic and the upper and lower faces are made of some kind of glass. It opens by sliding a spring loaded pin to the left side. Inside, in a generous foam mould, the capsules are embedded. It is clear that in order to store the complete set of IEMs with cable, this foam must be removed. To protect the capsules, the inside of the box is covered with a velvet simile. The box is unique, but the combination of metal, the glass surface and the size do not make it the most suitable transport box.
Without detracting from the final result, the presentation of the Monroe DBs is possibly the most special and imaginative that I have been able to unpack from all the products I have analyzed.
Construction and Design
DB Monroe take their analog tribute to the extreme: the capsules follow the line and their outer face represents a cassette. In this case the colour is yellow. The shape of this face is an irregular pentagon. The capsule is divided into two parts: the exterior, yellow, with the grids and symbols of Play and Rec. The interior, sober and black, with the letter of the channel and a hole near the mouthpiece. This nozzle has two levels of diameter: the closest to the base measures 4.5mm, the outside, which houses the metal grid that makes the filter, 5.4mm. Its approximate length is 5mm from the base. They are constructed in stainless steel 316L. The connection is MMCX and the cover of the connectors of the cable, reminds to the models of JH Audio, whose elbow is covered with plastic and have a kind of nut. In this case, this nut is merely decorative, because the connection is the typical MMCX. The cable, after this elbow, is protected by semi-rigid and curved plastic, which gives it the shape on the ear. When this protection ends, the cable has a fine rubbery protection, until it reaches the splitting piece. This piece is just a metal cylinder, with the letters "Monroe" in white. In this section there is an oval sliding piece, also metallic, for the adjustment of the cable. After splitting, the cable is covered with nylon. The sleeve of the plug is the same as the splitting piece, except that this time, the letters painted in white are "dB", as a logo of the brand. The pin is 3.5mm gold-plated.
An impeccable construction for a singular design, markedly retro and conceptual. Although I would have preferred a 4-core braided cable or higher.
Adjustment and Ergonomics
The capsules are made of stainless steel, which is why they feel somewhat heavy in the hand. Once put on, if the fit is good, as is my case, there is no problem. Personally, with my silicone tips filled with foam, the fit is perfect, because with its large size, I can plug the entire shell, getting an optimal fit and a fantastic seal. In this occasion, due to the limited length of the nozzles and the rounded body of the capsules, the use with tri-flange tips has not been adequate, as the insertion does not get to have the adequate depth. That's why I think that the best tips for its use are made of foam or silicone.
The inner face of the capsules is quite rounded, as are the vertexes of the pentagon. In no case does rubbing the parts of the ear cause any discomfort, despite the generous volume of the capsules.
The ear guides provide an extra comfortable fit and the cable does not have microphony.
Sound
Profile
The profile of the DB Monroe tends towards a light U, due to its emphasis on the sub-bass zone and the mid-high zone. It is true that it also has a warm tendency, but they really have a good balance, as their means are not as sunken in gain, as can be seen in their frequency response.
Bass
A sound that claims to be Old School must be grounded in its lower zone. Said and done. DB does not leave anything in the inkwell in its first model of IEM and bets on a double Dynamic Driver, so that nobody complains, in that sense. But do not expect wasted bass, but quite the opposite. The Monroe is a clear example of a thunderous sub-bass, but very controlled, fast and very deep. The zone is executed with calculated mastery, with impetus, claw and strength, but very polite. The Monroe are for Bass-Heads with class and etiquette, because the control they possess is one of their great virtues. The lower zone is not visceral, but full of stadiums. It is a joy to perceive how the bass spreads in all directions, but without staining or leaving an infinite trace. Each stroke begins and ends, with an impeccable and highly enjoyable definition. Meanwhile, along the way, one can taste the natural texture, tight and contained, of each LFO and the rest of the bass lines, in general.
As I said, the Monroe has a low zone whose emphasis is on the sub-bass, so this whole range is very sensory and is perceived very much. Its color is adequate, each frequency sounds in its place, naturally and without darkness, but with a lot of energy. This is a warning to navigators: energy is neither created nor destroyed. This power level requires something more amplification/volume. The second warning is so much sub-bass can strike those who are not prepared. But, in the meantime, I'm enjoying what's beautiful.
Mids
The bass gain descends smoothly towards 1kHz, compensating for the sensitivity of the human ear and respecting its natural perception. In this way, the lower part of the midrange does not appear too deep, just a little further away. Although it is true that the energy of the lower zone is so great, the initial perception does not seem to be so. Be that as it may, the Monroe offer, once again, a serious respect towards the vocal range and endows it with naturalness, clarity, detail and a certain spark. Although, perhaps, its main virtue is its softness. Again, and due to a greater emphasis in the high end of the mids, female voices stand out over male ones. Something similar happens with the instrumentation that occupies this area, something typical of that U-profile that the Monroe have.
But if there is something totally characteristic in the mid zone of the DB, it is, without a doubt, its marked analogical character. It's clear that it doesn't sound like a disc, but they want the soul of CrO2's cassettes. It's not a dark sound, but it's a bit muted, not at all crisp, but with all its attributes there, conveniently softened and elongated. All this generates that very special warmth, which they possess; a tuning which, I think, has been totally sought after.
Treble
The first feeling I had with the Monroe was that they don't have a regular tuning, it's something you can feel in the treble as well. Where many IEMs go up, they go down: the initial highs are slightly sunk. It is possible that because of this, the means are perceived in such a particular way. However, a little further on, there is a small, but controlled, peak. This generates a sensation of greater initial extension, which also offers a slightly different sonority, slightly penetrating, not unnatural, just different to what I have been analyzing lately. This particularity achieves a very revealing level of detail and allows to extract different nuances to those offered by other models.
But, in any case, the trebles are conveniently moderate and do not offer wheezing or any sharp traces. Within that balance, the only one but, is a slight feeling of lack of air, something that has become quite common in many models.
Soundstage, Separation
The analogical character of the Monroe makes a new act of presence, offering a very natural and realistic scene, with enough depth, but not artificially extensive. The image expands pleasantly wide, high and deep, almost equally, achieving a semi-spherical instrumental recreation, with a slight point of darkness, but decongested and open. Another great virtue is the surprising spatiality and separation of sound, capable of providing great directionality to small details and subtle nuances, being able to easily locate each of them.
Comparisons
Anew U1
Starting both from a very similar curve up to 2kHz, it is from there that the big differences glow. And, in addition, they are clearly perceived. But starting with the lower zone, the duel becomes quite hard, as both zones are produced by great dynamic drivers. But the Monroe has one more driver and you can see that in the power they provide. Thus, their bass enjoys greater depth, forcefulness and energy, sounding bigger, but content, very special. And it's not easy to beat the Anew U1 in this respect. But the bass of the Monroe DB are so powerful, that you notice them with time, getting to fatigue in a silent way.
In the mid range, the Anew have a somewhat more complicated profile, while the Monroe's tuning is practically perfect for my personal taste. Again, the power of the Monroe is perceived as inaccessible, showing a forcefulness and rotundity in its lower-middle zone, something that is perceived in the drums, even higher up, with the guitars. Male voices are also perceived with greater complexity, with more body and bass nuances. The U1 have a somewhat uneven mid-high part, they have more brightness and that makes them more sibilant, the voices are recreated thinner, but also with more nuances. Meanwhile, the Monroe move in a warmer and sweeter zone, less abrupt and also less distant, more homogeneous and linear. The Anew have a more distant central zone at certain points.
The highs in the Anew start high, stop decaying slowly. It is clear that in the upper zone there are several differences, because the U1 have a little more extension and brightness. The Monroe has a somewhat different curve in the upper part and its incidence in the rest of the sound makes it more peaceful, sweet, filing and less dangerous. The Anew are somewhat more sharp and edgy, but it also gives the sound more details.
The scene is perceived differently in both. The Anew have a brightness that enhances details, its clarity is greater and this benefits the scene, endowing it with a greater sense of separation. The scene in the Monroe is not reduced, far from it, it enjoys very good three-dimensionality, but the cleanliness of the sound of the Anew expands the sound more.
Cozoy Hera C103
The Hera are other IEMs with a curve similar to the Monroe. Again, the lower zone falls on the side of the Monroe, again their power and depth surpasses the Cozoy. The Monroe lower zone has more energy, especially in the sub-bass. In addition, the Hera's mid-low sounds a more coloured spot than the Monroe, feeling colder and brighter. This lower part, in both IEMs, is quite descriptive, well defined, with soft and realistic texture, good speed and natural timbre. But Monroe bass has a greater incidence on the overall sound of the IEMS, for better or worse.
In the middle zone, the Hera stand out for their elegant cleanliness. But, again, the body is perceived more complete and closer in the Monroe, producing an analog sensation difficult to overcome, where the voices and instruments fill the whole scene, enlarging the sound to a greater extent. The voices in the Hera sound pushed upwards, higher, with a cooler face certainly, but they are also perceived in a closer plane. The instrumentation is better integrated in the Monroe, while in the Hera, they enjoy better definition and a little more air and detail.
In the upper zone, the Hera has a peak at 5Khz and the Monroe at 6kHz. At first glance, the Cozoy look brighter, while the Monroe has that warmer, more sensual and relaxed profile, even above the Hera. Although the length of the treble is greater in the Monroe, the enormous energy of its lower zone, affects the sound globally hindering its clarity and nuances, points that the Hera resolve better.
Despite the Hera's clean sound and good sense of detail, the Monroe's sound is bigger, with more scene and a little more separation.
Conclusion
Debauche Bacchus has created a first iconic model, clearly conceptual, a spectacular tribute. From the packaging, through the multitude of details and images of its contents, to the capsules, no one can overlook the great effort devoted throughout this process. But, after all, the objective are the IEMs and their sound. And truly, both are up to the task. It is also worth noting that their profile tries to escape, albeit moderately, from the Harman curve, offering a powerful U-shaped sound, quite balanced, with clear analogical reminiscences, warm, but with enough light, mellow but spacious. Without a doubt, something different, whose listening does not suppose any effort to adapt to them. The Monroe are a true romantic tribute.
Sources Used During the Analysis
- Burson Audio Playmate
- Fiio Q1
- Sabaj DA3
- F.Audio XS03
Ratings
- Construction and Design: 95
- Adjustment/Ergonomics: 88
- Accessories: 85
- Bass: 90
- Mids: 82
- Treble: 76
- Separation: 78
- Soundstage: 83
- Quality/Price: 90
Purchase link
https://penonaudio.com/db-monroe.html
You can read the full review in Spanish here:
https://hiendportable.com/2019/08/05/db-monroe-review/
DB Monroe — dual dynamic driver IEMs with great presentation appealing to old school style and design. Full name is Debauche Bacchus — a new brand by DB Science and Technology Co.LTD., while Monroe is their first attempt to capture the minds of music fans. We would go over this product today trying to understand whether the sound quality is matching its remarkable appearance.
DB Monroe technical specifications:
Graphs shows U-shaped tuning with elevation of lows, upper-mids and lower-treble. Lower mids are recessed. Such tuning generally leads to more emotional delivery and additional voice clarity but might also result into some shouting on female vocals. We’ve paid much attention to this and would describe our findings in the sound quality test section.
DB Monroe structure:
DB Monroe packaging design and box content is the best we’ve ever seen for IEMs. Yes, the box is big and heavy but it encloses numerous accessories and features great design!
Box has the additional cardbord cover with good graphics showing how IEMs look like, describing its drivers and providing technical specifications. Information and prints also include company message about the product and extra elements like button images that address old analog audio players.
Danger red is the color for our particular unit. We would prefer to call it panic red
Other options are blue, black and yellow. It seems that not only IEMs but the side parts of this cover would also change depending of the color choice.
Design of the box (cover was removed) is even more appealing: large window exposing IEMs that are placed in audio tape style protection case and a sticker representing radio frequency tuning bar at the top.
Even the inner part of the top box cover has special stylized prints.
First what you’d find inside the box is the soft foamy podium containing IEMs in storage case and thick aluminum plate with Andy Warhole quote embossed to its surface and product serial number. The quote says: «The most exciting attractions are between two opposites that would never meet».
Ok, digging deeper: there is a folded product leaflet underneath (icons actually remind us more about Sony PlayStation logos rather than audio equipment key indicators)
and a list with pin-up stickers (Marilyn Monroe describing different color options
Finally, we have reached zero level of the box. Although, there are some hidden surprises as well.
For example, product user manual is a thick book with lots of information about IEMs provided in six languages. Moreover, we’ve found another set of four old school style cards with four color options. Another surprise was to find 6.3mm male to 3.5mm female adaptor which is kind of rare accessory for IEMs. We believe that including cable with 2.5mm balanced plug would be even better. Anyway, good that 6.3mm adaptor was added at least.
Ok, now the box contents:
There is another foamy podium inside that protects IEMs from movements during the transportation. Of course, we would have to get rid of that but the good thing is that the inner compartment is also covered with soft material. Unfortunately, some scratches on glass are inevitable.
Finally, we’ve riched IEMs: Monroe shells are made of two parts: 316L stainless steel top cover with glossy piano paint and black base. Parts are alligned well but there is a thin uneven gap between those elements and you can feel the edges of top cover when you swipe over the side. Perhaps, it is a result of having thick layer of paint applied to this part.
The look of Monroe IEMs addresses the old school design of audio tape era with some plastic elements, shapes and vivid colors. Top covers got model name imprints, some additional decorations and vents for bass driver. MMCX ports are located here as well.
Bases contain additional vents and channel indicators. Output nozzles are protruding from base and covered with aluminum protection grills. Even this tiny element resembles the overall design — not a mere square mesh but long openings instead.
Cable is 1.2m long, features nylon braid, aluminum Y-splitter, slider and 3.5mm jack housing with DB logo imprint and plastic housing of MMCX connectors with the corresponding channel indicators. We believe that plastic was chosen to give it a shape and look of aged jacks.
6.3mm -> 3.5mm adaptor does also have DB logo imprint.
The overall design is great. Lots of attention to tiniest details, every part and accessory are resembling the main theme. The most appealing product in terms of look so far.
Unfortunately, fit is not the perfect one, at least for us — shape is not very natural, IEMs are a bit heavy and might tend to fall out while moving actively. The choice of eartips is vital and it is really better to keep the cable with the earguides.
Sound quality:
Tested with Hidizs AP80 DAP and Hidizs AP200 DAP
Couple of words about the equipment: DB Monroe IEMs is not the hardest load for DAPs but the combination of 99dB sensitivity and 32Ω impedance would result in low volume and lack of dynamics with regular smartphones or integrated PC audio outputs. More capable sources as dedicated DAPs and AMPs would drive DB Monroe to much better level.
Lows and midbass:
Monroe IEMs might be a good choice for bass lovers — the extension and texturing of this range is great and the presence is more than the average. Lower range is emphasized and clearly percepted. Bass guitar notes are always available no matter how many instruments are involved in the mix. There is an effect of low vibe sensations when bass reaches extremely low frequencies.
Midbass range is decent: fast, tight and dynamic. It doesn’t exhibit any harsh peaks even at higher volumes and would maintain full-bodied delivery and good presence even at lower volumes. Drums sound natural and engaging.
Mids and vocals:
Lower mids are recessed and some instruments or male vocals sound a bit thin and distant whereas upper mids and female vocals are brought to front, more emphasized and feel more lively. Such uneven distribution of gains is partially compensated by the mellow and smooth presentation with a warmer end to the mids in overall. This is mostly affecting male vocals, guitars or other string instruments and creating the feel that the sound is kind of originating from the audio tape, indeed. Such tuning would also create more emotional appeal, adding some clarity to vocals and resolving more overtones in mid range. In order to maintain the resemblance of the overall design in the whole sound picture we’d prefer if the gain of the upper mids would have also been descreased due to some tendency of «shouting» notes on female vocals and tendency to lisping. This would depend much of a DAP source: neutral delivery of AP200 is totally ok whereas AP80 with its brighter signature would emphasize this further.
Treble:
Treble protion is balanced with other frequency ranges, has a moderate resolution and adequate extension. In treble-saturated tracks this range is totally fine, the presence is enough, neither recessed nor accentuated — sounds crisp and clear, creating airy presentation and adding some transparency to the sound. In bass-heavy tracks higher treble might feel a bit underpowered, especially at lower volumes. In overall, tuning of this range is suiting the main idea of providing mellow and smooth performance with no excessive sharpness or piercing details.
Soundstage:
Monroe IEMs have actually surprised us with the ability to show wide soundstage with very good instrument separation and their distant locations from the center. Most of the instruments are well-****oured, precisely located, widely distributed in horizontal and vertical planes creating the feel of larger scene width and depth.
Sound in overall:
Sound produced by DB Monroe IEMs сould be described as having U-shape tuning, with very good low end extension and texturing, rich and powerful midbass section, elevated upper mids/lower treble and good presence of upper treble. Sound is kind of mellow and warm when used with neutral or dark sources. Most suitable for slow music genres, blues, old rock, jazz, etc.
Compared to Kinera IDUN:
Kinera IDUN IEMs are hybrid type based on 1DD and 1BA drivers resulting in much more resolution and presence of treble, more transparent and airy sound and detailed midrange. At the same time, DB Monroe deliver more bass, have better midbass reproduction and warmer feel.
Compared to iKKO OH1:
Another hybrid IEMs with 1DD + 1BA structure. Almost similar to Kinera IDUN results — having better treble presence, clarity and extension together with better resolution on mids but would fall short to DB Monroe in terms of lower end texturing, presence and articulation/power of midbass. Very similar behavior in upper mids that might be prone to some shouting notes with brighter sources.
Conclusion:
DB Monroe IEMs is a good example of awesome product design with the whole story behind it and an attempt to reflect visual presentation in its sound characteristics. This is the best product ever in terms of packaging, box contents and creating the first impression. Perfectly exteriorized idea with lots of tiny details chasing one main theme throughout all elements. Very surprising is that DB has managed to resemble the essence of old school appearance in the sound of their IEMs — feels kind of mellow, smooth and bassy which reminds us about audio tapes. Finally, we’d say that DB Monroe are having distinct sound signature and stand out from the crowd of rivals with modern sound.
DB Monroe are available at PenonAudio store
DB Monroe technical specifications:
- Drivers: 2 x dynamic, 10mm graphene + 8mm titanium film
- Sensitivity: 99±3dB
- Impedance: 32Ω
- Frequency response range: 18-22kHz
- Maximum input power: 10mW
- Shell material: 316L stainless steel
- Cable interface: MMCX
- Plug: 3.5mm
- Precision double cavity design: requires smaller volume to accommodate two powerful drivers
- 10 mm graphene diaphragm driver: ultra thin, reduces low frequency harmonic distortions, better low frequency response, rigidity extends treble range.
- 8 mm titanium film: driver for mids|treble, rigidity of the diaphragm increases treble response speed, increases resolution of vocals
Graphs shows U-shaped tuning with elevation of lows, upper-mids and lower-treble. Lower mids are recessed. Such tuning generally leads to more emotional delivery and additional voice clarity but might also result into some shouting on female vocals. We’ve paid much attention to this and would describe our findings in the sound quality test section.
DB Monroe structure:
- Double cavity shell (1 & 2 & 7)
- 8mm PET diaphragm cell (3)
- 10mm graphene diaphragm unit (4)
- MMCX interface (5)
- High precision Panasonic original decoration part (6)
- Low frequency balanced air hole for larger amplitude and better bass extension (8)
DB Monroe packaging design and box content is the best we’ve ever seen for IEMs. Yes, the box is big and heavy but it encloses numerous accessories and features great design!
Box has the additional cardbord cover with good graphics showing how IEMs look like, describing its drivers and providing technical specifications. Information and prints also include company message about the product and extra elements like button images that address old analog audio players.
Danger red is the color for our particular unit. We would prefer to call it panic red
Other options are blue, black and yellow. It seems that not only IEMs but the side parts of this cover would also change depending of the color choice.
Design of the box (cover was removed) is even more appealing: large window exposing IEMs that are placed in audio tape style protection case and a sticker representing radio frequency tuning bar at the top.
Even the inner part of the top box cover has special stylized prints.
First what you’d find inside the box is the soft foamy podium containing IEMs in storage case and thick aluminum plate with Andy Warhole quote embossed to its surface and product serial number. The quote says: «The most exciting attractions are between two opposites that would never meet».
Ok, digging deeper: there is a folded product leaflet underneath (icons actually remind us more about Sony PlayStation logos rather than audio equipment key indicators)
and a list with pin-up stickers (Marilyn Monroe describing different color options
Finally, we have reached zero level of the box. Although, there are some hidden surprises as well.
For example, product user manual is a thick book with lots of information about IEMs provided in six languages. Moreover, we’ve found another set of four old school style cards with four color options. Another surprise was to find 6.3mm male to 3.5mm female adaptor which is kind of rare accessory for IEMs. We believe that including cable with 2.5mm balanced plug would be even better. Anyway, good that 6.3mm adaptor was added at least.
Ok, now the box contents:
- IEMs
- cable
- 6.3mm male to 3.5mm female adaptor
- 3 pairs of silicone eartips (S|M|L)
- 1 pair of memory foam eartips
- storage case
- user manual
- list with pin-up stickers
- product leaflet
- 4 cards
- serial number plate
There is another foamy podium inside that protects IEMs from movements during the transportation. Of course, we would have to get rid of that but the good thing is that the inner compartment is also covered with soft material. Unfortunately, some scratches on glass are inevitable.
Finally, we’ve riched IEMs: Monroe shells are made of two parts: 316L stainless steel top cover with glossy piano paint and black base. Parts are alligned well but there is a thin uneven gap between those elements and you can feel the edges of top cover when you swipe over the side. Perhaps, it is a result of having thick layer of paint applied to this part.
The look of Monroe IEMs addresses the old school design of audio tape era with some plastic elements, shapes and vivid colors. Top covers got model name imprints, some additional decorations and vents for bass driver. MMCX ports are located here as well.
Bases contain additional vents and channel indicators. Output nozzles are protruding from base and covered with aluminum protection grills. Even this tiny element resembles the overall design — not a mere square mesh but long openings instead.
Cable is 1.2m long, features nylon braid, aluminum Y-splitter, slider and 3.5mm jack housing with DB logo imprint and plastic housing of MMCX connectors with the corresponding channel indicators. We believe that plastic was chosen to give it a shape and look of aged jacks.
6.3mm -> 3.5mm adaptor does also have DB logo imprint.
The overall design is great. Lots of attention to tiniest details, every part and accessory are resembling the main theme. The most appealing product in terms of look so far.
Unfortunately, fit is not the perfect one, at least for us — shape is not very natural, IEMs are a bit heavy and might tend to fall out while moving actively. The choice of eartips is vital and it is really better to keep the cable with the earguides.
Sound quality:
Tested with Hidizs AP80 DAP and Hidizs AP200 DAP
Couple of words about the equipment: DB Monroe IEMs is not the hardest load for DAPs but the combination of 99dB sensitivity and 32Ω impedance would result in low volume and lack of dynamics with regular smartphones or integrated PC audio outputs. More capable sources as dedicated DAPs and AMPs would drive DB Monroe to much better level.
Lows and midbass:
Monroe IEMs might be a good choice for bass lovers — the extension and texturing of this range is great and the presence is more than the average. Lower range is emphasized and clearly percepted. Bass guitar notes are always available no matter how many instruments are involved in the mix. There is an effect of low vibe sensations when bass reaches extremely low frequencies.
Midbass range is decent: fast, tight and dynamic. It doesn’t exhibit any harsh peaks even at higher volumes and would maintain full-bodied delivery and good presence even at lower volumes. Drums sound natural and engaging.
Mids and vocals:
Lower mids are recessed and some instruments or male vocals sound a bit thin and distant whereas upper mids and female vocals are brought to front, more emphasized and feel more lively. Such uneven distribution of gains is partially compensated by the mellow and smooth presentation with a warmer end to the mids in overall. This is mostly affecting male vocals, guitars or other string instruments and creating the feel that the sound is kind of originating from the audio tape, indeed. Such tuning would also create more emotional appeal, adding some clarity to vocals and resolving more overtones in mid range. In order to maintain the resemblance of the overall design in the whole sound picture we’d prefer if the gain of the upper mids would have also been descreased due to some tendency of «shouting» notes on female vocals and tendency to lisping. This would depend much of a DAP source: neutral delivery of AP200 is totally ok whereas AP80 with its brighter signature would emphasize this further.
Treble:
Treble protion is balanced with other frequency ranges, has a moderate resolution and adequate extension. In treble-saturated tracks this range is totally fine, the presence is enough, neither recessed nor accentuated — sounds crisp and clear, creating airy presentation and adding some transparency to the sound. In bass-heavy tracks higher treble might feel a bit underpowered, especially at lower volumes. In overall, tuning of this range is suiting the main idea of providing mellow and smooth performance with no excessive sharpness or piercing details.
Soundstage:
Monroe IEMs have actually surprised us with the ability to show wide soundstage with very good instrument separation and their distant locations from the center. Most of the instruments are well-****oured, precisely located, widely distributed in horizontal and vertical planes creating the feel of larger scene width and depth.
Sound in overall:
Sound produced by DB Monroe IEMs сould be described as having U-shape tuning, with very good low end extension and texturing, rich and powerful midbass section, elevated upper mids/lower treble and good presence of upper treble. Sound is kind of mellow and warm when used with neutral or dark sources. Most suitable for slow music genres, blues, old rock, jazz, etc.
Compared to Kinera IDUN:
Kinera IDUN IEMs are hybrid type based on 1DD and 1BA drivers resulting in much more resolution and presence of treble, more transparent and airy sound and detailed midrange. At the same time, DB Monroe deliver more bass, have better midbass reproduction and warmer feel.
Compared to iKKO OH1:
Another hybrid IEMs with 1DD + 1BA structure. Almost similar to Kinera IDUN results — having better treble presence, clarity and extension together with better resolution on mids but would fall short to DB Monroe in terms of lower end texturing, presence and articulation/power of midbass. Very similar behavior in upper mids that might be prone to some shouting notes with brighter sources.
Conclusion:
DB Monroe IEMs is a good example of awesome product design with the whole story behind it and an attempt to reflect visual presentation in its sound characteristics. This is the best product ever in terms of packaging, box contents and creating the first impression. Perfectly exteriorized idea with lots of tiny details chasing one main theme throughout all elements. Very surprising is that DB has managed to resemble the essence of old school appearance in the sound of their IEMs — feels kind of mellow, smooth and bassy which reminds us about audio tapes. Finally, we’d say that DB Monroe are having distinct sound signature and stand out from the crowd of rivals with modern sound.
DB Monroe are available at PenonAudio store
dhruvmeena96
Kinera IDUN is 2BA and DD
