EarAcoustic Audio STA Hi-End Series

First I would like to thank EarAcoustics Audio for sending this review unit and also thanks to Sonic Mantra team for giving me the opportunity to test it out. This review only includes my honest impressions on the gear. I didn’t get influenced by anyone to say anything biased about this product. Enjoy reading. Cheers!


TFZ has rebranded to EarAcoustics Audio and is making a comeback in the chi-fi scene with their STA lineup. There are a total of 7 different models in the STA series. The one I have here is the STA HI End Max which is Flash Silver color. This is a Dual Dynamic Driver IEM which costs $89. Let’s see how this set holds up for the asking price.



Specification:

• Driver Configuration: 10mm Ultra Clear Analysis Dual Magnetic DLC Diaphragm + 6mm Composite Diaphragm Dynamic Coil Unit
• Sensitivity: 110dB
• Impedance: 30 ohms
• Frequency Response Range: 10-30,000Hz
• Wire Specification: 0.78mm Dual Pin Oxygen-Free Copper and Silver-Plated Wire Mixed Weave, 1.20m

Inside the Box:

• 1 x EarAcoustic Audio STA Hi-End Series
• 2 sets of wide and normal bore ear tips with 3 pairs each
• 2 core cable
• Hard shell carrying pouch
• User Manual

The STA Hi End Max has a glossy metallic finish on its resin built shell. Yes it’s deceiving at first glance, but after hands on, they felt very light weight to be a metal shell. Apparently this is a resin shell with zinc allow framing and metal coated glossy finish. with a semi-custom type of inner shell design. The shells are medium sized and the fit is very comfortable. The faceplate design is gorgeous with the diamond like design and logo on the middle. It has a snake design on the left shell and EarAcoustic logo on the right shell. The snake design is here to emphasize on the Chinese year of the snake. The faceplate is covered with clear resin and the resin protrudes out a bit. The 2 core cable looks good with the IEM and it is easy to manage. I liked using this cable because of its hand feel, lightweight design and tangle free experience.

This has a V-shaped sound signature with boosted sub-bass and treble. I tested the IEM with its stock cable but for the best sound output I opted for ePro Propeller Pro01 ear tip for the majority of this section.

Bass:
Okay, I have mixed feelings about its bass, especially the sub-bass. The sub-bass is boosted, well extended and authoritative. It has good presence and rumbles deep. But the position of the sub-bass sounds behind my head. But this was mostly fixed when I switched to ePro Propeller ear tip. Regardless it sounds bloaty sometimes. It has good body and texture, sounds fun but in some tracks the bloaty bass sounds off. In genres like rap, hip hop, pop the bass is fun. With artists like imminence and in alternative rock songs it fits in good as well but in most metal, classical songs the bloatiness ruins the experience for me.

Mid-bass is less in quantity than sub-bass. Mid-bass also has good body and is hard hitting. The amount of detail is pretty good. The attacks are tight with good decay. Some lower frequency drum hits sound a bit boomy like the sub-bass but that can be fixed with tip rolling. Bass guitar tonality isn’t natural but the coloration doesn’t sound bad either the guitar slams aren’t tight enough but they don’t sound too loose either, they’re right in between. Drums are enjoyable with its tight hard hitting slams.

Mid-range:
The mid-range isn’t all that recessed for a V-shaped tuning. Regardless, it is still kind off recessed counting the boosted bass in play. Male vocals are smooth, with good body. But it gives a soft vibe with the texture. Male vocals have a touch of warmth. The air is there when needed. Due to the boomy or bloaty bass the vocals don’t sound all that open, it sits in a limited space.

Female vocals are smooth and engaging. They sound lush and musical but they’re also recessed and its 1 step behind male vocals. It doesn’t have overly energetic upper-mids which makes them an easy to listen set even with sibilance prone vocals. No matter which female artist I listen to it delivers smooth lush vocals. I enjoyed jpop the most with this one, though not all of them sound good on this set again due to the bloated bass. Instruments have warmish tonality. They sound fun, I didn’t find anything worth criticizing here. Maybe the presentation is not natural but it still manages to sound fun.

Treble:
Right of the bat, treble sounds splashy. Lower treble has a shimmering effect probably due to the elevation in 5khz area. It ultimately makes the treble splashy and mettalic in this part but I don’t hate it. In fact I found the metallic snares, cymbals fun in a way. But in terms of naturality or what the track is intended to sound like, this doesn’t deliver the best result. Upper treble is lackluster as well. It lacks air. Sparkle is there but doesn’t sound natural. Treble has enough extension but sounds kind of thin in some parts. Details are goo enough but nothing amazing. It does seem to struggle with busier tracks. Overall, the treble is fun but it needs further refinements.

Technicalities:
It’s just average in this area. Soundstage is wide enough but depth is below average, same goes for height. The sound it provides in the mix tends to sound like it’s trying to expand but the actual stage size is limiting that. Though not pinpoint accurate, it still has decent imaging. Detail retrieval and dynamics are good as well. Instrument separation is mixed bag; it performs well in tracks with normal pacing but struggles with busier faster tracks. But due to the bass positioning itself slightly behind the head, it does give an holographic touch to the overall sound.


Source pairing:
It is an easy to drive set. while connected to 3.5mm jack of my phone, it sounds good enough but with a budget dongle it sounds more resolving. Pairing wise, it pairs well with most of the sources but dry analytical sources don’t sound the best with this one.

Ear tips play a big part in how it delivers the bass. With final clear tips, the bass is tight, powerful which I liked. With EPZ M100 tip the bass sounded softer but still the overall sound is fun and better than clear for me. But the bloated sub-bass was an annoying thing in my experience with most of the ear tips. This was partially solved with the ePro Propeller tips. The bass hits didn’t sound too behind my head like with other tips which ruined the experience for some genres. Propeller tips balances things out with the bass and rest of the sound and I was able to enjoy genres like metal, classical better than before.


Hit or Miss?

While it delivers a fun experience with great build quality and packaging, it doesn’t have a standout feature in my opinion. Those who don’t like neutral sets, wants V shaped tuning which sounds different from most of the existing V-shaped IEMs can look into it.

Those who want natural sound, don’t like splashy treble and hates bloated bass and listens to live performances (absolute no go in live for me) have to look elsewhere.



TFZ attempting a comeback with the EarAcoustic STA and SPA lineup is a very welcoming thing in the chi-fi audio scene. The STA Hi End Max is their 2nd cheapest IEM in the STA lineup. What it offers for the asking price of $89 sure is pretty good. But the competition is much harder for this set. Aesthetically, package wise, in terms of something unique in the V-shaped sector, it passes all of them. However, despite their right approach with the tuning, the sound has room for improvement. If you can get them at a discounted price, it will be worth it. If you want a fun V-shaped tuning and listen to jpop, hip hop, pop and occasionally rock, metal then you can get this set.

EarAcoustic Audio might sound like a new name, but its roots go way back...the brand was originally known as TFZ, one of few old Chi-Fi names, made waves around 2015...Fast forward to late 2024 a.k.a last year, they came back with a new identity and introduces the Silver Angel series as part of their rebrand.

When it says "series," I mean "literally" they didn’t hold back. They launched a whole dozen at once, just name a few: STA, SPA, Hi-end, Hi-end Max, Pro Ultra, etc etc. There’s even an Ltd version. Honestly, when I first saw the naming scheme, I needed a second to process which one was which, since they all are share similar name.. the one I’m reviewing is the STA Hi-end Max, priced at $89.9. You can check it out here:

https://www.earacoustic-audio.com/Detail.aspx

About My preference
My taste in music is all over the place.. I can go from headbanging to rock and metal, then suddenly switch to some mellow J-pop or catchy K-pop. What I really enjoy in an audio setup is a midrange that doesn’t sound thin, along with bright, airy treble. I’m not a fan of shouty or peaky upper mids, they tire me out fast... Bass doesn’t need to be overwhelming, just tight and well-controlled. If it can handle the intensity of rock and metal without falling apart, that’s a big plus+ in my book.

At the end of the day, everything I write is subjective... shaped by my own taste, listening habits, and the kind of music I vibe with most. keep that in mind.

Specification
Driver: 2DD (10mm Ultra Clear Analysis Dual Magnetic DLC Diaphragm + 6mm Composite) Diaphragm Dynamic Coil Unit
Sensitivity: 110dB
Impedance: 30 ohms

Anyway, if you’ve been around during their TFZ days, you’d know they were all about that single dynamic driver life. But with Silver Angel Series, they’ve finally broken out of that shell and added a second driver...yep, this one’s rocking a 2DD setup. It’s technically their first non-single DD release, seems small, but noticeable shift for them.

Now, If we put it into perspective with it's twin, 'STA Hi-end' non max, the Packaging and Accessories feel pretty generous already, considering it's almost half the price. Even with this Max variant at $89 "with the same presentation," the unboxing experience is still nicely presented.




inside there are:
>The IEMs
>Cable
>White Case
>Eartips
>Instruction & Warranty Paper




The included case is actually well thought out, it’s not just a generic plain-colored case, but has a logo and design that matches the theme. The eartips provided are quite generous too, with 6 pairs, Though I always preferred swapping to aftermarket tips for every set i've owned, but the stock ones aren’t bad either..the material it use has decently stem

As for the cable, the material feels pretty nice.. it’s a mix of oxygen-free copper and silver-plated wire, wrapped in a soft PVC outer layer. Honestly, it’s better than some stock cables from other brands in this price range. That said, the look isn’t really my taste, but that’s just personal preference

Build, Design & Fit



At first, I honestly thought the shell was full metal.. just from how shiny and polished it looked. But the moment you pick it up, dang It’s super light and yeah...it’s resin. According to their website, the shell made of mix ABS resin with a bit of zinc alloy framing, topped off with a metal-coated resin finish to give it that glossy, high-end feel

The shell uses flush 2-pin, which makes it easier to change cables. Even though the dimensions are on the bigger side and slightly bulky compared to others, it actually fits my ears quite nicely. The edges have a smooth finish, so it doesn’t cause any discomfort... even when lying down.

Sound impressions

For a reference and based on my preference, I’ve been lucky enough to try quite a few budget sets over the past year or so.. The only one that lasted as a favorite was the Star City 5 Pro from Rose Technics (1DD+2BA). tbh, it needed some serious burn-in, or "brain burn-in," whatever you wanna call it...just to sound 'right', taking the edge off that metallic timbre and making it feel more refined, since this set uses dynamic driver, honestly it left me nice impression from the start. I’ve been using it for more than a weeks now and appreciate the sound even more

The bass, in my opinion, is the strong point of this set, it has both quantity and quality, with the midbass surprisingly have satisfying thump and feel quiet round. I feel the sub-bass has clean rumble as well.. i've been really enjoying for R&B, K-pop, hip-hop for a whale now... pretty much any tracks with heavy bass sounds pleasant on this set, with no bloat whatsoever

Out of the few budget sets I’ve tried, honestly, the midrange on this one really clicks with me.. It has enough warmth and slightly organic.. yes, the uppermid doesn’t always handle rough mastering gracefully.. it doesn’t really try to smooth things out. but it doesn’t shout nor get spiky when it shouldn’t be "atleast to my ears", honestly i find the upper mids quite engaging, with just right amount crispness that adds to it's flavour. Even when I crank the volume up, there’s no distortion, which says a lot about the quality of the driver

Treble-wise, it’s not as bright as I usually prefer, but it’s still exciting... I think many will actually appreciate it. There’s enough air and extension to keep things lively, and it seems like they’re aiming for a tuning that’s engaging without being too aggressive. That said, it might still feel a bit forward on some tracks if you're sensitive to treble

Personally, I don’t find it harsh or piercing at normal volumes. I can listen comfortably without fatigue, though at higher volumes, the brightness can start to show. On other hand, this set works really well at lower to medium volumes...details still come through clearly, and each instruments sound clear. So while it’s not the smoothest treble out there, it balances energy and control nicely.

Technical aspect

The soundstage isn’t the deepest, but it stretches tall, which helps it avoid feeling too narrow. Imaging is clean and has a nice sense of space, I wouldn’t call it holographic, but it’s definitely above average for sure. There’s decent layering in busy tracks, and instruments don’t blur together. While Detail retrieval isn’t ultra-micro level, but macro details come through well, especially with better sources. Since it’s not a hybrid, you won’t encounter weird phase or coherence issues. The transition between the two dynamic drivers is smooth and seamless



A better Comparison for me would be the Starcity 5 Pro from Rose Technics, since this is currently one of the budget sets I use daily. Call me a V-shape boy….yes, both of these use the same signature and happen to be my favs. The bass.. I’ll state upfront that the STA Hi-Max outperform on quantity. it has a good amount of subb-bass, and midbass hitt harder... But here’s the thing about the SC5P bass, it doesn’t have that full-bodied response like Max have. The midbass is definitely present and puncy, not lean at all, but it lacks some heft to it. With the Max, the bass is louder and more impactful, the ‘doom doom’ feeling that rolls from the subbass carries more weight. That said, one thing I appreciate about the SC5P bass, despite not having stronger presentation, it feel more tighter, with slightly faster transients and a bit shorter decay, For me, that works better for faster tracks like rock or metal

The midrange...while the Max definitely has more upper boost, aka pinna gain, I’ll give credit to the Max for not sounding artificial like the SC5P did during early listening.. Also another thing i like to highlight.. unlike some Harman-tuned sets I’ve heard lately that sound horrendously thin, both of these still carries some weight in the vocals.. which is one of the reasons I like their midrange in the first place

The Treble.. tbh, both of them still isn’t as bright as I personally prefer, but the Max gives me more excitement. In comparison, The SC5P has less energy up top, so it might suit those who aren’t into bright treble, while the Max some might still find fatiguing at times for certain tracks or folks, also since it has brighter top-end, to me the Max bring more perceived microdetail to the surface.. even at minimum volume

Technically, the SC5P has more room in the soundstage, while the Max feels more stretched vertically. But when it comes to imaging, I feel the Max is cleaner and more focused. As for layering, The SC5P feels better separated, with each frequency having a distinct character. I feel like each driver is well maximized on its own, with bass from the DD and vocals and treble from each 1x BA.. sounds clear and distinct. However, I notice a bit of a lack of coherence in some tracks, and as i said earlier, theres certain metalic tinge come from the BA driver. So, if you want something with a more linear, honestly, the Max is better choice, since it isn't hybrid, so its offer better cohesiveness

As for drivability, these take different approaches. The SC5P is harder to drive.. it needs at least a 4.4mm jack and a proper source to reach the right volume level and refinement. Meanwhile, the Max, I find sounds pleasant and loud with anything already. Honestly, I’ve found the LG V60 does great synergy as well. It takes the bright side and compliments it with it's Quad DAC, which to me, has a warmer tone in it.

Something to note: I know not everyone believes in cable differences, but in my case, this set noticeably scales with a cable swap.. it sounds more open and refined. Eartips rolling and source matching also play a big role, so those are worth experimenting with too

Gear I used during testing:
• LG v60 Quad Dac
• iBasso DC07 Pro
• Eartips: Stock Widebore, SpinFit W1, Penon Lequer Orange
• Cable: CVJ hbk08
• Media: Flac Uaap, Tidal, Ytmusic

Tracks I used:
• Wendy - What If Love
• Sabrina Carpenter - Taste
• Kendrick Lamar - Alright
• 2Pac - California Love
• Bob Marley - Sun Is Shinning
• Ben - Can You Hear Me
• Bellie Ellish - bad guy
• Muse - Panic Station
• Muse - Reapers
• Muse - Supermacy
• Korn - Word Up!
• Baby Metal - Megitsune
• Shin Youme - Laggard
• Anri - Driving My Love
• Ado - Crime & Punishment
• Ado - Himawari
• Polypia - Playing God
• Lamb of God - Omertá
• New Jeans - Supernatural
• SEULGI - Dead Man Runnin'
• Creed - One Last Breathe
• Paramore - Fast In My Car
• DPR Ian - Don't Go Insane
• FTISLAND - Severely
• IU - My old story
• Radiohead - There, There
• Radiohead - National Anthem
• Daft Punk - Contact
• TOOL - Reflection
• Unlucky Morpheus - Racer X Technical Difficulty (Violin Cover)



Conclusion
I don’t wanna make it sound overhyped, but honestly, this set gets a lot of things right. The tuning easy to enjoy, the build doesn’t feel cheap, and the entire lineup feels thoughtfully put together...and the best part is, whichever variant or budget you go with, I feel it should hold up just as well. keep in mind, they all follow the same base tuning, with slight variations of course

This feels like a solid first step for EarAcoustic rebrand. If they keep this up, I’d say they’re off to a pretty good start… or restart, in this case.

Disclaimer

I got the STA HI END MAX from EAR ACOUSTIC for an exchange of an honest review. I am reviewing this product with rigorous testing & ample number of listening sessions. No one paid or influenced me to say anything positive or negative about the product. I can express anything I feel right fit for this product without any intervention of any person or entity in any way or form.

All thoughts and opinion are mine and honest to my findings at the current circumstances. I hardly ever change my opinion on an IEM in the future, but if it happens, I promptly update the review in no-time, so rest assured that this review is the most up-to-date impressions you can get from my understanding.

I always approach to write the sonic analysis with perfect choice of words instead of going to the extreme, which leads to either bashing or shilling of the product & doesn’t portray true reflection for most of the users. I will include a brief reaction while starting the review which can give you my concise yet subjective perspective to evaluate & understand how I see this IEM in the current market competition considered the price range.

If you have any questions, ask me in the comments and I will try to answer them. Leaving all this aside, Audio is a subjective hobby, but I prefer objectivity, and you can see the reflection of this trait in my writing. Hope you enjoy the review.



RANKING LIST

Access - Argha - Ranking List

I mostly rank the IEMs that I review in

• Tonality (Objective Performance)
• Technicalities (Subjective Performance)

Other than these two main sections I also rank them by

• Bias (To portray my personal liking)
• Value (Addressing current market situation)
• Rating (Average of 10 individual aspects in Sound Quality)

I made this ranking system while keeping the balance of my subjective likability & objective adaptation (approximation) in mind, which might not portray conclusion to judge any equipment.


MY EARS & PREFERENCE

Things I don’t like

• Very high amount of bass
• Lean lower midrange
• Muted upper midrange
• 5-6khz elevation
• 10khz dip

Things I like

• Natural & Life-like Timbre
• 2nd Order Distortion
• Treble like JM1-DF
• Hint recessed 1khz region
• Resolution

I always prefer a clean sounding transducer that doesn’t sacrifice one region to give benefit to another region. I don’t have a direct likability correlation with the technicalities of the IEM, I prefer judging the technicalities in respect of the tonality. Although I crave for resolution and details in music, I don’t need loads of it, but blunted/blurred details turn me off. You can watch my ranking list to learn more about my preferences.

Gears Used for Review

• Low Powered Dongle – Venture Electronics Abigail PRO
• Moderately Powered Dongle – Moondrop Dawn PRO
• High Powered Dongle – DITA Navigator
• Portable DAC/AMP – Chord Mojo 2
• Desktop AMP – JDS ATOM 2
• Desktop DAC / AIO – Rose Technics RT5000
• All these Equipment are fed by USB after filtering through JDS Synapse

UNAFFILIATED LINKS

INDIA :

WORLDWIDE : HiFiGo , Linsoul, Amazon


INTRODUCTION

The STA HI END MAX by TFZ and EarAcoustic is an unapologetically vivid V-shaped in-ear monitor (IEM) tuned for modern audiophiles who value raw resolution and ethereal low-end. With its striking build and transparent sonic characteristics, it finds a distinct place in the sub-$150 category — though not without caveats. Let’s break this down frequency-by-frequency and analyze what makes it stand out, and where it misses the mark.










Amplitude: High, but with no surgical precision.

The sub-bass is one of the IEM's standout features. It attacks hard with high amplitude and has an unmistakable rumbly character. On electronic productions such as James Blake - Limit to Your Love, the low-end resonates with power but also with no finesse. The decay is loose, causing bloom that obscures some of the lower-mid textures.

Texturing is subtle. The sub-bass is more experienced than perceived, and though it adds a physicality, it restricts its applicability within precision genres such as classical or acoustic jazz.


TRACKS




I use this track with almost all my IEMs to test the authority of the sub-bass and how well they can control the low-end. This track makes it so easy to judge an IEM’s sub-bass performance.




I use this track to check the actual presentation of subbass that the IEM will reproduce in most cases if there is enough low-end information in the files.



Amplitude: Strong, though blunted.

Mid-bass is strong, providing the overall signature its warmth and punch. It doesn't have a high degree of detail or layering, though. Kick drum attack is average, with a bit of blur that rounds out edges. This fullness in tone will suit genres such as pop, rock, and relaxed EDM but might sound coarse to those familiar with analytical tunings.

Control is only sufficient — there's bloom that occasionally intrudes into the lower mids, resulting in some congestion in intricate passages.



TRACKS




I use this track to test two things 1. The thump, attack and decay of the bass gets a full projection by this track revealing all the hidden features 2. How the bass effects the mid-range, if it is making the lower-mids too thick or scoop is making the mid-bass lean & lifeless.





I use this track to test the absolute terminal point of the IEMs bass. This song pushes the driver so hard that even slightest bit of impetration can be listenable. The low-end and upper-mids are very pronounced in this song, indicating how fun an IEM can be if it is pushed to the limit.




Forward, warm, but dry.

Here is one of the more intriguing features of the tuning. The lower mids are forward — baritone instruments and vocals are up front. The warmth is done tastefully, adding a rounded and bold quality to male vocals. But there's dryness to the presentation. This is not a lush, romantic tuning. Instead, it prioritizes clarity over bloom, yet it is warm.

What prevents this region from becoming a complete disaster is the application of dynamics. Transient control is tighter than expected here — vocals receive a snappy push and pull, particularly audible in styles such as indie folk or lo-fi rock. It does not smear and soften attacks that much, even though the texturing lacks development.



TRACKS





I use this song primarily to check the lower mids, it gives me a great sense of amplitude. Slightly scooped and elevated lower mids can make this song very different.



I use this song primarily to check for the ornamentation like resolution, details and texturing.


Neutral in terms of elevation, quite resolving and snappy in terms of implementation.

The upper mids are where the STA HI END MAX distinguishes itself. Female vocals and violins are rendered with excellent nuance. There is no overt peakiness; instead, the IEM strikes a rare balance — detailed but never fatiguing. This tonal restraint allows long-term listening, although some sparkle-heads may find it too subdued.

Cuts such as Youn Sun Nah – Hurt demonstrate low-sibilance vocal intimacy. Still, the extreme upper edge (approximately 3.5–4kHz) does slightly lift, creating presence without bordering on harsh. The naturalness of violin and flute tonalities is excellent — neither over-sweetened, nor detailed and breathy.



TRACKS




I use this song to test the presentation of female vocals, which gives me a solid sense of the tuning of the IEM.



I use this song to get the sense of ornamentation the upper registers. Texturing, details, trailing edges etc.

Hot zone alert — distinctly higher around 5kHz.

This is the area that provides bite and sheen to the IEM but also brings on the most divisive feature. That 5kHz hump brings in clarity and intelligibility, but at high volumes or with extended listening sessions becomes shrill. Cymbals and snares crack with life, but ride cymbals get too harsh on songs such as Tool – Pneuma.

The presence area elicits detail textures that support detail recovery — much of why the resolution feels so high. This peak does, however, coloured timbre and lead to an aggressive bite, particularly with badly recorded material. Tip rolling (foam or narrow-bore silicone if possible) is virtually a necessity for treble-sensitive listeners.



TRACKS





This track is the holy grail of treble testing. This track can tip the IEM apart and present you treble qualities in a plate. Where every aspect will be visible in a vivid fashion.



This is the area where STA HI END MAX slightly underperforms. While lower treble is dominant, the upper extension feels truncated. Air and sparkle — essential for atmospheric cues and high-frequency overtones — are lacking. This becomes obvious in jazz and orchestral pieces. Cymbal trails decay abruptly, and spatial cues feel boxed in.



On What the World Needs Now, there is a perceptible lack of headroom and shimmer. The sound never sounds obscured, but it doesn't have the effortless breathiness that superior-extended sets have.

TRACKS

https://music.apple.com/in/album/what-the-world-needs-now/1795864764?i=1795864768


This track is full of Air Frequencies, intricate details & busy passages that can test the upper limits of the driver speed and transience.







Width: Moderate

Depth: Shallow

Height: Compressed

While the tuning is seeking spaciousness, the actual stage is cramped. Lateral projection is fine but never wide. Depth is significantly shallow — vocals and instruments sit on a single plane. Height information is typical.

However, because of the excellent centre imaging and dynamic movement, the IEM still has a somewhat holographic illusion in less crowded tracks.






This song gives me a soundstage that largely depicts the equipment stage. What makes this song special is the adaptability of the Transducers, that results in a clear projection of the stage with nothing hidden in it.






This song excels at providing the atmospheric nature to the live recording although it is not recorded live. This track is very crucial to understand the whole perspective of the Staging without exaggeration.




I mostly test Imaging while gaming, but these tracks give me a proper understanding of the Imaging of the IEMs. Although imaging is best observed after using the IEM for a long amount of time instead of a few songs.

Best in class at this price.

This is where the IEM excels. Positional cues are razor-sharp, and stereo pans are executed with surgical precision. Tracks like *Hans Zimmer – Mountains* show the STA HI END MAX’s ability to position elements cleanly across the stereo field, provided the track isn’t overly busy.



TRACKS




This song is a typical busy, imaging heavy audiophile track that helps me to understand the nitty gritty of the imaging of the transducers. The reason why I have this on my test bench and not “Letters – Yoshi Horikawa” is the later track performs well in almost all the transducers, where this one is a lot harder to resolve in the positioning due to it being busy.




I use this song to get the most out of atmosphere. This track creates a whole 3D nature around the sound field which helps to immerse yourself in the stage. And every que is properly tracked with incredible accuracy and precision which gives you an idea about the localisation bubbles too.





Resolution is also something that I judge upon listening to the IEM for a long amount of time. And there is no substitute of it. Large gaps of the resolution can be easily determined but to get the most of it correctly, one needs to use their whole album to properly portray the resolution characteristics.



Easily one of the most resolving IEMs under $150.

High-frequency detail bears the load. Microdetails — finger glides, ambient room sound, string plucks — are disclosed with subtlety. This is particularly noticeable on well-mastered acoustic and jazz recordings. The treble adjustment, even when hot, facilitates the hearing of resolution beyond its price category.



TRACKS

There are some songs that makes the resolution stand out evidently and they are –



This track is a typical hi-res audiophile track with a load of elements into the mix with very high amounts of textures to offer, making it quite easy for me to judge a transducer. It’s very hard to resolve this track well while keeping all the definition and the intricacies in control.





This track also equipped with fast transient elements and being very busy it offers a very good challenge to the transducers. More so the low-end makes this song dirty so holding the definition properly is a tough work also.






Dynamics is a pretty controversial topic since everyone addresses it differently, this is my understanding – Dynamics to me is the fluidity from going 20Hz to 20kHz almost to a point that they feel instantaneous. Which means that the transducer should have an incredible Phase and Very Fast Driver without sacrificing any of the Bluntness.


Dynamics are amazing. Fast transients contribute to the exciting aspect. Snare hits, kick drums, and even dynamic changes in orchestral music are crisp and lively. This plays a significant role in positioning it as the one of the best IEMs for dynamics in the sub $200 category.



TRACKS


This is the holy grail to test Dynamics For me. Being busy there is a lot of hard work that the driver achieves the dynamics. Good transducers resolve the dynamics greatly and poor drivers and tuning choice falls flat reproducing this track.




These tracks test the dynamics in a live environment where the realism is a lot clearer, and the representation is a bit more diverse to rest of the genres. The only fault that this track has that it doesn’t gel well with low bass-shelf songs.



Timbre matters to me the most. If the transducers fail to deliver timbre accurately then nothing makes it stand out. It can have the class leading details and soundstage, but it still would still be the disappointment in my ears.

- Drums: Excellent — crisp, articulate, and substantial.



- Violins: Great articulation, a trifle dry but natural.



- Guitars: Crisp and crunchy but deficient in midbody; sound brittle.



- Piano: Upper register sparkles, but lower register sounds thin and light.



- Saxophone: Not warm or deep; sounds digital and unengaging.

Not power hungry. Easily driven through dongle DACs such as the VE Abigail Pro, but scales modestly with improved sources. No distortion observed even at higher gain.

Yet, because of the long treble and body casing size, prolonged sessions can bring about fatigue. Low-level listening is advised to avoid fatigue.



Finally, to check the comfort factor of the sound I use this track. If I can listen to music for 4 hours without an issue, the equipment gets a flying pass.



“Creep” sounds peaky on an unrefined equipment when the volume is boosted enough. It helps me put the nail in the coffin if something is unrefined or discomforting.




The STA HI END MAX is a detail-oriented, technically strong IEM with a bass-heavy and sparkle-edged V-shaped signature. It performs exceptionally well in resolution, imaging, and dynamic handling — punching above its price point. That said, the mid-bass lacks refinement, the upper treble could use air, and the hot 5kHz peak may limit long sessions without proper tip pairing.