EarAcoustic Audio STA Hi-End Series

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.

EarAcoustic Audio STA-Hi End Universal IEM
Redcarmoose Labs April 4th, 2025

EarAcoustic Audio was established in 2015 in Shenzhen, China. Though for most intents and purposes they are best known for TFZ around here. And while I did demo a few of The Fragrant Zither IEMs in shops back in 2018, I ended up purchasing other IEMs above their price point. Still it needs to be addressed how TFZ has had a long history here at Head-Fi and been many listeners gateway to China built IEMs. Though what is hilarious here is there is no listing of the name TFZ in marketing promo material for the Angel Series, like they are trying to distance themselves from the name. During the last few years I have been sent two really special IEMs called SuperTFZ, which of course just like this current reincarnation, is ultimately TFZ. For better or worse it is hard to sluff-off a name you have made for yourself, be it an attribute or a deficit. To better understand EarAcoustic we can look at their output as confusing, or genius. Why? Well typically a brand may choose 3 in a debut series to introduce a line of IEMs………but never 12 different IEMs. You can only imagine the full-on wing, the EarAcoustic wing of the merchant store front, if the vendor chooses to carry the whole line of products. And that’s just the thing……..with so many made and how they actually are very different in both tune and driver make-up……..you feel at risk of missing THE ONE if you don’t carry all for sale as a vendor. While I’ve been told the complete series is coming my way, it really starts to get confusing. Like your first ideas of the ultimate top-of-the-line SPA-Hi End Limited Editions would be the same only with finishing differences. Oh noooo…that’s way too easy for the brand. Each of the Limited Edition, Max or Ultra have different sensitivities and impedance ratings. The SPA-Pro, SPA-Pro Ultra and SPA-Pro MAX each have a different shell material construction. While each of the SPA-Pro series share the same 11.4mm DD, the regular SPA-Pro is 3D printed resin, the SPA-Pro Ultra is Zinc Alloy CNC, and the SPA-Pro MAX is CNC Aluminum. Then the STA Hi-End Series has a $49.90 retail price to Hi-End Max edition at $89.90 with not one 10mm DLC DD, but an addition of a separate 6mm Polymer DD. Such creativity and selection means that they have all bases covered. Not only that but there could be different uses and jobs to do. That upon closer inspection as example the SPA-Hi End MAX goes for extra vocal energy where the cheaper STA-Pro MAX has lesser vocal intensity yet still balances the bass with extra high-up treble energy over the SPA-Hi End Max.

All these choices may just keep the prospective IEM buyer contained into making a choice or two inside of the EarAcoustic Audio brand area. Here especially we find glamour in sparkle-faceplates and Universal Custom shell design. These ear-shape specifics are from the compiled ear-shape database compiling 1000s of ear-shapes to make a form pretty much guaranteed to fit your ear. Such a shape allows for the IEM module to fit closer and adding ease of use.


Today I’m starting out at the STA-Hi End. This particular IEM costs $49.90 is a 10mm Beryllium DD and 6mm Composite DD.

STA-Hi End
Unit: 10mm Ultra Clear Analysis Dual Magnetic Plated Beryllium Diaphragm+6mm Composite Diaphragm Dynamic Coil Unit
Sensitivity: 110dB
Impedance: 32 ohm
Frequency response range: 10-30kHz
Wire specification: 0.78MM dual pin oxygen free copper and silver-plated wire mixed weave 1.20M

Quality in Sound:
Now one of the main points I want to get across in this review is the fact that the art of making IEMs is progressing, and the under $50.00 realm may just be where the greatest leaps of progress has been? My point is this STA-Hi End is audiophile quality. If you have glanced at any of my reviews I never write Quality in Sound as a header……..but I am here. Probably I really need to emphasize that this is not the expected bass heavy consumer tune, it is the very opposite here. Yep, we are rewarded with a tight low-end, remarkable pace and a well itemized stage displacement. OTB the STA-Hi End sounded almost gritty. Really this euphoric smoothness is post 6 days of burn-in. That somehow I just knew burn-in would be a huge deal here, and it was. This added cohesiveness was met with a more fluid greeting of a bigger stage holding ample individual sound characters and poise. I mean sure I judge IEMs by price, sure everyone does even if they don’t realize it. As yes, you can note that the shells are chrome plated resin, and not actual CNC like some of the series here. Only the opposite is going on here. I’m looking at the two bottom vents and the single top vent and wondering where this enlarged stage is? That while this is in no way a vocal centric tune, the bass is so well positioned and that while the bass does not have full-on 3D carved sculpturing, it is still detailed in the most careful and polite of ways. There is this flowing of sonic additions, and a nonchalant way, and effortless and natural way about the STA-Hi End….far beyond the price point offered, or guessed here.

I mean I could picture a person going through IEMs in a shop and finally arriving at the STA-Hi End and stopping what they are doing, only because this is both warm and smooth, yet holding just enough detail and an accessible airy sound that just won’t stop. People might wonder why I score the STA-Hi End so high…………it is just this surprise when listening, the completeness and the honesty of tone here, that sure it’s two DDs so off-timbre is not an issue. But the fluid airiness, the effortlessness, that this kind of tune could get set-up to be on the wrong side of analytical, but instead they traveled into warmth and this slight warm tinge is just right, never going muddy and never getting at a loss of note-weight either!

STA Series:
STA-Pro:
STA-Pro Ultra:
STA-Pro MAX:
STA-Hi End:
STA-Hi End MAX:

SPA Series:
SPA-Pro:
SPA-Pro Ultra:
SPA-Pro MAX:

SPA-Hi End :
SPA-Hi End Ultra:
SPA-Hi End MAX:
SPA-Limited Edition:

SPA & STA Style Explanation:
1. SPA series compared to STA series overall style has a slightly richer, more intense atmosphere.

2. PRO series more professional, more pure tone and higher reduction.

3. The Hi-End suffix has a stronger sense of atmosphere and higher hearing tolerance.

4. Ultra and MAX represent the need for higher thrust combination, more rich sound.

SPA & STA Process Explanation:
SPA-Hi End / SPA-Pro: 3D Resin Printing + Precision Spraying

SPA-Hi End Ultra / SPA-Pro Ultra: Zinc Alloy Plating + CNC Post Treatment

SPA-Hi EndMax / SPA-ProMax: 5-axis CNC process for aeronautical grade aluminum

SPA series products are standard 0.78MM double pin LITZ coaxial cluster oxygen-free copper + silver-plated wire combination replaceable line.

STA series of products are standard with 0.78MM double pin oxygen-free copper + silver-plated wire combination replaceable line.


Side-by-sides:
Here I’m using two other IEMs to help describe the overall performance of the STA-Hi End. Now it could maybe come into question why I chose these two other IEMs? What I want to learn is how they differ from the SAT-Hi End and how they are the same. Most of the time my best comparisons are chosen instinctually, as if you get too analytical…..you can go over possible comparison features between two IEMs, forever. Meaning no IEM is perfect, though if you concentrate on them each one often does something special and unique. This unique aspect is something your comparison IEM may or may not do, or do a little better at it or worse. Often IEMs compared are famous for a certain trait, and that trait can help describe what your new IEM is or is not. At a whopping $219.00 the SuperTFZ “Crown” may have been the company's last big release? That while now in 2025 instead of adding Super to the TFZ name the company has jettisoned the name all together, and made a whole line of IEMs, that are priced both below the Crown price-point, and above it. The other comparison is the Sound Rhyme SP01. Such a contrast here and priced at $89.00 the SP01 does many things that other brands wish they could do with a single full-range DD. The other great thing about today's side-by-sides is each comparison product is very different, and we will learn in which ways they perform in personality.

https://penonaudio.com/TFZ-CROWN.html
https://penonaudio.com/Sound-Rhyme-SP01
https://penonaudio.com/Earacoustic-STA-Hi-End


Left to right:
SuperTFZ Crown: 12mm DD with impedance switch on faceplate changing impedance from 68Ω to 20Ω. 7 grams each at $219.00
Sound Rhyme SP01: 10mm DLC and Carbon nanotube DD. 6 grams each at $89.00
EarAcoustic STA-Hi End: 10mm and 6mm composite DDs. 7 grams each at $49.90


SuperTFZ Crown:
I’m using the Penon Space cable here and Penon PAC LStips with the Sony WM1A DAP. Here the SPACE cable goes ahead to widen the stage and add separation. Here the SPACE becomes a great option in that there are 4 shares, single share is 133 cores, a total of 532 cores of silver plated Oxygen Free Copper which never colors the sound, only expands the stage and resulting imaging. Also I need to address that the EarAcoustic STA-Hi End came with really nice ear-tips. In fact of the six pairs of tips there are 1/2 clear medium bore and half clear wide-bore. The wide-bore ear-tips are some of my favorites of all time. And that even SIMGOT AUDIO has included a black rubber set with their latest IEM. Because I don’t know where to buy such ear-tips I need to rely on manufacturers to include them. So far in the last 4 years I have lost one and gained about four pairs, so I’m set. I am not using them today as the PAC LStips are not as wide of stage, but better well-rounded for these tests.



SuperTFZ Crown:
Here I’m using the impedance switch in the on position. This allows for a smoother and less reference sound. With that said this Crown tone is still very reference and big, showing better definition than the STA-Hi End which could be expected for the price increase. Yet at the same time, it is amazing how much they really sound identical. Is this the SuperTFZ sound, and are they able to get it to you now by adding a dual driver set-up with the STA-Hi End? That sure the Crown and STA-Hi End weigh the same, while the shell of the STA-Hi End except for the nozzle is 3D resin, only chrome plated, and the Crown is 100% metal. So it is the innards that make the weight equal? When it gets down to it the Crown offers a slightly more defined sound, this extra polish is there and displayed by instrument separation, better delineation and even a wider stage. That sure there is a coherency that just comes with one driver calling the shots. And sure just as I remember from my review the Crown borders on finding that extra energy place inside of the treble that borders on hot. Now while the two IEMs seem the same at drivability, there is a smoother treble that seems to have threaded-the-needle for me. That while the STA-Hi End stage is ever so slightly less, I can’t tell you how much these two IEMs are identical, only that the STA-Hi End showcases what could be a more desirable top end, leaving the heat out. I mean yes, I can hear the two drivers creating this kind of back and forth interplay……….only I have to admit the STA-Hi End has none of that heat up top, yet still very much driving to the exact same part of sonic town. That if you didn’t have the two IEMs side-by-side you would never notice the stage size difference. That “my God” this is such a perfect replay with the PAC LStips and SPACE cable. Here we are truly making the most from the STA-Hi End experience, so much so that it trades blows with the Crown. And in many ways the tuning is even superior, yet quite not as drastic, more even and plush, but never leaving out anything, except maybe the extra definition that simply comes with an exploited “bright” Crown treble. In the end what this arrives at is longer listening times for the STA-Hi End. Yet as we will learn in the next comparison, this is in no-way a dark or too smooth style of replay.

And………….honestly, this is some of the best I have ever heard under $50.00 sound. Why? Simply the big stage, authoritative clean bass and spread out mid imaging, without the too bright of treble, yet still carefully detailed and poised.




Sound Rhyme SP01:
Same SPACE cable and Penon PAC LStips with WM1A DAP. Really the Crown is more about pleasing treble heads. There I said it. That while I thought there would be more distance between the technicalities of the STA-Hi End and Crown? Yet, in about 90% of playback we really were sharing the same exact vibe due to both tune and technical ability. This says so much for the STA-Hi End, that it makes me wonder what the up-line will offer here? As maybe I’m delusional, but I don’t think so, for finding so much with the STA-Hi End?

Here I’m using the balanced nozzles on the SP01. And yes, this is quite the show of strength to all-of-a-sudden met-up with this Sound Rhymes gem. Here (just as I remember) there is a strong authority of both note-weight and positioning allowing images to both inhabit the forward and out-to-the-side imaging construction. That male vocals have this woody character that is charming. With this I have to say the SP01 is slightly darker, but even if I use that word you may get the wrong idea. Probably better to just call the STA-Hi End ever so slightly less grounded. That with that the vocals are ever so slightly less hearty, but perfect in tone none-the-less! Where both IEM also are close to the same, only the stage is slightly bigger with the STA-Hi End……and where the SP01 is direct as heck, the STA-Hi End has a slight, ever so slight wavering of pace that is actually maybe more musical, despite the lack of technicality? This is really hard to explain because all of the tell-tale small artifacts are still present with the STA-Hi End, it is only they occur in a slightly less direct way as the SP01? Maybe (I hate to say) softer, but I don’t want to use that word either, yet leaning that way. Maybe the STA-Hi End is truly a glimpse of the future, that you would be gravely mistaken to judge it by simply inhabiting the lower-priced sector of the EarAcoustic Audio line! I have not heard the up-line yet, but I can imagine the extra money buying you shells and bragging rights, to where the meat of the sound is simply the drivers here, and man-o-man do they sound like MONEY here!

Cha ching!

Sure maybe the (other up-line) solid shells get you cleaner notes with slightly better definition? Cleaner more polished edges maybe? And yes the Sound Rhyme SP01 small metal shells also provide that crisper edge attack, that leaner note fall-out. When it comes down to it the SP01 has slightly more bass. Then because of what we were just talking about, that extra harmonic softness the STA-Hi End adds slightly bigger images, though that while airy, are still containing note-weight, just slightly not as much as the extra thickness of the SP01. This style of STA-Hi End is just as entertaining and could even be preferred if you gravitate towards bigger stages and slightly softer ideas of both pace and sonic edges.

It is the STA-Hi End personality of extra effortlessness that has me smitten. Inside of that effortlessness is an ever so slightly less defined wash, that while still holding small details, is holding such details in less contrast to some expensive IEMs. This contrast of styles would almost be just like men’s suits in dress style, where sure the STA-Hi End is totally fun and is relatively clear (but not the clearest) in stance, then there is no doubt about the other guys..........three-piece suits, you know full-on business personalities which hold their condescending nature and brute clarity.

That when I think about it, the STA-Hi End is more musical than both the SP01 and the Crown. That sure both the Crown and SP01 gets you a dose of added clarity, but come to me in the middle of a STA-Hi End listening session at 9:30PM, and ask me if I care.

Cable rolls:

Top down:
A) Included 0.78MM dual pin oxygen free copper and silver-plated wire mixed weave 1.20M cable. (Free)

B) SPACE modular cable: 4 shares, single share is 133 cores, a total of 532 cores of silver plated Oxygen Free Copper. ($99.90)

C) Penon OCC849 Single Crystal Copper HiFi Audiophile IEMs Cable Type-4 Litz configuration, 6N single crystal copper cable. 8 strands, single strand is 49 cores, a total of 8 × 49. ($99.90)

Included:
A) I have to say the included cable is nice here. Just easy to work with and gets us 90% of the possible sound. Maybe I just like thicker cables, except also the additives of the extra size 3.5mm plug, the metal chin-cinch and separator…….all and all this in no way looks like a cable that comes with an under $50.00 IEM? There was also a very even tone that joined to the STA-Hi End, held a great stage and separation. Truly if someone was contemplating never using 4.4mm, there is a guarantee you would stay with this cable on, even if you had many other 3.5mm choices.




SPACE:
B) As a 4.4mm update here, it is easy to tell by going over to the 3.5mm modular SPACE cable plug that the 4.4mm amplifier is doing part of the magic. As such a different set of capacitors and amplifier layout help enlarge our stage. The bringing forward and in separation of STA-Hi End imaging is the money here, showing us there are new and better places to live, with our IEM in place. The thing is that because the SPACE cable never colors the sound, we have basically the same as the included cable tonally, only the added material has gifted us a more moving musical experience, simply letting the STA-Hi End tone exist bigger. Here is the thing, we really don’t want any changes made as far as I’m concerned here. I mean maybe a slight thickening, but maybe not………and that is how on the fence I am about changing the tonality here. What we have is great pace and filled with flourishing images. That while I call this slightly thin, this thinness is really on the best side of clarity, and partially due to the mid centric Sony WM1A character. One way I test this is to then go over to the ifi GO bar, one of the more expensive Dongles and play a song I know well with the SPACE cable and MacBook Air. The beautiful thing here is sure the GO bar is on the darker and more detailed side of Dongle personalities, only with the STA-Hi End we are still pushing that clarity, plus rigid and not so rigid imaging out to the sides, along with what I would call audiophile clarity. Yep, this STA-Hi End is definitely not a murky consumer bass tuned IEM, if it was it would lean that way with the ifi GO bar set-up. That the STA-Hi End walks that line of musical and absolutely detailed, way more detailed than the price would lead you to believe.


Penon OCC849:
C) Back with the Sony WM1A in 4.4mm. Well the OCC849 has been a cable of considerable merit lately. This is simply because of the increase in stage and deepness obtained by bass for starters. Really, really I’m asking myself here. Really? I say that as I thought the STA-Hi End may border on too bright, like the Crown here. This is simply due to the known midrange energy projection of the OCC849. But no, none of those issues here. Why? Because the OCC849 is also equipped with an alloy midrange personality that can with certain IEMs add a smoothness to any midrange brightness, and that’s what we have. Only the STA-Hi End went and ran with the OCC849 tone to make it the very best today in our uses. Now we see more mountains in the distance, now we see farther into the sky…………But, there is one final major gift here that is taking place. The lows……….heh. The lows are now fully defined, creating a more even, complete and balanced STA-Hi End experience. In fact if you were to buy one cable for the STA-Hi End, the OCC849 is the ticket. Sure the OCC849 is 2X the money than the original STA-Hi End, only $49.90 IEMs are not what the $49.90 IEMs used to be. So we need to view them as more expensive products worthy of a cable of this caliber. Look I could go on and on about the OCC849, only this is an IEM review. So let me just conclude this section with a stance that you will fully understand OK? Remember how I was describing the STA-Hi End as having just a slight floaty quality? Well the deal here is that we are now cleaning a little of that up, having it become replaced with clearer more believable realities here. That I thought I would not benefit from the OCC, only I did in the end, bring a smoother and slightly darker treble and midrange and adding heft to the bass…………..really all we could ever need or ask for at the $90.90 price bracket. Don’t believe me, well try the OCC849 and see if what I’m saying will be true for you too, I don’t see how it wouldn’t be?

Music tests:
As far as choices go I have chosen two songs that are almost opposite here, in that the Metal song showcases guitar timbre and female vocals, and the second World Music song showcases male vocals and bass, for starters. After finding these two songs I realized that I don’t need 5 or 7 more song demos to get my STA-Hi End points across.

Music set-up:
Sony WM1A DAP, MrWalkman’s firmware, the Penon OCC849 cable and PAC LStips.

Delain
Apocalipse & Chill
Chemical Redemption
44.1kHz - 24bit
Probably the best thing to do in the middle of a (trying to be objective) review is to take two days between listening. And that is what I did. I used both songs on one day, then got up the next day to continue. The other thing that I did was listen to two other IEMs between that time. If chosen right by happenstance the effort will allow for a better objective take on the IEM in test. Besides getting the ideas from the first day to choose these songs, I heard both character ideas and technical ideas which seemed to be well explained by the music, hence put also into words here. Those IEMs between testing were kind of an ear-reset, being one IEM had way, way more bass and the other IEM was a 5BA lesser bass, more treble intense IEM, yet balanced nonetheless. What I’m getting at is the STA-Hi End has a bewildering way of tricking you with the feeling that you have all the bass you need, for starters. Only through trying a bass heavy IEM in testing do you realize that there is more bass to be had in the iEM universe. Same as adding the all 5 BA IEM into ear-comparison. Now truly coming from the 2 (10mm and 6mm) STA-Hi End sizes of DDs, then having these BGVP DM6 Universal IEM 5 BAs offer the role of a faster, and a critically edge laden production which goes miles to promote a different view of the music. That as always there is no perfect IEM, only close to perfect listening experiences. That each build methodology finally holds true into driver character due to the actual style of driver…….as DDs have their tone and character, BAs have a different one, Planar IEMs hold even different attributes and drawbacks..............depending on what you are looking for. And for the most part these driver character ideas never change totally even in regards to tuning. Sure there are always new supposedly better driver make-ups……….and it is true that as a whole there are less DD (different sized) mixtures. That as a reviewer we are fully guilty of romancing a new style of tone. Simply just like hearing new music that is enchanting the first time, driver ideas can offer thrilling ways to hear old songs. Yet when it comes down to it we are still (as reviewers) still judging performance in relation to applied and accepted ideas in relation to price for realism, or fun. That as always, balance and poise create an enjoyable experience. Really the factors of evenness, completeness and correctness are the goals here, yet also at times some IEMs are more those things with one style of music to another. So well roundedness is important, sometimes, it just depends if an IEM is really really good at only a few musical genres, and who cares if it doesn’t do everything!


Timestamps only pertain to digital file, not video.
So as far as songs go there are many ways to record, and producers even follow genre templates. Meaning each musical genre can have a recording style that a few recording technicians follow. With the female fronted Dutch Symphonic Metal band Delain a style of brighter guitars is noted. I’m not going to list them here, but rest assured the mixing and tonality of such bright guitars is found often in the Female Symphonic Metal Community, though this track has exceptionally bright guitar tracks. Maybe this is to compete with the Female vocals? Yet what we are concerned with is the tone, that while there are actually many levels of correct and many levels of off-tone. That while the guitar tone is forward and bright it is not nasal or synthetic, as much as it actually is suppose to be, if that makes any sense?

And you see that is the exact place I like to say that the STA-Hi End is the real money here. And the one-two-punch is the vocals of Charlotte Wessels taking placement into the stage. Not only taking placement except taking perfect vocal positioning. It is times like this that reviewers shake their heads and come to the realization that price is only a number, this ability is real and of value here. You see it is not just the test if the STA-Hi End can do this tone or not, but how technical and balanced it is to do this tone and other tones to boot!

At 00:24 Charlotte Wessels vocals come to play and all is just right, that means not too forward or too back……just right. But more than that these are performing like a vocal IEM. Meaning we can hear her (probably overdubbed) take-in breath at the end of 00:23. What I’m trying to say is these perform vocal details well beyond the asking price. This is just the waters we swim across as 2025 is in full-force! And of course the timbre is going to be correct as DD, silly! Look I could go on and on about the drums and the bass……..the 01:11 accents to the beat are clear as day………and way more correctly done than you could guess from looking at the price. But I will say this, nothing is perfect and while there is adequate note-weight, the drums are slightly dry sounding, and it is not really an issue as they are fast and fun, but not as deep and round if you want to know the truth.



Timestamps only pertain to digital file, not video.

DCD
Anastasis
All In Good Time
44.1kHz - 24bit
Ok, now that last statement about the thinner drums may actually be from the recording then accented by the STA-Hi End, I’m too lazy to check with another IEM, plus I don’t want to switch IEMs at this point in the review. As such it doesn’t really matter at the end-of-the-day. Because at 00:00 we are greeted by a style of bass here. And really this section is about the trick the STA-Hi End does. That fact that the bass is not really the lowest of lows, that somehow it doesn’t need to be to still install the feeling that it is all here. This broadsided me yesterday when I was writing this review and I got a message to test the Penon Vocal cable with the ISN H20 IEM. Yep, there was bass to be found, more sub-bass action shaking stuff-up………….going deeper and more profound. Now that doesn't make the STA-Hi End wrong or anything, no……..just a different way of doing things. Does this mean the STA-Hi End is bad for EDM? Absolutely not, in-fact I went over to some EDM and again that is the riddle here, that the bass is fast, clean and complete, so much so that it makes the rhythm move the EDM track along just like it’s not even trying. Though remember the OCC849 is in-place seemingly adding the extra lows over the included stock cable or the same price Penon SPACE. The OCC849 is the very best cable I tried with the STA-Hi End.

So what about the male vocals?
I’m glad you asked! First off, I know why Penon sent these over here. They are exactly my tune, in that I truly love the style of tune. Wait, I don't even want to go back to the song here in question………ADD off to an EDM track and I can’t stop listening to it……..yep it is that good.

OK finally back to the song in question!
That is the thing leading up the the vocals in “All In Good Time” there is a presence, and a display of elements, except really they are bathed in less definition, really a lot of the imaging here is that way, as talked about prior. It is not bad, just different maybe the 10mm and the 6mm competing for sonic space in the overall mix, I don’t know? But this low-end is hearty and satisfying none-the-less. At 00:29 Brendan Perry makes his entrance…….and of course there is a blend here. The perfect blend has to do with all the ample reverb in this song. I mean as far as songs go, this song is a study in the extra use of reverb. Only at 01:47 we come to realize that the magic here is that we are getting both up-front and clear vocals, with the perfect fall-off of reverb tails in the end. Also such effects tend to make the stage the very biggest ever, I will swear the stage was never this big before......not this big?

What? The personable feeling of the vocals, I mean I know why Penon sent me this, it is really really good. Around the 01:50 mark the bass beat doubles up to become a full-on rhythm in timing. Now sure I have heard this more finitely sculptured, and yes the bass is in a careful place, but I like the effects here. At 02:23 Brendan Perry adds emphasis coming right after a long spell of Dark Wave synths. That if anything, the very personal vocals tend to be replayed with the exact correct positioning and overall demeanor, where you would not guess to have them any other way?


Build:
At the end of the chrome plated resin shell Is an aluminum ear-nozzle. The three air-ports allow for two vents to flow out the back and one a top the faceplate. The size, shape and weight are just right. At 7 grams each we are not heavy or too light weight. A solid metal Zinc Alloy faceplate, yet the back-half is resin. Such 3D universal custom backs have a shark-fin for closer fitment. That sound isolation is not great, and less than average, maybe the resin, or all the vents here? The overall nozzle shape allows for all kinds of ear-tips. And……the flush 2Pin holes make cable changes easy and fun. The more I look at the more the STA-Hi End......it goes with this copper OCC cable I’m trying. And the thing is, when an IEM starts to sound really, really good, that affects its looks too!

Package:

Conclusion:
Wow. So the level of what you get for under $50.00 has had the bar raised. Sure I was suspicious of a chrome plated resin design. Then I started to fall in love with the drivers and their abilities………and the rest…….history. There are so many levels of win here. That sure, all the different models are confusing, and really I am happy that I only received one EarAcoustic Audio IEM at the start. And while $49.90 is still a lot of money, it is probably more important for the buyer who spends $49.90 to get a well tuned and well designed IEM in the end. I say this as there is a chance that the buyer of the EarAcoustic STA-Hi End may make only one or two purchases this year. So that increases my responsibility to inform and to be complete in a review. That the EarAcoustic STA-Hi End is amazingly well rounded and could in-fact be the only IEM you own. That it somehow replays all music genres and does it with flair. That flair is both a slight excitement combined with correct timbre……that in the end qualifies the EarAcoustic STA-Hi End as a style of deserted island IEM. This completeness means you won’t get tired or bored with playback. This idea of sound is not perfect, yet does every aspect of every musical genre I tried. As maybe luck would have it, the EarAcoustic STA-Hi End goes with many sources yet scales proportionately with your best gear. This sonic success is most likely designed-in with no luck only TFZ experience?

Cell Phone use:
Common really? With the included cable and powered by just my humble Samsung cell phone the EarAcoustic STA-Hi End is crazy good, probably the best this year from a phone. You see with the included cable we are getting 3.5mm authority, and a deep-big bass response that is not cloudy or even going toward murkiness? That while complete, it is only maybe missing a deeper clearer noise floor obtained from an audiophile DAP? The stage and imaging is absolutely amazing from a phone and will be many folks' end-use scenario!

Look…….as always I have been as complete and up-front as I know how with this review. And just by chance I feel the STA-Hi End will be many peoples full-on hit purchase of the year. Why, it’s simply well-rounded and goes with any source you have on hand. Simply due to sounding both correct and interesting. Remember this is 2025, the past year this budget realm has seen total improvement, now we are finding another single step forward in sound.

$49.90
https://penonaudio.com/Earacoustic-STA-Hi-End

Disclaimer:
I want to thank Penon Audio for the love and for the EarAcoustic STA-Hi End review sample.

Disclaimer:
These are one person's ideas and concepts, your results may vary.

Equipment Used:
Sony WM1A Walkman DAP MrWalkman Firmware 4.4mm and 3.5mm
Sony WM1Z Walkman DAP MrWalkman Firmware 4.4mm and 3.5mm
Sony TA-ZH1ES DAC/AMP Firmware 1.03
Electra Glide Audio Reference Glide-Reference Standard "Fatboy" Power Cord
Sony Walkman Cradle BCR-NWH10
AudioQuest Carbon USB
Samsung Phone 3.5mm output
ifi GO bar Dongle 4.4mm and 3.5mm