EarSonics GRACE Platinum
- Added by B9Scrambler
- Create date
Grace Platinum ($2100): Continued excellence from earsonics
Grace Platinum
Intro:
Having previously reviewed the Corsa and the Onyx before release, when Thibault asked about reviewing the Grace Platinum, I of course, said yes. Not knowing anything about it, other than word of mouth in conversation with @B9Scrambler, I awaited my turn. And to be honest, I forgot about it, until Thibault contacted me saying it was on the way. It was then, I delved a bit deeper into the unit specs. 20 drivers, 10 per side harkened back to what we affectionately called “the driver war;” started by Far-Eastern manufacturers several years ago. I can remember every week one company, or another outdid the previous record; settling finally on I believe a 28 balanced armature (14 a side!!!) driver of some ilk. It did not sound good. So, it was with a bit of trepidation that I read up and waited on the Grace Platinum (GP). But, knowing my luck with the others and earsonics excellent record with their models, my trepidation turned into anticipation. On the same day, another high-end IEM arrived, and they will be compared below, but first the GP. I thank Thibault and earsonics for the inclusion, both are extremely professional and excellent with which to work.
Specs:
Sensitivity: 119dB/mW
Frequency Response: 10Hz-20kHz
DCR: 26.6ohms
Drivers: 10 balanced armatures/side w/ 3-way HQ impedance corrector filter
In The Box:
Grace Platinum
1 HR 4-core cable, 2.5se
1 symmetrical 8-core HR cable, 4.4bal
2 pairs Comply tips
2 pairs silicone tips
1 cleaning tool
1 jack adapter
Carrying case
Manual
From their site (and paraphrased):
Grace Platinum represents the best of Earsonics. It is the culmination of our range, designed and assembled in our laboratories by hand in France. Based on the extraordinary electronics of the Grace HR, the Grace platinum goes one step further in transcribing sound and details. The Grace Platinum has also been completely revised with the addition of high-quality components. The 20 drivers allow it to deliver high acoustic performance over a wide bandwidth ranging from 10Hz to 20 KHz. The 3-way impedance corrected HQ filter is capable of reproducing extremely faithful sound rich in details as well.
20 balanced armature drivers (10 per side), including 4 specific to vents, specially designed for Earsonics. The shell of zinc and magnesium alloy are covered with an exclusive platinum foil. Acrylic Heart ® technology offering sound rigor and phase control. TrueWave ® technology allows optimum work on phase control and a top quality "magnitude" curve. The shell is tuned for optimum cavity acoustics as well.
Oh, and it is completely put together by hand.
Gear Used/Compared:
Empire Ears Legend X ($2200)
Astrotec Phoenix 6 ($1550)
Shanling M6 Pro
Cayin N6ii-E01 motherboard
Topping A30 Pro/D30 Pro/ M6P & MBP
iFi Pro iDSD/iCan/M6P/MBP
Songs:
Vintage Trouble
Alex Fox
Pink Floyd
Buena Vista Social Club
Elton John
Stevie Ray Vaughan
Shane Hennessy
Jeff Beck
Dave Matthews
Tommy Emmanuel
David Bowie
R.E.M.
Unboxing:
In typical earsonics fashion, the Grace Platinum (GP) comes in a black box, with a silver sleeve over it. The same type of box in both the Corsa and Onyx I reviewed previously. What IS different is the case. Rectangular but of a gray denim-like cover (coincidentally, I have THREE that are of gray and denim-like material), it is a bit thin, especially when both cables are inside. Other than that, the set-up is identical, which is not necessarily a bad thing, as it keeps costs down.
My first look was of the platinum foil shells, which were clean and fingerprint free (thank you!!!), and of different color than the gray Corsa or black (onyx...) Onyx. Mirror-like and good looking, the shell follows the familiar to me earsonics pattern and shape, but larger.
Build & Fit:
The GP has the familiar shape and feel of other earsonics models, which is a shell shaped somewhat oblong, with what looks like a stamped logo, into the soft metal shell. It isn’t of course, but that freshly logoed wax look is good looking, nonetheless. The GP is a somewhat larger shell than the others I have tried, which makes sense as it holds 10 balanced armature drivers preside. Those drivers follow with four high-range, four mid-range, and two low-range drivers, arranged within a 3D printed acrylic structure and surrounded by a zinc-magnesium alloy shell, further covered with a premium platinum foil. That 3D structure acts like a tuned listening room in your ears. Most manufacturers now do this to fine tune the sound, and I do approve. It makes a difference, and some will use tubes to pass along the isolation of each BA or set of BA’s, melding them together with crossovers or the tubes themselves.
There is also no hiding that the Grace Platinum is a heavy IEM. These carry serious heft in them, but once in ear with your tip of choice (I used the included Comply foam), the fit was good, and did not stick out that much. I could also not feel the heft too much, enjoying several long listening sessions. A nice addition is the inclusion of two cables. A 4-strand 3.5se and an 8-strand 4.4bal. I used the 4.4bal exclusively. A mix of copper and silver, the balanced cable is gorgeous and very pliable. No microphonics are had, but the over ear guide does not always stay. The cable is as good as the Grace Platinum itself.
Technicals:
Housing 10 drivers per side, the acrylic 3D designed, and printed inner chamber is acoustically balanced to provide optimum sound according to the earsonics guidelines. As said previously, most manufacturers now use something such as “designed chambers” and I say, it’s about time. Enhancing our listening pleasures this way is a fairly easy task, and I would gladly pay a bit extra for that.
The 10 balanced armature drivers set up provides two each side for low, four in the mids range, and the other four in the treble range. With a 3-way high quality (HQ) impedance filter, the whole design is optimized for our listening pleasures. I can vouch and agree with the other reviewers, that this is among the best BA bass I have heard of late. I love good dynamic drivers for the low end, but the use and engineering of the GP makes me almost forget there isn’t a DD to be had.
Sound:
Summary:
The Grace Platinum provides a solid all-around sound, with very good bass extension that comes across as robust, but not intrusive to me. This lack of intrusiveness continues across the whole in my opinion, and gives the GP a thoroughly satisfying signature, that does not dwell in the “too dark” or “too rich” spectrum of which I normally like. I find the overall timbre to be very good as well, with a fairly expansive soundstage to boot, making this a solid IEM in the universal category.
Moar:
Late last night, I had Pink Floyd on (song immaterial) and I was watching game four of the Stanley Cup playoffs. I really don’t care for either team, except that the Avalanche’s owner also owns the Denver Nuggets, and the Super Bowl winning LA Rams along with my beloved Arsenal FC. If the Avs win, I can see a healthier summer transfer market for the Gunners as a result (things are already looking good). As a result of the game, and a local Logboat Bobber Lager, I kept turning the volume up through the Topping duo mentioned above. And the sound was quite good. Green Day’s American Idiot followed Floyd, and the attack and decay of that bass certainly gave me the sense of a balanced armature approach; but the chamber inside the GP gave an excellent voluminous sound to that bass. Such that, I found myself listening at higher volumes than normal; but not reaching to turn the volume down.
The GP may not be the best for all genre, but it certainly held my appeal during that late-night listening of rock and punk. It was superb. Billie Joe Armstrong’s vocals were concise and vibrant in the mids section, while the guitar and drum work, which graced the treble note did not bleed either up or down. There was good air between the note, but not voluminous in expansion. All was tied together nicely and coherently. Slightly cool in overall tone (as others note as well) but not dry or overly analytic like some fully balanced armature IEM’s I have heard, there was a thoroughly enveloping sound to the GP, which belied its make up. That also leads to very good clarity of note as witnessed on Tommy Emmanuel’s Guitar Boogie (live) where each strum can be discerned with good quality.
Quite often when using BA’s, manufacturers rely upon a dynamic driver for the low end, but earsonics has successfully provided us with a listening chamber that acoustically represents that low end using all BA’s. On Stevie Ray Vaughan’s Little Wing, I never felt the song was too thin or polite, with the right amount of bass guitar coming across to accompany the bass drum. It was thoroughly musical. And here is part of the magic in the GP. It can provide what some might call a “lighter” sound, without sounding thin or antiseptic. I never heard that impression at all. Following SRV’s superb song, Tommy Emmanuel’s Lewis & Clark gave the kind of low-end reach deserved for the guitar he was playing. Also, each note played in its own space well, giving good extension in the three dimensions. Soundstage as a result is quite good with his guitar working outside my head a bit. While some like overly expansive sound to express itself well outside and up (as well as fore/aft), this can lead to a thinning of note to me. While the expansiveness can be a great interpretation for say classical works, it can be antithesis for another genre. The Grace Platinum seems to stretch the boundaries of what is “acceptable” for use in more genre.
Moving on the O.A.R live About Mr. Brown in Chicago, that live music simply sings through the GP. This is one song, in which my ears won’t forgive me for a good while, as the volume raised yet again. It was here though, that Mark Roberge’s voice did get a bit grating, but I feel it was due to his piercing vocal tendencies and not the GP. A raucous song, giving me a really good listen.
Comparisons:
earsonics Grace Platinum ($2000) v Empire Ears Legend X w/ Eletech Socrates ($2800):
I won’t repeat the intro that I use every time I compare the LX. I will get right to it. Moving to the LX/Socrates combo, the sound became almost dead to me. The GP came across as much more vibrant and “exciting,” which puzzled me immensely. Queueing up David Bowie’s Conversation Piece, which was written and recorded at a time when bass was lighter, the song sounds quite good on both. The LX providing more depth and warmth to the sound than the GP. But the GP provides a more open sound to me. This is a good comparison, for each goes about its business in a different manner. Deep, rich bass of the LX vs clarity and space of the GP. Both are good, and I continue to be surprised by the Grace P. Further confirmed on Space Oddity, the LX provides deep reaching, mesmerizing bass while the GP gives a space-like sound, but not too far apart.
earsonics Grace Platinum ($2000) v Astrotec Phoenix 6 ($1550):
The Phoenix came my way from another reviewer, and it represents a major step for Astrotec. I have heard of nothing close to this price from Astrotec. Immediately, the Phoenix comes across as brighter, with better reach up top. There is a good lilt to the top end, which the GP cannot match. This extension comes across very well in Pomme’s Sans toi, with her voice ringing rich and vibrant throughout. There is a more forward push from the mids as well here, that the GP cannot match, with its more laidback signature. The rumble of bass in the Phoenix is heard through the dynamic driver, and the four (yes four) electrostatic drivers from Sonion makes for good extension up top. This is a worthy tribrid to the mix, even if it almost doubles the price of the original Phoenix. Since both approach sound differently, I cannot really choose one over the other. If you like a more forward sound, that involves you, then the Phoenix 6 may be a good look. If you prefer a more mature, laidback signature, the GP is the easy choice here.
Finale:
As mentioned earlier, the Grace Platinum was a remembered surprise to my abode. I had forgotten about it. Upon arrival, my queue was thankfully thin enough to give it a good, long run of well over 75 hours of listening. In that time, I went from appreciation of the sound, which is mature and laidback; but also, those late-night listening sessions where to put it bluntly; the GP just rocked. I don’t often (enough) turn the volume to high levels, and with the Grace Platinum, I just did. I found myself continuing the clockwise rotation on the volume wheel of the Topping and enjoying it. Right now, I listen to the Eagles Live On MTV version of Hotel California and yet again find the volume going up. That signature presented through the music is one in which I like quite a bit. Maybe a bit too much up top, but the calm presentation of the rest bodes for a volume-pushing session when you can. And in that, I still relish my time with the Grace Platinum. And that is the point, to listen and enjoy, while sometimes pushing the volume to levels that should be too high.
A word about price. Yes, these cost $2k, which is a lot for pretty much anyone to consider. But when you consider the price, you should take into account if the item in hand gives you that much more pleasure than the one you own. As witnessed by reading the words of those who attended CanJam in Chicago, many (most?) gravitated towards the high-end priced items. So there still seems to be the market for that. I won’t tell you that this is the latest, greatest IEM and you should go spend your dollars on it. What I will say though, is that the GP is an excellent IEM, that much like those who partook in the finer listening devices at CanJam should give a listen to as well, for it might fit your listening bill as well as your bills ($).
A huge thank you to Thibault for including me. The Grace Platinum is indeed a treat.
Grace Platinum
Intro:
Having previously reviewed the Corsa and the Onyx before release, when Thibault asked about reviewing the Grace Platinum, I of course, said yes. Not knowing anything about it, other than word of mouth in conversation with @B9Scrambler, I awaited my turn. And to be honest, I forgot about it, until Thibault contacted me saying it was on the way. It was then, I delved a bit deeper into the unit specs. 20 drivers, 10 per side harkened back to what we affectionately called “the driver war;” started by Far-Eastern manufacturers several years ago. I can remember every week one company, or another outdid the previous record; settling finally on I believe a 28 balanced armature (14 a side!!!) driver of some ilk. It did not sound good. So, it was with a bit of trepidation that I read up and waited on the Grace Platinum (GP). But, knowing my luck with the others and earsonics excellent record with their models, my trepidation turned into anticipation. On the same day, another high-end IEM arrived, and they will be compared below, but first the GP. I thank Thibault and earsonics for the inclusion, both are extremely professional and excellent with which to work.
Specs:
Sensitivity: 119dB/mW
Frequency Response: 10Hz-20kHz
DCR: 26.6ohms
Drivers: 10 balanced armatures/side w/ 3-way HQ impedance corrector filter
In The Box:
Grace Platinum
1 HR 4-core cable, 2.5se
1 symmetrical 8-core HR cable, 4.4bal
2 pairs Comply tips
2 pairs silicone tips
1 cleaning tool
1 jack adapter
Carrying case
Manual
From their site (and paraphrased):
Grace Platinum represents the best of Earsonics. It is the culmination of our range, designed and assembled in our laboratories by hand in France. Based on the extraordinary electronics of the Grace HR, the Grace platinum goes one step further in transcribing sound and details. The Grace Platinum has also been completely revised with the addition of high-quality components. The 20 drivers allow it to deliver high acoustic performance over a wide bandwidth ranging from 10Hz to 20 KHz. The 3-way impedance corrected HQ filter is capable of reproducing extremely faithful sound rich in details as well.
20 balanced armature drivers (10 per side), including 4 specific to vents, specially designed for Earsonics. The shell of zinc and magnesium alloy are covered with an exclusive platinum foil. Acrylic Heart ® technology offering sound rigor and phase control. TrueWave ® technology allows optimum work on phase control and a top quality "magnitude" curve. The shell is tuned for optimum cavity acoustics as well.
Oh, and it is completely put together by hand.
Gear Used/Compared:
Empire Ears Legend X ($2200)
Astrotec Phoenix 6 ($1550)
Shanling M6 Pro
Cayin N6ii-E01 motherboard
Topping A30 Pro/D30 Pro/ M6P & MBP
iFi Pro iDSD/iCan/M6P/MBP
Songs:
Vintage Trouble
Alex Fox
Pink Floyd
Buena Vista Social Club
Elton John
Stevie Ray Vaughan
Shane Hennessy
Jeff Beck
Dave Matthews
Tommy Emmanuel
David Bowie
R.E.M.
Unboxing:
In typical earsonics fashion, the Grace Platinum (GP) comes in a black box, with a silver sleeve over it. The same type of box in both the Corsa and Onyx I reviewed previously. What IS different is the case. Rectangular but of a gray denim-like cover (coincidentally, I have THREE that are of gray and denim-like material), it is a bit thin, especially when both cables are inside. Other than that, the set-up is identical, which is not necessarily a bad thing, as it keeps costs down.
My first look was of the platinum foil shells, which were clean and fingerprint free (thank you!!!), and of different color than the gray Corsa or black (onyx...) Onyx. Mirror-like and good looking, the shell follows the familiar to me earsonics pattern and shape, but larger.
Build & Fit:
The GP has the familiar shape and feel of other earsonics models, which is a shell shaped somewhat oblong, with what looks like a stamped logo, into the soft metal shell. It isn’t of course, but that freshly logoed wax look is good looking, nonetheless. The GP is a somewhat larger shell than the others I have tried, which makes sense as it holds 10 balanced armature drivers preside. Those drivers follow with four high-range, four mid-range, and two low-range drivers, arranged within a 3D printed acrylic structure and surrounded by a zinc-magnesium alloy shell, further covered with a premium platinum foil. That 3D structure acts like a tuned listening room in your ears. Most manufacturers now do this to fine tune the sound, and I do approve. It makes a difference, and some will use tubes to pass along the isolation of each BA or set of BA’s, melding them together with crossovers or the tubes themselves.
There is also no hiding that the Grace Platinum is a heavy IEM. These carry serious heft in them, but once in ear with your tip of choice (I used the included Comply foam), the fit was good, and did not stick out that much. I could also not feel the heft too much, enjoying several long listening sessions. A nice addition is the inclusion of two cables. A 4-strand 3.5se and an 8-strand 4.4bal. I used the 4.4bal exclusively. A mix of copper and silver, the balanced cable is gorgeous and very pliable. No microphonics are had, but the over ear guide does not always stay. The cable is as good as the Grace Platinum itself.
Technicals:
Housing 10 drivers per side, the acrylic 3D designed, and printed inner chamber is acoustically balanced to provide optimum sound according to the earsonics guidelines. As said previously, most manufacturers now use something such as “designed chambers” and I say, it’s about time. Enhancing our listening pleasures this way is a fairly easy task, and I would gladly pay a bit extra for that.
The 10 balanced armature drivers set up provides two each side for low, four in the mids range, and the other four in the treble range. With a 3-way high quality (HQ) impedance filter, the whole design is optimized for our listening pleasures. I can vouch and agree with the other reviewers, that this is among the best BA bass I have heard of late. I love good dynamic drivers for the low end, but the use and engineering of the GP makes me almost forget there isn’t a DD to be had.
Sound:
Summary:
The Grace Platinum provides a solid all-around sound, with very good bass extension that comes across as robust, but not intrusive to me. This lack of intrusiveness continues across the whole in my opinion, and gives the GP a thoroughly satisfying signature, that does not dwell in the “too dark” or “too rich” spectrum of which I normally like. I find the overall timbre to be very good as well, with a fairly expansive soundstage to boot, making this a solid IEM in the universal category.
Moar:
Late last night, I had Pink Floyd on (song immaterial) and I was watching game four of the Stanley Cup playoffs. I really don’t care for either team, except that the Avalanche’s owner also owns the Denver Nuggets, and the Super Bowl winning LA Rams along with my beloved Arsenal FC. If the Avs win, I can see a healthier summer transfer market for the Gunners as a result (things are already looking good). As a result of the game, and a local Logboat Bobber Lager, I kept turning the volume up through the Topping duo mentioned above. And the sound was quite good. Green Day’s American Idiot followed Floyd, and the attack and decay of that bass certainly gave me the sense of a balanced armature approach; but the chamber inside the GP gave an excellent voluminous sound to that bass. Such that, I found myself listening at higher volumes than normal; but not reaching to turn the volume down.
The GP may not be the best for all genre, but it certainly held my appeal during that late-night listening of rock and punk. It was superb. Billie Joe Armstrong’s vocals were concise and vibrant in the mids section, while the guitar and drum work, which graced the treble note did not bleed either up or down. There was good air between the note, but not voluminous in expansion. All was tied together nicely and coherently. Slightly cool in overall tone (as others note as well) but not dry or overly analytic like some fully balanced armature IEM’s I have heard, there was a thoroughly enveloping sound to the GP, which belied its make up. That also leads to very good clarity of note as witnessed on Tommy Emmanuel’s Guitar Boogie (live) where each strum can be discerned with good quality.
Quite often when using BA’s, manufacturers rely upon a dynamic driver for the low end, but earsonics has successfully provided us with a listening chamber that acoustically represents that low end using all BA’s. On Stevie Ray Vaughan’s Little Wing, I never felt the song was too thin or polite, with the right amount of bass guitar coming across to accompany the bass drum. It was thoroughly musical. And here is part of the magic in the GP. It can provide what some might call a “lighter” sound, without sounding thin or antiseptic. I never heard that impression at all. Following SRV’s superb song, Tommy Emmanuel’s Lewis & Clark gave the kind of low-end reach deserved for the guitar he was playing. Also, each note played in its own space well, giving good extension in the three dimensions. Soundstage as a result is quite good with his guitar working outside my head a bit. While some like overly expansive sound to express itself well outside and up (as well as fore/aft), this can lead to a thinning of note to me. While the expansiveness can be a great interpretation for say classical works, it can be antithesis for another genre. The Grace Platinum seems to stretch the boundaries of what is “acceptable” for use in more genre.
Moving on the O.A.R live About Mr. Brown in Chicago, that live music simply sings through the GP. This is one song, in which my ears won’t forgive me for a good while, as the volume raised yet again. It was here though, that Mark Roberge’s voice did get a bit grating, but I feel it was due to his piercing vocal tendencies and not the GP. A raucous song, giving me a really good listen.
Comparisons:
earsonics Grace Platinum ($2000) v Empire Ears Legend X w/ Eletech Socrates ($2800):
I won’t repeat the intro that I use every time I compare the LX. I will get right to it. Moving to the LX/Socrates combo, the sound became almost dead to me. The GP came across as much more vibrant and “exciting,” which puzzled me immensely. Queueing up David Bowie’s Conversation Piece, which was written and recorded at a time when bass was lighter, the song sounds quite good on both. The LX providing more depth and warmth to the sound than the GP. But the GP provides a more open sound to me. This is a good comparison, for each goes about its business in a different manner. Deep, rich bass of the LX vs clarity and space of the GP. Both are good, and I continue to be surprised by the Grace P. Further confirmed on Space Oddity, the LX provides deep reaching, mesmerizing bass while the GP gives a space-like sound, but not too far apart.
earsonics Grace Platinum ($2000) v Astrotec Phoenix 6 ($1550):
The Phoenix came my way from another reviewer, and it represents a major step for Astrotec. I have heard of nothing close to this price from Astrotec. Immediately, the Phoenix comes across as brighter, with better reach up top. There is a good lilt to the top end, which the GP cannot match. This extension comes across very well in Pomme’s Sans toi, with her voice ringing rich and vibrant throughout. There is a more forward push from the mids as well here, that the GP cannot match, with its more laidback signature. The rumble of bass in the Phoenix is heard through the dynamic driver, and the four (yes four) electrostatic drivers from Sonion makes for good extension up top. This is a worthy tribrid to the mix, even if it almost doubles the price of the original Phoenix. Since both approach sound differently, I cannot really choose one over the other. If you like a more forward sound, that involves you, then the Phoenix 6 may be a good look. If you prefer a more mature, laidback signature, the GP is the easy choice here.
Finale:
As mentioned earlier, the Grace Platinum was a remembered surprise to my abode. I had forgotten about it. Upon arrival, my queue was thankfully thin enough to give it a good, long run of well over 75 hours of listening. In that time, I went from appreciation of the sound, which is mature and laidback; but also, those late-night listening sessions where to put it bluntly; the GP just rocked. I don’t often (enough) turn the volume to high levels, and with the Grace Platinum, I just did. I found myself continuing the clockwise rotation on the volume wheel of the Topping and enjoying it. Right now, I listen to the Eagles Live On MTV version of Hotel California and yet again find the volume going up. That signature presented through the music is one in which I like quite a bit. Maybe a bit too much up top, but the calm presentation of the rest bodes for a volume-pushing session when you can. And in that, I still relish my time with the Grace Platinum. And that is the point, to listen and enjoy, while sometimes pushing the volume to levels that should be too high.
A word about price. Yes, these cost $2k, which is a lot for pretty much anyone to consider. But when you consider the price, you should take into account if the item in hand gives you that much more pleasure than the one you own. As witnessed by reading the words of those who attended CanJam in Chicago, many (most?) gravitated towards the high-end priced items. So there still seems to be the market for that. I won’t tell you that this is the latest, greatest IEM and you should go spend your dollars on it. What I will say though, is that the GP is an excellent IEM, that much like those who partook in the finer listening devices at CanJam should give a listen to as well, for it might fit your listening bill as well as your bills ($).
A huge thank you to Thibault for including me. The Grace Platinum is indeed a treat.
EarSonics Grace Platinum
EarSonics Store – Direct link to purchase
A Little Technical Stuff:
Specs
-MRSP: Universal fit 1899 euros
EarSonics, a French company that came into existence in 2005. It was started by Franck Lopez, who himself is a musician, a bass player. I wrote a comprehensive review of the original Grace HD, the OG Grace. I am providing the link because it contains company history and more fluffy info Earsonics Grace HD. After spending a few days with the Grace Platinum, the differences in sound between the OG and this new release are evident. This review can be combined with the first Grace review. I plan to highlight the differences between the original and 2.0 so please refer to the first review as well. I will also include excerpts from the original review to highlight differences.
A Little Marketing Hype from their site:
Grace Platinum represents the best of Earsonics. It is the culmination of our range, designed and assembled in our laboratories by hand in France.
Based on the extraordinary electronics of the Grace HR, the Grace platinum goes one step further in transcribing sound and details.
It dress has also been completely revised with the addition of high-quality components.
The Grace Platinum's 20 drivers allow it to deliver high acoustic performance over a wide bandwidth ranging from 10Hz to 20 KHz.
It 3-way impedance corrected HQ filter is capable of reproducing extremely faithful sound rich in details
20 balanced armature drivers, including 4 specific to vents, specially designed for Earsonics.
A zinc and magnesium alloy shell covered with an exclusive platinum foil.
Acrylic Heart ® technology offering sound rigor and phase control.
TrueWave ® technology allowing optimum work on phase control and a top quality "magnitude"curve.
WHAT’S IN THE BOX:
Included:
The box was adorned with a Platinum colored sleeve surrounding a black box with the ES initials in the lower right corner. Once you flip open the lid, there is a thank you note, in French, from Franck Lopez the CEO. Above the note are two circular windows which showcase the Grace Platinum monitors.
Laid out in a foam tray beneath the Thank you note are the accessories. The packaging has been almost identical since the EM10. All of the inclusions are listed above, but I would like to point out that there are two cables included, one balanced, the other not. I had mentioned in previous reviews a wish would be for EarSonics to include upgraded cables and VOILA! A win for the non-cable rollers out there.
Build Quality and Fit:
I am not going to belabor this. The Grace Platinum is built like a tank. It is a heavy IEM. The IEM is made with a zinc and magnesium alloy shell covered with an exclusive platinum foil. Along with the added weight the Grace also gives you the feeling that they are indestructible. Like the last 2-3 releases for EarSonics, the Grace is well-built, with a metal outer shell. I like the direction and applaud them for building them as if they could stand the test of time.
Size-wise, if you have small ears there could potentially be some fit issues. I have large earholes and the Grace does not give me any issues. That said, their weight does cause me to occasionally push them back into my ear as they seem to work their way out of a deep insertion.
I can only imagine that building these by hand is a labor of love from the EarSonics team. They feature an acrylic heart shrouded by this metal facade. Each monitor has vented shells and utilizes True Wave ® technology which allows for phase control and a top-quality Magnitude curve.
Review Setup:
The review was written utilizing the Astell & Kern SP2Kt, which I did a drive-by of here Sp2000t. I listened using the stock cables, primarily the 4.4mm balanced cable My sample music consisted of 320kb, FLAC, 24bit as well as streaming Tidal and Amazon Music HD.
For eartips, I found that the Final E tips and the Spinfit CP360 gave me the best sound quality. The only comment I want to make about tips is if your Final tips are older and have some use, be prepared to fish them out of your ears upon removal of the IEM. The CP360 stayed in place. Tips do make a substantial difference in the case of the Grace Platinum. I have found it is not only about bore diameter it also depends on the composition of the tip. Experiment to find the sq you want.
Moving on to the sound section….
For the sound portion of the review, I will show the previous review portions in normal font and write any new, additional thoughts I had beneath in blue.
If I were to characterize Grace in a couple of words, it would be balance and tone. The Grace is most certainly a departure from the bass bold, animated, house signature of EarSonics past.
I feel the overall signature is still relatively balanced but I am hearing some more forward tuning particularly in the mid-range and the upper mids more specifically.
The bass of the Grace is satisfying in all of its technical glory. You will not find a ton of quantity in the bass but what you will find is adept and offers a clean, non-muddy bass. The sub-bass is not the fullest, but as the bass frequencies head north, there is a pervasiveness to the bass. To my ears, it sounds stronger in the midbass. There is not much in the way of any coloration to the bass, it is natural, but what minimal color is there creates a bit more engaging personality in the Grace. It does not extend incredibly far south, but it is designed to be a quality vs. quantity type of listen.
This still holds and knowing Franck, the CEO of EarSonics, is a bassist it makes sense. I love the quality of the Grace Platinum’s bass, BA or not.
This is not DD bass. I feel that the DD driver bass adds a bit more snap and fun, for the most part, but what Grace brings to the table is technical, clarity in the bass transitions, and allows the listener to decipher the differences between the bass ranges easily. Do not expect a tooth-rattling rumble because that isn’t what the Grace is designed to do, partly due to the nature of the BA and partly due to tuning. It is a quick bass without any lingering notes, so the decay is perfect.
Check! Natural and realistic bass appears to be the standard now with EarSonics in their TOTL Audiophile offerings.
Any more bottom floor to the bass would more than likely create a blanket of bass that interfered with its technical ability to perform as bass aficionados would expect. Balance is alive and well in the Grace, and the bass clarity has a melodic tone. It is captivating and fun to listen to.
It is a natural-sounding bass with realistic tonality. There is some heft to the bass and think EarSonics walked on the edge without sticking their toe across the line. Again, I feel if there was any more quantity to the bass it could have had a negative effect on the total signature.
The mids are perfectly balanced with the upper bass region and create a seamless transition. The mids do not steal the show. None of the frequencies take the spotlight, it is shared, as it should be in a balanced signature IEM. In all genres of music, the Grace excelled. Female vocals are correctly placed in the presentation and stage. My preference was female vocals during listening sessions, quite an experience.
Mid-range is one area I need to reflect on from my OG Grace experience because I feel this is the area of the most change in the 2.0 Grace.
Listening to Cecile McLorin Salvant, Thunderclouds, her breaths at the mic are so sensual and seductive. Female vocals are front and center but so natural sounding. I like a little forwardness in female vocals as long they don’t hit the eardrums as sharp.
To my ears, the mids have received a touch of a tuning revisit in the upper mid-section. Grace Platinum has more air than the original. Increased detail and air are very much welcomed. OG Grace had more air and a sense of space relative to the EM10(custom) which shared its DNA, and EarSonics upped the game again with the Platinum. This difference in the upper mids is because of new filtering and increased. Because of these enhancements there is more sparkle and transparency when comparing it to the original Grace.
The timbre of instruments is mesmerizing there is an ambiance to everything Grace offers. There is transparency and air between the notes, which is one of the most significant tuning differences when compared to the EM10. The EM 10 sounds a bit more in the head, and closed, whereas the Grace has a more open and airy sound. I feel the air not only adds to the stage width and depth but also the emotion behind the music. The upper mids in the Grace have a beautiful tone, and if fullness exists, it is in this frequency.
I would only change that it is more of a forwardness in the upper-mids as opposed to a fullness.
The stage is wide and deep with extension to the furthest ends. I am not a Dave Matthews fan, but his music is very involved with lots of instruments and sounds coming at you from all directions. I like to test an IEM’s ability to provide ample air and stage using Dave Matthews music, and I am happy to say that the Grace reproduced the tunes wonderfully.
The stage is spot on and it is a rather wide rectangle stretching out on the fringe. There is not as much width in staging but there is some. The staging is spot on and accurate. Critically listening to a Snarky Puppy show that I attended I can tell you the instrument placement is accurate. Great job with the stage and tuning of Platinum’s mid-range.
The treble is smooth and never offensive and finalizes the balancing act that is the Grace. I am not a fan of bright or trebly sounding IEM’s, and the smoothness of the Grace suits me perfectly well in this regard. I think this aids in the versatility of being able to adapt to all genres of music.
The treble does sparkle but it is rather smooth, but not smeared. It is distinct and cymbals have a natural shimmer and decay. Lady Gaga’s voice takes you to the edge in the Tony Bennett duet, “I’ve got you under my skin”. What I noticed is that there is a definition to instruments that are sharing the range with her voice but the treble clarity allows for total distinction between her vocals and instruments.
The treble is nimble and features clarity and sparkle without ever being fatiguing. The treble blends so well with the entire balance of the signature. It indeed is nice to hear such nice amounts of definition while maintaining the velvety serenity of the tone. It is a different type of listen, without any of the signature outshining the other. The treble rounds out and completes the package.
The addition to the above statement is that the mids are more forward so they garner a bit more of the attention than they did in the original Grace.
Overall, the sound is balanced and defined with transparency, clarity. Details and layering are particularly noticeable in the quality of bass and mids.
Jazz, Rock, EDM, Vocal, Acoustic, everything I threw at it, never changed its delivery, all with a smooth tone and emotion to the music.
The Platinum is even more emotive than the original Grace.
You might want to own this IEM if:
+ You want a perfect tone and organic timbre to instruments
+ You prefer a smooth, balanced, non-offensive signature
+ You prefer a sound that is full of emotion and excels at long listening sessions
+ You are sensitive to treble peaks and sibilance as this is super smooth
+ You like a coherent stage with sexy female vocals
In Closing
It is difficult to review an IEM a second time, especially when your feelings go into the review are that the changes are going to be strictly cosmetic. At least that is what I thought I was going to encounter. Grace Platinum is an all BA IEM that deserves attention and a listen. There has been additional mojo applied to the filtering and tuning and it is evident when compared to the original Grace HD.
I have lost count as to the number of EarSonics I have owned. Subjectively, the brand just matures with each release. I liked the old-school EarSonics and love the new generation.
The bass is perfect for a BA IEM and shows off its prowess with its natural tone and transparency. Franck should be proud because, rooted deep in his musical abilities is a bass lover at heart, and it shows in Platinum just as it did in the Grace HD.
Overall, the tonality and realism of instruments are the strongest abilities that the Platinum holds. Whether it is the bass, mids, or treble it is very evident that a musician had a part in the tuning. Emotive listening sessions are what you are in store for you. Each time I write a review I am listening to the gear I am reviewing, and I continued to be impressed with Platinum as I am writing.
At 1899 euros, roughly $2100, Platinum is still expensive but relative to TOTL prices exceeding $6000 in some cases, the Grace Platinum appears to be very fairly priced.
Grace Platinum is a TOTL offering that is fully BA and holds its and bests most of the other 10 driver configurations I have heard.
Also, the build quality is solid and built for the long haul, but with their durability comes added weight and size. The pack-ins and unboxing experience are average but the addition of two cables is welcomed, especially since EarSonics ditched the Plastics1 mentality.
All of my thoughts regarding the Platinum are mine and subjective. If you are afforded the opportunity, give the Grace Platinum a listen. I hope this is one IEM that won’t fly under the radar and receives the attention it deserves.
EarSonics Store – Direct link to purchase
A Little Technical Stuff:
Specs
- Sensitivity: 119 dB / mW
- Frequency response: 10 Hz -20 kHz
- DCR: 26.6 ohms
- Driver: 20 drivers with 3-way HQ filter with impedance corrector
- Weight: 336 g
- Furnished Cables: HR 8C cable(symmetrical) 4.4mm & HR 4C cable (silver
- Adapter: 6.35 jack adapter
- Packaging: Brushed platinum color carry case 18.6cm x 5cm x 14.5cm
-MRSP: Universal fit 1899 euros
EarSonics, a French company that came into existence in 2005. It was started by Franck Lopez, who himself is a musician, a bass player. I wrote a comprehensive review of the original Grace HD, the OG Grace. I am providing the link because it contains company history and more fluffy info Earsonics Grace HD. After spending a few days with the Grace Platinum, the differences in sound between the OG and this new release are evident. This review can be combined with the first Grace review. I plan to highlight the differences between the original and 2.0 so please refer to the first review as well. I will also include excerpts from the original review to highlight differences.
A Little Marketing Hype from their site:
Grace Platinum represents the best of Earsonics. It is the culmination of our range, designed and assembled in our laboratories by hand in France.
Based on the extraordinary electronics of the Grace HR, the Grace platinum goes one step further in transcribing sound and details.
It dress has also been completely revised with the addition of high-quality components.
The Grace Platinum's 20 drivers allow it to deliver high acoustic performance over a wide bandwidth ranging from 10Hz to 20 KHz.
It 3-way impedance corrected HQ filter is capable of reproducing extremely faithful sound rich in details
20 balanced armature drivers, including 4 specific to vents, specially designed for Earsonics.
A zinc and magnesium alloy shell covered with an exclusive platinum foil.
Acrylic Heart ® technology offering sound rigor and phase control.
TrueWave ® technology allowing optimum work on phase control and a top quality "magnitude"curve.
WHAT’S IN THE BOX:
Included:
- The GRACE Platinum
- HR 8C cable (symmetrical) 4.4mm
- HR 4C cable (silver)
- 2 pairs of memory foam tips of different sizes
- 2 pairs of mono flange silicone tips of different sizes
- 2 pairs of bi-flange silicone tips of different sizes
- 1 cleaning tool
- 2 disinfectant wipes
- 35 jack adapter
- Carry case
- Manual
The box was adorned with a Platinum colored sleeve surrounding a black box with the ES initials in the lower right corner. Once you flip open the lid, there is a thank you note, in French, from Franck Lopez the CEO. Above the note are two circular windows which showcase the Grace Platinum monitors.
Laid out in a foam tray beneath the Thank you note are the accessories. The packaging has been almost identical since the EM10. All of the inclusions are listed above, but I would like to point out that there are two cables included, one balanced, the other not. I had mentioned in previous reviews a wish would be for EarSonics to include upgraded cables and VOILA! A win for the non-cable rollers out there.
Build Quality and Fit:
I am not going to belabor this. The Grace Platinum is built like a tank. It is a heavy IEM. The IEM is made with a zinc and magnesium alloy shell covered with an exclusive platinum foil. Along with the added weight the Grace also gives you the feeling that they are indestructible. Like the last 2-3 releases for EarSonics, the Grace is well-built, with a metal outer shell. I like the direction and applaud them for building them as if they could stand the test of time.
Size-wise, if you have small ears there could potentially be some fit issues. I have large earholes and the Grace does not give me any issues. That said, their weight does cause me to occasionally push them back into my ear as they seem to work their way out of a deep insertion.
I can only imagine that building these by hand is a labor of love from the EarSonics team. They feature an acrylic heart shrouded by this metal facade. Each monitor has vented shells and utilizes True Wave ® technology which allows for phase control and a top-quality Magnitude curve.
Review Setup:
The review was written utilizing the Astell & Kern SP2Kt, which I did a drive-by of here Sp2000t. I listened using the stock cables, primarily the 4.4mm balanced cable My sample music consisted of 320kb, FLAC, 24bit as well as streaming Tidal and Amazon Music HD.
For eartips, I found that the Final E tips and the Spinfit CP360 gave me the best sound quality. The only comment I want to make about tips is if your Final tips are older and have some use, be prepared to fish them out of your ears upon removal of the IEM. The CP360 stayed in place. Tips do make a substantial difference in the case of the Grace Platinum. I have found it is not only about bore diameter it also depends on the composition of the tip. Experiment to find the sq you want.
Moving on to the sound section….
For the sound portion of the review, I will show the previous review portions in normal font and write any new, additional thoughts I had beneath in blue.
If I were to characterize Grace in a couple of words, it would be balance and tone. The Grace is most certainly a departure from the bass bold, animated, house signature of EarSonics past.
I feel the overall signature is still relatively balanced but I am hearing some more forward tuning particularly in the mid-range and the upper mids more specifically.
The bass of the Grace is satisfying in all of its technical glory. You will not find a ton of quantity in the bass but what you will find is adept and offers a clean, non-muddy bass. The sub-bass is not the fullest, but as the bass frequencies head north, there is a pervasiveness to the bass. To my ears, it sounds stronger in the midbass. There is not much in the way of any coloration to the bass, it is natural, but what minimal color is there creates a bit more engaging personality in the Grace. It does not extend incredibly far south, but it is designed to be a quality vs. quantity type of listen.
This still holds and knowing Franck, the CEO of EarSonics, is a bassist it makes sense. I love the quality of the Grace Platinum’s bass, BA or not.
This is not DD bass. I feel that the DD driver bass adds a bit more snap and fun, for the most part, but what Grace brings to the table is technical, clarity in the bass transitions, and allows the listener to decipher the differences between the bass ranges easily. Do not expect a tooth-rattling rumble because that isn’t what the Grace is designed to do, partly due to the nature of the BA and partly due to tuning. It is a quick bass without any lingering notes, so the decay is perfect.
Check! Natural and realistic bass appears to be the standard now with EarSonics in their TOTL Audiophile offerings.
Any more bottom floor to the bass would more than likely create a blanket of bass that interfered with its technical ability to perform as bass aficionados would expect. Balance is alive and well in the Grace, and the bass clarity has a melodic tone. It is captivating and fun to listen to.
It is a natural-sounding bass with realistic tonality. There is some heft to the bass and think EarSonics walked on the edge without sticking their toe across the line. Again, I feel if there was any more quantity to the bass it could have had a negative effect on the total signature.
The mids are perfectly balanced with the upper bass region and create a seamless transition. The mids do not steal the show. None of the frequencies take the spotlight, it is shared, as it should be in a balanced signature IEM. In all genres of music, the Grace excelled. Female vocals are correctly placed in the presentation and stage. My preference was female vocals during listening sessions, quite an experience.
Mid-range is one area I need to reflect on from my OG Grace experience because I feel this is the area of the most change in the 2.0 Grace.
Listening to Cecile McLorin Salvant, Thunderclouds, her breaths at the mic are so sensual and seductive. Female vocals are front and center but so natural sounding. I like a little forwardness in female vocals as long they don’t hit the eardrums as sharp.
To my ears, the mids have received a touch of a tuning revisit in the upper mid-section. Grace Platinum has more air than the original. Increased detail and air are very much welcomed. OG Grace had more air and a sense of space relative to the EM10(custom) which shared its DNA, and EarSonics upped the game again with the Platinum. This difference in the upper mids is because of new filtering and increased. Because of these enhancements there is more sparkle and transparency when comparing it to the original Grace.
The timbre of instruments is mesmerizing there is an ambiance to everything Grace offers. There is transparency and air between the notes, which is one of the most significant tuning differences when compared to the EM10. The EM 10 sounds a bit more in the head, and closed, whereas the Grace has a more open and airy sound. I feel the air not only adds to the stage width and depth but also the emotion behind the music. The upper mids in the Grace have a beautiful tone, and if fullness exists, it is in this frequency.
I would only change that it is more of a forwardness in the upper-mids as opposed to a fullness.
The stage is wide and deep with extension to the furthest ends. I am not a Dave Matthews fan, but his music is very involved with lots of instruments and sounds coming at you from all directions. I like to test an IEM’s ability to provide ample air and stage using Dave Matthews music, and I am happy to say that the Grace reproduced the tunes wonderfully.
The stage is spot on and it is a rather wide rectangle stretching out on the fringe. There is not as much width in staging but there is some. The staging is spot on and accurate. Critically listening to a Snarky Puppy show that I attended I can tell you the instrument placement is accurate. Great job with the stage and tuning of Platinum’s mid-range.
The treble is smooth and never offensive and finalizes the balancing act that is the Grace. I am not a fan of bright or trebly sounding IEM’s, and the smoothness of the Grace suits me perfectly well in this regard. I think this aids in the versatility of being able to adapt to all genres of music.
The treble does sparkle but it is rather smooth, but not smeared. It is distinct and cymbals have a natural shimmer and decay. Lady Gaga’s voice takes you to the edge in the Tony Bennett duet, “I’ve got you under my skin”. What I noticed is that there is a definition to instruments that are sharing the range with her voice but the treble clarity allows for total distinction between her vocals and instruments.
The treble is nimble and features clarity and sparkle without ever being fatiguing. The treble blends so well with the entire balance of the signature. It indeed is nice to hear such nice amounts of definition while maintaining the velvety serenity of the tone. It is a different type of listen, without any of the signature outshining the other. The treble rounds out and completes the package.
The addition to the above statement is that the mids are more forward so they garner a bit more of the attention than they did in the original Grace.
Overall, the sound is balanced and defined with transparency, clarity. Details and layering are particularly noticeable in the quality of bass and mids.
Jazz, Rock, EDM, Vocal, Acoustic, everything I threw at it, never changed its delivery, all with a smooth tone and emotion to the music.
The Platinum is even more emotive than the original Grace.
You might want to own this IEM if:
+ You want a perfect tone and organic timbre to instruments
+ You prefer a smooth, balanced, non-offensive signature
+ You prefer a sound that is full of emotion and excels at long listening sessions
+ You are sensitive to treble peaks and sibilance as this is super smooth
+ You like a coherent stage with sexy female vocals
In Closing
It is difficult to review an IEM a second time, especially when your feelings go into the review are that the changes are going to be strictly cosmetic. At least that is what I thought I was going to encounter. Grace Platinum is an all BA IEM that deserves attention and a listen. There has been additional mojo applied to the filtering and tuning and it is evident when compared to the original Grace HD.
I have lost count as to the number of EarSonics I have owned. Subjectively, the brand just matures with each release. I liked the old-school EarSonics and love the new generation.
The bass is perfect for a BA IEM and shows off its prowess with its natural tone and transparency. Franck should be proud because, rooted deep in his musical abilities is a bass lover at heart, and it shows in Platinum just as it did in the Grace HD.
Overall, the tonality and realism of instruments are the strongest abilities that the Platinum holds. Whether it is the bass, mids, or treble it is very evident that a musician had a part in the tuning. Emotive listening sessions are what you are in store for you. Each time I write a review I am listening to the gear I am reviewing, and I continued to be impressed with Platinum as I am writing.
At 1899 euros, roughly $2100, Platinum is still expensive but relative to TOTL prices exceeding $6000 in some cases, the Grace Platinum appears to be very fairly priced.
Grace Platinum is a TOTL offering that is fully BA and holds its and bests most of the other 10 driver configurations I have heard.
Also, the build quality is solid and built for the long haul, but with their durability comes added weight and size. The pack-ins and unboxing experience are average but the addition of two cables is welcomed, especially since EarSonics ditched the Plastics1 mentality.
All of my thoughts regarding the Platinum are mine and subjective. If you are afforded the opportunity, give the Grace Platinum a listen. I hope this is one IEM that won’t fly under the radar and receives the attention it deserves.
Attachments
Greetings!
Today we're checking out Earsonics' new top of the line offering, the Grace Platinum.
If you've been following the high end portable audio market for a while now, you're likely familiar with Earsonics. The French outfit founded by Franck Lopez in 2005 has been catering to professional and enthusiast markets alike for over a decade. They currently offer a variety of universal and custom-fit earphones featuring both hybrid and pure armature setups.
Like the Corsa I reviewed not too long ago, the Grace Platinum we're checking out today is another all-armature offering, though with ten drivers per side this time around. Four high-range, four mid-range, and two low-range drivers are arranged within a 3D printed acrylic structure and surrounded by a zinc-magnesium alloy shell, further covered with a premium platinum foil. Like other products in their range, the Grace Platinum is hand-made and it truly looks spectacular.
As the top model in their Universal Audiophile lineup and with a price tag to match, the Grace has a lot of pressure on it to perform. Let's find out how it did, shall we?
What I Hear
Ear Tips: Tips are one of the most important aspects of getting good sound out of an iem, regardless of their price point. As such, the stock tips are fine, but you'll want to upgrade to a third party set to get the most out of the Grace. Just as with the Corsa, my preferred alternative is the Spinfit CP145 in small size. It provides extra fit depth, a reliable seal, and outstanding comfort while retaining the signature of the kit tips. I figured the CP100 would have been a better choice given the Grace's bright-ish presentation, but they just ended up making it sound sound slightly harsh, a stark contract to how smooth it sounds with other tips. Sony Hybrids and Final Type E are also good choices, especially the latter since they provide a similar experience to the CP145. Both provide a slightly more shallow fit with the Sonys having reduced durability, so I'd stick with the Final tips if you have the option. The smaller bore of these tips also warms up the signature a hint which might be more suitable to some listening preferences. I had no luck with any wide bore tips. Foams are also a nice choice as they warm up the sound and take some of the edge off the upper range, should that bother you.
The first thing that struck me when the Grace initially blessed my ears with it's musicality was the low end, so we're going to start with that. Despite being an all-armature unit and heading their universal audiophile lineup, the Grace doesn't skimp on bass. It is bold and robust. Extension is excellent which is obvious given the bias towards sub-bass instead of mid-bass. This deep bass bias leaves the Grace sounding cooler than some of the competition though, a coolness which carries through the entirety of the signature. Texturing is awesome meaning the Grace handles the grungy notes of The Prodigy and Tobacco quite well. Speed is also unsurprisingly quite impressive. If you're into drum and bass or a metal-head, you'll have a lot of fun with the way this earphone handles double bass and rapid bass-lines in general.
The mids are somewhat dry and cool thanks to the restrained mid-bass presence and a lower treble bias. As a result timbre accuracy doesn't quite match some of the more impressive models out there like Campfire Audio's Solaris 2020. Still, the presentation more than works as it does a fantastic job of highlighting the Grace's technical prowess. While not quite class leading, there is a ton of detail and some impressive clarity to be found here. This does not come at the expense of engagement either with the Grace more than able to appropriately reproduce the emotional performances of Celine Dion on “Ashes”, or Paul Williams on Daft Punk's “Touch”.
Treble regions of the Grace Platinum match the chromed look of the earphone and give it a brightness that comfortably counters the visceral low end. With a presence region bias, you hear plenty of nuanced detail. Air and spacing is plentiful, though it is held back somewhat thanks to the trailing off of the brilliance region with only a small spike around 10k to keep the energy up. Notes in general are well-defined, though there is a hint of splash present. Unlike on other products where any splashiness distracts and detracts from the listening experience, that isn't the case here. What little splashiness there is feels deliberate. There is an element of control to it that is apparent on dense passages such as Havok's “D.O.A.” where individual cymbals strikes meld on lesser earphones. Through the Grace they remain individual and distinct.
The Grace Platinum's sound stage is beautifully presented with a very well-rounded balance of width and depth. Vocals are set back just outside the ear giving the listener some breathing room, avoiding the in-your-head feel commonly associated with in-ear monitors. Sounds and effects can be tossed well off into the distance. As such, it wasn't uncommon for me to pull out one earpiece when I heard such an effect to make sure my wife wasn't calling me, or to check that one of our sweet kittens wasn't getting themselves into trouble. As a gaming earphone the Grace is pretty darned competent. Imaging is extremely nuanced and tracking a sound from one channel to the other is handled smoothly without any dead zones or vagueness. Sounds are also layered well with plenty of separation keeping everything distinct and clear.
Compared To A Peer (volumes matched with Dayton iMM-6)
Campfire Audio Ara (1,299 USD): The 7-BA Ara is my personal favourite of Campfire Audio's lineup thanks to it's highly detailed, neutral-bright signature. The Grace aims for a different signature with more bass, a more prominent upper midrange thanks to a lower mid dip, and more relaxed treble, particularly in the brilliance region. The Grace has a warmer, more full sounding signature with a smoother presentation, particularly in the mids and treble. Bass is equally rapid and well-controlled on the two with the Ara's texturing making a stronger showing. It lacks the visceral feedback of the Grace though, leaving the Ara's low end to play more of a supporting role. I find the Grace's presentation makes it more genre versatile, particularly when we're talking about EDM and hip hop.
The midrange of the Ara is cooler with a slightly brighter, less natural sounding timbre that plays well into its focus on clarity and detail. The Grace Platinum's mids are slightly cool and dry too, but with a hint of natural warmth that gives it a more natural presentation and slightly more accurate timbre. Detail and clarity are exceptionally close, though the Ara's additional technical prowess gives it an edge for critical listening. One area the Grace has a strong edge over the Ara is sibilance. The Ara does nothing to mask sibilant tracks, such as Aesop Rock's “The Gates”. The Grace softens harsh 'tees' and 'esses' leaving the aforementioned listenable, if not still somewhat tiring.
Treble is where the two stray most from each other. The presence region on each gives their signatures tons of clarity and micro detail nuance. Notes are well controlled and defined. Heading into the brilliance region we see the Grace lose energy. It can still provide shimmer and sparkle where needed, but it ends up being considerably less aggressive than on the Ara. Whereas I most enjoy the Ara at my typically low volumes, I have no issues bumping the Grace's volume up to my personal limits where it remains reasonably non-fatiguing. I'd still call it slightly bright, but not to the extent of the Ara.
Both have an excellent sound stage, though the Grace's is wider and deeper. I attribute this to the less prominent lower-mids which sets that vocals back further from the ear by default, immediately opening up the stage. Imaging on both is stellar with extremely nuanced and accurate channel-to-channel movement. Neither one sees improvements over the other in my opinion. The Grace does provide a bit more room for individual instruments to play, resulting in a slightly more layered feel. Neither ever comes across congested though, even on extremely busy tracks.
I've tested numerous Campfire Audio products over the years and none have failed to satisfy when it comes to build. The Ara is the best of the bunch in my opinion, so the Grace has itself some serious competition. When it comes to materials they are both outstanding, though I'll give the Ara the nod. The shells are pure titanium and both fit and finish are virtually flawless. No excess glue, no gaps between parts. The Grace looks more the part of a top tier earphone though. This is partly because while the Ara's shell design is truly awesome and iconic, it has been used across numerous Campfire Audio models at varying prices and unfortunately, deviously copied by other brands. It doesn't look or feel quite as novel or special as it did in the past. The Ara's single included cable finds itself sitting between the two included with the Grace. Versus the Grace's 4C cable the Ara's is more flexible, has a tougher feeling sheath, and more neatly integrated hardware. The Grace's 8C cable turns the tables in the same way, adding thickness and better braiding into the mix, not to mention it's balanced.
Overall I think they're different enough to be complimentary products, though I can't see anyone buying both unless they have seriously deep pockets. Take the Ara if you like a brighter sound and/or enjoy dissecting tracks. Go for the Grace if you want something technically outstanding but still quite genre versatile.
HiFiMAN RE2000 (2,000 USD): The single dynamic RE2000 has remained one of my favourite earphones of all-time thanks to it's rock solid, extremely well-rounded and smooth, coherent presentation. Bass on the RE2000 is quite linear and somewhat similar to the Ara in terms of the way it transitions from lower to upper, unlike the Grace which to my ear puts a slight bias on sub-bass. This linearity gives the RE2000 a warmer tonality that carries into the rest of the signature making it the more natural sounding of the two. The Grace's armatures are clearly faster though, with the RE2000 holding onto notes longer. While this doesn't result in muddiness, it does leave the Grace sounding more textured and more technically adept with extremely fast notes.
Leading into the mids the RE2000 has a stronger upper region bias. Where the Grace starts to lose emphasis as you drift towards 3k, the RE2000 peaks at 3k. It's overall presentation reminds me of the way Moondrop tunes the mids on some of their lineup (ex. Aria, Starfield), but with less extreme peaks. As noted earlier, Hifiman's single dynamic sounds more natural thanks to a more organic timbre. It gives up detail and clarity to the Grace though with finer nuances of a vocal performance being present, but smoother and less crisp. When it comes to sibilant tracks the RE2000 is less forgiving, surprising given it is otherwise less fatiguing in nearly every other way.
Heading into the upper frequencies we see the two take drastically different approaches. While both have a presence region bias, the RE2000 retains emphasis far longer with emphasis only starting to drop after 5k, peaking again around 10k or so. The Grace's peaks are in similar locations, but a good 5-10dB lower in places. Despite this, I perceive the Grace to sound brighter due to its cooler tonality and lessened overall warmth to the presentation. Neither sounds particularly sparkly, especially compared to the Ara, and clarity is similarly good with the Grace still having an edge. Notes from the RE2000 are cleaner and better controlled with a softer edge to them, though less detail is carried overall.
When it comes to sound stage the RE2000 takes a step beyond the Grace by providing additional width and depth. Vocals are set further out by default with the RE2000 being capable of tossing effects further from the head. It overall does a better job of immersing you in a track. That said, when it comes to technical qualities the Grace pulls back some points. Its imaging is cleaner and more nuanced making channel-to-channel movement even easier to track. It also does a better job separating instruments and track layers.
Build quality isn't usually Hifiman's greatest trait, so it isn't surprising that when it comes to build, the RE2000 is outclassed by the Grace Platinum. Materials are not the issue with the main shell of the RE2000 being composed of brass with a gold plating, plastic structures rounding things out to accept the 2-pin plugs. The cable is pure silver, though saddled with a very generic black rubber sheath, useless strain relief, and subpar hardware. Where the RE2000 falls down is in fit and finish, and just a general, subjective impression of quality. There is plenty of excess glue around the plastic face plate and nozzles, the logo is printed on and after a few years of use is starting to wear off. The receptacles for the plugs are not quite aligned perfectly either. Both of Earsonics' cables look and feel of higher quality, especially the balanced one. The Grace could use some extra attention to detail as well, but only when it comes to the face plate gap and excess glue. Everything else about it looks and feels appropriate for the price, which cannot be said for the RE2000.
Overall I find these suitable competitors for anyone looking for a premium earphone. I'd recommend the RE2000 to those that want a warmer sounding in-ear and can give up some technical ability for timbre quality. And if they don't mind the sub-par construction. For everyone else, the Grace is the one to get as it provides a more satisfying bass presentation along with notably improved clarity and detail top to bottom, along with better staging qualities. Lastly, the Grace's material quality is vastly improved over the RE2000.
In The Ear The Grace Platinum shares its shell design with the Corsa, but here they are composed of a zinc and magnesium alloy, overlaid with a platinum foil. It is certainly visually stunning, with a dense, tough-as-nails feel in the hand. The inner ridges, rear ventilation, and face plate design containing the Earsonics logo are all well-formed and free of unrefined edges. While the nozzle is unfortunately lacking a lip for holding tips on, it is quite long. This helps ensure there is enough friction present to hold most third party tips in place when inserting and removing the Grace Platinum from your ears. My preferred tip, the Spintfit CP145, fits and holds on just fine. This is a big, heavy shell though, the latter even more so with the Grace given the extra internals. While it's not something you're going to want to sling around your neck when not in use, when wearing them the weight is managed well. The design is organic and shapely, naturally hugging the contours of the ear. While the materials are high quality, fit and finish is about the same as the Corsa, which is to say it is just fine. As a handmade product, some quirks can be excused, though at the Grace's retail price my expectations are high and improvements should be made. The excess blue glue sticking out around the front edge of the shell above the screw is very noticeable, as it was on the Corsa, and the face plate could stand to sit more flush. The gap between it and the rest of the shell is quite prominent. Overall a gorgeous product with amazing materials, but one that could benefit from improved fit and finish.
The Grace Platinum comes with two cables. The pre-attached cable is the same 99 USD one that came with the Corsa. It's fine, but my thoughts on it are unchanged when paired with the Grace Platinum. It's a simple quad-strand, silver-plated, braided design with Kevlar reinforcement that doesn't look or feel too dissimilar to the silver-plate cables KZ has been including with a number of their recent products. The cable is quite slender and has fantastic aluminum hardware at the compact, well-relieved angled jack, y-split, and the 2-pin plugs. Tangle resistance is pretty decent for a thin cable, it transmits barely any noise during movement, and it retains little memory of bends. Leading up to the earpieces are preformed ear guides that could stand to be a touch stiffer as the weight of the earphones overwhelms them.
The second cable is a significant improvement and the one I recommend using, pending you have a source with a 4.4mm balanced out, or an appropriate 4.4mm to 2.5mm adapter like the DDHiFi DJ44B. It features a braided, six-strand construction with a hybrid alloy design of 6N OCC and silver with a Kevlar core. It's light, flexible, but stiff enough to deal with the weight of the ear pieces thanks to the inclusion of useful preformed ear guides. The aluminum hardware is fantastic too. While the 0.78mm 2-pin plugs are the same as those on the standard cable, the y-split is thicker with the ES logo laser etched into the aluminum. The straight jack is well relieved with defined knurling to ensure you can get a good grip on it. Earsonics didn't skimp on the chin cinch either, with a bead-styled cinch found resting above the y-split. Overall a wonderful cable, and one that feels of suitable quality to match the Grace Platinum's premium standing.
When it comes to ergonomics Earsonics crafted a thoughtfully designed shell. While the size will be limiting factor for those with smaller ears, for everyone else I suspect it will be quite comfortable to wear. The inner half of the shell is smooth and well-rounded, completely free of any sharp edges which could cause discomfort. The bulbous shape feels form-fitted to the outer ear and spreads the weight of the earpieces fairly evenly across the surface of your skin. If the Grace Platinum were lighter, I'd easily be able to wear it for an entire 8-hour work shift with no complaint. As-is, I find the areas the earphone touches getting slightly sore after a couple hours. If taking the health of your ears and hearing seriously, you shouldn't be listening for hours on end anyway. Isolation with silicone tips is fairly average. Unlike most all-armature earphones I've come across which are fully sealed, the shells of the Grace Platinum are heavily ventilated with two large, vertical vents on the rear of each earpiece. While this does reduce its ability to passively block outside noise, it does improve comfort by ensuring there is no pressure build up when they've been inserted into your ear. If you need to boost isolation further, the included Comply foam tips works wonders. More dense silicone tips like Final Audio's Edge Type E tips are a suitable alternative if you want to avoid the fiddly nature of foam tips.
In The Box The Grace Platinum arrives in minimalist packaging with a feature I don't think I've come across before; a half sheath. On the front of the sheath is Grace in large cursive print, with Platinum found below in a slender, uppercase font. France's flag can be found centered just below. Lifting off the sheath reveals a black monolith of a box with Earsonics and the ES logo printed in a contrasting glossy font, tucked into the lower left corner. The rest of the box is featureless. Flipping back the magnetically sealed flap you are greeted by a foam cutout in which the earpieces reside. Just below this is a cardboard slip where, courtesy of Frank Lopez, their CEO, a paragraph in French thanks you for purchasing an Earsonics product and welcomes you to the world of professional audio. Under this insert is the carrying case, and to the right a smaller cardboard insert where more of the accessories can be found. In all you get:
Final Thoughts This is only the second product from Earsonics I've had the pleasure of listening to, but if this and the considerably more affordable Corsa are any indication of how competent the rest of their lineup is, Earsonics is undoubtedly a brand that should not be underestimated or overlooked. Given their existing standing in the industry, I don't think they have to worry about anything.
The Grace Platinum exudes a level of visual flair that is befitting of its flagship, all-BA earphone status. Thankfully this is backed by a listening experience that also reflects the Grace's position in the Earsonics lineup. The low end presentation is full and complete and can easily compete with earphones using a dynamic driver for this region. The midrange is extremely detailed and coherent, though timbre accuracy could be improved upon as it may come across too cool and dry for some. Treble is energetic and crisp, yet not particularly fatiguing. This is all wrapped within a large sound stage with seriously impressive technical qualities. The Grace is a premium all-rounder that can handle casual listening just as well as critical listening.
Going back to the visual flair mentioned earlier, the chromed platinum foil of the earpieces certainly attracts the eye. Despite being large and fairly heavy, the ergonomics are spot on resulting in a comfortable fit with good isolation. I'd like to see them improve part fitment a touch though, as the gaps and excess glue peeking out might disappoint some buyers. The accessory kit is well-rounded with a solid set of silicone and foam tips, balanced and single-ended cables, and a useful carrying case, among other extras. It would be awesome if Earsonics could partner with Final Audio or Spinfit so more premium tips befitting their higher end models could be included. Still, you can pick those up separately, and you should if you're willing and able to add an endgame earphone like this to your lineup.
Overall a fantastic product that offers sexy good looks and top tier sound. Earsonics knocked this one out of the park. Great stuff.
Thanks for reading!
- B9
Disclaimer A huge thanks to Max with Earsonics for reaching out to see if I'd be interested in reviewing the Grace Platinum, and for arranging a sample. The thoughts within this review are my subjective opinions and do not represent Earsonics or any other entity. At the time of writing the Grace Platinum was retailing for 1899,00€. You can check it out here: https://www.earsonics.com/in-ear-monitors/grace-platinum/ / https://www.earsonics.com/store/produit/grace/
Specifications
Some Test Tunes
Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark's Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams
Today we're checking out Earsonics' new top of the line offering, the Grace Platinum.
If you've been following the high end portable audio market for a while now, you're likely familiar with Earsonics. The French outfit founded by Franck Lopez in 2005 has been catering to professional and enthusiast markets alike for over a decade. They currently offer a variety of universal and custom-fit earphones featuring both hybrid and pure armature setups.
Like the Corsa I reviewed not too long ago, the Grace Platinum we're checking out today is another all-armature offering, though with ten drivers per side this time around. Four high-range, four mid-range, and two low-range drivers are arranged within a 3D printed acrylic structure and surrounded by a zinc-magnesium alloy shell, further covered with a premium platinum foil. Like other products in their range, the Grace Platinum is hand-made and it truly looks spectacular.
As the top model in their Universal Audiophile lineup and with a price tag to match, the Grace has a lot of pressure on it to perform. Let's find out how it did, shall we?
What I Hear
Ear Tips: Tips are one of the most important aspects of getting good sound out of an iem, regardless of their price point. As such, the stock tips are fine, but you'll want to upgrade to a third party set to get the most out of the Grace. Just as with the Corsa, my preferred alternative is the Spinfit CP145 in small size. It provides extra fit depth, a reliable seal, and outstanding comfort while retaining the signature of the kit tips. I figured the CP100 would have been a better choice given the Grace's bright-ish presentation, but they just ended up making it sound sound slightly harsh, a stark contract to how smooth it sounds with other tips. Sony Hybrids and Final Type E are also good choices, especially the latter since they provide a similar experience to the CP145. Both provide a slightly more shallow fit with the Sonys having reduced durability, so I'd stick with the Final tips if you have the option. The smaller bore of these tips also warms up the signature a hint which might be more suitable to some listening preferences. I had no luck with any wide bore tips. Foams are also a nice choice as they warm up the sound and take some of the edge off the upper range, should that bother you.
The first thing that struck me when the Grace initially blessed my ears with it's musicality was the low end, so we're going to start with that. Despite being an all-armature unit and heading their universal audiophile lineup, the Grace doesn't skimp on bass. It is bold and robust. Extension is excellent which is obvious given the bias towards sub-bass instead of mid-bass. This deep bass bias leaves the Grace sounding cooler than some of the competition though, a coolness which carries through the entirety of the signature. Texturing is awesome meaning the Grace handles the grungy notes of The Prodigy and Tobacco quite well. Speed is also unsurprisingly quite impressive. If you're into drum and bass or a metal-head, you'll have a lot of fun with the way this earphone handles double bass and rapid bass-lines in general.
The mids are somewhat dry and cool thanks to the restrained mid-bass presence and a lower treble bias. As a result timbre accuracy doesn't quite match some of the more impressive models out there like Campfire Audio's Solaris 2020. Still, the presentation more than works as it does a fantastic job of highlighting the Grace's technical prowess. While not quite class leading, there is a ton of detail and some impressive clarity to be found here. This does not come at the expense of engagement either with the Grace more than able to appropriately reproduce the emotional performances of Celine Dion on “Ashes”, or Paul Williams on Daft Punk's “Touch”.
Treble regions of the Grace Platinum match the chromed look of the earphone and give it a brightness that comfortably counters the visceral low end. With a presence region bias, you hear plenty of nuanced detail. Air and spacing is plentiful, though it is held back somewhat thanks to the trailing off of the brilliance region with only a small spike around 10k to keep the energy up. Notes in general are well-defined, though there is a hint of splash present. Unlike on other products where any splashiness distracts and detracts from the listening experience, that isn't the case here. What little splashiness there is feels deliberate. There is an element of control to it that is apparent on dense passages such as Havok's “D.O.A.” where individual cymbals strikes meld on lesser earphones. Through the Grace they remain individual and distinct.
The Grace Platinum's sound stage is beautifully presented with a very well-rounded balance of width and depth. Vocals are set back just outside the ear giving the listener some breathing room, avoiding the in-your-head feel commonly associated with in-ear monitors. Sounds and effects can be tossed well off into the distance. As such, it wasn't uncommon for me to pull out one earpiece when I heard such an effect to make sure my wife wasn't calling me, or to check that one of our sweet kittens wasn't getting themselves into trouble. As a gaming earphone the Grace is pretty darned competent. Imaging is extremely nuanced and tracking a sound from one channel to the other is handled smoothly without any dead zones or vagueness. Sounds are also layered well with plenty of separation keeping everything distinct and clear.
Compared To A Peer (volumes matched with Dayton iMM-6)
Campfire Audio Ara (1,299 USD): The 7-BA Ara is my personal favourite of Campfire Audio's lineup thanks to it's highly detailed, neutral-bright signature. The Grace aims for a different signature with more bass, a more prominent upper midrange thanks to a lower mid dip, and more relaxed treble, particularly in the brilliance region. The Grace has a warmer, more full sounding signature with a smoother presentation, particularly in the mids and treble. Bass is equally rapid and well-controlled on the two with the Ara's texturing making a stronger showing. It lacks the visceral feedback of the Grace though, leaving the Ara's low end to play more of a supporting role. I find the Grace's presentation makes it more genre versatile, particularly when we're talking about EDM and hip hop.
The midrange of the Ara is cooler with a slightly brighter, less natural sounding timbre that plays well into its focus on clarity and detail. The Grace Platinum's mids are slightly cool and dry too, but with a hint of natural warmth that gives it a more natural presentation and slightly more accurate timbre. Detail and clarity are exceptionally close, though the Ara's additional technical prowess gives it an edge for critical listening. One area the Grace has a strong edge over the Ara is sibilance. The Ara does nothing to mask sibilant tracks, such as Aesop Rock's “The Gates”. The Grace softens harsh 'tees' and 'esses' leaving the aforementioned listenable, if not still somewhat tiring.
Treble is where the two stray most from each other. The presence region on each gives their signatures tons of clarity and micro detail nuance. Notes are well controlled and defined. Heading into the brilliance region we see the Grace lose energy. It can still provide shimmer and sparkle where needed, but it ends up being considerably less aggressive than on the Ara. Whereas I most enjoy the Ara at my typically low volumes, I have no issues bumping the Grace's volume up to my personal limits where it remains reasonably non-fatiguing. I'd still call it slightly bright, but not to the extent of the Ara.
Both have an excellent sound stage, though the Grace's is wider and deeper. I attribute this to the less prominent lower-mids which sets that vocals back further from the ear by default, immediately opening up the stage. Imaging on both is stellar with extremely nuanced and accurate channel-to-channel movement. Neither one sees improvements over the other in my opinion. The Grace does provide a bit more room for individual instruments to play, resulting in a slightly more layered feel. Neither ever comes across congested though, even on extremely busy tracks.
I've tested numerous Campfire Audio products over the years and none have failed to satisfy when it comes to build. The Ara is the best of the bunch in my opinion, so the Grace has itself some serious competition. When it comes to materials they are both outstanding, though I'll give the Ara the nod. The shells are pure titanium and both fit and finish are virtually flawless. No excess glue, no gaps between parts. The Grace looks more the part of a top tier earphone though. This is partly because while the Ara's shell design is truly awesome and iconic, it has been used across numerous Campfire Audio models at varying prices and unfortunately, deviously copied by other brands. It doesn't look or feel quite as novel or special as it did in the past. The Ara's single included cable finds itself sitting between the two included with the Grace. Versus the Grace's 4C cable the Ara's is more flexible, has a tougher feeling sheath, and more neatly integrated hardware. The Grace's 8C cable turns the tables in the same way, adding thickness and better braiding into the mix, not to mention it's balanced.
Overall I think they're different enough to be complimentary products, though I can't see anyone buying both unless they have seriously deep pockets. Take the Ara if you like a brighter sound and/or enjoy dissecting tracks. Go for the Grace if you want something technically outstanding but still quite genre versatile.
HiFiMAN RE2000 (2,000 USD): The single dynamic RE2000 has remained one of my favourite earphones of all-time thanks to it's rock solid, extremely well-rounded and smooth, coherent presentation. Bass on the RE2000 is quite linear and somewhat similar to the Ara in terms of the way it transitions from lower to upper, unlike the Grace which to my ear puts a slight bias on sub-bass. This linearity gives the RE2000 a warmer tonality that carries into the rest of the signature making it the more natural sounding of the two. The Grace's armatures are clearly faster though, with the RE2000 holding onto notes longer. While this doesn't result in muddiness, it does leave the Grace sounding more textured and more technically adept with extremely fast notes.
Leading into the mids the RE2000 has a stronger upper region bias. Where the Grace starts to lose emphasis as you drift towards 3k, the RE2000 peaks at 3k. It's overall presentation reminds me of the way Moondrop tunes the mids on some of their lineup (ex. Aria, Starfield), but with less extreme peaks. As noted earlier, Hifiman's single dynamic sounds more natural thanks to a more organic timbre. It gives up detail and clarity to the Grace though with finer nuances of a vocal performance being present, but smoother and less crisp. When it comes to sibilant tracks the RE2000 is less forgiving, surprising given it is otherwise less fatiguing in nearly every other way.
Heading into the upper frequencies we see the two take drastically different approaches. While both have a presence region bias, the RE2000 retains emphasis far longer with emphasis only starting to drop after 5k, peaking again around 10k or so. The Grace's peaks are in similar locations, but a good 5-10dB lower in places. Despite this, I perceive the Grace to sound brighter due to its cooler tonality and lessened overall warmth to the presentation. Neither sounds particularly sparkly, especially compared to the Ara, and clarity is similarly good with the Grace still having an edge. Notes from the RE2000 are cleaner and better controlled with a softer edge to them, though less detail is carried overall.
When it comes to sound stage the RE2000 takes a step beyond the Grace by providing additional width and depth. Vocals are set further out by default with the RE2000 being capable of tossing effects further from the head. It overall does a better job of immersing you in a track. That said, when it comes to technical qualities the Grace pulls back some points. Its imaging is cleaner and more nuanced making channel-to-channel movement even easier to track. It also does a better job separating instruments and track layers.
Build quality isn't usually Hifiman's greatest trait, so it isn't surprising that when it comes to build, the RE2000 is outclassed by the Grace Platinum. Materials are not the issue with the main shell of the RE2000 being composed of brass with a gold plating, plastic structures rounding things out to accept the 2-pin plugs. The cable is pure silver, though saddled with a very generic black rubber sheath, useless strain relief, and subpar hardware. Where the RE2000 falls down is in fit and finish, and just a general, subjective impression of quality. There is plenty of excess glue around the plastic face plate and nozzles, the logo is printed on and after a few years of use is starting to wear off. The receptacles for the plugs are not quite aligned perfectly either. Both of Earsonics' cables look and feel of higher quality, especially the balanced one. The Grace could use some extra attention to detail as well, but only when it comes to the face plate gap and excess glue. Everything else about it looks and feels appropriate for the price, which cannot be said for the RE2000.
Overall I find these suitable competitors for anyone looking for a premium earphone. I'd recommend the RE2000 to those that want a warmer sounding in-ear and can give up some technical ability for timbre quality. And if they don't mind the sub-par construction. For everyone else, the Grace is the one to get as it provides a more satisfying bass presentation along with notably improved clarity and detail top to bottom, along with better staging qualities. Lastly, the Grace's material quality is vastly improved over the RE2000.
In The Ear The Grace Platinum shares its shell design with the Corsa, but here they are composed of a zinc and magnesium alloy, overlaid with a platinum foil. It is certainly visually stunning, with a dense, tough-as-nails feel in the hand. The inner ridges, rear ventilation, and face plate design containing the Earsonics logo are all well-formed and free of unrefined edges. While the nozzle is unfortunately lacking a lip for holding tips on, it is quite long. This helps ensure there is enough friction present to hold most third party tips in place when inserting and removing the Grace Platinum from your ears. My preferred tip, the Spintfit CP145, fits and holds on just fine. This is a big, heavy shell though, the latter even more so with the Grace given the extra internals. While it's not something you're going to want to sling around your neck when not in use, when wearing them the weight is managed well. The design is organic and shapely, naturally hugging the contours of the ear. While the materials are high quality, fit and finish is about the same as the Corsa, which is to say it is just fine. As a handmade product, some quirks can be excused, though at the Grace's retail price my expectations are high and improvements should be made. The excess blue glue sticking out around the front edge of the shell above the screw is very noticeable, as it was on the Corsa, and the face plate could stand to sit more flush. The gap between it and the rest of the shell is quite prominent. Overall a gorgeous product with amazing materials, but one that could benefit from improved fit and finish.
The Grace Platinum comes with two cables. The pre-attached cable is the same 99 USD one that came with the Corsa. It's fine, but my thoughts on it are unchanged when paired with the Grace Platinum. It's a simple quad-strand, silver-plated, braided design with Kevlar reinforcement that doesn't look or feel too dissimilar to the silver-plate cables KZ has been including with a number of their recent products. The cable is quite slender and has fantastic aluminum hardware at the compact, well-relieved angled jack, y-split, and the 2-pin plugs. Tangle resistance is pretty decent for a thin cable, it transmits barely any noise during movement, and it retains little memory of bends. Leading up to the earpieces are preformed ear guides that could stand to be a touch stiffer as the weight of the earphones overwhelms them.
The second cable is a significant improvement and the one I recommend using, pending you have a source with a 4.4mm balanced out, or an appropriate 4.4mm to 2.5mm adapter like the DDHiFi DJ44B. It features a braided, six-strand construction with a hybrid alloy design of 6N OCC and silver with a Kevlar core. It's light, flexible, but stiff enough to deal with the weight of the ear pieces thanks to the inclusion of useful preformed ear guides. The aluminum hardware is fantastic too. While the 0.78mm 2-pin plugs are the same as those on the standard cable, the y-split is thicker with the ES logo laser etched into the aluminum. The straight jack is well relieved with defined knurling to ensure you can get a good grip on it. Earsonics didn't skimp on the chin cinch either, with a bead-styled cinch found resting above the y-split. Overall a wonderful cable, and one that feels of suitable quality to match the Grace Platinum's premium standing.
When it comes to ergonomics Earsonics crafted a thoughtfully designed shell. While the size will be limiting factor for those with smaller ears, for everyone else I suspect it will be quite comfortable to wear. The inner half of the shell is smooth and well-rounded, completely free of any sharp edges which could cause discomfort. The bulbous shape feels form-fitted to the outer ear and spreads the weight of the earpieces fairly evenly across the surface of your skin. If the Grace Platinum were lighter, I'd easily be able to wear it for an entire 8-hour work shift with no complaint. As-is, I find the areas the earphone touches getting slightly sore after a couple hours. If taking the health of your ears and hearing seriously, you shouldn't be listening for hours on end anyway. Isolation with silicone tips is fairly average. Unlike most all-armature earphones I've come across which are fully sealed, the shells of the Grace Platinum are heavily ventilated with two large, vertical vents on the rear of each earpiece. While this does reduce its ability to passively block outside noise, it does improve comfort by ensuring there is no pressure build up when they've been inserted into your ear. If you need to boost isolation further, the included Comply foam tips works wonders. More dense silicone tips like Final Audio's Edge Type E tips are a suitable alternative if you want to avoid the fiddly nature of foam tips.
In The Box The Grace Platinum arrives in minimalist packaging with a feature I don't think I've come across before; a half sheath. On the front of the sheath is Grace in large cursive print, with Platinum found below in a slender, uppercase font. France's flag can be found centered just below. Lifting off the sheath reveals a black monolith of a box with Earsonics and the ES logo printed in a contrasting glossy font, tucked into the lower left corner. The rest of the box is featureless. Flipping back the magnetically sealed flap you are greeted by a foam cutout in which the earpieces reside. Just below this is a cardboard slip where, courtesy of Frank Lopez, their CEO, a paragraph in French thanks you for purchasing an Earsonics product and welcomes you to the world of professional audio. Under this insert is the carrying case, and to the right a smaller cardboard insert where more of the accessories can be found. In all you get:
- Earsonics Grace Platinum earphones
- Clamshell carrying case
- HI-RES 4C 3.5mm cable
- HI-RES 8C 4.4mm cable
- Cleaning brush
- 1/4” adapter
- Comply foam tips (s/m)
- Single flange silicone tips (m/l)
- Bi-flange silicone tips (s/m)
- Hearing aid cleaning wipes (x2)
Final Thoughts This is only the second product from Earsonics I've had the pleasure of listening to, but if this and the considerably more affordable Corsa are any indication of how competent the rest of their lineup is, Earsonics is undoubtedly a brand that should not be underestimated or overlooked. Given their existing standing in the industry, I don't think they have to worry about anything.
The Grace Platinum exudes a level of visual flair that is befitting of its flagship, all-BA earphone status. Thankfully this is backed by a listening experience that also reflects the Grace's position in the Earsonics lineup. The low end presentation is full and complete and can easily compete with earphones using a dynamic driver for this region. The midrange is extremely detailed and coherent, though timbre accuracy could be improved upon as it may come across too cool and dry for some. Treble is energetic and crisp, yet not particularly fatiguing. This is all wrapped within a large sound stage with seriously impressive technical qualities. The Grace is a premium all-rounder that can handle casual listening just as well as critical listening.
Going back to the visual flair mentioned earlier, the chromed platinum foil of the earpieces certainly attracts the eye. Despite being large and fairly heavy, the ergonomics are spot on resulting in a comfortable fit with good isolation. I'd like to see them improve part fitment a touch though, as the gaps and excess glue peeking out might disappoint some buyers. The accessory kit is well-rounded with a solid set of silicone and foam tips, balanced and single-ended cables, and a useful carrying case, among other extras. It would be awesome if Earsonics could partner with Final Audio or Spinfit so more premium tips befitting their higher end models could be included. Still, you can pick those up separately, and you should if you're willing and able to add an endgame earphone like this to your lineup.
Overall a fantastic product that offers sexy good looks and top tier sound. Earsonics knocked this one out of the park. Great stuff.
Thanks for reading!
- B9
Disclaimer A huge thanks to Max with Earsonics for reaching out to see if I'd be interested in reviewing the Grace Platinum, and for arranging a sample. The thoughts within this review are my subjective opinions and do not represent Earsonics or any other entity. At the time of writing the Grace Platinum was retailing for 1899,00€. You can check it out here: https://www.earsonics.com/in-ear-monitors/grace-platinum/ / https://www.earsonics.com/store/produit/grace/
Specifications
- Frequency Response: 10Hz – 20kHz
- Sensitivity: 119dB/mW
- Impedance: 26.6ohms
- Drivers: 10BA with 3-way crossover + impedance corrector
Some Test Tunes
Supertramp – Crime of the Century
Slipknot – Vol 3 (The Subliminal Verses)
Daft Punk – Random Access Memories
Aesop Rock – The Impossible Kid
King Crimson – Lark's Tongues in Aspic
King Crimson – Starless and Bible Black
Infected Mushroom – Legend of the Black Shawarma
The Prodigy – The Day is My Enemy
Steely Dan – The Royal Scam
Porcupine Tree – Stupid Dreams
Attachments
B9Scrambler
@alphaman People used to complain about that being at the beginning so it was moved to the end in the disclaimer section in subsequent reviews. Been that way on my content for over a year. Using your eyes and fingers in tandem to scroll down to find such information is tough though. I apologize for the inconvenience it caused you, and especially for making you convert to USD. I forgot we need to cater to your special form of privilege on every review. At least I put a disclaimer with the price and how I procured the product. More than most do despite it being required. Happy listening 
ngoshawk
lol. Another fantastic review from my hero! Well done, sir!
jjss
Hello,
I have SEM9 since 2017 and have been one of my favorite IEMs since!!
As I can't find from online a direct comparison between SEM9 and the newer Grace Platinum, so I'm coming to this forum to see if there are ppl who can shed some light on comparing / contrasting the two.
To me the SEM9 has a very unique sound, one that's very diff (say comparing to 64A u18t or IER-Z1R)! The SEM9's sound envelop has its own charm as I find it has a somewhat very engaging decay of sound esp when it comes to lower mid, bass and certainly the sub bass !! This unique characteristic makes the SEM9's tonality and timbre really amazing!!
In fact I'm trying to find out how the Grace compares to SEM9 from the sonic profile perspective and have written to EarSonics (thro its general inquiry email address) but so far waited in vain for response !!
Thus hope that somewhat out there might give me some help and point me to a direction to see if I should also own the Grace!
TIA ..
I have SEM9 since 2017 and have been one of my favorite IEMs since!!
As I can't find from online a direct comparison between SEM9 and the newer Grace Platinum, so I'm coming to this forum to see if there are ppl who can shed some light on comparing / contrasting the two.
To me the SEM9 has a very unique sound, one that's very diff (say comparing to 64A u18t or IER-Z1R)! The SEM9's sound envelop has its own charm as I find it has a somewhat very engaging decay of sound esp when it comes to lower mid, bass and certainly the sub bass !! This unique characteristic makes the SEM9's tonality and timbre really amazing!!
In fact I'm trying to find out how the Grace compares to SEM9 from the sonic profile perspective and have written to EarSonics (thro its general inquiry email address) but so far waited in vain for response !!
Thus hope that somewhat out there might give me some help and point me to a direction to see if I should also own the Grace!
TIA ..
