EarSonics Onyx
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Earsonics Onyx ($562): A well-kept secret no more.
ONYX direct link
Intro: The Onyx is Earsonic’s new addition to the lineup. A well-kept secret, little is known about it, until now. I thank Earsonics for the faith in my abilities, and the sample. This is a production unit, and I will provide an honest evaluation of the unit to the best of my abilities. At the time of publication, I know not the price nor configuration, hence the comparison to many at differing prices below. I think that is fair, especially after my first listen, which came across as good and towards the higher end of the spectrum (just a guess).
Specs:
In The Box:
Onyx IEM
Silver braided cable
6 sets of tips: 2-foam (s, m); 2-silicon (m, l); 2-silicon double flange (s, l)
Cleaning brush
Warranty card
Personalized builder card
Gear Used/Compared:
Lime Ears Pneuma ($2100)
Empire Ears Hero ($1349)
Campfire Audio Dorado 2020 ($999)
Campfire Audio Vega 2020 ($699)
Earsonics Corsa ($450)
MBP/Burson Funk
MBP/iFi Pro iCAN/iDSD
Shanling M6 Pro
Songs:
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:
Coming in what I am getting used to as the matte black box of Earsonics, which is not bad by the way; the Onyx fits the subdued nature of the brand. Lifting the front flap, the box opens clamshell-style. Presented with the Onyx, silver cable and larger rectangular case, the look is simple and a bit ominous. Like seeing the shadow of an all-black Mustang Cobra. Muscular in presentation, but it is the parts unknown and unseen, which cause pause and respect. The accessories box is on the right, which houses the tips and cleaning tool.
Inside the case you will find the signature card of the builder, which I do consider a nice touch. Simple, straightforward and black save the cable.
Build/Fit/Finish:
The shell is of familiar shape for those who pay attention or own Earsonics models. The familiar three-piece shell has a flat “stamped” logo on the faceplate, which continues the uneven thickness of the piece, which I indeed like. The back end of the faceplate is also where the two vent slots are, which help the bass note breathe. The inner shell has the trademark “swept seashell” lines to it, which I do like as well. The nozzle is angled for a good fit, too aiding in the overall fit.
The silver cable is of four-braid variety, tight and even. Splitting inside a simple aluminum Y-splitter replete with logo, the then two-strand cable includes a clear harder plastic cinch. Ending in a 2-pin configuration without an ear guide, the cable is wound tightly and evenly. This is a quality cable build as well as the overall unit.
Fit is a bit on the large size, but even with my preferred foam tips, the fit is good, but does stick out a bit. The nob on the inside of the inner shell does not bother my concha too much and longer listening sessions are quite good, comfort-wise.
Sound:
Summary:
Fresh from my Corsa review along with a couple of headphones, I was expecting a solid hit; since I liked the Corsa. In talking with @B9Scrambler, who reviewed the Grace, he also appreciated the tuning of the Corsa and very much liked the Grace. Considering it worthy of the TOTL status, we imagined where the Onyx would fit. Having only heard the Corsa, I cannot fathom where this one lies. But based upon the sound, I would put it into the upper echelon of IEM’s.
Providing a solid bass, but not overwhelming, the lows come out strong when needed, and accepting of a backup role when called upon. On Alex Fox’s Love Is In The Air, you understand both aspects of the lows, as the melding of sound with the guitar and staccato syncopation of maracas and applause fit perfectly together. Mids are a bit less forward than the Corsa, which is not bad either. With a frontal attack of distinct clarity and detail, you are met with a very nice combination of detail and speed. The sound is not analytical or dry by any means and the timbre presents a sensation-based experience across the spectrum. Treble note is good and a bit extended; but not pushy or overly grating for my tastes. The signature melding of the three main points is good without any stepping on toes had.
Moar:
When presented with such a project, you immediately think about what is inside or what the cost might be. When I pushed for more details, Thibault did not bite. All is being kept under wraps and that is all right in my book. For what I hear is quite pleasing and on the richer, warmer side than not. This is also quite refreshing, because I have to evaluate what Road & Track calls the “price-independent rating.” As in no matter what the cost is, which model would you like?
Going through a unit, which is more analytical (Burson Funk) the Onyx cooperates and provides a clean, clear, crisp sound; without being dry or thin. The bass is taut, but not too deep reaching here. On David Bowie’s Conversation Piece, a recording from Ziggy Stardust, you quickly realize that back then bass was not very prominent in recordings. But nonetheless, it is pretty fast in decay, with no bleed into the mids. On this particular song, I would not call it boomy or reaching too deep. As another song might go deep, so will the Onyx, mirroring the recording nicely. Decay is still faster than attack, lending me to believe there is a dynamic driver with good tuning inside.
Mids come across as nearly vibrant and with a slight richness to it, which is quite nice. On Sant Tois, the female vocal is sublime coming in as nearly sensuous. I really like the song, and the treatment given by the Onyx. The female vocals might be a bit thin for some, but they are so sublime in nature, that you do not miss it. Add in the bass of the song as the song reaches the halfway point, and you get a good kick along with the foundation. Male vocals, such as the aforementioned David Bowie come across with a bit of warmth. I am finding this to be somewhat of an Earsonics trend; living on the richer, warmer side of life; even if only a bit.
Moving up the sound signature, there is a nice bit of sparkle to the treble, but without being too punchy or biting. Brian Setzer’s Smash Up On Highway One is a good example of how the upper end is treated. Using Qobuz, there is a bit of a withdrawn treble note, but I do believe this is to counter the song while providing a warmth to it. there is definitely a good push on the Burson, and an even warmer touch to the song on the rich, warm Shanling M6 Pro. I do not mind this at all, and switching to silicon tips, opens the treble note with very good vibrant tonality.
Soundstage comes across as a bit higher and wider than deep, and separation does suffer a bit as a result with my preferred foam tips. Switching to the double flange silicon tips evened that out, without losing the solid bass line. This yet again represents an IEM where you can tailor the sound with the tip of your choice. Layering is still very good as witnessed on the Take Five version from the Kenichi Tsunodo big Band. This is a fabulous rendition of the classic jazz song. As a result of the tinkering above, the Onyx does play nicely across many genre and can be somewhat tailored to your tastes with the tip of your choice.
Comparison:
*Not knowing the price, I compared the Onyx with all from the mid-tier Corsa to the totl Pneuma for reference. the price is now listed above as are specs.
Earsonics Onyx v Lime Ears Pneuma ($2100):
The Pneuma is a guest on my house for a good listening time. Having fully appreciated the other Lime Ears offerings I have reviewed such as the Aether, I had high hopes for the Pneuma. And my hopes were met admirably. The Pneuma is a stellar multi-driver version of a TOTL from a well-respected manufacturer. Detail retrieval is at the top of the class. Bass can be adjusted by a switch on the back, and mids are simply sublime, even if a bit too far forward for my tastes. If it were a quick listen and decision, this would be easy, the Lime Ears product would come home with me and I would be satisfied. But at this price, longer listens are needed. And here, the subtleness of tonality in the Onyx plays catch up nicely. Where the Pneuma (that really is a pain to type...) comes across as bright and vibrant up top, the Onyx comes across with a much subtler detail note.
Based upon longer listens, the fit of the Pneuma comes into play as well. It is large, and even with the silicon shaped foam tips makes for a somewhat tedious listen after a longer session. Switching to pure silicon tips does tend to make a difference. Both of these are quite good, and very different.
Earsonics Onyx v Empire Ears Hero ($1349):
The next level down, I pulled out on Founder’s Edition Hero. After having heard this on tour, I purchased a model from a very nice gent secondhand. I do not regret it, except for the hot treble. Using the new W9+ dynamic driver, this may be a Legend X-lite, but not so with the sound. Excellent detail and that deep, and I mean deep reaching bass are superb. Had EE turned the treble down a bit, this might be the perfect IEM for me. Nonetheless, it still gets a fair amount of listening beside for reviews. Fit is better than the Lime Ears above, but still falls behind the onyx. And even with Comply’s I can listen for a good long time. The only thing that suffers to me are the mids. They are still vibrant and rich, but suffer a bit trying to catch up to that booming low end and sparkly top end. Never fear, for Natalie Merchant on Peppery Man sounds as sensuous as ever.
The Onyx and Hero would be a tough decision and may need a longer trial period than some stores would be willing to offer. Smooth, richer tonality of the Onyx, versus superb bass, sparkly treble and a tone, which is more niche oriented.
Earsonics Onyx v Campfire Audio Dorado 2020 ($999):
The Dorado 2020 is the bassy unit of the CFA line below the trio at the top. As such is can be the forgotten one. The Vega below has deeper bass, and those about have “better” technicals. But to me, the Dorado is the unsung hero in the CFA lineup for it combines all of the best attributes at an very decent price. Compared to the Onyx, it does suffer in clarity as well as having the mids pushed too far forward for my tastes. But the bass makes entry worth it to me such as on Jesse Clarke’s Number 5, which is deep reaching and plays perfectly with the guitar and violin work of the song. The Onyx cannot match that vibrancy, but counters with a smoothness, which the CFA cannot. Other than the Solaris 2020, the Dorado 2020 would be my choice in the lineup (OK, or the Ara/Andromeda...).
Earsonics Onyx v Campfire Audio Vega 2020 ($699):
Moving “down” the line, the Vega is the undisputed bass king of the CFA line. Upon first iteration, many marveled at the thunderous bass emitting from it. I liked it a lot but ended up with the EE Legend X instead. Moving forward to 2020, the bass has been tamed a bit, but without losing that deep rumbling reach. What has improved are the other notes within. Treble note does sound a bit thin, especially with female vocals and instruments, which reach that level, but it is better than the past tuning to me. Mids are quite good for the tuning but do tend to suffer a bit. The Vega 2020 is simply a raucous good time, which picks you up with every note. If you cannot raise your level of spunk listening to the Vega, then you may need to seek help. Compared to the Onyx they are pretty much diametrically opposite. Smooth textured notes of the Onyx, versus thunderous bass and the fun factor of the Vega. Your choice. I really like both.
Earsonics Onyx v Earsonics Corsa ($450):
The Corsa came my way and after a thorough listen, I appreciated the tuning. In talking with others that had more experience with the Earsonics lineup, they passed along that the tuning was quite good across the board and they appreciated the efforts put forth. The Corsa is a solid entry at this price, with very good mids, which while a bit too far forward to me are clear and detailed. Bass is adequate, but not thumping. Treble provides good sparkle without becoming harsh or intolerant. If you like good, solid mids with very good detail, then the Corsa is worth a listen.
Comparatively, the Onyx presents a more laidback signature without as much mid push. Detail is still very good as well, and with better bass; it is not a leap to assume the Onyx has replaced the Grace as the flagship model for Earsonics. It is equally probable that it slots between the Grace and Corsa. Either way, it is still quite good, and my choice of the two here.
Finale:
Pulling out an “old friend,” the EarMen TR-Amp while playing Space Oddity from David Bowie, I realize the strengths of the Onyx. Purposing a full richness of sound, without being too warm; the Onyx provides a nicely laid-back signature, but without the boring or dullness often associated with a laid-back signature. The TR-Amp is a warmer sounding DAC/Amp and still one of my all-time favorite portables/desktop units. There is sufficient detail to warrant consideration amongst the finer flagships but not enough to be considered too articulate or analytical. A warmth of the mid-section permeates the sound as well. Some will find this odd, until their ears acclimatize to it, but I find it quite good.
I am still not sure where the Onyx fits on the scale and will of course update the review as information comes forth. But for now, suffice to state that the Onyx to me definitely fits above the Corsa lending me to believe it either fills a gap or goes above the Grace. No bother, for it is good in both places and should be considered as worthy of a longer listen if you care for the French vision of listening pleasures. To date, I surely do.
ONYX direct link
Intro: The Onyx is Earsonic’s new addition to the lineup. A well-kept secret, little is known about it, until now. I thank Earsonics for the faith in my abilities, and the sample. This is a production unit, and I will provide an honest evaluation of the unit to the best of my abilities. At the time of publication, I know not the price nor configuration, hence the comparison to many at differing prices below. I think that is fair, especially after my first listen, which came across as good and towards the higher end of the spectrum (just a guess).
Specs:
In The Box:
Onyx IEM
Silver braided cable
6 sets of tips: 2-foam (s, m); 2-silicon (m, l); 2-silicon double flange (s, l)
Cleaning brush
Warranty card
Personalized builder card
Gear Used/Compared:
Lime Ears Pneuma ($2100)
Empire Ears Hero ($1349)
Campfire Audio Dorado 2020 ($999)
Campfire Audio Vega 2020 ($699)
Earsonics Corsa ($450)
MBP/Burson Funk
MBP/iFi Pro iCAN/iDSD
Shanling M6 Pro
Songs:
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:
Coming in what I am getting used to as the matte black box of Earsonics, which is not bad by the way; the Onyx fits the subdued nature of the brand. Lifting the front flap, the box opens clamshell-style. Presented with the Onyx, silver cable and larger rectangular case, the look is simple and a bit ominous. Like seeing the shadow of an all-black Mustang Cobra. Muscular in presentation, but it is the parts unknown and unseen, which cause pause and respect. The accessories box is on the right, which houses the tips and cleaning tool.
Inside the case you will find the signature card of the builder, which I do consider a nice touch. Simple, straightforward and black save the cable.
Build/Fit/Finish:
The shell is of familiar shape for those who pay attention or own Earsonics models. The familiar three-piece shell has a flat “stamped” logo on the faceplate, which continues the uneven thickness of the piece, which I indeed like. The back end of the faceplate is also where the two vent slots are, which help the bass note breathe. The inner shell has the trademark “swept seashell” lines to it, which I do like as well. The nozzle is angled for a good fit, too aiding in the overall fit.
The silver cable is of four-braid variety, tight and even. Splitting inside a simple aluminum Y-splitter replete with logo, the then two-strand cable includes a clear harder plastic cinch. Ending in a 2-pin configuration without an ear guide, the cable is wound tightly and evenly. This is a quality cable build as well as the overall unit.
Fit is a bit on the large size, but even with my preferred foam tips, the fit is good, but does stick out a bit. The nob on the inside of the inner shell does not bother my concha too much and longer listening sessions are quite good, comfort-wise.
Sound:
Summary:
Fresh from my Corsa review along with a couple of headphones, I was expecting a solid hit; since I liked the Corsa. In talking with @B9Scrambler, who reviewed the Grace, he also appreciated the tuning of the Corsa and very much liked the Grace. Considering it worthy of the TOTL status, we imagined where the Onyx would fit. Having only heard the Corsa, I cannot fathom where this one lies. But based upon the sound, I would put it into the upper echelon of IEM’s.
Providing a solid bass, but not overwhelming, the lows come out strong when needed, and accepting of a backup role when called upon. On Alex Fox’s Love Is In The Air, you understand both aspects of the lows, as the melding of sound with the guitar and staccato syncopation of maracas and applause fit perfectly together. Mids are a bit less forward than the Corsa, which is not bad either. With a frontal attack of distinct clarity and detail, you are met with a very nice combination of detail and speed. The sound is not analytical or dry by any means and the timbre presents a sensation-based experience across the spectrum. Treble note is good and a bit extended; but not pushy or overly grating for my tastes. The signature melding of the three main points is good without any stepping on toes had.
Moar:
When presented with such a project, you immediately think about what is inside or what the cost might be. When I pushed for more details, Thibault did not bite. All is being kept under wraps and that is all right in my book. For what I hear is quite pleasing and on the richer, warmer side than not. This is also quite refreshing, because I have to evaluate what Road & Track calls the “price-independent rating.” As in no matter what the cost is, which model would you like?
Going through a unit, which is more analytical (Burson Funk) the Onyx cooperates and provides a clean, clear, crisp sound; without being dry or thin. The bass is taut, but not too deep reaching here. On David Bowie’s Conversation Piece, a recording from Ziggy Stardust, you quickly realize that back then bass was not very prominent in recordings. But nonetheless, it is pretty fast in decay, with no bleed into the mids. On this particular song, I would not call it boomy or reaching too deep. As another song might go deep, so will the Onyx, mirroring the recording nicely. Decay is still faster than attack, lending me to believe there is a dynamic driver with good tuning inside.
Mids come across as nearly vibrant and with a slight richness to it, which is quite nice. On Sant Tois, the female vocal is sublime coming in as nearly sensuous. I really like the song, and the treatment given by the Onyx. The female vocals might be a bit thin for some, but they are so sublime in nature, that you do not miss it. Add in the bass of the song as the song reaches the halfway point, and you get a good kick along with the foundation. Male vocals, such as the aforementioned David Bowie come across with a bit of warmth. I am finding this to be somewhat of an Earsonics trend; living on the richer, warmer side of life; even if only a bit.
Moving up the sound signature, there is a nice bit of sparkle to the treble, but without being too punchy or biting. Brian Setzer’s Smash Up On Highway One is a good example of how the upper end is treated. Using Qobuz, there is a bit of a withdrawn treble note, but I do believe this is to counter the song while providing a warmth to it. there is definitely a good push on the Burson, and an even warmer touch to the song on the rich, warm Shanling M6 Pro. I do not mind this at all, and switching to silicon tips, opens the treble note with very good vibrant tonality.
Soundstage comes across as a bit higher and wider than deep, and separation does suffer a bit as a result with my preferred foam tips. Switching to the double flange silicon tips evened that out, without losing the solid bass line. This yet again represents an IEM where you can tailor the sound with the tip of your choice. Layering is still very good as witnessed on the Take Five version from the Kenichi Tsunodo big Band. This is a fabulous rendition of the classic jazz song. As a result of the tinkering above, the Onyx does play nicely across many genre and can be somewhat tailored to your tastes with the tip of your choice.
Comparison:
*Not knowing the price, I compared the Onyx with all from the mid-tier Corsa to the totl Pneuma for reference. the price is now listed above as are specs.
Earsonics Onyx v Lime Ears Pneuma ($2100):
The Pneuma is a guest on my house for a good listening time. Having fully appreciated the other Lime Ears offerings I have reviewed such as the Aether, I had high hopes for the Pneuma. And my hopes were met admirably. The Pneuma is a stellar multi-driver version of a TOTL from a well-respected manufacturer. Detail retrieval is at the top of the class. Bass can be adjusted by a switch on the back, and mids are simply sublime, even if a bit too far forward for my tastes. If it were a quick listen and decision, this would be easy, the Lime Ears product would come home with me and I would be satisfied. But at this price, longer listens are needed. And here, the subtleness of tonality in the Onyx plays catch up nicely. Where the Pneuma (that really is a pain to type...) comes across as bright and vibrant up top, the Onyx comes across with a much subtler detail note.
Based upon longer listens, the fit of the Pneuma comes into play as well. It is large, and even with the silicon shaped foam tips makes for a somewhat tedious listen after a longer session. Switching to pure silicon tips does tend to make a difference. Both of these are quite good, and very different.
Earsonics Onyx v Empire Ears Hero ($1349):
The next level down, I pulled out on Founder’s Edition Hero. After having heard this on tour, I purchased a model from a very nice gent secondhand. I do not regret it, except for the hot treble. Using the new W9+ dynamic driver, this may be a Legend X-lite, but not so with the sound. Excellent detail and that deep, and I mean deep reaching bass are superb. Had EE turned the treble down a bit, this might be the perfect IEM for me. Nonetheless, it still gets a fair amount of listening beside for reviews. Fit is better than the Lime Ears above, but still falls behind the onyx. And even with Comply’s I can listen for a good long time. The only thing that suffers to me are the mids. They are still vibrant and rich, but suffer a bit trying to catch up to that booming low end and sparkly top end. Never fear, for Natalie Merchant on Peppery Man sounds as sensuous as ever.
The Onyx and Hero would be a tough decision and may need a longer trial period than some stores would be willing to offer. Smooth, richer tonality of the Onyx, versus superb bass, sparkly treble and a tone, which is more niche oriented.
Earsonics Onyx v Campfire Audio Dorado 2020 ($999):
The Dorado 2020 is the bassy unit of the CFA line below the trio at the top. As such is can be the forgotten one. The Vega below has deeper bass, and those about have “better” technicals. But to me, the Dorado is the unsung hero in the CFA lineup for it combines all of the best attributes at an very decent price. Compared to the Onyx, it does suffer in clarity as well as having the mids pushed too far forward for my tastes. But the bass makes entry worth it to me such as on Jesse Clarke’s Number 5, which is deep reaching and plays perfectly with the guitar and violin work of the song. The Onyx cannot match that vibrancy, but counters with a smoothness, which the CFA cannot. Other than the Solaris 2020, the Dorado 2020 would be my choice in the lineup (OK, or the Ara/Andromeda...).
Earsonics Onyx v Campfire Audio Vega 2020 ($699):
Moving “down” the line, the Vega is the undisputed bass king of the CFA line. Upon first iteration, many marveled at the thunderous bass emitting from it. I liked it a lot but ended up with the EE Legend X instead. Moving forward to 2020, the bass has been tamed a bit, but without losing that deep rumbling reach. What has improved are the other notes within. Treble note does sound a bit thin, especially with female vocals and instruments, which reach that level, but it is better than the past tuning to me. Mids are quite good for the tuning but do tend to suffer a bit. The Vega 2020 is simply a raucous good time, which picks you up with every note. If you cannot raise your level of spunk listening to the Vega, then you may need to seek help. Compared to the Onyx they are pretty much diametrically opposite. Smooth textured notes of the Onyx, versus thunderous bass and the fun factor of the Vega. Your choice. I really like both.
Earsonics Onyx v Earsonics Corsa ($450):
The Corsa came my way and after a thorough listen, I appreciated the tuning. In talking with others that had more experience with the Earsonics lineup, they passed along that the tuning was quite good across the board and they appreciated the efforts put forth. The Corsa is a solid entry at this price, with very good mids, which while a bit too far forward to me are clear and detailed. Bass is adequate, but not thumping. Treble provides good sparkle without becoming harsh or intolerant. If you like good, solid mids with very good detail, then the Corsa is worth a listen.
Comparatively, the Onyx presents a more laidback signature without as much mid push. Detail is still very good as well, and with better bass; it is not a leap to assume the Onyx has replaced the Grace as the flagship model for Earsonics. It is equally probable that it slots between the Grace and Corsa. Either way, it is still quite good, and my choice of the two here.
Finale:
Pulling out an “old friend,” the EarMen TR-Amp while playing Space Oddity from David Bowie, I realize the strengths of the Onyx. Purposing a full richness of sound, without being too warm; the Onyx provides a nicely laid-back signature, but without the boring or dullness often associated with a laid-back signature. The TR-Amp is a warmer sounding DAC/Amp and still one of my all-time favorite portables/desktop units. There is sufficient detail to warrant consideration amongst the finer flagships but not enough to be considered too articulate or analytical. A warmth of the mid-section permeates the sound as well. Some will find this odd, until their ears acclimatize to it, but I find it quite good.
I am still not sure where the Onyx fits on the scale and will of course update the review as information comes forth. But for now, suffice to state that the Onyx to me definitely fits above the Corsa lending me to believe it either fills a gap or goes above the Grace. No bother, for it is good in both places and should be considered as worthy of a longer listen if you care for the French vision of listening pleasures. To date, I surely do.
Attachments
cocolinho
would be interesting to compare with the Blade, both hybrids and same price range
ngoshawk
Now that the price is known, I will probably edit my review and add the Dunu SA6 as part of the comparison.
Thank you for reading the review!
Thank you for reading the review!
This unit was sent to me for the purpose of a review. The thoughts and opinions in this review are strictly my own. I would like to thank Thibault at Earsonics for reaching out and including me in the unveiling of the Onyx!
I got an email from Thibault from Earsonics asking me if I was interested in writing a review of a new IEM, the Onyx. Surprised and honored, I graciously accepted. I enquired about the price and the driver configuration, and I was told that it was confidential. A mystery! What would I get? In about a week or so, I was delighted to receive them in the mail, and immediately started listening to them. After 21 days of daily listening and burn in, I can happily say, Audiophiles rejoice! The Onyx is a 5-star winner that has astounded me from the moment I first heard them out of the box! It is a rich, vivid, powerful sound with great treble, rich mids, and tons of bass and I want to tell you all about it, so let’s take a closer look!
FIRST THINGS FIRST
Not knowing the price point or driver configuration of the Onyx (until about a week ago), and loving them the way I do, started me thinking about real vs perceived value. I used to be a door-to-door bed salesman. They taught us in training that there are just some people in the population that just choose the most expensive option, no matter what. Best bed we sold was just parts from other beds switched around, with a different baseboard. They slap a prohibitive price tag on it ($5,000), for people that want “the best” no matter the cost. It was a popular model. But what was its true value? It was all just perception. As audiophiles, we have to protect our wallets. There is plenty of overpriced items that are either poor build quality, and/or mediocre performance, that cost a ton of bucks. I have auditioned many $1,000+ IEMS and all of them were overpriced for what they offered. Either the bass was bad, or the mids were too forward, or the overall presentation was just unimpressive, but the Onyx sounds better than all of them. I do not know what the Onyx will retail for (turns out it is 490 Euros, or about $560!), but I can tell you they have killer sound quality. They trade blows with my custom Valkyries ($1,700) tho the Valkyries have better resolution and soundstage depth. The Valkyrie’s are relaxed and U shaped. The bass is deep and refined and the treble is smooth yet detailed. In contrast, the signature presented by the Onyx is bold and vivid and highly resolving. Does that put the price of the Onyx at$1,000+ Or even more? What is its true value? Does it take you to that audiophile place you want to go? How much are you willing to pay to get there? For me, the Onyx takes me to a place I want to be. What is that ‘dollar value’ worth to me? I choke at the thought of guessing it’s price point! Let’s just wait and see… (When I actually found out the price of the Onyx, I was shocked!).
As audiophiles we are always on the lookout for value. For example, my Shanling M8 DAP ($1,660). With dual AK4499 dacs, the Shanling has a beautiful presentation that sounds ever so slightly warm, with great musicality, detail, and also great bass with layering and texture, and tons of power. It was totally worth the money because it lays down a quality foundation for anything you wanted to throw at it- IEM, planar headphones, or cable wise. All things were improved tonally due to the foundation of the M8. Plus, I have used it every single day since I bought it a year and a half ago. That’s value.
The same principle is at work with my PWAudio Monile50s cable ($1,000). 4 conductors of ultra-pure copper, and 4 conductors of super pure silver, the cable exhibits robust, rich, and layered bass, as well as textured mids, and astonishingly clear and resolving highs, it opens up the soundstage and it has great dynamics and perfect synergy with the M8. The copper brings out the richness of the low end, while the silver allows the treble to shine, and contributes to the overall level of resolution and clarity and depth. The cable and the DAP act as force multipliers; they have synergy, they will ensure that whatever IEM or headphone is plugged into it, it will be getting the highest quality signal possible. Welcome to your new home, Mr. Onyx! I can tell you up front; once they were burned in, the Onyx played beautifully with the M8 and the Monile50s. The synergy is perfect. The 8 wire Monile gives the Onyx the dynamic range to breathe, expanding the soundstage to ‘out of head’ proportions, with deep, rich bass to boot. With this trio together, I can tell you the Onyx delivers a quality audiophile experience, albeit with its bold, powerful sound signature. Before we get to analyze tracks with impressions, we have to talk about the unboxing experience, and then most important of all we have to burn these in to 150+ hours before they settle in. I kept a little ‘burn-in’ diary along the way, and we will talk about that too!
OUT OF BOX EXPERIENCE
Delivery day, I cut open the package, and took out a simple rectangular paper black box with raised glossy embossed letters, which read Onyx. Opening it, I beheld the Onyx for the first time… Holy IEM’s, Batman! If Batman was to have an IEM, this would be it!…Indeed, Boy Wonder, this thing looks boss! A single IEM weighs in at over 15g, and it seems to be made of high-quality aircraft grade anodized black aluminum. This thing is built like a tank! Could it be made of steel? I had the stainless steel Andromedas a while back, and they were about as heavy…maybe a little more, but whatever this is made of it is beautiful to behold. Oozes quality and durability. Has ‘heft’ and weight.
I attached the Monile50s, put on some yellow Spinfit tips, and played some pop, top 40 type stuff. Out of the box, the bass is huge and lacks a bit of control, and the treble was a teeny bit too hot. As of now, after a few hours, these exhibit a little bit of bass ‘bloom’, but it does not interfere with the clarity or space of the mids…The mids are forward but are allowed to breathe in their own space, tho there was clearly room for improvement. The sheer volume of the bass is astounding! Seems to be rather ‘tip dependent’…tried a few different things, including stock foams, Comply foams, silicones, etc. Not better or worse, just different…tip rolling will be fun with this. It is also easy to drive, used low gain for first time in year and a half on many recordings. High gain works best most of the time tho, the Onyx seems to come more ‘alive’ in high gain, even at a lower volume.
INITIAL IMPRESSIONS: LARGER THAN LIFE
The Onyx has a beautiful mix of low-end power, midrange texture and layering, and a perfect top-end, with great speed and dynamics. This is not a neutral monitor. It is an engaging, but versatile tuning that pairs fantastically well with hard rock, pop, and EDM with a ‘robust’ but detailed performance. The overall presentation is slightly w-shaped, and it is beautifully complemented with a ton of PRaT. The Onyx is big sounding with a ton of depth and dynamics. Lower-mids pick up a bit of warmth and power from the forward low-end so they sound firmly planted. Classical, especially with good recordings, can be stunning, tho some symphonic works had wonky timbre and a bit too much volume in the bass.
Sometimes when you have a mid-centric presentation, the vocals are so far forward that when you adjust the volume to back up the vocals away from your nose, the bass is underwhelming, and the dynamics of the sound signature seem to collapse. Now when I say move the vocals back, that means I want to hear a vocalist about 10 feet in front of me, I don’t need them 3 inches from my face! That is the brilliance of the Onyx; when those wonderfully layered and textured and vivid mids are presented at a comfortable volume, you still get a rich, deep, satisfying bass and treble experience. Succulent bass. The sound presentation is electrifying, but there is also a delicacy to the texture and dynamics. Cymbal crashes are at times sublime and splash out to infinity with subtle shades of chiaroscuro contrast against the black background.
I hear a lot of power, but I also here a lot of micro dynamics and micro details as well as ‘micro-textures’. The treble is always splashy, and it has great sizzle, texture, body, and extension, and I never feel like they are dark or that they are lacking air. The treble is tastefully done. Sub bass has great reverb and impact. Sub and mid ‘Bass Cannons’ engage when called upon (especially down tempo and techno or metal), or whenever the recording requires it. When the full power of the bass is unleashed, during a song like Kashmir off the Led Zeppelin live album, Celebration Day, the mid bass and sub bass volume and dynamics are earth shattering. It belies belief that there is just a mere 1 DD involved here! As good as they sound out of the box, these need to be burned in. The best is yet to come. Let’s walk through it…
THE BURN IN.
The most immediate thing the Onyx needs is greater control, especially in the bass. After merely one night of burn in, the sound is much better in terms of bass control and hot highs… The highs are much smoother, and the depth and layering has improved a touch…Cannot wait to see what a full week of burn in does. Spent the week chewing my knuckles waiting for burn in to finish…Would it all come together? The sheer ‘volume’ of the bass can be overwhelming at times…. Will it be tamed? Yes, greatly tamed after 1 night…bringing out the layering and adding much needed control across the spectrum. There is a lot of power here, and it must be presented carefully…Will the Onyx deliver?
After 2 nights, imaging is improving, as well as sound stage and especially layering and texture. Bass control is continuing to improve as well. Highs are smoother, but still detailed and crisp. Mids can be a tad shouty at times, even after 3 nights burn in, but the mids have smoothed out substantially. The 4th burn in session lasted 12 hours and I was nervous about the mids being too forward, now that the bass has much more control…I was delighted to find that the mids are exhibiting much better control as well and are amazing. I can hear, (as I predicted, or at least hoped) that the soundstage and layering is improving, i.e., clarifying and opening up, and they are…
5th day of burn in and the layering and depth of the mids is coming out even more… deeper and deeper we can see into the mix, and also the clarity and extension of the treble becomes more resolved and refined. The old cliché’, “I’m hearing things I never heard before!” comes to mind. This is where you hear the micro dynamics. Treble has great air and shimmer. Bass Canons… The main trick here is the ‘separation’ the bass and the mids and the highs all have from each other as they all operate in their own space. As big and rich as the bass is, the mids are rich and vivid in their own right, and they complement the bass, which operates in its own dynamic space. I’m starting to realize the direction this IEM is taking, and I like it a lot.
After 100+ hours of burn in, these have gotten almost perfect. Pitch black background. The bass now is under great control, and, indeed, great control across the spectrum. It is not bass canons all the time like out of the box, now it’s just when called upon in the recording, and it delivers this bass with great authority and precision. I am continually shocked how easily the Onyx answers the call when bass artillery is needed in a song. More than that, when the bass is a simple bass line playing in the rear or side of the mix, the Onyx accommodates beautifully, and the bass just stays where it was meant to be under great control and accuracy. Throw on a techno downtempo, and suddenly bass canons engage. That shows amazing control and dynamics. I think there is still a little more clarity, control, and depth to be gained, tho, so let’s take it to 150 hours and see what we see…But these sound damned fine right now…
At 150+ hours, and I think it is done. Some more depth and clarity was gained. Soundstage opened up a little more. I may give them another few nights, (I did) I still feel there is some more depth to be gained (there was). I wanted to walk through the burn-in process to illustrate how the sound signature changes over time on the Onyx, how it ‘settles in’. Ok, now I think we are ready for some critical listening and sound impressions. Let’s see the final product in action. I will try a bunch of different genres to give you a sense of what these babies can really do! Let’s go!
SOUND IMPRESSIONS
I do not think it is necessary to do extensive sound impressions, I am more interested in sampling a range of genres. The Onyx breathes a lot of energy into recordings. Old, stale favorites like U2’s Joshua Tree, Bowie’s Tonight, and Talking Head’s Remain in Light and Little Creatures are resurrected with new energy and perspective. Low gain is best; give the dynamics room to breathe. Higher gain makes the bass a bit ‘boomy’ sometimes when using silicone tips, and the increased volume can sound shouty at times. Foam tips give greater control hence allowing you to play at higher gain modes to increase dynamics and not become strident or shouty in the process, but this is at the cost of clarity, plus the foam tips can sound a shade darker than the silicones.
Let’s start with some ‘pop’, top 40 one hit wonder type songs. In Tin Man by America, everything just sounds perfect. The bass is tasteful and full sounding. The guitars and vocals occupy their own space, and the timbre and tonality are perfect. The backing vocals sound smooth and rich. In Run to You by Bryan Adams, the presentation is just spectacular. The bass, again, is right in front, and it is driving the emotion of the song, and contrasted against the mids, it just sounds fantastic…the Onyx just kills it. The trick for me, is that because these are so sensitive, there is a tendency to want to ‘crank it up’ and tap into those reserves of power. You certainly can do that, but, again, I find higher volume levels fatiguing over time. In what is Love by Haddaway, lol, what can I say? The presentation is rich and bold, yet effortless and ‘musical’ at the same time. Even at low gain, I am only at 40/100 volume. The cymbal crashes are sublime…The treble is just perfect…not too much, but not too rounded either…It has energy and body and texture, and it sounds great, especially against the black background.
Let’s take a look at some random classical works. In Vivaldi’s Concerto #2 RV578, there is a layered, vivid presentation of the strings. The bass and cello sound wonderfully rich and emotive, and they are not to boomy or loud, which can sometimes be the case on ‘strings’ or symphonic type works, but here the bass is fine. There is also a sense of ‘air’ and space around the performance. Looking at Schumann’s Piano trio #3, Everything sounds great; microdetails and micro textures…strings and piano have great air and space, and the bass is not boomy at all, but it does have slightly more ‘body’ than a strict neutral presentation would offer. Sampling a beautiful vocal performance from Bach’s Mass in B Minor off the Bach Violin and Voice album. The contrast between the cello and the voice is stunning. Keeping the volume lowwww to contain the rich dynamics, the performance is vivid and exciting with tons of verve and zest. The emotion of the performances really captured by the Onyx. Again, the bass, as is the case in many classical works, borders on the edge of ‘too much’ without ever crossing the line. Again, if you mostly listen to classical, you may want to find something with more neutrality. Switching to a pure symphonic work, Saint-Saens Symphony #3, I hear rich, detailed strings that exhibits great soundstage, especially in the interplay between the harpsichord, the strings, and the woodwinds. Again, the bass has a good deal of ‘body’, but it is also rich, layered and has great rumble when called upon.
Let us move on to Techno/Dub genre of music. I want to cover the genre just to be thorough, but I think you know what I am going to say: It sounds fantastic. This type of ‘modern’ music which often eschews any actual ‘instrument’ is actually very easy for a competent sound system to reproduce, after all, it isn’t as complex or challenging as reproducing, say, a full symphony. Having said that, this music sounds fantastic, and it’s due to 3 things: the bass (and sub bass), the soundstage, and the imaging. On Divination One by Bill Laswell, oceans of bass and sub bass rumble and fill a vast soundscape. The vocal and synthesizer treatments hang in a 3D space with perfect air and location. On Five Beat, Part 1 by Jah Wobble and Deep Space, the opening bass chords are deep and full but accurate and precise. There is no bloat; this bass performance on this IEM is highly accurate and precise. The guitar effects hang in that 3D space, that vast soundstage, and occupy their own reality in the most hypnotizing of ways. The actual sonic elements - the ‘notes’ if you will - all have this vivid, electrifying quality about them. Stunning.
Finally, let’s take a look at some random Jazz. These recordings are off Chesky records. Listening to Jazz in the New Harmonic, the performance is just stunning. The bass is full, but it works here; the stand up bass compliments the cymbals and the trumpet wonderfully, there is great energy and dynamics here. The saxophone comes in and it has a rich, sonorous quality. In Miles Away by Sara K, female vocals sounds rich and engaging. The bass is perfect…a little full sounding with great body, but the layering and the micro details and dynamics are perfect. Not ‘hyper-detailed’ but the whole presentation comes together with great musicality. Sara K’s voice is perfect. I’m running out of adjectives, folks, the Onyx is a great IEM.
FINAL THOUGHTS
I have had the Onyx for 20 days, now, and I simply cannot stop listening to them! They have a fun, addictive sound. To seal the deal, the stock cable and tips are rather decent! I generally do not like stock cables or tips, but this one just works for me. Stock cable off my cell phone and YouTube music sounds fantastic! To me that increases value, you don’t need fancy cables or expensive DAPs to experience what the Onyx can do. Tip rolling can be your friend here, with nothing ever sounding ‘bad’: each tip shapes the sound in different way, and it is really just a matter of preference. The stock silicone tips sounded great to me, they just kept getting loose. Spiral dots are tight and punchy. Sound stage opens up. Strings and bass in symphonic works sound more natural, and there is a bit more air and space. The Sedna wouldn’t fit on the barrel. Yellow Spinfits are great too, and it was the Spiral Dots and the Yellow Spinfits that I listened to the most. Aqua Marine Spinfit sounds great, adding a touch more control across the spectrum. Has all the clarity of the yellow, but also a little bit more control of the bass, which is welcome. Now the Final E…great control but makes the soundstage a bit more intimate and seems to diminish the treble and treble extension in general. Honestly, I don’t care for the Final E on the Onyx, but your mileage may vary. Stock Delkoni style foam tips are also an interesting option. Controls dynamics and mostly resolves bass volume issues, but gives a much darker presentation, and the high end lose some of its dynamics. Symphonic works sound more neutral, but still lean a little ‘rich’ in their tonality and presentation, due mostly to the bass, which while greatly controlled, especially with the foam tips, is still a bit forward.
CONCLUSION
Earsonics deserve praise. They delivered the goods, and they did it at a reasonable, affordable price. Even if the Onyx was more expensive than it is, it would be worth it, because it excels at what it was designed to do. Perfect execution. Force multiplier stuff. Caveat emptor. This is value. For the Onyx, the end result is more than the sum of its parts. The Onyx isn’t just all about power, it is also a beautifully refined, tastefully tuned experience. It is not for treble heads nor the faint of heart. Neither is it for those who are looking for anything ‘moderate’, or ‘relaxed’ or ‘reference’. If you are looking for an ‘all-rounder’, this will not be for you. If you listen to predominantly classical, I would move on and find something more ‘neutral’ unless of course you like a bass that can sometimes be a little forward sounding. But in just about every other genre, if you are looking for a ‘larger than life’ earphone with tons of Power, resolution, and bass that hits like the Hammer of the Gods…then the Onyx should be at the top of your list. Run to it.
I got an email from Thibault from Earsonics asking me if I was interested in writing a review of a new IEM, the Onyx. Surprised and honored, I graciously accepted. I enquired about the price and the driver configuration, and I was told that it was confidential. A mystery! What would I get? In about a week or so, I was delighted to receive them in the mail, and immediately started listening to them. After 21 days of daily listening and burn in, I can happily say, Audiophiles rejoice! The Onyx is a 5-star winner that has astounded me from the moment I first heard them out of the box! It is a rich, vivid, powerful sound with great treble, rich mids, and tons of bass and I want to tell you all about it, so let’s take a closer look!
FIRST THINGS FIRST
Not knowing the price point or driver configuration of the Onyx (until about a week ago), and loving them the way I do, started me thinking about real vs perceived value. I used to be a door-to-door bed salesman. They taught us in training that there are just some people in the population that just choose the most expensive option, no matter what. Best bed we sold was just parts from other beds switched around, with a different baseboard. They slap a prohibitive price tag on it ($5,000), for people that want “the best” no matter the cost. It was a popular model. But what was its true value? It was all just perception. As audiophiles, we have to protect our wallets. There is plenty of overpriced items that are either poor build quality, and/or mediocre performance, that cost a ton of bucks. I have auditioned many $1,000+ IEMS and all of them were overpriced for what they offered. Either the bass was bad, or the mids were too forward, or the overall presentation was just unimpressive, but the Onyx sounds better than all of them. I do not know what the Onyx will retail for (turns out it is 490 Euros, or about $560!), but I can tell you they have killer sound quality. They trade blows with my custom Valkyries ($1,700) tho the Valkyries have better resolution and soundstage depth. The Valkyrie’s are relaxed and U shaped. The bass is deep and refined and the treble is smooth yet detailed. In contrast, the signature presented by the Onyx is bold and vivid and highly resolving. Does that put the price of the Onyx at$1,000+ Or even more? What is its true value? Does it take you to that audiophile place you want to go? How much are you willing to pay to get there? For me, the Onyx takes me to a place I want to be. What is that ‘dollar value’ worth to me? I choke at the thought of guessing it’s price point! Let’s just wait and see… (When I actually found out the price of the Onyx, I was shocked!).
As audiophiles we are always on the lookout for value. For example, my Shanling M8 DAP ($1,660). With dual AK4499 dacs, the Shanling has a beautiful presentation that sounds ever so slightly warm, with great musicality, detail, and also great bass with layering and texture, and tons of power. It was totally worth the money because it lays down a quality foundation for anything you wanted to throw at it- IEM, planar headphones, or cable wise. All things were improved tonally due to the foundation of the M8. Plus, I have used it every single day since I bought it a year and a half ago. That’s value.
The same principle is at work with my PWAudio Monile50s cable ($1,000). 4 conductors of ultra-pure copper, and 4 conductors of super pure silver, the cable exhibits robust, rich, and layered bass, as well as textured mids, and astonishingly clear and resolving highs, it opens up the soundstage and it has great dynamics and perfect synergy with the M8. The copper brings out the richness of the low end, while the silver allows the treble to shine, and contributes to the overall level of resolution and clarity and depth. The cable and the DAP act as force multipliers; they have synergy, they will ensure that whatever IEM or headphone is plugged into it, it will be getting the highest quality signal possible. Welcome to your new home, Mr. Onyx! I can tell you up front; once they were burned in, the Onyx played beautifully with the M8 and the Monile50s. The synergy is perfect. The 8 wire Monile gives the Onyx the dynamic range to breathe, expanding the soundstage to ‘out of head’ proportions, with deep, rich bass to boot. With this trio together, I can tell you the Onyx delivers a quality audiophile experience, albeit with its bold, powerful sound signature. Before we get to analyze tracks with impressions, we have to talk about the unboxing experience, and then most important of all we have to burn these in to 150+ hours before they settle in. I kept a little ‘burn-in’ diary along the way, and we will talk about that too!
OUT OF BOX EXPERIENCE
Delivery day, I cut open the package, and took out a simple rectangular paper black box with raised glossy embossed letters, which read Onyx. Opening it, I beheld the Onyx for the first time… Holy IEM’s, Batman! If Batman was to have an IEM, this would be it!…Indeed, Boy Wonder, this thing looks boss! A single IEM weighs in at over 15g, and it seems to be made of high-quality aircraft grade anodized black aluminum. This thing is built like a tank! Could it be made of steel? I had the stainless steel Andromedas a while back, and they were about as heavy…maybe a little more, but whatever this is made of it is beautiful to behold. Oozes quality and durability. Has ‘heft’ and weight.
I attached the Monile50s, put on some yellow Spinfit tips, and played some pop, top 40 type stuff. Out of the box, the bass is huge and lacks a bit of control, and the treble was a teeny bit too hot. As of now, after a few hours, these exhibit a little bit of bass ‘bloom’, but it does not interfere with the clarity or space of the mids…The mids are forward but are allowed to breathe in their own space, tho there was clearly room for improvement. The sheer volume of the bass is astounding! Seems to be rather ‘tip dependent’…tried a few different things, including stock foams, Comply foams, silicones, etc. Not better or worse, just different…tip rolling will be fun with this. It is also easy to drive, used low gain for first time in year and a half on many recordings. High gain works best most of the time tho, the Onyx seems to come more ‘alive’ in high gain, even at a lower volume.
INITIAL IMPRESSIONS: LARGER THAN LIFE
The Onyx has a beautiful mix of low-end power, midrange texture and layering, and a perfect top-end, with great speed and dynamics. This is not a neutral monitor. It is an engaging, but versatile tuning that pairs fantastically well with hard rock, pop, and EDM with a ‘robust’ but detailed performance. The overall presentation is slightly w-shaped, and it is beautifully complemented with a ton of PRaT. The Onyx is big sounding with a ton of depth and dynamics. Lower-mids pick up a bit of warmth and power from the forward low-end so they sound firmly planted. Classical, especially with good recordings, can be stunning, tho some symphonic works had wonky timbre and a bit too much volume in the bass.
Sometimes when you have a mid-centric presentation, the vocals are so far forward that when you adjust the volume to back up the vocals away from your nose, the bass is underwhelming, and the dynamics of the sound signature seem to collapse. Now when I say move the vocals back, that means I want to hear a vocalist about 10 feet in front of me, I don’t need them 3 inches from my face! That is the brilliance of the Onyx; when those wonderfully layered and textured and vivid mids are presented at a comfortable volume, you still get a rich, deep, satisfying bass and treble experience. Succulent bass. The sound presentation is electrifying, but there is also a delicacy to the texture and dynamics. Cymbal crashes are at times sublime and splash out to infinity with subtle shades of chiaroscuro contrast against the black background.
I hear a lot of power, but I also here a lot of micro dynamics and micro details as well as ‘micro-textures’. The treble is always splashy, and it has great sizzle, texture, body, and extension, and I never feel like they are dark or that they are lacking air. The treble is tastefully done. Sub bass has great reverb and impact. Sub and mid ‘Bass Cannons’ engage when called upon (especially down tempo and techno or metal), or whenever the recording requires it. When the full power of the bass is unleashed, during a song like Kashmir off the Led Zeppelin live album, Celebration Day, the mid bass and sub bass volume and dynamics are earth shattering. It belies belief that there is just a mere 1 DD involved here! As good as they sound out of the box, these need to be burned in. The best is yet to come. Let’s walk through it…
THE BURN IN.
The most immediate thing the Onyx needs is greater control, especially in the bass. After merely one night of burn in, the sound is much better in terms of bass control and hot highs… The highs are much smoother, and the depth and layering has improved a touch…Cannot wait to see what a full week of burn in does. Spent the week chewing my knuckles waiting for burn in to finish…Would it all come together? The sheer ‘volume’ of the bass can be overwhelming at times…. Will it be tamed? Yes, greatly tamed after 1 night…bringing out the layering and adding much needed control across the spectrum. There is a lot of power here, and it must be presented carefully…Will the Onyx deliver?
After 2 nights, imaging is improving, as well as sound stage and especially layering and texture. Bass control is continuing to improve as well. Highs are smoother, but still detailed and crisp. Mids can be a tad shouty at times, even after 3 nights burn in, but the mids have smoothed out substantially. The 4th burn in session lasted 12 hours and I was nervous about the mids being too forward, now that the bass has much more control…I was delighted to find that the mids are exhibiting much better control as well and are amazing. I can hear, (as I predicted, or at least hoped) that the soundstage and layering is improving, i.e., clarifying and opening up, and they are…
5th day of burn in and the layering and depth of the mids is coming out even more… deeper and deeper we can see into the mix, and also the clarity and extension of the treble becomes more resolved and refined. The old cliché’, “I’m hearing things I never heard before!” comes to mind. This is where you hear the micro dynamics. Treble has great air and shimmer. Bass Canons… The main trick here is the ‘separation’ the bass and the mids and the highs all have from each other as they all operate in their own space. As big and rich as the bass is, the mids are rich and vivid in their own right, and they complement the bass, which operates in its own dynamic space. I’m starting to realize the direction this IEM is taking, and I like it a lot.
After 100+ hours of burn in, these have gotten almost perfect. Pitch black background. The bass now is under great control, and, indeed, great control across the spectrum. It is not bass canons all the time like out of the box, now it’s just when called upon in the recording, and it delivers this bass with great authority and precision. I am continually shocked how easily the Onyx answers the call when bass artillery is needed in a song. More than that, when the bass is a simple bass line playing in the rear or side of the mix, the Onyx accommodates beautifully, and the bass just stays where it was meant to be under great control and accuracy. Throw on a techno downtempo, and suddenly bass canons engage. That shows amazing control and dynamics. I think there is still a little more clarity, control, and depth to be gained, tho, so let’s take it to 150 hours and see what we see…But these sound damned fine right now…
At 150+ hours, and I think it is done. Some more depth and clarity was gained. Soundstage opened up a little more. I may give them another few nights, (I did) I still feel there is some more depth to be gained (there was). I wanted to walk through the burn-in process to illustrate how the sound signature changes over time on the Onyx, how it ‘settles in’. Ok, now I think we are ready for some critical listening and sound impressions. Let’s see the final product in action. I will try a bunch of different genres to give you a sense of what these babies can really do! Let’s go!
SOUND IMPRESSIONS
I do not think it is necessary to do extensive sound impressions, I am more interested in sampling a range of genres. The Onyx breathes a lot of energy into recordings. Old, stale favorites like U2’s Joshua Tree, Bowie’s Tonight, and Talking Head’s Remain in Light and Little Creatures are resurrected with new energy and perspective. Low gain is best; give the dynamics room to breathe. Higher gain makes the bass a bit ‘boomy’ sometimes when using silicone tips, and the increased volume can sound shouty at times. Foam tips give greater control hence allowing you to play at higher gain modes to increase dynamics and not become strident or shouty in the process, but this is at the cost of clarity, plus the foam tips can sound a shade darker than the silicones.
Let’s start with some ‘pop’, top 40 one hit wonder type songs. In Tin Man by America, everything just sounds perfect. The bass is tasteful and full sounding. The guitars and vocals occupy their own space, and the timbre and tonality are perfect. The backing vocals sound smooth and rich. In Run to You by Bryan Adams, the presentation is just spectacular. The bass, again, is right in front, and it is driving the emotion of the song, and contrasted against the mids, it just sounds fantastic…the Onyx just kills it. The trick for me, is that because these are so sensitive, there is a tendency to want to ‘crank it up’ and tap into those reserves of power. You certainly can do that, but, again, I find higher volume levels fatiguing over time. In what is Love by Haddaway, lol, what can I say? The presentation is rich and bold, yet effortless and ‘musical’ at the same time. Even at low gain, I am only at 40/100 volume. The cymbal crashes are sublime…The treble is just perfect…not too much, but not too rounded either…It has energy and body and texture, and it sounds great, especially against the black background.
Let’s take a look at some random classical works. In Vivaldi’s Concerto #2 RV578, there is a layered, vivid presentation of the strings. The bass and cello sound wonderfully rich and emotive, and they are not to boomy or loud, which can sometimes be the case on ‘strings’ or symphonic type works, but here the bass is fine. There is also a sense of ‘air’ and space around the performance. Looking at Schumann’s Piano trio #3, Everything sounds great; microdetails and micro textures…strings and piano have great air and space, and the bass is not boomy at all, but it does have slightly more ‘body’ than a strict neutral presentation would offer. Sampling a beautiful vocal performance from Bach’s Mass in B Minor off the Bach Violin and Voice album. The contrast between the cello and the voice is stunning. Keeping the volume lowwww to contain the rich dynamics, the performance is vivid and exciting with tons of verve and zest. The emotion of the performances really captured by the Onyx. Again, the bass, as is the case in many classical works, borders on the edge of ‘too much’ without ever crossing the line. Again, if you mostly listen to classical, you may want to find something with more neutrality. Switching to a pure symphonic work, Saint-Saens Symphony #3, I hear rich, detailed strings that exhibits great soundstage, especially in the interplay between the harpsichord, the strings, and the woodwinds. Again, the bass has a good deal of ‘body’, but it is also rich, layered and has great rumble when called upon.
Let us move on to Techno/Dub genre of music. I want to cover the genre just to be thorough, but I think you know what I am going to say: It sounds fantastic. This type of ‘modern’ music which often eschews any actual ‘instrument’ is actually very easy for a competent sound system to reproduce, after all, it isn’t as complex or challenging as reproducing, say, a full symphony. Having said that, this music sounds fantastic, and it’s due to 3 things: the bass (and sub bass), the soundstage, and the imaging. On Divination One by Bill Laswell, oceans of bass and sub bass rumble and fill a vast soundscape. The vocal and synthesizer treatments hang in a 3D space with perfect air and location. On Five Beat, Part 1 by Jah Wobble and Deep Space, the opening bass chords are deep and full but accurate and precise. There is no bloat; this bass performance on this IEM is highly accurate and precise. The guitar effects hang in that 3D space, that vast soundstage, and occupy their own reality in the most hypnotizing of ways. The actual sonic elements - the ‘notes’ if you will - all have this vivid, electrifying quality about them. Stunning.
Finally, let’s take a look at some random Jazz. These recordings are off Chesky records. Listening to Jazz in the New Harmonic, the performance is just stunning. The bass is full, but it works here; the stand up bass compliments the cymbals and the trumpet wonderfully, there is great energy and dynamics here. The saxophone comes in and it has a rich, sonorous quality. In Miles Away by Sara K, female vocals sounds rich and engaging. The bass is perfect…a little full sounding with great body, but the layering and the micro details and dynamics are perfect. Not ‘hyper-detailed’ but the whole presentation comes together with great musicality. Sara K’s voice is perfect. I’m running out of adjectives, folks, the Onyx is a great IEM.
FINAL THOUGHTS
I have had the Onyx for 20 days, now, and I simply cannot stop listening to them! They have a fun, addictive sound. To seal the deal, the stock cable and tips are rather decent! I generally do not like stock cables or tips, but this one just works for me. Stock cable off my cell phone and YouTube music sounds fantastic! To me that increases value, you don’t need fancy cables or expensive DAPs to experience what the Onyx can do. Tip rolling can be your friend here, with nothing ever sounding ‘bad’: each tip shapes the sound in different way, and it is really just a matter of preference. The stock silicone tips sounded great to me, they just kept getting loose. Spiral dots are tight and punchy. Sound stage opens up. Strings and bass in symphonic works sound more natural, and there is a bit more air and space. The Sedna wouldn’t fit on the barrel. Yellow Spinfits are great too, and it was the Spiral Dots and the Yellow Spinfits that I listened to the most. Aqua Marine Spinfit sounds great, adding a touch more control across the spectrum. Has all the clarity of the yellow, but also a little bit more control of the bass, which is welcome. Now the Final E…great control but makes the soundstage a bit more intimate and seems to diminish the treble and treble extension in general. Honestly, I don’t care for the Final E on the Onyx, but your mileage may vary. Stock Delkoni style foam tips are also an interesting option. Controls dynamics and mostly resolves bass volume issues, but gives a much darker presentation, and the high end lose some of its dynamics. Symphonic works sound more neutral, but still lean a little ‘rich’ in their tonality and presentation, due mostly to the bass, which while greatly controlled, especially with the foam tips, is still a bit forward.
CONCLUSION
Earsonics deserve praise. They delivered the goods, and they did it at a reasonable, affordable price. Even if the Onyx was more expensive than it is, it would be worth it, because it excels at what it was designed to do. Perfect execution. Force multiplier stuff. Caveat emptor. This is value. For the Onyx, the end result is more than the sum of its parts. The Onyx isn’t just all about power, it is also a beautifully refined, tastefully tuned experience. It is not for treble heads nor the faint of heart. Neither is it for those who are looking for anything ‘moderate’, or ‘relaxed’ or ‘reference’. If you are looking for an ‘all-rounder’, this will not be for you. If you listen to predominantly classical, I would move on and find something more ‘neutral’ unless of course you like a bass that can sometimes be a little forward sounding. But in just about every other genre, if you are looking for a ‘larger than life’ earphone with tons of Power, resolution, and bass that hits like the Hammer of the Gods…then the Onyx should be at the top of your list. Run to it.
