This is an edited version of a Headfonics review, focusing on sound impressions. Full version is available here:
http://headfonics.com/2016/02/the-s-em6-by-earsonics/
Introduction
Released two years ago, the S-EM6 was the first universal iem with 6 BA drivers. Having owned the SM64, Velvet, EM32, S-EM9 and now S-EM6, I’ve had my fair share of experience with EarSonics’ products. So you can trust me when I say EarSonics has never had the ambition to create particularly neutral sound signatures. Their iems share a very recognizable house sound: emotional over analytical. With thick and smooth notes, minimal to no sibilance, and high quality impactful bass as trademark characteristics. Simply said – their aim is a very musical and engaging presentation. They also share a forgiving nature, and a relatively high impedance ranging between 40 and 90 ohms. At first their general sound was tilted towards midcentric, with the S-EM6 following the path of the SM64 and the SM3 before that. More recently a switch was made towards a more U-shaped signature with the models that followed after (EM32, Velvet and S-EM9). But it doesn’t matter which one you play – you instantly hear it’s an EarSonics.
Technical Specifications
Sensitivity: 124 db/mW
Frequency response: 10 Hz – 20 kHz
Impedance: 60 ohms
Design: 6 BA drivers (2 low, 2 mid, 2 high), 3-way passive crossover
Price: €948 / $948
Accessories
EarSonics doesn’t shower you in accessories (like something as the Dunu DN-2000J), but their iems come in a fairly luxurious presentation that breathes an air of professionalism. The box is a simple matte black, both on the outside and inside. Upon opening of the box you’re greeted by a thank you card for purchasing an EarSonics item, written in French. Not to panic, most people will understand the general gist from the prominent display of the word ‘Merci’, followed by ‘produits de EarSonics’. My French doesn’t exceed asking directions to the bakery, but I can manage. The French card contributes to the authenticity, after all there aren’t that many European earphone manufacturers. The accessories consist of an extra pair of the standard gray biflanges, a smaller pair of black biflanges, a large pair of mushroom tips and two pairs of foams. The carrying case is also matte black, compact and very stylish – I’ve been using the one I got with the Velvet on a daily basis for whichever iem I decide to pack. It fits exactly one iem (with upgrade cable), and its soft feel and edges are ergonomic in a bag or jacket. Finally, there’s a 6.3mm to 3.5mm adapter and a cleaning tool.
Sound Impressions
Tonality
The S-EM6 has midforward signature with enhanced bass. The midrange is lush and engaging, while its treble is a bit laidback in comparison. The S-EM6 sounds big: due to the full midrange, tones are presented as pillars of sound, fortified by the bass. Despite the relatively thick notes, instrument separation is very good; the S-EM6 handles congestion well due to the excellent stage and imaging. The same holds for detail retrieval, which is based on the imaging rather than clarity from a brighter signature.
Bass
The first bass-light EarSonics iem is still to be made; the company clearly values the intricate role of bass in the musical presentation, and has an excellent reputation to uphold. The S-EM6 is no exception; the bass plays a prominent role in its signature. The sub-bass has decent extension, but the S-EM6 gets most of its punch from the enhanced mid-bass. The mid-bass slam is powerful in bass heavy music. This becomes even more apparent when amped, although it trades a bit of control for power compared to something like the Empire Ears Apollo. The bass has a warm tone, and gives a great deal of warmth to the midrange. Bass texture is nice with slight decay, and the mid-bass displays good speed and detail. Overall the S-EM6’ bass portrays a high level of quality, and equally important, a very satisfying punch.
Mids
The S-EM6 has a very full, lush and warm midrange – this is where the magic happens. The lower midrange get its fullness and warmth from the enhanced midbass, but S-EM6’ midrange also has a great deal of inherent warmth. The center midrange is forward, and takes the spotlight in the presentation - vocals are its strong suit. The S-EM6 has no problems creating a clear center image. Both male and female vocals sound very dense and clear, with great depth; articulating the perception of sound being produced from the chest. The warmth gives it an emotional resonance, and vocals are portrayed with a sense of naturalness and realism. The same holds for cello’s that get that require a good deal of lower end extension to recreate a deeper sound, while electric guitars sound full and powerful. The upper midrange is again quite forward, although slightly less compared the center mids. But it contributes to the excellent portrayal and definition of vocals, as well instrument. All together, the midrange is very full, coherent and powerful. The S-EM6 has good detail retrieval in the midrange, but based on its imaging rather than tonality. While all the detail is still there, it’s less upfront and ‘in your face’. The same holds for its speed; it can easily keep up with faster guitars, although nuances can be perceived as less apparent due to the warmer atmosphere.
Treble
The S-EM6’s treble is very smooth, and takes a slight step back to the midrange. The treble has a soft, warm tone and is never bright or piercing. High hats have good presence, but are never sharp or offensive. EarSonics has applied their trademark dip in the lower treble, which not only contributes to a very smooth sound, but is specifically designed to eliminate all sibilance and harshness. And this is saying a lot, because from my experience almost every iem I’ve had has some degree of sibilance. Some of the rare exceptions being the S-EM6’s smaller brother, the SM64, and the Sony XBA-Z5 for instance. I suspect EarSonics’ origins in developing stage monitors for musicians plays a role here. The lower treble dip makes for a smooth presentation of electric guitars; it takes the sharp edges off the top, the ‘bite’, but this also results in a bit of less upper end definition. This is an area of presence where iems like the Dunu DN-2000J or Perfect Seal AR6 will have a bump to enhance detail retrieval. The downside of the dip is its effects on the airiness; the S-EM6 sounds big and full, but not particularly airy. It trades a bit of transparency for its smooth presentation; acoustic guitars for instance sound thick rather than clear, although still very emotive due to their tonality. The upper treble and treble extension on the other hand is good, providing the S-EM6 with good resolution. The prominent warmth in the signature has its effect on the treble; detail and microdetail are presented due to the resolution, they can get lost in the warm atmosphere. The treble has good speed and decay; the S-EM6 handles cymbals in faster jazz well.
Soundstage
The midcentric signature aides in creating a realistic stage: the S-EM6 creates a clear center image, the vocal is prominent in core of the presentation. The vocals in turn are flanked by the instruments, presented to the rear and side. The stage is about average in width, but has excellent depth and height; the overall space can be considered large.
The thicker note presentation can make the soundstage appear narrower, due to the relatively larger space instruments claim within the confinement of the total area. By contrast, something like the IE800 for instance has a recess in the lower midrange, which creates an airy soundstage which more space between the instruments – at the sacrifice of instrument size and fullness. It’s not a question of better or worse, the S-EM6’ full and warm midrange brings power and emotion to the presentation of genres like rock; while the IE800’s thinner midrange makes it highly suitable for disentangling complex musical ensembles with a lot of instruments in genres like classical or jazz. The S-EM6 is less prone to congestion as its thicker note presentation would suggest; the separation is still good with faster electric guitars. This is due to the soundstage size and quality imaging. Instruments are very clearly located in space, and can be accurately placed in width and depth.
Select Comparisons
Dunu DN-2000J
The Dunu and the S-EM6 can be considered polar opposites. In fact, they have so little in common that if you’d stick them in a room together and force a conversation, nothing but an awkward silence would follow. The U-shaped Dunu, with its prominent treble and distant midrange, sounds analytical and bright in comparison. But then again, it has a cleaner background and sounds a great deal more transparent and sparkly with string instruments. The DN-2000J outperforms the S-EM6 with classical music; violins and pianos sound crystal clear and are presented with good micro-detail. But when it comes to the mids, the DN-2000J never stood a chance; the S-EM6’ midrange conveys power and size, while its warmth conveys the emotion the brighter DN-2000j lacks. Compared to the prominent lower and center midrange of the S-EM6, vocals lack depth and can sound hollow with the DN-2000j. Due to the dynamic driver, the DN-2000j’s bass has slightly a nicer texture with a more natural decay, while the S-EM6’ pronounced mid-bass hump has a warmer tone and more overall quantity.
EarSonics Velvet
The Velvet was released shortly after the S-EM6, and indicated the start of a new direction. While both are still immediately recognizable as ES iems and share aspects of the same house sound, the Velvet has a pronounced U-shape with punchy bass, and a lift in the upper midrange and treble. The Velvet has a wide and airy soundstage, with good separation, and its signature seems designed for energetic V-shaped music. The Velvet particularly shines with synthesized treble: for R&B, hip hop, pop or EDM, go with the Velvet. In addition, its airy stage and excellent dynamics make it highly suitable for fast guitars such as punk rock or metal. While both have excellent bass, the Velvet’s bass has better sub-bass extension and sounds punchier, especially when amped. The tables turn in the midrange, and it’s here that the two are polar opposites. While both share a fun and engaging sound that’s nowhere near neutral, the S-EM6’ midrange is full, warm and engaging. The Velvet’s midrange is sufficient to be labeled allround; but its relative weakness in all the excitement is vocals – they sound distant, and lack the depth and warmth of the S-EM6. For instrument-based music like rock, the S-EM6 is a clear step up from the Velvet; but in absolute terms, their signatures are too different to speak of better or worse - only preference can determine which is the better pick.
Perfect Seal AR6
Two identically priced 6 BA driven iemsAn MRSP of $950, and 6 BA drives – so far the similarities. ,The AR6 that demonstrates the effect of a very different bass presentation tuning on the soundpresentation. The AR6’ sub-bass extends deeper, and hits faster with more control. Its mid-bass is dead neutral, and a great deal lighter on impact than the S-EM6. The leaner mid-bass provides the AR6 with its unique wide and airy soundstage; while it is only a bit wider than the S-EM6, it is a great deal more airier. The neutral mid-bass contributes to the clean presentation, and imaging and separation are its outstanding traits. The S-EM6’ bass on the other hand hits with a great deal more authority, while also providing a great deal more warmth and size to the midrange. The AR6’ center midrange is neutral and thinner compared to the warm and lush S-EM6; while not laidback or recessed, vocals and instruments are smaller in size. The S-EM6’ midrange is a great deal more forward and denser, presenting vocals much closer on the stage. Due to a lift in the upper midrange, the AR6 has a clear tonality with greater transparency; the S-EM6’ upper midrange is more forward and smoother, but less detailed while it sacrifices some of its clarity and transparency due to the warmth. The AR6’ treble is more prominent with a brighter tone, but has a bit less control compared to the S-EM6. A lift in the lower treble provides the AR6 with its unique wide and airy soundstage; while it is only a bit wider than the S-EM6, it is a great deal more airier. The S-EM6’ treble is more laidback, but has slightly better speed. From a holistic perspective, the S-EM6 has a midcentric signature that is warmer, fuller and bassier. The AR6 is clearer and airier, and prides itself on its unique soundstage. Its lower midrange is less prominent, and accordingly notes are leaner in comparison, but its treble is more prominent and detailed.
Empire Ears Apollo
The Apollo represents Empire Ears’ take on a neutral ‘reference’ monitor; and as such its presentation vastly differs from the S-EM6. Apollo’s sub-bass has slightly better extension, but it’s mid-bass is far more neutral and cleaner compared the enhanced and warm mid-bass of the S-EM6. Accordingly, Apollo’s midrange is clearer compared to the warm and prominent lower midrange of the S-EM6. The S-EM6’ midrange is fuller, but Apollo’s is clearer, which aids gives it an advantage in instrument separation - although the S-EM6 doesn’t not fall far behind in imaging. The S-EM6 has thicker notes, and gets the advantage for male vocals, while female vocals sound clearer with the Apollo, but smoother and a bit fuller with the S-EM6. Female vocals sound great with both, but have a more realistic tone with Apollo. The biggest difference is in the upper midrange; with the S-EM6’ being more forward, resulting in a more intimate presentation of vocals, with greater detail in nuances. Apollo seems to have a slight dip there, but in no way can be considered laidback – it’s relatively speaking. The S-EM6 has thicker notes, and gets the advantage for male vocals, but consider the S-EM6 a specialist in this department. Female vocals sound clearer with the Apollo, but smoother and a again a bit fuller with the S-EM6 - it’s hard to point a winner there. Though not to the extent of tThe S-EM6 , Apollo also seems to have a slighthas its trademark dip in the lower treble, displaying another difference with the Apollo; but it doesn’t affect itsit is a great deal more airinessairy, asand overall there is more space between the instruments compared to the S-EM6’ thicker presentation. In fact, the airiness within the soundstage and clear treble are really standout traits of Apollo. Apollo’s stage has a lot of space, and its treble portrays a great balance between smoothness and sparkle, without sounding fatiguing. In comparison, the S-EM6’ treble is more laidback and takes second place to the midrange.
Final thoughts
For the last two weeks I’ve been listening to the S-EM6 non-stop, without having the urge to reach for more expensive flagship ciems. Which for me is saying a lot, since this is not always the case with iems I’ve had in the past. The S-EM6’s power lies in its holistic presentation: a full and engaging sound with thick notes, that has the capability of drawing you in the music; not in the last part because of the smooth and warm tonality, and excellent midrange. Vocals sound full and captivating, with the flanking instruments in a supportive role. Despite having thick notes, the S-EM6 still has good detail and separation due to the quality of the stage and imaging. The upper midrange dip and smooth treble eliminate sibilance and harshness, and the S-EM6 is very forgiving of bad recordings – while sounding engaging and very musical. The S-EM6 reminds me why I started with this hobby in the first place, to simply sit back and enjoy music.
The moment you hear the S-EM6, it becomes clear there was a purpose behind the design; again, it is a very musical and emotional sounding iem. As the S-EM6 has its own character that strays from neutral, it might not be for everyone. The S-EM6’ defining characteristics are its bass driven ‘big’ sound, warm atmosphere, and lower treble dip. Stubborn as it is, even listening with a very clear and transparent source like the 901S or switching to silver cables won’t affect the lush midrange or warmth of the presentation, although it does bring out more detail in the higher frequencies. The lower treble dip takes the edge off of sharp sounds, and eliminates all sibilance. But in doing so, can attenuate the top end of instrument definition, while some detail can get lost in the warm atmosphere. As such it will be less appealing to analytical listeners, seeking an approximation of reference-tuned sound. But for fans of a warm and pleasing midrange, and especially fans of vocals, it will deliver in spades. Its thick notes are captivating and engaging, conveying a great sense of power and emotion. So while it might not be the optimal signature for something like classical musical or jazz; for those about to rock – the S-EM6 salutes you!
http://headfonics.com/2016/02/the-s-em6-by-earsonics/
Introduction
Released two years ago, the S-EM6 was the first universal iem with 6 BA drivers. Having owned the SM64, Velvet, EM32, S-EM9 and now S-EM6, I’ve had my fair share of experience with EarSonics’ products. So you can trust me when I say EarSonics has never had the ambition to create particularly neutral sound signatures. Their iems share a very recognizable house sound: emotional over analytical. With thick and smooth notes, minimal to no sibilance, and high quality impactful bass as trademark characteristics. Simply said – their aim is a very musical and engaging presentation. They also share a forgiving nature, and a relatively high impedance ranging between 40 and 90 ohms. At first their general sound was tilted towards midcentric, with the S-EM6 following the path of the SM64 and the SM3 before that. More recently a switch was made towards a more U-shaped signature with the models that followed after (EM32, Velvet and S-EM9). But it doesn’t matter which one you play – you instantly hear it’s an EarSonics.
Technical Specifications
Sensitivity: 124 db/mW
Frequency response: 10 Hz – 20 kHz
Impedance: 60 ohms
Design: 6 BA drivers (2 low, 2 mid, 2 high), 3-way passive crossover
Price: €948 / $948
Accessories
EarSonics doesn’t shower you in accessories (like something as the Dunu DN-2000J), but their iems come in a fairly luxurious presentation that breathes an air of professionalism. The box is a simple matte black, both on the outside and inside. Upon opening of the box you’re greeted by a thank you card for purchasing an EarSonics item, written in French. Not to panic, most people will understand the general gist from the prominent display of the word ‘Merci’, followed by ‘produits de EarSonics’. My French doesn’t exceed asking directions to the bakery, but I can manage. The French card contributes to the authenticity, after all there aren’t that many European earphone manufacturers. The accessories consist of an extra pair of the standard gray biflanges, a smaller pair of black biflanges, a large pair of mushroom tips and two pairs of foams. The carrying case is also matte black, compact and very stylish – I’ve been using the one I got with the Velvet on a daily basis for whichever iem I decide to pack. It fits exactly one iem (with upgrade cable), and its soft feel and edges are ergonomic in a bag or jacket. Finally, there’s a 6.3mm to 3.5mm adapter and a cleaning tool.
Sound Impressions
Tonality
The S-EM6 has midforward signature with enhanced bass. The midrange is lush and engaging, while its treble is a bit laidback in comparison. The S-EM6 sounds big: due to the full midrange, tones are presented as pillars of sound, fortified by the bass. Despite the relatively thick notes, instrument separation is very good; the S-EM6 handles congestion well due to the excellent stage and imaging. The same holds for detail retrieval, which is based on the imaging rather than clarity from a brighter signature.
Bass
The first bass-light EarSonics iem is still to be made; the company clearly values the intricate role of bass in the musical presentation, and has an excellent reputation to uphold. The S-EM6 is no exception; the bass plays a prominent role in its signature. The sub-bass has decent extension, but the S-EM6 gets most of its punch from the enhanced mid-bass. The mid-bass slam is powerful in bass heavy music. This becomes even more apparent when amped, although it trades a bit of control for power compared to something like the Empire Ears Apollo. The bass has a warm tone, and gives a great deal of warmth to the midrange. Bass texture is nice with slight decay, and the mid-bass displays good speed and detail. Overall the S-EM6’ bass portrays a high level of quality, and equally important, a very satisfying punch.
Mids
The S-EM6 has a very full, lush and warm midrange – this is where the magic happens. The lower midrange get its fullness and warmth from the enhanced midbass, but S-EM6’ midrange also has a great deal of inherent warmth. The center midrange is forward, and takes the spotlight in the presentation - vocals are its strong suit. The S-EM6 has no problems creating a clear center image. Both male and female vocals sound very dense and clear, with great depth; articulating the perception of sound being produced from the chest. The warmth gives it an emotional resonance, and vocals are portrayed with a sense of naturalness and realism. The same holds for cello’s that get that require a good deal of lower end extension to recreate a deeper sound, while electric guitars sound full and powerful. The upper midrange is again quite forward, although slightly less compared the center mids. But it contributes to the excellent portrayal and definition of vocals, as well instrument. All together, the midrange is very full, coherent and powerful. The S-EM6 has good detail retrieval in the midrange, but based on its imaging rather than tonality. While all the detail is still there, it’s less upfront and ‘in your face’. The same holds for its speed; it can easily keep up with faster guitars, although nuances can be perceived as less apparent due to the warmer atmosphere.
Treble
The S-EM6’s treble is very smooth, and takes a slight step back to the midrange. The treble has a soft, warm tone and is never bright or piercing. High hats have good presence, but are never sharp or offensive. EarSonics has applied their trademark dip in the lower treble, which not only contributes to a very smooth sound, but is specifically designed to eliminate all sibilance and harshness. And this is saying a lot, because from my experience almost every iem I’ve had has some degree of sibilance. Some of the rare exceptions being the S-EM6’s smaller brother, the SM64, and the Sony XBA-Z5 for instance. I suspect EarSonics’ origins in developing stage monitors for musicians plays a role here. The lower treble dip makes for a smooth presentation of electric guitars; it takes the sharp edges off the top, the ‘bite’, but this also results in a bit of less upper end definition. This is an area of presence where iems like the Dunu DN-2000J or Perfect Seal AR6 will have a bump to enhance detail retrieval. The downside of the dip is its effects on the airiness; the S-EM6 sounds big and full, but not particularly airy. It trades a bit of transparency for its smooth presentation; acoustic guitars for instance sound thick rather than clear, although still very emotive due to their tonality. The upper treble and treble extension on the other hand is good, providing the S-EM6 with good resolution. The prominent warmth in the signature has its effect on the treble; detail and microdetail are presented due to the resolution, they can get lost in the warm atmosphere. The treble has good speed and decay; the S-EM6 handles cymbals in faster jazz well.
Soundstage
The midcentric signature aides in creating a realistic stage: the S-EM6 creates a clear center image, the vocal is prominent in core of the presentation. The vocals in turn are flanked by the instruments, presented to the rear and side. The stage is about average in width, but has excellent depth and height; the overall space can be considered large.
The thicker note presentation can make the soundstage appear narrower, due to the relatively larger space instruments claim within the confinement of the total area. By contrast, something like the IE800 for instance has a recess in the lower midrange, which creates an airy soundstage which more space between the instruments – at the sacrifice of instrument size and fullness. It’s not a question of better or worse, the S-EM6’ full and warm midrange brings power and emotion to the presentation of genres like rock; while the IE800’s thinner midrange makes it highly suitable for disentangling complex musical ensembles with a lot of instruments in genres like classical or jazz. The S-EM6 is less prone to congestion as its thicker note presentation would suggest; the separation is still good with faster electric guitars. This is due to the soundstage size and quality imaging. Instruments are very clearly located in space, and can be accurately placed in width and depth.
Select Comparisons
Dunu DN-2000J
The Dunu and the S-EM6 can be considered polar opposites. In fact, they have so little in common that if you’d stick them in a room together and force a conversation, nothing but an awkward silence would follow. The U-shaped Dunu, with its prominent treble and distant midrange, sounds analytical and bright in comparison. But then again, it has a cleaner background and sounds a great deal more transparent and sparkly with string instruments. The DN-2000J outperforms the S-EM6 with classical music; violins and pianos sound crystal clear and are presented with good micro-detail. But when it comes to the mids, the DN-2000J never stood a chance; the S-EM6’ midrange conveys power and size, while its warmth conveys the emotion the brighter DN-2000j lacks. Compared to the prominent lower and center midrange of the S-EM6, vocals lack depth and can sound hollow with the DN-2000j. Due to the dynamic driver, the DN-2000j’s bass has slightly a nicer texture with a more natural decay, while the S-EM6’ pronounced mid-bass hump has a warmer tone and more overall quantity.
EarSonics Velvet
The Velvet was released shortly after the S-EM6, and indicated the start of a new direction. While both are still immediately recognizable as ES iems and share aspects of the same house sound, the Velvet has a pronounced U-shape with punchy bass, and a lift in the upper midrange and treble. The Velvet has a wide and airy soundstage, with good separation, and its signature seems designed for energetic V-shaped music. The Velvet particularly shines with synthesized treble: for R&B, hip hop, pop or EDM, go with the Velvet. In addition, its airy stage and excellent dynamics make it highly suitable for fast guitars such as punk rock or metal. While both have excellent bass, the Velvet’s bass has better sub-bass extension and sounds punchier, especially when amped. The tables turn in the midrange, and it’s here that the two are polar opposites. While both share a fun and engaging sound that’s nowhere near neutral, the S-EM6’ midrange is full, warm and engaging. The Velvet’s midrange is sufficient to be labeled allround; but its relative weakness in all the excitement is vocals – they sound distant, and lack the depth and warmth of the S-EM6. For instrument-based music like rock, the S-EM6 is a clear step up from the Velvet; but in absolute terms, their signatures are too different to speak of better or worse - only preference can determine which is the better pick.
Perfect Seal AR6
Two identically priced 6 BA driven iemsAn MRSP of $950, and 6 BA drives – so far the similarities. ,The AR6 that demonstrates the effect of a very different bass presentation tuning on the soundpresentation. The AR6’ sub-bass extends deeper, and hits faster with more control. Its mid-bass is dead neutral, and a great deal lighter on impact than the S-EM6. The leaner mid-bass provides the AR6 with its unique wide and airy soundstage; while it is only a bit wider than the S-EM6, it is a great deal more airier. The neutral mid-bass contributes to the clean presentation, and imaging and separation are its outstanding traits. The S-EM6’ bass on the other hand hits with a great deal more authority, while also providing a great deal more warmth and size to the midrange. The AR6’ center midrange is neutral and thinner compared to the warm and lush S-EM6; while not laidback or recessed, vocals and instruments are smaller in size. The S-EM6’ midrange is a great deal more forward and denser, presenting vocals much closer on the stage. Due to a lift in the upper midrange, the AR6 has a clear tonality with greater transparency; the S-EM6’ upper midrange is more forward and smoother, but less detailed while it sacrifices some of its clarity and transparency due to the warmth. The AR6’ treble is more prominent with a brighter tone, but has a bit less control compared to the S-EM6. A lift in the lower treble provides the AR6 with its unique wide and airy soundstage; while it is only a bit wider than the S-EM6, it is a great deal more airier. The S-EM6’ treble is more laidback, but has slightly better speed. From a holistic perspective, the S-EM6 has a midcentric signature that is warmer, fuller and bassier. The AR6 is clearer and airier, and prides itself on its unique soundstage. Its lower midrange is less prominent, and accordingly notes are leaner in comparison, but its treble is more prominent and detailed.
Empire Ears Apollo
The Apollo represents Empire Ears’ take on a neutral ‘reference’ monitor; and as such its presentation vastly differs from the S-EM6. Apollo’s sub-bass has slightly better extension, but it’s mid-bass is far more neutral and cleaner compared the enhanced and warm mid-bass of the S-EM6. Accordingly, Apollo’s midrange is clearer compared to the warm and prominent lower midrange of the S-EM6. The S-EM6’ midrange is fuller, but Apollo’s is clearer, which aids gives it an advantage in instrument separation - although the S-EM6 doesn’t not fall far behind in imaging. The S-EM6 has thicker notes, and gets the advantage for male vocals, while female vocals sound clearer with the Apollo, but smoother and a bit fuller with the S-EM6. Female vocals sound great with both, but have a more realistic tone with Apollo. The biggest difference is in the upper midrange; with the S-EM6’ being more forward, resulting in a more intimate presentation of vocals, with greater detail in nuances. Apollo seems to have a slight dip there, but in no way can be considered laidback – it’s relatively speaking. The S-EM6 has thicker notes, and gets the advantage for male vocals, but consider the S-EM6 a specialist in this department. Female vocals sound clearer with the Apollo, but smoother and a again a bit fuller with the S-EM6 - it’s hard to point a winner there. Though not to the extent of tThe S-EM6 , Apollo also seems to have a slighthas its trademark dip in the lower treble, displaying another difference with the Apollo; but it doesn’t affect itsit is a great deal more airinessairy, asand overall there is more space between the instruments compared to the S-EM6’ thicker presentation. In fact, the airiness within the soundstage and clear treble are really standout traits of Apollo. Apollo’s stage has a lot of space, and its treble portrays a great balance between smoothness and sparkle, without sounding fatiguing. In comparison, the S-EM6’ treble is more laidback and takes second place to the midrange.
Final thoughts
For the last two weeks I’ve been listening to the S-EM6 non-stop, without having the urge to reach for more expensive flagship ciems. Which for me is saying a lot, since this is not always the case with iems I’ve had in the past. The S-EM6’s power lies in its holistic presentation: a full and engaging sound with thick notes, that has the capability of drawing you in the music; not in the last part because of the smooth and warm tonality, and excellent midrange. Vocals sound full and captivating, with the flanking instruments in a supportive role. Despite having thick notes, the S-EM6 still has good detail and separation due to the quality of the stage and imaging. The upper midrange dip and smooth treble eliminate sibilance and harshness, and the S-EM6 is very forgiving of bad recordings – while sounding engaging and very musical. The S-EM6 reminds me why I started with this hobby in the first place, to simply sit back and enjoy music.
The moment you hear the S-EM6, it becomes clear there was a purpose behind the design; again, it is a very musical and emotional sounding iem. As the S-EM6 has its own character that strays from neutral, it might not be for everyone. The S-EM6’ defining characteristics are its bass driven ‘big’ sound, warm atmosphere, and lower treble dip. Stubborn as it is, even listening with a very clear and transparent source like the 901S or switching to silver cables won’t affect the lush midrange or warmth of the presentation, although it does bring out more detail in the higher frequencies. The lower treble dip takes the edge off of sharp sounds, and eliminates all sibilance. But in doing so, can attenuate the top end of instrument definition, while some detail can get lost in the warm atmosphere. As such it will be less appealing to analytical listeners, seeking an approximation of reference-tuned sound. But for fans of a warm and pleasing midrange, and especially fans of vocals, it will deliver in spades. Its thick notes are captivating and engaging, conveying a great sense of power and emotion. So while it might not be the optimal signature for something like classical musical or jazz; for those about to rock – the S-EM6 salutes you!
