Elysian Acoustics Annihilator 2023

My wallet is bleeding but my ears are singing

So after roaming around, thinking on the go i would never go beyond a certain level of audio quality, I bought on impulse the EE Annihilator 2023. Sincerely, since they seem to sell like hot cakes, i rationalized saying "well worst case scenario i'll just resell them and be done". OH. BOY. Yeah you have zero chances you will get my lovely annies out fo my ears.
First impact aside, beside the strange new connector, that seems to be a mix of the ease-of-removal of a .78 dual pinn AND the rotating mmcx (this is called a pentaconn connector), and right now the only gripe is that it's a more exotic connector so less choices in cables, but they can be found.
And what i noticed is that it's easier to maintain, clean and store, no more pulling like a madlad for the MMCX hoping for the best or being careful not to bend those itty bitty 0.78 pins.
The look of the titanium finish is wonderful, less sparkly and impactful that more exotic/fanciful IEMs, i like the looks of the cable and the IEM.
Not to mention, they are a perfect match for my RS8's titanium finish (now we gotta find out if using two pieces of the same material improve sound lol, bonus for full set?)

After all that stuff, let's go to the meat of it: CAN YOU HAVE A PORTABLE SURROGATE OF THE LCD5?
Yeah i took my sweet time from buying them to review them, because i myself wanted THAT question answered. on one hand, there are wonderful iems, like the trifecta, that give you that slam and impact making music on the go a fun experience, but always beyond was that feeling that i wished i could have more detail, more air, more of everthing (not an easy person to please i reckon).

To be totally fair and not to go back on my word i WILL test the Annihilator Vs the LCD5. Because, sincerely, at this point i have developed an insane taste for high quality music and i will not settle.
First spoiler: the same volume has been used on the LCD5 and the Anni2023. It shocked me but it goes with the fact that the anni are quite power hungry.

Let's dive in the sound!

Say My Name (feat.Zyra)(ODESZA)
Right off the bat, an electric song. The Annihilator really sings, the highs are quite extended but by some magic they avoid all the "shrill" of bright IEMs, making the highs exquisite and well extended never "piercing". But that's not enough. The female voice is very intimate, suave, a pleasure. Last of it is the basses. Why last? because i thougt of leaving this wonderful surprise for last: the bass is ALL there, never overwhelming it's just the "right blend" meaning i feel it is a little bumped from neutral, but it's that small bump that just makes the song hit just right. How does it compare to an LCD5?
The LCD5 have, of course, better separation and a more layers. Basically, you get a more detailed, separated and laser-like accuracy in the rendition. I'd go as far as saying they are THE benchmark. Compared to them, the anni surprisingly
has a more intimate feeling, narrowing the music more close to your head, and in my humble opinion increasing "impact" in both the bass and the the treble sparkle. That would translate to having a little more visceral punch in the bass region and an increase in the highs/sparkle. I think the anni's special sauce resides in this little trick of a slight bump in basses and highs to try and keep up with the HP. and since the difference with a full planar monster would be quite a high peak to reach, it seems this "trick" helps narrow the gap so much, you start wondering if these aren't quite a deal at their MSRP, since they can get you 90% of the way on a TOTL HP experience.

Back Home (Club Mix) - And One
On an club song like this the anni are so engaging, it's hard to to get sucked in the rythm. mix of bass and highs, that envelope the voice and never overshadow it show a materful tuning

What Could Have Been (Soundtrack from ARCANE)
On the LCD5 the piano and voice are addicting. On the anni 23 you feel a slight bump in the bass, that gives a pleasant feeling of enveloping the sound, as the highs gives it all the air you desire. It's of course less of everything, but the trick of the bass+treble, helps it keep up the pace with the monster. Soundstage and separation is where the real gap shows but....guys if you could have the same experience, you basically would have either a wizard making IEM or a incapable HP maker. So IF you have normal expectations, you will be pleasantly surprised that the anni can keep up with the LCD5, never surpassing them but giving you so much of their special sauce that the gap feels way less than you'd expect.


Enemy - Imagine Dragons feat J.I.D.
Again a very engaging sound on the anni, you feel th ebass impact but then the tremble "shines" away from the sound, making it so the bass and the highs don't end up obscuring eachother and instead mingling in the most pleasant way. A pleasure to listen to it with this IEM.

Symphony no.9 in D minor Op.125 "Choral"
The V shape sound "envelops" the vocals, an orchestral magic making the whole composition shine in a powerful and deep way. It might not be HP level of separation, but the enjoyment of the sound is all there. Enjoying classical music of such intensity is a rarity i think in an IEM, but the anni can achieve that too!

A word on IEM tips: I got the coreir brass and i think they are the perfect addition to the Annihilator. No contest they further push them, helping them move that smidge more toward sound heaven. I would wholeheartedly reccomend you use them to squeeze that extra sound stage and separation than drives them to higher highs. I had to put the review on halt when they reccomeded them, and i was right, i think this pushes this iem to be an an almost perfect item, V shaped boost and all. It's something that i think you can enjoy immensely, to the only downside of being that you will think "maybe i have reached the top, time to stop hurting my wallet". That might be a cons to some.

TL;DR
It's an IEM. for being an IEM it is a monster capable of being in audio heaven not making you regret you spent kilobuckS into it. It is enjoyable with any kind of music. It won't make HP obsolete or some stuff like that, it's apparent from a superficial listening and even more apparent in a more in-depth analysis. It boils down to having a surface area of a thimble vs the enormous planar transducers. So if you need portable TOTL tier sound, the anni are almost impossible not to reccomend. If you need to save up and can only go for either anni or lcd5, it's a no brainer to go lcd5. but if you like me had become addicted to high quality sound, they can help you enjoy the sound you get accustomed with high end gear, and enjoy it on the go.
9.5/10, i think the only "defect" is that they use the pentaconn conncetor that is still kinda rare. but it's also a good connctor and less scary than mmcx so it could be a positive for the future useage. Again i reccomend you use the coirer tips, to me they made a noticeable improvement.

Thanks to Sandeep & Kashyap from Audio Geek India Tour for sending me this marvelous Iem for my insights.

First Impressions : The carry case and cable the iem comes with are of very good quality as expected by this high end iem . I did not receive the whole retail packaging so cannot comment on it further but the included items were adequate and of extremely good workmanship.
Overall : 10/10

Treble : I have never ever heard a better treble presentation in my life. This is out of this world. Each and every detail is picked from the depths of the track and presented to you in a flawless fashion. It almost becomes unreal how far the treble extends it puts the rest of the products in the market to dust in this regard.
Absolutely Fabolous.
10/10

Mids : When i first got the iem the first couple of days i was just wowed by the treble which was distracting me away from the only minor fault this iem has in my opinion , an underwhelming mids presentation to me. It was so heartbreaking for me since the iem absolutely crushes every other iem in every other aspect of the sound. The music is so forward that vocals suffer and feel laid back, but don't get me wrong i am nitpicking at this point because at this price i expect nothing but flawlessness.
7/10

Bass : Oh my God were my first words. I seriously no joke laughed the entire first 5 minutes i was listening to this iem. This is a monster of bass it will absolutely terrify you with its mighty power while being so enjoyable and noise free. The best bass i have ever heard in my life surpassing every other iem i have heard by miles.
Every small ruble and beat is so visceral and enjoyable it always makes you smile. It always remains in control ready to horrify you when either the track or you call for it.
Very very pleasing experience.

10/10 if possible 100/10

Eq Capabilities : Anni can be eqed in the bass and treble region with good results unfortunately not the mids but i rarely felt the need to because the out of the box presentation is so clean and enjoyable that you wont need to.

Sound Stage : Very pleasing in this regard , I dont know why people say it has an intimate stage , i found the stage to be huge and very respectful going head to head with stage beasts like Z1r. Width is smaller than depth but still quite good. Stage height is also very nice.

Separation : Very good in this regard , every instrument has a lots of space and is presented with authority. No complaints , only joy.

Overall i am very impressed by this iem. It genuinely puts a smile on my face every time i listen to it and almost makes me burst into laughter when i want the bass to slam.
A solid 9/10 iem with 1 point off just because i did not like the mids.

Source : Mojo 2 , Nw A25 , sxfi dongle , creative x3 (AKM)

thaslaya's star rating system:
☆☆☆☆☆ - Fantastic!
☆☆☆☆ - Recommended
☆☆☆ - There are buyers but not for me
☆☆ - Can't see the appeal
☆ - Product is a failure

Disclaimer:
This set was provided for a trial period through the Watercooler tour. I recieve no compensation and all thoughts and opinions are my own. A big thank you to the company for the provided unit and to Rockwell75 for coordinating the tours.

Gear used:
●LG v30+
●Samsung Galaxy s22 Ultra
●Samsung dongle
●Hiby FC4
●Kiwi Ears Allegro
●Letshuoer DT03
●Dunu DTC480
●BLON V1
●iFi xDSD Gryphon

Source:
●Listening was done through Amazon Music HD or Ultra HD.



Introduction:
Elysian Acoustic Labs is a well-known, higher-end IEM manufacturer based in Singapore. Lee, the founder, is responsible for creating its house sound, which many hold in high esteem. The Annihilator 2023 is an updated version of the original 2021 model and utilizes a tribrid driver configuration consisting of one dynamic, four balanced armature, and two electrostatic drivers. It is available through Elysian's store in three faceplate options: gold-plated copper and stainless steel faceplates are $2,999, and a brushed titanium variant is $3,199. Bundles with upgraded cables are also available. The Annihilator 2023 has quite a reputation. It is regarded by many in the hobby as one of the best IEMs on the market and often ranks highly in voting polls. Let's break down this acclaimed IEM and see what it has to offer.

Build, fit, ergonomics:
Since this is a tour unit, I cannot speak to the unboxing or accessory package, as it only included the IEMs and the upgraded Effect Audio Fusion 1 cable. The Annihilator's shells are made of very clear resin and have a golden faceplate featuring Elysian's logo. They are a bit bulky and could be better contoured, but overall, the fit is comfortable for me. The metal nozzle measures 6.5 mm at the lip, and the insertion depth is about average. I really like how the internal components and all three driver types are easily visualized within the shells. Like Elysian's other IEMs, this one utilizes the Pentaconn ear connection, which makes cable swapping a bit harder as it is not as popular as other connections. There is also a vent located on the shells near the Pentaconn connection. The EA Fusion 1 cable included with this unit can be added to a bundle for an extra $700, but it retails separately for $1000. It is a two-wire cable made of UP-OCC material, gold-plated silver litz, pure silver litz, and pure copper litz hybrid. The hardware has a great aesthetic and color that matches the Annihilator's shells perfectly. The cable's weave is thick and feels good in hand, but it is a bit stiff; I would prefer it to be softer and more pliable. After extensive tip rolling, I found that the Dunu orb-like tips provide the best fit and seal for me. Utilizing a narrow-bore tip can help tame some of the Annihilator's treble, which is better suited to my preferences.

Sound impressions:
I would describe the Annihilator's overall tuning as V-shaped, with quite a boosted bass and accentuated treble. The midrange, for me, comes across as quite recessed, which, as a midrange lover, is a bit disappointing. The note weight is not bad, but it can veer toward the thin side occasionally. The Annihilator has great detail retrieval, as you'd expect for the price. The soundstage is excellent as well. It's very spacious but also sounds full and spherical. The timbre might be a touch unnatural to my ears, and it's not quite as organic as I'd like. The imaging is very accurate and the dynamics are impressive, too. The bass response remains strong regardless of the volume level, and the tuning is well-preserved. The separation is good, but it might be a little too much, as the overall sound is not as smooth and cohesive as I prefer. This set is not super difficult to drive and can reach moderate volume levels with just a simple dongle, but the Annihilator is notorious for scaling well with power. Generally, electrostatic drivers are the ones to scale best, but surprisingly, the most noticeable difference for me is how the dynamic driver's bass response improves when given ample power. On a low-power source, the bass sounds somewhat mushy and bloated, but give it some juice, and it becomes much more detailed and resolving. The Annihilator has generally impressive technicalities and an energetic and bassy tuning style that is fun and engaging.

Among the sources at my disposal, I found the best pairing to be with the iFi xDSD Gryphon, utilizing the GTO filter. This DAC/amp adds decent weight and a tiny bit of warmth. It also has ample power to drive the Annihilator and maximize the drivers' performance.

●Lows - The Annihilator is a bassy boy for sure. It is more sub-bass focused than mid-bass, but both have ample presence for me. The sub-bass extends deep and can reach low when called for. The bass texture is good; not wet or muddy, and not overly dry. The impact and slam are adequate, but the attack is a little soft and could be more incisive. There is no bass bleed to my ears, and it is well separated from the midrange. While the bass resolution improves with power, it is still underwhelming for the price. Notes sometimes come across as unfinished or ill-defined and can sound a bit puffy. The rumble and reverberation are a little overdone, the speed is a bit slow, and the decay lingers, which all leads to the bass having a slightly unnatural, overblown, and messy presentation. Overall, the bass is a bit over-accentuated and out of balance with the rest of the frequencies for my taste. It can be too dominant at times, not allowing the other frequencies, namely the midrange, room to breathe and shine. I want to be careful not to come across as overly critical. Despite what I have written here, the Annihilator's bass is mostly enjoyable, but for $3000, I am left quite disappointed in the bass performance.

●Mids - As a midrange enthusiast, this is where I take the most issue with the Annihilator's tuning. While the upper mids are a bit accentuated, vocals do not stand out in the mix as much as I would like. They are a bit recessed, pushed behind the big bass and bright treble. With softer music, like acoustic and singer-songwriter genres, vocals are better represented and enjoyable. But with pop and more bass-heavy genres, they are overshadowed and feel like an afterthought. Vocals are generally great and do not sound thin, shouty, or nasal, but they are just too underrepresented for my taste. Female artists fare better than their male counterparts, especially considering the lower mids lack weight and fullness. In orchestral arrangements, instruments in the lower midrange do not sound naturally balanced, which can make the entire arrangement sound off. The prominent bass tends to overpower some nuances of the midrange instruments, which become lost and overshadowed when the entire orchestra plays. The most frustrating thing for me is that the midrange quality is actually pretty great. There is no thinness, and it has a fairly realistic tonality and timbre. However, there is just an insufficient quantity of what is here to overcome the bass and treble for my preferences.

●Highs - Before I had the opportunity to try the Annihilator, some of my more experienced friends warned me that its treble might be too bright for me to endure, as someone who is treble-sensitive. I have not had the best experience with EST drivers in the past, but to my surprise, I actually don't find it overly irritating or harsh. It is definitely bright and can be a bit thin and ethereal-sounding, but it's not the biggest offender I've ever heard. The treble is energetic and sounds very clean and clear. Notes have a definitive edge and crispness. It can get a bit fatiguing over long periods, but there is no real sibilance or extremely harsh notes. Cymbals and hi-hats sound realistic and exciting, not splashy. Snares and claps are crisp and clean, but not overly piercing. There is a decent amount of air and extension, but I think it could use a bit more to take it to the next level. While I was quite skeptical initially, I am surprised by my enjoyment of the Annihilator's treble. Does its response fall within my typical preferences? No, but I can see its merits, and I think it can be a good choice for those who like a bright and fun treble without pushing it too far. This is yet another example that while impressions from friends and reviews like this one can be helpful, you should always trust your own ears, as there is just no substitute for firsthand experience.

Comparisons: Credit to Jaytiss, Elise Audio, and listener for the graphs.

●Penon Impact ($2,499) - Here we have the 1 DD, 4 BA, 2 EST tribrid configuration of the Annihilator versus the Impact's 10 BA, 4 EST hybrid. Again, both of these are tour sets without all the stock accessories, so I cannot really compare those. The Annihilator has a similar build to the Diva (resin body with metal nozzle) and is larger than the Impact. Both sets have similar build quality and fit comfortably, but the Impact does have that intermittent vacuum effect and the Annihilator utilizes the Pentaconn connector versus the 2-pin of the Impact. While both have golden designs on their faceplates, I prefer the Annihilator's slightly more subtle style. The Annihilator's tuning is more V-shaped with a noticeable midrange deficiency. The Impact sounds better balanced, with less bass, more midrange emphasis, and slightly more extended treble. The Annihilator's bass is boisterous and fun. It can reach very low with a nice rumble and reverberation. It is a far cry from the Impact's BA bass, which is still elevated but much more mid-bass focused. Although the bass responses of these two are quite different, I will give the nod to the Annihilator for better texture, extension, and rumble. The Impact's midrange takes pretty much all the points for me. The forward vocals are so much more to my liking than the Annihilator's recessed midrange, which lacks emphasis. The lower midrange is also much better represented on the Impact, specifically in orchestral arrangements where lower-registered instruments like cello, and some percussion and brass, sound more natural with better representation. As for the treble, the Annihilator has more of that brighter EST implementation that I am used to hearing. Some notes, especially snares and "s" and "sh" sounds, can come across as overly edgy and harsh. The Impact's ESTs, while still crisp and energetic, don't have the same wince-inducing quality. Both sets offer adequate air and sparkle but the Impact has slightly better extension and is a bit more balanced across all frequencies. On the technical front, the Annihilator has a larger soundstage with better imaging, detail retrieval, and dynamics. The Impact offers a more natural timbre, thicker note weight, and a warmer, smoother tonality. While neither of these two sets has a tuning that falls squarely within my preferences, I enjoy the Impact's overall balance and slightly more relaxed energy level and tonality a bit more. I do like the Annihilator's bolder bass with better sub-bass extension, but the Impact's vocals are smoother and better represented, which helps me better connect with my music.
My pick: Impact

●Elysian Diva 2023 (~$1,200) - This matchup pits a 6 BA configuration versus a 1DD, 4 BA, 2 EST tribrid. The Annihilator's shell is slightly larger than the Diva's, but otherwise, both have almost identical shapes, nozzle sizes, insertion depths, and fits. I am unable to compare accessories since both are tour units and did not include all stock items. The Annihilator's tuning is much more V-shaped, with big bass and emphasized upper mids/treble, whereas the Diva has a more mid-centric tuning with an adjustable amount of bass and somewhat rolled-off treble. The Annihilator's low end is much fuller and more prominent, with deeper extension, greater reverberation, and slower decay, leading to a more natural presentation. The Diva's BA bass is less full-sounding and cannot reach as low, even on the bassiest setting. I prefer the texture, reverberation, and impact of the Annihilator's dynamic driver driven bass, but the overall quantity can be overly dominant on some tracks. The midrange of these two is quite different. The Diva is smooth and more forward, with better note weight and musicality. Vocals shine and are allowed much more of the spotlight. The Annihilator's midrange sounds more recessed and forced behind the bold bass and crisp treble. Vocals are clear and well-separated, but they take a back seat to the heavy bass emphasis. Also, the lower midrange of the Diva is more prominent and better represented. On the upper end of the frequency response, the Diva has a treble that is more in line with my preferences. It is present but fairly tame and rolled off. I especially like the way cymbals and hi-hats sound natural and crisp, but slightly recessed. On the Annihilator, those same notes can be quite incisive. It also has a tendency to sound thinner and exhibit some slight harshness and fatigue. However, it does offer more air and extension for treble enthusiasts. As far as technicalities go, the Diva has a more organic timbre, thicker note weight, and a slightly more intimate soundstage. The Annihilator takes the win in dynamics, imaging, detail retrieval, and separation, which comes as no surprise. This matchup really comes down to tuning preference, and these two are quite different. For me, the smoother and more mellow mid-centric tuning of the Diva plays right into my wheelhouse. The Annihilator is more energetic and fun and offers better technical performance, but the dominant bass and recessed midrange sound unnatural for my music library and preferences. This is an easy decision for me, but I'm sure many would opt to go the other way, considering the amount of love the Annihilator 2023 has.
My pick: Diva 2023

●Letshuoer Cadenza 12 2024 ($2,000) - Here we have the Annihilator's 7-driver tribrid configuration versus the Cadenza's 12-driver hybrid (1 DD, 11 BA). I like the Annihilator's overall design and resin build a bit better, but the Cadenza's all-metal shell feels much sturdier, even if it is prone to scratches and fingerprints. The Cadenza's shell is also smaller, more contoured, and has a slightly deeper insertion. Overall, it offers a better fit and is more comfortable for me. I also prefer the Cadenza's 2-pin connection. I cannot make a judgment on total accessories since one of these is a tour unit. The tuning of the Annihilator is quite V-shaped compared to the Cadenza's more balanced and somewhat neutral approach. The Annihilator's bass is much bolder, with deeper sub-bass extension and more rumble and reverberation. The bass on the Cadenza sounds cleaner, with superior texture and resolution, but the quantity might be underwhelming for bass enthusiasts. The midrange is where the Cadenza wins a lot of points for me. Vocals are more forward, and both male and female artists are better represented, which is much more in line with my preferences. The Annihilator's midrange can be overshadowed by the bass and treble. The Cadenza also wins in the treble department. It is very well balanced with plenty of air and sparkle without venturing into fatiguing territory. The Annihilator undoubtedly has a brighter overall treble response and can be too energetic during long sessions. From a technically standpoint, these two trade blows pretty well. The Annihilator has a slight edge in soundstage, detail retrieval, and dynamics, whereas the Cadenza wins in timbre, imaging, and note weight. Overall, these two have quite different tuning philosophies. The Annihilator is more energetic and fun, with bigger bass and brighter treble, but it sacrifices some midrange magic. The Cadenza is much more balanced and closer to neutral, with a clean and inoffensive tuning that just sounds right, but it might considered be a bit boring for some. This is an easy choice for me, as the Cadenza offers a more refined and mature tuning that I expect when moving to the multi-kilobuck tier. Plus, it doesn't hurt that it is over $1,000 cheaper.
My pick: Cadenza 12

In conclusion:
The Annihilator 2023 is one of the most energetic, fun, and resolving TOTL sets I have heard so far. Unfortunately, it is just not a great match for my preferences and how I like to hear and connect with my music. For me, the bass quality is disappointing for the price, and the quantity can be a bit overdominant at times. The midrange is not as forward as I prefer, and it is missing some of the magical vocal qualities I love. The bright treble, while not overly harsh, can get somewhat fatiguing over long sessions. I wouldn't necessarily characterize the Annihilator as a good all-rounder, but I can still enjoy it in short bursts when paired with the right tracks. For me, it sounds best with less energetic genres where the bass response won't overwhelm the midrange, such as singer-songwriter, acoustic, and soft pop. While I am not typically a big proponent of EQ, I will say that this set responds to it well. I was also able to enjoy it much more through the iFi Gryphon, when combined with the right combination of options (STD filter and XBass II enabled in presence mode). However, similar to using EQ, I feel these options altered the stock tuning beyond what is reasonable for my standard review process. Though I still think it is worth noting that tools exist to bring the Annihilator closer to my preferences, helping me enjoy this set much more. But if such steps are necessary to alter the IEM's fundamental tuning, is it worth keeping, or is it better to continue searching for something else? Such questions can only be answered individually. While I may be a little disappointed with the Annihilator, I still think it holds great appeal for those whose tuning preferences align with its strengths. I cannot give it an outright glowing endorsement, but I can still recommend the Annihilator to those who want a fun and enjoyable V-shaped tuning with boisterous bass, energetic treble, and commendable technical performance. I will end my review with a slight word of caution and advise demoing this set before purchase, if possible.

Elysian Acoustic Labs Annihilator

Disclaimer:
I received the Elysian Acoustic Labs Annihilator as part of a review tour in my country organized by AudioGeek. I am not associated with Elysian Acoustic Labs in any way and have no incentive whatsoever to write anything positive or negative about the IEM. The impressions shared in this write-up are based on my usage of the IEM over a week or so.

Introduction:
This is my second experience with an IEM from Elysian Acoustic Labs and I must say, I’m mighty impressed. The Annihilator is a 7 Drivers Tribrid Configuration (1 x Foster Dynamic Driver, 2 x Electrostatic Tweeter, 4 x Balanced Armature Drivers) with a 4-way crossover. The IEM has an impedance of 22 ohms and a sensitivity of 94 dB. The IEM comes with Pentaconn Ear connectors and the unit I received came with 4.4mm BAL termination.

The earpieces are quite light in terms of weight since they’re made of resin and are quite comfortable to wear. I was able to get a good seal with the stock eartips.
I tried the IEM predominantly with the Xduoo XD05-Pro with the AKM DAC card and Sparkos SS3602 opamps. I also tried it with the FiiO M23 with the Aroma A100TB connected to the DAP as a balanced amp. The impressions shared here are based predominantly on the pairing with the XD05-PRO.



Sound Impressions:
The bass has more presence in the mid bass region than the sub bass region. The bass response is pretty laid back and isn’t something that is likely to please bass heads. Instead, the Annihilator has a well controlled bass response with good detail and punchiness. The bass is well controlled and is coherent with the rest of the frequency spectrum. Those who like a balanced signature, are likely to be pleased by the bass response of the Annihilator. Although the bass is not mind blowing in terms of quantity, it is very good in terms of quality. The good thing is that there is no bass bleed and the bass is tuned for an overall coherent sound.

Mids are thick and realistic. There is a natural timbre in male vocals and female vocals too are well articulated without being shouty or sibilant. The midrange is somewhat forward in terms of presentation but not too much into your face.

The treble is well done too. It has just the right amount of sparkle and detail. The treble is crisp, sparkly and energetic, yet doesn’t seem to go overboard. I’m fairly treble sensitive, yet the Annihilator’s treble seemed pleasing without any spikes that would cause hearing discomfort.



Technicalities:
The soundstage and imaging are impeccable. The presentation is holographic and the staging is both wide and deep. The Annihilator quite literally annihilates complex tracks with it’s excellent detail retrieval / resolution and dynamic range. Listening to layered tracks on the Annihilator is a mesmerising experience that is as pleasurable as it is rewarding.




Conclusion:
The Elysian Acoustic Labs Annihilator is an excellent set with a well balanced sound signature and comfortable earpieces. The performance and technical ability is top tier and the IEM is a definite recommendation for those who like neutral sounding IEMs with a holographic soundstage and exceptional detail retrieval.

Preamble​

Many thanks to @Yifang for lending me his personal unit for this review.

There are some items in this hobby of audio that become something of lore. These items seem to transcend their raison d’etre of producing sound into your earholes and become something that essentially dominates the hobby in terms of conversation and benchmarking. From the IEMs such as the Moondrop Chu causing an arms race amongst Chi-Fi manufacturers of a race to the bottom of the price bracket, the Moondrop Blessing 2 Dusk becoming the defacto choice in its price bracket, the Campfire Andromeda 2020 becoming the IEM to have for a ‘holographic stage’ and so on. Today’s review concerns an IEM that has garnered significant praise and attention from reviewers and casual audio enjoyers alike at a rather eyewatering price bracket. The Elysian Annihilator has become renowned for its energetic and engaging sound signature combined with what some have termed ‘best in class treble’. But does the myth match the reality?

The Factual Stuff​

Fashioned by Lee from Elysian Audio, the Annihilator consists of a 7 driver set up consisting of 1 Fostex dynamic driver, 2 electrostatic tweeters and 4 balanced armatures put together by a four-way crossover.

Proprietary technologies (and their sometimes hilarious names) are rather common in the IEM space and Elysian is no different with its DiVe Pass System for Dynamic Driver which promises controlled bass and zero driver flex and a 3D AccuPost System to provide staging.

This all comes together in a laquer finished resin housing adorned with your choice of a polished gold or silver coloured face plate or a brushed titanium faceplate for a premium.

The Annihilator comes with a number of accessories including the Liquid Links Martini cable with the requisite Pentaconn Ear connector for the Annihilator.

The Anni is priced at $3000 USD.

The Opinion Stuff​

Sound​

This review is conducted with the Anni with Spinfit CP145 eartips connected to a Luxury & Precision P6 Pro.

Bass​

TL;DR: The Anni provide a detailed and punchy mid-bass experience without overwhelming the tonal balance, ideal for listeners who appreciate nuanced bass but may disappoint those seeking more aggressive bass-heavy tunes.

Low-end oomph is hardly the defining feature of the Anni in that it does not seek to overwhelm you in any regard. The Foster DD does a rather good job of maintaining a speedy and detailed rendition of bass with fast-paced basslines being reproduced with gusto. The quantity of bass is also quite good, it doesn’t overwhelm the tonal balance of the Anni nor does it sit so far behind that it becomes an afterthought. Sub-bass extention is good but exactly excellent and the mid-bass punchiness of the Anni lends itself to an enjoyable listening experience. I believe that the focus here is a mid-bass tuning experience that provides the Anni with an excellent sense of pace and rhythm.

Booming basslines on songs such as “THE PLAN” from the TENET soundtrack do not jump out at you like they do on more aggressively tuned IEMs and so there is a disappointment factor in this regard but for those of you who are not bass-heads, I believe that the Anni’s conservative tuning may be beneficial.

"The Calling (Da Tweekaz Remix)" by TheFatRAt is an energetic hardstyle song with a slow build-up to an extremely energetic and fast-paced bassline after the drop and the Anni does an excellent job of keeping and retaining a sense of detail and texture despite the business of the production.

“Before Dawn” by Slander provides a booming and consistent bassline that is focused on mid-bass excellence and the Anni shines here, keeping up with the pace and providing me with a wonderfully detailed and punchy bass experience that does not detract from the rest of the song, but rather adds to the experience.

Overall, the Anni’s lower-end renditions is not the killer app that provides its claim to fame. The Anni’s focus seems to be more on the mid-bass and sub-bass enjoyers who want a greater ‘physicality’ to their music may be disappointed. These quantities sought are hugely subjective and in terms of technical performance of bass, the Anni is able to provide you with a speedy, resolving and detailed rendition of the low-end that helps generate a sense of pace and rhythm to keep your toes tapping along with the music.

Mids​

TL;DR: Anni offers a midrange performance that enhances male and female vocals with warmth and presence, delivering an energetic and detailed listening experience.

Moving to the midrange performance of the Anni, the aforementioned mid-bass punchiness imbues a subtle sense of warmth to the lower-mids that is quite good. There is not bleed here by any means but a slight heightening of note weight and a swelling of euphonia with male vocalists. Crooning RNB in the form of “Water Runs Dry (Strat Mix)” by Boyz II Men is a tremendously engaging experience with a more guttural quality to the vocals that envelops the listener.

Female singers in the upper mids/treble region present in a heightened manner, the tuning here seems to bring them to the front of the stage creating an engaging listening experience that tickles the ears…perhaps a little too much. More sibilance inducing songs in the form of “34+35” by Ariana Grande and “4 walls” by f(x) have a lot of sss sounds from female vocalists in a higher register and the result is a slight fatigue factor here.

More relaxed renditions such as “Billie Bossa Nova” by Billie Eilish avoids the aforementioned sibilance by sitting in a lower register with less of a heady voice and the result is a tremendously engaging experience that balances detail and enjoyability.

Combining the two in a duet such as "2easy" by Nive and Heize, presents a well balanced combination of the two. There appears to be no favourtism with the Anni but if I really had to put money on it, I’d say that female voalists are slightly more forward in the mix. “Godfrey, First Elden Lord” from the Dark Souls OST combines booming drums, strings, horns and a choir to give that does a great job of depicting the peril of a boss fight in a video game and the Anni resolves it in spades. Strings render and convey great harrowing peril through crescendos and, horns present in a manner that is befitting their bombastic nature. Instrumentalisation focused music such as orchestral pieces sound similarly excellent.

Overall, the mids are not a warm and enveloping experience but rather a harder nosed, edgier rendition of instruments and vocals. This may disappoint some, but the energy of its mid-range rendition is something that may be seen as beneficial for some listeners.

Treble​

TL;DR: Anni's treble response provides a crisp, sparkly, and engaging listening experience with well-balanced high frequencies that enhance percussion and synth elements without causing discomfort or fatigue.

Moving on to the most hyped element of the Anni, the treble response has been praised extensively by many people. Noting that preconceived expectation, I have to say that treble is usually the last thing that really jumps out to me. Call it deafness or just a lack of experience, treble is something that is only really apparent to me when it is missing or is overly spicy.

With all that being said, the Anni provides me with a nicely sparkly and almost crystalline experience with instruments residing in this region. Hi-hats, cymbals, wind chimes and all kinds of percussion sound crisp, engaging and without sibilance or harshness. Synth stabs and crescendos of high pitched EDM are well placed in the tonal balance of the Anni, it presents in a manner that tickles the eardrums without deafening me. There is a sense of speed here where percussion doesn't seem to step one each other's toes and is reproduced in a very clear and coherent manner.

There are definitely moments with the Anni wherein the hairs on the back of my neck stand-up but I am not discomforted by long listening sessions with it. Airiness is rather good and seems to open up the stage of the Anni, not in a manner that renders it diffuse and ineffectual but there is an ease in staging that makes certain portions of the FR curve more easily discernible. As mentioned earlier, upper mids feel a little hot from time-to-time but this is not a huge deal for me as I note that I am generally sensitive to this. "Exigece" by Koan Sound presents with a wonderful mix of both orchestral instrumentalization and the somewhat grating synths of EDM production, to which the Anni handles with gusto presenting the low-end, mids and the treble with an energy that is addicting to listen to.

Overall, the treble on the Anni has made me, a very deaf man (joking but maybe not), an appreciator of the higher-end region of the FR curve. Treble continued to jump out to me throughout listening experiences and I sought out percussion, piercing EDM synths and the like in order to feed my desire to listen to the Anni's wonderful reproduction.

Technicalities​

TL;DR: The Anni excels technically with its spacious and energetic staging, excellent detail retrieval, and dynamic volume swings, offering a grand and engaging listening experience across various music genres.

Moving on to the technical performance of the Anni, the staging of the Anni is rather excellent. With a sense of grandness with the width, depth and even height of its staging, the Anni performs well with a range of genres. On “One Winged Angel” by Nobuo Uematsu, the rendition of a music hall is almost faithful to the real life thing. There are definitely wider and more holographic stages out there, but they also have a tendency to feel more diffuse and seem to disconnect you with the music. This is not the case with the Anni where everything seems immediate and energetic enough within the stage.

Outside of staging, detail retrieval and resolution is also excellent with its aforementioned staging chops. It presents music in a layered and well articulated manner within the stage, presenting you with detail to pick out at your leisure. Dynamic swings of volume such as a sudden crescendo present with a sense of scale that is quite enjoyable to listen to.

Overall, the Anni is an excellent technical performer, providing you with great energy within a spacious stage, resulting in a grand and engaging listening experience.

Overall​

The Anni is an energetic and exciting listen, with a U-shaped sound signature, it seeks to enthrall you with low-end power and upper-end sparkle in a manner that is extremely satisfying to listen to. Those who enjoy mid-forward IEMs and more acoustically focused music may want to look elsewhere but for the thrill seeking lover of EDM, or pop, the Anni presents music in a manner that is extremely enjoyable.

Comparisons​

vs Unique Melody Multiverse Mentor​

TL;DR: The UM MM lacks the Anni's dynamic driver and visceral low-end but offers a warmer, more intimate sound with a unique holographic soundstage, presenting a laid-back alternative to the Anni's energetic and crisp listening experience.

The UM MM is lacking a DD compared to the Anni and the result in the low-end is a bit predictable. The MM cannot match the sheer displacement of the Anni and lacks the visceral physicality of the low-end. That is not to say it is a slouch in this regard, with a more mid-bass focused presentation, it still satisfies my need for punch and pace but it cannot replicate the throaty sub-bass of the Anni. The mids are were these IEMs seem to diverge, with the MM taking a much warmer and mid-forward tilt. The result of this is a more intimate vocal that is honeyed in its reproduction whereas the Anni sounds slightly drier in its rendition. This is not an L to the Anni but more so a different flavour.

The treble continues this divergence with the Anni presenting with far greater energy and crispness in this region. The MM, whilst not bad in this region, doesn’t have the same level of engagement, lacking the edginess that the Anni possesses.

In terms of technical performance, the MM has the benefit (or perhaps curse) of a Bone Conducting Driver (BCD), the result of which is a holographic sound stage that extends past the confines of your head and layers music in a unique way. It therefore has a more expansive stage but certain notes within this stage do not have the same energy and clarity as the Anni. Resolution and detail retrieval on first listen is an Anni win but this is more due to the tuning and I do not feel that the MM is far behind on more critical listens.

Overall, I believe the energy of the Anni lends itself to favour more genres and seeks to demand your attention. The MM presents in a more laid-back and warm manner in order to envelop you the music rather than command your attention. This is a matter of different strokes for different folks and I would welcome the two into a collection as complementary rather than as competitors.

vs Campfire Supermoon​

TL;DR: The cheaper Supermoon, with its V/U-shaped tuning, offers dynamic bass and treble but falls short of the Anni’s more balanced and natural sound, superior technical performance, and overall ease of listening.

This is a far cheaper IEM but there is a slight alignment in energy and tuning in that the Supermoon seeks to adopt a V/U-shaped tuning to highlight lower-end oomph and upper-end energy. The Anni unfortunately (or perhaps fortunately) trumps the Supermoon conclusively apart from the speediness of the Supermoon’s presentation. Low-end punch and physicality leans towards the Anni as the Supermoon’s ultra-fast rendition of basslines, whilst uniquely enjoyable is less punchy. Mid-range timbre on the Anni is superior as the Supermoon leans slightly too thin and lacking in naturalness and treble energy, whilst impressive on the Supermoon can be a little too overwhelming over time. The Supermoon requires a cable roll and some specific tips in my mind whereas the Anni is excellent out of the box.

Technical performance on the Anni trumps the Supermoon in terms of stage space, layering and overall resolution. The Supermoon seems to lean on a more energetic upper-end and a drier rendition of notes to heighten a sense of detail but longer-listening sessions yield a win for Anni.

The Supermoon, whilst quite good (when on sale) cannot match the tuning balance of Anni and its overall ease of listening. Those who demand speed from their IEMs may turn to the Supermoon but for everything else, I would much prefer the Anni.

Synergy​

One thought coming to my mind here namely lessons learnt after multiple DAPs, DACs and Amps plus headphones and IEMs is synergy! Hoping for the one and only holy grail Setup is maybe just a nice wish unless buying according synergy transducers and I don't believe even the best sources are an exception here. There's a reason why people are having multiple devices in parallel or reducing inventory and keeping only the ones with right synergy.

Luxury & Precision P6 Pro (P6P)​

The majority of this review was conducted on the P6 Pro and for good reason, the P6P provides a smooth and rounded rendition of sound but without blunting the resolution and detail retrieval of the Anni. It presents in a manner that is naturally timbred, easy to listen to and wonderful in terms of technical performance. There is little influence on the tuning and the nature of the Anni is retained. The P6P does blunt the energy of the Anni somewhat if used in NOS mode but for the most part, this presents a wonderful pairing that I can recommend wholeheartedly.

Shanling M6 Ultra (M6U)​

The M6U provides a slight u-shape tuning with an injection of warmth and spiciness in the upper regions. This is less of a neutral source compared to the P6P but has some characteristics in terms of smoothness and a rounding of notes. There is an imbuing of note weight with the M6U that makes the Anni punchier and more in your face with its presentation but this does also increase the fatigue with longer-listening periods. Technicalities are retained for the most part and there is a slight uptick in sibilance with certain songs but overall, I believe the M6U leans into the strengths of the Anni without overindulging. This is a good choice if you do not wish for mids to be brought forward in the mix.

Chord Mojo 2​

The Mojo 2 is a slight warm-neutral source that has a harder edged note reproduction to heighten detail and resolution. The Mojo 2 does a decent job with the Anni but there seems to be a slight blunting of dynamic range. This is a fairly inoffensive source pairing but with the benefit of DSP, I was able to heighten staging through crossfeed and alter the FR curve to better suit my preferences. Overall, its a fine source but nothing too amazing.

Value & Quality of Life​

The Anni was an object of desire of mine for a long period of time. Priced at $3000 USD, the pricetag is a bit of a hard ask for many audiophiles but for those who are willing to spend are rewarded with an energetic and fun-infused listening experience. This price range holds some key competitors and whilst the Anni is not a slam-dunk please everyone choice, its energy and treble performance creates a wholly enjoyable listening experience. I do not feel remiss stating that the Anni is worth the dollar you pay for it so long as you don’t expect the world’s best bass nor a mid-forward approach. Expect a respectable low-end and a great upper-end combined with a wonderful technical performer and the Anni is well worth it.

The shells are rather large but for my particular ear shape they feel right at home with no fatigue over time. I would have liked something a little more sculpted for the concha but overall, I do not think these would be too cumbersome unless you had a smaller ear.
The nozzles are rather large and whilst this was fine with me, it will prove cumbersome for smaller eared individuals. The P-Ear connector is the bane of many a cable collector but I am quite partial to its adoption as I feel it is far better than MMCX and has greater manoeuvrability than 2-pin.

The Anni requires a fairly powerful source and seems to scale well with additional power. Requiring high-gain on nearly all my sources and a rather healthy amount of volume, the Anni does even better when powered by an external amp such my Sound Tiger Sinfonia. The scaling of the Anni bodes well for more discerning audiophiles who have a number of sources but I do not feel it will be that great for more minimal setups such as dongles.

The Anni is a handmade item and therefore, there is a bit of waiting period for them, with vendors usually taking pre-orders before they are made. This is a bit of a frustrating process but Lee is definitely speeding up with the production of Anni but this is something to note should you be running out to buy one.
And as with any handmade item, there is a tendency to be some issues or imperfections but I have only heard limited experiences with this and I would be confident in purchasing one.

Conclusion​

Energy, engagement and excitement are what I would use to describe the Anni. It is not a specialist IEM but its tonal colour is heightened when thrown EDM and pop music. Technical performance is excellent and doesn’t leave me wanting for anything else but its deficiencies in the mid-range ultimately led me to the UM MM. This is less of an indictment of the Anni but rather a highlighting of the need to understand your library and the suitability of your IEM to your music. With that being said, it was much longer after purchasing the UM MM that I began musing about the Anni as a complementary IEM in the collection. It commands your attention and leaves an indelible mark, its treble wonderful, its stage grand and its detail impeccable. Anni is one for the ages, and I feel is worthy of its mythical status as a must-have IEM.

This is a simple written review as I don't have too much bad to say about this iem.

I love the build quality of it, and it fits in my ear perfectly. The shell is world-class. I was able to demo this iem first at Can Jam So Cal 2023 and loved it there.

The Tip selection is a little bit lackluster as you only get one set of W1s. The packaging is a little boring given the price of the iem as well, but overall it is a strong iem.

The included case is fairly boring. So overall the packaging doesn't feel pristine, and the money is in the sound not the packaging.

The Cable is world-class and is fun to play with while listening to music. It has a beautiful shimmer. I've tried to cable swap and keep going back to the original cable.


BASS
The bass response is really enjoyable and underrated. It rumbles and sounds good in the ear in certain tracks. It's really fun, the shell will vibrate at times. Sometimes I wish for more bass, but it's very strong and worthy for most music.

Mids
The mids are perfect and faultless. They sound correct and clean to my ears. Vocals come up well and it just pleasant.

Trebble
It can be fatiguing and a little bit much at times but sounds overall really strong. I feel it shines with details and has a great lovely sound.

Timbre
It's perfect, a little sweet. It sounds great on anything that I throw at it.

Conclusion
I am in awe, and in love. It's a fully great set. I have a little bit of time in between a few structured reviews and thought that I'd drop a review and a YouTube video on a personal set. It's been on my desk for a long time. I've tested and tried many iems over my journey in the last year. This is one that always impresses me, even in its simplicity and clarity and it's just the right fun factor. I can't say anything bad, but limitless Extension. This iem is stellar and gets my recommendation for all those who are interested in it despite its price.
Quick Summary video if anyone is interested.

This review - really a set of impressions and comparisons - is cross-posted from The Watercooler


After spending this week getting acquainted with Elysian Annihilator 23 and letting it burn in for 20 hours, today I started to compare it with the Aroma Fei Wan. Two IEMs that share many similarities! Although Fei Wan is about 50% more in retail price, amazingly the Annihilator 23 compares with it very well. And as @Rockwell75 has pointed out, they both feature the Asian/Eastern sound profile, a more top-down approach and yet with strong lower ends. Here are my impressions of the two side-by-side.

Chains:
N30 (hyper/classic tube)>Venom>Anni>Divinus Velvet
M9+>1950s Shielding>Fei Wan>Azla Sedna Max

Music:
A mix of classic rock, modern rock, folk rock, pop, and jazz vocal.

Impressions:

Annihilator 23:
On its own merits, what a terrific IEM in so many ways. I agree with what some others have said here, that it is more than a treble specialist. Anything I threw at it from my library sounded great.

In terms of fit, Anni 23 is not very comfortable for my ears. This is due to its bulk, wide nozzle and its angle for my ear anatomy. Even after tip-rolling to get to the best option (Velvets), I need a break after no more than several hours of listening. This is a bummer and is often a reason I rule out whether an IEM has a spot on my roster.

For appearance, the Anni 23 Ti is a gorgeous piece, as beautiful as the gold edition, and rivalling all other great looking IEMs I have seen in person. And, at the end of the day I don't really care about that. When it's in my ears, I can’t see it. But I can feel it and hear it.

As for the most important aspect, the sound:

I find Anni 23 has a relatively U shaped profile, with mids a bit more recessed than Fei Wan's.

With its DDs, the sub bass is good not great, as is the mid bass. It has a medium-plus amount of bass quantity, though much less would not be acceptable. By comparison to Fei Wan, Anni's bass quality sounds a bit pillowy and woolly. But if I hadn't heard FW, I wouldn't have had quite that impression. On its own, Anni’s bass is reasonably satisfying, and complements the treble in particular in a balanced manner.

Mids are well articulated but not as prominent as its high and low ends. On some more complex songs with lots of instrumentation and singing, I couldn’t hear the male vocals as much as I do on the Fei Wan in the same case. Acoustic instruments sound fantastic on Anni, with such great timbre and transients, maybe better than any IEM I have heard. I hear this in particular on Humble Pie’s “Sucking on the Sweet Weed“, as I’ve never heard it before, just wow. Anni has relatively no upper mids energy, as opposed to Fei Wan.

The treble is better than any I have heard. It is smooth, crisp, airy, rich, so many great qualities I had never heard in treble to this degree of dazzling until now. Higher-pitched female vocals like Sarah Jarosz and Jenny Lewis in particular sound beguiling. As fantastic as Fei Wan’s treble is, Anni’s treble is a bit of a step up. With all that it has going on in the high end, I am really pleased to find zero sibilance. And I would not describe Anni to be bright - it all sounds just right, from the top down. It is not fatiguing.

Both sets have excellent technicals: details, transients, dynamics, and staging in particular. Anni's resolution is on par with Fei Wan. Dynamics are very slightly behind FW. And staging is narrower and shallower than FW. I find Anni to have a cleaner (though not clinical) sound than FW. Both sets provide an emotive experience, with Anni’s being more relatively peaceful. Anni’s signature is warm but FW’s is warmer, thanks to its much stronger bass.

Just listening to Anni for much of the week, I found it often to be an exciting, activating listen, but generally scalable to the mood of a song. Compared to Fei Wan, Anni 23 is relatively calmer, and listenable for longer periods.

Fei Wan:
It is like Anni 23 on steroids. The sound profiles of both are similar, with FW having much more intensified qualities.

I have the universal stock Fei Wan, and its yellow and gold appearance is neutral for me, not as ugly as some have characterized it. I don't really care what it looks like, as long as the fit and sound work, which is the case.

For fit, Fei Wan is the most comfortable IEM I have ever used. I could have it in all day and wouldn't hardly notice it is there. I think the build is very good, more premium than others have described it.

I find FW’s sound profile to be U-shaped (almost W-shaped), even though many say it is V-shaped - I do not hear the mids to be very recessed. On songs with male vocals, they do not recede behind the rest of the band. Anni’s mids recede a bit more.

Fei Wan’s quantity and quality of bass is among the best I have ever heard, better in my mind than other DD class leaders like Xe6, Rn6, EVO, EXT, Maestro SE, and maybe even Trifecta, given how much more speed Fei Wan showcases in its bass. The only comparable fast and tactile sub bass I have heard is Grand Maestro, which unfortunately for me was so uncomfortable (universal model) that it was unusable.

On more balanced songs, Fei Wan’s bass is maybe the best I have heard as part of the whole experience. With songs featuring lots of lower end, like Yes “Starship Troopers”, Beatles “Come Together”, and Daft Punk “Get Lucky”, it is an incredible sound. Loads of gut-punch and thwack. Fei Wan’s bass provides a visceral, vivid, and satisfying experience. It rarely creeps up into the mids, maintaining a discrete and still coherent mix. On songs where there is a much warmer tone and deeply heavy resonant bass sound, like The Weeknd "I Can't Feel My Face" and Roisin Murphy "We Got Together", the high end is never overwhelmed.

Back to the comparison here, Fei Wan's bass is more tactile than Anni's. FW has much more sub bass than Anni. And its mid bass is detailed and not at all woolly like Anni's is relatively.

FW has incredible timbre. Acoustic instruments sound realer than any IEM I have heard outside of Trifecta. Voices are not only crisp and well delineated, I can hear a bit more realism to them than on Anni. Deeper male voices in particular like Jose James and Gregory Porter sound rich and evocative on Fei Wan.

FW has a fair amount of upper mid energy, as many have commented on. It can be fatiguing without the right setup. I have mitigated this verve with source, cable and tips to a large degree. FW sounds especially rich and smoothed over a bit on the M9+. But after listening to Anni for awhile, switching to Fei Wan, the burst of higher end intensity is palpable, for better or worse, depending on my mood and expectations of musical experience in that moment. At times it can feel like I am careening down a highway at night and the brakes go out. A white knuckle experience.

FW has excellent treble, maybe 90% the quality of Anni's. Relative to Anni 23, Fei Wan is brighter, though on its own merits I wouldn’t call it bright, more like glowing, since there is no sibilance to be found on Fei Wan either, try as I might to find it on test songs.

While both sets have top-shelf technicals, I find that FW is a small but noticeable level-up on all, except transients, where Anni has a slight edge. Fei Wan on the whole sounds bigger, more spacious. Relatively, Anni sounds like I am listening to a performance in an intimate club setting with minimal amplification, whereas with Fei Wan I am at a much larger concert venue with powerful amplification. Listening to David Crosby's "Woodstock (Live at the Capitol Theatre)" and Diana Krall's "Lets Fall In Love" particularly illustrates this distinction. I find FW to have more of an analogue sound than Anni. Both leave me with an emotive experience, with FW’s featuring more intensity of emotion. FW’s signature is warmer.

Overall, Fei Wan provides more of a dynamic and thrilling (and after several hours exhausting) listening experience than Anni 23. FW is not as scalable as Anni, though almost all of my library still sounds very good to great with it.

The bottom line:
Both Annihilator 23 and Fei Wan are superb, and different enough that they could each have a place on a great roster of IEMs, with Anni 23 being to me more of the all-rounder and FW being more of the fun joy-ride set. But the experience is more than sound quality, and for my roster, I need to decide whether Anni’s fit problems are worth living with. Considering that factor, if I had to choose between the two, Fei Wan would be the keeper, an outstanding one at that.

Introduction​

When the original Annihilator was released back in 2021, it was relegated to obscurity, that is, before word of mouth spread about how good it actually was, and how exceedingly difficult it was to get ears on a pair.

In the years that followed, the Annihilator has seen a meteoric rise to an almost unicorn-like status that it still enjoys in the present day.

The subject of today's review is the Annihilator 2023, the latest iteration, which features improvements including updates to its crossover circuit and internal wiring.

According to Lee, the internal wiring now uses different materials for each of the low, middle, and high frequencies contributing to an overall smoother presentation.

The Elysian Annihilator used for this review is a personal unit. All of my IEM reviews are reviews of personal units unless otherwise specified.

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Unboxing​

The unboxing experience of the Annihilator 2023 is extravagant.

The cubic box is enveloped in an arresting gold with "ANNIHI-LATOR" emblazoned across the face of the box in bold, all caps.

Printed on the bottom right it reads: "Handcrafted by Lee, Founder of Elysian Acoustics Labs", and there's one last inscription on the back, this time a bold proclamation: "The Only One That Matters".

Lee's flair for the dramatic is on full display with the Annihilator's packaging, and it's effective.

Sans the box cover, the unboxing experience is identical to the Diva's, only with more flair, more charisma.



Inside the box is the following:

• A pair of Annihilators
• S/M/L SpinFit W1 ear tips
• Suede carry case
• Liquid Links Martini cable with a 4.4mm Pentaconn termination
• Microfiber cloth
• Card of authenticity

Comfort​

The Annihilator shells and nozzles are on the larger side so those with smaller ear canals may experience difficulty finding a comfortable fit.

Despite its larger size, the Annihilator shells are lightweight and have an ergonomic design which should help with the fit.

The stock SpinFit W1 tips have a grippy texture that helps them stay in place and create a secure seal. I'm able to wear the Annihilator for hours without discomfort, but this may not be the case for some listeners.

Fit is similar to: Elysian Diva 2023, Monarch MK2/MK3, and Blessing 2: Dusk.

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Sources​

I used the following sources during my review process:

• MASS-Kobo 475 amp
• Chord Mojo 2
• MacBook Pro

The Annihilator is a little harder to drive than most IEMs. Despite this, I had no issues driving it on any of my sources.

I tested the Annihilator using lossless files from Qobuz, SpinFit W1 tips, and the stock Liquid Links Martini cable.

Sound Impressions​

Lows​

Measurements were taken on my personal IEC-711 clone coupler.

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The frequency response of the Annihilator is an aggressive U-shape with a very pronounced mid and sub-bass that results in punchy lows.

The Annihilator's bass is quick and has a buzzy subwoofer-like effect with somewhat soft transient edges.

The bass is diffuse-sounding and has a large area of effect. Bass notes sound big and reverberate throughout the entire stage before quickly dissipating.

Although it’s engaging, the bass could use more finesse. It sounds as if it's on full tilt all the time and it lacks the resolution and definition found in top-tier bass responses.

The Annihilator's ability to texture bass isn't bad by any stretch but I found it lackluster for a $3000 IEM.

The bass has a decent weight, but it falls short of the sheer bass density and transient hardness of the IER-Z1R's bass. This isn't a knock since most IEMs fail to compete with the bass of the legendary Sony, but the Annihilator isn't most IEMs.

Overall, the Annihilator's bass goes for a quick, big punch and plays a complementary role to its midrange and treble. It's engaging, but it may be too much mid-bass for some listeners.

Mids​

The Annihilator's midrange has a neutral-bright tonality with great clarity that comfortably bests the midrange resolution of the U12t, although the U12t does a slightly better job bringing out microdetails to the foreground.

I haven't listened to the Subtonic Storm or other contenders for the single-most resolving set period, but the Annihilator's clarity is top-tier and shouldn't leave anyone needing even more resolution.

The Annihilator's voicing is believable but ever-so-slightly raw and digital. There's a very subtle center skew in the vocal presentation that prevents it from being entirely accurate. I didn’t find this an issue though as it’s clear the Annihilator was never intended to be a reference-type IEM.

The female and male vocals are positioned forward. Female vocals can get aggressive and toe the line, but I can't say in earnest that I found them shouty on any track.

The forwardness of the midrange provides a nice balance between the aggressive mid-bass and elevated treble giving the Annihilator a slight W-shape. Considering how aggressive each section is, it's remarkable how well they interplay to provide a cohesive and engaging end result.

The Annihilator boasts a high clarity, exceptionally resolving midrange with a neutral-bright timbre.

Highs​

If there’s one word that sums up the Annihilator’s treble, it’s "effortless." It's incredibly fast, and even the tiniest treble details flit in and out of existence without a single one going unaccounted for. The Annihilator’s treble is wonderfully extended and elevated, yet it never becomes sharp or piercing.

Without hyperbole, the Annihilator possesses the most capable treble I've ever heard. Even during the most intensive, treble-heavy passages, the Annihilator performs as effortlessly as a world-class sprinter training at half-speed. It never seems to be under duress at any point.

It's not all praise for the Annihilator's treble though. Despite its abilities, the treble notes exhibit weightlessness and are lacking in sustain. It's almost too fast if there's such a thing.

Listening to the Annihilator's treble is undoubtedly an experience, even if it doesn't always sound natural. Even so, I think most listeners would accept this small cost in exchange for the world's best treble.

Detail and Imaging​

The Annihilator's midrange and treble have superb clarity and resolution. The midrange is forward and very revealing while the treble presents all its minute details with ease. The bass is the only area where I think the Annihilator could use better definition and resolution.

The Annihilator's soundstage is quite wide but has average height and depth. Imaging is pretty accurate but it's not a standout quality at $3000.

The Annihilator is easily out-imaged by the U12t and the new Symphonium Crimson which are significantly less expensive at $2000 and $1500, respectively.

Tonality​

The Annihilator has a neutral-bright tonality that sounds very clean and coalesces nicely with the Annihilator's exceptional resolution.

Despite its brightness, unlike other bright IEMs, the Annihilator avoids glare and sounding harsh or clinical.

Dynamics​

The Annihilator has excellent dynamics that contribute to its aggressive and exciting sound. It rides large dynamic swings quickly and with ease.

The Annihilator has all the components — a big bass, boosted treble, and huge dynamics — that makes it one of the most exciting IEMs on the market.

When all these elements converge at the same time on a track, it's fireworks.

Shortcomings​

Here are a few shortcomings of the Annihilator:

• Prohibitive cost.
• Bass definition and bass texturing could be better for its price.
• Lack of treble note weight and sustain.
• Average imaging for its price.

Intangibles​

For all its celebrity, the Annihilator is hardly a perfect IEM. Despite its flaws, it has undeniable star power due to its peerless treble and allocation of strengths in high-impact areas.

The Annihilator is big, bold, and loud. Sprinkle top-tier resolution and great tuning into the mix and you have a very compelling package.

In my opinion, no other IEM combines top-tier technicalities and a high engagement factor as effectively as the Annihilator.

Its combination of technique and fun is what makes the Annihilator intangibly great. Nothing sounds quite like it.

Comparisons​

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Annihilator vs. U12t​

It's virtually a rite of passage for every TOTL contender to be pitted against the U12t. Let's see how the Annihilator stacks up.

The Annihilator's graph is an aggressive U, while the U12t's tuning is a bass-boosted neutral with an upper-mids scoop and an upper-treble peak.

The Annihilator has a neutral-bright tonality. The U12t's tonality is neutral-warm.

The first thing that jumps out is that the Annihilator is immediately higher-res. It is noticeably more clear in its voicing and across the frequency spectrum.

Both contenders have punchy bass, but bass texturing going to the U12t, even if it's lacking in bass realism due to its unnaturally short bass decay.

Vocals are somewhat recessed on the U12t but are smoother and more refined than the Annihilator's. The Annihilator's vocals are notably more resolving and clear.

The Annihilator's boosted treble is extremely quick and sounds pleasant despite its brightness. The U12t's treble has a more natural note weight and decay than the Annihilator's but has an upper peak that can become bothersome.

The Annihilator's presentation of music can be seen as aggressive, engaging, and opinionated, whereas the U12t's aims to create a more faithful reproduction of a recording.

Annihilator vs. Diva 2023​

Next up we have a battle between Elysian siblings.

The younger sibling Diva has a bass-boosted neutral tuning with an upper-treble roll-off versus the Annihilator's aforementioned U shape.

The Diva has a sweet, pigmented, and at times, euphoric tonality, whereas the Annihilator's is neutral-bright.

The Diva's bass has a notable sub-bass tilt which is in stark contrast to the Annihilator's more mid-bass-focused tuning.

The bass quality is decent on both sets, but are lacking somewhat in transients, density, and texturing for their respective price ranges.

The Diva's strength is its vocal presentation which is lush, pigmented, and smooth, if ultimately lacking in microdetails and resolution. The Annihilator's vocals are slightly raw in comparison but are significantly more resolving and clear.

The Diva has a fairly linear treble with a safe tuning, though it does roll off significantly in the upper treble. Although the Diva's treble doesn't do anything wrong, it's outclassed by the superior speed, extension, and resolution of the Annihilator's treble.

The Diva and Annihilator have many differences, but they share an Elysian "house" engagement factor. No one will mistake them for reference sets, but they're undeniably moving.

Annihilator vs. Monarch MKIII​

The successor to the immensely popular Monarch MK2, the Monarch MK3 is one of the newest kilobuck entries into an increasingly competitive market.

The Monarch MK3 sports a U-shaped tuning like the Annihilator and possesses great technicalities and treble extension.

Despite suffering from some mid-bass transient bloat, the Monarch has better bass texturing than the Annihilator.

The Annihilator has a slight edge in vocal clarity, but the Monarch's isn't far behind and presents a more refined vocal experience overall. Vocals on both sets present forward, with the Monarch possessing a pigmentation like the Diva's.

Although the Monarch has a well-extended treble, it suffers from some treble tizziness and an unnatural sense of treble detail. Microdetails can sound a bit forced which is in stark contrast to the effortlessness of the Annihilator's treble.

Soundstage size is competitive between the two sets, but the Monarch has a slight edge in imaging precision.

For a third of the Annihilator's price, the Monarch MK3 is a compelling product that represents great value in a rising IEM market.

Annihilator vs. Symphonium Crimson​

One of the newest entries into the $1600 bracket, Symphonium's sophomore offering improves upon its already well-received Helios.

Crimson is its name, and like the Annihilator, it possesses a U-shaped tuning.

You'll notice that the Annihilator's bass graphs more elevated, but in practice, the Crimson's bass has a more satisfying and pronounced slam.

The Crimson has a superb bass by virtue of its well-defined transients, substantial heft, and great texturing. It also demonstrates more nuance than the Annihilator's, filling a room or showing restraint as a recording requires.

The Annihilator's vocals present more forward than the Crimson's and offer superior clarity and resolution. Crimson's vocals are decent and sound more integrated into the mix.

Crimson's treble is well-extended but can get a little spicy because of its upper-treble elevation. I hear occasional tizziness, though this may depend on the sources and ear tips used.

The Annihilator's treble is also elevated, but it manages to sound pleasant at all times and avoids the glare and shimmer present in the Crimson's.

If the Annihilator's star quality is its treble, the Crimson's is its expansive soundstage and impeccable imaging.

Possessing a soundstage like the IER-Z1R's and imaging chops like the U12t's, the Annihilator, and most other IEMs, are outclassed by the Crimson in these areas.

The Annihilator and Crimson are two IEMs that trade heavy blows. The "better" IEM will depend heavily on the listener's preferences.

Conclusion​

Priced at an eye-watering $3000 and plagued by lengthy production times, the Annihilator 2023 is an IEM that has a lot of promise to fulfill.

So, is it worth its astronomical price tag and agonizing wait?

I'll put it this way. If you strip the Annihilator of the shimmering robe of hype and cult-like status, what remains is a highly technical, very engaging monitor equipped with the world's finest treble.

You'd be hard-pressed to find a single IEM at or below $3000 that outright surpasses the Annihilator 2023.

I recently got my hands on the Elysian Annihilator 2023. I want to thank my friend for letting me test them, measure them and compare them tomy personal pair of Annihilator 2021s. Elysian needs no introduction. The Annihilator quickly jumped to the top of many reviewers charts for the best treble response in an IEM. It is incisive, natural and never piercing. Many reviewers have praised the Annihilator for impressive detail retrieval, treble response and clarity. Its biggest downside is bass, but I think this is mostly nitpicking a top 3 IEM in the entire world.

Notes: All reviewing is done using Questyle M15 dongle, Apple Music Lossless or Local FLAC files. Driving this IEM can be pretty tough. My Q5k and apple dongle weren’t really doing it justice. I threw it on my tube amp, but it really was not a good pairing. The M15 was the best so that is how I reviewed the unit.

Anni 2021 vs Anni 2023



Both of these IEMs are absolutely stellar. They are both easy 5 out of 5 IEMs. I like to think I am fairly picky, but this is an easy decision for me. There are differences to both, but one is not necessarily an upgrade to the other. The biggest difference between them is the bass response. The bass on 2023 is more midbass focused leaning to meatier mids and a nice weight behind drums, bass guitar, cello, trombone and other lower frequency instruments. For the most part, the rest of the FR remains unchanged.

On a technical point, the 2023 feels like it might be a hair more resolving and the treble might be a tough more reigned in on some of the best treble in the world. The difference may be .1%, but worth noting.

The build on 2023 definitely feels like an upgrade. The nozzle is a beautiful gold nozzle with a nice filter on the end. 2021 is more of the classic pseudo custom fit with a nozzle more like the Blessing 2. The lack of filter could be worrying to some, but it doesn’t really affect me. Shell size and comfort are identical to my ears, but the more refined look of the 2023 really stands out.


Sound:


Bass: I have mentioned this already, but the Annihilator 2023 is focused in the midbass regions to help give meat to the mids and bring forward a very natural timbre to the low end. Bass guitars, cellos, trombones, snares and toms all sound lucious and full. Songs like Spoon By Dave Matthews Band, Cumberland Blues by the Grateful Dead and The Chicken by Brian Brohmberg all absolutely shine. The textures are perfectly executed. This is what mid bass is and what it should sound like. I can feel the finger picking of Stefan Lessard and the plcuking of Phil Lesh so clearly it’s hard not to groove along. Bass players like Brian Brohmberg, Marcus MIller and Jaco Pastorius are heavily featured in my music and this is the best I have heard them sound since my Verite Closed. I never thought of myself as a timbre head, but I think this does it for me.

Sub bass is a bit of an issue though. Songs like How you Like That by BLACKPiNK or Neon Medusa by the Midnight don’t exactly slam, but are passable. If you like techno or heavy EDM, I don’t think this is a great fit for you. The bass is rumbly, but not exactly slammy. (The bass on the 2021 is even lighter). If you want to truly slam and rumble, the answer is still IE900 to my ears. I will give this a 7/10 only because the sub bass is a bit loose and not as slammy as other options I have tested despite the amazing midbass response leading to insane texturing.

Mids: I might break my arm jerking off the Annihilator, but Lee did something amazing here. I love the mids on this IEM. They feel heavy and powerful without ever leaving me wanting more. The textures are natural, the instrumentations are separated well and the vocal timbre is just perfect to my ears. Violins, guitar strumming, male vocals, banjos, trumpets you name it, are all quick with perfect decay. This section is short because there are no issues here. The mids here are perfect. Bar none, this is the best I have heard. My A12t comes close, but fails in the upper mids. IE900 comes close, but requires a ton of EQ to get there. Meteor has so much going for it, but in terms of detail retrieval from busy sections, it doesn’t keep up with something like Annihilator. This is 10/10 mids. I will give it no fault at all.

Treble: The scale has been broken because this is where every IEM fails. Tuning treble is very difficult because affordable measuring equipment does not accurately measure treble. The flaws within the commonly used 711c couplers compared to the new 5128, and its other variants, have shown that treble has been tuned basically by ear since inception. Only a very select few have done it right. The Helios is the most linear of an IEM I have owned. It is incisive, but never fatiguing. It has shine and sparkle, but the Annihilator would be the next step.

I would not call myself a treble enjoyer on a typical day. Flutes, harmonicas, rides and cymbals are usually things I avoid. I love bluegrass so Banjo twang and higher register guitar is something I do appreciate (Please check out Billy Strings for the best bluegrass since The Stanley Brothers). I would call the Annihilator the most aggressive treble I have ever heard, but there’s something magical about it. It’s forward, it’s in your face, but it never hits sibilant. It shines like the sun, but never gets those sibilant spikes that I got on IEMs like Mest Mkii, A12t / U12t and a ton of other TOTLs. The clarity, decay and speed of the treble makes all the cymbal hits crystal clear helping to add air to the presentation. The treble’s aggressive tendencies play into the hands of extra clarity and detail. Opening up the higher frequencies allows it to project out of head images. This is 10/10 treble and I would give it more if I could. Pure magic here.

Imaging: I have never really had the out of body experience that some people claim to have with Andromeda or other IEMs known for staging. IEM staging is mostly a meme. If it can project any sort of stage width or height it’s in the top percentile of IEMs. Annihilator presents the 2nd largest stage I have heard. A12t is still the largest, but lacks the clarity and detail that comes with the Annihilator. The stage width and depth is on par with the Mest Mkii but lacks the beautiful tuning of the Annihilator. The strength of the imaging and technical prowess of the Annihilator 2023 is in the detail retrieval. You can hear studio easter eggs, like birds cawing on Sturgill Simpson’s “Call to Arms.” On an industrial post rock track called Reitschule by Do Make Say Think, the sounds of people muttering, outside noises and tip top cymbals add more busyness to a track that I have heard thousands of times. I hear new things every day I listen to the Annihilator and I can’t wait to continue exploring even though I am a lowly Annihilator 2021 owner.

TLDR: This is probably the best IEM in the world. There are other options that are less flavored, but equally technically skilled, such as the Subtonic Storm, but for my listening, the Annihilator hits all my boxes. It has amazing mid bass to mid texturing and timbre. The treble adds so much air and clarity that it’s pretty scary to think this is in my head. I can find no flaw in this IEM and is worth every cent and more. I hope one day to try the Subtonic Storm for more than a small demo session as it will be a true battle of the gods.