Empire Ears ESR MKII (2021)

Overview:

Up for review today are the Empire Ears (EE) ESR Mk2 (ESR.) These are one of the cheapest EE offerings available and are tuned to offer a studio-like experience for the listener. The ESR is a five-driver hybrid with 3x BA drivers, 1 each for low, mid, and high, and 2 Electrostatic drivers for the high and super high. There’s a ton of Empire Ears tech built in, and these are one of the highest-reviewed IEMs in this price range, the other being the Thieaudio Monarch Mk2 (MMk2), which I have available for comparison against this set for this review. If you don’t feel like reading the full review below, just know that these have a really great tuning and can go head-to-head with much more expensive IEMs – BUT, they are low on bass.

Build Quality / Comfort:

The build quality on these is good, though my used set has a small bubble in the shell, and it doesn’t look as good as it probably did when new. Other than that, the shell has a quality feel to it and the brushed steel underneath the resin with the EE logo has a pretty classy appearance, though it’s nowhere close to EE’s usual gorgeous faceplates. So, if you need your IEM to look like the aftermath of a Color Run, look elsewhere (EE Valkyrie or Odin.) The ESR comes in a nice box with solid accessories including one of those unscrewable solid metal cases that feels like you could run it over with a clown car (VE8 and Mezzo have the same case.) It doesn’t require a Ph.D. in Mechanical Engineering to open like the Aroma Thunder’s case, so no worries there. The ear tip selection is nice (Final Audio, though I’ll be using my favorite Spinfit W1s (you can get some here if you want: https://amzn.to/3XXwVHp)), and it comes with a super cool cleaning cloth as well (completely unnecessary – you have a shirt (I assume, if not, put a shirt on man)).

The cable on the ESR is the Alpha-IV, a 4-core copper cable made from 26 AWG Litz copper. This is a decent quality cable, though it can get a little tangly and kinks easily, it is easily one of the best stock cables I’ve seen included in a while (beaten only by the Mezzo’s cable.) Mine came terminated in 3.5mm, but other options are available as well (I won’t be using it because the modular Kinnera Leyding is just about perfect, you can get one here: https://amzn.to/3Yil9XY.) It is not modular like the MMk2’s, but you can buy adapters from EE’s site if you want one. The ESR is very comfortable and my Small Spinfit W1 fits well on the nozzles and provides a good seal. This is a medium size IEM, and smaller than the Monarch for those who worry about the size of those (the ESR is far more comfortable.) Oh, and it’s not super thick either, very slim IEMs – not like the Sumo Wrestler Mezzo or Thunder – literally I can’t think of a more perfect size IEM, though the nozzles are a little on the big side.



Sound / Source / Comparisons:

Looking at the squig.link frequency response graph, the MMk2, and the ESR are very different in almost every measure – odd because I like the sound on both of them. Obviously, the Monarch has increased sub-bass over the ESR – unsurprising considering that studio monitors are rarely super bassy. The mid-bass however is slightly stronger on the ESR. In the mids and high-mids, the two IEMs are pretty similar until above 2k Hz. After that, all bets are off and they diverge heavily in the highs – the ESR has the most pronounced drop I’ve ever seen at 10k+ Hz, but there are not a lot of discernable sounds up there anyway. Both IEMs have the 8k peak and somewhat of a mid-treble dip.



I will be running the ESR and MMk2 from my Shangling M3 Ultra (M3U) from Tidal Hi-Fi. On 4.4mm balanced output from my Shanling M3U, these are the second easiest IEMs to drive with only 20/100 volume needed. That’s great for battery life on mobile players like the M3U. The only one lower was the Vision Ears VE8 at 19/100 – impressive stuff since the MMk2 runs at 35-40/100.

As usual, I don’t like breaking down headphones solely by frequency range since every song has bass, mids, and highs (and I can’t tell the difference between vocals at 1900 Hz and 2100 Hz.) So, I will start with bass-heavy songs, then move to mids-focused and lastly highs-focused songs, then break down each song by how all the pieces are presented. You can find my Tidal test tracks playlist in my signature if you want to compare them to your headphones. I will be doing a back-to-back between the EE ESR Mk2 with the Leyding and Spinfit W1 and the MMk2 with the stock cable and Spinfit W1 (yeah, I own two pairs of them now specifically for comparisons.) The first song is my favorite bass-test song, David Guetta’s “I’m Good(Blue).” The ESR starts with some really strong bass drums and good impact (as implied by the graph.) The hi-hats are easy to hear and not abrasive. The mid-synths and sub-bass are really good with the sub-bass coming in stronger than the FR chart implies but definitely less than the MMk2. The soundstage is good but smaller than the MMk2 – it doesn’t come in flat or 2D though, just smaller. The overall experience is really good. Switching to the MMk2, we get less impact on the intro drums with more reverb. The hi-hats sound about the same and the mid-synths come in cleanly with the sub-bass having that breath-stopping quality. The sub-bass really overwhelms here with the MMk2 – which can be good or bad depending on your preference. I find the ESR a little more comfortable. The MMk2 also has that bigger soundstage.

For a mids-based song, I am using eleventyseven’s “Appalachian Wine.” The intro strings and clapping comes through very clearly and the vocals and acoustic guitars sound as beautiful as I’ve ever heard. The chorus sounds great, with a medium-sized soundstage, forward-sounding mids, and great clarity. The bass drums can be heard in the background, but they’re muted – pretty normal for this song. Also, the organ at the end sounds amazing. This song really illustrates why the ESR is so highly rated (and the reason I picked one up for review.) If you want a cheaper IEM to give you chills on your favorite mids-based songs, this is definitely a good option. The MMk2 also does great with strings and has an even larger soundstage and more bass (using more power.) The MMk2 can have more slightly more abrasive vocals, but this is nitpicking at this level (kind of the point of these reviews.) The MMk2 is definitely less comfortable and the sub-bass can overwhelm some of the other pieces on the MMk2. Still, both of these are very good IEMs, and you’ll have to decide what is more important to you.

For highs, I’ll be using Panic! At The Disco’s High Hopes to test for sibilant “S” sounds. The intro horns sound really good, with full body, and the bass and sub-bass come in nicely. Unfortunately, the vocals DO have sharpness and sibilance in the “S” sounds. It’s distracting enough for me to not want to listen to this song. So, switching over to the MMk2. The horns still sound good with good bass/sub-bass. The sibilance and sharpness the ESR had is significantly decreased on the MMk2. There’s still a little, but not enough to complain about since a LOT of high-end IEMs can have some issues here – which is why I use this song. Still, the Monarch wins this song.

Switching another Highs test song, Michelle McLaughlin’s “Across the Burren” can give a lot of IEMs trouble. The ESR portrays the opening notes really well. There is little to no sharpness on this song, likely due to the decrease in the treble between 2-4k. The ESR has a good portrayal, but I have heard better on this song (costing 1.5x as much.) The MMk2 does a solid job with this song, though I’ve heard better now. The notes still come in a little sharp and that’s likely due to the hump between 3-4k Hz. Overall, it’s not bad, but it’s not amazing either. The ESR wins this song.



Conclusion:

Yes, that's Dominic Toretto's Charger R/T. The ESR Mk2 is a really good kilobuck IEM (that you can probably find cheaper, I know I did.) If sub-bass is not your thing, these will fit the bill and provide a good presentation. If you want more sub-bass, a bigger soundstage, and you’re OK with the weaknesses of the Monarch, then get those – they are cheaper new but cost more used and there are comfort issues and fit issues to keep in mind. The ESR are not at the level of the VE8, Mezzo, or Thunder, but they cost a LOT less. Overall, the ESR is a really good IEM. So, between these and the Monarch, you can’t go wrong, but you’ll have to choose what’s more important to you.

Intro

Let’s have a bit of an intro about the brand. The company has been around for close to 7 years. Some of you may know them by their previous moniker “EarWerkz”. In 2015, Jack Vang together with his father, Dean Vang, joined forces to create one of the best IEM manufacturers based in the US. That brand is what we now know as Empire Ears.

Today, I am proud to present to you one of their latest IEMs, “The ESR MKII”.
ESR stands for Empire Ears Studio Reference. The ESR is Empire Ear’s take on what an In-Ear Studio Monitor should be. To them, this presents the “flattest” rendition of what the recording should sound. The IEM we’re looking at today is the 2nd generation of the model. It now comes equipped with dual EST drivers handling treble duties.

The current ESR MKII comes in two flavours, the universal version at US$1,099 and the custom version at an additional US$200 premium. It’s not cheap per se, but it’s not overly expensive as well. At this price point, the ESR MKII falls into the EP line as its entry-level option. It falls just behind the Phantom as the “middle point” and the Wraith as the flagship.

Since I’ve never heard the original ESR, I am unfortunately unable to give you guys a comparison. However, what I could give you is what has changed from the 1st gen ESR. The 1st gen had a simple 3-way, triple BA driver setup. So, that’s 1 driver for the lows, 1 for the mids, and 1 for the treble. The MKII now comes in a 5 driver configuration with those dual EST drivers handling the super highs.

You can read up more about the other tech inside the ESR MKII on Empire Ears’ website.


Packaging


The ESR MKII was packed in a rather elegant white box. The previous Empire Ears box was black, so this was quite a surprise for me. I believe their new line now comes with this box. This change started with the release of the X Series flagship Odin, and its release companion, the more “budget-friendly” Hero.

Inside the box, we also get the usual accessories: Final E tips, metal case, cleaning cloth, owner’s guide, and the awesome Empire Ears stickers.


The ESR MKII also comes with the new Alpha-IV cable. The cable is still manufactured by Effect Audio. I believe that the cable might be a reworked Effect Audio Ares or Maestro cable. You have the option to pick between 2.5mm balanced or 3.5 single-ended terminations. My review unit comes with the latter. For my reviews, I usually try to stick to the stock cable as that is what the manufacturer had intended for its users to use. Plus, Empire Ears take a lot of time picking cables for their IEMs. It would be a waste not to use theirs.


Design and Build


The IEMs themselves look absolutely stunning with the brushed aluminum faceplates and the silver Winged Empire Ears logo to top it off. The shell is made out of a single acrylic unibody, making the build look seamless and sturdy. I am confident to say that it’ll stand the test of time. It may not be as extremely sturdy as full-metal shells with the likes of the Sony IER-Z1R, but with its lightweight semi-custom shell, it’ll definitely fit a majority of ears better than the Z1R.


Fit


For the fit, I feel like Empire Ears had done a great job with how they shaped their new models. I have read that Empire Ears had taken the shell format of the Odin and incorporated that into their “MKII” lineup. This lineup includes the Valkyrie, Bravado, and the ESR that we have here. Now, several people have stated that the shells are quite a bit chonkier compared to their “Asian” counterparts, especially considering the 1st gen Valkyrie was quite a bit thinner in comparison. But with comfortability, seal, and fit, they fit me like how a custom IEM should.

It’s been a documented fact over on Head-Fi that my ears just swallow up even the chonkiest of IEMs (I’m looking at you Layla ). Heck, I am even able to force-fit a few people’s custom IEMs quite comfortably. So fit has never been a big issue with bigger shells. Super long nozzles with thinner shells, however, is a different story (Sorry Lola, but you’ve been hurting me lol). So thankfully, Empire Ears have a “shorter” nozzle on their IEMs. However, a more pronounced “lip” for a more secure fit for eartips would be ideal. Other than that, I’m a huge fan of the overall fit of the ESR MKII. Now we’re finally moving on to the sound section! So keep reading… don’t leave okay? I promise it’ll get better… maybe lol


Sound


Finally, we’re in the sound section of the review, but this is still just the middle part. There’s still so much more after this, so hang in there, dear reader. Please don’t be too bored with me

I’ve mentioned earlier that these are Empire Ears’ take on a Studio Reference sound. So have they done it? Do they deliver on that promise? To me, the answer is yes!

Okay, the review is done Okay, no no no, sorry, it was just a joke, don’t go yet. I’m gonna be going through how they sound like next.

The overall sound signature of the ESR MKII does fall in line with their promise of a reference sound. But they’re not “flat” to the point of boredom. Instead, they are neutral with enough warmth and energy to sound great with casual listening as well.

Now let’s get into the range breakdown!

Bass

Alright, let’s start with the bass. In my opinion, the ESR MKII’s bass presentation is just a pinch north of neutral. It gives this section just enough presence and warmth to make it a little less boring for casual listening sessions. The bass goes fairly deep but I do have to say that it isn’t the ESR MKII’s greatest strength. But when the mix calls for it, like with the track ‘All Mine’ by PLAZA, it does deliver decent enough rumble. When it came to bass texture, speed, and control though, it performed well above my expectations. On heavier and meatier metalcore mixes, like the track ‘Coma Blue’ by Annisokay, the bass has never fallen apart with the presentation. This control makes sure you can still hear details in the mix even in the lowest of breakdowns. Drum kicks are quite nasty (in a good way lol) as well. In this price range, this is a great IEM for mixing drums especially. But for stage monitoring, I still think I’d need more bass energy and presence than what the ESR MKII can offer when I perform. Also, I have to mention that it comes close to the Layla’s bass presentation at around 12 o’clock. However, unlike the Layla, it does not have the option to adjust the bass to the listener’s liking. I’ll elaborate in the comparison section of the review.

Mids

Moving on to the mids!
I still believe this is the ESR MKII’s strongest suit. The overall mids presentation is full-bodied and just has enough thiccness in the lower mids to bring the likes of male vocals enough forwardness to go along with the excellent airiness of female vocals. One of the things I love most about these is that they don’t seem to favour a single vocal registry. I’ll leave the track ‘Cigarette’ by offonoff (Feat. MISO, Tablo) on here for you to checkout. It’s a very chill song having both male (2 actually, offonoff sings, and Tablo raps) and female (MISO has a breathy yet warm vocal tone. I love this type of female vocal tone) vocals and they all sound even in range. For bigger K-Pop groups like IZ*ONE, consisting of 12 members, the vocal layering sounds amazing on the ESR MKII. I’ve mentioned this and it shocked me during my first initial impressions video. With their song ‘Spaceship’, It made it easier to pinpoint the members’ different voices when they all sing together. The harmonization just sounded that much more revealing, which is excellent for mixing. But would it be my go-to IEM when I listen to my usual vocal-heavy music? Uhh...Unfortunately, no. While it is great at layering, its reference “flat” tuning makes it stellar for pretty much just that. It is great to use for referencing mixes and making sure nothing is out of place, but lacks the sense of air and emotion that some of my other vocal go-to’s can offer. I’ll be comparing it to some of my vocal-heavy hitters on the comparison section to explain more on what it lacks outside of it being a stellar studio reference monitor. I also have to mention that I’m enjoying how the ESR MKII handles distorted guitars. Acoustic and classical strings sound amazing too, but man, the way electric guitars sound on it is just a joy to listen to. Have a listen to Fear and Loathing in Las Vegas’ song ‘Jump Around’ as an example. If you’re into rock music or metal and you don’t need an overly THICC presentation, the ESR MKII should be on your radar.

Highs

Alright, we’re getting there guys! Only one more section left for the sound section and we’re gonna get to the comparisons, so bear with me a bit more lol

Personally, I think the ESR MKII’s highs are its second strongest suit. It extends well to the highest regions while keeping sibilance in check. They have enough treble energy to not sound dull in this section. Sparkle is present and sounds oh so delicate and never piercing. This energy helps give edge and detail to string harmonics as well. Instruments that fall within this range, such as the mighty TRIANGLE, just sound so satisfying. Like in the song ‘Glass Iro No Natsu’ by Negicco, the triangle in the chorus and the chimes throughout the song gives off such a nice timbre and edge with the ESR MKII. Honestly, I had never noticed that triangle was in the mix before. It may have been there, but it was never presented to me the same way as the ESR MKII.

I don’t have anything else to say about the treble. Since I have only recently been somewhat turning into a treble head, my treble explanations aren’t as detailed as the rest of the range. I’ll work hard on that part in my future reviews!

Soundstage and Imaging

Here it is guys, the last part of the sound analysis is here. But there’s still the comparison section so hang in there, dear readers! haha

The ESR MKII’s soundstage isn’t exactly the biggest. It’s more on the intimate side. But this helps out with keeping things within reach when mixing. While it may not be massive, the stage is still wide enough to have a sense of space between instruments. Imaging is another one of the ESR MKII’s strengths. Instrument placements and positioning are highly accurate. Nothing falls out of place with the presentation. As lame as it sounds, it does have a studio feel to the staging and imaging of the ESR MKII. It feels like you’re at the studio with the artist performing for you lol. But yeah, no complaints with the staging and imaging performance of the ESR MKII.


Comparisons

We’re here now guys. We’ve finally reached the comparisons section of my review.
That was quite the journey, but I hope you’re still with me. I have decided to choose five other IEMs to compare the ESR MKII to. Four are potential “upgrades” or “options” depending on how you see it. And one is a much older IEM that’s been in the industry for a while. I want to compare to see (or in this case, hear) if the ESR MKII would be in the upgrade path of the Shure SE846 owners out there.

When I was doing my first initial impressions of the ESR MKII, there were parts of sound that reminded me of my “oldest” TOTL IEM, the JH Audio Layla, that I still have on hand. I’ve had them for close to 6 years now, so I’m extremely familiar with how they sound. They’ve been my go-to reference tuned IEM when I used to perform live drums and when I mix tracks I cover. So let’s get it started!

Bass: In the bass department, I decided to go with the 2 o’clock setting on the bass dial of the Layla. It is the most common setting people use, and it is what I used with previous comparisons as well. Do also keep in mind that it’s this bass dial that makes the Layla and the other JH Audio IEMs a lot more flexible in the bass area.

Due to having less energy in the upper-mids, the bass of the Layla feels like it punches harder and comes out more forward than the tamer, yet still a pleasing bass response of the ESR MKII. I also have to mention that it’s a 4BA vs 1BA bass, so it’s quite impressive to hear such a pleasant bass presentation from the ESR MKII. To even out the bass on the Layla, I usually go to 12 o’clock, and this matches more closely to the ESR MKII’s overall “flatness”. This also evens out the “dipped” upper-mids of the Layla. But it still bears its fangs when you listen to IEMs that have “elevated” upper mids and go back to the Layla. I will go into further details about it in the mids section.

Although I enjoy both of the IEMs’ bass presentations, if we’re talking about bass texture, detail, control, and the flexibility to change the amount of bass, the Layla wins this department.

Mids: So 4 BA vs 1 BA for the mids as well. The Layla’s THICC and lush mids were what charmed me to get them when I first heard them. It was perfect for the majority of the music I used to listen to. In the past, I used to listen to more “Metal” music. This was during the time I had a break from Asian Pop music, and the Layla’s mids were just eargasmic to my ears. But with my music taste shifting more towards Asian music now, I noticed the lack of upper-mid elevation and energy. The Layla suffers in its overall midrange presentation. This is where the tonality of the ESR MKII’s midrange wins me over. It has more than enough upper-mids energy even for my casual listening. When it comes to vocal texture, I do have to give the Layla the edge for male vocals, but when it comes to female vocals, the ESR MKII’s presentation just coincides with my preferences better (The Layla’s THICC vocals are nice tho, just lacking the added “air” I usually like with female voices, especially higher-pitched ones). So if you’re looking for an IEM that has a more “even” vocal presentation and doesn’t favour one vocal range, the ESR MKII would be my recommendation of the two. But if you have a huge sensitivity to elevated upper-mids (Not that the ESR MKII is overly elevated in this regard), the Layla’s softer and lusher upper-mids would be more pleasing.

Highs: Due to the Layla’s softer upper-mids/lower-treble, it does somewhat make it appear “darker” in comparison to the ESR MKII’s more energetic rendering. The Layla does give off a pleasant sparkle, but it’s nowhere near as present as the ESR MKII’s. To my ears, the added treble energy that the ESR MKII has does make it easier to distinguish micro details. The Layla is still highly technical, but with its “darker” presentation, it was a little lacking in bringing those micro details as forward as the ESR MKII. But this will vary depending on the individual’s preferences and sensitivities. So in that regard, just pick the one that would be a more comfortable “listen” for you; especially when it comes down to long sessions in the studio.

Staging/Imaging: When it comes to the soundstage, I feel that both have a different presentation. The Layla has more width from left to right, while the ESR MKII takes things slightly more towards the front. This presentation does make it seem like the Layla gives a more “You’re with the performers on stage” feel compared to the ESR MKII’s “Monitoring the band in the studio” feel. In the imaging department, while both are precise, the ESR MKII just presents the instruments clearer, thus making them easier to pinpoint.

With all of that said, I still have great respect for the Layla. I’ve been with her for over half a decade after all, so it shows. I’m excited to hear the new Jolene as well. Which to me, seems like a hybrid born from the Layla and Lola. But as of right now, with my current taste and preferences, I’ll have to pick the ESR MKII as my new go-to “Reference” IEM.

Wait, wait wait, but the Layla is still more expensive and it’s a TOTL IEM you might say. Well yes, it is still more expensive if you buy “new”. The custom and the AION universal are more than double the price of the ESR MKII. Here is where “preferences” truly come into play. Not only that, you also gotta remember that the Layla has 2015 tech inside of it. Also, I don’t know how much “better” the AION version is from the 1st generation Layla that I have (aside from the better and smaller shells). But you can easily get the same one that I have or even the Full Metal Jacket version, which is even sturdier and a tiny bit smaller, for way under $1000 USD. If you have similar preferences as I do, I’d definitely give the ESR MKII a listen. But if you have the sensitivities to the regions I have mentioned, you cannot beat the Layla. And hey, you can find them cheaper if you buy them used. Just make sure the larger shells the Layla have fits you well, because she’s quite the THICC one.



Shoutout to the great KuroKitsu for loaning me his JH Audio Lola for me to write a review about it.
So why not compare the Lola with the ESR MKII as well?
In the used market, you can get the Lola for around the same price as a new ESR MKII. Why would you want to consider the Lola rather than the ESR MKII?
Well, keep reading to find out!

Bass: Just like the Layla, I have set the Lola’s bass dial at 2 o’clock as well.
The dual BA lows setup of the Lola gives a more sub-bass focus in the bass department. As a result, it gives the bass notes a deeper rumble while the single BA from the ESR MKII has a mid-bass bump, giving you more warmth and a heavier punch. It’ll come down to your preferences again on which type of bass presentation you’d prefer. To me, while I do love the mid-bass punch the ESR MKII gives me, the deeper sub-bass focus of the Lola is quite a bit more enjoyable. Not to mention, you can always dial up the bass slightly to get a bit more of that mid-bass punch the ESR MKII has.

Mids: Dual DD mids vs single BA mids… I’ve mentioned that the ESR MKII’s midrange performance was its greatest strength. Well, how does that compare to the Lola’s? A lot of people that have heard the Lola swear by its midrange organic presentation and texture. And I do agree with them. The Lola’s midrange is very natural, not as overly THICC as the Layla’s but has more than enough body to give instruments and vocals that fall within this range a meaty presentation. But again, just like the Layla, it suffers from a lack of energy in the upper mids. While it gives pleasant rendering to male vocals and acoustic guitars, it just doesn’t have the same edge and detail the ESR MKII’s midrange has. I thought the Lola would be better with electric/distorted guitars since it’s Slash’s favourite IEM when performing, but I have to say that I favour the ESR MKII’s rendering of electric guitars better. Meanwhile, I prefer the Lola’s thiccer notes for acoustic guitars more. Ultimately, it’s a difference in preference. So be sure to try both out before you decide whether you prefer the meatier more musical mids of the Lola vs the technical and more detailed midrange from the ESR MKII.

Highs: The Lola has a bit more energy in the treble compared to the Layla, but it still sounds softer and somewhat thinner compared to the thiccer notes the ESR MKII produces for the treble. The Lola has a nice shimmer but it’s way softer when you A/B it to the ESR MKII. It sounds less detailed as well. In regards to technicalities, I would consider it as one of the downsides of the more organic and musical approach JH went for with the Lolas.

Staging/Imaging: Much like the Layla, the Lola seems to deliver a width-focused presentation for the stage. Its presentation is wider than the ESR MKII. The ESR MKII does take the cake with their frontal depth and centre imaging though. I feel the ESR MKII has better pinpoint accuracy with its imaging capabilities than the Lola. But at this point, this is nit-picking. Both are great performers in this regard. You only have to take into account which stage presentation you’d like better. No complaints here from me!

Overall, as a performer’s monitor, I would definitely choose the Lola. But as a studio monitor, it’s hard to beat the presentation and technicalities of the ESR MKII.



The flagship of Empire Ears’ Olympus line was released back in 2016. Since then, it had quite a few iterations: the original XIV, followed by the R, then the switchable XR, and finally the XR with ADEL tech. The XR-ADEL model is what we’re gonna be comparing with the ESR MKII. Will the older previous flagship still hold a candle to its newer yet cheaper sibling? Let’s start the comparison now!

Bass: The Zeus that I have is the one with the ADEL tech, which is similar to 64 Audio’s APEX module that most of you might be familiar with. And funnily enough, I am using the 64 Audio M20 APEX module on the Zeus. This gives us an added -20dB of noise isolation with pressure relief and has the “best” bass rendering out of the ones I’ve tried so far. But even with that module together with the switch being in the more energetic “XIV” mode, the slightly “anemic” bass of the Zeus can’t hold a candle to the warmer yet neutral bass rendering of the ESR MKII. Bass presence isn’t the Zeus’ strong point. And I do have to say that the Zeus is a more specialized IEM. While it may be anemic, the Zeus’ bass, whether in the Reference mode or the XIV mode, is still highly detailed. It just doesn’t have the same deep-reaching rumble and heavier hitting punch as the ESR MKII. If you’re after a true “flat” bass response, the Zeus is your best bet. But if you want something north of that while not being overbearing, I would choose the ESR MKII.

Mids: Alright, so we’re getting to both of these IEMs’ strongest suits. Personally, I think the Zeus is a midrange specialist IEM. While the ESR MKII has full-bodied and even midrange across the board that doesn’t favour either vocal range, the Zeus gives even more thiccness to the midrange but does favour female vocals on the XIV mode. It just pumps more blood into the veins of the midrange. Voices just come out with more emotion on them compared to the more analytical vocal rendering of the ESR MKII. But if you switch the Zeus to the R mode, it does bring it to a similar reference and even rendering for vocals. This softens the energy on female vocals and brings them more in line with male voices. For midrange musical pleasure, it’s hard to beat the Zeus. But for an overall more neutral approach for reference purposes, the ESR MKII still comes out on top.

Highs: Alright, we’re moving on to the highs now. The Zeus produces a softer treble presentation here. Sparkle is still present and still produces some nice micro details, but not to the extent of the ESR MKII. I guess the difference in tech and age just gives the ESR MKII an advantage here. The energetic and very well-controlled highs of the ESR MKII is just a more pleasurable listen to my ears whether for casual listening or mixing. The more I compare the ESR MKII’s treble to other IEMs, the more I’ve been thinking that the treble might be tied with the midrange as the ESR MKII’s strengths. Or perhaps that might be just my inner treble head wanting to come out haha

Some of you may have troubles with an energetic treble presence. If that is the case, the Zeus’ softer treble might be a better choice for you.

Staging/Imaging: There’s no contest here. The Zeus’ staging dwarfs the ESR MKII’s.
It’s just enormous comparatively. Vocals on the Zeus’ stage just surround and encapsulate you. The spatial cues are just magnificent on the Zeus. That’s not to say the ESR MKII is lacking. It’s simply a difference in presentation. So once again, it will come down to your needs and preferences. The imaging details of the ESR MKII are a touch more forward, thus making it easier to understand instrument placements.

Overall, with technology, age does seem to creep in on the Zeus. While the midrange performance is still top-notch and that enormous stage is such an experience to listen to, the newer ESR MKII just trumps it in detail retrieval and its overall bass and treble rendering. Empire Ears has done a great job with the ESR MKII. I’m enjoying every bit of it.



The Wraith was released back in 2019 and is still holding onto its title as Empire Ears’ flagship in its EP line. The first time I heard the Wraith, I was honestly taken aback by how detailed and effortless it sounded. So how does the “entry-level” of the EP line stack up to its flagship sibling? What are you waiting for? Read down below

Bass: Both of the IEMs reach pretty deep in the sub-bass. Both give pleasant texture. Though I do have to say the ESR MKII gives it a bit more presence and it also has a more satisfying rumble and a slightly meatier punch. But overall, they’re quite similar in the bass section. I do have to say that the Wraith does seem to be more detailed in the bass. Even though you don’t feel as much of the bass as the ESR MKII, you can hear the bass guitar strings decay quite a bit better. It’s quite the experience honestly. I don’t know how much of this is due to the Wraith having dual BA’s for lows compared to the single BA found on the ESR MKII, but the difference in detail is definitely noticeable. It might be minor but it’s there. So if you’re after a meatier bass section between the two, the ESR MKII is your pick. On the other hand, if you want less presence but more detail in the bass, the Wraith is your bae.

Mids: The Wraith is just similar to its predecessor, the mighty Zeus, as midrange monsters, but just with a slight difference in presentation. The Zeus had a spacious presentation in the midrange, allowing the vocals to surround and encapsulate the listener. Meanwhile, the Wraith is more intimate and more romantic with its presentation. This presentation makes the Wraith’s midrange more engaging than the ESR MKII. Vocals, guitars, and other instruments that fall in the midrange just sound majestic and sit perfectly within my preference. The ESR MKII is still definitely capable and has a more even presentation across the vocal ranges. And I may even favour its distorted guitar rendering better than the Wraith. But other than that, the Wraith is just a few steps above it. In my opinion, if you like the more reference approach to the mids, the ESR MKII is the definite choice. But if you prefer a more intimate and that oh so romantic midrange, there is nothing better than the Wraith.

Highs: Both IEMs have a very nice treble presence. To my ears, I would say the Wraith has more sparkle up top than with the ESR MKII. I mentioned the mighty triangle in the Negicco song on the treble section of my review. Well, it’s even more prominent on the Wraith. It’s just a step above the ESR MKII. I enjoy the Wraith’s treble presentation quite a bit more. I should write my Wraith review soon, but I still have like 7 more reviews in my backlog to do lmao. So my IEMs will just have to wait.

The ESR MKII’s treble appears to have more edge on the tail end of cymbal crashes compared to a smoother tone on the Wraith though. Again, it will depend on your personal preferences. Some may prefer a smoother presentation, while others may prefer an edgier one. My vote goes to the Wraith since they don’t tire my ears out and I get to experience amazing sparkle.

Staging/Imaging: I’ve mentioned that the ESR MKII has nice frontal depth to the staging. Well, the Wraith makes that even deeper and more spherical. Another amazing thing about the Wraith is how it makes vocals sound intimate while everything else around it feels more spread out. On the imaging side, the Wraith might have a very slight edge since it’s able to keep its accuracy even with an even bigger stage. The Wraith shows who’s the flagship here. But do keep in mind that the price of the Wraith is equivalent to 3 ESR MKIIs.

In conclusion, I believe the ESR MKII is the better reference IEM while the Wraith is more of an all-rounder. Even though the Wraith doesn’t have the “fun” bass I usually like, it destroyed everything else I’ve heard so far in the vocal department. So if you can afford the Wraith and have similar preferences as I do, do give it a listen. But for the performance to price ratio, I can’t deny that the ESR MKII is quite appealing.



Alright, we’re coming down to the Shure SE846. I included this since I wanna give people that own one a comparison. I’m sure there are quite a lot of people that own one of these since they’ve been around for ages. Even today, you can purchase them for US$100 cheaper than the ESR MKII.

So how does this 2013 tech compete with the newer ESR MKII? Is the ESR MKII a worthy upgrade to SE846 longtime owners? Or is it a better option for people looking at the SE846 as their next IEM purchase at a $100 premium? That’ll be my job to compare these two to the best of my abilities. So read on to see which is right for you.

Bass: Man… the Shure SE846 still impresses me with its sub-bass performance. The bass goes deep, like really deep. It’s still crazy to think that this has a BA driver handling the bass. Shure has done a great job with creating the woofers on these as it still satisfies the basshead in me. The ESR MKII just couldn’t touch the Sub-bass presence of the SE846. The ESR MKII also goes deep, but just doesn’t provide the same satisfying rumble as the Shure. The ESR MKII shows more bias on the mid-bass side of things, and it’s in this section that gives bass hits a bit more punch. But due to the more neutral tuning of the ESR MKII, it just doesn’t compete when it comes to bass enjoyment. I can tell that the SE846 was meant to be more of a performer’s monitor in this regard. The Shures can definitely be used as mixing monitors as well. But the ESR MKII just has a slight advantage when it comes to detail. But man, the basshead in me is just rooting for the old-timer SE846, so I’ll give the cake to the SE846 in the bass section. Let’s see how the SE846 competes in the other ranges.

Mids: Alright, mids… yeah, I kinda knew where this was going already even before doing the A/B comparison. As expected, the Shure just couldn’t compete with the detailed, and evenly sounding mids of the ESR MKII. The ESR MKII gives more body to the vocals, especially towards male voices and just has a better rendering to my ears. The Shure could still satisfy and perform well, but the ESR MKII is better in this department. I’ve also noticed that the Shure favours female vocals a bit more by giving them more weight, while the ESR MKII gives a bit more edge and clarity to female voices. That’s the biggest difference I noticed. If you listen to a majority of female vocal-heavy music, I would recommend the Shure as the detailed and “edgy” female vocal rendering of the ESR MKII might bothersome. But I personally quite enjoy it being “edgy” lol. So if you’re just like me, then I’d pick the ESR MKII.

Highs: For the SE846, I am using the White filter that gives more treble presence, and it is my go-to filter. Although the Black filter gives an even warmer bass response, the treble loses focus and just sounds meh to my ears. With the white filter, the treble does seem to be more aggressive on the Shures. In comparison, the ESR MKII gives you tamer and less harsh sounds. Detail wise, I say I’d still give it to the ESR MKII as it accomplishes sublime detail retrieval without being overly aggressive. I can imagine the SE846 to get quite fatiguing sooner than with the ESR MKII. Both give me a satisfying treble tho, so it’ll all be down to your preference as usual.

Staging/Imaging: I’ve mentioned before that the ESR MKII doesn’t have the biggest stage. But in comparison to the Shure, it does present you with a wider left to right presentation. And to add to that, the ESR MKII has better frontal depth perception. Imaging seems to be pretty close, but the ESR MKII does give you a slight edge with it having more clarity in between notes. I hope my explanation made sense to you guys lol

I’m still fairly new to the reviewing scene but I’m learning more and more with each review I make, so bear with me.

Overall, do I think the ESR MKII could be an upgrade to the SE846? I would say no, not really. They have quite a different tonality. The SE846 has an overall neutral presentation but it also gives you that exciting bass boost that the Empire Ears doesn’t have with their warm neutral approach. If fist-pumping bass is something you desire, the ESR MKII isn’t it. But if you want something very technical and precise, the ESR MKII would be the better option.


Conclusion


Is anyone still with me?
Well if you are, thank you very much for keeping me company with this review!

It might’ve been quite a bit longer compared to my other reviews, but that is because I had a way longer time with the ESR MKII and the fact that it grabbed my attention as a potential mixing monitor.

While I’m sure there is someone out there that would enjoy these for both work and play, its overly “reference” presentation would keep me from taking it on my daily commutes. I need a bit more “fun” or “character” in the IEMs I take with me in my rotation.

But other than that, the ESR MKII is a highly technical and revealing IEM, with an even midrange presentation. It has pleasing treble energy with enough sparkle to keep you engaged with the mix. For the price and for what Empire Ears intended it to be, the ESR MKII is worthy of your attention.

As I end this review of mine, I just wanna thank @JoshWatkins over at Empire Ears again for sending me the ESR MKII to review!

I hope you all liked my review, I gave it my all lol

So until next time guys!

Have a good one and stay safe!!!

-Matz

Intro

Empire Ears (EE) are opening 2021 with some new and exciting products. One of them is the ESR MKII, the next iteration of their ESR (“Empire Studio Reference”) in-ear studio monitor. At a retail price of $1099, it sits somewhere in the middle of their studio-collection. This is a markup of $200 over its predecessor.

While the original ESR had 3 balanced armature drivers, the 2021 ESR MKII sports a 5-driver hybrid design including 3 balanced armature drivers and 2 electrostatic drivers. The ESR MKII belongs to EE’s EP Series which is mainly targeted at professionals like musicians and studio engineers.

Specifications

5 Driver, Hybrid IEM Design:

• Universal in-ear monitor
• 3 Proprietary Balanced Armature Drivers - Low, Mid, High
• 2 Premium Electrostatic Drivers - Ultra High
• 4-Way synX Crossover Network
• EIVEC - Empire Intelligent Electrostatic Control Technology
• A.R.C. Anti Resonance Compound Technology
• Impedance: 3.9 Ohms @ 1kHz
• Frequency Response: 10 Hz - 100kHz
• Sensitivity: 111dB @ 1kHz, 1mW
• Handcrafted Alpha-IV 26AWG UPOCC Copper Litz Cable

Disclaimer

My review consists solely of my own thoughts, opinions and impressions of the product. I paid for the tested product, it was not given for free. All pictures were taken by myself unless stated otherwise.


Review gear

• Burson Audio Soloist 3XP / Composer 3XP combo (main testing source)
• Cayin N8 DAP
• Cayin N6 II DAP with E02 module
• Empire Ears Alpha-IV cable (2.5mm balanced)

Music selection/Testing playlist

Voices, midrange, acoustic guitars etc.

Tenacious D - Tenacious D - Wonderboy
Marily Manson - The Pale Emperor - Day3
Chris Jones - Moonstruck
Sara K. - Hell or High Water - I Can't Stand The Rain, Stars
Ana Tijoux - 1977 - Partir de Cero

Channel separation

Tenacious D - Tenacious D - Kielbasa
NIN - The Downward Spiral - Hurt
Johnny Cash - The Essential - Ring of Fire
Stephen Coleman - Westworld Season 2 Soundtrack - C.R.E.A.M.

Soundstage, treble, electric guitars etc.

Alice in Chains - MTV Unplugged - Rooster
Korn - MTV Unplugged - Freak on a Leash
Anneke van Giersbergen - Symphonized - Feel Alive
Howard Shore - The Hobbit: An Unexpected Journey - Blunt the Knives

Dynamics, bass, subbass

The Diary - The Gentle Storm - Endless Sea |Gentle Version|
Wardruna - Runaljod: Ragnarok - Tyr
Hans Zimmer - Man of Steel OST - Look to the Stars
Hans Zimmer - Pearl Harbor OST - Tennessee
Ice Cube - Raw Footage - Gangsta Rap Made Me Do It
Andreas Vollenweider - Vox - Enchanted Rocks


Packaging & Accessories

The packaging for all Empire Ears (EE) products is more or less the same which to me makes sense, because it shows consistency throughout their whole range.
You get a very nicely designed white cardboard box with the Empire Ears Logo and the name or logo of your particular product. It’s not too big or small and radiates class and style. It consists of an outer “slider” cover and a sturdier inside box.




Once you open the magnetic flap of the box inside you find a compartment with a quick manual and a “thank you” card from EE congratulating you to your excellent purchase Underneath looms the IEM and cable ready for you to rip out and enjoy the music. A classy drawer underneath reveals an aluminum sheet containing various Final Audio silicon tips to choose from. The great thing here is that Empire Ears not only gives you the standard S, M and L sizes but XS, S, M, L and XL instead, which simply gives you a wider range of tips to match to your ears. As my ear-canals are slightly different in size, it makes it easier for me to get a good fit. However, I would have wished for a selection of foam tips as I generally prefer foam over silicon. The included tips work well though.

Last but not least you get EE’s phantastic Pandora case, a black aluminum capsule to safely transport your precious in-ears. It’s built like the proverbial tank and is engraved with Empire’s logo and the name of your product.


Build quality & Fit

IEMs



The build quality of the ESR MKII is excellent, just as it is with any of EE’s in-ears. I actually haven’t seen any difference in build quality from their entry- to top-level products to be honest. To me, that’s simply a sign that they make no compromise in quality no matter the price. I like that!



The new ESR MKIIs are black with brushed silver faceplate and silver logo which “hovers” above the brushed silver. The design is rather subtle and to me it looks quite stylish and noble. Fit and comfort, at least for my average sized ears is good with a rather long nozzle enabling a good seal. Hence the IEMs do not sit flush in my ears but stand out a couple of millimeters, which is no problem for me.

Cable

EE are using a variation of Effect Audio’s Ares II which they call Alpha-IV or simply A4. You get to choose from 3.5mm single ended or 2.5mm balanced. I always go for balanced but that’s my personal preference. It’s a beautiful, classy and well made cable and I particularly like the sleek connectors and super small y-split. Yes, that cable looks gorgeous in my opinion.

What I don’t like so much is the rigidness of the cable. I have mentioned this several times in previous reviews as for me, flexibility, especially for an IEM cable, is an important factor of good usability. I clearly prefer softer, more flexible cables.
However, cable noise is at an acceptable level / no issue. Soundwise I have no complaints whatsoever. It’s a good cable.

Sound

Now how “flat” and true-to-the-source are these upgraded studio in-ears?

Overall tonality

As the name ESR (Empire Studio Reference) suggests, EE considers this IEM their reference of a flat and uncolored studio monitor. Since I usually prefer their X-Series consumer products as I am not a professional, I did not really know what to expect. I do own their Phantom studio monitor though (which is a lot more expensive) so I had a rough idea of how a “flat” reference studio in-ear might sound. I was both right and wrong.

The overall tonality is indeed nicely balanced and, as far as I can assess, neutral.
No frequency seems to be elevated and I assume the frequency response matches the description of “flat”. Since I don’t do measurements, I cannot confirm this with data. It’s just my impression after spending a week listening to music, watching movies and doing some gaming with the ESR MKIIs.

One thing instantly noticeable is that the ESR MKIIs will deliver the music as it is, meaning good recordings sound good, bad ones bad. But that’s the whole point of a reference studio in-ear monitor, right?

Treble

The combination of balanced armature- and dual electrostatic (e-stat) drivers deliver a nicely detailed and smooth treble without elevation. Strings and guitars to me sound very natural. Since there seems to be no treble elevation, you might miss that typical “sparkle” you’re used to getting from other, more consumer-tuned gear, but that is not true. It’s all there but you need to get used to a very different tuning or rather - the absence of one.

I first noticed with my EE Phantoms, but after a while I really started enjoying the overall quality of a natural frequency response. For long listening sessions, this is just perfect.

Midrange

Vocals, male and female alike, are rendered very naturally and stand out from the rest of the composition without the impression of artificial frequency elevation. Like the treble, the whole midrange is nicely separated and balanced overall.

Bass/Sub-bass

The bass from balanced armature (BA) drivers is very different from dynamic drivers (DD). The response is flat,neutral and tight, which is of course intended. There’s no eardrum-shattering impact and rumble like on the EE Valkyrie MKIIs or the EE Legend X that employ dedicated subwoofers.

This bass response mirrors what has been recorded, no more and no less. Still the ESR MKIIs surprised me in a good way here, because their bass performance is by no means lifeless or entirely free of sub-bass which was what I expected. It’s all there - when it is in the recording. Listening to Jeff Goldblum and the Mildred Snitzer Orchestra’s Cantaloup Island is a joy. I feel like actually attending the concert.

Soundstage

Surprisingly, the soundstage to me seems above average. Live recordings sound spacious while everything in the music - the instruments, the singer(s) the audience - is well separated. I had one key moment when I was playing a game and I suddenly heard a noise from outside. I took off the ESR MKIIs just to realize that the noise had actually come from within the game.
Channel separation/Instrument separation

Channel separation is very good indeed. Instrument separation, depending on the source material, is excellent. You can tell these IEMs were made for professionals that need to be as close to the truth as possible.

Neutrality

The ESR MKIIs are neutral sounding IEMs with a seemingly flat frequency response that present you with what is in the music without leaving anything away and without adding or elevating anything. These are in fact made to analyse music, to dissect music, but - somehow still manage to transport emotion and enjoyment. I can make neither head nor tail of it really. And I mean that in a good way!

Amplification/Matchability/Scalability

The ESR MKIIs are rather sensitive IEMs, they don’t need a lot of amping power to do their work. And since their field of expertise is the faithful reproduction, they will play out their main strength with a neutral source. I found the combination with Burson desktop DAC/Amps a good match in that regard. I can imagine a good synergy with Astell & Kern DAPs too as they tend to be rather neutral as well.

Should you desire to deviate from the path of total truth, you can pair them with less neutral sources. I tried with my Cayin DAPs and enjoyed the bit of warmth and energy the ESR MKIIs gained from this combination. So basically, you can tailor these studio IEMs quite a bit to your current task, which I find quite interesting.

Verdict

Paired with the right source, the ESR MKIIs will give you the truth and nothing but the truth. They are targeted mainly at music professionals, but will certainly fulfill the needs of other users as well. Anyone that prefers a more neutral musical reproduction or simply wants an in-ear for a more relaxed and fatigue free listing experience should find these a very interesting set.

I have enjoyed my week with the ESR MKIIs even though I usually prefer the more fun-oriented type of earphone. Funny enough, I used them even for movies and games and never once missed anything. Never once I felt the need to switch to another set of in-ears. As I said I am not a sound engineer or musician but I do believe these IEMs will certainly please a larger variety of users than just professionals. They are more expensive than their predecessors, but they make up for it with largely improved internals, beautiful looks and most important of all a sound reproduction that really deserves the name Empire Studio Reference.

Other reviews

Empire Ears Valkyrie MKII

Empire Ears Bravado MKII

Empire Ears Odin