Introduction
Empire Ears has established itself as one of the biggest players on the in-ear headphone market. Based in Bufford, USA, Empire Ears offers a wide range of first-class monitors. The last product line was mostly themed after Greek Gods, with Zeus naming the mighty flagship incorporating 14 drivers per side. There has been an impressive amount of publicity, as only very few contestants managed to tune such a large amount of drivers as accurately as Empire Ears. Besides, the Zeus had been developed over three generations, starting from the Zeus XIV with a highly resolved and straightforward sound, over the Zeus R with a rather reference signature towards the Zeus ADEL, utilizing a membrane-based valve that alleviates the pressure imposed on the ear drums.
With the X-series and the EP series, Empire ears published two new product lines in 2018. The X-series consists of four hybrid monitors, with the Legend-X as the top model, profiting from a delicate interplay of balanced and dynamic drivers. The EP series, in contrast, follows a more conservative approach in a sense that the three units in this line are entirely based on BAs, without any hybrid architecture, ADEL modules or other tech gimmicks that gave Empire its innovative and versatile image. The flagship of the EP series, the Phantom, has certainly raised a few eyebrows as it has only five drivers. This being said, the number only sounds small because of the driver war during the last years, where companies deviated from the line of having accurately sounding in-ears towards a “more-is-better” strategy, gearing up their units with as many drivers as possible. As a result, the market got overwhelmed with mostly poorly sounding and expensive headphones. Before that, two to five drivers had absolutely been normal, and if we lean back and recap this period a bit we have to admit that earlier generation high end IEMs with fewer drivers sounded just as good. Prominent examples are the FitEar 335, the Spiral Ears 5-way or, as an extreme, the Warbler Prelude with one single driver.
Now what exactly happened in between? Over the last years, a lot of new players emerged in the jungle of in-ear audio, and it got notoriously difficult to establish yourself in the, I would conjecture, oversaturated market. Similar to the megapixel war with digital cameras in the early 2000s, it sounded cool and impressive to have first 9, then 12, then 14, up to 18 and even 20+ drivers in your in-ear – on each side! Were the small cameras with 20 megapixels better? I guess it is safe to say no, but as a marketing gag it worked, at the beginning at least. An analogous situation occurred on the in-ear market, that peaked in 2017. And now, as if nothing happened in between, we are back to normality. Few drivers with a precision in tuning that was not possible for a high driver count are on the run again and, to make a quick qualitative statement, they compete easily with the best IEMs of the last years.
In this review, I am diving into an extensive discussion of the Empire Ears Phantom. There are two reasons why I picked the Phantom over the, equivalently amazing, Legend-X. On the one hand, I was born with strong tinnitus and the sharper treble of the Legend-X sounded unpleasant to my ears. On the other hand, the sound of the Phantom amuses me greatly and presents a perfect example of a simple, yet technologically top notch, monitor that overcomes the limitations even of the best in-ears of previous lines. With a price of 1799 USD, the Phantom is surely no bargain but carries a tag that is fairly average on nowadays’ market.
This review is built up as follows: first, I discuss the configuration and built of the Phantom. Afterwards, a full analysis of the sound is presented. Then, a small interlude compares the Phantom to the Empire Ears Zeus. Finally, cable pairings are elaborated and conclude the main section of this article.
Configuration and Build
The Phantom features a 2 low – 1 mid – 2 high configuration of BAs, while five crossovers control each BA individually. In the previously released Zeus XR technical modifications, such as ADEL modules or plastic levers that change the signature and crossover layout, gave a quite fragile impression of the build. The Phantom, on the contrary, has a plain shell and faceplate, without any of the aforementioned features, such that the shells appear to be very robust. The components fit into a small shell, making the IEM a very wearable and light unit. I felt that the fit got better compared to my previous Empire Ears monitor, where I had some issues on one side. The new ones fit splendidly and allow for long wearing sessions. However, compared to in-ears by brands like FitEar, the shelling can still be improved: like the Zeus, the plastic shell is relatively thin. Therefore, external sources of noise are drowned out when listening at normal volumes but on lower volumes the background is definitely audible.
Two positive upgrades are the available designs and the stock cable. To begin with the looks, Empire expanded its palette of colours by a whole new set, featuring some new tones that fit the faceplates much more. I had the feeling before that the faceplates always looked amazing, while the shells sometimes did not offer the proper pairing in colour. My own IEM from the pictures use Titanium as a shell colour, finished by a carbon faceplate. The shell is slightly sparkling; the faceplate has a shimmering light reflection effect that makes the IEM overall look great. The second very enjoyable upgrade to previous items is the stock cable: both new product lines come with the Effect Audio Ares II, which is a decent copper cable that offers a good match with the signature of the Phantom. From that perspective, expensive upgrades to other wires are not the most important task anymore after receiving the IEM.
Sound
When I listened to the Phantom for the first time, the most dominant characteristic to me was the organic and natural sound. So far, I had listened to more reference-oriented IEMs, such that there had always been an emphasis on wide and clear treble and the higher middle range. Often, I found in-ears with a lower mid or bass focus too dark, such that these IEMs had not been my first choice. The Phantom is the first IEM with a focus on mids and lower mids, without being dark or performing unsatisfactorily in the upper mids and treble stage. The sound is beautifully natural on all stages that I instantaneously fell in love with it. This does not mean that the sound is soft, smooth and round – it rather means that the sound is reproduced in the intended way, without adding much own signature. For example, if you listen to vocals you will find a wonderfully smooth voice, one of the best on the in-ear market. It is sparkling and enchanting in high notes, and full and strong in low ones. If you listen to heavy metal, the Phantom is fast and responsive, reproducing accurate and harsh picks, as well as rough and growling vocals. If you listen to electro, tunes will sound shrill and synthesized, with sharp edges and artificial tones. Altogether, the Phantom is an extremely versatile IEM that just sounds like you sit in a concert hall and listen to any type of music live, in the way the artists intend.
I used the word organic in addition to natural to indicate, that the sound has a fair amount of warmth in its tuning, which adds some lower-mid emphasis. However, this does not boost the bass as it often is the case, but leads to a full and dense, yet accurate representation. The focus is in the mid stage, with clean and strong control over the bass, preventing it from overwhelming the higher mids and treble. Combining this feature with the specs described above leads to a truly warm monitor with an organic sound, that can enchant with sparkling and clean treble. This balance has always been one of the most desirable ones. Yet, a monitor, which combines the benefits of a warm and a cold tuning, was usually not realized very well as these antipodal points on the map of sound signatures usually influence another. Hence, it is truly amazing that the Phantom unifies both strengths. This sound and feeling may take a while to captivate you: many in-ears convince with a tuning that sounds exciting, with sparkling and broad treble or rumbling and high-pressure bass. The Phantom, on the opposite, does all of that on demand, just as the record intended to. This may sound a bit unexciting at first, depending on what you feed in. After some warm up, however, the IEM convinced me and I could not go back to my reference monitors for everyday listening.
From the more technical side, the Phantom offers top notch specs only single other IEMs on the market can compete with. The sound shows a wonderful tonality, with colourful and thick notes. Nonetheless, the stage is very wide. It is often a trade-off between dense tone and stage width, as commonly airiness in the sound leads to a diluted image that appears to be wide. Yet, this approach comes with the cost of a less powerful and more laid-back representation of the sound. The Phantom reaches a splendid balance in between and has a wonderfully, yet not artificially, wide stage. Some reference monitors with a stronger focus on the higher mids and treble may be twenty percent wider, but as mentioned before, not necessarily more pleasant or technically riper to listen to. On the other hand, the sound is still natural in density. Some IEMs on the market have a thick, almost liquid sound that is overly warm, leading to beautiful voices and slow instrumentals, but failing spectacularly when fast and complex music, for which separation and stage in between the notes is crucial, is played.
This also brings us to the next strength of the Phantom: separation and detail. The separation is very sharp between the notes, despite the warm signature. Notes can be localized very precisely in space and there is close to no overlap and fuzziness in between the notes, even for fast and complex music. This makes the Phantom a fantastic all-rounder: before, I tended to listen to metal on a more reference-like IEM like the Zeus R, whereas vocals and instrumentals sounded nicer on my FitEar 335 SR. The Phantom can do both perfectly. Also, the level of detail overwhelms, to an extend that makes the music sound scarily real. When strings play, you hear every audible bit of its oscillation, every screeching when the bow slips slightly, and the full reverbing body of deeper notes played by violoncellos and contrabasses. Slightest instabilities in singing are revealed, as well as, for example, scratching or other rough sound when listening to electronic music. Combining the massive detail with the thick and warm sound leads to another feature I would like to briefly talk about: realistic physicality of the sound. With physicality I do not mean how realistic instruments and voices sound compared to a concert. Rather, I am referring to another dimension of sound, namely the impact. With more spacious sounding IEMs, dilution of the sound often comes with a more laid-back tonality, leading to a lack of power and impact on the eardrum. Here, on the contrary, the sound of the Phantom strongly stimulates the ear. Guitar picks pinch, electronic music scratches and bass pumps. For those who were a fan of the ADEL-based IEMs of the last generation, the pressure during fast and heavy bass kicks may be a bit too much, but the issue can be easily resolved with a suitable cable paring as described in a later section. For bass lovers, the strong pumping pressure will please you, guaranteed.
Before I continue with a more specific analysis of the single stages, I would like to make one comment about the handling of input music files. Once I started to listen to my FitEar 335, I realized that some monitors can be brutally unforgiving if the recording is not good. Now you may say that an IEM cannot interpolate poor recordings to an amazing listening experience, invalidating my point. However, there are strong differences in how well IEMs handle different qualities in music files. For instance, the huge stage and reference signature of the Zeus R made fast and complex music enjoyable, whereas the liquid sound of the FitEar made me skip entire albums or even genres as it sounded disastrously messy. From this point of view, I would like to give tremendous credits to the Phantom. While high quality recordings sound as they should, albums of mediocre quality manage to sound exceptionally good compared to other IEMs as well. While before I shifted my focus in listening to technically good recordings in order to listen to the capabilities of my equipment rather than the music itself, I am finally happy with paying more attention to the type of music again, as there has not been any piece that forced me to skip.
In the following, I will analyse the treble, mid and bass stage more explicitly. The standard cable pairing with the Ares II is extremely warm, setting strong emphasis on the lower mids. I will give a description of the general tone and specify how a different cable pairing can change and potentially improve the sound. A later section discusses concrete pairings for the Phantom. All impressions were obtained by using the Cowon Plenue S as a source.
Treble. The signature of the Phantom is slightly on the darker side. This affects the treble stage: when pairing the IEM with the Plenue S, the combination of warm IEM, cable and DAP lead to a slightly muffled treble that lacked in sparks and width. When I listened to the Phantom for the first time this was slightly disappointing, as I tend to enjoy reference sounding in-ears. The solution here is a new cable pairing: with a silver-copper hybrid the sound magically opened up. The dull sounding high notes suddenly sound bright, yet without sharp or shrill ends. This was particularly interesting for me as in-ear monitors with emphasis on higher mids and treble tend to have a certain level of analyticity in sound, which may hurt sensitive ears as my own. Here, in contrast, you have a wonderfully smooth and accurate representation of the treble stage, while the warmth of the IEM manages to tame shrill ends. The stage becomes considerably wider, yet without diluting the sound. Instead, you will experience thick notes that let voices and instruments sound colourful and musical. The cable-based emphasis on the higher part of the spectrum also improves resolution and separation. In the standard configuration, the dark sound lead to slightly smeared out notes. However, the Phantom, paired appropriately, can have a great resolution among the notes, which, in combination with the ability to separate the notes sharply, leads to a very clean and precise sound. For such a warm IEM this is rather rare to achieve, as this sound signature is normally found in colder, reference-tuned IEMs. For that reason, the Phantom scores greatly for achieving this unusual, yet desirable balance. One more word about the detail: as described in the preliminary part of this section, the detail of the Phantom is supreme. This extends directly to the treble stage of the IEM. Thanks to the high level of tuning, there are no interferences that may lead to slightest level of fuzziness or uncleanlinesses.
Mids. The signature of the Phantom is mid-centric. This makes this part of the spectrum the strength of the IEM. While the lower mids are extremely wide in stage, the spectrum on the stock cable shows a trapezoidal shape, with a stage narrowing down towards the upper mids. This trapezoid can be converted into a rectangle with a different choice of cable, leading to an evenly wide extension of the treble as described above. The center of the mids is the part that is affected least by a change of hardware, always maintaining a great and natural stage width. However, a change in cable can affect the cleanliness of the mids: indeed, resolution and detail benefits greatly from outbalancing the slightly dark signature. The lower mids are where the Phantom unleashes its full potential. The combination of timber with the strong and responsive upper bass reproduces instrumentals that amaze. Consequently, both epic classical music with rumbling and slow sounds, as well has fast metal base drums sound perfect, without any hint of delay or overlap in notes. This punchy and well-controlled sound is supported also by the separation and resolution of the sound. Here, the Phantom is among the best on the market, considering that usually warm in-ears have difficulties to achieve such a high level of separation and resolution. In between every note there is a short period in which the dark and noiseless background separates cleanly from the following one. Just as for the treble, the detail is stably kept at a very high level, yielding an extremely realistic sound: even the finest details are fully audible.
Bass. With a lower-mid centricity, the Phantom presents an impressive bass stage. The two BAs achieve a huge body that fully realizes its potential: loud rumbling and quaking in classical pieces transmit the intimidating atmosphere intended by the composer, heavy metal bass and base drums reproduce the power and agility of the music and electric music features uber clean, punchy and sharp bass kicks and build up a tremendous amount of pressure that resonate the ear drum. The combination of high resolution, detail and separation are the reason for the extreme cleanliness of the bass stage. This in turn is a key ingredient to the strongly forgiving sound of the Phantom. Even bad recordings can be resolved and separated sufficiently well to make it a pleasant listening experience. If you like a heavy bass, the Phantom will definitely meet your expectations. To my mind, the bass is too powerful in the standard configuration with the Ares II, overwhelming parts of the upper mids and treble. For that reason, also here a cable with silver parts is beneficial in order to achieve a more balanced and open sound. However, this is where things are getting more involved. It is possible to find a balance between a bass that is still strong and features the abovementioned characteristics. However, as discussed in the next section, if the pairing is too powerful and the bass gets attenuated too much, then all of the sudden the Phantom tilts over and loses the strongest part of its characteristics.
In short, the Phantom is an impressively tuned IEM that unleashes its full capability with the right hardware. In the following section I will elaborate more on one part of the hardware, namely cable pairings.
Cable pairing
The Phantom is a very adaptive IEM. A change in cable can make a whole lot of a difference, but also harm the signature. The stock cable is the Effect audio Ares II, which is a 4-braid copper cable. With the Phantom being a warm IEM on itself, this combination liquifies the sound more and makes it even warmer, which may not sound good anymore if your source is on the warmer side as well. In my case, it took me quite some effort to tune the Plenue S properly to have a pleasant sound image. One way around was using a slightly colder cable. I ended up picking a silver – gold plated copper hybrid to maintain the timber and punchy bass, while giving more emphasis to the mid and higher mids though the silver parts. This made a whole world of a change: the stage grew by a good 20-30% and the treble was way more open and sparkly. Concerning the listening experience, I found it essential to open up the higher notes, unleashing the full potential of the IEM and adapting the slightly dark signature in the stock cable configuration. However, a cable that is too cold does not work either: when pairing a pure silver or gold plated silver cable, the warm bassy signature is greatly reduced and the timber, which contributes a great part to the Phantoms sound signature, vanishes almost completely. This harms the signature quite a lot, leading to an unbalanced sound that lost its strongest parts. Hence, achieving the delicate balance of preserving the bass and timber, while shifting the spectrum more to the higher mids and opening up the treble is, to me, essential. In the following, I will mention three cable pairings that visualize more the arguments above.
Ares II (Stock cable). The cable the Phantom comes with is a quite prominent, and surprising one. The Ares II is one of the respected copper cables on the market and positioned at the entry-level of premium upgrade cables. With its warm signature, it boosts the Phantom to a level that can only be driven properly by a colder DAP, such as the SP1000. On the WM1Z and the Plenue S, this pairing gives a “too much” of an impression. Irrespective of the audio source, I recommend to upgrade the cable to gain more stage and resolution. For example, if the temperature of the sound should be maintained, then PW audio or the Rhapsodio copper wizard do a good job.
MadCable ReMSG. My personal choice became the MadCable ReMSG. It is an 8-braid silver – gold plated copper hybrid that finds the perfect balance between maintaining bass and timber, and opening up the higher mids and treble. Besides brightening the treble, the ReMSG keeps the bass responsive and punchy. Furthermore, it increases resolution and detail by a significant amount, pushing the Phantom to show its full repertoire of technical capabilities.
Plussound X8 GPS. One instructive example of an unsuccessful pairing for me was the gold-plated silver cable by Plussound. The cable itself is amazing, and I cannot think of replacing it on my FitEar 335. However, the sound becomes too bright for the Phantom and loses its organic sound. The spectrum becomes upper mid-centric, with attenuated bass. However, the Phantom was not designed to be a bright, probably reference-sounding monitor, such that the combination simply sounds off. Even with my warm Plenue S, the cable was too bright. The same arguments count for other bright players on the market, such as the Labkable Titan or Pandora.
Finally, from my personal point of view, I can recommend any good silver – copper hybrids in case that your DAP has a warm signature. One possible choice here is the aforementioned MadCable ReMSG. In case your audio source is on the colder side, I suggest a copper or gold plated copper upgrade cable, such as the Plussound X8.
IEM Comparisons
Before concluding this review, I briefly compare the Phantom it to the previous flagship, the Zeus R ADEL. The reason why I chose this comparison is that I assume many of you, including my previous self, are wondering whether the upgrade makes sense, given the strong performance of and high price for the Zeus R. My full review of the Zeus XR ADEL can be found here. Furthermore, numerous other reviews have already spoken about the difference between the Phantom and the Legend-X, such that I comfortably refer to them. The pictures attached below show the Zeus XR ADEL (on the left) in comparison to the Phantom.
The Zeus R ADEL is a higher mid-centric IEM with reference sound. The stage is extremely wide, slightly diluted and laid back. This gives the Zeus R ADEL a stage that is wider than the one of the Phantom, by about 20 %. Yet, the density in notes is considerably reduced, which gives a clean but less engaging sound compared to the Phantom. The widely spread out of notes allow for excellent separation, slightly better than the Phantom. However, when looking at resolution and detail, the Zeus R ADEL cannot compete. The 14 drivers have excellent tuning, but compared to the black background of the Phantom, and the sharper edges of its notes, the Zeus R ADEL appears to have some slight but constantly present noise in the background. Overall, the Phantom presents a cleaner and more accurate sound image that has a more natural and powerful tonality.
For me, I would redo the upgrade from the Zeus to the Phantom again at any time. The Phantom simply feels more sophisticated and separates itself from previous lines with the outstanding tuning described in an earlier section. Putting aside a 2750 USD IEM for a newer, considerably cheaper one felt odd at first but there is definitely a lot to gain from changing to the Phantom, at least according to my preference.
Conclusions
Empire Ears created a new flagship that takes the listening experience to the next level. While cutting down on unnecessary gimmicks, such as large amounts of drivers, the goal was rather to focus on a top-notch tuning. The result is a technically highly refined IEM that offers a combination of wide, strongly resolved, detailed and accurate sound, while maintaining a warm signature with a full-bodied bass. Its top-notch tuning achieves to keep up with the strengths of previous flagships, such as the Zeus, while improving their subtle weaknesses. With a reduced size, the Phantom also upgrades in wearability: the five BA drivers offer a light and small unit which. Its flexibility in sound allows the user to pair the Phantom arbitrary audio sources, given the appropriate cable to balance out too warm or bright sound. Overall, the Phantom offers an experience that knows to enchant the listener, with a natural sound that takes you right to the live stage. With a price tag of below 1799 USD, the price is more than fair and positioned in the lower mid range of high end in-ears.
Build: 8/10
Sound: 10/10
Price value: 10/10
Empire Ears has established itself as one of the biggest players on the in-ear headphone market. Based in Bufford, USA, Empire Ears offers a wide range of first-class monitors. The last product line was mostly themed after Greek Gods, with Zeus naming the mighty flagship incorporating 14 drivers per side. There has been an impressive amount of publicity, as only very few contestants managed to tune such a large amount of drivers as accurately as Empire Ears. Besides, the Zeus had been developed over three generations, starting from the Zeus XIV with a highly resolved and straightforward sound, over the Zeus R with a rather reference signature towards the Zeus ADEL, utilizing a membrane-based valve that alleviates the pressure imposed on the ear drums.
With the X-series and the EP series, Empire ears published two new product lines in 2018. The X-series consists of four hybrid monitors, with the Legend-X as the top model, profiting from a delicate interplay of balanced and dynamic drivers. The EP series, in contrast, follows a more conservative approach in a sense that the three units in this line are entirely based on BAs, without any hybrid architecture, ADEL modules or other tech gimmicks that gave Empire its innovative and versatile image. The flagship of the EP series, the Phantom, has certainly raised a few eyebrows as it has only five drivers. This being said, the number only sounds small because of the driver war during the last years, where companies deviated from the line of having accurately sounding in-ears towards a “more-is-better” strategy, gearing up their units with as many drivers as possible. As a result, the market got overwhelmed with mostly poorly sounding and expensive headphones. Before that, two to five drivers had absolutely been normal, and if we lean back and recap this period a bit we have to admit that earlier generation high end IEMs with fewer drivers sounded just as good. Prominent examples are the FitEar 335, the Spiral Ears 5-way or, as an extreme, the Warbler Prelude with one single driver.
Now what exactly happened in between? Over the last years, a lot of new players emerged in the jungle of in-ear audio, and it got notoriously difficult to establish yourself in the, I would conjecture, oversaturated market. Similar to the megapixel war with digital cameras in the early 2000s, it sounded cool and impressive to have first 9, then 12, then 14, up to 18 and even 20+ drivers in your in-ear – on each side! Were the small cameras with 20 megapixels better? I guess it is safe to say no, but as a marketing gag it worked, at the beginning at least. An analogous situation occurred on the in-ear market, that peaked in 2017. And now, as if nothing happened in between, we are back to normality. Few drivers with a precision in tuning that was not possible for a high driver count are on the run again and, to make a quick qualitative statement, they compete easily with the best IEMs of the last years.
In this review, I am diving into an extensive discussion of the Empire Ears Phantom. There are two reasons why I picked the Phantom over the, equivalently amazing, Legend-X. On the one hand, I was born with strong tinnitus and the sharper treble of the Legend-X sounded unpleasant to my ears. On the other hand, the sound of the Phantom amuses me greatly and presents a perfect example of a simple, yet technologically top notch, monitor that overcomes the limitations even of the best in-ears of previous lines. With a price of 1799 USD, the Phantom is surely no bargain but carries a tag that is fairly average on nowadays’ market.
This review is built up as follows: first, I discuss the configuration and built of the Phantom. Afterwards, a full analysis of the sound is presented. Then, a small interlude compares the Phantom to the Empire Ears Zeus. Finally, cable pairings are elaborated and conclude the main section of this article.
Configuration and Build
The Phantom features a 2 low – 1 mid – 2 high configuration of BAs, while five crossovers control each BA individually. In the previously released Zeus XR technical modifications, such as ADEL modules or plastic levers that change the signature and crossover layout, gave a quite fragile impression of the build. The Phantom, on the contrary, has a plain shell and faceplate, without any of the aforementioned features, such that the shells appear to be very robust. The components fit into a small shell, making the IEM a very wearable and light unit. I felt that the fit got better compared to my previous Empire Ears monitor, where I had some issues on one side. The new ones fit splendidly and allow for long wearing sessions. However, compared to in-ears by brands like FitEar, the shelling can still be improved: like the Zeus, the plastic shell is relatively thin. Therefore, external sources of noise are drowned out when listening at normal volumes but on lower volumes the background is definitely audible.
Two positive upgrades are the available designs and the stock cable. To begin with the looks, Empire expanded its palette of colours by a whole new set, featuring some new tones that fit the faceplates much more. I had the feeling before that the faceplates always looked amazing, while the shells sometimes did not offer the proper pairing in colour. My own IEM from the pictures use Titanium as a shell colour, finished by a carbon faceplate. The shell is slightly sparkling; the faceplate has a shimmering light reflection effect that makes the IEM overall look great. The second very enjoyable upgrade to previous items is the stock cable: both new product lines come with the Effect Audio Ares II, which is a decent copper cable that offers a good match with the signature of the Phantom. From that perspective, expensive upgrades to other wires are not the most important task anymore after receiving the IEM.
Sound
When I listened to the Phantom for the first time, the most dominant characteristic to me was the organic and natural sound. So far, I had listened to more reference-oriented IEMs, such that there had always been an emphasis on wide and clear treble and the higher middle range. Often, I found in-ears with a lower mid or bass focus too dark, such that these IEMs had not been my first choice. The Phantom is the first IEM with a focus on mids and lower mids, without being dark or performing unsatisfactorily in the upper mids and treble stage. The sound is beautifully natural on all stages that I instantaneously fell in love with it. This does not mean that the sound is soft, smooth and round – it rather means that the sound is reproduced in the intended way, without adding much own signature. For example, if you listen to vocals you will find a wonderfully smooth voice, one of the best on the in-ear market. It is sparkling and enchanting in high notes, and full and strong in low ones. If you listen to heavy metal, the Phantom is fast and responsive, reproducing accurate and harsh picks, as well as rough and growling vocals. If you listen to electro, tunes will sound shrill and synthesized, with sharp edges and artificial tones. Altogether, the Phantom is an extremely versatile IEM that just sounds like you sit in a concert hall and listen to any type of music live, in the way the artists intend.
I used the word organic in addition to natural to indicate, that the sound has a fair amount of warmth in its tuning, which adds some lower-mid emphasis. However, this does not boost the bass as it often is the case, but leads to a full and dense, yet accurate representation. The focus is in the mid stage, with clean and strong control over the bass, preventing it from overwhelming the higher mids and treble. Combining this feature with the specs described above leads to a truly warm monitor with an organic sound, that can enchant with sparkling and clean treble. This balance has always been one of the most desirable ones. Yet, a monitor, which combines the benefits of a warm and a cold tuning, was usually not realized very well as these antipodal points on the map of sound signatures usually influence another. Hence, it is truly amazing that the Phantom unifies both strengths. This sound and feeling may take a while to captivate you: many in-ears convince with a tuning that sounds exciting, with sparkling and broad treble or rumbling and high-pressure bass. The Phantom, on the opposite, does all of that on demand, just as the record intended to. This may sound a bit unexciting at first, depending on what you feed in. After some warm up, however, the IEM convinced me and I could not go back to my reference monitors for everyday listening.
From the more technical side, the Phantom offers top notch specs only single other IEMs on the market can compete with. The sound shows a wonderful tonality, with colourful and thick notes. Nonetheless, the stage is very wide. It is often a trade-off between dense tone and stage width, as commonly airiness in the sound leads to a diluted image that appears to be wide. Yet, this approach comes with the cost of a less powerful and more laid-back representation of the sound. The Phantom reaches a splendid balance in between and has a wonderfully, yet not artificially, wide stage. Some reference monitors with a stronger focus on the higher mids and treble may be twenty percent wider, but as mentioned before, not necessarily more pleasant or technically riper to listen to. On the other hand, the sound is still natural in density. Some IEMs on the market have a thick, almost liquid sound that is overly warm, leading to beautiful voices and slow instrumentals, but failing spectacularly when fast and complex music, for which separation and stage in between the notes is crucial, is played.
This also brings us to the next strength of the Phantom: separation and detail. The separation is very sharp between the notes, despite the warm signature. Notes can be localized very precisely in space and there is close to no overlap and fuzziness in between the notes, even for fast and complex music. This makes the Phantom a fantastic all-rounder: before, I tended to listen to metal on a more reference-like IEM like the Zeus R, whereas vocals and instrumentals sounded nicer on my FitEar 335 SR. The Phantom can do both perfectly. Also, the level of detail overwhelms, to an extend that makes the music sound scarily real. When strings play, you hear every audible bit of its oscillation, every screeching when the bow slips slightly, and the full reverbing body of deeper notes played by violoncellos and contrabasses. Slightest instabilities in singing are revealed, as well as, for example, scratching or other rough sound when listening to electronic music. Combining the massive detail with the thick and warm sound leads to another feature I would like to briefly talk about: realistic physicality of the sound. With physicality I do not mean how realistic instruments and voices sound compared to a concert. Rather, I am referring to another dimension of sound, namely the impact. With more spacious sounding IEMs, dilution of the sound often comes with a more laid-back tonality, leading to a lack of power and impact on the eardrum. Here, on the contrary, the sound of the Phantom strongly stimulates the ear. Guitar picks pinch, electronic music scratches and bass pumps. For those who were a fan of the ADEL-based IEMs of the last generation, the pressure during fast and heavy bass kicks may be a bit too much, but the issue can be easily resolved with a suitable cable paring as described in a later section. For bass lovers, the strong pumping pressure will please you, guaranteed.
Before I continue with a more specific analysis of the single stages, I would like to make one comment about the handling of input music files. Once I started to listen to my FitEar 335, I realized that some monitors can be brutally unforgiving if the recording is not good. Now you may say that an IEM cannot interpolate poor recordings to an amazing listening experience, invalidating my point. However, there are strong differences in how well IEMs handle different qualities in music files. For instance, the huge stage and reference signature of the Zeus R made fast and complex music enjoyable, whereas the liquid sound of the FitEar made me skip entire albums or even genres as it sounded disastrously messy. From this point of view, I would like to give tremendous credits to the Phantom. While high quality recordings sound as they should, albums of mediocre quality manage to sound exceptionally good compared to other IEMs as well. While before I shifted my focus in listening to technically good recordings in order to listen to the capabilities of my equipment rather than the music itself, I am finally happy with paying more attention to the type of music again, as there has not been any piece that forced me to skip.
In the following, I will analyse the treble, mid and bass stage more explicitly. The standard cable pairing with the Ares II is extremely warm, setting strong emphasis on the lower mids. I will give a description of the general tone and specify how a different cable pairing can change and potentially improve the sound. A later section discusses concrete pairings for the Phantom. All impressions were obtained by using the Cowon Plenue S as a source.
Treble. The signature of the Phantom is slightly on the darker side. This affects the treble stage: when pairing the IEM with the Plenue S, the combination of warm IEM, cable and DAP lead to a slightly muffled treble that lacked in sparks and width. When I listened to the Phantom for the first time this was slightly disappointing, as I tend to enjoy reference sounding in-ears. The solution here is a new cable pairing: with a silver-copper hybrid the sound magically opened up. The dull sounding high notes suddenly sound bright, yet without sharp or shrill ends. This was particularly interesting for me as in-ear monitors with emphasis on higher mids and treble tend to have a certain level of analyticity in sound, which may hurt sensitive ears as my own. Here, in contrast, you have a wonderfully smooth and accurate representation of the treble stage, while the warmth of the IEM manages to tame shrill ends. The stage becomes considerably wider, yet without diluting the sound. Instead, you will experience thick notes that let voices and instruments sound colourful and musical. The cable-based emphasis on the higher part of the spectrum also improves resolution and separation. In the standard configuration, the dark sound lead to slightly smeared out notes. However, the Phantom, paired appropriately, can have a great resolution among the notes, which, in combination with the ability to separate the notes sharply, leads to a very clean and precise sound. For such a warm IEM this is rather rare to achieve, as this sound signature is normally found in colder, reference-tuned IEMs. For that reason, the Phantom scores greatly for achieving this unusual, yet desirable balance. One more word about the detail: as described in the preliminary part of this section, the detail of the Phantom is supreme. This extends directly to the treble stage of the IEM. Thanks to the high level of tuning, there are no interferences that may lead to slightest level of fuzziness or uncleanlinesses.
Mids. The signature of the Phantom is mid-centric. This makes this part of the spectrum the strength of the IEM. While the lower mids are extremely wide in stage, the spectrum on the stock cable shows a trapezoidal shape, with a stage narrowing down towards the upper mids. This trapezoid can be converted into a rectangle with a different choice of cable, leading to an evenly wide extension of the treble as described above. The center of the mids is the part that is affected least by a change of hardware, always maintaining a great and natural stage width. However, a change in cable can affect the cleanliness of the mids: indeed, resolution and detail benefits greatly from outbalancing the slightly dark signature. The lower mids are where the Phantom unleashes its full potential. The combination of timber with the strong and responsive upper bass reproduces instrumentals that amaze. Consequently, both epic classical music with rumbling and slow sounds, as well has fast metal base drums sound perfect, without any hint of delay or overlap in notes. This punchy and well-controlled sound is supported also by the separation and resolution of the sound. Here, the Phantom is among the best on the market, considering that usually warm in-ears have difficulties to achieve such a high level of separation and resolution. In between every note there is a short period in which the dark and noiseless background separates cleanly from the following one. Just as for the treble, the detail is stably kept at a very high level, yielding an extremely realistic sound: even the finest details are fully audible.
Bass. With a lower-mid centricity, the Phantom presents an impressive bass stage. The two BAs achieve a huge body that fully realizes its potential: loud rumbling and quaking in classical pieces transmit the intimidating atmosphere intended by the composer, heavy metal bass and base drums reproduce the power and agility of the music and electric music features uber clean, punchy and sharp bass kicks and build up a tremendous amount of pressure that resonate the ear drum. The combination of high resolution, detail and separation are the reason for the extreme cleanliness of the bass stage. This in turn is a key ingredient to the strongly forgiving sound of the Phantom. Even bad recordings can be resolved and separated sufficiently well to make it a pleasant listening experience. If you like a heavy bass, the Phantom will definitely meet your expectations. To my mind, the bass is too powerful in the standard configuration with the Ares II, overwhelming parts of the upper mids and treble. For that reason, also here a cable with silver parts is beneficial in order to achieve a more balanced and open sound. However, this is where things are getting more involved. It is possible to find a balance between a bass that is still strong and features the abovementioned characteristics. However, as discussed in the next section, if the pairing is too powerful and the bass gets attenuated too much, then all of the sudden the Phantom tilts over and loses the strongest part of its characteristics.
In short, the Phantom is an impressively tuned IEM that unleashes its full capability with the right hardware. In the following section I will elaborate more on one part of the hardware, namely cable pairings.
Cable pairing
The Phantom is a very adaptive IEM. A change in cable can make a whole lot of a difference, but also harm the signature. The stock cable is the Effect audio Ares II, which is a 4-braid copper cable. With the Phantom being a warm IEM on itself, this combination liquifies the sound more and makes it even warmer, which may not sound good anymore if your source is on the warmer side as well. In my case, it took me quite some effort to tune the Plenue S properly to have a pleasant sound image. One way around was using a slightly colder cable. I ended up picking a silver – gold plated copper hybrid to maintain the timber and punchy bass, while giving more emphasis to the mid and higher mids though the silver parts. This made a whole world of a change: the stage grew by a good 20-30% and the treble was way more open and sparkly. Concerning the listening experience, I found it essential to open up the higher notes, unleashing the full potential of the IEM and adapting the slightly dark signature in the stock cable configuration. However, a cable that is too cold does not work either: when pairing a pure silver or gold plated silver cable, the warm bassy signature is greatly reduced and the timber, which contributes a great part to the Phantoms sound signature, vanishes almost completely. This harms the signature quite a lot, leading to an unbalanced sound that lost its strongest parts. Hence, achieving the delicate balance of preserving the bass and timber, while shifting the spectrum more to the higher mids and opening up the treble is, to me, essential. In the following, I will mention three cable pairings that visualize more the arguments above.
Ares II (Stock cable). The cable the Phantom comes with is a quite prominent, and surprising one. The Ares II is one of the respected copper cables on the market and positioned at the entry-level of premium upgrade cables. With its warm signature, it boosts the Phantom to a level that can only be driven properly by a colder DAP, such as the SP1000. On the WM1Z and the Plenue S, this pairing gives a “too much” of an impression. Irrespective of the audio source, I recommend to upgrade the cable to gain more stage and resolution. For example, if the temperature of the sound should be maintained, then PW audio or the Rhapsodio copper wizard do a good job.
MadCable ReMSG. My personal choice became the MadCable ReMSG. It is an 8-braid silver – gold plated copper hybrid that finds the perfect balance between maintaining bass and timber, and opening up the higher mids and treble. Besides brightening the treble, the ReMSG keeps the bass responsive and punchy. Furthermore, it increases resolution and detail by a significant amount, pushing the Phantom to show its full repertoire of technical capabilities.
Plussound X8 GPS. One instructive example of an unsuccessful pairing for me was the gold-plated silver cable by Plussound. The cable itself is amazing, and I cannot think of replacing it on my FitEar 335. However, the sound becomes too bright for the Phantom and loses its organic sound. The spectrum becomes upper mid-centric, with attenuated bass. However, the Phantom was not designed to be a bright, probably reference-sounding monitor, such that the combination simply sounds off. Even with my warm Plenue S, the cable was too bright. The same arguments count for other bright players on the market, such as the Labkable Titan or Pandora.
Finally, from my personal point of view, I can recommend any good silver – copper hybrids in case that your DAP has a warm signature. One possible choice here is the aforementioned MadCable ReMSG. In case your audio source is on the colder side, I suggest a copper or gold plated copper upgrade cable, such as the Plussound X8.
IEM Comparisons
Before concluding this review, I briefly compare the Phantom it to the previous flagship, the Zeus R ADEL. The reason why I chose this comparison is that I assume many of you, including my previous self, are wondering whether the upgrade makes sense, given the strong performance of and high price for the Zeus R. My full review of the Zeus XR ADEL can be found here. Furthermore, numerous other reviews have already spoken about the difference between the Phantom and the Legend-X, such that I comfortably refer to them. The pictures attached below show the Zeus XR ADEL (on the left) in comparison to the Phantom.
The Zeus R ADEL is a higher mid-centric IEM with reference sound. The stage is extremely wide, slightly diluted and laid back. This gives the Zeus R ADEL a stage that is wider than the one of the Phantom, by about 20 %. Yet, the density in notes is considerably reduced, which gives a clean but less engaging sound compared to the Phantom. The widely spread out of notes allow for excellent separation, slightly better than the Phantom. However, when looking at resolution and detail, the Zeus R ADEL cannot compete. The 14 drivers have excellent tuning, but compared to the black background of the Phantom, and the sharper edges of its notes, the Zeus R ADEL appears to have some slight but constantly present noise in the background. Overall, the Phantom presents a cleaner and more accurate sound image that has a more natural and powerful tonality.
For me, I would redo the upgrade from the Zeus to the Phantom again at any time. The Phantom simply feels more sophisticated and separates itself from previous lines with the outstanding tuning described in an earlier section. Putting aside a 2750 USD IEM for a newer, considerably cheaper one felt odd at first but there is definitely a lot to gain from changing to the Phantom, at least according to my preference.
Conclusions
Empire Ears created a new flagship that takes the listening experience to the next level. While cutting down on unnecessary gimmicks, such as large amounts of drivers, the goal was rather to focus on a top-notch tuning. The result is a technically highly refined IEM that offers a combination of wide, strongly resolved, detailed and accurate sound, while maintaining a warm signature with a full-bodied bass. Its top-notch tuning achieves to keep up with the strengths of previous flagships, such as the Zeus, while improving their subtle weaknesses. With a reduced size, the Phantom also upgrades in wearability: the five BA drivers offer a light and small unit which. Its flexibility in sound allows the user to pair the Phantom arbitrary audio sources, given the appropriate cable to balance out too warm or bright sound. Overall, the Phantom offers an experience that knows to enchant the listener, with a natural sound that takes you right to the live stage. With a price tag of below 1799 USD, the price is more than fair and positioned in the lower mid range of high end in-ears.
Build: 8/10
Sound: 10/10
Price value: 10/10