Introduction
As usual with the great Hidizs models, they have released a limited edition of their latest IEMS model with planar technology. This is the Hidizs MP145 Limited Golden Titanium Edition. It is available in a limited run of only 199 units. The packaging includes two types of cables, one with a 3.5mm plug and one with a 4.4mm plug, as well as a 10th anniversary badge. Each product has been uniquely numbered in the world. Again, Hidizs uses titanium known for its superior properties that make it ideal for making Hi-end capsules. Of course, it still includes the filter system and a hand-signed card with the limited edition serial number.
It is clear that the MP145 was one of the best planar IEMS of last year, so what can you expect from a limited version like this? It is true that the use of titanium in its gold version means a clear increase in price, from $159 for the standard version, to $339 for the limited version. This is certainly a doubling of the starting price. Of course, the bottom line is that this is a version limited to 199 unique pieces in the world. There is also a substantial change in its construction: titanium. Not only that, but the frequency response has undergone some slight changes. Let's take a look at the differences in this review.
Specifications
Packaging
The Hidizs MP145 Golden Titanium comes in a sober black box with dimensions 193x162x43mm. On the main side you can see the outer face of the capsule in the centre, above is the brand logo and below are different logos (WDC, Planar Technology and Hi-Res Audio), as well as a short product description. All of this is printed in the same colour ink as the capsules. On the back side are the specifications in several languages, including Chinese and English, as well as the brand's branding. All in silver ink. There are also the logos of the different certifications it holds. The first thing that stands out after opening the box is the hand-signed and hand-numbered card from the company's CEO. This is white, and there is also a black card describing the contents. Underneath the cards are 4 compartments protected by black cardboard. At the top left are the capsules, encased in a dense foam mould. To its right is another mould containing the brand's tenth anniversary insignia. It is a metal piece in the shape of the South American continent, with a sort of threaded golden button. I didn't really know what it was at first until I read the description card. On the other hand, it is curious. I thought it was some kind of key ring, because of the hole in the top corner. In the lower half there are two identical boxes containing the black leather pouches with each cable, as well as the filters. Below this first layer, on the left, is the mould containing the three types of silicone tips. The complete contents are as follows:
I miss a zippered case again. And instead of two cables, I would have preferred a cable with a thicker conductor and interchangeable connectors, as is the current trend.
Construction and Design
The design of the product is the same, "only" the material it is made of changes: Titanium. However, to distinguish it from the standard colours, it is a gold-plated version. The capsules are burnished and you can see the fine lines of the polishing, especially on the outer side. The outer face has a raised Y-shaped part. This is actually the tail fin of a whale. The adjoining parts on each side of the fin form a staggered pattern, a twelve-layer milling pattern, also inspired by the pectoral fins of whales. On both sides of the whale tail there are two ventilation slots. The shape of the capsule is slightly elongated and has 7 sides, 4 on the bottom and 3 on the top, if you take the top where the cable connection is. The part near the nozzles ends in a slightly tapered arrow shape. The 2Pin 0.78mm connection is completely shallow and the plastic part containing the contacts is integrated inside the capsule. Of course, the connectors are gold-plated.
The inner face grows with a regular slope from the connector area towards the nozzles. The surface is curved on both sides of the sloping line. Above it and near the connector, one can read "HIDIZS X WDC" and towards the inside, there is a mole with the channel lettering. The ink used is dark grey. Near the nozzle, but offset from the slanted line, there is a hole. The nozzle is cylindrical and ends with a thread to secure the filters. There are 3 filters, the standard filter is the balanced gold filter (Balanced / Rose Gold). The filter for high frequencies is grey (Quiet Silver) and the red filter (Charm Red) enhances the low frequencies. The diameter is 6.9mm. The total length of the mouthpieces with the filters is slightly more than 5mm.
As I say, in this special version, there are two cables, each with a different termination SE 3.5mm and BAL 4.4mm. The sleeve of the plug is cylindrical, regular, very smooth, has a golden ring near the cable exit and on it you can read the brand name. The cable consists of 4 strands of 6N silver-plated monocrystalline copper wire. The splitter piece is simple, another small, smooth, shiny metallic cylinder. The pin continues this minimalist style and is a simple metal ring in the same pattern. The cables have over-ear guides and the connector sleeves are two cylinders to match the rest of the metal parts of the cable, which have two grooved and painted rings to indicate the channel. The two pins protrude from a transparent plastic disc and are gold-plated. The 4.4mm plug is gold-plated and protected by a translucent plastic sleeve.
The cable has a shiny silver plating, each strand is of good thickness, forming a cable of a midrange thickness, attractive enough and of good quality that I don't have to change it. It is also comfortable, has good flexibility and the balanced 4.4mm termination makes me forget about looking for a replacement cable. However, being a special version, I would have preferred a single cable, with detachable plugs, with a slightly thicker conductor. In short, a more premium cable to match the titanium level of the capsules.
It is clear that the capsules have a considerable size. With the change of material the weight has changed, it is clearly heavier. Even though the specifications still state the same value. This time, the collaboration with WDC is more evident and is engraved on the inside of the capsules.
Adjustment and Ergonomics
Yes, only the material has been changed, the fit and ergonomics are the same. What affects this section is the weight. Being significantly heavier, it can contribute to fatigue on long listens.
As mentioned above, the shape of the Hidizs MP145 is unusual and its size is clearly large. However, the elongated and bulky shape of the capsules does not compromise the ergonomics. The slight arrow shape, where the tip part coincides with the position of the mouthpieces, favours positioning and placement. Fortunately, the inner shape of the capsules is flat, smooth and gently rounded. The other end of the capsules stretches beyond the pinna. In my ears the integration is very good. With the right tips, the capsules float on the pinna and don't rub anywhere except on the bottom, where they sit lightly. The mouthpieces are not very projected but they have a good angle and I don't find any fault in their placement, being the fit firm and durable. It is true that the capsule can rotate, but its optimum fit point is at the end of its travel, as soon as further rotation is no longer possible. The whale tail shape and folds make it easy for fingers to adjust the IEMS in the ears. With a shallow or light insertion, the level of sound insulation can be high, provided that suitable tips are found. As usual, I have used my large foam-filled tips that I make at home, and both the fit and ergonomics have been quite good. But I don't dispute that the size, shape and perhaps also the weight might be controversial for other people.
Finally, the position of the over-ear cable and the fit of the capsules does not feel compromised by their combination. Thus, the cable does not disturb or negatively affect the fit of the capsules or rub uncomfortably on the ears. At least, not in my case.
Sound
Profile
As the specifications state, the profile fits the Harman 2019 curve. The profile could be categorised as U-shaped or soft w-decreasing. The bias towards the sub-bass is linear, without being predominant. But there is a good extension towards the midrange. The sub-bass end is subtly higher than in the standard version. The transition into the midrange is smooth, generating body and density in the initial zone of the midrange. The rise towards the midrange is even smoother than in the standard model. Once there, it stays fairly linear into the treble, which adds an explicit and fairly extended high range. Although, on this occasion, the treble is clearly softer than the standard model, as measured. Those who want a little more spice in this transition zone between midrange and first treble will not be so convinced, choosing the treble filter, as the differences between the two filters are quite slight. Switching to the low-cut filter limits the midrange and first treble even more, although it retains its extension into the air range. However, the difference between the three filters in the bass area is subtle.
The use of the red low-cut filters limits the volume slightly and orients the sound towards a darker, denser profile. Voices lose some sparkle, both female and male. Bass becomes more prominent, but some of the representative grace of the balanced curve, such as the great balance between the three bands, is lost.
The use of the silver filters for treble subtly cleans up the midrange and first treble, gives a little more transparency and a more detailed and analytical character. As mentioned, the difference between the treble filter and the balanced filter is very slight. However, it is very similar to the curve with the balanced filter of the standard model. Even the Titanium model has a little more sub-bass and is still softer in the first half of the treble.
It seems to be clear that the characteristics of the titanium chosen for this limited edition generate net differences compared to the standard version. The result is a minimal sub-bass boost and a clear smoothing of the midrange and first half of the treble.
For this review I have used the Silver filter to achieve the best possible detail.
For clarification I will write GT to refer to the Golden Titanium version.
Bass
As I mentioned, the MP145 GTs with the Silver filter are more like the standard version with the Rose Gold filter, but with more controlled treble and a subtle lift in the sub-bass. What is noticeable in the bass is a certain deeper, more sensory feel. The pure tone test describes the audible end in that way, there is a more physical behaviour in the lower notes, with a low audible sensation. This behaviour interchanges as the hertz increase, reaching a rather powerful presence at the sub-bass limit. However, although the audible presence is not very noticeable in the lower frequencies, both the response and the performance seem quite natural, offering a low sensation of colouration and a quite realistic, slightly dark behaviour. It is certainly not a performance like an excellent dynamic driver, as it has less texture, but its sound is clean, polished and refined. In my opinion, the MP145 GTs pass the pure tone test with flying colours.
Moving on to real music testing, the MP145 GTs have a firm, powerful, concrete, very restrained, dry, tight, very fast recovery hit, which translates into a smooth behaviour, with a little rough texture, but that can vary and improve depending on the source. The decay is fast, as are the transients, the aftertaste is very low, the rubbery or elastic sensation is reduced, just enough to draw an attractive, but not too voluminous bass, which occupies a good space, even so, contained. There is a good physical presence, but it is never violent, but very classy, withstands a lot of sound pressure and still performs in a very full and clean way, which means very low distortion. When it comes to reproducing dirty, unfiltered, saturated and complex bass, the MP145 GTs excel in their performance, being very agile, drawing the lines in a restrained, tight and concise manner. They manage to dominate the most adverse situations without mussing their hair, maintaining a very high level of cleanliness, sounding deep, with very little colour, layering the layers with subtlety and mastery. Most importantly, they never become saturated or overpowering. Without a doubt, the MP145 GTs possess a very high level of refinement, demonstrating that planar bass can be very technical, with just the right amount of power and volume, all without intruding on the rest of the band, sounding very separate, slick and powerful. What do I miss in all this? Well, a little more lift in the sub-bass, I would have liked the curve not to have flattened out at 40Hz. Otherwise the behaviour is simply canonical.
Mids
The tuning gives a certain presence to the lower frequencies, generating a decreasing w-profile, as I have already mentioned. Even with the Silver treble filter I don't find the sound bright, but it's not dark either. They sound like a fine, balanced and restrained S12, lowering the energy of the midrange and treble, but without losing the light, nor sounding so dense or upfront. The low end tucks into the lower registers of the vocals with corpulence, but without burying them. Although the strings, drums and basses are still slightly forward. Meanwhile, the timbre feels very organic, analogue, very restrained, slightly warm, without getting dark. Undoubtedly, this is a dense, almost opulent base, which thins out as the frequencies grow. In this way, the lower male voices feel physical, quite full-bodied, although they are not clearly the protagonists. However, the nuances of those lower registers do possess more power, as well as a more accentuated ornamental richness, much to be enjoyed.
The centre of the range ends in a zone of midrange dip, accentuating that lower-case v-character of the central range. Meanwhile, the rise to the midrange is relatively smooth, generating controlled bell gain, but with a slight imbalance in favour of the female voices and early treble outbreaks, gaining an incipient clarity and a splashy sense of realistic detail, which never becomes abrupt. The sibilances are kept at a low-key, controlled level, with a certain sparkle that gives them a realistic rather than penetrating feel. It's not a matter of nuancing them, but of executing them in a more pleasing way, maintaining a certain brightness, refining the sound at that conflicting peak. In this way, you can tell that the MP145 GTs have a high level of distinction, elegance, exquisiteness, delicacy and finesse, even at the most compromised points.
However, the balance is achieved between the lower registers of the male voices and the higher registers of the female voices, reaching, almost, a presential tie. In this sense, the female voices are also fleshy, despite not being in the foreground.
The MP145 GTs are not analytical, but they do have a remarkable level of resolution and definition. It doesn't go so far as to explicitly tease out micro details, nor does it foreground them, but is able to handle them in their corresponding layer. Admittedly, I would have liked a little more descriptiveness in this respect. But it is true that, possibly, certain virtues that make his sound more natural, musical, harmonious, lush, elegant and euphonic would be lost. The result is still a fully expressive sound, clear without being bright, transparent without losing body or density, remarkably well separated, complex, rich and differentiated. The ideal way to enjoy a midrange at just the right distance.
Treble
The top end of the MP145 GT feels more restrained if anything. It's had a modicum of power taken out of it, and it shows in that it doesn't get splashy, or crisp. The extension is still wide, but the power has been refined in the first stage. In this way, Hidizs once again gives a further twist to the planar treble, redefining the high notes, dressing them with a restrained sparkle, nothing sharp, but retaining a level of extended brightness that makes them appropriate, natural and delightful. The integration of the treble in the MP145 GT's profile demonstrates a balance that seeks a musical and pleasing sound, explicit and descriptive, controlled and comfortable, homogeneous and full, but without giving an overt, obvious and intense presence to those high notes. And all this, without the timbre suffering or the harmonics being lost.
Soundstage, Separation
The MP145 GTs, with their large capsule volume and openings on the outer side, are characterised by a wide, broad and open sound, which disputes the predominantly frontal feel of the other planar models. Without a doubt, this model has one of the most airy and voluminous sounds among the models with this technology that I have tested. In them, the transparency is felt, but does not stand out, although it is perceived as superior to other models with a denser and fuller profile. In this aspect, the sound wall is not impenetrable, but the separation and the light is able to circulate among the music, facilitating the layering, the generation of levels, the distance between them and between the elements. It is even more ethereal, enveloping, managing to volatilise details, although integrating them into the music in a very descriptive way, without being analytical. In this version, the bass is a little heavier, while the treble has less energy. The result is a warmer profile than its standard sibling. But the level of technical refinement has not been lost at all, nor has its good precision in mounting the image and placing the elements in it.
Comparisons
Hidizs MP145 With Rose Gold Filter (Balanced)
The most obvious thing to do is to check whether there are differences between the two siblings. The graphs say there are. The GTs have a bit more sub-bass and a less energetic treble. Even the Silver filter of the GTs is less treble than the balanced filter of the standard version. And that's going to be my comparison now, because, clearly, comparing the rest of the issues is a bit short: the GTs are made of a different material, guess which one? Their packaging is a bit different, with two identical cables, but with different plugs, SE 3.5mm and Bal 4.4mm. And even though the specs say they weigh the same, without having a precision scale to check it, I think the GTs think more.
Do the differences justify the price increase? Of course, it depends on how much money you have and the value you place on it.
In the low end the GTs are a little darker, with a little more texture. You seem to feel that slight touch of emphasis in the sub-bass that gives it a fuller, more rounded bass. It also seems to have a little more energy. There is a little more colour in the standard version. It seems that, despite the close resemblance between the two, using the treble filter produces a slightly cleaner and clearer bass.
In the midrange, the same sensation is perceived: the GTs have a point of greater clarity, cleanliness and transparency, achieving voices with more body and closeness. There also seems to be a point of greater instrumental refinement and definition. The GTs manage to bring out micro detail in a more obvious way without having to resort to the brighter tuning of the standard version. And that is something that is noticeable in all ranges.
In the upper area, the extra brightness of the standard version gives it a slightly rougher and more extended feel. The GTs are more restrained and their flare is not as stretched. This benefits a more peaceful listening, without losing detail and delivering a more controlled, even slightly thinner treble.
In terms of the scene, the GTs appear more open. The cleaner and more transparent feel adds a closer perception of the elements, more dynamics and better definition. The standard version looks flatter and a bit more cloudy.
I can't comment that there is a night and day difference between the standard and GT version. There is a difference between the profiles and that is something that the material can provide. In this sense, being able to use the treble filter by subtracting that energy level in the high end that can be critical, benefits the GT version. As is usual with special versions, there is a point of refinement, clarity and presence closeness in all ranges that makes the GT a more polished, less abrupt and more transparent version. It is clear that every point of improvement costs money. But does the price increase make a difference? Money has the value that everyone wants to attach to it. I, without considering this difference, will stick with the GT.
LetShuoer S15
At a very similar price point and without being a limited edition, the LetShuoer S15 is the brand's third-generation planar IEMS. They are not just any planars, because they incorporate a 6mm passive filter module called R-Sonic.
The first major difference is in the design. The large titanium capsules of the MP145 GT are heavy. Meanwhile, the capsules of the S15 are 3D printed in a bluish-grey resin with a matt look and feel. Their outer face is made of aluminium alloy. They are not really small, but they are distinctly lighter than the MP145 GT. I have to say that both fit me very well, it's surprising how well the Hidizs, being so big, do well. But the lighter weight of the S15s gives them an edge in this respect. On the other hand, the presentation of the LetShuoer is special, while the cable lives up to its price, being, moreover, modular.
In terms of profile, the S15s are slightly more balanced and somewhat darker than the MP145 GTs, whose profile is more V-shaped. The biggest difference is in the midrange and early treble, which is what gives the S15s their more restrained, matte sound.
In the bass, you can feel the increased energy in the MP145 GTs, which have a bit more texture and roughness. Meanwhile, the S15s are drier, darker, tighter and more compact. The LetShuoer's sub-bass is subtly more sensory and physical, there's a little more colour in the MP145 GTs. However, in that darkness of the S15s lies something very nice that makes them very appealing, it's a different touch, perhaps a little forced, but very interesting. The Hidizs are a bit more visceral, but with a more common sound. That darkness of the S15s also works in their favour in the vocals. Their lower energy gives the midranges more prominence, with the vocals being at a more advantageous presential level and a little closer. Granted, they are matte in colour and feel less glossy, but they exude an intoxicating analogue and organic feel. On the other hand, the MP145 GTs are more splashy and perhaps have a more realistic and natural timbre. Instruments have more bite and, in general, the midranges seem to be more harmonically complete. The more sparkling exuberance of the MP145 GTs clashes with the more romantic sound of the S15s. They are certainly two ways of understanding the midrange, the quality of which is very high in both cases, and only personal preference can tip the balance one way or the other. I have a hard time making up my mind.
There is more sparkle, life, light and brightness in the high end of the MP145 GT. Everyone knows that the S15's treble is smooth, nuanced and rounder. Meanwhile, the MP145 GTs retain a more realistic representation that gives the sound more transparency and more emphasis on detail. Meanwhile, the S15s feel more opaque.
The scene of the MP145 GT is larger, more voluminous, expansive and open. The feeling of more light also helps a higher perception of it.
Both, in their own way, are quite detailed. However, the colour of each and the way they express such detail is different. Change the timbre, change the execution. The same detail sounds different on each. The MP145 GTs are more realistic, while the S15s have an ability to reinterpret the music in a somewhat different and peculiar way, which can also be quite lovely. The more concrete sound of the S15s seems to bring a bit more separation. But their stage is more intimate and upfront. In this respect, the MP145 GTs clearly win out.
It is clear that both IEMS offer a different taste musically speaking. There are clear differences between them, but I could not say that one is superior to the other qualitatively speaking. Each has its own special characteristics. The Hidizs MP145 GT are more canonic, more natural, with a more realistic sound. On the other hand, the LetShuoer S15s have a special, euphonic sound that is sure to appeal to many fans thanks to their special touch.
Conclusion
It seems to be the norm for Hidizs to release a special, limited version of their best products. This time it is the turn of the great MP145, possibly one of the best IEMS of the brand, despite being their first IEMS created with planar technology. Something so special could not stay with its collector's version. Hidizs has a passion for the finest materials, such as copper and now gold-plated titanium. Without a doubt, this is a collector's edition, limited to 199 copies, each one of them signed by the CEO of the brand himself on an authenticity card that gives it that special and distinctive character. For this occasion, both 3.5mm and 4.4mm cables are included, but the price has also been increased to double that of the standard version. It is clear that they are made of a very special metal, which also gives them different sound characteristics than the original version. Yes, the graphs don't lie and this version is subtly more emphasised at the low end and has a slightly softer midrange and first treble. It is a slightly different profile, with that extra refinement, class and elegance in sound that only the best materials can give to an already excellent product. A qualitative twist on one of last year's best planars.
Sources Used During the Analysis
Purchase Link
You can read the full review in Spanish here
As usual with the great Hidizs models, they have released a limited edition of their latest IEMS model with planar technology. This is the Hidizs MP145 Limited Golden Titanium Edition. It is available in a limited run of only 199 units. The packaging includes two types of cables, one with a 3.5mm plug and one with a 4.4mm plug, as well as a 10th anniversary badge. Each product has been uniquely numbered in the world. Again, Hidizs uses titanium known for its superior properties that make it ideal for making Hi-end capsules. Of course, it still includes the filter system and a hand-signed card with the limited edition serial number.
It is clear that the MP145 was one of the best planar IEMS of last year, so what can you expect from a limited version like this? It is true that the use of titanium in its gold version means a clear increase in price, from $159 for the standard version, to $339 for the limited version. This is certainly a doubling of the starting price. Of course, the bottom line is that this is a version limited to 199 unique pieces in the world. There is also a substantial change in its construction: titanium. Not only that, but the frequency response has undergone some slight changes. Let's take a look at the differences in this review.
Specifications
- Driver Type: Hidizs 14.5mm Ultra-Large Planar Magnetic Driver
- Frequency Response: 20Hz-40kHz.
- Sensitivity: 104dB.
- Impedance: 30Ω.
- Capsule Construction: Titanium.
- Jack Connector: Includes two cables, one with a 3.5mm SE plug and one with a 4.4mm BAL plug.
- Capsule Connection Type: 2Pin 0.78mm gold plated and pure copper plated housing.
- Cable: 4 strands of 6N silver plated monocrystalline copper wire.
- Cable length: 1.2m.
- Weight approx. 19g excluding cable.
Packaging
The Hidizs MP145 Golden Titanium comes in a sober black box with dimensions 193x162x43mm. On the main side you can see the outer face of the capsule in the centre, above is the brand logo and below are different logos (WDC, Planar Technology and Hi-Res Audio), as well as a short product description. All of this is printed in the same colour ink as the capsules. On the back side are the specifications in several languages, including Chinese and English, as well as the brand's branding. All in silver ink. There are also the logos of the different certifications it holds. The first thing that stands out after opening the box is the hand-signed and hand-numbered card from the company's CEO. This is white, and there is also a black card describing the contents. Underneath the cards are 4 compartments protected by black cardboard. At the top left are the capsules, encased in a dense foam mould. To its right is another mould containing the brand's tenth anniversary insignia. It is a metal piece in the shape of the South American continent, with a sort of threaded golden button. I didn't really know what it was at first until I read the description card. On the other hand, it is curious. I thought it was some kind of key ring, because of the hole in the top corner. In the lower half there are two identical boxes containing the black leather pouches with each cable, as well as the filters. Below this first layer, on the left, is the mould containing the three types of silicone tips. The complete contents are as follows:
- The two Hidizs MP145 capsules.
- 3 pairs of tuning filters.
- Two storage bags.
- 1 cable with SE 3.5mm plug.
- 1 cable with 4.4mm BAL plug.
- 3 pairs of SxMxL size tips for vocal tuning.
- 3 pairs of tips size SxMxL for balanced tuning.
- 3 pairs of tip sizes SxMxL for bass tuning.
- 1 card hand signed and numbered by Hidizs CEO.
- 1 limited edition product description card.
- 1 user manual.
- 1 warranty card.
- 1 social media card.
I miss a zippered case again. And instead of two cables, I would have preferred a cable with a thicker conductor and interchangeable connectors, as is the current trend.
Construction and Design
The design of the product is the same, "only" the material it is made of changes: Titanium. However, to distinguish it from the standard colours, it is a gold-plated version. The capsules are burnished and you can see the fine lines of the polishing, especially on the outer side. The outer face has a raised Y-shaped part. This is actually the tail fin of a whale. The adjoining parts on each side of the fin form a staggered pattern, a twelve-layer milling pattern, also inspired by the pectoral fins of whales. On both sides of the whale tail there are two ventilation slots. The shape of the capsule is slightly elongated and has 7 sides, 4 on the bottom and 3 on the top, if you take the top where the cable connection is. The part near the nozzles ends in a slightly tapered arrow shape. The 2Pin 0.78mm connection is completely shallow and the plastic part containing the contacts is integrated inside the capsule. Of course, the connectors are gold-plated.
The inner face grows with a regular slope from the connector area towards the nozzles. The surface is curved on both sides of the sloping line. Above it and near the connector, one can read "HIDIZS X WDC" and towards the inside, there is a mole with the channel lettering. The ink used is dark grey. Near the nozzle, but offset from the slanted line, there is a hole. The nozzle is cylindrical and ends with a thread to secure the filters. There are 3 filters, the standard filter is the balanced gold filter (Balanced / Rose Gold). The filter for high frequencies is grey (Quiet Silver) and the red filter (Charm Red) enhances the low frequencies. The diameter is 6.9mm. The total length of the mouthpieces with the filters is slightly more than 5mm.
As I say, in this special version, there are two cables, each with a different termination SE 3.5mm and BAL 4.4mm. The sleeve of the plug is cylindrical, regular, very smooth, has a golden ring near the cable exit and on it you can read the brand name. The cable consists of 4 strands of 6N silver-plated monocrystalline copper wire. The splitter piece is simple, another small, smooth, shiny metallic cylinder. The pin continues this minimalist style and is a simple metal ring in the same pattern. The cables have over-ear guides and the connector sleeves are two cylinders to match the rest of the metal parts of the cable, which have two grooved and painted rings to indicate the channel. The two pins protrude from a transparent plastic disc and are gold-plated. The 4.4mm plug is gold-plated and protected by a translucent plastic sleeve.
The cable has a shiny silver plating, each strand is of good thickness, forming a cable of a midrange thickness, attractive enough and of good quality that I don't have to change it. It is also comfortable, has good flexibility and the balanced 4.4mm termination makes me forget about looking for a replacement cable. However, being a special version, I would have preferred a single cable, with detachable plugs, with a slightly thicker conductor. In short, a more premium cable to match the titanium level of the capsules.
It is clear that the capsules have a considerable size. With the change of material the weight has changed, it is clearly heavier. Even though the specifications still state the same value. This time, the collaboration with WDC is more evident and is engraved on the inside of the capsules.
Adjustment and Ergonomics
Yes, only the material has been changed, the fit and ergonomics are the same. What affects this section is the weight. Being significantly heavier, it can contribute to fatigue on long listens.
As mentioned above, the shape of the Hidizs MP145 is unusual and its size is clearly large. However, the elongated and bulky shape of the capsules does not compromise the ergonomics. The slight arrow shape, where the tip part coincides with the position of the mouthpieces, favours positioning and placement. Fortunately, the inner shape of the capsules is flat, smooth and gently rounded. The other end of the capsules stretches beyond the pinna. In my ears the integration is very good. With the right tips, the capsules float on the pinna and don't rub anywhere except on the bottom, where they sit lightly. The mouthpieces are not very projected but they have a good angle and I don't find any fault in their placement, being the fit firm and durable. It is true that the capsule can rotate, but its optimum fit point is at the end of its travel, as soon as further rotation is no longer possible. The whale tail shape and folds make it easy for fingers to adjust the IEMS in the ears. With a shallow or light insertion, the level of sound insulation can be high, provided that suitable tips are found. As usual, I have used my large foam-filled tips that I make at home, and both the fit and ergonomics have been quite good. But I don't dispute that the size, shape and perhaps also the weight might be controversial for other people.
Finally, the position of the over-ear cable and the fit of the capsules does not feel compromised by their combination. Thus, the cable does not disturb or negatively affect the fit of the capsules or rub uncomfortably on the ears. At least, not in my case.
Sound
Profile
As the specifications state, the profile fits the Harman 2019 curve. The profile could be categorised as U-shaped or soft w-decreasing. The bias towards the sub-bass is linear, without being predominant. But there is a good extension towards the midrange. The sub-bass end is subtly higher than in the standard version. The transition into the midrange is smooth, generating body and density in the initial zone of the midrange. The rise towards the midrange is even smoother than in the standard model. Once there, it stays fairly linear into the treble, which adds an explicit and fairly extended high range. Although, on this occasion, the treble is clearly softer than the standard model, as measured. Those who want a little more spice in this transition zone between midrange and first treble will not be so convinced, choosing the treble filter, as the differences between the two filters are quite slight. Switching to the low-cut filter limits the midrange and first treble even more, although it retains its extension into the air range. However, the difference between the three filters in the bass area is subtle.
The use of the red low-cut filters limits the volume slightly and orients the sound towards a darker, denser profile. Voices lose some sparkle, both female and male. Bass becomes more prominent, but some of the representative grace of the balanced curve, such as the great balance between the three bands, is lost.
The use of the silver filters for treble subtly cleans up the midrange and first treble, gives a little more transparency and a more detailed and analytical character. As mentioned, the difference between the treble filter and the balanced filter is very slight. However, it is very similar to the curve with the balanced filter of the standard model. Even the Titanium model has a little more sub-bass and is still softer in the first half of the treble.
It seems to be clear that the characteristics of the titanium chosen for this limited edition generate net differences compared to the standard version. The result is a minimal sub-bass boost and a clear smoothing of the midrange and first half of the treble.
For this review I have used the Silver filter to achieve the best possible detail.
For clarification I will write GT to refer to the Golden Titanium version.
Bass
As I mentioned, the MP145 GTs with the Silver filter are more like the standard version with the Rose Gold filter, but with more controlled treble and a subtle lift in the sub-bass. What is noticeable in the bass is a certain deeper, more sensory feel. The pure tone test describes the audible end in that way, there is a more physical behaviour in the lower notes, with a low audible sensation. This behaviour interchanges as the hertz increase, reaching a rather powerful presence at the sub-bass limit. However, although the audible presence is not very noticeable in the lower frequencies, both the response and the performance seem quite natural, offering a low sensation of colouration and a quite realistic, slightly dark behaviour. It is certainly not a performance like an excellent dynamic driver, as it has less texture, but its sound is clean, polished and refined. In my opinion, the MP145 GTs pass the pure tone test with flying colours.
Moving on to real music testing, the MP145 GTs have a firm, powerful, concrete, very restrained, dry, tight, very fast recovery hit, which translates into a smooth behaviour, with a little rough texture, but that can vary and improve depending on the source. The decay is fast, as are the transients, the aftertaste is very low, the rubbery or elastic sensation is reduced, just enough to draw an attractive, but not too voluminous bass, which occupies a good space, even so, contained. There is a good physical presence, but it is never violent, but very classy, withstands a lot of sound pressure and still performs in a very full and clean way, which means very low distortion. When it comes to reproducing dirty, unfiltered, saturated and complex bass, the MP145 GTs excel in their performance, being very agile, drawing the lines in a restrained, tight and concise manner. They manage to dominate the most adverse situations without mussing their hair, maintaining a very high level of cleanliness, sounding deep, with very little colour, layering the layers with subtlety and mastery. Most importantly, they never become saturated or overpowering. Without a doubt, the MP145 GTs possess a very high level of refinement, demonstrating that planar bass can be very technical, with just the right amount of power and volume, all without intruding on the rest of the band, sounding very separate, slick and powerful. What do I miss in all this? Well, a little more lift in the sub-bass, I would have liked the curve not to have flattened out at 40Hz. Otherwise the behaviour is simply canonical.
Mids
The tuning gives a certain presence to the lower frequencies, generating a decreasing w-profile, as I have already mentioned. Even with the Silver treble filter I don't find the sound bright, but it's not dark either. They sound like a fine, balanced and restrained S12, lowering the energy of the midrange and treble, but without losing the light, nor sounding so dense or upfront. The low end tucks into the lower registers of the vocals with corpulence, but without burying them. Although the strings, drums and basses are still slightly forward. Meanwhile, the timbre feels very organic, analogue, very restrained, slightly warm, without getting dark. Undoubtedly, this is a dense, almost opulent base, which thins out as the frequencies grow. In this way, the lower male voices feel physical, quite full-bodied, although they are not clearly the protagonists. However, the nuances of those lower registers do possess more power, as well as a more accentuated ornamental richness, much to be enjoyed.
The centre of the range ends in a zone of midrange dip, accentuating that lower-case v-character of the central range. Meanwhile, the rise to the midrange is relatively smooth, generating controlled bell gain, but with a slight imbalance in favour of the female voices and early treble outbreaks, gaining an incipient clarity and a splashy sense of realistic detail, which never becomes abrupt. The sibilances are kept at a low-key, controlled level, with a certain sparkle that gives them a realistic rather than penetrating feel. It's not a matter of nuancing them, but of executing them in a more pleasing way, maintaining a certain brightness, refining the sound at that conflicting peak. In this way, you can tell that the MP145 GTs have a high level of distinction, elegance, exquisiteness, delicacy and finesse, even at the most compromised points.
However, the balance is achieved between the lower registers of the male voices and the higher registers of the female voices, reaching, almost, a presential tie. In this sense, the female voices are also fleshy, despite not being in the foreground.
The MP145 GTs are not analytical, but they do have a remarkable level of resolution and definition. It doesn't go so far as to explicitly tease out micro details, nor does it foreground them, but is able to handle them in their corresponding layer. Admittedly, I would have liked a little more descriptiveness in this respect. But it is true that, possibly, certain virtues that make his sound more natural, musical, harmonious, lush, elegant and euphonic would be lost. The result is still a fully expressive sound, clear without being bright, transparent without losing body or density, remarkably well separated, complex, rich and differentiated. The ideal way to enjoy a midrange at just the right distance.
Treble
The top end of the MP145 GT feels more restrained if anything. It's had a modicum of power taken out of it, and it shows in that it doesn't get splashy, or crisp. The extension is still wide, but the power has been refined in the first stage. In this way, Hidizs once again gives a further twist to the planar treble, redefining the high notes, dressing them with a restrained sparkle, nothing sharp, but retaining a level of extended brightness that makes them appropriate, natural and delightful. The integration of the treble in the MP145 GT's profile demonstrates a balance that seeks a musical and pleasing sound, explicit and descriptive, controlled and comfortable, homogeneous and full, but without giving an overt, obvious and intense presence to those high notes. And all this, without the timbre suffering or the harmonics being lost.
Soundstage, Separation
The MP145 GTs, with their large capsule volume and openings on the outer side, are characterised by a wide, broad and open sound, which disputes the predominantly frontal feel of the other planar models. Without a doubt, this model has one of the most airy and voluminous sounds among the models with this technology that I have tested. In them, the transparency is felt, but does not stand out, although it is perceived as superior to other models with a denser and fuller profile. In this aspect, the sound wall is not impenetrable, but the separation and the light is able to circulate among the music, facilitating the layering, the generation of levels, the distance between them and between the elements. It is even more ethereal, enveloping, managing to volatilise details, although integrating them into the music in a very descriptive way, without being analytical. In this version, the bass is a little heavier, while the treble has less energy. The result is a warmer profile than its standard sibling. But the level of technical refinement has not been lost at all, nor has its good precision in mounting the image and placing the elements in it.
Comparisons
Hidizs MP145 With Rose Gold Filter (Balanced)
The most obvious thing to do is to check whether there are differences between the two siblings. The graphs say there are. The GTs have a bit more sub-bass and a less energetic treble. Even the Silver filter of the GTs is less treble than the balanced filter of the standard version. And that's going to be my comparison now, because, clearly, comparing the rest of the issues is a bit short: the GTs are made of a different material, guess which one? Their packaging is a bit different, with two identical cables, but with different plugs, SE 3.5mm and Bal 4.4mm. And even though the specs say they weigh the same, without having a precision scale to check it, I think the GTs think more.
Do the differences justify the price increase? Of course, it depends on how much money you have and the value you place on it.
In the low end the GTs are a little darker, with a little more texture. You seem to feel that slight touch of emphasis in the sub-bass that gives it a fuller, more rounded bass. It also seems to have a little more energy. There is a little more colour in the standard version. It seems that, despite the close resemblance between the two, using the treble filter produces a slightly cleaner and clearer bass.
In the midrange, the same sensation is perceived: the GTs have a point of greater clarity, cleanliness and transparency, achieving voices with more body and closeness. There also seems to be a point of greater instrumental refinement and definition. The GTs manage to bring out micro detail in a more obvious way without having to resort to the brighter tuning of the standard version. And that is something that is noticeable in all ranges.
In the upper area, the extra brightness of the standard version gives it a slightly rougher and more extended feel. The GTs are more restrained and their flare is not as stretched. This benefits a more peaceful listening, without losing detail and delivering a more controlled, even slightly thinner treble.
In terms of the scene, the GTs appear more open. The cleaner and more transparent feel adds a closer perception of the elements, more dynamics and better definition. The standard version looks flatter and a bit more cloudy.
I can't comment that there is a night and day difference between the standard and GT version. There is a difference between the profiles and that is something that the material can provide. In this sense, being able to use the treble filter by subtracting that energy level in the high end that can be critical, benefits the GT version. As is usual with special versions, there is a point of refinement, clarity and presence closeness in all ranges that makes the GT a more polished, less abrupt and more transparent version. It is clear that every point of improvement costs money. But does the price increase make a difference? Money has the value that everyone wants to attach to it. I, without considering this difference, will stick with the GT.
LetShuoer S15
At a very similar price point and without being a limited edition, the LetShuoer S15 is the brand's third-generation planar IEMS. They are not just any planars, because they incorporate a 6mm passive filter module called R-Sonic.
The first major difference is in the design. The large titanium capsules of the MP145 GT are heavy. Meanwhile, the capsules of the S15 are 3D printed in a bluish-grey resin with a matt look and feel. Their outer face is made of aluminium alloy. They are not really small, but they are distinctly lighter than the MP145 GT. I have to say that both fit me very well, it's surprising how well the Hidizs, being so big, do well. But the lighter weight of the S15s gives them an edge in this respect. On the other hand, the presentation of the LetShuoer is special, while the cable lives up to its price, being, moreover, modular.
In terms of profile, the S15s are slightly more balanced and somewhat darker than the MP145 GTs, whose profile is more V-shaped. The biggest difference is in the midrange and early treble, which is what gives the S15s their more restrained, matte sound.
In the bass, you can feel the increased energy in the MP145 GTs, which have a bit more texture and roughness. Meanwhile, the S15s are drier, darker, tighter and more compact. The LetShuoer's sub-bass is subtly more sensory and physical, there's a little more colour in the MP145 GTs. However, in that darkness of the S15s lies something very nice that makes them very appealing, it's a different touch, perhaps a little forced, but very interesting. The Hidizs are a bit more visceral, but with a more common sound. That darkness of the S15s also works in their favour in the vocals. Their lower energy gives the midranges more prominence, with the vocals being at a more advantageous presential level and a little closer. Granted, they are matte in colour and feel less glossy, but they exude an intoxicating analogue and organic feel. On the other hand, the MP145 GTs are more splashy and perhaps have a more realistic and natural timbre. Instruments have more bite and, in general, the midranges seem to be more harmonically complete. The more sparkling exuberance of the MP145 GTs clashes with the more romantic sound of the S15s. They are certainly two ways of understanding the midrange, the quality of which is very high in both cases, and only personal preference can tip the balance one way or the other. I have a hard time making up my mind.
There is more sparkle, life, light and brightness in the high end of the MP145 GT. Everyone knows that the S15's treble is smooth, nuanced and rounder. Meanwhile, the MP145 GTs retain a more realistic representation that gives the sound more transparency and more emphasis on detail. Meanwhile, the S15s feel more opaque.
The scene of the MP145 GT is larger, more voluminous, expansive and open. The feeling of more light also helps a higher perception of it.
Both, in their own way, are quite detailed. However, the colour of each and the way they express such detail is different. Change the timbre, change the execution. The same detail sounds different on each. The MP145 GTs are more realistic, while the S15s have an ability to reinterpret the music in a somewhat different and peculiar way, which can also be quite lovely. The more concrete sound of the S15s seems to bring a bit more separation. But their stage is more intimate and upfront. In this respect, the MP145 GTs clearly win out.
It is clear that both IEMS offer a different taste musically speaking. There are clear differences between them, but I could not say that one is superior to the other qualitatively speaking. Each has its own special characteristics. The Hidizs MP145 GT are more canonic, more natural, with a more realistic sound. On the other hand, the LetShuoer S15s have a special, euphonic sound that is sure to appeal to many fans thanks to their special touch.
Conclusion
It seems to be the norm for Hidizs to release a special, limited version of their best products. This time it is the turn of the great MP145, possibly one of the best IEMS of the brand, despite being their first IEMS created with planar technology. Something so special could not stay with its collector's version. Hidizs has a passion for the finest materials, such as copper and now gold-plated titanium. Without a doubt, this is a collector's edition, limited to 199 copies, each one of them signed by the CEO of the brand himself on an authenticity card that gives it that special and distinctive character. For this occasion, both 3.5mm and 4.4mm cables are included, but the price has also been increased to double that of the standard version. It is clear that they are made of a very special metal, which also gives them different sound characteristics than the original version. Yes, the graphs don't lie and this version is subtly more emphasised at the low end and has a slightly softer midrange and first treble. It is a slightly different profile, with that extra refinement, class and elegance in sound that only the best materials can give to an already excellent product. A qualitative twist on one of last year's best planars.
Sources Used During the Analysis
- Hidizs DH80S.
- Hidizs S9 Pro Plus.
- Aune Yuki.
- Aune X8 XVIII Magic DAC + EarMen ST-Amp.
- Burson Audio Playmate II.
- Aune M1p.
- Tempotec V3.
Hidizs offered me this model, in exchange for writing an honest review. I want to make it clear that all my opinions written in this review have not been conditioned by this fact, nor will I ever write anything that I do not really think or feel here. I will only write about my personal opinion in relation to the revised product.
Purchase Link
You can read the full review in Spanish here
DISCLAIMER
I would like to thank Hidizs for furnishing this unit.
The MP145 Titanium Edition can be obtained here: https://www.hidizs.net/products/hid...ear-monitors-for-audiophiles-and-music-lovers
INTRODUCTION
If you ask audiophiles in the various forums what is their favourite planar IEM of 2023, many would quote the Hidizs MP145 as one of the gold-standards. Why is that so? The OG MP145 is well-regarded as it melds timbre, technicalities and tonality nicely, with 3 tuning nozzles to increase versatility too. Additionally, the MP145 has a cavernous soundstage!
Hidizs actually has a lesser known Titanium version MP145, which retails at almost double the OG's price, at $339 USD. This is a limited edition product, with only 199 pieces available worldwide. The drivers are the same, but the Titanium shell imparts a different tuning, due to a non-identical resonance and material of this exotic material.
Many esteemed reviews have already been written about the OG MP145, which you can check out here: https://www.head-fi.org/showcase/hidizs-mp145.26656/reviews, but today we will dive into detail for the Titanium variant!
SPECIFICATIONS
ACCESSORIES
Other than the IEM, these are included:
- 3 pairs of "balanced" silicone ear tips (S/M/L)
- 3 pairs of "bass" silicone ear tips (S/M/L)
- 3 pairs of "vocal" silicone ear tips (S/M/L)
- 2 Leatherette storage pouches
- 2 cables (one with 4.4 mm termination and one with 3.5 mm termination)
- 3 pairs of tuning nozzles
- Small case for tuning nozzles
- Hidizs 10th anniversary plaque
Take note that the accessories here are different from the OG MP145, with more goodies included here (which partially explains the price increase).
The accessories are more than decent for a midFI priced IEM, perhaps other than the lack of a hard case, and perhaps the exclusion of foam tips. No doubt the Titanium shells can survive a drop or fall, but it would have been nice to have a legit hard case to protect it on-the-go.
3 types of silicone eartips are included. The "bass" tips have the narrowest bore, and boost bass the most, as per its namesake, though at the expense of soundstage. The "vocal" tips lie on the other extreme - with the widest bore - and they increase air, sparkle and soundstage. Lastly, we have the "balanced" tips, which as their name suggest, are a midpoint between the above two tips in sonics.
Do explore to see what suits your needs in terms of sound, fit and isolation.
Hidizs has provided 2 cables, which are silver-plated single-crystal copper ones, with decent braided and minimal tangling. There is a chin cinch for added grip, with no microphonics. One comes in a 3.5 mm (single-ended) terminal, while the other has a 4.4 mm (balanced) one, which increases source-pairing permutations. 2-pin cables are always my preference as they tend to be more sturdy with repeated cable swaps, compared to MMCX.
This is a tunable IEM, with three tuning nozzles included, and they come in their own transparent hard case. We will discuss further about the nozzles below.
There is a special 10th anniversary Hidizs plaque inside the box, but beyond looking cool, I'm not sure how practical this is.
Last but not least, we have 2 leatherette storage pouches. The innards are lined with a velvety material to cushion the contents, and they open and close via a clasp mechanism.
The rest of this review was done with the stock cable and stock "balanced" silicone tips. No aftermarket accessories were used, so as not to add any confounders to the sound.
BUILD/COMFORT
As per the Titanium Edition moniker, this IEM is purportedly fashioned from titanium. Titanium is a sturdy material, and this IEM is literally built like a tank, and feels even more robust than the OG MP145.
The Titanium variant has a mirror-like golden finish, compared to the matte grey version of the OG. While I have confidence the shells can survive a drop or knock, the mirror-like exterior may be scratch or fingerprint magnets, so do be careful nevertheless.
The Titanium version has the same dimensions and size as the OG MP145, but is understandably almost double in weight!
Indeed, the OG MP145 is affectionately referred to as the WHALE, as not only has Hidizs partnered with the Whale and Dolphin Conservation (WDC) for this project, but the MP145's housings are gargantuan. The sumo-sized shells do contribute to a cavernous soundstage, but are a double-edged sword, with potential fit issues for smaller ears.
Nevertheless, I found the Titanium variant's comfort to be surprisingly decent - with no rough protrusions on the inner aspects to poke the ears - even for longer listening sessions. However, the as alluded to, those who find contentious fit with the OG MP145 may face similar issues, what with a heavier weight added, so the shells may occasionally drop out of the ears with head movement. Getting a more secure eartip fit may mitigate this.
Like the OG, the Titanium variant has numerous vents - one on the inner aspects, and two lateral vents that are "hidden" along the face plate - these contribute to the tuning and soundstaging. Isolation is actually better here than with the OG MP145 (which was below average), and this may possibly be a result of the different material used.
Despite being a vented IEM, I did detect instances of driver flex during IEM insertion, but this can be alleviated with eartip choice. Driver flex is also partially dependent on ear anatomy, so YMMV.
DRIVABILITY
I tested the MP145 Titanium Edition with the following sources:
- Apple dongle
- Cayin RU7
- Chord Mojo 2
- Fiio K11 DAC/amp
- Fiio KA13 dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone
This IEM is moderately easy to drive. While weaker sources can power the MP145 Titanium Edition, amplification is recommended to improve scalability, in terms of dynamics, bass tightness and soundstage.
INTERNALS/TUNING NOZZLES
The Titanium Edition, like the OG MP145, contains a 14.5 mm planar driver, with 7 N52H magnets sandwiching it on the front, and 7 more on the back; these are advertised to decrease distortion and provide a more efficient magnetic circuit, an almost 1 Tesla flux obtained.
This IEM has 3 tuning nozzles, which confers some differences in the frequency response, mostly in the upper mids and treble regions:
Graph of the MP145 Titanium Edition via IEC711 coupler. 8 kHz is a coupler peak.
The MP145 Titanium Edition is a U-shaped beast, with the silver nozzle providing the brightest tuning, and the red nozzle in the darkest extreme.
Technicalities, soundstage and clarity are understandably better on the silver nozzle, with some resolution loss and compression on the red ones. The gold nozzle is a midpoint between the two in technicalities and treble extension, and is probably a good compromise amongst the 3 nozzles, retaining the strengths of both sets.
SOUND & TECHNICALITIES
The rest of this review will be done with the MP145 Titanium Edition on the balanced (gold) nozzles.
With the gold nozzles installed, we hear a U-shaped tonality, which is pretty all-rounded for most music genres.
Unlike the OG MP145, the Titanium version has more sub-bass focus, with a deep sub-bass rumble and extension on bassy tracks. Bass quality is solid, with nimble speed and solid texturing, coupled with minimal mid-bass bleed.
The lower midrange is just a tinge recessed, but is pretty transparent, allowing instruments to be layered well on a dark palette. The upper mids hit around 7 dB in ear gain, so vocals are forwards without being piercing - this is a tough line to balance and I think Hidizs has nailed it here.
The treble is quite well extended, being on the slightly brighter side of the equation. There is mild sibilance noted, but we are provided with good air and sparkle. Resolution and clarity are top-notch. Folks who are treble-sensitive may perhaps opt for a narrower-bore eartip or try the red nozzle to tame the treble to their tastes.
Personally, I'm treble-sensitive and the gold nozzle is my favourite pairing - the silver one is a bit too hot for me and the red one has compromises in resolution.
Timbral accuracy is decent for a planar IEM; there's a slight planar sheen noted due to the very fast transients, but by and large, it portrays acoustic instruments quite authentically, though perhaps the OG MP145 is a bit better in this department.
Planar IEMs raison d'être are their technicalities. The MP145 Titanium Edition is a king in this aspect, and boasts of a colossal soundstage when amplified - I daresay it is even larger than the OG MP145's, which is already very extensive. Imaging is almost pin-point, with layering and instrument separation stellar due to this expansive soundscape. Micro-detailing is well rendered. Soundstage and technical junkies will like what they hear on the Titanium Edition.
COMPARISONS
Comparisons were made against other planar IEMs. Hybrids, single DDs and pure BA IEMs are omitted, as the different transducers have their own pros and cons.
VERSUS OG MP145
The OG MP145 has 3 tuning nozzles too, but despite using the same drivers, due to the different shell material and resonances, it sounds different from the Titanium version.
I have graphed in isolation, the individual tuning nozzles versus the OG:
Graph of the MP145 Titanium Edition versus OG MP145 utilizing only silver nozzles. 8 kHz is a coupler peak.
Graph of the MP145 Titanium Edition versus OG MP145 utilizing only red nozzles. 8 kHz is a coupler peak.
Graph of the MP145 Titanium Edition versus OG MP145 utilizing only gold nozzles. 8 kHz is a coupler peak.
Across all nozzles, the Titanium version has a deeper sub-bass, with a hair increase in upper mids. The Titanium version has generally more treble air, extension and sparkle too, other than on the silver nozzle. All nozzles furnish less mid-bass thump, but a cleaner and fast bass on the Titanium Edition.
The Titanium Edition has superior imaging, micro-detailing and resolution, with a slightly larger soundstage over the already huge soundstage of the OG. The OG MP145 has a bit of a thicker note weight with a more natural timbre.
Both siblings have about the same drivability, though the Titanium version has better isolation. Both shells are of the same dimensions, though the Titanium MP145 is heavier, as described above. The Titanium version is better accessorized, as befits its price, with 2 cables provided instead of the OG's sole cable.
However, we are certainly in the realm of diminishing returns amongst the two brothers. The Titanium variant is around double the price of the OG, but it isn't exactly 2X better. But that's par for the course once you go up the ladder. I think fans of the OG MP145 who are searching for a more resolving and bass-lite version (though with better bass quality), may not mind coughing up more for these technical improvements.
VERSUS LESTHUOER S15
Graph of the MP145 Titanium Edition with gold nozzles versus the Letshuoer S15. 8 kHz is a coupler peak.
The S15 is warmer with a thicker note weight, with less treble extension and sparkle.
The S15 is a league behind in technicalities, with inferior soundstage, imaging, micro-detailing and instrument separation. However, the S15 has a more natural timbre.
Both sets have driver flex. The S15 has a modular cable, and both require about the same power to drive.
CONCLUSIONS
The OG MP145 is rightly heralded as one of the benchmark planar IEMs. The Titanium Edition ups the ante a few notches, and is literally an MP145 on steroids: think of something with an even grander soundstage, better resolution and imaging, with a tighter and cleaner bass.
This is contributed by the Titanium version's shell material and resonances, despite the two siblings packing the same planar driver internally.
Other than being an improvement over the predecessor MP145 in technical chops, the Titanium variant also comes with more luxuriant accessories, better treble extension and a deeper sub-bass descent. Isolation is also greater.
Both MP145 siblings have similarly huge shells - this contributes to the massive soundstage on tap - but the Titanium Edition is almost double in weight. Sadly, the driver flex encountered in the first version is still present here.
Fans of the OG MP145 who love its thick note weight, hefty mid-bass, and natural timbre might want to stick to that, but it is good we have 2 options on the table - the Titanium Edition will surely cater to technical junkies who want a more resolving sound, with a voluminous soundscape. We have to note that the 2X price differential does result in diminishing returns, but the Titanium variant handily beats similarly priced planars like the Letshuoer S15 in technicalities and end-to-end extension.
In a nutshell, folks who want to go even deeper down the planar rabbithole should look no further than the MP145 Titanium Edition - it is a formidable set, with soundstage the star of the show. Technicalities are excellent, with versatility on display from the 3 tuning nozzles, and it does most departments very well.
I would like to thank Hidizs for furnishing this unit.
The MP145 Titanium Edition can be obtained here: https://www.hidizs.net/products/hid...ear-monitors-for-audiophiles-and-music-lovers
INTRODUCTION
If you ask audiophiles in the various forums what is their favourite planar IEM of 2023, many would quote the Hidizs MP145 as one of the gold-standards. Why is that so? The OG MP145 is well-regarded as it melds timbre, technicalities and tonality nicely, with 3 tuning nozzles to increase versatility too. Additionally, the MP145 has a cavernous soundstage!
Hidizs actually has a lesser known Titanium version MP145, which retails at almost double the OG's price, at $339 USD. This is a limited edition product, with only 199 pieces available worldwide. The drivers are the same, but the Titanium shell imparts a different tuning, due to a non-identical resonance and material of this exotic material.
Many esteemed reviews have already been written about the OG MP145, which you can check out here: https://www.head-fi.org/showcase/hidizs-mp145.26656/reviews, but today we will dive into detail for the Titanium variant!
SPECIFICATIONS
- Driver configuration: 14.5 mm planar magnetic driver
- Impedance: 30 Ohms
- Frequency response: 20 Hz - 40 kHz
- Sensitivity: 104 dB
- Cable: 2-pin, 0.78 mm. 4 strand silver-plated single-crystal copper cable; 3.5 mm and 4.4 mm cables available
- Limited Titanium edition retails at: $339 USD
ACCESSORIES
Other than the IEM, these are included:
- 3 pairs of "balanced" silicone ear tips (S/M/L)
- 3 pairs of "bass" silicone ear tips (S/M/L)
- 3 pairs of "vocal" silicone ear tips (S/M/L)
- 2 Leatherette storage pouches
- 2 cables (one with 4.4 mm termination and one with 3.5 mm termination)
- 3 pairs of tuning nozzles
- Small case for tuning nozzles
- Hidizs 10th anniversary plaque
Take note that the accessories here are different from the OG MP145, with more goodies included here (which partially explains the price increase).
The accessories are more than decent for a midFI priced IEM, perhaps other than the lack of a hard case, and perhaps the exclusion of foam tips. No doubt the Titanium shells can survive a drop or fall, but it would have been nice to have a legit hard case to protect it on-the-go.
3 types of silicone eartips are included. The "bass" tips have the narrowest bore, and boost bass the most, as per its namesake, though at the expense of soundstage. The "vocal" tips lie on the other extreme - with the widest bore - and they increase air, sparkle and soundstage. Lastly, we have the "balanced" tips, which as their name suggest, are a midpoint between the above two tips in sonics.
Do explore to see what suits your needs in terms of sound, fit and isolation.
Hidizs has provided 2 cables, which are silver-plated single-crystal copper ones, with decent braided and minimal tangling. There is a chin cinch for added grip, with no microphonics. One comes in a 3.5 mm (single-ended) terminal, while the other has a 4.4 mm (balanced) one, which increases source-pairing permutations. 2-pin cables are always my preference as they tend to be more sturdy with repeated cable swaps, compared to MMCX.
This is a tunable IEM, with three tuning nozzles included, and they come in their own transparent hard case. We will discuss further about the nozzles below.
There is a special 10th anniversary Hidizs plaque inside the box, but beyond looking cool, I'm not sure how practical this is.
Last but not least, we have 2 leatherette storage pouches. The innards are lined with a velvety material to cushion the contents, and they open and close via a clasp mechanism.
The rest of this review was done with the stock cable and stock "balanced" silicone tips. No aftermarket accessories were used, so as not to add any confounders to the sound.
BUILD/COMFORT
As per the Titanium Edition moniker, this IEM is purportedly fashioned from titanium. Titanium is a sturdy material, and this IEM is literally built like a tank, and feels even more robust than the OG MP145.
The Titanium variant has a mirror-like golden finish, compared to the matte grey version of the OG. While I have confidence the shells can survive a drop or knock, the mirror-like exterior may be scratch or fingerprint magnets, so do be careful nevertheless.
The Titanium version has the same dimensions and size as the OG MP145, but is understandably almost double in weight!
Indeed, the OG MP145 is affectionately referred to as the WHALE, as not only has Hidizs partnered with the Whale and Dolphin Conservation (WDC) for this project, but the MP145's housings are gargantuan. The sumo-sized shells do contribute to a cavernous soundstage, but are a double-edged sword, with potential fit issues for smaller ears.
Nevertheless, I found the Titanium variant's comfort to be surprisingly decent - with no rough protrusions on the inner aspects to poke the ears - even for longer listening sessions. However, the as alluded to, those who find contentious fit with the OG MP145 may face similar issues, what with a heavier weight added, so the shells may occasionally drop out of the ears with head movement. Getting a more secure eartip fit may mitigate this.
Like the OG, the Titanium variant has numerous vents - one on the inner aspects, and two lateral vents that are "hidden" along the face plate - these contribute to the tuning and soundstaging. Isolation is actually better here than with the OG MP145 (which was below average), and this may possibly be a result of the different material used.
Despite being a vented IEM, I did detect instances of driver flex during IEM insertion, but this can be alleviated with eartip choice. Driver flex is also partially dependent on ear anatomy, so YMMV.
DRIVABILITY
I tested the MP145 Titanium Edition with the following sources:
- Apple dongle
- Cayin RU7
- Chord Mojo 2
- Fiio K11 DAC/amp
- Fiio KA13 dongle
- Hiby R3 Pro Saber 2022 DAP
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW A-55 DAP (Walkman One Neutral Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone
This IEM is moderately easy to drive. While weaker sources can power the MP145 Titanium Edition, amplification is recommended to improve scalability, in terms of dynamics, bass tightness and soundstage.
INTERNALS/TUNING NOZZLES
The Titanium Edition, like the OG MP145, contains a 14.5 mm planar driver, with 7 N52H magnets sandwiching it on the front, and 7 more on the back; these are advertised to decrease distortion and provide a more efficient magnetic circuit, an almost 1 Tesla flux obtained.
This IEM has 3 tuning nozzles, which confers some differences in the frequency response, mostly in the upper mids and treble regions:
Graph of the MP145 Titanium Edition via IEC711 coupler. 8 kHz is a coupler peak.
The MP145 Titanium Edition is a U-shaped beast, with the silver nozzle providing the brightest tuning, and the red nozzle in the darkest extreme.
Technicalities, soundstage and clarity are understandably better on the silver nozzle, with some resolution loss and compression on the red ones. The gold nozzle is a midpoint between the two in technicalities and treble extension, and is probably a good compromise amongst the 3 nozzles, retaining the strengths of both sets.
SOUND & TECHNICALITIES
The rest of this review will be done with the MP145 Titanium Edition on the balanced (gold) nozzles.
With the gold nozzles installed, we hear a U-shaped tonality, which is pretty all-rounded for most music genres.
Unlike the OG MP145, the Titanium version has more sub-bass focus, with a deep sub-bass rumble and extension on bassy tracks. Bass quality is solid, with nimble speed and solid texturing, coupled with minimal mid-bass bleed.
The lower midrange is just a tinge recessed, but is pretty transparent, allowing instruments to be layered well on a dark palette. The upper mids hit around 7 dB in ear gain, so vocals are forwards without being piercing - this is a tough line to balance and I think Hidizs has nailed it here.
The treble is quite well extended, being on the slightly brighter side of the equation. There is mild sibilance noted, but we are provided with good air and sparkle. Resolution and clarity are top-notch. Folks who are treble-sensitive may perhaps opt for a narrower-bore eartip or try the red nozzle to tame the treble to their tastes.
Personally, I'm treble-sensitive and the gold nozzle is my favourite pairing - the silver one is a bit too hot for me and the red one has compromises in resolution.
Timbral accuracy is decent for a planar IEM; there's a slight planar sheen noted due to the very fast transients, but by and large, it portrays acoustic instruments quite authentically, though perhaps the OG MP145 is a bit better in this department.
Planar IEMs raison d'être are their technicalities. The MP145 Titanium Edition is a king in this aspect, and boasts of a colossal soundstage when amplified - I daresay it is even larger than the OG MP145's, which is already very extensive. Imaging is almost pin-point, with layering and instrument separation stellar due to this expansive soundscape. Micro-detailing is well rendered. Soundstage and technical junkies will like what they hear on the Titanium Edition.
COMPARISONS
Comparisons were made against other planar IEMs. Hybrids, single DDs and pure BA IEMs are omitted, as the different transducers have their own pros and cons.
VERSUS OG MP145
The OG MP145 has 3 tuning nozzles too, but despite using the same drivers, due to the different shell material and resonances, it sounds different from the Titanium version.
I have graphed in isolation, the individual tuning nozzles versus the OG:
Graph of the MP145 Titanium Edition versus OG MP145 utilizing only silver nozzles. 8 kHz is a coupler peak.
Graph of the MP145 Titanium Edition versus OG MP145 utilizing only red nozzles. 8 kHz is a coupler peak.
Graph of the MP145 Titanium Edition versus OG MP145 utilizing only gold nozzles. 8 kHz is a coupler peak.
Across all nozzles, the Titanium version has a deeper sub-bass, with a hair increase in upper mids. The Titanium version has generally more treble air, extension and sparkle too, other than on the silver nozzle. All nozzles furnish less mid-bass thump, but a cleaner and fast bass on the Titanium Edition.
The Titanium Edition has superior imaging, micro-detailing and resolution, with a slightly larger soundstage over the already huge soundstage of the OG. The OG MP145 has a bit of a thicker note weight with a more natural timbre.
Both siblings have about the same drivability, though the Titanium version has better isolation. Both shells are of the same dimensions, though the Titanium MP145 is heavier, as described above. The Titanium version is better accessorized, as befits its price, with 2 cables provided instead of the OG's sole cable.
However, we are certainly in the realm of diminishing returns amongst the two brothers. The Titanium variant is around double the price of the OG, but it isn't exactly 2X better. But that's par for the course once you go up the ladder. I think fans of the OG MP145 who are searching for a more resolving and bass-lite version (though with better bass quality), may not mind coughing up more for these technical improvements.
VERSUS LESTHUOER S15
Graph of the MP145 Titanium Edition with gold nozzles versus the Letshuoer S15. 8 kHz is a coupler peak.
The S15 is warmer with a thicker note weight, with less treble extension and sparkle.
The S15 is a league behind in technicalities, with inferior soundstage, imaging, micro-detailing and instrument separation. However, the S15 has a more natural timbre.
Both sets have driver flex. The S15 has a modular cable, and both require about the same power to drive.
CONCLUSIONS
The OG MP145 is rightly heralded as one of the benchmark planar IEMs. The Titanium Edition ups the ante a few notches, and is literally an MP145 on steroids: think of something with an even grander soundstage, better resolution and imaging, with a tighter and cleaner bass.
This is contributed by the Titanium version's shell material and resonances, despite the two siblings packing the same planar driver internally.
Other than being an improvement over the predecessor MP145 in technical chops, the Titanium variant also comes with more luxuriant accessories, better treble extension and a deeper sub-bass descent. Isolation is also greater.
Both MP145 siblings have similarly huge shells - this contributes to the massive soundstage on tap - but the Titanium Edition is almost double in weight. Sadly, the driver flex encountered in the first version is still present here.
Fans of the OG MP145 who love its thick note weight, hefty mid-bass, and natural timbre might want to stick to that, but it is good we have 2 options on the table - the Titanium Edition will surely cater to technical junkies who want a more resolving sound, with a voluminous soundscape. We have to note that the 2X price differential does result in diminishing returns, but the Titanium variant handily beats similarly priced planars like the Letshuoer S15 in technicalities and end-to-end extension.
In a nutshell, folks who want to go even deeper down the planar rabbithole should look no further than the MP145 Titanium Edition - it is a formidable set, with soundstage the star of the show. Technicalities are excellent, with versatility on display from the 3 tuning nozzles, and it does most departments very well.
psy472
Ear jewelry.
baskingshark
@Vandammmmma I think its note weight is like that of most planar IEMs, very fast drivers that furnishes good technicalities.
But compared to the uncommon thicker note weight planars eg S15, Zetian Wu, maybe OG MP145, then it will sound a bit thinner in comparison.
But this can be mitigated to some extent with warmer sources, perhaps eartips too (foam or narrow-bore tips), or you can try the red nozzle, it thickens the sound a bit.
But compared to the uncommon thicker note weight planars eg S15, Zetian Wu, maybe OG MP145, then it will sound a bit thinner in comparison.
But this can be mitigated to some extent with warmer sources, perhaps eartips too (foam or narrow-bore tips), or you can try the red nozzle, it thickens the sound a bit.
I'm gonna grab one for sure!
However, the thinner note weight kind of worries me.