Hyla Sarda

Specifications

• Body Material: Photopolymer
• Driver(s): 1 Dynamic 10mm, Sonion Dual Balanced Armature, 1 Piezoelectric Ceramic
• Sensitivity: 111dB@1kHz
• Frequency response: 20 ~ 45kHz
• Impedance: 7ohm

The package is quite unusual. The outer box is a simplest, plain cardboard box with no info printed on it. It looks super cheap and very misleading, making you doubt of the real product quality inside. Even the cheapest ultra low budget earphones at around $10~20 have at least a minimal, more appealing design on their outer box. However, it is a radically different thing inside, where you find an exclusive storage case designed by VanNuys, and yes, made in Japan. The material is 1050D Ballistic Nylon and the whole case is of excellent quality. Now, its convenience is rather doubtful. If as storage case for travel use then it could be useful with separated spaces for the earphones and the small dual red sleeves to properly arrange the earpieces and cable. For daily carrying use, however, a smaller case or pouch would make more sense. Apart from that, you get 4 pairs of silicone ear tips and 3 pairs of foam tips, and a cleaning tool if needed.

Design

The Sarda continues a similar design of the previous models from Hyla. As most in-ear earphones at this price, the Sarda is made for strict over-ear wearing style with detachable cable (a must requirement) and boosts great ergonomics, all in a flashy finish. Build quality is great being mainly made of plastic derivate material. It may not give that comfortable safer feel of durability as with metal made IEMs, but as far as plastic materials can get, the Sarda looks very tough. More precisely, the main earpieces are made of Photopolymer and definitely reflects the high grade of material used here. The shells are rather large and quite thick; with the semi-translucent bright purple color it is very easy to see the whole drivers and cabling setup inside.


The finish is completely smooth and there is small vent at the lower area of the outer faceplate, probably used as proper vent for the dynamic driver. While there is no color option with the Sarda, the faceplates have a very unique design, mixing purple, pink and random gold lines and dots here and there. The faceplates design will obviously be unique for each unit. The inner part ends at a whole metal nozzle, of stainless steel if not wrong, with a metal grid. There are three bores that can be spotted beneath the grid, for each of the three drivers. Like the whole body, the nozzle looks of high quality with no sharp edges. The diameter is very standard (about 4.5~5mm) so ear tip rolling should be easy (and maybe even recommended for some).


While the earpieces are on the large side, the inner part is very ergonomic, long and properly angled towards the ear canal. Smaller ear tips can provide a deeper fit, but as with most IEMs I settled with the medium sizes. The shape of the shells may look familiar, found on some Unique Melody higher models and the Khan from Noble Audio. They quite stick out of the ears but should be less challenging for even smaller ears thanks to the well designed shape. In fact, despite the large shells, these are among the most comfortable and ergonomic earphones I tried with over-ear wear. They are not as custom-like shaped as the qdc Anole VX but same in terms of comfort and fit, and way less finicky than the InEar models. Isolation too, is very high and the vents do not seem to have any impact here (only in the sound); on par (if not better) than the Anole VX but still below of the InEar (ProMission X) with their super custom-like and large housings.


The cable is of high quality too. It seems to be a PW Audio cable in disguise, as there is no PW Audio writing on it, but the slider, plugs and connectors quite give out who made it. Apparently it was also exclusively made for the Sarda IEMs. Not sure if the all black color and wooden y-split match the color of the earphones but the cable itself looks nice. A typical 4-wire softly braided cable with plastic coating up to the connectors. Not the softest cable ever seen, but thick and more resistant than many stock cables on expensive IEMs. The 3.5mm plug is well relived and a bit large. The 2-pin connectors are of standard 0.78mm type and are very tightly attached to the earphones side (reason I didn’t mind disconnecting them).


Sound

The drivers’ setup: Hybrid, aka “chimera”. Okay, ‘Hybrid’ sounds more elegant. More specifically, triple-hybrid of dynamic, BA and Piezoelectric ceramic. For the tuning, Hyla opted for a lively signature on the Sarda. Unfortunately, I could never tried original CE-5 or the following TE variations to say how much of ‘upgrade’ the Sarda is, but on its own it already has some merits worth mentioning and even stands out in specific areas over other IEMs. The Sarda follows a strong v-shaped, or u-shaped if you prefer, very lively signature, very powerful and energetic. It can depend on the different source parings, and while would not describe a too-sharp v-curve yet, it is quite close. While the midrange clearly is set more distant, it is more the elevation on both lows and highs ends that calls the attention.

While there is no further information on the drivers used on the Sarda besides their types, the dynamic driver here provides excellent quality. The whole low-end is one of the best traits on the Sarda and what makes it special and very competitive. As expected for the v-shaped fashion signature, the bass is enhanced in quantities and powerful in impact. Large, immersive, dense yet very nicely layered with a very natural texture and still has great quality and speed. Sure, multi balanced armatures will be faster and tighter but cannot stand against a good dynamic driver in depth, extension and realistic tonality, and the Sarda is a fine example of that. The mid-bass lift is nothing new, found in many other earphones with a sufficient strong bass level, but gratefully remains very controlled. The bass’ balance can depend more or less on the paired source, though generally goes towards the sub-bass region, which I personally appreciate over a constant mid-bass lift that drives too much attention. In fact, it is more in the sub-bass area where the Sarda truly excels. It extends to the lowest registers effortlessly with very natural and excellent decay. With the Shanling M6 and PAW6000 the sub-bass is even more elevated (compared to the mid/up bass), creating a better sense of space and finer layering. The tonality of course is on the warmer side, with fuller weighted notes still showing great definition and all the rumble possible. It can gets quite addicting and not so tiring or annoying even after continuous listening, and leaves a clean room for the midrange to perform.

The switch to the midrange can be a bit drastic. If the low-end shines on the Sarda as one of the best parts, the midrange is not as favorable. Probably the weakest point with a lack of imaging coherence and not natural timbre if occasionally even metallic. Not surprising with this clear v-shaped tuning. On the technical side, it shows typical characteristics of BA drivers: articulation, liquidity and speed. The dynamic driver does blend into the midrange giving a warmer, fuller texture. As such, they are not thin or lean sounding mids. However, they sit more distant than the big low end (and the sparkly highs). Balance is quite even; lower instruments and vocal are well weighted and upper and female vocals carry more than enough brightness. But regardless, forward they are not. Instruments if a bit dry do sound more favorable with neat separation, definition and very good sense of air, over vocals that lack the needed sweet texture sounding sometimes unnatural. Sibilance free the Sarda is not; hearable with the usual tracks but otherwise remains controlled. Male vocals sound still better than female (more natural, in comparison). Couldn’t try it with the BA300s portable tube amplifier, but the AMP9 on the DX220 does help here to bring a richer, more natural midrange texture, especially with female vocals sounding more natural. And the best match so far is with the Shanling M5s (even over the M6).

Highs are elevated, equal (or almost) to the low-end, creating the complete v-shaped signature. The Piezoelectric driver brings a bright treble for sure; abundant and energetic with a crispy texture and a bit sizzling. Not a ‘hot’ peaky treble but can it can be a bit sharp with its more aggressive and forward character. The extension is also very good. Quite effortless, articulated and very fast too, though not as impressive as the more expensive (almost twice) qdc Anole VX or InEar ProMission X, but enough to rival and even win over the Dita Fidelity. The detail and treble dynamics are impressive as well. Cannot comment how it compares to EST drivers at this price point, but the Piezoelectric here does offer a different treble flavor than dynamic or multi-BA drivers set for higher frequencies.

Soundstage is the area where the Sarda easily stands out. The widest and largest stage presentation I’ve heard on an IEM. Greater width and depth than height, but still very large. As hinted above, the imaging is not the most coherent but in terms of dimensions it creates a very spacious and surrounding effect, unrivalled by any other IEM. Overall, the Sarda may not be an all-rounder but excels in what it does.


Comparisons

qdc Anole VX & InEar ProMission X

The Anole VX and PMX would pack together when compared to the Sarda together as they are much closer to each other in sound quality and technical abilities as well as in price (2K+). Both are multi-BA IEMs of 10 driver, and their current companies flagships. Unlike the strict v-shaped tuning of the Sarda with powerful and large bass and more distant, less focused midrange, the VX and PMX are very neutral and much ore balanced. The bass is the usual BA deal, incredible fast and accurate, much tighter but also lighter in body and impact. Extension is greater on the VX over the PMX, and then the Sarda is even better, more natural and yes, more dynamic, with slower paced decay and deeper rumble. Midrange quality is clearly higher on the VX and PMX, forward, open, more articulated, smoother and impressively detailed; leaner on the PMX while a bit more engaging, sweeter on the VX. The Sarda is warmer sounding but not as resolving or detailed. VX and PMX have brighter treble, sound more open and airier, more extended and controlled. They have better imaging and quality of timbre too. The Anole VX allows extra sound tunings, so switching both bass and treble switches on will give a bit more lively sound, but still not as strong as the Sarda. The Sarda still wins with a larger surrounding soundstage by a fair margin and untouchable sub-bass presentation.

Dita Audio Fealty

Out of the two Dita Twins, the Fealty makes a more relevant comparison to the Sarda than the Fidelty which is more neutral-to-bright sounding. The Fealty has a milder v-shaped sound over the Fidelty, but nothing as pronounced as the Sarda. The bass on the Fealty is north of neutral, balanced more in mid bass over sub-bass, less aggressive overall and doesn’t extend as far as the Sarda can. Midrange is clearer on the Fealty with touch of richness on it, a bit thinner in the low-mids and goes brighter towards the upper-mids, more favorable for female vocals if a bit shouty. In the treble they are actually very similar; bright, enhanced and not always forgiving. Fealty is more focused in lower treble compared to the more balanced piezoelectric driver treble on the Sarda. The Fealty has good soundstage, but still second to the Sarda.

Oriolus Reborn LTD

A more interesting comparison for a hybrid IEM. The Reborn has a simpler setup of 1 dynamic & 3 BA drivers. They both are large earphones but do differ a lot in the outer design, and my preference goes for the Sarda for its easier fit and higher isolation. The Reborn is not uncomfortable, but the large earpieces are more obvious with a shallow fit and wide smoother nozzle.
As for sound, they present two very different flavors. Next to the Sarda, the Reborn LTD is darker sounding with its more relaxed, smooth and bit rolled-off treble, but much more forgiving. The midrange is nicer on the Reborn. More neutral to forward, more natural and coherent, less warm but sweet and richer; a bit smooth for best instruments separation, though beautiful for vocal centred genres. The low end is nothing as powerful as the Sarda, but still elevated. The bass balance is towards the mid-bass with a shier sub-bass presence. It is quite engaging bass performance, nonetheless. Soundstage is more average in width, and has more depth, though will sound more intimate next to the Sarda large stage.

Intro & Me:

I entered the IEM game a few years ago and have completely fallen victim to the wide variety of sounds, technologies, methodologies and bespoke creators of these nifty little in-ear devices. I maintain a collection of around 10 “TOTL” IEMs and really enjoy comparing, contrasting, listening (of course) and writing about them. I’m not a reviewer per-se, but what fun is owning all of this goodness without sharing it with friends of the community? I apologize in advance if I have ever caused you to spend your hard-earned money.

Sarda – The Basics:

Let’s start with the name: Sarda. Not exactly the sexiest name for an IEM (unlike Grace, Layla, various other names, etc.) but I understand Sarda to mean either a type of fish or a type of goat. Take your pick and I’m sure you’ll be ecstatic to have either one in your ear.

I have been a long-time fan of Hyla and for the most part, Oriolus, their parent company. While the latter is typically a more mature, refined and musical sound, Hyla seems like Oriolus hired a wild child intern and let them go wild with sounds and technologies. From the infamous CE-5 to the monstrous TE-5B and the specialist the TE-5T, there are quite a few variations that somehow cover the bases but also stay true to the Hyla brand. If I had to sum it up, I would say extension and enhancements in all directions rather than an emotional, intimate sound. Again, these are all out fun.

The Sarda seems to be an evolution on the CE-5 sound, where the predecessor had some of the best sub-bass response in the industry, challenging the likes of the Legend X and Dita Dream in my book with a prominent, energetic treble. Mids were there somewhere, but certainly not a highlight of the sound. The Sarda seems to fix a few of the complaints of the CE-5, but I’ll get to the sound later. In typical fashion, Hyla is only producing a few hundred of these. I guess they didn’t give the intern an unlimited production budget.



Fit, Package, Cable, All That:

When I was greeted with a plain brown box upon unpackaging, I was left pretty underwhelmed, especially after recently unboxing the Dita Dream XLS, Mason V3+, etc. But inside that cardboard box is one of the nicest IEM cases I have ever seen: the Van Nuys. I am really not a fan of the recent trend of giving customers a metal case with a screw cap that barely fits the IEM with a stock cable, let alone an upgrade cable. The Van Nuys case from Hyla is amazing. It has partitions, it’s big enough for all the goodies, it is secure and strong. I love it and wish I could buy more.





The cable continues the traditional partnership between Hyla (and Oriolus) and PW Audio: it’s a nicely-built copper cable that is very comfortable. I don’t spend much time with stock cables and most of this review content is based on upgrade cables, but the stock cable is much, much nicer than the usual Plastics One cables offered with something like Earsonics in the past.

You also get the usual tips in the box and that’s really it. Not a lot of fanfare here, but keep in mind that this flagship is priced at $1,250 as opposed to skyrocketing prices from other manufacturers. Let’s touch on that for a second: you get a dynamic driver, two balanced armatures and a piezo-electric tweeter for $1,250. You can get something similar (albeit with two more Bas) in the Noble Khan for $2,400, or you can enter the world of electret tweeter “tri-brids” and the sky is the limit on pricing. While the CE-5 cost around $900 brand new, the following TE-5B, TE-5T and Sarda all stuck to the $1,250 price which I love. Also I would like to give a shout out to MusicTeck, Hyla’s US-based distributor for getting this to me in just two days when I finally decided I wanted one. Highly recommended to buy from them if you’re in the United States and want a Hyla product.

Sound – Where Technology Meets Precision:

I wasn’t quite sure what to expect when I put these in my ears for the first time. I loved the CE-5, but understood its shortcomings. I then went for the TE-5B because it was said to be improved in the bass and mids and while that was true, it lost a little of the magic with more mid-bass and overall a warmer signature. I missed that knife-like precision of the CE-5 with crushing sub-bass and sparkly treble. The Sarda, upon first listen, made me understand immediately what Hyla was going for. That magical sub-bass is still there, but slightly subdued in comparison to the CE-5. Mid-bass is extremely punchy, but not warm or elevated to detract from that famous sub-bass. Mids are crystal clear, vocals are crisp, everything is more balanced and coherent. Treble, by memory, is roughly similar to the CE-5 but a tad thicker and warmer. Still, the Sarda provides awesome sparkle and this is definitely an enhanced treble. So, I would characterize this sound is still the Hyla v-shape, but pushing closer to a “w” for lack of a better word. I think this is without question a refinement of the CE-5 and I am so, so happy they have accomplished this.

Bass:

The star of the show for Hyla’s past monitors have been the bass and this is no exception. Although it veers more into the balanced category than all-out bass head territory, there is still a lot to love here. The bass is no longer over-powering, just powerful and ever-present in all the best ways. Tracks like “Lose Yourself to Dance” will still startle you on first listen, though more mellow tracks are blessed with a softer touch. In accordance with the revised tuning, bass sounds even faster and punchier, albeit at the expense of sub-bass rumble. I do believe the Sarda is a tuning that will be more in line for “the rest of us” rather than just bass heads. Mid-bass is probably the biggest departure from the CE-5 where, um, it’s actually there. The CE-5 was a pretty extreme v-shape with sub-bass falling off rapidly into the mid-bass and the Sarda begins that roll off much later into the frequency range. It works well, it’s very punchy and it does not bleed into the mids at all.

Mids and Vocals:

I’m going to lump these together because this is where the CE-5 needed the most help and with Sarda, it’s there. As I mentioned, mids and vocals are crystal clear and while they’re still not what I would consider forward, they are not so recessed as to make this IEM a genre-specific uni-tasker. Sure, the Sarda still shines with electronic and modern pop music, but there is still a lot of enjoyment with band-based music and the likes. You can’t have everything, but I think the slight sacrifice in bass quantity from the predecessor has been showcased beautifully in the enhanced mids and vocal presentation. You won’t find a ton of weight around male or female vocals, just a focus on clarity. Not the most natural sounding monitors with timbre leaning toward neutral, but that was never the focus to begin with. In comparison to something like the EE Phantom, the vocals may sound on the thinner side, but in return you get a crunchy, textured electric guitar as an example. I love it – basically a neutral and clear mid-range that can do a wide array of tasks well.

Treble:

Treble fits into that Hyla house sound category with lots of sparkle and clarity, though I would not anticipate anyone finding this sibilant. I have owned four electret “tri-brids” now and have sold every one of them in favor of these piezo-electric tweeters. I love the extension, the clarity, the sparkle and the speed. The treble on the Sarda is reminiscent of the CE-5, but I thing in similar fashion to the bass it has been pulled back into the safe zone a bit. You get a ton of detail and sparkle, but no shrill, thin or edgy peaks. This is some of the best treble I have ever heard, which I will touch on in the brief comparisons. Spoiler, I like it better than the Legend X and the Grace.

Soundstage, Imaging, Separation, the Intangibles:

I am highly unqualified to really analyze the soundstage of an IEM, but I’ll give it my best shot. The Sarda does not have the out-of-head feeling of something like the Fourte, but instead I hear the dimensions to be expansive and even. What I mean is that I do not hear crazily enhanced right-left expansion, or depth or height. I hear it to be a realistic, “cube-shaped” stage and I guess on the “normal” level. Legend X and Fourte extend wider out of your head, but Sarda performance is less intimate than others like the Flamenco I previously had.

Imaging and separation are sharp and easy to pick up individual placement of instruments. The clarity-focused sound is likely responsible for this, as is the technical prowess of this configuration. Resolution seems top-notch, with nothing getting lost in the mix. Nuanced sounds come through with ease, notes have plenty of air around them and I would say the Sarda is above average for its price. I think the Fourte can eek out more detail (as it should for its price), but this doesn’t take away from the enjoyment factor.

Comparisons:

I normally spend a lot of time here, but truth be told I do not have a lot to compare to in this price range. Let’s start with the heavy-hitters:

Noble Khan: Khan has a similarly clarity-focused signature, but provides a sharper, more sparkly treble response. In turn, the Sarda sounds warmer and provides a more impactful bass. I would say that the Khan is overall more neutral and balanced, making Sarda’s v-shape more apparent. Mids are clear and open on both, but Khan gives a smoother and more natural touch here. For bass, the Khan and Sarda both share a dynamic driver impact, but Sarda’s quantity is much higher. I hear the Sarda to reach lower, hit harder and provide a bigger slam than the Khan, where Khan has a more neutral bass caliber. I love both these IEMs and the Sarda competes impressively for nearly half the price. Khan, however, is a more refined sound overall.

64 Audio Tia Fourte: I am not sure how many people will narrow down their short list of IEMs to the Fourte and Sarda, but what the heck. Starting with bass, quantity is roughly similar, but Fourte has a softer, more analogue feel where Sarda is quicker, more impactful and sharper. Mid-bass is also warmer and softer on the Fourte where it is punchier on the Sarda. Mids are a controversial topic on the Fourte, but let’s stick to the facts: I hear more clarity, openness and air in the Fourte. Sarda provides a very clear and precise mid-range, but Fourte has more air around each note and makes the sound a bit more natural. Treble extension is better on Fourte reaching into the stars, but sparkle is roughly similar on both. The Tia treble sounds a tad more natural, where Sarda provides a nice energy with pleasing thickness. I am confident saying these two IEMs are both treble and bass superstars, but with very different technologies and tuning philosophies.

Earsonics Grace: this IEM is one of my all-time favorites for an easy listen. It sports 10 balanced armatures and none of that fancy hybrid stuff, but provides a surprising sub-bass impact not too dissimilar from Sarda. Starting from bass, Grace has an impactful sub-bass that reaches as deep as I’ve heard any balanced armature go, but it’s softer and moves less air than the Sarda. Sarda is clearer, harder hitting and reaches even deeper. Mid-bass is warmer and more enhanced on the Grace, with a clearer, quicker presence on the Sarda. Mids are warmer and more emotional on Grace, providing a pleasing and natural tone on vocals. Sarda is clearer, more neutral and has more air in the mids. Stage dimensions are wider and deeper on Grace, but Sarda sounds a bit more direct in the sense that you feel as though you’re sitting right in front of the stage. Treble is sparkly and extended on the Grace, but the natural nature of it makes Sarda sound more energetic and sparkly. Treble is faster, sharper (not in a bad way) and provides clarity in the notes that Grace doesn’t.

Cable Pairings:

More controversy I’m sure! Here are very brief impressions rolling through a few of my favorite cables.

PW Audio 1960 2-wire: in comparison to the stock cable, bass quantity is roughly similar with greater extension and cleaner, more controlled hits. Mids provide more air and resolution. Treble is the easiest to hear the enhancement with the 1960 providing more sparkle and clarity. This was an awesome pairing, with resolution and impact really benefiting.

PlusSound Tri-copper X6: Huge shout out to my buddy Erik (@Wyville) for loaning me this cable – it’s one I have wanted to hear for a while. On the Sarda, it’s right at home with an overall warmer tone than the 1960, but plenty of control. More bass, a little more warmth in the mids and a sufficiently sparkly treble provides an awesome tuning that strikes me as what the manufacturer would want the IEM to sound like. It provides the same benefits as the 1960, though does everything in a slightly more natural, warmer manner. It’s a dead-sexy cable too, who am I kidding.

PW Audio no. 10: I threw this into the mix because not everyone wants to spend an entire paycheck on a cable. For around the $200 mark, the no. 10 provides a seriously great pairing with the Sarda. Bass is similar in quantity to the Tri-copper, but more of an analogue feel with big, bold notes. Mids are nicely textured and provide similar warmth, which I think the Sarda benefits from nicely. Treble is slightly softer and more relaxed on the no. 10, which again should not take anything away from the Sarda. If money was a concern, I would have no problems recommending the no. 10 with this IEM. It’s still a noticeable improvement over the stock cable.

Effect Audio Cleopatra: Cleo always provides interesting pairing results because of it’s copper-like tone and immense sub-bass presence. On the Sarda, this works quite well if that’s the direction you want to take it. I hear a very clean, impactful sub-bass that is higher in quantity to the 1960. Probably closer to the Tri-copper, but less warm and a bit more on the controlled side. Mids are crystal clear with the Cleo and may have less emotion than the copper cables mentioned previously. Treble is also nicely extended, but less sparkle to my ears than the 1960. This is still a lovely pairing, but I feel that the Sarda benefits most from a high-quality copper cable to provide that natural timbre that the Sarda can benefit from. Keep in mind that differences are very subtle of course.

A Note on Sources: while I do not typically compare sources back to back, I will say that the Sarda sounded lovely with all my sources. Most of the review and listening were done out of the A&K Kann Cube, with some listening also done with the N6ii (E01 module) and my LG V50 phone. The V50 phone can drive the Sarda well enough, but I felt that it sounded better with a dedicated DAP. Kann provided a clean, authoritative sound and it was my favorite match up. A close second, however, was the N6ii with the E01 module set to “AB” mode. Pure class A mode was a little too warm and relax for my tastes.

Conclusion: honestly, I really like the Sarda. I am very impressed at what they have accomplished at this price point and it is an easy recommendation. For anyone who loves a strong, authoritative bass presence, neutral and clarity-driven mids and sparkly treble with enhancements in the right place, it’s a very strong contender. Those who are looking for warmth and emotion in the vocals are probably the only group I would say are better served instead by something from Oriolus perhaps. But for me, I love the sound of the Sarda, I love the technicalities of the Sarda and I really feel that this is where Hyla’s R&D have brought incredible technology to create a brilliantly-refined sound. I think this is their best IEM yet and I will be rooting for them on each and every release.