ISN H50

TONALITY: 8.5/10
TECHNICALITIES: 8.2/10
TIMBRE: 8.8/10
SOUNDSTAGE: 8.5/10
IMAGING: 7.5/10
CONSTRUCTION: 8.5/10
ACCESSORIES: 8.5/10
SOUND VALUE: 8.2/10

INTRO

ISN is an IEM company owned by Penon. This company is specialize in cable making too and offer a wide range of them. In term of IEMs, they seem specialize in hybrid with the like of H30, H40 and Neo5.

Today I will review a fifth IEM from this company, the H50.

Priced 295$, the H50 is an hybrid using 1 dynamic driver and 4 balanced armature. While the BA models aren't stated, we can expect it to be either knowles or sonion, since even entry level H30 use those BA models.

As a big fan of both H40 and Neo5, let see in this review if the H50 is another winner from ISN.

CONSTRUCTION&ACCESSORIES



The H50 housing is made of high grade resin plastic that is smooth for the skin, it feel thick and very sturdy and when I drop it on my table or the floor, i'm not scare it will broke easily.
The shape is quite chunky in thickness, but not that big overall. Front shape is based on 3D scan data of human ears and offer a ergonomic universal shape that is very comfortable. Nozzle isn't that long and not thinked for deep insertion.
Back of housing design is very elegant, with gold leafs and gold logo of ISN that match well togheter.
Their a venting hole at side of body, which has a mesh to avoid dust entering the housing, it's a sign of meticulous cratfmanship.



One thing you can always expect with ISN IEMs is to get a great quality cable and H50 is no exception. The cable included is the S8, which is an 8 strands single crystal copper silver plated cable. You can choose it in 3 plug version: 3.5mm, 2.5mm bal or 4.4mm bal. The cable is very flexible and don't need ear hook to shape well around your ears. I wish more IEMs maker included excellent quality cable like this, which doesn't justify an urgent need to upgrade it.



It seem all ISN IEMs come with same packaging, which is a looker in it's own right. It include a very generous amount of accessories which consist of an elegant carrying case, 12 silicone eartips pair (4 models), a cleaning tool, a cable clamp and the S8 cable.

As always, ISN is examplary in term of accessories quality and generosity.




SOUND IMPRESSIONS



Coming from ISN H40, the H50 is more balanced and mid centric, more energic in a W shape way too. It share the mids of H30 with rumbly thick bass of H40, thisis good news for people searching a proper upgrade of both these but with similar DNA, in the sens ISN musical persona is fully blossom with the H50.

What hit me first is how wide, tall and holographic is the soundstage. When I see the chunky housing I was expecting big spatiality, but this even surpass my attempt since we are granted with a vast and immersive sound tapestry.

Then, for audiophile used to listen to lean neutral IEMs, the H50 will suprise by it's bass authority, thick slam and vibrant speedy rumble. By speedy, I mean the slam sustain is well layered and doesn't go into unwanted resonance blur.

Let just say going into H50 musicality feel like coming back into a cozzy, good hearthed home. Especially after the Neo5 I review, which is quite similar, but even more basshead.

So, I would summarize the tonal balance as a bumpy W shape, not a spiky one, everything is full and well rounded and we don't feel any bass, mids or highs are lacking. Well, unless your a demanding treble head since the W bump are all glued togheter here, it doesnt go far pass 10khz like brighter-crisper balance.
We are in Warmish W shape Welcoming musical Wonder.

And it's lush, and nothing is thin, nothing is shouty, nothing is agression. Your cuddle with the H50, you can get lost in it easily or just float on it's laid back musicality. Thei some IEMs i can't review with them in my ears, H50 aren't one of them, unless i crank up the volume hard and listen to bass heavy music like Kaytranada then it will be hard to focus on demanding writing task.

With hybrid IEM using multiple i'm always afraid of 3 things: tonal-timbre balance between drivers, timbre naturalness and density and attack control-shoutyness. Let's begin by saying the H50 doesn't suffer from any issue in those department, which explain it was a crush at first listen, without exactly being an intense wow effect in term of resolution or micro dynamic rendering.

As always, the ear tips will greatly inflict on final sound impression, I use the wide bore eartips from KBear call KB07, which is the same as green wide bore included with H50. It tend to expend soundstage wideness and add a hint of bass warmth and extra headroom in slam.

That BASS sure ask for attention, but what is fabulouse it's how it act as a wide bass shelf that stay well layered in the back, sure, it stole a bit of clean clarity in term of spatial deepness but had extra wideness to the sound too.
As it often happen with ISN and Penon IEMs, both sub and mid bass is boosted, but here it's in a wide way, in the sens it include whole low harmonic section and had tone lushness insteadn of extra texture grain or bite. So, it's a very tactile and physical bass presentation but not the sharpest in instrument presence definition and separation.
When the slam is needed, the H50 show you it can deliver with plenty of authority and weight, the kick drum are warm, round and gain extra weight but not extra definition, the texture is softed here so for digital kick drum that are more like pure tone it does better, the heavy round boom of soul, r&B, trip hop and rap are super juicy and tactile with a natural decay that don't invade sound spectrum.
Cello sound wonderfull too, tone color and body fullness are magnify while texture artefacts of bow stroke or strings vibrating are near completly erase.
What I like about this special bass presentation is that both kick and sub bass physicality can cohabity in a well layered way, adding dynamism richness.
This is a versatile bass response that even fit well rock because of this bass line grunt and dense vibrant sustained extension we have, as well as full bodied male vocal. it make rock track like ''Athens France'' from Black Country, New Road band safe yet lively sounding, safe in the sens nothing go screamy or splashy to ruin the inherent cymbals crash or electric guitar fuzz, lively because we have the kick boom, the bassist full bodied line, the smooth male vocal with full low harmonic covering and an engaging dynamic rendering.

The mid range is very unique here, and we can say anti-harman target in it's balance, in the sens their more boost and focus on lower mids than upper mids, unlike harman all-in instrument presence to the cost of half done tone, the H50 go all in fundamentals harmonic and rather low pinna gain, still above amount of bass boost. Those mids are more colored with extra bass butter than extra uppermids salt and this is pure candy for those ears that don't want their music resolution to be forced, to the cost of sounding artificial in lotta Harman scenario, Moondrop and Thieaudio being prime example of this tuning ideal i'm not afound of.

So, begining with female vocal, those I listen the most: they are thick, breahty and smooth, just slightly fowards and more so than male vocal, but as fully bodied. Soprano singer will get an extra fowards treatment due to slight lower treble boost, then alto will not have as sharp definition of presence and are more at risk of mixing up with other mid range instrument in a hazy way.

The piano sound very natural, laid back and weight in note impact, this impact have a wide presentation and don't feel compressed in presence, yet warmed with extra lower harmonic boost. But that's the magic with H50, whatever I say about this definition sharpness, it's well layered due to 4BAs and don't go macro muddy or too hazy. So let say the fundamental note of 3 note chord will add extra sustain roundness to glue 2 other higher pitch note in a warmed way.

Back to male vocal, it's lush and full bodied, lean in dynamic a bit but not what I would say recessed, it's just not shooted at you in term of presence rendering, but it will be above the bass still, glued to it.

Simply put, the mid range will sound more open with bass light or less music, it deliver versatile representation of all instrument, with smoothen edge and not hash timbre, saxophone sound excellent as well as all woodwind instrument and don't lack articulation of the blow, violin gain lushness and can perhaps feel a bit cello like due to extra low harmonic coloring but In prefer this than agressive and shouty presentation.


And now for the treble, if I rave so much about bass and mids, their should be a big trade off in term of highs frequencies right? Not really since it's not plain dark and in fact even sound a bit airy but not because we have plenty of open brilliance and sparkle.
Highs are full sounding, gently crunchy so most high pitch instrument have minimal attack definition and well rounded tone.
Dynamic amplitude is there, but the attack release isn't boosted so we don't have splashness or shoutyness going on.
It's safe and refined, but not analytical or extremely crisp.
Sound info are darkened in certain space, whic permit great versatility even for poor recording with background hissing, which will be softed here.
Acoustic guitar snap is softed too, so is the brilliance and sparkle release, it doesn't sound thin, artificial or metallic.
Percussions stay in the back, well layered and can be perceive with active listening, but it's not the most accurate in timing precision nor in clean definition. Still, the rendering is well resolve and effortless, just not end game in definition delimitation.
The treble follow same approach of bass and mids which is all about magnifying tone color and dynamism, without boosting brightness agressivity or texture micro details too much.

The soundstage is very wide and tall, it surround you in a 3D way, near 360 degree we can say which explain this ''holographic'' terminology I over abuse in this review. Deepness can be above average if no bass hit occur.

The imaging isn't amplify in accuracy or separation sharpness here, the H50 aren't monitor IEM at all even if the sound layering is very good and avoid compressed muddyness where we would struggle to perceive instrument placement. This positioning is a bit vague though, since both definition edge and presence grain are softed. Readibility is affected by this, even if tactile imagery is well articulated. Nope, H50 aren't master of instrument separation.

COMPARISONS



VS SOUNDRHYME SR7 (1DD+6BAs-360$)

The SR7 have 2 different tuning option, one is warm and very bassy, other is warm neutral to mid centric.
It make the H50 feel more V shape and open even if near mid centric too we don't have as much lower mids warmth and density, so while female vocal are smoother, better define in presence and more transparent the male vocal are thicker and warmer with the SR7.
The bass quality is less good with SR7, it's more excited and bleedy, darker in definition, roundness feel more hazy than tighterr H50 bass.
Mids are fuller, warmer and even more thick in macro dynamic which you are put in the middle with SR7, in that regard H50 feel cleaner and more open, your in middle of music but not as mixed with instrument, holographic rendering is more even and readable with H50. This is when we choose extra bass switch, without it, mids are thinner with the SR7 in fact, but still leaner and less transparent and airy.
Then with 2 knowles extra BA more for treble section, SR7 should deliver notably more details right? Well, yes, H50 is darker and smoother, but highs feel more cohesive in an organic way, their less BA timbre in highs too.
Spatiality is a notch wider with SR7, but taller and deeper with the H50.
Imaging of both these IEM isn't their highlight, but since SR7 extract more sound info on top, it permit sharper instrument presence positioning.

All in all, to my ears the tonal balance of H50 is more cohesive and organic as a whole, its strange to say but it sit between 2 tuning choice of SR7, which is best of both world for me. Technical performance are very similar, bass is superior in quality, speed and control with H50, while mids and treble have richer layering and more sound info with SR7.

VS ISN Neo5 (1DD+4 knowles BAs-290$)

The Neo5 is direct ''competitor'' to own ISN line up. But tonal balance is quite different, the Neo5 feel more U shape as well as more bass head, the rumble is notably more boosted and longer in release, while H50 have more midbass punch focus, so it kick in a rounder way but have more compressed rumble sustain that doesn't resonate as much. Kick drum is way darker with Neo5 too, bass line will dominate and swallow it unlike better layered sub and mid bass of H50.
This time, male vocal are thinner than H50, and female vocal too but not as recessed as male, but they are a notch brighter in presence, more textured, and grainy.
Treble is fuller, more open, more snappy and clean with the Neo5, in that regard, I wish H50 was less colored, it's easier to follow complex percussions with Neo5, sound layers feel a bit more spacious too. Neo5 have notably more upper mids and lower treble presence boost and texture, without going plain agressive bright at all.
Soundstage is slightly wider and taller and notably deeper with the Neo5.
Imaging is superior too because bass bleed is more about sub and mid bass while H50 is more about thick haze lower mids that affect more clarity of instrument separation.

All in all, the Neo5 is more basshead and technical sounding, but less warm, lush and thick in mid range, and ultimately not as natural sounding and well balanced in organic cohesiveness. Ultimately, i need both of these sound signature, and we can say H50 is more warm neutral and darker sounding, so for extreme treble sensitive people it's a better bet.



CONCLUSION



The ISN H50 are very easy to love due to their bassy near mid centric lush musicality that offer a weighty dynamic and most of all, intimate vocal with dense presence and natural timbre.

Those are IEMs for tone and timbre lover that like a hint of lower mids warmth.

It's not an IEM for treble head, it's laid back and wide open and the mid range embrace the listener very sweetly.

If you aren't following the Harman target questionnable musicality and wish for thick bass and mids as well as smooth balance free of shouty pina gain and forced presence boost, the H50 certainly worth a check.

Musicality spell is a mystery, yet ISN nail it again for me!

Recommended!






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PS: I want to thanks Penon for sending me this review sample. As always, those are my independant minded audio opinion, free of affiliated link or website sponsors adds bias.

You can order the H50 for 295$ here:
https://penonaudio.com/isn-audio-h50?search=isn&description=true

:NOTES:

The ISN Audio H50 is an auspicious release from a lesser known manufacturer of quality earphones, cables and other audio related products. Staying out of the mainstream, ISN Audio has managed to produce some well respected and noteworthy products. This is a brand that really deserves more attention.

At $295 USD the H50 is near the top of ISN’s iem offerings. It sports a driver package which includes a single dynamic driver and four balanced armatures all wired to a dedicated 3-way crossover. The dynamic driver uses a composite diaphragm made of a high-pressure polyethylene as the main raw material and extruded and formed into bubbles at a high temperature of about 230 degrees. Two of the balanced armatures have midrange duties while the remaining pair handle the treble.

The H50 offers a smooth W-shaped tuning which is tastefully done. It has a more forward midrange presentation which stands out and can be captivating with its ample detail. Easy to drive the ISN Audio H50 really deserves a better source as it is capable of great sound, scaling with the capabilities of whatever is feeding it. Tip selection is also critical but not as much as a few other earphones I have had in my possession recently. I would recommend a quality wider bore tip that allows a proper seal. I did prefer the H50 with a warmer source, but your mileage may vary.

I thoroughly enjoyed my time with the H50. Read on to discover the specifics.



:SPECS:

Current Price: $295 usd

Driver: 4 Balanced Armature + 1 Dynamic driver

2BA for high frequency + 2BA for middle frequency

10MM composite diaphragm Dynamic for low frequency

Stainless steel nozzle

3 channels 3-way crossover

Impedance: 25ohm

Sensitivity: 108dB

Frequency response: 20-20kHz

Connector: MMCX

Cable: OCC Silver-plated

Plug: Gold-plated


:EQUIPMENT:

EIDA 9038SG3 (Stock Filter)

Xduoo MT-602

Shanling UA2

Tempotek Sonata E44

Ifi Hip-Dac

Topping a50s Amplifier

SMSL Sanskrit 10th MkII DAC

Tips: BGVP W07, Final Audio E

Cable: Stock 4.4mm Balanced Cable


:BUILD, FIT & QUALITY:

The ISN Audio is a very attractive iem with its shiny black resin shells and gold flake motif on the faceplate. The stainless steel nozzles add to the look and feel of quality. Size is medium in width with a little added “chunkiness” to the depth. Fit was excellent which was found to be very stable when placed in my ears. What was also notable was how easy it was to get that perfect placement in my ears without much adjustment.

The included cable is of equally high quality and matches the visuals of the iem itself. Upon purchasing the H50, this one being from Penon Audio, they buyer has the option of the cable termination. The one I had in for review, this was a loaner btw, came with a 4.4mm balanced plug which perfectly fit my preferences for reviewing and general listening.

As this was a loaner, I did not have the full retail package. A little research on the Penon site showed a retail presentation that was more than commensurate with the asking price.



:SOUND:

BASS:

Bass is taught, fast and detailed. Controlled is the word that describes the low end of the H50. Sub Bass is like a chameleon, changing character and quantity as dictated by the source material. It is definitely satisfying if not exactly what bassheads would drool over.

Bass detail and texture are offered up in droves here with enough power that I did not find it lacking. Again, this is not a bass for those who prefer their dental work to fall on the floor. It is of a more refined than forceful quality I found very pleasing.

Contrast this with the mid-bass which is lighter and less impactful overall. This not to say that suffers in most quality metrics as compared to the sub-bass, just that it can be less convincing with respect to its forcefulness at times even sounding slightly thin. “Black Milk” by Massive Attack is one that brought this to light. The deep driving bass line was well relayed but moving up in the bass range, that bite fell off somewhat.

This was less evident in “Here I Come” by Denis Brown, a consummate reggae track, where the Bass sounded rich and detailed. “Circumstance” by Wayman Tisdale though didn’t fare as well with the bass sounding less full than I had heard it recently on other earphones.

If anything, the bass of the H50 is a mixed bag but still overall was still pleasingly musical. It did not detract from being drawn into the music again and again. If a fast, detailed and textured bass is what you desire, the H50 has those bases covered.

MIDRANGE:

The midrange of the H50 is the star of the show. It is clear and open being more intimate than recessed. If anything, the midrange, specially on female vocals, can be heard to be slightly forward but never brash and without harshness. Vocals in particular seem to move forward in the mix.

There are good quantities of both macro and micro details. Heard was a delicacy to the midrange clarity that is engaging. Vocals seem to take on a life of their own seemingly stepping forward to be highlighted in a track. “Tenderhearted Lover” by John Stoddart sounded great with all his vocal nuances laid bare. “I’m Not That Type Of Man” by Stefen Scott also showcased the H50’s ability of putting vocals front and center with great lucidity. “Barley” by Lizz Wright sounded fantastic with her vocals again taking center stage on the H50. The upper midrange does have a noticeable emphasis which can make female vocals take on an added vibrancy. This was also heard on “Sweet Love” by Anita baker. While her voice was silky as per usual, that extra energy was noted, but no harshness noted.

This added upper midrange emphasis was also heard in instruments. With respect to timbre this added energy was not always perfectly natural. This is not to say that the ISN H50 displayed any BA timbre, which it thankfully is almost devoid of, but that on some tracks this added energy did make some instruments sound “too” lively.

Another standout of the H50 is its ability to convey transients. Snare drum strikes and rim shots for example had fantastic bite with a natural trailing edge. Guitar string plucks shared that wonderful dynamic sound played back so well on the H50. The H50 is anything but a dull or blunted sounding iem. It has a lively character from top to bottom, but most apparent in its midrange.

Layering and separation is pleasing with complex tracks not sounding cluttered even at higher than moderate volume. “No Worries” by the Robert Glasper Trio does get very busy and on lesser earphones this track can turn into a “wall of sound”. The H50 stayed composed always allowing each individual instrument to remain distinct, occupying its own sonic space.

The midrange presentation lends itself easily becoming lost in the music. Engagement level is high with the ISN Audio H50. ISN is definitely on to something here on how they have implemented and tuned the BA midrange drivers.


TREBLE:

Treble is well extended with an open sound and ample levels of detail. The treble tuning here is obviously geared towards being natural as any added embellishments are absent. The H50 does not try and fool the listener with added brightness in an attempt to offer fake detail or added shimmer for added “excitement”. Treble is controlled and well measured.

Noted was nice sparkle even if missing a measure of air. Still the treble does sound unconstrained and really enhances the overall openness of sound that the H50 produces.

:IMAGING & SOUNDSTAGE:

The H50 throws up an expansive soundstage with great width and to a lesser, but still impressive, extent height and depth. Imaging within that soundstage is solid with each element being easily discerned and followed.

The H50’s great handling of transients combined with good layer separation and detail really opened up the soundstage in a vibrant way. “Stimela” by Hugh Masekela was as immersive as ever, pulling the listener in to this great track and recording. Well done.



:VERSUS:

-Mangird Xenns Up $700usd-

In many respects the H50’s tuning reminded me of the Xenns Up. This is the first thing that came to my mind when first listening to it. This is high praise IMHO, as the Xenns Up to these ears is a wonderful sounding iem on so many levels.

Is the H50 the equal of the Up? Well, not so fast. The Xenns up does bring with it more refinement, in particular in the mid-bass and treble. In the midrange they are more evenly matched with the H50 having some kind of secret sauce that can easily pull listeners into the track. The H50 does also improve on the Xenns up with respect to note weight, although still not up to the level I found so pleasing in the Yanyin Canon for example.

Both the H50 and Xenns Up are keepers in my opinion. Still If I had to live with only one, I would probably choose the Mangird offering. Of course the Xenns Up is significantly more expensive, yet does offer a level of refinement that does justify its price.


-GS Audio SE12 $1000usd-

The $1000 SE12 on paper has everything going for it. A bevy of high quality drivers in a beautifully built shell. In listening things are a little more complex.

The bass of the SE12 is controlled to a fault with a decay that can at times sound forced vs the more natural sounding H50. This is even more apparent in the deep sub-bass where the power may be comparable between the two earphones, but the tonality and organics is just superior with ISN’s offering. If there is any win here for the SE12 it may come in the mid-bass which I found just ever so wanting with, respect to prominence, on the ISN H50.

In the midrange the H50 just offers a more immersive experience. While the SE12 threw up a “wall of sound” the H50 kept each element in their place with superior separation, even if with respect to absolute detail retrieval the SE12 may have had an edge.

In the treble the same path is followed with the SE12 nudging out the ISN H50 with respect to absolute detail retrieval, but the H50 taking the crown due to its more organic and enjoyable presentation.

Even at $1k the GS Audio SE12 is no match for the ISN H50 and if I had to choose only of these two, the H50 would easily be my choice, and save some dollars at just under one third the price.

:CONCLUSION:

The ISN Audio H50 is a very good iem. It has so many obvious strengths and very few weaknesses.

It has that “secret sauce” or uncanny ability in the midrange to mold itself to any track regardless of genre. This really enhances the ease at which the H50 can pull the listener in making it more about pure musical enjoyment.

Priced at just under $300usd the ISN Audio H50 is not without some very worthy competitors. Still, it is more than worthy to be on the shortlist of anyone looking to purchase an iem in that price range and even above.

This is my first exposure to a model from ISN and has wet my appetite for more.

The ISN Audio H50 gets a solid recommendation.

Hi this is my first review.
I'm an italian classical pianist and I worked also in a big band jazz orchestra in the past. I'm in to hifi from 1988, I listen in my home setup with directed heated 2 watt valve ampli and another el84 push-pull class a, and many high efficiency wide range speakers with a passive output transformer based modified DAC, I have also a Lenco 75s for vynil.

I've started playing with inear headphones during the last year (I was missing the Walkman epoque with my Aiwa walkman with superpermalloy head and aiwa earphones with amorphous diamond I owned when I was sixteen..) and I tried many IEMs always under 300$ since now.
Tried: Moondrop chu, Hzsound heart mirror og, Blon bl-05, Moondrop Kato, Tinhifi t2plus p1max panda, Etymotic mk-5, Ikko oh10, Tri i3pro, Imr ozar, Penon Fan2, and Vortex.
I kept only Chu, Vortex and Fan2, but recently I sold Fan2 for fitting problems.
I own also an overear Beyerdinamic t70p and Philips Fidelio x2hr.

I listen to all genres of music but I use classical music as reference to decide if a iem sounds natural and musical or not, the other genres are subordinated cause they are not useful to test the sound.
I can't own too much iems just to make a collection, if something doesn't play well everything, I sell it.
So I buy and sell very quickly sometimes.

I can recognize in few seconds if something is natural or simply fan sounding but not natural (as fan2), actually the most natural iem is Penon Vortex.

I told almost everything in the pro and cons about h50. The 100 hours of burn in completely change the out of the box sound.
I have to say that I didn't try h50 with any recent amp or dongle (only a little with my old Fiio Kunlun) cause I've sold ibasso dc03pro and questyle M12 and waiting for dc04pro and Cayin ru6 but my Motorola phone sound pretty good.
I rolled different tips and cables to see if I could overcome to the cons I have had with h50 but I couldn't.

I was excited by h50 at first with all these informations and holographic sound that make magically appears in the space all these objects (wow with pink Floyd) but the emphasis is more than anything else on the attack of all the sounds, not to the body not to the decay, so after few listening this was a "drugged" and flashy sound far from the effortless that natural instruments have in reality.

It's a pity that this fast sub bass was not preceded by a rich medium bass. Medium bass is so... cheap.. low quality not clear intubated as when you try to sing In a long corridor and you hear reflection of the walls, what a shame. Maybe some of you didn't heard this but already happened that I experienced some confused mid bass on Ian S2 cable and no one agreed with me so, who will be right? I don't know.

Piano solos are missing the warm and the fullness of the medium bass sound resulting a little thin with the add of sub bass.

Cello and violins were so well textured and you can feel the bow rubbing the strings but it was too intense too exaggerated and after few second you feel tired.

Yes maybe you can live with this if you are seeking for strong emotion and sensation and you don't seek for naturalness at every cost. But not me.

Returning to vortex you feel the information and stage decrease a lot but all is so natural and I can recognize the sound, the timbres I listen in live session and it's so cohesive sound, violins are so juicy and rightly energetic that I ask always to me, why are you seeking for something else?

Fan2 were also so beloved: a lot of coherence between all the drivers you can't distinguish when were ending DD and starting ba. The bass was so fast but creamy, elastic very fun, but h50 have more sub bass.I prefer a lot more the fan2 on bass and medium basses as the sub bass for me don't have to be too much pronounced. But fan2 were so strange in timbre and you can't obtained a real piano experience and I'm general they could not convey the material from which the instrument was made.You can't listen for metal and plucked instruments they result too much smoothed and mellow sounding. Electronic music with fan2 was hypnotic and also metal music. And it is also but in a different way with h50. But with metal you miss the bass energy and fullness of fan2 and distorted guitars become harsh.

So this is my attempt with h50 but it was very short!