NS Audio NS-2 Composer

INTRO:-

With the ever expanding possibilities the audio industry is growing like wild fire. With new payers joining every week to have a share of the pie. Today we will look into a fairly new brand the NS audio, Nature Sound audio's Top of the line earphone, NS2- composer.

The NS2 is a dual BA based earphone with a price tag of $270, comes in two colors, white and black, it faces competition from LZ A5, Lear Kaleido, the ever green UE900s and many more. I will compare the NS2 with all these three earphones and add the ER-4p for reference.

I would like to thank penon audio for the Sample unit. You can get one from here:-

https://penonaudio.com/ns-audio-ns-2-composer.html

ACCESSORIES & PACKAGING:-

The NS 2 comes in a Wooden box, it looks good to start, with a different approach from others. There is a pair of cable guides, some eartips with a pair of double flange tips, there is cable strap, a cable clip and a pure leather carry pouch, more of a style statement which will not provide much protection.

My unit cane with plenty of tips in it, I am not sure if the 6 pairs of tips and a pair of double flange tips sticks with the retail package.






BUILD QUALITY:-

According to the Penon audio NS2 page the NS 2 has semi custom 3D printed shells, which is polished and glazed. And indeed it looks good. It looks like a single bore design from outside, but might have different internals.

The all plastic two piece build is not exactly the strongest possible shell but it is strong enough to withstand good amount of abuse. The recessed 2pin port gives the cable a secure fit. The nozzle is short but doesn’t feel shallow. There are no vents here.

To separate channels, NS audio is written on the right side and composer on the left.





CABLE:-

The NS audio NS2 comes with a good looking Litz structured silver plated copper (SPC) cable and has 3.5mm termination with chrome plating. There is a cable slider, both the slider and cable splitter are chrome plated.

It uses 40 core 4N OFC plated 0.8um silver copper wire, machine around process, plus 300D ballistic wire, PVC coating anti-winding and anti-discoloration. The coating is really nice, it doesn’t tangle much and is not bouncy either. There is no microphonics to worry about.



COMFORT, ERGONOMICS AND SEAL :-

I will have to give the NS2 full marks for comfort as the ergonomical design give a very plush and comfortable fit. Even with the slightly shallower fitment it feels secure and one doesn’t need to worry about it falling out.

I find the ergonomics for the NS2 to be one of the best, the inner shell design with that wing give it plenty of traction inside the ear and is not bothering even after hours of usage.

Seal is sadly not up to the mark, its average at best affecting the Isolation a bit.

SOUND QUALITY:-

The NS2 composer houses 2 BA drivers, it was not mentioned about the driver specifications, so I will have to consider that both the drivers work simultaneously for the whole spectrum as I cant point out a particular spectrum to be delivered by a single driver.

The SQ is farly balanced, its not lacking anywhere, its not as flat as the ER-4P and not as bassy as the 64audio U3. The overall SQ is very smooth and easy going. There is little to no coloration to worry about. As far as the Nature sound is concerned the timber is considerably natural and neutral.

The NS2 is properly burned in for 120hrs and I am using stock medium size tips for this review. The source is Plenue D + Sound Blaster E5.

The NS2 composer is a sensitive earphone, it needs more than average power (55ohm) so its recommended to use a dedicated AMP to drive it properly as most of the mobile phones will fall short in driving the NS2 to its full potential and making the NS2 sound less detailed.



BASS:-

The lower part of the spectrum is what give the NS2 composer its unique sound attribute. Its as I said earlier is neither flat nor is as thumping and deep as the TFZ king pro or the 64audio U3. It has good amount of presence with enough rumble to keep things juicy. The decay is slightly on the slower side and could have been a bit faster. The tonality gives it a very alive and organic feel (mostly because of slightly slower decay).

Sub-bass Depth is good and has good amount of rumble to it but it doesn’t have the reach of the EN210j which too houses two BA drivers. The mid bass is slightly more prominent compared to the sub-bass and is the most lively past of the lower spectrum with the upper bass being in the level of sub-bass. Its not mid-bassy, there is no hump to worry about.

There is good amount of air and slam is good for a BA driver, notes are very gentle and rounded without any edginess. The bass stage is on the smaller side, its much in the head.

Transparency and clarity is good and the level of details is better than the Lear kaleido.

MID RANGE:-

If I find the mid range lacking, I throw the earphone in my black hole but the NS2 composer is considerably good when it comes to mid range tonality and timber, it sounds very natural and melts in the ear with its very accurate vocal presentation. Male vocals sound very accurate, notes are meaty and throaty, where as females vocals lack a bit of energy and sound slightly cold but still accurate. The overall vocal presentation is very clear with plenty of separation and transparency. Upper mids are mostly calm with a bit more energy which helps the NS2 to sound more detailed.

Instruments lacks the amount of forwardness of the vocals by a small margin, it has plenty of details and separation without lacking micro details, details which is close to the level of the UE900s (thanks to the snappier/drier notes the EU900s is one of the most detailed earphone in this price range as far as the mid range is concerned). Notes presentation on the other hand is smoother, livelier and more engaging compared to the UE 900s. The NS2 composer doesn’t have uncomfortable peaks or sibilance like the q-jays either. Yes there is a bit more energy at the upper mid but it won't bother unless you are super sensitive.

Layering separation and spacing between the instruments is very good as the stage has good amount of space. The stage is nicely rounded with good width and height and just more than average depth.

It has good amount of resolution, definition and density, the mid range along with the accurate vocals presentation can easily make into any $300 earphone.

TREBLE:-

Treble in one line is far better than the similarly priced Lear Kaleido. It has the amount of details, energy and extension which the kaleido needs desperately.

And when on its own, the NS2 does have acceptable extension, not as deep as the ue900s though, has some amount of energy even if it lacks some bite. I will not call it good as the energy drops considerably as it goes deeper in to the spectrum, it's average at best.

Layering and separation is above average, instrument placing too is good but not as precise as the q-jays. The stage too gets narrower as it gets deeper.

All in all this treble region is average at best.

COMPARISONS:-

VS Lear Kaleido:-

The lear has slightly slower but considerably bigger bass impact and slam. It has good amount of sub-bass and slightly more mid-bass emphasis. NS 2 has far more balance but the decay is not much snappy either.

Mid range of the lear has similar thickness and notes presentation but it sounds darker and colder. Vocals on the NS 2 sounds more natural. Treble too is lacking in every aspect. Stage size of the kaleido is conical but slightly taller with bass stage.

The NS2 wins with amount of details, accuracy and timber.

VS q-jays:-

Q-jays have flatter bass but is far more snappier and detailed. Has better extension but quantity is not close to the NS2. NS2 feels more textured and cohesive.

Both mid and treble range are very detailed and has plenty of bite, let it be layering or separation it beats the NS2 hands down. only thing which goes against it is the presence of vocal and treble sibilance.

Notes sound slightly unnatural and dry, which can make the experience less engaging. Stage size of the q-jays is smaller.

VS LZ A5:-

LZ A5 houses 4 drivers, a dynamic and three BA drivers do the lifting.

It has a bass impact just under the Kaleido which still is far more voluminous than the NS2, decay is very good for this quantity. It has similar details but has slightly better sub-bass reach.

Mid range is slightly in the V and lack the natural vocals of the NS2, sounds slightly less cleaner, the LZ A5 tend to sound busier losing smoothness. Treble has better extension and is more lively with good amount of spark and energy. Layering and separation too is slightly better on the A5. Stage size too is bigger.

Another thing against it is the treble sibilance.

CONCLUSION:-

The NS2 is a very good earphone if you can feed it properly, It does very good but still has room for improvements. The smoother and cleaner presentation is enough to get my recommendation for those who don’t want much treble. And the natural timber is something rare to see on an earphone based on Balance armatures.

Buy the NS2 Composer if you think comfort and natural vocals with a cleaner presentation is what you want.

And, amp it to enjoy it, or just cuss your mobile phone.

That’s it from me on the NS 2 composer from NS audio.

Have a nice time, Enjoy!!

Introduction

NS Audio is a Chinese company that specializes in in-ear monitors (IEMs). After the success of their first iem in the NS-1, they proceed on to launch their latest iem which is the NS-2 Composer. I would like to thank NS Audio and Penon for the review unit of the NS-2 Composer. At the moment, you can purchase the NS-2 Composer from https://penonaudio.com/ns-audio-ns-2-composer .



Specifications

• Driver Configuration: 2 Balanced Armature
• Impedance: 75Ω
• Frequency response: 10-40000 Hz
• Sensitivity: 110dB@1K Hz
• Distortion ：THD＜0.5% （@100-10Khz）

Unboxing & Accessories

The NS-2 Composer comes in a wooden box that sports the brand name. After opening the package, there is the iem, instruction manual, pack of tips, ear guides and leather case.





IEM Build & Design

The NS-2 Composer uses 3D printed custom shells and there is a smooth surface. On the left faceplate, there is the model name printed in silver color while on the right faceplate, there is the brand name printed in silver color. The shell is white in color. The nozzle is slightly angled without metal mesh. The NS-2 Composer has an ergonomic design with a comfortable fit.









Cable Build & Design

The cable has a 2 core design and it is made of silver plated copper (4N OFC). It has 0.78mm 2 pins angled connectors. Each connector has an translucent clear housing. There are L & R markings on the left and right side respectively for differentiation. There is no memory wire section. The chin slider and y-splitter are silver in colour with the brand name printed on the y-splitter. Lastly, the jack is 3.5mm gold plated straight with strain relief. It has a silver housing.



Sound Analysis

Lows

The NS-2 Composer has moderate sub-bass quantity and the extension is slightly lacking. The sub-bass reproduction is quite controlled and the rumble is natural. The bass texture on the NS-2 Composer is rendered smoothly while the bass decay lacks pace and results in a lower engagement level. The mid-bass has moderate quantity with a relaxed slam. The bass is not hard-hitting and takes on a polite approach. It is a soothing listen although the excitement might be lacking for some.

Mids

The midrange is presented in a natural manner and the presentation provides good composure. It has sufficient body to tackle vocals. There are no signs of hollowness. The lower mids has a moderate amount of body and male vocals are expressed well without sounding too thick. The upper mids is not very forward and the liveliness takes a step back. Female vocals are presented in an enjoyable manner with moderate engagement. There is a good execution of finesse. The details retrieval has a great standard.

Highs

The treble extends moderately and the presentation is dark. There is no sibilance and harshness. There is a smooth treble expression which results in a soothing listen. The crisp is moderate and there is lack of sparkle. The amount of air is moderate and offers space to prevent the sound from being too dense. Details are presented well.

Soundstage

The soundstage expands in a natural manner and the width magnitude is moderate. The depth is slightly closed in to offer intimacy. The positioning of vocals and instruments is rather precise. There is slight congestion when tackling busier tracks.



Comparisons

NS-2 Composer vs InEar StageDiver SD-2

The SD-2 has slightly more sub-bass than the NS2 Composer with a greater extension. Its sub-bass reproduction has the ability to deliver extra kick for an impactful performance. The bass texture on both is rendered smoothly and it is relaxing to listen to. Bass decay on the SD-2 is more pacey and the additional agility helps to increase the overall engagement. The mid-bass on the NS-2 Composer has more body with the slam having a weighted feeling. Rumble on the NS-2 Composer is more natural. Each bass note on both is articulated with a smooth hit. The lower mids on the NS-2 Composer has more body than the SD-2 and it sounds more full-bodied. Male vocals are better expressed. The upper mids on the SD-2 has more forwardness without being too aggressive and female vocals sound more intimate. The midrange on both has good cleanliness. The treble on the SD-2 is slightly more extended. There is no sibilance and harshness. The amount of air on the SD-2 is greater. There is a smooth presentation for both iems. Lastly, in terms of soundstage, there is a natural expansion for both. The width magnitude for the SD-2 is slightly greater while the depth on the NS-2 Composer is closed in.

NS-2 Composer vs CTM VS-2

The VS-2 has more sub-bass quantity than the NS-2 Composer but it extends less. There is a fuller sub-bass reproduction on the VS-2. The rumble on the NS-2 Composer has more pace and it improves the engagement level. The bass texture on the NS-2 Composer is rendered with additional smoothness. Bass decay on the NS-2 Composer has similar speed as the VS-2. The mid-bass quantity on the VS-2 is slightly more and it improves the slam. Each bass note on the VS-2 is articulated with extra strength. The lower mids on the VS-2 has more body and it is able to tackle male vocals more effectively. There is additional lushness. The upper mids on the NS-2 Composer has more forwardness with a higher level of definition. Female vocals are presented with a good control on the NS-2 Composer whilst still maintaining the intimacy level. Next, in the treble department, the NS-2 Composer is able to render a greater amount of air. There is no sibilance and harshness. The extension on both is similar. The NS-2 Composer has slightly more technicality. Lastly, in terms of soundstage, the NS-2 Composer expands in a more natural manner. The width magnitude is greater on the NS-2 Composer while the depth of the VS-2 is more closed in.

NS-2 Composer vs Eternal Melody EM-2

The NS-2 Composer has less sub-bass quantity than the EM-2 and the EM-2 is able to extend more than the NS-2 Composer. The EM-2 excels in its sub-bass reproduction and provides a higher engagement level. The mid-bass on the NS-2 Composer has slightly more body than the EM-2 and it is able to deliver a weighted slam. The EM-2 has a greater bass decay and the agility increases the overall pace. Bass texture on the NS-2 Composer is rendered more smoothly. The lower mids on the NS-2 Composer has more body and male vocals are presented with more thickness. The upper mids on the EM-2 has extra forwardness and this helps to create an intimate female vocals presentation. The midrange on the EM-2 has a higher level of transparency with better cleanliness. Moving on to the treble section, the EM-2 is slightly more extended while the NS-2 Composer is able to present the treble with additional smoothness. The amount of air rendered is slightly more on the EM-2. For soundstage, both can create a natural expansion while the EM-2 excels in the width magnitude. The NS-2 has a more closed in depth.

Conclusion

The NS-2 Composer is a dark sounding iem that is capable of producing a smooth fatigue-free sound that ensures a relaxing listen. It commands a good level of details retrieval with naturalness. Moreover, it has an ergonomic design and comes in a nice package. The NS-2 Composer by NS Audio is an enjoyable iem to listen to.



For more reviews, visit https://audio123blog.wordpress.com/ .

Introduction:

Not all that much is information is available about NS Audio, their other products besides the NS-2 or their heritage on the internet other than this introduction text on Penon Audio. It seems like music and audio was at first an enthusiastic hobby of NS Audio’s founder, and later that very passion and hobby evolved into a job and proper company that builds in-ears.



Apparently their goal is to create natural sounding in-ears without marketing hyperboles and without joining the ongoing driver war that has started in the realm of multi-BA in-ears. This is why their NS-2, a dual-BA in-ear, relies on “only” two drivers per side for sound reproduction, and as the InEar StageDiver SD-2/Westone W20/Audio Technica ATH-IM02 has shown, that when done right, this configuration can be well-resolving, sound spacious and very natural as well as harmonious.

So what does the NS Audio NS-2 sound like and how does it perform? Well, that’s what this very review should hopefully clarify.


Before I go on, I would like to take the time to thank Penon Audio for making this review happen and for arranging a sample of the in-ear to be sent to me at no cost. Nonetheless, as usual, my words will remain true, unbiased, honest, and I was not given any guidelines or requirements for the review, neither by the manufacturer, Penon or any third party, no matter how it would turn out.


Technical Specifications:

https://penonaudio.com/ns-audio-ns-2-composer.html
Price: $289.00
Type: In-Ear
Drivers per Side: 2
Type of Drivers: Balanced Armature
Acoustic Ways: 2
Impedance: 75 Ohms
Sensitivity: 110 dB @ 1 kHz
Distortion: < 0.5% @ 100 Hz – 10 kHz
Frequency Range: 10 – 40000 Hz


Delivery Content:

I admit it – I love bamboo. Yes, I really do. Therefore I really like the box the NS-2 Composer comes in, since it is made of (guess what?) – bamboo. Yes, that’s right. I love this touch – it gives the in-ear both a luxurious feeling and kind of a warm welcome.



Inside, one can find the in-ear, an instruction guide/manual with a hand-written serial number on it, two silicone ear guides, one shirt clip, one (admittedly quite cheap looking) Velcro cable tie, a leather storage purse, one pair of double-flange silicone tips, three pairs of grey silicone tips, two pairs of black silicone tips, and last but not least two pairs of white silicone tips.


Looks, Feels, Build Quality:

Shape-wise, the white, 3D-printed, ergonomically-shaped shells look a lot like those of the InEar StageDiver SD-2, but are ultimately smaller, so probably more comparable to the smaller SD-2S.
Build quality is great and the silver “Composer” sign on the left shell and also silver “NS audio” sign on the right one look nice. Just like on the black SD-2, one can also slightly see the seam where the two printed halves of the shells are merged, however just as on the SD-2, it doesn’t degrade the premium appearance the shells carry.



While the shells are great, just like the choice of 2-pin connectors contrary to the nowadays more popular seeming MMCX, the included cable with a small NS audio sign on the chrome y-splitter, while nicely thin and still flexible, has got more of a sub-$100-IEM visual appearance to it and looks quite a bit like the cable used on the TTPod T1 (non-E), compared to the more premium and pro-standard Plastics One cable that the SD-2 is bundled with.



Just like the cable, the included, handmade, leather storage pouch, at least in my opinion, doesn’t really match the quality and level the NS-2 Composer is supposed to convey. Sure, it conveys the message of craftsmanship and dedication to the customer, but it isn’t as soft or premium as the iBasso IT03’s leather pouch, and in my opinion, it should have been replaced with a proper plastic or metal tin with threaded lid.



The ear tips on the other hand are soft and of high quality.



To sum it up: premium and professional appearing in-ears, DIY-esque appearing accessories.


Comfort, Isolation:

InEar’s SD series in-ears have proven to feature probably the most comfortable shell design for universal fit in-ears for most people, and the NS Audio NS-2 Composer is no exception, since its shells are very similar to InEar’s SD-Xs series in-ears (which are the smaller version of their SD series in-ears). In my humble opinion, this shell design is as close to perfection in terms of comfort as it can be. Period.

Since the cable is flexible and doesn’t lack a chin-slider, and since the in-ear is intended to be worn with the cables around the ears, fit is great and there are basically no microphonics.

Noise isolation, not much surprisingly, is on a high level since the shells are closed, like it’s the case for almost all multi-BA in-ears.


Sound:

My main source for listening was the iBasso DX200 (AMP1 module).

The already installed, largest grey silicone tips were the ones I used for listening and all comparisons.

Frequency response measurements can be found here: […]

Spoiler

The older measurements were performed with my Vibro Labs Veritas coupler.
Below is the information about the measurements with that coupler:

Please note that my measurements weren't recorded with professional equipment but with my Vibro Veritas coupler that was pseudo-calibrated to more or less match a real IEC 711 coupler’s response with applied diffuse-field target, hence the results shouldn’t be regarded as absolute values but rather as a rough visualisation.
Especially at 3, 6 and 9 kHz, there are sometimes greater deviations from professional plots – but for a general, rough comparison between various in-ears and a rough idea of how they sound, the results are sufficient, and in the mids and lows, they are even (very) accurate.

Tonality:

When I saw the NS-2 Composer for the first time, along with its specs and especially description, I immediately knew that it would have strong sonic similarities with the SD-2 – and this prediction has come true: the NS-2 Composer sounds a lot like the popular SD-2 (and W20 and ATH-IM02), with some small differences that I will talk about later in a head-to-head comparison.

It has got a lovely, very natural, neutrality-oriented sound signature that heads into the slightly warmer and somewhat darker direction. It is not an exciting or clarity-driven tuning but one that heads into a more neutral direction, with good smoothness/evenness and some darkness up top.

The lows’ mild elevation (at the climax, there is ca. 4 dB more presence than an in-ear that is diffuse-field flat in the bass, such as the Etymotic ER4SR/S, and ca. 1 dB more presence in the lows than the UERM and UERR) starts around 650 Hz and reaches its climax (that can be held upright down into the real sub-bass without any actual roll-off) around 150 Hz.

Voices are on the slightly warmer and darker side but timbre is still natural and realistic. The midrange in general is rather close in the mix, but ultimately a bit less intimate than the SD-2’s.
Voices sound realistic and are reproduced well, which is generally true for this in-ear’s sound.

The highs take an audible step back above 2 kHz and are on the darker side albeit not missing. People who are sensitive to an elevated treble response will most likely love the NS-2 Composer, which is also true for those who favour a very even and harmonious treble tuning, since NS Audio’s dual-BA in-ear has got just that – in this way, it even slightly outperforms the SD-2 that is already an in-ear with a super even, harmonious and smooth, natural treble.
Cymbals are a bit defused/tamed and definitely not edgy, however not lacking either. Nonetheless, one might perhaps wish for a tad more bite and cymbal presence at times.
Treble starts coming back again after 5 kHz but always remains on the darker side of neutral.
Extension past 10 kHz is really, really good, however since the highs are generally on the tamer side, you only get little of that subtle super treble air and glare.

Yep, naturalness, great tonal evenness and smoothness are areas where the NS-2 Composer really shines. Some people who are used to a brighter tuning might miss a bit of excitement and treble presence though.

Resolution:

The InEar StageDiver SD-2 always received good criticism (also from myself) for sounding nicely detailed, transparent and very natural for a dual-BA in-ear, and mostly the same is also true for the NS-2 Composer.

Detail retrieval in general and note separation are clean and precise, with good speech intelligibility and midrange details, and it is mainly the NS-2 Composer’s very even, smooth, harmonious sound that makes it sound this lifelike and natural.
Since the highs are generally more on the darker, smoother side and generally lack peaks but are even instead, NS Audio’s in-ear won’t give you fake details or fake clarity, but as a result it might also sound a bit “boring” to those who would like a more vivid presentation with more energetic cymbals.

Just like the SD-2, the NS-2 Composer has also got a back-vented BA woofer. There are cases where a back-vented woofer arrangement can sound just as tight and fast as closed BA woofers (the Fischer Amps FA-3E is an in-ear that fits to this description), and there are cases where the back-venting leads to a softer bass reproduction, which is also true for the NS-2 Composer and SD-2. Yep, the character of the lows (that are by the way detailed as well as well-textured and -layered) could almost be described as dynamic driver-esque, since the in-ear has got a softer attack and longer decay than many other multi-BA in-ears and therefore appears a bit softer and slower than those, but it is especially this softer attack and slightly longer decay that gives the NS-2 Composer and SD-2 its very natural, dynamic sound.
Bass control is still good and the lows are still tighter and faster than many dynamic driver implementations, but ultimately, the in-ears sometimes don’t sound as focused in the bass with fast, complex and multi-layered electronic music or fast rock and metal as other multi-BA in-ears with closed woofers, which is the downside of having this more “natural”, dynamic driver-esque bass decay.

Soundstage:

One of the SD-2’s core strengths is its three-dimensional, very authentic and realistic soundstage reproduction. And I am pleased to say that the NS-2 Composer also has it, although it is presented a little differently (more on that a little later in the head-to-head comparison further below).

NS Audio’s in-ear has got a three-dimensional soundstage that is on the larger side of average but still a bit below what I would call “open”. Balance between width and depth in great and the in-ear has got a pretty much circular stage with a lateral expansion that already slightly leaves the base between my ears.
Layering is done authentically and quite precisely, and imaging is quite precise as well, although there are more expensive in-ears that separate the single instruments more precisely than the NS-2 Composer or SD-2, however the NS Audio has got precise separation for its price class and, which is its core strength, images so well and three-dimensionally that it sounds very natural and authentic with only few similarly priced multi-BA in-ears being in the same league when it comes to authentic imaging.

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In Comparison with other In-Ears:

InEar StageDiver SD-2:

Shell design, fit and comfort are quite similar with the NS-2 Composer having smaller shells that are probably similar to the smaller SD-2S. Both isolate equally well.
Both have vented BA woofers.
The SD-2 is more sensitive.
The SD-2 comes with the superior cable and storage box.

Tonality-wise, both are quite comparable, but ultimately one could say that the NS-2 Composer is the SD-2’s somewhat darker and even smoother sounding cousin (I wouldn’t be surprised if the NS-2 used the same driver and basic crossover layout as the SD-2, however with a resistor before the crossover and a stronger acoustic damper in the nozzle – but I might of course be totally wrong).
Both have got similarly linear sub-bass extension, but the SD-2’s bass is a little more forward in comparison (ca. 1 dB) and it is also slightly warmer in the lower mids.
Mids are a bit more forward on the SD-2.
The NS-2 Composer is even a bit darker, but also additionally even smoother in the treble compared to the SD-2. Super treble extension is comparable but the NS Audio in-ear is also a bit darker here, showcasing somewhat less subtle sparkle and air.

Resolution is almost similar, but there are ultimately still some smaller differences as an effect of the overall different (treble) tuning.
Both have lows that are on the softer side for multi-BA standards and have a more “natural”, slightly slower decay. Bass control and bass resolution are similarly good though.
The SD-2 has got the slightly higher perceived midrange transparency since its mids and presence range are a bit more forward.
In the treble, it is the SD-2 that appears “snappier” since it is a bit more “forward” than the NS-2 in the highs, giving it a bit more perceived clarity.

Both in-ears have got equally natural and three-dimensional staging with similar separation, imaging and spatial precision. Spatial depth is similar with the SD-2 having a bit more spatial width due to having more level in the upper highs.

Shure SE425:

The NS-2 Composer has got the more linear bass extension – while the Shure is, on average, closer to the diffuse-field target (both start equally in the fundamental range/lower mids though), it also rolls smoothly off towards the sub-bass whereas the NS Audio in-ear extends linearly.
Mids are a bit more intimate on the Shure, but also more telephonic.
Super treble extension on the Shure is audibly inferior in comparison.

While the Shure has got the tighter bass with faster decay, the NS-2 Composer is overall generally somewhat more detailed and resolving, with the ultimately sharper, somewhat more precise note separation.

The Shure has got the smaller, more compact soundstage – the NS-2 Composer’s is just audibly larger and therefore more authentic, realistic and three-dimensional in comparison. Imaging is also a bit more precise on the NS Audio.

Eternal Melody EM-2:

The EM-2 has got ca. 4 dB more bass quantity and a stronger midbass punch. Lower mids are a bit fuller/thicker on the NS-2 Composer. Sub-bass extension is a bit more linear on the NS Audio’s side.
Both in-ears are equally recessed in the lower and middle highs whereas the EM-2 has got more brightness in the upper highs, making cymbals sound “snappier”, which even makes the NS-2 Composer appear to sound a little dull in comparison at first while it is actually only smooth, very even and inoffensive. Still, the NS Audio is smoother and more linear in the highs.

Detail retrieval between the two in-ears doesn’t differ all that much, however when fast and busy, more demanding tracks are being played, it is the NS-2 Composer that can ultimately not fully keep up with the EM-2’s bass control. This is mainly because the NS Audio has got a slightly too soft bass response for Balanced Armature standards which leads to a softer, more “natural”, but also more masking bass response especially with fast recordings. Everything is absolutely fine with medium-paced and slow-ish tracks though.
So with fast and/or demanding music, such as multi-layered electronic music or metal, it is the EM-2 that shows superiority while the two are otherwise closer in terms of detail retrieval.
Midrange details and speech intelligibility are slightly higher on the Eternal Audio in-ear’s side while treble separation and treble details are about comparable (the NS-2 Composer’s highs are in the background but their resolution is nonetheless good).

The NS Audio’s soundstage is deeper than the EM-2’s and generally doesn’t lack any width, however the EM-2’s stage is around twice as wide in comparison (but it’s one of the widest sounding in-ears anyway). Separation and placement of single instruments are somewhat sharper and cleaner on the Eternal Melody’s side.


Conclusion:

The NS Audio NS-2 Composer has got a sound signature that heads into a more neutral direction with a touch off added warmth and some darkness. It concentrates on evenness, smoothness and naturalness and the NS-2 Composer is generally a very natural and smooth sounding in-ear with good, natural detail retrieval and a three-dimensional, very authentic soundstage. Therefore, and all in all, it clearly reminds me of a slightly less warm, a bit darker version of my InEar StageDiver SD-2.



Yes, the NS-2 Composer is a convincing in-ear with good sound quality and excellent fit and comfort. The only thing that keeps it from perfection for the price is its overall somewhat too DIY-esque appearance (included cable, cable tie, leather storage purse), and that a little more upper treble presence and bite wouldn’t hurt either at times, with a bit more bass tightness for BA standards with fast and more complex music – just like the SD-2.