Nuforce HEM8 – initial impressions
After being impressed with my experiences with both the HEM2 and HEM4 recently, I picked up a pair of the “top of the range” HEM8 on the For Sale boards here not long ago to see how they compared. For clarity, as the only difference to the retail packages for the HEM series is the number of drivers in the shells themselves, a large portion of the below is lifted directly from my review of the HEM2 as the package, design and accessory load-out it identical. Feel free to skip to the sound impressions if you have read either of my previous reviews on the HEM range. To be clear, I have no affiliation to Nuforce, so the views expressed are 100% my own with only my own (questionable) judgement and listening bias having a bearing on the final verdict.
About me: newly minted audiophile, late 30s, long time music fan and aspiring to be a reasonably inept drummer. Listen to at least 2 hours of music a day on my commute to work – prefer IEMs for out and about, and a large pair of headphones when I have the house to myself and a glass in my hand. Recently started converting my library to FLAC and 320kbps MP3, and do most of my other listening through Spotify or Tidal HiFi. I am a fan of rock, acoustic (apart from folk) and sarcasm. Oh yeah, and a small amount of electronica. Not a basshead, but I do love a sound with some body to it. My ideal tuning for most IEMs and headphones tends towards a musical and slightly dark presentation, although I am not treble sensitive in general. Please take all views expressed below with a pinch of salt – all my reviews are a work in progress based on my own perceptions and personal preferences, and your own ears may tell you a different story.
Tech specs (from the Nuforce website)
Frequency response: 10Hz - 40KHz
Sensitivity: 124dB +/- 3dB
Cable: 1.38m
Impedance: 32 Ohm
Maximum input power: 2mW
Maximum input sound level: 122dB
Unboxing
The HEM series all share a similar packaging design and accessory load-out, and even as the most expensive model in this series (currently retailing at $499) the overall presentation and included items still mark aren’t found wanting. The outer packaging carries a nice glossy picture of the headphones overlaid on a matte background, with all the usual technical info and schematics you would expect, including the ubiquitous “Hi-Res Audio” logo. Inside the cardboard insert is a black presentation box that is held closed with a magnet and opens book-style to reveal the contents. All very understated and classy. The actual contents of the package keep up the theme: one large transparent waterproof case with foam padding inside (including a moulded foam insert holding the IEMs), and another smaller semi-hard zippered case which fits inside that containing the selection of tips (both silicon and Comply in various sizes), two detachable 2-pin cables, a cleaning tool and nice gold plated stereo adapter. The waterproof casing is reminiscent of various Otterbox cases used by other brands, and has (just) enough room to fit a DAP inside, which gives it comfortably enough to house the IEMs and a few selected accessories. The zipper case is also a nice size, being slightly thinner and longer than average, being about the same size as a pair of bourbon biscuits stacked on top of each other, making it very pocket friendly. The accessories are well thought out and very plentiful, with nice touches such as the addition of an “audiophile” silver coated copper cable (braided, of course) to complement the standard rubberised cable with in-line microphone.
Build quality and ergonomics
The HEM8 comes in a mat black colour, with a small teardrop design which hugs the inner contours of the ear very well. There is an almost industrial design motif with the shells due to the acoustic modelling that Nuforce have done on the internals, with the outer shell holding multiple ridges which make it reminiscent of the world’s smallest bicycle crash-helmet or a steampunk take on a coffee bean. The shells themselves are made of Lexan, a light polycarbonate used to make bulletproof glass – while I haven’t broken out the in-laws shotgun to test out if they would survive a trip to the front lines, there is definitely a sense that despite the lack of weight, these are not a fragile piece of kit. Another useful property of Lexan is the fact that it apparently resonates at a frequency higher than the human ear is capable of hearing, meaning it should reduce unwanted sonic interference inside the driver housing from shell vibration. In terms of fit, the light weight allied to the small teardrop size of the enclosures make these IEMs extremely comfortable to wear for extended periods, practically disappearing into the side of your head once settled. The nozzle of the IEM is also worthy of mention, as this is one of the thinnest and longest nozzles I have seen on an IEM, taking Comply T-100 tips. Nuforce claim that this is done to aid the tuning and delivery of the sound – in practice, this doesn’t seem to have an effect on wearing comfort for me as I have large ear canals, but might be a plus point for wearers who normally struggle with wide-bore earphones. Due to my cavern sized ears, I found that the best fit and isolation was usually achieved with the enclosed Comply tips, but there are a few mods that have already been suggested on the forums to fit larger bore eartips onto the casing, so that shouldn’t be a problem if you wish to go “off piste” with your tip selection. The bore size is compatible with Westone tips used in their W and UM series IEMs if you have any handy and are looking for a deeper insertion. The IEMs are designed to be worn over-ear, but due to the use of heatshrink rather than memory wire on the main braided cable, they can if needed be worn “down” as well. With reference to the cables, they are both light and pliable, with the braided cable exhibiting no major memory recall and minimal microphonics, and the “phone” cable being similarly quiet. The overall build quality also extends to the connectors, where the right-angled 3.5mm connectors are finished in a sturdy Nuforce branded metal shell with just the right size to tuck in nicely underneath a mobile phone or DAP audio slot. In fact, the only element of the whole package that doesn’t scream “come see how good I look” in true Ron Burgundy fashion is the heat shrink tubing acting as the cable splitter, and the smaller sliding piece of tubing acting as the cable cinch. The splitter is functional at least, but the cinch on my cable is loose enough to slide over the splitter and down towards the connector without any problems at all – a strange choice considering the high level of finish on all the other elements of the package (the cables even come with their own mini-cable tidies made out of Velcro). It doesn’t detract in a major way, but just leaves the impression that there are some beautifully designed splitters sitting in the Nuforce factory somewhere gathering dust because someone forgot to add them to the production line.
Sound quality
Test gear:
Sony Xperia Z3 Compact (via Neutron Player)
Cayin C5
Sansa Clip+ (Rockboxed)
Microsoft Surface Pro 2 (straight from the output jack)
Main test tracks (mainly 320kbps MP3 or FLAC/Tidal HiFi):
Nathaniel Rateliff & The Night Sweats – S.O.B. / Wasting Time
Blackberry Smoke – The Whipporwill (album)
Slash – Shadow Life / Bad Rain (my reference tracks for bass impact and attack, guitar “crunch”)
Slash & Beth Hart – Mother Maria (vocal tone)
Elvis – various
Leon Bridges – Coming Home (album)
Daft Punk – Random Access Memories (album)
Rudimental – various
Rodrigo y Gabriela – various
Mavis Staples – Livin’ On A High Note
Don Broco – Automatic
Chris Stapleton - Traveller
Foy Vance – The Wild Swan
General impressions on the sound signature
The HEM8 is touted as the most technically accomplished of the HEM range, with a three way phase-coherent crossover design to provide a linear response from all four Knowles balanced armatures that make up the audio landscape of this model. In practice, the sound is definitely a step up from the 2 and 4, with a richness and sense of substance to the sound that is just a little more pronounced than its younger siblings, and better soundstage width and imaging prowess across the board. The tuning is rich and slightly dark, with a decent bass presence and a sense of detail and texture to the midrange that is very pleasing to the ear. Detail retrieval is very good, with plenty of micro-detailing like the scuff of palm on guitar strings and room noises in the recording studio winding their way through the sound. Despite the higher brace of BA drivers to shoulder the sonic load, the HEM8 is surprisingly a fair bit darker in tone than the HEM4, sounding more like a majorly upgraded HEM2 in terms of the overall signature it is going for. Another similarity the HEM8 shares with the single-BA variant in the range is the overall warmness to the sound, with the detailed but smooth treble and lack of “sparkle” in the super-high ranges adding a warmness to the sound compared to the more analytical and cold HEM4.
Highs
The highs on the HEM8 are definitely on the smoother side of the scale, with decent levels of detail and a good “weight” to the high notes but not an overwhelming amount of sparkle or fizz. The technical specs proclaim the highs extend up to 40kHz, and there is no obvious “roll-off” as you climb the scale, but the relative lack of emphasis on the treble compared to the stronger bass and midrange frequencies never leaves the listener with a massive impression of air or space as a result. Cymbals are a good example – the hi-hat rhythm underpinning the drum track on “Hello, It’s Me” by Sister Hazel is clearly audible, but decays quickly and feels quite muted in comparison to the crunch of the guitar and lower range harmonics present in this track. Switching to “Mother Maria” and “Starlight” by Slash, the weight of the treble becomes more apparent, adding a nice feel to the higher sections of the vocal tracks without ever letting them fully off the leash. Sibilance is not an issue with this type of tuning, with any potential hotspots being smoothed out with even the screechiest of metal tracks. The lack of sparkle also doesn’t hurt the detailing of this IEM, with plenty of micro-sounds like scuffs on guitar strings as chords are plucked and room noises being available to the listener in the background of each track.
Mids
The midrange on the HEM8 is a nicely balanced affair, taking the texture and feel of the HEM4 and adding a bit more substance and warmth to the sound (helped by the higher mid-bass presence). The mids are not overly forward (compared to something like the Aurisonics ASG-2.5), but are definitely the high point of the total presentation for me. Guitars are rendered with speed and clarity, with most types of rock music being handled with a nice sense of energy and attack. “World On Fire” by Slash is a good example – the starting riff hits with power and pace, with the lightning quick transitions between each note burying you in an avalanche of detail as each note crunches and wails. Switching to “Mother Maria” by the same artist, the strumming of the Spanish style guitar rings and hangs cleanly in the air, accentuating the emotional vocal delivery of Beth Hart on this track excellently.
Vocals in general convey a good sense of emotion, with the tuning bringing out the timbre of the singer’s voice. Playing some Leon Bridges, you can almost picture the singer standing by the microphone and crooning, with the breathing patterns and inflections being audible in the far reaches of the mix to help bring the delivery to life. Trying some Mavis Staples, her chocolate-smooth vocal delivery is rendered perfectly, the swinging “Love And Trust” highlighting the slight rasp in her voice and the perfect blending of the gospel-style chorus. The multiple voices of the chorus line meld together well while still keeping their individual character, adding a nice warmth to the track. The gospel choruses of Foy Vance are also handled excellently, with “Casanova” roaring along nicely with a good blend of accordion, Foy’s voice and country style acoustic guitar and stand up double bass all positioning themselves around the chorus in perfect harmony. In fact, the “linear phase crossover” trumpeted by the packaging doing an excellent job of binding the four drivers together excellently, with no audible seams or joins between the frequency ranges, which is normally most apparent in the step between the bass and midrange frequencies to me. Allied to the high level of detail retrieval from the latest-generation Knowles drivers being used, the HEM does a very good job of extracting the detail from a track for the listener without turning it into a collection of notes, which can sometimes be the case with more detail-focused tunings.
Bass
Coming down to the bass, the HEM8 definitely has a boost in the bass region compared to the HEM4, being slightly north of the HEM2 as well from memory. The emphasis is on the mid-bass, which adds a nice thickness to proceedings without feeling too overblown. Despite being a 4-BA setup, the HEM8 exhibits the stereotypical bass characteristics of most all-BA models on the market, with a lack of emphasis/roll off as you get down to the sub-bass frequency range. It is there, but lacks the “rumble factor” you associate with a good dynamic driver set up, giving more of a polite shudder than a deep-throated rumble when you feed it EDM or other tracks with a large sub-bass element.
Overall extension is quite good, however, and for those who listen mainly to guitar based music, the comparative lack of sub-bass won’t be too much of an issue. Speed and texture of the bass is excellent, as you would expect. Playing “Bad Rain” by Slash, the growling bass riff is there in all its glory, pinning the track down nicely and benefitting from the HEM8’s ability to render texture to really give an impression of rawness that is sometimes smoothed over with a less detailed driver setup.
The slight mid-bass emphasis is noticeable on tracks with an equal mid and sub bass presence – playing “Burden” by Foy Vance, the mid bass is there, but feels slightly empty compared to other IEMs have used as the sub-bass is less noticeable on the synth notes that build the main rhythm of the song. Trying “Hello, It’s Me” by Sister Hazel, the bass fills the track excellently, with the audible texture of the bass guitar strings vibrating helping to add some detail to the liquid bassline that can be glossed over by some other IEMs. Bass drums also present with a good amount of body, although compared to hybrids like the Fidue A73 or Aurisonics ASG-2.5, there is a lack of “slam” due to the relatively small volume of air moved by the BA driver compared to a full blown dynamic driver setup.
Switching over to some EDM, “Go” by The Chemical Brothers is handled pretty well, the synth and drums having enough life and body to keep the track moving along, with the speed of the BA drivers compensating somewhat for the lack of rumble in the bass frequencies. “Get Lucky” by Daft Punk highlights the depth of the bass in the midrange nicely, coping with the deep rolling bass riff without losing emphasis on the lower notes. Overall, this IEM exhibits the plus and minus points of a typical balanced armature arrangement – great speed and texture, but lack of “final” amounts of sub bass and extension for the true bass-head.
Soundstage/separation
Soundstage is reasonable in width, but not exceptional, getting outside the confines of your head, but not far enough to make its parents concerned when it is time to call it in for dinner. Where the HEM8 excels is in depth and height, however – this earphone gives a great 3D (or “holographic”) feel to music, with the instruments and voices positioning themselves accurately in your head rather than flattening out along the X-axis between your ears, allowing you to drift fully into the music with some well-mastered tracks. Listening to Leon Bridges’ debut album, you can hear the drummer standing behind the singer, the guitar and horn drifting in from the left hand side of the room, and imagine the backing singers standing behind the vocalist. This is another major strength of the HEM8, and shows a marked step up in quality from the HEM2 and 4. Separation is similarly excellent, with the depth of the soundstage and precision of the drivers allowing each strand of music enough room to breathe while still being identifiable, even in the busiest of passages.
Isolation
Due to the size of my ear canals, I have mainly been using the accompanying Comply foam tips, which provide an excellent seal and therefore excellent isolation. The shape of the shell inserts quite well to block the opening of the ear, and the lack of venting in the shell casing due to the all-BA design does help to keep external noise out. These are easily good enough to block out most external travelling noises or family arguments, so wear with care if you actually need to hear what is going on around you. As mentioned previously, I have tried Westone foams on these, and they also provide an excellent fit and better isolation due to their deeper insertion, although they can occasionally blunt the overall treble presence if not inserted correctly.
Amping
The low resistance and high sensitivity of these IEMs makes them extremely easy to drive, and they get comfortably too loud off my Z3 Compact to ever contemplate having to use full volume. As with the other models in the range I have listened to, adding my Cayin C5 to the mix does bring a little perceived precision (and the higher resistance allows them to be driven harder if required) – much like the other models, amping brings nothing radical to the table though with my current sources, so these are easily in the “standalone” bracket for on the go use.
Comparisons
Aurisonics ASG-2.5 – this is the former flagship of the Aurisonics ASG series, housing a single 14.2mm dynamic driver and dual balanced armatures to handle the high frequencies, and can currently be obtained on the FS boards for a similar price as the RRP of the HEM8. As a direct comparison, the ASG-2.5 is far more capable in the bass, with the large 14.2mm dynamic driver and tuneable bass vents allowing for masses more mid and sub bass than the BA setup of the HEM8 is capable of. In terms of quality and texture, the HEM8 produces a similar quality of bass to the 2.5 in the mid-bass region, which is impressive considering the pedigree of the 2.5. Where it loses out is in the sub bass, with the 2.5 providing far deeper extension and sub bass rumble, without ever clouding the rest of the soundscape. In terms of the mids, the HEM provides a presentation that isn’t quite as forward as the 2.5, but conveys a similar level of emotion and texture to the 2.5, so it will depend on your preference for vocals as to which is better. Treble is a little more sparkly and feels better extended as a result compared to the weighty but “matte” sheen of the HEM8 presentation. Isolation and ergonomics are fairly even, with the smaller and lighter HEM8 providing a similar level of noise reduction to the larger “hybrid/universal” fit of the 2.5, while being similarly easy to wear. In terms of soundstage, the 2.5 creates a far bigger impression of size, although it is matched and possible bettered by the HEM8 in terms of depth and the holographic feel of certain pieces of music. Overall, the ASG-2.5 provides a warmer and more mid-forward tuning, with a more capable (and present) sub bass and plenty of “slam” and air. It loses out slightly on detail retrieval, so if you are looking for a more neutral tuning with higher levels of audible detail and a more “textured” feel, the HEM would be my suggestion – if you are looking for a mid or bass centred IEM for things like EDM, the ASG wins hands down.
Campfire Audio Nova – these are a 2-driver all-BA model from Campfire Audio, selling for a current RRP of $499. The overall sound signature of the Nova tends towards smooth and slightly dark, so is a good match for comparison with the HEM8. In terms of sound, the HEM8 is not overly airy, but still manages to come across as slightly more open than the Nova, with the four BA drivers working well together to give a rounded sound with a greater feel of treble extension and clarity. Soundstage and imaging are reasonably similar, with both IEMs managing to take the music slightly outside the confines of the listener’s head. The detail levels are also similar, with the HEM8 having a slightly more refined and “denser” texture to the notes than the more vinyl-sounding Nova. If anything, the HEM8 have the edge in perceived detail retrieval due to the clearer overall tone, but the actual resolution is very similar. Bass is slightly more present on the HEM8, with the quad-BA configuration providing slightly more thickness and grunt to the sound than the 2 BA Nova for bass heavy tracks. The mid-range presentation is also different, with the HEM8 giving a clearer yet still darkish tone to proceedings, with a similar feel of detail. Treble is clearly won by the HEM8, with a cleaner presentation which is still far from airy, but more forward and audible. Soundstage feels slightly wider on the Nova, but imaging feels more 3D on the HEM8 for me. Ergonomics are won easily by the HEM8, with the coffee-bean shaped shell slotting easily into the ear and remaining comfortable over hours of wear. On the other hand, aesthetics and build quality are won by the Nova, with the solid aluminium shells and high class litz cable looking markedly more impressive than the more understated industrial design on the HEM. Overall, the main difference between the two is more tonal than technical, with the Novas providing a reality to the sound in contrast to the more technically accomplished sounding but traditional tuning of the HEM8. For my preferences, I would choose the HEM8 if I had to pick between the pair, but that is due in part to the fact I already own a “real” sounding over-ear solution in the Audioquest Nighthawk – if that wasn’t the case, the natural sound of the Nova would be a compelling factor in the decision between the two.
Overall conclusion
As the top model in the HEM series, the HEM8 seems to have taken the best parts of the 2 and 4 (I haven’t heard the 6 yet) and improved on their shortcomings to make something befitting a “top of line” product. They provide a rich, textured sound that is musical and enjoyable, and are definitely worthy of being the top model in the series. In comparison to other models in that price bracket, they certainly don’t leave the listener feeling short-changed, with the different emphasis on tunings coming more into play as you get up into this price range and above. If you are looking for something with excellent detail retrieval, great midrange, extended but smooth treble and a decent bass presence for an all-BA setup, the HEM8 certainly won’t disappoint. Allied to the excellent ergonomics and the fantastic accessory and packaging loadout, these are a very accomplished IEM in this price bracket. Being hyper-critical, they are just lacking that final dash of air and sparkle in the highs and presence in the sub-bass to raise them from a 4-star “very good” appraisal to a top of the line 5, but for others with a different set of personal preferences, these may well tick all those boxes. Overall, a very enjoyable IEM to listen to, and a very impressive technical accomplishment by Nuforce in something the same size as a coffee bean.