PULA Anvil 114

Disclaimer
The IEMs were purchased with my own money, and all opinions shared here are personal and based on my own experience using the IEMs. Additionally, this review was written by me in Hebrew for the website AudioKnights, and I used a translation tool to make the review accessible.

What's in the Box?

Pula didn’t skimp on accessories, and for good reason, as I’ll explain later in the review. Inside the box, you’ll find a wide variety of silicone tips (only silicone—no memory foam tips), four types to be precise. There’s also a modular cable with interchangeable connectors for 2.5mm, 3.5mm, and 4.4mm terminations, and a green carrying case (even though the IEMs themselves are blue—don’t ask why). Of course, the IEMs themselves are included, with a unique twist: their colors aren’t identical, and each pair comes in different, varied colors.


The cable is very comfortable; it doesn’t tangle, and it doesn’t have memory retention, which is super convenient. I’d even say it’s the highest-quality cable I’ve tried so far. There are clear markers for the right and left sides on the cable, and the IEMs themselves are also marked. If you’ve read my review of the Letshuoer S12, you know I really appreciate this attention to detail. The cable allows for swapping connector heads for different terminations, as mentioned earlier, and it’s implemented very well. The mechanism for rotating and detaching the connector head feels smooth and easy to use—not at all stiff. Unfortunately, the same can’t be said for the sliding ring at the cable’s split. It’s overly stiff to the point of being almost impossible to adjust. At times, I felt like I was going to tear the cable trying to move that ring. This is an area that needs improvement, as it’s not a pleasant experience. By comparison, the S12 cable’s ring didn’t grip the cable very tightly, but it was much easier to adjust, and it held the cable in place just fine.

The carrying case included by Pula feels very premium and comfortable to use. It’s not one of those that you can slip into your pocket—it’s quite large. But that size allows you to store extra silicone tips and even a dongle, which is very convenient. What I didn’t understand, though, is why they included a green carrying case when the primary color of the IEMs is blue. It might sound like a nitpick complaint, but I expected something that would match the IEMs’ color better. That said, the case is far too high-quality for this price range anyway, and it gets the job done. Overall, it’s an excellent accessory.


Remember When I Mentioned Pula’s Generosity with Silicone Tips?
Well, there’s a wide variety of silicone tips included, and it’s no coincidence. Finding comfortable silicone tips for these IEMs is no easy task, despite the extensive selection provided in the box. The nozzle is very wide, and the IEMs themselves sit quite deep in the ear, making it challenging to find a suitable pair of tips. It took me quite some time to find the ones that fit my ears well. Many other reviewers (and even Pula themselves) recommended purchasing third-party silicone tips despite the broad selection they include. After much trial and error, I finally found the pair that worked well for me. Overall, I’m satisfied with the variety offered, and that’s an important aspect. Pula also notes that without a proper seal, the bone conduction driver won’t perform as intended, so keep that in mind.

Build Quality and Design
The IEMs are made of plastic, but they don’t feel cheap in any way. When pressing on them, you can feel subtle vibrations and hear faint sounds, something I’ve never experienced with any other IEM. I’m not sure if the bone conduction driver is responsible for this or if it’s due to their design, but it’s a first for me. The color is unique, and each side has a different finish. The company claims they use wood engraving, which gives each IEM a distinctive texture. I must say, they look stunning—almost like jewelry. I absolutely loved their appearance.
That said, the IEMs are quite tall. This doesn’t affect their comfort, but if you’re not a fan of IEMs that stick out from your ears, these might not be for you—they do protrude significantly. Weight-wise, they’re relatively light, and I didn’t feel any heaviness or pressure on my ears. Once I found silicone tips that fit me, I could barely feel them in my ears, which is essential for long listening sessions in my opinion. Which again, it is not an easy task and take time for tip rolling. I must say, when I used them for long, it did not fit me well, so if you have small ears, this is something to consider. Do yourself a favor, and buy yourself soft eartips if you are getting them.


Sound Performance
The tuning of the Pula Anvil114 is relatively balanced, with a clear emphasis on the midrange, which feels present and full. Regarding the bone conduction driver—honestly, I’m not sure how much it truly impacts the sound. Often, I felt like I was feeling the music rather than strictly hearing it. The driver does produce vibrations, but it’s hard to pinpoint how significantly they influence the sound. Returning to other IEMs, I did notice the absence of this effect, though not overwhelmingly so.

Sub-Bass​

The sub-bass is understated and only noticeable when emphasized in the track. Sometimes, it feels missing altogether, which was disappointing in many songs I listened to. On the other hand, in genres like lo-fi, where low frequencies are prominent, the sub-bass showed up clearly. The bass quality itself is clean and quick, which is equally important. If you prioritize quality over quantity in sub-bass, these might suit you. Personally, I found the lack of sub-bass presence to be a drawback.

Mid-Bass​

Unlike the sub-bass, the mid-bass feels more present. You can feel its impact, though it’s not overwhelming. It’s well-textured and enjoyable, albeit slightly recessed compared to other frequency ranges. Additionally, the bass is fast, allowing subtle nuances to come through. The mid-bass feels dynamic, not like a monotone thump but rather a spectrum of tones. So, if you value bass quality over sheer volume, this IEM delivers nicely.

Midrange​

Here’s where the magic happens. If I had to describe the mids in one word: full. Every vocal, every instrument—everything in the midrange feels alive and textured. No other IEM I’ve tried quite delivers this experience. Instruments like guitars reveal the intricacies of the strumming, pianos sound distinct and enjoyable, and violins have a body and depth that make them stand out. I’m not sure if the bone conduction driver contributes to this, but the result is incredibly satisfying.
In pop songs with many vocal elements, I had a blast—the voices felt vibrant, deep, and never blended into one another. If you’re looking for IEMs with a strong emphasis on the midrange (vocals, most instruments, etc.), these will likely be a fantastic fit.

Treble​

The treble feels somewhat lacking. It’s gentle, balanced, and present but not prominent. In electronic music, instruments like synthesizers felt subdued, and high-pitched vocals also seemed underrepresented. I would have appreciated more treble to capture the subtle details that could elevate these IEMs further, especially in conjunction with their excellent midrange performance.
If you’re sensitive to treble, this might work for you. However, coming from the Letshuoer S12, I found the lack of treble here noticeable. While I didn’t expect the same level of treble as in the S12, a bit more would have gone a long way. It’s definitely an area where these IEMs could improve.


Technical Performance
Whether due to the bone conduction driver or the design, the technical capabilities of the Pula Anvil114 are impressive. The soundstage is vast—there’s a lot of space between instruments and vocals, and it never feels cramped or intimate. The separation between elements is also excellent; no frequency overpowers another, and everything is presented cleanly. The imaging is precise, allowing you to pinpoint the location of elements in the tracks. Detail retrieval is strong, with each element feeling rich and textured. This is a level of performance I haven’t experienced with many other IEMs. Overall, Pula has clearly succeeded in this area.

Comparison​

Letshuoer S12​

Compared to the S12, the Anvil114 feels slightly less bass-heavy, and the treble is significantly more subdued. Personally, I find the imaging on the S12 a bit better. In terms of comfort, I prefer the S12 due to its smaller, metallic build. However, the Anvil114 has a more expansive soundstage, with more texture and life in the midrange. The S12 feels more analytical, whereas the Anvil114 offers more richness and detail.
For genres like electronic music or metal, I would personally go with the S12. But for music featuring a lot of vocals and acoustic instruments, I find the Anvil114 to be the better choice. Overall, I feel the Anvil114 is a significant upgrade over the S12 in terms of technical performance and detail.

Bottom Line​

My feelings about these IEMs are somewhat divided. They're not bad—quite balanced, with life in the vocals and midrange—but the lack of treble and bass is fairly noticeable. For the first time, I found myself needing to use an equalizer to truly enjoy the sound, instead of just experimenting with something else. These aren’t the easiest to recommend without trying them first, as they might not suit everyone’s taste. If you like heavy bass and treble, these may not be for you. But if you value quality bass (not necessarily quantity) and prefer a balanced tuning, they could work well.
The technical performance, especially the soundstage, really impressed me. It’s expansive, which adds a lot to the listening experience. I’m not suggesting you need to EQ them, but it’s something I personally enjoyed, and they responded quite well to it.
As for the bone conduction driver, it’s hard to say if it makes a significant difference. While I felt vibrations, I didn’t feel it was particularly impactful, though when switching to other IEMs, I noticed the absence of these vibrations. The vibrations are subtle, like placing your finger on a vibrating phone speaker, but it’s not the most pronounced effect.
One challenge to note is finding compatible ear tips. The nozzle is wide, and the IEMs sit quite deep in the ear, making it tough to find a comfortable fit with the included silicone tips. Personally, I didn’t immediately fall in love with these the way I did with the S12, which makes it harder for me to wholeheartedly recommend them without a trial period. I hope my review helps you decide whether these will be a good fit for you.
Price: $199.99 (available from HIFIGO).

The bone conduction principle is not a modern one as this one was allegedly conceptualised by Ludwig Van Beethoven, a famous composer and piano virtuoso in the late Classical period. It is said that when he lost his hearing gradually and not to be deterred with this auricular condition, he used his mouth to bite a rod with wire that was connected at the end of the rim of a piano.



PULA Audio is one of the rising audio companies in this year and it was established around in the early 2020's. I saw some of its products when I used to browse around Aliexpress to check some audio products way back a few years ago. Those models were HT100 and HT200, and I remember correctly, the latter model has a strong resemblance of a popular model from Tripowin, The Olina if my memory serves right and also, these sets were of a single dynamic driver.



And finally, I got their latest model and this one is quite different from their sets from the previous generation. This is PULA ANVIL 114 and has a hybrid driver configuration with three driver technologies that were implemented inside. The 114 name, if I'm right about this one, if the series of numbers were broken up separately, 1,1 and then 4, corresponds somewhat to the numbers of drivers from each type of driver technology.



The entire composition of its hybrid driver set-up is comprised of dynamic driver, balanced armature drivers and bone conduction driver in which I'm quite familiar with this kind of driver technology as I tested some IEMs with similar driver technology and also happens to own some sets with this driver (Even my current top favourite TOTL IEM set has this type of driver technology, the Unique Melody Mason Fu Sang).




The single dynamic driver has 10mm diameter with “biometric” diaphragm which offers a faster, more responsive and precise sonic performance with less possibilities of unwanted resonance and distortion for deeper and modulated bass. The dynamic driver is then supported by a 11mm contact-type bone conduction driver with high strength neodymium magnet in a copper chamber as it was able to transmit an ultrasonic vibration through a skull via cartilage as our outer ear is also type of connective tissue too add more “atmospheric” reverberation effect on low frequencies. The rest of the frequencies were handled by four “custom” balanced armature drivers with some composite materials on it, these new generations of balanced armature drivers will deliver a rich, detailed and clarity on vocals and instruments. Each driver is connected to an acoustic tube with a dampener insider.



The drivers were encapsulated in a 3D-printed medium-sized shell chassis made of imported resin material which is known for its hypoallergenic properties with a CNC-milled stabilised wood faceplate that also laminated with resin. Each shell's design has its own unique look with some variances on wood grain that makes it more differentiating on one another. The overall outline of its shell has a mould of a UIEM-style profile that offers more versatile fitting to all types of ear sizes and on its interlocking mechanism, it uses a 0.78mm bi-pin connector for fastening with its detachable cable.



When it comes to wearability, the ANVIL 114 offers a comfortable fitting as it sets well to my medium-sized Asian lug holes without any discomfort. Depending on the bore sizes and material type of the ear tips, it offers an excellent passive noise isolation on how it seals well against unnecessary external noises from the outside.



The ANVIL114's stock cable is quite premium as it is sturdy built with just the right amount of weight and pliable to hold. It is made of a high purity monocrystalline copper in a 4-core structure and braided with a modular termination plug on its end. The included interchangeable termination plugs are 3.5mm, 2.5mm balanced and 4.4mm balanced and all of them are gold plated to ensure better conductivity and offer some resistance against corrosion. I don't encounter any microphonic issues at all even when I move around.



The product packaging of this one is pretty well-accessorised as it was packed with inclusions in a quantifying amount in which this set will be even more useful to operate.



Here are the following contents inside of its packaging box:

• Pair of PULA ANVIL 114 IEM transducers.
• Stock cable
• A large leatherette storage case.
• 2 pairs of double flange silicone ear tips in different standard sizes.
• 3 pairs of narrow-bore silicone ear tips in different standard sizes.
• 3 pairs of balanced-bore silicone ear tips in different standard sizes.
• Modular termination plug (3.5mm SE)
• Modular termination plug (2.5mm Balanced)
• Modular termination plug (4.4mm Balanced)
• User's manual.

The ANVIL 114, despite its multi-driver set-up, when it comes to power scaling, this one is relatively easy to drive that it only needs a sufficient power requirement from devices such as smartphones, tablets, laptops and basic dongle adapter which usually have a normal gain mode output. But putting it in a better source will assure more dynamics and fuller sound quality that this IEM is able to show its full potential compared to its rather satisfactory performance.




As for its tonality, the PULA ANVIL 114 has a U-shaped sound signature in which has more prominent lows and highs while the midrange is a bit scooped on its overall frequency range spectrum.


(FR graph was provided by @baskingshark , credits to him)


LOWS/BASS:

Apparently, it appears the bass quality of this one is quite well-balanced on both sub bass presence and mid bass consistency. Along it with the support of bone conduction driver, its adds some reverberating effect on its already rumbling sub-bass which are usually produced by instruments like synthesisers, drum machines, low tone bass guitars and double-basses on the punchy, tactual and slam on the mid bass texture.

While the mid bass quality on this one is sufficiently well-bodied as it affects the sound characteristics on some instruments whose notations are on the bass-clef and also, some low pitched male vocals. Bass guitars have a weighty and rasping sound while double-basses have broader and resonant sound on every bowing on its strings or plucking, bass trumpets have full and dark timbre on them and kick bass drums have thunderous and rumbling sound on every stroke. On male vocals, both bass and bass-baritones have a deep reverberating dark timbre on their voices with a full and dense sound.


MIDRANGE:

As I mentioned that the presentation on this particular frequency part is a bit recessed but good thing that it doesn't sound too lean and dry as it has an ample warmth, adequately rich, transparent and with just the right amount of energy for some vocals and instruments. The midrange tuning that affects the tonal colour of vocals and instruments to sound organic but it adds a bit of colouration.

On male vocals, baritones have a rich and plush sound that it add some fullness on Kavalierbariton baritone to sound more steely while both Verdi and dramatic types have full and warmer voice, tenors have brassy, clear and spiciness on their vocals, and countertenors have tender, smooth and emotive voices. As for female vocals, contralto have some good depth and volume on their vocals to sound strong, rich and smoky while mezzo-sopranos have a golden and fiery vocal characteristics on them, and then on sopranos, they sound sweet, crystalline and shimmering that lyric and coloratura sopranos will fare well.

The instruments sound somehow organic but it has some added colouration that affects the timbre on them. On strings, guitars appear to have a balanced and a bit bloomy sound on every plucking and strumming, cellos have full and sonorous sound and violins sound lustrous, lively and sweet. The brass instruments like the trumpets, trombones and horns sound rounded, powerful and velvety respectively. On the woodwinds, concert flutes sound mellow and poetic, piccolos sound clear and light, clarinets have lustrous sound and saxophones sound reedy and expressive. As for percussives, snare drums have hard, incisive and impactful sound, tom-toms have warm and resonant sound on every stroke, field drums have a hard and a bit booming sound on them, and kettledrums have deep, resonant and rumbling sound. Pianos sound on a balanced side as it has the right amount of warmth to sound a bit rich with some sweet and clear.


HIGHS/TREBLE:

The treble response of this one is rather balanced and smooth as it has a slight elevation on the upper mids then a noticeable scoop in the presence area to give that lustre and enough crispness and not to sound piercing, shrill-y or strident. Despite some scooping and dips on the presence area, it is still able to give a satisfactory clarity and definition of its overall sound that also bears on vocal details and attack on instruments in both rhythmic and percussive ones.

To think that the treble air extension of this set is rather moderate and acceptable in some regard but I wish that it augmented more of its airy presence volubly, at least it has a sufficient sparkle. Cymbals have a lustrous and resonant sound, hi-hats’ distinctive chick-y sound is a bit dull, glockenspiels have bell-like and lustrous (how many times I already mentioned this term) and celestas have a velvety and golden sound.


SOUNDSTAGE, IMAGING AND OTHER TECHNICALITIES:

Depends on what types of ear tips that will be pair on this set, it can project at least reasonably spacious sound/speaker stage up to the cavernous level as it has above-average to wide lateral span, excellent height and depth on its overall sound field dimension in which the bone conduction driver somehow added some roomy reverberations to add some illusory expansive sound.

On the stereo imaging, it portrays a soundscape in an atmospheric, 3-dimensional stereo presentation in multi-layered tones and dynamics of vocals and instruments that were orderly arranged in a clean, pitch-black sonic canvas where I can pinpoint and panned out the exact positioning of certain elements with some good separation on one another.

The cohesiveness of its multi-driver set-up is also excellent as all the drivers perform harmoniously without any out of phase or distortion issues as the tandem of dynamic driver and bone conduction driver to add depth and definition on its already fluid transient response while BA drivers delivers a detailed and clear sound output.

This one is also quite pretty resolving on resolution capabilities on both macro-dynamics and micro-detail capabilities as it has solid note compression on the former while a fairly sharp definition on micro-detail retrieval as it captures some nuances and details like notation attacks, vocal ends and instrumental reverb tails from an audio track.


PEER COMPARISONS:

BQEYZ WINTER

• While this set is considered as an IEM earphone with hybrid driver configuration, it has some differences from driver implementation and build materials.
• This one sports a larger 12 mm dynamic driver and a different type of bone conduction driver which is a piezoelectric-based one and the way of the BC driver configuration is more of an air conduction rather than a contact conduction as it supports the expansive and opened sounding of its high frequencies.
• While it's on par with the ANVIL 114 in terms of quantity and quality of inclusions on its product packaging , it also has a good quality stock cable but it doesn't have a modular termination plug feature unlike the ANVIL 114's stock cable.
• The Winter has a more balanced-neutral sound profile with some emphasis on the high frequencies.
• It has balanced bass response with rumbly sub bass presence and punchy mid bass, a well-balanced, linear, clean and a bit energetic midrange that highlights vocals clarity and instruments’ detail and definition and a shimmering and airy treble response.
• The Winter also has a capable technical performance as it can also project a spacious sound/speaker stage dimension in a concave-like stereo imaging presentation with some well-stacked of layers of tones and frequencies from certain instruments and vocals sections, and it also has a remarkable resolution capability but its focuses more on micro-dynamics.

BQEYZ WIND

• Another hybrid driver set-up model from BQEYZ with bone conduction driver on its internals but this time it uses a different type of this particular driver.
• Unlike its predecessor, The Winter, this one uses a copper-type bone conduction which will be a hybrid of air and bone conduction process in terms of operation, and it was encased in semi-open back aluminium alloy shell chassis.
• Like all BQEYZ sets, this one is pretty packed with quality and quantifying amount of accessories, and while the included stock cable is of a premium quality, it doesn't have a modular termination plug option.
• This set has a warmish-neutral sound profile that presents a well-balanced, neutral tuning with just a bit of warmth on its general tonal profile.
• It has a mid bass-focused bass response but it still has some sub-bass rumble on it, a well-textured, neutrally-tuned midrange that delivers a more accentuated vocals and instrument presentation, and then, a smooth and balanced treble with modest amount of air.
• On its technical performance, this set can project a roomy sound/speaker stage as it has a wide lateral span, good height and depth in an well-layered atmospheric-like stereo imaging presentation along with strong contrast on macro-dynamics.

KIWI EARS QUINTET

• KIWI EARS’ first hybrid driver IEM in the initial-level midrange segment and it equips more driver technology inside of its composite shell chassis.
• Aside from a piezoelectric bone conduction driver inside of its international, it also has a micro-planar transducers, balanced armature drivers and dynamic drivers.
• Unlike the ANVIL 114, the quantity of this unit's inclusions is rather sparse for its asking price.
• This one has a mild U-shaped sound signature with a more balanced yet almost neutral tonality.
• The bass response of this one is more of a sub bass-centric as it has sounds a bit tighter and precise, a bit recessed yet clean and energetic midrange presentation, and a tad brighter and airy treble response.
• On technical capabilities, while it has wide lateral span and height reach on its perceived soundstage, its depth is rather unremarkable as it presents a rather linear and shallow presentation.

The PULA ANVIL 114 is definitely one of the most enjoyable sets that I've tested this year. It performs with its bone conduction driver that I've only experienced on some TOTL flagships like from Unique Melody and the indication that it has contact-type bone conduction driver that wherever you tap lightly the shells, it will produce that springy effect. As an audio enthusiast happens to own some IEMs with bone conduction drivers, this device will truly deliver that bone conduction experience as if that you are centre stage in a perceived sound field in which bass-clefs instruments will produced those distinctive reverb tails with bit rumbling depth across the sonic spatial cues to even convey that notional roomy, atmospheric effect (as long as you will find a proper fitment on it).

With its tuning which sounds somehow balanced that all types of music lovers whether they are casual or experienced audio enthusiasts will enjoy its fun and engaging sound profile along with its well-packed with quality inclusions in a reasonable price, the PULA ANVIL 114 might one of the top contender of the IEM of this year.

The PULA ANVIL 114 is exclusively available in HIFIGO, Check out the unaffiliated link below:

★★PULA AUDIO ANVIL 114★★

SPECIFICATION:

MODEL: PULA ANVIL 114
IMPEDANCE: 16.5Ω
SENSITIVITY: 105dB
FREQUENCY RESPONSE: 5Hz – 40kHz
CABLE LENGTH: 1.2m
PIN TYPE: 0.78 2-PIN CONNECTOR
PLUG TYPE: MODULAR (3.5mm, 2.5mm, 4.4mm)
DRIVER UNIT(S): (1) DYNAMIC DRIVER + (1) BONE CONDUCTION DRIVER + (4) BALANCED ARMATURE DRIVERS


TRACKS TESTED: ( * = 16-bit FLAC, ** = 24-bit FLAC, *'* = MQA, '*' = DSD, *'= .WAV)

Alison Krauss -When You Say Nothing At All *
Jade Wiedlin - Blue Kiss**
Led Zeppelin - When The Levee Breaks **
Mountain - Mississippi Queen *
Queen - Killer Queen **
Guns N' Roses - Patience *'*
Eric Clapton - Tears in Heaven '*'
Sergio Mendes- Never Gonna Let You Go '*'
Pearl Jam - Daughter **
Roselia - Hidamari Rhodonite *
Assassin - Fight (To Stop The Tyranny)*
Celtic Frost- Visual Aggression *
New Order - Blue Monday *
The Corrs- What Can I do (unplugged version) *
Jimi Hendrix Experience - Voodoo Child *
The Madness- Buggy Trousers *
Metallica - Motorbreath **
Mariah Carey- Always Be My Baby *
Destiny's Child - Say My Name *
Malice Mizer- Au Revoir *
Mozart - Lacrimosa *
New York Philharmonic Orchestra - Dvorak- Symphony 9 " From the New World." *
Eva Cassidy - Fields of Gold (Sting cover)*
Michael Jackson - Give In To Me *
Exciter - Violence and Force *
Diana Krall - Stop This World **
Debbie Gibson - Foolish Beat *'*
The Sisters of Mercy – Lucretia My Reflection**
Suzanne Vega – Luka **
Lauren Christy – Steep *
Ottoman Mehter - Hucum Marsi *
Diana Damrau - Mozart: Die Zauberflöte*
Type O Negative - Black No.1 *
Felix Ayo - Vivaldi: Presto **
Three Tenors - Nessum Dorma *
Mercyful Fate - Witches' Dance *

P.S.

I am not affiliated to PULA AUDIO nor receive any monetary incentives and financial gains as they provide me a review unit for an exchange of factual and sincere feedback from yours truly.

Once again, I would like to send my gratitude to Ms. Hermine Qiu and Mr. Kerwen Wu of HIFIGO for providing this review unit. I truly appreciate their generosity and trust towards me and other reviewers.

PULA ANVIL 114

Let's get started. So before I begin, I would like to thank HiFiGo for the opportunity to review this set. This absolutely does not sway my impressions in any way of this set, as I'm not one to be easily persuaded to part with his ethics or responsibility to the community. This is my first Pula product I've had the opportunity to listen to, as I never did purchase the PA02, so I was very excited to get the chance to try this BCD driver set out. So buckle your seatbelts and prepare for a 100% unbiased review with heartfelt observations and thoughts. now on to the fun stuff.



The unboxing experience was pretty nice. The front sleeve has Pula and then what appears to be the tuners autograph on it. The back of the box has all the pertinent specs. This is a 1 +1 + 4, or more clearly, a 1 DD + 1 BCD + 4 BA tribrid. The inner box is hard cardboard and makes a great storage box. Inside, we have the IEMs, and a large carry case. Inside, we have a very high quality and attractive modular cable (screw fastener), and a variety of stock silicone tips in baggies. The green carry case is rather large, spacious, and would carry the IEMs, cable, tips, and maybe a tiny dongle DAC rather comfortably. Now stock tips never work for me, as they are usually too small for my cavern ears, so I chose Spinfit CP100+ XL tips, and they provided the best fit and seal and sound. I liked them not just because of the seal and fit, but because they have a hard stem core, and the Anvil 114 likes this hard type of material to sound best. The shells are HUGE. Not going to play around here. These are very large shells, with long nozzles, so they will stick out of your ears (even caverns like myself), and it might take some shifting to get them to sit properly and comfortably? The resin shells are beautiful, and lightweight. That's a uniqueness of the Anvil 114. This thing is like an illusion, as it's packing 6 drivers inside, but it feels like the shells are empty. They feel almost weightless. This does help with the comfort once you've figured out how to properly set them in your ears. I had very few issues with fit once I used the Spinfits and learned the best insertion depth and positioning. I could have very easily left the stock cable on and used it, and for awhile, I did just that, but in the end, the desire to cable roll took over, and I ended up finding synergy sisters in the Pula Anvil 114 and Tripowin Altea cable 3.5mm SE. The Pula Anvil are easy to drive from any source, but definitely scale with power, and will optimize with higher power sources.



So now that we have the unboxing experience out of the way, let's move on to the sound? That's what you're all here for anyways!! It's time to get it on!!...but first, let me share with all of you some information about the IEMs themselves. Internals, specs, and a graph? fun times indeed!

THE SPECS :

Pula Anvil 114 :

Technical Information: ​

>Impedance: 16.5Ω.

>Frequency Response Range: 5Hz~40kHz.

>THD+N: ≤0.5%@1kHz.

>Connector Type: 2-Pin 0.78mm.

>Sensitivity: 105dB/mW.

PULA brings us the latest ANVIL114, a brand new multi-driver hybrid IEM packing a 10mm biometric diaphragm dynamic driver, one 11mm bone conduction driver, and four high-performance balanced armature drivers on each side. ANVIL refers to the equipment used by a Blacksmith to bend and shape metal into objects, it is a symbol of the universe being forged and created. PULA takes inspiration from the mighty Blacksmith's ANVIL, designing the pair with solid stabilized wooden face covers!! PULA ANVIL114 promises outstanding sonic performance with excitingly unique looks and a unique tribrid setup as well!!

>Six-Driver Tribrid Setup.

>1 Dynamic Driver, 1 Bone Conduction Driver, and Four Balanced Armature Drivers.

>10mm Bio-Metric Diaphragm Dynamic Driver.

>11mm Bone Conductor Driver Unit.

>Four-High-Performance BA Drivers.

>Solid Stabilized Wooden Face Covers.

>Unique Texture for Each Unit.

>Balanced, Smooth Sound with Natural Tone.

>Deep, Tight Bass Response.

>Crisp, Accurate Vocals.

>Precise and Detailed Treble.

>Four-Core High-Purity Single-Crystal Copper Silver-Plated Cable.

>Swappable Termination plugs(3.5mm+2.5mm+4.4mm).




Frequency response graph courtesy of @baskingshark.

PRICE : $199.00 (on sale for $189 - BFS)

Available for purchase at this location.

The Gear :

What did I use for my listening sessions for my review??

I source roll often, from the Little Bear B4-X, iBasso DC Elite, Hiby R3 II (transport for DCE), Sony NW-A15 (untethered) and Sony NW-A25 (+B4-X) as my primary sources. The most used was the Cayin N3 Ultra (Modern Tube mode, M gain, no EQ, slow roll off filter) and Hiby R3 II + B4-X + DCE.



Music used for the review and all my reviews in general?

Ezra Collective - Where I'm Meant to Be
Robert Glasper - Canvas
Alfa Mist - Antiphon
Hugo Kant - Far From Home
Alfredo Rodriguez - Coral Way
Bob Marley & the Wailers - Survival
Rob Van Bavel Trio - Dutch Weather
Junior Kelly, Bounty Killer, and Capleton - The Good, The Bad, and the Blazin'
Dominik Eulberg - Avichrom
Abysmal Dawn - Phylogenesis
Megadeth - Rust in Peace
Drive By Jehu - Self Titled
Cognizance - Phantazein
Metallica - 72 Seasons
In Aphelion - Reaperdawn

SOUND IMPRESSIONS :

Dynamics : 4.5
Resolution : 3.5
Details : 4
Instrument separation : 4
Imaging : 4.5
Sibilance : 1
Soundstage : 5

Overall score : 4/5

BASS/MIDRANGE/TREBLE :

The Pula Anvil 114 is unique. This is truly one of the most unique listening experiences I have heard in my life. I suspect 90% of it has to do with the implementation of the BCD. Now, I have experience with BCD thru the Penon Fan 3, but the sensations and the spatial cues presented here are so different and far advanced of what I hear in the Penon Fan 3, but more on that later. Instruments float, hover, and image around the ears, behind the ears, and on a vast stage, that places voices center and north of center. It's a fascinating aural treat.

The bass is noticeable for it's punch. There's an emphasis on mid bass punch and presence, so kick drums are authoritative, elastic, and pulsing. Now, this might make you say "umm...this might be too much for me?!" Not necessarily, as there is a tactility, resolve, and speed to the bass, so there isn't much in terms of lazy, lumbering, or lingering decay. So this means there's not a whole lot of sub bass. Not to say there isn't any, or that there's roll off, but the sub bass takes a back seat to the mid bass, and it's resolution, but again, when it's called upon, like in songs from Dominik Eulberg's Avichrom, it appears, it hits, and it's a very pleasurable and hard hitting bass, when called upon, but not a basshead bass response, or a bass that's ever overbearing or overly warm. It does not overstay it's welcome. That might be a detriment to some. Nor for others. Certainly not for me.

Midrange is clean, transparent, and has a touch of warmth, so never dry, but also not overtly wet either. There's enough warmth to provide some character and emotion when it comes to vocal delivery, piano timbre, and cello and stand up note weight, but it's not bloaty or dark. There's a transparency and space within the midrange that provides a vast soundstage that the midrange operates out of, and vocals are positioned not smack dab center in projection, but just north of center. So there's some height to the stage, as well as depth, so the midrange is not flat or narrow. Not this set. Just the opposite. Upper mids are quite restrained, but present. So what you get are incisive upper mids, but safely tuned, so there's a lack of bite or resolution as a tradeoff for lack of sibilance and crispiness or rough edges in notes. So there's a softness in the upper midrange that helps make these a strong all-arounder contender, because you can listen for long periods with a large library of music, and never run into sharpness or fatiguing tones, because that area of the frequency is reigned in, but make no mistake, it's not making for a dull listen, as there's enough incisiveness and clarity that we don't get bogged down.

In turn, the treble never gets strident or spicy. Timbre is fairly natural for BA highs, and there's enough shimmer and incisiveness that crashes, rides, and cymbals have authority and crispness, without being strident, unnatural, fatiguing, or metallic. There's air, but it's not the focus of the sound scene. The giant soundstage is obviously nudged by the BCD, but the air also pushes it along, so it's not blunted or rolled off, but it does go right up to the edge, and then comes back, so again, this helps with running into any fatiguing treble, but also keeps the resolution from being optimum, and it keeps the tone from ever reaching an ethereal texture (like say the Tri i3 MK III or the ISN EBC80). That's the word I'm looking for! Texture. There's a slight lack of texture in the highs and upper mids, but it's not something that effects the overall sonic presentation, but adds to the uniqueness of the tuning, and makes for great long listening sessions.

OVERALL :

The Anvil 114 excels with it's cavernous soundstage, with it's wide left/right projection, with instruments hovering and swirling around your ears, and information and details popping out from back of the ears and above your head. It's FULLNESS. It's cleanliness. It's a solely unique imaging that any audiophile worth his weight should take the opportunity to experience. For $199.00, the Pula Anvil 114 is providing sonics that are usually found in much more expensive sets, and honestly, this set should be selling for $500+ and this would be fair. It's not. It's in a range of affordability where anyone can experience this phenomenal stage, imaging, and bass presence, with a unique midrange that has to be heard to be believed. This is top 5 for me at the moment, and there will be a place in my rotation for the Pula Anvil 114 for as long as I'm capable of hearing sounds! This is TRUTH, and free of any hyperbole. I can listen to metal (The Anvil 114 does metal like a BOSS), reggae, jazz, hip hop, R&B, electronica, or pop, and handle it with precise aplomb! I kid you not! Feed the Pula tubes, and the tonal nature of this IEM becomes creamy smooth, with above average layering and instrument placement that stereophonic with stage that's capacious and precocious!! Say that three times fast!!

COMPARISONS :



Penon Fan 3 : So it's a natural comparison, but these IEMs couldn't be more night and day. They are tuned completely different, with the only commonality being BIG AND FULL STAGE! But the stages are constructed differently. The Anvil 114 has what I would call a wondrously FUN stage, while the Fan 3 has a 3D stage that is more traditional and sonically accurate (aka not as exaggerated). The midrange is warmer and more incisive with the Fan 3, with lower mids popping way more forward than the 114. The bass is more resolving and quick, despite having one less DD, as the sub bass is more impactful on the Fan 3, but gives away with a slower bass response, with much lighter mid bass punch. So pick your poison. Mid bass punch? Anvil. Sub bass thump? Fan 3. Midrange is cleaner and clearer by a country mile for the Anvil. It's also got a wider stage scene, and more depth of field, while the midrange of the Fan 3 is more musical, warm, and incisive, and as such, has a bit more traditional resolution and bite in the upper mids and treble, and a touch more air. Though I wouldn't call the Fan 3 safely tuned, I wouldn't consider it shouty or crispy or strident. On the contrary. It's just tuned a bit freer than the Anvil as far as letting the shimmer fly, and this might also be an effect of the BCD in the Fan 3, which is tuned to give the treble more wispiness than the Anvil? Timbre is advantage Anvil, as it's a bit more natural, with drums and percussion in particular standing out as full and natural, with excellent timbre. I didn't mention this before, but the drums and percussion presentation on the Anvil 114 is SPECIAL SAUCE! They are precise and ethereal, and at the same time crisp and elastic with a weightiness that's so fun and powerful. Yep, there's that fun word again! So it's pick your poison time again. Want incisive and bitey treble with a touch more air? Fan 3. Want more resolving bass with more elasticity, quicker note decay, and mid bass punch? Anvil 114. Ying and Yang of the BCD world. It's all about mood with these two, and with dueling midranges, the better one is a matter of how you feel on a particular day? I'd say advantage Anvil 114, but only because if that sways you to want to explore that unique special sauce sonic stage scene of the Anvil 114, that's quirky and voodoo magic, then I've done a good job in conveying just how cool this IEM is, and I think everyone should get the opportunity to walk into this room, take your seat, look up, and be in for one hell of a BCD ride. Advantage : Pula Anvil 114.

ISN H60 : The H60 come in at around $350.00. These are top two in my rotation for me, and it's my benchmark IEM. So bass isn't close. The dual DD isobaric bass of the H60 punches deeper, hits harder, has more mid bass punch, and presence. Now the Anvil does have more note resolution and quickness. It's more elastic than the H60, but this doesn't make up for the overall superiority of heft, warmth and dynamics. The H60 simply has more dynamic bass, and hence, more fun and engaging. Now the midrange of the H60 is similar to the midrange of the Fan 3, so what was stated about that IEM above, mostly slots for the H60. The stage isn't as full or wide, but there's more depth and less height, and less clarity. The instrument separation and detail retrieval pop more often and have greater spatial cues on the Anvil 114, but have less character and warmth, so it all depends on if you want clarity or character? Treble air and extension are advantage H60. There's also more incisiveness, crispness, and shimmer in the H60. There's more tactility, but this might offend some sensitive to treble? I've never run across that, but the Anvil provides high quality treble that's a safer option, while the H60 provides a more satisfying top end. Advantage : ISN H60 (but it's sooooo close).

AFUL Performer 5+2 : The P7 come in at around $285. Until very recently, this sat at the very top of my rotation. It ticked all the boxes for me personally. Bass, midrange resolution, treble extension, stage, and tonality. But to be fair, the Anvil 114 is a different flavor altogether, and it can't be beat when it comes to soundstage presentation and concert hall sound. The P5+2 sound downright congested when we compare the two. Ok, that's a huge exaggeration, but it's to stress the point that the Anvil 114 isn't going to win against the P7 when it comes to technicalities, treble, or resolution, but the AFUL is what I would consider a safe, traditional sonic deployment. It does a lot of things right, but it's not the most unique offering sonically. The Anvil is. The Anvil does. Bass wise, they come very close to being equals. Similar presentations from a technical POV. Midrange is more forward in the P5+2, and has more incisiveness, but with less echo and less spatiality and wide positioning. It's more closed in and centered. If you're a treblehead, or you love treble extension, then this isn't a fair fight. P7 wins hands down, but these are complimentary IEMs, and if you have to choose, that will come down to a personal preference and choice : Do you want traditional technical, or do you want BCD uniqueness that's also technical, but more concert hall positional? you're not going to get that over the top ear to ear detail retrieval from the AFUL. That distinction belongs to the Pula Anvil 114. Advantage : Pick Your Poison.

CONCLUSION :

Truthfully, I've had a blast with the Pula Anvil 114 since the day it arrived on my porch. I'm in love with the sheer size of it's sound scene, the way instruments and information float and hover around the side and back of your ears, and pop out of nowhere above your eyes, and just the uniqueness of that tall and wide stage. There's depth of field, but it's limited to the midrange centering, and then there's that punchy, resolving bass, that provides the fun engine to this wonderous soundscape. Now, would I prefer more treble extension and upper mids bite? Damn right I would, but this just comes down to my personal preference, because nitpicking, the Pula Anvil 114 is a beginner audiphiles dream! It's a $200 IEM that performs like a $500 IEM. It's an IEM that is not dull, that provides a POV that's unlike any other IEM, and it provides all-arounder ability, so it's not an IEM that will collect dust in your rotation due to changing tastes in music from month to month. It's the quirky, talented utilitarian brother that garners all the attention at family BBQ's, and you wish you were like! I cannot throw my recommendation forcefully enough towards the Anvil 114. It should be a staple in any self-respecting audiophile's rotation, and I have no doubt that when you do add it, you'll rave about it, get addicted to it's sonic characteristics, and come back to thank me later. Ok, you don't have to do that last part, but just remember who told you?

RECOMMENDATION LEVEL : BOSS LEVEL - HIGHEST 10/10.

Thank you so much for reading and remember to be water with your audio luv! When you do...AUDITORY ZEN UNLOCKED!

DISCLAIMER

I would like to thank HIFIGO for providing this review unit.

The Pula Anvil 114 can be gotten here: https://hifigo.com/products/pula-anvil114 or https://www.amazon.com/dp/B0DLB9KN5D/pula+anvil114/ (no affiliate links).




SPECIFICATIONS

• Driver configuration: 1 x 10 mm biometric dynamic driver + 1 x 11 mm bone conduction driver + 4 x balanced armature drivers
• Frequency response: 5 Hz - 40000 Hz
• Impedance: 16.5 Ω
• Sensitivity: 105 dB/mW
• Cable: 2-pin 0.78 mm; single-crystal copper silver-plated cable; 2.5 mm, 3.5 mm and 4.4 mm modules
• Tested at: $199.99 USD

ACCESSORIES

Other than the IEM, these are included:
- 2 pairs of double-flange silicone eartips
- 4 pairs of wide-bore silicone eartips
- 3 pairs of narrow-bore silicone eartips
- 3 pairs of balanced silicone eartips
- Carrying case
- Cable
- Modules for 2.5 mm, 3.5 mm and 4.4 mm plugs

For something retailing at sub-$200 USD, the accessory line-up is generous. I've surely seen pricier IEMs with a stingier accessory spread. Other than the lack of foam tips, everything else is quite usable for the audiophile out-of-the-box.




We have a buffet of silicone eartips to choose from. Do explore to see what suits your needs sonically, but the narrow-bore ones boost bass the most (with some compromise in soundstage), whereas the wide-bore tips increase treble and staging. The balanced eartips are a mid-point between the two in terms of sound, whereas the double-flange tips have the deepest insertion (and isolation), though some might find them uncomfortable.




The stock cable is a 2-pin single-crystal copper silver-plated one, with 3 modules for 2.5 mm (balanced), 4.4 mm (balanced) and 3.5 mm (single-ended) terminations, depending on your source needs. This cable is well-braided with minimal tangling, though it has microphonics.

I appreciate that the modules have a screw-on design, so this prevents inadvertent disconnection of the cable from the module - this is something that happens not uncommonly, causing the connected DAP to drop to the floor!




We have a green leatherette case, which is spacious to hold the IEM and other acccessories. It has an inner velvety material and webbing to cushion the contents.

The rest of this review was done with the stock cable and stock balanced silicone eartips. No aftermarket accessories were used, so as not to add any confounders to the sound.


BUILD/COMFORT



The shells are fashioned from CNC-machined resin, with a solid stabilized wood faceplate. PULA says each faceplate is unique in terms of the grain pattern, so it is quite exclusive as such.

Despite the larger housing and nozzles, comfort is actually very decent. The earpieces are lightweight, and can be used for prolonged listening sessions without much issues. The insides of the shells are smooth, with a concha protrusion for stability.



Like other bone conducting units, there are some echoes and microphonics originating from the shell if this is tapped or moved, which is part of how the bone conduction tech works. Some might find this disconcerting, especially if you are a first-time BC tech user.

This is a heavily vented IEM, and isolation is hence below average. I did not encounter any driver flex on my pair.


INTERNALS



The Anvil is packs an eclectic configuration of driver types:

• 1 x 10 mm biometric dynamic driver handles the bass
• 1 x 11 mm bone conduction driver is a full-range driver
• 2 x balanced armature drivers take care of the midrange
• 2 x balanced armature drivers settle the treble

We have no information on the BA driver branding though.


DRIVABILITY

I tested the PULA Anvil 114 with the following sources:
- Apple dongle
- Cayin RU7
- Chord Mojo 2
- Fiio KA15 dongle
- Fiio KA17 dongle
- Khadas Tone Board -> Schiit Asgard 3 amp
- Questyle M15 DAC/AMP dongle
- Sony Walkman NW A-55 DAP (Walkman One WM1Z Plus v2 Mod)
- Sony Walkman NW WM1A DAP (Walkman One WM1Z Plus v2 Mod)
- Smartphone

This IEM is moderately difficult to drive, and would scale better with amplification.


SOUND & TECHNICALITIES


Graph of the PULA Anvil 114 via IEC711 coupler.

Tonally, the Anvil sports a balanced mild U-shaped signature.

Do note that bone conduction (BC) vibrations cannot be measured on a standard coupler, and hence its contribution doesn't show up on graphs. Additionally, the BC tech requires a snug fit so that the shells contact a surface area of the concha to transmit sound waves over a more dense part of the ear - so a poor contact would detract slightly from the experience. Essentially, the BC here adds a bit of lower midrange and bass vibrations, but overall it is not a massive determinant of the overall sound profile, which is still U-shaped, but you might lose some bass and heft if the fit is not proper.

The Anvil is sub-bass focused, with a good visceral rumble heard (assuming good contact with the BC is obtained). Bass is tight and nimble, with minimal bleed. Texturing is solidly done, and mid-bass punch is tactile courtesy of the BC.

The midrange has minimal recession and is pretty transparent. With a 8 - 9 dB ear gain, female vocals are just at the edge of forwardness without overly veering to shouty territory (this is also dependent on volume playback AKA Fletcher Munson curve).

The lower treble is quite resolving with minimal sibilance. The upper treble rolls-off thereafter, and while the Anvil is not a dark IEM, neither is it a very treblehead and airy set. Treble-sensitivity is once again quite subjective - dependent on hearing health, volume played at, sources, eartips, ear anatomy, fit for BC conduction counterpoint etc - but the Anvil in my book has quite a good mix of treble clarity without overstaying its welcome. Cymbals and highhats are not overly splashy, and fatigue is kept minimal.

The Anvil loses some marks in timbral accuracy in the higher registers - so called "BA timbre" where note weight is a bit hollow - which is not surprising for something utilizing 4 BAs. This may be more prominently displayed when acoustic instruments come out to play.

The Anvil has good technicalities for a sub-$200 multi-driver type. Instrument separation and layering keep up with complex and rapid riffs, and soundstage is above average in all 3 dimensions when amped well. Micro-details are captured well and imaging is accurate.

Other than the aforementioned BA timbre in the upper frequencies, the Anvil does coherency admirably for a Frankenstein hodgepodge mix of drivers; some rivals with a host of different drivers sometimes run into the bass driver being slower than the treble drivers for example.


COMPARISONS

The Anvil utilizes a very unique driver setup, with few rivals using the same configuration. Nevertheless, it will be compared against some multi-driver IEMs at around $200 USD.




ZiiGaat Doscinco

The Doscinco is a basshead hybrid. It has greater bass quantities, though this isn't as tight, with some bleed.

The Doscinco is a league behind in micro-details, imaging and soundstage.

Driver flex mars the fit of the Doscinco, which is not present in the Anvil. The Doscinco is also more sparsely accessorized.


KIWI Ears KE4

The KE4 is one of those new-age "META" type pleasant tunings, which has a thicker note weight and less treble/upper mids presence than the Anvil.

The KE4 has a more natural timbre, but loses in other metrics - such as treble extension, bass tightness, imaging, soundstage and micro-details.

The KE4 is also poorly accessorized, and glaringly, has driver flex, which may be a deal-breaker for some.


Penon Fan 2

The Fan 2 is a warm neutral set. It has a more lush midrange than the Anvil, but has less bass and treble extension.

The Fan 2 has weaker imaging, soundstage and micro-detailing, but is more laid back tonally.

The Fan 2 has polarizing long nozzles, which affects comfort and fit, so once again, this may be an issue for some consumers compared to the more ergonomic Anvil.


CONCLUSIONS



The PULA Anvil 114 is a solid entrant to the ultra-competitive sub-$200 market. It has a balanced tonality and does most departments well - consider it an archetypal jack-of-all-trades. We hear a clean and textured bass paired with a transparent midrange, coupled with a resolving treble that for the most part avoids fatigue. The added BC punches hard in the mid-bass to provide some tactile fun, and technicalities are done well.

For a ragtag assembly of drivers, cohesion is surprisingly done well, with the drivers working in tandem, though some BA timbre in the upper frequencies rears its ugly head when acoustic instruments are showcased - so perhaps timbre fastidious listeners might need to look elsewhere.

The Anvil has a generous provision of accessories, in addition to good comfort (despite the larger shells and nozzles). However, it does scale better with juice - so at least a dongle amp is recommended - and some may be unused to the BC types generating microphonics and echoes if the housing is tapped or moved.

All things considered, the Anvil 114 gets my recommendation for a solid sub-$200 set. You can do much worse for the money nowadays.

The forth quarter of 2024 is full of surprise in the personal audio market. Today, the surprise continues with a new release from PULA, a tribrid IEM named ANVIL114.

Forewords​

• What I look for in an IEM is immersion. I want to feel the orchestra around my head, track individual instruments, and hear all of their textures and details. I’m not picky about tonality, as long as it does not make the orchestra, violin, cellos, and pianos sound wrong.
• I rate IEMs within with a consistent scale from 1 (Poor) to 3 (Good) to 5 (Outstanding). An overall ranking of 3/5 or above is considered positive.
• Ranking list and measurement database are on my IEM review blog.
• The terminology for subjective impressions in this review is based on the Audio Wheel for reproduced sound defined in the technical report ITU-R BS.2399-0
• This review is based on a review sample from HiFiGo (Thank you Kerwen@Hifigo for arrangement!). I have no affiliation with or financial interest in PULA or HiFiGo.
• The unit retails for $189 at the time this review was published. Unaffiliated link: HiFiGo Web Store

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General Information​

PULA is another mysterious manufacturer from China whose IEMs are available via the retailer HiFiGo. That said, PULA is not without fans thanks to the success of previous releases, including the PA02 hybrid IEM. This time, PULA is back with ANVIL114, a 6-driver tribrid IEM equipped with an 11 mm Bone Conduction Driver (BCD) (For brevity, I’ll call this IEM Anvil in the rest of this article).

As the name implies, ANVIL114 has a 1+1+4 driver configuration, consisting of a 10mm dynamic driver (DD) with a bio diaphragm handling the bass frequencies, 11mm bone conduction driver (BCD) offering a full-range response, and 4 balanced armature (BA) drivers, 2 of which handle the midrange whilst the others handle the treble.

The star of the show is undoubtedly the new 11mm bone conduction driver. Unfortunately, no additional technical information is available about these drivers. Given that we know the diameter of the BCD, it’s likely that Anvil is equipped with a piezoelectric bone conduction unit, which operates similarly to the ones inside the acclaimed MEST series IEM from Unique Melody. The only indicator of the existence of the BCD inside Anvil is the unique “spring ping” sound whenever I tap the earpieces.

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Non-sound Aspects​

Packaging and accessories The box of Anvil is surprisingly less decorated than usual. It’s completely devoid of artworks and audio related motifs, thus reminding me of a tea box rather than an IEM box. Fortunately, it’s the content that count, and Anvil comes with quite hefty set of accessories that is unexpected given the price tag. In the box, you would find:

• The earpieces themselves
• 3 different types of eartips, including double-flanged ones
• IEM cable with interchangeable plug system. All three options (3.5mm, 2.5mm, and 4.4mm) are provided
• A roomy carrying case with felt lining. This is essentially the same carrying case that comes with some high-end IEMs like AFUL Cantor and Canpur CP54E.

Earpieces design This area is where I have quite a bit of problem with Anvil. Let’s talk about the positive aspects first: the faceplate of this IEM is absolutely beautiful. They are made up stabilized wood pieces, dyed in a purple paint, and covered with a thick layer of acrylic, polished to a glossy finish. This glossy layer is thicker than that of most IEMs landed on my review desks so far.



Where I have problem with Anvil is the design of the earpieces, particularly the nozzles. Simply put, Anvil has the most tricky combination of characteristics for the nozzles: thick and long. Whilst the metal tube that we call “nozzles” is not longer than average, we need to also account for the plastic part behind the metal tube, protruding from the base of the earpieces. Due to this design, the base of the earpieces do not sit flush against the concha area of my ears, which is not a good thing for BCD which relies on solid contact with the concha for optimal performance. Fitting the nozzles deeper into the ear canal is out of question for me, due to the thickness of the nozzle.

Fit, comfort and isolation I had to try quite a few types of eartips in my collection to find one that fits well and do not put too much pressure on the ears in long listening sessions. When finding the right eartips, I can achieve a stable and comfortable fit with Anvil. The noise isolation is quite good, yet I did not experience any pressure build up or driver flex problem during my tests.



In order to maximize the performance of the BCD, I gently press the back of the earpieces against the antihelix of my ears. I hear a slight but interesting change in the side channels of the soundstage when the earpieces have solid contact with the antihelix, so I guess that the BCD works as intended.

Ear tips recommendation: Quite tricky. Ideally, you need shorter and sticky eartips. However, I couldn’t get stable seal with my trusty Velvet eartips. Inthe end, I settled for Tri Clarion eartips.

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Sonic Performance​

Test setup:

• Sources: iBasso DX300, HiBy R3II
• Cable: stock cable with 4.4mm termination, Effect Audio CADMUS II
• Ear tips: Tri Clarion

The subjective impression is captured using the lexicon in the Sound Wheel below. I’ll clarify the terminology as I use them. If you want to see more details of the lexicon and related reference, please have a look at the technical report ITU-R BS.2399-0.



Timbre: It is helpful to think of an IEM as a filter that sits between the incoming audio signal and your ear drums. This filter makes some parts of the signal (frequencies) louder whilst other parts quieter. This effect can be measured objectively by the squiggly lines below, called Frequency Response (FR) graphs, which measure how loud an IEM is at different frequencies from 20Hz (bass) to 20kHz (upper treble). Ideally, an IEM should change the signal as least as possible (a.k.a., “flat tuning”) to avoid disturbing the balance between fundamental frequencies of instruments and their harmonics to ensure that they sound natural and life-like. Practically, IEM engineers can tune or “voice” an IEM to deviate carefully from the flat tuning to create interesting colouring and effects on the audio content. This voicing or tonal balance of an IEM can be denoted as its sound signature. Subjectivity is how your ears and brain interpret such sound signature and decide whether it is “enjoyable”



Figure shows the frequency response of Anvil against the Harman in-ear target. Measurements were done with an IEC-711-compliant coupler and might only be compared with other measurements from this same coupler. Above 8kHz, the measurement likely does not match the response at the ear drum. Visit my graph database for more comparisons.

The tonal signature of Anvil can be described as “refined V-shaped”, though as you would see, it does not really conform to the mould.

The midrange of Anvil demonstrates clear characteristics of a V-shaped tuned IEM, meaning there is stronger emphasis in both the lower and upper midrange. Practically, it means pianos and orchestra would not sound even across the range. Across my classical and acoustic library, I found that my recordings sound rather boomy and even slightly muffled in the lower midrange. I also found that female vocals are a bit more emphasised and pushed forward than my preference. In other words, there is a degree of “shoutiness” with Anvil. Fortunately, both boominess and shoutiness problems fade away quickly with repeated exposure. By the end of my testing period, it takes me only half a song get acclimated to the midrange tonality of Anvil and become unbothered.



Looking beyond the peculiars of V-shaped midrange, I would say Anvil still does a good job with the midrange. Ed Sheeran sounds rich and emotive without becoming too piercing or harsh, even with harsher recordings in the “=” album. John Denver sounds sweet and breezy. “Weeb” music such as Kiwi wa Boku ni Niteiru by See-Saw sounds clear, clean, and emotive without unbearable shoutiness or harshness. Rock bands such as Polyphia also sound great across the board. The only tracks where Anvil does only an okay job are cellos, pianos, and chamber musics.



The treble and bass region are where Anvil deviates from the V-shaped signature and earns itself the “refined” moniker. We will talk about bass in the next section. Here, let’s discuss treble. After peaking at the upper midrange, Anvil quickly rolls off the lower-treble, particularly the presence region around 4-6kHz to keep treble harshness under control. This tuning choice if particularly beneficial for Anvil to counter its upper-midrange boost and the difficulty to fitting Anvil deeply into the ear canal to smoothen the treble. The upper parts of treble of Anvil is also quite uneventful. Practically, it means you would find cymbals, hats, chimes, and higher brass instruments to be more quiet than usual with Anvil. On the plus side, the details and nuances of these instruments are reproduced very well and because they are less loud, it would be easier for you to hear those instruments. The more restrained treble response also ensure that Anvil handle sibilant recordings well, especially with tracks mixed with hotter 5-6kHz region.



Percussion, Bass, and perceived dynamic: In this section, my focus is the not just the bass, but rather the sense of dynamic of an IEM. Can it convey the sense of beat and rhythm? Can it reproduce transients, the fast and large jump of loudness in the music? Simply put, is this IEM toe-tapping? Creating this energy requires all parts of the frequency spectrum working together: treble energy around 4-6kHz conveys snappy attacks of stick hitting percussive instruments at the beginning of a beat, bass energy around 150Hz conveys the punchy sensation of the beat itself, whilst the subbass energy below 60Hz creates the physical rumble sensation that convey power and atmosphere. Weak treble response dulls the attacks. Weak bass makes beats hollow. Too much bass makes bassline blurry and dulls the sense of rhythm. Thus, “dynamic IEM” is a balancing art.

Percussion and dynamic are where Anvil flexes. But first, let’s talk about the rather strange bass of Anvil. Simply put, Anvil has less bass quantity that other recent releases with V-shaped or U-shaped tuning, yet it can convey a great sense of impact with each beat in the music. Practically, having less bass quantity means when I listen to tracks with strong low-pitched rumble, such as the opening theme of Skyrim, I found the rumble to be rather faint and de-emphasised. Moreover, the perception of bass impacts tend to happen at the “phantom centre” in the middle of my head or at the ear drums rather than being pushed down to the throat or even the chest like what I hear with sub-bass focused IEM.

The more restrained bass quantity of Anvil has an advantage: it makes the bassline of Anvil sounds dry, crisp, and “fast”. This dryer presentation is also aided by rather great quality of the bass. It means textures and details of the bass guitars, double basses, lower notes of cellos are well preserved and presented.



Where Anvil shines the brightest is how it presents drums and beats. The best way to visualise the presentation of Anvil is imaging the sound of a hammer striking a piece of red hot steel on an anvil. Anvil does a great job of scaling from a pitch-black background to the full drum hit and then come back to zero in an incisive and impactful way. As a result, Anvil sounds tactile and physical, despite not having a large amount of bass. This presentation is particularly suited for faster kick drums in Polyphia’s albums. At the same time, Anvil also conveys the energy of “epic” soundtracks from video games with finesse. Agile, tactile, and impactful. It’s a toe-tapping IEM.

Resolution: To me, “resolution” can be broken down into three components: (1) Sharpness, incisiveness, or “definition” of note attacks (see the figure below). (2) The separation of instruments and vocals, especially when they overlap on the soundstage. (3) The texture and details in the decay side of the notes. The first two give music clarity and make it easy to track individual elements of a mix. The last provides music details and nuances. Whilst IEMs can “force” clarity by boosting treble to unnatural level, it might still lack resolution as it cannot “peel apart” complex tracks with overlapping instruments



Anvil is a quite resolving IEM in the grand scheme and outright impressive if we consider its price tag. The incisiveness of its presentation, combined with the retrained bass quantity ensures that the midrange feels clean and present. The rather great treble quality that I described previous help Anvil conveys a great sense of details and nuances in the music. Whilst Anvil is not entirely “effortless” when handling complex recordings such as ABC feat. Sophia Black by Polyphia (meaning it takes some deliberate effort from my side to identify and track individual elements in the mix), it does a better job than the venerable Moondrop Blessing 2 in A/B tests, despite having thicker lower midrange. The overall sense of separation detail retrieval in this track is identical to, if not better than my Andromeda 2020, the “gatekeeper” of “great resolution” in my system.



Recordings with congested lower frequencies such as Now We Are Free performed by 2CELLOS does trip Anvil up as the presentation feels a bit too boomy and lacking definition for me. This result is somewhat inevitable due to the tuning choice of Anvil. On the plus side, sparse recordings such as Ciaccona from Bach’s Violin Partita No. 2 in D Minor, performed by Kavakos sound great with Anvil. I like the clean, dry tone of violin and the clear reproduction of reverberation.

Stereo imaging and soundstage: Stereo imaging or “soundstage” is a psychoacoustic illusion that different recording elements appear at various locations inside and around your head. Your brain creates based on the cues in the recording, which are enhanced or diminushed by your IEMs, your DAC, and your amplifier. In rare cases, with some specific songs, some IEMs can trick you into thinking that the sound comes from the environment (a.k.a., “holographic”)



Let’s face it: the expected “magic sauce” in the soundstage and stereo imaging is the main reason why you look for an IEM with BCD. Thus, the make-or-break of Anvil would be the soundstage illusion that it can convey. Despite some hiccups at the beginning, Anvil ultimately delivers on the soundstage front.

Before we talk about “soundstage of BCD”, let’s get two disclaimers out of the way. Firstly, no, this IEM does not sound like a pair of stereo speakers or Dolby Atmos spatial audio. It would not magically transport you to a concert hall. It does not push the singer outside the phantom centre in your head to place them in front of you. Secondly, the effectiveness of BCD relies heavily on the fit. Simply put, you need to have as much contact between the shells and your ears as possible. An additional point is that it is rather impossible to say with any certainty whether the soundstage effect I describe here is actually caused by the BCD, since there is no way to turn off the BCD and compare. So, it’s possible that it’s simply the case that the shell design and the tuning of Anvil gives it a nice soundstage.



With the disclaimers out of the way, let’s talk about Anvil’s soundstage. Spacious and uncanny would be two keywords that I use. Recordings feel expansive, as if there is no “wall” at the outer bound of the stage that limits the sound from travelling outward. This effect is the most prominent with spacious recordings such as Shadow of Baar Dau, which can trigger the illusion that the music expands outward to fill in the environment around me. Left-to-right extension of the soundstage is quite strong, as Anvil regularly triggers the illusion that the side channels of the mix come from outside the ears. The illusion of depth and layering is also strong, thanks to the clear contrast between the center of the soundstage and the background elements such as the string or choral section, generally placed further away at front-left and front-right of the stage. There are also instances when the sound elements seem to be placed behind my ears or towards the back of my head. The height illusion is not as prominent, but competent enough to complete an “orbital soundstage” illusion with the right recording.



Positioning of instruments in complex, 3D-sounding recordings like Original Sound Effect Track - Memory from Gundam Seed Destiny OST album or trippy recordings from Yosi Horikawa is also pretty good, though not laser sharp. In other words, Anvil can take advantage of the large soundscape that sometimes expand beyond the head to create an interesting, immersive IEM soundstage that is not commonly heard. It’s those moments when the sound pans to the sides or the “detach” of background elements from the foreground elements of the mix that makes the soundstage of Anvil more special than that of other highly competent IEMs.

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Driveability​

Anvil is quite sensible when it comes to sensitivity, clocking at 16.5ohm and 105dB/mW (likely at 1kHz, as the spec sheet did not elaborate on this detail). It is not too sensitive that it hisses with every DAC/amp, yet it is sensitive enough to avoid pushing portable DAC/amp to distortion. To put in context, Anvil requires almost the same volume level as the AFUL Performer5+2, much higher volume level than Andromeda 2020, and less volume level than AFUL Cantor with both my DX300 and HiBy R3II. I found that Anvil sounds competent enough with R3II and thus can recommend this pairing for a (relatively) affordable daily-driver setup. However, I do notice quite more incisive instrument separation and even more spreadout soundstage when pairing Anvil with my DX300 + Topping G5 (used as a pure amplifier). Therefore, I would say there is room for “scaling” Anvil, though such scaling is not necessary nor making “day-and-night” differences.

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Comparisons​

Vs AFUL Performer5+2:

• Performer5+2 is much more comfortable and easy to fit for me, thanks to the smaller shell and thinner nozzles.
• Performer5+2 sounds more even across the midrange, whilst Anvil sounds more boomy in the lower frequencies and more forward in the upper midrange. On the other hand, Anvil is more tamed in the 4-6kHz region. In short, Performer5+2 is less shouty but can be more edgy in the treble, whilst Anvil is can be more shouty but less edgy.
• Subjectively, Performer5+2 has an organic and “musical” tone in the midrange that works especially well with slower vocals and acoustic music, whilst Anvil does not give me that.
• Performer5+2’s bass has more bloom and organic decay whilst Anvil is dryer and crisper. Both IEMs render drum kits very well but in different ways.
• Both IEMs have the same degree of precision and control in terms of instrument placement in the soundstage, but the soundstage of Anvil expands further than that of Performer5+2.
• At a glance, Anvil feels more incisive and more “resolving” thanks to the more lively and dry presentation. However, when facing busy tracks, especially the ones with congested lower midrange, Performer5+2 pulls ahead in terms of how easy it is to track individual elements in the mix. These results persisted even when I pair Anvil with DX300+G5 and P5+2 with R3II.

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Conclusions​

As the year closes, I would like to direct your attention to the accelerated progress of “ChiFi” IEM world. Around this time last year, if you tell me something like Anvil would exist with the $200 retail price tag, I would say “keep dreaming.” It’s not dreaming anymore. It’s here, and it delivers.

So, should you add Anvil to your collection? There are but two questions you need to ask yourself. Firstly, do you have any problem with large and protruding IEM nozzles? It’s not only about comfort, but also about getting the most out of Anvil. Secondly, how much do you value an even midrange. Would you be listening to a lot of piano and string quartets with this IEM? If your answer is “no” for both, Anvil is worth consideration.

What I like about this IEM:

• Impressive, uncanny soundstage and imaging
• Tactile, agile, and impactful percussion reproduction
• Good resolution
• Generally good tonality
• Well-controlled sibilant
• Generous accessories

What could be improved:

• The nozzles should be thinner and less protruding from the shells
• Flatter midrange could improve the reproduction of piano and cello recordings

Absolute Sonic Quality Rating: 4.5/5 - Outstanding

• Timbre and tonality: 4/5
• Bass and dynamic: 5/5
• Resolution: 4/5
• Soundstage and imaging: 5/5

Bias Score: 4/5 - I like this IEM



Updated: November 16, 2024