ISN H50

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

INTRO

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

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

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

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

CONSTRUCTION&ACCESSORIES



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



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



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

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




SOUND IMPRESSIONS



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

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

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

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

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

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

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

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

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

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

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

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

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

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


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

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

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

COMPARISONS



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

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

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

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

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

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



CONCLUSION



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

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

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

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

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

Recommended!






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

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

:NOTES:

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

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

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

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



:SPECS:

Current Price: $295 usd

Driver: 4 Balanced Armature + 1 Dynamic driver

2BA for high frequency + 2BA for middle frequency

10MM composite diaphragm Dynamic for low frequency

Stainless steel nozzle

3 channels 3-way crossover

Impedance: 25ohm

Sensitivity: 108dB

Frequency response: 20-20kHz

Connector: MMCX

Cable: OCC Silver-plated

Plug: Gold-plated


:EQUIPMENT:

EIDA 9038SG3 (Stock Filter)

Xduoo MT-602

Shanling UA2

Tempotek Sonata E44

Ifi Hip-Dac

Topping a50s Amplifier

SMSL Sanskrit 10th MkII DAC

Tips: BGVP W07, Final Audio E

Cable: Stock 4.4mm Balanced Cable


:BUILD, FIT & QUALITY:

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

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

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



:SOUND:

BASS:

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

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

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

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

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

MIDRANGE:

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

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

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

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

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

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


TREBLE:

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

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

:IMAGING & SOUNDSTAGE:

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

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



:VERSUS:

-Mangird Xenns Up $700usd-

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

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

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


-GS Audio SE12 $1000usd-

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

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

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

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

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

:CONCLUSION:

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

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

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

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

The ISN Audio H50 gets a solid recommendation.

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

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

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

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

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

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

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

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

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

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

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

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

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

ISN H50 - Wúnderbar Ausgewogen! ( Wonderfully Balanced )

Now let's get into it: The Techy Stuff

5 Driver per side configuration:
1x 10mm Dynamic Driver Composite Diaphragm ( Unknown Composition )
2x Balanced Armature Mids ( Unknown Origin )
2x Balanced Armature Highs ( Unknown Origin )
3 Way Cross Over
25 Ohms Resistance
108 db Sensitivity
Handmade Resin Shell
MMCX Termination.
Cable is 8 Strand Silver Plated Oxygen Free Copper Cable
18 Month Warranty.

Unit Supplied by Penon - Thank You!

I Don’t do disclaimers for me it doesn’t need to be said. Strait Goods if something is bad it gets called out. If its great it gets the praise and a deserved shilling!

ISH H50 - It Rules!

More information can be found here and non-affiliated link: https://penonaudio.com/isn-audio-h50.html

Subjective Part of my Audio Review -

I share my impressions as I hear them with my ears.

As all our ears are different shapes & size so what I hear as bright or bass heavy -you might hear as dull and Vise-Versa; just something to be mindful of.

What makes my ears happy as a sound signature is a slightly more aggressive W shape. I love my Bass Sub and Mid Bass love it all actually; and in large quantity. With the Bass, I prefer a faster decay the faster the better so as to not bleed into the mids., I am treble sensitive and prefer a slightly darker warmer replay with good treble extension.
I prefer the fast speedy bass of the Beryllium Coated Driver of my Xenns Mangird UP with a Beryllium Coated Driver. Of course, there are exceptions in the market - as I also find the bass of the Bio Diaphragm used in the Yanyin Canon special - has some special sauce like an 8" subwoofer that feels like a 12" Has the slam and some serious sub-bass! And the super cool Copper Alloy Shell IKKO Obsidian OH10 does some magic to the bass.

My music Library is widely varied from; Metallica, Great White, Cowboy Junkies, Pink Floyd, Adelle, Melisa Ethridge, Fleetwood Mac, Five for Fighting, Mänskin, Poncho Sanchez, Jimmy Smith, Chopin, The Crystal Method just to name a few. When not listening to my test tracks the majority is Jazz or Alternative Rock especially Female Rock. Lorde, Halsey, Alanis Morrisette, Evanescence. All depends on my mood.

Sources: E1DA SG3, Shanling UP5, Geshelli JNOG J2 with AKM4493 chip. Truthear SHIO (Dual Cirrus Logic 43198 DAC Chips)
DAP/TRASPORT: From Lenovo Laptop with Tidal, iBasso DX160 (Dual Cirrus Logic 43198 Dac Chips), Samsung S22 Ultra with DSD Files.
Amps: LoxjiP20 & XDUOO MT-604 tube hybrid amps and Topping A90D Amp 4.4 Pentagon Balanced Out - Unless stated

Tips Used for the H50 were the AZLA Crystal Tips I found for Best Result and subjective: Wide Bore are recommended to maximize stage my preference at the expense of perceived bass enhancement with narrow bore tips.

My Format has changed with community feedback. So now I will list the music tracks I used & why with my musical impressions of the playback using that track. I hope this will give you some context for my library and give you some contexts to compare using the same tracks.

(40 Tracks 3:13:03)

Let's Begin: Critical listening per track Notes taken NOT OVERALL IMPRESSIONS

#1 "Beautiful Blue" by Holly McNarland
(I love Holly's vocals should be crips clear vocals with the right edge to here vocals)
I love how the H50 does vocals not forward in the mix. Very pleasing monitor style.

#2 "Give Me One Reason" Tracy Chapman
(I love her voice and the way it is recorded listen for the strums on the guitar - I have seen Ms. Chapman live a few times; so In my mind, I try and remember how she sounds like 5ft from me as I was blessed to experience)
"Very good coherence of not only H50 drivers but also between Vocals/Instruments and the bass very balanced"

#3 "Paradox" by M.E.B.
(Great female vocals listening for accurate piano at 0:11, bass hits at 0:28 and vocals at 2:00)
"Bass has excellent snap + decay. Texture in the releases is very very good. Perfect vocal replay"

#4 "Rock Me" by Great White
(80'S Baby, Double Kick drums at the beginning of the first track I am listening to how fast it hits how solid is the bass and what's the decay like. An ideal replay here would be fast, powerful bass with nice note weight to feel it in your chest so to speak if you were at a concert.) ( With "Rock Me" same thing but I am listening for the bass guitar drops on this track it should be quite low)
"Mid bass perfect on guitar Male vocals great , fast hits love the bass. Great high hats and just the right amount of sizzle"

#5 "Wheat Kings - Remastered" by The Tragically Hip
(Sense of stage and Male vocals)
"Instruments very nice tone, Gord's voice is great and very realistic. Love the Vocal/music mix and is accurate to recording mix."

#6 "Chemical Mentalist" The Crystal Method
(Bass, more bass fast and lots of it - How does it do end of the story - Huge Smile or poo emoji?)
"A excellent EDM IEM Smooth highs sibilant free great snap in the lows."

#7 "Its Time" by Labrinth, Sia, Diplo
(3 very different singers and their voices come together. I use this because it’s a cool track and at higher volumes lesser IEM's get sibilant. Piano doesn’t get washed out and Vocals at 2:30 should blow your little mind)
"Uncolored playback with accurate replay. Piano is excellent weight. The 2:30 spot left me with goosebumps!"

#8 "All My Friends Are Here" Joe Satriani
(In this track you can hear Joe playing dead Center with the busy and very separated L & R licks added in and then he brings you back to center with some crazy and very hard-to-play Descending A Major rifts! As Joe described this song as "A rock guitarist trying to control a wild beast"
"L+C+R very good Excellent micro dynamics, descending A Major sounded correct."

#9 "The Antidote Is In The Poison" GoGo Penguin
(Modern Jazz at its best. Powerful, Dynamic track full of emotion and snappy bass. Fantastic track to listen to how well Micro Dynamics are conveyed and get a good sense of the IEM's ability to convey that to the listener.)
"So Smooth , maybe a tad too much MB a bit thick on this track, Very fun and musical actually I love the extra bass but still stays mostly balanced."

#10 "Angel" by Massive Attack
(Say it with me - massive textured bass drops )
"Love this replay not a big overemphasis sub bass is nice and still fast oh the highs are great vocals a tad recessed?"

#11 "Bring Me Some Water" by Melissa Ethridge
(I like this track to hear Melissa's voice and see if the transducers (speakers) reproduce her voice to how edgy I think it should be.)
"Vocals perfect maybe a bit more than neutral but closer to my preference"

#12 "A Whiter Shade Of Pale" Annie Lennox
(A Bach-inspired Hammond Organ M102, I seriously love it and its unique sound with Annie's voice this is so cool)
" The twinkle's at the beginning are magical , excellent sense of stage bass has sweet texture love the Vocal/instrumental mix huge smile!"

#13 " So Cold " Holly McNarland
( Vocals on this track are further back in the track and L & R upfront good track for testing depth of stage and vocals - Sub Bass at the very beginning has a nice drop.)
"Great Macro Dynamics and the H50 played this track perfectly"

#14 "Shape Of My Heart" Sting
(in this track I am listening to the sound of the guitar pulls and slides. How well does the IEM give an emotional presentation of the mix between the vocals and the bass.
" Plucks could be more plucky more sharp here very good balance overall"

#15 "Wishing You Would Stay" by The Tea Party with Holly McNarland
(Love this track. With this song and this band, it was the first time having a guest vocalist. Holly McNarland has a great voice and I have seen her live a few times front and center getting sweat on. Listening for Holly's voice being forward in the mix and not sibilant.)
"Holly vocals are a bit recessed in this track and should play a bit louder and forward, close but not perfect."

#16 "Avenue A" Tom Cochrane and Red Rider Live from the Symphony Sessions
(This track with more resolving IEM'S you can hear the guitar pulls and slides with a sense of open spaciousness and grandeur)
" Excellent sense of spaciousness and grandeur. Excellent bass weight very good guitar + texture in the guitar with the decay!"

#17 “Eden” Hania Rani
( The way Hania has recorded this track with the mics on the strings in the body of the piano is incredibly unique and such a unique presentation you can hear the string's tension at the beginning, Bass kicks in at 1:40 and goes low that’s what I am listening for )
" You can really hear the multiple mics in this recording and the decay and reverberation, a lot better than most IEM that have scooped MB , sub drops were there but wished for more "

#18 “Summertime” Louis Armstrong & Ella Fitzgerald
( This Track has both legendary artists Simply listening to Louis and Ella’s voices and of course, the Piano and trumpets how accurate and lifelike )
"Trumpets OH YES! Perfect bite the nuances in the instruments is excellent and stage is wonderful!"

#19 “Blue Train” Poncho Sanchez
( Trumpets here are silky or should sound that way with good timbre, overall mix how does it present, and of course Poncho’s drums )
"Lovely , love how the H50 does instruments very tonally perfect and balanced."

#20 “ My Girl “ Royal Philharmonic Orchestra
(Listening for instrument placement and stage and this track gives a good sense of dynamics and excitement with lots of dynamics in the mix)
" Very Balanced , great range Right to Left drops was good , depth was just ok"

#21 "Iconic" by Alanis Morissette
(More edgy female vocals to give you the chills)
" Zero Harshness, Love It"

#22 "The Day That Never Comes" Metallica - Live with the SFO from S&M2
(Big open stage good depth of stage excellent recording with a excellent orchestral opening)
" Not the biggest sense of stage , but wicked vocals"

#23 "Tricycle" by Flim & BB's
(Turn this one up and wait till 0:28 seconds- Have Fun Dynamics test)
" Hits with that fast slam perfectly as this track should play great twinkly bits"

#24 "Team" by Lorde
(Female vocals if your lover of those this is a great track)
"So wicked lovely"

#25 “ Wake Up “ Oliver Mtukudzi
(Oliver Mtukudzi is an African Musician and prolific guitarist and Vocalist. He sings with a mix of South African styles sometimes in English sometimes mixed like in this track and includes the traditional drumming styles of the Korekore. TUKU MUSIC at its finest – Listening for vocals, bass lines, and clarity – and because it is just fun! Right at the beginning you have some very cool snaps and instrumental)
" Very nice snaps + vocals excellent stage + instrument separation."

#26 "Brothers In Arms" by Dire Straits
(Intro and dynamics or distant thunder, and Iconic Mark Knopfler's vocals Bass hits at 2:12)
" Bass is so textured , very balanced, smooth."

#27 "Keith Don't Go" - Live Version by Nils Loftgren
(Acoustical Guitar absolutely amazing recording - Tonality and male vocal clarity)
" Amazing Bass + Guitar texture. The Attack & Release pulls are very very good great combo of Vocals & Instruments very unique replay ."

#28 "Somebody I used To Know" by Goyte & Kimba
(A huge stage and Vocals listen for excellent separation and stage, Vocals at 1:38 and female 2:38 and micro-dynamics
"One of the most fun presentations so smooth no sibilance and excellent stage."

#29 " Flight Of The Cosmic Hippo" by Bélla Fleck & The Fleckstones
(Excellent recording and Bango bass should hit hard and low with nice mic of piano weight)
" Amazing bass texture + Hits, banjo so clean/clear/crisp/sharp! Piano sounds clean without getting washed out."

#30 " New Orleans Is Sinking " By The Tragically Hip."
Listening to Gord's Voice without enough MB his voice will sound thin on this song.
" Very good mix of vocals + instrumental."

#31 "Electrified II" by Yello
How well does the playback just trip you out and pull you into the stage and presentation think Ferris Bueller's` Day Off on LSD
" All the pieces in play and made this a crazy replay."

#32 "Fever" by Malia, Boris Blank
( Kind of a techno version of a classic with great female vocals and nice bass line throughout )
" No mid bass bleed just something special in the bottom."

#33 "Poem Of Chinese Drum" by Hok-man Kim
( A poem with drums just a excellent track to hear how percussions sound and there tonality)
" The secondary resonances of the drums sounds so real the decay is outstanding 60% of a U12t micro details off the charts."
#34 "Song Of the Stars (Remastered)" by Dead Can Dance
(Sub bass line at beginning goes low and the whole track is excellent to test stage and micro dynamics
Constant Left and Right with Center vocals is very trippy)
" OMG again the combo of how vocals replay a bit farther back in the mix , the instruments are brought to life and the stage and emotion is excellent."

#35 "Don’t Make me Wait" By Sting and Shaggy
(Listening to these iconic male vocals and correct tonality"
" Fast slamming drops, male vocals again so nice, note weight is great."

#36 "All of Me" - John Legend
(Male Vocals)
" One of those rare tracks the H50 adds to much note weight"

#37 " I Love You's " Hailee Steinfeld
( Hailee's voice is so smooth , Mid bass hits? )
" Liquid smooth female vocals and the bass here was wicked."

#38 The Circle Of Life ( From Lion King ) - Tina Guo
( A Rock Violinist in this track looking for tonal accuracy with violin and flute )
" Perfectly done the violin + flute were excellent defiantly SIMBA APPROVED!"

#39 "Kiss the Cloud" - Yello & FiFi Rong
(Bass hits mid bass punch? Vocals )
" The fast bass hits and the stage makes this track fun on the H50 well done"

#40 "I Don’t Care Anymore" Phil Colins
( Stereo Bass and texture )
" Just wow the bass the texture and the nuances so terrific , stereo bass don’t get very often to replay with this good a texture and weight."

OVERALL IMPRESSIONS:
The ISN H50 plays back music in a very unique way.

The set has a bit of a relaxed upper midrange making the vocals play back a bit neutral to laid back , while staying crystal clear and natural. Some might hear this as a darker / warmer replay but after spending a considerable amount of time with the H50 I would say Its just a unique way of tuning.and not dark at all.

The bass of the H50 is part of the recipe for what makes this IEM so great. The bass can only be described as fast , yet great textured bass without bloat and bass bleed is a non issue here. So not only do you get great fast bass but there is something extra the H50 does and that is the texture of that bass has so much more information than just the hit, but also the decay and the information it passes on to you. Drums, guitar, piano, all have a sense of realism that other sets fail to bring forward.

Mids and vocals are always crystal clear and sound natural, Sometimes equal in the mix sometimes slightly recessed and this also is a huge part of the uniqueness of the H50.

The Highs are also a bit relaxed but the upper treble adds it back in to bring you back and pay attention not too much like the LETSHOUER EJ07M'S, but in a way to only add sparkle and details as well as making sure instruments sound natural and clean.

This implementation is like what other sets do or try to do with EST drivers but in a more natural way without sounding forced or the BA's trying to hard.

The upper treble also has extra energy so you get the combination of excellent technicalities and natural presentation. Because of that extra energy Stage, dynamics , micro details are all still there as well as excellent reproduction of said instruments.

Love this unique replay.

The stage is wonderful most excellent overall and makes the H50 really engaging while not overpowering you with too much information. The width way above average. Depth was the one it didn’t so well at nor creating a 3D stage and height was average.

CONCLUSION
The H50 is a easy to listen to IEM, Its not going to blast your eardrums out with its overpowering bass, not will it make you totally focus on the vocals. You wont hear sibilance nor will the H50 blast you with ear piercing treble. The H50 just is a unique IEM one that is defiantly worth your consideration.

60's & 70's Music with their psychedelic trippy recording mixes were something else and the H50 takes advantage of this and with its great stage and vocals its like the tuner was right there on acid with them!

Modern music was done the same kind of way as well, clear , crips very present vocals and also done with the same attention to detail just done in a different way you may have heard other IEM's do it.

All Genre's were great nothing stood out as the wrong library, the music was just brought to you the H50 way.

In a sea of poorly tuned IEM's ,IEF Neutral, Harman tuned curves, Bass boosted muddy bloated bass IEM's ,Mid Bass scooped, Treble blasters, and just weird IEM's the H50 makes its mark.

The H50 stands on its own and is unique.

ISN made a IEM with a special sauce done in a way I have not heard another IEM do this well.

I hope ISN keeps pushing the boundaries between neutral and fun, and I for one am excited to watch and listen to future projects.

Well done ISN and thank you for making such a wonderful piece of musical gear.

Thanks so much, Cheers from the Tone Deaf Monk.

My Video for the ISN H50 is Here:

Discord Server is here for insider information and just good conversation: https://discord.gg/5zEeKXyt

This $295 IEM is absolutely worth the money. WHY is almost no one talking about ISN? I think it punches way up there. It can compete with $500 IEMs, it plays in the same league in many respects. The most successful part of this tuning is the sense of physicality with refined precision it gives to notes and instruments. When listening to something bassy with contrasting treble, it just begs you to raise the volume, it draws you into the music and is very engaging. I place it overall higher than the Timeless, Raptgo Hook-X.

"Paradise"
ISN H50 Universal IEM
Welcome my friends to another review. Before us is the latest IEM from ISN. Such a 4 BA/1DD design configuration results in something truly special. Hybrids at times offer more contrast and separation than planar or single DD implementations. I had to pull myself away from taking H50 pictures to make these notes about it. My favorite of the ISN stable. Meaning (to me) it’s better tuned than the H40, and more well rounded than the EST50. It’s not just frequency range.........the technicalities are something too. With the upper-midrange emphasis and upper-treble sparkles there broadcasts a clarity. Combine that with a super fast composite 10mm DD and I only have one word! Accessible! Won’t you join me in a review of the ISN H50............a Mid-Fi masterpiece.

Who is ISN?
The history of a portable audio Juggernaut!
In the beginning ISN made only cables; and even now they keep introducing new cable models. With 17 currently made different cables, it’s no surprise they understand what makes cables different from one another. If you by chance are reading this review as a steadfast cable non-believer, that’s ok. To have a company offer such a wide range of essentially the exact same audio-cable could be judged as ridiculous.

Donuts
Quote:
“Cables are a hot topic especially for enthusiasts. The IEM cable market nowadays has seen so many varieties and styles to choose, when it comes to cables. The big debate is do they actually help shape sonic qualities? On one side of the fence the objectivist enthusiasts do not believe in cables making any difference at all. I understand that notion but on the other hand there are people like myself that write cable reviews and talk about their finer qualities and how they affect sound for your earphones. I suppose my review here will help the folks that do like a good sound shaping cable to help with their IEM sonic profile more so than the science guys. My honest take on that is. Believe your own ears”
End quote:
So simply believe your ears. Truly it should not get in the way of hobby enjoyment, simply do what works for you.

The ISN Company:
ISN current cable offerings:
Silver-Plated IEM Cables: S4, S8, AG8, S16 and one Type-C Silver Plated USB Cable
Copper IEM Cables: C4, CU4, C16
Mixed Cables IEM Cables: Solar, G4, GS4, SC4, H8, H16
Gold-Plated IEM Cables: GC4, GD4
Pure-Silver IEM Cables: AG8

ISN Ear-buds:
Rambo
Rambo 2

ISN IEMs:
H50 10mm Composite DD (bass) 2 BA (mids) 2 BA (highs) $295.00
H40 9.2 DD (bass) 1 custom BA (mids) 1 composite 2BA (highs) $195.00
D02 10mm DD $79.00
D10 9mm DD $169.00
EST50 1 Knowles BA (highs), 1 Sonion BA (mids), 10mm DD (bass), 2 Sonion ESTs (ultra-highs) $459.00

Strangely, even-though making all this complicated stuff, ISN describe themselves only with one sentence.
“We are a wire production and R&D factory.”
That’s how they describe themselves. Yet what becomes obvious is they let the product do the talking. So far I have been lucky enough to review the H40, the EST50 and this is the H50 review. I have the D10 review coming up next. I also have the SC4 cable, the S8 cable in 2 pin and MMCX, plus the S4 cable. The only IEM they make that I haven’t heard is the D02. So I’m am beginning to get a grip of what they are about. So far I would sum it up in only one word………value. That’s really what it is. Though they also make silly expensive cables too. The H50 is a different kind of tune for ISN. After the H40 and subsequent emulation and expansion of the legendary H40 sound with the flagship EST50, they started a new journey. No one except ISN knows the next course of action to take place, but I believe it will be a TOTL flagship with the sound of the H50. I could be wrong, but the H50 is so mature and delightful, I can’t imagine a company not using it as a springboard to the next level. Still it seems pretty hard to beat? Extra EST drivers could be put in to make an EST60, but I question what worth that would truly give? The H50 is an exact tune, which will end-up being incredibly difficult to top. IMO It already has the staging, it has the bass, and with 4 BAs, its got an even, correct and complete frequency response. What more could they possibly do? They obviously could try and and super-size the whole shebang? Make the bass soundstage bigger, make the midrange be bigger somehow? I don’t know, this is science fiction?

S8 Cable:
Features

• High purity makes the cable extremely soft, providing the comfort of wearing,
• Gold-plated plug is more beautiful and durable, using insulation treatment technology.
• Natural and transparent sound, delicate and smooth; lift medium and high frequency, strengthen high frequency extension

Specification

• Model: S8
• Material: Single Crystal Copper Sliver-plated
• Number of cores: 8 shares, single share is 19 cores, a total of 8 × 19.
• Connector: 2pin 0.78mm
• Plug: 3.5mm audio/4.4mm/2.5mm balanced gold-plated plug
• Cable length: 1.2M

https://penonaudio.com/isn-audio-s8.html?page=2


Even-though priced at $32.50, and the second lowest priced cable in the ISN line-up, I still view the S8 cable as the Toyota Camry of cables. Truthfully, I don’t view/judge cables by price, only performance. Coming into the opportunity to review ISN products, I wasn’t sure what to expect from their included cables, even though before making IEMs they existed as only a cable builder? While other cables I used did offer other tonal and positioning discoveries, the major find was simply how good of a cable the ISN S8 ultimately was/is.

ISN started as only a cable manufacture. They then got an idea to become an IEM maker and cable maker. I actually put the S8 through the paces, changing cables and joining it to a couple amps before making a judgment concerning performance. While many members will upgrade their cable in quest of updating the H50 sound. While cable makers will add more silver and new cables construction designs, I am more than happy with exactly what the ISN S8 does. Truly I am not looking to make the H50 any brighter or more detailed. I’m more infatuated with how the S8 handles the lower midrange warmth and positioning. I mean, ISN are the cable experts, they could have included any cable from their arsenal, but they choose the ISN S8 for the specific performance to value ratio it provides. Such ISN S8 cable is also a standard, included with the ISN EST50 and ISN H40 IEMs.



ISN Audio H50 4BA+1 Dynamic Driver Hybrid MMCX HiFi Audiophile IEMS

Description
Brand: ISN Audio
Model: H50
Driver: 4 Balanced Armature + 1 Dynamic driver
2BA for high frequency + 2BA for middle frequency
10MM composite diaphragm Dynamic for low frequency
Impedance: 25ohm
Sensitivity: 108dB
Frequency response: 20-20kHz
3 channels 3-way crossover
Handmade resin shell
Stainless steel nozzle
Connector: MMCX
Cable: 8 Strands 19 Cores OCC Silver-plated
Plug: Gold-plated
Cable length: 1.2M

The box opening experience:

You get the ISN H50 IEMs, the S8 cable, a shirt clip, cleaning brush, six pairs of silicone ear-tips and a gorgeous case.

Build:
The ISN H50 is one gorgeous IEM. Just look at it! Taking the IEM aesthetic to a whole new level, you may actually miss what’s going on due to a subtleness in design? It took me a while to totally figure out what was going on. I actually thought the shell was solid black, then upon further study the insides could be seen, small colored wires and parts taking shape. The faceplate is the same way, at first it looks solid, then you start to be able to see below the layers to form vague outlines of the inner workings. At first the side of the MMCX mechanism, then the faint outline of drivers. Not to mention the gold-foil additives on top, swimming around in the middle, obscuring your view. For an IEM that is so direct and clear sounding, it offers totally the opposite in looks, offering only mystery in build. The ISN H50 is like see-through woman’s cloths, only getting us a taste of the underlying reality. Besides the looks we are met with solid resin semi-custom build making-up a medium size. Such attention to detail guarantees us close fitting with ample outside sound occlusion. The stainless steel nozzle has robust wire mesh screens, slightly recessed into beautiful aggressive tip holders, an improvement over ISN past creations. The MMCX mounts are polished flush to the sides, without even a raise to the feel. Finally the name H-50 with a R or L is imprinted into the back of the shells. Somehow ISN has gone the extra effort to provide both beauty and functionality in use?



Sound:
Sound generalizations:
If your coming from the legendary ISN H40 presentation there is a lot to be excited about. I feel ISN studied the H40 response and had the imagination to progress one step further. Except that one step outcome is a whole different deal. The IEM landscape is always changing and it’s important to introduce new and innovative tuning to keep up with whatever else is being offered by other manufactures. Only ISN outdid themselves here, they truly did. They went and added a subtle boost of midrange to the H40 tune, they also bumped the upper treble a hair. Just those small changes made a hugely different sound experience. Due to the upper midrange and upper treble boost there became a soundstage expansion. Next they included a whole new style of bass DD. Gone is the mid-bass authority of the H40, replaced by a tailored bass response that comes from a new 10mm Composite Diaghram Dynamic Driver. Such sophistication here means there is a separation between the midrange and bass driver. These 3 sound-bands coalesce together in place due to a 3-way crossover network. Thus each is represented in absolute singular clarity. I can’t help but imagine the 2 treble balanced armatures go to balance that beefy low end. This is the contrast I was eluding to earlier. If ISN has the wild idea to add EST drivers to a new flagship IEM, and offer an expansion of this tune, I would be worried the softness of those new ESTs couldn’t compete with the clarity provided by just the way this set-up performs? Those two treble BAs are precious. Meaning this is the ultimate ISN sound. IMO I truly don’t know how it can be improved upon? It’s absolutely beautiful, seamless and complete.

Because the H50 is so well rounded there is no correction to seek. Meaning it works well with every amp and source I have. Though because of the way the treble and bass balance each other I found a style of heaven with the more mid-centric Sony Walkman WM1A. So the 1A will be used for these sound impressions, but really any amps I have will result in pretty much the same overall sound. Crazy as it seems, even tips were not a concern here, meaning, yes, they did something but every style of response was ultimately acceptable. We were never needing a tip to make the sound correct, as there was so much leeway to be found.



Treble:
The two balanced treble armatures and how they are tuned provided a broad expansion of stage. So the imaging and ultimately characterizations of upper elements are found with-in this placement. The thing is, never are they attempting separation or detail with brightness. The treble actually has both detail and separation all with in this slightly warm expanse of replay? Nothing is too crisp or strident. Yet it’s all there, all of it. Gone is any want of higher pitched playback, as it’s just perfect......for me anyway? Obviously this is balanced armatures doing the duty and performance, at the level they were designed to be. Slight artifacts of spacial fall-out show-up just to give you a clue of this contrast going on. It’s so cool how these small details go to a much further extent to show the soundstage……..falling off in that quick decay that only balanced armatures do. Starlight flickering off into the distance as it fades into infinity, just to be brought back to life with the next beat rendition. Timbre and transient attacks are dead-on, and I don’t know how or why that could be? Also there is an interaction, an interaction of treble and bass, as this whole gig is interrelated, interrelated with the treble and bass in union. Maybe it’s just the groove, handled so very well? It’s this subtle extra upper-treble forwardness that seals the deal.

They bass is always leaving the correct room for this perfect soundstage of midrange.

Midrange:
Fast. With two balanced armatures tuned to perfection, we are witnessing a style of subtlety actuated midrange. Such frequencies are ever so slightly tilted to be heard as an upper midrange forwardness. Such delicacies add an ever so slight clarity to vocals and work to push-out the soundstage to it’s ultimate placement. This is really the meat and potatoes of our H50 response character. I can dilute the review with bass poetry, but you know as well as I that in reality, it’s all because of this area that we are here. And……again we are meet with the perfect balance of mids. I don’t have to remind you of all those shouty forward midrange excesses you have had to deal with. You know the ones that are not always intense, but when they are you have to deal with them. They are an annoyance and a burden to deal with. What do you do? Turning down the volume works, a different set of tips often does the trick, or better yet, go find a more subdued source and put water on that fire. Luckily we don’t have any of that stupid nonsense going on. None. That's why I can pull out my midrange-forward DAP and have a party. The Sony 1A is known to offer a brighter midrange than the Walkman WM1Z. That brightness is utilized to offer what could be perceived as a wider soundstage. The other extra accessory is the speedy bass. Way faster than the Walkman WM1Z.

Such balance mean that vocals rise-up to show themselves and add emotional involvement second to none. I don’t know if you have noticed, this is my favorite ISN tune, and not by a little, but by a lot! This is what BA implementation is all about, this sound, this sound right here. While maybe other TOTLs will do a slightly more authoritative response, I don’t know, there is a lot going on here, and in many ways, it’s everything. A W tune with a bass boost, an upper midrange add, the upper treble sparkles................Paradise!

Bass:
This (bass) was the first clue that I was in the presence of greatness. This style of bass is actually different than any I have ever heard. That and there is nothing odd-ball about it. It’s just that it is somehow utilized to placement into an area of the stage that is way out to the right and left. So it’s not just a tone like we typically refer to, but a positioning and a tone. It took me the longest time to get a handle of why it was different, but that’s what it is. That and it’s existing with this abnormal clarity? Such combination of values are rarely if ever found together. We are in witness of speed and texture, this tonal correctness that wins out over so many other bass styles. So let’s add this up, placement into the soundstage, a sub-bass tone mostly (as there is diminished upper bass)…….and speed. That and there is still a level of politeness in-spite-of-it-all? So normally sub-bass has a slowness that exists due to the lack of control. Here there is minimal lower bass fall-out. Its positional, clear and complete bass………which makes it fast. You combine that with the speed of the upper X4 BA composite decays and we have a terribly fast and responsive IEM.



Music:

Delain
Chemical Redemption
44.1 kHz - 24 bit

I have a love hate relationship with this album. Truth be told it’s a very different sounding album. A complex work-up of contrast and sonic tomfoolery. It’s the one of the strangest albums I’ve ever heard. Also many IEMs will have trouble reproducing the qualities held within its 13 songs. Let’s start off with the rhythm guitar here. Tweaked-up and processed to the hilt, it's big sounding, but more that, it’s a buzz-saw.....relentless and savage. It goes to become part of the basic rhythm section along with drums and bass.....all a back drop for the vocal includes by Charlotte Wessels. Sadly it’s the very last album with her up-front, being with the band almost from the beginning in 2005.

This is also such a strict and fully calculated style of music. By the numbers they create anymore, with very little room for personal leads or innovated outbursts. That’s what it’s about, a planned attack, fully programmed and orchestrated, with zero room for error. Somehow the ISN H50 goes along with the regimentation. Not only goes along with it............but excels at such framework. I truly believe this is how the song is supposed to sound? But better than that................we are partaking of multiple overdub vocal placements. Every take is alive in a new area of the stage, yet probably anyone would agree that it's the dialed-in pace that is setting the mood. I found the perfect song to get my point across, the pace ability is the ultimate statement of performance here. That’s right kids, the bounce........the stops and start-ups create this ultimate journey here. The fact is.......that they are playing with us, as the timing changes become the riddle.........such resources are tapped into. The chorus, the breakdowns.....it’s all wonderful. Yet it’s the vocals brought up just slightly by the upper midrange boost that become illuminated on-top of everything! That, and the fact that very few examples in replay do this song justice in pace. This song is super fast, and any not just quick in pace, but in instrumentation. Stuff has a super fast attack and decay. This music was made for balanced armatures.The instantaneous procurement of sonics, the shut off of decay. All with the support of the bass underneath, and texture only the H50 knows how to do.



DUNE OST
Herald Of Change
Hans Zimmer
48 kHz - 24 bit

We are now traveling to the other side of town. While this music uses an orchestra, the sounds are so processed and surreal, they may as well be totally electronic in nature. But it’s maybe Hybrid in that it’s electronic and orchestral in essence. Big drops in bass at 59 seconds. Really reaching out to the furthest of stages. All enveloping and omnipresent this bass tone is, yet textured and of the utmost quality. At 2 minutes 54 seconds we here a choir and a bass hit, at 3 minutes 41 seconds is the first of many of a progressively more textured bass introductions. We can hear inside the bass notes, and are swept away for a moment in time. Here while the attacks are of a more transient edge as opposed to the last songs bounce.....we still note the clarity of attack, just that the decays are longer and of less consequence. The whole album like many of Zimmer’s work revolves around a central theme, only to be reiterated over and over again, until the messages are spoken.

Side by side comparisons:
H40 Universal IEM: 9.2 DD (bass) 1 custom BA (mids) 1 composite 2BA (highs) $195.00
https://www.head-fi.org/showcase/isn-h40.24083/reviews#review-28747
I can't help but think the H50 is named as such as it's a progression of the H40 sound. Costing $100.00 more and offering in many ways the opposite tune. Where the H40 midrange is recessed, the H50 brings it forward, where the H40's treble is reserved in both frequency and detail the H50 brings it up. Not only frequency wise but soundstage wise also, including such details to flourish out and about, playfully invigorated! Where there is an overall forwardness (in presentation not FR) to the H40, the H50 sits only slightly back relishing in 3D realms of alternate reality. Such a place allows the bass to become more sculpted and textured. Treble replay offers formation of imaging of transient response items.......out existing on their own.......on the outskirts of the stage! The H40 vocals are slightly set back in contrast to the exquisite H50 performance!

Over-all detail is different, with the H40 using layers upon layers, the H50 is more direct, using focus and delineation. This really isn't a question of preference, as the H50 is the more technically superior monitor. Though frequency wise the H40 has a magic that is difficult to compete with. My problem arrives judging the H40 objectively, in that it's difficult to be objective with the charms of the H50 being around.

EST50 Universal IEM: 1 Knowles BA (highs), 1 Sonion BA (mids), 10mm DD (bass), 2 Sonion ESTs (ultra-highs) $459.00
https://www.head-fi.org/showcase/isn-est50.25254/reviews#review-28717
While the older and more pricy brother to the H50, The EST50 shows what is possible with more hardware involved. That, and an L shaped tune offer a more robust and dynamic bass experience. While complementary to the H50, just as the Sands is complementary. The EST50 is showing what bass hardware can ultimately do, the Sands showing what treble and brightness can reveal in your music playback. Such contrasts make you wonder how one person could even learn to accept both sides of the extreme as correct, when in reality all three the H50, Sands and EST50 are correct yet broadcasting there own unique flavor, ultimately representative of make-up and tune. All three are Hybrids..........and you already know how I feel about Hybrid sound. Each BA serves to showcase their individual job, and included is a dynamic driver to add decay and low-end. While BAs decay is their weak point, the correct implementation can turn that around into benefits. Add EST drivers on-top, and that's what we get with the EST50. A better finished response, yet of slightly less contrasting elements.

The Tansio Mirai Sands Universal IEM: 1DD (bass) 1BA (mids) 2BA (highs) $319.00
https://www.head-fi.org/showcase/tansio-mirai-sands.25799/reviews#review-28568
In many ways these two offer the same over-all value and build. The Sands 3 BAs and a single DD, the H50 4 BAs and a single DD. They both have semi-custom shell designs with the Sands being slightly smaller and offering tuning switches. Where overall the Sands comes off way brighter and not offering the bass sexiness found with the H50. While the bass is still there and gorgeous as ever inside the Sands, the sub-bass is even more robust and authoritative with the H50. While the upper treble is juiced-up with the Sands, it's been way elevated to become tremendous detail and forwardness, where the H50 comes off more tame and conservative in manner. Where the brightness of the Sands needs taming, the easygoing clarity of the H50 comes off more well rounded and even handed. Both have their charms, though I feel the H50 becomes more accessible to the masses due to offering a more practical tune. Where the Sands is a study in correcting, the H50 delights with its overall acceptability right out of the box.

Conclusion:
The H50 is for those entertaining the thought of jumping into the $295.00 price level for the first time. Or for the listener who has become jaded in the mid-fi territory, seemingly lost to find a true winner. Don’t give-up! Don’t give up because a true multitasking entity is upon you. The ISN H50 fits everyone, offers a well rounded sound signature that plays all file qualities, all genres and works with all sources. Not only does it work, it turns your music into an emotionally involving experience. Such an experience is filled with excitement and fun. If you’re only looking for relaxation, the ISN H50 has your back there too, offering musicality at low volumes as well as forgiveness if you decide to crank-it. In all my reviews, in the many IEMs I’ve investigated, the H50 comes out near the very top.

If you think you have to give-up something in the mid-fi territory, you don’t. You can have it all and not look back. As ISN continues to move forward, adding sophistication to its line, I can’t help but think the H50 will be the stepping stone to the next super TOTL flagship. There is a chance that replacing the treble balanced armatures with electrostatic elements would add a flavor. Of course that would raise the cost of production and create a jump to a greater price-point. The thing is, that’s not needed. Meaning this signature is very close to perfection just the way it is. We already have our TOTL Flagship sound right now………….here. While no IEM is perfect, this is truly all I need in an IEM. It’s not cost that justifies quality. Again, it’s not the cost that justifies quality! The frequency response here is leaving nothing out, there is nothing more to want. The technicalities are staggering for this style of money. Timbre and note texture are on a level far above the mid-fi price category. The soundstage is to die for, adding a dimension to the H50 totally unexpected for $295.00. Every once in a while an incredibly complete and beautiful example of the IEM art crosses my desk. And when it does I first start to make sonic evaluations. With the H50 the bass first attracted me, being it's different yet totally capable and integrated. This bass is both authoritative and in great placement. The bass display grooves and bounces, always within correct distance of the mids. The treble is spicy yet never hot, and the gentle boost on the midrange shows how W signatures work.

$295.00 is a heck of a big pill to swallow, yet this is one IEM you can ride-off into the sunset with. The final purchase in your quest to find satisfaction..............yes, the ISN H50 really is that special!

Get them here:
https://penonaudio.com/isn-audio-h50.html

Disclaimer:
These thoughts and ideas are of one individual, your results may vary.

Disclaimer:
I want to thank Penon Audio for supplying the ISN H50 for review.

Equipment Used:
Sony WM1Z Walkman DAP MrWalkman Firmware 4.4mm
Sony WM1A Walkman DAP MrWalkman Firmware 4.4mm
Sony TA-ZH1ES DAC/AMP Firmware 1.03
Electra Glide Audio Reference Glide-Reference Standard "Fatboy" Power Cord
Sony Walkman Cradle BCR-NWH10
AudioQuest Carbon USB
Shanling UA3 Dongle 4.4mm
Apple iPad

We all know how Audio Market has become a saturated market, especially during the last years making it even harder for any of us to choose a monitor that suits our personal flavor (its a paradox but the more choises one has, the more difficult it gets for that person to make a decision , and having a plethora of choises doesn΄t really help much,that situation occurs more and more in our everyday life and affects most people΄s life in every level)
Νevertheless H50 was not a blind shot for my case....
Having bought during the last 3 years from ISN AUDIO company H40,D10 and D02 iems has proved to be a safe solid choise and thus it was easy to follow ISN on their latest release H50 monitor.
Giving H50 a straight 5 star was really easy for me, as it impressed me the most straight out of the box from the very first listening.
I can recall 2 or 3 times the most, that other monitors had an immediate impact to my ears (one of those time would be their previous H40 model)

Disclaimer
Purchased H50 with my own money directly from PENON AUDIO and here¨s a link in case you are interest...ISN H50






ISN H50
Driver: 4 Balanced Armature + 1 Dynamic driver
2BA for high frequency + 2BA for middle frequency
10MM composite diaphragm Dynamic for low frequency
Impedance: 25ohm
Sensitivity: 108dB
Frequency response: 20-20kHz
3 channels 3-way crossover
Handmade resin shell
Stainless steel nozzle
Connector: MMCX
Cable:8 Strands 19 Cores OCC Silver-plated
Plug: Gold-plated
Cable length: 1.2M

Gear used for the purpose of this review : iBASSO DX 160 / Shanling M3X / HIBY R5
Just for the record.. H50 had allready completed a total burn in period of 200 hours before any kind of critical listening.

Package is pretty simple (and that has become a tradition for all ISN monitors even the most expensive ones)
as for accessories goes, yοu get two sets of silicone tips in 3 sizes, one pair of large size comply foams, and a unique dark blue stylish magnetic case
H50 comes with an ISN S8 mmcx cable in 3,5 / 2,5 / 4,4 balanced (termination of your choise)
Fit wise, i would consider H50 the closest anyone can get to custom fit,in my case at least fits like a glove to my extra large ear cavities and having tried several tips (symbio,azla sedna,sony hybrids e.t.c.) in order to find the ABSOLUTE BEST ISOLATION quickly ended up using Final Audio E tips cause those provided the deepest insert for me, as well as amazing fit and superb isolation .

SOUND
........or in other words this is where things get really exciting !!
FYI.... being a funny guy... I am always trying to reach for a "full headroom experience" for example..(DX160 high gain 60 - 70 step).. (in cost of my hearing health am afraid) nevertheless I still feel able to hear every single tiny detail / nuances in the majority of the recordings I am listening to...
....with an impedance of 25ohms ,this is a a very easy to drive pair of monitors either you use them straight out of a smartphone plug, or with an entry level dap such as Hiby R3. I currently use iBasso DX160 .Hiby R5 & Sanhling M3X with H50, all of them resulting in an exciting audition.
I consider their tuning as a balanced slight W shaped with bigger emphasis on the very low end ,slightly elevated mids and more emphasized sparkly treble.
Another noticeable thing regardless the music genre and the complexity of any track is the strong resolution of these monitors only to be found in much more complex implementations and way more expensive higher end iems.EFFORTLESS is the name of the game here.....
As far as Soundstage / image goes what you get is a really wide holographic scene elliptical you might say. Sound expands easily towards any direction ending in a certain amount of ambience hard to be achieved by any monitor in today's market.
accurate placement of instruments, right on spot, giving a strong palm of realism in every track.
Detail retrieval is also top tier on H50. Not in your face of course, in the background taking a back seat creating this way a unique atmospheric sense of the recording.

BASS
Vast but controlled at the same time with fast attacks and longer decays for acoustical instruments in this region
Never bleeds into the midrange,to be more precise the transition into the mids is smooth as butter, makes you think there is only one driver working in the entire FR providing cohesive steady solid sound. The 10MM composite diaphragm Dynamic driver for low frequency, is a new addition from ISN family and the biggest difference from their previous H40 model.But the biggest feature here is the sub bass impact.
To be more specific about it, in the sub bass region (20 - 60 Hz) H50 does all the "vibration magic thing",seems that the DD pushes a lot of air there effortless resulting in this exciting outcome.....
Even at the lowest volume levels you can feel that woofer tickling your ears and that makes a huge difference....
it΄s almost like you can feel the music rather than just hearing the sound.
I suspect partially due to their fantastic tuning and also due to their unique custom like fit which allows everyone regardless of their ear cavity size to experience a most unique fitting experience (the closest you can get to custom monitors as i allready have mentioned)
i suggest as a test track : LOCAL TOURIST - colors that one sounds completely a gem in the lowest region
Local Tourist - Colors

MIDS
2 BAs talking care of the midrange and once again the cohesiveness is trully admirable,there is a noticeable airy feeling between voices and instruments a balance hard to find at this price range
Spacious,emotional,lush with weight at the same time,seems like ISN AUDIO enginners found the right spot between thick and thin mids resulting to a unique and very realistic timbre.
Enganging and euphoric vocals is what should be expected from H50 midrange reproduction
Furthermore, the amount of air, especially in the midrange is really remarkable for any iem at this price, and i would easily compare the airy atmosphere in the mids (which is trully amazing) to the DUNU EST112 which is way more expensive monitor.
Imaging is really accurate , you can easily pin point each and every instrument in the sound field
Luna Li : Αfterglow is a perfect test track for the high level of engangment this earphone can provide......
Luna Li - Αfterglow


TREBLE
2BAs there as well working together for lower and higher department.
Extended but pollished, sparkly but fatigue free at the same time.all the upper region details are there ,not at your face ,at the background moving slowly inside your head filling you gently with all the information present at the recordings.
its an exciting,bright and sparkly treble providing at the same time an absolute fatique free experience suggested for long term listening sessions
Not hot,neither artificial, but natural and resolving even at the most complex passages
i would suggest Portico Quartet΄s : Captured time with the fascinating percussive and string section there ending up to a trully heavenly listening experience
Portico Quartet - captured time


H50 graph




COMPARISONS

vs H40
with a 9.2 DD & 3 BAs (1BA for the mids - 2BAs for the highs) H40 is a bass focused hybrid ,the epitomy of a FUN SIGNATURE SOUND a much beloved for many headfiers monitor and a personal favorite.H50 is the more balanced and the less bulky one between them.Its the one with a prominent sub bass emphasis against the vast bass signature of the H40s which from time to time, dominates and thus overshadows the rest of the frequency range. Vocals on H50 are more upfront than H40 and the airy feeling is more noticeable too. Treble is not H40s biggest advantage too,resulting in a more polite sound experience,its not like H50 is more aggresive at all.its just that H40 is more prominent in the bass region due to its tuning, Regardless that both are great hybrid monitors with H50 due to its tuning and implementation ,being the more airy and linear sounding between them obtaining a more ¨out of the head experience¨to the listener.
Anyway... FYI I still consider till this day H40 for their cost, an absolute VFM ideal all rounder........




vs DUNU EST112
EST112 from DUNU is a tribrid monitor with a 13.5 mm DD Driver with Dual-Sided Beryllium Coating ,one Custom Knowles BA tweeter and 2 Sonion EST supertweeters
I loved those straight out of the box ,for their vast wide soundstage,their polished sound,their clarity,their unbelievable detail retrieval.BUT as far as bass goes (strangely enough having a large 13.5 woofer) is way too polite if you compare it directly with a monitor like H50.The impact is missing, the sub bass kick lacks of energy, something that ISN AUDIO is a really specialist at.Though EST112΄s treble is really something else (propably the most airy treble i personally ever heard till now) it lacks some weight,or body i would say.On the contrary this is not the case with H50 where the body and sparkle goes hand by hand with the sub bass providing authority and definition to every single note.....
As far as resolution goes EST112 has slightly the upper hand overt the H50 in big orchestras and symphonic tracks. apart from that EST112 is really a pain in the ass as far as fit goes (using azla sedna tips was the only way for these really heavy monitors to stay tight on my ears).




vs UM MEXT
Configuration : 1 Coil OBC Driver + 1 Bass Dynamic Driver + 2 Mids BA Drivers + 2 Treble BA Drivers
Obviously what comes first in mind is the question : is this a fair comparison ? i mean come on...1kilobuck monitor versus a 300 bucks iem ???????
Got the MEXT just a week ago so lets start with a major downisde of the MEXT........It is by far the biggest monitor I ve ever tried, and certainly not the most comfortable experience for the average user....
it is a bass friendly monitor with a HUGE FUN SIGNATURE closer to H40 than H50.
MEXT is indeed a perfect all rounder, ideal for bass lovers obtaining a huge soundstage,top tier resolution ,fantastic mids and fascinating treble response.
nevertheless i have to admit that I was quite surprised during this comparison cause MEXT is my one and only kilobuck monitor and i realised with certainty, that those are quite overestimated (in terms of pure cost of course) against monitors like ISN H40 / H50...
In terms of airy/spaciousness feeling though this is quite subjective I would say H50 wins here... seems due it's more linear approach in the midrange and the treble region air/distance between instruments and vocals is more than noticeable leaving room for every single instrument to really shine in its own space....
in terms of timbre / note weight bot are natural and realistic with note weight being a bit more on the MEXTs side due to it's tuning mainly.
But.. in the other hand H50 being more airy obtains a touch more open feeling in the midrange leaving room for the vocals to breathe....
MEXT is a darker sounding monitor more "heavy feeling" more bass head friendly if you like...
on the other hand H50 is more reference like tuning, more balanced than the MEXT and more audiophile approach.... it's a brighter one with more precision and presence in the higher registries...
MEXT has been widely promoted for their newest technologies (Bone conducting driver) and the effects of that in the perception of the sound as we know it till now..
but believe me, if i wouldn't to know, between those two monitors (MEXT / H50) where this bone conductor driver lies, I would suspect the latest (H50).
To be more specific about it, as i stated earlier, in the sub bass region (20 - 60 Hz) H50 does all the magic you ll ever need .......
I suspect partially due to their fantastic tuning and also due to their unique custom like fit which allows everyone regardless of their ear cavity size to experience a most unique fitting experience (the closest you can get to custom monitors)
So...... I am afraid as far as fit goes... H50 are beyond any competition and certainly way above the MEXT (which is a bulky monitor) and I would highly suggest (cause of that) to anyone who is thinking of purchasing those..... don't do it with blind eyes...otherwise it will be a pain in the ass to get a comfortable fit, try them first then go on....
other than that i consider both monitor on par in terms of pure music pleasure and excitement .......




Final words
At this hobby it has always been a matter of personal taste and flavor when it comes to the choise of getting any iem that suits any individual΄s different point of view.
From my side at least i cannot reccomend enough the ISN H50. IMHO, ISN audio engineers really surpassed themselves making this fabulous set of monitors.
It is an absolute TOTL, regardless of their price there....able to faithfully reproduce any kind of recording or music genre effortless ,and the main point is that H50 has nothing to envy from much higher priced monitors coming from well established companies , or monitors using more sophisticated implementations.
All this for barely 300 bucks.....
Engagement is the name of the game here, and those H50s definitely deliver that. it's one of the most engaging monitors I have ever listened to.
Thanks for reading.............

ISN H50

with ISN GS4 cable.

ISN EST50

ISN the makers of premium cables and earphones has come up with some great bang for your dollar IEMs in the past. Their H40 even by today's standards is arguably one of the best hybrids you can purchase for your hard earned money. Two years later after their release ISN has created their newer flagship tribrids in the EST50 and now a true successor to their highly acclaimed H40 in the new H50.

The new H50 is a semi custom all resin design with an extra BA in the mix from their H40 design, a new composite dynamic with a reconfigured and retuned design that will surprise a lot of enthusiasts. Being true to the naming scheme, it utilizes 5 drivers per side A 10mm dynamic + 4 BAs. While this driver configuration is nothing new or exotic. It is how their newest has been tuned that will elevate the H50 to be one of their absolute best releases of the year. As with anything newly designed, yes these cost more than their previous H40 by $100. So what does the extra $100 get you for sound?

The H50 was provided for early press and review purposes by Penon audio. You can purchase a set from their website here. The H50 has been burned in for a week straight and is now ready for evaluation using a variety of my sources. IBasso DX300Max, Fiio M15, M5s, M3s, IBasso DX160, Sony ZX300, Fiio K3 2021, IBasso PB3, IFI Black Label for amping.

What your getting
H50 comes in their newer shiny blue box packaging. The earphones come with a blue colored magnetic lid, smaller sized box case, ISN S8 cables in the termination you order, two sets of silicones and a set of comply foams in large size. No flashy content and no frills here. But with that lack of accessories and basic packaging provided is easily made up for what you're actually getting for your hard earned money, a substantial progress for hybrid sound at the price level.

How they sound?
They actually suck. JK. Not what you would expect from them and that's not how they are gonna sound. The new H50 is tuned differently than what you would expect, especially coming from the older H40. This time around the sound has matured quite a bit and we are talking about how they are tuned. From the get go I recognized their signature especially for the mids presentation from of all earphones the Penon Legend which is Penon flagship IEMs you can read my take on those here. We are talking about a premiere $1300 flagship product. That's a good sign right? Even out of the box I can tell the sound was more higher end. Presents with a broad wide even stage that again you would expect from an ISN made earphone. I immediately posted my impressions of them here and as of writing this review, some will have their H50s in their ears to enjoy.

The tuning on the new H50 is more of a balanced W shaped Fr tuning which is a bit of a departure from the more balanced V shaped tuning of the H40. The three high points in the sound design are its subbass, a mild upper mids emphasis and an upper treble emphasis all 3 points playing an equal role on how the sound was tuned and how they sound. The advantages of using a dynamic here goes without saying. The new composite dynamic handles a highly capable bass end of the H50 to be what ISN has been known for. Its outstanding bass presentation adding to this, the advantages of BA precision, stage, detail, imaging, sound separation and you get an ideal hybrid in the H50s.

The overall sound tuning of the H50 has matured this time around and I think fans of the former H40s are going to like what ISN has done for the H50 sound tuning. I can say the sound of the H50 is different this time going for a more grown up higher end sound means it has more of a neutral tilt to its tonality and not as much in the way of a warmer tilt to the lower mids like the H40. ISN has tuned these to sound more reference and even better balanced than their previous H40 while maintaining its musical edge that ISN is known for.

Trebles, the details for your Jazz.

Trebles has very good presence for the tuning, the upper trebles gets a lift for the treble balancing with less of emphasis from the mid trebles of the H40. The result is an airy, better balanced and detailed treble end with an addictive shimmer in the presentation. The H50 treble end has a better extension over the older H40 and has the type of treble presence you would associate with much higher end headphone designs. I am gonna guess that one BA is doing the bulk of the lower to mid trebles and one is set for the ultra high frequencies. The treble this time around has good balance and sounds complete from lower to upper trebles. And with that added emphasis in the upper trebles adds that air, shimmery take on the H50 treble tuning.

The treble presentation meshes extremely well with the mids emphasis and adds to the overall balanced presentation of the H50. Tonally is just a slight splash of brightness for the treble area but nothing that is overly done. Trebles are clean and sound very agile handling all sorts of fine treble details. This greater upper treble emphasis adds a touch of nuance to the treble presentation that is missing for a lot of earphones. Overall the treble presence and ability is one of the clear changes from their H40 that is much higher end in how it is presented in the mix.

Mids. The imaging that stays with you.

The mids gets a slight vocal lift due to the mild upper mid emphasis and here is where you can hear the pedigree of Penons influence on the H50 tuning. ISN/ Penon are the masters of the dimensional mids presentation. If you don’t know all their earphones have a certain degree even the older H40 had that going on. In utilizing two BAs to do the mids. You get a smoother more ambient flow to the mids character that these guys have a knack of producing. The H50 does just this, the mids sound dimensional and all encompassing resulting in a very engrossing sound experience. Its sound surrounds you that is so very layered and how the mids present itself. Never heard an ISN earphone yet that has an uninspiring flat sound to it. You're never going to hear that. Something as important as the H50 for them they are going to bring out the goods for the mids presentation.

The body of note is not overly thick and nowhere near thin. Music requires a certain level of fullness and thickness that makes what you're hearing more tangible and real. ISN earphones have no issues with this and the H50 is presented with the right amount of body and weight to its sound presentation. The overall balancing for proper mids presentation here is quite excellent in what it does. The mids are similar to how Penon has tuned their flagship Legends as I mentioned. It has a similar upper mid lift and also similar lower mids presentation as well. Its expansive tonal character is also similar. The sound projects with a holography and an ambient fluid airy presentation for the wide mids that sounds much more higher end than what you're paying for. Its tonal qualities are spot on and with the precision that is included using two BAs projected through a single tube out to the ear. The mids on the H50 is fantastic given the sound design. No thinness, no brittleness, no off tonality and certainly with very good details. The wider mid bands for the H50 presentation sounds amazing for instruments and vocals alike.

Bass, the soul of your music

ISN is to bass what Penon is to mids. Meaning you will probably never see a flat neutral tuning from ISN for any of their earphones. The H50 has a good amount of bass that is tasteful and impactful with very good quality for the presentation. It's not exactly the strongest bass performing IEMs in their lineup. I would give that title to the EST50s. Bass completes this musically balanced signature and is defined just as good as the mids' images. Bass this time is handled with a 10mm composite dynamic. A slightly bigger dynamic bass driver from the H40. Composite dynamic can mean any variation of coatings and materials that make up the so-called composite dynamic. Bass this time sees an uptick in quality over the H40 bass presentation. I would give the H40 mid bass more punch so therefore more midbass but it is more the sub bass for the H50 that has a bit more focus this time around. With the focus of the bass emphasis more toward sub bass and the upper trebles emphasis on the opposite end. You get a wider imaging and more spacious mids presentation when compared to their previous H40s.

Mid bass sounds tighter and speedier with a healthy amount of punch, again showing a bit of a higher end bass tuning aspect to the H50. There is certainly enough bass emphasis for bass genres to shine. Since its focus is more sub bass. The agile sub bass rumble and texture is superb and any track with a sub bass emphasis will present with a satisfying deeply textured rumble.

Once you have this sub bass you can’t go back to hearing neutral sub bass or rolled off stuff, it just don’t sound proper. It is the upgrade for the bass dynamic that has the H50 and the extra BA doing the upper trebles with is new tuning that separates the H50 and their former H40. Bass here again is superb on all fronts. Sure the emphasis of bass is what I consider north of a moderate emphasis meaning these don’t sound as punchy as the H40 or as beefy as the EST50 but it easily rivals both sets if not excelling for sheer quality. It has enough presence to do bass genres complete justice and provides a snappier quicker decay for rock and metal music. It is just short of bass head levels but at the same time bass fans will appreciate the quality and its quantity of the bass presentation. It is a satisfactory amount of emphasis and with great ability, an accurate tone, snappy, punchy smile inducing rumbly bass all in one.

In the end
The H50 is yet another success by ISN. I can tell they clearly took the time to upgrade just about every aspect of their number one seller of all time the ISN H40. These are masterfully tuned folks. You’re going to find it very difficult to find faults to this sound and for a phone that is in the lower mid fi category in price, that is astounding. Don’t know if you can consider a $295 price tag mid fi category nowadays. It is at the outskirts of budget level in price more like it. Regardless of price, the H50 is firing off on all cylinders and shows what can happen when some experienced tuners throw down their best effort to create a hybrid that will punch way above what you pay for a set. This is what the H50 is.

ISN has created another monster here and if you are in the market to hear what one of the absolute best you can get for your money paid I feel the H50 represents a superb value for the price. I can see a scenario where folks that own much higher end earphones might sell them off and just keep the H50 around. Its tuning is not only versatile but expertly balanced to have enough coloration to the tuning to present your music on a proper higher level of enjoyment.

The sound has a shimmery airy detailed and refined treble blended with a mild upper mid forward spacious well imaged, properly layered mids presentation. The right amount note weight and body provided by the lower mids. Bass that is superbly crafted presenting a high quality tasty bass end with just the right amount of emphasis to stay in balance with the rest of the signature injecting ISNs house musicality in the mix. All presented in a wow-inducing fluid fully dimensional wider head stage for earphones and you get one heck of a hybrid you can enjoy for years. The H50 shows a step forward in ISN sound and that is always a good thing.