Intro & Me: I am guilty of being obsessed with headphone gear and will whole-heartedly admit to being a Rhapsodio fan boy. That said, I really enjoy testing all kinds of different equipment and IEMs are near the top of my list for listening pleasure and fun to engage with. I’ve slowly moved up the food chain (read: become crazier) and here I am writing a review for a set of $1,800 IEMs. As I’ve mentioned in prior reviews, I’m not a “technical” reviewer, I don’t know how to measure and provide frequency graphs, nor can I tell you much about the tuning or construction of IEMs. But what I can offer is a “review for the people” of sorts that want to know how these sound, how they compare to other similarly-priced IEMs and why I spent my hard-earned money on them. What you will receive here is an honest review – I can guarantee that.
Test Equipment: For this review, my source is Tidal desktop and Android apps, Gustard A20H DAC/amp, Pioneer XDP-300r balanced DAP, Astell & Kern AK70 and a bit of time with my new iBasso DX200. All listening was done in balanced mode via 2.5mm TRRS termination. Most genres were used, including rock, electronic, pop and even some country. I only used the Rhapsodio RSD Silver mk3 cable, but I would love to add to this review with some cable-rolling details if time permits, given my collection of cables from both Rhapsodio and other favorite makers.
Ordering, Physical Appearance, Fit and Tips: Why don’t we start with how you should probably go about ordering these, because it is unconventional in comparison to something like Sennheiser or even Campfire Audio for that matter. Rhapsodio is a small, boutique company based in Hong Kong consisting of a few employees. The captain of this masterful ship is Sammy, who I think is a really cool guy to talk to. I suggest reaching out via Facebook and you will almost certainly get a quick reply from Sammy. He is always willing to give opinions, suggestions, recommendations and you can always count on an honest answer. I’ve inquired with him about his most expensive products and his most cost-effective products and guess what, if a $100 cable will pair better than a $900 cable, he will tell me honestly to save my money. I can really appreciate that, because this “game” is a slippery slope as all of us Head-Fiers know. Sure you can go right to his website and order the IEMs, but why wouldn’t you want a friendly chat with the man who designed these himself first?
So back to the IEMs, they have a large-and-in-charge presence to them that will not go unnoticed. They have incredible details on the sides and they are made of a very smooth acrylic shell. I find them to be more comfortable than the Rhapsodio Solars, despite them being roughly the same size (although different shapes). They come with, I believe, a Rhapsodio Pandora Dwarf copper cable that is incredibly supple and comfortable, as well as an assortment of tips. They’re a fairly standard nozzle size and I find that my tried-and-true JVC Spiral Dots suit my needs best. Spinfit work fine, as to most of your other favorites such as Sony hybrids. Thankfully, I don’t find this IEM to be hugely affected by tip rolling. Again while they’re large, they’re not heavy like the Galaxy and they stay in my ears just fine. No issues wearing them for long periods of time. These also come with a really nice aluminum Rhapsodio case.
I’ve always loved the look of Rhapsodio IEMs and these do not disappointed. They’re a swirled blue/purple design on the outer shell and elegant black on the rest of the casing. Of course, the Rhapsodio cables also sport jewelry-like looks and while this is a gorgeous looking IEM, it is not as flashy as say the solid brass of the Galaxy or clear shells of the RDB mk4. Being the next generation of the RDB mk4, they follow the same type of hybrid design, but Sammy tells me they have a new dynamic driver and twice the number of balanced armatures, so it’s quite an evolution of that earlier mk4. I loved the mk4 and gave it five stars for its fun, smooth musicality and these turn everything up a notch in every department. And, they should for twice the price.
Sound: Let’s first talk about the sound signature and overall sound quality. Signature is right up my alley where they trade neutrality for musicality to some degree, but these are not extreme V or U-shaped IEMs. These are warm, bold and powerful-sounding IEMs with very nice texture and detail, especially in the lower registers. Everything is there and everything is huge. These are as close to full-size-sounding headphones as I have ever heard in an IEM with perhaps the only other one coming close being the Vega. These just sound massive. It’s rounded out nicely and while it is tuned on the “fun” side with slamming sub-bass, warm and punchy mid-bass, the largest departure I think from the mk4 is that the treble now does not take a backseat like before. It’s all here, and lots of it. Detail is also superior to the mk4 and perhaps even superior to the Solar, but more on that once I get to comparisons. These are IEMs that you just want to listen to, for a long time. These are very dynamic IEMs covering a wide range of genres. They’re quite resolving and while I don’t find them lacking at all technically, they are simply tuned different than something like the Dita Dream or Galaxy V1/2. I really find them to be the best “all-rounders” I’ve ever listened to.
Bass: Starting with sub-bass, I have a feeling these reach deeper and slam harder than most of my IEMs sans perhaps the Vega. I loved the sub-bass on the RDB mk4 and these are even better with the 11mm new dynamic driver. To me, you can’t replace that subwoofer feel in the ear that a dynamic driver provides and these showcase that excellently. It’s not muddy, it’s not flabby, but it’s powerful and it sure does not disappoint. Put on “Why So Serious?” by Hans Zimmer and scroll to 3:20 and be prepared to have the hell scared right out of you. Maybe that’s why they’re called Zombies? I kid you not, these beasts can reproduce the low frequencies in a way that will startle you if you don’t know it’s coming. You could even call these bass-head IEMs, but you’d be doing them a disservice because there is so much more to love. Mid-bass is quite prominent; it’s punchy and warm, but these are definitely tuned such that the mid-bass is there more often than not. I really like this tuning because I love gobs of bass, but to each their own. A good example of this is “Talk Shows on Mute” by Incubus, where you’ll hear the bass guitar being the star of the show.
Mids: I think mids are hard to review because each type of music can showcase them very differently. On the Zombies, I would call them slightly recessed but not to the point where the IEMs exhibit a huge V-shape. Mids are lush and vocals sound great, with nice texture – I especially like female vocals like Haley Reinhart, which produce a nice, smooth tone. That prominent mid-bass does a very slight disservice to the mids, but again I prefer this sound signature. Mids are not muffled or attenuated, they’re just not standing out from the bass in such a way that the Earsonics S-EM6 would for example. Electric guitars sound appropriately thick and crunchy and I really think most people will find little fault with the mids on these.
Treble: I’m pleased to see the higher notes get more attention on these IEMs in comparison to their previous iteration. While the treble is nicely extended and articulate, you will find zero sibilance and I would still call these recessed in the higher registers, though not nearly as much as the mk4. To me, this is a double-edged sword. On one hand, you can listen to these for hours and hours and I cannot imagine treble fatigue setting in, but on certain tracks (“Feel it Still” by Portagul. The Man) I could stand a tad more extension in the treble. Now, I’m not very sensitive to treble at all, so I believe these will strike a perfect balance for most folks. Electronic tracks really showcase the amount of detail that these IEMs can produce in the highs, so I honestly have no complaints here and applaud the tuning by Sammy and team. Try something like “Frontier” by Doctor Vox and you will find your toes tapping and quickly realize that those four balanced armatures for the highs are getting things just right.
Detail, Separation and Soundstage: I think a lot of reviewers are better qualified than me write on soundstage and I am not afraid to admit that. So a quick word on my methodology here, and that’s when I write about soundstage I am using it as an all-inclusive term for how large and detailed the theoretical and portrayed “stage” is and how I can place the instruments on that stage. My ears are not good enough, usually, to tell me exactly how tall the stage is, how wide the stage is or how deep the stage is (and certainly not what color socks the drummer on the left is wearing). Instead, I will say that the Zombies are cable of portraying sounds from all directions extremely well and from quite a large stage. Specifically when listening to something recorded with a binaural microphone, sounds feel extremely realistic and quite far out of my head with fantastic separation between instruments. The soundstage is very realistic and I can very clearly hear where certain instruments are placed. Detail retrieval is extremely impressive on good recordings and I don’t find anything lacking here. Keep in mind, these are not cold, analytical IEMs favoring details over musicality, though. Other IEMs can produce more realistic details and clarity (perhaps the Dream), but for a musical IEM that I can listen to all day, I’m quite impressed with the amount of resolution these provide (especially with Sammy’s excellend Silver mk3 cable). While I won’t call any part of this a tradeoff, I will say that if I could ask for that perfect blend of detail, clarity and musicality then these would be as close as I’ve ever heard.
Comparisons: Now the fun begins, right? At this level of price and performance, I stand firmly in my belief that it is very hard to declare “winners” rather than just appreciating and embracing differences. Take Nic’s shootout, for example. Were there any losers? Hello no! Were there any winners? Maybe, but one’s winner may be another’s loser, and so forth and so on. So in this case, I will do my best to tell you how these compare to some other IEMs I have and your homework is to interpret my thoughts with the understanding that your preferences are ultimately much more important than mine! Right?
Rhapsodio Solar: The obvious comparison that I envisioned long before I started writing this review. The Solar, a very popular 10 balanced armature IEM on Head-Fi that many love for their luscious musicality, wonderful detail retrieval and fun sound signature. I went into this thinking that it would take a lot for me to like the Zombie more than the Solar and the verdict is: I do. Right out of the gate, you hear that dynamic driver sub-bass of the Zombie that the Solar does not provide. The Zombie hits deeper, harder and overall will satisfy someone craving bass. Mid-bass is similar on the two in that it is prominent (still more prominent on the Zombie), warm and provides that crunchy and thick electric guitar. Moving into the mid-range, the Solar provides a more balanced and forward midrange. Vocals sound slightly thicker on the Zombie where as they are slightly clearer on the Solar. Personal preference here, but I think the mids/vocals on the Solar are more versatile with numerous types of music, but the difference is not huge. Treble is very nicely extended on both IEMs, but tuned differently. The Solars are brighter overall and give the impression of increased clarity in the upper regions in comparison to the Zombie, but again the differences are subtle. Overall I prefer the sound signature of the Zombie, hugely prefer the bass and love the mids and treble on each in different ways. Soundstage is larger to me on the Zombie and more intimate on the Solar, while detail retrieval also feels superior on the Zombie. The Zombie is also just so coherent that you wouldn’t know you’re listening to 8 balanced armatures and a dynamic driver. So many hybrids get this wrong and yet, the Zombie feels like a Solar that is improved in nearly every way.
*Cable used for testing: Rhapsodio Silver Knight 4-braid pure silver
Campfire Vega: I love the Campfire Vegas and thought this would be a fun comparison. The technology and configuration similarities start and stop with both IEMs having a dynamic driver, but that’s about it. Heck, they don’t even take the same cables. The Vega has one, fancy, 8.5mm diamond something or other driver coated in unicorn dust that absolutely rocks my face off. The sub-bass on the Vega is hard to beat with its authoritative punch and deep rumble, but the Zombie definitely competes with its 11mm dynamic driver. Mid-bass rolls off much quicker on the Vega where it continues to be elevated in the Zombie, giving the Zombie a warmer transition into the mids and overall warmer tone in general. The Zombie has almost an analog character in comparison to the sometimes-sharp Vega. The Vega has a lot of energy where the Zombie seems more rounded, though it still slams you with authoritative bass. Mids, too, are thicker on the Zombie than the Vega. I might prefer the Vega for electronic or pop music, where the Zombie just screams with band-based music such as rock (though I still love its bass slam for nearly everything). The Vega overall just sounds a tad cleaner, but also thinner. The highs on the Vega are more extended and present than on the Zombie, so this will be either a pro or a con depending on your tuning preference. I love the brighter and energetic of the Vega, depending on genre. So let’s take those extremely disorganized thoughts and provide a TL;DR, shall we? The Zombie is thicker, warmer and more polite up top while the Vega is a touch cleaner, more energetic and extended in the higher regions. I love both!
*Cable used for testing: Triton Audio custom 8-braid pure silver (this may contribute to the Vega being brighter than how it would sound with the stock SPC cable)
Earsonics S-EM9: I won’t mince words here, these are two very different IEMs despite sharing a driver count of nine. I think my time is best spent here pointing out the differences, because there are not many similarities (well, price tag!). The S-EM9 have long been a favorite IEM of mine due to their lovely sound signature, technical abilities, comfort and completely idiotic nozzle design that you cannot fit any of your favorite tips on. So let’s start with the bass, which is quick, punchy, fun and very articulate and detailed on the S-EM9. In comparison to the Zombie, quantity is lower but quality may be higher where fast-paced kick drums are concerned. The Zombie reaches lower and just moves more air in your ear to create that subwoofer feel, where the S-EM9 still has great sub-bass extension but not in the quantity that the Zombie provides. Mid-bass on the S-EM9 is also quick and punchy and with electronic music, it provides a very clean and clear kick to the music where the Zombie sort of shoves that slower, more lush bass in your ear whether you want it or not. The S-EM9 is the more neutral IEM of the two. Mid-range on the S-EM9 seems more forward to me, though thinner, clearer and more transparent. Earsonics knows how to do mids and they have done it here. While not thick and creamy like the S-EM6, there is very little to fault the S-EM9 for in regards to mid-range frequencies. That said, the Zombie is thicker in the mids, a bit more laid back and overall will come down simply to personal preference. I declare no winner here of course, just difference. The treble on the S-EM9 is probably the largest difference between the two IEMs where it is extremely detailed, extended and just crystal clear. The upper frequencies give the S-EM9 a sense of clarity that I have not heard in many other IEMs, if any. It’s not bright, per se, but the treble is definitely a showcase of what the S-EM9 can do on not only a technical level, but it’s just flat out enjoyable to hear. Soundstage is larger on the Zombie, but instrument separation and placement is right up there on the S-EM9. The S-EM9 is really great balance of musical energy and incredible technical abilities. No winner here, but I would say the Zombie is for the bass-lovers who prefer an overall thicker sound, while the S-EM9 is pretty hard to beat for clean pop or electronic music.
*Cable used for testing: SilverFi X pure silver cable, slightly modified so that I can actually use it in my ears (this is known to be a warm cable)
Dita Dream: While I have not had the Dream for very long (a month or so), I thought it might be fun to compare the sounds of these very different IEMs. The Dream needs no introduction with its unapologetic flagship price tag and status, seemingly heroic stock cable and the promise of providing sonic details that the musicians didn’t even know were there. While both IEMs have a dynamic driver, the similarities stop there and the Dream makes no denial that it is a reference monitor. But as Nic points out in his brilliant review, this can be a very good thing. The sound signatures are so different than it makes a comparison both very easy, and very difficult. Sub-bass reaches very deep and remains extremely clean and controlled on the Dream, but the quantity is drastically less than on the Zombie. Mid-bass remains very clean, punchy and controlled on the Dream, while it is much more prominent in the Zombie (although slower and less controlled, as the sub-bass). I don’t see either of these as bad things, they’re just quite different. The quality of the bass on the Dream is a very strong point, whereas the quantity is much higher on the Zombie. I know that seems like an oversimplified description of the bass on each IEM, but it’s very true to my ears. The Dream, after all, is geared toward a reference tuning and does not exaggerate any frequencies. Instead, this is as close to as “the artist intended” as I think you are going to find. That said, it still is a fun IEM in that it provides loads of clarity and detail and it is not completely dead-cold-flat. The bass still, to my ears, is slightly more elevated and emphasized than something like the Earsonics S-EM6 V2, which can sometimes sound like they forgot to put a driver in that handles the lower bass regions. Moving onto the mid-range, I think ultimate clarity was achieved here and it too is very clean and neutral. The Zombie is thicker in the mids and despite them being somewhat recessed, the vocals and guitars still sound more musical and textured in the Zombie. Like the S-EM9, the Dream is fantastically clean, controlled and offers stunning resolution and detail. The highs continue the trend of clarity and resolution and are quite different from the Zombie. The Zombie again provides great extension, but they are very tame compared to the cooler, brighter highs of the Dream. Anyone sensitive to treble may take slight issue with the Dream’s bright, resolving upper frequencies, but I certainly enjoy what it provides. Another TL;DR, buy both the Dream and the Zombie, they go nicely in your collection together. I kid, but really they are very different IEMs and someone who wants warm, musical, fun bass should consider the Zombie where someone trying to eek out every last detail might be better served by the Dream. For me, the Zombie is the more enjoyable listen day-to-day by a fair margin.
*Cable used for testing: the extremely uncomfortable, stiff Van der Hul “Truth” Dita cable that comes with the dream, which can also be used for repelling off a mountain due to its strength
Conclusion
This review took me a while to write and not because it’s any good, but because I have been enjoying listening to the RDB mk8 Zombie so much. Okay, having a little boy being added to our family has not helped either, but I digress. I think it should come as no surprise that I absolutely love the Zombie IEMs and they have, for all intents and purposes, risen to the top of my collection. Some of my IEMs are more technical, some are more neutral, some are more comfortable and some are a hell of a lot cheaper. But none are as fun and at the end of the day, I give five stars based on the fact that if I walked into my room and opened my IEM drawer (yes, I have one), these are the ones I would grab over any others. In fact this weekend I went out of town in Sonoma County and brought the Zombies, a 2.5mm balanced cable and only a smart phone. I think I suffered some serious depression and considered driving two and a half hours back home to either get an adapter or a balanced 2.5mm source so that I could listen! These are emotional, musical and fun IEMs that really showcase what Sammy and Rhapsodio are capable of and that’s creating beautiful IEMs that just sound incredibly good. They’re not for everyone (and no IEM is) given their fun sound signature and tuning, but they sure are for me and I’m the one writing the review, right? Listening to IEMs like these make me excited to see what is in store for Rhapsodio next and there is a reason that I pretty much buy every release that comes out, and do so rapidly with enthusiasm. These gems make nearly all of my music sound fantastic and I start to forget the things like what DAC chip my source has, whether or not I am listening to FLAC files and if my cable has 1% gold in it. I really like the trend that flagship IEMs don’t have to sound cold, flat or boring. These are a wonderful example of tireless testing, tuning and refining to create an IEM that is unapologetically fun to listen to. Yes, it is expensive, but in this pay-to-play “hobby” I will gladly shell out my hard-earned cash for these masterpieces.
Supporting Links:
Rhapsodio RDB mk8 Zombie:
https://www.rhapsodiostore.com/products/rdb-mk-8-zombie
Rhapsodio Silver mk3 cable:
https://www.rhapsodiostore.com/products/rsd-silver-mk3
Triton Audio cables (seen on Vega):
http://tritonaudiocables.com/Triton8-Flagship-Hybrid-Cable_p_35.html
SilverFi cables (seen on S-EM9):
http://www.silverfi.com/
Nic’s shootout/review:
https://www.head-fi.org/threads/ran...ut-introduction-and-reviews-on-page-1.826876/
