Simgot Supermix 4 (1DD + 1BA + 1 Planar + 1 PZT)

TLDR version on YouTube: TDLR - Simgot Supermix 4

The Supermix 4 have been sent to me by Simgot in exchange for the publication of this review. Simgot have not requested anything or made any comments and, as always, I will do my very best to be unbiased in my review of these IEMs.

There doesn't seem to be an official page for the Simgot Supermix 4, at least I haven't found one, but they are available from the usual online stores. A quick search online will bring back plenty of results to choose from.

To avoid being repetitive in my reviews, you can find all the info about how I create the reviews, equipment used, how I receive the products and how to interpret my reviews by visiting: About my reviews



Intro…

I have to start off by saying that I am very happy to review these IEMs. As I mentioned in my last Simgot review, and probably in other reviews of Simgot IEMs previous to that one, I have really wanted to like a set of Simgot IEMs.

By that I don’t mean that I don’t think that Simgot make good IEMs, all of the IEMs I have received from them have been good, but I have struggled with all of them to some extent or another. The EA500LM, my last Simgot review, was the set that I have enjoyed the most to date but, even then, I would still not say that they are for me.

I have to give credit to Simgot for reading each of my reviews, saying thank you and moving on without a single complaint. It is not that my reviews of Simgot have been negative but there are a lot of brands who take offense with comments that are not along the lines of “these are the best ever” and no longer contact me to review their IEMs. That is something that Simgot have never done, in fact, they have continued to send models until we are where we are today.

Now, looking at the tuning of the Supermix 4 on paper, I would have said that these IEMs are probably the tuning from Simgot that I would most dislike out of all of them. I know I am jumping the gun here, I will get to audio impressions in a moment, but this is another one of those cases that proves that my preference target is nothing but a squiggly line that has no impact on whether I will like or dislike the sound of an IEM. But anyway, more on that in a moment, let’s first mention briefly what the Supermix 4 are.

Featuring four drivers in a hybrid set up, consisting of a dynamic driver, a balanced armature, a planar magnetic driver and a piezoelectric driver, there is a lot to go wrong when trying to make all of these play together in a coherent way.

According to the publicity, they are using the 10mm DD for the low frequencies, the BA is being used for the mids and the Planar+PTZ are being used for the higher frequencies. They are priced at around 140€, a price that I feel is more than reasonable for what you get, so let’s see what it is that you actually get.



Presentation…

While the outer box is not the usual style we get from Simgot, the packaging and contents certainly are. The outer sleeve is green and shows an x-ray style image of the IEM on the front, with the frequency response graph and the specs shown on the back.

Removing the sleeve reveals an inner box with a flip open card style lid, something very common on Simgot packaging, which opens to show the IEMs in foam cutouts and the usual accessories box below. Underneath the IEM section, we get the second box which contains the included tips.

The tips are the usual ones that Simgot includes, nothing extraordinary but I have, as always, used them for this review. The included cable is rather nice, with an outer texture that is a little rubbery to the touch but nowhere near like cables from other brands. It is stated to be an oxygen-free copper silver-plated cable, if you are interested in that kind of thing. All I know is that it works and is quite nice.

The storage transport case is also the typical oval shaped non-branded case we have seen in other Simgot packages, again nothing special but more than enough to protect the IEMs when storing or transporting.

In general, the contents could be considered a little sparse at the price point in comparison to other brands but it is the usual content from Simgot (except for no additional nozzles with this set, something I am actually happy about ) so it is no worse (or better) than other options from the brand.



Build and aesthetics…

The shells are simple black 3D printed shells with a dark grey metal (I think it is metal) faceplate. The faceplate has a simple circle on it in a goldish colour, depending on light, making them very simple overall. These are not the typical fingerprint magnets from the brand, no mirror finish which can look great but also be a curse if you are someone who hates fingerprints. Here we have something that does not show signs of use at all, at least in the time I have been using them.

The size is around average, not overly large but certainly not small and the fit is comfortable for me personally, being light weight also. Due to the length of the nozzles, I have found that I can use both medium and large size tips with these IEMs, getting a seal with both. After some listening, I found that I preferred the larger option with the IEMs getting just a couple of mm less insertion but both work.

The cable, as I said above, is quite nice and has metal hardware that matches the faceplate of the IEMs, so, while nothing extraordinary, I am quite happy with the overall aesthetics of the Supermix 4.



Sound…

All tracks mentioned are clickable links that allow you to open the reference track in the streaming service of your choice (YouTube, Tidal, Qobuz, Spotify, etc.)

If you read the intro, then you already know that this section is going to be positive. However, before getting to the subjective bit, here is the graph of the Supermix 4 in relation to my personal preference target:



Ok, so I enjoyed using these for general listening for the week I used them but let me share my opinions on these IEMs while sitting down with my usual test track list and focusing on specific tracks and performance.

As always, let's start with the “Chameleon” subbass torture test. There is a lot of subbass here and, to be honest, it can become a little much unless you are someone who likes a lot of rumble. The driver does a good job of presenting the track, although I do feel that it is a little overwhelmed by the brutality of the bass when it is in full swing. By this, I don’t mean that it sounds bad, far from it, it proves to be a very capable driver in the lows, it just suffers slightly when driven to the limits.

Moving on to something that is still bass but in a much more sensible way, “No Sanctuary Here” sounds very good on the Supermix 4. There is plenty of subbass and midbass without ever getting the sensation that the driver is suffering at all. There is a very nice cleanliness to the bass hits, while not really over shadowing the rest. Yes, there is an emphasis on those lower notes but they are not stealing the show from the rest of the track, they just sound very full and capable.

The low end reverb in “Crazy”, something that easily fatigues me if overdone or not 100% clean, on the Supermix 4 sounds very clean and pleasant. There is again a sensation of the low end having a great “body” to it but without seeming overdone and keeping it clean and articulate. There is also no harshness or sibilance to Daniella Andrade’s voice in this track, something that does appear on a lot of sets. While there is definitely a bit of a focus on the lows and the upper mids, I find the track to sound very pleasurable on this set of IEMs.

Even though there is that V shaped response to these IEMs, it does not overpower the mids completely and I find it does an excellent job of reproducing “Sun Is Shining”, where the electronic bass is definitely the strong point but the rest of the track is still clean and by no means eclipsed at all.

Another track that shows the capability of these IEMs to reproduce a good low end without taking away from the clarity of the rest of the song is “Elephants on Ice Skates”. The bass plucks are clean and articulate, the brass sections are not overpowering and the the actual low bass notes are full and smooth.

There is a nice sensation of treble extension and air without it sounding artificial. While the Supermix 4 may not be the most detailed of IEMs, it doesn’t try to artificially create a sensation of being more detailed than it actually is, meaning that there is no overly pushy upper treble that tries to make the details stand out. That doesn’t mean that they are lacking in detail, they do a more than respectable job, they are just not something that is focused on making detail the forefront of the experience.

The soundstage is not huge but there is a nice separation between the instruments and vocals inside that stage. That also goes for the layers of vocals in things like “Strange Fruit”, where they different voices are identifiable but are not really separated, more of a chorus effect than individual vocals.



Conclusion…

This is the review that I have been hoping to do of a Simgot product. I have been wanting to really like a product of theirs and the Supermix 4 is finally it. For once my conclusion isn’t “they are good... but…”

The fact that I have been wanting to like something from Simgot may mean that there is some subconscious bias on my behalf, which I have tried to avoid but can’t guarantee that it isn’t there. Saying that, I also wanted to like previous models and it has taken until the 6th model I have tried to actually get there, so a “thank you for your patience” goes to both Simgot and you, the reader!

I find the Supermix 4 to be a very pleasurable IEM that I wouldn’t say is the best at anything in particular, but it does a good job at everything. It is a set that I have really enjoyed using, no matter what music I have decided to listen to, and feel that it is certainly something that those looking for a general all round set to enjoy music should take a look at.

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As always, this review is available in Spanish, both on my blog (www.achoreviews.com) and on YouTube (www.youtube.com/achoreviews)

All FR measurements of IEMs can be viewed and compared on achoreviews.squig.link

All isolation measurements of IEMs can be found on achoreviews.squig.link/isolation

Disclaimer:​

Good morning, Readers! Today we are going to look at the Simgot SuperMix 4. Following the EM6L, EW200, EA500LM, and EA1000, comes the SuperMix 4.

I believe the Simgot SuperMix 4 is a solid upgrade to the EM6L; in fact, the design appears to be a continuation of the former.

Simgot has decided to propose a very interesting hybrid configuration, a sort of mixed salad with an excellent selection.

I’m not an audiophile; I’m just a guy that likes to test out different IEMs and DACs and spends a lot of time listening to music. I fall into the audio enthusiast category.

So I’m not going to use super-technical words to review it, but I will do my best to describe it.

Tech Specs:​

• Driver Configuration: 1 DD+1 BA+1 Planar +1 PZT
• Impedance: 7.2Ω±15% (@1kHz)
• Sensitivity: 120dB/Vrms (@1kHz)
• Frequency Range: 8Hz-40kHz
• Frequency Response: 20Hz-20kHz
• Shell Craftsmanship: High-Precision Resin 3D Printing
• Cable Material: Litz Structure High-Purity Oxygen-Free Copper Silver-Plated Wire 0.78 2 pin
• Plug: 3.5mm Unbalanced Plug
• PRICE starting from: $134.99 USD

Packaging:​

First look
The Simgot SuperMix 4 comes in a metallic green package with a graphic representation of its internals. When we slide the cover, we can already see the SuperMix with the following accessories:

• Hard case
• Cable
• Tips 07
• QC card + Manual

07 tips
The hard case with the gold-colored zipper is an unexpected touch of class. Beautiful to look at. The included cable is not particularly thick but is advertised as Litz and should be of good quality. Unfortunately, it is not balanced. Tips 07 are, as usual, the best stock tips.

Design/Build Quality:​

In my opinion, the Simgot SuperMix 4 takes up the design of the EM6L, a slightly different style from that proposed for the others with a single driver. I think the choice of resin and 3D printing is mandatory in the presence of multiple drivers to facilitate the internal structure. The aesthetic choice is even simpler than the EM6L.


Inside, we find 4 different drivers per side, managed by a 4-way crossover:

• 10mm dynamic driver responsible for low frequencies
• Balanced armature responsible for medium frequencies
• Planar magnetic driver responsible for high frequencies
• Piezoelectric driver that assists the planar driver by adding extra details and resolution plus airiness.

Nozzle macro
On the gunmetal faceplates, there is only a gold/copper colored ring. Without logos or writing that refers to the brand. Even on the resin, we only find SuperMix 4. The structure is a little thicker (it must accommodate 4 drivers per side), but the ergonomics and shape are some of the best. The nozzle is quite wide, but I’ve seen worse. I would define it as medium in size.

We have two ventilation holes, one located on the faceplate where we glimpse a metal grill, and the other located towards the other near the connector.

The construction quality and general solidity seem superior to me than the EM6L, and this is excellent news as many have had some problems with the nozzle coming loose.

Initial sound impression:​

At first listen, the Simgot SuperMix 4 surprised me both positively and negatively. Let me start by saying that in a hurry, I took my Poco M4 Pro and the Fiio KA11, which perhaps is not the most suitable dongle. I believe this combination, plus the mood I had at the first listen, influenced the first impression a lot. The timbre seemed unnatural to me, with some elements, especially in the mids, bordering on artificial. Also, thanks to the mood lately, the music sounds different and almost always sounds worse. But when I started listening again the next day on the PC with the EPZ TP50, things immediately changed for the better. I finally feel its potential, and in a certain sense, the artificial touch has remained, but in a much lighter way. Surprising for the amount of micro details and separation of sounds.

Comfort & Fit:​

In terms of shape, it is more similar to the EM6L; the comfort is absolute; and the stability is also better than the models with metal shells. The lightness factor also helps a lot. As for the tips, the standard ones are excellent, but in my case, I had some problems in terms of sealing. I believe that such an elongated nozzle deserves tips capable of a slightly deeper insertion.

Tips Rolling?​

Tips Rolling
The Simgot Supermix 4 comes with the 07 model tips, which, in most cases, work very well. However, I always noticed a slight difference in bass on the left ear, so I decided to do some tip rolling, which, to be honest, ended very quickly.

On my first try with the Divinus Velvet Tips, I noticed excellent comfort, especially if you choose a size that allows for a slightly higher insertion than normal. However, their finish allows for pressure relief in the ear canal, but in the case of the SuperMix 4, it seemed excessive to me. Clearly, the vents in the shell are already doing their job well, resulting in loss of low range, more dispersed bass, and shriller highs.

I skipped the other tips because they were similar to 07, so I went straight to the wide bore. I could have chosen between Tangzu Sancai, SS20, and Tri Clarion, but I skipped the first ones because I would already found the IEMs they should be on. The Tri Clarions would probably have increased the treble, so I switched to the sand/human skin colored SS20 tips, which are slightly smaller than usual, have deeper insertion, and perfect sealing. The bass are back finally!

Equipment used for testing the above:​

Device:

• Mac mini
• Redmi Note 7
• Poco M4 Pro

Software:

• Amazon music UHD 24bit 96kHz

DAC:

• Moondrop Dawn Pro
• Fosi SK02
• Fiio KA11
• Fiio KA17
• Fosi DS2
• Simgot Dew4x
• EPZ TP20 Pro
• Hidizs S9 Pro Plus
• EPZ TP50 (Most Used)
• Creative SoundBlaster X5

Simgot DEW4X
I did about 12 hours of burn-in at a fairly high volume. I can’t tell you exactly if there are improvements, as I changed the tips, and that’s what definitely improved them compared to the first listen. Plus, there are the usual brain and mood factors that make you both adapt and perceive things differently.

Final sound impression:​

The Simgot SuperMix 4 is definitely an interesting hybrid; the driver configuration is very spot-on, and the tuning is very good. After careful listening, they are definitely better than the Simgot EM6L (which, however, remains excellent for the price). The difference lies above all in separation, layering, and details. In terms of tuning, they chose the 2019 Harman curve. The only thing is that perhaps the midbass is a little shy and the tonality tends to have a cold touch, which affects the mids and therefore the voices, which are sometimes a little metallic. I believe that, with the right tips, this perception can be greatly reduced. With perfect sealing, the bass can compensate for the tonality.

I would have told you to try using slightly warmer sound dongles, but that’s not necessarily the best result. Given its slightly cold tendency, as anticipated, I carried out a first listen with the Fiio KA11, but with a good but not excellent result. It’s definitely better with the EPZ TP50 and the Simgot DEW4X.


I would have told you to try using slightly warmer sound dongles, but that’s not necessarily the best result. Given its slightly cold tendency, as anticipated, I carried out a first listen with the Fiio KA11, but with a good but not excellent result. Definitely better with the EPZ TP50 and the Simgot DEW4X (slightly better).

But the one that really gave its best in the economic range of dongles was the Fosi DS2 (same thing for the iBasso DC04Pro).

Bass​

In terms of bass, especially the mid-bass section, it is a little shy, the extension of the sub-bass is good and dense, the texture is excellent, quite fast and precise, and the dynamic driver only deals with the bass. I think perhaps it could also be something more, but being faithful to the 2019 Harman curve, this is the best that could be achieved. The important thing is not to lose details with the wrong tips.

Using the SS20 tips, the bass gained fullness and definition. You can see how the separation from the other frequencies is clear and clean.

Mids​

As for the medium frequencies, the balanced armature takes care of them; this could be one of the many reasons why they sound a little cold and metallic. They are certainly not the queens of naturalness, but I can assure you that the details are truly surprising; the separation is absolute, but they appear slightly in the background. The presence of air in the mids is absolutely incredible, plus there is a lot of musicality, which makes them very attractive even if the tonality would have been slightly warmer. Perhaps it could have been compensated with a fuller and less damped lower midrange.

You will notice this, especially on certain tracks and female vocals.

Treble​

The planar and piezo drivers work exceptionally well as a team. The presence of air and micro details is notable, but unlike the usual Simgots, I find these much more tolerable and contained, but the presence of this type of driver does not make it lack anything in this region despite being much less pungent. Occasionally, on some tracks, I’m a little on the edge. Track after track, these ultra-defined and well-arranged sparkles on the soundstage literally make you fall in love.

Soundstage and Imaging:​

The soundstage is recreated in a large and faithful manner thanks to the precise arrangement of the sounds, and the image is extremely detailed and precise, making the Simgot SuperMix 4 also suitable for gaming like its predecessors. Each sound has its own dedicated track, which reaches the eardrum in an undisturbed and clean way, which is why I also recommend wide bore tips.

The peculiarity of being so transparent and detailed helps without a shadow of a doubt; their technicalities for those who have already had the opportunity to listen to Simgot products are at the height of their other products.

Comparison:​

It is definitely difficult to make a comparison with DD singles, but I will try, in any case, to make as many comparisons as possible. Simgot, with the SuperMix 4, has raised the quality of hybrids in this price range.

vs Simgot EA500LM


Simgot EA500LM
Some people prefer the Simgot EA500LM, so who am I to tell you which one to buy? Yes, I am nobody! As far as I’m concerned, the resolution is on another level, the difference is certainly more marked than the EW200 and the EA500LM. There is a difference but the tuning and sound signature are the same so unless you are so attentive to detail, you can easily stop at these. Furthermore, if you don’t have both, you can’t say which is better. Are you ready to shell out 400 USD?

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vs Simgot EA1000


Simgot EA1000
The Simgot EA1000 is a completely different type, a quality single driver responsible for all frequencies, If you own both, you will immediately notice the difference, especially in terms of soundstage, directionality, and separation. The Simgot SuperMix 4 in comparison gives you many more details and greater precision, even if, in terms of tonality, the EA1000 is superior to it.

vs Simgot EM6L


Simgot EM6L
The Simgot EM6L to date is still one of my favorite birds, even if many don’t appreciate it that much. The voices are slightly less cold, just enough to make them more natural. In terms of tuning, there is a notable similarity with the SuperMix 4, which, however, fares better in terms of airiness, details, and separation. The EM6L are slightly richer in energy and musicality.

vs Hidizs MS5 & MS3


The MS5 has stronger bass, but at the same time, the trebles become very aggressive and are not easily tolerated, I think the level is beyond even the brightest Simgot. In terms of tone, I think the MS5 is slightly more correct, but at the same time, the trebles dampen the enthusiasm.

The MS3, on the other hand, is calmer when it comes to trebles and is more tolerable and coherent than its older sister. In terms of sound performance, they are much closer to the SuperMix 4, even if they lose some points in separation and detail. They gain something in terms of bass and tonality of the voices. After some time, I have to tell you that I prefer them to the MS5.

Conclusion:​

I think the Simgot SuperMix 4 will become one of my reference hybrids, Even if the tone could be warmer, its technical aspects make it even better than more expensive hybrids. Track after track, different musical genres—the representation of the genres I listen to is more than satisfactory.

But don’t worry, it’s not absolutely cold or metallic and only slightly thin in the mids. For what it’s worth, it’s excellent by my standards.

In conclusion, this mixed salad of drivers made by Simgot is a very respectable result. An IEM that makes you rediscover some tracks you hadn’t noticed any details about is always very welcome. I would have appreciated at least another type of tip included in the package and the possibility of choosing a balanced 4.4mm terminal. Personally, I would have also liked a transparent variant similar to Celest Phoenixcall.

More information (no affiliate links):​

SIMGOT SuperMix 4
Linsoul link with specs & price

Introduction​

Simgot has been one of the most interesting brands in 2023 and there was basically no IEMs’ buying guide without at least one set from Simgot (be it the EW200, the EM6L, the EA1000 or the older EA500).
In this review, I’ll be sharing my opinion on the Simgot Supermix 4, a new set from the brand featuring 4 different drivers and a 4-way RC crossover.

Disclaimer: the Simgot Supermix 4 were sent to me by Simgot so that I could write an honest review. This review represents my personal opinion on the set, it isn't promotional or paid content and I don’t get any revenue from the sales of this product.
At the time of the review, the Simgot Supermix 4 were on sale for about 149$.

Click to expand...

Technical Specifications​

• Driver Configuration → 1 x DD + 1 x BA + 1 x Planar + 1 x PZT
• Impedance → 7,2Ω@1kHz
• Sensitivity → 120 dB/Vrms@1kHz
• Effective Frequency Response → 20Hz-20kHz
• Cable → Silver-Plated OFC cable with 0.78mm 2-PIN connectors
• Plug Type → straight gold plated 3.5mm TRS

Packaging​

The packaging of the Simgot Supermix 4 looks very good and contains:

• The Simgot Supermix 4
• The detachable cable
• 1 x set of wide bore silicone eartips in S, M, L sizes (please Simgot, add a few more tips…)
• A carry case
• User manual

Design, Build Quality, Comfort and Isolation​

The Supermix 4 look very elegant in their black resin shells, also thanks to the aluminum gray faceplate. The build quality is very good, the shells feel sturdy in the hands and the shape is also pretty comfortable in the ears despite their bigger-than-average size (thicker shells are needed, though, to fit the crossover and the drivers, so it’s not surprising).
The isolation is pretty good as well, provided that you get a good seal (which is not hard as the nozzle is long enough to get a solid seal).

Cable​

The cable looks and feels nice even though it’s not the best-in-class cable I’ve seen under 200$. It’s not bad by any means (it’s very good, honestly) but the fact is that there are some brands who managed to include similar cables for lower prices so it’s not really something to write home about.

Sound​

GEAR USED FOR THE TEST

• DAC: Topping E30
• AMP: Topping L30, Fiio A3
• Mobile phones: Samsung Galaxy S7 Edge, Xiaomi Mi A3, Samsung Galaxy S23 Ultra
• Moondrop May’s DSP cable with PEQ=0
• Dongle: Apple Type-C dongle, Fosi DS2, Hidizs XO
• Portable DAPs: Benjie S8/AGPTEK M30B
• Bluetooth Adapters: KBEAR S1, KZ AZ10
• Other sources: Presonus AudioBox iONE, Elgato Wave XLR

Do they need an amplifier?
They don’t strictly need an amplifier as they are relatively easy to drive, but I’ve noticed that a good/cleaner source slightly improves the overall sound. For this reason, one gotta watch out for the output impedance as the low-end shelf could be impacted (i.e. impedance adapters are something one could play with in this case).

Sound signature
Th Simgot Supermix 4 follow a Harman-ish U-shaped signature.

Lows
The lows are rich, especially when it comes to the well-extended sub-bass, which has very good textures and control. The midbass is less in focus with respect to the sub-bass: it’s speedy, controlled, but it lacks a bit of punch and density that could provide for better texturing. I think this will be my biggest gripe with this set, and even though this is not a bad low-end, I wish there was a bit more “cream” and punch overall.
Don’t get me wrong, it’s a very well-rounded and rich low-end, but those looking for the best punch or incisiveness won’t find in the Supermix 4 the perfect mix between power and texturing.

Mids
The midrange have nice male vocals even though they could use a bit more warmth. This is typical when it comes to Harman-ish tuned IEMs since they focus more on sub-bass than on mid-bass, producing a less thick lower-midrange. The instruments are vivid in general and the reproduction of female vocals is very energetic as well (may be a pro or a con depending on who’s the listener). Those who search for very polite and mellow female vocals aren’t gonna like the Supermix 4, but those who instead like some added energy and forwardness in the upper midrange will find the Supermix 4 very entertaining (even though sometimes borderline hot).

Highs
The highs are smooth yet booster, there are lots of details and enough air to leave space between instruments and vocals. In any case, I would not recommend the Supermix 4 to those who are treble sensitive because there are still some hints of brightness that some may not like, even though the general sound doesn’t come across as peaky or extremely analytical to the point of being fatiguing. So let’s say everything flows smoothly and it’s very hard to find real faults, except for a few cases of unnaturalness during the reproduction of some cymbals, due to the Supermix 4 having a bit more upper treble than your average Harman IEM.

The soundstage is pretty wide, with average height and depth for the price. The instrument separation is good as every instrument and vocal has its own space, and imaging is also in line with other products in this price range so this is good news.

Some comparisons:​

Simgot Supermix 4 vs Celest Phoenixcall
The Supermix 4 have better timbre overall, they sound fuller, thicker, with more natural vocals and instruments reproduction and better note weight. The stage also feels wider than on the Phoenixcall.
The Phoenixcall win in terms of bass tactility and bass speed and the imaging is sometimes a bit more accurate than on the Supermix 4, but the soundstage on the Supermix 4 is bigger and more immersive. The problem with the Phoenixcall is that they sound less natural than the Supermix 4, with a strongly recessed midrange, subpar sub-bass extension and some aggressiveness in the treble region.
Comfort is great on both but the Phoenixcall have smoother shells that feel more comfortable and that provide for better isolation. They also look and feel more unique, so the Phoenixcall win hands down when it comes to the overall design.
They both come with very good cable even though I prefer the one that comes with the Phoenixcall. Celest also provides more tips and an overall richer unboxing experience.



Simgot Supermix 4 vs Celest Relentless
They both have a good sub-bass extension but the Supermix 4 feel denser in the sub-bass region thanks to the less emphasized upper range. The bass is punchier, more textured and speedier on the Relentless.The midrange is generally more forward on the Supermix 4, that also have a more emphasized upper midrange. Let’s say that the Relentless have forward vocals but the upper midrange is more controlled and less forward than on the Supermix 4. The treble is where the differences become very noticeable as these also influence other parts of the spectrum: while the Supermix 4 go for a smooth treble and only “good” detail retrieval, the Relentless go all-in on details and resolution thanks to the mid-treble boost and the better upper-treble extension, even though this also means that the Relentless are not as smooth as the Supermix 4 for long listening sessions.
Anyways, it’s surprising to see that the Relentless have minor timbrical issues, but it’s even more surprising to see Simgot succeeding at implementing 4 different drivers without struggling with the overall tonal balance: props to Simgot for this.
The Supermix 4 play in a soundstage that is wider than the one portrayed by the Relentless, but the Relentless kinda make up for it with a bit more depth and height (even though not by much). The imaging is superior on the Relentless whereas the instrument separation is comparable.
The design and build quality are great on both sets (even though I still think that the Relentless look better), comfort is very similar and isolation is a tad better with the Relentless in the ears. The Relentless win effortlessly when it comes to the overall unboxing experience, including the variety of tips provided and the stock cable.



Simgot Supermix 4 vs Simgot EM6L
The Supermix 4 and the EM6L have only one similarity and it’s the bass: it really seems like it’s being reproduced by a similar driver unit (perhaps the same driver but I have no info about this).
Everything else is different: the Supermix 4 have a slightly better sub-bass extension, better note weight, better timbre, a fuller midrange, a smoother treble region yet with similar extension, and more balanced vocals and instruments (even though the upper midrange is more “borderline” shouty than on the EM6L).
The EM6L win in terms of details and perceived resolution, even though they sound a bit thinner, slightly more fatiguing, less “musical” and less natural overall.
The Supermix 4 play in a wider and slightly deeper soundstage than on the EM6L, even though the perceived height is very similar. The imaging is superior on the Supermix 4, though not razor sharp as on other sets.
Both are well built but the Supermix 4 feel slightly better in the hands and the matte faceplate isn’t a fingerprint magnet like EM6L’s glossy shells. The EM6L are slightly smaller so they may be better for people with smaller ears, but the Supermix 4 are well designed as well so I wouldn’t worry about the size. The isolation is similar.
They both came with a cable of similar quality and a lackluster set of tips.

Final Thoughts​

The Supermix 4 are among the smoothest products in the price range, and this surprises me because of the well-done implementation between the different drivers. Not only do they sound very engaging, musical and rich, but they also do that without sacrificing the technicalities, which are in-line with the price range.
My biggest gripe with the set is the fact that the bass is not as incisive and punchy as I would have liked it to be, but overall it’s not a dealbreaker and in fact the Supermix 4 still get my full recommendation as a very compelling set that (again) shows what Simgot is able to do.

Honestly boxing and accessory is so normal there're nothing to worth noting lol, case isn't magnetic which is a no no to me.


If you're interested in graph comparison, here's the link

+ i'm a normal asian dude with some music producing background
+ i like clean balanced sound signature with focus on sub bass and lower treble, especially looking for a good dynamism and harmonic playthrough, i like vocal, not necessary mid dominant, can consider myself as treblehead
+ 60-68db listening session
+ Avarage score 4/10 (Quarks/ 7hz Zero) Middle score 6/10 (Tanchjim Kara)
+ Bias score is i like it or not, doesn't sum on overall score
+ Same value systems like crinacle

Click to expand...

- Bass (6.8/10): Deep, punchy, doesn't go as fast as EA500 or EM6L, somewhat sound like a "too early" crossover subwoofer. Good detail/texture. Drum sounds good enough (for me)
- Mid (7,5/10): Simgot house sounds, slightly less offensive than other model that i tried? It kinda remind me of EA500. Good instrument separation, good texture (compare to those lower pinna trend nowaday), sounds very natural and have a "glide" feels (like smoothen glass)
- Vocal (7.3/10): Actually the best vocals performance out of all Simgot iem, female vocals > male vocals. Slight sibilance. Very natural and fun, not immersive.
- Treble (8,3/10): good tune, really good sparkle and shimmering, percussion is very texture and authentic, slightly dry on top and a tiny bit of piezo zing(?). If it were as smooth as est tho ... *chief kiss
- Detail (7/10): Macro detail (7/10), Micro detail (7/10)
- Soundstage (6/10): Slightly bigger than studio size, limited wall
- Imaging (5,5/10): lack layering and height adjustment, good stereo
Bias (9/10): Simgot
Overall: 6,9/10
Value: (Very Good, but with a catch)
Thank you to Simgot for providing this touring unit for Vietnam

Introduction

It seems that the Shenzhen-based company, founded in June 2016, has been very active lately. After the EA500 LM, it is now back with a bold new model, featuring 4 drivers of different technologies: a dynamic driver, a balanced armature driver, a magnetic planar driver and a piezo driver. In order to match the tuning, the SuperMix 4 uses an advanced acoustic design. In addition, they use a four-way RC crossover and independent sound paths to minimise distortion and phase incoherence, ensuring a smooth and continuous frequency response. The dynamic driver has a 10mm high-polymer diaphragm and features a high-elasticity suspension system and handles the low frequencies. The BA driver is large and takes care of the midrange and upper frequencies. It stands out for its full-range response and natural tonal quality. The planar magnetic microtransducer covers the high frequencies with low distortion and a wide bandwidth. Finally, the piezoelectric PZT transducer, with multilayer ceramic coating and copper substrate, extends the high and ultra-high frequencies, reducing mechanical noise and improving resolution.
The capsules are made of 3D printed black resin and CNC machined metal parts. Finally, the SuperMix 4 comes with an oxygen-free silver-plated copper cable with 2Pin 0.78mm interface and 3.5mm gold-plated SE plug. Let's take a look at what this new Simgot model has to offer.



Specifications

• Driver Type:1 DD + 1 BA + 1 Planar + 1 PZT.
• Frequency Response: 8Hz-40kHz.
• Effective Frequency Response: 20Hz-20kHz.
• Sensitivity: 120dB/Vrms (@1kHz).
• Impedance: 7.2Ω±15% (@1kHz).
• Jack Connector: SE 3.5mm gold-plated.
• Capsule Connection Type: 2Pin 0.78mm.
• Cable Material: high purity silver-plated copper conductor of Litz structure, oxygen-free.
• Price: $149.99.

Packaging

The Simgot SuperMix 4 comes in a relatively compact, bright green box with a size of 140x120x60mm. On the front side you can see the inner contents of a capsule. Underneath it is the model name and the drivers it has. In the upper left corner is the logo of the brand. On the back side there is a short description of the model, the frequency response and its similarity to the Harman Target 2019 and the specifications written in 4 different languages, including English. After removing the outer cardboard you can see a matte black box, with a cardboard lid with the golden SuperMix logo in the centre. Underneath is a black foam block containing the capsules, at the top. Underneath is a black cardboard box containing the accessories, namely a black zippered case with the cable inside. Underneath the block with the capsules is another small box with the silicone tips. In short, the complete contents are as follows:

• The two Simgot SuperMix 4 capsules.
• A two-strand coiled cable with 3.5mm SE plug and 2Pin 0.78mm interface.
• One black oval zippered case.
• One set of white silicone and black core tips, SxMxL.
• One user manual.
• One warranty certificate card.

Very good cable and case, only one set of silicone tips. Not enough variety of tips for $150.



Construction and Design

The capsules of the Simgot SuperMix 4 have an outer face consisting of a black metal plate with a bevelled circle in the centre. There is a small hole near the apex of the capsule, which cuts through the circle. Protecting the bottom of the hole is a metal grid. The shape of the outer plate starts with a triangular apex, the opposite side of which is a large curve, while the part where the 2Pin connection interface sits is flat again. It is still a triangular shape with a large rounded side. The capsules have a certain thickness. The inner side is constructed of translucent black resin, although it is dense and the inside is not very discernible. Near the 2Pin interface, towards the inside, there is a small gold disc with a hole in the middle, fully integrated into the surface. The inner side is in one piece, including the mouthpiece. It has a rounded shape, with a slightly overhanging edge at the end. The nozzles are elongated, with a slight step and then a narrower cylinder. It has an approximate diameter of 5.8mm and an approximate length of 3.7mm. The nozzles have three orifices of different sizes. Each of them is a different duct. Finally, on the edge of the capsules is written the name of the model and a circle with the letter indicating each channel.
The cable has two thick strands wound together. It is a high-purity silver-plated copper conductor with a Litz structure, oxygen-free. The sheath is transparent. The sleeve of the gold-plated 3.5mm SE plug is a shiny, micro-textured, dark grey metal cylinder. You can read the brand name written lengthwise. Nearby is the classic white velcro strip. The splitter is another cylinder of the same shape, but of a much shorter length. The pin is a ring that sits next to the splitter, forming one piece, thanks to a white plastic ring with a smaller diameter. This pin is too large in diameter at the bottom and the cables slide around too easily, making it of little use in terms of adjustment. The sleeves of the 2Pin connectors are each a cylinder of the same construction as the other parts of the cable. A red or blue slotted ring is provided, depending on the channel. The 2Pin interface is mounted on a rectangular, translucent plastic base, which extends over the cylinders. Each cable has an ear guide made of a shaped transparent plastic tube.
The design is interesting, mixing classic elements with newer ones and some distinctive details. The cable looks pretty good, but there are two major drawbacks: one is that Simgot still doesn't go for the balanced connection and the other is that the pin is useless, as its inner diameter is too big.



Adjustment and Ergonomics

The capsules are thick, medium-sized. But their inner shape, the well-projected, slightly thinner nozzles with a slightly narrower diameter, allow for a deeper insertion. This offers a wider range of possibilities when it comes to choosing between many tips. In my case, I usually don't have much choice. I always have to choose between my large foam-filled tips. With them I get a shallow insertion, but even a bit deeper. This way the level of fit is more occlusive and firm. The angle is quite good and the fit is more perfect and durable. The capsules float subtly on the pinna, without much rubbing against the skin. There is a slight, minimal rotational movement, but the capsules sit very well in the pinna. The good fit of the tips in the ear canal means that the capsules do not move with daily use, even when walking or doing light sports activities. The low weight also allows for comfort and continuous use.



Sound

Profile

Anyone who says that Simgot has revolutionised the Supermix 4 is not remembering the EW200s, which have a very similar frequency response, except that the SM4s have a cleaner bass. The SM4s start with a W frequency response and are mixed between the Harman Target and the Simgot-Classic Target. Simgot has limited the amount of energy in the high frequencies, entering into the current relaxed trend, but without succumbing to it. It is clear that Simgot is usually characterised by upper midranges and first treble full of power, as seen in the entire EA series and even in the EM6L. But here there is an upper curve much more akin to that of their budget EW series. However, it has cleaned up the low end to minimise bleed into the midrange, even thinning out the first half of the midrange. The result is a more relaxed profile, slightly emphasised in the sub-bass, somewhat lean in the first part of the midrange, but also controlled in the upper midrange and treble, without losing a good level of extension into the air.
Although the specs indicate a high sensitivity, the low impedance requires a good dose of energy to be able to move it gracefully.



Bass

Simgot doesn't quite focus its IEMS on bass and neither do the SM4s, although they do have a good emphasis on sub-bass. But, it's a low end that soon relieves itself of bloat and suddenly thins out. In this way the volume is not too great and fades quickly. What remains is a deep, rather smooth hit, with a rounded texture, not too expressive, with low roughness. The bass is very clean, not overly extended, only swelling in the lower range giving a fairly distinguished sense of depth, that makes it relatively dark, but also focused at the low end. That limited volume, that restricted space feels like a punished child at the end of class - what have I done to deserve this? It may be totally unfair, but its place is there and the line should not be crossed. Undoubtedly, this is an educated, deep-voiced, well-defined bass, polished on the surface, moderate in its amount of energy and power. But one that holds a level of potential that could be very high. There is that sense that the SM4s could explode, but they are limited to being fairly neutral and cornered in the sub-bass. As a Bass-Lover I miss a lot more nastiness in his behaviour but this is, irredeemably, a good boy, who has been unfairly punished.
Returning to more empirical terrain, the very low frequency pure tone test reflects a remarkably sensory, very clean behaviour, something that betrays the perfect performance of its crossover filter. The low end mixes a slight undulatory and sensory character in equal parts, but with a quite realistic and natural behaviour, although there is a slight colouration that is not due to an anomalous behaviour of the rest of the drivers. It lacks a point of purity in the execution of a superior dynamic driver and that's why I think it's so clean and smooth. It lacks a bit of punch and a bit more energy in its surface. On the other hand, the hit is very dry, very fast, it picks up very quickly and there is hardly any fade. That's why its volume is perceived as low, the bass is executed in an immediate way without leaving any aftertaste, hence that feeling of cleanliness, that very limited placement, even though there is an unmistakable perception of power that fails to expand to its full potential.
In the dirty, unfiltered bass test, the SM4s excel in control. Even in these complex situations it never goes out of line and remains in focus, entrenched in that dark background. It shows some simplicity when it comes to recreating the dirtiest bass because it limits them in that more recessed space, managing to reduce them to a more naked expression, free of complexity, but also of expressiveness. It is almost a reduction to the absurd, but executed in a precise way, very well defined and with enough resolution. But something is still missing, that more overflowing and dangerous power. When the situation calls for it, there is a hint of power, some joy. But it remains very close to the neutral perfection of the elevated sub-bass.



Mids

I have to say, the SM4s are too clean to feel hollow in the first half of the midrange. There is not a hint of bass intrusion in the midrange, no warmth at all. But there is no dense base either. The first part of the midrange is so lean that it feels hollow, there is an unfilled space, a lack of physicality, of density, of body that makes many instruments sound thin, without substance, somewhat distant and lacking in strength. A clarity prevails that leans towards the details, leaving a harmonic orphanage in its fundamentals. This makes the male vocals sound light, thin, lacking strength, but more problematic is that there is a wide range of instruments that also feel this way, too docile, lacking in strength, base and density, entrenching that sense of hollowness in the ambience that is difficult to fill and that I miss at too many moments. On the other hand, the supposed smoothness in the upper midrange is not so obvious, clearly due to this clean and neutral first half. There is a 12dB difference between 300Hz and 2.5kHz, a net jump to emphasise details over the larger musical base. If this difference were less, the SM4s would be more balanced. But the centre range is clearly uneven, and it is here that the more intense W of their profile is demonstrated. Fortunately, however, these are not just light-focused IEMS. The BA driver has been polished so that it doesn't sound tinny, nor does it sound overly energetic, thin or vivid. That smoothness saves the SM4s from becoming completely splashy IEMS that only seek light, transparency and macro detail at all costs. On the contrary, there is a patina of smoothness throughout their sound that steers them away from an analytical or cold character. The sound of the SM4 is not like that, it doesn't even seek an excess of resolution or definition, they are much more musical and that's what saves it from that stark contrast between its first and second half. But that doesn't detract from the fact that it feels slightly sibilant and that the nuances stand out, though not to penalise the sound, over my desired, absent base. In this sense, everything is geared towards enhancing the female vocals, guitars and all those instruments whose fundamental is higher pitched. The clarity is assured, the level of transparency is assured, but also the sensation of sharpness, separation and resolution is expanded. This second part becomes the protagonist, much closer, but the descriptive power of the drivers allows everything to be obvious, without being analytical and without losing the musicality. And I think that's where the midranges are saved, in that sheer informative power on display, the amount of detail and nuance that becomes apparent without feeling stuffy, overwhelmed, over excited or splashy. I think it is Simgot's grace that he has found in the transition from the upper midrange and first treble, a level of expressiveness that is almost exaggerated, without seeking a cold or analytical sound.



Treble

I think the SM4's treble has been tuned for that current more relaxed feel, far from Simgot's tendency to maintain a high and quite full energy level. In order not to lose extension and expressiveness, three drivers have been used to handle the high frequencies: a part of the BA driver, the planar driver and the piezo driver. With all this, plus the frequency division, the SM4s have a fairly wide treble representation, but lowering the energy level to keep everything under control, without being completely smooth, but quite informative. It's not a crisp, crackling, soaring, piercing treble, but has that level of excitement and power that makes it lean and authoritative, aided by the driver technology used. Performing this exposure with a dynamic driver would have nuanced the treble. But expressing this level of energy with specialised drivers allows it to remain musical, advanced, thin and lean, while maintaining that incisive sparkle that makes them sonically realistic. Although you can sense that the confluence of the drivers may be in the high end, the sound is coherent in this respect and the energy limitation limits the negative timbral aspect of each driver. Of course, treble extension is assured, with a good overall airy feel.



Soundstage, Separation

The arrangement of the SM4s' soundstage is curious. On the one hand, there is that almost cornered bass, but it emerges from quite low and gives a lot of depth to the sound. Being so clean, the first midranges are very clear and can be seen at a medium, long distance. The upper midranges volatilise the sound, adding an obvious expansive capacity. The nuances become more splashy, but without becoming totally gaseous, but instead possessing a certain attachment that makes the sound coherent and somberly put together, maintaining that pleasing musical feel and perception of melodious smoothness. However, the musical projection is already shot through and there is an elevated frontal sensation, with height, quite rounded, almost over the head, reaching an almost zenithal height. Very good laterality and depth is achieved with the bass. Minute details and nuances are scattered at close range, while voices and instruments navigate between midrange, long and short distances, depending on their genre and provenance. The whole ensemble generates a sense of pleasing musical fluidity, which is not analytical, but allows for an evident exposition of detail, exposed in several layers. Yes, because the SM4s are able to generate layering from bass, midrange and also treble, managing to separate sounds on all three axes, which is not at all common.
The image is not fully defined, although due to excellent technical skill, the elements can be placed very well. However, it is true that this placement feels somewhat forced by the musical arrangement generated by the IEMS themselves, which does not necessarily coincide with reality.
And although these are not analytical IEMS, both the level of separation and the expressive capacity to recreate micro details is quite good. Just by paying a little attention you can perceive them, even if they are not clearly obvious.



Comparisons

KiiBOOM Evoke

Sometimes one is surprised to find similarities between frequency responses of different IEMS. I like to compare those that are similar in this respect. And lo and behold, the KiiBOOM Evoke, one of my favourite IEMS from last year, has an FR with similar aspects. It is a 1DD+2BA, a classic triple driver configuration that can still generate a lot of joy. The curious thing is that their FR fits perfectly with the current trend of high sub-bass and soft treble, so it should automatically catch on for its quality and sound closer to an analytical profile. Made from 3D printed and hand-finished European medical grade resin, there are 3 different finishes, two for $169 and the one I own for $199. The differences are only aesthetic and centred on the outer face. It is a semi custom capsule with excellent ergonomics and if you look at the design of the inner side, both models are very similar, with the difference that the Evoke have a metal mouthpiece with a more pronounced top, which allows the insertion to be somewhat deeper. That makes them a plus point in this respect.
Both models are equally sparing in accessories, basing this aspect on a good cable, but neither offers a balanced option. One set of tips and one case for both. The excessive size of the Evoke's case makes it not very useful, which is why I'd rather, by a small margin, overrate this section in favour of the SM4s.
In terms of sound, both have a W-profile, while the Evoke has a decreasing W-profile, the SM4 has a more increasing W-profile, more energy in the upper midrange, more energy in the treble and also more extension. The Evoke is smoother in this respect and has more body in the bass and upper midrange. They are also easier to move than the SM4s.
The bass performance of both models is similar, with a comparable impact, texture and behaviour. Admittedly, the Evoke has a little more body and extension. The performance of both in the very low frequency pure tone test is eloquently close. I only detect a more sensory aspect at the lower end of the Evoke. But it is surprising that both the loudness and the performance of the two models are so similar. The difference is that the SM4s' bass is tighter in the subwoofer and has less extension. This makes them sound a bit sparser and incomplete in some situations. There is a point of superior bass richness in the Evoke, whose technical prowess is on par with the SM4, but that higher medium-bass gives it that natural superiority.
In the midrange, the first half of the Evoke is warmer, slightly thicker, with a bit more body, physicality and density. But, it is also softer, as the upper midranges are more subdued. The greater excitation in that second half in the SM4s gives them a point more sparkle, light, even transparency, but also that initial hollowness and more persistent unevenness. In my opinion, the midrange of the Evoke is fuller, denser, homogeneous, balanced, with a more natural and less forced timbre.
The SM4's treble is brighter, cleaner, crisper and more energetic, has more extension, is thinner and more expressive. The Evoke's are softer and more subdued in this upper range, also somewhat more muted. The SM4s sound cleaner in this respect, with a point of greater resolution and information, also on a more evident and closer plane.
The SM4s' separation is more evident, with a wider, more three-dimensional scene. It is also more clear-sighted in the details, exposing them in a more individualised way, with greater resolution, distance and space between them. But in the end, the difference is minimal. Only the softer level of the Evoke and the greater separation, clarity and transparency of the SM4 contribute to a sense of higher resolution, subtly better technical aspects and a larger scene.



Simgot EW200

I am not going to make a comparison between the two models, I just want to point out the similarities in their frequency response, with the great exception that the EW200s have more density and body in the transition from the bass to the midranges. Some people prefer the cleanliness of the SM4, but I crave more power in that range, so I prefer the FR of the EW200. Another thing is the final quality, the price difference has something to say.



Conclusion

The Simgot SuperMix 4 seems to be the brand's answer to the trend towards a smoother sound. However, the fit with the Harman 2019 frequency response, rather than finding that smoothness, remains persistent. Where there is no doubt is that it has found to bring together 4 different drivers, being coherent and relatively cohesive. Although I do miss a better balance between the bass and midrange, as the low end drops off sharply into the midrange, creating a pronounced valley that makes the sound in that range feel thin, lean and not too full-bodied. On the other hand, the level of clarity, information, description, transparency, detail, separation and scene is surprisingly good, without falling into an analytical or cold profile. Simgot has managed to expand the sound and these technical characteristics, something that is still typical of the brand, but using a different type of drivers, expanding the energy level in the low end and limiting it in the treble. When will a more balanced and warmer Simgot model be available?



Sources Used During the Analysis

• Aune X8 XVIII Magic DAC + EarMen ST-Amp.
• Burson Audio Playmate 2.
• EPZ TP50.
• Tempotec V3.

Purchase Link



You can read the full review in Spanish here

I would like to clarify that I purchased this IEM using my personal funds. My intent in sharing my experience is to provide an honest and thorough assessment based on personal usage, rather than passing judgment on its quality.

I do not engage in reviews to endorse or criticize this product definitively. Instead, I aim to offer insights gleaned from my extensive testing and use.

For those interested in purchasing this product locally in Bangladesh, I recommend contacting Geek Mart for a hassle-free transaction.

For international buyers, Linsoul Audio is a reliable option to consider for acquiring this product.

Technical Details

• Driver Configuration: 1 DD+1 BA+1 Planar +1 PZT
• Impedance: 7.2Ω±15% (@1kHz)
• Sensitivity: 120dB/Vrms (@1kHz)
• Frequency Range: 8Hz-40kHz
• Effective Frequency Response: 20Hz-20kHz
• Connector: 0.78mm 2-pin
• Shell Craftsmanship: High-Precision Resin 3D Printing
• Cable Material: Litz Structure High-Purity Oxygen-Free Copper Silver-Plated Wire
• Plug: 3.5mm Unbalanced Plug

The Simgot SuperMix 4 has been quite impressive in terms of build quality.

Housing and Faceplate:
The 3D-printed translucent resin housing combined with a CNC-machined backplate keeps these IEMs light and comfortable for long listening sessions. The resin material provides excellent passive isolation, which I found crucial for a focused listening experience. The matte metal faceplate, with its simple circular copper inlay and vent, ensures the dynamic driver gets plenty of air without causing any discomfort from vacuum build-up.

Size and Ergonomics:
The medium-sized SuperMix 4 fits my ears comfortably, and the ergonomic shape contributes to a secure and comfortable fit. However, I can see how users with particularly small ears might find the fit less than perfect. For me, though, the light weight and universal design worked well.

Isolation and Venting:
One of the highlights for me is the passive isolation these IEMs offer. The resin housing effectively blocks out ambient noise, which is a big plus in noisy environments. The venting system also prevents pressure build-up inside the ear canal, adding to long-term comfort.

Durability:
The materials feel robust and built to last, with the resin and metal combination standing up well to everyday use. The detachable cables are a practical feature, allowing for easy replacement if needed. The only minor issue I encountered was that the connectors felt a bit stiff initially, but they loosened up over time.

Aesthetics:
Visually, I appreciate the balance of subtlety and sophistication. The dark, translucent resin housing gives it a modern look, while the matte metal faceplate adds a touch of elegance. It's a design that suits my preference for understated rather than flashy aesthetics.

Conclusion
Overall, the Simgot SuperMix 4 has proven to be well-crafted, offering a thoughtful design that balances comfort, durability, and aesthetics. While it excels in many areas like fit and isolation, I did notice that the fit for users with non-average ear sizes might have some problems. For me, though, it’s a solid IEM that delivers both in terms of function and form.

The Simgot SuperMix 4 comes with an exceptional stock cable that combines aesthetics with functionality. It features a sturdy, silver-plated copper wire construction that enhances sound clarity and signal transmission. The cable's design is sleek and comfortable, fitting well with the IEMs' overall premium feel. While it lacks interchangeable terminations, having such options would provide more versatility. Personally, I use various sources, all equipped with 2.5mm or 4.4mm balanced outputs, and some of these sources do not provide a powerful output through the 3.5mm jack. Therefore, I believe having a balanced cable option would enhance its utility. Despite my preference to keep this cable for its excellent performance, I find myself needing to change it due to the lack
of a balanced version.

The stock ear tips that come with the Simgot SuperMix 4 perform adequately in terms of fit and isolation. However, for optimal sound quality and comfort, I recommend exploring aftermarket options.

Dunu Candy Tips:
The Dunu Candy Tips have proven to be effective for me. They notably enhance both mid-bass impact and sub-bass extension. While they may not widen the soundstage as much as the JVC Spiral Dot++, they still maintain a good overall balance. Detail retrieval with these tips is also excellent.

Velvet Tips:
Velvet tips excel in delivering robust mid-bass and sub-bass performance, with detailed representation of treble frequencies. However, some users may find them less comfortable during extended listening sessions due to their firm texture in certain areas.

JVC Spiral Dot++:
These tips significantly expand the SuperMix 4's soundstage, providing a more immersive listening experience. While they slightly reduce mid-bass punch, they enhance sub-bass rumble and overall sound body, making them ideal for users who prioritize a spacious and detailed sound presentation.

Recommendation:
I strongly advise users to experiment with various ear tips to find the perfect match for their preferences. The right ear tips can greatly enhance sound quality and comfort, ensuring an enjoyable listening experience tailored to individual tastes. For audiophiles and music enthusiasts alike, having a variety of ear tips is crucial for optimizing the performance of the any iem.

Dap:
•Cowon Plenue R2
•Astell & kern sp1000m
•Hiby R3 ii
•Hiny R5 saver

Dongle:
•Questyle M15
•Cayin ru7
•Ddhifi tc44c
•Moondrop dawn pro
•Hidizs s9 pro plus
•Nicehck TC3
•Apple dongle type c

BT DAC:
•IFI Go Blue
•Fiio btr7 and btr5 2021
•Shanling up4 and up5

Dextop:
•Shanling h5
•IFI Zen dac V2
•IFI Hip DAC V2
•Xduoo xd05 basic

Mobile phone:
•Lg v60
•Asus zenfone 10

In my personal experience, I've found that the Simgot Supermix 4 doesn't pair well with bright sources. Bright sources tend to emphasize higher frequencies, which can sometimes lead to an overly sharp or harsh sound with the Supermix 4. This can affect the overall balance and tonality, detracting from the IEM's natural warmth and midrange clarity. If you prefer a smoother, more laid-back sound signature, it's worth considering a source with a warm, warm neutral or neutral tonal profile to complement the Supermix 4's strengths.

The bass performance of the Simgot Supermix 4 stands out, elevating the overall listening experience with its depth, clarity, and dynamic range across various music genres.

Sub-Bass:
The Supermix 4 excels in delivering deep, rumbling sub-bass that provides a solid foundation in tracks, particularly in electronic, hip-hop, and cinematic music. It impresses with its ability to reproduce low frequencies with authority and precision, enhancing tracks like "Kill Jill" by Big Boi where sub-bass is pivotal. The sub-bass extension is notable, maintaining clarity and impact without compromising on detail or becoming boomy. This characteristic adds a visceral element to the music, making bass-heavy tracks feel immersive and powerful.

Mid-Bass:
Moving to the mid-bass frequencies, the Supermix 4 strikes a fine balance between impact and control. It delivers a punchy, well-defined mid-bass response that adds rhythmic drive and energy to music without overshadowing other elements. While generally impressive, there are moments where a touch more refinement in mid-bass texture could enhance the overall clarity, especially in tracks with complex arrangements or mixed instrumentation. This refinement could elevate the listening experience further by providing greater separation and detail in the mid-bass frequencies.

Speed and Texture
The Simgot Supermix 4 excels in both speed and texture within its bass performance. Its responsive nature allows it to handle fast-paced bass lines with agility and accuracy, ensuring each note is reproduced with precision and clarity. The texture of the bass is nuanced and well-textured, with the sub-bass offering a smooth, deep rumble that adds depth and warmth to the lower frequencies. Meanwhile, the mid-bass delivers impactful notes that maintain tightness and control, enhancing the rhythmic cadence of music across various genres. This combination results in a bass presentation that is dynamic, detailed, and engaging, offering listeners a heightened musical experience that complements a wide range of listening preferences and styles.

The mid-range performance of the Simgot Supermix 4 is really impressive. It brings out the details and nuances in vocals and instruments, making my listening experience more enjoyable across different music genres.

Male Vocal Performance:
Listening to "Stairway to Heaven" by Led Zeppelin is a treat with the Supermix 4. It handles Robert Plant's vocals with clarity and presence, capturing every emotion and subtle change in his voice. While it does a great job overall, I sometimes feel a bit more weight in the lower mid-range would make male vocals even richer, especially in quieter parts.

Female Vocal Performance:
Songs like "I Will Survive" by Gloria Gaynor and "My Heart Will Go On" by Celine Dion sound fantastic on the Supermix 4. It maintains a smooth and clear presentation of high notes, allowing the power and emotion in these vocals to shine through beautifully. The mid-range clarity really enhances the richness of female voices, making these tracks a pleasure to listen to.

Instrument Performance:
Instrument clarity is top-notch on the Supermix 4. Tracks like "What You Won't Do For Love" by Bobby Caldwell showcase how well it handles instruments like guitars and pianos. Each instrument is distinct and detailed, adding to the overall musicality of the song. The mid-range clarity ensures that every instrument gets its moment without getting lost in the mix, creating a spacious and immersive soundstage.

Conclusion
The Simgot Supermix 4 delivers a natural and detailed mid-range performance that music lovers will appreciate. It captures the essence of vocals and instruments with clarity and precision, making every listening session enjoyable. While there's room for a touch more warmth in the lower mid-range for male vocals, the overall mid-range presentation of the Supermix 4 makes it a solid choice for anyone looking to experience music with depth and clarity.

Treble Extension and Clarity:
The Supermix 4 excels in treble extension, delivering airy and well-defined highs that enhance the overall clarity of music. For instance, in tracks like "Hotel California" by Eagles, the Supermix 4 reproduces the crispness of cymbal strikes and the shimmer of acoustic guitar strings with precision. It captures high-frequency details in a way that adds sparkle and realism to the sound, without any harshness or excessive brightness.

Smoothness and Detail Retrieval:
A notable feature of the Supermix 4's treble is its smooth and refined presentation. This is evident in tracks like "My Heart Will Go On" by Celine Dion, where the treble remains composed and detailed throughout, capturing the subtleties of vocal inflections and instrumental textures. The IEM maintains clarity and transparency, allowing listeners to appreciate intricate treble nuances without fatigue even during prolonged listening sessions.

Treble Balance and Presentation:
In terms of balance, the Supermix 4 strikes a good equilibrium in its treble presentation. It offers a sufficient amount of treble energy to bring out the sparkle in vocals and instruments, making it suitable for genres ranging from jazz to pop and classical. Tracks like "Stairway to Heaven" by Led Zeppelin showcase its ability to blend high-frequency clarity with midrange warmth, creating a cohesive and immersive musical experience.

Critique and Improvement Areas:
While the Supermix 4 excels in many aspects of treble performance, there could be slight improvements in the lower treble region to enhance the presence and clarity of vocals and instruments in dense recordings. Additionally, a touch more airiness in the upper treble could expand the soundstage further, offering a more spacious and open presentation for live recordings and orchestral music.

Overall Impressions
The treble performance of the Simgot Supermix 4 enhances the listening experience with its clarity, extension, and refined presentation. It brings out the nuances in vocals and instruments, making it a versatile choice for discerning listeners across various musical genres.

The Simgot Supermix 4 impresses with its technical prowess, offering a blend of exceptional detail retrieval, imaging capabilities, and soundstage presentation that elevate the listening experience across various genres.

Detail Retrieval:
Detail retrieval is a standout feature of the Supermix 4, capable of uncovering nuances and subtleties within music tracks. Whether it's intricate guitar plucks in acoustic arrangements or subtle background instrumentation in orchestral pieces, the IEM excels in delivering clarity and resolution. Tracks like "La Campanella" by Franz Liszt highlight its ability to articulate complex passages with precision, allowing listeners to hear each note distinctly without congestion.

Imaging and Instrument Separation:
The Supermix 4 offers precise imaging and excellent instrument separation, creating a three-dimensional soundstage that enhances spatial accuracy and depth perception. In tracks like "Bohemian Rhapsody" by Queen, vocals are positioned with clarity and instruments are placed with distinctiveness, allowing each element to occupy its own space within the sonic landscape. This contributes to a more immersive and realistic listening experience, particularly noticeable in live recordings and studio productions.

Soundstage Presentation:
The IEM presents a spacious and well-defined soundstage, which adds to its overall musicality and engagement. Tracks with expansive arrangements, such as "The Great Gig in the Sky" by Pink Floyd, benefit from the Supermix 4's ability to convey the breadth and depth of sound. It creates a sense of openness and airiness that enhances the listener's perception of depth and instrument placement, making the music feel expansive and immersive.

Dynamics and Transient Response:
Dynamic range and transient response are handled adeptly by the Supermix 4, allowing it to reproduce sudden shifts in volume and rapid musical transitions with agility and precision. This capability is evident in dynamic tracks like "Thunderstruck" by AC/DC, where the IEM captures the impact and energy of drum beats and guitar riffs with authority and clarity. The transient response ensures that each musical attack is conveyed crisply, maintaining the integrity and realism of the original recording.

Critique and Improvement Areas:
While the Supermix 4 excels in technical performance, there are areas where refinement could enhance its capabilities further. Improved dynamic contrast in quieter passages could enhance the overall sense of musicality, particularly in classical music and acoustic recordings. Additionally, slight adjustments in the frequency response could provide a more nuanced tonal balance across different music genres, catering to a wider range of listener preferences.

Overall Impressions
The technical performance of the Simgot Supermix 4 sets a high standard in its class, delivering exceptional detail retrieval, precise imaging, and a spacious soundstage that enhances the listening experience across diverse musical genres. Its dynamic capabilities and transient response ensure a lively and engaging presentation, making it a compelling choice for audiophiles seeking superior performance and musical enjoyment.




Music Performance with Simgot Supermix 4:

In the Presence of Enemies - Part I by Dream Theater:
Listening to "In the Presence of Enemies - Part I" by Dream Theater on the Simgot Supermix 4 is a revelation for anyone who loves intricate, progressive metal. The IEM's ability to unravel the complex layers of this song is truly impressive. From the rapid-fire guitar riffs to the thunderous drum fills and ethereal keyboard passages, every detail is crystal clear. The expansive soundstage and precise imaging create a sense of being enveloped in the music, where each instrument has its own space to shine. It's an exhilarating experience that highlights the Supermix 4's prowess in handling dynamic and challenging compositions.

Thunderstruck by AC/DC:
Rocking out to "Thunderstruck" by AC/DC with the Supermix 4 is an absolute blast. The track's infectious energy and iconic guitar riff come through with remarkable punch and clarity. The IEM effectively captures the raw power of AC/DC's classic rock sound while maintaining a well-balanced presentation that allows the vocals to soar effortlessly above the driving rhythm section. It's as if you're transported to a live concert, feeling the pulse of each drumbeat and the satisfying crunch of every guitar chord. The Supermix 4's impressive dynamic range and lively sound signature make it the perfect companion for enjoying the timeless appeal of rock 'n' roll.

A Little Piece of Heaven by Avenged Sevenfold:
Exploring the theatrical and intricate "A Little Piece of Heaven" by Avenged Sevenfold on the Supermix 4 reveals layers of emotion and storytelling. The IEM's detailed treble and rich midrange bring out the nuances in the vocals and orchestral arrangements, creating a cinematic experience. The mid-bass adds depth and impact to the track's rhythm, enhancing its groove without overshadowing the complex instrumental layers. It's a song that demands attention to detail, and the Supermix 4 delivers with its clarity and musicality, making each listening session a journey through Avenged Sevenfold's darkly imaginative world.

Fear of the Dark by Iron Maiden:
"Fear of the Dark" by Iron Maiden takes on a new life through the Supermix 4's handling of metal's power and melody. The track's galloping bassline, intricate guitar harmonies, and soaring vocals are rendered with precision and energy. The IEM strikes a balance between the driving rhythm section and melodic guitar solos, allowing each element to shine while contributing to the song's overall intensity. It's like being in the front row at a Maiden concert, feeling the rush of adrenaline from Bruce Dickinson's vocals and the thunderous roar of the guitars. The Supermix 4 captures the essence of Iron Maiden's epic sound, making it a must-have for metal enthusiasts.

Another Day In Paradise by Phil Collins:
Listening to "Another Day In Paradise" by Phil Collins through the Simgot Supermix 4 is a deeply emotive experience. The IEM captures Collins' soulful vocals with a warm, intimate tone that brings out the song's poignant lyrics. The midrange clarity is exceptional, allowing each lyric and note from the acoustic guitar to resonate clearly. The instrumentation feels well-separated, with subtle details like the gentle percussion adding to the track's depth. It's a song where the Supermix 4 shines in its ability to convey the emotional weight of the music, making it ideal for moments of introspection.

Dreams by Fleetwood Mac:
Exploring "Dreams" by Fleetwood Mac with the Supermix 4 reveals its ability to handle the ethereal atmosphere of the track with finesse. Stevie Nicks' vocals float effortlessly over the acoustic guitar backdrop, supported by a balanced midrange that preserves the song's intricate harmonies. The treble is smooth and airy, enhancing the shimmering quality of the track without any harshness. It's a performance that invites you into Fleetwood Mac's dreamy world, where each instrument and vocal layer feels distinct yet cohesive.

My Reverie by Bullet for My Valentine:
Rocking out to "My Reverie" by Bullet for My Valentine showcases the Supermix 4's dynamic prowess in handling intense rock tracks. The aggressive guitars and powerful vocals are delivered with clarity and punch, highlighting the IEM's ability to handle fast-paced instrumentation without losing detail. The midrange presence ensures that every riff and drumbeat is crisp and impactful, creating a high-energy listening experience that's both thrilling and immersive. It's a track where the Supermix 4's balanced sound signature shines, making it a great companion for rock enthusiasts.

Time In A Bottle by Jim Croce:
Listening to "Time In A Bottle" by Jim Croce with the Supermix 4 captures the essence of this timeless ballad with warmth and clarity. Croce's heartfelt vocals are portrayed with intimacy, supported by the IEM's detailed midrange and natural tonality. The acoustic guitar sounds rich and resonant, showcasing the Supermix 4's ability to reproduce string instruments with authenticity. While the vocals are well-presented, a touch more weight in Croce's voice would enhance the song's emotional depth further, though the overall presentation remains engaging and immersive.

500 Miles by Noon:
"500 Miles" by Noon showcases the Supermix 4's finesse and extension in handling female vocals. The track's vocal performance is presented with clarity and detail, capturing the nuances and emotive delivery. The treble adds sparkle and airiness to the vocals, enhancing their presence within the mix while maintaining balance with the acoustic instrumentation. The midrange clarity ensures that each note and chord progression is articulate and well-defined, creating a cohesive musical backdrop that's both captivating and immersive.

What You Won't Do For Love by Bobby Caldwell:
Exploring "What You Won't Do For Love" by Bobby Caldwell with the Supermix 4 reveals its genre versatility. Caldwell's smooth vocals are well-separated and articulated, supported by a midrange that strikes a balance between warmth and clarity. The track's instrumentation, including the grooving bassline and jazzy guitar riffs, is presented with depth and definition. The IEM's soundstage and imaging excel, creating a musical landscape where each element contributes to the track's infectious groove and soulful atmosphere. It's a performance that highlights the Supermix 4's ability to bring out the nuances and dynamics of both vocals and instruments.

Final Thoughts
The Simgot Supermix 4 stands out as a versatile and capable IEM that excels across various musical genres. Whether you're immersed in the soulful melodies of Phil Collins, the ethereal harmonies of Fleetwood Mac, or the energetic rock of Bullet for My Valentine, the Supermix 4 delivers a balanced and detailed sound signature. It effortlessly captures the nuances of vocals and instruments, providing clarity, depth, and an immersive listening experience. Audiophiles will appreciate its ability to handle both delicate acoustic tracks and dynamic rock anthems with precision, making it a compelling choice for those seeking superior sound quality and musical enjoyment.

1. Harman-Tuning Enthusiasts: If you appreciate the Harman sound signature, characterized by a balanced and natural presentation, the Supermix 4 will likely meet your expectations. Its tuning provides a satisfying blend of bass, midrange, and treble, making it suitable for a wide range of music genres.

2. Midrange Lovers: The Supermix 4 shines in delivering a clean, detailed midrange. Vocals, both male and female, come through with clarity and precision. This makes it a great option for vocal-centric music, ensuring that every nuance of the performance is captured.

3. Versatile Music Tastes: Thanks to its well-rounded sound signature, the Supermix 4 is capable of handling a variety of genres effectively. Whether you enjoy rock, pop, jazz, classical, or electronic music, this IEM delivers a satisfying and engaging listening experience across the board.

4. Detail-Oriented Listeners: If you value intricate details in your music, the Supermix 4 won't disappoint. Its ability to retrieve fine details, especially in the midrange and treble, enhances the overall listening experience, making you feel more connected to the music.

5. Comfort Seekers: With its ergonomic design and lightweight build, the Supermix 4 offers a comfortable fit for extended listening sessions. The included ear tips provide good passive isolation, enhancing the overall listening experience by minimizing external noise.

6. Build Quality Appreciators: If you prioritize build quality, the Supermix 4's robust design and premium materials will appeal to you. The combination of 3D-printed resin housing and a CNC-machined backplate not only looks sleek but also ensures durability.

7. Budget-Conscious Audiophiles: Given its performance and build quality, the Supermix 4 offers excellent value for its price. It competes well with more expensive models, making it a smart choice for audiophiles seeking high-quality sound without breaking the bank.

While the Simgot Supermix 4 has many strengths, it may not be the best choice for everyone. Here are some reasons why it might not be the ideal IEM for certain listeners:

1. Warm Sound Lovers: If you prefer a warmer sound signature with a rich, full-bodied presentation, the Supermix 4 might not meet your expectations. Its tuning leans more towards a balanced and neutral profile, which might feel lacking in warmth for those who enjoy a more colored sound.

2. Bass Heads: For listeners who crave heavy, dominating bass, the Supermix 4 might fall short. While its bass is well-defined and balanced, it doesn't deliver the overwhelming bass impact that bass enthusiasts often seek. If you prefer a more bass-forward sound, you might want to consider other options.

3. Users with Bright Sources: The Supermix 4's neutral and detailed treble can become too bright or harsh when paired with bright-sounding sources. If your audio equipment already emphasizes the higher frequencies, this IEM might exacerbate that brightness, leading to a potentially fatiguing listening experience.

4. Small Ear Canals: The Supermix 4's physical size is medium and designed to fit most ears comfortably. However, those with particularly small ear canals might find the fit less than ideal. It's advisable to test the fit before committing to ensure it suits your ear shape and size.

Introduction:

Simgot is one of a few Chi-fi companies that managed to capture the heart (or the ears) of many audiophiles in the recent year with their capable, high sound quality iem along with their competitive pricing.

The SuperMix 4 is a quadbrid iem from Simgot with a 10mm polymer diaphragm dynamic driver, 1 custom balanced armature, 1 micro planar driver and 1 piezoelectric driver. The SM4 has the MSRP of 150$ on online retail stores

I will call the Super Mix 4 “SM4” for the rest of this review.

Disclaimer: I would like to thank Simgot for providing this iem in exchange for an honest review and impression. Everything I said in this review is my subjective opinion only.

Packaging

Quite different from the other releases, the SM4 box now has a great outer color to it. Not that it matters in the grand scheme of things. It’s just something to be noticed

The content of the box includes:

- The iem themselves

- A 2-pin cable with 3.5mm termination

- A carrying case

- 3 pairs of eartips

- Some papers

Overall, a very minimum amount of accessories. The carrying case is quite basic with a pill shaped and soft PU leather outer, similar to the EA500 and EA500LM’s case

Design/Build quality/Comfort

The SM4’s shells are made out of fully black resin with a metal faceplate. The shell feels very light on the hand and it definitely does not feel flimsy or cheap.

Simgot keeps the design of the faceplate relatively simple by just engraving a small circle with a small hole as a back vent.

The nozzle is a smooth tube with no lip to hold onto the tips. Inside it is 3 separate tubes for the sound to come out.
To me, the SM4 feels very comfortable in the ear with decent isolation. I can wear this iem for many hours straight with no problem.

The cable is quite decent. It’s a 2 cores cable with 3.5mm single ended termination. Inside each core is 2 more separate cores. It feels soft enough, not too weighty and just has a bit of memory to it. The quality of this cable seems to sit in between the EA500LM’s cable and the EA1000 cable.

Sound impression:

Test gear:

Source: Poco F3, Dell laptop

DAC/amp: Chord Mojo, Onix Alpha XI1, E1DA 9038D

Eartips: Whizzer SS20

Cable: Stock

Personally, I feel like the stock tips don’t do justice to the SM4 as I feel like it’s compressing the overall stage a little bit. That’s why i’ve opted for a short and wide bore tips like the Whizzer SS20, but any short wide bore tips would be fine.

Before going into the sound impression, I'd like to mention that the SM4 has reverse polarity, judging by the impulse response in the measurements. That’s why for this review, I've rotated the 2 pins by 180 degrees. I use the lighter to soften the earhooks of the stock cable.

Tonality: Harman-ish, U shaped-ish tuning. Going by the graph, it’s apparent that the SM4 follows the Harman IE target very closely. But it also has a bit more subbass and the high treble region, which gives it a U-shaped-ish tuning. Let me break it down further.

Bass:

So let’s start with the bass. The SM4 has a subbass over midbass presentation.

There is a lot of subbass quantity. The subbass reaches deep with sufficient lingering decay. The subbass maybe a lot, but it doesn’t sound like it’s encroaching or looming over the midrange. Subjectively, it can be distracting, but I wouldn't say it’s overwhelming. To each their own.

Why So Serious’s subbass drop feels tight, well controlled, has good rumble and air movement. It doesn’t have too much reverberation, just enough.

The midbass on the other hand is decently boosted. It gives bass instruments enough body to let you know they’re there, but they don’t have much authority behind them. The midbass has average texture like they lack a bit of roundness or fullness to the notes. It’s not too hard hitting.

Bass hits just come “THWACK” and then it’s gone. It’s not too dissimilar to planar bass speed (but not in the air volume) if I dare say so myself. Cello and double bass sounds quite natural with decent string plucking senstation. With AC/DC songs, kick drums sound incisive but not very grand, not much oomph behind the hits. This is where you can easily feel the so-called “bass tuck” the most.

The DD in the SM4 has good transient speed, not sluggish, so when pairing that with a not-too-boosted midbass, it does not sound too bloated and stays in line with the rest of the driver setup.

Overall, “clean” and “coherency” seems to be what Simgot aiming for with the bass region, but personally, i’d have liked a bit lower subbass and more mid bass presence, so bass instruments would have more life to them

Another thing to look out for: With an impedance of 7.2ohms, the SM4 is really susceptible to change with sources that have high output impedance. By the rule of 8, with sources that have impedance over 0.9 ohms, it can change the FR of the SM4. The SM4 is one of few rare cases that I prioritized using a 3.5mm single ended source rather than 4.4mm balance because usually the 4.4mm port has higher output impedance.

Here’s the result when I use the SM4 with a 75ohm adapter.

As you can see, the changes mostly happen in the bass region. By using a source with high OI or with an impedance adapter, it will make the SM4 more bass heavy, more euphonic. The effect will be lessened with lower impedance. It's fun on one side and it’s overwhelming on another.

Mid:

What hit me first when listening to the SM4 is how clean the midrange is. There’s no bass bleed. It’s clean, lean, but not particularly thin. The notes still have that enveloping, weighty feeling to them. The positioning of vocals feels a bit laid back.

The SM4 seems to prioritize female vocals more than male vocals. This is quite apparent with many Chinese soundtracks.

Bass-baritones or deep male vocals can sound quite lean. It’s not too detrimental, as it’s quite dependent on the songs or what you’re looking for. If i’m listening to Frank Sinatra or Michael Buble then yes, they don’t sound quite as lush. However, with the wider range of men’s choir or mix choir in orchestra track, where you need to have a balance between them and the rest of the instruments then the SM4 can convey their emotion just great.

Female vocals on the other hand, contralto, mezzo to soprano all sound wonderful with the SM4. The SM4 leans to their advantage, with contralto trading a bit of their usual depth and chesty tone to sound a bit more vibrant, while mezzo and soprano sound even more dazzling yet still sound realistic.

With a Harman style pinna gain, i’d say the SM4 is suitable for mid volume so as not to sound too shouty. The SM4 has kept the sibilance and metallicness to the minimum with the gently roll off after 2 khz. This makes the SM4 way less harsh than Simgot’s EA lineup.

Instruments sound ...decent. They have a smooth, natural timbre to them. Violin and viola sound particularly smooth yet vibrant with each bow stroke. Piano has a light and even tone to it. Tom drums sound clean as well, but they lack sort of weightiness to them.The tone of these instruments sound correct, but the note weight or density is a bit lacking. One thing I gotta give them credit for is all the instruments don’t have a veil presentation to them.

Treble:

The treble on the Supermix 4 is kind of a mixed bag for me. On one side, it’s relatively smooth with no harsh peaks to it, but on the other side, the quality or timbre aren’t as great. This may be partially because I've used 1DD or hybrid iem for so long. The use of PZT for the treble region gives the SM4 this special zing to it. It didn’t take me long to get used to it.

I’d say the overall treble is quite nicely done, suitable for a wide range of audience, just not for hardcore treble heads out there. It’s well extended and airy enough without having “fake” detail boosted peaks.

Cymbals have a soft bite and good sizzling to them while not sounding splashy. Hi hats sounds very natural, with the gentle buzz or wispiness to it.

Technicalities:

The soundstage of the SM4 leans more towards being wide and high rather than deep.

The layering is only decent because I feel like the instruments aren’t feeling very clear cutted.

Detail retrieval on the other hand is honestly great. The smoothness of the frequency range means there’s no masking details or anything.

Overall, the SM4’s technical performance is only slightly above its price range, not fully being a market disruptor type of thing.

Comparison:

Since i don’t have any other quadbrid to compare, i’d just compare the Simgot with the rest of the line up

1/Simgot EA500LM

Compared to the SM4, the EA500LM sounds more V shaped. More bass and more upper treble.

The bass has more authority to them on the EA500LM. The lingering sensation of the subbass is more amplified. Midbass texture is only a little bit better.

The midrange on the other hand, SM4’s feels less lean, less metallic and less sibilance than the EA500LM. The EA500LM’s midrange feels even more recessed. Vocals sound smoother, less edgy on the SM4.

And the treble. The EA500LM may have more treble than the SM4, but the SM4 has a more refined treble. Cymbals and hihats decaying feels more natural and less crunchy.

Technicalities wise, the SM4 is a level above the EA500LM in terms of soundstage and stage presentation.

2/Simgot EM6L

When A/B ing the two, the EM6L sounds way more colored than the SM4. The SM4 sounds more mature in comparison.

The bass of the EM6L now sounds warmer, more enveloping, but the midbass also sounds muddier. The bass region sounds not as coherent. The bass on the SM4 is cleaner and has better separation.

The midrange is a bit warmer, note weight is more on the EM6L, which is a plus point; but it also sounds more veil, which is a minus point. Male vocals, although sound lusher on EM6L, they don’t sound as effortless and transparent. Female vocals are just straight up better on the SM4. EM6L really traded a lot in exchange for meaty lower mids.

Treble is smoother, airier, more refined on the SM4. Granted, the treble on the EM6L is also smooth, but it lacks some micro nuances and has a darker edge to it.

Technicalities wise, the SM4 is a level higher than the EM6L, where it has a more holographic soundstage as well as more distinct layering.

3/ Simgot EA1000

Now, the EA1000 is also a single DD iem, but it’s even more expensive than the SuperMix 4.

For the bass, it’s quite apparent that the EA1000 has way more midbass than the SM4 while SM4 has more subbass. Bass texture wise, the EA1000 wins everytime. To my ears, the driver used in the EA1000 has way higher quality. It feels more 3D. How the EA1000 reproduces the bass hits, cello and trumpet, the lower fundamentals of many instruments gives me goosebumps way more frequently than the SM4. Kick drums have more authority to them and more sense of control.

Midrange wise, the EA1000 has a warmer, denser lower midrange, while the SM4 has a cleaner midrange overall as well as a slightly smoother uppermids. The EA1000 can feel a tinge metallic and more sibilance. Vocals sound not as fatiguing on the SM4. I like male vocals more on the EA1000 while female vocals way more on the SM4.

Treble wise, EA1000 has more energy up top as well as being snappier and crisper. The EA1000 has a piercing high treble peak, noticeable at high volume. The SM4’s treble is better tuned, more refined although it still has a penalty of having a bit of that PZT timbre. Percussion instruments sound way softer and easier on the ear with the SM4’s treble.

Technicalities wise, I think the EA1000 has better depth, but not as wide. Layering feels sharper on the EA1000 while the detail retrieval is better on the SM4.

To me, both of these iem sound good, I enjoyed both, but it caters to different types of people, depending on what they want from their playback. I like the EA1000 more because it has better bass texture, more lowermid presence and more coherence. I can tame the spiciness up top with a foam mod, or an additional filter on the nozzle.

Conclusion:

I gotta say, Simgot has created one heck of a product for 150$ with an unprecidented configuration. It’s not perfect by any means as I still feel like it still has room for improvement, but for 150$? It’s quite ahead of many of its competitors. I can confidently put the SM4 in the “benchmark under 200$” categories.

If you’re someone who loves a Harman-tuned iem, likes clean midrange and listens to it at mid volume, this is the perfect iem for you. However, if you’re looking for an iem with not so much subbass, a dense midbass, lush lower midrange and male vocals and likes a deeper stage, I'd say the SM4 is not quite the iem for you.

That’s it for my review and thank you for reading

Introduction​

Simgot has made quite a name for itself with its innovative and high-performing IEMs. The SuperMix 4, priced at $149.99, continues this tradition by offering a quad-driver setup that promises a high-quality sound experience. Featuring a unique combination of a dynamic driver, balanced armature, micro planar driver, and piezoelectric driver, the SuperMix 4 aims to deliver a well-rounded and immersive auditory experience.

Build Quality and Accessories​

The Simgot SuperMix 4 boasts a robust build with its 3D-printed translucent resin housing and matte metal faceplate. The design keeps the weight light, ensuring comfort during long listening sessions. However, some may find the plastic construction less premium compared to metal counterparts.

The accessory package is somewhat basic for the price, including only three pairs of silicone eartips, a cable, and a carrying case. While the stock tips offer a good, comfortable fit, the variety could be improved to cater to different preferences and ear shapes.

Sound Impressions​

Sound impressions below is done using the stock cable and eartips.

Click to expand...

The SuperMix 4 delivers a well-balanced sound signature with a Harman-like tuning. It's an excellent all-rounder, suitable for various music genres.

The bass is fast and controlled, with a good amount of sub-bass rumble without bleeding into the mids. The midbass is punchy but could use a bit more texture. In terms of the mids, the mids are smooth and lush, with good vocal presence. Male and female vocals both sound natural and detailed, making the SuperMix 4 a great choice for vocal-centric tracks. The treble is smooth and non-fatiguing, retaining enough energy to keep the sound engaging. It extends well without becoming harsh, even at higher volumes.

Technical Aspects​

Technicality wise, The SuperMix 4 is pretty decent for the price, but nothing outstanding. It offers a wide and tall soundstage with decent depth. Imaging is good enough, albeit slightly hazy (Pentaconn Coreir fixes this). While the resolution and detail retrieval are good for the price, there is room for improvement in midbass texture (Pentaconn Coreir fixes this too).

Drivability​

The SuperMix 4 is remarkably easy to drive, performing well with everything from smartphones to high-end DACs. This makes it a hassle-free choice for any listener, as it does not require a powerful source to shine.

Included Eartips and Recommendations​

• Stock Tips: The stock eartips provide a smoother, warmer sound for the SuperMix 4. It provides a good, comfortable fit. However, I find that it makes the midbass sound a but undetailed and hazy.
• Pentaconn Coreir Brass: My recommended eartips for the SuperMix 4 as I find it to improve texture overall, especially in the midbass. Tuning is slightly more V shaped with better sub-bass extension (see FR measurements above).

Conclusion​

The Simgot SuperMix 4 stands out as a powerhouse in the sub-$200 IEM market. Its well-balanced tuning, impressive technical performance, and fantastic value make it an excellent choice for both newcomers and seasoned audiophiles. Despite some minor flaws, such as the midbass texture and basic accessory package, the SuperMix 4 offers a highly enjoyable and versatile listening experience.

Ratings:

• Value: S
• Tuning: A+
• Technicalities: B
• Enjoyment: A-

Overall Rating: A+ (Objective Perspective)
The SuperMix 4 sets a new benchmark for IEMs in its price range, offering balanced tuning and technical abilities that often surpass more expensive competitors. It's a solid recommendation for anyone looking for a good all-rounder experience without breaking the bank.

Personal Rating: A (Subjective Take)
For $149, the SuperMix 4 offers a well-balanced tuning and fantastic value. The biggest gripe I have with the SuperMix 4 is its midbass texture. However, upgrading the stock eartips to the Pentaconn Brass Coreir eartips "fixes" this issue, which makes the SuperMix 4 even more recommendable to me. If you are looking for a good all-rounder for less than $200, do check out the SuperMix 4.

Simgot Supermix 4

Simgot needs no introduction. I think most folks in the community know who they are by now and their dedication to great sounding budget friendly IEMs have garnered a well deserved reputation and more importantly a nice following among enthusiasts here on headfi. As an eclectic music listening enthusiast, I am always looking for the next big thing in audio and I suppose IEMs are my main passion. The last IEM I reviewed from Simgot was a refresh of one of their excellent dynamic designs in the EA500LM I did a review for here.

It's not that Simgot implements new cutting edge materials or has anything that will compete with the very top of the line IEMs in the industry. It is that these guys are able to show consistency. They make consistent quality IEMs for the enthusiast and they seem to pay particular attention to the budget friendly relatively affordable level IEMs. Simgot is not known for high end stuff. But more so that their IEMs actually sound and arguably perform at a higher level without the price tag to go with it. Case in point the new Supermix 4 is not exactly new to the community but introducing a quadbrid, 4 different drivers in combination for the IEM sound presentation is a new design for Simgot.

I don’t recall too many if at all quadbrids in the industry selling for an RP of $149. It will take the likes of a UM Mest level of IEM before you will read about quadbrids. Which you can add another zero on the Supermix 4 price to purchase a set when that was released about 4 years ago. One thing for very certain, the Supermix 4 is not anywhere close to the sound quality level of the MEST. But it does do a lot with its 4 drivers and I am here to tell you good folks how I hear their newest quadbrid, the Supermix 4.

Standardly disclaimers. The Supermix 4 was provided for the purpose of a review by Fia Lam of Simgot. They have been burned in for a week's time and now are ready for evaluation using a bunch of my sources I used for testing. Ibasso DX300Max, DX180, PB5, Fiio M15, M15S, IFI Black label, Signature, Fiio K9 Pro ESS. You can read more about them on Linsoul website here.

Build quality,
Supermix 4 is using a 3D printed resin housing with a CNC machined backplate. Its solid design incorporates 3 separate sound bores out the front of the sound nozzle. I appreciate this design for multi driver IEMs due to better sound separation of the 3 bands of sound on the Supermix4. It uses a 4 crossover technique all housed in a dark almost black resin material for the housing. Physical size I would equate to a solid medium and is very ergonomic for a universal design meaning most will have no issues with fitment using the Supermix 4. Resin IEMs in general gives some really good passive isolation and this is also the case with the Supermix 4. Its darker gray colored plate incorporates what looks like a simple but clean circular inlay of copper with a vent at the end of the circle. Clean understated looks. The vent on the Resin housing and one the back plate ensures there is no vacuum build up and more importantly that the dynamic driver gets plenty of air for full sonics.

What it comes with.
Simple silver plated OFC single ended cable.
3 pairs of silicone tips in various sizes
Zip up oval carry case in all black.

An observation I had was that the Supermix on open listen is not exactly a wow inducing sound. The mids BA sounded absolutely flat, the sound had zero dimensions to it. Bass stood out but not because it was big or brawny. It didn’t sound all that defined. Then you had this thinner sounding spiky trebles. But all that changed with a few things which I highly recommend for optimal Supermix 4 sound.

First thing you have to do when you get the Supermix 4. Is burn them in. Yes, the much debatable ritual for the audiophile. To burn or not to burn. Just know I always burn everything I put into my ears. Using your music and letting the drivers play out over time always works for me and that is what I did for the Supermix 4. I do a week's worth but how long you do that is up to you. I do know however that the Supermix 4 benefits from running music through its drivers. Utilizing 4 drivers to mesh well together means they all have to play together in optimal fashion for what the designers have intended.

Its included silver plated OFC in single ended is ok as an included throw in for a cable but to be completely honest your not going to get the best Supermix 4 sound using this cable.

Sound
Simgot does harmon tunings for balancing. The Supermix 4 was tuned very similarly in balancing to their much popular EA line of dynamics. The graph of the supermix 4 might as well be the graph of their EA500 or EA500LM or EA1000. Minus a minor elevation here and there they all look alike. However the one real standout of the supermix 4 is that it is using a different type of driver for each part of the sound spectrum. Given the strengths of each driver: a 10mm dynamic high polymer dynamic for bass+ Balanced Armature for mids+ Planar for highs+ multi layered ceramic piezo for ultra highs.

Using 4 different types of drivers this IEM runs the risk of the overall sound to not be so cohesive. Which is never an issue with their EA line of IEMs as those IEMs use a single dynamic for the sound. The Supermix4 for the most part does a decent job at cohesion but when listening critically. Yes there are literally 4 timbres at work here and this will cause somewhat of a disjointed sound. It's mostly a technically proficient set which is helped out by the 3 separate sound bores out the nozzle. These sound bores out the nozzle is a nice design choice to give better sound separation among the 3 sound bands which is a design done on much higher end hybrids, tribrids and quadbrids. This gives the sumermix4 with a nice technical ability to be present for trebles, its mids and its bass,

The synergy among the drivers mostly works and again when listening to music casually. It does give somewhat of a speaker effect inside the ears with separate tweeters and woofers all in one. The sound balancing to my ears is not the issue here. It's that you get somewhat of a softer slower slightly boomy bass, A much more precise BA with a slightly edged timbre aka BA timbre, and then a thinner sounding treble note and extension aka Piezzo timbre.

Trebles.
You have probably read about these much higher end quadbrids and tribrids that use Sonion EST drivers for ultra highs. You can say the ceramic piezo is used very similarly to the EST drivers used on much higher end models. A cheap mans EST? Well yes, I suppose you can look at it that way but at the same time if the Piezo driver worked and sounded just like EST drivers then they would be used for these kilobuck IEMs. Ok so the Piezo is not exactly what EST drivers sound like. The only real benefit of the ceramic piezo is that it seems to be more efficient to perform like ESTs. Otherwise there is no mistaking what piezos sound like. Planars do trebles with excellent extension just fine. In fact for IEMs it is one of their strengths. I have yet to hear a planar that couldn’t cover the entire gamut of the treble extension including air. So why the inclusion of the Piezo? Maybe it was thrown in just to say it has a 4th driver? Don’t know but the classic piezo thinner metallic treble timbre and thinner note is clearly evident. The trebles will be an either you love it or hate it type of thing. Its sharper etched tonal character is evident. Trebles are tuned to have presence in the sound tuning and then that added piezo on top makes sure you're hearing crisper treble tones. It will clearly be noticeable with percussion work on high hats and ride cymbals. If one accepts this treble presence as being a more detailed type of treble. This is fine but if you're a tonal purist I don't know if you're going to like the way trebles are presented on the supermix 4. Where this type of treble presence doesn't work well is for natural treble shimmer and sparkle end up being shiny sounding. Rock and metal for example brings on a lot of that shine.

On the positive end of such trebles is that it does give a nice sense of the micro details from the trebles. Its transients are fine but again not the most accurate sounding treble note or tonal character. I get what Simgot is doing with this planar and piezo combo and it ends up sounding like an alternative rendition of a higher end sounding treble is what it ends up sounding like. I suppose if you don't own higher end IEMs that do this correctly then you will be more than ok with the way the trebles perform. Supermix 4 trebles are generally tuned well with good micro nuances that will appear in the presentation, tuned in a smoother manor. Where I have some issue is that its macro details are a bit off sounding due to that piezo timbre.

Mids.
This is where I feel Simgot kinda missed an opportunity. What they should have done was used the dynamic for bass and mids and used the Planar for the trebles to finish it off. Its BA for mids is ok, I am betting it is a larger Bellsing single BA. Nothing wrong with the BA here but more so how it was tuned. Mids here are good but at the same time unremarkable. Because the way it was tuned. Mids are not exactly forward or all too engaging sounding. It's the laid back type of mids, more neutral in emphasis than anything forward or too detailed. It does show a good neutral tonal character with solid presence. As harmon tuned IEMs goes, female vocals sound better for this tuning than male vocals. Male vocals sound a bit reserved in comparison at about the same plane of sound as the instruments for example. BAs are known for their precision if not giving off somewhat of a rigid character to the sound they emit. BA timbre is present but does have an accurate clean tonal character in the process. If a multi BA or two separate BAs was used, it would have given the Sumermix 4 mids presentation a better sense of space and a dimensional effect which I feel is lacking. I am certain for the given price point Simgot has chosen the best driver they can use so I am not going to think these will be a world beater at their given price point especially for its mids presentation. The mids macro detail level is good but lacks micro details that that trebles does well at here. But for the price point it's good enough to convey an accurate note with just enough layering and body to tie the bass and the trebles together. Its layering is not bad but it's certainly not going to win any awards on the other hand either. I suppose Simgot could have used another BA to give greater depth and more meat to its mids performance or used a much more premium BA but I bet they are saving that card for later hybrid release.

Bass
Now here is where I find the 10mm dynamic driver Simgot has chosen to be a bit different and a bit surprising. Simgot can and does make higher end sounding IEMs and some are done with some outstanding bass in the process. I mean anyone that has heard the EA1000 bass performance will agree its quality is perhaps the best out of all their dynamic offerings. So it was a bit surprising that they have chosen what seems to be a higher end dedicated 10mm dynamic in what they call a high polymer nano-diaphragm. Described in its performance as a “robust natural low frequencies.”

Well not exactly. It's got plenty of impact and presence, however where I have issue is with its somewhat of a soft note for bass impact, a bit pillowy in presentation and I also find sub bass decay to be a touch quick. Bass can sound blunted and not all that defined if I am to be honest. I am not expecting Sony IER-Z1R type of woofer bass here but at the same time I have heard numerous sub $50 IEMs that actually have a more natural better defined bass note, tonal character and decay. It's like the bass end sounds overly dampened to the point where it doesn't sound all that natural. The amount of bass is there as the bass end seems to be playing more of a supportive role for its overall sound tuning vs being featured so it does its job perfectly fine. It's just that it is very surprising that the way Simgot explains what this particular IEMs and its bass ability sounds like does not really match what I am hearing from them. I noticed synthetic bass notes be it from hiphop or synth music just don't sound correct. If Simgot used their EA line of dynamics to just do the bass part I think they would have done just fine. I don't know what is not working well for its bass end to sound like it does but it's not the most believable woofer bass I have heard at the price, I much prefer Simgots EA line of dynamic IEMs for bass actually and those only use a full range single dynamic is my point.

I have read a few of the reviews of the Supermix 4 describing the bass end to be textured and such but to my ears it is the part of the sound profile that actually is the worst part of the 3 regions of sound I am talking about here. It's not that it doesn't have a proper punch or quantity of bass. Its quality however leaves me wanting something a bit better. A touch pillowy and sometimes hollow sounding, the bass end is only adequate but nothing more unfortunately. One positive of the bass end however is that it does stay in place and has some good speed. Its tonal and definition quality can be better.

I know this reader, reads like a list of complaints on every part of its sound but believe it or not I actually enjoyed listening to the Supermix 4 and definitely enjoyed nitpicking its sound characteristics. Am I being a bit too critical of the Supermix 4? I suppose I am. Its just that I had somewhat of a higher expectation of this one due to just how good Simgots EA offerings are. On a positive note, Its a versatile sounding IEM. It's more neutral meaning it's less colored in the different parts of its sound vs something like a clear V shaped tuning or anything too bassy or too bright. Folks that are overly sensitive to trebles might not like the Simgot tuning angle but the trebles on the Supermix 4 are as detailed as I have ever heard from an IEM at the price range. Which is both good and bad. Its stage got a nice board wider sound vs the having too much depth. Its laid back neutralish sound profile will bode well for detailed listening. Something like orchestral, classical, Jazz and yes it does do rock, well enough minus the brightly recorded poorly recorded albums. Its sound is much more versatile than I give it credit for. Which leads me to my point about the Simgot Supermix 4. If used for casual listening there is nothing on it that really makes you cringe or think that they need to be replaced by another one of your favorites. It is when you listen critically they kinda fall apart. It brings an ample amount of details and its sound separation is likable at the price. Even the bass end is punchy enough to be enjoyable for something like EDM and hip hop.

I do give props to Simgot for trying something new. Trying a driver combo that on paper could work out but to my ears at least these sound like a mish mash of drivers that don’t necessarily jive all that well. It works but then it doesn’t. Some advice regarding the Supermix 4 is that due to its very low sensitivity its sound quality will be a bit different on different sources. If you find the Supermix 4 a bit thin sounding and its cohesion is not as good as you would like. After burning them in, you need to try several different sources. It can be driven just fine from a phone but to get max synergy from the Supermix 4 try a minimum of 4 sources. I am willing to bet you will find one pr two that will jive better with the Supermix 4. Overall, the sound can be enjoyable best when listening to them casually. I suppose that was what its intended purpose was for. Did you burn in and try some different cable pairings? On a side note, the Supermix 4 makes for an excellent gaming and or media IEM due to its good detail levels and wider stage.

Cable pairings.
A bit of a extra as I am a huge cable believer. A good cable on an IEM can make more break an IEM sound which the Supermix 4 definitely falls into. The first cable I tried on the Supermix 4 is Simgots own LC7 modular IEM cables. The more cable pairings I try on the supermix 4 the more I am convinced you need to ditch the included cable and go with something much better preferably in balanced. The Supermix 4 despite being a sensitive IEM sounds better to my ears in balanced configuration from my various tests.

The LC7 cable brings better presence for all things the Supermix4 is doing. It brings a greater note weight which as I wrote about in this reader is sorely lacking. This cable is what the Supermix 4 should have come with imo. They actually inject some musicality the stock sound configuration of the supermix 4 and its included cable just does not actually have. I can even say I actually get some dimensions to its sound presentation using this cable. Another aspect of the sound that needs an upgrade on. Simgots own LC7 cable is highly recommended on the Supermix 4!

Penon OCC849
Ok so now we are talking about an upgrade on the LC7. These cables are not only versatile with any IEM it is attached to but they do exactly what the LC7 does for the Supermix 4 but even better. A natural sound expansion. Better sense of stage dimensions. Greater mids presence. Bass impact and a cleaner detailed treble is the end result. I would say if you can get a deal on the LC7, go for it but if you are serious about getting your Supermix to sound decidedly “better” Go for the OCC849. Thanks for taking the time to read.

General/Build/Packaging/Comfort
Simgot is a brand that I believe many should be very familiar with by now. The brand has been releasing quite a number of hits namely the EA500, EW100p, EA500LM, EW200 as well as the EA1000 which are favoured by many within the community. I have the Supermix 4 today which is a “quadbrid” from Simgot in 1DD+1BA+1 Planar+1 PZT configuration. The driver combination is rather unconventional and unique. The build quality is different from EA500 and EW200 which both are metal shell, Supermix 4 went for 3D printed translucent resin housing and matte metal faceplate, the pros are, it keeps the weights light and you don’t feel it at all once it is in your ears, some will view this as a cons in a way where it looks cheap.
The unboxing experience is quite consistent across the brand, Supermix 4 is no exception either, very premium looking packaging, but kinda lacking in terms of bundled accessories for the asking price, 3 pairs of eartips, cable, storage case, as well as the IEM itself and that is all. I honestly expected a little more, but that’s just nitpicking. In terms of comfort, very comfortable to wear as I mentioned earlier due to its weight.

Equipment and Software used

• Fiio M23
• Dita Navigator
• Macbook Air M2 3.5mm
• Aune S9c Pro Reference
• Tidal, Apple Music, foobar2k

Foreword
My review is solely based on what I hear via my equipment and I never consider my reviews to be objective in any way rather a subjective approach. Do take into consideration that everyone’s ear anatomy is not the same, so the psychoacoustics perception might be different as well, but i believe it will not stray too far

Sound Impression
Supermix 4 is generally very pleasing to listen to, good tonality and note weight, timbre is quite natural overall. They’re slight V shaped sounding to my ears, very big bass but high quality bass, with very good treble extension for the price.

Bass

• The bass is quite speedy and it doesn’t sound bloated or muddy when listening to busy tracks such as Slipknot’s People’s = crap!
• The texture is good and it doesn’t sound thin or loose
• The sub bass is quite rumbly when the track calls for it, i wouldn’t say it goes deep like how a basshead would want it to, but it has enough rumble in my opinion which i would say its fun
• Mid bass is quite punchy and it doesn’t bleed into the mids
• The bass response does contribute to the overall atmospheric/surround feel when you are listening to some live tracks or classicals

Mids

• The mids are neither recessed nor too forward, but it is still lush sounding to my ears
• The midrange doesn’t sound thin, in fact it has very good note weight in this range, it is not overly thick to the point where it sounds bloated
• Male and female vocal has good texture and it doesn’t sound thin
• The upper mids are not too forward or perceived as shouty even on high volume, but again, it depends on your tolerance/sensitivity on the pinna gain, even the graph of Supermix 4 doesn’t exhibit high pinna gain, so your experience might vary

Treble

• Treble is very smooth and non offensive even on high volume, it has good extension as well
• Despite having a warmish signature, i’m surprised that the treble is not dark-ish sounding
• It retains enough energy and never once its sibilant nor harsh even when you push the volume up
• The resolution and detail retrieval is good for the asking price

Soundstage/Imaging

• Soundstage is slightly out of your head with average width, but good depth and height perception, another point to note is that, soundstage can be affected by the choice of eartips as well, so my experience here is based on the setup which i mentioned above
• Imaging is good as the instruments can be pinpointed easily even during busy track

Driveability

• Supermix 4 is easy to drive and it doesn’t really requires amplification, but it does scale quite well with sources based on my testing (sound signature colorization, bass control as well as soundstage)
• Most of the entry level/mid range dongles will do just fine
• Straight out of the 3.5mm from my Macbook Air M2, it sounded just fine, but of course it works better

Comparison (Tin Hifi P1 Max II)

• P1 Max II neutral warm sounding overall and mid bass focused, hence mid bass is quite punchy and has good impact
• Treble is slightly more energetic compared to Supermix 4,being a pure planar, resolution and detail retrieval capability is slightly better than Supermix 4
• Imaging and separation is more or less on par with Supermix 4, soundstage however is not as 3D-ish compared to Supermix 4
• Mids sounds slightly thinner compared to Supermix 4, vocals are not too recessed nor forward in the mix
• Upper mids are not perceived as shouty as well
• Noticeable planar timbre but will not compromise the overall experience, Supermix 4 on the other hand sounds quite natural overall to my ears

Final Thoughts
With so much competition in the price bracket of Supermix 4, does it hold its own? I certainly think so. Simgot has been releasing hits after hits, most of its releases are quite well received in the community. Although it is not the most technically competent IEM out there, the overall listening experience is very musical and the tuning is just versatile enough that it works across most of the genres that I am listening to (classiscal, jpop, mandopop, rock, metal and ost). Will I recommend this? Certainly! The Supermix 4 is set to please those who are new to the hobby or even some seasoned audiophiles, so yes, it is definitely another hit after the EA500!

*A big thanks to Linsoul for sending this over for the purpose of this review. Thanks for the support and opportunity as always

Head over to their store if you are interested in getting a pair:

Simgot Supermix 4 - Non affiliated

Intro:
This IEM was sent by Uncle Briant Otmen and @kupingsensi for me to review together with Celest Relentless.


The packaging is just standard for the price. There are 3 pairs of tips, the cable is pretty good quality and not as thin as the em6l cable. Don't forget there is also a hard case.
The housing material is made of resin plastic which is quite solid and light.

The fitting is relatively comfortable and safe from driver flex symptoms. The driver configuration of this iem has 4 different drivers, namely 1 dd+1 ba+1 planar+1 pzt. Of the four, the only thing I don't really feel is the planar timbre, because it still feels natural and the timbre isn't weird.

With different driver configurations, this doesn't make the Supermix 4 heavy to drive. It's just a bit heavy, but not because the potential is difficult to release. It's more like the iem itself requires a higher volume. Still, I recommend using a DAC dongle of at least 10$ for this Supermix 4 crane.

Straight to the impressions...

Bass:
Supermix 4 can be said to have a mild ushape bright sub bass boost tonal.
The bass presentation is really dominant in the sub bass where the rumble extension feels deep and the decay is quite long. Luckily it doesn't interfere with other frequencies.
The mid bass has a good texture, but unfortunately the impact is less full and tends to be a bit hollow.

The bass presentation is clean with good control. Unfortunately, because the sub bass decay is quite long, the Supermix 4's bass speed is not that fast.

Mid:
The mids feel a little more backward than the bass. Surprisingly, I can say that the mid presentation is the best among other simgot iems that I have ever tried.
Usually Simgot's vocal don't feel swingy, emotional and sweet, but in Supermix 4 it already feels sweet, emotional and swingy.

Apart from that, the mid also feels clear, the clarity level is similar with origin and oxy. The timbre is also natural and has minimal plasticky impressions on the instruments or vocals.

Unfortunately, the mid is still a typical simgot which is a bit shouty because the boost in the uppermid is quite high. Luckily this shouty is only a little and is still in a safe stage, unlike other simgot iems.
There is also a little sibilance in the mids. The mid weight tends to be a bit thin or lean, so for heavy male or female vocals such as Adele, Josh Groban, Gigi, Noah, Gilga Scream, it might not be enough.

Treble:
The treble execution in Supermix 4 feels refined compared to other simgot iems which are rough and loud. The treble has really improved with a presentation that remains energetic but tends to be a bit smooth and safe.

Cymbal hits feel full, not thin, with good extension. So the cymbal ring feels airy and sparkling.
The treble timbre from the piezo driver also feels quite natural and coherent with other frequencies.

The peaks and graininess in the treble only feel a little, and again it's still at a safe level. It doesn't have a metallic presentation.

Technical:
The stage in Supermix 4 feels quite expansive and tends to be in the wide side. The depth is quite good, but unfortunately the stage height is just standard, it doesn't give an atmospheric impression.
The imaging is actually quite precise, but because the height of the stage is a bit low, it gives the impression that the imaging is less precise at the height of the stage.

Details, resolution and micro details are presented well. The improvement is quite significant from the em6l and ea500 series. The separation is also quite good, and the instrument layering is quite separate.

The clarity feels clear even though the level is not yet at pa02 level. Unfortunately, the dynamics tend to be just standard, and in some songs it sometimes still feels like there's a lack of dynamics.

The transient speed is quite fast. Playing light metal songs can still keep up with the speed. Unfortunately for more hardcore songs the speed still hasn't caught up.
What I noticed is that Supermix 4's tuning tends to be a bit laidback.

Comparison:

Vs Celest relentless
This Relentless is tuned mild vshape harman bright. At first glance, the tuning is in the same direction as Supermix4. The difference is that the mid bass on the relentless is thicker with a slightly better texture. So the bass presentation is more balanced, but the sub bass extension is not as deep as the supermix.

The mids tend to be a bit thin, in the mid position the supermix feels more forward. Apart from that, the sweet, natural and clean taste is also better in supermix.
The vocals on Relentless feel safer than Shouty, but unfortunately they have more sibilance than Supermix.

The treble in Relentless feels more aggressive and intense than Supermix 4. The peaks and graininess are more pronounced because the treble boost is higher than Supermix.
The timbre feels more plasticky than supermix. So the coherence feels better in the supermix

The technical is a little better in relentless. The stage is wider and more balanced, the imaging is more precise, the transient speed is faster, the separation is more separate, and the dynamics feel more alive than supermix.
But this relentless is a little less clear than the supermix clarity.
Because the treble boost, the detail on the relentless feels a little bit better. But for the resolution and micro detail, both are equal.

Outro:
At first I was quite skeptical about Supermix 4. Most of the simgot IEMs are not suitable in my ears, because of their aggressive signature and excessive peaks.
Actually, the em6l has good tuning, but the technical aspects make it annoying. Feels expensive for the price.

Yes, from this history you could say I'm a crazy hater hahaha. But Supermix 4 seems to erase that assumption with its good tuning and technique. Simgot seemed to give me hope to accept the tuning, because they actually listened to feedback from many audiophiles.

Supermix 4 is a suitable Sonus upgrade. And from ew200 or other simgot iems it is also suitable to upgrade here.
This IEM can be said to be almost all around, but it lacks bass punch and the mids are a bit thin.

Overall, Supermix 4 is in the top 3 150$ IEMs in my opinion. Along with Tin p1 max 2 and juzear 41t. Hopefully other simgot iems can be as good as this supermix in the future.

SIMGOT SuperMix 4
1 DD+1 BA+1 Planar +1 PZT Hybrid Drivers Earphones
Redcarmoose Labs June 27th, 2024

If you’ve been a member of Head-Fi for even a short while you can’t help but notice SIMGOT AUDIO. SIMGOT has recently been offering both creative ideas and sonics at a value. Though probably their best feature is continuation of a SIMGOT AUDIO house sound! To take an arial view here, many of their IEMs sound closer to the same than different. Yet that may take a slightly different turn with this review. Meaning everyone knows SIMGOT for DDs.

My SIMGOT reviews:
https://www.head-fi.org/showcase/simgot-em2r-roltion.26084/reviews#review-29526
https://www.head-fi.org/showcase/simgot-ea500.26361/reviews?page=2#review-30453
https://www.head-fi.org/showcase/simgot-ew100p-ew100.26454/reviews#review-30887
https://www.head-fi.org/showcase/simgot-ew200.26518/reviews?page=2#review-31446
https://www.head-fi.org/showcase/simgot-em6-l.26639/reviews?page=2#review-31512
https://www.head-fi.org/showcase/simgot-ew100-dsp-universal-iem.26676/reviews#review-31557
https://www.head-fi.org/showcase/si...ear-monitor.26790/reviews?page=3#review-32122
https://www.head-fi.org/showcase/simgot-lc7-iem-cable.26954/reviews#review-32760
https://www.head-fi.org/showcase/simgot-dew4x.26983/reviews#review-32799
https://www.head-fi.org/showcase/simgot-ea500-lm.26966/reviews?page=2#review-32939

The first SIMGOT I reviewed was the EM2R (Roltion)…….which I had issues with giving it a 3 out of 5 star review, back in late 2022. This was right before they found their way maybe? Next was the big one, really the IEM that put the modern day SIMGOT on the map……the EA500. This being my 11th SIMGOT AUDIO product I feel qualified to explain where SIMGOT is going. The company has made a few Dongles, a great LC7 cable and a number of IEMs. Though up until recently you could say they focuses on DDs…….mostly. Sure the EA 1000 Flagship was marketed as a 10mm SDPGD (Purple Gold) driver in addition to a 6mm passive radiator. And sure we as reviewers seemed to hear this 6mm device? But to get down to it, this too was a single DD. Most of all SIMGOT has the reputation for bringing tuning nozzles to the market. I mean if anything this way of altering sound is special to say the least in the fans of the IEM line. And even with my OCD running of full steam, I am not going to make a list of all the models with tuning nozzles, but it has been a few. In fact these SIMGOT tuning nozzles are now copied by many competing brands, They think that if the nozzles helped sell SIMGOT IEMs then it must be advantageous to include them. The other entertaining part was once in a while the SIMGOT nozzles fit other bands IEMs (replacing the original IEMs nozzles) to arrive at a better sound to some people's ears.

Innovation:
Simply this talk is to introduce to you SIMGOT innovation. That they as a company hold a creative spark that seems to be burning bright! Back in mid August of 2023 I reviewed a very special SIMGOT innovation called the EM6L Universal IEM. I’m only bring this up because I adore Hybrids and the EM6L sported 4 BA drivers and an 8mm woofer.

So in some ways we can draw parallels to todays SuperMix 4, only SIMGOT got to mixing driver methodology (more) and is now using 4 different driver types:

1) Piezoelectric (PZT)
2) Planar Magnetic
3) Balanced Armature
4) A 10mm Dynamic Driver

Does this mean the end resulting sound will be different than in SIMGOT’s history due to sound emitting characteristics of 4 individual driver methodologies? I mean how could the SuperMix 4 not sound unique.

Question:
Does SuperMix 4 sound unique in a good way, or unique in a bad way?

Answer:
The SuperMix 4 sounds different than any SIMGOT I have heard to date. Offering up an upgrade both in detail and separation, especially when you consider the $149.99 asking price. If the SuperMix 4 is for you, we will try to find that out.

Our crazy tests:
Here I take a chance at combining in tests the SuperMix 4 with the crazy expensive Lavricable Master Silver V4 cable, the great SIMGOT LC7 cable and the new (more expensive) ZiiGaat X Fresh Reviews Arete.

The test equipment:
1) Lavricable Master Silver V4 cable $346.82
2) SIMGOT AUDIO LC7 cable $69.99
3) ZiiGaat ARETE $249.99
4) SIMGOT SuperMix 4 $149.99

The Excuses:
Now I forgive you for thinking I’m over-the-top. Mainly because at times I am over the top. Yet there are new exquisite finds to these tests. Such information lets us as consumers learn the personality of an IEM on terms of more in-depth analysis, and plus adds entertainment!

So to start with excuses here I was waiting for a smoother IEM set to show-up on my doorstep which would allow me the freedom to explore this Lavricable Master Silver V4 cable. As such there is an evenness and correctness found with the SuperMix4 that allows for further sonic exploration into what pure silver does naturally. Yet the added bonus found here is that the SuperMix 4 was (just by itself) incredibly smooth and forgiving. This one character trait allows for experimentation, and doesn’t always work with every IEM off the shelf.



The ZiiGaat ARETE:
I’m using this IEM for the exact same reason. Yep it holds an evenness and correctness that gives us leeway into discovering how far we can push the top-end, that and enough low-end to also sculpt. The ZiiGaat ARETE is a 5 driver X4 Knowles BA (for mids and treble) with a 10mm Biocellulose Dynamic Driver bass.



Cables and ear-tips:
A pure awg 22 silver cable like the LAVRiCABLES Master V4 (to the left) will always be much thinner than a copper plated with a smidge of silver affair, like the Simgot Audio LC7. This test cycle was done with the DIVINUS VELVET ear-tips, which are from a company called DIVINUS, the Sony WM1A with MrWalkman’s aftermarket firmware, and the LAVRiCABLES Master V4 pure silver cable in 4.4mm. Later I’m going to roll in the SIMGOT LC7 cable too, just to come face-to-face with how it changes the tone.



This is Head-Fi, and there is a pretty good chance people are going to have audiophile devices to use like DAPs and aftermarket cables.

More Excuses:
Look the included cable is great, and many are going to chose to use it. If that is only your goal that is fine. But the cool part of this review is that we found we could go to a slightly better place by changing out cables and accessing a 4.4mm balanced amplifier. Remember in all the complexity of Head-Fi still these are just suggestions. The real point that I want to get across is that you can try a few cables to reach success, you don’t have to use the Lavricable Master Silver V4, but that represents a place you could go, that in fact there could be many options for a slightly brighter tone. So even at this point in time, even if you don’t have many aftermarket cables, it is a possibility to find alternate musical transmission with an aftermarket cable, and that the SuperMix 4 can go there. It is simply a fact of life that they can’t include a superior cable with a $149.99 IEM. In fact you most likely would want them to put the cost and effort into the IEM at this price point. As at anytime at a future date you can access the possibilities of a cable change-out.

Regular cell phone with included cable:
Before I get started I want to show how the SIMGOT SuperMix 4 performs from a regular cell phone. Using the included cable truly is something special. As a reviewer I judge a cable by how the build feels in my hands. And in many ways this style of included cable shows to be special. A .78mm Oxygen free silver-plated copper affair, the SIMGOT cable is both pretty and flexible. Comfortable ear-hooks, a robust metal 3.5mm plug along with color coded 2Pins. You can see inside into the construction due to a clear jacket, the chin-cinch is metal along with the cable divider. But really the best part of this cable is its relaxed maneuverability, just causally going where you place it. With the sound off and SuperMix 4 in my ears I note minimal microphonics. Where some cables create what sounds almost like wind when moved, here we are out of the elements.




The phone:
The SuperMix 4 is actually fairly tough to drive, even being harder to drive than our ARETE comparison IEM. Yet the best part of the phone test today is the SuperMix 4 sounds balanced and intriguing from a phone. Where the ZiiGaat ARETE was a mess out of a phone. In fact if you read my review I say that the ARETE was never intended for phone use. Such as the ARTE is introduced as a gaming IEM, it is intended to be amped.

Phone success:
Now this is important if you had your sights on 100% phone use, or partial phone use. The way I judge phone playback is simply listening and trying to see if the driver character was then transferred when listening to just a phone. I take into account especially stuff like pace, is the low-end clear just from phone power, is the stage adequate, and is the imaging well done, and timbre found to be on the correct side? And yes, I’m happy to reveal a regular phone obtained 87% of what the SuperMix 4 is capable of. Now still the SuperMix 4 only gets so loud from a phone, but plenty loud enough, even for those demented head-bangers.

An output of phone music test:



The Prodigy Experience
The Prodigy
Jericho
44.1kHz - 16 bit
Really this can go either way, but many of the modern day IEMs are designed to come alive from a phone, as that could be their target audience here. Remember a good section of the world doesn’t even know or doesn’t care about DAPs. This song and I go way back to when it was introduced to the United States. In September of 92 you could only get it as a UK import, it wasn't yet pressed in the US, and I still have my UK XL Recordings copy. In short the sound was revolutionary, having elements that were both strange and exciting.

The soundtrack to the new Rave Phenomenon meant that this music was not only a social tool for creating excitement at these new outdoor parties, it was a departure from all music as we knew it.


Timestamps refer to the original song, not the Youtube video.

Jericho:
First there is a lot of freedom here in just knowing you could have the SuperMix 4 in your bag, attach them to your phone and away you go. Half-way through 00:16 the drums hit, which hearing for the first time was a grand departure from 1980s dance music like the The Bangles. This new world centered around other values produced by sound. As such this was most people's introduction to Breakbeat, Jungle and the likes. A strange new dance and party craze that had music that was purposely not on the radio. The events were illegal and no-one knew where they were going to be. Of course James Brown was sampled and made his way in. Still guitars were utilized, but not how we expected. It was all about the groove and sway, the rhythm found to generate excitement. At 00:32 the Star Trek transporter sounds are found wonderful scattered outward in the stage, holding note-weight and fun. At 00:43 the next big event goes down……..it’s a playful set of keys…but more than that we realize that we are now in the middle of the message…………and that message is nothing more than a little keyboard ditty, interlocked to a beat. But more important and of interest to us the fidelity here. See most stuffy audiophiles would never guess a song like this could be so moving. And that’s the secret, the people facing knew it was epic and they were moving………well they were doing a lot more than moving, if you get my drift.

But this little piano holds more intrigue than at first glanced. Yep. It happens to be double tracked. The SuperMix 4 actually moves this style of notes into position, and while it may not be the most dense imaging, it is airy and fast…..and that is what is ultimately important here. At 01:19 we hear this deep roll, that in fact was all you could really hear when walking threw the turf to an event like this. At 01:24 a sample says “keep on dancing” over and over again…..like you need to be reminded?

But all and all from a phone this holds great stage width, great pace, and the lows. The lows accentuated by little clicks and (the recording of) records played with offering up beats being played at breakneck speeds.



Testing:
Here we are using the ARETE and SuperMix 4 with the Velvet ear-tips, the Sony WM1A with MrWalkman’s firmware and Lavricable Master Silver V4 cable:

Lavricable Master Silver V4 cable:

A note about this section:
While this back to back part makes up a large section of this review, it happens to be a genuine and informative idea of how the ZiiGaat ARETE and SuperMix 4 ultimately define the style of IEM they are. Here we learn the reach off how the Lavricable Master Silver V4 cable was able to fully extract the treble details and bass definition while still being enjoyable and listenable for long periods of time. While just possibly the Silver V4 thinned out note-weight of the SuperMix 4, the results were still wanted and enjoyed for what change they brought to the table. Though it should be noted this comparison section is a reprint from the recent ARETE review.

Round one:



The ARETE:
Turbonegro
Apocalypse Dudes
Get it On
This album came out way back in early 1998. Maybe it was my age when I first heard it? Yet this album is one of my all time favorites of all time, the whole album. Yep, even though it almost never gets used for IEM reviews here at Redcarmoose Labs the album “Apocalypse Dudes’ rates in my personal top grouping of albums heard in my lifetime. Here we are testing to see how both timbre and balance of frequencies go. Sure the ARETE is so balanced I could have chosen almost any album. Yet here today we are going to explore Rock (this song) EDM (Robert Miles with Children) and finally Taylor Swift with "LOOK WHAT YOU MADE ME DO" off her reputation album. Where the most important (maybe) thing with “Get it On” is rhythm (pace) and bounce. Of course the tones need to be true to tone, but the ARETE gets there in its own special way. Most would not call this laid back, yet it is due to the fact the SuperMix 4 actually has more forward vocals. Yet here the ARETE is sporting its stuff with 2X 29689 BAs midrange to kind of display a larger size vocal displacement into the stage than the SuperMix 4. And due to this provocative large sizing we don’t need extra higher tone for detail. Nope, when an image is this big, just the size can reveal details and noticeability. Really the vocals are perfect here, yet what ZiiGaat did was down-tune the vocals avoiding the intrinsic metallic tone BAs naturally have. It’s that Sonion and Knowles as manufacturers are both rewarding modern-day IEMs with better timbre, and often this down-tune is not letting any brightness emphasize that timbre!

“Get it On”
Right when this song gets going at 00:14 when the guitars come in we are greeted with this idea that ZiiGaat wants to get across. Gone are those metallic guitars of 2019, we are actually blessed with great guitar timbre. Not only that, but the guitar is out in front regardless of tune. Yep, mixed with the drums and bass becoming a groove that just doesn’t stop. When I first heard this album in my friends record store in 1998 the very first thing I identified with was the guitars. It was a time when this exact guitar sound was rare, and it brought back memories of just what was possible with Rock. Really it was all I needed, and still is. Up until 00:40 there is a classic jam-out. Yep they decided just to throw a starter like the instrumental guitars, the leads, the power chords, the kitchen sink…..all into your face..............like it is nothing. After 00:40 the vocals start and we find them in the perfect zone for Rock. I mean this is the balance, but at the same time this year has had its share of forward vocals IEMs, and this is not what the ARETE is about. For any of you reading that have got burned by too hot of forward vocals with a purchase this year, have no fear, as this is both smooth and correct. Smooth enough to allow me freedom to explore a pure silver cable in the end. This is not the biggest stage, but it could be the recording? Yet inside here we find nice vocal and backing vocal placement. At 02:55 we have a breakdown, and all of a sudden the stage enlarges, which actually is a surprise, as this band can do anything it seems? At 03:40 there is a nice bass fill-in and the ARETE makes it heard. At 04:04 the song ends and we are thrilled, maybe only because I haven’t gone back to my old favorites here, but also because thrilling due to completeness, thrilling due to evenness and most of all this playback was correct.


Timestamps refer to the original song, not the Youtube video.

The SuperMix 4:
Turbonegro
Apocalypse Dudes
Get it On
44.1kHz - 16bit
A little harder to drive, but also a more forward vocal, which I already knew.

While the ARETE BAs are so down-tuned to avoid metallic-ness, though here we are swimming in slightly brighter waters, and even more forward itemization due to this brighter tone. Yep that PZT driver and Planar are doing something (and the single BA too), and this bass is good also!

Where both IEMs are portraying a style of smoothness, here there is also a gritty treble and upper midrange due to the forward vibrance, where it almost gives the illusion of more detail?

Well, if anything there is more contrast to this SuperMix 4 adventure, though at the same time the ARETE is more even and filled in, but the SuperMix 4 is going for it here, really working with this particular file to expand the stage and make it bigger than I expected? I mean yes, there is a touch of Planar grain, or PZT effervescence……..or something? To where the ARETE comes off more relaxed, but also it is a more familiar neighborhood, yet with this song that hyperactivity is great from the SuperMix 4. All and all the two IEMs are really complementary, but further studies will release more information into my ears and into keyboard words.

Round two:


The SuperMix 4:
Children
Robert Miles
Dreamland
44.1kHz - 16bit
The best part of this opening is the sub-bass frequencies found at 00:15 onward. At 00:18 they are all the deeper and appreciated here as they are so well done I would go and say this is a gift at a single penny under $150.00! Truly this is great. But I feel we are going to find out today that yes, one IEM is a little better at one style of music, and the other IEM better at another, making having them both to not in any way be a waste of money. Yet what is happening here (somehow) at 00:26……is that the bass has been separated.........why? Two instruments of course……there is a deep drone and a mallet like deep synth effect too, and we can differentiate both! Right before the piano starts there are sound effects, probably dolphin snaps, and yes, they are found in their own zone here. At 00:42 the piano starts…………and we hear it in somehow correct timbre? The SuperMix 4 has 160 hours of burn-in and that may have done some extra burn qualities to the PZT and Planar driver? At 02:21 the drums take hold……..which (in this version) is a good part of the song. As such the drums are found deep yet holding fantastic pace, with none of that big weighty bass to result in a smear of the midrange.

The ARETE:
Children
Robert Miles
Dreamland
44.1kHz - 16bit
I will let you in on a little secret, I already heard this before in testing………and I loved it. Yep the sound is just so slightly fuller and smoother. Offering up that image density that is the cat’s meow with both songs so far. So somehow we don’t have that bass synth in the beginning (at 00:18) that is separated, yet somehow there is slightly less note definition, but more thickness and moody heft that makes you not look for details. Of course the ARETE is $249.00 and we have it matched with a top notch V4 $346.82 silver cable. What that is doing is accentuating the highs, offering up more separation and delegating special places for these tracks to live. The bass is cleaner and purer, the stage wider and spread out. But part of the reason for all this is the innate ARETE smoothness.........which gives us room to grow here. Meaning I have tried this DAP and cable set-up before and it wasn’t always so smooth and approached too bright, even some IEMs where this silver energy and different DAP mixture created (treble) distortion, because the other IEMs were pushed to the brink of what they could do. But no not here, we are enjoying synergy at its finest. Thicker than the SuperMix 4 and more filled in and even due to more BAs in action, and not worrying about PZT distortion or Planar timbre. We are in-fact more conventional in design, and not experimental like the SuperMix 4. Yet for the money, and just what it does, especially with that last Rock song.........the SuperMix 4 is a total value, it is just this EDM is smoother and more of a level playing field for the magic to take place. I mean the synths are bigger and take hold of more texture to feel and gain emotion all-the-way till the end.

Round three:


Timestamps refer to original song, not the Youtube video.


The ARETE:
Taylor Swift
reputation
LOOK WHAT YOU MADE ME DO
44.1kHz - 16bit
The beautiful chord entry at 00:00 holds absolutely zero off-timbre here. Imagine such shiny intro embellishments right at the start.........so separated and stand-out-ish? And in-fact this is a whole grouping of bright lights to here/see. Yep, sparkles and piano chords and violins. They (the production staff) are not waiting a second to introduce the theme of this number to you, and decided that a grouping of bright lights could introduce you to the song theme they were going with. And sure with the LAVRiCABLES Master V4 we have just that.............sparkle and construction of elements positioned way out into sight, and close-up. These sonics make the bass seem that much more deep by contrast when it arrives. The beautiful violins remind me of a Beatles song in how they simply add this mood of drama, and maybe even revenge that Taylor seems to be on course for? Yes, I’m sure it was the Beatles as an inspiration for this opening 15 seconds! At 16 seconds the street mix style sub-bass throb hits us. Sure this is a pop song so why not throw in some Beatles and some street sounds to get the folks going.

In fact the very first we hear of the vocals, the electronic drums ride along too for a sonic intro like no other. And sitting in your chair reading this you may guess that all that prior talk about warmth and smoothness was continuing on here? When nothing could be farther from what is going down. I mean we have 5 drivers here, and all 5 mean there is a capable and effective stance at delivering whatever comes the ARETE way. Yep, there is perfect forwardness and brightness to these vocals, Because we are talking Hybrid here........there is also a separate track delivering a DD driver via a three-way crossover...........then into the separate sound tube and bass into your ears! Sure there is a lot of studio compression on her voice, like studios do always, only there is world class production in this…….and Mrs or Ms Swift is way, way out front here, as forward as I have ever heard vocals to be. More forward and more vibrant than I expected, and I like it. Sure I have used this song before, and I used to listen to it every day when it came out. But you know how popular music has a limited shelf-life……….where maybe the song LWYMMD could get boring or old, or worn-out with multiple listens? I don’t know, it has 59.3 million YouTube listens/views…….so I guess they accomplished what they were after with it?

Why is an audiophile listening to this? Well I actually had an infatuation with the production quality back in the day. The way the bass throb is positioned at 00:31. The continuation of the same style of accent at 00:35 to the left. Yes, these tricks of sonics can be super simple……not to mention the handclaps. I mean they are not real hand claps but an amalgamation of all kinds of sounds that occur just that fast. In fact these sounds also were another fascinating thing that I still give this song credit for realizing. Just at 00:37 and 00:38 there are two claps, one starting first from the right then setting-off a follow-up to the left. I mean this was the style of fireworks that got many into headphones early on….....maybe? As speakers in a room don't do this exactly.

At 00:45 we are introduced to the chorus and just by chance they are using the piano tone which was shown in use at the get go……….yep at 00:00, funny how that works.

If Taylor Swift was (in person) as many multitracks as they used here there would be a room full of Taylors singing right now.

My point? I mean what is the point of the whole paragraph and preceding paragraph? I am simply disclosing that the ARETE is clear and nimble enough to help me realize all the magic that first attracted me to this song.

And no I’m not a Taylor Swift fan, no I have no pictures of her on my computer…….wait I may have one or two, still that fact doesn’t make me a fan…….well maybe I’m a closet fan? At 01:14 she sounds almost Italian? These are the new things that can take place when you revisit a song you used to listen to all the time.

At 01:24 there are a whole lot of drums and those electronic bass throbs..........so much so that it may go against regular thought that such combinations of sounds could even go together?

I mean there was a time when vocals were left to shine, when the electronic bass was a little subdued? But maybe that’s the little secret here, that everything is happening at once. And for-sure the ARETE somehow has made a name for itself (here at Redcarmoose Labs) for replaying this correctly. I know I use the word "balanced" a lot, but I have no other word to use so I’m going to use it again anyway. Balance……balance lets every tone become heard, and somehow gives room for it all to exist here simultaneously. In fact my single word for this song is simultaneously, Taylor Swift is heard along with other Taylor Swift's (multitracked) simultaneously, along with all the rest in this sonic hodgepodge. I’m guessing the absolute service here that is given to vocals comes from mid-bass quality over sub-bass emphasis?

SuperMix 4
Taylor Swift
reputation
LOOK WHAT YOU MADE ME DO
44.1kHz - 16bit
Here we are gifted with more sub-bass. But due to the size of everything in comparison, it is not noticeably that much more. Where sure the drops go slightly lower into the sub-bass realm, but the SuperMix 4 has a slightly smaller footprint in action. Where even the vocals hold slightly more contrast in comparison to the ARETE, but they are of smaller size. The ARETE on the other hand uses its stage immersion to gain vocal details and vocal size. So vocals come off with slightly more detail with the ARETE, even though frequency wise they are set back. Same as this bass, where the bigger footprint adds to bass immersion with the ARETE. Yet while of thinner note stance, the SuperMix 4 performs ridiculously good in its price bracket. Also there is a feature of technicalities which enables a seemingly more separated SuperMix 4 stage, held into what feels like a further spread of items (even though the items are of thinner density) these items are of incredible entertainment and holding quick transient responses. To where sure the upper frequencies of the SuperMix 4 hold a tinge of Planar or PZT flair, but the more you listen the more normal that flair becomes. Where there is a different tinge of more metallic ARETE timbre, yet it is offering less of this Planar or PZT distortion, in trade for down-home clarity.

SIMGOT AUDIO LC7:
Here we try to learn what benefits and drawbacks are found with the LC7 in use.



SuperMix 4:
Slightly less energy up-top arriving in a smoother playback. What’s wild is the added note-density found. Which was a slight issue with the LAVRiCABLES Master V4. Where these images of speed are still there, it is just everything falls slightly closer to home, as well as a slightly less contrasty playback. Vocals don’t hold that forwardness or contrast, or energy found with the silver cable. Everything is closer to home and the tone is fully more relaxed........and more laid-back. This isn’t necessarily a bad thing as there will always be that crowd that are wanting a smoother less hyper style of playback........without the fireworks. Those types are also fine with the included (yet diminished) cable detail amount.



ARETE:
The LC7 is playing to the amount of stage differences here. Meaning there is added lower midrange and smoothness which makes the size of stage even more noticeable than the (distracting) treble items that we had with the LAVRiCABLES Master V4. Meaning, take away the tip-top frequency and a listener quickly realizes what stage width is provided. With the tone down of brightness we are now relying on a more cohesive and consistent stage and positioning. Bigger robust images of slightly dimmer color are illustrated to our warmer and denser stage, holding a greater lower midrange which is the LC7 personality anyway.



Cable conclusion:
Each of the test IEMs were asking for the expansion and LAVRiCABLES Master V4 lifted treble dialing in the items, positioning them into a higher realm. This truly is a story because I tested this silver cable with the ARETE and SuperMix 4 before the photographs posted here were taken, and all I could think about was how much of a profound difference the LAVRiCABLES Master V4 silver 4.4mm cable made in comparison to the SIMGOT LC7.

The striking part was using them back-to-back. Where not only was there a whole new dimension to the treble, items were sculptured and detailed into finite illustrations. The stage was profoundly wider with the LAVRiCABLES Master V4 and there was a noticeable tightness to the bass rhythm, not only the rhythm, but each and every drum beat, was better defined into the stage. Sure it's a $346.82 silver cable against a LC7 $69.99 copper plated silver affair. In so many ways this too would depend on what you were after in the first place. I’m not going to argue that some want that extra lower-midrange that the $69.99 LC7 provides. Maybe even some would be repelled from the brighter illumination of details found with the LAVRiCABLES Master V4 cable? I mean sure, for a lot of IEMs there is a need to get a mix going of copper and silver, as that’s the tonal balance we are striving for, only here today this was a special place with both IEMs. Even at the start of the testing process I knew I had a chance to find improvement in introducing the LAVRiCABLES Master V4 here.

And my guesses were right! It is just not everyday that circumstances allow for the IEMs you are reviewing to gain clarity and pace, definition and detail.

Disclaimer:
Some folks will read this review and take it as 1/2 a cable review, and I wouldn’t argue that fact. You see the end results are always a complete combination of everything, the IEM, the DAP………the file choice, cable and ear-tips chosen. There is no-way to get around that. Sure these extra cables cost money, and maybe more than what a reader of this review is willing to dish out. And that’s OK, because at least the reader can realize that there are opportunities to change the IEM character. Now I was waiting to arrive at these cable and IEM unions for awhile.

I needed a set of IEMs that were found on the warmer side of the street, to offer-up the freedom of choice to use the LAVRiCABLES Master V4 cable in rotation. Is the ARETE the best combo of the two?

($346.82 + $249.00= $595.82) ARETE
($346.82 + $149.99 = $496.81) SuperMix4



Package:

Construction:
I have to give the SuperMix 4 credit as being one one the most comfortable IEMs I have tried this year. Why? Starting with the fact that they are just 5 grams each makes them an absolute joy. Next I would have to mention the perfect nozzle length. But the SuperMix 4 is designed with a true semi-custom form and as such forms to your ears getting close, which helps isolate them from outside noise and simply have them sit closer. The 2Pins are flush mounted and medium firm in joining the cable. Probably if I was to state one slight negative it would be that there is no lip at the end, causing ear-tips to fall off if not fitting tight enough. Though the actual SINGOT tips don’t come off as they offer a tight grip. It is said there are four sound pathways inside, yet we visually see three nozzle openings. There is a vent in the faceplate, which is made from aluminum and an aluminum vent colored gold right under the 2Pins. On the sides it states R or L and the nomenclature SuperMix 4.



Conclusion:
What can I say? This is truly a different IEM than expected from SIMGOT. As a company they are exploring new ideas to make IEMs, never standing still. There is also a new SIMGOT EM10 which is 1DD x 8BA x 1PZT and comes in at $439.99. Such imagination of design. So SIMGOT are finding out for us ways to implement both Planar devices and Piezoelectric (PZT) to arrive at new and exciting output character. Also noticeable they are trying new IEM shapes and builds which enables lower weight with this model. Gone is that shiny chrome of the EA500, into a more free spirited way of life. The actual tone is also an added spacial exploration into where we could find these stage elements existing. All and all this is a lot of fun as these devices are both practical and functional. They may find a pathway directly to your heart if you’re not careful!


$149.99
https://www.linsoul.com/products/simgot-supermix-4

Disclaimer:
I would like to thank SIMGOT AUDIO for the SIMGOT SuperMix 4 review sample.

Disclaimer:
These are one person's ideas and concepts, your results may vary.

Linsoul website: https://www.linsoul.com/
Linsoul Aliexpress Store: https://ddaudio.aliexpress.com/store/2894006
Linsoul USA Amazon Store link: https://www.amazon.com/s?i=merchant-items&me=A267P2DT104U3C

Equipment Used:
Sony WM1A Walkman DAP MrWalkman Firmware 4.4mm balanced and 3.5mm single ended
Sony WM1Z Walkman DAP MrWalkman Firmware 4.4mm balanced and 3.5mm single ended
Samsung Phone 3.5mm
HiBy R3 II DAP 4.4mm balanced
Apple MacBook Air 3.5mm output

- Introduction -
Hello friends, today in our review we will talk about headphones with 4 types of drivers at once, this time SIMGOT definitely decided to do something unusual and not often found, their cost right now is $135.
And they come in a small box with a nice design, the headphones themselves are shown here and all the emitters are visible, there is also the company logo and the name of this model Supermix 4.

And here there is a graph of the frequency response and the technical characteristics are indicated,a dynamic driver with a diameter of 10 mm is responsible for low frequencies, a armature driver is responsible for medium frequencies, but piezoelectric and planar are responsible for high frequencies, which is a rather unusual solution,the sensitivity is 120 dB and they received a low 7.2 ohm impedance!

- Let's take a look at what's included -
- An excellent and very convenient cable with 2 pin connectors and a 3.5 Jack plug.


- Set of silicone ear tips

- Leather storage case

- Manual for use and quality certificate

- And here they are, the headphones themselves are made of black resin and have a matte metal front panel with a very discreet design and it does not collect fingerprints and there is no company logo, just this golden circle and a hole for compensation, and as for me they look great and certainly not cheap!


And here there is a 2-pin connector, and next to it there is another hole for compensation, but the sound guide here is quite elongated with three holes, but it does not have a side for better fixation of the ear tips, however, during all the time of use, my ear pads have never fallen off and with the fit, the headphones generally sit perfectly in the ears and are a pleasure to use.

And here we can see the SuperMix 4 inscription and channel markings.

- Tuning and Conception -

And now we come to the most important part of the review - the analysis of the sound of the Simgot SuperMix 4 headphones and let's start with their tuning, which is clearly presented to us in the form of Harman 2019 with a bass boost of 10 db.
And yes, following Harman tuning, the midbass and lower mids are slightly weakened here, and this makes the vocals a little less warm and easier to perceive, although the upper mids area has been noticeably brought up to the target level, as well as the high frequencies, which have excellent expansion and they only fade smoothly after 17 kHz, which is a good result!
and the first thing you pay attention to when listening is a very transparent, somewhat cool tone in the mid and especially high frequencies, in my opinion this is a purely technical and analytical presentation familiar to me, which is not common lately but remains in trend, and is already a kind of established signature presentation of Simgot headphones. I think everyone who has listened to at least one of their models, even a budget one, understands what I mean, but now let’s look at the sound in more detail.
(Low Frequencies)
The low frequencies here are presented as very fast textural and very abstracted from the mid frequencies, with good depth of sub bass notes, and less accentuated mid bass.Since the tuning here is done strictly according to the Harman target, so the midbass here is not as killer and booming as we could find in other headphones, it is more restrained and clearly controlled and for me personally its quantity is quite enough, but of course, provided that you are like I'm not a basshead.
(Mid Frequencies)
But the mid frequencies here are presented as tonally less warm, lighter in the lower middle, with a lot of air and transparency for better separation and construction of plans and various images, that is, everything here sounds super verified in terms of perception separately and it is extremely clear what is playing where and where , but at the same time, I will note that this is not a monitor and dry clinical presentation, since there is amplification of the upper mids and is quite noticeable, so there is a lot of drive and energy in the vocals and drums, and here you definitely won’t get bored listening to your favorite vocalist,since to some extent it will open up for you in a new way due to the wider construction and perception of its image, and very emphasized transient processes in the form of transients on the drums perfectly complement the overall mix here.
And probably you are all wondering whether they went too far here in the upper middle, since all previous models had a noticeable emphasis here and certainly not for everyone, and in fact, I perfectly understand those people who did not like such a large gain in this area, and I have met I recently received such comments under a review of Simgot EA500LM, and let me answer that it is really present here,but it turns out so interesting and I came to the conclusion that somewhere it really goes right into the theme, the vocals are revealed in a more interesting way, but in some musical genres, or I would even say more in the compositions due to not very good recording or mixing , I personally would like to turn it down a little, that is, again guys, it all comes down to what kind of music and what genres you listen to and, what is important, at what volume, at high volumes, of course, this area will make itself felt more clearly,but at medium volume in the same jazz or rock music it will not bother you at all, but if it turns out that you are really more susceptible to this area, then you will probably just have to tidy up this range a little with an equalizer, fortunately this is done in just a couple of seconds on any headphones and I think that now this is essentially not a problem, just keep this in mind.
(High Frequencies)
But the high frequencies here are presented as familiar as possible to me, they are technical, sharp in attack, detailed, very long lasting and there is plenty of air here, the area does not feel dark or constricted, on the contrary, various nuances of micro and macro details are perfectly revealed here and the long after-sound will not make you bored, since every time you listen, you will definitely be pleased with such noticeable analyticity and resolution of a clearer and more obvious listening to all the nuances in the music, and yes, due to this, we can say that the headphones are definitely becoming demanding on the quality of musical compositions, which you are going to listen to, but on the other hand, this is another reason to thoroughly review your library with such a new obvious analytical presentation in these headphones.
My conclusion on this headphones!
Simgot Supermix 4 are very transparent, airy, pleasantly light in presentation headphones with textured bass, and will be an ideal choice for true connoisseurs of Harman Target, in my opinion, they do not go too far into some kind of smoother musical neutral warmth, and if you like to sit in a quiet environment and analyze musical compositions, then these headphones will definitely be your excellent choice and a kind of companion.
Linsoul: https://www.linsoul.com/products/simgot-supermix-4
I will be glad if you subscribe to my YouTube channel and watch this full review on Simgot SuperMix 4!

SIMGOT SUPERMIX 4 REVIEW: DO YOU FEEL THE MAGIC IN THE AIR?​

WATCH FULL REVIEW HERE:​

PRICE: $149​

PROS:​

• Well-done Harman/U-Shaped tuning
• Very refined sounding set overall
• Clean and neutral midrange
• Deep reaching, rumbly but unobtrusive bass
• Sparkly, detailed, well-extended but non-fatiguing treble
• Superb technical ability
• Good fitting

CONS:​

• Slight metallic timbre on brighter tracks
• Bass is a little slow
• Cheap-feeling build quality
• Barebones inclusions

WHO THIS UNIT IS FOR​

• People who want a very refined sounding set
• People who want a fun but clean sounding set
• People who like really deep subbass but clean midrange
• People who want a very technically capable set
• People who want to try a good budget quadbrid set

WHO THIS UNIT IS FOR​

• People who want a more tactile low end
• People who want more body in the midrange
• People who want a Simgot-like bright treble
• People who want a premium feeling build
• People who want a bountiful accessory inclusions

RECOMMENDED GENRES​

• Most genres work with the Supermix 4

SHORT REVIEW​

Simgot takes a back seat from their usual bright and sparkly tuning for a more mature, more neutral and more versatile sounding set. Bringing the most subbass out of any Simgot IEM, the Supermix 4 marks itself as a first not only when it comes to drivers but also tuning. But Simgot does not sacrifice this new tech for show as the level of refinement and technical ability of this set is not like anything I’ve heard under $200. RECOMMENDED!

FULL REVIEW​

Why do you buy from the brands that you buy from? Is it the hype and status of owning that kind of product? Maybe it’s because of your favorite influencer promoting the product and wanting to feel like you’re a little closer with them knowing you’re using the same product. Me? I buy from companies I know I can trust. Companies that have proven to release products that are consistent with their identity and that I’ll know won’t fail me.

It’s the same thing in audio, but the difference lies with the niche that your follow. You could be a Harman stan or maybe enjoy really weird but beautiful headphones. But one brand has proven themselves as the choice if you want to have the most refined sounding in-ears in the portable HiFi market. Let’s see if they can keep the streak of consistency or falter with their first quadbrid set

DISCLAIMER:
The Simgot SuperMix 4 was sent over by Simgot in exchange for my honest thoughts. I was not paid or compensated in any way to say anything about the product and all my thoughts and opinions are mine.

SMOOTH OPERATORS!​

Simgot is a brand that everyone should know by now. From their meteoric rise since the EA500 to their consistent releases following such, Simgot has stayed in people’s minds, hearts and wallets more than other companies do. This could be attributed to the very consistent level of sound quality that they’ve been offering the last few years or their insane value proposition for every release. Regardless, Simgot isn’t done cooking up crazy things for us.

Meet the Simgot Supermix 4, a 4-driver quadbrid in-ear monitor priced at $149 which falls perfectly under Simgot’s crazy value proposition for products. This is their first quadbrid IEM and aims to essentially beat the competition in numbers. But is the Supermix 4 just all numbers and no brawn? Or did Simgot make something that breaks the market once again. Let’s start with the unboxing/

UNBOXING​

If there is one thing that I know Simgot really isn’t the most spectacular at, it’s unboxing. Don’t get me wrong, the boxes are often beautiful. However, the inclusions usually leave a lot to be desired which is a shame but a relief as you know they put all their money into what actually matters.

Nonetheless, the box looks kinda ugly with the green shade with the Supermix 4’s exploded view up front. Not really the most creative nor the most good looking box but that’s a personal gripe as first impressions matter to me a lot.

Opening the box, you’re met with the usual Simgot accessory presentation which include the following:

• Supermix 4 IEMs
• Cable
• Eartips (3x)
• Paperwork

Oh Simgot, bless your hearts for providing the bare minimum but I really hope you guys try to step it up a little bit. The carrying case is arguably a worse version of the ones that came with the EA500/LM and EM6L which is insane considering the only change is the rather rough gold zipper and nothing else.



The eartips are rather basic but effective as they’re 07 style and fit my ear fine. I know a lot of people disagree with this, though.

BUILD & FIT​

The Supermix 4 has a quadbrid internal set-up with a single DD, single BA, single microplanar and single piezo driver all bunched in a surprisingly compact but cheap feeling shell.



I have to give Simgot some credit for essentially doing what the EM6L tried to achieve by jamming a bunch of drivers into a small resin shell without compromising the 2-pin integrity and using QDC. I hate QDC so much and I’m so glad they did not go with the QDC with the Supermix 4.



I also have to give them credit for essentially making the best fitting Simgot IEM by far. The inner shell being slightly contoured and winged made it a more snug fit than every single Simgot IEM I’ve tried so far. This also aided in having a considerably better seal and stability which is always a plus. Speaking of pluses, there’s also no driver flex or air pressure build up. Yay!

But let’s talk about the elephant in the room. Yes, this is a resin shell and yes, it feels cheap. It’s very similar to the build of the EM6L but opting for the 2-pin instead of QDC. Compared to Simgot’s other IEMs, this feels like a toy and would be mistaken for a $20 IEM in line with their legendary EW100P. But I understand why they did this and I respect them for once again investing more in the internals than the externals. It doesn’t feel flimsy or poorly constructed and just feels cheap on the hand.



Simgot does make up for it by providing one of the best stock cables that I’ve ever seen in an IEM in this price range. It’s a very aesthetically pleasing and well-built cable that fits the Simgot aesthetic perfectly. The interface feels very sturdy and premium and the material of the cable itself does not irritate my sensitive skin. I wish this had interchangeable terminations, but it’s a damn good cable as is.

SOUND​

Sound Signature​

The Simgot Supermix 4 has a Harman u-shaped sound signature with extra emphasis in the low end, flat midrange and a well extended, sparkly but usually fatigue free treble. What I was really impressed with is how coherent the entire thing sounds.

For having 4 drivers, I only occasionally found the Supermix 4 to sound a little metallic which is something I’ve already expected coming into the Supermix 4. But somehow, Simgot puts some magic into the Supermix 4 and mixed a harmonious sounding set. You don’t hear the transition between each driver (minus the bass in a way) and every driver sound like they’re working with each other rather than against.

The level of refinement that each driver provided in the mix is crazy considering this is Simgot’s first quadbrid, but that just goes to show how consistent Simgot’s releases are.

Drivability​

Despite being a quadbrid, the Supermix 4 isn’t very hard to driver. This is due to the 7.2ohms impedance and 120db sensitivity that allows it to be so easy to drive, but not the easier in my experience. The low impedance and high sensitivity doesn’t really translate 1:1 in my listening experience as I found it to need to be cranked a little higher than something like the EW200. However, the Supermix 4 is one of the most source sensitive IEMs that I’ve tried so far. Listening to this on lower powered or cheaper source often brings out the sharpness and metallicness of the treble while smoothing the low end and losing all texture. I highly recommend using at least a decent dongle DAC to drive the Supermix 4 as it really wants a clean source to sound its best

Volume​

A surprise to me was that the Supermix 4 excelled in mid to high volume listening. Never in my years of being a Simpgot have I ever had an IEM from their company that allowed me to crank the volume up higher than mid and yet the Supermix 4 marks as the first of its kind. The bass is extra thick and deep and is borderline basshead on higher volumes, but the upper frequencies are also emphasized in exchange. The beauty of the Supermix 4 is that the treble never sounds harsh unless thrown into a very poorly mixed or deliberated bright track which is not common from my listening experience. That’s the Simgot magic for you!

Bass​

When I first heard the bass of the Supermix 4, I had 2 main reactions. One was how crazy deep it sounded with the rumble being present when it needs to and giving the perfect amount of sub depth in songs that needed it. It was baffling, especially with how most Simgot sets are rather shy in the bass region barring the EM6L. But listening to the bass more, I realized that there was one crucial element that was missing in the Supermix 4; midbass texture. The one quality I look for in every single in-ear or headphones I try is unfortunately missing. This is potentially due to its Harman nature, but the midbass sounds clean but lacking that oomph and punch that I usually look for in the midbass. Granted, this also makes the bass of the Supermix 4 surprisingly clean, but the bass on some tracks do have the tendency to mush up the details in the low end so I wouldn’t necessarily call it tight.

The depth is perfectly presented in the song Whiskey in My Coffee by Ric Wilson et.al. Each deep reaching bass line sounds so thick and rich that I felt like I had subwoofers in my ears. It never sounds muddy or overly boomy, however, and still keeps a clean lower midrange to keep the mids sounding open. However, the same can also be said for the track Get Lucky by Daft Punk with the iconic bassline at the start lacking the tactility of each note and loses out on that nuance that I love to hear when listening to that track. It’s not overly smoothened or completely absent, but definitely much less than I want.

Mids​

This flows rather predictably in the midrange with a very open, clean and Harman sounding midrange. However, I would like to highlight the fact that compared to other Harman sets I’ve tried, the Supermix 4’s lower mids don’t sound overly thin or dry. This was a big surprise to me, but a welcome one at that. It’s still on the leaner and lighter side, but it keeps a decent amount of body to not make lower octave instruments and vocals sound anemic.Note definition is good, but texture and nuance could be improved. Upper mids fair much better and make the Supermix 4 a rather competitive upper midrange centric set. It perfectly balances sounding detailed and nuanced without an odd timbre or shout. I honestly have very little to complain about in the upper midrange of the Supermix 4 besides the fact that some people might find it a little forward. But honestly, this is a very well-done upper midrange that straddles the line of being too forward and too recessed.

The perfect example of this would be the usual culprits of Laufey and Samara Joy. As they’re both contraltos, they excel when playing through leaner sounding in-ears as it cuts down the warmth in their vocals. Obviously nothing too dry, but something like the Supermix 4 perfectly presents the vocal in a natural yet still distinct manner. Male vocals fair thinner, but still sound quite decent. Something like Get Down by Flu sounds perfectly fine with the Supermix 4 despite being on the thinner side and I would say gave the vocals the much needed brilliance from the upper mids. I do prefer a little bit more body, though

Treble​

Usually the highlight of Simgot sets, the Supermix 4 presents the treble in a generous yet perfectly complimentary manner to the rest of the frequency range. While it may not be your usual bright and sharp Simgot treble, it’s a generous amount that most people would probably be fine with. One of the best things about it, along with other Simgot sets, is the level of refinement in the treble. It never once sounded sibilant or edgy but still maintained the brilliance and airiness that you might look for in a Simgot set. The treble extension of the Supermix 4 is, well, super as it’s very airy without sounding forced. Detail retrieval is also fantastic due to the smoothness providing a consistent level of clarity without and sudden spikes or dips. However, it should be noted that there is definitely a level of metallic timbre that is present on certain, brighter tracks that could be attributed to the rather complex hybrid network of drivers (or just the tuning leaning towards this trend)

A track like the Hell Freezes Over version of Hotel California is a perfect example of providing good detail without harshness or unevenness. The percussive instruments sound so crisp and sharp but never piercing. Flu’s Get Down was the track I kind of started hearing the metallic nature of the treble, but still maintains that smooth, refined but well-detailed treble presentation that is unlike anything I’ve seen in a hybrid in this price range. Obviously, throwing this into a brighter track like Can’t Hide Love by Earth, Wind & Fire will bring out the sharpness and dryness of the mix, but that’s mostly due to the lack of lower mids to contrast the sharper upper frequencies.

Technicalities​

A highlight of the Supermix 4 that is in-line with other Simgot sets is the superb technical ability. This is the kind of refinement and resolving ability that you could really only find in $250+ IEMs which makes sense when you start thinking about the Supermix 4’s driver configuration. Throw in as much drivers, tune them to perfection and bring out the most in music. Separation and layering are phenomenal for the price and allows you to pick apart complex and very busy compositions like August Burns Red or even Fall Out Boy. The only problem is both these artists usually crank the treble pretty high and the Supermix 4 will emphasize that. Imaging, headstage and stage depth are also good as I found both stage width as well as the expansiveness of the stage depth to be both very immersive. The imaging ability isn’t the craziest, but it tops of the near perfect technical detailing. Dynamics is the one aspect that I really wish was improved upon from their older sets as the low end tactility is severely lacking in my opinion.

REAL WORLD USAGE:​

Casual Use​

The combination of a very clean sound and comfortable fit makes the Supermix 4 an absolute treat for consuming media both stationary and on the go. The fit is the best Simgot has ever made and allows me to move around and about with no issues. The tuning is also great as the low end allows for a decent level of passive noise cancelling and is still audible in noisier environments. The tuning is also perfect for movies, shows and watching YouTube due to the superb balance. Keep note however that you still want to drive this through something clean and nice as you want to maintain the cleanliness of the treble and the tactility of the low end.

Gaming Use​

This is arguably one of the best sets for me when it comes to gaming. Yes, you heard that right. This Harman-tuned IEM sounds great for gaming for 3 reasons. Great tuning, great fit and great technicalities. Need I say more?

COMPARISONS​

vs CCA Hydro​

Compared to the CCA Hydro, the Hydro is a more v-shaped sounding set with a bigger, boomier bass, more scooped mids and brighter, more energetic treble. The Supermix 4 on the other hand is a more neutral, cleaner and more refined set overall. The Supermix 4 is ahead of the Hydro in terms of technical ability by a small margin, but the Supermix 4 exhibits better refinement over the Hydro’s traditionally hybrid sound. If you want a more fun set, you’d go for the Hydro. But if you wanted something cleaner and more neutral, you’d go for the Supermix 4

vs Celest Phoenixcall​

This is honestly the closest set that I can compare with the Supermix 4 in terms of driver configuration as every other hybrid set that I’ve tried only consists of 2 driveres at most. Sound-wise, the Phoenixcall is a complete contrast to the Supermix 4. The Phoenixcall is warm, colored and sounds like it’s trying to exhibit every single driver that it has. The Supermix 4 on the other hand blends every single driver into one harmonious, bass boosted u-shaped that

vs Simgot EM6L​

Compared to their last hybrid set, the EM6L is essentially a warmer, more musical and smoother set while the Supermix 4 is the more neutral, technical and built superior set. The EM6L acts as a solid reference point of Simgot’s entry into the hybrid series and the Supermix 4 is a fantastic upgrade, albeit changing the focus of the tuning from a bright but refined treble to a well-balanced bass boosted sound. One thing they both have in common is that the bass lacks punch and texture. This lead me to theorize that they used the same dynamic driver, but that’s just speculation. In short, the Supermix 4 is an improvement in every way while changing the flavor a bit

vs Simgot EA1000​

The EA1000 is the definition of the Simgot magic with its superbly technical and energetic sound. The Supermix 4 is the antithesis of the EA1000 by playing it very safe with a generous low end boost, neutral mids and inoffensive treble. The magic was not lost, however, as the Supermix 4 still exhibited superb refinement like the EA1000. The EA1000 is still ahead in the macro sense with better dynamics, sharper and better defined transients and a more technical overall sound. I’d argue that the Supermix 4 is the safer set between the two, though.

CONCLUSIONS​

Simgot hit it out of the ballpark again by providing one of the most insane hybrids under $200. A very technical, well-balanced and well-fitting IEM that does the Harman tuning better than other hybrids in the price range. There’s so many things to love about the Supermix 4 and I ended up falling in-love with it the more listened to it.

Sure, I was a little thrown off with the rather loose and lacking textured bass and the timbre might get a little metallic at times, but these are small downsides to the many upsides that the Supermix 4 offers at $149. The accessories might be a bigger issue for some and the build might not promote confidence, but I think Simgot just wanted to invest in the thing that actually matters when making an IEM

And this is what sets Simgot apart from the competition, in my opinion. They focus on what matter rather than what might be “trendy. I don’t think lacking accessories and having a cheap build is always a bad thing, especially if they make up for it in the sound department. And in my opinion, the Supermix 4 perfectly justifies both of those by being one of the most refined sounding hybrids that I’ve heard in a while.

Thank you for reading my review on the Supermix 4. If you would like to order one, consider using the non-affiliated link below: https://www.linsoul.com/products/simgot-supermix-4

Disclaimer: Simgot provided me with a review unit. All thoughts and opinions are my own.

Introduction​

Coming from Simgot that is more well-known for its single DD IEMs, the SuperMix 4 ($150) is Simgot’s first quadbrid IEM with 1 dynamic driver, 1 balanced armature, 1 planar magnetic driver, and 1 piezoelectric driver. Judging by the physical size, that “planar magnetic” seems to be more likely a micro-planar rather than the conventional one.

It is indeed a very ambitious step from Simgot with this driver configuration, considering I personally find that their only hybrid in 2023, the EM6L Phoenix, to be very mediocre at best. Plus, having a notoriously difficult to tune type of driver in a piezoelectric unit certainly does not inspire much confidence in my book.

Then after spending some time with it, I am so glad to be proven VERY WRONG in my initial preconceptions. SuperMix 4 has produced an incredibly potent cocktail of drivers that would certainly please many audiophiles.

Packaging, Build & Specifications​

Driver Configuration: 1 DD+1 BA+1 Planar +1 PZT
Impedance: 7.2Ω±15% (@1kHz)
Sensitivity: 120dB/Vrms (@1kHz)
Frequency Range: 8Hz-40kHz
Effective Frequency Response: 20Hz-20kHz
Connector: 0.78mm 2-pin
Shell: High-Precision Resin 3D Printing
Cable Material: Litz Structure High-Purity Oxygen-Free Copper Silver-Plated Wire
Plug: 3.5mm Single-Ended Plug




The SuperMix 4 comes with Simgot’s usual complete accessories: 3 pairs eartips in S/M/L sizes, detachable cable, and EVA zippered hard case. I wish more IEMs would come with these kinds of accessories.

The IEM itself is made of black resin with metal faceplate with a very understated design (no logo, no text) and a small vent in the middle. Just underneath the faceplate on the resin, you can see the only text on the IEM stating its name. The nozzle measures at 5.5mm, so it is relatively comfortable for me personally.

Also, something that I usually amuse me is that Simgot always has a second name to their lineup like EW100P “Shark”, EA1000 “Fermat”, or EM6L “Phoenix”. This somehow is absent in SuperMix 4, which led me to believe that it is definitely a unique entry in the Simgot lineup, with its name carrying its own identity.

Sound Impressions​

Sources: L&P W4, Onix Alpha, FiiO M23, SMSL H300+D300 stack
Setup: Stock L tips, stock 3.5mm cable (also tried with Yongse WhiteBear 4.4mm)
Music Sources: Youtube Music, Tidal Masters, Apple Music Lossless

The IEM has undergone a 24-hour burn-in at a medium volume prior to the review.

Listening impression is a very subjective experience depending on individual ear shape, choice of eartips, music library, and personal preferences, so your experience may vary.
I personally listen mostly to pop, jazz, some rock, and very limited metal.

Simgot SuperMix 4 has a very close adherence to Harman 2019 target in the graph. Upon listening, it is indeed the case. What sets it apart from tons of other “Harman-tuned” IEMs is the EXECUTION. Most IEMs trying to force the pinna gain to match the Harman target often end up with a very rough texture, kind of sharp or jagged. SuperMix 4 handled the pinna gain and subsequent treble extension effortlessly and naturally. My guess is that the use of the planars for the uppermids and the piezoelectric driver for the treble handled these regions really well, similar to how other high-end EST-equipped tribrid IEMs hit the Harman target.

Bass is relatively speedy and tight with the SuperMix 4. Considering the rest of the drivers in this IEM are typically speedy (BA, planar, PZT), having a quick dynamic driver does help with coherency. The focus is definitely on the subbass, leaving the midbass to glide smoothly into the mids very cleanly. While this ends up giving a lean presentation of the bass region, it makes this IEM to be very versatile.

The mids are clean and detailed. The midbass to mids transition don’t have the “tuck” that often shows up in Harman IEMs, giving it a more natural texture and timbre, as well as some thickness to the vocals. While it is not the most forward midrange expression, it is not overwhelmed by the bass nor the treble region.

Treble has an excellent extension with a very smooth texture. There is no sibilance nor sharpness, but there are still some details. While the smoothness won’t excite trebleheads, for the majority of the listeners, this is probably just right.

For technicalities, I would say that SuperMix 4 performs slightly above its price brackets. Details and layering are excellent, paired up with medium soundstage and decent imaging. The overall smooth texture does impact the sense of dynamism and excitement, but pairing it with a clean, powerful source does help alleviate this. Timbre is surprisingly natural for this driver configuration, something I can’t say for some TOTL quadbrids around.

Bass: Speedy, lean, and tight
Mids: Clean, detailed, natural
Treble: Smooth, well-extended, non-sibilant
Technicalities: Medium soundstage, decent layering and resolution, natural timbre

As for pairing, the SuperMix 4 requires quite some decent power to drive. The 120dB/V sensitivity is actually around 98dB/mW, which puts it at about the same level as some full-size headphones. When you’re using dongles, I highly recommend switching to a balanced connection and pairing it with some beefier dongles like Onix Alpha and L&P W4. In my desktop setup, it really comes alive.

Select Comparisons​

Truthear Nova ($150):
Being in exactly the same price bracket, Nova used to be my top choice for $150 range. SuperMix 4 now pose a legit challenge to that. Nova is more dynamic, energetic sounding while being tonally almost identical. SuperMix 4 is the smoother of the two, while maintaining a slight lead in technicalities. However, what sets them apart a lot is the scalability. SuperMix 4 does scale a lot more with better sources, but Nova is indeed easier to drive. Personally, I would go with Nova if I have limited driving power, but I would go with SuperMix 4 now as my choice since I have good enough sources to drive them. That said, if you have one of these two, I would not recommend getting the other.




JUZEAR 41T ($140):
Yet another of my favourite $150-ish range IEM which is tuned to a more mild V-shaped. Tonally, the 41T is more coloured with slightly recessed mids compared to the SuperMix 4, but the more mellow and smooth bass might appeal to some people. Technically, SuperMix 4 is the better one with better scaling and timbre. I personally think that overall SuperMix 4 is a more well-rounded, cleaner IEM and therefore my choice.

Conclusion​

SuperMix 4 is indeed a very potent cocktail of drivers that can lull you into musical bliss. I am now really hooked to the SuperMix 4 for its versatility and clean presentation, especially at this price point. Also, the novelty of being a very well-tuned quadbrid certainly shows how mature is Simgot’s tuning department. I can highly recommend this for a blind buy.

Intro
Simgot has had quite a 2023 and maintained momentum going in to 2024 with its release of the EA500LM, improving on its predecessor in all fronts. Though it has to be said that despite the number of Simgot fans and followers, there is the polarizing camp that is the opposite and are not onboard the Simgot house sound, finding most of their products just following the common Harman curve in diff implementations. It's a good perspective that they have now spread their release calendar more (not the typical Moondrop and KZ weekly launch frequency) and introduced the SuperMix4, a breath of fresh air from their somewhat repetitive iterations of the Harman sound. Can this set convert those that are hesitant of the Simgot tuning? Let's discuss and see why it is worth checking the SuperMix4 out, whether you're a fan of the brand or not.


Build and Inclusions
The SuperMix4 is a step away from Simgot's common DD based lineup and is composed of 4 types of drivers, combined to make a product that is impressive to be coherent enough comparable to the Kiwi Ears Quintet's execution albeit in a different sound signature. The SuperMix4 comes in an innovative 4-driver configuration of a single 10mm DD, single BA, single Planar Magnetic, and single PZT hence the name. Upon unwrapping the attractive box with a laser-foil green cover design, you are greeted by the IEMs themselves with a box containing the zipcase and cable as well as a single set of 3 different sized pairs eartips. The cable itself is the similar to the usual one that's included with Simgot sets terminated in SE 3.5mm which is not that special but does the job. The cable might not look much but the IEMs feel solid, very minimalistic yet classy.



Sound and Comparisons
Like I've hinted to start this impression piece, the SuperMix4 is a different beast from the other Simgot sets altogether. The mashup of different drivers present a very smooth, velvety, balanced sound (somewhat warm U-shape) that veers away from the energetic bright Harman Simgot house sound. What did surprise me and put an inmediate smile on my face was how it was executed in both a very technical and musical way. The SuperMix4 sound is detailed, with pinpoint imaging of different instruments across the wide and deep stage then instead of the either the usual intimate or forward vocal presentation, the mids are almost speakerlike - positioned just in front middle ala phantom center creating the somewhat tired-termed holographic 3D staging but yes, it does sound that way. The bass also has a satisfying rumble and heft though could use a bit more impact and slam. Treble is smooth and not peaky, which is good with the PZT driver. It's well-roundedness and versatility can be compared to let's say the Binary Audio Chopin, which is almost the same price range but they are still different with the SuperMix4 being the smoother, warmer listen while the Chopin being a bit brighter and more fun. The same goes with the Truthear Nova, with the Nova even being the leaner listen, with mids being a bit thin compared to the warm tilt and weightier mids of the SuperMix4. Yet what is common amongst these sets is their ability to handle most music genres and versatility. The SuperMix4 is both pleasant and engaging, which is quite a feat to achieve especially at this pricepoint.



Conclusion
The SuperMix4 is a remarkable step-forward for the brand, quite different from its single DD and Harman curve comfort zone. Simgot has another winner in their hands and this time, it's quite impressive that they were able to come up with a cohesive well-rounded sound package of 4-drivers and achieve a non-offensive smooth balanced sound that is worth more than its $150 price tag. I recommend a must-try especially for those still hesitant to touch a Simgot product. They might become convert themselves and embrace that they are more than just a one-trick-pony brand. Kudos Simgot!



Sidenotes:
IEM set has been listened via the Sony ZX-707, AK Kann Alpha, iFi Go Bar Kensei and Cayin RU7 separately using the stock eartips over the course of multiple genres across FLACs (16bit&24bit) and streaming (Tidal). The Simgot SuperMix4 is available through multiple sellers for $150.

New King Around $150: Great Tuning + Awesome Technicality!​

First of all, thank you to Kuping Sensi for providing this unit for an honest review. If it's bad, I'll say it's bad; if it's good, I'll say it's good.
Who doesn’t know Simgot? (Well, some might not, haha). But for audiophiles in Indonesia, it's almost impossible not to know them, especially in the last year where their IEMs have been nothing short of excellent. And now, they have released a new IEM with a 4-driver configuration, each being a different type, and it falls into the mid-range IEM category in Indonesia.
Let’s get right to it... Simgot SuperMix 4.

==DISCLAIMER==​

All impressions were tested using my usual setup (list below). So if there are differences in sound impressions, it's likely due to our subjective hearing differences, a defective unit, or the source used. All my impressions and reviews are subjective and follow the belief "I only lie to myself about my savings, my reviews are always honest". Agree? Fine. Disagree? Fine. I review because I want to and I like it, not because I need to, haha.

Important!! I recommend you still audition it yourself, who knows if it’s my ears that need an ENT doctor or yours (haha).

Click to expand...

==MY DAILY DRIVER==​

- Symphonium Crimson
- Kinera Verdandi
- 634ears Loak 2 OP
- Simgot SuperMix 4
- Fiio Q15
- Chord Mojo 2
- HibyDigital M300
- Hiby R4
- Ear Tips Eletech Baroque, Spinfit W1 Premium, Azla Sedna Crystall
Unboxing:
With a price around $150 or about 2.5 million IDR, it turns out Simgot still sticks to the usual box and contents. But fortunately, there have been improvements, especially in the cable compared to other Simgot IEMs below its price. Contents include:

• The IEM itself
• A carrying case (thick and slightly large)
• 2 braided cable with 2-pin connector and 3.5mm jack (Thank goodness, no more sticky plastic aquarium hose cables. Still wrapped in plastic but with noticeably better quality)
• 3 sizes of ear tips (these ear tips are still just "meh")
• Documentation

Fitting:
A 4-driver hybrid undeniably requires more space. This is evident from its thicker shell compared to other Simgot IEMs like the EA500LM. The surprising part is the shell material; it's all plastic and lightweight, unlike the usual sturdy metal shell from Simgot. The nozzle itself is slightly longer than average but with a smaller diameter. It can be tricky to find suitable ear tips, but once you do, it’s comfortable and no problem to wear.

==SOUND IMPRESSION==​

Bass:
From the first listen, the SuperMix 4 has an enjoyable sub-bass texture. The rumble is round and long enough to be enjoyable. The somewhat slow and long impact gives the music a grander feel. Similarly, the produced bass is punchy and textured, but with slightly less power than the sub-bass, making the drum slam feel less deep even though the texture is good and dynamic. Sub-bass is much more prominent than the bass.
Mid:
This turns out to be the main star of the SuperMix 4. Yes, the vocals. It has a forward presentation with a natural timbre, which is a selling point. The tone thickness for both male and female vocals feels just right and airy, making the sound musical and pleasant to listen to. Unfortunately, the elevation in the upper-mid makes high-tone female vocals in some songs sound shouty. Additionally, instruments like the snare drum and finger snaps in some songs can sound unclear, which I find quite disturbing, such as in the song "Thunder" by Imagine Dragons.
Treble:
The treble is smooth and fun. The extended treble sounds long on the shimmering parts of the song, making it very enjoyable for treble-heads. The treble is clear with engaging power, delivering micro-detail in the treble very well. There is no sibilance or unclear treble. This treble configuration is great for long listening sessions.
Clarity:
Despite the shoutiness in high-tone female vocals in some songs, this IEM offers super clean and clear sound in all aspects. Its micro-detail is one of the best in its price range.
Soundstage:
Wide and grand. The airy sound from dynamic instruments and excellent sub-bass adds to the spacious feel.
Imaging:
Another best sector of this IEM is its imaging and technicality. This IEM has 4 different types of drivers but very coherent sound between the drivers, really impressive. 3D imaging is clearly felt with great separation and layering of instruments in its price range. It’s tough for an IEM to achieve such good technicality.

==SOURCE SELECTION==​

• Mojo 2 (analog, neutral, a bit warm):

Recommended, the shoutiness in high-tone female vocals disappears, and the low frequency sounds more textured. The forward vocals are polished, feeling analog and very natural, making it a favorite for vocal lovers. The treble is slightly less sparkling but still with good micro-detail and engaging power.

• Fiio Q15 (neutral, analytical):

Recommended, the micro-detail and soundstage are pushed to a better level. The sub-bass is not as maximal as with the Mojo 2, but the treble feels crisper and more detailed.

• Hiby R4 (warm, not bright):

Okay, the sub-bass feels long, but the bass impact is less powerful. The vocals feel more engaging but slightly thinner than with the Mojo 2. The treble is really off and less engaging. Additionally, the treble becomes slightly unclear in some songs.

==CONCLUSION==​

• With bass that has good texture and power, smooth and clean treble, and forward vocals, this IEM has a W-shaped sound signature. Not only is the tuning excellent, but the technicality of this IEM with good driver coherence and great layering is outstanding.
• Unfortunately, the high upper-mid elevation makes high-tone female vocals prone to unclean sounds.
• Is it worth buying? For me, the key to SQ is sound signature and technicality. Both are very well achieved in this IEM.
• Best Value to Performance IEM (at this price range)

That's all.
Thank you, Kuping Sensi.
Trust Your Own Ears.
Bye.

SOMETHING OLD AND SOMETHING NEW / WHAT THEY ARE AND WHAT THEY’VE BECOME
Review: Thieaudio ORACLE MKII (the old) and Simgot SUPERMIX 4 (the new) and this isn’t about the accessories!



Old Method: Both IEM’s were base lined against a library of 30 songs. Then the fun begins!

New Method: You might want to grab a cup of coffee. This might take a while. I EQ just about everything. I also tip roll with the best of them, but after finding the right fit, feel and sound from tips I make my own Parametric EQ’s (PEQ’s) in Squig.link.

Step 1: Measure the frequency response of the IEM’s. I could just trust others measurements here, but to get the best possible result measuring the exact IEM with a 711 coupler in REW is best.

Step 2: Upload the traces for right and left into Ducbloke.Squig.link

Step 3: This is where it becomes time consuming and complicated. I’ve made 42 “target” files to PEQ any IEM squig graph against. This is a 6x7 matrix, 6 bass lift levels x 7 Bright to Warm treble settings



Step 4: Uploading all 42 custom PEQ settings into a FiiO M17 DAP, then loading them into Poweramp Player.



Step 5: Listening to the same library of 30 songs again, but this time changing the PEQ settings on the fly until the best one is found specific to the track. Record the PEQ selected to each track and build a graph that shows which PEQ works best across the majority of the songs.



The Oracle MKII and Supermix 4 might seem similar from the graphs below, but this couldn’t be further from the truth in the graph above. The Oracle MKII is known for being overly bright and a bit shouty. While the Supermix 4 is slightly bright, but has better detail retrieval. Both lacked the Bass Punch and Slam I prefer, but this was easily corrected.





This is where this journey takes a bit of a twist. I started out trying to develop a method for getting the most out of any IEM, what I learned was enlightening. You see it wasn’t just these 2 IEM’s, but 5 sets in total.

1. A library of 30 songs, mastered in different ways, from different genres can require vastly different PEQ settings to be optimized. I knew there’d be some variation, but I wasn’t expecting as much as I saw, with Bass variations of up to 4.5dB and a shift from bright to warm.

It was like a lightbulb went off in my head. Maybe, just maybe, a big part of the variation we see in reviews of the same IEM by different people, could be down to the library used, more so than the source or the tips chosen..?

2. An IEM that has great reviews, like the Mega5EST, for example, (also used as one of the 5) can be improved and at the same time has a much tighter spread. They are tuned well and have good quality drivers to begin with. This yields a better chance of finding one standard PEQ setting that can be used across multiple tracks



Notice from the graph how the grouping is tightly focused around a 4.5dB bass elevation and only shifting slightly right and left of treble neutral. This explains a lot why so many people are falling in love with the Mega5EST. It’s a true jack of all trades.

3. This then got me thinking how this projects approach to tuning could be reversed as feedback for manufacturers to make the next great thing by understanding what’s possible with the drivers, shell acoustics and crossovers, or where they might need changing

Step 6: Listen to the 30 Song library with the best PEQ setting and re-evaluate both IEM’s. Report on the before (no PEQ) and after (with PEQ) sound qualities.

Oracle MKII: Picked up new for the bargain price of $240, this set usually retails for $549. We worth the investment, despite the reputation for not being as good as its predecessor.



The Sub-bass and Bass regions of the Oracle are weak out of the box. While being a Tribrid with DD, BA and EST drivers, the DD just doesn’t deliver the thump or slam I was hoping for. After the PEQ was applied, the rumble, thump and slam I was used to in the Monarch MKIII was now present in the Oracle MKII.

The mids were overshadowed by the treble region and vocals were a bit sibilant and shouty. I attribute this to the spike around 4k. The PEQ also pulled the spike down. The drivers are now being their best self and delivering much better mids, treble, detail and layering. This also delivered better timbre and texture, giving an overall score of 8.4/10. Making this a real competitor in the MidFi Range for only $240



Supermix 4: Out of the box this set is getting mixed reviews. I blind bought it because I believe in Simgot and the driver configuration, 1DD+1BA+1Micro Planar+1PZT. The mids and treble were getting good reviews, but I was hearing the Bass could do better, confirmed by my initial rating. I was also reading some slight shoutiness (again, very much track dependent).



What really impressed me was the speed, tonality and texture of this set at a price of $135. If it wasn’t for the bass region letting it down this set would be competing with sets more than 2x the price and after PEQ it absolutely does. I was able to get the score up from an 8.0, very good to start, to an 8.6, where sets in my collection cost between $500-800!

When the bass region is elevated it can impact the treble adversely. To my surprise the vocals in me mid region and sparkle in the treble were made even better. Across all 30 tracks I was hearing clear vocals with no sibilance and excellent detail. You can see from the graph that the traces pretty much cross and bring this set to have a signature that tilts left and again becomes a bass beast.



Conclusion:

• Any IEM can be made better through the use if Parametric Equalizer, but it’s not a simple process to get it right
• One size doesn’t fit all. Different tracks need correction in different regions. Finding a good average setting can make this almost perfect, but having a few PEQ settings is ideal
• My library isn’t your library and it isn’t the other guys library etc. etc. Having a broad range of songs from different artists and genres will help to balance out the overall performance and give better impressions. It also makes it difficult “out of the box” for reviewers to get it right

For any purists out there who don’t believe in EQing, and those that do, I hope you enjoyed the review for what it is. I’ll continue my work using this new method and be doing my reviews with and without PEQ going forward. I liken PEQ to tuning a stock sports car to get every bit of performance out of something that’s capable of being better. We all enjoy tip rolling. This is performing it’s own little EQ with each tip type.

TONALITY: 9/10
TECHNICALITIES: 8.8/10
TIMBRE: 8.5/10
SOUNDSTAGE: 9/10
IMAGING: 8.2/10
MUSICALITY (subjective): 8.8/10
CONSTRUCTION: 7.5/10
ACCESSORIES: 8/10
SOUND VALUE: 9.5/10

INTRO

Simgot is one of most respected chifi companies due to their high sound value offering that show both tuning and engineering knowledge and seriousness.

IEM like EA500, EW200 and EA1000 are all incredible success stories that still are praised today, every week a fan of one of those IEM expresses its satisfaction on ChiFi Love group. Personally, I consider EW200 as a sub50$ single DD benchmark then EA1000 as sub300$ single DD benchmark.

But today it's a new Simgot era I'm going to discover, sure they have released hybrid IEMs before but no tribrid or quad drivers config, which is why 2024 is a big year for them and why i'm so intensely excited about their Supermix4 release.

Priced 150$, the Supermix4 is a quad drivers IEM using 1x10mm DD for bass-1 full range large custom BA for mids-1 micro planar and multi layered piezoelectric driver for highs, all this finely tuned RC 4 way crossover.



This make alot of audio engineering work for only 150$....but here it's not about more drivers like those over packed with BA IEM that sound disastrous in balance, it's about finding coherency between different driver with similar timbre and attack speed, if the DD is slower, it will be matched for the extra elasticity it can deliver.

But will it sound cohesive and musical and still deliver potent technical performance for its budget but not ultra cheap price? Let see in this review my honest impressions.




CONSTRUCTION&ACCESSORIES




The SM4 uses a plastic resin shell with a light aluminum back plate. In your hands, plastic seems thick and sturdy enough and it's half transparent so you can see drivers through a light source.
Back plate has a matte finish. Design is sober and elegant, not particularly impressive or eye-catching. It reminds me of an eclipse.
The housing is light and smooth, it’s quite comfortable. 2 pin connectors aren't recessed so cable pairing is versatile too.

In terms of durability, I'm always a bit concerned about glued back plates like this, so I'll be cautious to not drop it on a hard floor.



The included cable is good, it’s well built and sturdy, this doesn't throw away cheap cable that will negatively affect the sound dynamic of your IEM. It’s an oxygen free copper silver plated cable with 4 thick cores. Alas it only comes in single ended 3.5mm termination, which is only a bummer here.



As for packaging, like the IEM design it’s sober, elegant and minimalist. It comes in a small box with a metallic green cover. It includes a carrying case, the cable and a bit underwhelming number of silicone eartips (6 wide bore that don’t do full justice to SM4 potential).

All in all, more than decent packaging and accessories.


SOUND IMPRESSIONS


(SM4 has been tested on at least 10 different source, which include Questyle QP2R, Ibasso DX90, Xduoo X20, Penon Tail, Questyle M15, Tempotec V6, Aune Yuki, Fiio KA17 etc)

Okay oh man those are big crushes so i will let myself loose if you permit. When musicality is that immersive, fun yet well balanced and even offers impressive technical performance, we must not hide our enthusiasm.
Especially at 150$ price that would feel as legitly priced at 300$.
It’s rare I use hyper sentences like this, but I own nearly 100 pairs of iems in the 200-500$ price range so I know what I say isn’t irrational nor based on lunatism.

The fact is, these aren’t technical sounding nor analytical nor ultra boosted in resolution, even if they use 4 different type of driver to tonal balance is smooth and natural, slightly spicy but not spiky, we are in warm W shape territory where the bass line are thick and vibrant, kick round and punchy mellow way, mids are forwards and lush and treble is gently bright, not dark at all yet not aggressive and over begging your attention with forced micro details or percussions intensity on the listener.

These are true all arounder, between fun and balanced, near mid centric and offering a cinematic and holographic grand musicality that you can get lost in for hours and hours. This type of special sound experience is very rare in budget market, when its achieve their some trade off like recessed mids and center stage, too much mid bass scoop which mean cold boom à la Harman-Crin, or too much treble lift to add fake air that don’t inflict on multi layering 3D effect.

With the Simgot Supermix4 everything is treat at same level yet everything sound dynamic and meaty too, instruments has flesh, bass has vibrancy and elasticity, treble has crunch and speed, a hint of warmth glue this together and feed lower harmonic need too which mean wide range of vocalist and instrument range will get this natural full tone and widely open presence.

Even if great, the SM4 aren’t end game IEM in terms of technical performance, these aren’t monitor purpose IEM, these aren’t end word in fine resolution nor very sparkly, piezo drivers don’t really produce brilliance, it’s more about snap and crunch of attack that get extra accent. Yet I could say this about a lot of kilobucks IEMs too….SM4 goal is to be musical and offer a different type of sound experience, it take full advantage of holographic layering and seek a tonal balance that will do good for wide variety of music, it’s barely safe tuning but bass boost and upper mids energy as well

The bass is one of highlight of SM4, it’s rare I'm that addicted to Simgot bass, it does happen with EA1000 but in a less fun and musical way the thicker rumbler bass of SM4.
This bass digs deep, very deep and it’s not about resonance mimicking true rumble goodness here since double bass and cello sound full bodied and oh so lush and vibrant.
We have both the sub woofer like fully extracted bass line or rumble loudness release as well as a round mid bass, slightly thicken with warmth yet both can coexist without going muddy, the layering and transient being very good and the boom not too excited to the point of veiling anything, this bass stay in the back of an open holographic sound tapestry, yet, not thin nor compressed in this soundscape, it’s tactile and fleshy and very weighty but not hard hitting to the point of creating basshead level fatigue.
Yet, I would suggest those for mature basshead seeking a well balanced musicality with excellent bass quality and generous enough quantity.
As a big fan of cello which is one of my fav instrument even more so than violin, i was truly euphoric about how lush, bodied, wide in presence and vibrante in attack sustain-release this instrument sound, it’s rich in texture details too, complemented by other driver without going too much in texture boost, her it’s the tone and fullness of instrument that is put forward, its corpulancy which is anything but thin or lean, this mean you can confound the cello with violin which do happen with too much lower mids and upper bass scoop, again with bright lifeless harman target which Simgot bypass here. The SM4 are a must for both cello and piano lovers.
Yet, double bass while a notch warmer than cello in term of attack release is very good too, it have a rounded and densify sustain giving it more weight and presence fullness but affecting transparency of its otherwise lean extension that in fact isn’t suppose to be that thick, nonetheless i tremendously enjoy jazz trio with this, it’s more fast complex jazz that will make the double bass less accurate in attack and clean in separation.

Ok i think i will say every part of frequency is an highlight in it’s own right with this very enthusiastic review, so, in fact, if my mind wasn’t hooked that much by well layered bass section I would consider the SM4 mid centric because nothing sound recessed or lack weight within this range, as well, when piano sound rightly restitute in both tone fullness and weight or impact, it does mean mid range is fully cover and focused, which is the case here.
Piano has a perfect mix of warmth and transparency to me, each note is round and has a natural resonance that doesn’t feel forced and blossoms gently without mixing and blurring other notes. Higher pitches don’t suddenly sound too loud either, so the whole piano range is treated in similar balance, without harsh peak or overly boosted texture grain, this is pure lushness bliss.
Then as if it wasn’t enough, both male and female vocal sound great, sure the female vocal are a notch more forwards and loud than male but none sound recessed or shouty or too edgy in timbre, it’s in fact slightly creamy, fully bodied and widely extracted in presence, it don't feel smaller than reality, perhaps a notch bigger and more stretched in presence so it do capt the attention more than other instruments yet the holographic layering permit you to focus on other layer, but not with as easy readability nor as carved fully in presence.
This is the thing here, SM4 mids aren’t plain crispy clean and transparent, we have lower mids warmth that rounded note and presence fullness, vocals are meaty not thin and forced in transparency not lacking proper tactility of presence, it’s well defined and forwards without going shouty. It’s not a mid range that make you distracted with too much sound info or excited macro dynamic of center stage, you tend to focus on main instrument or vocal which is magnify here, then you can appreciate other sound layers like you’ll appreciate other color of an impressionistic painting, vibrant with diversity of sound info stroke but not sharply define in presence micro details, this isn’t over edgy mids nor analytical, it’s even laid back.
As well, attack sustain release as a hint of balanced armature euphony, as if what is used is a vented BA, sustain dominant release adding this chunkiness to timbre.
It’s not an open yet thin mid range that feels recessed due to a U shape tuning that scoops whole lower mids, again, we are in near mid centric territory-well balanced.

The treble is thick, crunchy and rounded, percussions are bodied not just about short attack lead intensity, it’s not very sparkly yet not too dark or rolled off, we don’t lack air as a whole here, just a hint of brilliance and clean sparkly resonance. This is inherent to both planar and BA and some might wonder how these were implemented, I think Simgot chose to filter the intensity of air flow which means it makes highs more vibrant and densify than sharpen and intensify in attack and release. The planar seems to mix and complete upper mids and lower treble then the rest is rather smoothen and then we have an extra attack energy in percussion crunch and snap which has their own space for proper layering and dynamic freedom.
That mean its no splashy percussions, its fast and thigh, hithat ar thick and abrasive and free of unwanted resonance, crash cymbals are dense yet soften in long release, acoustic guitar are full sounding, not over boosted in any part, perfectly layered with again shorten brilliance release but this doesn't annoy me as much as with other IEM cause it sound full and real, not too warmed by lower mids in attack lead so even electric guitar has enough texture bite.
Finger snap and snare too will reveal this smoothen attack sharpness, but the planar extract alot of texture info and mix it fluidly into timbre for a very pleasant result: both captivating yet smooth, both 3D yet not concert hall cold like a Sennheiser HD820.
I find this treble as refined as a Final E4000 with greater technical prowess.
Nothing sound mixed together with SM4, and even if just a notch darken in sharpness, you’ll be surprise to find new micro details or texture richness, both piezo and planar can really surprise by easy of transient and what it can dig up, but here, it’s not boosted for a wony wow effect, it’s balanced and creamy.

The soundstage is another positive surprise with those: wide, tall and holographic. It’s not the deepest, blackest or cleanest. It's layered and out of your head with a feeling you're being on your shoulder an intimate surround system. It’s the kind of spatiality that can make you turn your head to check what's up with this sound at the back of my head?
Immersive to the max, you are in the middle of grand spatiality.

As for imaging, it’s not the end word in terms of lateral instrument spacing, it’s more the sound layers dynamic that float toward you and don’t mix up together. So for simple music it will be impressive, you’ll extract bass line, singer and percussions effortlessly and be able to track their playing singularity but when it comes to more complex polyphonic jazz, rock or classical, separation will feel a bit foggy, lacking precision for proper tracking. I’ll not suggest those for monitoring unless you're a bassist or singer, yet even for their better stuff, even EW200 is more precise in that regard.



SIDE NOTE

The Supermix4 are odd in term of impedance and sensitivity, they have super low 7.2ohm (!!??) of impedance yet high sensitivity of 120db/Vrms. This means they are quite source picky, too low impedance or Vrms will greatly inflict on dynamic while too high impedance can warm and add distortion to sound, this will make macro dynamic more mushy as if some driver dominates other.
Yet sources like Aune Yuki, Penon Tail (bal-low gain) and Fiio KA17 are all good matches since we have both power and average impedance gain, the later having lowest one. Sm4 can get warmer and bassier with some source, Tail at high gain is a great example.
So, at they end this make the SM4 even more fascinating to enjoy in diversify flavor, it’s a polymorphous yet versatile sounding IEM that can get crisper or bassier or warmer depending of source, this will most likely explain different appreciation of its timbre and dynamic from reviewers and consumers.

Then they are very eartips picky too, it’s expected with such a thick nozzle with 3 holes in it connected to 4 drivers, those holes are near nozzle lip so prompt to be blocked with ear tips that don't have a wide nozzle enough. I suggest short wide bore with those, if you can see 3 holes of IEM nozzle thru eartips hole it’s a good sign. This will greatly widen and deepen spatiality, make balance smoother, notch warmer and instrument and vocal wider in presence, the sense of layering has a bit more air and space around them too.

Then for cable, those that tend to add gain to dynamic are best match, it means it doesn't damp impedance of source. I’m no electrician so I can't really explain physics law about this. I guess betting on low impedance cable with lotta strands and silver plated material is a better bet since it’s the Simgot LC7 I use the most with SM4. I don’t suggest all copper cables that warm and smoothen dynamic energy or add mid bass cream, since bass is already warm enough with SM4, cleaning it is a better idea.


COMPARISONS

VS GEEKWOLD GK100 (3DD-2BA-4piezo-200$)

The GK100 is brighter, more W shaped and analytical, less bassy and warm and not as cohesive and organic in drivers timbre and dynamic flavor balance.

The bass is dryer, it has less density, less round chunky slam, less rumble and sub bass feel roll off. Bass lines are thinner and more about presence which has more texture details but less tone vibrancy and tactility. Acoustic kick drum of GK100 is less warm, cleaner and tighter in attack which is better defined and not as prompt to get lost in the mix of speedy rock or jazz.

Mids are brighter, thinner and more forwards and centered with GK100, it feels compressed in center stage yet has more boosted resolution and edgier definition of different instruments which are less warmed by bass. Mids are more prompt to shouting and sibilance and have more grainy timbre. Male vocals are more recessed and boxy with GK100 too. Mids are darker and lusher with SM4, vocal presence is wider, piano has more note weight and natural timbre, trumpet doesn't sound loud and boxy.

Treble is way more energetic with GK100, 4 piezo truly extract greater number of micro details and limitation of 1 piezo is evident with SM4, though the balance is more natural and smooth it doesn’t have as much sharply extracted percussions, they aren’t as clean and snappy, sense of snap is sure more authoritative with GK100 but this can go borderline trebly since sound info it extract include background noise artifact which SM4 avoid. SM4 percussion and high pitch instruments are thicker, dense with more euphony. Hardcore treble heads will surely be more wowed with GK100 treble.

Soundstage is notably taller and wider with SM4, while depth is similar since both these IEM don't have perfectly clean backgrounds and spatiality.

Imaging while more compressed with GK100 is still superior due to higher resolution and edgier separation of instrument, which are closer to each other but better carved in presence. I mean, if the GK100 is analytical, it means we can easily perceive diverse sound layers.

Here i struggle to conclude GK100 is superior technically, but I think even if tuning is inferior in cohesiveness and don’t trigger emotional response for me due to harsh timbre and overly forwards upper treble, the GK100 technical prowess is more upfront and since it deliver higher resolution, faster and more controlled attack as well as superior imaging, the GK100 is indeed the unbeatable treble head winner. Yet for bass and mids lover as well as soundstage lover the Supermix4 is the one that I prefer and will use daily, unlike GK100 I barely ever touch.

VS CELEST PHEONIXCALL (1DD-2BA-2SPD-130$)

The Phoenix is brighter and more hard V shape in balance and it’s again more analytical, as well as more crisp and sparkly.

Sub bass is more resonant and thin, overall bass feels more detached and artificial, it's really less lush, dense, natural in balance and pleasant than the SM4. It feels more mid bass focus and more excited in speed, not as round in punch, not as warm too.

Mids are a bit similar to GK100 here, it’s more forwards and aggressive in upper mids, timbre is thinner, more prompt to sibilance with female vocal which aren’t pleasant at all and more shouty and artificial (again but that DNA of this IEM)...hum, yet mids are more open and clean too, more transparent and resolved, edgier way, harsher way. Mids are more recessed and thin, lacking lower mids fullness of lusher more mid centric SM4.

The treble is more upfront and aggressive, more analytical and speedy and snappy, cymbals have more brilliance and percussions can be followed more easily, in fact it’s forced on the listener. Instrument attack from guitar and violin is more edgy and abrasive, yet rougher and noisier too.

Soundstage is notably wider with SM4, but taller and a notch deeper with Phoenix that has a more recessed center stage to magnify a sense of concentrated openness.

Imaging is superior with Phoenix though less realistic in balance, macro sound layering is crisper and more edgy in separation, everything but bass line is easier to track with Phoenix.

All in all, i can’ handle to listen the Phoenix more than 5 min while im addict to SM4 musicality for hours and hours, so no doubt in term of tonal balance it’s from another league of refinement and well rounded fullness….as for technical performance, these are on par, treble is similar since both use planar, bass performance is better with SM4, mids are fuller and more even but treble isn’t as boosted and vivid, so again, plain hardcore treble head might prefer the Phoenix


VS Letshuoer Cadenza 4 (1DD+3BA-250$)

Cadenza4 more U shape and lean sounding, less bassy, a notch smoother as well as less airy and holographic.
SM4 feels more W shape and dynamic sounding with more punch and more vibrant rumble, it’s snappier and more airy and extended on top (past 10khz) and we have more air around the instrument for a more spacious and layered soundstage.

The bass is weightier and has more slam roundness and more impactful intensity, making Cadenza4 feel very mellow in attack, while for sub bass Cadenza is more lean and foggy. Attack is more speedy and tight with SM4, warmth doesn’t soften mids as much too.

The mids are more energetic and forwards with the SM4, the presence is less widen with resonance and not as light and as centered, its evident Cadenza use higher end balanced armature, it's more transparent and rich in texture, attack is more controlled and less warmed in sustain release which make timbre a notch thinner with Cadenza.

The treble is leaner and less airy and crunchy with Cadenza, its dryer and even less sparkly than more energetic SM4 which is far from being aggressive already so Cadenza is safer in tuning, more neutral and again the knowle BA show its refinement in term of greater fine details and cleaner texturing, less creamed with euphony yet less dynamic and colder overall too.

Soundstage is notably wider and taller with SM4, a notch deeper and cleaner with Cadenza.

Imaging is superior due to greater sense of transparency and clean clarity with Cadenza.

All in all this comparison underline how good yet similar in balance these 2 IEMs are, the fact Cadenza cost 100$ more sure permit the use of better BA driver which is main different here, but this don’t mean treble extend further since past 10 khz the SM4 offer more piezo sparkle and air. Cadenza feels more refined and neutral in musicality, while SM4 is more fun and immersive, warmer overall but more energetic in dynamic too. Personally I find more musical pleasure in Supermix4 but for classical music I will choose Cadenza4.



CONCLUSION

After having tested more than 300 IEMs in all price range possible, i finaly conclude hardest thing to achieve is the balance between musicality and technicality, in fact, all in technical performance with wonky tuning or timbre is way easier to achieve than proper coherency of drivers timbre and dynamic energy as well as unspiky smoothness that will not feel overly damped in attack intensity.

This is when i consider an IEM is exceptional, and this musicality magic is very hard to find in sub200$ IEM market, so this explain my sincere intense enthusiasm about the phenomenal Simgot Supermix4.

To get such an wide open holographic 3D musicality with weighty vibrant bass, lush and full bodied mids and a fast crunchy treble that don't stole attention nor feel out of place is a statement of love of music and to get this transient articulation, effortless sound layering capacity as well as well carved presence of each instrument and vocal without going analytical, too bright or too focused on one part of sound spectrum is a tour de force in it's own right.

Sure, this isn't end word in crispness nor resolution, it have some warmth darkening definition sharpness of mids, but this avvoid cold and clinical presentation, this avoid some issue i have with IEM like EA500LM and EA1000, it goes buttery musicality instead of ovverly edgy one.

The Supermix4 is a do-it-all versatile, fun, immersive and musical sounding IEM that can please everybody but hardcore treble head. Mid and bass lover will love those, as well as soundstage sucker and those listening to wide range of music seeking for proper performer. This isn't an IEM tuned solely to listen to K-pop. This isn't a cold harman tuning.

The Supermix4 are familiar yet different sounding, all about magnifying your musical experience.


VERY VERY HIGHLY RECOMMENDED!!






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PS: I want to thanks Simgot for sending me this review sample. As always, i'm wild and free minded and Simgot will discover this review at same time as other reader with zero positivist or biased compensation from my part. I have zero official affiliation or financial compensation to write this review either.

This review reflects my genuine impressions after a week of in-depth experience with the Simgot SuperMix4.

In my opinion, Simgot is not a brand that relies on stacking multiple drivers, aligning more with the philosophy of major brands like Sony.

I believe Simgot has the capability to achieve high-quality sound with fewer units, even with a single dynamic driver. Therefore, when I saw Simgot launch the four-driver Quad-brid earphone featuring 1 Dynamic Driver, 1 Balanced Armature, 1 Planar Driver Tweeter, and 1 Piezoelectric Ceramic Driver, I was intrigued. Initially, I was puzzled, but after listening, I understood the rationale.

Simgot aims for excellence, refining their product before releasing it to the market.

I also suspect this approach is setting the stage for a future flagship product.
With thorough R&D, the integration of each unit will naturally lead to superior quality and density.

Thus, I see the SuperMix4 as both a market test and a foundation for future innovations.
Now, let's unbox it.


From the packaging, I inferred it would be around USD 200 range, simple and clear quad carton packaging, three pairs of silicone earplugs, and a fixed 3.5mm plug design.
You can purchase from the link below:
https://www.linsoul.com/products/simgot-supermix-4

The official price is $149.99 USD, showcasing Simgot's commitment to value.

The build quality features a metal cover with a resin cavity, and a black and gray color scheme that is understated and low-key.

The panel has a simple gold ring. It might not be as visually striking as other full-metal headphones in this price range, but it is comfortable to wear and feels well-made.

Sound-wise, the SuperMix4 offers a balanced, detailed, and natural listening experience.
Tuned according to the Harman 2019 curve, it embodies Simgot’s signature sound: accurate, clean, and low in distortion. The four distinct driver units complement each other, creating a harmonious and unified sound.
The SuperMix4 employs a Quad-brid four-frequency configuration.
The low frequency, powered by the dynamic driver, is natural and powerful, with moderate reverb that provides a robust atmosphere without overwhelming the mid and high frequencies.

The dive is deep and clear, ideal for those who prefer balanced bass.
The mid-frequency is a strength of the balanced armature, offering concentrated imaging and slightly close distance, with sharp, crisp vocals that shine, especially female vocals.

There is minimal sibilance, and it retains a HiFi character suitable for both enjoyment and monitoring.

In the high frequencies, the SuperMix4 combines the finesse of the piezoelectric ceramic unit with the smoothness of the planar driver, resulting in excellent detail and extension without excessive sharpness.

This balance ensures long listening sessions remain comfortable.

The integration of these diverse units by Simgot results in a cohesive sound greater than the sum of its parts, demonstrating their expertise in tuning.


While the soundstage is not the SuperMix4's standout feature, it is competitive within its price range, offering decent width and depth with accurate instrument positioning.

The dynamic performance is also commendable, providing a lively and detailed listening experience.


Overall, the SuperMix4 is a meticulously developed product by Simgot, representing a great value in the hybrid earphone market.

If you are eager to explore new technologies, I highly recommend the SuperMix4 for its unique blend of drivers and superb sound quality.

It offers an exciting and refined audio experience that won’t be outdated anytime soon.


In summary: Four-in-one, amazingly satisfying!