Custom Art FIBAE Black Announcement
Nov 23, 2018 at 9:46 AM Post #31 of 551
What tips come with the universal fit?

I would like to get extra's if they are hard to find in the US .

Payment is fine by TransferWise coming from a US based order that you have on your site?

Watched a video on the resonator on YouTube.

I think going universal IEM's less hassle and I like that you have adjusted the tuning for that type of fit. I really wonder on how many customer IEM manufactures do take this in consideration when the model is done both ways .

Thanks
 
Nov 23, 2018 at 10:03 AM Post #32 of 551
This looks really, really interesting.
I was planning to upgrade my Dunu 2000j to 3001, but this sounds way better.
Any reviews so far ?
I know that the question is probably stupid, but would these be an overkill for iPhone 6s, or would it make sense to buy some quality DAP?


Here were my impressions of it. As far as I know, nothing's been changed from the prototypes we received:
I tried to take a photo that was a play on the colour Piano Black… but then I realised my piano was an hour’s flight away in my Singapore flat. So, Aluminium… Snare… Black, then? :p



As you may or may not know, Custom Art recently sent out a mystery prototype to 10 selected reviewers. I was fortunate enough to be one of them and I'd like to massively thank @piotrus-g for the opportunity. Without further adieu, here are my impressions:

Piotr didn’t want us to comment necessarily on packaging and build, but I must say, I am in mad love with his choice of pure gloss black. It’s in contention with the Avara Custom AV2 as the classiest, most illustrious in-ears in my collection, and I wouldn’t be surprised if these were similarly 3D-printed as well. :wink: Fit and finish have been where Custom Art’s grown most over the years - aside from sound quality, of course - and I’m glad to see that train ain’t stopping anytime soon.

Now, onto sound…

The most striking component of this in-ear’s sonic arsenal is undoubtedly its stage. Width, depth and height all mark career highs for Custom Art, now joining the likes of 64Audio, Lime Ears and Empire in not only sheer volume, but also how well the stage itself is structured - because golly gee… in terms of instrument placement, stability and stereo separation, this thing goes where no Custom Art IEM has gone before. Piotr has certainly taken previous criticisms to heart and worked hard on treble extension and linearity, resulting in this in-ear’s rock-solid, spherical stage with equal expansion, holography and stability on all three axes. With warmer CA IEMs, I’ve become accustomed to full-sounding soundscapes with saturated stages, so to hear one this stable, open and refined and natural in tone was a welcome, welcome surprise. Instruments are placed along a superbly-defined perimeter with sufficient space between them and the listener to properly breathe and decay. But, they’re also just close enough to remain musical and engaging at the same time.

Now, it isn’t as grand in scale as Unique Melody's Maestro V3 or 64Audio's A18t, but it doesn’t compromise in tone as much as they do either. The upper-treble is kept relatively linear for a softer, refined response, but it’s clear, articulate and airy as well. It’s a response that sits somewhere between the UE18+ Pro Gen. 2 and the Lime Ears Model X; the refinement and effortlessness of the former mixed in with the vibrance of the latter. In the grand scheme of things, this produces a balanced and clear tone within the well-founded stage, with just a hint of warmth for naturalness’ sake. And, because treble extension takes care of resolution, Piotr needs neither an egregious lower-mid dip, nor a mid-bass cut nor an upper-treble peak to generate headroom - resulting in a marriage of modern technical prowess and Custom Art’s signature, wholesome sound. If I were to con spatial performance in any way, I’d mention the black background. The background as is is dark and stable - again, because of wonderful treble extension - but notes above 5kHz tend to decay rather slowly. So, very minute traces of brightness trail each and every note. To me, quickening treble decay would make the background flawless, but it’s excellent as is if it were to compete in the sub-$1500 market.

Bass

Down low, I massively admire the in-ear’s balance between clarity and tone. It’s a lightly warm response, but there’s a melodic character to the bass that gives it a leg up beyond just being a punch machine. It’s resolving enough to discern different types of kick drums and several-layers’ worth of bass lines in pop and rock, while kick drums and upright basses in jazz benefit massively from the low-end's sing-songy nature. There’s a transparency to the tone that isn’t just the boring, one-dimensional warmth. It sounds to me like it’s caused by very low distortion, allowing the low-end response that’s been baked into the mix to come through with minimal coloration or loss in detail.

Not to be outdone, impact and punch both satisfy as well. Mid-bass quantity is levelled just right to inject dynamic energy to more uptempo genres of music, but the stage is kept remarkably clean. Sub-bass performance, unfortunately, is where the low-end falters a tad. You can definitely hear the sub-bass in tracks like Eminem’s Lucky You, but there’s a clear lack of oomph and force to it. It’s not a quantity issue at all, because the tone’s there, so it’s certainly a matter of extension. Plus, to the detriment of the in-ear’s open stage, this lack of fundamental rumble can sometimes render tracks like Lucky You sounding a bit empty; requiring the listener to pump up the volume just to achieve proper saturation, which isn’t ideal. If Piotr can improve bass extension to add more physicality to the bass without raising quantity, that would be the perfect scenario. Alternatively, raising the bass below 100Hz may compensate for the lack of presence, but it may also compromise the cleanliness and composure of the stage, as well as the tone and clarity of the mid-bass.

Midrange

As per usual with Custom Art’s in-ear monitors, the midrange comes with forwardness and intimacy. There’s certainly a tilt towards the centre-and-upper mids (around 1-4kHz), but a linear rise from 1kHz onwards give instruments a sense of body, density and authority. In fact, those aspects are what impressed me most. Coming back to Eminem’s Lucky You, the track was mixed with a heavy, heavy emphasis on bass, to the point where Eminem’s vocals are almost drowned out. This is particularly true with IEMs that recess the lower-mids excessively and end up sounding thin and diffuse. Thankfully, this monitor avoids that pitfall. Eminem’s voice - no matter how little space it takes in the overall soundscape - is reproduced with such solidity, power and resolution that you never lose track of it throughout the duration of the track. It’s a really impressive showcase considering the vibrance of the in-ear's bass too, and it’ll surely please vocal enthusiasts to no end.

But, there is a crucial flaw in my eyes concerning the upper-midrange. To my ears, the 2-4kHz range is close to - if not the - loudest frequency range throughout the in-ear’s entire response. Although this makes instruments sound more vibrant and present, it also causes them to sound noticeably saturated; almost as if there’s no air between the vocalist and the microphone. It’s an effect you can somewhat replicate by heavily loudening and compressing a mix, and it causes the lead melody to sound distractingly full; almost as if it’s overtly compressed on its own while everything else breathes just fine. So, hearing this, I used an EQ to dip 2-4kHz (with 3kHz being the centre of the dip) by 3dB… and the results were spec-tac-u-lar. Not only did the honky-ness and saturation go away, but it also revealed the vocal range’s true technical prowess. The instruments themselves sounded more effortless, refined and airy. At the same time, this effortlessness and headroom allows the listener to more easily catch nuances and micro-details as they pass by. And to top it all off, the solidity and authority I mentioned earlier isn’t sacrificed at all. In fact, it’s what allows the lead melody to hold a firm grip on centre stage even with the upper-mid dip; Eminem’s still coming through loud and clear. It’s almost like the difference between tasting food while you’re gasping for air and doing so while calm. In the latter scenario, you can discern (and savour) infinitely more flavours and textures than the former.

And flavours and textures it has in spades! This mystery IEM is a step-up in resolution and transparency than all of Piotr’s previous in-ears; even the FIBAE 3. This is because of this in-ear’s superior background and natural tone. The almost-pitch-black ambience allows transients and nuances to pop, and the linear upper-treble makes way for an immensely natural tone. Taken with the 2-4kHz dip, I’d say it competes with the likes of the Warbler Audio Prelude and the Kumitate Lab Corona, but with higher resolution and spatial definition. Technically, layering, separation and speed are all excellent without the need for thinness or brightness - another sign of true, well-executed resolve. Again, that 2-4kHz dip is crucial, crucial, crucial! Because when applied, it unlocks everything this IEM is truly capable of and solidifies its potential as top, top class.

Treble

The treble is probably where I take least issue with this in-ear. Right away, linearity and extension are both excellent. There’s a small 8kHz peak, but it isn’t anywhere near as noticeable as the one on the Harmony 8.2 (possibly the FIBAE ME as well, but I can’t recall). So, transients are much less grainy and powder-y. Rather, they’re articulate and clear, but superbly smooth. It articulates in a manner that isn’t far from a properly-paired and run-in Phantom, but transients here are a touch sharper and brighter because of where the peak is placed. Personally, if some manipulation of the dampers or driver placement were allowed, I’d move the peak closer towards 6-7kHz. Because, I think peaks there result in a more rounded, natural, and refined transient, rather than the grainier and tizzy-er sound of 8kHz. The upper-treble is a massive achievement as well for Piotr and co.; natural in tone, superbly and stably extended, and perfectly positioned. It sits a hair behind the lead melody, so cymbals crash energetically, yet headroom and composure are both pristinely preserved. As I mentioned earlier, simply quickening the decay here and getting rid of the brighter harmonics would render it a perfect treble for this monitor to my ears.

Conclusion… for now

I think this monitor is a true step-up from Custom Art in nearly every conceivable way. A/B-ing between the Harmony 8.2 and this has revealed just how much Piotr’s grown in treble tuning, bass technicality, and staging and organisation especially. At its price, the Harmony 8.2 is still a great, laid-back IEM, but I’d be lying through my teeth if I didn’t say I much, much, much preferred this new prototype. It’s an excellent performer in bass clarity and tone, midrange structure and authority, treble extension and coherence, and spatial resolution. Sonically, I'd probably guess this was a 5-to-6-driver IEM that would compete massively in the US$1200-1500 price range against the 64Audio A6t, Lime Ears Model X and the Jomo Audio Tango. I think there are definitely improvements to be made in bass extension and upper-midrange tuning (with only very minor gripes in the lower-treble and background blackness), but I have a strong feeling this IEM will truly set Custom Art high on the market. Congrats @piotrus-g, you've got a real winner on your hands here. :wink:

P.S. Stay tuned over the next coming days for cable pair-ups, comparisons and more. Cheers! :D


By the way it's great to have you here answering all the questions promply...here another one if you don't mind:
What are the main differences to 8.2? From first impressions i understand they are more similar than different?


Here are my comparisons between the Black, the FIBAE 2, the FIBAE 3 and the Harmony 8.2:
I've spent the past couple days comparing Custom Art's mystery prototype against their most recent releases (bar the FIBAE ME and FIBAE 1, which I'm sure my fellow colleagues will cover) and these are the impressions that have come up from it. Enjoy! :D



vs. Custom Art FIBAE 2

The FIBAE 2 and the prototype are probably the furthest apart in technical performance. The clearest discrepancy between the two is in midrange resolution and background blackness.The FIBAE 2 is rather diffuse-sounding because of an evident 3-4kHz dip, so the majority of vocal energy lies in the chesty 2kHz range. The prototype has the opposite problem, where a peak at 3kHz leaves it sounding rather saturated. Ideally, I’d love the prototype's 3kHz peak attenuated, but not to the extent of the FIBAE 2. As we’ll explore soon with the FIBAE 3 and the Harmony 8.2, the common distinction that the prototype has over its siblings is its black background and stage organisation. Of the four, the prototype has the cleanest, most stable stage despite its relatively laid-back treble. Clearly, this is because of treble extension. Unfortunately, the FIBAE 2 - like the Harmony 8.2 - rolls off around 10kHz, so its ambience is warm and euphonic, which limits its resolution, transparency and dynamic range relative to the prototype. Additionally, its mid-bass comes across less controlled as well. The FIBAE 2’s low-end has always been known for its fun-factor and warmth, but the prototype certainly takes the cake in clarity, layering and tone. Despite my love for the FIBAE 2 as a value proposition, the prototype simply outclasses it for me in technical performance and tonal balance. The latter’s vocal presence, clarity, spatial properties and bass quality simply make it a better IEM by a significant margin. I believe our time is better spent discussing the next couple comparisons in further detail. :wink:

vs. Custom Art FIBAE 3

The largest discrepancy between the two in-ears is timbre. Besides being a tad brighter in tone, the FIBAE 3 has crisper transients and thinner notes. This is because of its upper-treble lift and its subdued mid-bass. The prototype has a much fuller, richer low-end, which gives its instruments a thicker, bolder profile. However, the prototype actually has more solid articulation, because of the FIBAE 3’s noticeable 5kHz dip. So, open hi-hats for example sound like a proper tshhh tshhh on the prototype, while they sound like a diffuse ffff ffff on the FIBAE 3. Down low, the prototype’s bass slams harder and decays a touch more too, while its melodic-ness gives bass instruments more character and three-dimensionality in tone as well. Again, the FIBAE 3’s peaks and dips - along the lower-treble especially - are much more pronounced than the prototype’s; the former having an obvious 5kHz dip and an 8kHz peak. As a result, the FIBAE 3 comes across less coherent, while the prototype is more linear and uniform in hue. The FIBAE 3’s 10-12ish kHz peak also gives it a more apparent sense of immediate clarity, while the prototype chooses to be smoother and more refined. Obviously, this also means the prototype has a more natural tone; a touch warmer than neutral. But, it also clearly wins out in resolution and transparency. Notes decay quicker along a blacker background, so you can detect more micro-detail and nuance. Additionally, although stage size is similar, the prototype resolves further depth-wise. So, you can almost visualise the soundscape around and behind the note, which makes instruments sound more three-dimensional and holographic. You can only do the former with the FIBAE 3 before you hit the noise floor.

vs. Custom Art Harmony 8.2

The Harmony 8.2 is a closer match versus the prototype, because of similarities in bass tone, midrange structure and vocal positioning. But, there are several key differences between them as well, beginning with the stage. The Harmony 8.2’s greatest weakness has always been background blackness and instrument organisation. Because it begins to roll off around 10kHz, warm air constantly infests its stage, hurting its resolution as well as its dynamic range. The stage it presents is also wide but flat - choosing to separate along the x-axis - which, to me, is slightly unrealistic. The prototype, by comparison, has a much blacker background and a more stable stage. The air surrounding each note is much cleaner, so it comes across more transparent, dynamic and resolving. It also fans its instruments out more evenly along the spherical perimeter to create a more realistic, holographic and engaging soundscape. Though, to the Harmony 8.2’s credit, its warm air creates a more pleasing, euphonic response, while - as I mentioned in my first impressions - the prototype’s stage (while vast) can feel a bit empty because of its lack of bass extension. Speaking of the bass, the two share a similar tone down low. But, the prototype has more apparent resolution, texture and clarity, while the Harmony 8.2’s sounds bloomy-er and wetter by comparison. Additionally, the prototype’s bass is more sensitive to the track/mix in tone. Midrange structure is similar between the two as well, but the prototype - once again - has greater transparency because of a blacker background and superior depth-wise resolution. Also, it has more energy around 5-6kHz than the Harmony 8.2 for a brighter, more vibrant upper-midrange. Finally, the Harmony 8.2 has a more articulate and present 8kHz peak, so its transients are grainy-er and have more bite. The prototype is comparatively smoother here, but it’s also more refined, and clarity is compensated for by it black background. They’re similarly linear along the upper-treble, but the prototype extends where the Harmony 8.2 rolls off.
 
Nov 23, 2018 at 11:39 AM Post #33 of 551
Could you describe about "Pressure Optimizing Design"? Is it a technology that is similar to ADEL/APEX module but different approach?
 
Nov 23, 2018 at 12:07 PM Post #34 of 551
By the way it's great to have you here answering all the questions promply...here another one if you don't mind:
What are the main differences to 8.2? From first impressions i understand they are more similar than different?
Soundwise yes, they kind of follow similar sound signature. I would say that Harmony has wider sound stage, but not actually bigger in terms of overall size. Harmony would have a bit more extra sub-bass and a little bit more extra highest highs. Blacks have thicker mid-bass. I'm also willing to say Harmony is more capable with details and technicalities while Blacks are much more musical and "romantic" sounding.
What tips come with the universal fit?

I would like to get extra's if they are hard to find in the US .

Payment is fine by TransferWise coming from a US based order that you have on your site?

Watched a video on the resonator on YouTube.

I think going universal IEM's less hassle and I like that you have adjusted the tuning for that type of fit. I really wonder on how many customer IEM manufactures do take this in consideration when the model is done both ways .

Thanks
Not sure if I'll be able to answer your question about tips, but they are simply black with 5mm opening - so not too wide. but not too narrow either.
Transferwise is ok

Could you describe about "Pressure Optimizing Design"? Is it a technology that is similar to ADEL/APEX module but different approach?
Please note I already answered this question on previous page: https://www.head-fi.org/threads/custom-art-fibae-black-announcement.893870/page-2#post-14615693
 
Nov 23, 2018 at 3:05 PM Post #35 of 551
The innovation alone is just absolutely phenomenal. What you guys are creating... sorry innovating is truly stunning!

My order is in, and i cannot bloody wait!

Congrats guys!
 
Nov 23, 2018 at 3:08 PM Post #36 of 551
Good job @piotrus-g - you've really hacked the system! That's a "mafia offer" I can't refuse.
godfather.jpg
 
Nov 23, 2018 at 3:16 PM Post #37 of 551
The order can be put in prior to having impressions? hoping to get mine done by early next week.
 
Nov 23, 2018 at 3:43 PM Post #39 of 551
What tips come with the universal fit?

I would like to get extra's if they are hard to find in the US .

Payment is fine by TransferWise coming from a US based order that you have on your site?

Watched a video on the resonator on YouTube.

I think going universal IEM's less hassle and I like that you have adjusted the tuning for that type of fit. I really wonder on how many customer IEM manufactures do take this in consideration when the model is done both ways .

Thanks

With regards to tips they are similar to the standard sony hybrids and come in small, medium and large that were popular on headfi for awhile, and a pair of double flange tips as well. Other tips that fit (this is all assuming this is based on the standard CA universal model) would be Final Audio E and Comply T400. Symbios by mandarin also fit so you should be able to find something that works for you.

Congratulations to another outstanding piece of work Piotr. Got to say I'm tempted, and I've only just got back my fibae 2's!
 
Nov 23, 2018 at 4:00 PM Post #40 of 551
With regards to tips they are similar to the standard sony hybrids and come in small, medium and large that were popular on headfi for awhile, and a pair of double flange tips as well. Other tips that fit (this is all assuming this is based on the standard CA universal model) would be Final Audio E and Comply T400. Symbios by mandarin also fit so you should be able to find something that works for you.

Congratulations to another outstanding piece of work Piotr. Got to say I'm tempted, and I've only just got back my fibae 2's!
Thanks David!

FIBAE Black will have different sleeves though than our standard tips
 
Nov 23, 2018 at 6:01 PM Post #42 of 551
Nov 23, 2018 at 9:05 PM Post #44 of 551
Here were my impressions of it. As far as I know, nothing's been changed from the prototypes we received:






Here are my comparisons between the Black, the FIBAE 2, the FIBAE 3 and the Harmony 8.2:

Thanks for your impressions! How would these compare to the Empire Ears Phatom?
 
Nov 23, 2018 at 9:41 PM Post #45 of 551
I have couple questions about this IEM:

1. Is the 2 pin option the .78 mm normal configuration?

2. So how hard is it to get a seal with the universal type and what tips worked the best ?


4. If you do a custom fit how much will the sound change vs the universal? I have only owned universal IEM's ?+


Thanks

Hey mate, I have little issue getting a seal on the uni. It has a medium depth fit but the housings are smooth and fairly compact so they slot nicely into my ears.

They have a non-recessed 0.78mm 2-pin connector that fits my aftermarket cables just fine.

Customs are more fit dependent, mine fit a little too tight which gave me some pressure and the impression of a more congested sound. This was not a problem on the uni which sounded open and impressively spacious to me, especially impressive given that we now can say for sure that this is a single driver design. With a properly fit custom, I would assume the sound would be the same with the added benefit of a perfect seal every time and greater isolation.
 

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