[audio123]

  Good point. But I refuse to change the perfection that is grey-grey-gold 

 (yes I've tried all the filters)

join the red-grey-gold side!

 

[yellowbirdfly]

 
join the red-grey-gold side!

I do use red-grey-gold, sometimes... but grey-grey-gold most of the time! 

 

[audio123]

  I do use red-grey-gold, sometimes... but grey-grey-gold most of the time! 

well yes thats the good thing about flc8s. that tiny change,

 

[HiFiChris]

Is there an updated post or shared google doc that lists all tried combinations and results?


Sent from my iPhone using Tapatalk

 
Not all filter combinations but at least a few and measurements of the general effect of each filter group:
 
Taken from my Review:
 

  Tonality:

The major question I had to deal with while testing was “how do I best describe an in-ear that allows for up to 36 different sound signatures by using different filter configurations?”.
My decision was then to first describe all filters and their effect individually and then finally to give a couple of different sound descriptions of a few filter combinations.

Overall there are 10 pairs of filters that can be summarised in three groups that alter other frequency ranges, wherefore up to 36 different sound characteristics are possible (3 x 3 x 4 = 36). Included are three pairs for the sub-bass (“ULF”) that are inserted on the inner side of the bodies, three pairs for the bass (“LF”) that are inserted on the outside as well as four pairs that are screwed into the nozzle and have an effect on the midrange and treble (“MF/HF”).

The different filters listed in tabular form:

ULF	LF	MF/HF
Clear = Minimum	Clear = Minimum	Blue = Minimum HF
Grey = Medium	Grey = Medium	Gunmetal = Medium MF & HF
Red = Maximum	Black = Maximum	Green = Medium MF & Maximum HF
		Gold = Maximum MF & Medium HF

Ensuing are a few frequency response measurements of the different filters and the effect that they have on the frequency response. The plots’ colours also represent the filters’ colours.
Please note that the plots weren’t recorded with professional equipment but with my Vibro Veritas coupler that was pseudo-calibrated to more or less match a real IEC 711 coupler’s response with applied diffuse-field target, hence the results shouldn’t be regarded as absolute values but rather as a rough comparison and for getting a general idea of the sound. Especially at 3, 6 and 9 kHz, there are sometimes greater deviations from professional plots, but for a general, rough comparison between various in-ears and filters, the results are sufficient.

ULF-Filters:
(ULF Filter  I  Grey  I  Gold)




LF-Filters:
(Grey  I  LF Filter  I  Gold)


 

MF-/HF-Filters:
(Grey  I  Grey  I  MF/HF Filter)




With these in-ears, the focus lays obviously on the ability of individual sound adjustment with the help of the included filters that can form up to 36 (3 x 3 x 4) different combinations and sound signatures. For changing the filters, large plastic tweezers come included. For daily use, I found using my short fingernails (less than 0.5 mm) to be more helpful for changing the filters, as that gave me better control over the filigree things and they also slipped out of my hands way less often, nonetheless it is quite a fiddling to get them in and out. Probably smaller, rubberised tweezers would be more practical.

What follows now is a small selection of different filter combinations that are displayed in this form: [ULF]/[LF]/[MF/HF]
 
01: Grey/Grey/Gold:
This is the filter combination the in-ears arrived with.
The sound signature of it goes like this: down from 500 Hz, the bass emphasis which raises very evenly and flat begins and forms its climax which is about 6 dB north of neutral sound (Etymotic ER-4S) below 100 Hz, in the midbass; sub- and midbass are even plus plane and also in the sub-bass below 30 Hz, level doesn’t roll off. Given that, the bass is present, however definitely not over-accentuated and fits in coherently, as there is no unnecessary fundamental tone bloom.
The mids around 1 kHz are broad-banded emphasised, with a somewhat greater focus on the upper mids, bringing out (especially female) vocals’ details a bit more, but also slightly accentuating sibilants if the recording isn’t super clean. Tonally, the mids are mostly correct in my ears, with just a minimal tendency to brightness (for reference, DN-2000J’s mids are minimally brighter than FLC8s’ in my ears). From the presence area above 2 kHz on, level drops evenly and forms a greater recession around 5 kHz which guarantees for good long-term listenability without fatigue and with unobtrusive mids; that’s why many in-ears show a somewhat similarly distinctive dip around 5 kHz, for example the Fischer Amps FA-3E whose dip in the middle treble is about identical to FLC8s’ (a good thing is that it isn’t as distinctive as W4R’s dip which adds a bit too much smoothness and relaxedness to the highs and mids with a tendency to mugginess; FLC8s’ middle treble character is just “normal with a somewhat relaxed, non-obtrusive character” and clean plus detailed). From 6.5 kHz on, level starts increasing again and forms a peak in the upper treble at 8 kHz which is marginally above the ground-line and not annoying at all. Super treble extension is still good, with even level up to 12 kHz and an even roll-off from there on. Subtle “glare” above 10 kHz is still audible and I actually don’t miss anything in terms of treble extension, although there are some multi-BA in-ears that reach even higher in the treble before the roll-off begins.
For daily use, this kind of tuning appeared to be quite enjoyable – the bass is somewhat accentuated but not too much to become obtrusive, but is just there to add a little weight, vocals come through very clearly due to the moderate emphasis and sound very clean, the somewhat recessed level in the middle treble guarantees for a good long-term listenability without fatigue and the slight emphasis in the upper treble is just lightly noticeable, though percussions sound slightly brighter.

---

 02: Grey/Clear/Blue:
With this filter combination, I would describe the sound as quite neutral with smooth, dark treble.
The bass is slightly more present than with a Clear/Clear/MF-HF combination (ca. 2 dB north of neutral below 80 Hz), though the benefit is that it doesn’t roll off in the sub-bass with this filter combination. Here, the mids show a slight broad-banded emphasis, too, though there is no emphasis in the upper midrange and vocals are on the darker as well as more relaxed side, without any signs of sibilance. The middle treble is somewhat in the background as well, though even a bit more than with the gold MF/HF filter, so the impression of a smooth, relaxed midrange and treble is even stronger (for my personal preference, it is even slightly too relaxed and heads into Westone W4R’s smoothness in the upper frequencies). The upper treble is now also clearly in the background and darkens the sound.
If you love a balanced bass and midrange with a downwards-slope in the highs, this tuning might be for you.
 

---

03: Red/Black/Blue:
With this filter combination, sound is an evenly down-sloping curve from the sub-bass to the upper treble and slightly reminds me of the reference curve for car-hi-fi.
Again, the emphasis in the lows starts at around 500 Hz and then increases very evenly with a straight line, without any hump, towards sub-bass where level is about 9.5 dB north of neutral at 30 Hz. The midbass is a bit less present and so is the upper bass with about 5.5 dB, with an evenly decreasing fundamental tone area. As a result of this characteristic, the bass fits in nicely and unobtrusively, without too much upper bass kick or fundamental bloom, as the emphasis is mainly in the mid- and sub-bass. Accordingly, the lows also commendably stay away from the mids.
The midrange is not slightly emphasised anymore here with this filter configuration and is, just like with the previous Grey/Clear/Blue filter combination, somewhat on the dark, relaxed side. Treble is identical to the previous tuning.
For a smooth, relaxed, bass-emphasised tuning with “cellar rumble”, this tuning is well-suited.
 

---

04: Red/Grey/Gold:
This filter combination focusses more on the sub-bass, along with bringing a detailed midrange and correct treble into the game.
The lows more or less resemble the previous Red/Black/Blue filter combination, however with this Red/Grey/Gold configuration, the sub-bass shows to advantage more as both the root as well as upper bass are slightly less present. The bass kicks a bit less and concentrates more on the “cellar rumble”.
The mids around 1 kHz are just very minimally lifted and sound tonally correct in my ears.
The middle treble is about identically in the background as with the first (Grey/Grey/Gold) combination and gives some smoothness and good long-term listenability without fatigue. The upper treble sounds quite natural and as well as not emphasised, but straight to the point.
For a sound with balanced midrange and treble plus elevated sub-bass with less upper bass and fundamental tone, this filter combination works very well.
 

---

05: Red/Black/Green:
With this filter combination, the sound of the in-ears follows a v-shape.
The bass is quite identical with the third filter configuration (Red/Black/Blue) and expresses itself with a somewhat emphasised “regular” low-range with upper bass and fundamental tone area, with the greatest focus being in the sub-bass.
The mids around 1 kHz are just very marginally emphasised and in total view, when incorporating lows and highs, vocals are even a bit in the background and also sound somewhat thin, however neither hollow nor low resolving.
The middle treble is audible less in the background with the green filter; the upper treble at 8 kHz shows a distinct peak which is however still humane and not too sizzling or piercing as long as one isn’t listening at very loud volume levels. Nonetheless, sibilance is more emphasised and some recordings get the tendency to be a bit annoying and hot.
For lovers of v-shaped signatures, this filter combination might be well-suited.
 

---

06: Clear/Clear/Gold:
This filter combination is one of the recommended in the quick-start guide and is labelled as “Vocal” – for reason, as it really is a signature that focusses on voices.
The bass is rather lean and mostly neutral, at least in the upper midbass, upper bass as well as lower and upper root area. In the middle fundamental tone, there is a minor emphasis; the bass starts evenly rolling off from about 50 Hz.
The mids are in the foreground with this tuning, with a preference of the upper midrange, wherefore this filter combination is well-suited for female vocals. Male singers however sound a bit thin.
The treble is identical to the first (Grey/Grey/Gold) tuning.
For tracks with mainly female singers, this tuning is recommendable if one wants to bring out the voices some more.
 

---

07: Grey/Clear/Gunmetal:
This is the filter combination that I see as reference tuning for the FLC8s, and as somebody who loves neutral sound and sees the Etymotic ER-4s as the best example of how neutral tonality should be (the ER-4S is even closer to ideal neutrality than my custom-moulded UERM), I can also say that the FLC sounds pretty neutral with this filter combination and comes quite close to ER-4S’ tonal tuning.
Upper bass, midbass plus the lower fundamental tone are very marginally more present than with a Clear/Clear/Gunmetal combination which however suffers from a moderate sub-bass roll-off, wherefore I see the Grey/Clear/Gunmetal filter combination as the more reference-like. Otherwise sound is free from any unnecessary warmth and the bass is very even, “flat”, without real emphasis.
The mids are pretty spot-on and tonally correct in my ears, without colouration.
The middle treble is somewhat in the background as well, however very slightly less than with the gold filter and therefore seems a bit less relaxed. With this filter combination, the upper treble is also just very slightly, though inconspicuously above the ground-line.
For a rather sterile, very neutral sound, this filter combination is quite ideal (and I personally love it).
 

 

[stenog]

​@HiFiChris thanks. Easy to understand and use. I should receive my FLC8s in a few days.

 

[audio123]

  ​@HiFiChris thanks. Easy to understand and use. I should receive my FLC8s in a few days.

just dont use blue nozzle filter (warning)
 

 

[Devarika Woulf]

Got a shipping email last night at 11:30. The tracking number doesn't work, yet anyway. Anyone know how long they usually take to get to the states?
 
I'm looking forward to hearing them. I can't believe I've been using these cheap earbuds since October when I bought my phone. They're not bad, but my ears have matured recently and I need something with an actual soundstage and depth. I take the bus a lot and need something to keep me interested while standing around so these can't come sooner.

 

[audio123]

  Got a shipping email last night at 11:30. The tracking number doesn't work, yet anyway. Anyone know how long they usually take to get to the states?
 
I'm looking forward to hearing them. I can't believe I've been using these cheap earbuds since October when I bought my phone. They're not bad, but my ears have matured recently and I need something with an actual soundstage and depth. I take the bus a lot and need something to keep me interested while standing around so these can't come sooner.

u order from lmue or sz

 

[Devarika Woulf]

Sz

 

[stenog]

I ordered from Shenzhenaudio but with DHL express. 4-5 days from ​Shenzhen/Hong Kong to EU. Fast shipping, emails and tracking number within 24-36 hours. Good customer service. The only problem could be custom..(horror)

 

[Devarika Woulf]

Yeah DHL Express here too, free shipping. Things always get caught at customs in New York. Hopefully it takes about a week.

 

[Signal2Noise]

DHL delivered both from LMUE & SZ (via eBay) for my orders. Had to pay duties on both but it was reasonable.

 

[Devarika Woulf]

How much was the fee and how/where did you pay? I've never had a customs fee before so I don't know.

 

[Paulus XII]

  Takes away too much air with gray LF...I've tried, but it never works hehe

 
I never had any whites...
 
Faithfully LMUE spares are coming!

 

[originalsnuffy]

 
THX Nik, honestly if I only had one non amped portable rig to choose from the M2/FLC8s system would be all I would ever need

 

 
I was truly stunned by the combination of the M2 and FLC8S.  Yup, I agree.
 
I really like the Mojo and it gave me a reference for pretty much everything else.  The M2 came very darn close to that standard, as correctly noted by Nick.
 
I am playing the M2 in the auto (it just arrived yesterday) and it sounds amazingly open, clear and accurate.  Now what I really have is a used Meridien car stereo which has a fairly quiet sedan wrapped around the stereo.   So talking about audio quality and a car stereo is not absurd.  The M2 also brings my other IEM units to life based on a brief "reacquaintance" period last night.
 
 
In my view the M2  is a great match for the FLC8S.