Ishcabible
Headphoneus Supremus
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Okay, so, that was a vague title. I'd like to give a HUGE thanks to MEElectronics for providing samples of (most, not all. A few are out of stock at time of writing) their new line of IEM's.
MEElectronics M21:
Hmm, the MEElectronics M21. Clear? Yes. Detailed? Yes. Durable? Yes. Cheap? Well is $35 dollars cheap for a metal IEM that looks like it belongs in an art museum, never mind the fact that it’s the most balanced sounding IEM I’ve ever heard for around $30? Have I gotten your attention? Read on!
I’d like to thank MEElectronics for providing me with a review sample. The M21 is the middle child of the new M series line.
Build:
The M21 has a very pretty two tone metal housing that could probably handle some nasty stepping-on of. The wire is the standard MEE wire. The plug is a right angled plug instead of the hockey stick plugs on the old line. They do protrude a bit from my ears, making it look like I have red bullets in my ears, but it’s no big deal.
First Impressions:
The first album I tried the M21’s on is The Age of Rockets’ Hannah. It isn’t a particularly great mastered album—it’s brickwalled, like every other modern album—but it’s gentle music that has rather hard to render spectacularly by most headphones, with a few different instruments other than the standard guitar/drum/bass section. The album sounds pretty on the M21’s, but not perfect. The M21’s sound laid back in presentation. The bass is a tiny bit accentuated, but that’s what the standard MEE IEM sounds like. The mids are a bit veiled, and treble is rolled off. Soundstage is wide, but depth is lacking. The sound all in all is calm and pleasing, while not trying to impress anyone.
Review:
To review the M21’s, I’m using a NaNite N2, a DAP with a class A amp section, so while it isn’t as optimal as an actual external amp, it’ll do well enough. The N2 is already a warm player, so keep that in mind. Tracks are 320kbps. Tips used are the MEElectronics “Balanced” double flanges, which are my favorite provided tip. I’ll include a tip comparison at the end.
Sound:
The bass of the M21, like every other MEElectronics IEM I’ve heard, (I haven’t heard the A151) is a bit north of neutral. It can get boomy at times where the music calls for tons of bass, but it generally is controlled and detailed. Like the M31, the bass emphasis is concentrated on the midbass, and doesn’t reach down low. It isn’t particularly offensive unlike the M31 can get, but it’s still there. The mids of the M21 aren’t exactly recessed or veiled, just sound a couple decibels south of neutral. They’re a tiny bit warmed up by the bass, though still manage to be plenty clear and accurate, especially for $35, which, considering MEElectronics’ claim to fame was a $20 IEM with HEEEEUUUUUUUGE bass, is a very impressive transition within a few years. Now, the treble of the M21 is average at best. It has no special attributes—it doesn’t sparkle, but it’s pleasant and detailed, extending decently high. While the treble isn’t special, it also doesn’t do anything obviously wrong, which is fantastic.
The soundstage of the M21 is wide, but not deep. It is about 2-3 feet wide and a feet deep to my ears, which may or may not be your experience, but you’re not the one with rulers in front of his face. The detail is very good on the M21, typical of MEElectronics IEM’s. Tone and timbre is decent overall. For the price of an M21, it’s hard to do better. It’s hard to do better even around $70 south of a certain Hifiman’s creation.
Tips:
I shall be comparing tips, because there aren’t enough comparisons of tips around, and the M21’s are surprisingly transparent. Tips are an often overlooked part of an IEM, but it can really alter the sound of an IEM.
Single Flanged stock tip: These are your average tips, nothing special. The sound, however, is not a good indicator of how balanced the M21’s can sound. Bass is loose, mids are veiled, and treble is rolled off.
Balanced Double Flanged: These are probably the best tips you’re going to get stock. With these tips, they are, obviously, the most balanced. Compared to stock tips, the mids are much more coherent, bass is tighter, and treble isn’t as rolled off.
I lost the regular double flange tips so…moving on to aftermarkets!
Monster Foam Supertips: These tips set the mids free. The mids are actually forward using the Supertips, but can get grainy. The bass gets tighter too. Treble is a bit peaky though. Soundstage gets wider and has height.
Monster Gel Supertips: Yikes, there is some sibilance with these tips, and the treble appears from nowhere. Mids are much more balanced than with the foams, and bass is about flat. Soundstage kinda collapses though.
Ultimate Ears Silicon: The mids take a bit of a hit here in exchange for more treble, which gets slightly harsh. The bass is a bit north of neutral.
Comply Foam: The overall sound darkens. The bass has more impact, and begins to get boomy. Mids are as recessed as with the stock single flanges. Treble is veiled, and rather disappointing in general. Shame, I like foamies’ comfort.
Sony Hybrids: Bass is stronger than Complys’. The mids are about as recessed, and the treble is a bit less veiled than the Complys’. This is another unfortunate case because the Hybrids are really comfy.
Of the group, the foam Supertips and Balanced double flanges tie for my favorites, but considering the Supertips are really pricy, just stick with the Balanced double flanges. They are, as their name calls for, the most balanced tips for the M21.
Conclusion:
I really like the M21’s even though it might not be apparent in the actual review. They are very balanced, but at the same time, give a nice kick in the bass. For $35, you can’t really do wrong with these. The Brainwavz M1’s are a tiny bit better, but at the cost of some durability and some style points. Overall, if you aren’t sure if you want something neutral, but you are sure don’t want something bassy, the M21’s are a serious IEM to consider.
The M21 retails for $35 for the non-mic version, while the mic’ed version is $40.
MEElectronics M31:
Big, beefy, burly, bounteously bassy…bass. That’s what the MEElectronics M31 does best, but is it all fun and bass until the cows come home? Read on to find out!
I’d like to thank MEE for providing me with a review sample.
Build:
The housing of the M31 is very sturdy feeling two toned metal, although they’re pretty monsterous, even in comparison to Turbine housings, as shown. They do stick out of my ears more than I’d like, but it’s a trivial negative point. The cable is a standard MEE cable, but very attractive for the $45 you’ll pay. They do retain some memory though, but it’s hardly something to cry about. The plug, unlike previous MEE models, is right angled, instead of the hockey stick 45° type, and feels like it would take a fair amount of abuse.
First Impressions:
Knowing that these would be a fun sounding IEM, I first used the M31’s with…wait for it—a Lady Gaga album (Fame Monster) for the heck of it, and it’s hard to contest that it isn’t a fun album. I must say, it’s nigh on impossible not to tap my foot to the album, as much as I might not particularly like Gaga, the M31’s sure make music involving. They don’t have the best mids, best treble, or even tight bass, but they don’t try to sound perfect; instead, they focus on, as Rebecca Black has said, “FUNFUNFUNFUN.” First impressions are pretty positive. The average consumer would love these.
Review:
To review the M31’s, I’m using a NaNite N2, a DAP with a class A amp section, so while it isn’t as optimal as an actual external amp, it’ll do well enough. The N2 is already a warm player, so keep that in mind. Tracks are 320kbps. Tips used are the MEElectronics “Balanced” double flanges. To me, they provide the most bass (which is the M31’s main thing) while not overly masking mids and treble in the stock package. I’ll include a tip comparison at the end.
Sound:
Bass is the hallmark of the M31. It is probably the bassiest IEM I’ve ever heard, and people that know me would assume I hate that, considering my favorite headphones have “No Bass™,” but the M31 manages to be super-bassy without murdering the mids in the process, for the most part. I can hear a bit of bass bleed, but it’s rather negligible. It is boomy and uncontrolled, even bordering on tasteless and undetailed, but something about it draws me to it for anything pop or electronic. The CC51 murders the M31 in bass detail, even the lower M21 is more detailed and controlled, but the M31 bass is just fun. I expect a Head-Fi mod burning my lawn, but I don’t care—the bass is fun, and I like it. Despite my gushing about the bass, it is mostly midbass. They struggle at 35hz and lower. Then again, this is a $45 IEM, with a 9mm driver at that, so I’ll let that slide. However, the mids is where the M31’s struggle a bit. Frequency graph of any sound device is akin to a body of water. If there is a rise/wave in the water, some parts of the body have to lower. The same principle applies here. The bass of the M31’s is very accentuated, so the mids and treble suffer. The mids are warmed up by the bass, and that’s extremely apparent in any track. Instruments are warmed up way too much to be called accurate, and tone of voices is totally off. However, the mids aren’t as recessed on the M31’s as they are on the M9’s. The treble of the M31’s is smooth, but with the wrong tips, can change drastically and be painfully sibilant, to the point where snakes and dolphins can get headaches. With the balanced tips however, it’s smooth, but nothing special at all—even veiled. Still, it’s one of the tradeoffs for their boomy, bodacious bass.
The soundstage of these is peculiar. The stage is very wide (for an IEM) but not very deep at all. About a foot of depth max, while the width is about 2-3 feet across. I somewhat expected this with the huge port, but surprisingly, it doesn’t leak any sound that I could tell. Detail is pretty average at best. There’s nothing particularly wrong with that, especially considering it’s a bass monster and it’s a miracle there’s any detail, but I’d like a little more. The veiled treble is probably at fault for that. Timbre and tone, as mentioned before, are a bit below average because of the bass bleed.
Rather than state how specific genres sound with the M31 (spoiler alert—electronic, rap/hip hop, pop and indie sound good, while metal and anything involving many instruments or vocals tends to sound smeared and unimpressive.) it’d probably be more beneficial to have another tip comparison.
Stock Single Flange: The mids are a bit more prominent on these than the double flanges, and bass impact is sloppier. Treble can get piercing. Soundstage is more compressed.
Balanced Double Flange: Surprisingly, the sound is less balanced on these. The bass reaches deeper, but the mids are more recessed. Treble smoothens out, and the soundstage grows a bit.
Ultimate Ears Single Flange: The midbass increased, vocals sound digital and wrong, instruments sound plasticky, and treble can get harsh and sibilant. Soundstage is between the MEE tips.
Monster Foam Supertips: Bass is more impactful than all but the Sony’s, but the mids are balanced. Treble is smooth. Soundstage is moderate.
Monster Gel Supertips: Bass is less than the Foam tips. Mids are equally balanced, treble is laid back. Soundstage is rather small.
Comply Tips: These are the darkest of the tips I have. The mids are the most recessed, and the treble is rolled off at the cost of some booming bass.
Sony Hybrids: The bass is the most impactful of the tips, and the mids are still balanced, moreso than any of the other tips. The treble is very smooth, but a bit veiled at times.
Conclusion: It’s no secret that I like the M31’s. I probably like them a bit too much. They’re inaccurate, bloated, and headache inducing, but that’s exactly why I like them. I don’t analyze my music when using them. I just rock out to the music. Sure, they don’t do well with complex music, but these love synth and bass centered tracks, and if you’re in the market for a bassy IEM under $50, the M31’s should be on the top of your list! In a perfect world, these would be sold at any given electronics store, taking any and all business away from Beats if people could actually try them.
The M31 retails for $45 for the non-mic version and $50 for the mic’ed version.
MEElectronics CX21:
Preface: My ears have never really liked IEM’s whose wires go over my ears, as it seems my right ear canal has a funky shape, and cannot fully seal no matter what tips if I force the cable to route up that way. The result is a sound imbalance. Yes, before anyone asks, there is nothing wrong with the IEM’s, I’m positive it’s my ears. I’m wearing the IEM’s downward as I type and they sound perfectly fine. As of a result, take all this particular review with many grains of salt. I’m probably not hearing them at their best.
Anyways, the MEElectronics CX21 is the “entry level” model in the Clarity series. It’s also the only model (well, aside from the RX11) in the new lineup that’s meant to be worn up. This will likely please many of the athletic types, as microphonics are naturally reduced greatly. So what does Clarity mean for MEElectronics? Read on!
Packaging:
The packaging of the CX21 still the clear plastic boxes of yore. Inside, there is a “safety and tips” piece of paper that most people reading this have no need to read, a very nice ballistic nylon case akin to the Brainwavz IEM’s, with purple accents--a bit more metro that I’d like, but still very nice, and inside the case is extra tips. It’s basic, but gets the job done.
Build:
The earphones are cold to the touch, leading me to think they’re metal, but alas, they’re plastic, along with the nozzle. Regardless, they hardly seem like they need to be babied. In fact, I’d hazard a guess that one could abuse them for an entire year and they’d keep chugging along. The plug is a familiar 45 degree angled plug most of MEE’s line uses, and the clip is already attached to the cable. Strangely, the clip has the ability to swivel. When I first found this out, I thought it was downright awesome, but when I tried to think of a special use for the swivel, I couldn’t think of one. Still, I think it’s pretty cool. The cable is the typical Teflon covered affair the rest of the line uses aside from the CC51 and A151.
First Impressions: Strangely, out of the three IEM’s (CX21, CW31, and SP51) I received the day I got these, the CX21 was the first one I tried, mostly because of the praise I’d heard at such a low price point. Well, I plugged them into my NaNite N2 and played Noah and the Whale’s Peaceful, the World Lays Me Down. Hmm…these are pretty dang good for the retail price ($40), and a steal for the $30 they sell for on Amazon. Sure, the mids are a bit suspended and hollow sounding, but they’re a very easy listen. They’re not exactly the super-flat sounding IEM’s I expected, foolishly I guess, since MEElectronics is mainly a consumer-focused IEM company and everything they make is on the warm side. Regardless, while they aren’t the perfectly balanced IEM I hoped for, they’re a well rounded package. The bass is controlled, if a bit more than neutral, the mids are a tad hollow, but still decent, and the highs aren’t harsh, nor are they rolled off prematurely. If anything, they’d be on the bright side if it weren’t for the warmed up mids.
Review: Gear used is a NaNite N2 and 320kbps music. My Hisoundaudio Studio still hasn’t come, but I promised a review within 2 weeks and I have a feeling it’s stuck in customs. I hope they aren’t having fun using it though… They’ve been burned in roughly 100 hours. I lost count, but I didn’t really notice a drastic difference.
Treble is nice and sparkly. It extends nicely, but is never sibilant, thankfully. However, when cymbals are especially aggressive, it can get somewhat harsh. Nothing too bad though.
The midrange is my only gripe, but it’s being extremely nit-picky. As I’d said before, the midrange is slightly hollow, which is sad, because if it weren’t for the hollowness, I’d tell everyone within a 50 mile radius to get a pair right this minute. But it really isn’t that bad. For the newbies that will likely be getting this IEM, y’all will hardly notice. Male vocals sound a tiny bit throaty though because of the warmed up lower midrange.
Bass—MEElectronics’ forte is creating a bassy sound without killing the rest of the sound, at a price that everyone can afford. Being in the Clarity series, they aren’t nearly as bassy as the M31 that the company makes, but they still retain a nice punch, if being every-so-slightly loose with particularly demanding songs.
Soundstage is, well, decent sized for an IEM. It’s small, but width and depth is very respectable, and better than the Brainwavz M1.
Detail is very good, thanks to the slightly accentuated treble. However, they really don’t like to be pushed hard. Muddy sound is inevitable if there’s too much going on in the song.
Conclusion: I like these, a lot. They’re a very inoffensive IEM, and at the $30 (on Amazon) price range, that’s harder than you’d think. All too many IEM’s in this range have glaring deficiencies. The CX21 isn’t guilty of much wrong other than being slightly hollow sounding and lacking any definite personality. It’s amazing to imagine that only three years ago, that if someone wanted some $30 earphones, you’d have to pick either the Sony EX71 (yuck!) and JVC Air Cushions. Now, there’s a smorgasbord of cheap IEM’s. And in my opinion, the CX21 should definitely be at the top of your list.
MEElectronics CW31:
Anyone that knows me at all would know that I’m a total sucker for wood. I’ve been dreaming of being able to get an Audio Technica W11JPN ever since I’ve gotten into this hobby. 3 years later, I still don’t have it. (I’m working on it!) But in my ears right now are some mini-woodies. The MEElectronics CW31 is up on the testing block right now! The CW31 is the middle child in the Clarity series. Appropriate, because the middle child tends to be the rebellious one, and this definitely is a bit different than the CC51 and CX21, in areas other than looks.
Packaging:
The packaging of the CW31 the same clear plastic boxes of yore. Inside, there is a “safety and tips” piece of paper that most people reading this have no need to read, a very nice ballistic nylon case akin to the Brainwavz IEM’s, with purple accents--a bit more…metro that I’d like, but still very nice, and inside the case is extra tips. It’s basic, but gets the job done.
Build:
The CW31 is obviously made of wood. Samak wood in fact. Sure, it isn’t the fancy Cocobolo or Rosewood other nice headphones use, but the wood looks nice and discreet. It’s also apparently hard and eco-friendly, so everyone wins! It also seems resistant to dings and such. It’d take a good bit of abuse. The nozzle is very interesting. Instead of being the typical circle-shape the most of the IEM world uses, the nozzle is ovular. I can only assume it’s an ergonomic feature, and it doesn’t inhibit the usage of any kind of tips. I’ve used Comply TS400’s on them without a hitch. The plug is a familiar 45 degree angled plug most of MEE’s line uses, and the clip is already attached to the cable. Strangely, the clip has the ability to swivel. When I first found this out, I thought it was downright awesome, but when I tried to think of a special use for the swivel, I couldn’t think of one. Still, I think it’s pretty cool. The cable is the typical Teflon covered affair the rest of the line uses aside from the CC51 and A151.
First Impressions: As with the CX21, I plugged these into my NaNite N2 and played Noah and the Whale’s Peaceful, the World Lays Me Down to compare the differences between the two. I immediately noticed the sweeter presentation the wooden housing gave. Timbre and decay is also more realistic. Mids are a bit more warmed up and intimate than the CX21, and bass resonance was more apparent. Treble is a bit more restrained and smoother.
Review: Gear used is a NaNite N2 and 320kbps music of various types. My Hisoundaudio Studio still hasn’t come, but I promised a review within 2 weeks and I have a feeling it’s stuck in customs. I hope they aren’t having fun using it though… They’ve been burned in roughly 100 hours. I lost count, but I didn’t really notice a drastic difference.
Treble is very different compared to its younger brother. It’s actually smooth and rolled off compared to the bright and slightly peaky CX21.
The midrange seems to have rid of a lot of the strange hollowness the CX21 has and replaced it with a sweeter sound. It’s still slightly warmed up by the bass though, and far from prominent. Vocals have a certain “rightness” that woodies tend to convey that plastic usually can’t. It’s very nice in fact, and makes me want the W11JPN even more…
These are bassier than the CX21, not surprising, considering the general properties of wood resonating differently. It goes deeper and sounds more “subwoofer-y”, but it can sound a bit mushy at times, and is consequentially slower than its younger brother. I can only assume it’s a great upgrade from the old MEElectronics woodies, the R1, though.
The soundstage is a bit smaller than the CX21, probably because of the smaller housing. It’s nothing bad, and positioning is good.
Detail and tone is a smidge more accurate than the CX21. Again, wood helps the tone and timbre. It doesn’t like complicated music though. It smears pretty easily.
Conclusion: As with the CX21, I like these. And since they’re roughly the same price on Amazon, I’d probably pick these over their younger brother because, well, these just sound more “right” to me. I’m a sucker for good timbre, and because of that, these would be a better pick. However, they aren’t the best for aggressive music like metal and rock. I’d pick the CX21 for that. Regardless, the CW31 provides an insane value for the price. They do very little wrong, they don’t do special tricks, they just give you a very pleasant sound that’s easy to relax to. Controversial comment time! I haven’t had the pleasure to listen to the Audez’e LCD-2, but from what I’ve read about it, these seem to be a low end version of them.
MEElectronics SP51:
“We’ll shake up the world with customizable sound, defeat monotony, yeah bring it on! And do it all with the SP51, ‘cuz this idea is totally awesome!” “Yeah! And it’s gonna be TOTALLY AWESOME!” I dearly wish something akin to the above actually happened within the MEElectronic brainstorming sessions. The SP51 is a customizable headphone, using different ports with different damping, all for a measly $60. Well that’s all fine and dandy, but does it sound any good? Read on to find out!
Packaging:
The packaging of the SP51 is noticeably more upscale-looking than the previous line’s plastic box. Instead of the clear plastic boxes of yore, the current box is a dark and mysterious paper box with a mirrored inside. Inside, there is a “safety and tips” piece of paper that most people reading this have no need to read, the traditional MEElectronics case, and inside the case are extra tips and different sound ports. (Available on the MEElectronics site if you happen to lost them. They’re $10 each, so try not to lose them.) It’s basic, but gets the job done.
Build:
The SP51’s housing is completely metal. The chamber is metal, the nozzle is metal, and the ports are metal. You could probably step on these suckers and not worry about what happens to them. The wire is the familiar Teflon covered cord used on most of the other MEE things. The plug is the same 90 degree plug used on the CC51. Overall, they’re pretty sturdy, but they do jut out from your ears, making you look a bit Frankenstein-y.
First impressions: I tried these with the Extreme Bass ports at first, just for kicks, with a dubstep song (Diesel by De Kulture, for those that are interested.) Wow, these are…bassier than the M31. It isn’t even that sloppy. Sure, there’s a degree of sloppiness that’s inherent for something like this, but I can’t imagine any basshead wanting much more bass from an IEM. I was on the verge of laughing from the sheer impact they gave while still not being completely sloppy. And for $60!
Review: Gear used is a NaNite N2 and 320kbps music of various types. My Hisoundaudio Studio still hasn’t come, but I promised a review within 2 weeks and I have a feeling it’s stuck in customs. I hope they aren’t having fun using it though… They’ve been burned in roughly 100 hours. I lost count, but I didn’t really notice a drastic difference. I’m doing different sections for each port, because they actually change the sound a lot.
Ports; the explanation:
So…what makes the different ports sound different…? Is there like, Apple magic in them? Surprisingly not. The concept behind the different ports is different damping. The Extreme Bass port, the black one, has absolutely no damping in it, therefore, the bass is free to reverberate and have happy fun time creating tons of bass without the degree of tightness the damped ports have because the backwaves scatter about and futz with the sound. The Enhanced Bass port has a little bit of damping (a thin paper filter) to absorb and tidy up some of the backwave reflections given off by the driver, but not enough to balance the sound out. This way, a happy medium is given between bass heads and those that want more bass than what’s neutral. The Balanced port has two different layers of paper to soak up a lot of the loose bass that was still left. This by no means equates a fully balanced sound, but there’s much less bass than the black ports.
Silver Port: This is the Balanced port, and compared to the other two, this is pretty balanced (hurrdurr). The overall sound sweet and slightly bright.
The treble is on the bright side, with some sparkle. The treble is most emphasized with the silver ports because the bass is tightened up and set the mids and treble free.
Surprisingly, the midrange is a bit forward and sweet. Vocals are a tiny bit warmed up by the bass, and stringed instruments are very fun to listen to because of the slight forwardness. There’s also an occasional hollowness, but it’s pretty negligible.
The bass is a bit accentuated, but conveys a good amount of detail. It rarely gets out of control, and is overall pretty impressive.
Gunmetal Port: This is the Enhanced Bass port.
The treble smoothens out, but is still a touch brighter than neutral, but introduces a bit of grain.
The midrange is a trifle attenuated compared to the silver port, it has a bit more body than the silver port, and all in all, is a very good port for male vocals and adds some chestiness that the silver ports don’t have. It does tend to smear more than though.
Obviously, these are bassier than the silver port, with more texture and overall detail.
Black Port: BASS.
The treble is actually the brightest with these. It can get harsh at times, but never sibilant.
The mids with these are seriously sucked out. Hollowness is aplenty with these ports. Smearing is also inevitable if you plan on using this port for anything other than simple electronic music.
Bass, is, well, huge. It gets sloppy if pushed too hard. Texture and detail is surprisingly missing with these ports. It’s just boomy.
No Port: Yes, they work without ports. It’s not recommended because stuff can get in, but for the sake of completeness, here it is.
Treble is kind of a mess. It’s less bright than the silver ports, and is actually veiled sounding for a lot of music.
Midrange is also veiled. It’s very much warmed up by the bass, which isn’t even all that huge without anything in the back. I actually tried listening to them backwards and the midrange sounded too similar to be comfortable with.
Bass is…sloppy. It’s somehow sloppier than with the black port on. I…don’t get it either.
In short, please don’t lose all the ports.
Regardless of what port is used, detail is surprisingly plentiful, and soundstage is moderately wide, but not deep.
Conclusion: I really think MEElectronics hit a homerun with these. They’ve managed to create an IEM that can please both vocal lovers and closet bassheads with its capability to be slightly tuned in regards to low end and forwardness of the midrange. Heck, I wouldn’t be too sad if these were the only headphones I had to use. They can wonderfully play most kinds of music, save for classical (too compressed sounding. Metal can be rather disappointing too.) and some types of jazz, for those that need accurate timbre, but for those that like pop, rock, indie, and electronic, the SP51 should be able to please you. Pro-tip: These are somehow available on Amazon for $28 at the time of writing. That’s a downright steal. I actually haven’t seen much praise about these. That needs to change.
MEElectronics CC51:
So, MEElectronics, from their humble roots, has finally created an IEM that’s firmly mid-fi, while putting the brilliant micro-driver MEE has tuned into a sleek, ceramic housing. Interested? Read on to learn more!
The MEElectronics CC51 is a very cool new IEM made by (obviously) MEElectronics. While from a distance, they look like they’re made of nice, shiny plastic, when you hold them in your hands, it is apparent that they are not made of plastic, but of ceramic. The CC51’s are the second IEM of recent memory that is made of ceramic. The first is the Nakamichi NEP-XT1, of which the MEE has OEM’s the housings of for the CC51’s. Why ceramic you might ask? Well, the ceramics used in the CC51 is dense enough to kill any unwanted resonance in the IEM. That means that there is a purer sound, and for those of you that are into the nitty gritty, resonance causes extra coloration in the sound because the vibrations that occur in the backwaves are slightly different than the original backwaves, and when they reflect back to your ear, they add coloration, usually for the worse.
I’d like to thank MEElectronics for the review sample.
Packaging:
The packaging of the CC51 is more “premium” looking than the old line of MEE boxes. Instead of a thin plastic box, the CC51’s have an elegant looking black paper box. Inside, there are four sets of tips—one double flange and small, medium, and large. Also included is the standard MEE case.
Build:
Like I said before, the CC51’s are made of ceramic, which is about equal to quartz in the Moh’s hardness scale, so I’d assume that the housings of these isn’t exactly a weak point. The wires are different than the rest of the MEE IEM’s which is odd, but they still seem sturdy, and they’re more flexible and retain less than the standard MEE cables. There is proper strain relief in both the plug and the housing, so you should be safe with these. There is a bit of driver flex with the CC51, but I cannot find a reason as to why that could be a deal breaker.
First Impressions:
When I first tried the CC51’s, I noticed something very strange. They were very bright, which went against everything that’s been said about the CC51’s. I used fun.’s Aim and Ignite, which is already a bright album in the first place, but there was an insane amount of sibilance, which left me dreadfully confused. I let them burn in for about 50 hours, just to see if burn did exist, because I had another, mistuned pair of CC51’s on hand (they were much darker than they were supposed to be. It was a preproduction problem, so new ones won’t have this problem at all) and to my surprise, the new CC51’s totally mellowed out after the 50 hours. They were much smoother, and more coherent. The mids, while not as prominent as I’d like, are balanced with the rest of the spectrum. They are not overly detailed, yet exhibit nice timbre. The bass, which MEE is known for in IEM’s, is not as accentuated as my M9 or M21, but instead, is more controlled and deeper. The treble is smooth, yet crisp and detailed.
Review:
For this review, I shall be using a NaNite N2, a warm sounding player that has a pretty powerful Class A amp inside of it. Music is in 320kbps, as it should be!
Sound:
While good bass was the focus of MEE’s original M series of IEM’s, the CC51’s take on a more balanced role. That is not to say that these are slouches in the lows—the opposite in fact. These have pretty spectacular bass in fact. It is controlled, yet punchy, and absolutely excels in genres that call for tons of bass. They can go incredibly deep as well. They present 30hz with ease. The decay and speed of bass is impressive at this price range, nearing my Turbine Pros. Concerning the mids–they’re favorite part of the spectrum, so I’m pretty strict in this aspect. The mids, while not as recessed as the M9’s, are slightly warmed up and pushed back in comparison to the bass, so they aren’t my favorite. That is not to say the mids are less than ideal. To the average consumer, these have amazing mids. They are warm and enveloping, while being accurate and mostly balanced. If I wasn’t partial to forward mids, I’d give these my full blessing. It would be hard to find mids as romantic sounding as these at this price. Detail is abound, and the texture of vocals and instruments is almost spot on. The treble on the CC51’s is smooth, but not quickly rolled off. Sibilance is incredibly rare on them. It takes a very sibilant album to coax even the smallest bit of sibilance from them. While these aren’t RE-0’s (nor do they try to be), they still have good detail in the high end, and cymbals sound almost right on them.
While these do not have the biggest soundstage, it has very good positioning, which in my opinion is a more important aspect of any given headphone than knowing how far a flute is from you. Microdetail is presented, but not forced onto you, somewhat like a high end headphone that isn’t treble happy.
Now that you all have a general gist of the sound signature, you’re all probably interested in how they perform in various genres. Well today is your lucky day!
Rock:
This section will feature Tool and RHCP. I chose Californication to test how forgiving the CC51 is. The album isn’t exactly painful to listen to, but it still wasn’t completely enjoyable. Cymbals were downright shrill. Vocals were hazy, guitars were veiled, clipping was very evident. Now to switch from a poorly recorded album to a decent one. In Ӕnima, everything gets better. The vocals are intimate and growly, guitars display a crunchy warm tone to them. Drums are impactful, while having natural decay, and the bass line, while easy to follow, does not overwhelm the rest of the instruments.
Electronic:
Tiesto and Deadmau5 here. The CC51’s keep up with any complex bass passages wonderfully, and convey female vocals quite well. There is also a surreal aspect the CC51’s add to the music, which I’m sure everybody would like. Synth is a tiny bit shrill in the Tiesto album. At times, the bass can get to be a bit too much, but it isn’t bloated, just a testament on how well the CC51’s can control its bass, yet provide a wallop when called upon.
Indie:
Age of Rockets, Data Dog, and Sufjan Stevens for this section. The CC51’s render the gentle intro track of Hannah wonderfully, giving it a suspended feeling. The rest of the album is amazing, the vocals are true, the bass is far from accentuated, treble is smooth and inviting, instrumentals are enveloping, just great. The Data Dog album is equally marvelous. The high keys never sound piercing, just great all around. The Sufjan Stevens album is just as great, subtleties are easily heard, and while not the most detailed and accurate, the CC51’s do a great job at making the album enjoyable.
Rap/Hip hop:
Representing these genres (which are admittedly not my favorite) are Vinnie Paz and Atmosphere. Vinnie’s deep and growly voice is a tiny bit veiled, bass beats are powerful, but not loose, instruments are a bit lost in this album. The Atmosphere album is more of the same, but the music is less smeared and veiled, so it shows the CC51’s are pretty revealing of bad recordings, yet again.
Female Vocals:
A Fine Frenzy and Hayley Westenra are the test artists here. The CC51’s aren’t the best at picking up microdetail in the albums, but it’s still decent for the price. Timbre is very good, but the vocals a bit warmed up by the slightly emphasized lows, but it’s comforting and adds a fun factor to the sound. Hayley’s voice isn’t rendered as nicely as I’d like though. The lack of sparkle in treble is the CC51’s downfall here.
Metal:
Lykathea Aflame and Converge here. Complex passages are rarely smeared, vocals/screams are coherent and discernable. Drums are a bit recessed, which is odd. Guitars are aggressive and detailed. Bass is clear and easy to follow.
Chesky: (I’ll skip the tracks that work against the CC51 like the ones that test for atmosphere and depth)
Spanish Harlem—The soundstage is a bit too compressed, but still good. Vocals are good, but not enough air. Violins are decent, but not great. The shaker is as the narrator explained.
Grandma’s Hands—For less than optimal (in my opinion) mids, this track is very very good. There is a good chestiness to vocals, and the backup singers have good air between them.
Correnteza—This track is performed pretty well on the CC51’s. Vocals are natural, if a bit warm; violins sound woody and resonant. The guitar is detailed and warm.
Ask Me Now—This track is pretty much as how it’s supposed to sound. The buttons are heard clearly and tonguing is apparent.
Sweet Georgia Brown—This track is downright brilliant on the CC51’s. There is impact abound, and the random spots of talking are easily distinguishable.
I Love Paris—This track focuses on PRaT, and there is copious amounts of PRat, while being warm.
Flute Concerto In D—The flute is realistic, and every note is distinct
Te Deum—Imaging is decent, but not spectacular, vocals are good, the air leak from the organ is apparent.
The Soldier’s Tale—Transients are pretty good, horns are realistic
Conclusion:
The MEElectronics CC51 is a far cry from the M9 which had gained so much press here as a budget IEM. It improves in absolutely everything. The mids are much more impressive and detailed, the bass is less bloated and tighter, the treble is a heck of a lot more detailed, detail is a good bit better. All in all, MEE definitely has a winner on their hands. Now, this may not be for you if you take midrange clarity over everything else—that’s a different IEM’s territory—but if you’re looking for a smooth, enjoyable IEM for $80, the CC51 should be one of the top IEM’s under $100 you should consider. Heck, I’d buy another without a second thought. I gave them to borrow for a while when his only pair of headphones broke, and he said they’re “aural sex,” so don’t just take my word for it, take it from a complete newbie’s perspective—you don’t need to be an audio geek to fall in love with these.
The CC51 retails for $80 for the non-mic version, and $90 for the mic’ed version.
MEElectronics A151
I have a proposition for you. I’ll tell you all about the first balanced armature MEElectronics has made if you agree to think about buying them. Deal? Deal. The A151 is MEElectronics’ first balanced armature IEM, and I must say, it’s a valiant first try indeed in a market saturated with <$100 IEM’s, and we all know MEE’s specialty is dynamic IEM’s right? So are these A151’s subpar? Far from it! Read on!
Packaging: The packaging of the A151 is noticeably more upscale-looking than the previous line’s plastic box. Instead of the clear plastic boxes of yore, the current box is a dark and mysterious paper box with a mirrored inside. Inside, there is a “safety and tips” piece of paper that most people reading this have no need to read, the traditional MEElectronics case, and inside the case are extra tips. For future reference, the Comply T100's fit these.
Build: The A151’s are not made of any type of esoteric material like ceramic (CC51) or even metal, but they are, in fact, plastic. It’s really not a big deal though. The housings are very sturdy and as a bonus, I can sleep with these on! The cable on these is probably my favorite of all time on a <$100 IEM. It’s an incredibly flexible twisted cable a la Westone, and one of the few over ear IEM’s that work with my ears. If I do have any gripes about the A151 it’d have to be the strain relief on the plug. It doesn’t really do much to protect from strain. It doesn’t really bend much, which is a bit of a problem.
First Impressions: I really didn’t know what the first album to test the A151’s on, but I figured they’d err on the warm side of things seeing as how that’s how MEElectronic’s always done things. I decided to start with Emily Haines’ Cut in Half and Double. My first listen of the A151 showed a somewhat detailed warm IEM. The treble is smooth, even a bit toned down. The midrange is a bit romantic and the slightest bit veiled. Bass was surprisingly full for a balanced armature IEM, but for electronic with low beats, they struggled, which is acceptable for a single balanced armature.
Review: The gear that shall be used in this review are the Nationite NaNite N2, Sony A726, Blackberry Tour, and EMU 0204. Music is 320kbps. They’ve been used about 50 hours, and balanced armatures don’t technically need burn in.
I feel that the treble the A151’s have is pretty much ideal for my preferences. As a reformed treblehead, I prefer smooth treble to Grado levels of treble for almost any type of music, and smooth is definitely a word I’d describe the treble of the A151’s. Now, they aren’t exactly smooth a silk, there are a few dips here and there, mostly in the upper range and extension isn’t great, but pretty decent all in all.
The lower midrange is nice and meaty, erring on the warm side of things. The 1k-3k region is the slightest bit recessed though. Electric guitars and vocals can sound the slightest bit flat at times because of this.
The bass is surprisingly punchy for a balanced armature, even moreso than a few dynamics I have. Sub bass however, is lacking in weight, which is to be expected from a <$100 single balanced armature design. However, what’s there is very formidable indeed.
Soundstage is very average. It’s a tiny bit out of my head though.
Detail retrieval is very good with the A151. It captures a bit more microdetails than the CC51 and M3. Tone is a bit off due to the softness of the sound though.
Conclusion: The MEElectronics A151 is a very competitive sub $100 IEM for those looking for a non-fatiguing sound signature. So how has MEElectronics done with their first balanced armature IEM? I’d say pretty dang good. Comparisons to its sister, the CC51 are inevitable, and I have to say that the choice is pretty hard. They sound rather similar—the CC51 having a more exciting sound, while the A151 falls on the gentler side, but if I had to pick one for all around listening, the A151 has my heart.
MEElectronics M21:
Hmm, the MEElectronics M21. Clear? Yes. Detailed? Yes. Durable? Yes. Cheap? Well is $35 dollars cheap for a metal IEM that looks like it belongs in an art museum, never mind the fact that it’s the most balanced sounding IEM I’ve ever heard for around $30? Have I gotten your attention? Read on!
I’d like to thank MEElectronics for providing me with a review sample. The M21 is the middle child of the new M series line.
Build:
The M21 has a very pretty two tone metal housing that could probably handle some nasty stepping-on of. The wire is the standard MEE wire. The plug is a right angled plug instead of the hockey stick plugs on the old line. They do protrude a bit from my ears, making it look like I have red bullets in my ears, but it’s no big deal.
First Impressions:
The first album I tried the M21’s on is The Age of Rockets’ Hannah. It isn’t a particularly great mastered album—it’s brickwalled, like every other modern album—but it’s gentle music that has rather hard to render spectacularly by most headphones, with a few different instruments other than the standard guitar/drum/bass section. The album sounds pretty on the M21’s, but not perfect. The M21’s sound laid back in presentation. The bass is a tiny bit accentuated, but that’s what the standard MEE IEM sounds like. The mids are a bit veiled, and treble is rolled off. Soundstage is wide, but depth is lacking. The sound all in all is calm and pleasing, while not trying to impress anyone.
Review:
To review the M21’s, I’m using a NaNite N2, a DAP with a class A amp section, so while it isn’t as optimal as an actual external amp, it’ll do well enough. The N2 is already a warm player, so keep that in mind. Tracks are 320kbps. Tips used are the MEElectronics “Balanced” double flanges, which are my favorite provided tip. I’ll include a tip comparison at the end.
Sound:
The bass of the M21, like every other MEElectronics IEM I’ve heard, (I haven’t heard the A151) is a bit north of neutral. It can get boomy at times where the music calls for tons of bass, but it generally is controlled and detailed. Like the M31, the bass emphasis is concentrated on the midbass, and doesn’t reach down low. It isn’t particularly offensive unlike the M31 can get, but it’s still there. The mids of the M21 aren’t exactly recessed or veiled, just sound a couple decibels south of neutral. They’re a tiny bit warmed up by the bass, though still manage to be plenty clear and accurate, especially for $35, which, considering MEElectronics’ claim to fame was a $20 IEM with HEEEEUUUUUUUGE bass, is a very impressive transition within a few years. Now, the treble of the M21 is average at best. It has no special attributes—it doesn’t sparkle, but it’s pleasant and detailed, extending decently high. While the treble isn’t special, it also doesn’t do anything obviously wrong, which is fantastic.
The soundstage of the M21 is wide, but not deep. It is about 2-3 feet wide and a feet deep to my ears, which may or may not be your experience, but you’re not the one with rulers in front of his face. The detail is very good on the M21, typical of MEElectronics IEM’s. Tone and timbre is decent overall. For the price of an M21, it’s hard to do better. It’s hard to do better even around $70 south of a certain Hifiman’s creation.
Tips:
I shall be comparing tips, because there aren’t enough comparisons of tips around, and the M21’s are surprisingly transparent. Tips are an often overlooked part of an IEM, but it can really alter the sound of an IEM.
Single Flanged stock tip: These are your average tips, nothing special. The sound, however, is not a good indicator of how balanced the M21’s can sound. Bass is loose, mids are veiled, and treble is rolled off.
Balanced Double Flanged: These are probably the best tips you’re going to get stock. With these tips, they are, obviously, the most balanced. Compared to stock tips, the mids are much more coherent, bass is tighter, and treble isn’t as rolled off.
I lost the regular double flange tips so…moving on to aftermarkets!
Monster Foam Supertips: These tips set the mids free. The mids are actually forward using the Supertips, but can get grainy. The bass gets tighter too. Treble is a bit peaky though. Soundstage gets wider and has height.
Monster Gel Supertips: Yikes, there is some sibilance with these tips, and the treble appears from nowhere. Mids are much more balanced than with the foams, and bass is about flat. Soundstage kinda collapses though.
Ultimate Ears Silicon: The mids take a bit of a hit here in exchange for more treble, which gets slightly harsh. The bass is a bit north of neutral.
Comply Foam: The overall sound darkens. The bass has more impact, and begins to get boomy. Mids are as recessed as with the stock single flanges. Treble is veiled, and rather disappointing in general. Shame, I like foamies’ comfort.
Sony Hybrids: Bass is stronger than Complys’. The mids are about as recessed, and the treble is a bit less veiled than the Complys’. This is another unfortunate case because the Hybrids are really comfy.
Of the group, the foam Supertips and Balanced double flanges tie for my favorites, but considering the Supertips are really pricy, just stick with the Balanced double flanges. They are, as their name calls for, the most balanced tips for the M21.
Conclusion:
I really like the M21’s even though it might not be apparent in the actual review. They are very balanced, but at the same time, give a nice kick in the bass. For $35, you can’t really do wrong with these. The Brainwavz M1’s are a tiny bit better, but at the cost of some durability and some style points. Overall, if you aren’t sure if you want something neutral, but you are sure don’t want something bassy, the M21’s are a serious IEM to consider.
The M21 retails for $35 for the non-mic version, while the mic’ed version is $40.
MEElectronics M31:
Big, beefy, burly, bounteously bassy…bass. That’s what the MEElectronics M31 does best, but is it all fun and bass until the cows come home? Read on to find out!
I’d like to thank MEE for providing me with a review sample.
Build:
The housing of the M31 is very sturdy feeling two toned metal, although they’re pretty monsterous, even in comparison to Turbine housings, as shown. They do stick out of my ears more than I’d like, but it’s a trivial negative point. The cable is a standard MEE cable, but very attractive for the $45 you’ll pay. They do retain some memory though, but it’s hardly something to cry about. The plug, unlike previous MEE models, is right angled, instead of the hockey stick 45° type, and feels like it would take a fair amount of abuse.
First Impressions:
Knowing that these would be a fun sounding IEM, I first used the M31’s with…wait for it—a Lady Gaga album (Fame Monster) for the heck of it, and it’s hard to contest that it isn’t a fun album. I must say, it’s nigh on impossible not to tap my foot to the album, as much as I might not particularly like Gaga, the M31’s sure make music involving. They don’t have the best mids, best treble, or even tight bass, but they don’t try to sound perfect; instead, they focus on, as Rebecca Black has said, “FUNFUNFUNFUN.” First impressions are pretty positive. The average consumer would love these.
Review:
To review the M31’s, I’m using a NaNite N2, a DAP with a class A amp section, so while it isn’t as optimal as an actual external amp, it’ll do well enough. The N2 is already a warm player, so keep that in mind. Tracks are 320kbps. Tips used are the MEElectronics “Balanced” double flanges. To me, they provide the most bass (which is the M31’s main thing) while not overly masking mids and treble in the stock package. I’ll include a tip comparison at the end.
Sound:
Bass is the hallmark of the M31. It is probably the bassiest IEM I’ve ever heard, and people that know me would assume I hate that, considering my favorite headphones have “No Bass™,” but the M31 manages to be super-bassy without murdering the mids in the process, for the most part. I can hear a bit of bass bleed, but it’s rather negligible. It is boomy and uncontrolled, even bordering on tasteless and undetailed, but something about it draws me to it for anything pop or electronic. The CC51 murders the M31 in bass detail, even the lower M21 is more detailed and controlled, but the M31 bass is just fun. I expect a Head-Fi mod burning my lawn, but I don’t care—the bass is fun, and I like it. Despite my gushing about the bass, it is mostly midbass. They struggle at 35hz and lower. Then again, this is a $45 IEM, with a 9mm driver at that, so I’ll let that slide. However, the mids is where the M31’s struggle a bit. Frequency graph of any sound device is akin to a body of water. If there is a rise/wave in the water, some parts of the body have to lower. The same principle applies here. The bass of the M31’s is very accentuated, so the mids and treble suffer. The mids are warmed up by the bass, and that’s extremely apparent in any track. Instruments are warmed up way too much to be called accurate, and tone of voices is totally off. However, the mids aren’t as recessed on the M31’s as they are on the M9’s. The treble of the M31’s is smooth, but with the wrong tips, can change drastically and be painfully sibilant, to the point where snakes and dolphins can get headaches. With the balanced tips however, it’s smooth, but nothing special at all—even veiled. Still, it’s one of the tradeoffs for their boomy, bodacious bass.
The soundstage of these is peculiar. The stage is very wide (for an IEM) but not very deep at all. About a foot of depth max, while the width is about 2-3 feet across. I somewhat expected this with the huge port, but surprisingly, it doesn’t leak any sound that I could tell. Detail is pretty average at best. There’s nothing particularly wrong with that, especially considering it’s a bass monster and it’s a miracle there’s any detail, but I’d like a little more. The veiled treble is probably at fault for that. Timbre and tone, as mentioned before, are a bit below average because of the bass bleed.
Rather than state how specific genres sound with the M31 (spoiler alert—electronic, rap/hip hop, pop and indie sound good, while metal and anything involving many instruments or vocals tends to sound smeared and unimpressive.) it’d probably be more beneficial to have another tip comparison.
Stock Single Flange: The mids are a bit more prominent on these than the double flanges, and bass impact is sloppier. Treble can get piercing. Soundstage is more compressed.
Balanced Double Flange: Surprisingly, the sound is less balanced on these. The bass reaches deeper, but the mids are more recessed. Treble smoothens out, and the soundstage grows a bit.
Ultimate Ears Single Flange: The midbass increased, vocals sound digital and wrong, instruments sound plasticky, and treble can get harsh and sibilant. Soundstage is between the MEE tips.
Monster Foam Supertips: Bass is more impactful than all but the Sony’s, but the mids are balanced. Treble is smooth. Soundstage is moderate.
Monster Gel Supertips: Bass is less than the Foam tips. Mids are equally balanced, treble is laid back. Soundstage is rather small.
Comply Tips: These are the darkest of the tips I have. The mids are the most recessed, and the treble is rolled off at the cost of some booming bass.
Sony Hybrids: The bass is the most impactful of the tips, and the mids are still balanced, moreso than any of the other tips. The treble is very smooth, but a bit veiled at times.
Conclusion: It’s no secret that I like the M31’s. I probably like them a bit too much. They’re inaccurate, bloated, and headache inducing, but that’s exactly why I like them. I don’t analyze my music when using them. I just rock out to the music. Sure, they don’t do well with complex music, but these love synth and bass centered tracks, and if you’re in the market for a bassy IEM under $50, the M31’s should be on the top of your list! In a perfect world, these would be sold at any given electronics store, taking any and all business away from Beats if people could actually try them.
The M31 retails for $45 for the non-mic version and $50 for the mic’ed version.
MEElectronics CX21:
Preface: My ears have never really liked IEM’s whose wires go over my ears, as it seems my right ear canal has a funky shape, and cannot fully seal no matter what tips if I force the cable to route up that way. The result is a sound imbalance. Yes, before anyone asks, there is nothing wrong with the IEM’s, I’m positive it’s my ears. I’m wearing the IEM’s downward as I type and they sound perfectly fine. As of a result, take all this particular review with many grains of salt. I’m probably not hearing them at their best.
Anyways, the MEElectronics CX21 is the “entry level” model in the Clarity series. It’s also the only model (well, aside from the RX11) in the new lineup that’s meant to be worn up. This will likely please many of the athletic types, as microphonics are naturally reduced greatly. So what does Clarity mean for MEElectronics? Read on!
Packaging:
The packaging of the CX21 still the clear plastic boxes of yore. Inside, there is a “safety and tips” piece of paper that most people reading this have no need to read, a very nice ballistic nylon case akin to the Brainwavz IEM’s, with purple accents--a bit more metro that I’d like, but still very nice, and inside the case is extra tips. It’s basic, but gets the job done.
Build:
The earphones are cold to the touch, leading me to think they’re metal, but alas, they’re plastic, along with the nozzle. Regardless, they hardly seem like they need to be babied. In fact, I’d hazard a guess that one could abuse them for an entire year and they’d keep chugging along. The plug is a familiar 45 degree angled plug most of MEE’s line uses, and the clip is already attached to the cable. Strangely, the clip has the ability to swivel. When I first found this out, I thought it was downright awesome, but when I tried to think of a special use for the swivel, I couldn’t think of one. Still, I think it’s pretty cool. The cable is the typical Teflon covered affair the rest of the line uses aside from the CC51 and A151.
First Impressions: Strangely, out of the three IEM’s (CX21, CW31, and SP51) I received the day I got these, the CX21 was the first one I tried, mostly because of the praise I’d heard at such a low price point. Well, I plugged them into my NaNite N2 and played Noah and the Whale’s Peaceful, the World Lays Me Down. Hmm…these are pretty dang good for the retail price ($40), and a steal for the $30 they sell for on Amazon. Sure, the mids are a bit suspended and hollow sounding, but they’re a very easy listen. They’re not exactly the super-flat sounding IEM’s I expected, foolishly I guess, since MEElectronics is mainly a consumer-focused IEM company and everything they make is on the warm side. Regardless, while they aren’t the perfectly balanced IEM I hoped for, they’re a well rounded package. The bass is controlled, if a bit more than neutral, the mids are a tad hollow, but still decent, and the highs aren’t harsh, nor are they rolled off prematurely. If anything, they’d be on the bright side if it weren’t for the warmed up mids.
Review: Gear used is a NaNite N2 and 320kbps music. My Hisoundaudio Studio still hasn’t come, but I promised a review within 2 weeks and I have a feeling it’s stuck in customs. I hope they aren’t having fun using it though… They’ve been burned in roughly 100 hours. I lost count, but I didn’t really notice a drastic difference.
Treble is nice and sparkly. It extends nicely, but is never sibilant, thankfully. However, when cymbals are especially aggressive, it can get somewhat harsh. Nothing too bad though.
The midrange is my only gripe, but it’s being extremely nit-picky. As I’d said before, the midrange is slightly hollow, which is sad, because if it weren’t for the hollowness, I’d tell everyone within a 50 mile radius to get a pair right this minute. But it really isn’t that bad. For the newbies that will likely be getting this IEM, y’all will hardly notice. Male vocals sound a tiny bit throaty though because of the warmed up lower midrange.
Bass—MEElectronics’ forte is creating a bassy sound without killing the rest of the sound, at a price that everyone can afford. Being in the Clarity series, they aren’t nearly as bassy as the M31 that the company makes, but they still retain a nice punch, if being every-so-slightly loose with particularly demanding songs.
Soundstage is, well, decent sized for an IEM. It’s small, but width and depth is very respectable, and better than the Brainwavz M1.
Detail is very good, thanks to the slightly accentuated treble. However, they really don’t like to be pushed hard. Muddy sound is inevitable if there’s too much going on in the song.
Conclusion: I like these, a lot. They’re a very inoffensive IEM, and at the $30 (on Amazon) price range, that’s harder than you’d think. All too many IEM’s in this range have glaring deficiencies. The CX21 isn’t guilty of much wrong other than being slightly hollow sounding and lacking any definite personality. It’s amazing to imagine that only three years ago, that if someone wanted some $30 earphones, you’d have to pick either the Sony EX71 (yuck!) and JVC Air Cushions. Now, there’s a smorgasbord of cheap IEM’s. And in my opinion, the CX21 should definitely be at the top of your list.
MEElectronics CW31:
Anyone that knows me at all would know that I’m a total sucker for wood. I’ve been dreaming of being able to get an Audio Technica W11JPN ever since I’ve gotten into this hobby. 3 years later, I still don’t have it. (I’m working on it!) But in my ears right now are some mini-woodies. The MEElectronics CW31 is up on the testing block right now! The CW31 is the middle child in the Clarity series. Appropriate, because the middle child tends to be the rebellious one, and this definitely is a bit different than the CC51 and CX21, in areas other than looks.
Packaging:
The packaging of the CW31 the same clear plastic boxes of yore. Inside, there is a “safety and tips” piece of paper that most people reading this have no need to read, a very nice ballistic nylon case akin to the Brainwavz IEM’s, with purple accents--a bit more…metro that I’d like, but still very nice, and inside the case is extra tips. It’s basic, but gets the job done.
Build:
The CW31 is obviously made of wood. Samak wood in fact. Sure, it isn’t the fancy Cocobolo or Rosewood other nice headphones use, but the wood looks nice and discreet. It’s also apparently hard and eco-friendly, so everyone wins! It also seems resistant to dings and such. It’d take a good bit of abuse. The nozzle is very interesting. Instead of being the typical circle-shape the most of the IEM world uses, the nozzle is ovular. I can only assume it’s an ergonomic feature, and it doesn’t inhibit the usage of any kind of tips. I’ve used Comply TS400’s on them without a hitch. The plug is a familiar 45 degree angled plug most of MEE’s line uses, and the clip is already attached to the cable. Strangely, the clip has the ability to swivel. When I first found this out, I thought it was downright awesome, but when I tried to think of a special use for the swivel, I couldn’t think of one. Still, I think it’s pretty cool. The cable is the typical Teflon covered affair the rest of the line uses aside from the CC51 and A151.
First Impressions: As with the CX21, I plugged these into my NaNite N2 and played Noah and the Whale’s Peaceful, the World Lays Me Down to compare the differences between the two. I immediately noticed the sweeter presentation the wooden housing gave. Timbre and decay is also more realistic. Mids are a bit more warmed up and intimate than the CX21, and bass resonance was more apparent. Treble is a bit more restrained and smoother.
Review: Gear used is a NaNite N2 and 320kbps music of various types. My Hisoundaudio Studio still hasn’t come, but I promised a review within 2 weeks and I have a feeling it’s stuck in customs. I hope they aren’t having fun using it though… They’ve been burned in roughly 100 hours. I lost count, but I didn’t really notice a drastic difference.
Treble is very different compared to its younger brother. It’s actually smooth and rolled off compared to the bright and slightly peaky CX21.
The midrange seems to have rid of a lot of the strange hollowness the CX21 has and replaced it with a sweeter sound. It’s still slightly warmed up by the bass though, and far from prominent. Vocals have a certain “rightness” that woodies tend to convey that plastic usually can’t. It’s very nice in fact, and makes me want the W11JPN even more…
These are bassier than the CX21, not surprising, considering the general properties of wood resonating differently. It goes deeper and sounds more “subwoofer-y”, but it can sound a bit mushy at times, and is consequentially slower than its younger brother. I can only assume it’s a great upgrade from the old MEElectronics woodies, the R1, though.
The soundstage is a bit smaller than the CX21, probably because of the smaller housing. It’s nothing bad, and positioning is good.
Detail and tone is a smidge more accurate than the CX21. Again, wood helps the tone and timbre. It doesn’t like complicated music though. It smears pretty easily.
Conclusion: As with the CX21, I like these. And since they’re roughly the same price on Amazon, I’d probably pick these over their younger brother because, well, these just sound more “right” to me. I’m a sucker for good timbre, and because of that, these would be a better pick. However, they aren’t the best for aggressive music like metal and rock. I’d pick the CX21 for that. Regardless, the CW31 provides an insane value for the price. They do very little wrong, they don’t do special tricks, they just give you a very pleasant sound that’s easy to relax to. Controversial comment time! I haven’t had the pleasure to listen to the Audez’e LCD-2, but from what I’ve read about it, these seem to be a low end version of them.
MEElectronics SP51:
“We’ll shake up the world with customizable sound, defeat monotony, yeah bring it on! And do it all with the SP51, ‘cuz this idea is totally awesome!” “Yeah! And it’s gonna be TOTALLY AWESOME!” I dearly wish something akin to the above actually happened within the MEElectronic brainstorming sessions. The SP51 is a customizable headphone, using different ports with different damping, all for a measly $60. Well that’s all fine and dandy, but does it sound any good? Read on to find out!
Packaging:
The packaging of the SP51 is noticeably more upscale-looking than the previous line’s plastic box. Instead of the clear plastic boxes of yore, the current box is a dark and mysterious paper box with a mirrored inside. Inside, there is a “safety and tips” piece of paper that most people reading this have no need to read, the traditional MEElectronics case, and inside the case are extra tips and different sound ports. (Available on the MEElectronics site if you happen to lost them. They’re $10 each, so try not to lose them.) It’s basic, but gets the job done.
Build:
The SP51’s housing is completely metal. The chamber is metal, the nozzle is metal, and the ports are metal. You could probably step on these suckers and not worry about what happens to them. The wire is the familiar Teflon covered cord used on most of the other MEE things. The plug is the same 90 degree plug used on the CC51. Overall, they’re pretty sturdy, but they do jut out from your ears, making you look a bit Frankenstein-y.
First impressions: I tried these with the Extreme Bass ports at first, just for kicks, with a dubstep song (Diesel by De Kulture, for those that are interested.) Wow, these are…bassier than the M31. It isn’t even that sloppy. Sure, there’s a degree of sloppiness that’s inherent for something like this, but I can’t imagine any basshead wanting much more bass from an IEM. I was on the verge of laughing from the sheer impact they gave while still not being completely sloppy. And for $60!
Review: Gear used is a NaNite N2 and 320kbps music of various types. My Hisoundaudio Studio still hasn’t come, but I promised a review within 2 weeks and I have a feeling it’s stuck in customs. I hope they aren’t having fun using it though… They’ve been burned in roughly 100 hours. I lost count, but I didn’t really notice a drastic difference. I’m doing different sections for each port, because they actually change the sound a lot.
Ports; the explanation:
So…what makes the different ports sound different…? Is there like, Apple magic in them? Surprisingly not. The concept behind the different ports is different damping. The Extreme Bass port, the black one, has absolutely no damping in it, therefore, the bass is free to reverberate and have happy fun time creating tons of bass without the degree of tightness the damped ports have because the backwaves scatter about and futz with the sound. The Enhanced Bass port has a little bit of damping (a thin paper filter) to absorb and tidy up some of the backwave reflections given off by the driver, but not enough to balance the sound out. This way, a happy medium is given between bass heads and those that want more bass than what’s neutral. The Balanced port has two different layers of paper to soak up a lot of the loose bass that was still left. This by no means equates a fully balanced sound, but there’s much less bass than the black ports.
Silver Port: This is the Balanced port, and compared to the other two, this is pretty balanced (hurrdurr). The overall sound sweet and slightly bright.
The treble is on the bright side, with some sparkle. The treble is most emphasized with the silver ports because the bass is tightened up and set the mids and treble free.
Surprisingly, the midrange is a bit forward and sweet. Vocals are a tiny bit warmed up by the bass, and stringed instruments are very fun to listen to because of the slight forwardness. There’s also an occasional hollowness, but it’s pretty negligible.
The bass is a bit accentuated, but conveys a good amount of detail. It rarely gets out of control, and is overall pretty impressive.
Gunmetal Port: This is the Enhanced Bass port.
The treble smoothens out, but is still a touch brighter than neutral, but introduces a bit of grain.
The midrange is a trifle attenuated compared to the silver port, it has a bit more body than the silver port, and all in all, is a very good port for male vocals and adds some chestiness that the silver ports don’t have. It does tend to smear more than though.
Obviously, these are bassier than the silver port, with more texture and overall detail.
Black Port: BASS.
The treble is actually the brightest with these. It can get harsh at times, but never sibilant.
The mids with these are seriously sucked out. Hollowness is aplenty with these ports. Smearing is also inevitable if you plan on using this port for anything other than simple electronic music.
Bass, is, well, huge. It gets sloppy if pushed too hard. Texture and detail is surprisingly missing with these ports. It’s just boomy.
No Port: Yes, they work without ports. It’s not recommended because stuff can get in, but for the sake of completeness, here it is.
Treble is kind of a mess. It’s less bright than the silver ports, and is actually veiled sounding for a lot of music.
Midrange is also veiled. It’s very much warmed up by the bass, which isn’t even all that huge without anything in the back. I actually tried listening to them backwards and the midrange sounded too similar to be comfortable with.
Bass is…sloppy. It’s somehow sloppier than with the black port on. I…don’t get it either.
In short, please don’t lose all the ports.
Regardless of what port is used, detail is surprisingly plentiful, and soundstage is moderately wide, but not deep.
Conclusion: I really think MEElectronics hit a homerun with these. They’ve managed to create an IEM that can please both vocal lovers and closet bassheads with its capability to be slightly tuned in regards to low end and forwardness of the midrange. Heck, I wouldn’t be too sad if these were the only headphones I had to use. They can wonderfully play most kinds of music, save for classical (too compressed sounding. Metal can be rather disappointing too.) and some types of jazz, for those that need accurate timbre, but for those that like pop, rock, indie, and electronic, the SP51 should be able to please you. Pro-tip: These are somehow available on Amazon for $28 at the time of writing. That’s a downright steal. I actually haven’t seen much praise about these. That needs to change.
MEElectronics CC51:
So, MEElectronics, from their humble roots, has finally created an IEM that’s firmly mid-fi, while putting the brilliant micro-driver MEE has tuned into a sleek, ceramic housing. Interested? Read on to learn more!
The MEElectronics CC51 is a very cool new IEM made by (obviously) MEElectronics. While from a distance, they look like they’re made of nice, shiny plastic, when you hold them in your hands, it is apparent that they are not made of plastic, but of ceramic. The CC51’s are the second IEM of recent memory that is made of ceramic. The first is the Nakamichi NEP-XT1, of which the MEE has OEM’s the housings of for the CC51’s. Why ceramic you might ask? Well, the ceramics used in the CC51 is dense enough to kill any unwanted resonance in the IEM. That means that there is a purer sound, and for those of you that are into the nitty gritty, resonance causes extra coloration in the sound because the vibrations that occur in the backwaves are slightly different than the original backwaves, and when they reflect back to your ear, they add coloration, usually for the worse.
I’d like to thank MEElectronics for the review sample.
Packaging:
The packaging of the CC51 is more “premium” looking than the old line of MEE boxes. Instead of a thin plastic box, the CC51’s have an elegant looking black paper box. Inside, there are four sets of tips—one double flange and small, medium, and large. Also included is the standard MEE case.
Build:
Like I said before, the CC51’s are made of ceramic, which is about equal to quartz in the Moh’s hardness scale, so I’d assume that the housings of these isn’t exactly a weak point. The wires are different than the rest of the MEE IEM’s which is odd, but they still seem sturdy, and they’re more flexible and retain less than the standard MEE cables. There is proper strain relief in both the plug and the housing, so you should be safe with these. There is a bit of driver flex with the CC51, but I cannot find a reason as to why that could be a deal breaker.
First Impressions:
When I first tried the CC51’s, I noticed something very strange. They were very bright, which went against everything that’s been said about the CC51’s. I used fun.’s Aim and Ignite, which is already a bright album in the first place, but there was an insane amount of sibilance, which left me dreadfully confused. I let them burn in for about 50 hours, just to see if burn did exist, because I had another, mistuned pair of CC51’s on hand (they were much darker than they were supposed to be. It was a preproduction problem, so new ones won’t have this problem at all) and to my surprise, the new CC51’s totally mellowed out after the 50 hours. They were much smoother, and more coherent. The mids, while not as prominent as I’d like, are balanced with the rest of the spectrum. They are not overly detailed, yet exhibit nice timbre. The bass, which MEE is known for in IEM’s, is not as accentuated as my M9 or M21, but instead, is more controlled and deeper. The treble is smooth, yet crisp and detailed.
Review:
For this review, I shall be using a NaNite N2, a warm sounding player that has a pretty powerful Class A amp inside of it. Music is in 320kbps, as it should be!
Sound:
While good bass was the focus of MEE’s original M series of IEM’s, the CC51’s take on a more balanced role. That is not to say that these are slouches in the lows—the opposite in fact. These have pretty spectacular bass in fact. It is controlled, yet punchy, and absolutely excels in genres that call for tons of bass. They can go incredibly deep as well. They present 30hz with ease. The decay and speed of bass is impressive at this price range, nearing my Turbine Pros. Concerning the mids–they’re favorite part of the spectrum, so I’m pretty strict in this aspect. The mids, while not as recessed as the M9’s, are slightly warmed up and pushed back in comparison to the bass, so they aren’t my favorite. That is not to say the mids are less than ideal. To the average consumer, these have amazing mids. They are warm and enveloping, while being accurate and mostly balanced. If I wasn’t partial to forward mids, I’d give these my full blessing. It would be hard to find mids as romantic sounding as these at this price. Detail is abound, and the texture of vocals and instruments is almost spot on. The treble on the CC51’s is smooth, but not quickly rolled off. Sibilance is incredibly rare on them. It takes a very sibilant album to coax even the smallest bit of sibilance from them. While these aren’t RE-0’s (nor do they try to be), they still have good detail in the high end, and cymbals sound almost right on them.
While these do not have the biggest soundstage, it has very good positioning, which in my opinion is a more important aspect of any given headphone than knowing how far a flute is from you. Microdetail is presented, but not forced onto you, somewhat like a high end headphone that isn’t treble happy.
Now that you all have a general gist of the sound signature, you’re all probably interested in how they perform in various genres. Well today is your lucky day!
Rock:
This section will feature Tool and RHCP. I chose Californication to test how forgiving the CC51 is. The album isn’t exactly painful to listen to, but it still wasn’t completely enjoyable. Cymbals were downright shrill. Vocals were hazy, guitars were veiled, clipping was very evident. Now to switch from a poorly recorded album to a decent one. In Ӕnima, everything gets better. The vocals are intimate and growly, guitars display a crunchy warm tone to them. Drums are impactful, while having natural decay, and the bass line, while easy to follow, does not overwhelm the rest of the instruments.
Electronic:
Tiesto and Deadmau5 here. The CC51’s keep up with any complex bass passages wonderfully, and convey female vocals quite well. There is also a surreal aspect the CC51’s add to the music, which I’m sure everybody would like. Synth is a tiny bit shrill in the Tiesto album. At times, the bass can get to be a bit too much, but it isn’t bloated, just a testament on how well the CC51’s can control its bass, yet provide a wallop when called upon.
Indie:
Age of Rockets, Data Dog, and Sufjan Stevens for this section. The CC51’s render the gentle intro track of Hannah wonderfully, giving it a suspended feeling. The rest of the album is amazing, the vocals are true, the bass is far from accentuated, treble is smooth and inviting, instrumentals are enveloping, just great. The Data Dog album is equally marvelous. The high keys never sound piercing, just great all around. The Sufjan Stevens album is just as great, subtleties are easily heard, and while not the most detailed and accurate, the CC51’s do a great job at making the album enjoyable.
Rap/Hip hop:
Representing these genres (which are admittedly not my favorite) are Vinnie Paz and Atmosphere. Vinnie’s deep and growly voice is a tiny bit veiled, bass beats are powerful, but not loose, instruments are a bit lost in this album. The Atmosphere album is more of the same, but the music is less smeared and veiled, so it shows the CC51’s are pretty revealing of bad recordings, yet again.
Female Vocals:
A Fine Frenzy and Hayley Westenra are the test artists here. The CC51’s aren’t the best at picking up microdetail in the albums, but it’s still decent for the price. Timbre is very good, but the vocals a bit warmed up by the slightly emphasized lows, but it’s comforting and adds a fun factor to the sound. Hayley’s voice isn’t rendered as nicely as I’d like though. The lack of sparkle in treble is the CC51’s downfall here.
Metal:
Lykathea Aflame and Converge here. Complex passages are rarely smeared, vocals/screams are coherent and discernable. Drums are a bit recessed, which is odd. Guitars are aggressive and detailed. Bass is clear and easy to follow.
Chesky: (I’ll skip the tracks that work against the CC51 like the ones that test for atmosphere and depth)
Spanish Harlem—The soundstage is a bit too compressed, but still good. Vocals are good, but not enough air. Violins are decent, but not great. The shaker is as the narrator explained.
Grandma’s Hands—For less than optimal (in my opinion) mids, this track is very very good. There is a good chestiness to vocals, and the backup singers have good air between them.
Correnteza—This track is performed pretty well on the CC51’s. Vocals are natural, if a bit warm; violins sound woody and resonant. The guitar is detailed and warm.
Ask Me Now—This track is pretty much as how it’s supposed to sound. The buttons are heard clearly and tonguing is apparent.
Sweet Georgia Brown—This track is downright brilliant on the CC51’s. There is impact abound, and the random spots of talking are easily distinguishable.
I Love Paris—This track focuses on PRaT, and there is copious amounts of PRat, while being warm.
Flute Concerto In D—The flute is realistic, and every note is distinct
Te Deum—Imaging is decent, but not spectacular, vocals are good, the air leak from the organ is apparent.
The Soldier’s Tale—Transients are pretty good, horns are realistic
Conclusion:
The MEElectronics CC51 is a far cry from the M9 which had gained so much press here as a budget IEM. It improves in absolutely everything. The mids are much more impressive and detailed, the bass is less bloated and tighter, the treble is a heck of a lot more detailed, detail is a good bit better. All in all, MEE definitely has a winner on their hands. Now, this may not be for you if you take midrange clarity over everything else—that’s a different IEM’s territory—but if you’re looking for a smooth, enjoyable IEM for $80, the CC51 should be one of the top IEM’s under $100 you should consider. Heck, I’d buy another without a second thought. I gave them to borrow for a while when his only pair of headphones broke, and he said they’re “aural sex,” so don’t just take my word for it, take it from a complete newbie’s perspective—you don’t need to be an audio geek to fall in love with these.
The CC51 retails for $80 for the non-mic version, and $90 for the mic’ed version.
MEElectronics A151
I have a proposition for you. I’ll tell you all about the first balanced armature MEElectronics has made if you agree to think about buying them. Deal? Deal. The A151 is MEElectronics’ first balanced armature IEM, and I must say, it’s a valiant first try indeed in a market saturated with <$100 IEM’s, and we all know MEE’s specialty is dynamic IEM’s right? So are these A151’s subpar? Far from it! Read on!
Packaging: The packaging of the A151 is noticeably more upscale-looking than the previous line’s plastic box. Instead of the clear plastic boxes of yore, the current box is a dark and mysterious paper box with a mirrored inside. Inside, there is a “safety and tips” piece of paper that most people reading this have no need to read, the traditional MEElectronics case, and inside the case are extra tips. For future reference, the Comply T100's fit these.
Build: The A151’s are not made of any type of esoteric material like ceramic (CC51) or even metal, but they are, in fact, plastic. It’s really not a big deal though. The housings are very sturdy and as a bonus, I can sleep with these on! The cable on these is probably my favorite of all time on a <$100 IEM. It’s an incredibly flexible twisted cable a la Westone, and one of the few over ear IEM’s that work with my ears. If I do have any gripes about the A151 it’d have to be the strain relief on the plug. It doesn’t really do much to protect from strain. It doesn’t really bend much, which is a bit of a problem.
First Impressions: I really didn’t know what the first album to test the A151’s on, but I figured they’d err on the warm side of things seeing as how that’s how MEElectronic’s always done things. I decided to start with Emily Haines’ Cut in Half and Double. My first listen of the A151 showed a somewhat detailed warm IEM. The treble is smooth, even a bit toned down. The midrange is a bit romantic and the slightest bit veiled. Bass was surprisingly full for a balanced armature IEM, but for electronic with low beats, they struggled, which is acceptable for a single balanced armature.
Review: The gear that shall be used in this review are the Nationite NaNite N2, Sony A726, Blackberry Tour, and EMU 0204. Music is 320kbps. They’ve been used about 50 hours, and balanced armatures don’t technically need burn in.
I feel that the treble the A151’s have is pretty much ideal for my preferences. As a reformed treblehead, I prefer smooth treble to Grado levels of treble for almost any type of music, and smooth is definitely a word I’d describe the treble of the A151’s. Now, they aren’t exactly smooth a silk, there are a few dips here and there, mostly in the upper range and extension isn’t great, but pretty decent all in all.
The lower midrange is nice and meaty, erring on the warm side of things. The 1k-3k region is the slightest bit recessed though. Electric guitars and vocals can sound the slightest bit flat at times because of this.
The bass is surprisingly punchy for a balanced armature, even moreso than a few dynamics I have. Sub bass however, is lacking in weight, which is to be expected from a <$100 single balanced armature design. However, what’s there is very formidable indeed.
Soundstage is very average. It’s a tiny bit out of my head though.
Detail retrieval is very good with the A151. It captures a bit more microdetails than the CC51 and M3. Tone is a bit off due to the softness of the sound though.
Conclusion: The MEElectronics A151 is a very competitive sub $100 IEM for those looking for a non-fatiguing sound signature. So how has MEElectronics done with their first balanced armature IEM? I’d say pretty dang good. Comparisons to its sister, the CC51 are inevitable, and I have to say that the choice is pretty hard. They sound rather similar—the CC51 having a more exciting sound, while the A151 falls on the gentler side, but if I had to pick one for all around listening, the A151 has my heart.
