I'm curious if a TI shell would make me enjoy these more. I'm one of the few that these didn't impress me all that much. I can understand though why people do love them.
The Watercooler -- Impressions, philosophical discussion and general banter. Index on first page. All welcome.
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AboveNBeyond
100+ Head-Fier
If anything Canpur lacked, it was premium build. Now it's a very full package! Is the price known?
I thought I saw somewhere $4299 but don’t quote me on that. If they could have gotten this into the 74E shell that would have been amazing.
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Nozzles look too short to get proper fit. My son loves the origin but the nozzles are so short that he jams them deep into his ear resulting in painful soreness and pressure on the ear area where the shell is making contact with the ear. I think this would be the same. Not a fan of these super short nozzles and I have no idea why they keep making them. PMG figured this out.
I'm half a decade behind you, but my metal journey started with Black Sabbath. I then moved to Ozzy and RJD and rapidly shifted to Venom, Exodus, Slayer, Judas Priest, and Iron Maiden. I've been a steady metalhead since, but I also grew up with classic rock. Nowadays, I love progressive metal and newer metalcore. Still, RA is one of my all-time favorites. Not as heavy but technical wizards.
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Doom, Stoner, Sludge, Groove, Thrash, and Black metal. Brutal Death for the gym.
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FreeWheelinAudioLuv2
Headphoneus Supremus
UM Jet Black!!!
https://shop.musicteck.com/collections/um-unique-melody/products/um-mest-jet-black < --- buy here!!!
https://shop.musicteck.com/collections/um-unique-melody/products/um-mest-jet-black < --- buy here!!!
Looks like Hexa's older (and much more expensive) brother.UM Jet Black!!!
https://shop.musicteck.com/collections/um-unique-melody/products/um-mest-jet-black < --- buy here!!!
FreeWheelinAudioLuv2
Headphoneus Supremus
The price difference is hexa² !!!
Last edited:
Killedkella
100+ Head-Fier
Got to hear the best of the best before Canjam NYC 
def a highlight of the year for me for sure!
The fugaku bass was something else, genuine subwoofer for the ears, or the closest you can get to it. The Storm was also fantastic but I found it sounded better with the Tur-08 tubes, playing directly from my walkman it lacked some of the sweetness and excitement that something like the Elysian Annihilator had.
def a highlight of the year for me for sure!The fugaku bass was something else, genuine subwoofer for the ears, or the closest you can get to it. The Storm was also fantastic but I found it sounded better with the Tur-08 tubes, playing directly from my walkman it lacked some of the sweetness and excitement that something like the Elysian Annihilator had.
To me that song makes Slayer, Venom, and Metallica sound like fairies.
Yep, apparently I was still overwhelmed from hearing they recorded their first album in just one day and didn't register.
drftr
FreeWheelinAudioLuv2
Headphoneus Supremus
Heavier than Heaven! Heavier than Led Zeppelin!
Hey, everyone! ‘Wanted to take some time today to share early impressions of the…
When Riccardo Yeh at Forte Ears generously approached me with an offer to review his flagship Macbeth, I must admit I hesitated. Impressions I’d read suggested it was a coloured specialist, and the graphs I’d seen seemed to support that. After deciding to give it a go, I was shocked to find that this wasn’t true at all. I heard something only-slightly contoured, but otherwise versatile, technical and brimming with finesse. My hesitation quickly turned to excitement.
Touching briefly first on fit and finish, the Macbeth is one of the most comfortable universals I’ve tried in recent memory. I’m known for my heavy, heavy preference for CIEMs, but the Macbeth is an exception I’ve found very easy to tolerate; enjoy, even. There aren’t any pressure points, and there isn’t any pain or irritation after the first half hour. Obviously, that only means it matches my anatomy brilliantly, and that same comfort isn’t guaranteed for everyone else. But, as far as I’m concerned, Forte Ears have knocked ergonomics out of the park here.
For an acrylic IEM, the Macbeth’s build is strong as well. The shells have a semi-gloss finish to them, which I think is clever. Glossy, piano black shells are typically oil and dirt magnets, and this finish does a great job alleviating that. The metallic faceplates are also well-bonded onto the shells. Though they aren’t my cup of tea aesthetically, I can’t help but admire the amount of work put into them. From the coloured jewels, to the tiny engravings, to the almost-volcanic red backdrop, it’s all pristinely done.
True to theme, the Forte Ears Macbeth colours music to sound live-performed. It first achieves this through tone-shaping. Its U-shaped response automatically puts you further in the audience than anywhere near the band. And, that colouration is reflected perfectly in its imaging; relaxed in the centre, resulting in a stage that wraps around your head like a horseshoe (or the concave walls of a concert hall). Notes are also hit with clever doses of energy, namely in the low-end and low-treble. This adds a bit of rowdiness, contrast and bite, reminiscent of the heightened energy live performances typically have compared to their studio-recorded counterparts. With these colourations, the Macbeth more-or-less acts like a Live DSP for all your records.
Now, this illusion would never sell if it wasn’t paired with strong techs. Thankfully, the Macbeth is a crisp, clean and collected performer. Its dead-quiet backdrop and headroom pave the way for effortless control. Never is it too busy, crowded or gasping for air, and it allows every lick of micro-detail to coexist in peace. That’s all furthered by a wide, out-of-head stage and pin-point imaging. Its only contentious trait is dynamics. Because of those licks of energy, the Macbeth always comes off a tad agitated; bite-y. It’s not an IEM that can go lush and soothing when the track wants; say, for a quiet piano solo. It also has contrast built-in; always maintaining pockets of space to maintain that concert hall feel. So, it can’t produce that warm, gooey, wall of sound if that’s what you want. But, as far as “live in a spacious setting” goes, the Macbeth is made for it.
Down low, the Macbeth employs custom Diablo BAs, which you can hear in its slightly-rounded edges. It jabs the ear more than it shakes the skull, and you won’t get that whoosh of air as kick drums slam through the mix. However, Forte Ears should be lauded for the resolution and depth they were able to draw out of these woofers. The lowest of bass notes have the strength to cut through with great granularity, avoiding being lost in the mix. And, it balances slam and control deftly too. Hits are strong, but never sloppy. And, again, the meat and muscle present with each kick is impressive for a balanced armature.
The midrange is where the in-ear takes the most liberties. They’ve used the classic low-mid dip for clarity, contrast and space, tightening up notes (as if pulled into a corset) and emphasizing the free, open space around them. This is ideal if you want your tracks to sound spacious or, again, live in a wide, cavernous setting. But, those after a denser, lusher, more saturated timbre may find the Macbeth’s a bit light. Pianos, for example, will be right-hand dominant. And, string sections will tend to be violin-led. However, if you don’t mind that (or even prefer it) for the openness, air and contrast you’ll get, then this is a midrange you ought to love, especially if you consider its resolution and precision - both outstanding - as well as the depth and texture those BCDs provide.
Up top, the Macbeth continues its precision streak with an impressively clean, jitter-free treble. Transients are focused to a fine point, which is why its imaging is as crisp as it is, and why its background is so noise-free. Spatial cues are the in-ear’s specialty, telling you where every bit is with specificity. And, despite being mainly made of ESTs, there’s good tactility too, preventing you from feeling like you’re chasing ghosts. Again, though, there is colour to the treble, which gives the Macbeth an inherent, lively bite. The gap between the low-treble peak and the low-mid dip is the built-in contrast I described earlier. So, I’d be wary if I were a louder listener, or if my playlist already consisted of hotter tracks, or if my gear upstream already bit to begin with. But, colour aside, it’s a technically-astounding treble that gives the IEM its stellar chops.
Pairing the Macbeth with the Ambition cable gives it mainly two things: Richness and headroom. The latter opens the IEM up a bit for greater dynamic range; more movement between the back and front of the stage. And, it takes advantage of that space to create richer, lusher notes. That corset-like constriction I heard in the midrange is notably alleviated, resulting in lead instruments that are fuller and project better. Details in the back of the mix are given body and presence too; chimes, percussion, pads, etc. This added size does mean the Macbeth’s note-to-space ratio is now closer to 50/50, rather than the 40/60 it previously was. So, you’re giving up a little bit of vastness for that extra resolution. Finally, the highs have their peak closer to the mid-treble now, resulting in transients that are a bit less peaky, and a bit more sandy; powdery. I appreciate the more refined delivery, and it makes the in-ear easier to take for long periods of time.
Now, although the Ambition cable has already sold out, I don’t think its effects are impossible to replicate. When I first heard the Ambition, its combination of midrange bloom and top-end smoothness really reminded me of Eletech’s Sonnet of Adam, because those exact qualities are why I’ve paired it with my current daily driver: The Aroma Audio Fei Wan. Come to find out, the Ambition is virtually an 8-wire Sonnet. So, if the changes I’ve listed above are what you want out of your Macbeth, Eletech’s current flagship will get you much of the way there.
So far, the Macbeth’s been a very pleasant surprise. Its colourations are light and tasteful, and there’s a degree of finesse - control - throughout the FR that’s rare for a debut IEM. It serves its designated purpose exceptionally well with technique out the wazoo. And, the limitations it does have seem manageable through cable swaps. I look forward to testing how true that is in the full review. For now, I can only commend Riccardo and co. for delivering such a strong, memorable piece in an unbelievably saturated market.
Forte Ears Macbeth
When Riccardo Yeh at Forte Ears generously approached me with an offer to review his flagship Macbeth, I must admit I hesitated. Impressions I’d read suggested it was a coloured specialist, and the graphs I’d seen seemed to support that. After deciding to give it a go, I was shocked to find that this wasn’t true at all. I heard something only-slightly contoured, but otherwise versatile, technical and brimming with finesse. My hesitation quickly turned to excitement.
Touching briefly first on fit and finish, the Macbeth is one of the most comfortable universals I’ve tried in recent memory. I’m known for my heavy, heavy preference for CIEMs, but the Macbeth is an exception I’ve found very easy to tolerate; enjoy, even. There aren’t any pressure points, and there isn’t any pain or irritation after the first half hour. Obviously, that only means it matches my anatomy brilliantly, and that same comfort isn’t guaranteed for everyone else. But, as far as I’m concerned, Forte Ears have knocked ergonomics out of the park here.
For an acrylic IEM, the Macbeth’s build is strong as well. The shells have a semi-gloss finish to them, which I think is clever. Glossy, piano black shells are typically oil and dirt magnets, and this finish does a great job alleviating that. The metallic faceplates are also well-bonded onto the shells. Though they aren’t my cup of tea aesthetically, I can’t help but admire the amount of work put into them. From the coloured jewels, to the tiny engravings, to the almost-volcanic red backdrop, it’s all pristinely done.
True to theme, the Forte Ears Macbeth colours music to sound live-performed. It first achieves this through tone-shaping. Its U-shaped response automatically puts you further in the audience than anywhere near the band. And, that colouration is reflected perfectly in its imaging; relaxed in the centre, resulting in a stage that wraps around your head like a horseshoe (or the concave walls of a concert hall). Notes are also hit with clever doses of energy, namely in the low-end and low-treble. This adds a bit of rowdiness, contrast and bite, reminiscent of the heightened energy live performances typically have compared to their studio-recorded counterparts. With these colourations, the Macbeth more-or-less acts like a Live DSP for all your records.
Now, this illusion would never sell if it wasn’t paired with strong techs. Thankfully, the Macbeth is a crisp, clean and collected performer. Its dead-quiet backdrop and headroom pave the way for effortless control. Never is it too busy, crowded or gasping for air, and it allows every lick of micro-detail to coexist in peace. That’s all furthered by a wide, out-of-head stage and pin-point imaging. Its only contentious trait is dynamics. Because of those licks of energy, the Macbeth always comes off a tad agitated; bite-y. It’s not an IEM that can go lush and soothing when the track wants; say, for a quiet piano solo. It also has contrast built-in; always maintaining pockets of space to maintain that concert hall feel. So, it can’t produce that warm, gooey, wall of sound if that’s what you want. But, as far as “live in a spacious setting” goes, the Macbeth is made for it.
Down low, the Macbeth employs custom Diablo BAs, which you can hear in its slightly-rounded edges. It jabs the ear more than it shakes the skull, and you won’t get that whoosh of air as kick drums slam through the mix. However, Forte Ears should be lauded for the resolution and depth they were able to draw out of these woofers. The lowest of bass notes have the strength to cut through with great granularity, avoiding being lost in the mix. And, it balances slam and control deftly too. Hits are strong, but never sloppy. And, again, the meat and muscle present with each kick is impressive for a balanced armature.
The midrange is where the in-ear takes the most liberties. They’ve used the classic low-mid dip for clarity, contrast and space, tightening up notes (as if pulled into a corset) and emphasizing the free, open space around them. This is ideal if you want your tracks to sound spacious or, again, live in a wide, cavernous setting. But, those after a denser, lusher, more saturated timbre may find the Macbeth’s a bit light. Pianos, for example, will be right-hand dominant. And, string sections will tend to be violin-led. However, if you don’t mind that (or even prefer it) for the openness, air and contrast you’ll get, then this is a midrange you ought to love, especially if you consider its resolution and precision - both outstanding - as well as the depth and texture those BCDs provide.
Up top, the Macbeth continues its precision streak with an impressively clean, jitter-free treble. Transients are focused to a fine point, which is why its imaging is as crisp as it is, and why its background is so noise-free. Spatial cues are the in-ear’s specialty, telling you where every bit is with specificity. And, despite being mainly made of ESTs, there’s good tactility too, preventing you from feeling like you’re chasing ghosts. Again, though, there is colour to the treble, which gives the Macbeth an inherent, lively bite. The gap between the low-treble peak and the low-mid dip is the built-in contrast I described earlier. So, I’d be wary if I were a louder listener, or if my playlist already consisted of hotter tracks, or if my gear upstream already bit to begin with. But, colour aside, it’s a technically-astounding treble that gives the IEM its stellar chops.
Pairing the Macbeth with the Ambition cable gives it mainly two things: Richness and headroom. The latter opens the IEM up a bit for greater dynamic range; more movement between the back and front of the stage. And, it takes advantage of that space to create richer, lusher notes. That corset-like constriction I heard in the midrange is notably alleviated, resulting in lead instruments that are fuller and project better. Details in the back of the mix are given body and presence too; chimes, percussion, pads, etc. This added size does mean the Macbeth’s note-to-space ratio is now closer to 50/50, rather than the 40/60 it previously was. So, you’re giving up a little bit of vastness for that extra resolution. Finally, the highs have their peak closer to the mid-treble now, resulting in transients that are a bit less peaky, and a bit more sandy; powdery. I appreciate the more refined delivery, and it makes the in-ear easier to take for long periods of time.
Now, although the Ambition cable has already sold out, I don’t think its effects are impossible to replicate. When I first heard the Ambition, its combination of midrange bloom and top-end smoothness really reminded me of Eletech’s Sonnet of Adam, because those exact qualities are why I’ve paired it with my current daily driver: The Aroma Audio Fei Wan. Come to find out, the Ambition is virtually an 8-wire Sonnet. So, if the changes I’ve listed above are what you want out of your Macbeth, Eletech’s current flagship will get you much of the way there.
So far, the Macbeth’s been a very pleasant surprise. Its colourations are light and tasteful, and there’s a degree of finesse - control - throughout the FR that’s rare for a debut IEM. It serves its designated purpose exceptionally well with technique out the wazoo. And, the limitations it does have seem manageable through cable swaps. I look forward to testing how true that is in the full review. For now, I can only commend Riccardo and co. for delivering such a strong, memorable piece in an unbelievably saturated market.
