[Frankie D]

I must prefer either the Crystals to the Xelastec for seal. But, they are also thin and bass light.

The standard Azla Sednaearfit (long and short) and Sednaearfitlight (long and short) provide nearly as good seal, but much better frequency response.

That sounds like you prefer the Sednaearfits.

Do the Crystals and X’s block out more of the outside environment for you?

 

[HiFiHawaii808]

That sounds like you prefer the Sednaearfits.

Do the Crystals and X’s block out more of the outside environment for you?

Yes, I do prefer them most of the time. There are times when isolation matters more, so I use the Crystals. I use them on Odin because Odin sounds better with great isolation and the bass isn't elevated anyway, so this is not the monitor I use for heavy bass tracks. I have EVO for that and I use SednaEarfit for it. Also, I use Crystal on Isabellae because those IEMs sound better with total isolation. Needless to say, I use the Crystals for WF 1000XM4s as well. I think the Crystal was developed specifically for the TWS monitors.

 

[GiullianSN]

Spinfit have served me well over the years.

 

[kevin638880]

I agree with the whole page back Azla Crystals were bass light and...kinda strange. Also the dust/earwax buildup gives me anxiety.

I mainly use Sedna Light Shorts/Spinfit CP145/Spiral dots++.

 

[Homrsimson]

Has anyone tried the Phonix with the 300 max or wm1z? I’ve heard the Phonix is extremely sensitive and hisses with some DAPs, I would think the 300 max in particular could be a problem with them. But anyone have first hand experience?

 

[Tom75]

I use the Phoenix with the 3max. I have never heard any hisses or things like that with tidal or qobuz.
Using gain L and M and sedna light short.

 

[Deezel177]

Hey, everyone! This one's long overdue, but I've finally managed to get my first impressions of the Vision Ears PHoNIX written and photographed, which, I can also now reveal, was my favourite IEM of 2021 by a mile.

But, first… context.

Back in 2018, my thoughts on VE’s Erlkonig were fairly positive, but not gushingly so. I deeply admired its technical feats, as well as its balanced FR. But, while its cleanliness and purity were enjoyable, they left the IEM, to me, unmemorable too. It was the best jack-of-all-trades I’d heard yet, but it was also a monitor clearly burdened by its price tag and its occasion. I truly respected it, but it was never an in-ear I ever became engaged with or attached to.

Fast-forward to 2021, I was happy for fans of the Erlkonig when I heard VE were releasing a cheaper, longer-running, and even upgraded successor in the PHoNIX, thinking I’d probably feel the same way about it as I did its predecessor. As soon as I put them in my ears and hit Play, though, I realised I was dead-wrong.

The Vision Ears PHoNIX is unquestionably one of the most resolving, most transparent IEMs I’ve heard yet. It’s an in-ear that makes an absolute mockery of stereo separation, layering and imaging precision; taking details other monitors have to carve out their lower-mids or overexpose their highs for, and casually going, “Here you go.” And, it makes those details come to life effortlessly as well. It’s ridiculous how easy it makes the act of audio reproduction seem, and I must credit that to both its immense technique and headroom, and its supremely-balanced tone.

The PHoNIX is free of any notable peaks or dips anywhere, really, which means there’s nothing to distract you from the wealth of detail it’s presenting. The only exception would probably its treble, which, depending on tips and/or taste, can range from perfectly natural to nicely articulate. It's certainly not subdued or ultra-warm, if that's what you're specifically looking for. Like an evenly-lit photo, there’re no glaring hotspots or blotches of darkness your eyes have to adjust to. It also tonally and spatially changes from track to track, which is confirmation of its even, reference-class tone.

That’s bolstered by an advantage its all-BA set-up has over, say, the EXT’s hybrid one (and, yes, I’ll compare the two briefly later), which is a completely uniform texture and speed throughout. So, returning to the photo analogy, there aren’t any conflicting hues or textures pulling your eyes either. The resulting image is so easy to digest, and it creates a sound that’s honestly floored me more than anything I’ve heard in a long, long time. I imagine it’s what it was like for those who got to hear the other bird at the start of the year.

The only distinct trait it has to me would be its - simply put - ease. It plays music like Dave Weckl plays the drums. Because of how easily it comes to them, as if second nature, there’s always a sense of relaxedness to the delivery; always in second gear, it feels like. Compare that to a less capable IEM, where you can sometimes sense when it's pushing and putting in 110%.

There is a certain charm to hearing something push to get the performance they’re after. Going back to the drummer analogy, in the film Whiplash, when you watch Miles Teller’s character at the end of his drum solo - blood, sweat and tears dripping off the kit - there is a certain “Go! Go! Go!” that translates from that image. Whereas, Dave Weckl could probably do the same solo half-asleep, and - in a sort-of idiosyncratic way - it won’t seem as impressive, even though it’s actually more so. Anyway, this is just an extremely long-winded to say that the PHoNIX makes dissecting music seem a little too easy, to the point where it’s a bit jarring. Take that as you will.

To briefly go into what its soundscape looks like to me, it’s similar to the IMAX screen I saw Dune on last year (a great, great film, by the way). It’s only a bit wider than it is tall, and both axes are clearly some of the best I’ve heard from an IEM. They both easily stretch out of head, and instruments have acres of space to arrange themselves. It was hilarious hearing the intro to Snarky Puppy’s Gemini, which has two drum kits on either side of the stage, because they were a lot further apart than I was used to. Note size is on the neutral side. Instruments are more expansive and closely-sat on the EXT, while they keep their distance here, but not disconnectedly so. Those gaps between notes (where, on other in-ears, is typically where they may fade into each other, or even overlap outright) is just much, much cleaner on the PHoNIX.

Its precise imaging means instruments very rarely bleed into each other as well. I was listening to Nick Jonas and the Administration’s Who I Am, a song which I’ve used to test IEMs for 7 years now - and played drums to for just as long - and I was gobsmacked when I heard the backing vocals running throughout the chorus, which usually would’ve been drowned out by everything else going on in the section. I realised that I’d never consciously registered they were there (or there throughout the whole chorus, at least). They always somewhat blended in, like a subtle synth in a pop track or a clap under a snare, for example. The PHoNIX is the first that’s truly brought it to my attention. Due to the sheer amount of space it has to give each element, it gave those vocals just as much weight as Nick’s lead too; equally sat in the mix.

When it comes to qualms, I struggle to think of any that wouldn’t ruin its balance. JH’s Jolene, for example, is an IEM I also liked a lot, but I would definitely have raised the mid-bass if I could. Whereas, there’s nothing I could tilt on the PHoNIX without undercutting something else, or turning it into something it's simply not. I’d say its low-end is perhaps 10-20% away from a first-class DD’s, but giving the PHoNIX a DD would instantly ruin it. I feel somewhat similarly (less so) about its midrange, relative to the EXT’s. But, again, this is me trying to desperately nitpick. So, this leaves me, after weeks of listens and re-listens, fully short of a flaw on the in-ear that VE could objectively improve on. This truly, truly is a colossal effort from their team.

So, yeah, those are my first impressions of the VE PHoNIX. Admittedly, I don’t think it’s one of those posts that paints a particularly vivid picture of the IEM apart from, “Wow, it’s amazing!” But, it is one of those IEMs that simply sounds clear, open and effortless, which a lot of the Trailli’s users were alluding to. So, from that POV, I hope it’s enough to tide you guys over until the full review comes out. The EXT’s, by the way, should be out the end of the month, which brings me to...

vs. EXT

Compared to the PHoNIX, the EXT is more dynamic and bombastic-sounding. A brief A/B suggests the latter is a tad more v-shaped; a bit more bass, a bit more treble bite and a hair less upper-mid presence filling out those harmonics. You’ll hear more contrast between the highs and lows, so genres like rock, metal and pop will immediately have more punch to them. On a track like Daughtry’s Changes Are Coming, the tom groove leading up to the chorus is punchier, thumpy-er and more tactile-sounding on the EXT; not necessarily just down to its more-present mid-bass, but because of the physicality of its DD too. Its highs are a touch sharper as well, but they’re pretty even as far as extension or detail is concerned.

Spatially, you’ll get larger notes on the EXT; a more wall-of-sound kind of presentation. Whereas, the PHoNIX will come off deeper and taller, both because of the space it naturally has and because of its instruments’ relative reservedness. I find the sheer differences in texture and delivery intriguing too. The PHoNIX has one of the best BA performances I’ve heard, while the EXT is DD through-and-through; quick, light and a whiff of warmth vs. full-on muscle, boisterousness and girth.

 

[Homrsimson]

I use the Phoenix with the 3max. I have never heard any hisses or things like that with tidal or qobuz.
Using gain L and M and sedna light short.

Awesome that’s great to hear. Anyone else tried the combo?

 

[SteelerFan58]

Awesome that’s great to hear. Anyone else tried the combo?

Has anyone tried the Phonix with the 300 max or wm1z? I’ve heard the Phonix is extremely sensitive and hisses with some DAPs, I would think the 300 max in particular could be a problem with them. But anyone have first hand experience?

I've been using the Sony WM1Z consistently over the last month with both the Phonix and EXT. Absolutely no hiss or any other noise with either IEM.

 

[SteelerFan58]

Hey, everyone! This one's long overdue, but I've finally managed to get my first impressions of the Vision Ears PHoNIX written and photographed, which, I can also now reveal, was my favourite IEM of 2021 by a mile.

But, first… context.

Back in 2018, my thoughts on VE’s Erlkonig were fairly positive, but not gushingly so. I deeply admired its technical feats, as well as its balanced FR. But, while its cleanliness and purity were enjoyable, they left the IEM, to me, unmemorable too. It was the best jack-of-all-trades I’d heard yet, but it was also a monitor clearly burdened by its price tag and its occasion. I truly respected it, but it was never an in-ear I ever became engaged with or attached to.

Fast-forward to 2021, I was happy for fans of the Erlkonig when I heard VE were releasing a cheaper, longer-running, and even upgraded successor in the PHoNIX, thinking I’d probably feel the same way about it as I did its predecessor. As soon as I put them in my ears and hit Play, though, I realised I was dead-wrong.

The Vision Ears PHoNIX is unquestionably one of the most resolving, most transparent IEMs I’ve heard yet. It’s an in-ear that makes an absolute mockery of stereo separation, layering and imaging precision; taking details other monitors have to carve out their lower-mids or overexpose their highs for, and casually going, “Here you go.” And, it makes those details come to life effortlessly as well. It’s ridiculous how easy it makes the act of audio reproduction seem, and I must credit that to both its immense technique and headroom, and its supremely-balanced tone.

The PHoNIX is free of any notable peaks or dips anywhere, really, which means there’s nothing to distract you from the wealth of detail it’s presenting. The only exception would probably its treble, which, depending on tips and/or taste, can range from perfectly natural to nicely articulate. It's certainly not subdued or ultra-warm, if that's what you're specifically looking for. Like an evenly-lit photo, there’re no glaring hotspots or blotches of darkness your eyes have to adjust to. It also tonally and spatially changes from track to track, which is confirmation of its even, reference-class tone.

That’s bolstered by an advantage its all-BA set-up has over, say, the EXT’s hybrid one (and, yes, I’ll compare the two briefly later), which is a completely uniform texture and speed throughout. So, returning to the photo analogy, there aren’t any conflicting hues or textures pulling your eyes either. The resulting image is so easy to digest, and it creates a sound that’s honestly floored me more than anything I’ve heard in a long, long time. I imagine it’s what it was like for those who got to hear the other bird at the start of the year.

The only distinct trait it has to me would be its - simply put - ease. It plays music like Dave Weckl plays the drums. Because of how easily it comes to them, as if second nature, there’s always a sense of relaxedness to the delivery; always in second gear, it feels like. Compare that to a less capable IEM, where you can sometimes sense when it's pushing and putting in 110%.

There is a certain charm to hearing something push to get the performance they’re after. Going back to the drummer analogy, in the film Whiplash, when you watch Miles Teller’s character at the end of his drum solo - blood, sweat and tears dripping off the kit - there is a certain “Go! Go! Go!” that translates from that image. Whereas, Dave Weckl could probably do the same solo half-asleep, and - in a sort-of idiosyncratic way - it won’t seem as impressive, even though it’s actually more so. Anyway, this is just an extremely long-winded to say that the PHoNIX makes dissecting music seem a little too easy, to the point where it’s a bit jarring. Take that as you will.

To briefly go into what its soundscape looks like to me, it’s similar to the IMAX screen I saw Dune on last year (a great, great film, by the way). It’s only a bit wider than it is tall, and both axes are clearly some of the best I’ve heard from an IEM. They both easily stretch out of head, and instruments have acres of space to arrange themselves. It was hilarious hearing the intro to Snarky Puppy’s Gemini, which has two drum kits on either side of the stage, because they were a lot further apart than I was used to. Note size is on the neutral side. Instruments are more expansive and closely-sat on the EXT, while they keep their distance here, but not disconnectedly so. Those gaps between notes (where, on other in-ears, is typically where they may fade into each other, or even overlap outright) is just much, much cleaner on the PHoNIX.

Its precise imaging means instruments very rarely bleed into each other as well. I was listening to Nick Jonas and the Administration’s Who I Am, a song which I’ve used to test IEMs for 7 years now - and played drums to for just as long - and I was gobsmacked when I heard the backing vocals running throughout the chorus, which usually would’ve been drowned out by everything else going on in the section. I realised that I’d never consciously registered they were there (or there throughout the whole chorus, at least). They always somewhat blended in, like a subtle synth in a pop track or a clap under a snare, for example. The PHoNIX is the first that’s truly brought it to my attention. Due to the sheer amount of space it has to give each element, it gave those vocals just as much weight as Nick’s lead too; equally sat in the mix.

When it comes to qualms, I struggle to think of any that wouldn’t ruin its balance. JH’s Jolene, for example, is an IEM I also liked a lot, but I would definitely have raised the mid-bass if I could. Whereas, there’s nothing I could tilt on the PHoNIX without undercutting something else, or turning it into something it's simply not. I’d say its low-end is perhaps 10-20% away from a first-class DD’s, but giving the PHoNIX a DD would instantly ruin it. I feel somewhat similarly (less so) about its midrange, relative to the EXT’s. But, again, this is me trying to desperately nitpick. So, this leaves me, after weeks of listens and re-listens, fully short of a flaw on the in-ear that VE could objectively improve on. This truly, truly is a colossal effort from their team.

So, yeah, those are my first impressions of the VE PHoNIX. Admittedly, I don’t think it’s one of those posts that paints a particularly vivid picture of the IEM apart from, “Wow, it’s amazing!” But, it is one of those IEMs that simply sounds clear, open and effortless, which a lot of the Trailli’s users were alluding to. So, from that POV, I hope it’s enough to tide you guys over until the full review comes out. The EXT’s, by the way, should be out the end of the month, which brings me to...

vs. EXT

Compared to the PHoNIX, the EXT is more dynamic and bombastic-sounding. A brief A/B suggests the latter is a tad more v-shaped; a bit more bass, a bit more treble bite and a hair less upper-mid presence filling out those harmonics. You’ll hear more contrast between the highs and lows, so genres like rock, metal and pop will immediately have more punch to them. On a track like Daughtry’s Changes Are Coming, the tom groove leading up to the chorus is punchier, thumpy-er and more tactile-sounding on the EXT; not necessarily just down to its more-present mid-bass, but because of the physicality of its DD too. Its highs are a touch sharper as well, but they’re pretty even as far as extension or detail is concerned.

Spatially, you’ll get larger notes on the EXT; a more wall-of-sound kind of presentation. Whereas, the PHoNIX will come off deeper and taller, both because of the space it naturally has and because of its instruments’ relative reservedness. I find the sheer differences in texture and delivery intriguing too. The PHoNIX has one of the best BA performances I’ve heard, while the EXT is DD through-and-through; quick, light and a whiff of warmth vs. full-on muscle, boisterousness and girth

 

[Xinlisupreme]

Hey, everyone! This one's long overdue, but I've finally managed to get my first impressions of the Vision Ears PHoNIX written and photographed, which, I can also now reveal, was my favourite IEM of 2021 by a mile.

But, first… context.

Back in 2018, my thoughts on VE’s Erlkonig were fairly positive, but not gushingly so. I deeply admired its technical feats, as well as its balanced FR. But, while its cleanliness and purity were enjoyable, they left the IEM, to me, unmemorable too. It was the best jack-of-all-trades I’d heard yet, but it was also a monitor clearly burdened by its price tag and its occasion. I truly respected it, but it was never an in-ear I ever became engaged with or attached to.

Fast-forward to 2021, I was happy for fans of the Erlkonig when I heard VE were releasing a cheaper, longer-running, and even upgraded successor in the PHoNIX, thinking I’d probably feel the same way about it as I did its predecessor. As soon as I put them in my ears and hit Play, though, I realised I was dead-wrong.

The Vision Ears PHoNIX is unquestionably one of the most resolving, most transparent IEMs I’ve heard yet. It’s an in-ear that makes an absolute mockery of stereo separation, layering and imaging precision; taking details other monitors have to carve out their lower-mids or overexpose their highs for, and casually going, “Here you go.” And, it makes those details come to life effortlessly as well. It’s ridiculous how easy it makes the act of audio reproduction seem, and I must credit that to both its immense technique and headroom, and its supremely-balanced tone.

The PHoNIX is free of any notable peaks or dips anywhere, really, which means there’s nothing to distract you from the wealth of detail it’s presenting. The only exception would probably its treble, which, depending on tips and/or taste, can range from perfectly natural to nicely articulate. It's certainly not subdued or ultra-warm, if that's what you're specifically looking for. Like an evenly-lit photo, there’re no glaring hotspots or blotches of darkness your eyes have to adjust to. It also tonally and spatially changes from track to track, which is confirmation of its even, reference-class tone.

That’s bolstered by an advantage its all-BA set-up has over, say, the EXT’s hybrid one (and, yes, I’ll compare the two briefly later), which is a completely uniform texture and speed throughout. So, returning to the photo analogy, there aren’t any conflicting hues or textures pulling your eyes either. The resulting image is so easy to digest, and it creates a sound that’s honestly floored me more than anything I’ve heard in a long, long time. I imagine it’s what it was like for those who got to hear the other bird at the start of the year.

The only distinct trait it has to me would be its - simply put - ease. It plays music like Dave Weckl plays the drums. Because of how easily it comes to them, as if second nature, there’s always a sense of relaxedness to the delivery; always in second gear, it feels like. Compare that to a less capable IEM, where you can sometimes sense when it's pushing and putting in 110%.

There is a certain charm to hearing something push to get the performance they’re after. Going back to the drummer analogy, in the film Whiplash, when you watch Miles Teller’s character at the end of his drum solo - blood, sweat and tears dripping off the kit - there is a certain “Go! Go! Go!” that translates from that image. Whereas, Dave Weckl could probably do the same solo half-asleep, and - in a sort-of idiosyncratic way - it won’t seem as impressive, even though it’s actually more so. Anyway, this is just an extremely long-winded to say that the PHoNIX makes dissecting music seem a little too easy, to the point where it’s a bit jarring. Take that as you will.

To briefly go into what its soundscape looks like to me, it’s similar to the IMAX screen I saw Dune on last year (a great, great film, by the way). It’s only a bit wider than it is tall, and both axes are clearly some of the best I’ve heard from an IEM. They both easily stretch out of head, and instruments have acres of space to arrange themselves. It was hilarious hearing the intro to Snarky Puppy’s Gemini, which has two drum kits on either side of the stage, because they were a lot further apart than I was used to. Note size is on the neutral side. Instruments are more expansive and closely-sat on the EXT, while they keep their distance here, but not disconnectedly so. Those gaps between notes (where, on other in-ears, is typically where they may fade into each other, or even overlap outright) is just much, much cleaner on the PHoNIX.

Its precise imaging means instruments very rarely bleed into each other as well. I was listening to Nick Jonas and the Administration’s Who I Am, a song which I’ve used to test IEMs for 7 years now - and played drums to for just as long - and I was gobsmacked when I heard the backing vocals running throughout the chorus, which usually would’ve been drowned out by everything else going on in the section. I realised that I’d never consciously registered they were there (or there throughout the whole chorus, at least). They always somewhat blended in, like a subtle synth in a pop track or a clap under a snare, for example. The PHoNIX is the first that’s truly brought it to my attention. Due to the sheer amount of space it has to give each element, it gave those vocals just as much weight as Nick’s lead too; equally sat in the mix.

When it comes to qualms, I struggle to think of any that wouldn’t ruin its balance. JH’s Jolene, for example, is an IEM I also liked a lot, but I would definitely have raised the mid-bass if I could. Whereas, there’s nothing I could tilt on the PHoNIX without undercutting something else, or turning it into something it's simply not. I’d say its low-end is perhaps 10-20% away from a first-class DD’s, but giving the PHoNIX a DD would instantly ruin it. I feel somewhat similarly (less so) about its midrange, relative to the EXT’s. But, again, this is me trying to desperately nitpick. So, this leaves me, after weeks of listens and re-listens, fully short of a flaw on the in-ear that VE could objectively improve on. This truly, truly is a colossal effort from their team.

So, yeah, those are my first impressions of the VE PHoNIX. Admittedly, I don’t think it’s one of those posts that paints a particularly vivid picture of the IEM apart from, “Wow, it’s amazing!” But, it is one of those IEMs that simply sounds clear, open and effortless, which a lot of the Trailli’s users were alluding to. So, from that POV, I hope it’s enough to tide you guys over until the full review comes out. The EXT’s, by the way, should be out the end of the month, which brings me to...

vs. EXT

Compared to the PHoNIX, the EXT is more dynamic and bombastic-sounding. A brief A/B suggests the latter is a tad more v-shaped; a bit more bass, a bit more treble bite and a hair less upper-mid presence filling out those harmonics. You’ll hear more contrast between the highs and lows, so genres like rock, metal and pop will immediately have more punch to them. On a track like Daughtry’s Changes Are Coming, the tom groove leading up to the chorus is punchier, thumpy-er and more tactile-sounding on the EXT; not necessarily just down to its more-present mid-bass, but because of the physicality of its DD too. Its highs are a touch sharper as well, but they’re pretty even as far as extension or detail is concerned.

Spatially, you’ll get larger notes on the EXT; a more wall-of-sound kind of presentation. Whereas, the PHoNIX will come off deeper and taller, both because of the space it naturally has and because of its instruments’ relative reservedness. I find the sheer differences in texture and delivery intriguing too. The PHoNIX has one of the best BA performances I’ve heard, while the EXT is DD through-and-through; quick, light and a whiff of warmth vs. full-on muscle, boisterousness and girth.

More I read more EXT intrigue me
Thanks Daniel!

 

[doctorjuggles]

@Vision Ears - are you able to help me locate any replacement tips for the ERLKöNIG please? I'm specifically looking for the silicone ones which are slightly "bullet-shaped" (vs standard tips which are more rounded)
They look similar to the Spinfit CP155, but seem to be different colours - any help would be appreciated

 

[Gavin C4]

Hey, everyone! This one's long overdue, but I've finally managed to get my first impressions of the Vision Ears PHoNIX written and photographed, which, I can also now reveal, was my favourite IEM of 2021 by a mile.

But, first… context.

Back in 2018, my thoughts on VE’s Erlkonig were fairly positive, but not gushingly so. I deeply admired its technical feats, as well as its balanced FR. But, while its cleanliness and purity were enjoyable, they left the IEM, to me, unmemorable too. It was the best jack-of-all-trades I’d heard yet, but it was also a monitor clearly burdened by its price tag and its occasion. I truly respected it, but it was never an in-ear I ever became engaged with or attached to.

Fast-forward to 2021, I was happy for fans of the Erlkonig when I heard VE were releasing a cheaper, longer-running, and even upgraded successor in the PHoNIX, thinking I’d probably feel the same way about it as I did its predecessor. As soon as I put them in my ears and hit Play, though, I realised I was dead-wrong.

The Vision Ears PHoNIX is unquestionably one of the most resolving, most transparent IEMs I’ve heard yet. It’s an in-ear that makes an absolute mockery of stereo separation, layering and imaging precision; taking details other monitors have to carve out their lower-mids or overexpose their highs for, and casually going, “Here you go.” And, it makes those details come to life effortlessly as well. It’s ridiculous how easy it makes the act of audio reproduction seem, and I must credit that to both its immense technique and headroom, and its supremely-balanced tone.

The PHoNIX is free of any notable peaks or dips anywhere, really, which means there’s nothing to distract you from the wealth of detail it’s presenting. The only exception would probably its treble, which, depending on tips and/or taste, can range from perfectly natural to nicely articulate. It's certainly not subdued or ultra-warm, if that's what you're specifically looking for. Like an evenly-lit photo, there’re no glaring hotspots or blotches of darkness your eyes have to adjust to. It also tonally and spatially changes from track to track, which is confirmation of its even, reference-class tone.

That’s bolstered by an advantage its all-BA set-up has over, say, the EXT’s hybrid one (and, yes, I’ll compare the two briefly later), which is a completely uniform texture and speed throughout. So, returning to the photo analogy, there aren’t any conflicting hues or textures pulling your eyes either. The resulting image is so easy to digest, and it creates a sound that’s honestly floored me more than anything I’ve heard in a long, long time. I imagine it’s what it was like for those who got to hear the other bird at the start of the year.

The only distinct trait it has to me would be its - simply put - ease. It plays music like Dave Weckl plays the drums. Because of how easily it comes to them, as if second nature, there’s always a sense of relaxedness to the delivery; always in second gear, it feels like. Compare that to a less capable IEM, where you can sometimes sense when it's pushing and putting in 110%.

There is a certain charm to hearing something push to get the performance they’re after. Going back to the drummer analogy, in the film Whiplash, when you watch Miles Teller’s character at the end of his drum solo - blood, sweat and tears dripping off the kit - there is a certain “Go! Go! Go!” that translates from that image. Whereas, Dave Weckl could probably do the same solo half-asleep, and - in a sort-of idiosyncratic way - it won’t seem as impressive, even though it’s actually more so. Anyway, this is just an extremely long-winded to say that the PHoNIX makes dissecting music seem a little too easy, to the point where it’s a bit jarring. Take that as you will.

To briefly go into what its soundscape looks like to me, it’s similar to the IMAX screen I saw Dune on last year (a great, great film, by the way). It’s only a bit wider than it is tall, and both axes are clearly some of the best I’ve heard from an IEM. They both easily stretch out of head, and instruments have acres of space to arrange themselves. It was hilarious hearing the intro to Snarky Puppy’s Gemini, which has two drum kits on either side of the stage, because they were a lot further apart than I was used to. Note size is on the neutral side. Instruments are more expansive and closely-sat on the EXT, while they keep their distance here, but not disconnectedly so. Those gaps between notes (where, on other in-ears, is typically where they may fade into each other, or even overlap outright) is just much, much cleaner on the PHoNIX.

Its precise imaging means instruments very rarely bleed into each other as well. I was listening to Nick Jonas and the Administration’s Who I Am, a song which I’ve used to test IEMs for 7 years now - and played drums to for just as long - and I was gobsmacked when I heard the backing vocals running throughout the chorus, which usually would’ve been drowned out by everything else going on in the section. I realised that I’d never consciously registered they were there (or there throughout the whole chorus, at least). They always somewhat blended in, like a subtle synth in a pop track or a clap under a snare, for example. The PHoNIX is the first that’s truly brought it to my attention. Due to the sheer amount of space it has to give each element, it gave those vocals just as much weight as Nick’s lead too; equally sat in the mix.

When it comes to qualms, I struggle to think of any that wouldn’t ruin its balance. JH’s Jolene, for example, is an IEM I also liked a lot, but I would definitely have raised the mid-bass if I could. Whereas, there’s nothing I could tilt on the PHoNIX without undercutting something else, or turning it into something it's simply not. I’d say its low-end is perhaps 10-20% away from a first-class DD’s, but giving the PHoNIX a DD would instantly ruin it. I feel somewhat similarly (less so) about its midrange, relative to the EXT’s. But, again, this is me trying to desperately nitpick. So, this leaves me, after weeks of listens and re-listens, fully short of a flaw on the in-ear that VE could objectively improve on. This truly, truly is a colossal effort from their team.

So, yeah, those are my first impressions of the VE PHoNIX. Admittedly, I don’t think it’s one of those posts that paints a particularly vivid picture of the IEM apart from, “Wow, it’s amazing!” But, it is one of those IEMs that simply sounds clear, open and effortless, which a lot of the Trailli’s users were alluding to. So, from that POV, I hope it’s enough to tide you guys over until the full review comes out. The EXT’s, by the way, should be out the end of the month, which brings me to...

vs. EXT

Compared to the PHoNIX, the EXT is more dynamic and bombastic-sounding. A brief A/B suggests the latter is a tad more v-shaped; a bit more bass, a bit more treble bite and a hair less upper-mid presence filling out those harmonics. You’ll hear more contrast between the highs and lows, so genres like rock, metal and pop will immediately have more punch to them. On a track like Daughtry’s Changes Are Coming, the tom groove leading up to the chorus is punchier, thumpy-er and more tactile-sounding on the EXT; not necessarily just down to its more-present mid-bass, but because of the physicality of its DD too. Its highs are a touch sharper as well, but they’re pretty even as far as extension or detail is concerned.

Spatially, you’ll get larger notes on the EXT; a more wall-of-sound kind of presentation. Whereas, the PHoNIX will come off deeper and taller, both because of the space it naturally has and because of its instruments’ relative reservedness. I find the sheer differences in texture and delivery intriguing too. The PHoNIX has one of the best BA performances I’ve heard, while the EXT is DD through-and-through; quick, light and a whiff of warmth vs. full-on muscle, boisterousness and girth.

Very nicely written! It must taken a very long time.

Why it took so long? It is because the more you listen, the harder it makes for you to take them off. XP

The Phonix is so addicted to listen to. If I have to use an analogy to compare to EXT, the Phonix is a bottle of 40 years old whisky, so nicely aged and refined, smooth with out any alchol sharpness. Taste it in your mouth, it is so complex.

 

[kevin638880]

Very nicely written! It must taken a very long time.

Why it took so long? It is because the more you listen, the harder it makes for you to take them off. XP

The Phonix is so addicted to listen to. If I have to use an analogy to compare to EXT, the Phonix is a bottle of 40 years old whisky, so nicely aged and refined, smooth with out any alchol sharpness. Taste it in your mouth, it is so complex.

I couldn't convince myself to spend extra just for the Black Gold colour scheme. Having slight regrets after seeing this photo

 

[MatW]

I couldn't convince myself to spend extra just for the Black Gold colour scheme. Having slight regrets after seeing this photo

What do you mean spend extra? I see the two color options at the same price.