DISCLAIMER: Vision Ears provided me with the VE7 in return for my honest opinion. I am not personally affiliated with the company in any way, nor do I receive any monetary rewards for a positive evaluation. I’d like to thank Vision Ears for their kindness and support. The review is as follows.
Vision Ears is a name many in the industry associate with craftsmanship, precision and finesse, and that’s rightly so. The German brand have consistently produced monitors that look and feel as lavish as they sound, and it’s garnered them a great deal of praise throughout the community. We recently covered their 6-driver EVE20, which, among a sea of hybrid designs and alien driver tech, made the best of balanced armatures through sheer tuning. And, today, Vision Ears aim to repeat that feat with their new VE7: An all-BA, 7-driver IEM that shines solely through coherence, balance and technique.
Vision Ears VE7
Driver count: Seven balanced-armature drivers
Impedance: 12Ω @ 1kHz
Sensitivity: 116dB @ 1mW @ 1kHz
Key feature(s) (if any): N/A
Available form factor(s): Universal and custom acrylic IEMs
As far as unboxings go, the VE7’s is as classy and clean as always. Since I last reviewed one of their non-flagship customs, VE have actually updated the packaging to now include this black, cardboard enclosure. It does make the package look a lot more premium, especially with all its details throughout. The metallic VE print on top actually has a holographic effect to it, which glimmers green when hit with light. And, the glossy VE pattern on the side pops stunningly against the matte-black too, while remaining subtle and sleek all the while. As usual, packaging is one instant masterclass from Vision Ears.
The box opens via a magnetic latch, where you’ll continue to find tiny details like Handcrafted in Cologne and a drawing of the cityscape in gloss-black on the inside of the lid; again, gorgeous touches that’ll add to the unboxing. Moving onto the contents, you’ll see a signed, personalised greeting card from Vision Ears thanking you for your purchase. Then, beneath it is the VE7’s included case, as well as a bottle of VE’s cleaning solution. It’s all supported by plain cardboard. Foam likely would’ve looked and felt better for me here. But, in the end, it isn’t necessary, given the padding already inside that case.
This VE7’s metallic case is incredibly rigid, as it always is. And, it’s roomier than your usual puck cases are too, which will allow it to carry the accessories we’ll list later on. VE have actually omitted the metallic clasp and equipped this case with a magnetic sealing system instead. I think either will hold up perfectly well. The finishing on this case isn’t the cleanest in the world, though. The paint job isn’t flawless, and there are a couple glue marks here and there too. But, considering it’s a case that’s going to suffer lots of wear-and-tear anyway, they’re negligible flaws to me. Finally, while mine here is blank, you’re free to engrave whatever artwork you want on your case when you get your VE7. It’s what I did for my VE6XC, and you could even request complex graphics like comic book or manga spreads, which VE have previously done in the past.
The accessories inside the case include the following:
1x VE sticker 1x VE badge 1x 1/4” adapter 1x microfibre cloth 2x sets of desiccant 1x instruction manual 1x in-ear cleaning tool 1x leather carrying pouch
To me, this is about as complete as an accessory set can truly get. VE, as usual, go above-and-beyond for the extras, and they include tons here that a lot of brands should really learn from. I particularly appreciate how well-illustrated and in-depth the manual is, and I love the look and feel of this pouch too. The fact that it seals with a magnetic clasp is a bonus. All in all, VE aced packaging and accessories like they always have, and I’d love to see more efforts like this industry-wide.
Customisation, Build and Fit
Vision Ears make customisation a breeze with the their online configurator. It’s in the style of Custom Art or Empire Ears’ designers, which utilise 2D renders, rather than 3D models like JH Audio’s widget, or real-life photography like 64 Audio’s tool. But, it should nevertheless give you a very good representation if what your IEMs will eventually look like. And, they let you upload your own custom artwork onto their previews too. In terms of options, Vision Ears offer quite a selection:
16 transparent shells and faceplates 14 wood faceplates 15 sparkle faceplates 22 special faceplates (which include abalones, carbon fibres, pearls, etc.) 14 mirror faceplates 5 premium faceplates (which includes the VE7’s signature Fire Blaze design)
Beyond those options, you can then engrave your own artwork in an array of colours or add one of Vision Ears’ metallic logos, which come in 5 different shades as well. For my unit, Vision Ears applied this VE7’s signature design, which you’ll see on all the VE7’s universals. I personally love the look a ton. The contrasts between all the oranges, blues and greens are incredibly exciting, and the holography of the faceplate is striking too. To me, the one let-down here is the Fire Blaze faceplate comes at an extra €65-per-side for the custom VE7. It’s meant to be its signature faceplate, so I would’ve loved to see it offered as a free bonus. But, at the same time, it’s a material that likely isn’t cheap on VE’s part, so it is what it is.
The exact same moulds used to build my VE6XC and my ELYSIUM were used to build my VE7, so the fit on this CIEM is as superb as always. The canals on them are also trimmed slightly shorter, which feels more comfortable to me. Vision Ears tend to trim their customs a bit sleeker, so they aren’t as bulky as, say, 64 Audio or JH Audio’s CIEMs, which tend to press outward slightly. These more so just fill your ears, but they do so very smoothly, and very precisely too. In terms of build, Vision Ears, again, continue their flawless streak. The faceplates seal seamlessly, and everything from 2-pin connector to canal is machined just as precisely. Then, finally, lacquerwork on them is perfect too; not a rough edge or blotch in sight.
DISCLAIMER: Custom Art provided me with the FIBAE 7 in return for my honest opinion. I am not personally affiliated with the company in any way, nor do I receive any monetary rewards for a positive evaluation. I’d like to thank Custom Art for their kindness and support. The review is as follows.
Custom Art is a Polish monitor maker unique for their upbringing in the online DIY community. Former monitor reviewer Piotr Granicki ventured into building in the early 2010s, eventually spawning a company renowned for their lush, musical sounds, their zany, off-the-wall designs and – last, but not least – their superb after sales service. Though home-brew was this company’s de facto brand earlier on, Piotr’s recent efforts in 3D-printing, custom-tuned drivers and FIBAE technology has undoubtedly elevated them a great deal. And, now, all that has culminated in their top-of-the-line in-ear: the FIBAE 7. Embodying the company ethos, the FIBAE 7 is the flagship for your buck; a shot at the top without the sky-high price tag.
The FIBAE 7 comes in Custom Art’s age-old packaging: A modest mini-shoebox with a familiar, yet practical accessory set. In it is Pelican’s heavy-duty 1010 case, a smaller zipper case, a cleaning tool and desiccant. Then, accompanying all that is the Hi leaflet, which is both a quick-start guide and a warranty card with your IEM’s serial number and manufacture date.
For all that mileage Piotr’s gained in technology, craftsmanship and sound, it’s frankly a tad disappointing to see Custom Art’s packaging continue to stagnate, especially for their newest flagship. I’d love nothing more than to see at least some branding on the cover; perhaps, a simple, debossed emblem or an engraving of some kind. And, extra accessories like a microfibre cloth would be greatly appreciated as well. Though sonics and build clearly rank above all else for Custom Art (and rightly so), the unboxing experience still has to have a place there as well. Hopefully, a revamp here is in their cards.
Another addition worth mentioning is the Arete aftermarket cable that this FIBAE 7 comes with. It’s an OCC copper cable made by Null Audio in Singapore, and it features far superior hardware to the Plastics One cables that Custom Art CIEMs usually ship with. It comes with a velcro cable tie for very easy tidying-up as well. And, you can also get it with a balanced termination at check-out or with a microphone, even, if that’s what you want. So, I personally feel it’s a very sensible add-on for Custom Art’s top-of-the-line. And, at €99 purchased separately, it adds even more value to its overall package too.
Thankfully, though, when it comes to the in-ear’s build quality, Custom Art have only continued to top themselves. Every piece I receive from them boasts a new level of polish, and the same is true for the FIBAE 7 I have here. Taking cues from a design I found in CanalWorks’ catalog, I opted for a fairly complex scheme, which the Custom Art team pulled off to a T.
It’s a multi-colour theme, and it features two instances of a gradient as well; a technique Custom Art have recently begun to popularise. First is a colour gradient down the faceplates, shifting from red and blue to the grey of the shells. Then, it’s a particle gradient that transitions from smaller, finer bits of mica to larger, denser pieces of gold flake. Sat at the in-ear’s topmost layer are engravings on either side; the minuscule FIBAE text on that left IEM coming out particularly impressive. And, to finish is buffing and lacquer for a flawlessly smooth, bubble-free surface throughout this entire earphone. Bravo.
3D-Printing and Fit
As mentioned, Custom Art have made the big leap of incorporating 3D-printing into their production line, which brings a fair number of changes. They now no longer need physical, silicone ear impressions to make your custom IEMs. You can send them a digital scan of your impressions instead, which, on its own, cuts the costs of shipping the moulds to Poland, as well as the week or two it takes to get there. If you don’t have scans yet, all you have to do is send Custom Art a set of silicone moulds, which they’ll convert to a digital file for you. You may then use these as a substitute for physical moulds for any future purchase; whether it’s from Custom Art or any other IEM brand that’ll accept them, of which there’re tons.
With the 3D-printing process also comes changes in fit. Compared to, say, my Harmony 8.2, these fit smoother with even amounts of pressure throughout. There aren’t any hotspots, which helps them vanish in the ear a lot more. One thing I’d note is my units were trimmed pretty low-profile. The faceplates don’t stick out much from the ear, if at all. An advantage is the in-ear is more likely to stay secure. But, at the same time, they’re also cumbersome to remove. You have to dig into your ear, almost, to get a grip and pull them out. If you tend to take your IEMs in and out often, you may wanna ask for a taller shell when placing your order. Comfort-wise, though, that low profile doesn’t bother at all; not even when I’m using thicker upgrade cables. So, all in all, it’s a nicely comfy IEM to wear, and it’ll also stay secure no matter what you’re doing.
FIBAE Technology
FIBAE is short for Flat Impedance Balanced Armature Earphone, and it has become Custom Art’s spotlight innovation. First introduced with the FIBAE 1 and the FIBAE 2, what this technology ultimately aims to do is preserve this in-ear monitor’s tonal balance no matter the source it’s connected to. So, essentially, whether you’re listening to the FIBAE in-ear through your laptop or a dedicated DAP, the frequency response should remain the same. This is especially crucial if you plan to use these on mixing consoles, monitor mixers, etc., where the output impedances can vary wildly from one to the other.
However, that does not mean you won’t hear any differences between the laptop and player either. Although FIBAE tech leaves the frequency response intact, the earphone will scale based on whatever data’s fed into it. A more resolving DAC is capable of rendering clearer spatial cues, deeper backgrounds, etc. So, although it won’t bridge the gap between more capable and less capable sources per se, this tech will allow the user to judge those differences in a clearer manner. And, whatever source you choose to use at the end of the day, you will always be guaranteed the sound Custom Art intended.
DISCLAIMER: 64 Audio provided me with the A18s in return for my honest opinion. I am not personally affiliated with the company in any way, nor do I receive any monetary rewards for a positive evaluation. I’d like to thank 64 Audio for their kindness and support. The article is as follows.
Throughout the past decade, 64 Audio have cemented themselves as one of the most prominent, go-to in-ear brands in the industry. Professionals and enthusiasts alike have shown endless praise for their build quality and sound, but, really, it’s their band of innovative technologies – from apex, to tia, to 3D-Fit – that’s put them in the position they’re in today. All those pieces came together in their widely-acclaimed flagship A18t. And, now, 64 have come out with its companion. The A18s is a variant of 64 Audio’s 18-driver statement piece with new armatures, a new crossover network and a revamped sound: Levelling off some of the Tzar’s crisp, exuberant clarity for a warm, toned and textured sound made for the stage.
64 Audio A18s
Driver count: Eighteen balanced-armature drivers
Impedance: 8Ω nominal
Sensitivity: 106 dB/mW @ 1kHz @ 1mW (84mV)
Key feature(s) (if any): tia high driver, apex interchangeable pressure-relief system, 3D-Fit, LID technology
64 Audio ship the A18s in their customary packaging: A compact, red box, sleeved in white, then adorned all around with hi-res prints. This is a more efficient, pragmatic approach to packaging than the more extravagant, boutique stylings of a Vision Ears or Rhapsodio. And, I’m sure there’ll be those out there disappointed by the lack of lavishness here. But, given 64’s massive professional clientele, I can see why, logistically, prioritising efficiency is the approach here. And, despite its supposed simplicity, it does accomplish the crucial task of establishing brand identity and looking clean at the same time.
Unsheathing the box, you’re greeted by a message from company founder and chief sound designer, Vitaliy Belonozhko. It’s a very nice, personal touch. And, flipping it over, you’ll find this in-ear’s quick start guide here too. So, again, efficiency is the name of the game here. Following this is the personalised IEM case, which houses the earpieces themselves, along with their included accessories. With the A18s, you’ll get a shirt clip, a cleaning tool, desiccant and a pair of apex modules as well. The extra set here are the m15’s, while the m20’s come pre-attached on the IEMs. The only accessory I’m missing here is a microfibre cloth for cleaning. But, otherwise, it’s a very complete set packed inside one impressively tight space.
Now, the case I received with my A18s is the one prior to their recent rebrand; the rectangular, plastic one. The new case 64 now include with all their CIEMs is an aluminium, puck-like case. It’s very similar to the ones brands like MMR, Jomo or JH Audio include with a lot of their IEMs. But, where 64’s case differs is the foam inserts. Half the case is taken up by your in-ears with the cable securely tied down, while the lower-half is foam that holds the accessories, complete with slots for additional apex modules. So, you’ll be able to carry them along wherever you go. This foam also secures them all, so they won’t bounce around the case and potentially ding your precious monitors. Lastly, this case maintains the previous one’s water-and-crushproof features. So, all in all, it’s a more compact solution that, I’m sure, feels more premium in hand too.
Customisation, Build and Fit
Personalisation is half the fun when ordering a new pair of CIEMs, and that process is especially easy with 64, because of their superb online builder. It recently got revamped with the launch of their new website and now features a sleeker UI, as well as the use of real-life photography in their previews. This is unlike most other online tools, which use CG renders to preview designs that, in some cases, may differ from the actual product. Aside from choosing your faceplate, shell and artwork, you could also drop in and manipulate any custom graphic you wish to print or engrave onto your IEM. And, the tool also saves all your changes automatically, so you won’t have to start over each time you close your browser window.
The personalisation options you get from 64 Audio are fairly diverse. You have a total of 54 faceplate styles ranging from solid, translucent and glittered colours to more exotic materials like wood, carbon fibre, rose gold and abalone. You may also opt for add-ons like watch parts and rhinestones, or simply top off your IEM with 64’s metallic logos in silver or gold.
Unfortunately, that diversity won’t extend to their shell colour options, which – as a result of their 3D production process – is limited to a set of 5. Now, this isn’t ideal when many in the industry have begun offering multi-coloured swirls, with a few going as far as CNC-milled wood and carbon fibre shells (albeit, for a very hefty cost). But, again, this is necessary for 64’s current scale and clientele. And, there are plenty of other options in the market if aesthetics mean massively to you.
Another change 64 have recently included is the option to choose between 2-pin and IPX connectors. The IPX standard is pretty recent, and it’s designed specifically for touring musicians. It’s tailor-made for reliability, and it features resistance against water, dust and sweat. It is also a swivelling connector, which allows you to reposition your IEMs if you ever need to. And, it is rated for more plugs and unplugs than the 2-pin standard with an easier, more tactile swapping system too.
The disadvantage is in its newness. It’ll be more difficult to find replacements for IPX-equipped cables on the fly, while 2-pin-equipped ones are easier to procure. And, for audiophiles who’ve already collected a fair number of 2-pin cables, an adapter or permanent retermination will be required to use those cables with your new 64 Audio in-ears. So, if you’re an audiophile with an extensive upgrade-cable collection, and you won’t need IPX’s added reliability, 2-pin would still be my recommendation. But, if you are a working musician, IPX is the choice for ultimate convenience, reliability and durability.
As far as build, fit and finish go, 64 Audio continue to deliver with their custom in-ears. My A18s’s are flawless all around, and they air a level of polish indicative of 64’s stature in the industry. Their 3D-printed shells are among the clearest I’ve seen; not necessarily as pristine as a poured-acrylic one, but unquestionably top-class among its peers. That allows for a good glimpse into the in-ear’s innards, which, despite its immense complexity, 64 have managed to keep very admirably organised. From here, you can also see the tia tweeter in its tia bore, equipped with a mesh filter to keep out any debris.
For the faceplates, I opted for 64’s mother-of-pearl, which I think turned out sublime. They’ve cleverly inlaid this material over a base of white acrylic, which gives it a bit of substance and enhances its clean, pristine, angelic look. Like the shells, every bit of machining on it is pin-point precise. Its joint with the body is seamless and without a trace of glue or residue. And, the same goes for the apex port at the bottom of the faceplate. In fact, compared to my previous 64 Audio customs, I’ve found these to be the easiest in terms of swapping out apex modules. Whether this’s down to a slight change in their specs or pure, dumb luck, I’m not sure. But, it’s a positive either way. And, lastly, topping off the faceplates are 64 Audio’s gold-metallic logos. As usual, I adore the detail on them, as well as the slight 3D-effect they give off; a true cherry-on-top.
Finally, moving onto fit, the A18s joins its 64 Audio brethren as one of the most secure, precise-fitting custom IEMs in my collection. The company’s 3D-Fit tech (which we’ll discuss below) has proved key in preserving as much detail as possible from the original moulds, resulting in earpieces that simply lock into my ear canals and – crucially – don’t slosh around in use. This’s a big plus for artists with lots of high-energy choreography, or performers who move a lot on stage in general.
Now, with my 64 Audio A6t and A18t, that trimming style did result in a bit of tightness, especially in their initial few days of use, or if I’m going to them from a looser-fitting CIEM. To my pleasant surprise, that was not the case with this A18s. It had a slightly more relaxed fit without losing any of 3D-Fit‘s accuracy. And, the smaller faceplates helped relieve pressure on the outer ear too. To me, this is 64 continuing to refine their craft, and their reward is a perfectly-seated custom IEM.
What’s New?
Though the A18s largely builds off of the A18t’s design and sound signature, with it comes a good number of changes as well. Among them would be the balanced-armatures themselves. Although the number stays at 18, this A18s sports new driver models in its set. Then, paired with them is a new, more sophisticated crossover network. The two are responsible for the in-ear’s warmer tonality, which we’ll discuss in sound impressions and comparisons on the following pages. Then, also thrown into its signal path is LID tech. It’s one of 64’s many proprietary technologies, which we’ll now discuss below.
tia
64 Audio claim the conventional method of sound transfer – which entails a driver firing through its spout into tubes and dampers – results in resonances that’ll reduce transparency and resolution. Their remedy to this is a system called tia (or Tubeless In-Ear Audio), which cuts those tubes and dampers out of the equation, and has the driver fire straight down the ear canal. In addition, the driver has been de-lidded, so instead of firing through a tiny spout, its diaphragm is now freely radiating for what 64 claim will create higher fidelity, a more expansive soundstage and a smoother frequency response.
Now, the second element to this system is what 64 call the tia single-bore. It houses the tia driver and acts as an acoustic chamber, shaping its sound to deliver a “linear and coherent frequency response.” What it also does in the custom tia in-ears is compensate for the inherent variances in volume from one ear canal to the next; even within the same individual. By setting-in-stone the room in which the speaker will radiate, it allows for a consistent frequency curve from one A18 to the next and minimises unit variance as much as possible. Lastly, this design is also less likely to clog with wax over time.
apex
apex has been 64’s hallmark innovation for years now, and what it is is a valve that releases built-up pneumatic pressure from your ear canal. This pressure accumulates when the drivers pump air in your ear canal to generate sound, and that air has nowhere to escape. And, it will eventually lead to listening fatigue. So, through apex, 64 have created a controlled leak, allowing air to travel freely and the ear drum to breathe properly. This should greatly delay the onset of fatigue and lend the user sharper focus for longer periods of time, crucial for musicians or engineers who perform for hours on end.
A secondary function of apex is customisation in terms of the monitor’s bass response and noise isolation. The light-grey m20 provides -20dB of isolation and is default for the A18s’s tuning, while the dark-grey m15 provides -15dB of isolation, along with a slight bass cut, which we’ll further discuss in sound impressions. While neither of them will match the -26db isolation most non-apex monitors claim on their specs sheets, I personally found both apex modules perfectly adequate for daily use, and even behind a loud instrument like the drum kit. But, if you are particularly picky about isolation, 64 do offer an m26apex module, which disables all apex functionality and provides the industry-standard -26dB of isolation.
3D-Fit
3D-printing has grown widespread in this in-ear monitoring industry, and 64 were one of its first adopters. Its integration into their manufacturing process has allowed for a number of advantages. Trimming ear moulds digitally on a computer enables a finer degree of control. And, it’s a non-destructive method, so any error made during cutting could be undone.
64 claim their digital processing also preserves more of the ear canal’s fine details, while the traditional method of hand-trimming and wax-dipping could smooth some of these nuances over. And, digital moulds can also be reused with future orders, which’ll save time and money from having to send new ones over. While physical moulds can similarly be reused, they will inevitably deteriorate, which can cause a poor fit if the mould is too old. Digital moulds won’t have this shelf life.
Lastly, apart from those comforts, 3D-printing is crucial for fabricating the components in all of the acoustic technologies mentioned above. It allows the in-ears’ shells to be printed with the indent for the 2-pin socket, the tia bore and the apex socket all built-in, ensuring them consistent, reliable machining and exponentially streamlining their production process.
LID Technology
LID (or Linear Impedance Design) Technology is 64 Audio’s solution to source variance with multi-driver in-ears. Within the 18 in this A18s are several models of balanced-armature drivers, each with their own unique impedance curve. Because of that, the monitor’s frequency response (or tonal balance) can wind up shifting between different sources (i.e. portable players, mixing consoles, mic packs, etc.), based on how each driver set reacts to that source. LID’s role is to compensate for those discrepancies, so the balanced-armatures are driven equally by the source and the original sound is preserved.
This is a feature that’ll prove valuable to, for example, sound engineers like myself, who use in-ears with sources ranging from enthusiast’s portable players, to AVIOM monitoring systems, to noisy headphone outputs on a mixing console. But, for the enthusiast, I can see it falling between two camps. There’ll be those relieved by this A18s’s “immovable” sound, as they won’t have to worry about what source to pair with it. On the other hand, there’ll also be those who’d feel limited by the fact that they won’t be able to customise the in-ear’s profile with their selection of sources. But, the A18s is a monitor designed with pros in mind, after all. So, in that sense, I do think LID can be a great asset and a godsend to any engineer.
Unrivalled custom fit and isolation for TWS, Outstanding balance throughout and accurate timbre, Best in-class soundstage and resolution, Excellent build and finish
Cons –
Power and charging functions hamper convenience, Lower-treble spike may irk some, Background hiss, Call quality below average, No official IP rating, Costly
Verdict –
The M5-TWS Custom lies at the pinnacle of TWS sound quality, tuning and fit, but expect to pay a hefty premium to obtain it.
Introduction –
ADV. really came out of nowhere in 2015. They began life crowd-funded by Kickstarter but soon made a name for themselves with their very affordable products that focussed on the fundamentals and essentials. However, through collaboration with esteemed industry veteran AAW, the company soon set its eyes on the high-end scene, releasing a sophisticated line of customs and a planar magnetic headphone. They assume advanced manufacturing processes such as 6-axis CNC milling and 3D printing in order to realise these products. The M5-TWS was a departure from their usual designs, sporting the same audiophile focus but in a true-wireless form factor. We walked away very-impressed by its clean Harman-target tuning and immaculate 3D printed housings. The company didn’t stop there, however, releasing the M5-TWS Custom which represents more than just a custom variant of their previous TWS hit. It sports a new “reference” tuned driver and reworked acoustics alongside representing quite possibly the first full-custom TWS design on the market.
The M5-TWS Custom is available for $499.99 USD from ADV. at the time of writing. For more details, customization options and purchase, see ADV.’s website here.
Disclaimer –
I would like to thank Hannah from ADV. very much for her quick communication and for providing me with the M5-TWS Custom for the purpose of review. All words are my own and there is no monetary incentive for a positive review. Despite receiving the earphones free of cost, I will attempt to be as objective as possible in my evaluation.
The Pitch –
Custom 3D-printed design
ADV. use 3D printing to achieve a high-quality acrylic construction and speed up turnaround times on custom products. This also opens the avenue for use of digital ear impressions that greatly aid convenience during the ordering process and permit the user to reuse the same impressions for years to come. Furthermore, the intricacy permitted by 3D printing means fewer cosmetic imperfections, more control over acoustic design and better channel matching for custom products, very important for imaging performance.
Reference-tuned PHPC Driver
The M5-TWS Custom uses a similar 6.1mm pressurized high-purity copper dynamic driver as the universal model. This means a tight, well-damped micro driver with an agile transient response whilst upholding an authoritarian sub-bass due to the enclosure that increases low-frequency pressure. However, the company has retuned the custom model specifically to follow a different curve. Where the uni was tuned to match the in-ear Harman target curve, the custom is reference-tuned that promises to be more neutral and transparent. I will touch more on the specific difference below.
Customization –
You don’t receive the same level of customisability as most custom wired earphones, but a select range of set designs; black burst, green ash and red pearl. Besides this, the company only offers different options in delivering your impressions, able to ship impressions, email 3D STL files or visit ADV’s lab in Santa Cruz. Alternatively, if you’ve ordered custom products from the company in the past, they’ll have your impressions on file.
Turnaround and Support –
I will firstly thank the ADV. team for their support during the global pandemic which has complicated production for many companies. The company promises a 4-6-week turnaround and this is in-line with my experience, my unit taking about 6 weeks to prep from when I first sent my digital impressions. It later came to my attention that the impressions I sent had a flaw necessitating 0.5mm bolstering of the left sound tube and ADV. were very helpful here too. The company was able to modify the earphones to my specification and shipped them out 2 weeks later by DHL Express which sped up the process.
Unboxing –
The M5-TWS Custom comes with markedly different packaging to the universal, more in-line with a CIEM. Sliding off the top cover reveals the earphones within a sleek CNC aluminium case with foam inlet that holds the earphones. Of note, the earphones utilise plugs on the faceplate for charging since the custom design does not permit docking in a universal case. The company includes a tiny type-C cable that charges the earphones alongside a compact Type-A to Type-C adaptor for use with ordinary chargers and older computers. The M5-TWS Custom’s case has no smart features or ability to charge the earphones. A smaller case with tighter inlet would have been a welcome addition, something like CFA’s IEM pouches that are much more pocketable and separate the housings to prevent scratches.
Design –
In handsome red pearl, my unit is very visually distinct and represents a high level of construction quality. Being a custom-made earphone don’t expect premium material choice here as conventional 3D printers only work with acrylic at present. I have been gushing about 3D printed products lately but do take note that not all are created equal. The particular company ordering or printing the products has full control over the resolution and finish at the cost of time, and ADV. clearly spend a bit more achieving a refined product here.
In turn, the finish and build are as good as you could hope for, each surface is perfectly smooth and this was especially noticeable to me when lighting the earphones where we observe very clean lines and contours. There are no seams due to the 3D printing, leaving a flawless unibody construction that feels light but solid. The transparent bodies showcase the acoustics and circuitry inside with mic cut outs interestingly positioned at the rear and a small vent at the very top. Take note that the M5-TWS Custom has no IP rating so use these for exercise at your own risk.
Fit & Isolation –
The M5- TWS Custom is about the size of a regular CIEM plus another millimetre of depth for the electronics. This makes it quite a bit larger than the regular M5-TWS but may vary based on your individual ear anatomy. Still, they aren’t especially low profile meaning that they won’t be suitable for wearing underneath a motorbike helmet or sleeping as our readers often ask about. As far as comfort is concerned, however, the size is of no consequence since they conform perfectly to the shape of your ears – given that the provided impressions were taken correctly. And indeed, this was the case for me; the M5-TWS custom disappears in my ears, providing perfect fit, seal and long-term comfort. They lock into the ears very well with slightly more articular fit around the anti-helix as opposed to my wired CIEMs, that greatly aids retention in the absence of cables and ear guides.
During workouts and commute, the earphones required no adjustment and I encountered no other fit stability issues. They were perfectly comfortably during longer listening sessions. Due to the rigid acrylic design, I did not find them ideal for running, however, where the constant motion would cause them to lose seal. A universal earphone with silicone Eartune fidelity/custom tips are a better option for this sort of application if a personalised fit and high levels of isolation are required. Despite visible vents, they isolate similarly to my sealed CIEMs. They also block the most noise of any TWS earphone I’ve tested ANC or not – nothing beats a perfect seal. The ear-filling design provides especially strong attenuation of low-frequencies which works well in tandem with their more balanced sound tuning. This will make these earphones an excellent companion for frequent fliers and travellers.
Usability –
Pairing and Connectivity
The experience here is similar to most TWS earphones. After power on the earphones, they enter pairing mode. ADV. add a custom Bluetooth ID to match the user’s name here, ensuring that they are never confused with other devices. They quickly reconnect with previously paired devices but go back into pairing mode if that device is unavailable. The faceplates can be held for 5s to force pairing mode, audio cues let the user know when this is occurring. Utilising Qualcomm’s QC3020 chipset, the earphones support BT5.0 including Apt-X and AAC. This also means they can be paired independently which I was able to confirm, handy for extending battery life during mono calls for instance. Once connected, the M5-TWS Custom provided reliable connectivity. I experienced no dropouts between either side nor to the source device. Connection was also stable in crowded areas such as Sydney CBD which is generally most taxing for a wireless product. Range is also on the higher side, stretching through two rooms with double brick walls before becoming intermittent. With a line of sight connection, range was higher.
Charging and Battery Life
The M5-TWS Custom surely provides a markedly different experience here compared to your average TWS earphone. For one, the user must manually power the earphones on and off in the absence of a charging case via a 7 second hold on the touch-sensitive faceplates. In the same vein, charging is done via a Type-C cable, again affecting convenience. The upside is that, due to the compact size, it is very unobtrusive and enables the user to charge the earphones directly from a smartphone with Type-C connector. It seems reasonable given the nature of the product though potentially the company could have included a charging case that interfaces with the flat faceplates that will invariably by similar between all users.
Battery life is rated at 8 hours down from 9 on the universal. Given that the driver is actually slightly more sensitive, it is possible that the earphones have a more powerful amplifier. In real world usage, at around 40% volume, I found the earphones to meet that figure comfortably and reliably. I also feel that the absence of constant trickle charging may be beneficial for battery health long-term – though, of course, the user will have to remember to keep them topped up. From empty, ADV. quote that the M5-TWS Custom will take 2 hours to charge. They also state quick-charge support though they don’t quote any exact figures. In 15 minutes, I was able to charge from critical battery to approximately 40% which represents just over 3 hours of listening time. They also auto-off after 5 minutes to save power.
Touch Controls
The M5-TWS Custom utilises similar touch controls to the universal model. As they have a more stable fit and larger, flatter faceplates to interface with, the experience is somewhat better here. Furthermore, the controls have been slightly altered to now include volume control and smart assistant functionality as seen pictured below.
I personally am not a fan of the volume controls, however, since the single tap is easily mistaken when adjusting the earphones in the ear. Fortunately, they only change one step at a time, so you don’t have to worry about ramping volume up to a deafening level unintentionally. The touch controls aren’t as responsive nor as accurate as the Pixel Buds or Sennheiser MTW2 overall, but I experienced around 90% accuracy during my testing and didn’t find them frustrating during daily use.
Call Quality
Call quality was mostly similar to the regular M5, meaning good volume but some slight muffling here due to the rear-facing microphones. In quiet environments, users reported good vocal intelligibility. However, there is minimal ambient noise cancellation similar to the M5, if at all as recipients noted that ambient noise and wind were quite intrusive during calls. This will not be the best choice for those interested in the highest call quality but will do in a pinch, especially in quiet environments.
Background Hiss
Whether due to the increased isolation, the more sensitive driver or revised circuity, the M5-TWS Custom has a reasonably pronounced background hiss that is clearly audible in quiet environments. It was more prevalent than the other TWS models I’ve tested so far, though again, isolation is substantially better making it appear more apparent. It was also slightly more prominent than on the universal M5-TWS. If you are sensitive to hiss, this will not be the best solution for you. However, most users shouldn’t find it too bothersome when music is playing.
NOTE: The Rhapsodio Orla is currently out of stock and unavailable for purchase until further notice.
DISCLAIMER: Rhapsodio provided me with a discounted price on the Orla in return for my honest opinion. I am not personally affiliated with the company in any way, nor do I receive any monetary rewards for a positive evaluation. I’d like to thank Rhapsodio for their kindness and support. The review is as follows.
Rhapsodio is an in-ear manufacturer based in Hong Kong, spearheaded by the ever-electric Sammy Mak. Sammy is well-renowned – and well-acclaimed – in this industry for his adventurous exploits in the realm of dynamic drivers, as well as an ever-rotating carousel of products that blink in-and-out of his skunkworks at the drop of a hat. But, what sets Sammy (and Rhapsodio) apart is that there isn’t one among them that you can call a throwaway. From their entry pieces to their flagships, there’s a special sauce to Rhapsodio you’d be hard-pressed to find anywhere else. Today, we’re looking at their latest from the former. The Orla is a $300, single-DD IEM with its unique riff on organic, along with the chops to pull it off.
The packaging Rhapsodio have prepared for the Orla is truly stunning. The in-ears come inside a chest-like wooden box, complete with a sliding lid that’s beautifully engraved with the company logo on top. There almost feels like a Japanese influence to it, reminiscent of a sliding shoji opening to a tatami within. In line with that, there’s also something Japanese about how the wood’s been treated as well. The box feels gorgeously smooth throughout, and it’s clear tons of care had been put into both the lacquering and buffing stages of the manufacturing process. Once again, this one certainly ranks among the best unboxing experiences I’ve had at the entry level, and I hope to see more step up to this standard. Bravo!
Sliding the lid open, you’ll find the interior foam-padded on all sides. It’s been lined with this beige fabric, reinforcing that Japanese agriculture theme again. In the centre are the IEMs stored within Rhapsodio’s also-incredible carrying case. It’s a semi-soft case equipped with a carabiner, no less. And, the materials and silhouette Rhapsodio have used here are quite reminiscent of products from brands like Krumpler. Given my affinity for their pouches – especially for audio gear – this is a case I can absolutely see myself using daily. Plus, as if the case didn’t belong on a belt hoop enough, it even opens at the top, allowing easy insertion and extraction while on-the-go from the hip. Inside the case is a silky fabric lining to keep your in-ears snug, and there’s even an inner compartment where you can keep your ear tips, adapters, etc. Then, finally, you have cosmetic touches like the Rhapsodio logo on the side too. So far, it’s been an absolute masterclass from them.
The only qualm I have with the Orla’s unboxing experience would probably be the essential accessories. Funnily enough, Rhapsodio have done the exact opposite of what most companies practice and eschewed these essentials in favour of a more luxurious first impression. In exchange for the wooden box and the carrying pouch, you’ll give up the cleaning tool, microfibre cloth and desiccant. If you’re someone with experience with CIEMs, you’ll most likely have those items in your possession already. But, especially since the Orla is an entry-level IEM, some may be disappointed to find them gone too.
Finally, moving onto the monitors themselves, Rhapsodio’s build quality is top-notch. Both earpieces feel solid, and I love how they’ve been contoured too. They’re secure without being overly tight, and the fit is always reliable; locking in with a simple twist, without any additional finagling required. The shells are a barely-translucent black, and the lacquerwork on them is flawlessly sleek. Every curve feels smooth, including the join between the shell and the faceplate; truly seamless.
On these faceplates, Rhapsodio have used a material I’ve never seen before: A transparent, rainbow-like foil that shifts in colour depending on the light and the viewing angle; gorgeous to experience in person. The only fault I found on my pair would be the cleanliness of the right side. That side had to be redone due to a channel imbalance Rhapsodio found prior to shipping, so there’s a bit of debris here and there that’s not the most pleasant to see. But, otherwise, these are a truly well-made pair of IEMs, and that right monitor could be a teachable experience for Rhapsodio’s process moving forward.
