DISCLAIMER: Vision Ears provided me with the EVE20 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 produce some of the most coveted in-ear monitors in the industry, desired equally for their superlative build, their evocative aesthetics, their lavish packaging and their precise, yet musical tunings. Recently, they’ve taken the world by storm with the release of their flagship ELYSIUM and Erlkonig. And, they’ve shown no signs of stopping since. In 2020, Vision Ears started the EVE initiative: A series of limited-edition monitors that’ll be refreshed with a new entry every year. We previewed its debutant back in April. And, now, here’s the full review of Vision Ears’ EVE20: A firecracker with finesse.
The idea behind Exclusive Vision Ears is annual concept pieces that Vision Ears will release in limited quantities. These are completely separate from their mainstay monitors, and will essentially be their avenue for experimentation; irrespective of any pre-determined price hierarchies, driver configs or house sounds. Following this 6-driver EVE20 could be a 2-driver EVE21, for example. And, despite the EVE20’s pretty modest look, Vision Ears also plan to “explore the boundaries of visual design” with the program as well, which – if you’re familiar with their repertoire – is very, very exciting news to hear. All in all, it looks to be a project filled with potential, that’ll hopefully bring some welcome unpredictability to the market today.
Packaging and Accessories
As per usual, Vision Ears have decked out the EVE20’s packaging with a ton of different nuances and textures. You’ve got the matte-grey outermost sleeve topped with a web of gloss-black lines cutting through it; a great show of contrast. And, topping it off is an EVE emblem in metallic-purple. The box inside is wrapped in a weaved, carbon-fibre-inspired material, which is then finished with more accents of purple on top and along its sides. This box folds opens with a magnetic latch, which only further boosts that clean, classy aesthetic. Presentation is A+ from VE yet again. Now, let us take a look inside.
Lifting the lid open, you’ll find the EVE20 in its puck case, embedded in foam. And, next to it is an envelope, which houses the IEM’s signed warranty card, a pretty substantial instruction manual and a letter congratulating you for your purchase. Also in this envelope is a microfibre cloth and three sets of replacement mesh filters. The latter’s packaging also acts as a guide – illustrations and all – for replacing the mesh filters, which I think is a keen touch. Returning to the box, below this envelope, you’ll get a cleaning tool, a 1/4” adapter and VE’s cleaning spray; all embedded in foam too. As far as accessory sets go, I have zero complaints. Again, presentation is VE’s game to play, and I’m glad to see they haven’t slipped an inch.
Again, you’ll find the EVE20’s tucked away in its round, metal case. And, you’ll find a pack of SpinFit tips in small, medium and large sizes there as well. As with their other monitors, VE have attached a velcro cable tie to this EVE20’s stock cable; an inclusion that I feel needs to be more common in the industry. Next, you get a small dry pack for moisture too. Lastly, this case is a similar metal puck to the ones brands like Empire, Jomo or JH Audio pack with their in-ears. It isn’t the most exclusive or lavish case in the world, but it’s still quality nonetheless. I’m not ruling out something fancier with the EVE21.
Build and Wearing Comfort
Vision Ears have gone with a pretty modest, yet brave look for the EVE20. Its design is made-up solely of two translucent colours; no fancy swirls, foils, glitters or woods. But, the two colours they’ve chosen are rather unconventional: A vibrant wine-red and a light olive-green. It’s a combination that screams the word “apple” to me, and I personally love the blend, especially with its metal emblems inlaid on top. Obviously, however, looks are very subjective, so your mileage may vary.
What isn’t subjective, though, is how cleanly VE’s team have executed this design. Both colours are perfectly transparent, allowing you a pristine view at this in-ear’s tidily-arranged internals. Symmetry between the left and right sides are about as close as they could possibly be. The whole piece – from faceplate to nozzle – is contoured gorgeously; marble-smooth all around with neither a jagged edge nor an odd bump. And, its faceplates are fused perfectly to the shells as well; not a single glue mark in sight. Finally, kudos to VE for machining a groove on the nozzle to keep tips in place. It’s a feature I’ve always found odd to omit, and I’m glad to see this extra measure. I won’t have to dig tips out of my ears after each listen.
Fit-wise, the EVE20’s have a fairly unique shape. Rather than the shorter, wider silhouette that multi-armature universals tend to have, these in-ears are quite thin and tall. As a result, they can sit pretty low-profile in the ear; almost like a CIEM would. But, I feel you’ll only be able to take full advantage of this shape if you have naturally-tall canals. I personally have a taller canal in my left ear, so it fits brilliantly there. Whereas, on my right ear, I feel light pressure pushing on the top of my canal, so I have to push them out a tad, such that the top of the monitor hangs out. It does not affect isolation or the security of the fit at all. So, even if you do have shorter canals, you’d probably be able to finagle them into a comfortable position. Still, though, those with smaller or shorter canals should keep that in mind if they’re concerned about comfort.
The advantage to this taller design is that the IEM locks into your ear very securely. So, that extra concha bump I usually ask for from universals isn’t needed here. And, this is an easier design to store away as well, due to the smaller footprint.
DISCLAIMER: FiR Audio and Project Perfection provided me with the M3, M4 and M5 in return for my honest opinion. I am not personally affiliated with these companies in any way, nor do I receive any monetary rewards for a positive evaluation. I’d like to thank FiR Audio and Project Perfection for their kindness and support. The review is as follows.
Last, but unequivocally not least, we have the M line-up’s statement piece: The FiR Audio M5 in a blazing, hotrod red. As previously mentioned in Prologue, this five-driver flagship has my second-favourite colourway of the three. Though I tend to prefer darker reds, the vibrance of this shade is undeniably stunning. And, as the photos show, they pair exceptionally well with Focusrite’s Scarlett interfaces too. Again, this M5 boasts FiR’s gorgeously-crafted, machined-aluminium chassis. Then, in addition to Direct Bore, ATOM and Tactile Bass, they’re also the one model in this line-up to implement Direct Bore electrostats. As you’ll see, all this tech combines to create what is, to me, FiR’s most technical and most musical piece yet.
FiR Audio M5
Driver count: Three balanced-armature drivers, one dynamic driver and one electrostatic driver
Impedance: 6.8Ω @ 1kHz
Sensitivity: N/A
Key feature(s) (if any): Direct Bore drivers, Tactile Bass technology, ATOM pressure release system
Available form factor(s): Universal aluminium and custom acrylic IEMs
This review is a part of FiR Audio’s House of M series and will only cover sound impressions. For the introductory article covering packaging, accessories, build and fit, as well as FiR Audio’s slew of proprietary technologies, click the link here.
Presentation
Despite the M5’s pretty diverse driver config, it has, to me, surprisingly come off the most cohesive, refined and well-put-together of the three M IEMs. There’s this distinct effortlessness and finesse to it, which really shines through in how tidy its stage is organised, how crisply-separated its layers are and how precisely you can hear individual notes start and end. That authority, clarity and control throughout its frequency response are the M5’s greatest strengths to me, along with a brilliantly open, airy image to go with it too. It expands far along all three axes with instruments lining more so the outer reaches than the centre. This airier, more expansive imaging slightly leans this M5 more towards complex arrangements than soloists. On Lucy Rose’s Floral Dresses, for example, I’m drawn more towards the air in the track, the clarity of all the instruments and how cleanly-separated they all are, rather than that rawness and emotion in Rose’s vocal performance.
However, that’s not to say this M5 isn’t capable of revealing emotion either. For its lack of cuddling intimacy and warmth, I’ve found the in-ear is interestingly capable of storytelling through its precision and dynamic range. On Floral Dresses, for example, the frailty in Rose’s performance is aptly captured in how small her voice is within the track’s huge soundscape. Conversely, Jennifer Hudson’s torrential force on I Run occupies the entire image. So, though the M5 isn’t an earphone I’d necessarily call cozy, it’s still one that’ll deliver musicality in spades because of its technical feats. Onto the IEM’s timbre, it qualifies as neutral to my ears. As per the FiR house sound, this M5’s crisp, refined highs and quick, yet hearty lows sort-of meet in the middle. And, the midrange has great presence to it too. So, despite that grander, less intimate imaging, leads will still have tons of vibrance, zing and punch to them, and notes’ll rarely ever feel compressed, hollowed or sucked out.
Bass
While we’ve had a tighter, cleaner low-end from the M3 and a fuller, gutsier one out of the M4, the M5 sits somewhere in the middle. It’s definitely more like the latter in body and texture, but kept more in-rein in presence and punch. The mid-bass isn’t as expressive or loose on songs like Dua Lipa’s Levitating or Oytun Ersan’s Oh, That Butterfly! But, you will hear a cleaner, airier stage in return, as well as a more precise sound overall. Obviously, whether or not this’s a good trade shall ultimately depend on your tastes, but that’s what multi-flavoured in-ear line-ups are for. It’s not a bass that’s ever lacking either. The intro to Frank Ocean’s Nikes rightfully thumps, and the subs really come to life on Tom Misch’s Lift Off or Tone Stith’s Birthday At Midnight. It’s a testament to the IEM’s excellent bass extension, which gives it gumption, physicality and drive in spades. It’s a virtue of the bass’s size as well. Kick drums, while controlled, don’t ever feel choked or compressed. While reined-in, they’ll always sound lively and massive, but with the finesse to keep all eyes (or ears) on the lead as well.
In typical FiR fashion, the M5’s bottom-end showcases superb quality; rich in texture, piston-like in its physicality and yet, incredibly agile too. This is a bass that kicks and dips, which, again, benefits the cleanliness and airiness of the image. It’s most apparent in its mid-bass, where it doesn’t linger and permeate as much as the M4’s, for example. But, in the time it does have, it’s capable of squeezing out lots of detail nonetheless. Kick drums have their thump and thwack fully realised, and toms are similarly resolved down to the tails. This is further boosted by the low-end’s striking dynamic range; readily making those instruments really hit and expand when needed, but in a controlled fashion, once again. The single sound that, to me, doesn’t really benefit from a quicker mid-bass is the acoustic or upright bass. The M4 is better at parsing out those warm, woody notes on, say, Sarah McKenzie’s At Long Last Love. But, again, this’s down to taste. Either way, when it comes to bass chops, this M5 has it in spades: Depth, dynamics and detail that’ll make any bass section shine with grace.
Midrange
Of the three M in-ears, I find this M5’s midrange the best balanced, the best resolved and yet, the smoothest too. There’s still that slight tilt towards its higher-mids for vibrance, presence and pop, but it’s the lightest lift of the lot. The coherency it maintains is superb, and instruments are given a beautifully-rounded tonal profile as a result. Snare drums flaunt both their crackleand their depth, brass sections are evenly-sat across the board, and singers – male or female – never sound breathy or hoarse. They’re all vibrant, expressive and sufficiently meaty. And, they’re very precisely separated too. Again, the M5’s instruments always sit well-arrayed with very little overlap; crisp air freely coursing between them. But, perhaps because of this IEM’s tubeless design, what I love most about the M5’s midrange is how this separation co-exists with its smooth, slightly rich tonality. There’s a wetness – a glow – to these mids that work wonders for pianos and violins, among others; an analog hue that dissuades coldness, and a mix of precision and soul that I feel the M5 nails to excellent effect.
When it comes to positioning and imaging in the mix, again, this M5’s mids land around where I’d call neutral. They won’t get drowned out by busy bass lines, nor are they ever lost behind open hi-hats or crashes. At the risk of sounding vague, I’d call it a versatile, safe, just enough sort of midrange that sits squarely in the ensemble, and I expect it’ll only be disliked by those who’d prefer either extreme. If you like instruments incredibly intimate and lush, the M5 may come off a smidge more precise than you’d like. But, at the same time, it has more meat than what I’d call clinical too. So, to me, it sits in the healthy in-between where it sounds present, rich and clear with any genre, even if it doesn’t go the extra mile in emotion and resonance, which we discussed in Presentation. However, as discussed in that very section, this IEM is still capable of making those mids shine when called for. The monitor’s linear, natural tone gives credence to lower-pitched instruments like the baritone sax more so than its siblings. Plus, despite its penchant for precision, it’s capable of superb building too. The escalation throughout the keys-and-guitar part of Oytun Ersan’s Mysterious Maze is a fine example. So, as long as you don’t mind a less intimate, less enveloping feel, this M5 will show you precision and balance with dynamics and soul too.
Treble
The M5 sports a lower-treble not unlike the M3 and M4; peaked at 5kHz with a crisp, yet refined bite, before tailing off so there isn’t that hard-edged metallicity that’ll typically cause harshness or fatigue. Again, like its brethren, it’s an articulate peak that hands hi-hats and cymbals their crucial bits of cut, and it’s wonderful with snare drums or string plucks as well; transients leaping off the backdrop with punch. But, where it diverts from (and improves upon) the M3 and M4 is in how that peak is supported. The M5’s richer, more organic lower-mid tuning cushions the treble better, so there isn’t as far of a gap between the transient and the harmonic. It resolves that dryness I found on the M3, and it feels more genuine than the M4’s upper-bass rise towards the same goal. Though it’s the technically the work of the mids, it does ultimately make the M5’s low-treble peak more palatable to me, as everything connects in a smoother way. So, though this M5 doesn’t do much different with its low-treble, it has been better facilitated, allowing it to better integrate and shine at the same time.
Higher up the treble is where this M5’s electrostats start coming into play, and it delivers a slightly different presentation as a result. Though the M5 shares the M3 and M4’s slight shelf or taper, which results in that same sense of smoothness, subtlety and refinement, those e-stats do lend an effortlessness those two didn’t quite have. While you might find similar amounts of air in the M4, the M5 renders them with greater ease, resulting in a more open, more floaty feel to its notes. This contributes to the latter’s grander, less concentrated (or intimate) presentation, and it does wonders for separation as well. Thanks to this top-end’s extra headroom, cymbals, hi-hats, chimes and the like come through cleaner – having to cut through less muck. And, the M5’s excellent stereo spread positions them far apart as well for an incredibly immersive surround sound, especially with more complex material. Finally, again, that slight taper off the highest octaves lend those instruments what I’d consider a natural, even-handed tonality that rides the line between neutral and naturalvery nicely.
General Recommendations
As you’d probably surmise by now, ths M5 is an in-ear that’s – first and foremost – airy, open-sounding and dynamic, but in a controlled, refined way. It’s overall balance and neutrality make it fairly genre-agnostic; there aren’t really any it can’t work with. Plus, its incredible achievements in separation, resolution and physicality benefit all sorts of music universally as well. However, despite its doses of punch and oomph (especially across the lows), it can potentially come off a tad less engrossing or enveloping at times, especially with simpler, more intimate arrangements. If you need vocals to swathe or engulf you, almost, you may find the M5 a smidge too laid-back and calculated for that. It’s also an in-ear with FiR’s classic low-treble bite, which, even though it’s the most refined version of the lot, should be noted if you’re sensitive to any high-end sparkle. All in all, though, as long you have those two last caveats in mind, the M5 is a flagship that rarely puts a foot wrong to me. As long as the budget fits, it’s a strong all-rounder, especially if you want clarity, balance and punch in tons.
Select Comparisons
64 Audio tia Fourté (USD 3799)
64 Audio’s tia Fourté Noir is an in-ear that shares the M5’s blend of intensity and control. They’re similarly punchy in-ears that’ve successfully encased all their brazen energy into well-organised soundscapes. To me, what separates them, then, is how they’ve each portioned out that blend. The Noir, for example, doubles down on excitement and fun, exaggerating its colourations for a more W-shaped sound. Instruments aren’t as smoothly or evenly structured as they are on this M5, but that’s also given them more attack at the same time. That is especially true of the treble-and-centre-mid relationship, where the Noir’s elevation of the former and reduction of the latter gives its transients tons of contrast, energy and bite. By comparison, this M5’s more linear take on the signature still has excitement to it as well. But, it’s traded some of it off for a more linear response, where a note’s head and body sit on the same plane. On Cody Fry, Cory Wong and Dynamo’s Better, for example, the Noir exaggerates the horn stabs, hi-hats and Fry’s vocals, while this M5 is fairer to the synths and backing vocals. So, tonally, picking between the Noir and M5 will depend on how excited or lifted you’d like the IEM to be.
Then, in terms of individual differences from bottom to top, you’ll get a warmer, fuller bass response out of FiR’s M5. The bass line on FKJ’s Better Give U Up, for example, is fatter, more guttural and it digs deeper at your chest as well. The Noir’s low-end is a hair more even-handed between the sub-, mid- and upper-bass. So, though low notes won’t quite rumble as viscerally as they do on this M5, you will be able to hear more of the note itself, along with each individual reverberation within it. So, it’ll depend on whether you prefer verve or nuance. The mids are where I feel the M5 comes out on top with a more even tonality, greater centre-mid support for vocal structure and a wetter, more natural hue overall. The Fourté’s tighter, drier response comes off more artificial to me, even if that tightness gives it cleaner separation. Up top, although both in-ears sport fair amounts of sparkle and tizz, the Noir does have more of a bite to its mid-treble, resulting in slightly harder-edged transients than the M5. Plosives are a tad more prone to brittleness, and its high-treble peak brightens the backdrop too. Whereas, thes M5’s peaks sit more cozily with the rest of its sound, even if it’s a bit more subtle as a result.
Empire Ears Odin (USD 3399)
The Odin and this M5 are both earphones with emphases on openness and air; both grand in imaging and spread-out in structure. They sport similarly neutral colourations too, leaning neither towards all-out brightness nor gooey warmth. To me, where they ultimately differ is, firstly, in dynamics and, secondly, in how they formulate their midranges. Because of the M5’s more present, more pointed treble, it’s the stronger articulator of the two with sharper transients, tighter decay and a slightly brighter shimmer to, say, cymbals. The contrast between that and its low-end gives the in-ear the punchier, more energetic signature. And, details are more apparent at lower listening levels too. By comparison, the Odin’s slightly more refined, more subtle low-treble sits its articulation a tad further back and gives greater focus towards the mids. For example, Yolanda Adams on Nathan East’s Feels Like Home will sound chestier, richer on the Odin, while the M5 sharpens her enunciation, places more of a focus towards her throat and mouth, and emphasises her belt near the climax as well.
While projection, intensity and bite are the M5’s specialty, the Odin’s – as suggested earlier – more so lie in the midrange. It possesses the bigger, more enveloping-sounding vocals, which deliver the intimacy and resonance I’ve said the M5 can lack throughout this review. Though, as mentioned above, they aren’t articulated or enunciated as sharply as they are on the M5, they do have this vibrance and mass that soar with, say, Mark Lettieri’s electric guitars on Spark and Echo or Cory Henry’s synths on Snarky Puppy’s The Curtain. Instruments radiate in a way that may make the M5’s feel a hair truncated. The same is true for the bass. This M5 aims more for tightness and control; again, limiting the warmer, woodier tones on an upright bass or the decay on a kick drum. Whereas, the Odin delivers the more visceral, more imposing bottom of the two. Bass hits dig deeper, and they linger a bit longer too. The latter lends the edge in bass resolution to the Odin too. In terms of imaging and space, the M5 has the lightly deeper stage to me, and its tighter notes give it more precise panning as well. Though, again, when it comes to imaging to immerse or envelop, the Odin’s more ideal. So, for me, the Odin gets a nod if you want expansion, clarity and intimacy in one, while the M5’s staccato sig is for those after order and precision.
Jomo Audio Trinity (SGD 3799)
Across all the in-ears here, Jomo’s tri-brid, flagship Trinity is perhaps the most like this M5 in tonality. Both are almost W-shaped, and both skilfully balance musicality with precision as well. Another common trait between them is a palpable 1-2kHz rise, which lends instruments a strong spine and almost serves as the bedrock for all the energy flying about above and below. That energy across the extremes is delivered pretty smoothly and linearly as well; never straying too far away from neutral no matter the genre. Ultimately, though, what separates them for me is technical ability. Swapping between the two, FiR’s M5 reveals a clear edge in resolution, definition and focus; instruments seemingly more zeroed-in, cleanly-etched and tactile – physical in nature – than those on the Trinity. The latter, by comparison, can come off a touch hazier, especially with regards to its centre-image; less tight and precise than the M5’s. Its treble, though superbly articulate and clear, also doesn’t extend or float as well as this M5’s can. So, technically-speaking, despite its inherently good technique, the Trinity does fall a tad victim to age; losing out on the technological refinements that the M5’s been privileged to have.
Delving deeper into the finer differences between their respective tonalities, you’ll get a slightly fatter mid-bass on Jomo’s Trinity, with not as much sub-bass. The bass line on Joji’s SLOW DANCING IN THE DARK, for example, will come off rounder – more bulbous – and almost convex in shape. Conversely, the M5’s sub-bass tilt gifts it a darker, rumblier, more physical low-end, with stronger texturing and extension as well. That roundness or bulbousness extends to the Trinity’s mids too, which, despite being similar in tonality with the M5, is quite a bit less focused and tight. Notes are allowed to radiate and intermingle, almost, which certainly seems musical and immersive. But, again, the trade-off there will be in precision and separation. The Trinity’s midrange also isn’t as dynamic and tactile – physical – as the M5’s; again, hazy is the word I’d use here. That lack of dynamism actually has a lot to do with the Trinity’s highs, which miss an inch of reach compared to the M5’s. While the former has space and air for sure, it doesn’t quite let notes breathe as easily as the FiR flagship. So, again, though the two share lots in common tonally, the M5 does come out the stronger performer of the two by virtue of tech.
Vision Ears ELYSIUM (2900 EUR)
Immediately, what separates the ELYSIUM and M5 is the low-end. While the former pushes more tactility and depth than most, single-BA woofers I’ve heard can, it simply can’t measure up to a genuine dynamic driver in texture, physicality and drive. The kick on the A-section of Anomalie’s Le Bleury sits a tad behind the synths in intensity, for example. Whereas, on the M5, they pop in and out of the lead spot as I think this track demands. They span larger too; like a looming silhouette behind the keys. Though, if you happen to prefer a lighter, daintier sig, the ELYSIUM’s presentation would be nice. But, in terms of sheer technicality and realism, lows go to the M5 in my book. Now, in the midrange, the tables have completely turned. This ELYSIUM’s HALC-powered midrange hands vocals a radiant, ethereal quality, along with bounds and bounds of texture. Guitars and keys have a soulfulness to them that’s accompanied by a similar precision as this M5, which I feel is a great feat. But, the gap isn’t as big in detail and power, which the M5 has in spades too. Furthermore, the FiR flagship has more 1-2kHz content, which gives instruments a bolder, weightier timbre. So, really, it could be up to preference too.
Up high is where these two in-ears are most alike. Both employ 5kHz peaks for articulation, followed by a comparatively more relaxed upper-treble for balance and refinement. The one difference I’m picking up is a slightly harder edge on the M5, due to its brighter 8kHz presence. Hi-hats have a thicker, sharper bite when they attack, which contributes, again, to that IEM’s intensity and fun. By comparison, the ELYSIUM feathers its mid-treble for a slightly softer attack, which retains balance at the situational cost of pushing those details forward; you may like one, or the other. High notes are also a tad smaller and tighter on the ELYSIUM as a result, which further boosts that airy, floaty feel I described in the Treble section. But, again, you may prefer the more intense presence of that M5 for genres like rock. Top-end extension is where things get a bit hairy. The ELYSIUM has the potential to best the M5 in effortlessness and stability with more powerful sources. But, when they go head-to-head on, say, the single-ended output of Lotoo’s PAW Gold Touch, it’s more of a toss-up. So, it ultimately will depend on what you drive it with. All in all, I’d say the ELYSIUM and M5 fill fairly similar gaps. One is lighter and daintier with a vocal focus, while the latter is heavier, more driven and more bass-emphasised. It’s all down to taste.
So you’ve purchased your first audio interface, got some recording software, splurged on a pair of pro headphones (hopefully some near field monitors, too) and you’re driving your first DAW (digital audio workstation). You’re finding that good results are pretty easy to get, that this is seriously fun stuff and are wondering where to go next with this whole audio production thing. Allow me to suggest one thing: Get some microphones.
It’s easy advice to give, as mics are the window to worlds of audio understanding, enabling the most impactful ability and choice in audio production, using mic technique and selection to capture sound of all varieties in the most accurate, or at least the most useful, way possible.
Every studio microphone is the “ears” of your audio recording kit and no single model will ever do, no matter how perfect or expensive it is. As you’ll soon see, audio capture isn’t so much about mics that pickup sound waves perfectly; rather, it’s about microphones that pickup sound waves in a manner that your ears “want” to hear and about the microphone technique required to create euphony—the ability to recreate sounds better than how they are heard in real life, in ways that will delight and astound listeners of all varieties.
The cold, hard—but exciting—truth is, you’ll need at least five different kinds of studio microphone to be able to utilize proper mic techniques, have flexibility and be able to pursue artistic choices in your endeavors.
Let’s dive into the different mic categories and look at what applications and techniques are typical, what classic microphones we would have used in the past and what modern-day mic options may offer a twist on such time-proven and tested formulas.
For many fledgling engineers, their first studio microphone is a dynamic mic, as much for the low cost as anything else. Totally adequate dynamics start out in the “less than $100” range; they’re simple to use, rugged, consistent and aren’t that sensitive to loud sounds, so it’s hard to “blow them up” and force them to distort. Many people start out with a dynamic handheld mic—the one with a long handle and a ball-shaped windscreen/pop-filter that helps to reduce those dreaded popping “P” plosives that blow-out PA systems, distort speakers—and which are the delight of hip-hop beatboxers everywhere.
Sennheiser MD421-II.
Another nice thing about dynamic mics is their taming of sibilance, or the “S” sounds that are part of S’s and C’s. They’re important sounds that have to be heard in order for you to understand speech, but for certain people (and certain instruments), these sounds can get unruly and downright nasty when picked up by a mic. Dynamic mics typically have an appropriate amount of sibilance; in fact, they are often considered a little dark and need a slight treble boost to perform ideally with intelligibility, detail and clarity.
Your typical dynamic mic has a cardioid or hyper-cardioid pickup pattern—that is, the mic is sensitive directly in front of it, not very sensitive on the sides at all and rejects sound coming from the rear rather well (a hyper-cardioid pattern is like a cardioid, but even narrower on the sides, with a just a touch of unwanted sensitivity at the rear, oddly enough). You’ll sometimes see dynamics with an omnidirectional pattern (sensitive equally in all directions), but these aren’t very common, even if they are occasionally useful.
How To Use Them
Heil Sound PR40.
Technique-wise, dynamics are quite good at the modern technique of miking a source from a very short distance and getting a touch of proximity effect (or bass boost)—“close miking” as it’s obviously called. This technique rejects room sound by bombarding the mic with up-close volume, so that it sounds very “in your face”—even more aggressive than the reality of listening from a close distance—and conveys lots of power with thickness from bass and low-mids. Dynamics can easily handle the high volumes of such placement, convey those low frequencies with power and substance, and reject unwanted off-axis sound pretty well, too (sounds like cymbals, guitar amps and degrading sound reflections off of the walls).
Electro-Voice RE320.
Dynamics excel on any job with excessive volume like drum kits, percussion, guitar amps, sound effects, horns and loud vocals. Their ruggedness allows them to perform even in temperature, humidity and vibration extremes, so they’re great for difficult tasks like news gathering, harsh environments and “zero-failure tolerance” gigs like press conferences.
Using a dynamic mic is easy; just aim it at your sound source, get in close if you want some extra punch and proximity effect, or back off if you want some “air” and room sound. You likely won’t have to worry about mic overload, so turn up your preamp’s gain, and EQ/compress to taste in the mix. Look to filter out low-end if you got in too close with proximity effect, dip out some boxy midrange around 300 – 400 Hz and possibly brighten up the top-end around 8 kHz if more detail is needed.
The Classic and Current Models
The classic mics here—the proverbial dynamic duo—are arguably the most popular mics of all-time: the Shure SM57 and SM58. They’re nearly identical in their performance, sounding only slightly different due to their different windscreens—the ball-ended SM58 is ideal for vocals, while the ultra-rugged, narrow-tipped SM57 is perfect for instruments. They’re mostly known for rugged success on-stage, but 57s see lots of studio work, too, especially with snare drums and guitar amps.
The Electro-Voice RE-20 is the essential mic that radio DJs have relied on for decades, and it has now become an essential mic for podcasters for all the same voice-massaging features. The updated RE320 brings a hotter output and optional mid-sculpting.
Perhaps the most desirable dynamic ever for instrument recording is Sennheiser’s MD421-U. These wedge-shaped, Sixties mod-looking mics (and their modern MD421-II counterparts) have brought thickness and warmth to countless trumpet, horn, guitar amp, bass amp and tom tom recordings.
Aston Stealth.
Today, the dynamic mic scene is dominated by the ubiquitous Shure SM7B. What was once a mic for DJs and announcers has become the “mic du jour” for indie crooners, popsters, singer/songwriters and metal screamers, too. For blistering loud screamers and yellers, the SM7B smooths out shrillness and the built-in variable high-pass filters (HPFs) allow careful filtering out of unwanted chestiness.
Heil Sound’s PR40 (with a big 1” diaphragm and wide frequency response) and its handheld PR35 are both top studio performers that hold their own onstage, too. Also, British newcomer Aston brings a clever new wrinkle to choices in dynamics—its ultra-versatile Stealth offers not only four different tonal voicings but also the boost of active circuitry (with increased sensitivity and output) when 48 V phantom power is applied.
Large Diaphragm Condenser Mics
Neumann U87.
Your first mic might have been a large diaphragm condenser mic instead of a dynamic and they can be a much better choice for voice work, whether singing, talking or rapping. Compared to a dynamic mic, a large diaphragm condenser (LDC) offers a much more defined sound—one laden with more treble and detail, with hotter output from the mic requiring less gain at the preamp. It also has circuitry that requires external power, such as the 48-volt phantom power that is provided by the mic preamps in your interface.
AKG C414 XLS
In addition to their identifiable sonic properties, many LDCs are also larger and often side-address (they’re sensitive to sound on one side of the windscreen, not directly in front like a handheld) with multiple variables to sculpt the sound.
LDCs have a somewhat larger diaphragm than dynamics (and a capsule to house it and the backplate), and multi-pattern LDCs have two diaphragms and can therefore combine their outputs in various ways, creating useful polar patterns like directional cardioid, figure-8 dual-cardioid, omnidirectional and sometimes even hyper (or super) cardioid.
LDCs with multiple polar patterns, pads, filters and more are “fully featured”—you’ve got to own at least one of these versatile performers or you’re going to miss out on a lot of great possibilities.
How To Use Them
Audio-Technica AT2050.
You can use LDCs for close miking, but be forewarned—the output will be excessively loud. You’ll need either a mic preamp with a pad to decrease sensitivity (often -20 dB) or a LDC with a built-in pad (sometimes -10 dB, sometimes -20 dB, sometimes both). Also, be warned that off-axis sound from other sources are picked up quite a bit by LDCs—more than with dynamics—and the sound is not pleasant; it’s often brittle and harsh.
But LDCs handle room, area and distance miking much better than dynamics do, picking up incredible detail, ample low-end and crisply defined high-end. Many people say that a pair of properly spaced LDCs in a stereo technique closely approximates human hearing and “being there.”
Lewitt LCT 940.
A pair of LDCs can be used to achieve a number of stereo techniques that can present a very wide, deep and interesting sound field; exactly which one to use for any given task is the stuff of artistry. You can go with X/Y for a strong center image and great mono compatibility; ORTF for more width and excitement but less mono accuracy; a spaced pair for extreme width with less center and less power; or M-S (Mid-Side) for a raw capture of center and side information that requires some complicated post-production manipulation after the fact but yields great imaging and superior flexibility.
LDCs are going to excel wherever detail and sensitivity are more important than volume handling or power—for instance, acoustic instruments of all shapes and sizes, vocals of all types, pianos, rooms and ambiences, and anywhere where the priority is a capture of full frequency response and a big life-like sound.
Roswell Colares.
Usage can be complicated, but offers great flexibility if you employ the typical wealth of features. Use the pad if loud sources are causing distortion, even if only on occasional loud peaks. To tame muddiness, try the high-pass filter (HPF – only highs will pass, filtering out lows) and experiment with close-positioned proximity effect, with or without the HPF. Most importantly, experiment with polar patterns, as you’ll be delighted to find the sheer number of tonal options provided by omni, figure-8 and hyper-cardioid patterns.
The Classic and Current Models
Austrian Audio OC818.
There are two classics that have defined excellence in LDCs through the decades: the Neumann U87 and the AKG C414, both in numerous, slightly different iterations. The U87 is truly utilitarian, with three polar patterns, a pad and a HPF making it capable of most any instrument or voice job, even if it has become most iconic for vocal work. The 414 is even more versatile, with more patterns, pads and filters making it legendary as a sort of a Swiss Army knife of audio capture.
Many modern LDCs have taken all the things we love about their predecessors and added forward-thinking versatility. The Roswell Colares is a favorite for vocals with built-in saturation (mild- and warm-sounding distortion) that is more useful across a berth of styles than you’d ever imagine, and it’s defeatable too.
Townsend Labs Sphere.
Austrian Audio’s OC818 has taken the capsule and concept of the C414 and added futuristic enhancements, like polar pattern, pad and HPF control from an app on your phone, as well as recording the output of each diaphragm separately and then selecting polar patterns in post-production. Lewitt offers its multi-pattern LCT 940, which has both tube and FET amplifiers within, as well as the ability to blend them in any proportion for fine-tuned versatility.
Fear not if you’re on a budget—there are numerous entry-level LDCs that perform adequately and affordably: Audio-Technica’s AT2050, Behringer’s C3 and Rode’s NT2-A are all more than capable for very little cost.
Alternately, a modern modeling mic (which uses software to emulate numerous classic LDCs) may be an ideal choice for your first LDC, especially if you’re still searching for that perfect match for your voice or tonal preferences. A modeled studio microphone can sound great, with believably authentic tones and they’re only getting better as advances in their software and preamp modeling further close the gap between the “real deal” and digitally imitated signal paths. The Slate Digital VMS and Townsend Labs Sphere L22 are good examples here, even if you might want to purchase the actual hardware after the models stimulate your tastes.
Small Diaphragm Condenser Mics
DPA 4006 family.
Having just a large diaphragm condenser mic isn’t going to be enough versatility for your kit—not with a world of small diaphragm condensers ready to spice things up. Like a painter with numerous brushes, you’ll find the “stroke” of a SDC has a unique focus, clarity and punch that LDCs (or dynamic mics, for that matter) just cannot provide. Though detailed like a LDC, SDCs are even more exacting than many LDCs, and when used in pairs, provide some of the most accurate reproduction possible. Sure, SDCs can be a little self-noisier than LDCs, but their transient capture (that sharp leading-edge of a sound) is oh so accurate and lifelike, and their off-axis pickup is typically smoother than LDCs, too.
How To Use Them
Schoeps Colette studio microphone
Use this kind of studio microphone for acoustic instruments, drum overheads, orchestras, choirs, pianos, percussion arrays, natural ambiences…. The list of superb SDC apps goes on and on. Used up-close, the sound can be kind of rude or even overload the mic, but SDCs excel when pulled-back a bit at moderate and long distances. They’re generally really good at stereo techniques, too, and are often easier to position than a pair of bulky LDCs. Using SDCs is a lot like LDCs, except pads, filters and patterns aren’t typically offered (if your SDCs do actually have them, use them by all means).
SDCs often come with foam windscreens which are useful for not only outdoor applications and preventing plosives, but also for taming bright, high-end response in what can sometimes be rather thin, bright mics. Most of all, experiment using stereo patterns with your SDCs, where the realism and air greatly benefit drum overheads, pianos, vocal groups, acoustic guitars, strings and much of anything with width and dimension to it.
The Classic and Current Models
Lauten Audio LA120.
The classics in this studio microphone category are once again built by the Germans and Austrians. Neumann’s KM84 and subsequent KM184 are wonderfully focused and euphonic, with a high-end that is sparkling, crisp and to die for, while AKG’s C451 (cardioid, but often fitted with interchangeable omni or hyper-cardioid pattern capsules) is a utilitarian’s dream, with a life-like midrange reproduction and surprisingly impressive low-end. Shure’s SM81 is also a classic SDC favorite, especially for drum overheads.
Worthy of mention is a category of SDCs known for their stark accuracy, reference consistency, availability in omni configurations and high price—Elite SDCs if you will. DPA 4006s, Schoeps Colette series, Earthworks’ super time-coherent models and Bruel & Kajers’ (B&K) measurement microphones are standouts in this apex group, which you’ll find recording orchestras, jazz and in the hands of picky uber-producers.
Vanguard Audio Labs V1S stereo kit.
Modern variants are plentiful at all price points and in my many years as an educator, I must say I’ve tried literally dozens of brands/models of SDC pairs and found them all to be adequate, if not exactly stellar. You’ll get less sizzly high-end and nastiness, and more smooth treble with less ear fatigue as you move up the price scale. I’m fond of the Vanguard Audio Labs V1S stereo kit with its interchangeable cardioid / hyper-cardioid / soft-cardioid / omni capsules (wide-cardioid is perfect for when you want to hear a little more of the room).
Today, there are pairs of SDCs with amazing price-to-performance ratios, notably Lauten Audio’s LA120 (with high- and low-pass filters) and Audio-Technica’s AT4041, which will outperform the lowest price models with a smoother high-end response and less self-noise.
Ribbon Mics
Beyerdynamic M160.
Now let’s do a 180 degree swing: What about those times when you want less precision and less excruciating detail? What about when things sound way too harsh for a dynamic mic, much less a condenser mic or two? The answer, of course, is the slow-moving, dull-sounding, bottom end-creating warmth of a ribbon mic. Whether a short or a long ribbon, most ribbon mics are figure-8 in their polar pattern, lean naturally towards accentuating low-mids, slightly dull their transients and smooth out their peaks, rejecting sound in the nulls of their “8” to an amazing degree while accepting EQ (especially of the high-end boosting variety) surprisingly well.
How To Use Them
sE Electronics RNR1.
Ribbons are quite sensitive, so you’d best not drop the mic, or blow into the ribbon or expose the mic to excessive SPL (sound pressure level), so close-miking isn’t possible on many drums or loud sources. That figure-8 pattern is often viewed as a liability, but I tend to disagree; it’s a useful feature. A ribbon mic for room ambience is great, as it picks up the source directly and the reflections coming in from the rear; just carefully position the mic’s distance from the source to get an ideal room balance, maybe even room reverb in larger spaces. Try placing the nearest sound source that you’re trying to reject with your ribbon mic right smack in the 90 degree (or 270 degree) off-axis position, and the polluting sound will seem to disappear from your ribbon’s track, especially if you can get your ribbon in fairly close to the sound you do want to pick up.
AEA R84.
Don’t forget to try a ribbon where a smooth and silky top-end is needed. Try close miking a vocal for intimate detail and first carefully tune a HPF to filter-out just enough unwanted rumble without losing fullness. Find the spot where the mic is resonating in the mids (likely around 400 to 500 Hz) and notch out a few dB, put a high-frequency shelf at about 8 kHz and start boosting it until the vocal is sweetly detailed and crisp without sounding lispy, irritating or unnatural (you might have to boost a lot, maybe even a whopping +12 dB; just don’t add too much noise in the process).
The Classic and Current Models
Coles 4038
Classic ribbons are still used today despite their fragility, ancient design and expensive cost; they simply sound gorgeous, huge and lush (words truly cannot describe). RCA 44s and 77s from the post-WWII era are the holy grail of ribbon mics, but slightly newer Coles 4038s (a long-standing favorite of the BBC and anglophile recordists) and Beyerdynamic M160s (that iconic drum intro to “When the Levee Breaks” by John Bonham of Led Zeppelin? Yep that’s the sound of 160s) carry the classic tone in to the modern era.
Royer R121.
Today, we’ve got ribbon mics that are sturdier, handle more SPL and have more high-end response (at least on some models), like Royer’s guitar-cabinet favored R121. AEA—maker of vintage throwbacks and post-modern designs, too—offers up passive or active-electronics R84, and there’s also the sE Electronics RNR1 Rupert Neve-designed ribbon, which is perfection on guitar cabinets and vocals, surprisingly enough, with sweet high-end response.
MXL R144.
Even on a budget, there’s worthy choices out there in this category of studio microphone, like the sE Electronics X1R, a solid performer. A favorite among my students is the MXL R144, which is voiced with prominent mids so it sounds warm yet defined on drum room and electric guitars. Cascade makes a line of ribbon variations at great prices, allowing a little experimentation if you get sucked down the whole ribbon mic rabbit-hole as so many people (rightfully) do.
Low Frequency Enhanced Dynamic Mics
Then there’s “bass mics” or “kick mics” or “large diaphragm dynamic mics” as they’re often mistakenly called (It’s not so much that they have bigger diaphragms as they do bigger bodies with resonant chambers and features to enhance low-frequency reproduction). They aren’t exactly versatile, but when low-frequencies are what you need, low-frequencies are what you get. These mics are dynamic and are always amply windscreen-protected so they can handle the brutal SPL of a kick drum no problem. In fact, foley and effects recordists will often use these mics to record jet take-offs, guns, explosions and engines without distortion.
How To Use Them
AKG D12 VR.
You’ll find uses for this category of studio microphone on kick drums, floor toms, bass guitar amps, tubas and anything that needs more “boom and butt” than “bite and crispness.” I’ve also put them under pianos to add some thickness, on baritone guitar amps and behind cajons (when paired with a condenser to grab the highs). Listen in solo if you dare, but don’t be surprised if the sound seems oddly unbalanced; check your track again without solo (or PFL) and note how your track actually blends into the mix naturally. Furthermore, getting the bottom-end just right usually takes some EQ and compression to notch out resonant frequencies of excessive bass response, careful EQ boosts to make up for any hollow holes in the response and the application of some compression to help smooth out, congeal and increase consistency.
The Classic and Current Models
Avantone Pro Kick.
Back in the day, AKG absolutely owned this category of studio microphone, starting with the D12, the world’s first bass-enhanced mic. It followed that widely successful mic with the ubiquitous D112, the green-rimmed egg that was found on countless stages and in countless studios through the 90s. Today, AKG carries on the tradition with the D12 VR (with three voicings and phantom power-activated active electronics). All the major players have worthy “kick drum mics” today, with the V Kick from sE Electronics being a favorite amongst touring players, while other top performers include Sennheiser’s E902, Heil’s PR48 and Avantone Pro’s Pro Kick (actually a small speaker wired in reverse to be a large bass drum mic).
The Ever-Evolving Studio Microphone Locker
Now that you’ve got all your bases covered (including your basses), don’t be surprised if you find yourself craving the specialized abilities of a more exotic studio microphone. Shotgun mics for tightly focused vocals, vintage mics for throwback tones, body-worn mics for unique perspectives, stereo mics for their wide perspective and easy placement, contact mics for direct pickup…. The list, and the adventures, go on and on!
I’ve long been enamored by the craftsmanship of Kennerton Audio Equipment. Their headphones showcase an artistry and elegance which cannot be denied. I so wished to try them, but never got around to it. Until the Magni.
When I saw Kennerton released a new, reasonably priced, portable oriented model, I thought this might be my chance. I reached out, and Kennerton was generous enough to send me a unit for review.
I requested the Zebrano wood, because it looked so goddamn gorgeous. The CEO, Valentin Kazanzhi, explained this is not the best wood for most of their models, but Magni plays really well with it. Which I guess means I lucked out. The best looks and the best sound! Actually, Valentin feels Bog Oak is the best for Magni. But… I’m glad to take second best for these rich hues.
The build is all quality all day. Metal framework, beautiful wood cups, and fine, stitched leather, every aspect tended to by patient hands. Magni isn’t particularly compact, however. Don’t get swept up in the notion of extreme mobility. They won’t fold in on themselves, for storage in a small bag. The leather carry case is rather large, taking up most of my messenger bag. Since I was traveling with the ZMF Atticus before, this is little inconvenience to me. It may be an issue for you, though. Considering the sound, I must say it’s worth it.
The only thing I don’t fancy about Magni is the cable. I gave it one look-over and never touched it again. Part of that is most of my devices are setup for balanced audio, and the cable is not. The other part is how thick and stiff it is. I loathe that! I want a cable that doesn’t fight me, drapes comfortably, and disappears from thought and mind. Luckily, I had a few alternatives lying around. Meze Audio makes a few upgrade options for the 99 Classics/Neo that work. A few years back, I even built one setup for 2.5mm TRRS, before Meze sold a balanced option for the 99C. But the cord I settled on for Mangi was a custom copper design from Double Helix Cables.
DISCLAIMER: FiR Audio and Project Perfection provided me with the M3, M4 and M5 in return for my honest opinion. I am not personally affiliated with these companies in any way, nor do I receive any monetary rewards for a positive evaluation. I’d like to thank FiR Audio and Project Perfection for their kindness and support. The review is as follows.
Our FiR Audio M-series round-up officially begins with the M3: A triple-driver, universal in-ear priced at $1199. As said on the introductory post, this M3 features greyish-blue faceplates with white logos engraved on top, along with the line-up’s sublime, anodised-aluminium shells. It features all three of FiR Audio’s staple technologies also mentioned in that article: Direct Bore Drivers, Tactile Bass Technologyand the ATOM pressure release system. Taken together, what the M3 provides is a crisp, clear and punchy sound with tactile instruments, tons of air and, yet, a balance and coherence to its sig as well.
FiR Audio M3
Driver count: Two balanced-armature drivers and one dynamic driver
Impedance: 16.4Ω @ 1kHz
Sensitivity: N/A
Key feature(s) (if any): Direct Bore drivers, Tactile Bass technology, ATOM pressure release system
Available form factor(s): Universal aluminium and custom acrylic IEMs
This review is a part of FiR Audio’s House of M series and will only cover sound impressions. For the introductory article covering packaging, accessories, build and fit, as well as FiR Audio’s slew of proprietary technologies, click the link here.
Presentation
FiR Audio’s M3 kicks off the pack with a clean, clear, dynamic response; lightly elevated in air, articulation and punch. The monitor sports a light, quick, open tonality, and derives a lot of its energy from its crisp, sparkly, yet refined treble. This is then supported wonderfully by its thump-y, dynamically-driven low-end, and its centre- and upper-mids finish with great presence to lend instruments the structure they require, and to ensure the M3 maintains a coherent sig throughout. The most obvious colouration would be in its lower-mids, where a bit of that thickness has been scooped to give the monitor tight, quick notes and an airy stage. Nevertheless, it all amounts to a crisp, lively sig that doesn’t lose track of realism too.
Spatially, what I seem to be getting between the tubeless drivers and ATOM is a cleaner, blacker background and an airy, effortless delivery, despite the M3’s punchiness. This is especially true down low, where the dynamic driver doesn’t linger quite as long as one typically would. I find that aids the M3 retain its punch for longer periods of time, because you won’t get dulled by its transients as quickly. And, fidelity-wise, it lends this monitor a more open and roomy sound as well. This is particularly ideal given the M3’s staging, which isn’t out-of-head or theatrical, necessarily. Instruments are more on the forwardly side. But, again, the breathing room the tech provides compensates nicely. And, the M3 ends on a high with its resolution and stereo separation. Instruments are well-formed and well-spread-out for a sound as soulful as it is refined.
Bass
Although my initial comment about the M3’s thump-y lows may’ve implied a full-bodied, elevated bass response, that isn’t necessarily the case. It actually settles on the more neutral side in terms of quantity and warmth; in line with much of the midrange, and just behind the lower-treble peak. Instead, what gives it this presence and allows it to contrast against the high-end is its power, physicality and impact, courtesy of the in-ear’s stellar dynamic driver. Kick drums are rounded with great oomph; incredibly-textured and tactile. The same goes for floor toms too. Dave Weckl’s on Oytun Ersan’s Mysterious Maze is visceral and life-like, and so’s the one panned right on the In The Room mix of Gallant’s Doesn’t Matter. This adds a guttural, physical aspect to the M3’s sound and counters the sparkle of the highs nicely; without adding warmth or musk.
Much of this is due to the bottom-end’s frequency curve, sloping downwards from the sub-bass into the mid- and upper-bass; a tighter, more focused slam that doesn’t bloom or bleed as much. Paired with this bass’s stellar extension, texture and clarity, it is as much a treat with acoustic kicks and floor toms as it is with 808’s and synthetic bass lines. The ones on Kendrick Lamar’s Alright, for example, drop very low, and the M3 keeps up all throughout. The ever-panning bass line on Anomalie’s New Space is also a gorgeous showcase for the IEM’s lows and stereo imaging; present and visceral, yet never overstepping the keys. At the same time, there are songs this curve won’t match quite as well too. Jazz arrangements like Sarah McKenzie’s We Could Be Lovers may want that warm, husky bloom to the pianos and contra bass to fill out the track and lend it its intimacy. But, as long as your tastes are in check, this’s a well-tuned, quality, DD bass; a star in the M3’s sig.
Midrange
The midrange is definitely where the M3 comes off most coloured to me. Again, it has a lower-mid scoop between about 300Hz to 1kHz, which gives its notes that tight, clean sense of definition. It works wonders for headroom and separation; effortless, with pockets of clean air between each element. But, at the same time, it leaves these mids with a lighter, less-than-natural tonality. It takes away a fair amount from those fuller, richer overtones, which contribute to an instrument’s weight. This, in particular, affects male vocals. Robbie Williams on I Wan’na Be Like You comes off a tad restrained; lacking dynamics on the lower-half of his voice, which deters the playfulness he’s trying to exude with his performance. This isn’t the most ideal tonality for saxophones either. Amber Navran’s solo on the Jacob Mann Big Band’s Baby Carrots should be fuller and richer. And, the brass section on Snarky Puppy’s Grown Folks, to me, also feel a touch unbalanced; higher-tilted.
But, with all that said, there is tons to love in this midrange’s clarity, definition and presence higher-up the range. Female vocals, in particular, are a highlight on the M3, especially those with lighter, wispier timbres. Carly Rae Jepsen and Taylor Swift will fare better than a Rachael Price, for example, because of the reasons outlined above. Nevertheless, what they’ll all gain from this M3 is striking amounts of detail, along with a bright, vibrant delivery too. These aren’t vocals that’ll ever get lost in the mix, and it’s an ideal in-ear with genres like pop, where you want both the vocals to lead and tons of space for the instruments around them. Records like Grace’s FMA and Tori Kelly’s Unbreakable Smile come to mind. And, further aiding this is the M3’s strong vocal definition. Leads are crunchy and well-realised, and fairly textured as well. So, again, it is a lightly-biased midrange. But, if you like vocals light, vibrant and clean, the M3 will provide with fair technique to boot.
Treble
The M3’s treble, to me, treads between natural and crisp very nicely. It’s articulate with a good tick, which is indicative of a 5kHz peak. But, it’s measured and refined as well; never allowing those transients to leapfrog the mids and lows. Now, to my ears, it can still show the occasional bright spot. Listening to Nathan East’s Lifecycle, there’s the tiniest hint of sizzle on the horns, as well as the ride cymbal. Though, it’s not the kind that comes off harsh or metallic in any way, so it’s more so a tonal colouration than any sort of real flaw in the tuning. That bite does fare better in genres like pop and hip-hop, and it also aids separation within this M3’s space. Heading towards the mid-treble is a steady, linear drop, which ensures that that slight bite doesn’t get overdone to the point of brittleness. The snare and hi-hats on Carly Rae Jepsen’s Boy Problems are hard-edged without glare, for example. Those open hi-hats on Snarky Puppy’s What About Me similarly aren’t splashy.
In the upper-treble, the M3 continues that balance by nicely levelling off; adding sufficient air and openness to the image without treading towards brightness. Instruments, though still on the snappier side given the laidback lower-mids, do not come off razor-thin. Plus, this in-ear’s backdrop remains mostly uncoloured too; neither brightened nor over-aerated for that faux sense of clarity. Cymbals and hi-hats trail off smoothly, and it simply comes off realistic in tone for me. In terms of extension, the M3 performs fairly decently. It isn’t rolled-off by any means, though it’s certainly the weakest performer relative to its siblings. Instruments don’t hold their places within the space as solidly as the M4 or the M5, and it does not expand the furthest either. Again, though, assumedly because of the tubeless drivers, the M3 can still pump an immense amount of openness and air into its stage. So, though imperfect, it’ll still output great clarity, separation and cut for most.
Who is it For?
To me, the M3 is an in-ear I’d pick-up if I was after clarity, air and contrast without straying too far from what I’d consider natural or balanced. It’s a monitor coloured for a slightly drier, crisper tonality and a bias towards higher-pitched sounds, but not to the point of plasticity, hollowness or artificiality. Personally, along with its dynamic lows and slightly-forwardly upper-mids, it’s an IEM I’d take with genres like modern pop, along with the more electronic brand jazz-fusion. Musicians like Anomalie, FKJ and Jerry Folk come to mind, along with vocalists like Billie Eilish or Tone Stith. I would not recommend this M3 for those with fullness, richness and warmth listed as their top priorities, or those with Michael Bublé, Laura Fygi and Ruben Studdard at the top of their playlists. Still, I see it as a mid-tier mainstay, with a couple aces up its sleeves too.
Select Comparisons
64 Audio A6t (USD 1299)
Compared to 64 Audio’s A6t, this M3 is a much lighter, leaner-sounding IEM. The latter’s low-mids are considerably more recessed, which results in a drier, more analytical midrange presentation. Then, its elevated low-treble lends transients a brighter, crisper feel as well. This gives the M3 the lead in airiness and separation, but at the cost of its warmth and tonal accuracy. It emphasises snare cracks, bass slaps, lip smacks and hi-hats with great clarity and punch, but it’s not as linear or natural-sounding as the A6t, which tends to be more even between articulation and body; less flashy. Vocals are fuller, warmer and better-rounded, and the same goes for most melodic instruments, really. So, as always, timbre will certainly be up to your use-case and personal taste. Though, in terms of raw coherency and balance, I’d have to give it to 64’s A6t.
Technique is where I think the M3 takes that edge back from 64’s A6t, with tiny leads across the frequency spectrum that add up to a more immersive, open sound. Firstly, the M3’s dynamic driver lends its lows a more palpable, visceral punch. Despite the more neutral presence, the physicality and impact it brings to the table ultimately inches it ahead of the A6t’s in terms of realism and drive. In the midrange, tonality aside, the M3 does manage to eek out a hair more resolution and focus, which helps instruments pop and feel more tactile. The A6t, if unaided by a mid-biased chain, can lack a bit of zing here. Finally, the M3’s highs extend further to my ears, which hugely aids dynamic range. It’s not as prone to feeling boxy or compressed as the A6t, so it’s more ideal for long listening (given you enjoy its sig, of course). That extension gives the M3 a freer and – especially – taller soundstage as well. So, that will be another point of consideration between these two.
Custom Art FIBAE 7 (1100 EUR)
It’s a bit of a similar story with the M3 and Custom Art’s flagship FIBAE 7. The former is a lot tighter and crisper-sounding, while the latter comes off richer, fuller and more natural in tone. That is especially so in the midrange, where the FIBAE 7 – somewhat like 64’s A6t – capably balances articulation and warmth, while the M3 goes all-in on cut. Listening to Snarky Puppy’s What About Me, the horns on the FIBAE 7 are weighty and well-rounded, while the M3 noticeably emphasises the honky-er, brassy-er qualities of these instruments. There’s a lot more air in the latter’s soundscape as well, courtesy of its tightened, compacted notes. But, again, this’ll be at the cost of linearity and coherence, which is more the FIBAE 7’s forte.
Spatially, the M3’s significantly-elevated treble and neutral low-mids give it the airier, more open stage. Notes are further separated, and they leap further off of the backdrop as well. The FIBAE 7 is thicker and mellower-sounding with, again, a much bolder, more intimate midrange. You’ll be able to glean more detail out of the M3’s tighter, more clinical mids. But, again, I suspect it’ll more so come down to a preference in either’s tonality. In resolution, stage size and imaging, the two come surprisingly close. The M3’s tighter notes do make its imaging a tad tighter, but it isn’t by much. Ultimately, the one edge this M3 has over the FIBAE 7 is its dynamically-driven bass. It moves air in a more realistic, palpable way, which aids instruments like the kick. drum So, again, to me, it’ll come down to your tastes in both overall timbre and bass response.
Lime Ears Aether R (1200 EUR)
Compared to Lime Ears’ Aether R, the M3 is, again, quite brighter and sparklier, especially along its lower-treble. Cymbals and hi-hats are sharper-sounding with a more pronounced sizzle, while they’re softer – more diffuse – on Lime Ears’ IEM. The same can be said on the other end of the spectrum, where the M3 produces a more present, impactful bottom-end; most so in the sub-bass. And, in the midrange, this Aether R’s centre-mid elevation hands it a meatier, more wholesome, more substantial tone. But, it drops off higher up the range, which lends the M3 an edge in presence and vibrance when it comes to female vocals or horns, for example. All this amounts to clear audiences for either profile. The M3’s punchier, contrast-y sig is geared for artists like Anomalie and FKJ, while the R is more versatile at the cost of sounding a bit flatter.
In terms of technical performance, the Aether R and FiR’s M3 do trade blows somewhat. The former, to my ears, sports a blacker background of the two, along with greater dynamic range. Instruments aren’t as aggressive as they tend to be on this M3, and you’re able to discern ebbs and flows in a track’s loudness and energy better too. Ironically, given what I just said about the M3’s tone being better-suited for an artist like FKJ, I find the Aether R better reproduces the dynamics of a track like Go Back Home; properly highlighting the contrast between the quieter and louder sections, and giving that song more movement. Spatially, the Aether R is capable of a bit more depth, given its lightly-withdrawn transients. But, the M3 does have the more vivid, direct and lively-sounding instruments of the two, and this clarity may be something you value highly. So, again, both IEMs do have their respective strengths and weaknesses. As always, it’ll be up to what you’re after.
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