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: 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: 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.
Disclaimer: Vision Ears loaned me a universal version of Elysium for the purposes of this review.
Vision Ears’ Elysium is truly unique among IEMs, a fellow reviewer told me “Nothing sounds like the Elysium”, I agree with his statement. Elysium features a single balanced armature driver for the lows, a single dynamic driver for the highs and two electrostatic drivers for the highs configured in a 3-way crossover. Vision Ears spent over a year developing their dynamic driver chamber, they call this new technology HALC (High precision acoustic leveling chamber), it’s a specially tuned chamber that acts as an acoustic filter for the dynamic driver. Due to HALC Elysium’s mid-range features a new level of realism/transparency due to it’s perfect timbre, tonal accuracy and a rich wetness that only the HALC chamber can create.
I will be reviewing the Elysium with it’s stock cable and the Chord Hugo 2 for an accurate and balanced take on what the Elysium can do. The Hugo2 has a neutral tone and extremely high resolution, allowing me to hear all the technical capabilities of Elysium without coloring the sound unnaturally. The cable is 8 wire SPC 28AWG terminated in 2.5mm so you will need purchase an adapter if you intend to use 3.5mm as one is not included.
Open the magnetically sealed box and the Elysium will slowly rise up to greet you, by far the most impressive packaging I’ve ever seen.
Signature Analysis
Tuning/Signature: Elysium has a dead silent noise floor combined with massive dynamic range. Rich notes and industry leading timbre create a stunning sonic attack in which notes burst onto the scene with crystalline clarity and true to life tone. Images command authority on a tall, deep spacious and airy stage. Elysium is neutral-warm with a slight sub bass lift, the lower mid-range is full-bodied but high mids are more centric to the signature. Bass heads who want slam and rumble should look elsewhere while audiophiles who appreciate a sub bass that reaches deep in tone with moderate impact will be happy with Elysium. Highs are fatigue free, airy, velvety smooth and exceptionally clear. The mid-range is the best I’ve ever heard and is the overall masterstroke of Elysium. The timbre of Elysium combined with its tonal accuracy and technical capabilities make it a truly special listen. Nothing I’ve heard has been able to replicate the wet, vibrant life like sound of Elysium. With Elysium you’re in for a fatigue free, easy listening, technical yet emotive sound. Keywords: Holographic, transparent: perfect timbre and tone, crystalline clarity, warm-neutral, balanced, airy, dynamic, musical/effortless, vibrant, seamless coherency.
High Frequencies(6k and above): Elysium’s treble presentation is top shelf, with sparkle and lots of headroom. The electrostatic driver provides crystalline clarity, illumination, spaciousness and it increases stage clarity/separation with its’ pin point precision. High frequency induced fatigue should never be an issue with Elysium, it’s incredibly easy to listen to for hours or even the whole day. I can’t imagine a treble head not getting enough with Elysium but I suppose it’s possible. This is a silky smooth yet high resolution treble presentation with good note density/size and a dip around 6k. Resolution is high due to the bump around 7-8khz, Elysium was never fatiguing for me, quite the opposite its as one of the easiest-listening monitors I’ve ever heard yet it never sounded dark or veiled. Keywords: Crystalline, airy, smooth, slightly attenuated extension, relaxed, airy, sparkle, high resolution.
Craftsmanship is what one would expect at the top of the market.
High Mid-range Frequencies(1k-2k): Vision Ears took a unique approach to the highs by using dual electrostatic drivers. Elysium features a steady rise from the high mid-range to the high frequencies. This rise adds vibrancy to the sound, notes burst onto the scene when cast against Elysiums’ silent noise floor. This gives more weight to the high mids as opposed to the low mids, creating heaps of texture and clarity. There’s no harshness in the upper mid-range and notes have solid body and presence in the stage. Keywords: Vibrant, slightly favored over lower mid-range, high resolution texture, clarity.
Mid-range Frequencies(500 to 2000Hz): Vision Ears chose to use a dynamic driver for the mid-range, a driver that they spent over a year tuning to perfection. They went through dozens of prototypes to achieve the HALC dynamic driver technology you will hear in Elysium. The mid-range is rich, wet, highly textured, highly resolved and detailed while being incredibly transparent and smooth(non-clinical). The most striking feature to the mid-range is it’s true to life quality, it’s a quality that I’ve never heard before. The mid-range is positioned neutrally in the stage yet vocals can often sound intimate. Overall the mid-range is neutral-warm. Keywords: Lifelike timbre and tone, intimate vocals, impactful, rich, transparent, vibrant.
Bass(60 to 250Hz): Elysium’s mid-bass has moderate quantity, quick impact, decay is good but never creates congestion Elysium maintains great separation and air while tonal extension is deep. There’s enough looseness to provide good weight and density. Harmonics and reverberations interplay nicely and maintain the crystalline clarity Elysium I known for. Strings, kickdrums and vocals have impressive presence and image size. Down-tuned guitars have solid heft. Keywords: Moderate quantity, fast, tight, clear, high resolution texture, rich.
Note the array of drivers: dual Sonion Electrostatic drivers, a balanced armature for the lows and a unique dynamic driver technology for the mid-range.
Sub-bass(60Hz and below): Vision Ears chose to go with a balanced armature for the sub bass, they tuned it with top tier tonal extension, it’s fast, tight and impactful creates a very un-congested sound. Those looking for slam or thundering rumble may find the overall quantity insufficient. Sub bass is favored over mid-bass with regard to quantity which is to my tuning preference. Pleasing and natural sounding harmonics create a satisfying decay. While the tuning affords a cleaner presentation it does so while maintaining excellent note density. Tip selection will be critical in achieving the desired sub bass quantity or step up the custom version of Elysium which should get you a little more bass presence. Keywords: Slightly boosted, deep tonal extension, high resolution, clarity, moderate quantity, high resolution texture.
Technical Analysis
Stage: The first thing you’ll notice about Elysium’s stage is its’ unique dimensions. Elysium emphasizes vertical height/depth while still maintaining good width. I’ve heard the word holographic thrown around a lot on audiophile circles, the Elysium’s stage is very holographic. Images are massive with great air, clarity and separation. Elysium is a chameleon in the sense that it can be intimate yet expansive, vocals are often intimate yet the overall sense of the sound is one of space and air. Keywords: True holographic stage, exceptional layering and separation, uncongested, large headroom, tall and deep, moderate width.
Resolution: There are a combination of elements that mix to create the Elysium’s unique take on a high resolution sound. Elysium’s resolution is achieved in a large part through its’ use of separation combined with massive spaciousness/air as well as the commanding attack and solidity of each note. It’s not resolution in the sense of being clinical but in the sense of each note having all the space it needs to fully bloom, have solid presence and good decay. The high mids shine down and provide texture as well. Never did I find myself wanting more detail. Elysium is a monitor you can get lost in, for hours enveloped in its’ pleasing glow. It’s easy to crank the volume up with Elysium due to its’ smooth natural sound and when doing so it only gets better. Keywords: Warm-neutral presentation of detail, good resolution, musical, uncongested, non-clinical.
The stock cable is a fantastic pairing with Elysium. The included leather case is sturdy and refined.
Imaging: Elysium creates massive images, some of the largest and most impactful I’ve heard. There’s exceptional separation between images. Everything just sounds larger, dynamic, vibrant and alive. Images are three dimensionally coherent, large, impactful, radiant, detailed and holographic. These combined attributes give them a sense of weight and solidity in stage. Keywords: Huge images, radiant, solid/grounded images, holographic, airy with great separation.
Timbre/Transparency: Elysium’s timbre is the first thing you’ll notice about it, that incredibly realistic sound with perfect natural tonality due to the HALC technology. This is industry leading timbre. Ever so slightly pulling back from the highest highs contributes to the realistic non-clinical sound. Elysium possesses the best transparency of any monitor I’ve ever heard. What makes it so spectacular is the incredible realism created from the combination of perfect timber and tone. Attack and decay is true-to-life and most apparent with cymbals wherein they burst onto the scene but dissolve naturally and realistically. Elysium simply disappears and nothing but the music remains. In my opinion, there is no limit to how long you can listen to Elysium as it’s so smooth and natural. Keywords: Unparalleled transparency, timbre and tonal accuracy.
Coherency: Coherency is becoming increasingly important as manufacturers are now incorporating multiple disjointed audio technologies in their monitors. Elysium has seamless coherency, I tried very hard to discern any disjointedness in Elysium, I found none. Vision ears have achieved perfect coherency. Keywords: Perfect coherency, seamless high-fidelity sound.
Drive-ability: While it is true that Elysium can be driven by any device, Elysium is one of the most scalable IEMs I’ve heard to date. You want something with a lot of power for the dual electrostatic drivers. I used a Chord Hugo for this review but did find Elysium to sound slightly darker and less crystalline with inferior sources such as my Macbook Pro or my Samsung Note 10+. Elysium only gets better when you turn up the volume and give it the juice it needs.
Comparisons: Elysium vs A18t: A18t has a higher resolution sound while Elysium counters with superior clarity and air compared to A18t’s slightly darker sound. A18t will satisfy bass heads with it’s powerful bass, Elysium counters with a cleaner but less impactful bass. Vocals are more intimate and life-like with the Vision Ears offering. The timbre and tone of Elysium is what set’s it apart from A18t and frankly all other monitors, it has a sense of tonal accuracy, naturalness and attack that is truly unique. A18t has a much wider stage while Elysium counters with a taller and deeper stage. Elysium has larger images, they’re more radiant, three dimensionally coherent, impactful and holographic. The ability to fine tune the sound of A18t with a number of modules from both 64 Audio and Fir Audio is very appealing and is a trick Elysium can’t replicate. Both are exceptional monitors and deserve a place in any serious audiophile’s collection.
Final Thoughts: When I heard other reviewers talking about the unique properties of the Elysium, I knew I had to review it. There have been a few monitors that have burned their sound into my brain and I can’t forget them, Elysium is now one of those monitors.
Does Elysium do everything perfect? No, bass heads may miss their slam and rumble but what Elysium offers is a perfect timber/tone, musical, clean, vibrant and spacious sound that is very hard to put down and not available anywhere else given the unique HALC chamber. Make sure you have a powerful source to drive Elysium. I appreciate Vision Ears giving me this opportunity, I look forward to one day owning a custom version.
DISCLAIMER: Metal Magic Research provided me with the Gáe Bolg 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 Metal Magic Research for their kindness and support. The review is as follows.
Metal Magic Research has made waves throughout the in-ear industry as one of the youngest, most promising, high-end brands in recent memory. This Singaporean team have carved quite a niche with their exotic aesthetics, their whimsical, alchemical marketing and – surely – their acclaimed sonics as well. A major, major contributor to the latter is MMR’s lead designer, Joseph Mou of Jomo Audio fame. He’s taken his know-how and merged it with the company’s fittingly-forged in-ear monitors. And, now, with their latest release, they’ve paired this with a slightly more digestible price point too. MMR’s new-and-improved Gáe Bolg is a fresh contender in this $1000 bracket with its big, intimate and, yet, well-layered sound.
Unfortunately, MMR weren’t able to ship us the Gáe Bolg’s retail packaging in time for this review. But, based on the pics they’ve sent us, it looks nothing short of quality. They’ve kept that old-time-y aesthetic throughout both the exterior and interior. While I wish they’d have included a bit more branding on the top cover, I do love the intrigue that the sole spear exudes. And, I adore that the illustrations inside make sense as well; almost reminiscent of the DITA Dream XLS’s interior in this way. Finally, the two-tone colour scheme fits these monitors too. Obviously, I cannot speak for the materials MMR have used for the packaging, or what the unboxing experience itself is like. Hopefully, we’ll be able to do so in the future.
Image courtesy of Metal Magic Research
As far as accessories go, it looks like they’ve included a zipper case to go with these IEMs. Again, I adore both its imagery and colour scheme, which pair with the monitors perfectly. It also looks roomy enough to fit either an extra set of cables, an addition pair of IEMs or a portable source there too. MMR have also included a well-carved, premium-looking owner’s card. Again, I’d need it in-hand to examine its quality and finish. Lastly, the in-ears themselves are well-nestled in the top-left corner. They’ll come packaged with a generic, OFC cable if you choose to purchase the Lite version. But, if you opt for the Complete version, it’ll include Eletech’s Prudence instead, which MMR say the Gáe Bolg was tuned with. That option is online-exclusive and costs an extra $200. With the Prudence’s $249 price, it’ll save you $50 versus purchasing separately.
Image courtesy of Metal Magic Research
Ergonomics and Build
MMR’s commitments to metallurgy and precision-engineering have given their monitors a premium look and feel on par with some of the best in the market today, and this Gáe Bolg is no exception. It’s a robust, substantial-feeling IEM that, at the same time, doesn’t feel heavy; luxuries of an all-aluminium chassis. The machining on both the shells and faceplates deserve huge plaudits for all the smooth curves MMR have seamlessly incorporated, as well as the absence of any sharp edges throughout. Similarly, the join between this Gáe Bolg’s two halves is spotless too. Then, there’s the anodised finish across both the red and silver areas, which further cements this monitor’s classy, cutting-edge, and yet refined aesthetic.
Speaking of aesthetics, despite the Gáe Bolg’s less out-there silhouette compared to MMR’s previous releases, they surely haven’t held back when it comes to design. Taking inspiration from the monitor’s namesake, the faceplate features these intricate patterns, which evoke ancient weaponry or stone carvings. At the same time, they’re splendid displays of MMR’s precision-engineering, once again. I love that there’s almost an outer and inner layer to the plate, which gives off a three-dimensional effect. It’s certainly not the best for keeping dust away, but it’s nothing a little wipe and a blow can’t fix. That pattern finds its way on the back of the monitor too for a good bit of symmetry. Again, it’s a very stylised look that not all will particularly appreciate or gravitate towards. But, it’s very well-executed at the end of the day, and that’s what counts.
Further down the back of the shell, it’s clear MMR’s precision isn’t solely reserved for aesthetics, but function as well, i.e., the Gáe Bolg’s nozzle design. It sports that groove I’ve always asked for on universals, so ear tips won’t slip off with every wear. In addition, MMR have even added a couple small ringlets for better grip too. Then, a horn-like shape connects the nozzle to the chassis, which prevents tips from going too far up the barrel. This “locks” the ear tip in place and minimises variations in insertion depth, so you should get a more consistent, as-intended sound at all times. It may also reduce the potential for tone-shaping through tip placement. But, I reckon most users would rather take that extra security anyway.
Now, my only concern with this nozzle is protection against debris, considering the size of the bore and the lack of a wax guard. Speaking with Joseph Mou himself, he assured that the size of the bore will, in fact, prevent wax from clogging up the nozzle, and that any dirt that does make it in won’t make it past the in-ear’s 3D-printed acoustic chamber. Though, he also does recommend getting an in-ear vacuum (like FiR Audio’s Headphone VAC) for the best results when cleaning. For me, personally, I’d rather have had the Gáe Bolg come with a wax guard built-in, if only for peace-of-mind. But, for now, I will have to take its designer’s word for it, and only time will tell whether or not MMR’s choice there ends up panning out.
Finally, we have the 2-pin connectors. Personally, I love this design choice of giving them their own housings, rather than simply cutting out holes on the sides of the shells. They’ve been installed seamlessly flush with no traces of glue as well. Unfortunately, the joint between this housing and the chassis is where MMR haven’t been as surgical. Looking very, very closely with the cables off, I can spot the tiniest bits of metal that weren’t polished to perfection. To be honest, they’re so minuscule that calling them nitpicks would probably be an understatement. But, at the end of the day, if I am gonna laud their precision, the tiniest warts must be noted too. Nevertheless, those near-inconsequential flaws won’t hurt this in-ear one bit. It’ll just mean, despite being better-built than most in its price tier, it isn’t absolutely flawless (on my unit, at least).
As mentioned, the Gáe Bolg’s silhouette takes a slight departure from MMR’s typically-zanier designs. They’ve opted for a more traditional teardrop shape, and, although it’s been quite some time since I last tried their other universals, I can still safely say that this is their most ergonomic design to date. The long nozzle allows for a deep insert without having to jam the entire shell into my concha, which was a common complaint with the Homunculus. And, again, the lack of any pointy edges throughout the monitor aids comfort tremendously as well. My only complaint would be the same one I’ve lobbed towards DITA, 64 Audio and FiR Audio’s UIEMs, which is the shell’s flat rear. There isn’t a protrusion or lip to grip onto the cymba with, so the in-ear’s almost left dangling, simply holding on via the tip in your ear canal. Still, though, it’s more of a could’ve than it is a should’ve. This Gáe Bolg still grips just fine, and it ultimately remains a comfortable monitor without it.
Tech Inside
In creating the Gáe Bolg and shaping the sound, MMR have employed electric and acoustic “tricks” to ensure the monitor delivers a coherent tuning and clean, organised imaging; tricks that may not seem too alien to those familiar with Joseph Mou’s previous efforts. First is a crossover system, which MMR call the 4-way EFD (Electro-Frequency Division). Paired with specially-tuned RLC filters, the system separates the monitor’s 5 drivers into their respective, intended frequency ranges.
Image courtesy of Metal Magic Research
But, with the inclusion of these components, MMR now must solve the issue of phase cancellation. So, sound from those drivers meet the ear canal at the same time and form a tidy image. To that end, MMR have implemented something akin (in practice) to the Cross-Sync Uniphase system Joseph developed for his Jomo IEMs. This time, he’s put a large majority of the Gáe Bolg’s R&D into developing an in-house acoustic chamber to achieve those results. The resulting GBAC (Gáe Bolg Acoustic Chamber) solves the earphone’s phase issue and tunes those balanced-armature drivers at the same time. MMR credit much of this IEM’s sound to it, and it’s a joy to see brands continue to create bespoke solutions for their products.
DISCLAIMER: Empire Ears provided me with the Odin 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 Empire Ears for their kindness and support. The article is as follows.
To me, very few in the industry embody the word audacity as fearlessly and passionately as American-made Empire Ears. This family-run monitoring brand have made a name off of their ingenuity, swiftly escalating from penta-bore designs, to 14-driver customs, to proprietary-dynamic-driver hybrids and – now – the inclusion of custom-tuned electrostats in there as well. With each passing cycle seeing one bold, precarious invention after another, you’d think Empire would’ve burned out their creative engine by now. But, in 2020, as they’ve done year by year, they’ve only stepped it up. Empire’s new, tri-brid flagship Odin packs in every last bell, chime and whistle for their grandest, most immense, most revealing in-ear yet.
Empire Ears Odin
Driver count: Two Weapon IX+ dynamic drivers, five balanced-armature drivers and four electrostatic drivers
Impedance: 3Ω @ 1kHz
Sensitivity: 108dB @ 1kHz, 1mW
Key feature(s) (if any): EIVEC, synX crossover technology, A.R.C. technology, proprietary DDs and BAs
EIVEC (or Empire Intelligent Variable Electrostatic Control) is proprietary Empire tech developed for their initial electrostatic hybrids: The Valkyrie and Wraith. The aim is to act as a bridge of sorts between the e-stats and the rest of the driver sets, so they’d operate in conjunction to create a seamless, coherent sound. EIVEC involves developing a custom transformer, which – in the Odin’s case – drives all four of its electrostatic tweeters, rather than the one-transformer-per-tweeter config many other manufacturers use for their electrostatic hybrids. Considering Empire’s claims that “getting the driver types to play nice with each other” was the Odin’s toughest task, I think it’s safe to say that EIVEC plays a major role in that success.
Image courtesy of Empire Ears
Weapon IX+
Empire’s custom-built, Weapon IX dynamic driver played an immeasurably crucial role in the success of their X, hybrid in-ear monitors, responsible for what both critics and enthusiasts alike have called “the best” or “most memorable” low-ends they’ve ever heard out of an IEM. The product of years of R&D at Empire’s skunkworks, they claim to key to its sound lies in its bass-reflex enclosure system, which has a front-firing sound port and a rear-firing vent for utmost efficiency. In the years since, Empire have continued to refine their diaphragm, and now premiering with this Odin is the new Weapon IX+ dynamic driver. It sports a larger internal-coil diameter, a more linear excursion envelope and more capable suspension to better-handle peak-to-peak excursions while mitigating distortion. It’s a driver that’ll feature in the Odin, Hero and the upcoming MK2 variants of their X series, and I can’t wait to hear all the flavours Empire will draw out of this stunning DD.
Image courtesy of Empire Ears
Sound Impressions
Empire Ears’ Odin is an immense, immense-sounding monitor. The soundscape it builds is arrestingly vast, intricate and well-organised, and the instruments within them follow suit with a tonality built for resonance, vividness and power. This is a sig I’d classify as w-shaped to a degree, though one that – more than most others – maintains a fairly-even, clear hue throughout; teasing some zing out of the sub-bass, upper-mids and mid-treble, but with continuity to it too. Coming back to its stage, this Odin’s – without a doubt – ranks among the most effortlessly-nuanced, intricately-layered and just, plain spacious I’ve heard yet. It possesses absolute authority over the picture it’s painting, such that, without fail, you’re always able to tell when sounds start and stop, which move where, etc. It’s resolution and layering made comically easy, and the fact that the Odin does so without cheats – while keeping its notes full and supported – is a massive, massive feat. Bravo.
Empire’s induction into the basshead’sHall of Fame came concurrently with the release of their Legend X in 2018. Though reception to its mid-bass quantity was a tad more mixed, the physicality, gusto and power that those Weapon IX woofers showed were undeniable, and it set the bar for many; myself included. Now, in 2020, armed with the DD’s latest revision, the Odin sees Empire perfect their low-end tuning for a bass as captivating as ever, but more balanced and refined than ever before; oomph without excess. Tactility, texture and punch rank among the best I’ve heard. But, at the same time, it shows enough restraint to sit with the mids and treble, even with the most grandiose of bass drops on tracks like Pusha-T’s If You Know You Know. If anything, the sub-bass is the one bit that ever exceeds neutral; the mid- and upper-bass lying a smidge behind the lead instrument. But, again, it’s truly the power in those W9+’s that ensure they never get lost in the mix. Whether it’s live kicks or 808s, this Odin’s low-end is quintessential Empire, but with a matured, outstanding finesse.
A crucial contributor to the Odin’s spaciousness, precision and separation is its tight, snappy and incredibly well-resolved midrange. The region’s lower half sits a hair further back in the mix, which is what gives it its light, clean and airy tonality; not as warm or bulbous as I’d expect a classic, studio monitor to be, for example. Vocalists like Rachael Price will sound a tad breathier; less chesty. And, horns like the one that intros Oytun Ersan’s Mysterious Maze will show more of that brass-y quality. But, to my ears, that colouration’s been executed with an admirable amount of finesse, more so than most. I’m not hearing any notable hollowness, thinness or suck-out. Instruments still have their fundamentals to them, and they’re delivered with power as well; showcasing the Odin’s dynamic range on tracks like Snarky Puppy’s Chonks. Note-size-wise, the Odin straddles between neutral and a tad above it. Again, it mostly stays tight for layering’s sake. But, it does allow for a bit of play for – again – dynamics, and to lend a bit of soul too. Last is a nod to resolution, which the Odin has plenty of.
Up high, Empire have sat this Odin’s treble cohesively with the mids and lows. It isn’t a treble that jumps out, necessarily, and blankets a coat of crisp over everything else. It’s more so a top-end that sits right about neutral, relying instead on its natural extension, texture and punch to leap off the image. And, to that end, I think it succeeds fairly nicely. Cymbals and hi-hats sit comfortably without harshness or sheen – most of the times, behind the midrange – yet they cut through with great clarity and punch. Further aiding that is the in-ear’s superbly clean background, which allows even the furthermost detail in the mix to at least be perceivable. The one gripe some can have with the treble is a lightly-livened 5-8kHz region. Again, it’s not an issue of splashiness or sibilance. To my ears, what it does is prioritise the brighter notes on hi-hats and ride cymbals, masking a lot of their darker overtones in the process. As someone who drums and engineers, I find it can slightly homogenise cymbals and take away their defining tones or traits. Obviously, though, it’s more subjective, so your mileage may vary. Otherwise, this Odin’s highs is textbook in teetering between crisp andrefined with technique to boot.
Initial Comparisons
Empire Ears Wraith ($3499)
Comparing the two Empire flagships, what you’ll immediately notice is a brighter, clearer tilt on this Odin’s tonality. It has the much more present treble of the two; 7kHz and up, especially. Then, its upper-bass and lower-mids are considerably more relaxed as well. Taken together, what that’ll hand you is a much lighter, airier, more articulative profile on the Odin that isn’t as rich, meaty or warm. This is ideal if a lot of your playlist consists of female vocals, violins and pianos, while I’d likely prefer the Wraith for male vocals, trombones and cellos with its heavier, denser, more organic-sounding midrange. Up top, again, the Odin is the brighter, crisper of the two, which lends lots more attack to snare drums and cymbals. The Wraith keeps up admirably in extension, and it may even be preferred by those who enjoy a more relaxed sig. But, those after clarity will probably opt for the Odin. That added top-end air – along with the Odin’s tighter, more neutral midrange – also make it the more precise separator. Finally, down low, the Odin’s W9+ woofers squarely come out on top in depth, physicality and definition. And, the sub-bass tilt gives it a darker, gruffer tone too, relative to the Wraith’s lighter low-end.
64 Audio tia Fourté Noir ($3799)
Going from the Odin to the Fourté Noir, you’ll immediately hear an almost v-shaped lift; an added presence across either extreme. The 64 Audio universal flagship has a beefier low-end, which extends throughout its low-mids as well. That gifts vocalists a meatier, lightly fuller tonality. Chrissi Poland on Dave Weckl and Jay Oliver’s rendition of Higher Ground sounds almost lower – deeper – in pitch because of it; not as bright or brassy as she is on the Odin. That is also partly due to this Odin’s more vibrant, forwardly-positioned upper-mids. Although, it’ll depend on the specific track or mix too. On Michael Bublé’s Me and Mrs. Jones, for example, this Noir has the more forward-sounding vocals, because of how its high-end rise accentuates Bublé’s articulation, along with its richer lower-midrange. So, it’s a toss-up there. Up high, the Noir is notably sharper-sounding than the Odin. It’s got more of an edge to it, and its generous upper-treble contributes a ton of air into its stage. As a result, images are cleaner-etched and more clinically separated, but the Odin does not lag behind in detail retrieval, resolution or imaging by any stretch. It still layers and resolves effortlessly, and I find its more laidback, well-sat treble actually results in a more holographic stage. In any case, both easily are TOTL IEMs; separated only by preference.
FiR Audio M5 ($2799)
FiR Audio’s M5 is a flagship monitor that, similar to Odin in a way, sounds vibrant and immense. Though, how it achieves this is a much different discussion. It’s an IEM that relies more on its extremes for energy, rather than its midrange. Plus, it’s one that structures its stage differently too; capitalising on tightness and space, which contrasts the Odin’s sweeping, enveloping mids. For a full breakdown on how FiR and Empire’s hybrid flagships compare, check out my M5 review here.
Vision Ears ELYSIUM (€2900)
Vision Ears’ ELYSIUM is a lighter, slightly drier-sounding in-ear with less of a midrange-focus compared to the Odin. Notes are a lot tighter and more compact; not as saturated or concentrated. And, a more present upper-treble gives its tonality a touch more brightness and air too. Cymbals, for example, are more prominent in its mix with a brighter crash. Yet, due to the ELYSIUM’s clever tuning, they aren’t any less refined or smooth than the Odin’s. In the midrange, though, this does give the ELYSIUM sharper, crisper transients, especially noticeable with breath sounds on vocalists or crackles on a snare drum. Which is better will be subjective. Down low, this Odin’s W9+ woofers lend it a more physical, piston-like slam than the ELYSIUM, but the latter has more mid-bass content than the former. Lastly, when it comes to technical performance, I’d say the two go toe-to-toe in resolution and detail. You’ll get slightly more precise stereo separation from the ELYSIUM. But, the Odin edges it out in the tactility or physicality of instruments too. So, to me, it’s down to which tone you’ll prefer.
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.
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.
Next up in the M line, we have the M4. Also sporting white logos on either side, FiR’s universal quad-driver swaps out the M3’s greyish-blue faceplates for a clean, champagne colour scheme, which is my personal favourite of the three. Again, it also features this line-up’s stunning, machined-aluminium shells, as well as FiR’s crop of proprietary technologies. It adds an additional midrange driver over the M3, resulting in a meatier, more mature sound with improved technique to boot.
FiR Audio M4
Driver count: Three balanced-armature drivers and one dynamic driver
Impedance: 6.4Ω @ 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
This M4 is where I think FiR’s line-up really picks-up technically, and where it establishes a clear house sound as well. Like the M3, it’s neutral-leaning with added presence in the high-mids and highs for energy, vibrance and contrast. Where the M4 differs is in its approach to the tuning. A slightly-less exaggerated, more refined low-treble peak removes some of the dryness the M3 could, at times, have. More crucially, the M4 comes with more body, wetness and warmth to its bass and low-mids too. The result is a more coherent, more natural-sounding tonal profile. It still places quite a bit of emphasis on cut. The shakers and plosives on Tori Kelly’s Kid I Used to Know sit just above all else, for example. But, it’s a more refined, less-coloured take on this sig that does the lower, warmer notes right too, serving them with texture, solidity and weight.
Further adding to that is this M4’s much-improved dynamic range and resolution, especially further down the frequency chart. Instruments come off better-rounded and three-dimensional, and you’re able to discern much more texture along the lower-mids too. They aren’t as scooped, so the elements I mentioned on the M3 section are allowed their weight and punch back. It does wonders in lending toms, trombones and male vocals power, for example. But, as crucially, it doesn’t ever congest the image either. The M4, thanks to its cut, is still capable of near-surgical separation, and I think it achieves a good balance between sounding big (or immersive) and sounding tight; organised. Coming full circle, the M4’s high-end extension is a gift to its dynamic range. Instruments are allowed to breathe more, and, when they punch, they do so with more oomph. They ebb between loud and quiet more palpably than on the M3, for a tonality that simply feels more alive.
Bass
With the M4, FiR have beefed up their DD-driven low-end, giving it a fuller, gutsier presence in the mix. Like the M3, it has immense power, physicality and slam that’s unmistakably dynamic. And, it sports a similar frequency curve as well. Most of its focus is in the sub-bass, which lends an almost-subterranean oomph to bass lines, as well as a thick, guttural thump to kick drums. It then tapers off as it approaches its mid- and upper-bass, which ensures a clean, musk-free canvas for its mids and highs to occupy. The one, big difference it has with that M3’s bottom-end is a few more dB’s of presence, which is the reason behind its more prominent role. In forwardness, it can creep up on the lead on certain tracks. Anika Nilles’s kick on Dark Chocolate, for example, slightly inches above the synths on the intro. But, again, because of how it’s tuned, it never detracts. Instead, it fills out the bottom nicely, contrasts against the treble and adds a good, ole dose of punch too.
That deliberate sub-bass tilt also decides the low-end’s final tonality. To me, it’s a darker bass geared more towards EDM or pop, which prefer guttural, concentrated slams over rich, warm blooms. Though it’s also a low-end that can work with soul or jazz, it does carry a certain colour with it. Listening to an upright bass like Bridgett Kearney’s on Lake Street Dive’s Baby Don’t Leave Me Alone With My Thoughts, you’ll tend to hear more of the thump coming from the string plucks, instead of the warm, woody resonance coming from the body of the bass. So, it isn’t perhaps ideal if you wanted a more organic, live-feeling sound. But, if your genres of choice were more “modern” anyway, then it won’t be a problem. Plus, the added bass presence should be enough to compensate too. In terms of extension and texture, the M4 – like its siblings – excels. The result is a tactile, dynamic, yet quick and unintrusive low-end, that is as three-dimensional as it is a treat to listen to.
Midrange
The M4’s midrange follows a fairly similar curve to the M3’s; laid-back in the lower registers, followed by a healthy 1-2kHz rise that’s maintained into the upper-mids. Like its little brother, then, vocals on the M4 tend to be on the tighter, cleaner side with wonderful separation, clarity and headroom. However, unlike the M3, the M4 doesn’t have that slightly-artificial weightlessness I heard on the former, thanks to its lifted low-end. The added higher-bass content has especially rescued baritones like Michael Bublé, who, on I’m Your Man, showcases tons more depth, power and gravitas. His voice’s still ever-so-slightly on the tighter side; not dripping in butteriness or husk. But, it’s a tonal boost over the M3 nonetheless, and it’s one that renders this M4 much better-rounded as well. Violas sound just as dynamic as violins, snare drums crackle and thump at any pitch, and horn sections are far more balanced too. Overall, it’s a linear tone that hides its colour very well.
Also like the M3, this M4 sports excellent texture, resolution and crunch. Lead instruments – whether it be vocals, pianos or electric guitars – stand out with immense power, and they’re etched very precisely too. No matter the genre, that lead is guaranteed to project right through the mix, but without any honky-ness or shouty-ness to them either. It’s a hallmark trait between all three models, which I think serves all kinds of music equally well (as long as you like your vocals vibrant and clear). Over the M3, what I think this M4’s extra driver gives its midrange is authority and depth. Vocals ebb and flow naturally without restraint, and their power is accompanied by an effortlessness I felt the M3 didn’t yet have. This, to me, made it easier to pick out little shifts and nuances like Robbie Williams’ playfulness I mentioned on the M3 review. And, it also allowed vocals to almost-singlehandedly carry entire songs, which is crucial for barer arrangements like Lucy Rose’s Floral Dresses. While I felt the M3 could only contribute the clarity and vibrance of its mids to a bigger picture, the M4 has really stepped it up here for a midrange that’s a star all on its own; clearly-hued, richly-nuanced and holographic as well.
Treble
Up top, the M4 continues to stay faultless for the most part, but it does end up indulging in a bit of colour around its low-treble. The IEM employs a 5kHz peak that nearly stands out as the loudest sound in the mix, which adds a notably bright, crisp edge to its attacks. Percussive sounds like snares, cymbals and string plucks especially benefit from the colouration as they’re gifted wonderful clarity and impact. Cymbals and chimes on the periphery of Dirty Loops’ Work Sh*t Out sound pristine, for example. Vocalists articulate very cleanly because of it too. But, there can be points where the rise comes off excessive. Almost every s on the live version of Adele’s Daydreamer tizz’d and buzz’d. The same went for Sam Smith’s One Day at a Time. But, again, it’s not a fatal flaw, so much as it is a situational quirk. It doesn’t harshen smoothly-made songs like Tom Misch’s South of the River. And, if push comes to shove, there’s always the option of tip-rolling. So, for me, I’d say to keep the peak in mind, but also to not let it spook you from giving it a go and seeing how well it agrees with your ears.
Following the lower-treble peak, you have more of that natural, airy and linear high-treble that I loved on the M3. Again, I must commend FiR’s restraint at least 7kHz and up. They’ve given the region the right amount of presence relative to the mids and lows without over-aerating or overexposing the image. And, to me, this does wonders particularly for vocalists and percussion. The former have a fine balance between that warm roundedness and the more articulate, throaty notes. The same goes for the latter, where toms and lower-tuned snares have the same fullness and punch as the cymbals, and the kit doesn’t sound too airy or hollow, as if the overhead and room mics were amplified. With that tonality comes great extension and resolution too; greater than the M3’s. Cymbals and hi-hats feel better-defined with stronger texturing and punchier hits; again, without coming off bright. And, the M4 images with superb authority too; a wide stereo spread, pin-point placements and a clean, stable backdrop right below. FiR closes out this M4’s treble with detail and finesse to boot.
General Recommendations
While the M3 was made for those after a crisp, articulate sound with licks of warmth, the M4 is almost the inverse; an in-ear with a largely-linear, pleasing, versatile timbre, topped with touches of crispness, air and sizzle up high. As you might assume, then, there isn’t really a genre the M4 won’t pair agreeably with. It has both the midrange quality to carry singer-songwriter genres and the contrast necessary for louder, more explosive arrangements. The technical improvements it’s received over the M3 give it the headroom, imaging and resolution needed for more complex mixes too. The only caveat I’d note towards this M4 is, again, its low-treble peak. If you’re sensitive to 5kHz peaks, which tend to add sizzle to s notes and hi-hats with certain recordings, then you may want to be wary of the M4 with the stock, silicone tips. Otherwise, FiR’s M4 is a strong all-rounder that leans towards articulation and clarity, but remains largely, impressively colourless as well.
Select Comparisons
Empire Ears Phantom (USD 1799)
Compared to this M4, Empire Ears’ Phantom is a fuller, more saccharine-sounding monitor with a significantly richer low-midrange. Instruments are bigger in size, they’re more saturated in tone and they’re a bit darker-sounding too. Whereas, the M4’s presentation is comparatively drier, crisper and airier, but still within the realm of balanced or natural. What the two have in common is a linear mid-to-upper-treble that doesn’t overstep the mids. Vocals and percussion are rarely dry or hollow-sounding on either monitor. But, the Phantom does have the more drastic treble shelf of the two, while the M4 keeps quite a bit more top-end energy for openness and air. Down low, you’ll get a ton more fat out of the Phantom, due to its richer lows and low-mids. But, the M4’s DD keeps up in the sub-bass, so it has punch too without the extra warmth.
Spatially, there isn’t much to separate the two in terms of raw size. But, you’ll get an airier, more free-sounding stage out of this M4 due to its – again – more neutral tuning. The Phantom’s meatier instruments fill up more of its real estate, and its shelved high-treble makes way for warmth to lightly permeate that as well. Instruments are positioned more precisely and separated more cleanly on the M4, while the Phantom’s bigger notes can be a hair more susceptible to overlap in its space. The former’s instruments are also more tactile and physical-sounding, so it could be considered more resolving in that way. But, the Phantom does supersede it in terms of discerning the different colours or hues within a track, and not giving everything a similar coat of paint, so to speak. At the same time, some may not want that aspect and prefer a safe, versatile sig. So, take the M4 for clarity and air with balance in tone or Phantom for a warm, saturated, timbre-led sound.
Empire Ears Valkyrie (USD 1599)
The Valkyrie and M4, despite their fairly-differed driver configs, have quite a few qualities in common. Both have punchy, dynamic signatures with body stemming from the mid-bass, followed by a hearty 1-2kHz rise, and finished with a refined upper-treble that’s never off-rein. To me, the differences start at the extremes. Down low, the Valkyrie is fuller and more present. Kick drums have quite a bit more meat and warmth to them. Though the M4 has good punch to it too, it doesn’t go quite as all-in as this Valkyrie. A quicker decay makes those lows a bit drier by comparison too. Both differences mean the M4 has the slightly more precise bass and the cleaner stage, while the Valkyrie edges it on fun. Up high, the M4 has a sharper, more present low-treble than this Valkyrie, which lends its transients – and instruments like snares and cymbals – a crisper bite. Which one you’ll prefer will depend on your tastes, but this does give the M4 a lead in picking out details.
With that said, the two aren’t far off in raw resolution. I find this M4 still has that edge in texture and tactility. It’s capable of fleshing out instruments and presenting them with a hair more rawness and physicality, and that’s most prevalent for the bass and treble. In the midrange, it’s more of a wash between these two. This Valkyrie’s stronger 2-3kHz region gives female and higher-pitched male vocalists a rounder tone; say, Tori Kelly and Cody Fry. But, the in-ear’s less present, drier low-mids make it less capable with lower lead tones than the M4. Instruments like trombones and baritones like Michael Bublé will show more weight and authority on the latter. Dynamically, Empire’s Valkyrie brings a more realistic, palpable thump than the M4 down low. So, despite the M4’s clearer bass, I do feel the Valkyrie beats it in realism. The midrange is, again, fairly equal. And, up high, it’ll again come down to preference. This Valkyrie’s calmer low-treble will come off more controlled and refined, but some may prefer the M4’s greater bite and punch there. So, as always, your mileage will vary.
Stealth Sonics C9 Pro (USD 1499)
Going from FiR’s M4 to Stealth Sonics’ C9 Pro is the epitome of sonic whiplash. One dips where the other peaks and vice-versa, placing these two in decidedly different demographics. The C9 Pro is an exceedingly warm, lush and smooth IEM. I wouldn’t be surprised if trebleheads called it veiled. Whereas, this M4, though fuller-sounding than the M3, still has much more of an edge thanks to its low-treble peak. To me, however, the main differer lies further down the range; in the low-mids. While this M4 dips between 300-1000Hz to tighten instruments and provide headroom, the C9 Pro opts instead for a broad bump across the bottom-half of the spectrum, which is what gives it its wetness, richness and body. Keys, vocals and strings will have more of a pillowy, forgiving tone to them. Then, percussive elements like snare drums, cymbals and bass slaps will sound notably damped or diffuse relative to this M4 too, whose 5kHz peak really highlights those attacks.
Despite its warmer, less articulate tonality, though, the C9 Pro is an IEM that still sports admirable amounts of openness, precision and air. It spreads and positions instruments just as capably as this M4 does, though the latter’s crisper, tighter notes will give it that extra, pin-point quality that the C9 Pro doesn’t quite have. The Stealth Sonics flagship’s larger, fatter instruments can be prone to ever-so-slightly spilling into each other, while the M4 tidies its stage strictly. The former may be preferred for a more euphonic, free-flowing profile, while I’d recommend the latter to those who want utmost fidelity and precision. Spatially, it’s a fair wash in width and depth, though the M4 does show more height. It’s roomier, due to its tighter notes too. Where I feel this M4 really pulls away from the C9 Pro is in vividness and texture. There’s a tactility and physicality to instruments on FiR’s M4, which, with its punchier dynamics, allow them to sound more vibrant and life-like.
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.
