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Gents, may be an odd one do most CIEM placed accept digital molds or still need to send actual ones?
I’m in southern CT. How do I find best place to go?
I’m ok if I need to get it done in NYC. I’m going downtown to financial district to the drs Friday. Would like to get it done by then.
I was contacted by John Creigan from Jackrabbit Media and invited to review the Westone AM Pro X30 IEM.
Westone is a brand best known for its IEMs designed for stage musicians. Currently its inventory includes the AM Pro X, Pro X and MACH ranges.
The AM Pro X30 featured here is the highest model in the Pro X series, equipped with three balanced armature drivers per channel, one each for the bass, midrange and treble. A three-way passive crossover divides the signal amongst the three drivers. A frequency response of 20Hz-18kHz is specified along with an impedance of 56Ω and a sensitivity of 124dB @ 1mW. The AM Pro X30 retails for £448.
The Packaging
The X30 comes in a fairly chunky box with a slip cover bearing a two-colour image of the product along with the company logo and description with product information and specifications on the reverse. Removing the slip cover reveals a plain white box emblazoned with the Westone Audio logo and the box opens with a magnetic tab. Inside, the earphones are stored in a foam cut-out with the cables attached, above which is the red plastic Mini Monitor Vault containing the rest of the accessories. The contents comprise:
● Westone AM Pro X30 monitors
● Linum SuperBAX T2 cable
● 5 pairs silicone tips (XS, S, M, L, XL)
● 5 pairs foam tips (XS, S, M, L, XL)
● “Mini Monitor Vault” case
● Ear wax removing tool
● Cloth storage bag
Design and Build
The earpieces are formed from clear plastic allowing the balanced armatures and internal wiring to be seen. The sockets for the T2 cable are positioned on the top of the capsule and have a pronounced forward rake. There is a green-coloured sound tube leading to the long narrow nozzle and a black boss in the centre of the faceplate bearing the Westone logo. The earpieces are very compact and lightweight.
The supplied cable is Westone’s proprietary Linum SuperBAX design, a silver-plated copper cable with T2 connectors which are similar to MMCX but smaller. The cable is quite thin with a black rubberised covering and there is a Y split and chin slider and a 90° angled 3.5mm plug. The SuperBAX cable is not as prone to tangling as the cable on the AM ProX10 and handles better. The connection was stable and secure.
Fit and Isolation
The X30 needed to be placed perfectly horizontally and once in position, it fitted snugly inside my ear. The long nozzles and extended eartips produced a deep insertion which was very comfortable. I experimented with the supplied tips and obtained the best result with the largest silicone type with an orange bore. Thus fitted, a healthy bass response was obtained with good isolation, although external sounds still remained discernible as intended with the “passive ambiance” feature. The long thin nozzles did not allow me to try standard IEM tips so “tip rolling” was not possible.
Sound Impressions
Tonality
The X30 was tested initially with an Xduoo X20 DAP. However, the neutral profile of the X20 combined with the similar nature of the X30 resulted in a clean but somewhat sterile presentation. Switching to a Hidizs AP80 Pro X DAP produced the desired result with a warmer more musical effect and a deeper bass. A running in time of 100 hours, using a range of musical genres and white noise, was allowed to settle in the components. I found that a higher volume level was necessary to get the best out of the X30 with a mire solid and authoritative delivery ad a result.
The X30 displayed an attractive tuning with good extension at both ends of the spectrum. There was a breathy, impactful bass, a somewhat forward midrange and a detailed, clear treble. There was no bass bleed and the resolution was notable. After an extended running in time, the staging improved, having been a little two-dimensional to begin with. Layering and separation were of a high standard allowing the intricacies of production to be appreciated, and appropriate for an IEM designed for musicians, while detail retrieval was excellent. As with earlier Westone designs I have heard, the tonality was very natural with no trace of “BA timbre” and the three drivers worked seamlessly to produce a well-balanced output across the frequency range.
Bass
In the bass, the X30 showed what a well-designed BA can be capable of. Sub bass, although somewhat rolled off, displayed good extension and texture with some impression of weight while remaining in good balance with the mid bass, which was dynamic and speedy. The bass did not display the visceral imact of a good DD but the incisive transient performance typical of a BA endowed the lower frequencies with an addictive immediacy revealing texture and detail rarely heard before. The reproduction of recorded ambience was also done very well, allowing the character of the recording venue to be appreciated.
Stravinsky’s “The Firebird” is a beautifully scored ballet, richly orchestrated, with the powerful finale including a prominent part for bass drum. In the version by the Minnesota Orchestra under Eiji Oue, the timpani introducing the final section sounded very natural and following this, the X30 managed to convey the full force of the impact of the bass drum with a realistic decay and timbre more usually associated with a good DD. The final strike was particularly impressive both in power, tonality and atmosphere.
Kevin Kendle is a British electronic music artist with over 30 albums to his name. “Eventide” is one of his early albums and “Homeward” is characteristic of his style. Unashamedly melodic, the piece is tranquil with a gentle rhythm underpinned by a deep bass pattern. The X30 reproduced this with both depth and warmth, added to which there was a good sense of weight. The bass line remained clear and detailed even during more complex passages where sparkling electronic effects and a sinuous melody line were present and there was an overriding feeling of musicality.
Midrange
The X30’s midrange was unusually open and transparent, bringing the details of a production clearly into focus. Separation and layering were top class and imaging was also of high quality. The tonality throughout the region was very consistent, transitioning smoothly from the upper bass and dovetailing into the treble with no noticeable peaks or troughs. Pinna gain was well handled with a gentle yet well judged rise. Vocals were particularly well reproduced with great clarity and projection.
Eva Cassidy’s “Songbird” is the title track from her best-selling album. The intimate, stripped down recording came vividly to life with the X30 with the vocal a little forward giving a perfect balance between the singer and the bright and clear guitar accompaniment. Even though it is a close-mic’d recording, it was possible to imagine the space around the performer, evoking the feeling of a live performance. Lip and breath sounds were clearly reproduced, adding to the realism.
Solo instruments in concertos are always a good test for midrange timbre. In the “Concertino Antico for Guitar and Orchestra” by Richard Harvey, John Williams’s guitar was projected well into the foreground with a very natural timbre. The contrast between the percussive sections and the more lyrical passages was depicted very well with adept dynamic shading and the speedy transient response highlighted the rhythmic expression, helping to propel the piece along in a lively fashion.
Treble
The X30 displayed a well-tuned high frequency range with excellent detail, good extension and “air”. There was good rhythmic agility with notes starting and stopping with precision and there was no evidence of sibilance or harshness, except when present in the recording. There was an attractive delicacy in the extreme HF and the timbre was unforced and natural. The treble emerged from the upper midrange with no audible crossover artefacts.
Frank Steiner Jr’s “I Ging Symphony” is inspired by the trigrams of the ancient method of divination. The first track, “Chi’en” (Heaven) begins in serene fashion with gentle Chinese type strings accompanied by smooth synth patches. Bright string arpeggios follow announcing the main theme in a woodwind voicing. The separation of the rapid chords was very well portrayed by the X30 with each note clear and precise. A full orchestral section ensues during which the high frequency tones remained open and articulate even in the most dynamic passages.
“The Shining Ones” appears on Mike Oldfield’s album “The Songs of Distant Earth”. Introduced by a repeating synth motif, delicate electronic effects swirl around the image along with bell-like percussive sounds. The X30’s detail retrieval here was excellent with the finest elements nicely delineated and in perfect balance with the accompaniment. Guitars appear in each channel with a solid bass foundation forming the rhythm and everything was presented in a spacious acoustic with high levels of detail and a distinct impression of “air”.
Soundstage and Imaging
The X30’s excellent treble extension helped to create an impressively expansive soundstage. The image spread beyond the ears laterally while both height and depth were well rendered. Stereo imaging was admirable with movement clearly audible and both layering and separation were of a high standard. As befits an IEM designed for stage use, the positioning of instruments within an ensemble was accurately depicted.
“Joanna” is a classic song by Scott Walker. This recording is beautifully produced with percussion and bass on the left, strings and woodwind in the right and the lead vocal clearly positioned high in the centre of the image. Scott Walker’s characterful voice was authentically presented by the X30, enabling the listener to hear his superb phrasing with the diction precise and intelligible. The dynamic range on this track was handled adeptly with the string backing particularly impressive and a realistic impression of the studio acoustics.
“Remember” from the album “Tide” by Antonio Carlos Jobim, is a lively piece in a samba rhythm. It begins with piano on the left and drums and bass on the right. Various instruments take the melody line which appears dead centre of the image and other elements are added. The X30, with its excellent rhythmic agility, gave a believable picture of a live performance with each instrument in its own space within a stable three-dimensional presentation and it was easy to follow the individual musicians while at the same time appreciating them gelling together as a unit.
Comparisons
Westone AM Pro X10 (1BA)
The AM Pro X10 is the entry level model in the range with a single full-range BA. It shares the same design of earpiece as the X30 and a similar set of accessories but uses the LinumBAX cable rather than the SuperBAX.
The X10 produces a surprisingly big sound from its single BA. Unlike previous IEMs with such a configuration I have heard in the past, the X10 demonstrates a wide response with good output at the frequency extremes. Although a little reduced in level, sub bass possesses some rumble, the midrange, like the X30, is forward and detailed and the treble is clean and clear but a little rolled off. The soundstage is expansive and spacious. It shares Westone’s character of a natural tonality with no sign of the “BA timbre” so often found in many other brands. The use of a single driver ensures great coherence across the range with a good balance between technical ability and musical expression.
The X30, with its additional dedicated bass and treble drivers extends the output and improves on its little brother in every way with a deeper, more impactful bass, a more “present” midrange and a more airy and detailed treble with superior extension. This also improves the staging and results in a more mature and authoritative character.
Aiderlot M5 (5BA)
The M5 is a high quality five-driver IEM using premium Knowles drivers. It is equipped with one 22955 bass driver, one 29869 midrange unit, two 30017 mid/high BAs and one 30095 ultra high frequency armature. It also features three different tuning nozzles, “Reference”, “Bass” and “Treble”. I found the bass tuning to be the best balanced and in this mode the Airderlot M5 is an ultra flat IEM with a linear bass profile, a midrange not recessed at all and a very extended treble.
The soundstage is of average dimensions and smaller than that of the X30. Bass output is reduced in comparison, mainly focusing on accuracy and detail. The overall tonality is clean but somewhat sterile whereas the X30 is warmer, more natural and authentic. The M5 can become fatiguing after extended listening but the X30 is perfect for longer listening sessions.
Hidizs MD4 (4BA)
The MD4 has a fairly balanced profile with a slightly forward midrange, a neutral bass and clear, smooth treble. There is an emphasis in the upper midrange and lower treble and a rather steep roll off in the higher frequencies which slightly unbalances the presentation, reducing the impression of detail. It is also quite fussy in partnering sources and needs a little experimentation to extract its potential. When enhanced with additional power or balanced operation and fed with high quality material, it certainly holds its own with other models in its price range.
The X30 has a wider frequency range with superior extension at both ends and is also more lively and vibrant in its delivery. It surpasses the MD4 in the bass with a deeper and more energetic delivery, is more open in the midrange with better technicalities and the treble is more detailed and natural, whereas there is a touch of BA timbre in the MD4’s high frequencies. The X30 also excels in staging with a much more expansive and orbital presentation.
Conclusion
Building on the natural and open Westone “house sound”, the X30 proves itself to be a true “studio monitor” with an extended frequency response, following the philosophy of “nothing added, nothing taken away”, with a delivery as close as possible to the original. As a result it fares better with high quality material, the “warts and all” approach tending to show up inadequacies in poor recordings. With a slightly rolled-off sub-bass, the midrange is free of colouration and the X30 really excels with vocals and rhythms.
Its tuning does not follow the popular “Harman” or Diffused Field pattern but instead has a highly accurate warm/neutral profile which gets to the heart of the music. Designed for stage use, it certainly succeeds in that regard but it is equally satisfying to the listener who wishes to hear music as the artist and producers intended.
hi, im new to the iem category and sound overall less then a week ago i went to trip to amsterdam,
at the lest day of the trip i found a nice small audio shop or sound shop (i don’t rly know how it should be called) so i go in and tell the owner my budget it was400 euro end he start to showing me around iem at that price point after an hour of testing i found 1 that i like and and bought it, so im week in and i wanna to EQ and I cannot find them anywhere, so I got into the store page and find them and nothing i still cannot find anything on them so i got here this is the name “HAA by InEar – Chiara (Wood)” and i will also add the store page HAA by InEar - Chiara (Wood) - Headphone Auditions Amsterdam i feel very lost Help will be very appreciated ty
