How many BAs does an all-BA headphone need to fully cover the audible sound spectrum? I frequently see single-BA designs criticized for lacking sub-bass.
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If you’re talking about iem’s then as far as I am aware there isn’t a magic number but then again I am not an expert in this field. I just really like iem’s. There has been a craze over the last 4 or 5 years to cram as many BA drivers as they can into them. Whether or not this means better is up for debate. As I am sure youre aware. Some have 18 and I have heard tell of a couple of 24 driver iem’s. Though these are sort of only because they can projects. Once you get multiple drivers it becomes more about the implementation of the crossover and how well it is implemented. I do own the Shure SE846 and it has 4 drivers it has great bass as far as I’m concerned. It’s is/was well known for it. Although it gets less love these days from the community as a whole. There are others around who will be able to talk technicalities with you better than I.
But in short I don’t really know. After all that. 
.
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I’m speaking from experience with low to mid priced products (as I avoid IEMs if possible).
The question isn’t so much about covering the spectrum, but for having detail across the spectrum with a pleasant presentation and without gaps. Each BA driver as a narrow frequency response and seemingly no meaningful sustain. So, a few drivers may span most of the spectrum, but they don’t have nuance or fullness. As @prfallon69 indicated, there’s a spec war on – and at $2,000 per set with customization who knows what’s optimal.
- Worst experience: Massdrop X Noble X Universal (Midnight Blue, 2 BAs, $250) – With only two drivers, these are choked, thin, and have zero bass. Massdrop introduced the “plus” model with 3 drivers not much later. The lack of bass is made worse by a housing that tends to ride out, and short ear shafts.
- Cheap 5 BA example: As I write this I’m listening to KZ AS10s (5 BAs, $50) on a balanced cable. They span most of the spectrum but have KZ’s routine brightness, edginess, and brittleness. They go fairly deep but not really into ‘sub bass’, and the bass that’s present is not detailed.
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Not a direct answer to your question, but this article https://www.mouser.com/pdfDocs/knowles_balanced_armature_hdaudio.pdf) shows measurements of the bandwidth of various BA drivers. It looks like they roll off pretty severely in the lower ranges, so I can definitely see there being a need for multiple drivers. That said, it seems like all of these have a good 7KHz or so of flat bandwidth, so if it’s possible to shift the sweet spot of that bandwidth in either direction just based on manufacturing, I don’t know why one would ever need more than 3.
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Because moar is moar better.
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I’m gonna have to disagree about this. The Knowles PDF is more of a marketing ad than info on sound quality. My experience more closely matches this Innerfidelity summary:
This story emphasizes BA’s resonance and peaky (non-flat) response. In use, my perception is that BA’s slice up the frequency curve and create needle-like thin sound. High-end products double or triple the drivers in high, mids, and lows for smooth, flatter coverage rather than an increase in range per se.
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This doesn’t jibe with my experience with Etymotics’ products. In listening and in measurements I find them quite smooth, just lacking some air and some bass extension.
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That’s not in conflict with my point-- three drivers are able to smoothly overlap if they cut off the top and bottom ranges. Products that deliver full range coverage need to fill more gaps.
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Drivers can be tuned differently, but here’s somethings I want to cover based on discussions and my previous comments:
First, Moondrop Kanas Pro and Audio Technica LS200iS sounding similar – see FR chart below. They are pretty close in sound from that graph, which was true in my memory-based impressions.
Secondly, the Campfire Orion has generally similar tonality but does not extend as well. It’s a single BA IEM, while the LS200iS is a dual-BA IEM. The Kanas Pro is a single dynamic. If you look at the FR chart of the Campfire Comet and the Etymotics ER3/4 you’ll also see lack of treble extension, and all three are single BA as well. Coincidence = causation?
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Introduction
I never heard of Fearless Audio before until Lillian from Linsoul asked if I was interested in trying out their line of in-ear monitor earphones. It seems the company started several years ago in China doing custom in-ears and now are introducing a line of universal IEMs to the market. The first model I am listening to now is the Fearless S4.
The S4 has 4 balanced armature drivers (BA) inside each molded shell. The drivers are Knowles brand drivers with 2 for bass, 1 for mids and 1 for treble. The IEM is rated at 114 dB/mW sensitivity with impedance of 32 ohms. The Fearless S4 starts at $289 for the basic model with basic color choices. Users can upgrade the faceplate and look for additional fees, as well as submit molds to use for a custom IEM version of this earphone.
As a disclaimer and as mentioned above, Linsoul provided me the Fearless S4 for review and this IEM is available on the Linsoul.com website with full customization options.
Build, Fit & Accessories
The S4 comes packaged in a plain brown box with minimal artwork on it. In fact, it’s just a blob-looking sketch and their logo in the upper corner. Inside, is also quite minimal. The box houses a plastic snap box similar to a Pelican case but not transparent. Inside this box is the headphones, a silver/transparent 2-pin cable, a bunch of tips, a cleaning tool, a shirt clip, and an aluminum business card.
The tip selection comes with both silicone and memory foam tips in various sizes. The foam tips are similar, if not the same tips as the ones made by NewBee, which is one of my preferred foam tips. They packaged red and blue tips with this set.
The cable is a very nice silver color that’s braided and has a hefty and well-constructed 3.5mm mirrored metal connector on one end and similarly nice 2-pin connectors. The cable is a little springy and can get tangled though, so while it looks really nice, it is a little annoying to handle, but not a deal breaker. I still elected to use it over some of my other cables.
The S4 has a molded housing that’s not too dissimilar from some of the more recent premium IEMs out of China. It has a similar look to the BGVP DM6 and Tenhz T5, which I recently reviewed. I do find that the S4 becomes a little painful after some use – perhaps after about 30 minutes. Some days, I’ll find it very painful and need to take them out to let my ears relax and breathe, and other days, I can live through it. I am finding today as a day I can leave them in and let them sing to me, and that’s why I finally got around to writing this review.
Sound
The S4 has a slight V-shape sound to it, so it does have some boosted bass and slightly boosted treble, but generally it’s a warm headphone with good detail and wider than average soundstage.
The bass is boosted but it never felt over-bearing to me. The decay is generally pretty fast and helps the boosted bass never get overly bloated or muddy. The bass is surprisingly not as punchy and impactful as I would have expected given the bass boost and actually sounds very nice. It does have punch, but not as much as what I’ve heard from other IEMs like the Campfire Atlas, for example, or a set of Beats PowerBeats.
The mids actually sound very good on this IEM. Male vocals sound coherent and present. Chris Cornell and Eddie Vedder have bite and sound large in their Temple of the Dog collaborations, and Stevie Nicks has the appropriate amount of energy and hauntingness in “Dreams.”
Speaking of, “Dreams”, the S4 plays through this song pretty effortless. The bass line is deep and leads the song, as it should. The cymbals crashing around Nick’s voice is imaged well and wide and off-center. Nothing seems too far out of place, and that’s pretty good since this IEM does have some unevenness in treble.
I noticed that on some tracks, and more likely poorly recorded or heavily emphasized and boosted treble tracks, that the S4 can be a little harsh. There were a couple country-bluegrass tracks, where I found the S4 to be a little on the peaky side, and that tends to happen with some very string plucky tracks and higher pitched female vocals – for example, the great “Grace” cover by Catherine McGrath.
This is somewhat to be expected with the V-shaped signature, but in general, I found the S4 to be very tame in this regard, and that’s a good thing. The S4 behaves well, outside my normal sound signature preference and I believe it does this because it peaks up in a place where I am comfortable with – around 4-5KHz.
Some people are quite sensitive here though, so buyer beware. I am more sensitive just beyond this point, but even so, there are definitely headphones that peak too much here, such as the RHA CL2, which has a 10+dB boost at 3-5KHz above compensated curves, and has a flat bass response. Luckily the S4 not only has half as big of a boost, but also compensates for it with the bass boost, which helps masks the peak, at least for me.
Also lucky for me, beyond that is where I can sometimes detect sibilance, and the S4 actually drops off in this region and that really helps the taming effect I mentioned previously, creating a surprisingly well-balanced V-shaped IEM. There’s enough clarity here to pick out details but not enough to prick your ears.
Comparisons
I’ll try to compare the Fearless S4 to some competition in terms of price and recent hype.
BGVP DM6
The DM6 is also another slight V-Shaped IEM and I found it to have bigger bass impact and more treble spikes. The S4, in some ways, is a more grown-up version of the DM6 and doesn’t have as much of treble unevenness issues as the DM6 does. The additional $90+ price tag may warrant the upgrade if you like a slight V-shaped sound. For me, it would be because of the lack of sibilance and peak spike issues alone, but also the more balanced sound signature in general.
Moondrop Kanas Pro
The Moondrop Kanas Pro follows a more neutral tuning, and falls somewhere between the Harman Target curve for IEMs and for Over-Ears. For my personal tastes, I found the Kanas Pro to be liquid smooth and resolving, though could use a small boost in treble. It’s a smooth operator though, and wonderful for long, laid-back listening sessions where you want comfort and details. The S4 has a little bit bigger bass and more detail-forward treble clarity. You’ll hear more details in the sound, and have a little more feels at the same time, but it’s not as good of an IEM for extended listening.
Campfire Orion
The Orion was reviewed late last year and I am basing it on written and brain memory. The Orion is priced just above the S4 but comes with higher quality accessories. It’s a single BA headphone vs 4 that are in the S4. Due to being a single BA, I think the Orion is hampered by the lack of deep extension on both bass and treble sides of the spectrum. But, that said, it does everything well in-between and really is a mid-centric headphone. The S4 is a more fun sounding headphone which extends bass decently well and has more pop to it.
Audio-Technica LS200iS
The LS200iS is a neutral-tuned IEM that is just above neutral in warmness. The S4 is also warm, but has more bass impact and more defined treble. That said, the LS200iS has very even response throughout, and extends as high, more evenly. This gives the LS200iS a smoother sound signature and generally pleasant for every genre. The S4 is, again, a more fun sound, while also detailed. It’s more of a short term excitement vs the longer listening capabilities of the LS200iS.
Overall
I found the Fearless Audio S4 to be a decent to good purchase at $289. It isn’t a headphone for everyone of course, as it does exhibit a small V-shape sound, but it does so very tastefully. I found it’s treble to be tame and not very harsh on most music I listened to. The occasional songs, whether they were already boosted, or poorly recorded or lower bitrate could make some treble spikes a little harsh. I never found sibilance to be an issue, and tried my best to make that be.
Overall, it’s a very good IEM that I find fun and tasteful. Fit was a little tight for me and sometimes painful, but I do have smaller ear canals than many, so your miles may vary greatly here. Accessories are pretty good, though I would have preferred a nicer case than a plastic box, but it’s better than nothing.
So, there you have it. It’s my first taste of Fearless Audio and I am looking forward to hear what more they offer.
3 Likes
I recently picked up the Kanas Pro from Massdrop at $155. These are the first IEMs I’ve tried where a balanced system made a useful difference. With balanced the bass goes up and the details improve. And no matter the amp, these are indeed among the smoothest and least fatiguing items that I own.
My conclusion is that the Kanas Pro share the strengths and weaknesses of other dynamic driver products, and respond to source and signal chain changes much like the Focal Elex (but they are plainly not as technical).
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Introduction
BGVP has had a couple successful In-Ear Monitors (IEM) come out recently with the V-shaped DMG and DM6. Both featured nice quality builds, accessories, and generally pleasant fun sound-signatures at $150 and $200 each, respectively.
The company is following up the success of these two with a new model, the DM7, which will be released for pre-order exclusively on Massdrop.com Drop.com on May 6, 2019. This preview unit was sent to me by way of Linsoul.
Product Specs:
· Driving unit: six balanced armature units
· Sensitivity: ≥115dB SPL/MW
· Input impedance: 13.5 Ω
· Frequency response: 10 Hz-40 kHz
· The distortion rate: ≤0.5%(1 KHZ)
· Cable length: 1.2m ± 5%
· Weight: around5.3g
· Cable: Single crystal copper + single crystal copper silver foil wire.
· Standard equipment: vocal sleeve S/M/L, equalizing sleeve S/M/L, packing package X1, brush X1
The new DM7 sports a familiar shell design that sports 6 Balanced Armature (BA) drivers in each shell: a Knowles SWFK-31376, Knowles ED-29689, Sonion 33AP007 and Knowles CI-22955 with a 4-way cross-over.
The acrylic shell design is similar to that of the DM6 before it. So far, the only color I’ve seen is the white/pearl faceplate design with clear ear-side acrylic color. At this time, I do not know what other color options are available, but I imagine there will be the ability to customize it like the DM6 had. The white pearl color is pretty striking, and I really like how it looks. The shell is comfortable to wear with shallower tips for my ears. With lengthier tips, I had a very compressed sensation while wearing them, and it bothered me to wear over long periods of time – which is similar to the feeling I had wearing the BGVP DM7 and Fearless Audio S4, which have similar housings.
The new cable included is very attractive, with a copper/gray intertwined 8-core design. MMCX connectors are used again on this model, and the cable also has pre-formed hooks, which I personally prefer over memory wire. The cable plays nicely and has good ergonomics, and overall, is an improvement over the DMG and DM6 cables.
Sources
This review will be performed with a mixed playlist of rock, jazz, country, rap, and EDM. The sources used during playback on the DM7 were the RME ADI-2 DAC, the Astell & Kern SR15 A&Norma, and the Pioneer XDP-300R digital audio players. I used a combination of the included 3.5mm cable as well as a Kinboofi 2.5mm balanced cable for this review, as well as JVC SpiralDot tips.
Sound
The BGVP DM7 isn’t as similar to the BGVP DM6 as I thought it would given it’s naming convention and what not. Instead, the issues I personally had with the DM6 seem mostly addressed in the DM7. This model has a warm, smooth presentation that has good detail retrieval for this price range. It isn’t without flaws however, but let’s discuss it in more detail.
The bass region has good rumble in the songs the demand it. The intro of “Unfinished Sympathy” by Massive Attack has plenty of shake to it and transitions quickly. In Sigur Ros’ “Sven-g-englar”, the bass guitar has plenty of texture and detail, and has a very nice feel to it. It’s soft and subtle, but that’s expected in that song. The e-bow Jonsi uses on his electric guitar has plenty of sustained layering which seems to reproduced well on this IEM. In general, I found that the bass is well controlled and doesn’t exhibit much muddiness at all. It’s warm, and defined, but not bombastic.
The bass transition to mids is generally clean, though there are at times when the bass is slightly over-bearing over the male vocal range of the mids. I felt every 1970s Elton John track I listened to had Sir Elton further back in the recording than I am used to. Male voices in general, felt a little lean. Chris Stapleton, for example, doesn’t have gritty bite that I am used to in songs like “Broken Halos” and “Whiskey and You”. Part of this could partially be due to the dip in the mids before a rise in the upper mids, which puts female voices and guitars a little more forward than the lower mids.
I don’t find this very distracting from the overall sound though, and generally this helps create a little space. In the case of the DM7, it’s generally a more forward presentation, despite this little key difference, and is quite common tuning.
Whether it’s because I’ve been listening to Andromeda and Solaris lately or not, I found the DM7 to be missing a little upper end sparkle. When looking at the Frequency Response chart, it does appear that there’s big roll-off in the upper treble, and that would explain why some of that magic in the higher tier IEMs is missing. The DM6 also presented upper end boost, but generally had higher treble response resulting in what I found a harsher and strained experience.
The DM7 handles treble quite well despite missing the airy presentation of the aforementioned IEMs. The treble response is consistent and smooth. I never felt any sense of harsh peakiness, sibilance and anything other than a comforting presentation with good detail. One thing I did not like about the DM6 was the rise and peak at around 8KHz. The DM7, luckily, has a small rise at around 6.5KHz, and then drops off around 8KHz, and that alleviates the occasional sibilance I heard with the DM6, especially on poorer quality tracks and EDM music.
I found the DM7 to have a medium-to-wide soundstage while easily hearing instrument separation. I never found this IEM to sound congested as I occasionally did with the DM6 model before that. This may have to do with the more balanced sound signature versus the V-shaped sound signature of the DM6.
Comparisons
BGVP DM6:
I went over this in the review quite a bit, but to recap, the DM7 is a more balanced tuning, but still leans on the warmer side. It does not have a big of a bass response or as high of a treble response as the DM6, but has a more mid-forward presentation than the DM6. The DM6 is an IEM that you want for a more fun listen or if you want to hear every little detail up front. The DM7 is a smoother and more relaxing listen in comparison.
Fearless S4:
The Fearless S4 comparison to the DM7 is pretty much exactly the same as what I wrote above for the DM6. At around the same price, I think it’s going to depend on preferences here. The S4, I found to be V-Shaped like the DM6, but with just slightly better instrument separation and detail retrieval, but not 100% sure it’s worth the extra $80 over the DM6. The DM7 is an easier recommendation over the S4 for most people given the tuning.
The following are just “from memory” comparisons, as I do not have them to compare side-by-side:
Audio Technica LS200iS:
More diffuse-field tuning than the DM7, which is closer to a Harman Tuning, but more mid-forward. Both are technically proficient, but DM7 would be my pick over it for better bass response, and better resolution. The LS200iS does extend treble more and provides more air.
Campfire Orion:
Orion is also a DF-like tuning, however has poor extension on both ends of the spectrum with rolled off sub-bass and rolled-off treble. While the mids are quite nice on the Orion, the DM7 offers a much better package overall in terms of sound quality at less the price.
Overall
The BGVP DM7 is my favorite BGVP product to date. They do have a quite a few more coming out in the near future and it’ll be interesting to see how the BGVP DMS sounds like. The early FR chart shows a similar sound signature with the extended treble to provide an airier presentation, which I criticized in this review on the DM7. We’ll have to wait and see though whether that FR is “real” and when it’ll be released.
That said though, the DM7 is a nice tuning and provides a clean, warm, inviting presentation that could easily be listened to for hours. I find it to be a warmer improved Moondrop Kanas Pro, which I reviewed with high acclaim earlier this year. Similarly, it is missing some treble spark, which I wished both of these had.
Despite that, I found the DM7 to be appealing to my tastes and an improvement over the DM6, DMG and other IEMs released recently in this price range that I have had a chance to audition.
Where to Buy
The BGVP DM7 will be available for order at the special introductory price of $279 (reg. $299) on Drop starting May 6th.
7 Likes
Great review as always @antdroid.
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Below is my review of the Simgot EM1. This review is also available on my blog.
INTRODUCTION/DISCLAIMER:
The Simgot EM1 is an in-ear monitor with a single 10mm titanium diaphragm dynamic driver per side. The EM1 is available for $59.99 on Amazon at the time of this review. Simgot provided me with the EM1 in exchange for a fair and objective review.
SOURCES
I have used the Simgot EM1 with the following sources:
Windows 10 PC > JDS Labs The Element > Simgot EM1
Pixel 3 > Fiio BTR1K (Bluetooth Apt-X) > Simgot EM1
Windows 10 PC > Fiio BTR1K (Bluetooth Apt-X) > Simgot EM1
Pixel 3 > Apple USB-C to 3.5mm dongle > Simgot EM1
I have tested these headphones with local FLAC and Spotify Premium.
PACKAGING AND ACCESSORIES
The Simgot EM1 comes in a large rectangular black box. The front panel of the slipcover bears a monochromatic outline illustration of the IEMs, as well as the model name, manufacturer logo, and the Hi-Res Audio logo. The side panels show similar illustrations of the included cable, highlighting the 3.5mm jack and the Y-split, along with a sticker indicating the color of the IEM housings. I received the red/black color option, but the EM1 is also available in red/blue and all-black. The back panel of the slipcover shows an exploded diagram of the IEMs, along with specifications and manufacturer contact information.
The textured box underneath is embossed with a phoenix illustration. The top of the box lifts off to reveal a sheet of mounting foam holding the IEMs and a small cardboard box marked “Accessories.” Included with the IEMs are a 4-core 6N OFC 2-pin cable, also seen included with the Meeture MT3, a mesh carry bag, and 2 sets of eartips (3 pairs each, S, M, L). The packaging describes the eartips as emphasizing either mid-high frequencies and bass frequencies. The mid-high eartips are shorter than the bass eartips, with a wider nozzle opening. Also included are a user manual, a warranty card, and a card listing customer service contact info.
BUILD QUALITY / DESIGN
The EM1 earpieces have translucent teardrop-shaped plastic housings with two-tone metal faceplates. The outer part of each metal faceplate is teardrop-shaped, and the inner part is a polished brass circle with concentric rings. The cable connections protrude up from the housings at a 45-degree angle, and the nozzles are forward-swept as well. The outer section of the faceplate is marked with the text “SIMGOT HIGH RESOLUTION” around the inner brass circle. “L” and “1xDynamic” are printed in silver on the inner face of the left earpiece housing, and “R” and “N50 Magnetic Loop” are printed on the inner face of the right earpiece housing.
Each earpiece has a tiny circular vent in the middle of the inner face of the housing. The biggest problem with the EM1 is the location of this vent. If this vent is obstructed, the IEMs sound muffled. Every time the EM1s inserted, I had to gently tug the housings outwards to keep the vent unobstructed. However, there is no driver flex.
The nozzle is a hair over 5mm in diameter. The nozzle has a small lip for securing eartips, which worked well with both the included tips and Spinfit CP100s.
The cable connector is unique to Simgot’s IEMs, which may prove troublesome to those seeking replacement or upgrade cables compatible with the EM1.
The braided cable is flexible and non-microphonic and uses pre-formed clear plastic ear-guides. There is a choker above the Y-split for cinching up the cable. The cable uses a straight 3.5mm jack. There is no mic. “OFC X4” is printed on the Y-split housing, and “SIMGOT” is printed on the jack housing. The cable has pre-formed plastic ear-guides and “L/R” markings on the 2-pin housings. The cable is not particularly tangle prone.
COMFORT / FIT / ISOLATION
The Simgot EM1 is intended to be worn cable-up only. The EM1 has a moderate insertion depth, but the housings are small enough to avoid compromising comfort. Fit is secure, but the vent issue necessitates occasional fiddling. The moderate insertion depth makes getting a good seal easy with a variety of eartips. I used Spinfit CP100s for most of my listening. Noise isolation is below average.
SOUND
The Simgot EM1 has a neutral-ish tuning that skews towards warmth.
The EM1 has visceral sub-bass with excellent extension. The mid-bass is impactful without being overwhelming, mildly elevated relative to the sub-bass and lower mids without overshadowing either. Bass is very textured.
The lower mids have a pleasant warmth but are spared from distracting mid-bass bleed. Male vocals are slightly recessed but are readily intelligible. Female vocals are clear without being over-emphasized. There is enough presence to render detail and grit without being sibilant.
The treble is smooth but grainy. There is moderate air and a hint of sparkle. Transients are realistic.
Timbre is natural sounding. Resolution is average for this price point. Instrument separation, especially in the bass region, is lacking. The soundstage is on the small side. Imaging is adequate.
MEASUREMENTS
My measurements were conducted with a Dayton iMM-6 microphone using a vinyl tubing coupler and a calibrated USB sound interface. The measurements are presented with 1/24th smoothing and without compensation. There is a resonant peak between 7–10k. Measurements above 10k are not reliable.
AMPLIFICATION REQUIREMENTS AND SOURCE PAIRING
With a sensitivity of 101dB and an impedance of 16ohms, the Simgot EM1 can be driven to moderate listening volumes with a smartphone or dongle but will benefit from the additional headroom provided by a dedicated source if one wants to listen at high volumes. I did not notice hiss with any of my sources.
COMPARISONS
Simgot EM1 [$60] vs Simgot MT3 [$61]
The Simgot MT3 has more elevated bass. The MT3’s bass is more textured with greater impact and slam. The EM1’s bass is slightly better articulated. Neither has much mid-bass bleed into the lower mids, but the EM1 has less mid-bass bleed than the MT3,
There is virtually no difference between the two IEMs in the lower midrange. The MT3 has a brighter, more aggressive upper midrange, which makes vocals sound more exciting at the cost of sibilance. MT3 has a thinner timbre.
The MT3’s treble is harsher than the EM1’s, but the MT3 has more air and sparkle.
The MT3 has slightly better imaging and instrument separation and a slightly wider soundstage. Sensitivity is similar between the two.
The MT3 is more comfortable and does not exhibit the venting issue that the EM1 has. The accessory sets are identical, but the EM1 has a more premium unboxing experience.
CLOSING WORDS
Choosing an IEM at the $60 price point seems to be a question of choosing which compromises you can live with. The Simgot EM1 is a well-tuned and engaging IEM with a solid set of accessories, but its technical performance is merely adequate, and the venting issue may be a deal-breaker for some. Overall, it compares well with alternatives at its price point.
5 Likes
Lovely pictures and as always a great review.
Oooh a Chi-Fi thread?! This one’s right up my alley.
I’m mostly a KZ guy and started with the ES4. Such a fantastic little bugger for the budget. Have also had the ED16, ZS10, AS10 ZS6, ZS7, and ZSN. At this point, I consider the AS10 (balanced via a Opus#1) to be my personal favorite of the bunch so far and it dominates my “daily driver” category when I need more isolation than the iSine10 provides during commutes.
I should be getting a pair of ZSN Pro in over the next month and will be more than happy to share my impressions/review here once I’ve managed to put it through its paces.
2 Likes
There’s also a budget IEM category which would fit stuff under $75. https://forum.headphone.com/t/the-ultra-cheap-iem-thread/
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Here is my Simgot EN700 Pro Review: I am also adding the EM1 review in the sub-75 category over on ultra-cheap thread.
Simgot EN700 Pro
(https://audiofool.reviews/2019/05/15/simgot-en700-pro/) wiljen
disclaimer: A big thanks to Simgot for sending the EN700 Pro for review. If you have an interest in Simgot products, please check their website, Facebook page, or Amazon Store.
Unboxing / Packaging:
Packaging on the Simgot EN700 Pro is very familiar having recently reviewed the EM2 (sibling). Details are listed on the reverse of the slip-cover but are tough to photo well as they are black on black and rather subtle. For that reason, I have included the sticker which is much easier to see if not as pretty. Under the slip-cover is a black pressboard box with the Simgot Emblem on front again in subdued gloss black on flat black as well as the name of the Family contained. Having now seen several, the EM and the EN have different monikers. Lifting the cover off the box reveals a foam tray with earpieces at top and a leather carrying case below again very reminiscent of the EM2 . The Tips are hiding inside the leather case, while the cable and warranty cards are beneath the foam tray containing the earpieces. I’m a fan of Simgot’s packaging especially considering the price points of these. Other manufacturers charge more and offer less in this department.
Accessories:
The EN700 Pro comes with a well made leather case with Simgot logo on the front, slogan on the rear, and magnetic closure. Inside the case are two cards that each contain a set of silicone eartips in three sizes. Card 1 contains the standard tips while card 2 has bass enhancing tips. a brush for cleaning the eartips is also hiding in the bottom of the leather case. Tip selection is going to be important as it does change the signature and it is unfortunate that the case is not large enough to store both the tip cards and the iem when travelling. Those wanting to take both sets of tips can drop a spare pair in the bottom of the case, or carry the cards separately.
Build/Fit:
I should also point out that due to the positioning of the single vent on the inside of the shell, that I found it possible to block that vent and change the signature as a result. If you suddenly have a bit darker signature than you wished, make sure you aren’t obstructing the vent.
Internals:
The beating heart of the EN700 Pro is a newly developed 10mm dynamic driver using a titanium coated polymer diaphragm. The same driver is shared with the EM series but is tuned a bit differently depending on model. Nominal impedance is 16Ω with a sensitivity of 101dB/mW (at 1khz) which on paper makes the EN700 Pro easy enough to drive to use with a phone or tablet. I did find that the driver does better with a bit more power as it sounds a bit thin when used directly from my Moto M3 when compared to the same track on the Opus#1S or the xDSD.
Cable:
The provided cable is an 8 core braid from the jack to the splitter and a twist above. The jack is the straight variety with a gold and black housing that nicely complements the earpieces. A proper strain relief is present and even features the Simgot name in red. A velcro closure is provided to minimize tangles in storage as well. The splitter is hard-rubber in black with the chin slider immediately above it in the same gold tone as the jack. The slider moves easily but stays in place well during exercise. Simgot lists the outer coating on the cable as 400D Dupont Kevlar so it should stand up to a fair amount of beating and banging before a problem is encountered. The cable terminates with .78mm bi-pin connectors and while the connectors are standard, the angle most certainly is not so using the cable with other iems or finding a replacement cable may be a bit more involved than usual for the EN700 Pro.
Tips:
Two cards of tips are provided each containing small, medium, and large tips. The first card is the balanced tips, while the 2nd card is low frequency enhancing. Both styles are single-flanged silicone tips but lengths differ between styles with the bass enhancing tips being taller while the matching neutral tips are wider but not as tall. They are indeed enough different to change the signature and it would be nice if Simgot offered the ability to buy extra pairs of your preferred size and type. For my listening, I used the neutral/high frequency tips as I found the Bass tips to augment the bass bloat and make the EN700 Pro a bit muddier by comparison.
Sound:
Bass:
Sub-bass depth is good on the Pro with audible roll-off beginning in the lower 40Hz range. From there, the mid-bass rises slightly but doesn’t ever get very far ahead of everything else. I was a bit surprised here as usually the titanium plated dynamics I have tried have excellent attack with a touch slower decay. Here, Simgot seems to have intentionally moved away from that and gone with a bit less speed in favor of a fuller more natural sound. At times this trade off makes the Pro a very listenable signature, at others it means bass can get a little loose. I found this to be especially true when volume levels are pushed higher. At low levels, the Pro generally remains well composed but as the volume climbs it can get a bit muddled on the low end. There is some mid-bass bleed that provides a bit of warmth while not obstructing too much of the mids in the process. (Here tip 1 is your best bet to minimize this bleed/bloat). Transition between bass and midrange is clean as expected with a single DD and will please those frustrated with poor transitions on the recent hybrids.
Mids:
While the Pro is a bit of a V shape, the mids are pleasantly not as recessed as the FR chart might lead you to believe. Lower mids follow from the mid-bass and have good texture and detail despite the mild bleed. If anything the extra thickness present gives male vocals a bit more weight. As the mids climb toward the treble they move a bit forward and do push female vocals out ahead of their lower voiced counterparts. I found the mids somewhere between the Scoop of things like the Topaz, and the Full-on assault of things like the NiceHCK M6 without winding up boring like the b400 sometimes comes across. Overall, very engaging and lifelike without feeling forced.
Treble:
The forward push of the upper-mids continues into the lower treble which helps lift female vocals to the front without sounding unnatural or uneven. The Biggest difference in the treble on the EN700 Pro vs much of its competition is the coherency offered by a single driver. Too many of the hybrids sound like a 2nd driver was slapped in to handle the highs with little thought given to phase or timbre matching the other drivers. The EN700Pro has a very organic, natural tone that is a nice departure from the hybrid clan. the treble plateaus before starting to roll-off above the 7.5kHz mark. Strings are well rendered which is a tough task for any in-ear. Cymbals are portrayed realistically without any metallic click to them. Overall, the En700 Pro has more air and sparkle at the top end than expected. Based on the graph I would have expected a bit more limited air at the top but the EN700Pro manages to fool the ear with a tuning that sounds open and yet never strident. Its a good balance.
Soundstage / Imaging:
Here we have to split the two in the section title as they are not alike. Soundstage is fantastic with good depth, width,and height and produces a very 3-dimensional sound. The EN700Pro is easily class leading in soundstage when considering its price point in the equation. Imaging on the other hand, while good, is not at the same level. Here I think some of the hybrids make up some ground as the transients are a bit better on things like the M6. This isnt a knock on the EN700pro as it performs well and seating the orchestra is easy to do while listening, it is simply to say that it doesn’t quite reach the level of imaging and separation that the stage size would suggest. Layering is good, but here again some of the multi-driver hybrids have a distinct advantage. That said, I don’t think the EN700Pro loses to those hybrids by the degree one might expect when comparing driver numbers. I’d say the layering on the EN700Pro probably represents 85-90% of what I hear using something like the Brainwavz B400 or the Kinboofi Mk4.
Comparisons:
EN700 original:
Construction has changed very little between the two models as shells are nearly identical if not exactly the same. Cables are listed as copper on the original and silver-plated copper on the Pro. Sound wise, we went from the 700 which was sub-bass light and some found it mid-bass light to the EN700 Bass which pushed more bass but at the expense of detail and some clarity of mids. The Pro is a shallower V than the original EN700 with better low end and more detail. Honestly, I think the Pro is what the EN700 Bass could have been as it resolves most of the detractions of the original while maintaining the things it did well.
BQEYZ KB100:
The KB100 is one of my favorite budget models at present with a signature like an improved Tin Audio T2. Shells are similar although the level of fit and polish is higher on the EN700Pro by comparison and I found the comfort a bit better as a result of the rounded edges. Sound-wise, extension on the EN700 pro is better at both ends which is quite a feat considering it is a single dynamic going up against a hybrid. Sub-bass has a physical presence, and detail level is a grade above the KB100.
Brainwavz B400:
Build wise, these two have nohting in common. 3d printed vs machined shell, mmcx vs bi-pin, quad BA vs single dynamic. Sound wise, they are more like than not as both have similar tonality although the extension is better on both ends on the EN700Pro, while the detail level on the B400 is better. The EN700Pro puts a bit more emphasis on the upper-mids and lower treble which gives vocals a bit more presence while the b400 concentrates on letting nothing get out in front of everything else. While both have better than average imaging and layering, the b400 wins on this count as the quad driver simply out-muscles the single. Overall, if you love the b400, but wish it wasn’t quite as boring as it can be at times, the EN700pro comes off as a slightly less refined option with more energy and life where it counts.
NiceHCK M6:
Shells are of similar construction and share similar quality builds. The cable on the EN700Pro is better than that of the M6 as is the case and tip selection. Sound-wise, the M6 is a deeper V than the EN700Pro, but both do well with mid detail so both seem shallower than they actually plot. The M6 has a deeper bass response when compared to the EN700Pro, but its treble is far more uneven in comparison and it needs after-market filters to do its best work. The EN700Pro is much less forced and more organic sounding by comparison. Detail favors the M6 as does imaging but the EN700Pro wins for stage size.
Thoughts / Conclusion:
Having had the opportunity to try several models in the EN700 line, I would like to applaud Simgot for listening to user feedback and continuing to improve the product. I think the Pro represents the best of the breed so far, and is a significant departure from the original and the mk2. While the EN700pro may not pack the level of detail of some of its competitors, it has an ease to the sound and a coherency that many of those same competitors cannot muster. I found the technicals to be much the same story, attack and decay are not as fast as some of the hybrids, FR is not as flat as some, extension is good but not class leading, but sound is more organic and tonality far more realistic than many of those more technically proficient models. Perhaps the best way to say it is, The EN700Pro is not an analyst’s earphone, it is a music lover’s earphone. For those that want to find a quiet corner, put in their earphones, turn on their favorite album, and drift away, the EN700Pro is a good choice. The EN700Pro won’t be the choice for those who want to really “rock out” as bass loses a bit of control above about 85dB. Simgot should be proud of what they have achieved thus far as the EN700 has gone from “OK” to “very good” with this latest generation.
Simgot EN700 Pro
7.3
Packaging
7.0/10
Build Quality
7.0/10
Accessories
8.0/10
- Bass - 6.5/10
- Mids - 7/10
- Treble - 6.5/10
- Soundstage - 7/10
- Imaging - 6/10
Summary
Pros: Excellent build quality, great case, great sound stage, very cohesive and natural sound
Cons: Not as detailed as some, loses a little control at high volumes, forward upper-mid/lower treble may not be for everyone.
4 Likes
Another nice, detailed review. A good read.
Awesome review!! I had them in mind for a couple of weeks and Amazon’s reviews were my only reference. I only use IEM on my commute and the Tin Audio T2 and CCA-C16 are my best ones. I love T2 when my idea is to immerse myself in to the music without getting in too much detail, just enjoy it while walking or reading.
CCA-C16 is the opposite, they are very detail and fast that some times force me to analyze the music .
My idea is to get another pair of IEM for the “enjoy and love” of the music (another better than T2, which sometimes are to bright.) and now I truly believe these guys are the ones.
Thanks!!
1 Like