I’m thinking the S12 may be my next purchase. I’ve had the Moondrop Chu for a couple of days now and am really impressed in the sound quality for $20. Interested in seeing what a step up is like, and I’ve seen nothing but great comments on the S12.
The Raptgo Hook-X is an in-ear monitor (IEM) which uses a 14.2mm planar-magnetic driver and a piezoelectric driver. The Hook-X retails for $239 at Linsoul.
The Hook-X is a very good-sounding IEM, but if your sole use-case for an IEM is listening to music, the Hook-X is not the best value for your dollar. I suspect that the inclusion of a modular cable is responsible for a large part of the higher sticker price relative to contemporary planar-magnetic IEMs. This cable system is nice to have but not strictly necessary given that the Hook-X is easy enough to drive off of a single-ended connection. Further, QC issues with the cable are evidently not uncommon. The Hook-X has additional value for use cases where the semi-open design gives unique benefits, such as gaming.
My full review, with measurements and additional images, is available on my blog:
3 Likes
Letshuoer D13
The Letshuoer D13 have been sent to me by Letshuoer in exchange for the publication of this review, they have not made any specific requests, although I will leave a non-affiliate link to the official page of the D13 below.
This means that, as always, I will do my best to be as unbiased as possible in the review of these IEMs, always reminding you that these IEMs have not actually cost me anything.
The Letshuoer D13 official page is here: LETSHUOER D13 DLC diaphragm dynamic driver IEM moving coil headphones – letshuoer
Intro…
Letshuoer, previously known as Shuoer, are a company that have been around for quite a while, at least as far as the world of IEMs time frame is concerned, with a few models that have gained a lot of popularity. One of my favourite daily drivers is the Letshuoer S12, a planar magnetic set of IEMs that I am very fond of.
The D13 is a dynamic driver set, featuring a 13mm DLC diaphragm, which comes with two sets of nozzles featuring two filter types that create slight changes to the overall tuning of the IEMs.
At the time of this review, the IEMs cost around 115€, although there is a sale that drops them to around 105€.
That means that, while they are not in the ultra-cheap budget category, they are still reasonably priced IEMs.
Presentation…
Presented in a nice modern box, the contents are similar to those included with the S12 that I have received previously.
Other than the IEMs, we get a nice cable which is available either as a 3.5mm unbalanced or a 4.4mm balanced (the latter being the one I have received), 6 sets of silicone tips (in two types), a storage/transport case which is the same as the one included with the S12 but with a different text on top, the additional set of nozzles, the usual warranty card and a Letshuoer product manual.
There is nothing included that is extraordinary but at the same time, the contents are plenty for a set of IEMs in this price range, at least in my opinion.
Build and aesthetics…
Starting with the IEMs, the build quality looks to be of very good quality and the aestheitcs are something that I find very pleasurable (of course, this is a totally personal opinion).
The shape of the IEMs is a break from the norm, using a round shell with the connection point located on top. The shape is not unique, as there are other manufacturers that have used similar shapes in the past, but the overall design and aesthetics give it a very original look. Available in black or blue, I have the black version which is actually a very dark gunmetal grey, something that I am quite fond of, making the red highlights stand out without looking out of place.
As far as comfort, I personally find them very comfortable, with the shells fitting nicely inside my ear and no hot spots developing even after long listening sessions.
The included cable is thinner than the one included with the S12, something that I also prefer, in a dark brown colour sporting hardware that matches the finish of the IEMs.
I have absolutely no complaints with regards to build, aesthetics or comfort, although two of these three will vary from one person to the next.
Sound…
NOTE: as always, all tracks are clickable links to reference the mentioned track in the streaming service of your choice.
As I mentioned, the D13 includes two nozzles, one with a gold filter and the other with a silver filter. The differences in sound between the two are not huge but they are noticeable, here is what they look like in comparison to my personal preference target:
As you can see on the graph, the silver filter adds some more presence in the low end, while dropping the 2kHz presence a little, the rest is almost identical. Now, anyone who has followed my reviews will guess that I prefer the nozzles with the gold filters… and I do.
I find the gold filters to have a little more clarity to them, still with plenty of bass (maybe a little too much at times) for my tastes, making the overall sound more impressive in my opinion. I have spent time with both sets of nozzles, yet my overall feeling when using the silver nozzles was that things are just a little duller and not quite as defined.
So, my following thoughts are based on using the nozzles with gold filters, together with the dark grey silicone tips that come included.
In the low ranges, there is plenty of presence, with the bass being the main focus of this set, and in my opinion, what it does the best. Playing the usual test track, “Chameleon” by Trentemoller, when the main bass kicks in at 0:31, it is quite a “wow” moment, especially upon first listen. I do find that at 0:47, when bass increases even more, it can get a little overpowering for me but then again, the track itself is rather overpowering.
Testing the subbass with something a little more sane, like “Royals” by Lorde, there is a nice rumble that I don’t find overpowering. I have mentioned before that the subbass in “Royals” is a little “loose” (for lack of a better word) and the D13 certainly don’t make it any worse.
Focusing more on the midbass, listening to “Sun is Shining”, I find the bass to be clean and articulate, making a good job of this specific track and resulting in a pleasant listen. With another common test track of mine, “No Sanctuary Here”, I find that there is a little too much midbass for my taste but it is clean and articulate, making the track still enjoyable, even if a little overly boosted in these ranges.
With “Black Muse”, here I do find that the bass is not quite as detailed as it should be, yet I am coming to realize that this track seems to be a difficult one for IEMs to get right, at least as far as what I consider “right”. “New Life” is another track that I felt had too much in the low end but in general, for such a bass orientated set of IEMs, I must say that I found myself enjoying more often than not.
Moving into the lower mids, the presence drops quite a bit, through the center of the mids also, and this helps keep the low end clean and tidy. The mids can seem to be further back than I appreciate (even more so with the Silver filters), yet they are not absent, it is just the kind of V tuning that these IEMs are going for. An example of this would be “Back It Up”, where vocals could do with a little more presence.
When playing acapella tracks, such as “These Bones”, vocals are warm and articulate, in fact, “These Bones” sounds pretty good on the D13! With Nellie McKay in “I Concentrate On You”, I did find her voice to not be quite as lively as I would like it to be.
That brings us to the upper mids, where the 2kHz presence works hard to bring vocals and the likes further forwards, avoiding them being too far back in the mix. The D13 don’t do a terrible job in this regard but they don’t do an excellent job either.
In some tracks, such as “Back It Up” that I already mentioned, I get the feeling that vocals are not quite present enough, where on other tracks, such as “All Eyez On Me”, I find the opposite to be true, it is just a little too harsh in the upper mids.
I feel that this is due to the 2kHz rise being a little too much and rolling off a little too soon. If the presence wasn’t quite as boosted and was extended a little more towards the 3kHz mark before dropping, then it would maybe be a little more balanced.
One thing I will say is that, when a track is recorded in a way that matches the tuning of the D13, such as “Don’t Start Now” by Dua Lipa, it sounds pretty great. In fact, I would say that these IEMs are best suited to modern music recorded like “Don’t Start Now”, as they seem to work great for it. I would even venture to say that, for modern pop, I would need to think long and hard about choosing the Dusk over these (the Dusk being my default pick for modern pop).
Moving into the upper ranges, some harshness can again present itself on occasions but only sporadically. In general the upper treble is decent and sibilance is also avoided quite well. Listening to “Code Cool”, sibilance is tamed but is not dulled, which is a good thing.
Details are not spectacular, making smaller details in the background difficult to appreciate, although I don’t really think that these are IEMs that are designed for fixating on tiny details. For example, in the track “All You Love (Turned To Passion)”, the tonality of the guitar and vocals I find quite nice, along with the majority of what is happening in the foreground, yet those tiny details that depend on the reverb etc. during the intro, they are not quite there, even when focusing on them.
Soundstage is about average for a set of IEMs, nothing groundbreaking in this regard, with an image placement that is good but is also not excellent. I don’t really have any complaints here but I don’t really have any praise either.
As I have been mentioning lately, the above is a graph of the isolation of the D13 in comparison to Zero Isolation (grey dotted line). They are not the most isolating of IEMs but are not terrible either, sort of around average, which is to be expected with the rear vents. You can compare these to other IEMs by following the link at the end of this review.
Conclusion…
The D13 are another set of IEMs that bring some fun to the table for a reasonable price. The build is good, the aesthetics and comfort are great (both in my opinion of course) and the overall sound signature is something that works well for a lot of music.
They put plenty of emphasis on the bass region without overdoing it, at least not with the majority of music, and I find that they make for a very pleasant listen with EDM, modern pop and other similarly produced music.
They are not a set of IEMs that I would choose to focus on details and pick apart recordings, more something that I would pick for being on the move or while doing other things that involve focus elsewhere. Paired with a BT receiver, such as the Go Blu in my case, I find that they are a great pick for doing chores that involve moving around and enjoying music without dissecting it.
I also wouldn’t pick them for acoustic music, which a lot of my listening is, I think they are more of a “Friday afternoon” set 
I think Letshuoer are working hard to improve and bring quality with their latest releases and the D13 is another good effort that is around the 100€ mark. There are a couple of other models of theirs that I would like to get to try and I’ll be interested to see what else they bring forward in the near future.
(As always, this review is also available in Spanish on www.achoreviews.com and on www.youtube.com/achoreviews)
All FR measurements of IEMs can be viewed and compared on achoreviews.squig.link
All isolation measurements of IEMs can be found on achoreviews.squig.link/isolation
6 Likes
Nice to see LETSHUOZER getting some coverage here. Need to try out their lineup at CanJam.
1 Like
Bought some AZLA SednaEarfit XELASTEC tips to try and I nearly ripped my ears off trying to get them out they are so tacky!
Yeah, they’re overkill IMO. I much prefer the SednaEarfitLight. They’re still grippy but not uncomfortably so.
I’ll let you know. They should be here this afternoon!
2 Likes
The Truthear Hexa is my new default recommendation at the sub-$100 price point. It is a nearly perfect purchase at its price, with my sole complaint being the relatively slow bass articulation.
My full review, with measurements and additional images, is available on my blog:
6 Likes
Hello, can you tell me if the Hexa and the Hola shares the same overall sound signature?
I like the Hola a lot, where I would like it improved is when bass goes lower, I feel it loses a lot of its quality (not presence). If the Hexa could improve on this keeping all other things the Hola does well, I will probably get one.
No, the Hola is a much warmer sounding IEM than the Hexa. I also would say that bass is not one of the Hexa’s stronger attributes. I don’t think it fits what you’re looking for.
1 Like
Oh goodness me. This is great. Using a KANN MAX+ CYPHER LABS ALGORITHM TRIO (tube amp) with the CA ATLAS. I really couldn’t be happier. This is the best I have In Portable audio.
6 Likes
AÜR AUDIO NEON PRO
Hope this is appropriate to share here.
Short story
I started a road into IEMs 2 years ago, I hoped for something to give the same joy and quality as my ZMF Verite. I found it recently trough the Neon Pro. It has detail, speed, timbre, craftsmanship and just pure enjoyment.
My review on AüR Audio Neon Pro is on Head-Fi, I might have gone a little overboard so the review is fairly long. One of the best performing IEMs you can buy, competing with sets costing much more.
If interested in this gem of an IEM, please read it and enjoy.
4 Likes
Wanting to try some custom tips, in the hope they work well for me and maybe I can get some actual custom shell IEMs.
I once owned the U12T and Mest MK2 and Odin. Thoughts on how something like the IE600 or IE900 compare there? I liked the U12T and Mest, U12T be ideal with a big thumping DD in it, Mest be ideal if it has the coherency of the U12T. Odin was great too, just expensive.
The Theiaudio Monarch MK2 rates well too, but has more 3-4khz energy than I like, the U12T/Mest/IE600 etc seem to have a bit of a dip in that ear gain area which is preferred.
1 Like
Does anyone know also if 64 Audio are on the Otoscan network?
I usually prefer reference-tuned IEMs, but the HiBy Zeta’s stellar bass performance and excellent build quality have won me over. I can confidently recommend the Zeta to anyone looking for an endgame IEM with a V-shaped sound profile.
My full review is available at the link below:
5 Likes
Top five atm, no order.
Penon Serial
AüR Audio Aure
Venture Electronics SiE
AüR Audio Neon Pro
ISN EST50
7 Likes
I am leaving this here as it falls just outside the ultra cheap thread but I am not sure it needs its own thread…
7Hz Legato
TLDR version on YouTube: TDLR - 7Hz Legato
The 7Hz Legato have been sent to me by Linsoul in exchange for the publication of this review. As usual, Linsoul have not requested anything specific and I will aim to be as honest and unbiased as humanly possible in this review, however, it is always good to consider the fact that these IEMs have not cost me anything.
You can find a link to the Legato via Linsoul by visiting the version of this review published on my blog (info at the end of this post).
As with all the links I share, it is a non-affiliate link.
To avoid being repetetive in my reviews, you can find all the info about how I create the reviews, equipment used, how I receive the products and how to interpret my reviews by visiting: About my reviews
Intro…
While I haven’t had a chance to try all of the IEMs by the brand, I have tried a few (I believe this is the 5th set from the brand that I have reviewed) and except for the Eternal, the remaining sets have all been good performers in their respective price ranges.
In the case of the Legato, we are looking at a dual dynamic driver which comes in, at the time of creating this review, at just over 100€ on Linsoul. This means that, while not an extreme budget IEM, we are at least looking at a set that is budget friendly.
The Legato uses a 12mm DD for the bass range, while opting for a 6mm DD for the mids and treble ranges. This is not the first time for this driver configuration but it is still a driver combination that interests me, as a fan of dynamic drivers, allowing some freedom between drivers to focus on their respective frequency ranges. So let’s see if 7Hz have made it worth the price.
Presentation…
The Legato arrives in a box showing the IEMs on the front and a breakdown of the internals on the back. Inside this box we find a large storage case, very similar to the one included with the 7Hz Dioko, a planar set of IEMs that come in at around the same price.
Inside the storage case (which could be called a transport case but there is no way you are fitting this in your pocket), we find the IEMs with the cable attached, a decent selection of silicone tips, a user manual and 4 sets of spare filters and grilles.
It is not extraordinary to receive spare filters with IEMs (although it is not really common) but I do think this is the first time I have received both spare filters and grilles.
The included tips are nothing extraordinary either but I found the transparent ones to work for me and that is what I have used throughout this review.
Build and aesthetics…
The Legato features CNC’d aluminium shells that look a lot heavier than they are. The nozzles protrude quite a bit from the shells, allowing a deeper fit with smaller tips in my case. Together with the rounded edges of the shells, I find them to be quite comfortable even for long listening sessions, without feeling any discomfort or them becoming tiring.
As far as aesthetics, these are the most “normal” looking 7Hz IEMs that I have seen to date. In a dark grey, almost gunmetal, colour and a textured faceplate, they look elegant and are not prone to showing every last fingerprint like some other smoother metal finishes. The are quite a bit smaller than models like the Timeless, Eternal or Dioko, and are far better looking (in my opinion of course) than the “toyish” like build of the Zero.
The included cable is also good, both in build quality and looks, matching the IEMs rather well. All in all, I find them to be well built, good looking and comfortable, so I can’t ask for more in the build and aesthetics category.
Sound…
All tracks mentioned are clickable links that allow you to open the reference track in the streaming service of your choice (YouTube, Tidal, Qobuz, Spotify, etc.)
Moving on to how the Legato sound, let’s start with the usual look at the graph comparing them to my personal preference target as a reference:
Now, starting off with the subbass, there is a lot. In fact, there is a lot of bass in general, boosted all the way to where we meet the lower mids. Although there is a lot of quantity, the Legato actually do a decent job of keeping the bass section under control, dealing well with fast moving lines and not becoming overly slow or sluggish in their response to bass heavy tracks.
However, that doesn’t mean that there isn’t too much bass for my personal tastes, I’m afraid that there is far too much for me. The subbass is actually ok and I find it enjoyable on tracks that have a lot going on in those lower ranges (I’m sure you can guess my reference track at this point) but when we move into the midbass, it is just too much for me to enjoy it regularly.
I did have a few sessions where I felt like some EDM and enjoyed the result in the lower ranges but these were not the usual occurrence. With music that I listen to more regularly, featuring instruments rather than electronic samples, I found the midbass to be overwhelming.
My usual test of “Crazy” was not as bad as on some other “less capable” sets but even the clarity and speed of the Legato driver was enough to stop me from getting that feeling of nausea from the excessive reverb in the low end of the guitar.
Moving into the mids, I feel that there is a distinct lack of presence. In the lower range of the mids this is due to the wall of bass that proceeds them, but even in the higher end of the mids, there is just not enough to bring vocals forwards and make them stand out. On tracks like “Shot Me Down” by David Guetta, I found it a struggle to appreciate the voice (although the bass rhythm was pretty impressive).
In general the mids are just not present enough, leaving the center of the frequencies to sound rather dull in my opinion.
Moving into the upper ranges, there is again not quite enough presence to add some light to what I feel is a rather dark and bass centric tuning. I feel there is a lack of air and brilliance that is needed to clean things up a little. Cymbals are too dull, pianos are lacking life and, although they do avoid any sibilance, I just feel that the driver that deals with the mids and upper ranges could use a few extra dB to compete with the lower driver.
This also makes for rather a small soundstage, with placement of images that is not really very good, mainly because of that lack of air and brightness. It’s not terrible as far as soundstage but it is below what I have come to expect as average for a set of IEMs.
Conclusion…
If you are looking for a set of IEMs that offer a rather dark and bass heavy presentation, then I think that the Legato could be something very interesting. They can be very impressive in the low ranges, depending on your music taste.
However, the lack of mids and upper ranges is something that makes them not fit well with my personal tastes or personal music preferences, meaning that they are not a set that I would reach for except on specific occasions.
With 7Hz I have found that I don’t have a middle ground with them, out of 5 sets I have tried, 3 I have found to be very good and the other 2, well, let’s just say that they are not my thing. But that doesn’t mean you won’t enjoy them, if your tastes fit the sound I described, then give them a try!
As always, this review is also available in Spanish, both on my blog (www.achoreviews.com) and on YouTube (Acho Reviews - YouTube)
All FR measurements of IEMs can be viewed and compared on achoreviews.squig.link
All isolation measurements of IEMs can be found on achoreviews.squig.link/isolation
5 Likes
Leo from Unique Melody sent me over the MEST MK III recently. Thanks brother. This is the CF edition (just fancier faceplate) and cost around $2,000. Here’s a quick pic of it, sorry for the low quality. High effort photos are reserved for reviews 
And of course, here is the graph.
First impressions: I quite like them. The tonality is definitely colored with substantial bass, softer mids, and a mildly spicy mid-treble. The graph shows the tuning quite well though I thought there would be more upper mids than this. I gotta say I’m a little disappointed by channel imbalance throughout. It’s not super noticeable in music but you can tell the center image isn’t very precise. Soundstage is quite wide horizontally but the height and depth isn’t anything too crazy. I think the yellow graph is a bit more representative of what I’m hearing.
The Good: The instrument and note separation is superb. “Speed” if you will. Like really really good, especially for drum fills. The minor nuances as singing strings subtly change their voice is brought to life. The tuning is right down my alley - weirdly, it reminds me quite a bit of the DUNU SA6 with its vocal performance. The spice in the mid-treble is very noticeable and does pull forward certain hats and cymbals but I’m of the opinion that it’s better to be bright than dead. This is an IEM I want to listen more and more with.
The Bad: The bass isn’t the hardest hitting, biggest blamming, craziest cracking thing out there. I think the way the shelf leads into the lower mids masks some of the definition, especially with how the upper mids are relatively recessed. For some faster alt-rock songs, it ain’t the best. But in better produced tracks it can really deliver. Also I really don’t like the new petal tips. Sorry UM.
I only just recently heard the OG MEST last week for the first time a friend. The MK III has a fairly different DNA altogether so I won’t really compare them (nor can I since I haven’t actually heard either long enough for that).
5 Likes
I was contacted by John Creigan from Jackrabbit Media and invited to review the Westone MACH 60 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 MACH range itself has two categories, Premium Reference, which includes the MACH 20, 40, 60 and 80 and Premium Bass, comprising the MACH 10, 30, 50 and 70. The Premium Reference series tuning is designed to be neutral whereas the Premium Bass line has a warmer tonality.
The MACH 60 featured here is the second highest model in the Premium Reference series, equipped with six balanced armature drivers per channel, two each for the bass, midrange and treble. A three-way passive crossover divides the signal amongst the six drivers. A frequency response of 8Hz-20kHz is specified along with an impedance of 35Ω and a sensitivity of 100dB @ 1kHz. The MACH 60 retails for £1099.
The Packaging
The MACH 60 comes in a large rectangular box with a full-colour sleeve featuring a montage including an image of the IEMs and the model name MACH 60 displayed in a modern sans serif font. The rear of the box shows the specifications and a list of the contents. Removing the sleeve reveals a black box bearing the Westone Audio logo and the legend “Inspired by Lucid Hearing”. Within you will find a large black pelican case inside which you will find:
● Westone MACH 60 IEMs
● Estron Linum SuperBaX T2 cable
● 5 pairs of foam tips
● 5 pairs of silicone tips
● Carabiner
● Soft protective bag
● Velcro cable tie
● Cleaning tool
● Card with QR link to manual
Design and Build
The MACH 60 IEMs have a shell made from a durable plastic material in black and grey. The faceplate is metal with the right side featuring the Westone logo and the left bearing the model name MACH 60. The gold-plated T2 cable socket has a pronounced forward rake and the earpieces are lightweight and comfortable.
The Linum SuperBaX cable has a 4-core construction with 168 strands of silver-plated copper and has a braided black covering. The T2 termination and right-angled 3.5mm plug are gold-plated and the two-part Y-split detaches to provide a chin slider. The cable is approximately 1.2m in length and is very light with a weight of 9g and has a low impedance of 0.75 ohms. Bearing in mind the price level of these IEMs, I was disappointed that a modular cable was not included, which would have facilitated balanced operation.
Fit and Isolation
Once the MACH 60 was placed perfectly horizontally, it fitted snugly inside my ear. The long nozzles and extended eartips produced a deep insertion which was very comfortable and after a short time it was easy to forget that the IEMs were there. 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 superb isolation. Westone’s long thin nozzles did not allow me to try standard IEM tips so “tip rolling” was not possible.
The MACH 60 was tested with a variety of sources: three different DAPs, a digital radio and a smartphone via a USB-C dongle DAC. A “burn-in” of 100 hours was performed to run in the components and the sound continued to improve throughout the burn-in period. Sensitivity was a little low, with a higher volume level necessary compared to the MACH 70. After a lengthy evaluation, I settled on the Xduoo X20, which provided more power and gave the most pleasing results, as the primary source.
Sound Impressions
Tonality
The MACH 60 immediately impressed with a well-balanced and neutral profile and good extension at both ends of the spectrum. Detail was copious with an attractive delicacy in the high frequencies and the soundstage was expansive with impressive stereo imaging. There was a solid impactful bass, open and expressive midrange and an airy smooth treble. The tonality throughout was very good with no evidence of “BA timbre”. In fact the MACH 60 shared the same Westone house sound with a similar character to that of the MACH 70, AM Pro x10 and AM Pro X30. The overall impression was of accuracy and refinement, commensurate with a high quality in-ear monitor.
Bass
The MACH 60’s bass was clean, detailed and fast, as expected from a balanced armature driver, whilst displaying a very natural timbre and accurate reproduction of decay and texture. The bass profile was largely neutral or “reference” style with good extension, but more or less on the same level as the midrange. Compared to the popular Harman curve, sub bass was somewhat rolled off but mid bass displayed good energy and impact and it did not bleed into the lower midrange. Orchestral basses and cellos displayed a natural warmth and accurate timbre with rich harmonic expression.
Aaron Copland’s popular “Fanfare for the Common Man” is a tour de force for brass and percussion. It has been recorded many times but the performance by the Minnesota Orchestra under Eiji Oue is perhaps one of the finest. This remarkable recording came to life in dramatic fashion on the MACH 60 with the initial strike and rebound of the bass drum’s skin beautifully rendered. The timpani displayed superb speed and impact, forming a perfect backdrop for the sparkling brass melody.
“Desseins Eternels” is the third movement of “La Nativite” by Olivier Messaien. It is a gentle, meditative and slow-paced piece exploring chordal harmonies. It features a somewhat meandering theme underpinned by deep pedal progressions. In the version performed by Louis Thiry at the organ of Geneva Cathedral, there was good texture and resolution from the MACH 60 but the very lowest notes were more distant sounding than ideal, though possessing an accurate timbre. This neutral bass tuning resulted in just a slight lack of “body” softening the impact of the piece and lessening its “gravitas”.
Kevin Kendle is a British electronic music artist with over 30 albums to his name. “Silent Trees” is a beautiful soundscape from his album “Winter”. A gently descending melody underpinned by a solid bass line gradually becomes more prominent with a more complex accompaniment. Brian Abbott’s guitar accents add interest and in the climax of the piece a deep sub bass foundation evokes a sense of foreboding. The MACH 60 handled this very well with a palpable sense of power and texture although a little more weight would have been welcome.
Midrange
With its reference-style tuning, the MACH 60’s midrange was clean, transparent and detailed with good detail. There was no evidence of recession and the tonality was consistent throughout the range. There was no warming influence from the bass and pinna gain was gentle with no excessive brightness towards the treble boundary. Voices were nicely projected above the accompaniment with male vocals possessing good weight and female vocals open and clear. Woodwind and brass instruments came over crisp and airy in character while strings possessed a realistic bite and resonance.
“Winter Light” is the theme song from the film “The Secret Garden”. Linda Ronstadt performs it wonderfully with an ethereal vocal delivery. The MACH 60 made the most of this with a detailed rendition marked by clarity and precision, full of atmosphere and emotion. Zbigniew Preisner’s beautiful orchestration sounded lush and spacious, forming a perfect backdrop for Linda Ronstadt’s beautiful vocal performance.
The Adagio fom Schubert’s String Quintet is a classic piece with a notably concentrated quality. In the version by the Melos Quartet with Mstislav Rostropovich, the MACH 60 brought the piece to life in dramatic fashion with the various instruments sounding natural and vibrant, and the atmosphere of the recording venue a joy to hear. The contrast of bowed and plucked strings was realised authentically with a perfect balance between the players and a fine
reproduction of the ambience of the hall. Violins and violas displayed a natural tonality and the pizzicato notes of the cello were nicely portrayed in a spacious manner with a real sense of “being there”. The balance of the various instruments was well judged.
The Piano Guys presented an enchanting version of “Bring him Home” from “Les Miserables”. Performed on cello with piano accompaniment, the listener was drawn in by the atmosphere and simplicity of the presentation. The MACH 60 delivered a warm and emotional performance with a perfect balance between the two instruments. With a believable timbre, the cello and piano came over as natural and authentic and in the central section, the rich tonality of the lower notes of the piano was particularly enjoyable.
Treble
With a detailed and accurate delivery and deceptively fine extension, the MACH 60’s treble was one of its best features. The speedy transient attack ensured that leading edges were reproduced with precision and verve producing a sound redolent of a live performance. The inherent smoothness ensured that there was no listening fatigue while still revealing abundant detail and air.
The MACH 60 produced a clean and crisp string timbre in Rossini’s “String Sonata No.1”. The natural harmonics defining the various instruments were accurately conveyed in the excellent recording by The Age of Enlightenment Orchestra. Each instrument displayed real character and the excellent transient attack with incisive and clean leading edges endowed the whole performance with a “live” quality. The details of bowing and pizzicato were authentic and micro-detail was also effective here with the subtle and delicate effects in the counterpoint easy to discern.
Vaughan Williams’s “The Lark Ascending” is a much-recorded work. Sarah Chang’s performance with the LPO conducted by Bernard Haitink is unusually vivid and dynamic and there was an attractive immediacy casting a different light on the work which is often portrayed in a more languid fashion. Once again, the MACH 60’s ability to reproduce harmonics accurately came to the fore with Sarah Chang presenting the work in a very direct and emotional way and the MACH 60 made the most of it with a most believable rendition of the soaring solo instrument set against a perfectly balanced orchestral accompaniment. The final few notes as the violin portrayed the ascent of the bird into the sky were communicated in a most sensitive and delicate manner.
“Vapor Drawings” is an album by Mark Isham combining new age, electronic and jazz elements. The opening track, “Many Chinas” begins with intricate electronic effects in the extreme left and right of the stage. The MACH 60 reproduced these with precise detail. Following this, a trumpet theme is introduced, supported by punchy bass lines and keyboard embellishments. The whole piece came together really well with excellent clarity within an expansive and airy soundstage while the MACH 60’s incisive transient response ensured that the rhythmic integrity of the piece was faithfully communicated.
Soundstage and Imaging
The MACH 60 produced a large stage with a good representation of width and height. Due to the forward nature of the midrange, I found there was a slight lack of depth which affected layering and the perception of the position of instruments within an orchestra. Recordings of smaller ensembles did not suffer from this effect but this was still only a minor issue. Separation was very well reproduced and movement within the stereo image convincingly handled.
“First Flight” by Alasdair Fraser appears on the Narada compilation album " A Childhood Remembered". It features solo violin supported by synthesisers supported by a whole range of acoustic instruments and percussion. On the MACH 60, the rhythmic lead melody stood out clearly against the colourful and complex accompaniment and deep synth bass with a palpable sense of space, producing a feeling of being wrapped in sound. Each of the disparate elements in the recording occupied their own space and were easy to locate within the overall picture.
In Anatoly Liadov’s beautiful “The Enchanted Lake”, bass trombones and tuba in the background created a menacing atmosphere overlaid by delicate strings and clear brass parts with the horns placed wide in the left of the stage and harp figurations adding to the drama. Later in the piece the woodwind arpeggios accompanied by brass chords produced a most pleasing effect. The dynamic shifts in the performance by the Philharmonic Symphony Orchestra of London under Charles Gerhardt were very realistically portrayed by the MACH 60 with only a little more depth in the staging required to make it perfect.
“On Air” from 1996, is the second solo album after the Alan Parsons Project split up and is inspired by the history of airborne exploration. The Alan Parsons Project’s series of progressive music albums feature a wide range of musical styles, all beautifully recorded and produced. “On Air” is in a similar vein. The opening track is a shortened version of the last track on the album. “Blue Blue Sky” begins with birdsong in the open air. The MACH 60 presented this very naturally with a real sense of space and a close miked vocal by Eric Stewart follows, with an exceptionally clear acoustic guitar accompaniment. After the final bars of the song, two jet aircraft speed across the image from right to left and the effect was very convincing and exciting with a realistic “airy” feel as the sound faded and reverberated in the air with a very natural decay.
Comparisons
Westone MACH 70
The MACH 70 is equipped with one BA for the bass, two BAs for the midrange and has four treble drivers. The packaging, contents and earpieces are identical to those of the MACH 60 apart from the cable which is the Linum Estron UltraBaX.
A frequency response of 5Hz-22kHz is specified with an impedance of 42Ω and a sensitivity of 110dB @ 1mW.
The MACH 70 sounds warmer than the '60, with a deeper sub bass, more prominent mid bass, a slightly recessed midrange and a smoother treble. The staging is very similar but it has more depth due to the moderate recession in the midrange referred to earlier. A major difference is in power requirements with the '70 needing far less power to sound at its best. Fit and comfort are identical to the '60, being the most comfortable IEMs I have tried and enabling the listener to enjoy music for long periods without fatigue. In a sense, the '60 and '70 are complementary with very different tunings, but both are very enjoyable with their different characteristics and applications. The neutrally-tuned '60 is more suitable for monitoring and has a better reproduction of detail whereas the '70 is aimed more towards musicality.
Westone AM Pro X30
The AM Pro X30 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 MACH 60 and X30 do sound very similar in their tuning, which is designed to be neutral, focusing on accuracy with excellent technicalities. The major difference derives from the “passive ambience” feature in the X30 which allows some external sounds to be heard. The '60’s isolation is nigh-on perfect and this affects the staging. The X30’s stage is more expansive than the MACH 60 and comes across with more depth. This I believe, can be imputed to the fact that the passive ambience feature acts like a vented earpiece simulating the staging of a full-sized headphone. In most other respects the two are equal in ability except for the bass which is more extended on the MACH 60. The X30 does give the impression of being truly neutral whereas there is a touch more warmth in the MACH 60’s presentation.
Conclusion
Westone’s MACH series of balanced armature IEMs features eight models, all of which have individual tunings. The MACH 60’s tonality is designed to be accurate and neutral/warm with an expressive midrange. It succeeds in this respect with a near flawless performance, only wanting that last octave of sub-bass and a little more depth in the staging to be perfect. It is supremely comfortable, does not induce any listening fatigue and, like its stablemate the MACH 70, has a very natural timbre.
Sitting near the top of the MACH range, the MACH 60 is a considered purchase. It is not for “bassheads” or those who enjoy a V-shaped or Harman-type profile. However, if you value accuracy and technical prowess without abandoning musical satisfaction, then it comes highly recommended.
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