This is the place to discuss and review audio products by Chinese manufacturer Simgot.
Prior reviews Index:
disclaimer: I have recently done a series of Simgot reviews and after the last round was asked if I was interested in a new model that would be released on July 10th. This was to be the new flagship and sit considerably above the EN700 Pro, so I quickly said yes please. It arrived on 6/28/19 and jumped the queue on some others due to the time sensitivity with its impending release. Many thanks to Simgot for providing the Ek3. For those interested in it, it can be pre-ordered from Amazon or Simgot.
Unboxing / Packaging:
Those who are familiar with the Simgot line will recognize the packaging. Understated flat black with Simgot name in satin black on the front and a gold tab at the bottom with Ek3. The rear of the package shows the specs and tuning switch positions. I immediately took a picture with my cellphone for reference while out and about as I have not memorized the switch positions for each mode. Lifting the cover reveals the earpieces in a foam tray at top, and the leather case in a cutout below. The earpieces have an almost snakeskin like quality that is accentuated by the color scheme. They are actually a bit closer to honeycomb on close inspection, but the elements of the design and color choices certainly make them look a bit reptilian.
](https://audiofool.reviews/wp-content/uploads/2019/06/Simgot-EK3-tray-removed.jpg)
Accessories:
The EK3 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. The two sets of tips do indeed make a difference in sound. Both are made of the same material and seat to roughly the same depth, but the bore diameter is enough different to change the sonics. I found Tip 1 to be more accurate and provide a closer to neutral signature while Tip 2 was more relaxed and more musical for long listening sessions. Tip selection will largely depend on switch positioning as they can to a degree augment or cancel each other out. Graphs of each tip and switch combination are provided below.
The Cable has a Velcro retainer but lacks a shirt clip. If there is a ding, it is that the case is not large enough to store both the tip cards and the earphone but for most they will pick a tip from the cards and use it so carrying both cards of tips around is probably not all that likely anyway.
Build/Fit:
Shells are a three (3) piece arrangement with the honeycombed faceplate, the smoked transparent inner shell, and a brass nozzle. The outer shape is what I would call an inverted teardrop while the inner is a bit more convoluted to conform to the ear of the listener. Fit and polish around the junction of the two parts is very good with no visible line and no fingernail hanging as it crosses the shell. Polish around the switches is equally good The Nozzle exits the upper most point of the front with no cant or rake. Tips are held firmly by a large lip on the nozzle and I found with the straight in direction of the nozzle I could wear medium tips and get a good seal instead of having to go with large like I often do.
Internals:
The EK3 lists as a 3 driver, all balanced armature design. Two packages are used. The first a CI22955 handles bass duties, while the 2nd is the TWFK30017 which is a two armature package combining a WBFK tweeter and a vented FK woofer with a single output for ease of installation. This is an interesting choice as the TWFK has been around since about 2008, but is still one of the smallest available dual packages made. Other models have been designed to eliminate some of the perceived shortcomings of the TWFK, but none has successfully improved on the TWFK while retaining the same form factor. As an example, two TWFK packages fit in roughly the same space as a single Sonion 1723. The 1723 was Sonionâs answer to the TWFK.
Nominal Impedance is listed at 18Ω with a sensitivity 115dB/mW. With numbers like that we expect the EK3 to be easy to drive, and it is. I was able to drive it from both I-phone and Android phones and while it does scale some with better sources, I didnât feel that it lost substantial umph when used with a phone as the source. I did find that detail levels improved with better source.
Cable:
The cable provided is the same cable provided with the EM2 that I previously reviewed. I was impressed with it then, and remain so. It utilizes the increasingly popular hooded bi-pin connectors with .78mm pins. The connectors are recessed inside the housing to protect the pins and to strengthen the connection when installed. This is an excellent idea, but does limit use of 3rd party cables but recently several new offering have had the hooded connectors so this may be changing. The cable itself is a 4 core copper braid up to the splitter and two twisted pairs above. The jack and splitter both feature a rose gold colored metal housing encased in a clear rubber like plastic. The Chin slider is the same metal but lacks the coating. The Jack is a straight 3.5mm TRS design with good strain relief so should last well unless abused. The bi-pin connectors also share the same rose gold metal ring giving the cable a very nice overall look. Two minor issues do warrant mentioning. First, the Chin slider is mostly ornamental as it is too loose on the cable and simply falls back to rest on top of the splitter during use. Second, the L/R markings on the connectors are clear on clear and can be very difficult to make out. A colored dot would go a long way to making this easier to see.
Sound:
This is a bit more complex than usual as we have two different types of tips and 2 switches that give us a total of 8 possible combinations to influence the sound signature. The tips are neutral (Type 1) and bass enhanced (Type 2) while the switch positions are defined by Simgot as:
| Switch 1 | Switch 2 | Sound enhancement |
|---|---|---|
| off | off | Bright Vocal |
| on | off | Strong Bass |
| off | on | Balanced Tuning |
| on | on | Exquisite Tone |
Below are the graphs representing each tuning possibility. The first set are comparisons of both switches and tips. For the reference I have used tip type 1 and the balanced tuning settings.
The Second set are comparisons of the tips. Here I ran the same switch settings with Tip 1, then traded for Tip 2 without touching any of the test settings or switches so you can see the impact of switching tips.
And finally, I am including the one with all the different combinations represented on one page. I think it does a great job of showing that filters, switches, and tips donât change the basic character of a driver as in all cases the curve retains all the dominant geography. A valley may be a little deeper, or a peak may be a little wider or taller, but those same peaks and valleys are present in all of the graphs. Converting a V to a Neutral or vice versa is not going to happen with tips, switches, cables, EQ, or other minor tweaks.
Bass:
Sub-bass is good in quality and typical of balanced armature bass. It sacrifices some thump and depth for detail and clarity. Speed of attack and decay is very good and it can fake the user out if the track doesnât call for sub-bass, it doesnât render it. Mid-bass is a bit forward of the sub-bass in all tunings and again is very fast on the attack and almost equally quick on the decay. Detail and texture are very good and more natural and flowing than expected from a single BA design. None of the tunings will satisfy the bassheads among us, but with the bass enhancement turned on (switch 1) the EK3 delivers plenty of bass for hip/hop, edm, or movie listening.
(One cautionary notice here â I did find that the normally understated x-Bass setting on the xCAN and xDSD units I use a good bit, was a poor fit with the EK3 and use of it muddied up the bass some and detracted from the detail so you gained a bit of quantity, but lost more quality proportionally which was not a good trade in my estimation. If you use the iFi amps, you may want to be aware of this mismatch).
Mids:
Transition from the mid-bass to the lower mids is clean without any bleed or shadowing. Almost all combinations of switches yield a somewhat mid forward result with switch 2 pushing the mids slightly more forward when on. While all tunings have somewhat forward mids, none get out of balance with the rest of the signature and all are well detailed with good texture. Probably my favorite attribute of the EK3 is its ability to produce lush mids with some weight to them without getting sloppy, slow, or thick sounding. Honestly, I thought I knew the drivers used in this model well enough that I wasnât expecting mids as good as they are. Kudos to Simgot on the tuning as the TWFK driver is not known for being this full bodied and tight.
Treble:
Here again transition from the mids to the treble is quite clean and smooth without any jagged edges or sharp points. The default tuning is a bit hot and I found that I preferred balanced tuning option and tip 1 that brings this down slightly from the exquisite tone settings with the same tips. Again regardless of the combination of switches and tips, there is an emphasis on the 3-4kHz range and then steps back pretty solidly before finally rolling off above about 11kHz. Detail in the treble range is very good and the attack on snare is believable if not perfect in timbre. Cymbals are also believably presented which is a tough thing to get right. There is enough top end air to feel open when the bass boost is disabled, but turning it on does seem to scale that back just a tick.
Soundstage / Imaging:
Soundstage has fair depth and width and is reasonably symmetrical. I would place it somewhere in the middle ground between intimate and cavernous with it being closer to intimate side. Instrument separation is quite good and the layering particularly in the mids is probably the strongest influence on the imaging. Seating the orchestra is straight forward with instruments placed appropriately beside or front to back and clean distinctions between them. Here again the tuning switches and tips come into play. I found that more bass I added, the smaller the stage seemed to be. I found the largest stage with either the balanced or exquisite settings and Type 1 tips.
Comparisons:
I had to stretch a bit here as the EK3 is above the price point of my average fare here. I have used a couple of my personal collection (FLc8s and IT03) but also borrowed a DM6 and the LZ-A6 and used my notes from a previous experience with the FA-7. Some of these are slightly above or below the $359 asking price of the EK3 and without knowing if that price will change when it hits the mainstream vendors, I may have compared it to a couple of things that are out of its league. (I did refrain from the temptation to compare the Eartech Quint and EE Bravado as they were both enough more expensive that it wasnât a fair fight).
BGVP DM6 â The DM6 is a favorite of mine, with good sub-bass, very good mids, and a great tonality. The EK3 comes is pretty much parallel with the DM6 from about the knees up. the DM6 digs deeper and hits with more authority, but it can be a bit sharp at times which the EK3 handles a bit more fluidly. Vocal timbre in particular is a bit better on the EK3. If bass is all important, the DM6 will take this fight, if it is not, this is likely a split decision and my nod would go to the EK3 for its tuning options that the DM6 lacks.
LZ-A6 â I added the LZ-a6 as possibly the most tunable model in the price range based on its filter set, loudness switch, and the ability to use BGVP filters if so desired. Internally, the A6 is a hybrid with Dynamic driver, 4 BAs, and a piezo-electric super tweeter. The BAs are paired using a 4 way crossover so the Ek3 can be compared as a 3 driver to the LZ-a6 as a 4 driver with pairs of the BAs used as a single element. The A6 sub-bass is a bit deeper than the Ek3 can muster, with its dynamic driver, mid-bass is about equal in quantity with the Ek3 getting in a punch with tighter control and bit faster attack/decay. The loudness button the A6 can more or less be thought of as a bass boost and makes it a bit looser yet. Mids on both can be fantastic depending on filter/switch choices and again both can be tuned some to improve them to each users liking a bit further. I really like both here and would want more time with the LZ-a6 before I declared a clear winner. The treble is better extended on the A6, but at the price of it being hotter than on the Ek3 and needing a bit more filter to bring it back inline. The treble sensitive will prefer the Ek3, while those looking for that last bit of extension will prefer the A6.
FLC8s â The minute I unboxed the EK3, I knew I would be comparing it to my FLC8s. The parallels are there, both the same price point, both tunable, both triple driver models, and both aimed at the portable market with low impedance and high sensitivities. I found the filters to be much more complicated to manage than the switch arrangement, but a bit more effective as the filters gave a broader range of options. The nice thing about the Ek3 was the ability to change sound signatures with a knife tip or paper clip in a pinch and not having to worry with dropping and losing those tiny parts. The FLC8s has more sub-bass quantity than the Ek3, while the Ek3 has a bit thicker mids with a more natural timbre. Highs are slightly sharper on the Flc8s with the factory installed filters but can be brought into line with the Ek3 with a quick swap. Both have good detail throughout the upper range with the Flc8s being a little sharper edged to my ear.
The other thing I came away from all the tunable models with was the sense that no amount of switches or filters can turn a leopard into a zebra. All retained basically the same signature with a little more here or a little less there. If you donât care for the bass signature, move on to something else and donât waste time on filters or switches. If you like it pretty well, but think it could be improved with just a touch more here, or a little less there, then filters and switches may be a worthwhile exercise. Set realistic expectations.
IBasso IT-03 â Admittedly the Ek3 falls over the price of the 3 and below the price point of the 4 so neither is a direct compare. The IT-03 has more sub-bass and mid-bass quantity than the Ek3 regardless of switch settings or tips. Even at Bass Boost and Type 2 tip, the Ek3 cant bring the quantity of sub-bass that the IT-03 brings to the table. On the flip side, the IT-03 is much more V shaped and the Ek3 has no trouble besting the IT-03 throughout the midrange. Mids are more lush on the Ek3 and vocals benefit from that extra body. Highs on the IT-03 are its weakest point. They are a bit uneven and can be a bit brittle at times. The Ek3 is more polite on all but the most treble forward (exquisite tone) setting. I found detail to be about even between the two when comparing the upper ranges. Again, this battle isnât a one-sided early round knockout. It is a split decision with preference of the listener having the ultimate vote.
Fiio Fa-7 â This is another natural comparison as both are up and coming brands, both are using and advertising the use of Knowles drivers, and both are all BA arrangements. Both models use a CI for bass but while the Ek3 uses a TWFK for mids and treble, the Fa-7 uses a ED for mids and the SWFK for treble. Two different approaches to solving the same problem. Both have similar bass depth but the Fa-7 puts a bit more emphasis on the mid-bass and at times gets overly warm from the mid-bass push. The Ek3 in comparison pulls back the mid-bass and emphasizes the mids a bit more than the Fa-7. The Fa-7 mids seem distant compared to the Ek3. Both have polite treble without a tendency to get strident, but the Fa-7 seems to rolloff a bit sooner and feels more enclosed as a result. Air is a bit better on the Ek3 as a result. My preference here is the Ek3 based on mids and the early roll-off of the Fa-7.
Thoughts / Conclusion:
Have you ever done something long enough that you thought you knew everything that something or someone was capable of, only to find out you were wrong? I have to admit, this was one of those times for me. Simgot has been consistently good in the <$200 price bracket, but this was stepping up considerably. Could the Flyweight contender really take on the Welterweight class and expect to win? More over, the Combination of the CI and TWFK is now so common that Knowles pre-packages them as a single unit, the GK. Iâll admit that I thought this was going to be less than stellar. Iâve had enough CI/twfk driven iems to feel like I knew their capabilities and that the Ek3 would fall neatly into that pigeon hole. I was wrong. Simgot has taken the drivers I thought I new and by dampers, filters, crossover, shell design, and tips have improved what I thought was possible out of the combination. Granted some of the classic characteristics are still there. The bass is typical of BA bass and trades some depth for speed and clarity. Other typical criticisms of the drivers are largely addressed though. I expected the TWFK to be somewhat strident and at times a bit shrill from previous experience, and it simply isnt. The treble is well balanced and polite even.
Moving to the tuning options, gimmick or real options? They definitely do alter the signature, but not massively. A lot of the time simply flipping the switches and listening again will fool you into thinking nothing has changed, but then on closer inspection you hear a bit more here or a bit less there. Donât expect huge changes, expect tweaks. That is a the best way to think of the switches and tip options. The Ek3 is one of those that grows on you the more you listen to it. It doesnât do anything splashy to get your immediate attention, but the longer you listen, the more little things you realize it does very well.
Simgot has managed to step into the welterweight ring and not only not embarrass themselves, but actually give some of the better known contenders a solid fight. I donât think its a KO in most of my comparisons, but when fighting above your weight class a draw should be considered a victory should it not? Overall, I think Simgot should be very proud of what they have accomplished with the Ek3 and I look forward to where they go next. They have the engineering skill to step up even further should they desire.
Summary
Pros: Good build quality, and several good tuning options.
Cons: Cable could be improved, highs can be slightly hot.
Those interested can now purchase the EK3 through Amazon here: https://www.amazon.com/SIMGOT-Headphones-Balanced-Earphones-Detachable/dp/B07SB2QDL3
What a great review. That must have taken a lot of time and effort to put together. Itâs very comprehensive and well put together. I like the look if these iems too. Aesthetically that is. Also there seem to be more and more companies incorporating switches into their iems now. It only used to be done in the high end sector as a rule but it seems to be the new fad at the moment. It could be that weâve moved on from interchangeable filters for the time being.
Thank you, I try and spend at least 40 hours listening before I write anything as I want to give them due process. The graphs are fairly easy to do, but do take some time to shuffle tips and switches around and keep up with all the changes. If you had asked me which settings I liked best during that process, Iâd have had no clue, I had to give them some time for the dust to settle.
Haha no worries. Iâve done a few short reviews myself and know how time consuming it it. I donât have a measurement rig either so mine lack the substance and polish of most. Although there are many who donât use measurement rigs they are starting to become the norm. To be honest measuring and that part of the hobby isnât something that I personally want to do. Although I like to look at measurements and charts.
I certainly like reading good reviews and appreciate the effort that goes into them.
I can understand the hesitancy to get into the measuring setups as its a hole you can throw infinite money in and is of limited value. I like them for exactly this circumstance where you can use it to show graphically the differences the switches or tips make with all else equal. That is really where they are at their best. When comparing my results to other peoples is where they almost always fall flat since nobody uses the same exact rig and calibration.
I think that use of measurement apparatus when putting together a review (if you review gear on a regular basis) is a great tool to have. As they say âA picture is worth a thousand words.â It certainly adds to the review in my opinion. It has also become obligatory to have great quality photographs too. Itâs not a skill everyone has. Me included.
Amen, photography is the part of doing reviews i dread most as I am at best a guy with a camera and certainly do not qualify to call myself a photographer.
W
First impression of the Simgot EA500 was wooah the clarity, air and separation. Was this only $60?
Been giving them a few hours now and to my ears this is really good stuff. My other sets usually in rotation are Andromeda 2019 and OH10 so I canât compare to any of past years fomo hypertrains. But compared to the above I think the EA500 are brighter but still maintain a smooth and enjoyable listen. Once I sink in to the sound signature I donât want to take them out, just one more tune. Havenât tried the black nozzle yet. Looking forward to some bass modding and trying out different DACs n amps.
This actually works without blasting my ears out. Rebelamp doesnt ramp up volume too early. Didnât notice any channel balance on the volumes I was on.
iFi Zen Stream â Chord Clearway Coax â Hegel HD12 â Oyaide Neo d+ Class A RCA â RebelAmp â Simgot EA500
SIMGOT EA500, The best IEM under 80$
Pros:
-2 different tunings with well execution
-Price is budget friendly
-Sufficient Bass
-Clear Sound
-Plug and play
-Balanced Sound
-Light weight
Cons:
The Simgot ea500 is the new iem recently released by the simgot brand adopts a 10mm dual-magnetic-circuit and dual-cavity driver. Different from the two single magnetic circuit forms of âinternal magneticâ or âexternal magneticâ commonly used in dynamic headphones, the dual-magnetic-circuit system of EA500 provides both internal and external magnetic circuits.Combined with the N52 magnet, this driver presents a powerful magnetic field and amazing performance. The dynamic range and transient capability have been greatly improved, providing a wider bandwidth range and lower distortion which gives the EA500 a stunning dynamic and sense of presence
The Diamond Like Carbon composite diaphragm of EA500 incorporates 3 kinds of different materials, which are used to build different parts. DLC is characterized by strong rigidity, high damping, and light-weight, and is used as a dome that determines the characteristics of treble.
Features:-
10mm Dual-Magnetic Circuit & Dual-Cavity Dynamic Driver Unit.
4th-Generation DLC Composite Diaphragm.
Dual Tuning & Dual Frequency Response Curve.
Detachable Nozzle Design.
High-Density Metallic Cavity Design.
Mirror-Plating Process.
Detachable 2-pin Cable Design.
High-Purity Silver-Plated OFC Cable.
Termination Plug:-
Driver: 10mm Dual-Magnetic-Circuit & Dual-Cavity Structure.
Impedance: 16Ω±15%.
Connectors: 0.78mm 2-pin.
Frequency Response Range: 20Hz-20kHz.
Sensitivity: 123dB/Vrms(Red Ring), 124dB/Vrms(Black Ring)
Packaging | Build Quality
Packaging was good enough . They provided all the needed things with the iem, extra nozzles for different sound signature, ring, 3 pairs eartips , handy carrying pouch and high purity silver plated OFC
with 0.78mm 2 pin connector.
The box of simgot ea500 provides a good vibe of a planet with eternal sky.
The build quality of the shell was mirror finished. Now a days i saw many iem producers are trying to provide a mirror finished shiny faceplate which looks fabulous but got scratched easily. Same is happened with the simgot ea500
A screw is holding the two parts of the aluminium shell. The logo looks so premium as so the ea500 which is engraved on the side the ea500. There are two vent on inner part of the iem .
The weight of earpieces are well distributed and i was not feeling heavy on my ear while wearing them. i used the smaller sized eartip that was okay for me and isolation was alright
Sound:
Now it is the time to talk about the important part a earphone.
Simgot tried to play fair and seek attention to all by providing 2 types of detachable nozzle
I have used both the nozzle ,Red silicon ring was based on the universal tuning Herman curve which is the âjack of all tradesâ. But to me the black nozzle was more preferable.
It was their own tuning which was similar to their other iem ea2000. They used a filter foam on the black nozzle.Instrument Separation was good,clear although they were playing coherently, balanced
Sibilance was present in the treble, Resolution was high so i was getting detailed sound.
Vocal was recessed on the red nozzle but was slightly forwarded and articulated on the black nozzle.
Bass was good but its speed was quick and fast.
I saw a comment that one modded them by covering up the vent next to the nozzle with a bandaid and the bass became more emphasized. Lol a cheap and effective way to increase the bass although there are enough by default
Bass stringsâ sound was good on the red nozzle , one the piano sound was playing well on the black ring nozzle with the filter inside it.
The EDM song sound was soothing on the red nozzle. But for the female voice black nozzle was more perfect. Other things were similar on both the nozzle.
Conclusion:
I am confident that i will definitely buy this when there is a bidget issue and only have 80 bucks budget in hands. Also it is providing a option to change the nozzle. Changing the foam inside the nozzle can also create another signature . So it is a great iem to experiment with.
Simgot EA500
TLDR version on YouTube: TDLR - Simgot EA500
The Simgot EA500 have been sent to me by Linsoul in exchange for the publication of this review. As always, Linsoul have not made any requests or comments and I will do my best to be as honest and sincere as possible in this review.
As always, I will leave a link to the EA500 via Linsoul in the version of this review published on my blog, link at the end of this review.
As with all links I publish, 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
IntroâŠ
Simgot is a brand that I have seen mentioned a lot over the past years on various forums, although I havenât really paid much attention to them. Their website features quite a few models of IEMs, a couple of dongle style DACs and even a set of over ear headphones, however, I canât say I have ever had the chance to try out any of their offerings until now.
The EA500 is quite a new release from the brand and features a dual magnet, single 10mm dynamic driver, coming in at under 80⏠(at the time or writing this review) on Linsoul. While this does place them outside of the ultra budget category (50⏠or less), it still makes them a very affordable set of IEMs. It also puts them in direct competition with many other models at similar price points (a search of IEMs between 50⏠and 100⏠on Linsoul returns 77 results), some of which are from brands that are quite well known in the IEM segment.
Therefore, letâs see if there is anything special about the EA500 that makes them a good choice over other alternatives.
PresentationâŠ
Arriving in a simple but modern looking box, the packaging could easily be mistaken for a DAP or even a cell phone. On the cover there are no images of the IEMs and only the Hi-Res logo in the top corner points us towards this being an audio product.
The back of the box does hint more towards the fact that these are earphones, showing us the two frequency response graphs for the included nozzles (more on that in a moment), along with the specifications of the IEMs.
Opening the box we find the smooth and shiny silver IEMs sitting in cut outs, with a box below containing the accessories.
Those accessories are an oval storage/transport case, free of any logos, 3 sets of silicone tips, the cable, the replacement nozzles and quite a few spare o-rings that fit on the nozzles to seal them with the shells.
While some extra styles of tips would have been nice, I canât really bring myself to complain about the contents as I feel that the basic necessities are more than covered.
Build and aestheticsâŠ
As I said above, the shells are silver and shiny, looking quite elegant (until you fill them with fingerprints of course). The Simgot logo on the shells is visible but quite discreet and works well with the simplicity of the aesthetics. The shells are completely metal, as you may have guessed from the photos, and while they are not the lightest of IEMs, they are not heavy weights either.
The overall shape of the shells is quite generic but smoothed around the edges, leading to quite a comfortable fit, for me at least. They are not overly large and the weight, while noticeable, doesnât lead to any fatigue.
The included cable, while advertised as a high quality silver plated cable, is nothing really exciting but it does match the IEMs well and certainly does its job. The connectors and hardware are plastic and not really something that will stand out for their luxury but, again, they get the job done.
In general, I find them to be a comfortable set of IEMs that, while not anything exciting, look fairly good in their simplicity.
SoundâŠ
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.)
One of the things that makes the EA500 stand out from many other models is the fact that they include 2 sets of nozzles that simply unscrew to be replaced and change the overall tuning of the IEMs.
According to Simgot, the first set (with the red silicone rings) aims for the H Brand-2016 Curve, which I am guessing is the Harman curve due to them stating that it ââŠis a very universal trend-orientated tuning style. It is also the basic curve widely used by different brands of audio manufacturers in the industryâŠâ. Well, that and the fact that the show the Harman curve on their graph for reference, although the EA500 donât exactly follow it that closely (and even less in my measurements but Iâll get to that).
The second set, with the black silicone rings, is stated as following the SIMGOT-Classic target curve, which does vary quite a bit in the bass and treble (at least on their graphs but, again, Iâll get to that). The state that this tuning âThrough appropriate gain of the treble and slight forward shift of the first peak, on the basis of ensuring accurate positioning and clear image, the three frequency keep balances, making the instrument more beautiful, the separation clearer, and the female vocal more addictiveâ. I donât know about you guys but Iâm sold 
Anyway, enough about what they claim and on to what I actually found while testing out the EA500. First letâs take a look at what Simgot show as the differences between the two different nozzles:
Now here is what I got when measuring the two nozzles (in comparison to my personal preference target as usual):
As you can see, the differences between the two measurements are a lot less pronounced on my set up. We should take into consideration that there is obviously a difference between measuring rigs and also there is the possibility of unit variation between the two, but the differences are still fairly minimal on the set that I received (both when measured and while listening).
Starting off with the nozzles with the black o-rings (I am jus going to refer to black nozzles and red nozzles from now on) and the usual subbass test with âChameleonâ, there is enough presence for me to not say that the subbass is lacking. Saying that, it is a little less present than on many other sets, so if you are looking for a bass head set of IEMs, at least in the sub ranges, the black nozzle are not going to be it.
Switching to the red nozzles and running the same test, the differences are fairly inaudible. I like to think that my hearing is so good that I could tell the difference but as I had already seen the graph, it was just my mind telling me to expect more subbass. If someone else changed the nozzles and I listened again, I wouldnât be able to tell which is which (although I would have 50% probabilities of getting it right 
).
In general the subbass is decent, well controlled and doesnât seem to struggle at all even when pushed. My listening levels are not the highest in general but I did push them for a while when trying out some EDM and I canât say they performed badly at all.
Moving into the midbass range and returning to the black nozzles, I ran the usual âCrazyâ test to see if the midbass fatigued me and while it wasnât the cleanest of midbass, it didnât become overpowering nor interfere with the mid range, something that I find to be a common occurrence with this track. The red nozzles once again showed no difference to my ears, with me feeling the same way about the track with both options.
Trying out âSun Is Shiningâ I felt that the bass wasnât as clear and defined as I have heard it on many other single DD options recently. It doesnât sound bad but did come across as being a little blunt in those bass rhythms. It is not that it is lacking in speed, just that the rhythm is not quite a clear and powerful as I would like.
If in the lower regions I find there is very little difference between the nozzles, through the center of the midrange there is no difference at all, at least as far as tuning goes. In terms of detail in the mids, the black nozzle does give a sensation of things being clearer and more defined, which is partly because there is slightly more presence in the upper mids with these nozzles. I say âpartlyâ because I EQâd that range down ever so slightly to match the red nozzles, just as a test, and I still found the midrange to come across as a little more detailed with the black nozzles.
As we get to the upper mids, and above these regions, this is where we do find clear differences between the two nozzles. These changes are still not dramatic, they do follow a very similar tuning, but the black nozzles do push vocals forward along with instruments that have plenty of presence in these ranges.
As far as vocals, at first I found that I liked the extra presence of the black nozzle but as I listened to more music I started to realize that they could become tiresome, making upper percussion in things like âRoyalsâ or âForgot About Dreâ come across as harsh and uncomfortable. Vocals can also be harsh and more tiring with the black nozzles, such as Paul Simon in âDiamonds on the Soles of her Shoesâ, being overly hash and sibilant. Using the usual non-scientific -12 to +12 sibilance scale on âCode Coolâ, I would place Patricia at a +4 at least with the black nozzles.
Switching over to the red nozzles, these upper ranges are tamed quite a bit, with Patricia dropping to somewhere between +1 and +2 as far as sibilance but, more importantly, the harshness of those upper snare, hi-hats and brass instruments on other tracks are also calmed in comparison to the black nozzles, although they can still come across a little harsh on occasions (such as the trumpets in âDiamonds on the Soles of her Shoesâ)
The sensation of detail I would say is slightly better with the black nozzles yet, as the red nozzles are tamed slightly, it is easier to focus on the detail of these upper ranges. Soundstage is decent enough, not a huge open space but certainly on the upper side of average for IEMs, with good use of the available space for image placement.
ConclusionâŠ
The Simgot EA500 are a set of IEMs that I really donât know where to place them as far as my preferences. The overall set is impressive but at the same time, it can become tiring very quickly, depending on the choice of music.
If I am listening to something that is not overly present or harsh in the upper mids and above, then I find that I really enjoy the black nozzles as they make things sound exciting. Yet, if I am listening to things that are harsher in those same ranges, then I find that the black nozzles make things a little calmer and easier to tolerate, yet they do seem to loose that excitement factor.
I canât say that the EA500 are not a good set of IEMs, I think they perform very well, but I think that the choice of music is going to be the main thing that puts them either at excellent or harsh for many people.
As with all my reviews, this 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
TLDR version on YouTube: TDLR - Simgot EM6L
The EM6L have been sent to me directly by Simgot in exchange for the publication of my thoughts and opinions in this review. Simgot have not made any specific requests and, as always, I will try my best to be as unbiased as possible.
You can find the official page for the Simgot EM6L here: SIMGOT official | professional audio brand
As always, this 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
IntroâŠ
The Simgot EM6L are a hybrid set of IEMs that feature an 8mm dynamic driver paired with 4x balanced armature drivers and a 3 way crossover. They come in at just over the 100⏠mark and are said to be tuned towards the H-2019 target.
Those of you that are in the IEM world will automatically know what the H-2019 target is and probably also know if it is something you favour or not.
For those of you that have no idea what it is, it is basically the preference curve that Harman released in 2019 based on their research, which, according to them, should be favourable for the majority of the population. I am not going to go into details about the target, nor my opinion of it, so letâs get on with the important part, the EM6L.
PresentationâŠ
The EM6L comes nicely packaged in a rather elegant box with a picture of a phoenix in flames on the front, with a logo of a phoenix on the interior box that slides out sideways. The back of the box shows the frequency response graph of the IEMs, along with a dissection of them and specifications beneath.
Inside the main box, at the top sit the IEMs in a rigid foam cut out, with an accessory box below and a box for the eartips underneath the IEMs.
As far as accessories, we get the cable, 3 sets of sillicone tips in 3 sizes, a semi rigid storage/transport case and the user manual.
There is nothing really extraordinary about the contents, they are a little sparse to be honest, but they do come well packaged and presented.
Build and aestheticsâŠ
The IEMs are simple yet elegant, in a shiny black finish that uses a resin shell together with what seems to be an aluminium face plate, featuring the Simgot logo in a sort of titanium colour in the center, with a small ventilation hole beneath. They donât scream âlook at meâ and they donât look cheap either, as I said, they are elegant in their simplicity.
They are also compact and quite lightweight. I found that they fit me comfortably (which is obviously only relevant to me) and did not cause any kind of fatigue even when wearing them for long listening sessions.
I am also a fan of the aesthetics of the included cable. Again it is simple, just a plain twist that divides into single cores after the split but the cables are soft a malleable, with a nice choice of black and an âalmostâ gold colour. One thing to note is that the use the recessed 2 pin connectors on the cable, which means that if you want to change the cable, you will need to take this into consideration but I really donât see any need to not stick with the cable that is included as it is rather nice (unless you need balanced).
SoundâŠ
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.)
I already mentioned in the intro that these IEMs are tuned to follow the Harman 2019 curve but letâs take our usual look at the graph and see how this tuning looks in comparison to my usual personal preference curve for reference.
I havenât said it yet this year, maybe because this is only the second review, but my preference curve is just a basic reference, it is not a rule that determines whether I will like something or not. There are many times when I enjoy things that deviate from it and other times that I donât enjoy models that are actually close to it in tuning.
Now let me share my usual comments when using my test track list that I always refer to when doing a final detailed listening test of whatever I am trying out (the full list can be found here).
To not break tradition, starting off with the subbass ranges and my obligatory test of âChameleonâ, there is plenty of rumble for my tastes and while the subbass is fairly clean, I find that the additional presence of midbass, which I will get to next, does subtract a little from the clarity and impressiveness of the lows in this set.
If we move to âNo Sanctuary Hereâ, there is quite a punchy response to the midbass, again fairly clean and detailed, yet, with this track having a little more focus on the midbass, it does overshadow the lowest of notes slightly. The result is satisfying and I think it will please those who like a little more emphasis on these ranges but personally I would have preffered slightly less midbass, leaving the subbass to shine a little more.
Things are well controlled and pretty clean moving into the lower mids, with no muddyness or sensation of things being out of control. My usual midbass fatigue test with âCrazyâ does show them to be a little too present in the reverb of the lower notes but not enough to actually cause fatigue, which is a very positive thing.
There is a slight lack of presence in the midrange on occasions, such as with the vocals in the track âNo Sanctuary Hereâ that I just mentioned but it is not enough to make things sound distant, it more of a slight focus on the lows and highs rather than any absence of mids. The upper mids do climb slightly later than I am usually fond of but again, it does not affect presence of vocals, mainly due to the rather energetic higher upper mids and treble in general.
Now, I just said âenergeticâ upper mids and treble, yet it is not in your face. In fact, the treble, while noticeably present, still manages to be smooth and non fatiguing. I had measured these IEMs before spending time with them and based on the graph, I would have expected a much more fatiguing and harsh upper ranges than they actually deliver.
The extension is fairly decent, although not really amazing, but it is how they manage to stay focused and smooth that is the surprising part for me. My test of sibilance with âCode Coolâ would place sibilance around neutral for what I have come to expect from the track. The same could be said for Lana Del Rey in âHope Is A Dangerous Thingâ, where sibilance is not reduced but is not exaggerated (which is good, because it is already quite hot in the recording).
Soundstage is not huge yet the EM6L provides a slightly holographic sensation to the sound. Not holographic as in it is being affected by distortions or giving a false sensation, more of just a slight extension of presence around vocals that makes them seem lusher and fuller.
As far as detail, they are not something that is going to blow your mind by allowing you to hear the creaking of a chair in the back of the room but they do a decent job and do not seem to try and over emphasize things to the point of pretending they are what they really arenât.
ConclusionâŠ
The tuning of the EM6L is not my personal preference, however, I have to say that they do a very coherent job of it and, as I just said, donât pretend to be something that they arenât. I think the thing that surprised me the most is how the treble manages to be present but smooth and relaxed at the same time. There are many sets of IEMs, especially with BAâs, that can come across in these upper ranges as trying to be impressive but only end up being fatiguing. That is not the case here, in fact, they donât try to be impressive and are pretty impressive in doing so.
If you are someone who favours the Harman tuning, then I think that these IEMs can give you many hours of non fatiguing joy. The included accessories may not be up to the level of some of the competitors in this price range but, in the end (to me at least), it is the performance in the ears that matters.
As always, this review is also available in Spanish, both on my blog (www.achoreviews.com) and YouTube (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
TLDR version on YouTube: TDLR - Simgot EA1000 âFermatâ
The EA1000 âFermatâ have been sent to me by Simgot in exchange for the publication of my opinions in this review. Simgot have not made any specific requests and I will attempt to be as unbiased as humanly possible in my review.
You can find the official page for the Simgot EA1000 here: SIMGOT official | professional audio brand
As always, this is a non-affiliate link.
To avoid being repetitive 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
IntroâŠ
The Simgot EA1000 are by no means a recent release, at least in the terms of IEM releases, which move faster than operating system updates! There are a lot of reviews out there, stretching back to October 2023 and I had already heard some very good things about the EA1000.
As I have said many times in the past, I try to not take much notice of reviews and comments by others when I plan on reviewing something, trying to avoid any expectation biases, but it has been impossible to avoid all mention of these IEMs in the past 6 months or so.
So, while my review may not be as completely free of preconceived expectations, I was still more than interested in trying out the EA1000 when Simgot reached out to offer the chance.
Now this is not the first set of Simgot IEMs that have been across my desk and my opinions of the previous models I have reviewed have been similar across the board, great performers but not my personal taste.
In the case of the EA1000, we again have a similar tuning to some of the previous models I tried from the brand, although with some minor tweaks. Here the choice has been a a single 10mm dynamic driver paired with a 6mm passive radiator, which is located on the inside of the shell facing the ear.
I really donât need to go into much more as far as specs and background, as there are already many reviews out there that have covered them, so letâs get on with my usual format.
PresentationâŠ
The packaging of the EA1000 consists of a purple outer cover that refers to Fermatâs Last Theorem on the cover. On the back, in the usual Simgot style, we get three frequency graphs that show the tuning of the IEMs with each of the included nozzles. As the side of the graphs it shows what these tunings are targeted as, along with mentioning which nozzles to pick for each of them.
From the side of the cover, an internal black box pulls out that is presented in a way that is nicely different from so many othe presentations. Instead of a lift off lid, there is a top card (that also references Fermat) that lifts forwards in a sort of origami folded fashion and reveals a copper coloured business card showing Fermatâs Last Theorem and a QR code on the back that can be scanned to extend the warranty period of the IEMs. There is a lot of other text on this top card layer, such as an explanation of the Theorem, which makes it look elegant and much more to the eye than a simple cover.
Folding this top cover to one side, we are greeted by the IEMs sitting in their respective cutouts at the top. Towards the bottom of the box there are two smaller boxes, one for the storage case and another for accessories. Then, finally, underneath the IEM layer, we find another accessory box inside which there are 6 sets of silicone tips (in 3 sizes, 2 of each) and the user manual.
In total, as far as contents, we get the IEMs, the cable, 6 sets of tips, a storage/transport case, 3 sets of nozzles and plenty of replacement o-rings for the nozzles.
I find the packaging and presentation of the EA1000 to be nice and elegant, making the unboxing experience something a little different to so many other sets. As always, I applaud companies that come up with their own twists on something as simple as packaging, without going overboard and using tons of plastics. In this case, except for the plastic bag containing the o-rings, all the packaging is cardboard and has a nice premium feel to it (as far as cardboard goes of course).
Build and aestheticsâŠ
The shells of the IEMs are completely metal, except for the white faceplate that features a subtle design to the background and the Simgot logo in a coppery rose gold colour. I have to say that I think the IEMs look very elegant and discrete, with just enough going on to stand out.
On the inside of the shell, there is a passive radiator which is covered with a grille that is also a coppery gold colour. There is a metal and and center over the grille where Simgot have opted to put the L and R to identify the size and, once again, I think it is very tastefully done.
The cable is in a matching silver colour, with silver hardware, and just a gold coloured chin slider that is less coppery in colour than the other rose gold accents but still looks good. The cable seems to be of decent quality and I have had no complaints about using it paired with the IEMs. There is no balanced option included but that is not unusual.
The included storage/transport case is also of good quality, in a grey colour with a flip up lid and magnetic closure. Inside the case there is also some elastic on the lid and a pocket on the bottom to serve as organization. The case is plenty big enough to store the IEMs along with any accessories you may need.
As far as comfort, I do find them to be comfortable although I did have issues getting a good seal, even when opting for the largest size of included tips. I did get a seal, just that it took a little more work to get them seated correctly.
As a whole, I find everything to be of good build quality and have elegant aesthetics, so absolutely no complaints from me here.
SoundâŠ
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.)
As said a moment ago, there are three sets of nozzles included with the IEMs, each providing a slightly different tuning. The differences between the tunings are not huge but they are very noticeable, enough to prefer one over the other depending on preferences.
While the 2 sets of silver nozzles do have different coloured o-rings, red and black, the set with black o-rings has a foam filter located inside the nozzle, which is why I have referred to âSilverâ (the ones with the red o-rings) and âSilver with filterâ (the ones with red o-rings). For brevity, I am going to refer to them as G (Gold), SwF (Silver with filter) and S (Silver), throughout the review.
Here is the frequency graph of the 3 tunings in relation to my usual preference target:
As you can see, the differences are not a lot but they are certainly enough to differentiate between them when listening.
While the bass ranges (and mids) are almost identical between the three nozzles, the change in the upper minds and treble is enough to reduce focus on the lower ranges depending on which nozzles are chosen.
So, starting off with the subbass range, and with a focus on âChameleonâ, the G nozzles do rumble but not excessively. There is more of a focus on the midbass here than on the subbass. Moving to the SwF nozzles, there is a more noticeable rumble, even if the graph may not indicate a very noticeable difference in these ranges. This is due to the reduced upper peaks that allow the focus to be placed more on the lower end. With the S nozzles, the rumble is slightly less than the SwF but it is not a huge difference.
Moving over to âNo Sanctuary Hereâ, the midbass with the G nozzles is clean and controlled, with clean hits that are fairly impressive. Swapping over to the SwF nozzles, the midbass is maybe not quite as clean sounding as the G but it is much more enjoyable in general. With the S nozzles, the midbass is slightly tamer sounding than with the SwF but still sounds a little less clean than with the G nozzles. The presentation with the S nozzles is nice but I do find the SwF presentation preferable to my ears.
Testing out the midbass for fatigue, using âCrazyâ as always to judge any excessive reverb in the guitars lower notes, I found that with the G nozzles the midbass in not overly boosted and takes a bit of a back seat to the upper mids. It is not fatiguing in the midbass but the upper mids are too present and a little harsh, although not terrible, it is mostly noticeable in the moving of fingers on strings. Here the SwF nozzles give us a midbass that is still not fatiguing, although there is noticeably more presence of the reverb than with the G. Vocals are less harsh but there are still touches of sibilance. With the S nozzles, we are sort of mid way between G and SwF as far as midbass is concerned, although the upper ranges are slightly harsher and with touches of sibilance similar to the G.
âSmooth Operatorâ is a fairly well produced track and has a decent balance in general but with the G nozzles, I do find it to be lacking a bit of bass presence and warmth to the vocals. With the SwF nozzles there is more presence in the bass and a warmer tonality in general, although vocals do take a slight step backwards. With the S nozzles, we have a similar story as with the G, the track loses some bass presence and warmth in general.
Looking at something a little busier, such as âThe Roomâ by Ostura, the G nozzles do a good job of providing detail and separation of instruments, even with the busier parts of the track. With the SwF, the separation of instruments is not as impressive but the overall sound is much more pleasurable, less thin and more authoritative. With the S nozzles, the detail is more upfront but the track is thinner overall and harsher in its presentation.
Staying with something in a similar genre, âKilling in the Nameâ does sound a little thin with the G nozzles. Moving to the SwF nozzles, Rage Against The Machine starts to sound like I expect Rage to sound, with more authority to bass and guitars, less harshness and fuller sounding overall. The S nozzles bring a similar experience to the G nozzles, seeming a little thin and, in this case, a bit harsher in the higher guitar notes.
Something a little more acoustical, in this case âFree Fallinââ, I find the G nozzles to be a little thin sounding due to the upper mid forwardness. With the SwF nozzles, the guitar sounds more realistic, with vocals that are not quite as present but smoother and more enjoyable. The S nozzles sound a little more detailed than the SwF, with vocals a little more upfront but not quite as smooth.
Focusing on vocals, male in this case, âThese Bonesâ has nice balance of vocals with the G nozzles although those upper mids remove some warmth from the bass focused vocals. With the SwF nozzles, there is more body to those low vocals, with a more smoothed out presentation. With the S nozzles, things are a little more detail focused but again lose a bit of warmth in those lower vocals.
With female vocals, in this case âStrange Fruitâ, the G nozzles provide a good separation of layers but are missing some body to the vocals. The SwF nozzles are not quite as detailed in the nuances but provide more body to the voices and are a preferable, to me, presentation. The layers are not quite as separated but, again to me, it is worth it. The S nozzles bring back more focus to the details but again present us with a harsher experience.
Finally, as a last track I am going to mention as this review seems to be much longer than I anticipated, âLa Lunaâ, a binaural recording. With the G nozzles, the space is decent but there is not a huge amount of depth to the rear. The SwF nozzles presenta a similar story, maybe even slightly more compact, whereas the S nozzles do present themselves as the most spacious of the three, with more depth and better separation of instruments and positioning.
ConclusionâŠ
The Simgot EA1000 âFermatâ is a set of IEMs that aims to give you a lot for a price that, while not the cheapest, is still very fair. We get a nice presentation, an excellent build, decent accessories and good looks.
We also get three different tunings to choose from. While the tunings may not look that different on paper, they are certainly different enough to the ear to clearly pick one as a preference above the others. In my case, my preference lies with the âSilver with filterâ nozzles, which, while not focusing on presenting detail as much as the other two, have a slightly rounder and more relaxed sound to them. Now, this is actually surprising to me as, looking at the graph, I would have expected the SwF nozzles to have the harsher presentation of the 3, due to the more elevated peaks around 2.5k and 5k, knowing that I am extremely sensitive to 5k. However, that is what my ears, or my brain, tell me, so who am I to argue?
However, I have to say once more that, although I cannot say that the EA1000 are not a great set of IEMs, they certainly are, I just donât find myself in love with any of the three tunings.
I donât think that the EA1000 are a set of IEMs that will please those who want a bassier, more laid back, signature. Nor will they be a good option for those who are sensitive to boosts in the upper ranges but, for those who do like a little spice up top, they are certainly worth checking out.
As always, this review is also available in Spanish, both on my blog (www.achoreviews.com) and YouTube (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
Simgot SuperMix 4, beautifully detailed IEM, with deep tight bass, liquid slightly warm midrange, with extremely detailed highs. The most holographic IEM Iâve heard yet. Huge soundstage, out of head experience, at US$150 and under price.
TLDR version on YouTube: TDLR - Simgot EA500LM
The EA500LM have been sent to me by Simgot for me to try them out and to share my thoughts and opinions in this review. Simgot has not made any requests or comments and I will do my best to be as unbiased as possible in this review.
The official Simgot page can be found here: SIMGOT official | professional audio brand
The EA500LM doesnât seem to be available on their web but a quick search will return it on the usual online stores.
As always, the link is non-affiliate.
To avoid being repetitive 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
IntroâŠ
I donât think Simgot needs any introduction to those who read or watch my reviews. I have reviewed multiple IEMs from the brand and my conclusion with all of them has been almost the same: they are great IEMs but I just canât really get on with the tuning. My last review, which was quite recent, was of the EA1000 âFermatâ and I think it is the best I have tried from them so far, although I, once again, reached a similar conclusion. However, Simgot havenât given up on me and have sent me along the EA500LM for me to see if it meets my preferences more.
I also reviewed the Simgot EA500 back in May of last year and one would think that the EA500LM would be a similar IEM, and in the looks department they are, however they are very different and I donât think that a comparison a of the two would really be very relevant. I actually think that the EA500LM is more on a level of the EA1000 in terms of performance, although the tuning is also different, providing quite a different presentation to my ears.
This set uses a single dynamic driver, as did the original EA500, but based around the technology found in the EA1000, although without the passive radiator. They come in at around 80⏠and I honestly feel that these are a set of IEMs worth looking at in the price range.
PresentationâŠ
The IEMs arrive in a black box with artwork that changes colour depending on how the light hits the box. While there is nothing really to get excited about as far as packaging, they do keep it original and it is not just a plain box.
Inside the box we get the IEMs, the cable, 3 sets of silicone tips in 3 sizes, two additional nozzles, an oval storage/transport case and a bag of red and black o-rings as replacements if needed.
To be honest, there is nothing really extraordinary about the contents and, apart from the multiple nozzles to change the tuning, something that we have seen a lot with Simgot, the quantity of contents is rather basic (although I have seen much worse).
Build and aestheticsâŠ
One thing I definitely canât fault Simgot for is their build quality. Once again the EA500LM are a complete metal shell, with a shiny silver finish, that keeps up with their usual quality construction. The aesthetics are simple but shiny, something that will of course attract fingerprints but looks good when clean, with the Simgot logo on one side and the LM logo on the other.
The IEMs are rather compact and fit nicely inside the ear, at least they do in my ear, making for a comfortable fit, however, as with other Simgot models, I do find that I need to use a larger size of tips. On the subject of tips, the included tips are the usual tips from Simgot and do their job, being what I have used for this review. They are not my favourite tips but they are not horrible either.
The included cable has a rather rubbery feel to the clear finish over the brown and black internal cores, terminating in transparent plastic 2 pin connectors at one end and a black metal 3.5mm connector at the other. As with the tips, the cable is not my favourite but it certainly does its job and I canât bring myself to complain about it.
SoundâŠ
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.)
As I mentioned, the EA500LM include 3 sets of screw in nozzles that allow different tunings of the IEM. This is nothing new from Simgot and is something that has been included with the previous models I have reviewed.
The main noticeable difference between the nozzles is in the upper mid range, with one set being a lot more noticeable in its changes than the other.
Here is the frequency response graph of the 3 nozzles in comparison to my usual preference curve as a reference:
Now, the last time I reviewed a multiple nozzle set, the EA1000, I tried to do it in a way to make things clearer on what the differences were between each nozzle. However, I think I ended up making it far more confusing by doing that, so I am going to approach this in a different way and see if I can keep it less confusing this time.
Starting off with the silver nozzles with the black O-rings, there is a lot of clarity but there is also that overly focused upper mid range double peak that is what led me to not get on well with the previous tunings of other Simgot models.
The subbass is clean and clear, with good definition, and it stands up to the torture test of âChameleonâ well, although it is not a set that will provide an excessive amount of rumble if that is what you are searching for. There is enough subbass for my personal preferences but it is not a wow factor of these IEMs. That doesnât mean it is bad, I like it, it is not overpowering.
The midbass is just as clean and defined as the subbass, with nice detail and no boomyness at all in those lower reverberations of the guitar in âCrazyâ. In the same way, âNo Sanctuary Hereâ has a level of bass that I find nice, especially as the bass is quick and clear. It has that slight dynamic driver taste to it (if that even exists) but none of the slow response that we sometimes find from a DD.
The upper mids are where I canât say I like these IEMs. I find it to be overly present, harsh and fragile sounding with these nozzles. This gives a lot of presence to vocals and also makes things seem very clear but I just find it to be a little harsh overall for me personally.
There is plenty of air and extension in the upper ranges, at least as far as my hearing extends (around 15.5kHz at my last test earlier this year). It is not a smooth treble, especially when added to that additional presence in the upper mids, although it does accentuate the detail without making it sound artificial, especially due to the EA500LM having good detail throughout the whole range.
Now, moving over to the silver nozzles with the red rings⊠I did this change half way through the track âNo Sanctuary Hereâ and immediately felt things improved a lot in that harshness that I was hearing between 2.5kHz and 5kHz.
While the bass is still the same as far as quality and quantity, the reduced presence takes away a bit of the harshness and allows a little more focus on that low range. To be honest, they are still a little spicy for me in those ranges, however, I find them much more pleasurable than with the previous nozzles.
Going back to âCrazyâ, the clarity is still there, there is still no boomy midbass and the detail is still good, but the vocals are slightly tamer in the upper ranges. I say slightly as there is still some sibilance and spice in the vocals of Daniella but I think this is something that I could adjust with some tip rolling and be fairly happy with the results.
The rest, for the most part, remains unchanged.
So, the last set of nozzles, the gold ones (which also have red O-rings but as there is only one set of gold nozzles, that doesnât really matter).
These are my preferred set of nozzles by far. In fact, this is my favourite sound from a Simgot IEM to date. Ok, there is still a slight over-presence in those upper mids but now I am not feeling uncomfortable with it. Where I have been able to listen to other Simgot sets (and this set with other nozzles), with the Gold nozzles I am no longer feeling uncomfortable.
I would still prefer a tamer 2.5kHz to 5kHz range, we are now at a place where different tips and styles of music are enough for me to actually sit back and enjoy these IEMs. I find the subbass to stay clean and detailed, as with all the nozzles, the midbass to be very detailed and listenable, with a better presence as we climb up to those ranges that I just canât love with Simgot tunings.
Detail and separation is good, soundstage is decent and, although a little peaky, the treble is not as overpowering due to the reduced upper mids. There is still a bit of sibilance in the vocals of âCrazyâ but it is a lot more manageable, even at slightly higher volumes than my usual listening levels (although at high volumes it does become a little uncomfortable still).
ConclusionâŠ
After reaching the same conclusion many times with Simgot IEMs: âThey are great but the tuning isnât for meâ, well, I have the same conclusion here except⊠with the gold nozzles and some tip changes, I finally can enjoy a set of their IEMs without feeling uncomfortable.
Yes, they are still slightly on the harsh side (even with the gold nozzles) for my personal tastes but this is something that is probably only relevant to me and maybe 0.5% of those considering these IEMs. Even so, they are still very listenable.
But personal tuning tastes and sensitivities aside, the EA500LM are a very good set of IEMs that tick all the boxes for those looking for a set of good performing all round IEMs that are focused more towards a slightly forward signature than many of the âlaid backâ signatures we are seeing lately.
As always, this review can also be found in Spanish, both on my blog (www.achoreviews.com) and on Youtube (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
The Simgot SuperMix 4 offers the best treble extension on the market unless you spend double or more than its asking price. If you care about detail retrieval as much as I do, the SuperMix 4âs mildly exaggerated midrange and slight piezo timbre are well worth tolerating.
TLDR version on YouTube: TDLR - Simgot Supermix 4
The Supermix 4 have been sent to me by Simgot in exchange for the publication of this review. Simgot have not requested anything or made any comments and, as always, I will do my very best to be unbiased in my review of these IEMs.
There doesnât seem to be an official page for the Simgot Supermix 4, at least I havenât found one, but they are available from the usual online stores. A quick search online will bring back plenty of results to choose from.
To avoid being repetitive 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
IntroâŠ
I have to start off by saying that I am very happy to review these IEMs. As I mentioned in my last Simgot review, and probably in other reviews of Simgot IEMs previous to that one, I have really wanted to like a set of Simgot IEMs.
By that I donât mean that I donât think that Simgot make good IEMs, all of the IEMs I have received from them have been good, but I have struggled with all of them to some extent or another. The EA500LM, my last Simgot review, was the set that I have enjoyed the most to date but, even then, I would still not say that they are for me.
I have to give credit to Simgot for reading each of my reviews, saying thank you and moving on without a single complaint. It is not that my reviews of Simgot have been negative but there are a lot of brands who take offense with comments that are not along the lines of âthese are the best everâ and no longer contact me to review their IEMs. That is something that Simgot have never done, in fact, they have continued to send models until we are where we are today.
Now, looking at the tuning of the Supermix 4 on paper, I would have said that these IEMs are probably the tuning from Simgot that I would most dislike out of all of them. I know I am jumping the gun here, I will get to audio impressions in a moment, but this is another one of those cases that proves that my preference target is nothing but a squiggly line that has no impact on whether I will like or dislike the sound of an IEM. But anyway, more on that in a moment, letâs first mention briefly what the Supermix 4 are.
Featuring four drivers in a hybrid set up, consisting of a dynamic driver, a balanced armature, a planar magnetic driver and a piezoelectric driver, there is a lot to go wrong when trying to make all of these play together in a coherent way.
According to the publicity, they are using the 10mm DD for the low frequencies, the BA is being used for the mids and the Planar+PTZ are being used for the higher frequencies. They are priced at around 140âŹ, a price that I feel is more than reasonable for what you get, so letâs see what it is that you actually get.
PresentationâŠ
While the outer box is not the usual style we get from Simgot, the packaging and contents certainly are. The outer sleeve is green and shows an x-ray style image of the IEM on the front, with the frequency response graph and the specs shown on the back.
Removing the sleeve reveals an inner box with a flip open card style lid, something very common on Simgot packaging, which opens to show the IEMs in foam cutouts and the usual accessories box below. Underneath the IEM section, we get the second box which contains the included tips.
The tips are the usual ones that Simgot includes, nothing extraordinary but I have, as always, used them for this review. The included cable is rather nice, with an outer texture that is a little rubbery to the touch but nowhere near like cables from other brands. It is stated to be an oxygen-free copper silver-plated cable, if you are interested in that kind of thing. All I know is that it works and is quite nice.
The storage transport case is also the typical oval shaped non-branded case we have seen in other Simgot packages, again nothing special but more than enough to protect the IEMs when storing or transporting.
In general, the contents could be considered a little sparse at the price point in comparison to other brands but it is the usual content from Simgot (except for no additional nozzles with this set, something I am actually happy about ) so it is no worse (or better) than other options from the brand.
Build and aestheticsâŠ
The shells are simple black 3D printed shells with a dark grey metal (I think it is metal) faceplate. The faceplate has a simple circle on it in a goldish colour, depending on light, making them very simple overall. These are not the typical fingerprint magnets from the brand, no mirror finish which can look great but also be a curse if you are someone who hates fingerprints. Here we have something that does not show signs of use at all, at least in the time I have been using them.
The size is around average, not overly large but certainly not small and the fit is comfortable for me personally, being light weight also. Due to the length of the nozzles, I have found that I can use both medium and large size tips with these IEMs, getting a seal with both. After some listening, I found that I preferred the larger option with the IEMs getting just a couple of mm less insertion but both work.
The cable, as I said above, is quite nice and has metal hardware that matches the faceplate of the IEMs, so, while nothing extraordinary, I am quite happy with the overall aesthetics of the Supermix 4.
SoundâŠ
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.)
If you read the intro, then you already know that this section is going to be positive. However, before getting to the subjective bit, here is the graph of the Supermix 4 in relation to my personal preference target:
Ok, so I enjoyed using these for general listening for the week I used them but let me share my opinions on these IEMs while sitting down with my usual test track list and focusing on specific tracks and performance.
As always, letâs start with the âChameleonâ subbass torture test. There is a lot of subbass here and, to be honest, it can become a little much unless you are someone who likes a lot of rumble. The driver does a good job of presenting the track, although I do feel that it is a little overwhelmed by the brutality of the bass when it is in full swing. By this, I donât mean that it sounds bad, far from it, it proves to be a very capable driver in the lows, it just suffers slightly when driven to the limits.
Moving on to something that is still bass but in a much more sensible way, âNo Sanctuary Hereâ sounds very good on the Supermix 4. There is plenty of subbass and midbass without ever getting the sensation that the driver is suffering at all. There is a very nice cleanliness to the bass hits, while not really over shadowing the rest. Yes, there is an emphasis on those lower notes but they are not stealing the show from the rest of the track, they just sound very full and capable.
The low end reverb in âCrazyâ, something that easily fatigues me if overdone or not 100% clean, on the Supermix 4 sounds very clean and pleasant. There is again a sensation of the low end having a great âbodyâ to it but without seeming overdone and keeping it clean and articulate. There is also no harshness or sibilance to Daniella Andradeâs voice in this track, something that does appear on a lot of sets. While there is definitely a bit of a focus on the lows and the upper mids, I find the track to sound very pleasurable on this set of IEMs.
Even though there is that V shaped response to these IEMs, it does not overpower the mids completely and I find it does an excellent job of reproducing âSun Is Shiningâ, where the electronic bass is definitely the strong point but the rest of the track is still clean and by no means eclipsed at all.
Another track that shows the capability of these IEMs to reproduce a good low end without taking away from the clarity of the rest of the song is âElephants on Ice Skatesâ. The bass plucks are clean and articulate, the brass sections are not overpowering and the the actual low bass notes are full and smooth.
There is a nice sensation of treble extension and air without it sounding artificial. While the Supermix 4 may not be the most detailed of IEMs, it doesnât try to artificially create a sensation of being more detailed than it actually is, meaning that there is no overly pushy upper treble that tries to make the details stand out. That doesnât mean that they are lacking in detail, they do a more than respectable job, they are just not something that is focused on making detail the forefront of the experience.
The soundstage is not huge but there is a nice separation between the instruments and vocals inside that stage. That also goes for the layers of vocals in things like âStrange Fruitâ, where they different voices are identifiable but are not really separated, more of a chorus effect than individual vocals.
ConclusionâŠ
This is the review that I have been hoping to do of a Simgot product. I have been wanting to really like a product of theirs and the Supermix 4 is finally it. For once my conclusion isnât âthey are good⊠butâŠâ
The fact that I have been wanting to like something from Simgot may mean that there is some subconscious bias on my behalf, which I have tried to avoid but canât guarantee that it isnât there. Saying that, I also wanted to like previous models and it has taken until the 6th model I have tried to actually get there, so a âthank you for your patienceâ goes to both Simgot and you, the reader!
I find the Supermix 4 to be a very pleasurable IEM that I wouldnât say is the best at anything in particular, but it does a good job at everything. It is a set that I have really enjoyed using, no matter what music I have decided to listen to, and feel that it is certainly something that those looking for a general all round set to enjoy music should take a look at.
As always, this review is available in Spanish, both on my blog (www.achoreviews.com) and on YouTube (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
