Some time ago, a good friend of mine bought a DAC, which, during transport, decided to let some parts roam free inside its generous case. My friend had to open it up, reattach the escapist board and screw everything back together. Easy peasy. But, somewhere along this process, he had lost interest for said device, and he promptly sold it.
History repeats itself and this is where Schizophrenia (the IEM) comes into play. A somehow similar story, involving a 4,4mm plug that is minimally shorter than standard (keep reading for further details). Just enough to give my friend problems with his DAP. Schizophrenia, then, started on the wrong foot with him.
The day he lent it to me, I attached an aftermarket cable to it, plugged it into my Teac UD-507 and thought: boy, this IEM really needs more bass. I did my usual routine: change cable to LL Venom, change tips to fat, narrow bore ones, source rolling, but the bass seemed to be rather shy.
The next day, as I wasn’t ready to give up, I noticed that the bass is actually not that shy. By then, Divinus Velvet were chosen as the best tips.
Day three marked the move towards the stock cable, a nice, thin and soft business. The plug is indeed a bit shorter than usual, but with my devices it worked quite well. I am not sure if it was the stock cable, but the sound was markedly better, which is odd, taking into consideration there are no DDs inside the Schizophrenia and thus burn-in* should not be a thing.
Let this be a cautionary tale: do not judge an IEM solely based on the first impressions, some are late bloomers.
So, what is Schizophrenia? According to Musicteck, a 14 BA IEM. Impressive scarcity of details.
MusicTeck’s site is in general a trove of information, but not in this case
My observations following the three days spent with Schizophrenia are as follows:
Treble is the most impressive part of the set, having the kind of energy ready to knock your socks off. It isn’t just energy though, it is doubled by a very good definition and an accurate timbre. Cymbals strike with a crystalline sound, thick body and a strong sustain. Both the initial impact and the wash are powerful, forward and at the same time not overwhelming. This makes Schizophrenia very good with genres with intricate cymbals works, like metal and jazz.
Mids are relatively clean and detailed, with slightly above average texture, but this texture becomes more apparent in the higher mids. Female voices have thus a slight advantage over male voices, where a bit more chestiness could have been present. Like Epic Audio Apocalypse, this is a very lively set, it will owe you or exhaust you, but it will not leave you impassible. Pianos have very impactful attack, in particular the first note (especially if higher) being like a shock to the system. This means that also guitar solos are electrifying, bringing a jolt of adrenaline to the experience.
Bass is a two fold story. On one hand, it is undeniable that Schizophrenia aimed for reference, or even under-reference bass tuning. The bass is fast, with average articulation, a decay so fast that if you blink you’ve missed it and less texture richness than I’ve come to expect from my IEMs. In keeping the bass very fast and accurate, that sparkle of life is lost, for me. Of course, it works wonderfully for black metal albums produced in the famous style I like to call “bottom of the barrel” – which, to be clear is a feature and not a fault. The blackest black is right there, on the bottom of the barrel.
Stage is where things go haywire for me. Despite a large and tall stage, Schizophrenia has me puzzled by its perceived lack of depth. While the voices are slightly closer than the instruments, the way it should be, behind the voice, all the instruments are located in the same plane, like a wall-paper. No sense of depth emerging, which may work very well with jazz, but with metal sounds congested and quite frankly, boring. There is instrument separation on the Y axis, even on the X axis, but someone forgot to draw the Z axis. There can be possible explanations here, maybe I did not have enough time to unlock its potential, maybe the tips I’ve used, trying to achieve a deeper fit, in order to extort the last drop of bass out of them. So take this with a pinch of salt.
Wait a minute, you’ll say, “what about those switches, what do they do? Don’t they fix your issues?” Well,…No, they don’t! First of all, none of them addresses my only formal complaint: Stage! Then, the differences are rather small, one could even wonder if they exist, just by looking at the graphs. However, I can assure you the differences are present, but tiny and in general hard to asses accurately, as a tiny different insertion can yield more variation than activating the switch.
In the end, Schizophrenia is a well accomplished IEM, with a big caveat. Should one manage to unlock the stage depth, this IEM is as detailed as the Apocalypse, albeit with less bass. It works great for metal and jazz, it shines with vocal centered music and it underperforms with bass heavy genres. Ambient lovers are also better served by more holographic options, with Unique Melody Asahi being the best I’ve heard in this regard.
*burn-in is considered by some, mere snake oil. While I have my reservations when it comes to hundreds of hours of burn-in for an IEM, I do believe there is some change in sound in the first hours.
Even when you have a number of TOTL IEMs, there are times when a product can surprise you, bringing a breath of fresh air to what seemed like a stale 12 months in the world of top IEMs. One of those moments happened for me at Can Jam London, with the Melodic Artification Eternitum. After failing to secure a sample at the show, I insisted and eventually managed to get one.
The unboxing experience is as good as it gets, a huge wooden box, with a display for the conditions inside thereof. Upon lifting the lid, the IEMs rise to the top, in a jewelery like fashion. Underneath, a removable tray holds the dedicated amp, while a third layer, on the bottom of the box holds the two carrying boxes. Exquisite presentation.
Everywhere you look, the attention to details is astonishing. From the shells construction to the logo pattern on the carrying case. The packaging deserves a video review of its own.
The dedicated amp requires some clarification: Eternitum is not a system IEM. It can be listened to independently of the amp. However, the provided amp introduces a slight bass shelf, even in the lowest bass setting, so it comes highly recommended. The built is equally good.
Moving on to the sound, Eternitum is a clean, blazing fast IEM, with a particular spatial presentation. The level of details is unlike anything I have heard, from the tiny textures in voices, to the guitars attack, everything is presented with a precision I did not think it’s possible. What is even more impressing, it does that without sounding artificial. It manages to integrate all these details into a tightly knitted musical weave. It’s like a portal has been opened, exposing a new level of clarity.
However, Eternitum is not just a one party trick IEM, but a lot more than that. The stage is something akin to my highly praised Camerton Binom ER – a massive spherical space, with you in the center, the music not seemingly coming from a fixed point, but simply living in that space, all around you.
The bass is one of the strongest I have heard, rivalling Duality. It is, in general dormant, but when the music calls for it, it errupts with a force that could not have been foreseen. The little bass switch on the amp does not seem to change the crossover frequency, but the amplitude of said bass.
The level of details in the mid bass is elevated, without however having a clear mid bass focus, or being overtly present, like in the other resolution monster, the Hex.
The mids are highly upper mids centered, with great energy, that could be too much for some, but that brings a vital force making music feel so alive. Lower mids could have benefited from a touch of warmth, but if I need to choose details vs warmth, I already have some warm IEMs, so Eternitum comes as a last piece of the jigsaw puzzle that is my IEMs collection.
Without going too much into details, as a full review is coming, I find the Eternitum one of the best products of 2026, ticking more of my boxes than the highly acclaimed Ibuki.
Astell& Kern was the first company that made me desperately want a product. It was the beautiful, but somehow ill-fated SP2000T. Launched after the excellent SP2000, and affected by the shortage of AKM chips, dues to the fire of 2000, Oct 20th-23rd, when the Asahi Kasei Mycrosystems factory was severely damaged, the SP2000T did ot manage to achieve the same fame as its predecessor. It sported ESS ES9068AS in QUAD-DAC configuration and Korg Nutube 6P1 and to my ears it sounded really good. Once I’ve heard it, at the Munich HighEnd show, there was no going back.
Fast forward to 2026, Astell&Kern DAPs have been a constant presence in my sources line-up, maintaining a stable 2 pieces at any time (SP2000T, S3000T, SP3000, SR35, Activo P1, all were part of my line up at various points in time. The current line up is SR35 and SP3000. They share the stables with the amazing Nipo N2.
Recently, a good friend lent me his SP4000, which shakes my conviction that the SP3000 is the best DAP for me.
• Dual/Quad DAC Switching • 2-Step Gain Control • ReplayGain • AK File Drop
• TERATON ALPHA • DAR (upsampling up to 384kHz / DSD256) • 6 DAC Filters • Crossfeed • ReplayGain • AK File Drop
• Advanced DAR 2.0 with VSE (Virtual Sound Extender) • ESA (Enhanced Signal Alignment – Group Delay Reduction) • Ultra-Low Noise LDO Regulator (97% noise reduction) • 99.9% Pure Copper Shield Can • Any Layer HDI PCB • 6 DAC Filters • Crossfeed & ReplayGain
• Dual-Band Wi-Fi (2.4 / 5 GHz) • Bluetooth (aptX Adaptive, LDAC, BT Sink) • Full Google Play streaming apps • Roon Ready
Battery & Charging
• 3,150 mAh Li-Polymer • Up to ~20 hours playback (Dual DAC mode) • ~2.5 hrs charging (5V 2A)
• 5,050 mAh Li-Polymer • Up to ~10 hours playback • ~3.5 hrs charging (Qualcomm QC 3.0)
• 6,780 mAh Li-Polymer • Up to ~10 hours playback • ~5 hrs charging (Qualcomm QC 3.0)
Dimensions & Weight
Compact handheld form factor
• 82.4 × 139.4 × 18.3 mm • ~493 g (SS)
• 85.0 × 149.8 × 19.5 mm • 615g (SS)
The first ting one notices about the SP4000 is the imposing physical presence. While not as thick as some of the most famous DAPs (looking at you, N30LE), this is one hefty device. It’s also big, with a wonderful, bright screen. Just like other AK models, it has sharp corners, potentially turning its use without a case into a sort of BDSM experience. Be advised! Also, because the volume wheel doubles as the power button, it moves freely, to the point of feeling a bit flimsy, a feature carried over from the SP3000. While not my favourite volume wheel, it works well and my SP3000 is carrying its age with dignity so I have no reasons to believe the one on SP4000 would be any different.
The SP3000 has a neutral sound, with one of the leanest bass presentations, dead neutral mids and with a delicate and intricate treble delivery. One of the crispest, clear trebles I’ve encountered. The sound density is not very high, giving most IEMs ample space to breathe, and creating a large stage with or without DAR activated. The image and layering are very good. It works best with densely sounding IEMs, like the Mysticraft Tet, NGaudio Erebus, etc. but it sounds underpowered with monsters like Storm or Elysian X.
SP4000 follows the same path of neutrality, but it has a denser sound and the treble is less “grating”. While the presentation is more technical, it feels like there is less air in between instruments, making DAR a must for most IEMs. Without it, the amount of information is overwhelming, making it less pleasurable for me, compared to its predecessor. The bass and lower mids carry more grunt, without necessarily sounding elevated, being a clear departure from warm DAPs like N30LE, while clearly more muscular than SP3000. One caveat here is the High Driving Mode (HDM). With IEMs like Storm, Pentara, Elysian X, SP4000 in Normal Driving Mode felt lacking in dynamics. With one tap, though, things change dramatically, as HDM brings about improved macro and micro dynamics, pumping life into even the most demanding IEMs.
I find SP4000 to sound more detailed than SP3000 in the most part of the spectrum, with more texture and a tighter packing of the sound. With most IEMs, bass control is stricter, note weight is improved over SP3000, but there is a key area where SP3000 outshines the SP4000, and that is treble. With most of my library composed of varieties of rock, from mellow to extreme death metal, jazz and some older pop, I place a lot of value onto hearing the cymbals loud and proud. Occasional splashiness does not bother me. The way SP3000 presents the treble, with a good combination of body, shimmering and crispiness, remains unmatched to my ears. At least with some IEMs, like Oriolus Traillii JP, Erebus, UMxMusicteck Pentara.
For IEMs with slightly thinner notes, SP4000 is a gift from heaven, adding just enough meat on the bone, without altering the overall tuning.
One interesting find is the Mysticraft Tet, which is one of the thickest sounding IEMs, matched maybe only by the Epic Audio Intoxication. I would have expected it to sound unbalanced on the SP4000, but it is quite the contrary. Maybe through tighter control, maybe via dark magic, SP4000 makes is shave off some weight, elevating the sound, while maintaining the mid range lushness and bringing the treble more forward spatially. A highly recommended match.
In terms of functionality, the two A&Ultimate DAPs are now identical, since the SP3000 has also been updated to full Android. Funny enough, SP3000 boots up a bit faster than SP4000, but the difference is diminutive.
Upgrading from SP3000 to SP4000 makes sense if you have hard to drive IEMs and don’t want to use an external amp or if you favour a dense(r) sound. Personally, I am going to stick to SP3000 for a bit longer…but the edge is really tiny.
Given that Mysticraft Myth was announced in the very select company of Tet and Hex, it is easy to dismiss it as not being up to snuff, compared to its bigger brothers. This, however, would be a mistake, for it is Myth that really pushes forward the boundaries of what we considered possible. Yes, Hex has unmatched details and separation, and yes, Tet has the most impressive mids known to audiophile world (in my opinion), but Myth is the one that achieves a level of quality, both in manufacturing, and sound, that simply wasn’t possible at this price until now.
Myth is tribrid, with 1DD, 4BAs (2 Knowles, 2 Sonion) and 2 microplanars, handling the highs, 6 ways crossover, all hosted in a Titanium shell. One has to pay 1052Eur for the pleasure of owning a Myth, available here.
The build quality is very good, but the unpacking experience is lacklustre at best. It does come with a box of Divinus Velvet tips, which is a plus.
The sound follows the general lines set by its more expensive brothers, but with an evident step down in stage and instrument separation. The next in line, Tet, is 6 times more expensive, so I find this cut more than justified.
Bass is strong, with good rumble, and some degree of elasticity, but doubled by impressive control. Even though there is plenty of sub bass, it rarely feels overwhelming. Mid bass is well articulated, but somehow it doesn’t jump right at you. Listen to Iron Maiden’s bass gallop and nothing is missing, though. Not only is the articulation of each note Steve is playing perfect, but that clanky sound is preserved and clearly audible. Or the excellent Rust in peace by Megadeth…Myth serves as reminder that Megadeth has always been more than just Dave Mustaine. In a way, Myth achieves something that eludes the grands, like Hercules Moses and even UM Pentara to some extent: a bass that is at the same time large sounding, but fast, not dry, but not oozy either.
Mids are maybe where the most cuts can be felt, with lower mids being slightly recessed, with a very faint lack of substance compared to the magnificent bass. The amount of grit, required for acts like Amon Amarth, Rotting Christ and so on, is average, Myth not being overly polished, but also not having quite the richest textures. With a healthy pinna gain, similar to that of Elysian X, Myth is one of those IEMs balancing on the edge of shoutiness. The balance is perfectly executed and at normal volumes, Myth remains safe at all times. Male voices sound a bit heady, a bit more “chest” would have increased the naturalness of the delivery. Female voices are somehow spared this slight lack of substance, sounding a bit fuller, by comparison, as highlighted by Lizzy Hale, this true angry powerhouse. Plenty of textures in this part of the spectrum, making for a very rewarding listening experience.
Highs are airy, and with a good deal of emphasis on mid treble. The question is: do they have planar timbre? Yes and no. In most cases, it is easy enough to ignore the light thinness/plasticness. Certain triggers are present, though: longer sounding cymbals (repeated ride strokes) show the limits of the current generation of planners, a slight sheen being present. Personally, I find the planar timbre better controlled than Forté Ears Mefisto, but maybe less so than Luxear Valor. Sibilance is mostly absent, but there is a very faint metallic tint in the places where I know the sibilance is expected. Still, much better to endure than a full blown sharp “S”.
The soundstage is fairly large, tall and with better than expected depth, with a caveat: the stock cable has to be replaced for best performance.
Pairing
With the stock cable delivering a modest quality, I have turned to the Pentaconn Sloflo cable. Tet cable is also good (I think it is also sold as a Myth upgrade cable). Myth is not power hungry, but like many other IEMs it scales up when given more juice. For the purpose of this mini-review, I have used the Astell&Kern SR35 and the Devastator Pro Max dongle. Both provided enough power, with the Devastator generating a bit of hissing.
With a solid build quality and a price that is at the same time prohibitive, but not crazy, Myth reminds me of another perfect gate opener product, the tiny DJI Neo 2 drone, a fun, easy to use, high capability drone that, like Myth, has become a staple of our family holidays.
Prime Ti is a single 12mm magnetostatic driver IEM, housed in, as the name says, Ti shells, with a mirror-like polish. We’ve seen this before on the Cadenza 12.
This unit was sent on a tour to EU by @MicDavism141 (over at head-fi.com forum), in collaboration with Rhapsodio, the boutique IEM maker from Taiwan/Hong Kong. Many thanks!
The package was limited, due to customs restrictions: IEM, the Evolution Silver Ultimate 2W cable and the Giant cable (from Darker). No unpacking, therefore.
This write-up reflects the way I hear them, subject to influences due to anatomy, chain, music choice, previous experience. As usual, YMMV.
In order to improve readability, some in-depth passages are hidden under drop down arrows. Simply click on the arrow to see the content
In a nutshell
In terms of raw resolution, I think the Prime Ti fares very well, but the details are less discernible than my current darlings (Hex, Tet, Storm). You just have to reach out to them. No low-hanging fruits. Compared to IEMs like Storm, you might even say they sound muddy, but this would be a lazy and shallow evaluation. Prime Ti makes you work for those details. I like the fact that it takes the transducer out of the equation, and they let me enjoy music. However, I don’t like their safe, bordering on boring, tuning. It simply isn’t for me. This is something that can be educated (the way we enjoy music is usually too bassy) or one can cheat, like I did with Brioso. That extra bass turned Prime Ti into a different beast altogether.
For those looking for a neutral set, I can hardly think of a more appropriate option. For those chasing extreme details, sets like Storm, Tet, Hex, APX Me, Pentara are better choices (some of which I own already).
Prime Ti and Mysticraft Tet
Comfort While significantly smaller and lighter than V3, I have the same problem with them. Namely, they slowly slide out of my ears, until the seal is completely broken. I have tried a variety of tips, with limited degrees of success. I have settled on Penon Liquer Black, as they are a bit stickier and manage to keep the IEMs in my ears for a bit longer. I reckon Azla should work the same. The shells are shallower than Tet, but the angle of the nozzle creates this sliding effect for me.
In depth analysis of Prime Ti’s sound
Bass This is one of the most strictly neutral sets I have evaluated recently, as a quick glance at its graph confirms it. It may look lean and bass light, but in practice, it delivers just enough quantity of bass without ever overpowering the mix. It’s not going to win any bass competitions, but I like how it gracefully steps out of the way. So, the rumble is subtle to almost non-existent; however, the articulation and muscularity in mid bass compensate for this. To simply call it a mids bass focused bass would be an injustice though, as it maintains a good balance. The texture is intricate—it doesn’t force itself upon you but rather sits patiently in the backdrop for you to discover. Prime Ti’s bass, then, is not obtrusive, it’s relaxed, waiting for you to acknowledge it’s presence. Imagine walking through a vineyard where all the grapes are equally ripe, equally good looking. You look left, right, you like all you see and are just waiting for the right moment to make your selection, postponing it and just taking in the beauty of the place. If you prefer a big, thunderous bass, look elsewhere.
Mids follow the same pattern, fluid flowing, neutral, with a slight dose of bohemian charm. Lush, but not overly so – without becoming syrupy, and organic without feeling thin or hollow. Note weight is average, well in line with its neutral tuning. The soft focus, with the details intimately blended into the music body, helps create an atmosphere of slight mystery surrounding the music. At times, this flat linearity can veer into sounding slightly safe or sterile, which acts as both a virtue and a flaw depending on the track. Voices are well placed, dead in the center, at a comfortable distance, that feels intimate without becoming claustrophobic.
The highs are fairly energetic, with the mid treble accentuated, followed by good air. The details are good, but once more, delivered in a rather polite way, rather than the aggressive sharpness that I value so much in other sets. The mid treble tends to be on the hot side, but for most of the time it remains safe, helped maybe by the swift upper treble drop. The timbre carries a slight metallic sheen, reminiscent of a planar, albeit a good one, just like the supreme V3 before it. If I were to describe the treble in just one word, that’d be effortless. It does the job it’s supposed to do without fuss, without drawing too much attention. Cymbal decay remains somewhat localized; I occasionally found myself missing the ultra-wide, shimmering dispersion of an Electrostatic (EST) array. Furthermore, the high-frequency response is heavily source-dependent: on sharper sources, cymbals can sound slightly splashy, whereas warmer or higher-tier sources allow the treble to bloom into a rounded, organic decay.
Stage and separation The stage is large and tall, with good depth, rivaling Traillii JP. Instrument separation is rather decent, though expectedly limited by the single driver physics when compared with multi-brids like UM Pentara or Mysticraft Tet.
Pushing the volume up opens up the soundstage, sharpens dynamic contrast, and infuses the presentation with vital energy. This is NOT a set for whisper-quite listening, then.
Sources and cables
Sources With Nipo N2 it gets a bit hot in the mid treble and the female voices lack that final touch of shimmery sparkle. Audma Brioso fixes that, restores the shine to female voices and has a more delicate treble. The Brioso brought a welcome change, in the form of the bass adjustment knob. Adding a few dB of bass made things much more palatable for me. However, for testing I went back to zero. AK SP3000 feels decidedly underwhelming; I guess this IEM needs a punchier, more dynamic source to come alive. Surprisingly, the Hiby R8II was one of my preferred sources for Prime Time. It has given it a bit of V shape, which I really enjoyed.
Music used
Paradise Lost – Salvation Prime Ti has massive sounding drums, establishing a direct lineage line with V3. Very little sibilance, like a slight shadow. Very good separation, in its own relaxed way, nothing forced, a sound that I can only describe as analog. There is a certain fluidity, no sharp edges anywhere, and even if this comes at the price of the rhythm guitar sounding a bit too chill, the end effect remains good. Some of that sense of tragedy is lost, again due to the atmosphere, not being somber enough. IE900 (my only notable single DD) has a lot more dynamic sound, bringing a lot of atmosphere into the mix. Its stage does not have the height and depth of Prime Ti and the lower mids are definitely thinner than Prime Ti’s. It has more detailed treble, with a very sharp edge, a sense of urgency. This is right up my alley. Traillii JP sounds very large, with very detailed treble slightly coloured mids and, of course, Mr. Holmes sounds sublime with Traillii. It’s another “bass light set”, so there are certain similarities, but Traillii has better separation and more detailed treble.
Dua Lipa – Levitating Very strong L/R effect, perfect disco effect, complete with a virtual disco-ball. The bass is surprisingly strong, with the details surfacing effortlessly. Detailed, natural voice, well delimited from the background and a large, tall stage. This is as good as I’ve heard this song. Tet presents a very different image, with lots of bass, huge stage extended in all directions, and a nice, sweet and detailed voice. The treble is darker, but not less detailed. Despite the stereo effects being less popping than with Prime Ti, I much prefer this presentation, with loads of macro-dynamism.
Boz Scaggs – Thanks to you Prime Ti perfect match, reducing the bass of this song to acceptable limits (for me). The voice is free to shine, close, but not claustrophobic, clear with just a faint touch of warmth. Traillii shines here, unsurprisingly.
Mozart – Piano concerto No. 20 III Rondo Allegro asai Prime Ti is very good with its relaxed sound, creating a nice spatial soundscape. Traillii is the one to beat and this has not happened. I do have a strong affinity for Traillii, even after so many TOTL sets.
Bob James – Avalabop Binaural recording at its best. The stage depth is crazy, and the rendition let’s you forget everything about gear and you just bob your head slowly. Plenty of details, the ghost notes and flares on the drum, the cymbals, everything is present. The piano has a full sound, the bass reaches low and gives that physical impression of moving air. I find Prime’s tuning to work best for this genre. Traillii offers a different flavour. I enjoyed both equally.
Doors – Riders on the Storm Traillii has clearer and more detailed highs, an even larger stage and the voice more upfront. At the same time, the voice is so emotionally laden. The ethereal beauty of the music is contrasting so starkly with the lyrics and the life-like thunders give it an extra dimension. The organ is also very forward, a lot more than Prime’s. Prime has a bit of splashiness in the cymbals, the voice is more closed in, not as open as Traillii’s, while the biggest difference is the mid bass pushed forward significantly. The song is, luckily, light on bass, so it all works well. The two are close in term of performance, this not being the first Rhapsodio IEM with near-perfect voices. The organ solo gets just a bit too loud at times.
Music pairing For albums having already a flat production, they seem to accentuate the highs, since there is no bass counterbalance, which can make them sound a bit flimsical (like Dio’s excellent The Last in Line – the production is too thin for Prime Ti). Switch to Opeth’s Windowpane and prepare to be immersed in a sense of depression, with full sounding music, having all the weight needed, making it easy to sink into melancholia. I would have preferred the guitar tone a tad darker, though. It’s almost too open, too cheerful.
Conclusions
As I sit here listening to Maiden’s epic Empire of the Cloud, I realise technical metrics like resolution and stage dimensions fade away, leaving pure musicality. I think the syntagm, speaker-like has been overused, so I’ll try to avoid it, difficult as it is. The sound does not seem to come for anywhere, it just exists inside your head, and in a small measure outside it too. No sharp details, no micrometric separation, but genuinely musical and transparent. Integrated. A very accomplished set that for me lacks the raw energy of V3, the savagery of its cymbals attacks and the boldness of female voices. But, hear me out, this makes it a good allrounder, provided you like a neutral set. By making this “normal” sounding IEM, some of the craziness built into the Rhapsodio IEMs is gone, leaving the space to a more mature approach. Maybe the next release will find the perfect balance between these two.
And the elephant in the room, the price. This set is in the Storm/Tet territory, with those being far more exciting. At this price, I expect more. Drop the safety net and add more excitement.
This one was in fashion when I got back into IEM. I have never bought one, on the account of them being too bassy and the fit being too finicky for me. Nowadays, Baroque or Baroque Stage tips make every IEM fit like a glove, so when my dear friend bought them, I was so happy I will finally have a chance to hear them proper.
The sound is a warm, polite one, with a clear bass boost, extending to both sub and mid bass, incredible impact, almost physical, like the bass drum beater is striking directly on your ear drum, lower mids well tucked behind the massive bass and a treble that is very polite, or even shy. With a very pleasant sound they cannot hide their age, being a couple of steps lower in terms of technicalities.
The obvious highlight is the bass, which is more detailed than some of the modern day IEMs. Apart from the physicality mentioned above, that feeling of a slight tap, the articulation is very good, the kind of set that makes you instantly want to offer your bass guitarist a hefty salary increase. The speed is reasonable, thus that even the fastest blast beats remain distinct. The bass does bleed into the mids, lending some warmth.
There is not enough roughness in the mids for the distorted guitars, Rn6’s sound being too lean, too closed in. This is compensated for with some aggressiveness in the upper mids, so it can be warm and shouty at the same time.
Long story short, this is not my preferred set for metal, but for everything dance, electronic and even jazz, it works very well.
Switching to Pentara, brings back the sound that I am chasing. This mild W has everything needed to keep me happy, while Rn6 simply caters for different tastes.
This unit has been lent to me by a fellow head-fi-er with no obligation whatsoever. It is the second time we temporarily swap gear.
The technical specs listed on the PMG’s website are the following:
12 drivers: 1x Rectangular Planar, 1x 10mm DD, 1x VCD, 8x BA, 1x Round Planar (all drivers are custom built to PMG Audio’s spec)
True 8-way passive crossover
Flat Impedance technology
SPL: 117dB @1kHz
Frequency response: 2Hz-22kHz
Titanium shell body
Custom 6N OCC pure Silver cable 4.4mm
Leather multi-function suitcase
Leather portable case
5 pairs of PMG-selected ear tips
Certificate of authenticity
3-year warranty
They are amazingly small and light, at 8,1g being lighter than some resin shells. Comfort, subjective as it is, was great for me. Any tips worked, with AET07 being my favourites, based on a combination of comfort and sound.
Sound
Let’s start with the most divisive point, treble. I have read some reports that they don’t have enough extension. What I hear is the opposite, there is more than enough extension, and enough air. Yes, it’s not the Annihilator ethereal, warm-ish, treble. What impressed me is the note weight in treble. Thick, meaty, Storm style. Cymbals are more contained than X, for example, where the attack is fast and the decay a bit longer. ME has the fast attack, but not quite that cutting edge, adrenaline infused of X. The decay is fast, shorter, for example, than X. An interesting effect is the cymbals seem to have their own resonance chamber, clearly delimited from the rest of instruments.
Upper mids are elevated, to the point of being very close to the top of my comfort edge. This is a set I cannot listen to at high volume for. along time. Luckily, there’s no need to, either, for ME sounds good and detailed even at low volume. Highly energetic upper mids means all guitar solos are highlighted in a quite obvious fashion, giving the impression the pedal board is cabled directly into your brain. I don’t mind taking a short break from time to time, for that lively sound. The only niggle I have with the mids is a slight upwards skewing of the sound. Some voices (particularly male) appear to be just a touch higher than on some other sets, or let’s say that I’m used to hearing them. This could be an effect of the forward voices, but it is something I did not hear with Epic Apocalypse, Storm, Tet or X. I’m sure it’s just the result of some rogue frequencies inducing this kind of response in my ears, but I thought it is worth mentioning, in the off chance someone else might have had similar issues. For the rest of the mid range, everything is how I like it. The lower mids carry a lot of weight, the distorted guitars sound relatively dirty, without affecting the neighbouring frequencies, the attack is lightning fast and the resolution is right up there with Tet and Hex. Male vocals, and in particular the death growling have a nice warm-ish weight added to them, making this set very good for such genres.
Bass is the highlight of APX ME, on that I agree with other reports. I could write pages of gushing about PMX’s bass, but frankly, it has to be experienced first hand. It’s not the amount, but the quality thereof that makes the difference. Perfectly textured, articulated, with a clear emphasis on sub bass and a mid bass that is probably the most detailed I have heard to date. The richness of texture and tone is unparalleled, to my ears. At the same time, the bass is so fast and accurate that is not overpowering the rest of the frequencies, despite some rare bleeding into the mids.
Stock cable was my favourite, first for comfort, secondly for sound. Details retrieval with cable is very high, separation natural, treble confined to its designated space and the balance sub to mid bass is perfect. However, it has the most elevated upper mids, to my ears.
Equiped with Vesper Shielded, the sub bass takes a small bump, but the stage is larger and taller, so it has more room to fill, the end effect being an overall improvement. Normally, adding more of one frequency, masks another, but Vesper has this great property of helping the IEMs distribute sound more evenly. The upper mids are less harsh to my ears, and the treble has that organic, edgy copper sound. A bit more shimmery, but a tad thinner. Comfort takes a small hit, but remains perfectly manageable.
With SS4W the stage is widened, but the height is not proportionally increased, so for me, it upsets the balance a bit. A matter of habit, I suppose. The sound density remains high, with each part of the stage full with sound, but maintaining ME’s natural separation. There is a touch more sub bass, but I haven’t noticed any improvement with regard to upper mids and/or treble. I wear spectacles and I have an unexpected problem with SS4W, it rubs against the spectacles arms and generates audible vibrations (ringing) in the shells.
Comparisons Storm. I’ll start by saying that straight after ME, Storm sounds muffled and lacking details. I know, of course, it’s not the case, but this is the sort of change ME induces in my brain. Obviously, Storm has a larger stage, the bass is more fluid, the upper mids less elevated and the treble more forward.
In terms of details, ME is more detailed than Storm on bass, slightly more detailed in mids, and less detailed in treble, with a presentation closer to the highly holographic Tet than the reference Storm. The attack on guitars is fast, each note is spectacularly detailed, something I first heard with Tet, then with Epic Audio Apocalypse. Triplets have a spectacular way of sounding, making listening to Raining Blood a real pleasure. Storm still takes extra points for treble (a perfect dosage of timbre, intensity and body, all at once). The biggest difference remains the overall presentation, with ME a bit darker, with its slightly coloured upper mids, while Storm is the very definition of neutrality.
Elysian X Sounds hollow after ME. Given enough adaptation time, the bass on X is less detailed but a touch more natural. Why do I say that? Because, in real life, it is rare to hear that level of details in bass. Except when listening in isolation. I’m not saying it’s a fault from ME’s part, simply that I am not used to that level of details and I am not (yet) sure if this is a direction I want to pursue further. While not having the dirty lower mids of APX SE (from memory), Pentara or Epic Intoxication, X still has some of the best sound for metal. The combination of roughness in the lower mids, buzzing in the upper ones, makes it an ultimate metal machine. The upper mids liveliness is reminding me of ME. Treble is more forward, with a more edgy presentation and more shimmer.
Listening to 2PAC’s “Can’t C Me” is a bit hot up top, but still perfectly listenable. Nicely textured bass, this album being one of the rap masterpieces, from the instrumentation point of view. Impressive control of sibilance from the part of ME. I know the song inside out, but the bass presentation is new.
Amon Amarth’s “Find a way or make one” is a very good test for grit and balance. The roughness in the lower mids, from where that granular sound stems, could have been upped a notch. The voice, on the other hand carries enough granularity, making it a compelling listen.
Despite finding the upper mids borderline uncomfortable in the beginning, I started missing them when listening with other IEMs, so I kept returning to ME. After a couple of days I got so used to ME, that the upper mids harshness completely disappeared.
After the stratospheric sets of the last weeks, it’s time for a reality check, with a set that retails for almost 600USD and comes with a portable amp, see here.
My version came with a dongle, the Venture Devastator Pro Max, which breaks through to over 3.1V RMS. Yes, it can drive Storm and not sound thin.
The ZhuanXu features 2 balanced armature drivers, an 11mm custom beryllium-coated dynamic driver and 2 planar magnetic drivers. The resin shells are on the large side, but comfortable, good looking and they have a metal nozzle protected with a metal mesh. Flawless execution from my point of view.
The tuning is a rather balanced one, with a slight bass boost, but tastefully done, not overpowering any other frequencies. Throughout genres, ZX offers a neutral presentation without any obvious coloration, with good notes weight and decent degree of instrument separation.
The bass is striking with its perfectly judged balance between mid and sub bass. I listen to a lot of metal, so mid bass is critical for my enjoyment. ZX provides enough mid bass to make the bass guitar clearly distinct, but it never steals the focus. Sub bass is somehow restrained, with modest rumble, but vast openness, this particular interplay of mid bass/sub bass delivering one of the most natural sounds I have heard in an IEM.
Mids are forward and transparent, getting out of the way of music, leaving me enjoy the sound without worrying about what’s inside, details, or any other distractions. The note weight is decent, but I would not call it stellar. In the lower mids, I would have liked a bit more roughness, to help distorted guitars sound more gritty. The voices, both male and female, continue on the naturalness line, devoid of any added warmth, any extra clarity sauce, just what you’d expect from Florence and the Machines or Boz Scaggs. I must admit, this is a ballsy approach as, I imagine, some people might be put off by this “naked” presentation. Upper mids have a bit of a boost, such that some guitar solos have plenty of bite, but they are not shouty.
Treble is maybe the most uneventful part of the spectrum, with roll-off starting well before 15KHz. The air is good, probably class leading in its price range, but not comparable with treble monsters like Anni 23, X, Pentara, etc. The treble is a bit closed in, tonally wise. Not a deal breaker, but it is clear this isn’t a treble-head set.
The stage, as expected for this price range, it has good width, decent height, but minimum depth. The instrument separation follows the same line, it is decent, but nothing I’d write home about.
The quick conclusion is that ZX is a set not meant to impress from the get-go. Rather than that, it tends to grow on me and wow me with its natural, uncoloured way of presenting music.
Just when I thought things could not get any better, from the combined power of three audiophiles, this here is the absolute best the IEM world has to offer at this point in time.
Hex is an absolute monster in terms of stage and details. Every little detail is highlighted, tagged, categorized and easily retrievable. Normally, an IEM so detailed would be pushing those details into your face, but thanks to the particular way the stage is built, this is not the case with Hex. All the elements come together like a puzzle with very, but I mean very low tolerances. Imagine the inner workings of a Swiss watch, the way all gears work together, that is the image Hex projects into my mind. A marvel of micro-imaging and micro-details.
Tet is playing cool, with details less extroverted, but it does something very impressive, the attack of the pick on the guitar strings is so precise, each triplet, each gallop, so clear, so precise. Music to my ears!
One of the most impressive things is the bass. Broadly mid bass centered, Hex’s bass evolves into layer after layer of details, leaving me wonder how much information was packed into the music I thought I knew inside out. There is ample sub bass, of course, filling the stage, but it’s relatively nimble, not feeling heavy or slow. On top of this comes the heavy poundering of the mid bass. It’s like an unescapable impact hammer. Although taking a beating from it, I still have time to register a lot of details. I strongly recommend trying Megadeth’s Hangar 18 with it.
Tet, on the other hand is more sub bass centered. Big and boomy, with zero consideration for your feelings. You will end up burried under the rubbles of your house…I am exagerating, of course, but there were moments when I thought there’s an earthquake happening.
Both Tet and Hex are similar in mids, warm-ish, textured, natural sounding, despite the slight colouration. While Hex is more susceptible to harshness, with some recordings, Tet seems largely immune. This, of course, means also more sparkle for Hex. It’s a matter of which flavour you prefer, Champagne or a nice Bordeaux.
Turning to treble, the difference between them becomes clear, and along with it, the genius of Lee tuning. While Hex is bright and energetic, with thick sounding cymbals, making it easily possible to “hear” the weight and density of each cymbal strike, it pushes these forward, closer to you, as opposed to Tet, pushing them backwards a bit. You’d be excused to think Hex is more detailed in treble, but upon closer inspection, I find the level of details almost the same, only the presentation differs.
Nothing from my existing collection gets close to these two. Storm is a huge stage, detail, monster, but dead on neutral. X is like a sneak peek into the future. The imaging was a promise of the things to come, the treble has the weight of Hex but not quite the details.
Much to my surprise, I am more attracted to the cool, nonchalantly calm of Tet. It took me by Storm!
Btw, the title reads like the name of an Epic Audio IEM, doesn’t it?
This here is the Mysticraft Tet, a behemoth with 1DD, 4BA, 4EST and 1BCD. Of course, not the first IEM with such a complex configuration, but it is one of the most impressive ones I have heard to date. There is something magical about the way it replays music, building it piece by piece and placing you in the middle to marvel at everything. Details are layered in depth, in height and in width. Not simply an onion-like presentation like, say Fatfreq GMA, but a more complex one, with the same elements interconnected via different planes. And everything done in a very coherent way, nothing sounding out of place.
The general tuning is warm and slightly dark. But it’s only an apparent darkness, upon listening, it becomes clear that details are abundant, textures have a life of their own and there is no harshness whatsoever.
Big, heavy handed bass, that gets out of the way when not needed, but gently reminds you it’s always there, always ready. Detailed, probably the first time i can say about a bass that it’s sparkling. Velvety mids, even buttery to some extent, with weighty notes, perfectly chosen decays and a lush timbre. Treble, while polite has one of the best textures.
