u/notsoquietlyamused

Pros: Neutral Bright leaning tuning with superb details and no harshness
Expansive Soundstage
Decent Cable and accessories
One of the best for a analytical yet enjoyable session

Cons: Low end could do with a little push
Imaging could be a little better
The BA timbre can make things shouty - rare but present

I’ve been watching epz with interest after I got to listen to their TP35 Pro Dac at a friends’. So when u/mournfulmonk and Sonic Monastery sent the P50 AND the P40 over for review I knew it was going to be an interesting long weekend. I thank u/mournfulmonk and EPZ for making this review possible but I’m a free man with free thought and an occasionally caustic opinion.

The IEM turns up in a fancy textured cardboard box and sleeve and has the shells in foam and a really nice leather round case. The cable is a modular 6N OCC copper affair with some memory and potential for tangling. The terminations included are 4.4 and 3.5mm and the modular bit is guarded by a very very smooth screw mechanism. Which can be a little frustrating - EPZ, knurling was invented for a reason.
The shells themselves are 3d printed and the design based on many thousands of ears that EPZ has managed to Sweeny Todd. Just kidding but I have been looking for an ear model to model the IEMs that come in for review. Any suggestions will be taken gratefully. Those that do not involve Sweeny Todd will be taken seriously as well. The Faceplates are machined metal with a semi-open architecture and look futuristic and rather cool. The shells house a single dynamic driver, 2 BAs and 2 microplanar drivers.
The unboxing also reveals 2 sets of tips which are nothing to write home about but the rest of the package is very satisfying. This set retails at close to $200 and we need to see if this one is really worth that much.
I tested this set with a Schitt Vestri, Onix Beta on both tube and solid state mode and the Fiio M33. Ear tips used were - Sancai, Candy, Eloit Narrow and Final E.
And Tidal (https://tidal.com/playlist/3078c9b9-a1c0-4fde-8ce7-81f0e34b426c) and local FLAC. Time to dive in!

TLDR: This is a midrange and detail oriented set with a very very controlled bass. The treble teeters on the edge of fatigue. And it’s unforgiving.

Bass
Left to its own devices, the P50 has a muted, sometimes underwhelming bass response. Sub-bass is not as visceral and rumbling as some other sets (no I’m not talking about the Singularity but sets in the same price band). The notes are clear and present and this is somewhat mitigated by picking warmer sources and tip rolling, but with the warmest source and the bassiest tips, I find myself craving just a little more impact and reaching for the volume knob… in vain.
On Angel by Massive Attack and Islands by The XX, the low end of both the sub bass and mid bass that form such an important part of both songs felt lacklustre and insipid. And I won’t EQ on principle. I mean why should companies even bother about tuning if EQ exists. Plus I’m lazy and tip and source rolling is as much as I will do to get anything to sound the way I may prefer it.
That being said, science is science and I am of scientific bend - the P50 responds to a gentle low end boost. It’s still not as good as a better default tuning but it would work in a pinch.

Mids
The P50 is tuned to be mid and detail-forward. But with great detail comes less weight. While vocals and instruments sound natural and the detail retrieval on occasion is exceptional, the safe bass tuning leads to the lower mids lacking weight and presence and this makes baritone and lower tenor male voices sound weak at times. Instruments and female vocals, on the other hand, are exceptional. Bright (in a good way) and detailed.
Trains by Porcupine Tree and Got A Match by Chick Corea Electrik Band have nuances within the tracks largely thanks to some incredibly gifted musicians on them. The P50 is able to handle incredibly busy tracks with great separation and layering with each component being heard distinctly with no muddling or overlap. Female vocals have clarity and but as they reach the higher registers they can be shouty. This became a little more pronounced with badly mastered recordings - live versions or any pop from the 90s. I have no idea how things went so bad in that decade or so. Tracy Chapman, Joss Stone, Susan Tedeschi and on occasion, Derek Trucks’ slide guitar have a very slightly shouty timbre on some, and only some tracks. Again not something that is a deal breaker but just something to consider before swiping plastic.

Treble
With all that, there are still things that EPZ has done to save some face. The treble on the P50 is one of them. With all the detail that it reproduces, the sound doesn't fall into the abyss of sibilance as often as it may be expected. There is some roll off right on top that is able to avoid sibilance while still pulling out significant amounts of detail from tracks and that is a wonderful bit of audio engineering.
Even the usual suspects of Human Nature by Michael Jackson and the entire Thriller album were enjoyable listens without getting fatiguing. Same with Rumors by Fleetwood Mac and these 2 are definitely very treble forward recordings.

Soundstage, Imaging and technicalities
The soundstage is wide open and gives an incredible sense of space with the semi-open construction and to an extent I feel that space also helps in reducing the perception of sharp treble and sibilance. It doesn’t affect the bass as much. Imaging is fairly decent but I wouldn't consider this set ideal for competitive gaming. Detail retrieval and scaling are excellent. This set can take on significant volume without distortion and harshness.

Final verdict
I like this set. It’s a set that I would take out to listen to some intricate music, jazz fusion, orchestral/chamber music, and I would prefer instrumentals over vocals because I prefer vocals to have a little more weight. It feels like a NFAcous NM25 on steroids. Basshead and lovers of a V shaped tuning will be dissatisfied with the way the P50 sounds. I do see myself reaching out to this set to have detailed long sessions. It is comfortable and detailed and while the bass is less than what I would like, the staging and details make up for that for the genres I tend to prefer.

Pros: Neutral Bright leaning tuning with superb details and no harshness
Expansive Soundstage
Decent Cable and accessories
One of the best for a analytical yet enjoyable session

Cons: Low end could do with a little push
Imaging could be a little better
The BA timbre can make things shouty - rare but present

I’ve been watching epz with interest after I got to listen to their TP35 Pro Dac at a friends’. So when u/mournfulmonk and Sonic Monastery sent the P50 AND the P40 over for review I knew it was going to be an interesting long weekend. I thank u/mournfulmonk and EPZ for making this review possible but I’m a free man with free thought and an occasionally caustic opinion.

The IEM turns up in a fancy textured cardboard box and sleeve and has the shells in foam and a really nice leather round case. The cable is a modular 6N OCC copper affair with some memory and potential for tangling. The terminations included are 4.4 and 3.5mm and the modular bit is guarded by a very very smooth screw mechanism. Which can be a little frustrating - EPZ, knurling was invented for a reason.
The shells themselves are 3d printed and the design based on many thousands of ears that EPZ has managed to Sweeny Todd. Just kidding but I have been looking for an ear model to model the IEMs that come in for review. Any suggestions will be taken gratefully. Those that do not involve Sweeny Todd will be taken seriously as well. The Faceplates are machined metal with a semi-open architecture and look futuristic and rather cool. The shells house a single dynamic driver, 2 BAs and 2 microplanar drivers.
The unboxing also reveals 2 sets of tips which are nothing to write home about but the rest of the package is very satisfying. This set retails at close to $200 and we need to see if this one is really worth that much.
I tested this set with a Schitt Vestri, Onix Beta on both tube and solid state mode and the Fiio M33. Ear tips used were - Sancai, Candy, Eloit Narrow and Final E.
And Tidal (https://tidal.com/playlist/3078c9b9-a1c0-4fde-8ce7-81f0e34b426c) and local FLAC. Time to dive in!

TLDR: This is a midrange and detail oriented set with a very very controlled bass. The treble teeters on the edge of fatigue. And it’s unforgiving.

Bass
Left to its own devices, the P50 has a muted, sometimes underwhelming bass response. Sub-bass is not as visceral and rumbling as some other sets (no I’m not talking about the Singularity but sets in the same price band). The notes are clear and present and this is somewhat mitigated by picking warmer sources and tip rolling, but with the warmest source and the bassiest tips, I find myself craving just a little more impact and reaching for the volume knob… in vain.
On Angel by Massive Attack and Islands by The XX, the low end of both the sub bass and mid bass that form such an important part of both songs felt lacklustre and insipid. And I won’t EQ on principle. I mean why should companies even bother about tuning if EQ exists. Plus I’m lazy and tip and source rolling is as much as I will do to get anything to sound the way I may prefer it.
That being said, science is science and I am of scientific bend - the P50 responds to a gentle low end boost. It’s still not as good as a better default tuning but it would work in a pinch.

Mids
The P50 is tuned to be mid and detail-forward. But with great detail comes less weight. While vocals and instruments sound natural and the detail retrieval on occasion is exceptional, the safe bass tuning leads to the lower mids lacking weight and presence and this makes baritone and lower tenor male voices sound weak at times. Instruments and female vocals, on the other hand, are exceptional. Bright (in a good way) and detailed.
Trains by Porcupine Tree and Got A Match by Chick Corea Electrik Band have nuances within the tracks largely thanks to some incredibly gifted musicians on them. The P50 is able to handle incredibly busy tracks with great separation and layering with each component being heard distinctly with no muddling or overlap. Female vocals have clarity and but as they reach the higher registers they can be shouty. This became a little more pronounced with badly mastered recordings - live versions or any pop from the 90s. I have no idea how things went so bad in that decade or so. Tracy Chapman, Joss Stone, Susan Tedeschi and on occasion, Derek Trucks’ slide guitar have a very slightly shouty timbre on some, and only some tracks. Again not something that is a deal breaker but just something to consider before swiping plastic.

Treble
With all that, there are still things that EPZ has done to save some face. The treble on the P50 is one of them. With all the detail that it reproduces, the sound doesn't fall into the abyss of sibilance as often as it may be expected. There is some roll off right on top that is able to avoid sibilance while still pulling out significant amounts of detail from tracks and that is a wonderful bit of audio engineering.
Even the usual suspects of Human Nature by Michael Jackson and the entire Thriller album were enjoyable listens without getting fatiguing. Same with Rumors by Fleetwood Mac and these 2 are definitely very treble forward recordings.

Soundstage, Imaging and technicalities
The soundstage is wide open and gives an incredible sense of space with the semi-open construction and to an extent I feel that space also helps in reducing the perception of sharp treble and sibilance. It doesn’t affect the bass as much. Imaging is fairly decent but I wouldn't consider this set ideal for competitive gaming. Detail retrieval and scaling are excellent. This set can take on significant volume without distortion and harshness.

Final verdict
I like this set. It’s a set that I would take out to listen to some intricate music, jazz fusion, orchestral/chamber music, and I would prefer instrumentals over vocals because I prefer vocals to have a little more weight. It feels like a NFAcous NM25 on steroids. Basshead and lovers of a V shaped tuning will be dissatisfied with the way the P50 sounds. I do see myself reaching out to this set to have detailed long sessions. It is comfortable and detailed and while the bass is less than what I would like, the staging and details make up for that for the genres I tend to prefer.

Pros: Neutral Bright leaning tuning with superb details and no harshness
Expansive Soundstage
Decent Cable and accessories
One of the best for a analytical yet enjoyable session

Cons: Low end could do with a little push
Imaging could be a little better
The BA timbre can make things shouty - rare but present

I’ve been watching epz with interest after I got to listen to their TP35 Pro Dac at a friends’. So when u/mournfulmonk and Sonic Monastery sent the P50 AND the P40 over for review I knew it was going to be an interesting long weekend. I thank u/mournfulmonk and EPZ for making this review possible but I’m a free man with free thought and an occasionally caustic opinion.

The IEM turns up in a fancy textured cardboard box and sleeve and has the shells in foam and a really nice leather round case. The cable is a modular 6N OCC copper affair with some memory and potential for tangling. The terminations included are 4.4 and 3.5mm and the modular bit is guarded by a very very smooth screw mechanism. Which can be a little frustrating - EPZ, knurling was invented for a reason.
The shells themselves are 3d printed and the design based on many thousands of ears that EPZ has managed to Sweeny Todd. Just kidding but I have been looking for an ear model to model the IEMs that come in for review. Any suggestions will be taken gratefully. Those that do not involve Sweeny Todd will be taken seriously as well. The Faceplates are machined metal with a semi-open architecture and look futuristic and rather cool. The shells house a single dynamic driver, 2 BAs and 2 microplanar drivers.
The unboxing also reveals 2 sets of tips which are nothing to write home about but the rest of the package is very satisfying. This set retails at close to $200 and we need to see if this one is really worth that much.
I tested this set with a Schitt Vestri, Onix Beta on both tube and solid state mode and the Fiio M33. Ear tips used were - Sancai, Candy, Eloit Narrow and Final E.
And Tidal (https://tidal.com/playlist/3078c9b9-a1c0-4fde-8ce7-81f0e34b426c) and local FLAC. Time to dive in!

TLDR: This is a midrange and detail oriented set with a very very controlled bass. The treble teeters on the edge of fatigue. And it’s unforgiving.

Bass
Left to its own devices, the P50 has a muted, sometimes underwhelming bass response. Sub-bass is not as visceral and rumbling as some other sets (no I’m not talking about the Singularity but sets in the same price band). The notes are clear and present and this is somewhat mitigated by picking warmer sources and tip rolling, but with the warmest source and the bassiest tips, I find myself craving just a little more impact and reaching for the volume knob… in vain.
On Angel by Massive Attack and Islands by The XX, the low end of both the sub bass and mid bass that form such an important part of both songs felt lacklustre and insipid. And I won’t EQ on principle. I mean why should companies even bother about tuning if EQ exists. Plus I’m lazy and tip and source rolling is as much as I will do to get anything to sound the way I may prefer it.
That being said, science is science and I am of scientific bend - the P50 responds to a gentle low end boost. It’s still not as good as a better default tuning but it would work in a pinch.

Mids
The P50 is tuned to be mid and detail-forward. But with great detail comes less weight. While vocals and instruments sound natural and the detail retrieval on occasion is exceptional, the safe bass tuning leads to the lower mids lacking weight and presence and this makes baritone and lower tenor male voices sound weak at times. Instruments and female vocals, on the other hand, are exceptional. Bright (in a good way) and detailed.
Trains by Porcupine Tree and Got A Match by Chick Corea Electrik Band have nuances within the tracks largely thanks to some incredibly gifted musicians on them. The P50 is able to handle incredibly busy tracks with great separation and layering with each component being heard distinctly with no muddling or overlap. Female vocals have clarity and but as they reach the higher registers they can be shouty. This became a little more pronounced with badly mastered recordings - live versions or any pop from the 90s. I have no idea how things went so bad in that decade or so. Tracy Chapman, Joss Stone, Susan Tedeschi and on occasion, Derek Trucks’ slide guitar have a very slightly shouty timbre on some, and only some tracks. Again not something that is a deal breaker but just something to consider before swiping plastic.

Treble
With all that, there are still things that EPZ has done to save some face. The treble on the P50 is one of them. With all the detail that it reproduces, the sound doesn't fall into the abyss of sibilance as often as it may be expected. There is some roll off right on top that is able to avoid sibilance while still pulling out significant amounts of detail from tracks and that is a wonderful bit of audio engineering.
Even the usual suspects of Human Nature by Michael Jackson and the entire Thriller album were enjoyable listens without getting fatiguing. Same with Rumors by Fleetwood Mac and these 2 are definitely very treble forward recordings.

Soundstage, Imaging and technicalities
The soundstage is wide open and gives an incredible sense of space with the semi-open construction and to an extent I feel that space also helps in reducing the perception of sharp treble and sibilance. It doesn’t affect the bass as much. Imaging is fairly decent but I wouldn't consider this set ideal for competitive gaming. Detail retrieval and scaling are excellent. This set can take on significant volume without distortion and harshness.

Final verdict
I like this set. It’s a set that I would take out to listen to some intricate music, jazz fusion, orchestral/chamber music, and I would prefer instrumentals over vocals because I prefer vocals to have a little more weight. It feels like a NFAcous NM25 on steroids. Basshead and lovers of a V shaped tuning will be dissatisfied with the way the P50 sounds. I do see myself reaching out to this set to have detailed long sessions. It is comfortable and detailed and while the bass is less than what I would like, the staging and details make up for that for the genres I tend to prefer.

Pros: Neutral Bright leaning tuning with superb details and no harshness
Expansive Soundstage
Decent Cable and accessories
One of the best for a analytical yet enjoyable session

Cons: Low end could do with a little push
Imaging could be a little better
The BA timbre can make things shouty - rare but present

I’ve been watching epz with interest after I got to listen to their TP35 Pro Dac at a friends’. So when u/mournfulmonk and Sonic Monastery sent the P50 AND the P40 over for review I knew it was going to be an interesting long weekend. I thank u/mournfulmonk and EPZ for making this review possible but I’m a free man with free thought and an occasionally caustic opinion.

The IEM turns up in a fancy textured cardboard box and sleeve and has the shells in foam and a really nice leather round case. The cable is a modular 6N OCC copper affair with some memory and potential for tangling. The terminations included are 4.4 and 3.5mm and the modular bit is guarded by a very very smooth screw mechanism. Which can be a little frustrating - EPZ, knurling was invented for a reason.
The shells themselves are 3d printed and the design based on many thousands of ears that EPZ has managed to Sweeny Todd. Just kidding but I have been looking for an ear model to model the IEMs that come in for review. Any suggestions will be taken gratefully. Those that do not involve Sweeny Todd will be taken seriously as well. The Faceplates are machined metal with a semi-open architecture and look futuristic and rather cool. The shells house a single dynamic driver, 2 BAs and 2 microplanar drivers.
The unboxing also reveals 2 sets of tips which are nothing to write home about but the rest of the package is very satisfying. This set retails at close to $200 and we need to see if this one is really worth that much.
I tested this set with a Schitt Vestri, Onix Beta on both tube and solid state mode and the Fiio M33. Ear tips used were - Sancai, Candy, Eloit Narrow and Final E.
And Tidal (https://tidal.com/playlist/3078c9b9-a1c0-4fde-8ce7-81f0e34b426c) and local FLAC. Time to dive in!

TLDR: This is a midrange and detail oriented set with a very very controlled bass. The treble teeters on the edge of fatigue. And it’s unforgiving.

Bass
Left to its own devices, the P50 has a muted, sometimes underwhelming bass response. Sub-bass is not as visceral and rumbling as some other sets (no I’m not talking about the Singularity but sets in the same price band). The notes are clear and present and this is somewhat mitigated by picking warmer sources and tip rolling, but with the warmest source and the bassiest tips, I find myself craving just a little more impact and reaching for the volume knob… in vain.
On Angel by Massive Attack and Islands by The XX, the low end of both the sub bass and mid bass that form such an important part of both songs felt lacklustre and insipid. And I won’t EQ on principle. I mean why should companies even bother about tuning if EQ exists. Plus I’m lazy and tip and source rolling is as much as I will do to get anything to sound the way I may prefer it.
That being said, science is science and I am of scientific bend - the P50 responds to a gentle low end boost. It’s still not as good as a better default tuning but it would work in a pinch.

Mids
The P50 is tuned to be mid and detail-forward. But with great detail comes less weight. While vocals and instruments sound natural and the detail retrieval on occasion is exceptional, the safe bass tuning leads to the lower mids lacking weight and presence and this makes baritone and lower tenor male voices sound weak at times. Instruments and female vocals, on the other hand, are exceptional. Bright (in a good way) and detailed.
Trains by Porcupine Tree and Got A Match by Chick Corea Electrik Band have nuances within the tracks largely thanks to some incredibly gifted musicians on them. The P50 is able to handle incredibly busy tracks with great separation and layering with each component being heard distinctly with no muddling or overlap. Female vocals have clarity and but as they reach the higher registers they can be shouty. This became a little more pronounced with badly mastered recordings - live versions or any pop from the 90s. I have no idea how things went so bad in that decade or so. Tracy Chapman, Joss Stone, Susan Tedeschi and on occasion, Derek Trucks’ slide guitar have a very slightly shouty timbre on some, and only some tracks. Again not something that is a deal breaker but just something to consider before swiping plastic.

Treble
With all that, there are still things that EPZ has done to save some face. The treble on the P50 is one of them. With all the detail that it reproduces, the sound doesn't fall into the abyss of sibilance as often as it may be expected. There is some roll off right on top that is able to avoid sibilance while still pulling out significant amounts of detail from tracks and that is a wonderful bit of audio engineering.
Even the usual suspects of Human Nature by Michael Jackson and the entire Thriller album were enjoyable listens without getting fatiguing. Same with Rumors by Fleetwood Mac and these 2 are definitely very treble forward recordings.

Soundstage, Imaging and technicalities
The soundstage is wide open and gives an incredible sense of space with the semi-open construction and to an extent I feel that space also helps in reducing the perception of sharp treble and sibilance. It doesn’t affect the bass as much. Imaging is fairly decent but I wouldn't consider this set ideal for competitive gaming. Detail retrieval and scaling are excellent. This set can take on significant volume without distortion and harshness.

Final verdict
I like this set. It’s a set that I would take out to listen to some intricate music, jazz fusion, orchestral/chamber music, and I would prefer instrumentals over vocals because I prefer vocals to have a little more weight. It feels like a NFAcous NM25 on steroids. Basshead and lovers of a V shaped tuning will be dissatisfied with the way the P50 sounds. I do see myself reaching out to this set to have detailed long sessions. It is comfortable and detailed and while the bass is less than what I would like, the staging and details make up for that for the genres I tend to prefer.

Pros: Neutral Bright leaning tuning with superb details and no harshness
Expansive Soundstage
Decent Cable and accessories
One of the best for a analytical yet enjoyable session

Cons: Low end could do with a little push
Imaging could be a little better
The BA timbre can make things shouty - rare but present

I’ve been watching epz with interest after I got to listen to their TP35 Pro Dac at a friends’. So when u/mournfulmonk and Sonic Monastery sent the P50 AND the P40 over for review I knew it was going to be an interesting long weekend. I thank u/mournfulmonk and EPZ for making this review possible but I’m a free man with free thought and an occasionally caustic opinion.

The IEM turns up in a fancy textured cardboard box and sleeve and has the shells in foam and a really nice leather round case. The cable is a modular 6N OCC copper affair with some memory and potential for tangling. The terminations included are 4.4 and 3.5mm and the modular bit is guarded by a very very smooth screw mechanism. Which can be a little frustrating - EPZ, knurling was invented for a reason.
The shells themselves are 3d printed and the design based on many thousands of ears that EPZ has managed to Sweeny Todd. Just kidding but I have been looking for an ear model to model the IEMs that come in for review. Any suggestions will be taken gratefully. Those that do not involve Sweeny Todd will be taken seriously as well. The Faceplates are machined metal with a semi-open architecture and look futuristic and rather cool. The shells house a single dynamic driver, 2 BAs and 2 microplanar drivers.
The unboxing also reveals 2 sets of tips which are nothing to write home about but the rest of the package is very satisfying. This set retails at close to $200 and we need to see if this one is really worth that much.
I tested this set with a Schitt Vestri, Onix Beta on both tube and solid state mode and the Fiio M33. Ear tips used were - Sancai, Candy, Eloit Narrow and Final E.
And Tidal (https://tidal.com/playlist/3078c9b9-a1c0-4fde-8ce7-81f0e34b426c) and local FLAC. Time to dive in!

TLDR: This is a midrange and detail oriented set with a very very controlled bass. The treble teeters on the edge of fatigue. And it’s unforgiving.

Bass
Left to its own devices, the P50 has a muted, sometimes underwhelming bass response. Sub-bass is not as visceral and rumbling as some other sets (no I’m not talking about the Singularity but sets in the same price band). The notes are clear and present and this is somewhat mitigated by picking warmer sources and tip rolling, but with the warmest source and the bassiest tips, I find myself craving just a little more impact and reaching for the volume knob… in vain.
On Angel by Massive Attack and Islands by The XX, the low end of both the sub bass and mid bass that form such an important part of both songs felt lacklustre and insipid. And I won’t EQ on principle. I mean why should companies even bother about tuning if EQ exists. Plus I’m lazy and tip and source rolling is as much as I will do to get anything to sound the way I may prefer it.
That being said, science is science and I am of scientific bend - the P50 responds to a gentle low end boost. It’s still not as good as a better default tuning but it would work in a pinch.

Mids
The P50 is tuned to be mid and detail-forward. But with great detail comes less weight. While vocals and instruments sound natural and the detail retrieval on occasion is exceptional, the safe bass tuning leads to the lower mids lacking weight and presence and this makes baritone and lower tenor male voices sound weak at times. Instruments and female vocals, on the other hand, are exceptional. Bright (in a good way) and detailed.
Trains by Porcupine Tree and Got A Match by Chick Corea Electrik Band have nuances within the tracks largely thanks to some incredibly gifted musicians on them. The P50 is able to handle incredibly busy tracks with great separation and layering with each component being heard distinctly with no muddling or overlap. Female vocals have clarity and but as they reach the higher registers they can be shouty. This became a little more pronounced with badly mastered recordings - live versions or any pop from the 90s. I have no idea how things went so bad in that decade or so. Tracy Chapman, Joss Stone, Susan Tedeschi and on occasion, Derek Trucks’ slide guitar have a very slightly shouty timbre on some, and only some tracks. Again not something that is a deal breaker but just something to consider before swiping plastic.

Treble
With all that, there are still things that EPZ has done to save some face. The treble on the P50 is one of them. With all the detail that it reproduces, the sound doesn't fall into the abyss of sibilance as often as it may be expected. There is some roll off right on top that is able to avoid sibilance while still pulling out significant amounts of detail from tracks and that is a wonderful bit of audio engineering.
Even the usual suspects of Human Nature by Michael Jackson and the entire Thriller album were enjoyable listens without getting fatiguing. Same with Rumors by Fleetwood Mac and these 2 are definitely very treble forward recordings.

Soundstage, Imaging and technicalities
The soundstage is wide open and gives an incredible sense of space with the semi-open construction and to an extent I feel that space also helps in reducing the perception of sharp treble and sibilance. It doesn’t affect the bass as much. Imaging is fairly decent but I wouldn't consider this set ideal for competitive gaming. Detail retrieval and scaling are excellent. This set can take on significant volume without distortion and harshness.

Final verdict
I like this set. It’s a set that I would take out to listen to some intricate music, jazz fusion, orchestral/chamber music, and I would prefer instrumentals over vocals because I prefer vocals to have a little more weight. It feels like a NFAcous NM25 on steroids. Basshead and lovers of a V shaped tuning will be dissatisfied with the way the P50 sounds. I do see myself reaching out to this set to have detailed long sessions. It is comfortable and detailed and while the bass is less than what I would like, the staging and details make up for that for the genres I tend to prefer.

Pros: One of the most enjoyable listens in a while
Nothing out of place in the frequency response
Absolutely gorgeous to look at.
Just fun and enjoyable and musical.

Cons: some may say the bass isn't great
some may find the treble spicy
the stage isn't the widest or most expansive.

Every once in a while the universe does things that make you question the reality of things. That price matters, that treble is a problem, that you have a problem with colour. It’s like the time I had to humbly fail a 320 MP3 vs FLAC blind test. But, I am older and wiser now and will not even attempt those things for the sake of sanity and ego. But today’s review comes courtesy u/mournfulmonk and the Sonic Monastery and I’m grateful to them and EPZ for dropping the P40 into my lap.
<Cut to image of gleeful evil hand rubbing>
As always I’m responsible for my opinions.
Because the world works in pairs I have reviewed the P50 as well.

EPZ has managed to make unboxing a delightful experience. The P40 turns up in a textured cardboard box and is nestled in foam adjacent to a light bluish grey case. A modular cable that is silver coated and has 3.5 and 4.4 terminations. And more tips than one needs - AT07s and M30s. The IEMs themselves are all kinds of beautiful. They are also called star trails and live up to that name. The shells are 3D printed resin with a blue-ish tinge and a great view of the innards.
The face plates are shiny silver with a ton of “star trails” etched onto them that take up every colour of the rainbow at various angles. Pinks, reds, purples, greens and blues. Simply beautiful.
They are super comfy as well so that analysis of ears that EPZ has done seems to have paid off. The cable has some heft but doesn’t pull at the shells.
These hybrids/tribrids have 2 dynamic drivers, one for the bass and one for the mids, a microplanar for the treble and a PZT to make the treble even more trebley. Or so I thought.

I tested it with Spinfit NEO, Dunu Candy, and Kbear Coffee tips. And off of a Shanling UA1ii, Schitt Vestri, M33. As always Tidal (https://tidal.com/playlist/3078c9b9-a1c0-4fde-8ce7-81f0e34b426c) and local FLAC.

TLDR - This is one of the most easy-going sets for me. It synergizes with the genres of music I listen to the most and with my sources and while there is some sparkle and occasional treble peaks the rest of the sound delivery and comfort make this a winner!

Bass
A single dynamic driver drives the bass on the P40 and pretty much does its job. It does not rumble in the skull, does not make you feel like a subwoofer is in the vicinity and importantly does not bleed into the mids. It delivers a controlled, well textured bass which hangs around in the back just in case it needs to make its presence felt. More often than not it gives the track just enough body to keep the listening session engaging.
The rumble of the sub bass on Angel by Massive Attack and on Islands by the XX is replaced by softer trundle perhaps but the mid bass delivers kicks and bass notes with enthusiasm but at the same time just about holds back the punches, enough to make the song enjoyable without being overwhelming in the lows. The DLC diaphragm would be the one for a quicker response rather than a voluminous bass. Quality over quantity in this case.

Mids
I think EPZ did something interesting with dedicating a 7mm dynamic driver for the mids. They sound natural, forward and lush. Vocals are great and even though there is little spread of the bass to give the low mids any weight, female vocals are delightful with no . But where this IEM truly truly shines is its completely effortless rendition of instruments. Which means the bulk of the stuff I listen to - Snarky Puppy, Miles Davis, Dave Brubeck, Hiroshi Suzuki are simply divine. Take 5 on the P40 was a quasi-religious experience for me.

Treble
The highs on this IEM have me confused for a while because they have detail, they can sound sharp at times but somehow are also musical almost to a fault. John Butler’s finger squeak sliding across the frets on Ocean are heard clearly. On Playing God by Polyphia, the cymbal work has adequate shimmer and the snares have bite. While the mids are happy with no BAs, the highs on this set are at least on paper, supposed to be impossible but I found them somehow a tad more tolerable than the sibling. After squiging along for a bit I think I’ve come to the conclusion that people differ in what frequency of treble irks them. The P40 has a peak at 8-10kHz which for me isn’t much of an issue as the 3-5kHz that the P50 has. Perhaps that’s the rub. Trains by Porcupine Tree, Under Pressure (which I’ve given up on with the P50) by Queen and David Bowie, both felt a bit more airy on the P40 rather than the harshness and sibilance (to be fair with the details) of the P50.

Stage, Imaging and technicalities
The P40 has a moderately wide stage, it is certainly not as open as the P50 which has a semi open construction. Imaging, similarly is good but not exceptional so maybe seek another set for gaming. Details are not as sharp as the P50 but the Planar and the PZT do manage a fair bit of detail but the sibling scores in this department.

I absolutely love what EPZ has done with the P40. I understand the draw of the P50, but this is just a musical, easy listening IEM that promises hours of fun and joy. Time to go hunt this one down. It's a keeper for me. Cheers Peeps!

Pros: One of the most enjoyable listens in a while
Nothing out of place in the frequency response
Absolutely gorgeous to look at.
Just fun and enjoyable and musical.

Cons: some may say the bass isn't great
some may find the treble spicy
the stage isn't the widest or most expansive.

Every once in a while the universe does things that make you question the reality of things. That price matters, that treble is a problem, that you have a problem with colour. It’s like the time I had to humbly fail a 320 MP3 vs FLAC blind test. But, I am older and wiser now and will not even attempt those things for the sake of sanity and ego. But today’s review comes courtesy u/mournfulmonk and the Sonic Monastery and I’m grateful to them and EPZ for dropping the P40 into my lap.
<Cut to image of gleeful evil hand rubbing>
As always I’m responsible for my opinions.
Because the world works in pairs I have reviewed the P50 as well.

EPZ has managed to make unboxing a delightful experience. The P40 turns up in a textured cardboard box and is nestled in foam adjacent to a light bluish grey case. A modular cable that is silver coated and has 3.5 and 4.4 terminations. And more tips than one needs - AT07s and M30s. The IEMs themselves are all kinds of beautiful. They are also called star trails and live up to that name. The shells are 3D printed resin with a blue-ish tinge and a great view of the innards.
The face plates are shiny silver with a ton of “star trails” etched onto them that take up every colour of the rainbow at various angles. Pinks, reds, purples, greens and blues. Simply beautiful.
They are super comfy as well so that analysis of ears that EPZ has done seems to have paid off. The cable has some heft but doesn’t pull at the shells.
These hybrids/tribrids have 2 dynamic drivers, one for the bass and one for the mids, a microplanar for the treble and a PZT to make the treble even more trebley. Or so I thought.

I tested it with Spinfit NEO, Dunu Candy, and Kbear Coffee tips. And off of a Shanling UA1ii, Schitt Vestri, M33. As always Tidal (https://tidal.com/playlist/3078c9b9-a1c0-4fde-8ce7-81f0e34b426c) and local FLAC.

TLDR - This is one of the most easy-going sets for me. It synergizes with the genres of music I listen to the most and with my sources and while there is some sparkle and occasional treble peaks the rest of the sound delivery and comfort make this a winner!

Bass
A single dynamic driver drives the bass on the P40 and pretty much does its job. It does not rumble in the skull, does not make you feel like a subwoofer is in the vicinity and importantly does not bleed into the mids. It delivers a controlled, well textured bass which hangs around in the back just in case it needs to make its presence felt. More often than not it gives the track just enough body to keep the listening session engaging.
The rumble of the sub bass on Angel by Massive Attack and on Islands by the XX is replaced by softer trundle perhaps but the mid bass delivers kicks and bass notes with enthusiasm but at the same time just about holds back the punches, enough to make the song enjoyable without being overwhelming in the lows. The DLC diaphragm would be the one for a quicker response rather than a voluminous bass. Quality over quantity in this case.

Mids
I think EPZ did something interesting with dedicating a 7mm dynamic driver for the mids. They sound natural, forward and lush. Vocals are great and even though there is little spread of the bass to give the low mids any weight, female vocals are delightful with no . But where this IEM truly truly shines is its completely effortless rendition of instruments. Which means the bulk of the stuff I listen to - Snarky Puppy, Miles Davis, Dave Brubeck, Hiroshi Suzuki are simply divine. Take 5 on the P40 was a quasi-religious experience for me.

Treble
The highs on this IEM have me confused for a while because they have detail, they can sound sharp at times but somehow are also musical almost to a fault. John Butler’s finger squeak sliding across the frets on Ocean are heard clearly. On Playing God by Polyphia, the cymbal work has adequate shimmer and the snares have bite. While the mids are happy with no BAs, the highs on this set are at least on paper, supposed to be impossible but I found them somehow a tad more tolerable than the sibling. After squiging along for a bit I think I’ve come to the conclusion that people differ in what frequency of treble irks them. The P40 has a peak at 8-10kHz which for me isn’t much of an issue as the 3-5kHz that the P50 has. Perhaps that’s the rub. Trains by Porcupine Tree, Under Pressure (which I’ve given up on with the P50) by Queen and David Bowie, both felt a bit more airy on the P40 rather than the harshness and sibilance (to be fair with the details) of the P50.

Stage, Imaging and technicalities
The P40 has a moderately wide stage, it is certainly not as open as the P50 which has a semi open construction. Imaging, similarly is good but not exceptional so maybe seek another set for gaming. Details are not as sharp as the P50 but the Planar and the PZT do manage a fair bit of detail but the sibling scores in this department.

I absolutely love what EPZ has done with the P40. I understand the draw of the P50, but this is just a musical, easy listening IEM that promises hours of fun and joy. Time to go hunt this one down. It's a keeper for me. Cheers Peeps!

Pros: One of the most enjoyable listens in a while
Nothing out of place in the frequency response
Absolutely gorgeous to look at.
Just fun and enjoyable and musical.

Cons: some may say the bass isn't great
some may find the treble spicy
the stage isn't the widest or most expansive.

Every once in a while the universe does things that make you question the reality of things. That price matters, that treble is a problem, that you have a problem with colour. It’s like the time I had to humbly fail a 320 MP3 vs FLAC blind test. But, I am older and wiser now and will not even attempt those things for the sake of sanity and ego. But today’s review comes courtesy u/mournfulmonk and the Sonic Monastery and I’m grateful to them and EPZ for dropping the P40 into my lap.
<Cut to image of gleeful evil hand rubbing>
As always I’m responsible for my opinions.
Because the world works in pairs I have reviewed the P50 as well.

EPZ has managed to make unboxing a delightful experience. The P40 turns up in a textured cardboard box and is nestled in foam adjacent to a light bluish grey case. A modular cable that is silver coated and has 3.5 and 4.4 terminations. And more tips than one needs - AT07s and M30s. The IEMs themselves are all kinds of beautiful. They are also called star trails and live up to that name. The shells are 3D printed resin with a blue-ish tinge and a great view of the innards.
The face plates are shiny silver with a ton of “star trails” etched onto them that take up every colour of the rainbow at various angles. Pinks, reds, purples, greens and blues. Simply beautiful.
They are super comfy as well so that analysis of ears that EPZ has done seems to have paid off. The cable has some heft but doesn’t pull at the shells.
These hybrids/tribrids have 2 dynamic drivers, one for the bass and one for the mids, a microplanar for the treble and a PZT to make the treble even more trebley. Or so I thought.

I tested it with Spinfit NEO, Dunu Candy, and Kbear Coffee tips. And off of a Shanling UA1ii, Schitt Vestri, M33. As always Tidal (https://tidal.com/playlist/3078c9b9-a1c0-4fde-8ce7-81f0e34b426c) and local FLAC.

TLDR - This is one of the most easy-going sets for me. It synergizes with the genres of music I listen to the most and with my sources and while there is some sparkle and occasional treble peaks the rest of the sound delivery and comfort make this a winner!

Bass
A single dynamic driver drives the bass on the P40 and pretty much does its job. It does not rumble in the skull, does not make you feel like a subwoofer is in the vicinity and importantly does not bleed into the mids. It delivers a controlled, well textured bass which hangs around in the back just in case it needs to make its presence felt. More often than not it gives the track just enough body to keep the listening session engaging.
The rumble of the sub bass on Angel by Massive Attack and on Islands by the XX is replaced by softer trundle perhaps but the mid bass delivers kicks and bass notes with enthusiasm but at the same time just about holds back the punches, enough to make the song enjoyable without being overwhelming in the lows. The DLC diaphragm would be the one for a quicker response rather than a voluminous bass. Quality over quantity in this case.

Mids
I think EPZ did something interesting with dedicating a 7mm dynamic driver for the mids. They sound natural, forward and lush. Vocals are great and even though there is little spread of the bass to give the low mids any weight, female vocals are delightful with no . But where this IEM truly truly shines is its completely effortless rendition of instruments. Which means the bulk of the stuff I listen to - Snarky Puppy, Miles Davis, Dave Brubeck, Hiroshi Suzuki are simply divine. Take 5 on the P40 was a quasi-religious experience for me.

Treble
The highs on this IEM have me confused for a while because they have detail, they can sound sharp at times but somehow are also musical almost to a fault. John Butler’s finger squeak sliding across the frets on Ocean are heard clearly. On Playing God by Polyphia, the cymbal work has adequate shimmer and the snares have bite. While the mids are happy with no BAs, the highs on this set are at least on paper, supposed to be impossible but I found them somehow a tad more tolerable than the sibling. After squiging along for a bit I think I’ve come to the conclusion that people differ in what frequency of treble irks them. The P40 has a peak at 8-10kHz which for me isn’t much of an issue as the 3-5kHz that the P50 has. Perhaps that’s the rub. Trains by Porcupine Tree, Under Pressure (which I’ve given up on with the P50) by Queen and David Bowie, both felt a bit more airy on the P40 rather than the harshness and sibilance (to be fair with the details) of the P50.

Stage, Imaging and technicalities
The P40 has a moderately wide stage, it is certainly not as open as the P50 which has a semi open construction. Imaging, similarly is good but not exceptional so maybe seek another set for gaming. Details are not as sharp as the P50 but the Planar and the PZT do manage a fair bit of detail but the sibling scores in this department.

I absolutely love what EPZ has done with the P40. I understand the draw of the P50, but this is just a musical, easy listening IEM that promises hours of fun and joy. Time to go hunt this one down. It's a keeper for me. Cheers Peeps!

Pros: One of the most enjoyable listens in a while
Nothing out of place in the frequency response
Absolutely gorgeous to look at.
Just fun and enjoyable and musical.

Cons: some may say the bass isn't great
some may find the treble spicy
the stage isn't the widest or most expansive.

Every once in a while the universe does things that make you question the reality of things. That price matters, that treble is a problem, that you have a problem with colour. It’s like the time I had to humbly fail a 320 MP3 vs FLAC blind test. But, I am older and wiser now and will not even attempt those things for the sake of sanity and ego. But today’s review comes courtesy u/mournfulmonk and the Sonic Monastery and I’m grateful to them and EPZ for dropping the P40 into my lap.
<Cut to image of gleeful evil hand rubbing>
As always I’m responsible for my opinions.
Because the world works in pairs I have reviewed the P50 as well.

EPZ has managed to make unboxing a delightful experience. The P40 turns up in a textured cardboard box and is nestled in foam adjacent to a light bluish grey case. A modular cable that is silver coated and has 3.5 and 4.4 terminations. And more tips than one needs - AT07s and M30s. The IEMs themselves are all kinds of beautiful. They are also called star trails and live up to that name. The shells are 3D printed resin with a blue-ish tinge and a great view of the innards.
The face plates are shiny silver with a ton of “star trails” etched onto them that take up every colour of the rainbow at various angles. Pinks, reds, purples, greens and blues. Simply beautiful.
They are super comfy as well so that analysis of ears that EPZ has done seems to have paid off. The cable has some heft but doesn’t pull at the shells.
These hybrids/tribrids have 2 dynamic drivers, one for the bass and one for the mids, a microplanar for the treble and a PZT to make the treble even more trebley. Or so I thought.

I tested it with Spinfit NEO, Dunu Candy, and Kbear Coffee tips. And off of a Shanling UA1ii, Schitt Vestri, M33. As always Tidal (https://tidal.com/playlist/3078c9b9-a1c0-4fde-8ce7-81f0e34b426c) and local FLAC.

TLDR - This is one of the most easy-going sets for me. It synergizes with the genres of music I listen to the most and with my sources and while there is some sparkle and occasional treble peaks the rest of the sound delivery and comfort make this a winner!

Bass
A single dynamic driver drives the bass on the P40 and pretty much does its job. It does not rumble in the skull, does not make you feel like a subwoofer is in the vicinity and importantly does not bleed into the mids. It delivers a controlled, well textured bass which hangs around in the back just in case it needs to make its presence felt. More often than not it gives the track just enough body to keep the listening session engaging.
The rumble of the sub bass on Angel by Massive Attack and on Islands by the XX is replaced by softer trundle perhaps but the mid bass delivers kicks and bass notes with enthusiasm but at the same time just about holds back the punches, enough to make the song enjoyable without being overwhelming in the lows. The DLC diaphragm would be the one for a quicker response rather than a voluminous bass. Quality over quantity in this case.

Mids
I think EPZ did something interesting with dedicating a 7mm dynamic driver for the mids. They sound natural, forward and lush. Vocals are great and even though there is little spread of the bass to give the low mids any weight, female vocals are delightful with no . But where this IEM truly truly shines is its completely effortless rendition of instruments. Which means the bulk of the stuff I listen to - Snarky Puppy, Miles Davis, Dave Brubeck, Hiroshi Suzuki are simply divine. Take 5 on the P40 was a quasi-religious experience for me.

Treble
The highs on this IEM have me confused for a while because they have detail, they can sound sharp at times but somehow are also musical almost to a fault. John Butler’s finger squeak sliding across the frets on Ocean are heard clearly. On Playing God by Polyphia, the cymbal work has adequate shimmer and the snares have bite. While the mids are happy with no BAs, the highs on this set are at least on paper, supposed to be impossible but I found them somehow a tad more tolerable than the sibling. After squiging along for a bit I think I’ve come to the conclusion that people differ in what frequency of treble irks them. The P40 has a peak at 8-10kHz which for me isn’t much of an issue as the 3-5kHz that the P50 has. Perhaps that’s the rub. Trains by Porcupine Tree, Under Pressure (which I’ve given up on with the P50) by Queen and David Bowie, both felt a bit more airy on the P40 rather than the harshness and sibilance (to be fair with the details) of the P50.

Stage, Imaging and technicalities
The P40 has a moderately wide stage, it is certainly not as open as the P50 which has a semi open construction. Imaging, similarly is good but not exceptional so maybe seek another set for gaming. Details are not as sharp as the P50 but the Planar and the PZT do manage a fair bit of detail but the sibling scores in this department.

I absolutely love what EPZ has done with the P40. I understand the draw of the P50, but this is just a musical, easy listening IEM that promises hours of fun and joy. Time to go hunt this one down. It's a keeper for me. Cheers Peeps!

Pros: One of the most enjoyable listens in a while
Nothing out of place in the frequency response
Absolutely gorgeous to look at.
Just fun and enjoyable and musical.

Cons: some may say the bass isn't great
some may find the treble spicy
the stage isn't the widest or most expansive.

Every once in a while the universe does things that make you question the reality of things. That price matters, that treble is a problem, that you have a problem with colour. It’s like the time I had to humbly fail a 320 MP3 vs FLAC blind test. But, I am older and wiser now and will not even attempt those things for the sake of sanity and ego. But today’s review comes courtesy u/mournfulmonk and the Sonic Monastery and I’m grateful to them and EPZ for dropping the P40 into my lap.
<Cut to image of gleeful evil hand rubbing>
As always I’m responsible for my opinions.
Because the world works in pairs I have reviewed the P50 as well.

EPZ has managed to make unboxing a delightful experience. The P40 turns up in a textured cardboard box and is nestled in foam adjacent to a light bluish grey case. A modular cable that is silver coated and has 3.5 and 4.4 terminations. And more tips than one needs - AT07s and M30s. The IEMs themselves are all kinds of beautiful. They are also called star trails and live up to that name. The shells are 3D printed resin with a blue-ish tinge and a great view of the innards.
The face plates are shiny silver with a ton of “star trails” etched onto them that take up every colour of the rainbow at various angles. Pinks, reds, purples, greens and blues. Simply beautiful.
They are super comfy as well so that analysis of ears that EPZ has done seems to have paid off. The cable has some heft but doesn’t pull at the shells.
These hybrids/tribrids have 2 dynamic drivers, one for the bass and one for the mids, a microplanar for the treble and a PZT to make the treble even more trebley. Or so I thought.

I tested it with Spinfit NEO, Dunu Candy, and Kbear Coffee tips. And off of a Shanling UA1ii, Schitt Vestri, M33. As always Tidal (https://tidal.com/playlist/3078c9b9-a1c0-4fde-8ce7-81f0e34b426c) and local FLAC.

TLDR - This is one of the most easy-going sets for me. It synergizes with the genres of music I listen to the most and with my sources and while there is some sparkle and occasional treble peaks the rest of the sound delivery and comfort make this a winner!

Bass
A single dynamic driver drives the bass on the P40 and pretty much does its job. It does not rumble in the skull, does not make you feel like a subwoofer is in the vicinity and importantly does not bleed into the mids. It delivers a controlled, well textured bass which hangs around in the back just in case it needs to make its presence felt. More often than not it gives the track just enough body to keep the listening session engaging.
The rumble of the sub bass on Angel by Massive Attack and on Islands by the XX is replaced by softer trundle perhaps but the mid bass delivers kicks and bass notes with enthusiasm but at the same time just about holds back the punches, enough to make the song enjoyable without being overwhelming in the lows. The DLC diaphragm would be the one for a quicker response rather than a voluminous bass. Quality over quantity in this case.

Mids
I think EPZ did something interesting with dedicating a 7mm dynamic driver for the mids. They sound natural, forward and lush. Vocals are great and even though there is little spread of the bass to give the low mids any weight, female vocals are delightful with no . But where this IEM truly truly shines is its completely effortless rendition of instruments. Which means the bulk of the stuff I listen to - Snarky Puppy, Miles Davis, Dave Brubeck, Hiroshi Suzuki are simply divine. Take 5 on the P40 was a quasi-religious experience for me.

Treble
The highs on this IEM have me confused for a while because they have detail, they can sound sharp at times but somehow are also musical almost to a fault. John Butler’s finger squeak sliding across the frets on Ocean are heard clearly. On Playing God by Polyphia, the cymbal work has adequate shimmer and the snares have bite. While the mids are happy with no BAs, the highs on this set are at least on paper, supposed to be impossible but I found them somehow a tad more tolerable than the sibling. After squiging along for a bit I think I’ve come to the conclusion that people differ in what frequency of treble irks them. The P40 has a peak at 8-10kHz which for me isn’t much of an issue as the 3-5kHz that the P50 has. Perhaps that’s the rub. Trains by Porcupine Tree, Under Pressure (which I’ve given up on with the P50) by Queen and David Bowie, both felt a bit more airy on the P40 rather than the harshness and sibilance (to be fair with the details) of the P50.

Stage, Imaging and technicalities
The P40 has a moderately wide stage, it is certainly not as open as the P50 which has a semi open construction. Imaging, similarly is good but not exceptional so maybe seek another set for gaming. Details are not as sharp as the P50 but the Planar and the PZT do manage a fair bit of detail but the sibling scores in this department.

I absolutely love what EPZ has done with the P40. I understand the draw of the P50, but this is just a musical, easy listening IEM that promises hours of fun and joy. Time to go hunt this one down. It's a keeper for me. Cheers Peeps!

Pros: Comfy Shells and a genuinely nice cable
Bass both on default tuning and bass forward tuning is excellent
Mids are natural and vocals (most of them) sound great
Treble is detailed without getting harsh (default)
Tuning switches actually work and allow for a greater appeal to a wider audience

Cons: Treble switch can make things difficult for treblets
Rare BA shoutiness on rare tracks (could just be me)
The bass switch enhancement can cause the bass to bleed into the mids
Scaling is not the best with some sources

From the stables of the makers of the often praised and rarely available Liqueur Orange is the new Black eartips comes this IEM stuffed full with drivers - 2 Dynamic Driver + 2 Balanced Armature + 1 Bone Conduction Driver + 2 Micro Planar Magnetic Drivers.
Presenting the ISN Audio xEffect Audio Sora (by Penon Audio).

I am getting to try and review this through Audio Geek India and I’m grateful to them and to Penon Audio/ISN for making this possible. Because I would not have been able to enjoy this piece of technology otherwise.
The IEM itself comes in a simple box as is par for the course with Penon/ISN products. The shells are resin, a gorgeous blue, and transparent so you can see all the geeky innards. The shells are smooth and comfy and do not put any undue pressure on the pinna. The nozzles are a little large so some tip rolling was needed before I got the comfort and the seal right. I’ve found that, as with all bone conduction, ensuring that the shells touch the pinna is imperative for the best experience. And now that that’s out of the way, there are tuning switches. Let’s call them 1 and 2. 1 activates bass, and 2 treble. So there’s 4 possible on board tunings possible, unless you’re a sociopath and want to have separate tunings for each ear. Your mileage, it turns out, is yours.
Sound technology wise - the low frequency is handled by two 8mm opposite placement liquid silicone dynamic drivers, the mids via two Knowles Balanced Armature, and the treble comes out of two micro planar magnetic drivers. And there is also a vibration-type bone conduction driver that adds to the entire sound, not unlike the Apevoix Grit.
Rest of the tech specs are below -

Impedance: 13ohm@1kHz
Sensitivity: 119dB@1kHz
Frequency response range: 10~40kHz
Cable: 2-wire UP-OCC smelting process, single material Litz with silver-plated copper central core, 2.5mm wire diameter bundles with EA UltraFlexi ultra-soft sheath. I’m mildly agnostic to most cables outside of comfort and this is certainly a comfortable, tangle-free, one.
Connection: 2-pin 0.78mm, 4.4mm
Plug: Gold-plated

Time to dive in. Testing on the VE Megatron and Galvatron, Onix Beta (Solid State Mode), Schitt Vestri, M33. Tidal and local flacs. Eloit Narrow bore and Final E type tips for that bone conduction driver fit.

Bass
The ISN Sora scores in the bass section like Michael Jordan in Spacejam. And most of his career. The dual dynamic drivers work in sync to give the sub bass a deep rumble that is further accentuated with the bone conduction driver and the bass switch. The switch adds an additional oomph to the bass that would make any basshead drool with joy. I, however, like neutral warm tunings and limited bass bleed and bloat. The all off position works best for me.
The sheer wait of the bass is heard at the 2.30 mark of Angel by Massive Attack and I have to admit that I was pleased with what I heard with the bass switch turned on. But after a bit it got a bit much so we are back to the all off setting. On Giorgio by Moroder by Daft Punk, the sub and mid bass even with the bass switch off is impactful and almost palpable. Synth and string bass instruments sound clean but with enough weight to lend to the foundation of the song with the kick drums adding any additional ballast and punch.

Mids
Mids on the ISN Sora are a point where I expect there will be wars fought. Male vocals have a natural, lovely timbre. Bohemian Rhapsody showcases Freddie’s prowess and as he ascends up his very impressive vocal range there are parts of the high tenor register where there is a little shoutiness that creeps in, that isn’t just Mr Mercury being himself. Tracy Chapman's Gimme One Reason does better in the texture of her voice and some really sweet guitar work by Adam Levy. Dreams by Fleetwood Mac sounds delightful on this set on the default setting.
The treble switch did make things sound a little more aggressive than what I normally enjoy. Details of hihats, vocals, and a majority of the instruments that sit in the midrange are well reproduced with no muddle. On the bass setting some lower mids do get overpowered by the bass but I’m guessing those who like bass THAT much would be understanding of that little amount of bleeding that can occur. Got a Match which pretty much dances all over the mids without too much drift into the lows (except the kicks and the occasional bass run) or into the treble, is a treat on this IEM.

Treble
On its default setting, there’s no fault I can find with the treble. It is neither harsh nor sibilant and details of the higher frequencies are clear. Ride hits have the required shimmer and open hihats on Aja by Steely Dan are just the right amount of sssibilance to not irk my ear drums. The switch that enhances treble definitely works and tracks where there is a treble forward production like Billie Jean by Michael Jackson, are, at least for me, a pass. To be fair Billie Jean and Human Nature from the Thriller album are so very treble forward that even with the switch off the details can get a little fatiguing. But those are 2 songs in an album of 8 and that’s one album in a billion. I’m letting it slide.

Stage and Imaging and technicalities
The Sora has a medium soundstage. Not hugely open and not claustrophobic. Within that soundstage, the imaging is very good with both right to left and front to back identification of where sounds are coming from. Details as mentioned earlier are well reproduced without losing musicality and enjoyment. This IEM also has some source synergy quirks (to be fair like most) and with the VE dacs, did not scale as well as with the Vestri and Onix. The Vestri and Onix are also far less powered than the VE dacs so that could be a reason.

At $439, this is a great mid level set. I have often said I like iems and dacs that don’t give me options and choices and that includes nozzles, switches and PEQ, the Sora is no different. Only because it takes a few hours of listening to dial in the settings that work best. Once that is done, this is an enjoyable listen. And the tuning options will get this set to be appealing to bassheads, trebleheads, V-heads and me.

Pros: Comfy Shells and a genuinely nice cable
Bass both on default tuning and bass forward tuning is excellent
Mids are natural and vocals (most of them) sound great
Treble is detailed without getting harsh (default)
Tuning switches actually work and allow for a greater appeal to a wider audience

Cons: Treble switch can make things difficult for treblets
Rare BA shoutiness on rare tracks (could just be me)
The bass switch enhancement can cause the bass to bleed into the mids
Scaling is not the best with some sources

From the stables of the makers of the often praised and rarely available Liqueur Orange is the new Black eartips comes this IEM stuffed full with drivers - 2 Dynamic Driver + 2 Balanced Armature + 1 Bone Conduction Driver + 2 Micro Planar Magnetic Drivers.
Presenting the ISN Audio xEffect Audio Sora (by Penon Audio).

I am getting to try and review this through Audio Geek India and I’m grateful to them and to Penon Audio/ISN for making this possible. Because I would not have been able to enjoy this piece of technology otherwise.
The IEM itself comes in a simple box as is par for the course with Penon/ISN products. The shells are resin, a gorgeous blue, and transparent so you can see all the geeky innards. The shells are smooth and comfy and do not put any undue pressure on the pinna. The nozzles are a little large so some tip rolling was needed before I got the comfort and the seal right. I’ve found that, as with all bone conduction, ensuring that the shells touch the pinna is imperative for the best experience. And now that that’s out of the way, there are tuning switches. Let’s call them 1 and 2. 1 activates bass, and 2 treble. So there’s 4 possible on board tunings possible, unless you’re a sociopath and want to have separate tunings for each ear. Your mileage, it turns out, is yours.
Sound technology wise - the low frequency is handled by two 8mm opposite placement liquid silicone dynamic drivers, the mids via two Knowles Balanced Armature, and the treble comes out of two micro planar magnetic drivers. And there is also a vibration-type bone conduction driver that adds to the entire sound, not unlike the Apevoix Grit.
Rest of the tech specs are below -

Impedance: 13ohm@1kHz
Sensitivity: 119dB@1kHz
Frequency response range: 10~40kHz
Cable: 2-wire UP-OCC smelting process, single material Litz with silver-plated copper central core, 2.5mm wire diameter bundles with EA UltraFlexi ultra-soft sheath. I’m mildly agnostic to most cables outside of comfort and this is certainly a comfortable, tangle-free, one.
Connection: 2-pin 0.78mm, 4.4mm
Plug: Gold-plated

Time to dive in. Testing on the VE Megatron and Galvatron, Onix Beta (Solid State Mode), Schitt Vestri, M33. Tidal and local flacs. Eloit Narrow bore and Final E type tips for that bone conduction driver fit.

Bass
The ISN Sora scores in the bass section like Michael Jordan in Spacejam. And most of his career. The dual dynamic drivers work in sync to give the sub bass a deep rumble that is further accentuated with the bone conduction driver and the bass switch. The switch adds an additional oomph to the bass that would make any basshead drool with joy. I, however, like neutral warm tunings and limited bass bleed and bloat. The all off position works best for me.
The sheer wait of the bass is heard at the 2.30 mark of Angel by Massive Attack and I have to admit that I was pleased with what I heard with the bass switch turned on. But after a bit it got a bit much so we are back to the all off setting. On Giorgio by Moroder by Daft Punk, the sub and mid bass even with the bass switch off is impactful and almost palpable. Synth and string bass instruments sound clean but with enough weight to lend to the foundation of the song with the kick drums adding any additional ballast and punch.

Mids
Mids on the ISN Sora are a point where I expect there will be wars fought. Male vocals have a natural, lovely timbre. Bohemian Rhapsody showcases Freddie’s prowess and as he ascends up his very impressive vocal range there are parts of the high tenor register where there is a little shoutiness that creeps in, that isn’t just Mr Mercury being himself. Tracy Chapman's Gimme One Reason does better in the texture of her voice and some really sweet guitar work by Adam Levy. Dreams by Fleetwood Mac sounds delightful on this set on the default setting.
The treble switch did make things sound a little more aggressive than what I normally enjoy. Details of hihats, vocals, and a majority of the instruments that sit in the midrange are well reproduced with no muddle. On the bass setting some lower mids do get overpowered by the bass but I’m guessing those who like bass THAT much would be understanding of that little amount of bleeding that can occur. Got a Match which pretty much dances all over the mids without too much drift into the lows (except the kicks and the occasional bass run) or into the treble, is a treat on this IEM.

Treble
On its default setting, there’s no fault I can find with the treble. It is neither harsh nor sibilant and details of the higher frequencies are clear. Ride hits have the required shimmer and open hihats on Aja by Steely Dan are just the right amount of sssibilance to not irk my ear drums. The switch that enhances treble definitely works and tracks where there is a treble forward production like Billie Jean by Michael Jackson, are, at least for me, a pass. To be fair Billie Jean and Human Nature from the Thriller album are so very treble forward that even with the switch off the details can get a little fatiguing. But those are 2 songs in an album of 8 and that’s one album in a billion. I’m letting it slide.

Stage and Imaging and technicalities
The Sora has a medium soundstage. Not hugely open and not claustrophobic. Within that soundstage, the imaging is very good with both right to left and front to back identification of where sounds are coming from. Details as mentioned earlier are well reproduced without losing musicality and enjoyment. This IEM also has some source synergy quirks (to be fair like most) and with the VE dacs, did not scale as well as with the Vestri and Onix. The Vestri and Onix are also far less powered than the VE dacs so that could be a reason.

At $439, this is a great mid level set. I have often said I like iems and dacs that don’t give me options and choices and that includes nozzles, switches and PEQ, the Sora is no different. Only because it takes a few hours of listening to dial in the settings that work best. Once that is done, this is an enjoyable listen. And the tuning options will get this set to be appealing to bassheads, trebleheads, V-heads and me.

Pros: Comfy Shells and a genuinely nice cable
Bass both on default tuning and bass forward tuning is excellent
Mids are natural and vocals (most of them) sound great
Treble is detailed without getting harsh (default)
Tuning switches actually work and allow for a greater appeal to a wider audience

Cons: Treble switch can make things difficult for treblets
Rare BA shoutiness on rare tracks (could just be me)
The bass switch enhancement can cause the bass to bleed into the mids
Scaling is not the best with some sources

From the stables of the makers of the often praised and rarely available Liqueur Orange is the new Black eartips comes this IEM stuffed full with drivers - 2 Dynamic Driver + 2 Balanced Armature + 1 Bone Conduction Driver + 2 Micro Planar Magnetic Drivers.
Presenting the ISN Audio xEffect Audio Sora (by Penon Audio).

I am getting to try and review this through Audio Geek India and I’m grateful to them and to Penon Audio/ISN for making this possible. Because I would not have been able to enjoy this piece of technology otherwise.
The IEM itself comes in a simple box as is par for the course with Penon/ISN products. The shells are resin, a gorgeous blue, and transparent so you can see all the geeky innards. The shells are smooth and comfy and do not put any undue pressure on the pinna. The nozzles are a little large so some tip rolling was needed before I got the comfort and the seal right. I’ve found that, as with all bone conduction, ensuring that the shells touch the pinna is imperative for the best experience. And now that that’s out of the way, there are tuning switches. Let’s call them 1 and 2. 1 activates bass, and 2 treble. So there’s 4 possible on board tunings possible, unless you’re a sociopath and want to have separate tunings for each ear. Your mileage, it turns out, is yours.
Sound technology wise - the low frequency is handled by two 8mm opposite placement liquid silicone dynamic drivers, the mids via two Knowles Balanced Armature, and the treble comes out of two micro planar magnetic drivers. And there is also a vibration-type bone conduction driver that adds to the entire sound, not unlike the Apevoix Grit.
Rest of the tech specs are below -

Impedance: 13ohm@1kHz
Sensitivity: 119dB@1kHz
Frequency response range: 10~40kHz
Cable: 2-wire UP-OCC smelting process, single material Litz with silver-plated copper central core, 2.5mm wire diameter bundles with EA UltraFlexi ultra-soft sheath. I’m mildly agnostic to most cables outside of comfort and this is certainly a comfortable, tangle-free, one.
Connection: 2-pin 0.78mm, 4.4mm
Plug: Gold-plated

Time to dive in. Testing on the VE Megatron and Galvatron, Onix Beta (Solid State Mode), Schitt Vestri, M33. Tidal and local flacs. Eloit Narrow bore and Final E type tips for that bone conduction driver fit.

Bass
The ISN Sora scores in the bass section like Michael Jordan in Spacejam. And most of his career. The dual dynamic drivers work in sync to give the sub bass a deep rumble that is further accentuated with the bone conduction driver and the bass switch. The switch adds an additional oomph to the bass that would make any basshead drool with joy. I, however, like neutral warm tunings and limited bass bleed and bloat. The all off position works best for me.
The sheer wait of the bass is heard at the 2.30 mark of Angel by Massive Attack and I have to admit that I was pleased with what I heard with the bass switch turned on. But after a bit it got a bit much so we are back to the all off setting. On Giorgio by Moroder by Daft Punk, the sub and mid bass even with the bass switch off is impactful and almost palpable. Synth and string bass instruments sound clean but with enough weight to lend to the foundation of the song with the kick drums adding any additional ballast and punch.

Mids
Mids on the ISN Sora are a point where I expect there will be wars fought. Male vocals have a natural, lovely timbre. Bohemian Rhapsody showcases Freddie’s prowess and as he ascends up his very impressive vocal range there are parts of the high tenor register where there is a little shoutiness that creeps in, that isn’t just Mr Mercury being himself. Tracy Chapman's Gimme One Reason does better in the texture of her voice and some really sweet guitar work by Adam Levy. Dreams by Fleetwood Mac sounds delightful on this set on the default setting.
The treble switch did make things sound a little more aggressive than what I normally enjoy. Details of hihats, vocals, and a majority of the instruments that sit in the midrange are well reproduced with no muddle. On the bass setting some lower mids do get overpowered by the bass but I’m guessing those who like bass THAT much would be understanding of that little amount of bleeding that can occur. Got a Match which pretty much dances all over the mids without too much drift into the lows (except the kicks and the occasional bass run) or into the treble, is a treat on this IEM.

Treble
On its default setting, there’s no fault I can find with the treble. It is neither harsh nor sibilant and details of the higher frequencies are clear. Ride hits have the required shimmer and open hihats on Aja by Steely Dan are just the right amount of sssibilance to not irk my ear drums. The switch that enhances treble definitely works and tracks where there is a treble forward production like Billie Jean by Michael Jackson, are, at least for me, a pass. To be fair Billie Jean and Human Nature from the Thriller album are so very treble forward that even with the switch off the details can get a little fatiguing. But those are 2 songs in an album of 8 and that’s one album in a billion. I’m letting it slide.

Stage and Imaging and technicalities
The Sora has a medium soundstage. Not hugely open and not claustrophobic. Within that soundstage, the imaging is very good with both right to left and front to back identification of where sounds are coming from. Details as mentioned earlier are well reproduced without losing musicality and enjoyment. This IEM also has some source synergy quirks (to be fair like most) and with the VE dacs, did not scale as well as with the Vestri and Onix. The Vestri and Onix are also far less powered than the VE dacs so that could be a reason.

At $439, this is a great mid level set. I have often said I like iems and dacs that don’t give me options and choices and that includes nozzles, switches and PEQ, the Sora is no different. Only because it takes a few hours of listening to dial in the settings that work best. Once that is done, this is an enjoyable listen. And the tuning options will get this set to be appealing to bassheads, trebleheads, V-heads and me.

Pros: Comfy Shells and a genuinely nice cable
Bass both on default tuning and bass forward tuning is excellent
Mids are natural and vocals (most of them) sound great
Treble is detailed without getting harsh (default)
Tuning switches actually work and allow for a greater appeal to a wider audience

Cons: Treble switch can make things difficult for treblets
Rare BA shoutiness on rare tracks (could just be me)
The bass switch enhancement can cause the bass to bleed into the mids
Scaling is not the best with some sources

From the stables of the makers of the often praised and rarely available Liqueur Orange is the new Black eartips comes this IEM stuffed full with drivers - 2 Dynamic Driver + 2 Balanced Armature + 1 Bone Conduction Driver + 2 Micro Planar Magnetic Drivers.
Presenting the ISN Audio xEffect Audio Sora (by Penon Audio).

I am getting to try and review this through Audio Geek India and I’m grateful to them and to Penon Audio/ISN for making this possible. Because I would not have been able to enjoy this piece of technology otherwise.
The IEM itself comes in a simple box as is par for the course with Penon/ISN products. The shells are resin, a gorgeous blue, and transparent so you can see all the geeky innards. The shells are smooth and comfy and do not put any undue pressure on the pinna. The nozzles are a little large so some tip rolling was needed before I got the comfort and the seal right. I’ve found that, as with all bone conduction, ensuring that the shells touch the pinna is imperative for the best experience. And now that that’s out of the way, there are tuning switches. Let’s call them 1 and 2. 1 activates bass, and 2 treble. So there’s 4 possible on board tunings possible, unless you’re a sociopath and want to have separate tunings for each ear. Your mileage, it turns out, is yours.
Sound technology wise - the low frequency is handled by two 8mm opposite placement liquid silicone dynamic drivers, the mids via two Knowles Balanced Armature, and the treble comes out of two micro planar magnetic drivers. And there is also a vibration-type bone conduction driver that adds to the entire sound, not unlike the Apevoix Grit.
Rest of the tech specs are below -

Impedance: 13ohm@1kHz
Sensitivity: 119dB@1kHz
Frequency response range: 10~40kHz
Cable: 2-wire UP-OCC smelting process, single material Litz with silver-plated copper central core, 2.5mm wire diameter bundles with EA UltraFlexi ultra-soft sheath. I’m mildly agnostic to most cables outside of comfort and this is certainly a comfortable, tangle-free, one.
Connection: 2-pin 0.78mm, 4.4mm
Plug: Gold-plated

Time to dive in. Testing on the VE Megatron and Galvatron, Onix Beta (Solid State Mode), Schitt Vestri, M33. Tidal and local flacs. Eloit Narrow bore and Final E type tips for that bone conduction driver fit.

Bass
The ISN Sora scores in the bass section like Michael Jordan in Spacejam. And most of his career. The dual dynamic drivers work in sync to give the sub bass a deep rumble that is further accentuated with the bone conduction driver and the bass switch. The switch adds an additional oomph to the bass that would make any basshead drool with joy. I, however, like neutral warm tunings and limited bass bleed and bloat. The all off position works best for me.
The sheer wait of the bass is heard at the 2.30 mark of Angel by Massive Attack and I have to admit that I was pleased with what I heard with the bass switch turned on. But after a bit it got a bit much so we are back to the all off setting. On Giorgio by Moroder by Daft Punk, the sub and mid bass even with the bass switch off is impactful and almost palpable. Synth and string bass instruments sound clean but with enough weight to lend to the foundation of the song with the kick drums adding any additional ballast and punch.

Mids
Mids on the ISN Sora are a point where I expect there will be wars fought. Male vocals have a natural, lovely timbre. Bohemian Rhapsody showcases Freddie’s prowess and as he ascends up his very impressive vocal range there are parts of the high tenor register where there is a little shoutiness that creeps in, that isn’t just Mr Mercury being himself. Tracy Chapman's Gimme One Reason does better in the texture of her voice and some really sweet guitar work by Adam Levy. Dreams by Fleetwood Mac sounds delightful on this set on the default setting.
The treble switch did make things sound a little more aggressive than what I normally enjoy. Details of hihats, vocals, and a majority of the instruments that sit in the midrange are well reproduced with no muddle. On the bass setting some lower mids do get overpowered by the bass but I’m guessing those who like bass THAT much would be understanding of that little amount of bleeding that can occur. Got a Match which pretty much dances all over the mids without too much drift into the lows (except the kicks and the occasional bass run) or into the treble, is a treat on this IEM.

Treble
On its default setting, there’s no fault I can find with the treble. It is neither harsh nor sibilant and details of the higher frequencies are clear. Ride hits have the required shimmer and open hihats on Aja by Steely Dan are just the right amount of sssibilance to not irk my ear drums. The switch that enhances treble definitely works and tracks where there is a treble forward production like Billie Jean by Michael Jackson, are, at least for me, a pass. To be fair Billie Jean and Human Nature from the Thriller album are so very treble forward that even with the switch off the details can get a little fatiguing. But those are 2 songs in an album of 8 and that’s one album in a billion. I’m letting it slide.

Stage and Imaging and technicalities
The Sora has a medium soundstage. Not hugely open and not claustrophobic. Within that soundstage, the imaging is very good with both right to left and front to back identification of where sounds are coming from. Details as mentioned earlier are well reproduced without losing musicality and enjoyment. This IEM also has some source synergy quirks (to be fair like most) and with the VE dacs, did not scale as well as with the Vestri and Onix. The Vestri and Onix are also far less powered than the VE dacs so that could be a reason.

At $439, this is a great mid level set. I have often said I like iems and dacs that don’t give me options and choices and that includes nozzles, switches and PEQ, the Sora is no different. Only because it takes a few hours of listening to dial in the settings that work best. Once that is done, this is an enjoyable listen. And the tuning options will get this set to be appealing to bassheads, trebleheads, V-heads and me.

Pros: Comfy Shells and a genuinely nice cable
Bass both on default tuning and bass forward tuning is excellent
Mids are natural and vocals (most of them) sound great
Treble is detailed without getting harsh (default)
Tuning switches actually work and allow for a greater appeal to a wider audience

Cons: Treble switch can make things difficult for treblets
Rare BA shoutiness on rare tracks (could just be me)
The bass switch enhancement can cause the bass to bleed into the mids
Scaling is not the best with some sources

From the stables of the makers of the often praised and rarely available Liqueur Orange is the new Black eartips comes this IEM stuffed full with drivers - 2 Dynamic Driver + 2 Balanced Armature + 1 Bone Conduction Driver + 2 Micro Planar Magnetic Drivers.
Presenting the ISN Audio xEffect Audio Sora (by Penon Audio).

I am getting to try and review this through Audio Geek India and I’m grateful to them and to Penon Audio/ISN for making this possible. Because I would not have been able to enjoy this piece of technology otherwise.
The IEM itself comes in a simple box as is par for the course with Penon/ISN products. The shells are resin, a gorgeous blue, and transparent so you can see all the geeky innards. The shells are smooth and comfy and do not put any undue pressure on the pinna. The nozzles are a little large so some tip rolling was needed before I got the comfort and the seal right. I’ve found that, as with all bone conduction, ensuring that the shells touch the pinna is imperative for the best experience. And now that that’s out of the way, there are tuning switches. Let’s call them 1 and 2. 1 activates bass, and 2 treble. So there’s 4 possible on board tunings possible, unless you’re a sociopath and want to have separate tunings for each ear. Your mileage, it turns out, is yours.
Sound technology wise - the low frequency is handled by two 8mm opposite placement liquid silicone dynamic drivers, the mids via two Knowles Balanced Armature, and the treble comes out of two micro planar magnetic drivers. And there is also a vibration-type bone conduction driver that adds to the entire sound, not unlike the Apevoix Grit.
Rest of the tech specs are below -

Impedance: 13ohm@1kHz
Sensitivity: 119dB@1kHz
Frequency response range: 10~40kHz
Cable: 2-wire UP-OCC smelting process, single material Litz with silver-plated copper central core, 2.5mm wire diameter bundles with EA UltraFlexi ultra-soft sheath. I’m mildly agnostic to most cables outside of comfort and this is certainly a comfortable, tangle-free, one.
Connection: 2-pin 0.78mm, 4.4mm
Plug: Gold-plated

Time to dive in. Testing on the VE Megatron and Galvatron, Onix Beta (Solid State Mode), Schitt Vestri, M33. Tidal and local flacs. Eloit Narrow bore and Final E type tips for that bone conduction driver fit.

Bass
The ISN Sora scores in the bass section like Michael Jordan in Spacejam. And most of his career. The dual dynamic drivers work in sync to give the sub bass a deep rumble that is further accentuated with the bone conduction driver and the bass switch. The switch adds an additional oomph to the bass that would make any basshead drool with joy. I, however, like neutral warm tunings and limited bass bleed and bloat. The all off position works best for me.
The sheer wait of the bass is heard at the 2.30 mark of Angel by Massive Attack and I have to admit that I was pleased with what I heard with the bass switch turned on. But after a bit it got a bit much so we are back to the all off setting. On Giorgio by Moroder by Daft Punk, the sub and mid bass even with the bass switch off is impactful and almost palpable. Synth and string bass instruments sound clean but with enough weight to lend to the foundation of the song with the kick drums adding any additional ballast and punch.

Mids
Mids on the ISN Sora are a point where I expect there will be wars fought. Male vocals have a natural, lovely timbre. Bohemian Rhapsody showcases Freddie’s prowess and as he ascends up his very impressive vocal range there are parts of the high tenor register where there is a little shoutiness that creeps in, that isn’t just Mr Mercury being himself. Tracy Chapman's Gimme One Reason does better in the texture of her voice and some really sweet guitar work by Adam Levy. Dreams by Fleetwood Mac sounds delightful on this set on the default setting.
The treble switch did make things sound a little more aggressive than what I normally enjoy. Details of hihats, vocals, and a majority of the instruments that sit in the midrange are well reproduced with no muddle. On the bass setting some lower mids do get overpowered by the bass but I’m guessing those who like bass THAT much would be understanding of that little amount of bleeding that can occur. Got a Match which pretty much dances all over the mids without too much drift into the lows (except the kicks and the occasional bass run) or into the treble, is a treat on this IEM.

Treble
On its default setting, there’s no fault I can find with the treble. It is neither harsh nor sibilant and details of the higher frequencies are clear. Ride hits have the required shimmer and open hihats on Aja by Steely Dan are just the right amount of sssibilance to not irk my ear drums. The switch that enhances treble definitely works and tracks where there is a treble forward production like Billie Jean by Michael Jackson, are, at least for me, a pass. To be fair Billie Jean and Human Nature from the Thriller album are so very treble forward that even with the switch off the details can get a little fatiguing. But those are 2 songs in an album of 8 and that’s one album in a billion. I’m letting it slide.

Stage and Imaging and technicalities
The Sora has a medium soundstage. Not hugely open and not claustrophobic. Within that soundstage, the imaging is very good with both right to left and front to back identification of where sounds are coming from. Details as mentioned earlier are well reproduced without losing musicality and enjoyment. This IEM also has some source synergy quirks (to be fair like most) and with the VE dacs, did not scale as well as with the Vestri and Onix. The Vestri and Onix are also far less powered than the VE dacs so that could be a reason.

At $439, this is a great mid level set. I have often said I like iems and dacs that don’t give me options and choices and that includes nozzles, switches and PEQ, the Sora is no different. Only because it takes a few hours of listening to dial in the settings that work best. Once that is done, this is an enjoyable listen. And the tuning options will get this set to be appealing to bassheads, trebleheads, V-heads and me.

Pros: Incredible tuning and stage
Insane price point
Plug and play with no need to fiddle with dsp etc

Cons: I would really like a modular option since I would rather use a dap sometimes (nitpick)
Earbuds aren't for everyone

It’s no secret I think Venture Electronics is onto something. Almost always. So when the Monk GTR came in for review I realised I had a lot of work to get done before I could review it adequately.
I think Wild Lee and VE for sending this little machine my way. It almost changed my life.
Time for a deep dive. (apparently AI uses ‘delve’ a lot. Which is likely because it was fed, amongst other things, Tolkein’s Lord of the Rings, where in Moria, the dwarves delved too greedily and too deep and woke the Balrog below the mountain).

The Monk GTR is one of the newest in the Monk line of earbuds. For those of you who don't know, the Monk buds from Venture Electronics have a cult status for being able to deliver an incredibly organic sound at an unbelievable price and have one of the widest soundstages, like ever.
But after a slew of dsp enabled cabled, gaming IEMs, I could not wait to jump into listening to the Monk GTR. My distaste for things that make me jump through hoops to improve my overall experience stems from my laziness, I agree, but I still like simplicity. And I don’t like EQ.
The Monk GTR ticks off some of those boxes.
Very simply it’s a Monk SL Plus married to an Odyssey Retro to create the Monk GTR - the Retro Gaming Earbuds.
Now again in an all important disclosure I’m not a gamer.
I used to play Unreal Tournament when it was fun and Prince of Persia 2D a decade earlier. I struggle with Call of Duty and controllers so when I tried the Monk GTRs with a nintendo switch, it was ten minutes of carnage with me at the receiving end. I am however a fan of retro (looking) tech and good music and the Monk series does belong in that set.
I only wish I could use this with an iPod but that’s for later.
The Monk GTR comes in a no-nonsense ziploc bag. With the foam inserts of various colors. It is a fixed cable that ends in a usb C termination and the earbuds house a 14.8mm open dynamic driver that does all kinds of nice things. The buds themselves are about 16.4mm wide and have a new and improved polymer on the surface to make them more comfy. I have oddly shaped ears so one trick I use is to get really bad silicone eartips and cut a thin sleeve that sits around the earbuds. This keeps them from slipping and given that they are on the bigger side for me, adding the foams doesn't help me much.
But this is also about sound.

The first thing that comes across is how open and wide the soundstage is. Given I like to start with bass and mids and treble when it comes to IEMs, I realize earbuds are a different animal. There is no chance of seal so the bass is never going to be booming and punchy and visceral and all that. The bass on the other hand comes across with fidelity rather than depth and rumble. The earbuds faithfully reproduce the notes. A rumble appears if you can manage to get them in your ear canals with a good seal, unfortunately I couldn’t keep that comfortable for a long time. Another way to get the bass to feel like it should is to push the volume. Angel by Massive Attack begins to get its act together with volume boost and some fiddling with the fit. That being said, this is meant for gaming. And sounding great is a very nice extra. And earbuds will not isolate sound, seal the canal and have a rumbling booming bass. Not without causing hearing loss.

The mids are crystal clear with the typical VE analog sound. I tested my entire playlist and did not find any tracks where the midrange - vocals or instruments, sounded unnatural. They have a solid natural timbre and the typical VE sound - analog, warm-ish, without sacrificing details. Some may even go as far as to call this neutral, but I think it would be apt if neutral did not mean dry. But semantics aside, this is a very easy listening, natural sounding earbud.
The highs are again detailed with little fatigue or harshness especially on long listening sessions.

The stage is where every monk earbuds blasts the competition out the water. The stage is huge and anything on this sounds like you’re in an aircraft hangar with every instrument placed exactly where it should be. Makes for a great gaming experience with what little experience I have. Though I know more avid and life-depends-on-it gamer types may prefer headphones or iems to get a better seal or passive noise isolation, but I did use this on a phone and on a Switch playing some street fighter style scroller, which was most entertaining.

I did fish out a monk plus and a nicehck and for a why not comparison. And apple earpods from the dark ages.
Both the monk plus and nicehck buds had neither the fidelity or the staging of the GTR. In addition the bass response of the GTR was far superior. The Earpods have an advantage with their better fit and sound delivery into the earcanal than around it. This makes for a better bass and over all sound but a much smaller stage. Plus I have the 3.5mm one which means they need an additional dac.
To level the playing field the other earbuds were tested with a Devastator pro 3.5mm dac.

At the end of the day, the Monk GTR exists for a very simple reason - what's the easiest way to have an absolutely enjoyable gaming or music session without having to think too much about it. This set sits in my bag for times like that where I don't want to stress my neurons and just want to have fun.

Pros: Incredible tuning and stage
Insane price point
Plug and play with no need to fiddle with dsp etc

Cons: I would really like a modular option since I would rather use a dap sometimes (nitpick)
Earbuds aren't for everyone

It’s no secret I think Venture Electronics is onto something. Almost always. So when the Monk GTR came in for review I realised I had a lot of work to get done before I could review it adequately.
I think Wild Lee and VE for sending this little machine my way. It almost changed my life.
Time for a deep dive. (apparently AI uses ‘delve’ a lot. Which is likely because it was fed, amongst other things, Tolkein’s Lord of the Rings, where in Moria, the dwarves delved too greedily and too deep and woke the Balrog below the mountain).

The Monk GTR is one of the newest in the Monk line of earbuds. For those of you who don't know, the Monk buds from Venture Electronics have a cult status for being able to deliver an incredibly organic sound at an unbelievable price and have one of the widest soundstages, like ever.
But after a slew of dsp enabled cabled, gaming IEMs, I could not wait to jump into listening to the Monk GTR. My distaste for things that make me jump through hoops to improve my overall experience stems from my laziness, I agree, but I still like simplicity. And I don’t like EQ.
The Monk GTR ticks off some of those boxes.
Very simply it’s a Monk SL Plus married to an Odyssey Retro to create the Monk GTR - the Retro Gaming Earbuds.
Now again in an all important disclosure I’m not a gamer.
I used to play Unreal Tournament when it was fun and Prince of Persia 2D a decade earlier. I struggle with Call of Duty and controllers so when I tried the Monk GTRs with a nintendo switch, it was ten minutes of carnage with me at the receiving end. I am however a fan of retro (looking) tech and good music and the Monk series does belong in that set.
I only wish I could use this with an iPod but that’s for later.
The Monk GTR comes in a no-nonsense ziploc bag. With the foam inserts of various colors. It is a fixed cable that ends in a usb C termination and the earbuds house a 14.8mm open dynamic driver that does all kinds of nice things. The buds themselves are about 16.4mm wide and have a new and improved polymer on the surface to make them more comfy. I have oddly shaped ears so one trick I use is to get really bad silicone eartips and cut a thin sleeve that sits around the earbuds. This keeps them from slipping and given that they are on the bigger side for me, adding the foams doesn't help me much.
But this is also about sound.

The first thing that comes across is how open and wide the soundstage is. Given I like to start with bass and mids and treble when it comes to IEMs, I realize earbuds are a different animal. There is no chance of seal so the bass is never going to be booming and punchy and visceral and all that. The bass on the other hand comes across with fidelity rather than depth and rumble. The earbuds faithfully reproduce the notes. A rumble appears if you can manage to get them in your ear canals with a good seal, unfortunately I couldn’t keep that comfortable for a long time. Another way to get the bass to feel like it should is to push the volume. Angel by Massive Attack begins to get its act together with volume boost and some fiddling with the fit. That being said, this is meant for gaming. And sounding great is a very nice extra. And earbuds will not isolate sound, seal the canal and have a rumbling booming bass. Not without causing hearing loss.

The mids are crystal clear with the typical VE analog sound. I tested my entire playlist and did not find any tracks where the midrange - vocals or instruments, sounded unnatural. They have a solid natural timbre and the typical VE sound - analog, warm-ish, without sacrificing details. Some may even go as far as to call this neutral, but I think it would be apt if neutral did not mean dry. But semantics aside, this is a very easy listening, natural sounding earbud.
The highs are again detailed with little fatigue or harshness especially on long listening sessions.

The stage is where every monk earbuds blasts the competition out the water. The stage is huge and anything on this sounds like you’re in an aircraft hangar with every instrument placed exactly where it should be. Makes for a great gaming experience with what little experience I have. Though I know more avid and life-depends-on-it gamer types may prefer headphones or iems to get a better seal or passive noise isolation, but I did use this on a phone and on a Switch playing some street fighter style scroller, which was most entertaining.

I did fish out a monk plus and a nicehck and for a why not comparison. And apple earpods from the dark ages.
Both the monk plus and nicehck buds had neither the fidelity or the staging of the GTR. In addition the bass response of the GTR was far superior. The Earpods have an advantage with their better fit and sound delivery into the earcanal than around it. This makes for a better bass and over all sound but a much smaller stage. Plus I have the 3.5mm one which means they need an additional dac.
To level the playing field the other earbuds were tested with a Devastator pro 3.5mm dac.

At the end of the day, the Monk GTR exists for a very simple reason - what's the easiest way to have an absolutely enjoyable gaming or music session without having to think too much about it. This set sits in my bag for times like that where I don't want to stress my neurons and just want to have fun.

Pros: Extremely comfortable for long sessions
Nice change in design language
Great sound for it's price
Good bass response and the DMT 5 kicks ass in the vocal department as usual
No sibilance or harshness on the treble
PEQ/DSP with infinite tuning options, if that's your thing

Cons: The DSP on this doesn't work as well for me despite PEQ
Plasticky feeling when compared to the more expensive alternatives

From the unending fountain of innovation of the House of Tanchjim comes the Bunny G. I thank Isabel and Tanchjim for sending this little fellow along for a review. My views are my own and I have free will and all that.

Unlike the other waifu themed boxes the Bunny G (for gaming) comes in a black box that looks like it means business. The accents are a muted neon green (if that makes sense) and the shells themselves are shaped like the first Bunny but there’s again a departure from the design language that we’ve grown to expect from Tanchjim - the shells are dark/smoked black acrylic and have that green lettering that says Tanchjim on one and Bunny on the other shell. The IEM comes with a dsp cable that terminates with a usb c at one end the 2 pin terminations on the other. The cable feels robust and is less prone to tangling and also comes with a mic to yell at team mates or take calls on the fly when knee deep in PUBG missions.
The shells are about the same size as the OG Bunny, which means they are insanely comfortable if you have small ears and I was able to run these with little or no discomfort for over 2 hours on a trot on a flight.
In addition,there are 6 pairs of tips - that seem narrow and wide bore (3 each), and a cloth case. All good and nothing to complain for the sub $30 price tag.
Let’s jump right in.

So in full disclosure I felt the dsp cable sounded terrible the first few times. It felt insipid and shouty and almost no amount of EQing on the android seemed to get it any better.
So a swap was done and this review is of the Bunny G running off of a TRN 16 core cable with modular 3.5 and 4.4 endings for the following sources - VE Prime, VE Devastator pro, Hidizs AP80 Pro Max, Moto Edge 60 Fusion, iPhone 17 Pro. (The last 2 with the stock DSP cable). Tested with my usual complement of tips - Sancai, Candy and Velvet Standard.

Bass
The Bunny G on a regular cable is punching so hard above its weight it’s jaw dropping. And even on less warm sources like the Prime and the AP80, it belts out a lovely low end. It’s not bloated nor does it seem aggressively tuned to be a ‘V’ shaped. On What About Me by Snarky Puppy, the kicks, electric and synth bass are heard clearly and with the typical DD warmth. The stock dsp on the default eq setting sounds much worse and almost got me to give up on this set. But a cable swap solves this and the added headache of PEQ. I’m convinced PEQ is my mortal enemy from another lifetime.
On Angel by Massive Attack and Islands by The XX, the sub bass rumble has body but has a tendency very very occasionally to bleed into the mids.

Midrange
Tanchjim’s greatest work has to be the DMT5. Vocals are represented beautifully be it this set or even their flagships. Again the stock/default DSP tuning makes vocals shouty which I’ve not heard as yet with a Tanchjim. Even the OLA 2 with the BA did not behave as badly as this cable. Again on an aftermarket 2 pin cable on the VE prime and the AP80ProMax, male and female vocals come across with weight in the lower registers and air and clarity in the higher ones. There's the slightest hint of sibilance on Hotel California and maybe a little more on Human Nature and that is likely from the way the songs are mastered and that slight ‘s’ is meant to be there. On Aja by Steely Dan, there is a lovely layering that can be heard between the voice, piano, synth, guitars - all occupying the mids but not sounding cluttered and squished together.

Treble
The treble is controlled with moderate airiness and shimmer but only rare harshness on a few tracks. Cymbals have a natural decay and they complement the chorus of Fast Car by Tracy Chapman. This needs a little careful listening but that’s what we’re here for.

Staging, Imaging and Technicalities
The Bunny G is first and foremost a gaming IEM and like the OLA 2, Tanchjim has managed to give the sound on this IEM a wide holographic feel with imaging and layering done extremely well.
The Bunny G however, does not scale well. With the issues with the DSP cable creeping in as the volume increases. Which makes me believe it may be the power implementation on the DSP chip rather than the quality of the cable itself.
This could be fixed with a firmware tweak, methinks.

For me this is an everyday carry IEM though, I would recommend a regular cable and a dongle if using an iPhone rather than playing around for hours with the PEQ on android to find your right equilibrium.
Or just a regular cable and dap for convenient use. That’s if music is a priority.
If all you want to do is shoot, or hack and slash to some EDM, then this is a winner.

Pros: Design - this is the most interesting looking IEM I have seen in a while
Neutral to neutral warm presentation
Great cable with modular accessories
Tight controlled yet textured bass with no bleed
Vocals sound lush and forward

Cons: I’m afraid it’ll drop and break
Treble peak and sibilance on some tracks (rare but it's there)

Every once in a while something comes your way that makes you question everything from intention, design, religion even. And then you see the Artpical Raphael. And weep in joy and I thank Audio Geek India, and Artpical for making this review possible.

Artpical is a relatively new kid on the block that has basically destroyed the block with its design language in a way that almost no other manufacturer of IEMs has done.
It’s incredible enough that their designs leave me gasping for breath at their beauty. The Artpical Raphael doesn’t sound half as bad. It’s not angels singing in my ear but it’s good enough to get me to look beyond its appearance. Which is better than some people I know. But Shhhh!
Artpical advertises itself as a company that believes in the “art of hearing” and is dedicated to the perfect fusion of high-quality audio products and the ultimate visual art. They aren’t wrong. I’ll wax on about the Raphael shortly but a quick look at their product lines tells an incredible story. There the entire mythology inspired Lucifer, Satan, Michael and Raphael IEMs and the Nature series which has the Blue Planet and the Lunar Ring. And a very cubistic DAC called the Agent.
Each and every one of the IEMs is a joy to behold.
I can speak of the Raphael alone at this point and I shall. Inspired by what the embrace of the divine would look like, this IEM comes in 3 colours - I have the Black and Gold version, and there are also white and red and pink and silver versions. All have the appearance of wings with the first color being the predominant one and the second being a streak of “feathers” across the first. All of this enclosed a clear acrylic shell with thin tendrils of wiring visible through the shells. And with all this beauty is a 10mm polyurethane and a liquid crystal polymer diaphragm that delivers, and well.
In addition the box comes with a modular 4 strand silver plated OCC cable with 3.5, 4.4, and usb C terminations, a case that feels like suede and 6 pairs of eartips.
The IEM has a 32 ohm impedance and a sensitivity of 101 dB so pretty much straight forward to drive and easy scalable power.
It was tested with the Devastator Pro (3.5), Fangsound Nereus 4.4 and Hidizs AP80 Pro Max.
The tidal playlist is here https://tidal.com/playlist/3078c9b9-a1c0-4fde-8ce7-81f0e34b426c
Time to dive into the divine embrace.

Bass
The bass on the Raphael is a fairly typical Dynamic driver base. The sub-bass has rumble and presence and the mid-bass has clarity. Both have texture and carry moderate weight in the track but what it delivers in clarity it loses in oomph. This is not and will never be Basshead IEM and I’m so tempted to use it as a reason to deny a berth in heaven if Raphael and not Peter were stationed at the gates. The quantity and quality of the lower end of the FR appeal to my sensibilities if I really wanted to just relax and listen to music and enjoy it without another care or thought in the world. Do not take this as me saying the bass is less or insipid, it’s just not as in your face as typical bass head iems. Kicks and bass in YYZ by Rush still hold the track together and the bass lines in Angel by Massive Attack and Flight of the Cosmic Hippo form the basis for the tracks without being the centre of attention.

Midrange
Most of the mids are spot on and pretty much natural sounding except for certain tracks where the upper mids sound a little off texture and timbre. Some tracks may seem shouty, and in some tracks the snare may sound harsh - Holler by the Spice Girls for the latter and Sub City by Tracy Chapman for the first. Male vocals for the most part sound natural with a good weight. On most Jazz/Jazz fusion tracks, however the Raphael excels in its reproduction with the guitar, synths, and horn sections of both Lingus and What About Me by Snarky Puppy holding the front and centre of the sound scape. Details on the Artpical Raphael are faithfully reproduced in the mids with songs like Hanuman by Rodrigo y Gabriela and Helplessly Hoping by Girl Named Tom sounding engaging and clean and clear when they need to be. There is no bleed from the bass that would muddy up the lower mids.

Treble
I’m never quite sure where snare hits lie. I think they are largely mids but their exact sound and timbre requires a significant spill over to the treble side of things. I think the Raphael slips a little there. But it needs a really aggressive snare mastering to cause that harshness to happen. I heard it on Holler by Spice Girls and on Trains by Porcupine where Gavin Harrison’s snare is a beast in itself. Even Mick Fleetwood’s snare edges my tolerance just a little (Everywhere, Fleetwood Mac). For the most part, treble is not sharp or harsh barring the occasional snare. Cymbals are natural sounding with a good shimmer and air and decay. Classic rock snares as heard on Money by Pink Floyd or YYZ by Rush are fairly well rendered without harshness but still maintaining the impact that a good snare should have.
There is a touch of sibilance in pop recordings like All Nite by Janet and anything Don Henley sings on Hotel California, and Teardrop by Massive Attack. Thankfully there are not all the songs so the comfort of the IEM makes it worthwhile to sit through these tracks rather than skip immediately. Though I ended up drawing the line on Ocean by John Butler.

Staging, imaging and other technicalities
The Raphael is one of those IEMs that make me feel like I’m sitting in front of the Eagles on their Hell Freezes Over. With the band playing BEHIND me. It’s hard to explain but when I heard the track with my eyes closed the entire sensation was thus. Imaging is spot on making it possible to know which direction the sound is coming from and how far away. Detail retrieval and layering and separation are on point and leave nothing to complain about.

Shallow as it may come across, just what this IEM looks like and the comfort it affords is enough for me to want it. Specifically the white and red version, if anyone, including but not limited to the Angel Raphael, is listening. Actually any one of them! It retails in the vicinity of $140 and is, in my opinion, worth it. I would get this in a heart beat.

One of the harder things I find doing is writing about DACs. I find IEMs so much easier. I know it’s in my head so while I struggled to get my thoughts about the VE Prime and VE Galvatron, I found myself in a difficult position. I own all 3 devastators and now the Megatron S, the $50 monster of a usb dac/amp from the house of Mr Lee and Venture Electronics, is in my possession. I thank him for sending this unit down for a review along with another of his newer goodies which we’ll get to shortly. I decided to put the entire Decepticon line up to the test with a Letshuoer Astralis and the Hifiman Arya Stealth to see what I could make of it. 
Where the Galvatron is an evolved beast, the Megatron is like a cantankerous mid-sized animal itching for a fight that it knows it can win. Hands down. The leader of the Decepticons was known for an unpredictable temperament and to be fair the VE Megatron S is powerful, no doubt, but finicky as can be. 

TLDR not all usb c cables are equal. 

This particular creature is an aluminium armor covered beast with 2 usb c ports and a 3.5mm lineout and cute little switch on one side and 3.5/4.4/2.5 terminations on the opposite end with a little led that tells you if the megatron is on headphone out or line out. 

The packaging is simple and sticks to the point. There’s the Megatron, 2 usb cables and these are the most important usb cables in the world, a 75 ohm 3.5mm impedance adapter that managed to successfully tame a buzz on an NF Acous NM25 (oddly enough).

Powering the Megatron is a ESS9018K2M and some dark magic that makes this dac sound analog and nothing like the digital first machines from Transformers. VE has custom built a Class AB circuit to deliver a clean sound. With a noise floor with sensitive IEMs. Though this statutory warning is mentioned on the VE website.

The first thing that strikes is the size. It is not a pocketable DAC. It’s larger than most portable DACs but smaller than desktop systems and its steroid infused sibling - the galvatron. It’s the same size as the VE Prime and thanks to an inbuilt amplification circuit does not need the added Runabout amp. The two dacs do use the same casing but have drastically different insides. The Megatron has no pretense. It is meant to drive anything that says it’s hard to drive. But there's a catch(es).

My biggest issue was the DAC not powering on with phones with almost any cable except the stock cable. And not all phones. That problem is often mitigated with using a second charging source since the Megatron has 2 usb-c inputs at the back. The newer snapdragons do better with usb power delivery I’m told. But I’ve not dug deep. With the iPhone it needs additional power via the charge port, with the laptop or mac mini it doesn’t. With a Moto edge 60 fusion, it misbehaves with almost any cable except the stock c-to-c. At some point I gave up trying to understand what would work and what wouldn’t. 

Further impressions are from the Megatron and all Devastators connected to the macbook at one end and the Astralis on the other, and tidal playing this list https://tidal.com/playlist/3078c9b9-a1c0-4fde-8ce7-81f0e34b426c

The Megatron, despite its name, delivers a really sweet analog warm comforting sound. The bass is rumbly, punchy and does not bleed onto the mids. Vocals sound natural and the lower registers are weighty and female voices are clear. Sibilance is tamed except for rare occasions where it’s there on purpose (and I honestly don’t know why sound engineers do that) - It’s there on All Nite (Don’t Stop) by Janet, Hotel California by Eagles, Human Nature by Michael Jackson. Treble on the Megatron is delightful. There is enough detail to keep most listeners and enough rolling off of the treble to not sound harsh. This dac/amp definitely adds an overall warmth to the overall timbre/tonal character of the track. And also has a significant noise floor with some iems. And this is also not something that can be predicted with numbers. The Astralis has almost no hiss (which is strange for a planar) and the NFAcous NM25 has a significant one, that the impedance adapter handles fairly well. 

The Megatron does not get hot with usage even with external power and I’m told the 3.5 front port can take a microphone if you want to communicate to team mates whilst gaming or scream in frustration when fragged. 

I think my main issues with the Megatron involve just me having to do more work - control volume from the source device, potentially gain as well. It is important with all the VE DACs that do not have an independent volume control to check the volume on the source before pressing play since I have on occasion felt the pain of not doing that. Other minor gripes include the lack of a 4.4 line out (fixed with Galvatron) and the little switch at the back feels a little shaky on the unit I have. 

Bonus Content - The Devastator Family

For me, after the black magic of the ear buds, it is the Devastators that have impressed me the most with Venture Electronics. There’s really no explanation as to why these dongles sound so good and how they are in the form factor that they are spitting out that much power. 

The Devastators are 3  - the OG Devastator (OG), the Devastator Pro (DPro) and the Devastator ProMax (DPMax). Each with its own design, sound output and little quirks. 

Before I dive in I’m currently listening to Shofukan by Snarky Puppy on an Audiotechnica ATH R70xa.  Which is a mean 460 ohm impedance studio reference headphone. The DPro is able to push it, albeit at max source volume. The headphones do crave more juice to really open up but in contrast a Sony RX707 at max volume was not this loud. 

Ok back to the plan after taking the volume to sane levels. 

Again in the interest of science I decided to put each of the dongles through Aja by Steely Dan and tested with the Hifiman Arya Stealth. Here’s what happens

OG - Undisclosed chip with a balanced 1.9 VRMS output. Had to push volume on the Mac to almost 90%. The overall presentation is warm with a fairly prominent midbass. This sometimes bleeds into the lower mids, giving the vocals on Aja some weight. But there is a definite reduction in detail reproduction in the mids in busy passages. Treble is rolled off. Ride hits in the ending drum solo lack the shimmer that comes from an extended treble. The OG also feels more intimate in staging and I would like it for easy listening sessions on the move with easy to drive IEMs or headphones. 

DPro -  Modified ESS Sabre “Optimus” capable of pushing out 2 VRMS single ended. The DPro 3.5 comes with a 3.5 to 4.4 adapter and the 4.4 version has the same wiring internally and it’s not a true balanced output. Similar volumes on the headphones were achieved with the mac at about 75%. Almost immediately the music is tighter and the details clearer. Instrument and vocal separation is much better than the OG. There is some loss of the weight from the bass in vocals but the clarity is much better. This detail retrieval improvement extends beyond the mids into the treble with no sibilance or harshness. From a sound perspective, this may be my favorite of the three.

DPMax - Same Optimus chip married to an independent dual amplifier stage that tosses out 3VRMS ~330mW of power. And! how gorgeous is the piano black with the braided nylon cable. I like the muted matte silver of the Pro and the no nonsense simplicity of the  OG but this looks meaner and more ready to devastate than the other 2. And volume achieved at 60%. The mature, more nuanced nature of the DPMax is revealed with a tight super controlled bass that does not spill into the upper frequencies and clear mids and highs. The treble extension is more prominent while maintaining an overall analog presentation that VE is well known for. It’s easy to pay attention to the details of this song with either the bass or the treble feeling overwhelming. And it allows for easy scaling with enough headroom to push the volume for more demanding earphones or headphones. 

While I had no issues with the Arya, with some IEMs there is a definite noise floor and him and a little crackle when switching tracks. Which isn't a deal breaker, since like the megatron the devastator pro max is not meant to run sensitive IEMs. I will also need to try this one with an impedance adapter but I don’t currently have a 4.4 one. 

I think I would keep the DPro as a daily driver and use the Devastator Pro Max on the desk unless I had some super hard to drive hybrid (VE ZhuanXu for eg.)

Hope this helps!