Superb Opera Prima

Ratings

Pros

• Big, physical and voluminous bass.
• Very rich mids.
• Tangible feel across the entire frequency range, extra level of texture.
• Smooth, attractive, sweet and rich tuning.
• Immersive experience.
• Very good cable.
• Pelican-style case.
• Huge price/sound ratio.

Cons

• Few accessories, only one set of tips.
• No balanced cable option.
• The pelican box is too large to be used for transport.
• The resonance of the capsules can be activated with a simple snap of the teeth.

Purchase Link

https://www.linsoul.com/products/apevoix-grit

Link to the Store

https://www.linsoul.com/

Introduction

I had never heard of the Apevoix brand before. It seems to be a new brand and, according to their website, their team consists of a group of audio enthusiasts, engineers and designers from renowned manufacturers. All members are passionate about audio technology and sound quality is their obsession. And as a sign of their ambition, the brand has started with a model like the Grit, which is already a statement of intent. The Apevoix Grit are tribrid IEMS that use a 10 mm dynamic driver for bass, four balanced armature drivers for midrange and treble, and a new bone conduction (BC) transducer that adds texture to the music. A total of six drivers in a four-way filter network ensure that your music is accurate, detailed and rich. Apevoix incorporates a powerful new state-of-the-art 11mm bone conduction transducer that delivers a realistic sound. By using a bone conductor, contact vibrations are produced instead of traditional acoustic tubes. The bone conductor extends across the entire frequency range to enhance the music. Two balanced armatures focus on the midrange and have been tuned to sound clean and natural, with a slight warmth in the vocals. The other two separate balanced armatures handle the treble for detailed, yet natural upper frequencies. For bass, the Grit uses a new 10mm biocellulose composite diaphragm, which features an incredibly complex matrix network of fibres for a tight and responsive bass response. The dynamic transducer, driven by powerful neodymium magnets, produces bass with punch and impact. The bass emphasises the rumble of the sub-bass with a strong mid-bass presence for powerful kick drums and reference bass. The Apevoix has been professionally tuned with a four-way crossover system to deliver a balanced and natural sound. With smooth low-mid bass tuning, the Apevoix is attractive and fun, while the mids and highs are accurate enough to be used in professional studio monitoring. On the other hand, it’s worth noting its thick, silver-plated cable with four punchy strands and its pelican-style enclosure that looks like it’s 3D printed. Let’s take a closer look at Apevoix’s debut.

Specifications

• Driver Type: 1DD+4BA+1BC.
• Frequency Response: 20Hz-20kHz.
• Sensitivity: 104dB SPL/mW.
• Impedance: 16Ω.
• Jack Connector: SE 3.5mm.
• Cartridge Connection Type: 2Pin 0.78mm.
• Starting Price: $219.

Packaging

The first thing that strikes you about the Apevoix Grit is its packaging. It is a red Pelican-style box, but taller, that looks like it was printed in 3D. Its dimensions are 114 x 94 x 85 mm. It is wrapped in rectangular cardboard with a background pattern that might remind one of the outer face of the capsule on all four sides. On the top side is the brand name and model in large white letters. On one side are the brief specifications. On the underside are the brand name, the logos of the certifications it complies with and the importers’ details. The box is sealed with heat-shrinkable plastic. The box is red and the top side has the brand name printed in 3D in white. This side has a rough texture, while the horizontal lines of the 3D printing are visible on the rest of the box. The box is closed by two strong black stops attached to two horizontal screws. When you open the box, you can see the capsules embedded in dense black foam. The inner side of the lid is covered with a foam in the shape of mountains and valleys. Underneath the first layer containing the capsules is a second layer of foam that protects the walls. In the recess there are two plastic zippered bags. One contains the cable and the other the test strips. There is a set of three silicone tips in sizes S, M and L, and a pair of foam tips. That’s all.
The content is the minimum and essential, very fair for a model of more than 200$. The box is very large and cannot be used to transport the product at any time. The cable is very good, very thick and has a sleeve for the top connector. The pity is that the cable does not have a 4.4mm balanced plug as an option. But four pairs of tips is very tight, as well as not having another case to carry it in on a daily basis.

Construction and Design

Apevoix Grit is made of slightly translucent resin. The outer face is a panel with metallic coloured veins that look like wood splinters. They also have small gold flakes and a few drops of amber. On the rim, in three-dimensional silver lettering, is the name of the brand. The capsules have a slight semi-custom shape, but with a rounded and very smooth inner side, with no protrusions on the rim. They give the impression of being thick and stubby. The base of the mouthpieces protrude and the mouthpieces are metallic and measure 4.2mm in length. They have a smaller diameter of 5.5mm, while the crown measures 6.2mm. Two thick metal grids protect the nozzles. The 0.78mm 2-pin connector is fully recessed into the rim of the capsule. The connections are gold-plated and mounted on a translucent rectangular piece. At the other end there are three holes. As I say, the capsules are slightly translucent and you can see the BA drivers near the mouthpieces and the dynamic driver at the bottom.
It should be noted that the capsules also resonate. If you tap them with your fingernail while wearing them, they generate a medium sound with a certain level of reverberation. They don’t resonate as much as a bell or as high-pitched, but the sound remains slightly in my ear. Perhaps this characteristic has to do with the bone conduction driver and such a capsule has been sought to enhance its performance. It is very likely that this is the case, and even that the other drivers, especially the dynamic one, also take advantage of this capability. Without a doubt, the sound and the physical sensation produced are special.
I like the cable. It consists of four intertwined strands. Its exterior is made of transparent PVC which reveals a thick, coiled, silver-plated conductor. The connector sleeve is a cylinder with a slight tapered finish on the cable exit side. At its centre is a checkered carbon pattern. The 3.5mm plug is gold-plated. The cable outlet is protected by a black rubber sleeve. The splitter piece follows the same pattern, only it is smaller and has an Allen screw embedded in the cable outlet once it is unfolded. The other side is slightly tapered. There is no protection for the cable outlet. The pin is a sphere sectioned at the poles, the inside diameter of which is adequate to exert the necessary pressure to hold the strands together and make it difficult for them to slip. The sleeve of the 0.78mm 2-pin connector interface is two black, hard plastic cylinders. Each has a white letter that identifies the channel. The two pins are integrated into a rectangular piece that protrudes slightly from the cylinders.
The cable has semi-rigid sleeves that fit over the ear.
Again, I really like the cable and would have loved to have had a balanced plug option. I also like the exterior look of the Grits, while the rest of the shape is rather classic, except for the resonant characteristic of the entire exterior.

Adjustment and Ergonomics

The capsule is medium-large, thick and with good projection. The nozzles are thick and relatively long. Medium insertion is possible, but the diameter of the nozzles may prevent this. The combination of the resonant capsule, the projected nozzles and their diameter can achieve a very occlusive setting that can generate a punchy and impressive sound, although it may be too invasive for some and spectacular for others, especially in the presence of bass, its impact, texture expansion and also scene extension. I think that to prolong this effect, it is necessary to achieve a deeper insertion and to increase the contact of the capsule with the pinna. It is true that this is not easy to achieve. But it is possible to use the latest generation tips, such as those with transparent silicone, which allow a lot of contact. This type of tips are the ones I have used on this occasion. I have also filled them with foam to increase the contact with the ear canal. In this way, the listening experience is much broader: you get a greater presence, a more intense physical sensation and a deeper immersion in the sound. Perhaps it can be too overwhelming an experience, a sensation that exceeds the sound itself, closer to the immersion generated in a movie theatre, but only in stereo, by adding that extra physical component.
On the other hand, the fit is comfortable, the capsules are light and the over-ear cable is acceptable. If the degree of occlusion is high, some fatigue may occur due to sound pressure and the additional physical component. The capsules are thick and, although they are smooth at the edges, if a lot of contact is made with the pinna, in the medium term, as the hours go by, they may become uncomfortable.
Finally, it should be noted that resonance of the capsules can occur even when chewing. Therefore, I do not recommend these IEMS for watching films while eating popcorn, as the very clicking of our teeth can cause the capsules to resonate. I also don’t recommend doing sports with them because of the vibrations. I advise to use them in as static situations as possible.

Sound

Profile

The Apevoix Grits are warm, slightly U-shaped IEMS, with present mids and smooth highs. Their low end has a fairly extended subwoofer, far from being too steep, which is maintained towards the mid-bass, which enhances the lower range. On the other hand, the BC capsule and driver are able to increase the bass presence and power to a more physical level thanks to their resonant effect. This may not be to everyone’s liking. However, for others, the extended physical experience can be a very favourable point.
In the second half, the Grits have relatively high upper mids, in contrast to the first half. However, this difference does not seem so great, perhaps due to the BC driver’s boost across the entire frequency range.

Bass

The low end of the Apevoix Grit is truly special. With a wide sub-bass as a foundation and reinforced by the resonant effect of the capsule and the BC driver, the bass is physical, deep, elastic, voluminous, sensory and powerful. Due to the bell effect generated by the capsule, very low-frequency pure tones are perceived as partially altered. Some very low frequencies are very well perceived, dark and sensory, while others are perceived as more coloured. It is possible that the resonant effect has a different reaction for different frequencies. Starting with the lowest note, it is not quite realistic and a little colour and vibrational nuance is perceived, although it is deep, dark and physical enough for a very good performance. As the hertz increases, you feel the physicality grow, as well as the effect on the capsule. It is true that this resonance can muddy the bass, adding some halo and wake, and prolonging the pure notes in time. But this is not critical when translated into real music. In this way, the bass drums do not sound slower, but more elastic. It’s true that they don’t pick up as quickly, but it’s like a more physical sensation, the result of bone conduction, that lingers a moment longer. Those who are looking for a less expansive, less physical and less voluminous bass, without that feeling of punch, of contact, will not end up liking the Grits. But for me they are an extra sensory experience. The low end of the Grits floods my ears, spreads through the pinna, travels along the walls of my ear canals and reaches my eardrums. It then passes through them and travels directly to the brain. The physical sensation and the punch can be stupefying. But there is a point of addictive violence that incites me to continue subjecting myself to this thunderous experience.
In the dreaded dirty, poorly recorded and unfiltered bass test, it might seem that the Grits were going to suffer badly, but this is not the case. It was a surprise to hear control, depth, presence, violence, punch and volume, with nothing out of place, maintaining definition and generating thick, dense and heavy bass layers, but maintaining a responsiveness to change and tracking that seemed very difficult. So the bass lines stay in place, as do the layers. But the whole thing is once again overflowing and unique.

Mids

The midrange of the Apevoix Grit is slightly warm, transparent and very clean. There is a good physical component that is not dense and does not contribute to obscuring or muddying the sound. There is still that tangible feeling that lingers even in the low notes of the male vocals, which again generates that perception of strength from deep within. It is more than body or texture. The same treatment is given to the strings; that combination of texture and physicality helps to create an impression that goes beyond sound, that activates a tangible presence and adds a vivid realism that feels very close. The Grits possess the ability to make the music feel as if it were heard live, but in a way that is very close to the musicians. And that’s something I’ve rarely been able to feel with IEMS before.
On the other hand, I am happy to comment that there is a balance between male and female voices in the face-to-face sessions. It is possible that the physical part of the male voices is not present in the female voices, but there is enough of pinna gain to regain its prominence. However, the upper middle register is restrained, without generating sibilance, but neither is it brilliant. It is here that warmth is most evident. I stress once again that the sound is not dark. The notes are very clean and pure, containing a mixture of body and finesse that adds texture, makes them vibrant, fills them with life, realism, passion and richness. In this way, the mids are very attractive, musical, engaging, involving, transparent and pleasing. The physical component adds a lot of dynamics to the whole. Presentially, one can feel from the smallest details to the densest and most elevated compositions. There is room for everything, nothing seems to blend in, although it is not an analytical sound, but a more relaxed one. I don’t mean ‘soft’, because the tangible component adds that overt physicality. But there is calmness and finesse at the boundaries of the notes. It is a rich, intoxicating and attractive musicality that dazzles, that encourages further listening and even touches. The midrange of the Apevoix Grit is perceived as very big, exciting and energetic, generating a new definition of expressiveness, descriptiveness, volume and, above all, presence and body.

Treble

The graphics of the Apevoix Grit are deceiving. Either that, or its bone conduction driver is more prominent than it seems. But, going back to the graph, the Grits have a distinctly smooth treble, with a gradual decline from 5 kHz. After that initial sparkle, everything in the graph is downward, even the air zone is under-represented. However, the reality does not correspond to what the graph seems to indicate. It is clear that the treble is soft. But the two BA drivers are more explicit, descriptive and informative than they appear to be. Their treble notes are thin and not rounded. There is a balance between energy, restraint and homogeneity. And that conjunction gives it a lively, if tempered, sparkle. Perhaps it is also a benefit of the bone conduction driver. In any case, the high end is better represented than the frequency response shows. While the initial sparkle is not explosive, but moderate, it feels fine and slightly sharp, without being piercing. It does not crackle and is not piercing. The energy level is restrained and confident. The extension is gradual, somewhat clipped, but it doesn’t come across as dark or overly nuanced. And that is something I find truly special and surprising. And therein must lie the virtue of combining those two BA transducers with the BC.
In conclusion, the treble is more representative than it sounds, with very good definition, finesse and class, plus enough extension to round off a truly rich, musical, pleasant, engaging and highly enjoyable sound, not least because of its balance and calmness at the top end.

Soundstage, Separation

The scene is based on bass with plenty of volume, elasticity, texture and depth. This volume is expansive, as the physical component of the bone conductor and the resonance of the capsule extend it even further. In this way, the scene already seems very wide from the bass alone. The laterality is very good and the sound is surrounding. The height is very pronounced, which is certainly one of its strong points. This gives the sound a zenithal, slightly ethereal and gaseous feeling. But it is not an overly volatile sound. The physical component generates a substrate, a powerful base. Thus, the sense of dynamics is also pronounced. The result is a rather enveloping scene that is neither spherical nor completely encircling the head, although the volume is very generous. Noteworthy is the ability to layer and layer the elements, distancing them from each other while retaining their importance and role within the music.
This is not an analytical sound, although it is very descriptive, with great resolution and definition. In this sense, it may seem that the micro detail should be much more explicit. But this is not the case, it is somewhat more relaxed in that respect, as it generates micro detail in an incipient and subtle way, but without being overly marked. However, it is very rich in nuance and is able to reproduce some hidden elements due to its complexity. It can also be surprising how descriptive and accurate this model is.
Separation is very good, but without losing cohesion or homogeneity. It maintains that balance between volatility and attachment to the base to draw a discernible scene, evident, well positioned and spatially located with remarkable solvency and distance between elements. It is worth noting the ability to produce a sense of live music in compositions with acoustic instruments.

Comparisons

Kiwi Ears KE4

The Kiwi Ears KE4 are IEMS based on the famous META frequency response. There has been a lot of buzz about this new frequency response. But, in the end, it doesn’t look like it will become a standard for the rest of the IEMS. And when it comes down to it, I think that the META curve is not to the liking of most enthusiasts. Perhaps this is because the right tuning has not yet been found. In any case, the KE4s are IEMS that cost $199 and have a very similar frequency response to the Apevoix Grit. They are very similar up to 200 Hz and between 1 kHz and 6 kHz. Then, the KE4s seem to have a little more energy in the treble and more air.
The KE4s are based on the classic Kiwi Ears accessory set, which includes a set of tips and a zipped case. The cable is of good quality. The Grits come with little else: the Pelican case, a set of tips, a pair of foam tips and a high quality cable.
In terms of construction and design, both are made of resin. The Grits are thicker, bigger and have that resonant capsule. The advantage is that their mouthpieces have more projection and allow for deeper insertion. The KE4s are smaller, with a more classic semi-custom shape, but with shorter mouthpieces for shallow insertion. I prefer the deeper fit of the Grits, but it is true that their size may be more detrimental to people with small ears. They also have thicker mouthpieces, which can be problematic for those with smaller ear canals.
On the driver side, the KE4s feature an isobaric subwoofer system with two 10 mm dynamic drivers, combined with two BA drivers: one for full range (RAB 32257) and one for treble (Knowles RAD 33518). They also incorporate a three-way passive crossover and three independent sound tubes. The Apevoix Grit is a tribrid IEMS using a 10 mm dynamic driver for bass, four balanced armature drivers for midrange and treble, and a bone conduction (BC) transducer. In total, 6 drivers in a 4-way filter network. The model and origin of the BA drivers is not stated.
The Grits are a little easier to move than the KE4s, which need more volume to equalise the generated sound pressure.
When analysing IEMS, one has to take into account the tendency of the sound of all the IEMS analysed. While I found the KE4s a bit dark, the Grits not so much. It is possible that my ear is getting used to this kind of tunings with softer treble and more predominant bass. The difference is where the accent is produced. The Grits have a very physical bass, with quite a pronounced presence in the transition from sub-bass to mid-bass. Then, the mids are very well represented, very clear and wide. The treble is moderate and not as extended. In comparison, the KE4s have more treble. The voices between the two models feel offset: there is more treble component in the KE4s, while the Grits have a deeper, fuller-bodied base. It’s not a difference in thickness, but a clear difference in timbre. Which is more accurate? I don’t question that, but I do enjoy the physical base of the Grits’ voices more. But back to the bass, the KE4s have a tighter punch, with a smoother texture, are less rubbery and less elastic. Technically they are more accurate, but have a bit more colour. Grit basses are deeper and darker, have more physical pressure, move more air, have more presence, more volume, texture, rubberiness and elasticity. They have a slower decay and remain longer in time and space. But all these properties generate a sensation that I find difficult to escape from. In fact, the bass of the Grits is a very pleasant experience for my ears.
In the very low frequency pure tone test, the Grits seem to have a bit more presence in the lower notes, but they also have a less desirable wave character that soon disappears as frequencies increase. It is possible that this is due to the behaviour of the bone conduction driver. The KE4s are purer in this respect and behave better, more natural and realistic. That means they are more accurate, faster and clearer. However, they do have a point of colour, whereas the Grits are darker, the bases seem deeper. This, together with their physical and resonant power, texture and volume, tips the balance towards the Grit.
In the centre band, the battle is very complicated. They are great midrange models, for my taste. The KE4s bring extra presence in the first half of the midrange, something I like a lot. Male vocals have a closer presence, whereas on the Grits they are a step further back. Personally, I prefer the fuller and closer presence of the male vocals in the KE4s, but I must confess that the richness, the amount of nuance, the lushness and the volume stand out in the Grits as well. It seems as if in the KE4s the male voices are more compact, but in the Grits they become more complex, dilated and expressive, which makes them sweeter and more pleasing. The female voices have a very similar presence in both models. However, the Grits are still dominated by a more pronounced silky aspect, which generates more velvety female voices without losing the harmonic richness or the powerful base. The female vocals on the KE4s are more concrete, less crisp and also more compact. It seems that the dual midrange driver is more informative on the Grits, in addition to the supposed extra texture of the bone driver. If I found the mids of the KE4s excellent, the mids of the Grits are a bit better, richer, more expressive, sensitive, silky and sweet, with that subtle touch of more transparency, body and volume.
If the highs of the KE4s were already close to neutral, the highs of the Grits are clearly below. However, they still have that sweetness and expressiveness that makes them very musical and enjoyable. The KE4s have more sparkle, energy, extension and air. They are also punchier and less delicate.
The KE4s have a large soundstage and their notes are widely separated. But the Grits are a step above, with a physical, volumetric, very deep, wide, surrounding scene and with notes that are so spaced out, crisp, clean and transparent. More space between notes and higher resolution drivers give the Grits a little more detail, nuance extraction capability and virtue in describing music with more richness and complexity, in a very pleasing and balanced way. The sound of the Grits is bigger than that of the KE4s.

Conclusion

Can IEMS with soft treble and not too extended be perfect? Probably not, but do they have to be perfect to deserve a 5-star rating? Well, neither. Given the subjectivity of my opinion of the Apevoix Grits, two superb ranges stand out: the bass and the midrange of this brand’s inaugural work. This new model from the debutant brand has a tribrid driver configuration ( 1DD + 4BA + 1BC). In addition, it has a resonant capsule that combines with the full-range bone driver to add an extra physical component and texture. The bass is very big, voluminous, with a big punch and that tangible feeling that creates a differential experience. The mids are very rich, sweet, harmonious, musical, tremendously engaging, resolving and immersive. The highs are soft, delicate and not too extended, but they are the perfect balance for a special and very pleasant IEMS. And don’t forget the wide soundstage, excellent separation and remarkable level of detail, qualities that the Apevoix Grit possess and that bring you closer and deeper into the music than very few other IEMS in its price range. Superior.

Sources Used During the Analysis

• EPZ TP50.
• ifi GO Link Max.
• iFi GO bar Kensei.
• Tempotec V3.
• Burson Audio Playmate 2.
• Aune X8 XVIII Magic DAC + EarMen ST-Amp.