Maxi Sub-Bass

Ratings

Pros

• They have the highest sub-bass in the world.
• The real skill lies in controlling that huge sub-bass when it reaches the mids. It partially succeeds.
• The cable has a totally secure screw-in pin change mechanism.
• Special semi-custom construction and quite comfortable.
• A lot of own technologies used to build the model.
• Nice pelikan type case.

Cons

• Perhaps the price per dB of sub-bass is too high.
• The cable, although quite good, is not cheap either.
• Treble, clarity, transparency, detail, resolution and definition are limited for the price paid.
• I don’t know if it’s the complete accessories, but 5 pairs of tips is ridiculous for the price.
• The behaviour and loudness of the sub bass in the LFO test is not the most realistic.

Purchase Link

https://fatfreq.com/products/scarlet-mini

Link to the WEB

https://fatfreq.com/

Introduction

FATFrequency is a Singapore-based brand specialising in medium and high-end IEMS. It currently has four major series, according to tuning type: Mestro (V shaped), Musician (Bass), Reference (Flat) and Signature (Balanced). Prices start at over $200 and, in particular, the Scarlet Mini is priced at around €600, while with the Silver Red cable it goes up to €750. This model boasts the world’s first 30dB sub-bass shelf, expertly controlled below 200Hz. FATfreq’s patented tubeless HyperTweeter system provides stratospheric extension and brightness up to 40 kHz. Proprietary technologies in this model include: Bass Cannon™: (Patent Pending) which uses patented dynamic woofers, bass chambers and acoustic damping networks. Linear Impedance: FATfreq uses patented circuitry to correct the non-linear impedances of multi-driver systems. This technology ensures frequency response consistency when connected to any device. Sonar La Trompa™: Inspired by the anatomy of the traditional horn, FATfreq uses the exponential curvature of the horn to control gain and enhance treble tonality through acoustics. Giving you a smooth, natural sounding treble, cemented by a pleasing timbre in the mid and low frequencies. PhaseAlign: The absence of a DSP in IEMs forces the phase matching of multi-way systems by means of an acoustic delay. Using patented structures, the low, mid and high frequencies are aligned so that they reach your eardrum coherently. Let’s see what all these technologies can do in the IEMS with the wildest subwoofer on the planet.

Specifications

The FatFreq Scarlet Mini are part of a European tour organised by Head-Fi. They have been shipped in a medium sized Pelican box. As there is no box, there are no specifications. But, in the WEB I haven’t seen any section either, apart from the presentation of the model and the technologies used. Maybe I’m wrong, but I couldn’t find the specifications.

Packaging

As I say, they have come in a medium sized red Pelican box. Inside there is a large tablet of desiccant material. Around it is the coiled cable. There is a slot on the right side where the 3.5mm SE and 2.5mm BAL plugs are screwed in. As standard it comes with the 4.4mm BAL plug. On the other side is another slot containing a cleaning brush. Next to it, on the right hand side, are the two capsules and a bag with two sets of tips (3 and 2 pairs respectively). Nothing else. It comes with the Silver Red upgrade cable, which costs around 150€.

Construction and Design

Scarlet Mini have a pronounced semi-custom shape. They are medium-sized, integral capsules, with an outer face in a flowing pattern of deep red glitter. On the left capsule is the brand name and on the right the logo in gold ink. The 2Pin 0.78mm interface is fully integrated into the capsule. On that edge, nearby, there is a hole. The inner side has three levels, the first one is flatter, but rounded. You can read on it ‘A1128’ in white ink. The second level is the base of the mouthpiece, very projected. The third level is the nozzle itself. The orifice is covered by a perforated sheet of metal. The body is made of resin and is medium-large in size.
The cable has four red strands covered with transparent PVC. It has a good system for interchanging the plugs: a cylindrical, metal screw-on cover allows the system to be anchored. All connectors are gold-plated. The splitter is a simple, smooth, black metal cylinder. The pin ring has an inside diameter that is too large for effective cable adjustment. The covers of the 2Pin 0.78mm connectors are black cylinders with the channel lettering inscribed in white.

Adjustment and Ergonomics

These are IEMS with a very pronounced semi-custom shape, beyond the regularity itself. It has long nozzles mounted on an already pronounced base. This allows an insertion that could be deeper, but the diameter of the nozzles can be a handicap. In my case, the insertion is shallow using my classic large tips filled with my own handmade foam. With them I get the classic fit, very good insulation and fixation. Because of their size, the problem may be that they clearly protrude out of the ears, without this being a problem of comfort or ergonomics, beyond the aesthetics.

Sound

Profile

Exaggerated V-profile with a very high subwoofer elevation. The brand itself says that the elevation reaches 30dB and that it is the highest subwoofer in the world. The rest of the frequencies are rather classic V-profile, with a somewhat uneven extension in the treble. It is worth noting that they are a bit difficult to move.

Bass

According to my measurements, the rise of the subwoofer reaches almost 25dB with respect to the lowest point of the mids. But it is also true that the slope is very steep, losing almost 20dB at 200Hz, which is a very high value. Compared to other clearly bass-heavy IEMS such as the 7Hz Legato, whose sub-bass boost is around 15dB, the Scarlet Mini almost reaches the same value at the 200Hz position, while at 300Hz onwards it is the same. FatFreq wanted to emphasise this aspect, the disconnection of the bass from the rest of the frequencies. The real result is very good, but not infallible. The Scarlet Mini are still V-shaped IEMS with the upper mids moved forward. And it is true that this point of illumination is necessary to bring them out of the darkness in which they seem to be immersed. But it doesn’t seem to be enough.
It is quite clear that the FatFreq Scarlet Mini is not only an IEMS for bass heads, but also for die-hard fans and the most daring. The sound pressure that these IEMS exert when reproducing bass is very great. Such is the power that in the very low frequency pure tone test the IEMS seem to tremble from the level of energy they are able to deliver. The 20Hz oscillations are so high and physical that they seem to reach the brain directly. Anyone would think that the performance in this test would be a failure. But this is not the case. It is clear that so much energy makes the LFOs audible, a little coloured. But both the physical level and the behaviour is very good. Another thing is the speed and the aftertaste it leaves in the atmosphere. So much energy is difficult to dissipate in an instant. Even so, I can’t say that the Scarlet Mini’s base hits are slow. But it’s true that the rumble lingers and that’s what can be most overwhelming when listening to electronic music with these IEMS. On the one hand, it is appropriate to limit the volume so as not to reach that extreme. But then you will come to the conclusion that this model is somewhat dark, very dense, with too much volume. Needless to say, the bass is deep, full-bodied and energetic, with great rumble, some colour, plenty of texture and noticeable punch. And yet, despite all this, there is also a touch of precision and technical skill. But the exaggerated power level tarnishes these characteristics.
In the dirty, unfiltered and poorly recorded bass test, the Scarlet Mini doesn’t suffer one iota. Both the sonority and the behaviour is in keeping with their quality and price level, but with that overpowering power. They are able to follow complex bass lines with ease and can layer well. Another thing is when the bases are very fast or continuous, that’s where the punch and volume is more complex to handle.

Mids

As I said, so much energy in the bass is not easy to disconnect from the mids. And when the low notes come in, their rumble is high relative to the rest of the instruments. Still, playing acoustic, vocal music with hardly any bass, the Scarlet Mini’s are not a waste of clarity in the first phase of the mids. On the one hand, they manage to keep male vocals from sounding muddy, even if their timbre is dark and with a dense, physical base. This gives them an unusual sense of body and depth. But, it is also true that they are behind in the mix. The elevation of the second half and the alternating treble are not able to bring all the clarity needed to revive the mids. The result is a physical, full-bodied and dense midrange, quite warm, thick and heavy, but also quite musical. They offer a good performance in macro detail. But, at the micro level it is not very skilful. Both the thickness, density and darkness mean that small details are trapped in a background that is not very discernible. The sound has an organic, analogue character, it is not detail-oriented, nor is it at all analytical. However, it can become soft and pleasant in its own way, with that more muted, warm tone. The problem lies in the volume ratio between the bass and the midrange. I would never choose the Scarlet Mini as an all-rounder. Although their performance, timbre and tone in this range is good, I prefer technically superior sets with more transparency. But, if there is one thing I must emphasise, it is that there is no sense of hollowness in the first part of the mids.
On the other side, the female voices sound more natural, if slightly disconnected. Here it can be observed that they do not have the fullness of the male ones. In this respect, one can even notice that the Scarlet Mini is still a V IEMS. The control of the upper mids and the treble transition allow for a sibilance-free and secure sound.

Treble

The treble sounds somewhat limited. The energy of the bass can impact the upper range. But the tuning has remained smooth in the transition from upper mids to first treble. And there is even a clear drop in the second half of the high notes. This characteristic still further disconnects the high end, limiting in brightness and the extension of the upper range. Then, there is a certain amount of air and extension beyond the audible zone. But the overall subtraction of energy in the first two parts of the treble creates this feeling of insufficient, limited, soft, even harmonically and sonically incomplete brightness. The result is a somewhat dry, simple and softened treble.

Soundstage, Separation

The most striking aspect is the volume and depth. The scene is wide and the bass seems to skirt the head. In this way, a remarkable level of laterality can be perceived. Macro detail is evident, but micro detail is limited. There is hardly any sense of volatility and the sound is not very expansive in this respect. So the pitch is not very high. The thickness of the notes is high and the background is not very discernible. The sound comes across as dense and full-bodied, with a medium sense of separation. It’s not a suffocating sound, but there is a certain sense of opacity generated by the thickness and the low end, which seems difficult to penetrate.
The image is correct, there is nothing that seems out of place or out of focus. In fact, it seems to be better in this respect than in other technical characteristics.

Conclusion

The first FATFrequency model I have reviewed is a beast with the highest sub-bass in the world. And my question is not long in coming: Is it necessary? For me, hi-fi is an adjustment to the reality of music. Any variation implies a taste or enjoyment that departs from that fidelity. And that is how I can defend this model, as an (expensive) whim. But also as a challenge. The challenge of creating the world’s first IEMS with a sub-bass level of 30dB. And, almost more importantly, expertly controlled below 200Hz. That’s what the brand itself says and I can add little or nothing to this company, because they have really achieved what they set out to do. I just expected a bit more in the treble so that the sound would not be so shaded and dark.

Sources Used During the Analysis

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