Two Tenths Minus

Ratings

Pros

• Smaller size and lighter weight than its predecessor.
• Smoother, more relaxed and warmer tuning, free of sibilance and suitable for long listening.
• Deeper and more powerful bass.
• First half of the midrange more full-bodied and dense, more wall-of-sound feel.
• Relaxed upper mids, treble in tune, yet extended in the first two halves.
• Three tuning filters and 6 pairs of tips with different tuning properties.
• High level of construction.
• The red filter turns the MP143 into an IEMS for bass heads.
• Plastic-free packaging.

Cons

• The sound is more nuanced, darker, less technical, separated and with less scene than its predecessor.
• The cable has only two strands instead of the four of its predecessor.
• Despite the smaller size, the projection of the mouthpieces is lower, making the insertion more shallow.
• I still miss a zippered case instead of a carrying bag.

Purchase Link

https://www.kickstarter.com/projects/hidizs/hidizs-mp143-salt-143mm-large-planar-hifi-in-ear-monitors

Link to the Store

https://www.hidizs.net/products/hidizs-mp143-large-planar-magnetic-hifi-in-ear-monitors
https://www.hidizs.net/blogs/buying-guides/ocean-large-planar-family-hidizs-mp143-salt-vs-hidizs-mp145

Introduction

Hidizs has redesigned what has been one of its best models, the MP145 planars. The new model is called MP143 Salt. Its design continues to be inspired by whales, with a new 14.3mm planar driver and a smaller and lighter capsule, weighing only 8 grams each. The driver remains large and is called ‘FAST 2’. It has been customised by Hidizs and employs a fully symmetrical 7+7 N52H magnet design, which almost achieves 1 Tesla in magnetic space. Its diaphragm is nano-level to provide more information and dynamics. For the cable, the classic 2Pin 0.78mm interface has been used with a choice of two terminations: SE 3.5mm, BAL 4.4mm. Gold-plated connectors and high-purity, oxygen-free silver-plated copper conductors are used. Hidizs is still committed to include 3 pneumatic filters to offer 3 different tunings. These filters are in the form of screw-in mouthpieces that can be interchanged, as was the case with the MP145 model, with three colours: Gold (balanced sound), Silver (high frequency sound) and Red (low frequency sound). Finally, it continues its collaboration with WDC and comes in plastic-free packaging. Let’s see what this new model can offer, which, at the time of writing, can be purchased for $99, while its official price is $159.

Specifications

• Driver Type: 14.3mm ‘FAST 2’ magnetic planar with nano-level diaphragm and 7+7 N52H magnet array.
• Frequency Response: 20Hz-40kHz.
• Sensitivity: 103dB.
• Impedance: 17Ω.
• Distortion Ratio: <0.05%.
• Jack Connector: Choice of SE 3.5mm/BAL 4.4mm gold-plated.
• Capsule Connection Type: 2Pin 0.78mm.
• Weight: approximately 8g per capsule excluding cable.
• Capsule Construction: One piece CNC machined aluminium.
• Cable Composition: Formed from two strands of high purity oxygen free copper conductor.
• Cable length: 1.2m.

Packaging

The Hidizs MP143 comes in an eminently grey box whose dimensions are 134x108x50mm. The texts and engravings are gold-coloured. On the front side you can see a real photo of the capsule. At the top left is the Hidizs logo, in the upper right corner is the WDC logo and another logo indicating the size of the driver used. At the bottom, the model is presented in several languages. In the same way, but in white ink, the specifications cover the back side, also in several languages. At the bottom are the brand name, as well as the supplier and the logos of the certifications the product complies with. After opening the box, the capsules are encased in a cardboard mould made of multiple layers of black cardboard. It should be noted that no plastic is used in the packaging. There is a legend at the bottom with the name of the model and a slogan. On the top there is a white ribbon to lift this first layer. On the second layer there is another black cardboard box containing the rest of the accessories:

• The two Hidizs MP143 capsules.
• The silver-plated copper cable with BAL 4.4mm connector and 2Pin 0.78mm interface.
• A set of three pairs of white silicone tips sizes SxMxL.
• One set of three pairs of black silicone tips sizes SxMxL.
• One pouch with flexible band closure made of black synthetic leather.
• Transparent plastic box with 2 pairs of tuning filters (red and grey). The gold filter comes installed.
• Instruction manual.
• Card with the brand’s social networks.

The silicone tips are strung on two cardboard hooks. But, to be purists, the filters come in a plastic container and the bag could have been made of cloth. On the other hand, my criticism is not in that sense, but that I would have preferred a zippered case and a slightly thicker cable, like the one in the MP145 model, which was 4-strand. On the other hand, the MP145 model had three different and complete sets of tips.

Construction and Design

The design has changed and Hidizs has strived to design a smaller and lighter capsule. They have succeeded, but it is possible that this is why they have had to reduce the size of the driver. The design retains that outer trapezoidal shape, but it is smaller in size, with a smaller circumference and thickness. There is also less weight, but the projection of the mouthpieces is not as long, something that influences the ergonomics in a negative way, at least in my case.
As I say, the capsule shape has 7 faces of varying lengths, just like its predecessor. The outer face starts with a sloping chamfer in the upper area, followed by a flat area where the brand name is written in white ink and the WDC logo. This is followed, towards the bottom, by a stepped pattern that simulates waves and/or whale baleen. The edge is narrower and the 2Pin interface is fully integrated into the capsule and consists of an oval translucent plastic plate containing two 0.78mm gold-plated holes. Next to it is a hole. The inner side is flat, smooth and inclined towards the mouthpieces, there is no ergonomic shape, no protrusions, apart from the rounded inclination towards the mouthpieces. The mouthpieces are part of the capsule. They start with a step and an initial diameter of 5.7mm. The threaded filters make up the crown of the mouthpiece and have a diameter of 6.2mm. The total length of the assembly is approximately 5mm. On the way to the nozzles, on this inner side, there is another hole.
The cable is somewhat simpler than the MP145s. Consisting of two single strands wound together, the conductor is still silver-plated, or at least silver, although the conductor is specified as high-purity oxygen-free copper. The sleeve of the gold-plated 4.4mm BAL connector is a matt metal cylinder. There is a polished engraved ring at the top, near the cable outlet, protected by a translucent plastic coating. The splitter piece is a smaller single cylinder, but of the same construction as the connector sleeve. The pin is a ring of the same style, the inner hole of which is too large to fit the cables tightly. The sleeve of the 2Pin 0.78mm gold-plated connectors are both metal cylinders with a recessed ring painted in red or blue, depending on the side of the channel. The style and colour is maintained on all metal parts of the cable. The cable has an over-ear guide made of the typical translucent plastic tube.
It seems that the goal of reducing the size and weight of the capsules has been achieved. The mouthpieces are different from those of the MP145 model and the cable is only made of 2 strands instead of the 4 strands of the previous model. This is something I don’t understand, it seems a step backwards in the overall quality of the new model.

Adjustment and Ergonomics

It is true that the MP143 is smaller, lighter and thinner than the MP145. But the projection of the nozzles is shorter. This makes the insertion shallower and not as deep. If with the MP145 I got a shallow insertion that made the edges of the capsule barely rub against the parts of my ears, with the MP143 the integration is deeper and they fit tighter, without getting that floating effect that I did get with the previous model. It is true that the set is better adapted to the ears, but it has been more difficult to find the right tips, my classic big tips filled with foam have not worked, I have had to play with different variations of filling and size of silicone tips. It is true that the size and weight has been reduced, with the consequent ergonomic improvement that this entails. But the fit is a little more critical than what I get with the previous model. Maybe I’m special in that sense, but my ear morphology is what it is. So the new Hidizs MP143s are a little bit behind in the fit aspect compared to the previous larger and heavier model. And this fact can also be detrimental to the final sound, considering that the better the seal, the better the perceived sound, I have the feeling that I don’t get that level in this new model. Likewise, the degree of occlusion and the feeling of isolation is also inferior to the MP145 model.

Sound

Profile

The difference in tuning between the MP143 and the MP145 is not very great, as can be seen in the graphs. But there are clear differences, especially from the upper mids onwards. The MP143s are deeper, with a slightly higher sub-bass, something that accentuates a purer W-profile, but also softer in the high end. The upper mids go into a trough while the highs are smoothed out a bit more. All of this contributes to a warmer and softer presentation, very much in keeping with the current trend of cutting the brightness of planar drivers. The MP143s with the Silver filter are somewhat closer to the MP145s with the Gold filter. With this filter, the MP143s accentuate the W-profile and slim down the bass and upper midrange. The sound becomes a bit punchier, more edgy, but also more transparent and clearer, losing some of the warmth it has with the gold filter. This is undoubtedly a very good alternative to restore some sparkle by losing some softness in the ambience, making the sound a bit more technical as well.
But the real revolution lies in the Red filter, which radically changes the sound of the MP143s, turning them into very close to level IEMS for Bass-Heads, much more polarised than the previous MP145 with the same filter. The upper midranges are depressed while the bass and sub-bass are obviously lifted. The profile becomes darker, although the treble doesn’t change that much. It’s the combination of a lot more bass and that clipped clarity area that loses transparency and makes the sound more opaque and dense. I would say that this filter is for experimenting, for special occasions and focused for bass heads.
To reduce my impressions in this review, my observations about the sound will be based on using the default Gold filter, whose sound is more balanced.

Bass

The MP143s have a more emphasised sub-bass. In my opinion, this gives it a more pronounced sense of depth. It also feels darker, due to its warmer and softer profile in upper mids and upper treble. As a whole, the bass is big, broad, extended and dense. It is not overly textured and is more rounded and smooth in its presentation. That limits any sense of roughness or surface roughness. And that union of roundness and smoothness on its surface gives it a more rubbery, slightly springy appearance that makes it quite attractive, while accentuating its density and body.
In the very low frequency pure tone test, at the lower audible end there is a certain wave character above a more sensory or audible behaviour. As the frequencies get higher the naturalness and better behaviour comes to the fore and that comes quite soon. I wouldn’t say that this is an exemplary bass in this respect, I would even say that it sounds musically speaking better than it behaves in this test. There is nothing critical about it, just that I was expecting a first tone with less wave character and more sensory. However, the translation to reality is good, implementing quite fast bases, with a high decay and very little aftertaste. This more rubbery character avoids dryness and gives it a greater extension. It all helps to recreate that sense of depth, darkness and density.
All in all, the MP143‘s bass is a little more elastic, rubbery, dark and deep than the MP145’s. I think the MP145’s bass is drier, subtly a little more coloured, but more compact and more technical.

Mids

The midrange of the MP143s is warmer and denser, feeling somewhat more veiled compared to the MP145s with the same filter. This makes the male vocals more full-bodied, but also less explicit and informative. The softness of the upper mids makes them lose a point of sparkle and transparency, something that can be gained with the Silver filter. Still, that sense of warmth prevails. The density of this first part leans towards the low end, without the male vocals taking centre stage, thus building up that wall-of-sound feeling. The warmth and darkness influences the timbre of those voices, subtracting upper harmonics and framing that slightly more romantic sound, but also heavier, softer, but less detailed, less explicit and more blunt and rounded.
The result is repeated with the female voices: that feeling of softness and roundness persists, with a thicker and more controlled note weight. In MP145 these female voices are freer, cleaner, clearer and more exalted, also more detailed and with that more accentuated analytical level. The musical complexity is not as high in MP143, at least, it does not jump out as much as in MP145. As it is denser, the instrumentation becomes more intricate and the greater weight of the notes, especially of lower frequencies, overshadows the technical expressiveness of the midranges and they become less detailed, less transparent and more united. It is more musical, it is smoother, less harsh, free of sibilance, denser, with more body and weight. But it is also somewhat diminished in clarity and expressiveness. However, its technical skill persists, as well as the emotion of a midrange with great melodic richness.

Treble

Purely speaking, there are not so many differences in the high end of the MP143s compared to the MP145s, so that feeling of linearity persists, even somewhat corrected compared to the previous model. It is clear that all the previous more relaxed and softer tuning may influence the perception of a quieter treble, coming from a less vivid sound, but the energy level of the treble is still maintained. Perhaps, it is felt that the thickness of the high frequencies is a bit greater, that could explain the overall softer feeling in this range. The MP143’s are less sibilant, but maintain that typical extension of their previous sibling, with no hollowness, displaying an adequate, natural and homogeneous timbre. They also maintain a somewhat reduced air area, something that is repeated in all three filters. However, the Silver filter provides a higher point in the first treble, adding a little more sparkle and liveliness to this beginning. The sound also seems to be a little freer, a little thinner, less rounded and more sparkling.
All in all, the treble remains balanced and extended in its first two parts, with a broad initial representation, a level of energy maintained that provides homogeneity and naturalness.

Soundstage, Separation

The MP143 has a smaller capsule and a subtly smaller driver. It also has no such opening on its outer face. Perhaps these details and a few others, as well as its warmer, darker and deeper tuning, may explain why the soundstage does not appear as large as in the previous model. Although it is wide and quite deep, it does not have that expansive, gaseous, extended feel of the MP145s. Its greater density, greater note weight and thickness give it a larger wall-of-sound feel, but a more restrained and tightly packed soundstage. There is a noticeable representation on all three axes, but it doesn’t come across as surrounding or volatile. Separation is good, but not as transparent or obvious. Thus, detail is not as evident, nor is it as explicit. It has good representation of macro and micro detail, but not high expressivity, offering a softer, more relaxed and calm informativeness, more suitable for long, rich listening.
The image is well positioned, feeling homogeneous but well exposed. There is a good level of layering of layers, elements, instruments and notes. But that denser, darker feel can prevail in certain musical situations, detracting from nuances and a sense of multiple layers.

Comparisons

Hidizs MP145 Gold Filter

Throughout the review I have compared both models. In my opinion the MP143s are a warm, smooth, deeper, slightly darker, also denser and more compact version of the MP145s. The MP145s have a less powerful and present lower end in the mix, subtly more coloured, but drier and faster. The midrange is more transparent, explicit, clear, bright and separated. This gives it a more analytical, expressive and informative character, but also more piercing. The highs are fairly homogeneous in both, but the MP145s have finer notes. The stage and separation is greater in the MP145s, while the MP143s offer a more homogeneous wall of sound.
Overall, the MP145s are more precise, more technical, wider, extended, more transparent and separated.
Surprisingly, the MP145s are somewhat easier to move than the MP143s.

LetShuoer S12 Pro

When talking about planar IEMS I always have two of the most famous models in mind: the 7Hz Timeless and the LetShuoer S12. I haven’t had the pleasure of trying the first ones, but I have two versions of the second one, the standard and the Pro. There are also some special editions, like the Z Reviews Gold special edition and now, due to the eighth anniversary of the brand, it seems that there is a special edition of the S12 with a titanium outer face.
The version I am going to compare with the MP143s is the Pro, as their similarity in frequency response is superior. You could say that the S12 Pro version is warmer than the original, with a more emphasised sub-bass and somewhat more restrained upper midrange and first treble. And that is something that is very much related to the differences between the MP145s and the MP143s. That’s why I think this comparison is very appropriate.
The S12s could be the kings of planars in small capsules, it seems unbelievable how Letshuoer has managed to integrate such large planars, remember 14.8mm, in such a small and comfortable capsule. In my opinion there is one drawback related to this aspect and that is that the S12 Pro have a denser sound due to more congestion. The feeling of a slightly darker wall of sound is more perceptible in the Letshuoer. Subtly easier to move, the S12‘s cable is modular with all three presentations, with two strands thicker and stiffer than the MP143’s. They come with an oval zippered carrying case that I miss so much on the Hidizs. It also comes with three types of tips, two of them made of silicone and another set of foam.
With such similar frequency responses, the profile is very similar. The bass of the MP143s is somewhat darker, more elastic and rubbery than that of the S12 Pro, which seems a little drier and more restrained, but with a little more colour. Thus, the S12 Pro give the impression of a more technical bass. The behaviour in the very low-frequency pure tone test is very similar indeed. Perhaps the MP143s sound less wavy and more realistic, which implies a better sonic refinement in the bass.
In the midrange there is a feeling of fuller and warmer male vocals in the MP143s, also somewhat closer and denser. This gives them a touch of exuberance, something that also rubs off on the instrumentation in this section. The female vocals feel a little more sparkle and liveliness in the S12 Pro, something that gives them a slightly more natural and realistic timbre, because they don’t feel as soft or muffled as in the MP143s. The note weight and thickness in both IEMS is similar, but that slight superiority in energy in the upper midrange and early treble gives the S12Pro’s a higher point of transparency, clarity and level of detail exposure. Things become much more equal when the MP143s are fitted with the treble filter. It is then that you feel a superior resemblance between the two IEMS.
In terms of soundstage the MP143s seem a little more relaxed, a little more vaporous. Whereas the S12 Pro’s are more overwhelming, more solid, with that wall of sound that becomes more frontal, but also wide. The impact is carried by the S12 Pro, but there is a little more air and smoothness in the MP143s, offering a lower level of demand and a more bearable sound. The S12 Pro’s are a little more explicit, precise and technical. But, as I say, the treble filter evens things out a lot in those respects, except for that perception of density and wall of sound.

Conclusion

The Hidizs MP143 Salt is a planar IEMS with a powerful, deep low end, a warm, subtly dark, yet smooth, secure and homogeneous profile. Within a musical naturalness, its note weight is thicker, but it possesses richness, great dynamics, as well as an organic, analogue, dense, pleasant and harmonious sound. The Hidizs MP143s are in that trend that enhances the sub-bass and attenuates the upper mids, achieving that more relaxed sound, free of sibilance, tasteful, temperate and moderate on top.
On the other hand, Hidizs has reduced the size of the capsule and also its weight, perhaps two of the main drawbacks of the MP145 model.
Launched with a starting price of $79, at the date of publication of this review they sell for $99, when the final price seems to be set at $159, just the same as its predecessor, the MP145.
In my personal opinion, there are differences in favour of the MP145 (better technique, precision, greater transparency, separation and scene). But this is just a personal opinion. Maybe that tuning with more bass, warmer and smoother feel, as well as a smaller capsule size and weight than its predecessor, are a clear advantage over that first Hidizs planar model. What is certain is that, without a doubt, this is a great alternative within a positive path of the brand itself and a tough competition under $100.

Sources Used During the Analysis

• EPZ TP50.
• Tempotec V3.
• Burson Audio Playmate 2.
• Aune X8 XVIII Magic DAC + EarMen ST-Amp.
• Aune M1p.