Titanium Always Wins

Ratings

Pros

• Special edition Golden Titanium.
• Level and materials of construction.
• Three pairs of interchangeable mouthpieces for fine-tuning the sound to personal taste.
• Bass with more punch, energy, volume and depth.
• Midrange and treble with more clarity, sparkle, precision and clarity.
• Larger soundstage, wider sound.
• Both 3.5mm and 4.4mm cables included.
• Special Hidizs silicone tips.
• Premium packaging with recyclable materials is respected.

Cons

• For the higher price I would have preferred a distinctive zippered case.
• Instead of the two cables I would have liked a cable with a thicker conductor and interchangeable plugs like the more direct competition.

Purchase Link

https://www.hidizs.net/products/hidizs-mp143-large-planar-magnetic-hifi-in-ear-monitors?variant=46294738141371

Link to the WEB

https://www.hidizs.net

Introduction

Hidizs is celebrating the success of its planar models by creating a limited Golden Titanium edition. In principle, it is a limited edition of 500 units. As Hidizs’ own website says, ’Titanium is a metal that is widespread in nature, known for its remarkable chemical stability, high temperature resistance, low temperature tolerance, resistance to strong acids and bases, and a unique combination of high strength and low density. It is commonly used in rocket and spacecraft construction, earning it the nickname ‘space metal’. Titanium has extremely low paramagnetism and extremely low electrical and thermal conductivity. However, it is difficult to process and has a high cost, making it an ideal material for high-end audio equipment housings. The MP143 Limited Golden Titanium is made of titanium. In addition, it is matched and turned based on the H-2019 standard curve. Therefore, the sound performance of the Titanium edition is more stable and clearer than that of the aluminium alloy edition. And the titanium material is more expensive than the other materials of the IEMs. It is clear Hidizs’ intention to create a superior product for life. Let’s see what this special model of the brand has to offer.

Specifications

• Driver Type: 14.3mm ‘FAST 2’ magnetic planar with nano-level diaphragm and 7+7 N52H magnet array.
• Capsule Material: Titanium.
• Frequency Response: 20Hz-40kHz.
• Sensitivity: 103dB.
• Impedance: 17Ω.
• Distortion Ratio: <0.05%.
• Jack Connector: 2 SE 3.5mm/BAL 4.4mm gold-plated cables.
• Capsule Connection Type: 2Pin 0.78mm.
• Weight: approximately 16g per capsule excluding cable.
• Capsule Construction: One piece CNC machined aluminium.
• Cable Composition: Formed from two strands of high purity, oxygen-free, silver-plated copper conductor.
• Cable length: 1.2m.
• Starting price: $369-329-$249-$249.

Packaging

The Golden Titanium special edition comes in an all-black box with all inscriptions in holographic gold ink. The size is 192x146x44mm. On the main side is the logo in the upper left corner. In the centre is the shape of the outer capsule face crossed by twelve diagonal lines. At the bottom left is the model name and description of the model. In the lower right corner are the WDC, Hi-Res and Salt logos. On the back side are the specifications in the centre, in English and Chinese. At the top left is the brand name and in the right corner the logos are repeated.
After opening the box there is a black foam covering the entire surface. Underneath is a card with a picture of a whale, on the back is the agreement with WDC and the reason why this model is called Salt. As this is a single edition unit, the serial number and a signature of the CEO are specified. Underneath are four compartments. On the top left is the 10th pin (commemorative 10th anniversary). To its right is the compartment containing the capsules. Underneath are two black cardboard boxes containing all the accessories. All compartments are made of cardboard. The complete contents are as follows:

• The two Hidizs MP143 Golden Titanium capsules.
• The silver-plated copper cable with SE 3.5mm connector and 2Pin 0.78mm interface.
• 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 set of three pairs of Hidizs special tips in transparent silicone with green core sizes SxMxL.
• One clear plastic zip bag with 2 pairs of tuning filters (red and grey). The gold filter comes installed.
• A 10th commemorative pin commemorating the 10th anniversary of the brand (2014-2024).
• A bag with a flexible band closure made of black synthetic leather.
• Instruction manual.
• Card with the brand’s social networks.

The special edition comes with both 3.5mm and 4.4mm cables. Instead of creating one cable with a detachable connector, they have chosen to include both cables. I would have preferred a superior cable with a thicker conductor cross-section, as well as a detachable design for the plugs. I would also have liked a zippered case like in the older models, to emphasise that exclusive and superior touch. On the other hand, I liked the inclusion of the brand’s exclusive silicone tip model and the use of cardboard as a protection method instead of foam, although it is true that the first layer of the case is protected by a sheet of this material.

Construction and Design

Titanium is a heavier metal and despite the effort of the smaller capsule design (length 26mm, height 19.4mm and thickness including mouthpiece 20.6mm). The design maintains that outer trapezoidal shape, but with a smaller size, girth and thickness than the capsule of the MP145 model. 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 said, the capsule shape has 7 sides 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 and the WDC logo are inscribed. 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.
There are two cables in this special edition, with a 4.4mm BAL plug and a 3.5mm SE plug. Each consists of two single strands wound together, the conductor is still silver-plated, or at least silver-plated, although the conductor is specified as high-purity oxygen-free copper. The connectors are gold-plated and their sleeve 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 is clear that the weight of each capsule is heavier than the aluminium ones, but the copper-golden titanium burnished surface is a plus. On the other hand, it’s nice to include both 3.5mm and 4.4mm cables, but I would have preferred a special edition cable with a thicker conductor and a detachable plug system.

Adjustment and Ergonomics

The MP143 is smaller and slimmer than the MP145, although the titanium construction penalises the weight. The projection of the nozzles is shorter than the MP145. This makes the insertion shallower and more superficial. 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 better, without getting that floating effect that existed with the previous model. It is true that the set is better adapted to the ears, with the consequent ergonomic improvement that this entails. The weight is the negative point on this occasion. On the other hand, it may seem strange, but this time I didn’t have as much trouble with the tips as with the standard version. Maybe the heavier weight makes it sit better in the pinna. What does penalise comfort is the over-ear cable: it seems that the weight makes the junction of the cable with the case rub more against my ears. Something that is noticeable after half an hour. Not all morphologies are the same.

Sound

Profile

The Hidizs MP143 Golden Titanium Edition uses the same driver as the standard version, but takes advantage of the superior metal titanium. And in this way it exhibits small differences in favour. To begin with, the MP143 GTEs feel less dark than the original version and have a slightly more pronounced W-tuning, with a very subtle rise in the bass and a slightly more pronounced rise from the upper mids to the treble. These differences are noticeable with all three filters. It is clear that the red filter turns the MP143 GTEs into dark IEMS for bass heads, offering more limited clarity and accentuating the bass level. It is certainly a filter for experimentation, more extreme. And I don’t see anything wrong with including a more extreme tuning, considering that the other two filters are more common tunings. The MP143 GTEs are by no means weak in the low end, so the Silver filter, which emphasises the upper mids and subtly emphasises the highs, has become my favourite on this occasion. It is clear that personal tastes can vary over time, even with the season. And also because of the headphone trend I have reviewed above. The most balanced sound is achieved with the Gold filter and the most W version with the Silver. In the interest of finding a point of more transparency, light, clarity, detail exposure and compensating for bass power, the next review will be based on the Silver filter.

Bass

If there is one thing that has been gained in this MP143 GTE version, it is texture. Apart from the obvious and noticeable power of the low end, there is also a point of texture and roughness, as well as a slightly more obvious physical component. The lower range comes across as quite dense, punchy, deep and relatively dark. There is noticeable power and overt presence throughout the range, but it is cemented in the sub-bass, which is more powerful and pronounced than in the original version.
In the very low frequency pure tone test there is still that audible undulating character at the very low end, something that is inherent and intrinsic to the driver itself. The sensory part is retained but the ripple becomes perceptible generating a less natural colour. This less real feeling quickly disappears and only a few hertz higher up the true power, presence and rigour of the MP143 GTE’s low end is revealed. This is how a physical, predominant, spacious and volumetric bass is displayed. The translation to real music implies a very forceful base, with a great punch, with a very pleasant, if restrained, elasticity. The punch is fast, effective, powerful, with little lingering thanks to a rapid decay. There is a little colour at the beginning of the bass notes but it ends with a darker and deeper aftertaste, a halo that carries the bass towards the bottom. The first part of the punch is dense, physical, even violent, but you can feel the texture, the elasticity and a certain rubberiness. While the aftertaste is darker and deeper.
In the dirty, complex and unfiltered bass test, they demonstrate the MP143 GTE’s ability to contain. Despite all that power, there is no loss of control at any point, although the experience can be overwhelming, both in density, physicality and volumetrics. In this sense, the mix of power, volume, amount of presence, physical component and elasticity make the overall presence of the bass in the music quite large, generating an almost oppressive, deep and dark sensation that is contagious. Despite this, it is not a magmatic bass, but has a good level of resolution, definition and technical skill. Overall, though, it is more rounded and keeps the layers somewhat closer together and more cohesive than more technical rivals, such as the MP145 itself.

Mids

Even with the Silver filter the MP143 GTEs are perceived as warm. The base of the male vocals is quite present, but in a sweeter and softer way. Their representation is rounder, mellower and more musical, offering a smoother and more continuous texture, not harsh or analytical. The sense of density, physicality and sense of body remains, but the more informative and resolute character is minimised. Nuances are shown in a restrained way and darkness lurks in the atmosphere. Although the male vocals are not entirely prominent, they are able to rise above many elements, gaining overall presence, without being drowned out by the powerful bass, which is to be welcomed. The harmonic limitation of the standard version is maintained and the emphasis is on the romantic, melodic, analogue, organic, smooth, pleasant and musical aspect. The mids feel dense, homogeneous, cohesive, even heavier and punchier. The physical component is still present in the first half of the mids.
All of this edge does not disappear in the female voices, but it does help to clarify the sound with a slight increase over the original version. The female voices never feel sibilant, but are subtly freer, clearer, cleaner and more vivid. They gain in transparency, although they are not spared the density and cohesion that marks the whole sound of the MP143 GTE. So the more intricate character of the instrumentation remains, with an accentuated note weighting that gives way to a more palpable, but not quite as resolute, sound. There is no trace of harshness, but the sense of density and cohesion prevents the sound from being more explicit, obvious and more transparent. Even so, the level of detail is quite good, although the weight and forcefulness of the notes, the warm, cohesive, dense and musical character prevails over a more luminous, transparent and detached ambience.

Treble

There is a point of elevation of the high end in all three filters compared to the original version. This adds a touch more energy, finesse and lift to the treble. Although there is no loss of the control, smoothness and quietness of the original. There is still that idea of a slightly thicker upper band, plus a slight cutback in the air area, something that seems a little more pronounced in this GTE version. The result is still a fairly homogeneous, relatively smooth and controlled treble, with a good initial sparkle, a sustained extension up to 10kHz, before a more pronounced cutback from this point onwards.

Soundstage, Separation

The weight of the sound, its density, its forcefulness and physicality create a sense of depth and volume. The warmth, the softness of the notes, the density and cohesion of the music prevents it from feeling volatile and expansive. In this way the scene does not appear very high, but with plenty of longitudinal and horizontal travel. The laterality is more than noticeable, with that physical sensation that accentuates the presence and horizontal pressure towards our ears. The sensation of a wall of sound is unavoidable and the scene feels almost frontal and lateral. Although the volume and the physical component of the bass is to blame for the fact that the sound expands its borders and escapes over the head and also from behind, achieving an even powerful physical and surround effect.
The cohesion of the sound prevents discerning the micro detail in the background of the layers, as they feel more unified. Density prevents all the nuances from having a more obvious space. The result is a sound that is less separated, more cohesive, fluid, rounded, even thick, note-heavy and less sparkling. This limits any analytical, laminar feel to the sound. Despite this, it is still remarkably planar and you only need to focus your ear to find the details, perhaps not as obvious, discernible or well-defined, but they are there, just rounder and smoother. In this way, the sound is still rich, but calm.
The image maintains its good positioning, it gains in physical and corporeal presence, something that is a bonus especially in the voices and instruments with a large bass component.

Comparisons

LetShuoer S12 2024

If a comparison of planars is to be made, it is best to do so with another special golden edition. This is the LetShuoer S12 2024 Golden Edition. This is a special edition limited to 2024 units for its eighth anniversary. As Hidizs for its tenth anniversary, LetShuoer also includes a commemorative medal, a key ring, a gold-plated titanium alloy capsule, a serial number, a cable with interchangeable plugs, three sets of tips, the round screw-on case and a completely gold-plated premium packaging. All this for $199. The Hidizs don’t have such striking external packaging, it’s a more sober black with gold lettering. The medal is smaller, comes with a leatherette pouch, two 3.5mm and 4.4mm cables and the same number of tip sets. I prefer the cable of the S12, its round case and its better quality/price ratio, as well as its ergonomics, with a smaller capsule. On the other hand, I prefer the possibility of being able to alter the sound by means of three types of mouthpieces as the MP143s do.
At driver level the S12s use a 14.8mm planar magnetic driver while the Hidizs use a 14.3mm one.
When it comes to sound, the frequency responses are very similar between the two models when using the default Gold mouthpiece on the MP143 GTEs. I think that the size of the capsules and the integration of the IEMS in the pinna and in the canal play a very important role in the way the sound is perceived in a more complete way. And that’s the advantage of the S12 2024s, despite being smaller with shorter drivers, I find their insertion more effective, getting a fuller feel for the sound, getting a better appreciation of the level of resolution, detail and sparkle. This means that the S12 2024s need a little less power to achieve the same level of sound pressure.
The low end of the MP143 GTE has a little more texture and is a little more springy. The S12 2024s have a drier, more technical, subtly quicker response. The behaviour in the very low frequency pure tone test is surprisingly identical, both in timbre, colour and wave behaviour, the two sound the same. It seems that the size of the capsule may play a specific role in favour of the MP143 GTEs: despite the close resemblance, their bass is more volumetric, deeper, takes up more space, is larger and fills the stage more. But the ergonomics of the S12 2024 compensate for these shortcomings by generating a more direct and incisive bass, almost like a missile.
In the mid-range, the male voices are somewhat fuller-bodied in the MP143 GTE, although they seem subtly more distant than in the S12 2024. Again, I find a very strong resemblance between the two mid-zones, something that can be seen in the almost identical curves. However, there is that impression of more concentrated, more impactful music in the S12 2024, which means closer, more defined, somewhat closer and more perceptible mids. In the MP143 GTE they feel a little more diluted, also due to that feeling of greater volume. The same feeling is repeated in the upper mids, where the female vocals require a little more power to match the more direct and obvious presence of the S12 2024s. Even so, the female voices are more evident and fuller in the S12 2024s, while in the MP143 GTEs they feel wider and more extended in space.
In the treble there is a little more initial punch in the S12 2024s, but then there is a little more energy and extension in the MP143 GTEs. This favours the fuller timbre with a little more sparkle and finesse in favour of the Hidizs. The high end sound of the S12 2024s is subtly rounder, but with a little more air.
It is in the stage that I see the most differences, as well as in the presentation of the sound. The sound of the S12 2024 is more focused, more direct, more compact, more concentrated, more delimited. On the other hand, in the MP143 GTEs the space is wider and the sound feels a bit more diluted, with a bit more distance, more depth in between. There is also more volume, a slightly more ethereal sound. Despite this, there is not much difference in separation, but there is a difference in definition, with the S12 2024s being more concrete and defined, but not more detailed. That level of detail is very similar, perhaps displayed in a different way, more in the background in the MP143 GTEs, more intricate in the S12 2024s.

Conclusion

It has become a classic fact that the big Hidizs models come in a limited Golden Titanium edition. Thanks to this material, the expectations grow and the goodness of the standard version feels improved. In this case the clearest differences occur from the mids onwards, with better definition, a little more energy and precision. On the other hand, the low end seems to gain in forcefulness, punch and power, offering a more pronounced point of energy and volume. The soundstage has also received a small boost, thanks to the higher volume and depth that starts from the bass, offering a wider and more surrounding sound. On the other hand, this special version comes with a commemorative 10th anniversary pin, two cables with 3.5mm and 4.4mm combinations and an extra set of self-designed silicone tips. This is a collector’s edition that can now be found at a very similar price to its direct competition.

Sources Used During the Analysis

• Hidizs S8 Pro Robin.
• Hidizs S9 Pro Plus.
• Hidizs AP80 PRO-X Red Copper LE.
• Burson Audio Playmate 2.
• Aune X8 XVIII Magic DAC + EarMen ST-Amp.