The Controlled Cadence

Ratings

Pros

• Very good tuning, well extended, very pleasant, but controlled and smooth at both ends, with a lusty, melodic, musical, balanced and full midrange.
• Good stage levels, sense of openness, separation and depth.
• Very good unboxing experience.
• Great ergonomics and design.
• Excellent cable with three interchangeable terminations.

Cons

• The reproduction of pure, very low-frequency tones is not realistic and there is room for improvement, coming from a dynamic driver.
• This is not an analytical set, the micro detail is not the best.
• It can be a very relaxed sound for those looking for more emphasis on bass or treble.

Purchase Link

https://letshuoer.net/products/letshuoer-cadenza4-wired-iem-hifi-earphones-in-ear-monitor

Link to the WEB

https://letshuoer.net/

Introduction

In many ways, talking about Letshuoer is like talking about planar IEMS. And although it is true that Shuoer existed before its famous S12, this planar continues to be a reference within the $100 IEMS, at least in my country. But, I think it would be unfair to only talk about the S12, when the brand founded in 2016 has other great models to its credit, some of which I have had the pleasure of testing, such as the latest S15 planars, the S12 Pro, the DZ4 and the D13. It is clear that the brand does not live by planar drivers alone and this seems to be the reason for the new Cadenza series. The first model in this series to combine dynamic drivers with BA drivers was the Cadenza 12. A 2023 model that uses a 10mm dynamic driver with kevlar LSS diaphragm, together with 11 BA drivers from Sonion and Knowles to reproduce the whole spectrum. Undoubtedly, the Cadenza 12 is Letshuoer’s top-of-the-line model, priced at $2100. Fortunately for the medium listener, the Cadenza 4 has just been released. A model with a price tag of $249 that effectively mounts 4 drivers: 1DD + 3BA. It is a 10mm dual chamber dynamic driver, with beryllium coating. It is joined by a Sonion BA driver and 2 Knowles BA drivers. The Cadenza 4s adopt 3 acoustic tubes that are combined with a four-way electronic crossover. The 50μm 3D printed acoustic tubes ensure a precise, smooth and even sound. Meanwhile, the four-way electronic crossover allows precise control of the frequency distribution and significantly reduces phase errors. Once again, Letshuoer collaborates with Heygear Technology to perfect the headphone chassis. The panel is made of CNC aluminium alloy with a matte finish that provides a delicate, textured feel. The cable used as standard is high-purity silver-plated monocrystalline copper with 392 strands. It adopts 90° interchangeable pin technology, which allows the use of 3.5mm SE, 2.5mm BAL and 4.4mm BAL terminations. Let’s discover in the following review all that this fantastic new model from Letshuer called Cadenza 4 has to offer.

Specifications

• Driver Type: 1DD dual chamber with 10mm beryllium coated diaphragm + 1 BA Sonion + 2 BA Knowles.
• Frequency Response: 20Hz – 40kHz.
• Sensitivity: 102dB
• Impedance: 15Ω
• Cable material: high purity silver-plated monocrystalline copper with 392 strands.
• Outer plate material: anodised aluminium.
• Capsule material: 3D printed resin.
• Jack Connector: interchangeable BAL 2.5mm, SE 3.5mm and BAL 4.4mm.
• Capsule Connection Type: 2Pin 0.78mm.
• Cable length: 1.2m

Packaging

One tends to think that IEMS in this price range have to come in large packaging. But Letshuoer has created a contained packaging in size that, in turn, is actually very pleasant as an unboxing experience. The Lethuoer Cadenza 4 comes in a grey box whose size is 108x160x81mm. On the front side you can see the brand’s logo vertically, written in white letters on the left margin. At the bottom right is the Hi-Res Audio logo and below that, the name of the model. The background of this side is composed of a series of staggered patterns forming various angles to each other, in various shades of white and light grey. On the back are the specifications in several languages, including Chinese and English, the brand name, icons of the specifications the product meets, as well as a warranty sticker. The pattern of white lettering on a plain grey background is repeated. After removing the cardboard, the box remains the same colour and only the brand name and the slogan «Sound Alive» in capital letters can be read in white. The box has a magnetised lid that folds out almost completely. On the top of the box is a sealed grey envelope with a silver sticker. Inside is the instruction manual, the warranty card and a small product certificate. Underneath the envelope is the first level: this is a thick black foam mould covered by a layer of grey cardboard, which contains the capsules. The second level has a grey ribbon that allows it to be pulled out like a drawer. On this level is the classic round box with rubber coating, but this time it is black. There are also the three interchangeable tuning pegs, all in a new black foam mould also covered with grey cardboard. Inside the round box are the final accessories, such as the cable and a disc with the silicone tips. There are two sets of tips with 3 sizes each: SxMxL. The grey tips are made of very soft silicone and have a medium core diameter. They are the balanced tips. The vocal tips are transparent and are wider, both externally and at the core, but are shorter. I must comment that the tips that come as standard with the IEMS are rarely compatible with my morphology. In this case, both sets are very soft and small. I need bigger and stiffer tips. That’s why I always use my large tips filled with foam that I prepare myself. This way I can’t experience the differences that exist when using one or the other set of tips of this model.
There is no doubt that Letshuoer has found a compromise between the size of the packaging and an excellent unboxing experience, by designing a two-tier box with a bottom drawer. Combining simplicity and cleverness, as well as great materials used in its accessories, both the presentation and the contents are outstanding.

Construction and Design

As with the previous S15 model, Letshuoer has once again relied on Heygear Technology to create its capsules. With an anodised aluminium outer panel, the capsule has been printed in resin using 3D printing. The capsule design is different from the one used for the S15. Although the final finish is virtually the same, the size of the capsule is distinctly larger. The capsule design of the Cadenza 4 is much more reminiscent of a highly crafted semi-custom capsule. It has a wide and very projected, elongated mouthpiece. Its inner diameter is 6.2mm, while the crown is 6.5mm. There are three holes in them. One has a metal crown that reaches the rim with a greenish textile grid. The second hole has the same crown but more recessed. The third hole is free. The rest of the inner side of the capsule is complex and has a pronounced valley, as well as a shape that seeks to adapt to the design of the pinna, with a pronounced lateral protrusion, as well as a series of reliefs all over the surface. Not even the rim of the capsule is spared from these reliefs and curved shapes. The 2Pin 0.78mm connection interface is fully integrated in an oval plastic plate with gold-plated connectors. Next to it is a small hole. Over the corner you can read the model name «Cadenza 4» and «True Virtuoso», as well as a larger lettering indicating the channel, all in black ink. The outer face is made of anodised aluminium and is reminiscent of the design on the front face of the case, but without the steps. It is in the shape of an African continent. The plate contains a small horizontal border in the upper third and above it is the brand name in dark grey ink. This border goes all the way to the second horizontal third, and from there it bends downwards and slightly backwards again, but also upwards and all the way to the end, but in a more subtle way.
The cable has a pure, shiny, silver-plated, almost white conductor. It consists of two coiled strands of 392 wires of high-purity silver-plated monocrystalline copper. It has an interchangeable 90° angled pin technology. There are three pins: BAL 2.5mm, SE 3.5mm and BAL 4.4mm. The pins combine a cylindrical silver metal part with a more rubbery, flattened part, where the inscribed mark is located. The connection of the parts is stable and durable enough not to worry about. But it is not a screw connection, only a press connection. The plug part of the cable is a metal cylinder with a wide textured ring for better grip. It has a transparent plastic sleeve to protect the cable outlet. The splitter is a rectangular piece, although on one side it has an edge pattern reminiscent of the outer face of the capsules. The pin is also a rectangular piece in hard, transparent plastic that imitates the splitter piece, but only on one side. It fulfils its function very well and the cables slide smoothly inside it, allowing a long-lasting and firm fit. The cable has over-ear guides in the form of semi-rigid transparent plastic sleeves. The sleeves of the 2Pin 0.78mm gold-plated connectors are on square translucent plastic plates and both are of the same shape, like elongated boxes but with rounded corners. They are metallic, matching the rest of the material used in the cable, and have letters written to identify the channel, in a faint dark grey ink. Finally, there is a dark grey Velcro strap with the marking written on it in white letters. The cable, almost white, is very striking for its colour and thickness. Although it does not seem thicker than the one used in the S15, its finish is more remarkable, appearing superior, both in beauty and in final performance.
The capsules have changed from the previous Heygear model. The S15s were simpler, with a flat inner face, a rounded edge, with the cable in one corner. The Cadenza 4 has a much more complex design, with a surface containing many more curves and reliefs, with a more elaborate rim. It is larger, but with more stylised mouthpieces and a much more ergonomic and studied shape.

Adjustment and Ergonomics

With a larger capsule, wider and more elongated mouthpieces, the Cadenza 4 can be a bit of an ergonomic challenge. Clearly, insertion can be deeper, but the large diameter of their mouthpieces can also impede this. On the other hand, the varying relief of their inner face may pose a challenge for the fit with the wearer’s pinna. Depending on the degree of insertion, this aspect can be more or less compromised. In my case, as I usually use foam-filled tips, the insertion is superficial and the capsules do not touch any part of my outer ear, except for the rim, of course. The anchorage is perfect and although its size is bigger, it fits very well in my ears. The light weight and good relationship with the cable makes the whole thing very comfortable, occlusive, firm and durable, without rotation. As usual with the use of my home-made tips, the soundproofing is high, thanks to the fact that both its size and its internal foam filling tend to flood all the walls of my ear canal.

Sound

Profile

I think the Letshuoer Cadenza 4 has a smooth, decreasing W-profile, where each peak is polished and controlled. It starts with an emphasis on the sub-bass that gradually drops towards a midrange, the first half of which is very linear. From 1khz onwards there is an equally smooth rise and fall of the sub-bass, building up to a small plateau in the upper-midrange. At the entrance of the first treble, the curve decreases slightly again to maintain itself until the air zone, where there is a subtle upturn. As can be seen, I have done no more than describe a W where each peak and valley decreases in distance from each other. While it is true that none of the peaks are pointed and they are more like plateaus, the valleys are wide and flat. On the other hand, it is a balanced profile, not in vain the whole curve moves in less than 10dB from 20Hz to 14kHz, something that gives an idea of a quite successful homogeneity. But it’s not just homogeneity as such, the Cadenza 4s have adjusted their profile to offer some very calculated emphasis at key points, while maintaining the energy level to harmonise their sound as much as possible. Thus there is a gently tapering sub-bass that achieves depth and a certain level of punch, a subtly disconnected and autonomous first mids, and upper-mids that are emphasised in a very calculated and restrained way, so that they never sound harsh or overly present. Finally, the highs have been nuanced to a control zone that extends with a good level of energy, but never projecting into a piercing or piercing sound. Without a doubt, I could conclude that the Cadenza 4’s profile is based on a controlled cadence.

Bass

The Cadenza 4’s bass is concrete and deep, possessing a subtle elasticity, and is quite compact and restrained. Even so, they possess a certain level of energy and presence, enough to impose a slight authority, delivering a controlled level of energy and power. However, all this goodness shown in the musical section comes crashing down in the very low-frequency pure tone test. Guided by the sound, I expected the LFO (Low Frequency Oscillation) reproduction to be more exemplary. On the contrary, this is not the case. The lower pure tones have a clear oscillatory and vibrating character, very typical of an unfiltered BA sonority. There is hardly any physical or sensitive sensation and a coloured, sonorous, off-tone vibration prevails. Realism and naturalness appears from 40Hz onwards, but the colour still anticipates the energy level and classic behaviour emitted by a simple dynamic driver. This is not the first time this has happened in DD + BA hybrids, even in this price range. But, having tested the Cadenza 4s on my usual bass tracks, I didn’t expect this behaviour to be far from what a good dynamic driver emits.
It is in the other test of dirty, complex and unfiltered bass that the Cadenza 4s show these less advantageous characteristics. The deeper notes lack the necessary physicality, they feel coloured and infected with that vibrating, undulating aspect. This means a bass that is shallower and tends to vibrate more than it should, complicating the accurate and realistic tracking of very raw, fast and powerful bass lines. Still, the Cadenza 4s manage to retain a certain level of ability to layer and separate them, especially when it comes to separate bass. When the hit is well recorded, the Cadenza 4s respect their tone and deliver remarkably accurate reproduction. But it is when the bass is more linear, layered, continuous, sustained, mixed and dirtier that this less pure behaviour comes to the fore. In fast electronic music, with marked bases, it does not do badly, it is even when it shows its best side. But, when electronic music veers towards genres where the lows make up the melody, generate an ambience or form a dark and dense base, that is when certain anomalies appear that are appreciated when compared to dynamic drivers that have a more realistic behaviour.
It is worth noting that the overall bass performance is quite positive, as in conventional music reproduction, many of these faults are not noticeable, and it even sounds very good, remarkably controlled, with a slight level of pleasant texture and a good level of authority, precision, speed, both in the propagation and in the gathering. However, this does not detract from the fact that, at the limit, there is a certain behaviour that is not entirely correct. There are certain nuances that show that the execution is not canonical and that there are impure aspects in the sub-bass. Finally, these more negative aspects can be enhanced or minimised depending on the source used. And that is something that can be common, but in these cases it is usually more critical. A pity.

Mids

The frequency response of the Cadenza 4 is too particular to be the product of coincidence. I think it has clearly been sought and found. The first half of the midrange is a totally flat valley from 200Hz to 1000Hz. Then, there is a gentle rise of 8dB up to 2.5khz and it becomes a plateau up to 4kHz, to enter the treble in a descending, but very slight, way. First of all, what I like most about the midrange is that you don’t notice a complete drop. Admittedly, I’d like a little more body between the transition between bass and low-mids, to gain body, physicality, density and fullness. But there is not much to be missed at this stage. It is true that it is observed at a light half-distance and that this first part is not the protagonist, but there is also a good degree of presential authority. The male voices are well represented, but they don’t have as much flesh as I would like to feel and I miss a more robust base. In reality, the voices are rendered full if subtly lean. Their timbre is very correct, very natural, highly pleasing. As a whole, the male voices are very neutral, both in presence, distance, demeanour, sonority and timbre. That medium is synergetic and the overall value is superior, thoroughly enjoyable, elegant and suitably rich, but without overdoing it so as not to lose the value of that neutrality. The rest of the instruments based in this first half are no more prominent and the result is an area that sounds very good, but remains gently removed from the main focus. But the blending of all the elements is very complete and, in this way, the musical reconstruction in this first phase reaches more transcendental heights in the overall result of the Cadenza 4’s sound.
The musical mood of the midranges is more creamy and milky than analytical, despite the remarkable resolution of the drivers. Neutrality also shows through in this respect. The sound is rich, musical, not overly lush, but elegant and smoothly rounded. It is not a polish that loses resolution, but a harmonious continuity that is completely cadenced. And in this respect, this model could not be better named. No one should expect midranges with totally fast transitions, with exaggerated dynamics. There are dynamics, yes, and very good ones, but at their own pace. Undoubtedly, the Cadenza 4 is designed to be enjoyed little by little, over the hours. And that is also thanks to their upper mids. There is nothing random in this aspect. The second half of the mids has been lifted for clarity and transparency, but kept sweetly neutral. It is never a dark sound, but never completely bright either. In this way, the timbre remains very realistic, the sibilance tends to zero, the transparency is remarkable and the brightness concrete. It is clear that there is more emphasis on the female voices and they have that flesh and body that I miss in the male voices, as well as having a more leading presence. But the correctness of timbre is still maintained in them, only their harmonic richness is superior, as is their closeness. It is worth noting that the plateau of the upper mids can also harbour some subtly more aggressive joy at times. At that point, the sound is not as creamy and liquid in this second phase. But it is also comforting to find some more sparkle and verve in the sound to raise the tension.

Treble

I would put the Cadenza 4 in the category of extended but energy-controlled treble. Somewhat distant from the level of extension and amount of energy that the brand’s own S12 planars have, the Cadenza 4’s treble has been carefully and neatly controlled in brightness, to maintain that neutral, creamy sound. The good thing is that the treble feels natural, slightly muted and rounded, but maintaining a high amount of overtones which makes them quite full in this respect. The timbre is logical and the sonority very adequate thanks to the linearity of the treble. There are no control zones that omit frequencies and the upper zone extends generously until it enters the air zone, where its inflection point lies. Even so, there’s a clear amount of this air throughout the sound range that helps to maintain separation and distance.
All in all, this is a mellow and well extended high end, which can be enjoyed individually thanks to the good definition of the high notes, despite being restrained in brightness, energy and emphasis. Despite this, I don’t find the treble to be nuanced or overly polished. And in that respect I think the Cadenza 4s have just the right balance: restrained but sufficiently explicit treble, which can both be enjoyed individually and can be at the harmonic service of the lower frequencies. Addictive for lovers of balanced, neutral and descriptive treble. But those looking for crisp treble will not find it here.

Soundstage, Separation

The sound of the Cadenza 4 is surprising in its open, expansive character, spaced in a concrete and separate way. Without being an analytical sound, there is a good sense of dispersion of the notes that gives the sound a sensitive, but not expansive separation. It is not a vaporous or volatile perception, but the sound is more concrete, precise and meticulously executed. The weight of the notes is appreciated, also their whole profile and shape. This gives a clear sense of definition and a fairly high level of resolution. But these are not hard, fully marked profiles. And, this is where the more liquid and creamy aspect of the Cadenza 4 comes in, accompanied by that very mobile dynamic feel, which gives a vibrant impression that adds speed to the sound, so as not to get lost in an overly fluid continuum. The result is a defined and musical sound, which does not reach a resolute limit, but is sufficiently broad, separate, rich and complex. In this sense, the micro detail is not stellar, and can even feel unobtrusive. But, both the movement of the notes and their slightly bombastic execution result in a richer, more nuanced, richer and fuller musical effect. The Cadenza 4s respond well to analytical sources to demonstrate their high level of resolution and, in this respect, the level of micro detail depends on it. But I insist again on the neutrality of this aspect, as the musicality prevails over the high level of resolution.
The scene is wide, without being surrounding, as I said, it is open and extensive. There is a remarkable level of depth, without going to the extreme, very good height too, and a representation that exceeds 180º frontally. Laterality is obvious, the stereo feel is pronounced. The Cadenza 4 is an excellent IEMS for watching movies with lots of sound effects, thanks to its remarkable spatial positioning, speed of execution, precision and definition. Thanks to space, distance and a fairly dark background, the good analytical sources allow very vivid sensations to be extracted with these IEMS.

Comparisons

Tanchjim Kara

They are IEMS with a configuration of 1DD 9mm with PEEK+PU diaphragm, 1 composite BA driver for midrange and high frequencies Sonion 2389D, 1 composite BA driver for ultra high frequencies designed by Tanchjim. In conclusion 1DDD+4BA as both BA drivers are composite. The current price is 179$.
They are smaller and lighter, but that is no guarantee for better ergonomics. In my case, the fit of the Kara is a bit more complicated because of the size of the mouthpiece. It is ergonomic, but the insertion is not as occlusive as with the Cadenza 4. The cable is much better on the Letshuoer, with the triple termination and thicker conductor.
The Kara’s are distinctly harder to move, needing more power to perform at the same level.
The profile is similar but more reduced at the ends. The Kara’s have a light sub-bass, while the Cadenza 4’s are slightly emphasised. On the other hand, the Cadenza 4 has more treble extension and more air.
Of both, I have commented that in the pure tone test the result has not been as desired and there is a clear vibratory character more typical of BA drivers than dynamic drivers. This detracts from a deeper and more natural character. The Kara’s focus on the mid-bass and feels more coloured and less realistic than the Cadenza 4’s. Furthermore, the Cadenza 4’s have a darker timbre and the performance is faster, more concise and tighter, while the Kara’s are more boomy and elastic.
In the midrange you feel the splendour, clarity, separation and openness of the Cadenza 4, while the Kara is more muted and more nuanced. The notes have more sparkle and definition in the Cadenza 4. However, there is a similar neutral behaviour in both models, with some distance between the two models. Even in the level of resolution and micro detail they are similar. But the Cadenza 4’s greater treble extension, its greater separation, makes the micro detail subtly more visible. There is a slight difference in the treble, with the Kara offering a little more initial energy. But I find the Cadenza 4 more expressive and descriptive in this upper band.
The better separation and open feel of the Cadenza 4s makes their soundstage a little bigger.

Simgot EA1000

Currently priced at $219, the Simgot EA1000s consist of a 2nd generation 10mm dual-magnet, dual-cavity DMDC™ dynamic 10mm driver plus a 6mm passive radiator. They are made of metal and the design is smaller, fitting my ears quite well. The fit is somewhat freer, while the Cadenza 4’s don’t have a degree of freedom, being thicker and larger. The Simgot are heavier, but they are quite comfortable as well. The cable is similar in both, consisting of two strands of similar thickness. But the Simgot’s don’t have 3 interchangeable ends, only 3.5mm SE option. Very good fittings on both, better unboxing experience on the Cadenza 4. But the Simgot have three filters to make a small adjustment to their profile. Despite that, the three profiles of the EA1000 are brighter than the Cadenza 4. The Simgot moves quite easily.
Switching between the two models requires some effort because they sound more different than you would expect from the frequency responses. There is a lot of energy, verve and sparkle in the Simgot, they are quite a bit clearer and also more analytical. But they can also be more abrupt and penetrating. The Cadenza 4s are more relaxed, creamy, dark/neutral comparatively speaking.
The behaviour is very good in the very low frequency pure tone test in the Simgot. This generates a low end that performs very well in any terrain. The bass is more extended, somewhat more physical and sensory. Musically speaking, things even out. I like the Cadenza 4’s bass tuning, but I prefer the consistency, realism, naturalness and execution of the Simgot’s bass.
In the midrange there are many differences. There is a little more body in the first half of the Simgot mids, but the big difference is in the higher energy level of the upper mids, as well as their more explicit, descriptive and analytical level of resolution. The Cadenza 4s are more balanced and that gives them a midrange that feels fuller and more complete, less polarised, more homogeneous. They are creamier, calmer and more musical. The equal energy makes the midranges denser, richer and closer. Simgot offer more detailed information, but sound more explicit and splashy. That upper-mids behaviour carries over to the EA1000’s treble – more energy, more sparkle, more brilliance, more sparkle, more presence, generating a crisper, more expansive treble. The Cadenza 4’s highs maintain the calmness of the entire profile.
As a good analytical profile, the Simgot’s offer more obvious micro detail. They feel detached, open, expansive and volatile. But the Cadenza 4s are broad and enjoy good depth. Certainly, the presentation of the scene is different in the two models. The Cadenza 4’s offer a more concave, oval scene, with good laterality, which transcends 180º. The EA1000s are more gaseous, surrounding and sparkling, the effects feel closer.
Undoubtedly, they are two different beasts in many ways with a distinctly different sound.

Conclusion

I think that Letshuoer wants to stop being known only for its planar IEMS and the Cadenza series is a clear proof of that. Without having tried the Cadenza 12, the Cadenza 4 is a set of IEMS with, of course, 4 drivers (1DD + 3BA) that seeks a tuning already marked by the DZ4, but with more extension and neutrality. Again relying on the collaboration with Heygear Technology, Letshuoer has created an IEMS whose design base continues where the S15 left off, but with a more semi-custom shape. The idea of packaging, the round box, the thick, silver-plated cable, with 3 interchangeable terminations, is still there. But above all, it persists in the search for a very musical, highly pleasant, natural, realistic and balanced sound. Well-presented and deep in the lower range, smooth, restrained and well extended in the upper range, the Cadenza 4 shines with a rich, descriptive, separate, large, harmonious and cadenced central range, as the name suggests. Without a doubt, the sound of the series is marked from the name and Letshuoer has hit the nail on the head with the Cadenza 4. Arguably one of the best IEMS in its price range, if you are looking for a secure and captivating tuning.

Sources Used During the Analysis

• Aune M1p.
• EarMen Angel.
• EarMen Colibri.
• Burson Audio Playmate 2.
• Aune X8 XVIII Magic DAC + EarMen ST-Amp.