Ourart ACG English Review


The Brilliant Brother




Construction and Design 95%
Adjustment/Ergonomics 65%
Accessories 65%
Bass 65%
Mids 80%
Treble 90%
Separation 85%
Soundstage 90%
Quality/Price 85%




  • Excellent treble extension
  • High level of detail, micro detail and resolution.
  • Remarkable sensation of air and scene.
  • Construction
  • Possibility of use on ear.
  • MMCX connection.
  • Presentation and packaging.




  • The treble level generates a more energetic than a relaxed listening.
  • Susceptible to sibilances.
  • Light bass.
  • Its thickness penalizes adjustment.
  • The sound can vary a lot depending on the placement, even the preception of the low zone.


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The Ourart ACG are physically the same as the Ti7. Even all their packaging is the same. The only difference between the two is at the level of accessories. The Ti7 comes with an extra bag of 8 full foams and a braided cable that looks higher quality. ACGs, on the other hand, come with a plastic-coated cable with microphone and three button control.

This time Ourart has chosen to use an Ultra thin custom titanium crystal diaphragm dynamic driver, which guarantees softness and delicacy, without losing durability. The frequency range has increased to 32kHz, the sensitivity has also increased to 122dB, even the impedance has increased, 35Ω

As far as their sonorous characteristics are concerned, the ACGs have a clear orientation towards the upper part, strengthening both the high mids and the treble, in presence and in extension. The lower zone, in its frequency response, is practically the same as the Ti7.

In the following review, we will go into more detail about their sound.





  • Driver: 14.2mm Ultra thin custom titanium crystal diaphragm dynamic driver
  • Frequency range: 20Hz-32000Hz
  • Sensitivity: 122dB
  • Impedance: 35Ω
  • Distortion Ratio: <0.5% (1kHz)
  • Cable: 1.2m, Jack: 3.5mm, gold-plated
  • Type of capsule connection: MMCX





The packaging is the same as Ti7, so the description will be practically identical. The box is almost cubic, dimensions 100x100x75, completely black, with the logo of the brand and the letters in silver. Once the cardboard cover is removed, a box lined in shiny black appears. Its upper part is the same as the cardboard cover, but is slightly padded. On the bottom there is a sticker with the specifications and the name of the model.

When the chest is opened, the earbuds are embedded in a thick foam mould. They come with donut foam. This time, the cable is not connected and is different. It is a cable covered in black plastic, with microphone and three control buttons. The connector is 3.5mm, gold plated, with the L connector open.


The rest of the accessories:


  • Two zip bags with 4 black donut foams, each.
  • A particular and great clothespin.


The packaging, although already known, is spectacular. But this time, the cable with micro is, in my opinion, unnecessary and of inferior category than the earbuds. Again, I miss a carrying bag to protect such precious earphones. Also, it’s strange that complete foams don’t come.



Construction and Design


Nothing changes in the exterior construction with respect to Ti7. It only changes the driver used. This time an Ultra thin custom titanium crystal diaphragm dynamic driver has been mounted.

The rest is already known: The face where the sound is emitted resembles a tire of an old car. Its large openings let you glimpse a silver braided cable spiral. Indeed, they are wide car rims and donut foams are their tires.

No less shocking is the back of the drivers: a completely rectangular box of the same material and color. On the underside are the gold-plated MMCX connections. On the outside, the mark is read in fine black letters.

The ensemble is unique, impressive, spectacular and very daring.

For this occasion, the cable that comes with microphone, controls and plastic coating. A cable that I cannot find at the height of such a beautiful and spectacular design.



Adjustment and Ergonomics


The fit and ergonomics are just as bold as the design. The thickness of the capsules does not make it very suitable for all ears. And I think it’s the main culprit of its sound, for better or worse.

Thanks to their shape and connection, ACGs can be used traditionally, downward or over the ear. Personally, for use on the ear, I recommend cables with guides, as they favor a better fixation of the earbuds in the ears.

As I said, the thickness of the capsules prevents, in my case, an optimal fit and sealing. This is something that does not change, regardless of the position, either traditional or on the ear. This wide shape can also cause some discomfort during long listening sessions.







On this occasion the ACGs differ from their Ti7 brothers in that they have a profile oriented to mid and high frequencies. The high mids are more emphasized and the highs are more present and extensive. The lower zone, despite the large size of the driver and its greater thinness, still has the same ratio of presence with respect to other areas.





The ACG’s bass continues in the light line, with a fast, dry hit, compact but soft. Turning towards the cold side, they are perceived with a limited depth, with a very short sub-bass below 40Hz. The low midrange offers a lighter presence, but does not predominate over the rest of the ranges at any time. The texture is more detailed in this case, it seems that the thinner driver is able to provide higher resolution in this sense. Be that as it may, the lower zone is penalized by the chubby shape of the capsules, which prevents a more optimal sealing, because the contact zone is limited. Thus, the real capacity of the drivers in this area is missed.





Clearly, they can be divided into two parts: below 2Khz and above 2Khz. In this sense the central zone is presented in V. Thus, the voices are presented with a certain distance and a somewhat irregular body, due to this slight imbalance. They feel a certain hollowness, a feeling of emptiness that generates an absence of warmth and pronounces that perception of soft sinking, more pronounced in male voices. However, the exalted high part of the mids offers a level of detail and subtlety, which gives the voices delicacy and more revealing nuances, despite the distance. It also affects the rest of the midrange, providing a high level of resolution and micro detail.

This perception of mids in V favors that the sonorous presentation is clearly inclined towards the high part of the sonorous spectrum.

The timbre is kept on the edge of naturalness, always on the cold side, but without sounding unreal, just a little longer in its brilliant echo.





The outstanding zone of the ACGs, both in presence, extension and speed, but without excesses or very undesirable effects. The trebles are already thrown from the upper mids and then offer the typical spark between 7 and 8kHz that many earbuds present in their frequency response. But in this case the ACGs hold the type up to 20kHz without decaying too much. This clearly explains the reason for their extension and justifies the air that is perceived in these earbuds.

The highs are sharp, clearly perceptible and definite, crunchy, fine but not too sharp, barely hurtful. Not even in the songs most susceptible to it that I possess. In addition, they enjoy quite good resolution, detail and texture. The only negative theme is a certain probability to present certain sibilances in prone themes. Which can be easily solved by using two full foams or full foams plus donuts.



Soundstage, Separation


The scene is very explicit and descriptive, due to the large amount of details and micro details revealed, in addition to its remarkable level of resolution. Its width is evident, even its height, but its depth is not so much, also due to the level of detail so present, which positions the instruments in the foreground. The clear feeling of air eliminates any hint of congestion, generating an almost excellent separation. Only the high level of brightness generates a certain absence of silence, resulting in a more energetic than relaxed listening.




Ourart Ti7


The first and clear reference of the ACG, are their twin brothers, the Ti7. Similar but not equal. They are very similar in their lower zone, I only perceive a different texture in the ACG, more detailed and with better resolution. In the mid zone there are bigger differences: The Ti7 have a more compensated, full, rounded midrange, with more body and better presence. Meanwhile, the ACG feel more unequal, with that certain distance in the voices, but with more brightness in their echo. An inequality that is accentuated in the upper mids and, above all, in the trebles, where the presence and extension in the ACG dwarfs the filed naturalness of the Ti7.

As for the scene, both are wide but different. The Ti7 have more silence, more space, where the ACG shine with brightness, details and energy, the Ti7 are more calm and peaceful. Some are light (ACG), others softness (Ti7), some are air, others silence, some are close, others are ethereal.



ISN Rambo


Apart from the construction and design, which shamelessly falls on the side of the ACGs, the comfort is greater in the ISNs. Its classic PK capsule is small and comfortable. It also has a design that favors the lower zone somewhat more than the ACG. The differences in the lower zone are very audible, both in presence, as in extension and depth, clearly surpassing the Rambo to the ACG. The lower zone of the ISN is much more complete and it is perceived wider and predominant in the sound, in comparison with the ACG. In the only aspects where the Ourart win is in texture, speed and resolution, sounding more controlled and fine, against a rawer and more forceful presentation of the Rambo.

Already, in the mid zone, the voices of the ISNs sound warmer and influenced by their lower zone. The ACG raise a sonority in them cleaner, more distant, something more natural and less congested. As usually happens with PK capsules, their central lower part sounds much more emphasized and present. And although in the Rambo it has been quite light, it suffers from the air that the ACG do have, and in great quantity. Although it is also true that sometimes they give a sensation of excessive distance, comparatively speaking. The mids of both are quite different, especially in sonority, body and the planes where they are perceived.

In the upper zone, despite having similar graphs, the real perception is still conditioned by the shape of their capsules. In the ACG the treble sounds free and explicit, in the Rambo, with that slight spark, but restrained and content. Their influence on the sound is much lower than in the Ourart. In this sense, this influence is the other way around, the Rambo base their sound from the low zone and the ACG, from the high zone. In the same way, the extension is directed in the same sense, being, then, more extensive in trebles the ACGs.

In terms of scene, larger and wider in the ACG, also have more air and feeling of cleanliness and clarity. But also a certain distance in the mids, with sharper front and nearer, perceiving the detail very close. The Rambo, however, have a greater depth and despite their warmth, the clarity and separation is quite good, with a good dose of transparency and some darkness, comparatively speaking.





The Ourart ACG are the brilliant brother of the Ti7: a revision towards a more energetic sound, that looks for greater detail, resolution and a different dynamic, more aggressive and risky in its treble spectrum, without it supposes anything negative, beyond the warning of its presence. All those who think that earbuds are dark and blunt, the detractors of this type of capsules, are in front of the best example that they are wrong. Come in and hear.



Sources Used During the Analysis


  • F.Audio S1
  • Burson Audio Playmate