Simply Irresistible

Ratings

Pros

• Great clean, clear, descriptive, analytical, resolute, defined and transparent sound.
• Crisp and extended treble.
• Very technical bass.
• Three tuning mouthpieces.
• Great level of construction.
• Good cable, good case.

Cons

• The sound can be a bit splashy or spicy, susceptible to sibilance.
• It lacks some body and physicality in the first half of the midrange.
• Macro and midrange detail overlaps micro detail.
• There is no balanced plug option.

Purchase Link

https://www.linsoul.com/products/simgot-ea1000-fermat

Link to the Store

https://www.linsoul.com/

Introduction

Simgot, the brand that stands for «Simple and Elegant» has re-released a flagship model that uses a second-generation dual-cavity magnetic dynamic driver. This is the Simgot EA1000 Fermat. Upgraded directly from the EA2000, the EA1000 utilises cutting-edge technologies such as SDPGD™ technology, the powerful DMDC™ dynamic driver and the 1DD+1PR hybrid architecture that delivers a fuller and more accurate high-quality sound, greatly enhancing the listening experience. The EA1000 incorporates Sputter Deposition Purple-Gold Diaphragm technology (SDPGD™) technology, which is a specialised diaphragm manufacturing process that results in a diaphragm with high rigidity, lightweight properties and a beautiful purple gold colour. It also employs second-generation DMDC™ dual magnetic and dual chamber technology, optimised for increased magnetic flux and improved control, providing a wider frequency range, exceptional dynamic range and accurate high-frequency performance. The EA1000 uses a 10mm dynamic driver (DD) paired with a passive radiator (PR) configuration. This innovative design improves low-frequency texture and ambient dispersion. The interaction between the purple-gold diaphragm and the airflow in the rear cavity generates subtle vibrations and reflections, fine-tuning the bass and adding natural ambience. Finally, the EA1000s also feature three pairs of interchangeable threaded mouthpieces, which use materials such as brass and stainless steel. With these, users can switch between 3 different tuning styles, extending the adaptability of the headphones and catering to different sound preferences. It is clear that Simgot has made a considerable technological effort in creating this new flagship model. Let’s see how that effort translates in this review.

Specifications

• Driver Type: 2nd generation DMDC™ dynamic 10mm dual-magnet, dual-cavity, 2nd generation DMDC™ driver. 6mm passive radiator.
• Diaphragm: Sputter deposition purple gold diaphragm.
• Sensitivity: 127dB/Vrms(@1kHz).
• Impedance: 16Ω±15%(@1kHz).
• Capsule Connection Type: 2 Pin 0.78mm.
• Frequency Response: 10Hz-50kHz.
• Effective Frequency Response: 20Hz-20kHz.
• Cable: High purity silver plated OFC cable in Litz structure.
• Jack Connector: SE 3.5mm.

Packaging

The Simgot EA1000 Fermat comes in a dark purple square box, whose dimensions are 150x150x50mm. On the front side you can read directly «Fermat’s Last Theorem 1637-1995 Demonstrate». This refers to the fact that the conjecture called «Fermat’s Last Theorem», made in 1637 by Pierre de Fermat, was not proved until 1995 by Andrew Wiles. It was then that the conjecture became a theorem, after 358 years of effort by mathematicians. The theorem can be stated as follows:

If n is an integer greater than or equal to 3, then there are no positive integers x, y, z, such that the equality:

xⁿ + yⁿ = zⁿ

is satisfied.

This theorem is one of the most famous theorems in the history of mathematics and the one that has taken the longest to prove.
Moving away from the mathematics and back to the product, in the top left corner you can read the brand name and its slogan underneath. In the top right corner is the DMDC™ II (Dual Magnet Dual Cavity) technology logo. At the bottom left are the logos of the SDPGD™ (Sputter Deposition Purple-Gold Diaphragm) and DD+PR (Dynamic Driver + Passive Radiator) technologies. All in gold lettering on that purple background. On the back you can see the three frequency response curves of each nozzle. Each nozzle corresponds to a reference curve. At the bottom are the specifications in several languages, including English. After opening the box there is a black cardboard with the logo on the front side. On the top of the cardboard are the names and dates of the mathematicians who have contributed to solving the proof of Fermat’s last theorem. This cardboard is like an envelope, containing a description of the history of the theorem, and on the inside is a card with Fermat’s face and the statement of the theorem itself. Behind this cover are three sections containing the capsules, the storage box and the accessories. The capsules are embedded in a foam base protected by black cardboard, located at the top. At the bottom left is the box containing the case. At the bottom right is the box containing the accessories. The complete contents are as follows:

• The two Simgot EA1000 capsules.
• Black and gold card with the statement of Fermat’s theorem.
• White card with the formula of Fermat’s theorem.
• A sheet containing 6 pairs of translucent white silicone tips, sizes SxMxL.
• A bag containing 8 white, 8 black and 8 red rubber washers.
• A metal plate containing four filters (two brass with white washers and two metal with black washers).
• A rectangular box-shaped case with magnetic closure.
• The high purity silver plated OFC cable in Litz structure, with 2Pin 0.78mm interface and 3.5mm SE plug.

The box is slightly different from the other boxes. It is silver-grey and has the brand logo inscribed on the lid, while the slogan is on the back. It comes in a protective plastic bag. The inside of the case has a sewn rubber band with three compartments, like a pencil case, on the lid. The inside of the case is slightly velvety and has a black pouch with stitched netting at the base. Inside the case is the cable. The cable plug has a plastic protector. The filter plate is inside a black foam block.
The presentation is quite good and the accessories are of good quality, especially the cable and the case. The silicone tips are somewhat generic and there seems to be no difference between the two pairs. The inclusion of the spare washers is appreciated. On the other hand, it is surprising that the model has such a Fermat’s theorem image – what is the connection to the model beyond the name?
Finally, one misses the fact that there is no choice of a balanced plug in a model of this price.

Construction and Design

Simgot repeats the successful design of the EA500, adding a white outer plate with a triple arrow pattern on the bottom. In the centre of the outer plate is the brand logo in mirror silver. This plate is made of a highly transparent glass panel. Otherwise, the shape, size and design of the inner side is almost identical to that of the EA500. The Simgot EA1000 features a polished and shiny construction with a two-tier design on the inner side. The capsules are made of metal, except for the outer face, and are mirror-plated. Each consists of two visibly separated faces. The outer face has an equilateral triangle design, with very rounded corners. The border reads ‘Fermat’ engraved in cursive letters. The rigid, translucent plastic part, which contains the gold-plated 2Pin 0.78mm connection, is slightly recessed. The inner side has two levels. On the lowest level there is a recessed oval, which contains a circular opening, at the bottom of which there is a gold-plated metal grille. It looks like the grille that protects the PR driver. This opening is partially covered by a circular plate held in place by two ribs, in the centre of which is the letter of the channel. Away from this opening, near the base of the mouthpiece and the rim, there is a hole. The second level of the inner face is more rounded and contains the mouthpiece. Close to it is another hole, the bottom of which is protected by a white cloth grid. The nozzles are inclined and have a thread at their tip for attaching the metal filters. The filter with the red O-ring has nothing inside, while the black filter has a foam of the same colour. These filters are made of metal. The third filter is made of gold-plated brass, has a white gasket and has nothing inside. The nozzles have a length of 4.5mm, a smaller diameter of 5.1mm and a larger diameter of 6.1mm at the rim.
The cable consists of two thick strands wound together. It is a high purity silver plated OFC conductor in a Litz structure. You can see that the wires are silver plated with a thicker, flatter wire winding them inside each strand. The protector is transparent PVC. The cable has a velcro strip with the brand slogan. The sleeve of the 3.5mm SE gold-plated plug is a perfect metallic cylinder with a mirror finish. You can read the brand name inscribed lengthwise on it. To protect the cable at its exit it has a tailor-made plastic sleeve. The splitter is again a shiny, silver-plated perfect cylinder, shorter in length. The pin is a gold-plated ring whose inner diameter fits the two strands quite well, doing its job correctly and effectively. The sleeves of the 2Pin 0.78mm connectors are both silver cylinders that maintain the mirror finish, but have a circular groove near the cable exit. The two pins are mounted on a piece of hard plastic, the first base of which is circular and the second rectangular. The letter of the channel is engraved on each cylinder. The cable is somewhat stiff, thick and with a luxurious mirror-metal finish addicted to fingerprints.
As mentioned, the shape of the EA500 model is repeated, albeit with the distinctive addition of the outer face and a thicker cable and improved metal sleeves. Construction is excellent, with a fingerprint-trapping mirror finish, but very robust. You can feel the weight and quality of the materials used, something that also comes through with the cable. Too bad there is no choice of balanced plug.

Adjustment and Ergonomics

Although the capsules look a little large, the two-level design of the inner side of the capsules makes them ergonomic and easy to position inside the pinna. The angle of the mouthpieces is also very good. It is true that, on the whole, they are a little short and the insertion does not go beyond the surface. With some tips, a slightly deeper insertion could be achieved.
You also feel that the weight in the hand is evident, but in the ears it is not noticeable, thanks to the remarkable level of fit and integration. The capsules barely rotate and the fit is high, once you find occlusive and well-fitting tips, as is usually the case with my large foam-filled home-made tips. Thanks to them, the level of isolation is remarkable.

Sound

Profile

The EA1000 has three pairs of nozzles to slightly modify the frequency response. The nozzle with the silver tube and the red washer is based on the H-2019 reference curve, but without reaching such a high sub-bass. Actually, I would have liked it to reach this sub-bass end to compensate for the clear and bright character with some more power at the low end. With the second mouthpiece, made of gold-plated copper and white washer, you get the reference curve of the brand itself, called SIMGOT-Golden 2023. The third nozzle, with a silver tube, black washer and black foam inside, produces the SIMGOT-Classic reference curve. You can see that in all of them there is a drop in the sub-bass that does not reach the level specified by each curve.
Actually, according to my measurements, the differences between the three nozzles are not very big. They follow a rounded w-profile, with excited midrange and neutral bass. The Gold filter is the most relaxed in treble and bass, but is the most excited in the 2khz area. It works for female vocals and is more neutral. The black filter that matches the brand’s Classic reference is the most excited in the high end and a bit more penetrating for my taste. Finally, the red filter has more bass and is closer to the H-2019. Not that I am partial to that curve, but I do have more affinity for a tuning with a high sub-bass. I will write this review using this filter.
In short, all tunings lean towards a search for clarity, light and sharpness in the sound, so the bass is somewhat more relegated in the mix, but without its execution and response not being good. And that is something that is achieved with the passive driver, which helps to make the bass more impressive, but without overdoing it in energy, volume or presence.

Bass

The passive radiator is very similar to a dynamic driver, but lacks a coil and magnet. It consists of a cone and a diaphragm and moves with the air displaced by the active dynamic driver. Its purpose is to add low-frequency reinforcement by resonating with the bass frequencies emitted by the active dynamic driver itself. In this case, that does not imply a very high, powerful or heavy bass frequency response. This is not the case at all. Even with the red filter, whose FR is close to the reference H-2019, these IEMS cannot be said to be bass-heavy. It is true that the lower area can be felt and there is power. But I think that the passive radiator has been used to compensate the low end against a more extended and balanced high end. In my opinion, the bass presence is slightly above neutral, subtly centred in the middle of the low range, with a slightly droopy sub-bass, which prevents it from sounding deeper, but with a tuning that gives it a natural behaviour. On the other hand, the passive radiator works very effectively and does not produce any delaying or sluggish action in the bass performance. On the contrary, the base hits are succinct, fast, tight and compact.
In the very low frequency pure tone tests this dry, but natural, uncoloured behaviour can be appreciated, although it can also be seen that the lower frequencies do not have too much power or presence, while their performance is a sensory and audible mix at 50%. This behaviour adds that blend of naturalness, darkness and depth, with the former characteristic benefiting the most. Its translation to real music implies a tight, perceptible bass, not too voluminous, with hardly any aftertaste and a quick recovery. It feels agile, dynamic and capable. In addition, I feel that the passive radiator brings extra texture to an area that, given its characteristics, could be smoother and blander. It’s not that it’s a rough bass, it’s rather clean, but with that extra descriptive touch across its surface, which adds a very attractive, yet natural and more complex feel to it. The whole is very well blended and the behaviour in complicated, dirty passages, with unfiltered bass and excessive power, the EA1000s come out completely well, representing these situations with astonishing ease, but without losing an iota in all its execution. It proves to be a very descriptive, very skilful area, capable of following difficult, intricate lines, defining layers and layering them with fluency and exemplarity. For my personal taste, it lacks a little more energy, volume and depth, a more sensory point. But, it proves to be a great low end, really natural and capable all-rounder.

Mids

The midrange is very clean, clear, transparent, highly resolving, but with a hint of abruptness. I feel that the EA1000s have this cooler, very defined and purely descriptive profile, which takes it away from a softer and more melodious musicality. I like this kind of very well defined profiles, but, it is also true that I miss some more body in the first half of the midrange. I think it is possible to be cold and resolute, but keeping more physicality in that initial phase. This slight lack makes the male vocals lack a bit of edge and punch, sounding very clean, but lean and somewhat thin. I can’t deny that they have a good width, but the thinness of the notes makes me miss some weight and energy in the lower voices. On the other hand, their articulation is very good and the dynamics are high, achieving very fast transients and generating a very resolute and descriptive response.
As the frequencies rise, the energy of the notes can be higher, reaching a splashy, present and slightly penetrating midrange. Warm or neutral sources are welcome, to compensate for the cooler, more resolute and sharper development of the second half of the midrange. But despite that thinness, its energy does not overflow, without becoming totally piercing. It is a vibrant, sparkling, fine and swift performance, with that cool, sharp definition, but not hurtful or piercing. It can be a bit abrupt, if this word is used to define a very mobile and resolute sound. Perhaps, so much descriptive capacity can generate this sensation of abruptness or informative fatigue. But, to my ears, it is a sound that is explicit and analytical, detached, clean and effective. But, up to a point. All this ability to tease out nuance and detail generates a very obvious and broad exposure of it, even obscuring micro details located in later layers. That foreground macro detail works against them when it comes to revealing micro details that exist at the same time, but in different layers. It is clear that the EA1000 is capable of expressing them, but when they exist together, they tend to lag behind these main details.
As for the female voices, they are the real protagonists of the range, as well as the stringed instruments or guitars. Their timbre moves between neutrality and a brighter point. It has many harmonics and the notes are enriched by a great amount of nuances, as well as the air, separation, distance and definition to be easily observed. All this makes for a truly rich, highly representative and informative central range, very suitable for music monitoring. On the other hand, the lack of a wider physical base unbalances the midrange towards the high end, slightly polarising the sound towards a brighter, colder and more analytical sound.

Treble

The treble picks up on the many virtues of the dynamic driver: speed, precision, thinness and finesse of notes, energy, definition and resolution, to generate a very expressive, eloquent, sparkling and crisp high end. There is no doubt that the EA1000s have a generous and extended treble, full of power and energy. But they stop at just the right point, or perhaps a little beyond it. If you are looking for soft treble, the EA1000s are not the most appropriate. But if, on the other hand, you are looking for a totally explicit, crisp and defined treble, these Simgot have it. It is also true that the Gold mouthpiece is able to subtly mitigate this behaviour, being the softest of the three, but that slight loss of bass also exposes the treble in a different way.
As the high frequencies advance, they relax their energy level, but their decrease is perceived as controlled, generating an extended high end, with naturally bright and realistic treble, though on the bright side, of course, fully expressive and evident. The extension clearly reaches the air zone and its quantity and incidence are appreciable.

Soundstage, Separation

The scene feels volatile and very airy. The separation and distance between notes reveals a spacious and wide scene, which enjoys very good height, even three-dimensional capacity. Without encircling the head, it has a very good sense of envelopment, thanks to its extension. It lacks some depth in favour of width, laterality and stereo feeling. The dynamism, speed and thinness of the notes help to generate this gaseous and escapist sensation. But it is also able to profile instruments and vocals very well, helping to create a precise and very well positioned image. The sound is very resolute, highly descriptive, clean and transparent. The background is clearly discernible and the elements evident and finite. The midrange and macro detail in the foreground shines through. But, as often happens in these cases, this explicit feeling is capable of obscuring the micro detail located in later layers.

Comparisons

BQEYZ Wind

The BQEYZ Wind had a higher price tag when they first came onto the market. Today, they can even be found at a lower price than the Simgot EA1000. Their technical qualities make them a clear competitor to the Simgot EA1000. Swap the passive radiator for a midrange and low-frequency bone driver and you get the BQEYZ Wind, an IEMS that is also very high-performance, with a similar profile and performance. Starting with the accessories, the cable of both is really very similar. The sleeves are practically the same: perfect cylinders with a mirror finish. The cable is made of two coiled strands. Only the slightly darker colour of the wind conductor seems to be different. Meanwhile, the cable cross-section is almost identical and both the splitter and the pin are also identical, except for the gold-coloured pin on the EA1000. The advantage is that BQEYZ does give a choice between the three terminations. For the rest of the accessories, the Wind offers a larger zipped case, a larger number and variety of tips and the classic cleaning brush.
When it comes to ergonomics, the EA1000s fit very well in my ears and fit very snugly. However, the somewhat short mouthpieces prevent a very occlusive seal in the canal. The mouthpieces of the Wind are somewhat longer and the capsules seem to float more in my ears than fit. However, thanks to the design of their mouthpieces I get a more perfect seal using the same large foam-filled tips.
In terms of sensitivity, the Wind requires considerable power to match volume compared to the EA1000, which are much easier to move.
In terms of profile, the Wind have a very similar frequency response to the EA1000 with the Gold filter. But I preferred to compare using the red filter for the Simgot. The differences between the two with this red filter are visibly concentrated at 2kHz and above. While the EA1000s have a more sustained treble in terms of energy, the Wind is subject to slight control drops in the treble in an attempt to smooth out the upper range.
Regarding the low end, here we are talking about a struggle between two technologies used: the passive radiator used by Simgot in the EA1000 and the bone driver for low and midrange frequencies used by BQEYZ. In my humble opinion, the Wind behaves in a darker, deeper and more natural way than the EA1000. The Simgot’s have a bit more colour, seem to be drier, slightly more bass-midrange focused. They may be a little faster, so if you are looking for a precise, technical and tight bass response, the EA1000s will be more appropriate. On the other hand, the Wind’s bass is executed with a darker timbre, offering a more sensory response, with a little more texture and volume, which creates a sense of a deeper bass with more range and persistence in the room, making it more enjoyable, but a little more intrusive.
In the midrange, starting in the upper-midrange, you can feel how the EA1000 has a bit more vigour, energy and sparkle in its performance. That gives it a point of clarity, light and superior transparency. The Winds are somewhat more neutral comparatively speaking, also softer, subtly warmer and more mellow. While the EA1000s are even more resolute and evident, with finer and more defined notes, the Wind’s feel a little more controlled. The combination of bass darkness and those more shaded midranges and highs contribute to the Wind’s less analytical presentation. Their transitions don’t seem as quick as the EA1000’s, while they lose some transparency and sparkle in their notes, falling a little behind in definition and resolution. The EA1000s are more demanding in this department, sounding more explicit and descriptive, also more analytical, precise and crisp. Conversely, they are also a little more abrupt and persistent, while the Wind are a little lighter to handle in this respect. Perhaps there can be a debate as to which of the two has a better timbre, or a more natural timbre. Perhaps the Wind is more neutral, while the EA1000 has a brighter timbre. But better or worse in this respect may be a matter of taste. Perhaps, in my humble opinion, the Wind provides a more natural or closer to reality timbre. Above all, this is reinforced by the presentation of the bass and the first half of the midrange of the Wind, where the notes are somewhat more diffuse, thicker, darker, but also softer and with a little more body and physicality. Finally and because of these characteristics, the Wind are less sibilant than the EA1000.
The EA1000’s apotheosis of clarity in the high end is evident on the Wind. The Simgot’s are able to maintain an even, extended energy level throughout the entire range, giving even more of an airy feel to those with this element as their model name. On the other hand, the Winds are softer, don’t soar as much, don’t sound as crisp and sparkling, and even possess a touch of comparative nuance. The high notes are thinner, thinner, more precise and more evident in the EA1000s. But that level of energy can also become more fatiguing because of its level of exposure.
In terms of separation, the EA1000’s greater sense of transparency, light, sharpness, resolution and definition give it the edge in this respect. The greater depth and sense of openness, however, is more noticeable in the Wind, offering a slightly larger stage on all three axes.
The level of macro detail is not as overexposed in the Wind, something that allows a homogeneity in its exposure and allows greater visibility of the smallest details, being a little more delicate with them. Meanwhile, the EA1000 is critical and very exposed in this aspect, capable of being very resolute, but offers a more favourable treatment of macro detail, exposing it above the rest. It is not that there is a loss of detail compared to the Wind, it is just that their exposure is more uneven.
All in all, both IEMS are great rivals and no one would go wrong choosing one or the other. Differences in bass, timbre, smoothness of exposure, level of resolution and definition are the differences. The Simgot’s are built like a tank, while the Wind’s are a little more delicate with those external grilles, but also slightly less heavy. Finally, the possibility of having three slightly different tunings with the EA1000 may be an advantage in terms of being more sonically versatile.

Conclusion

Simgot manages to capture in the EA1000 what it has been exhibiting in the rest of the lower-priced models: a reference sound, clean, very clear, bright and pure. It adds three mouthpieces to reinterpret this degree of refinement, based on three reference curves, two of its own and the H-2019. And it achieves this great sound with the use of efficient and imaginative technology. It seems that behind this sound there are many hours of work and the result is an analytical, very informative, rich, very special IEMS for the monitoring of music and, of course, for the enjoyment of it.
Built on the very solid base of the EA500, but with the addition of a distinctive, superior touch, expressed on the outside and with a much improved cable, the EA1000 is a true flagship model with a great price/performance ratio.

Sources Used During the Analysis

• Hidizs S9 Pro Plus.
• ifi hip dac 3.
• Aune Yuki.
• Tempotec V3.
• Burson Audio Playmate 2.
• Aune X8 XVIII Magic DAC + EarMen ST-Amp.