Less Or More?

Ratings

Pros

• Tunning more accentuated in bass, upper midrange and first treble.
• Very good bass level, even better treble level, quite extended.
• Descriptive and informative sound.
• Macro detail evident.
• Remarkable separation, clarity and transparency.
• High level of construction and very good finish.
• Good ergonomics and fit.
• Appreciable case.

Cons

• Despite the level of resolution, micro detail is not the best.
• Thin lower mids without much body or physicality.
• Upper mids can become too energetic.
• The cable is not very good.
• Only one set of tips.

Purchase Link

https://www.linsoul.com/products/simgot-ea500-lm

Link to the Store

https://www.linsoul.com/

Introduction

Just over a year ago I reviewed the Simgot EA500. Now it’s the turn of the new Simgot EA500 LM. The Shenzhen-based company, founded in June 2016, has released a sub-$100 iteration of its successful model. This is the second-generation IEMS with dual-magnet, dual-cavity magnesium and lithium dynamic diaphragm. The new LM version uses an improved dual-magnet, dual-cavity design with refined 2nd generation DMDC™ technology. Again, it comes with three pairs of interchangeable mouthpieces for a different profile. Again, a high-purity silver-plated OFC wire is used, while the ergonomic design of its predecessor, made of CNC-etched high-density alloy, is repeated. Let’s take a look, in this review, at what’s new with the new EA500 LM.

Specifications

• Driver Type: 10mm dynamic with second-generation DMDC™ lithium-magnesium dome diaphragm.
• Frequency Response Range: 10Hz – 50kHz
• Effective Frequency Response: 20Hz – 20kHz
• Sensitivity: 123 dB/Vrms (1kHz Gold-plated copper mouthpiece and red silicone ring).
• 123dB/Vrms (1kHz Silver steel mouthpiece and red silicone ring).
• 124dB/Vrms (1kHz Silver plated steel mouthpiece and black silicone ring).
• Impedance: 21Ω±15%(1kHz).
• Jack Connector: 3.5mm SE.
• Capsule Connection Type: 2Pin 0.78mm.
• Cable Material: High-purity silver-plated OFC cable.
• Price: $89.99.

Packaging

There are similarities in packaging between this and its predecessor. The EA500 LM comes in a medium-large black box measuring 121x146x63mm. It has a somewhat special decoration, with circular silver motifs such as suns, stars, snow, planets, lightning, etc. that seem to come out of hands at the base of the box. On the top left is the brand logo, on the right the Hi-Res logo and on the base the name of the model. The upper part of the back side starts with the model description. Underneath are two frequency responses. In the lower third are the specifications in various languages. Sliding the outer sleeve sideways reveals a matt black box covered by a cardboard of the same colour, in the centre of which there is a kind of concentric rectangles. Underneath is a quote from Blaise Pascal. After opening the cardboard, in the upper half there is a black foam mould protected by black cardboard, which contains the capsules. In the lower half is a box with the accessories. Inside is a zippered case. The complete contents are as follows:

• The two Simgot EA500 LM capsules.
• One high-purity silver-plated OFC cable with 3.5mm SE gold-plated plug.
• A black, oval, zippered carrying case.
• One multilingual manual.
• A pouch with red and black O-rings.
• One warranty card.
• Three metal screw-on nipples. Two metal pairs with red and black seals and a third gold one. The gold nipple is screwed onto the capsules.
• 3 pairs of translucent white silicone tips with black core, sizes SxMxL.

A couple more filters are included, as in the EA1000. The nice zippered case is repeated. The cable seems a bit better, but I’m still not convinced, I would have preferred a thicker copper cable. Finally, it still comes with only one set of tips, which is a bit poor for the price level.

Construction and Design

The design is the same as its predecessor. The only difference is that on the outer face of the right capsule there is a rectangle with the letters LM inside and the metal material used is a little darker, not so silver. The construction is still polished, shiny, but with that darker touch. It retains its two-tiered design on the inside and those details that make it eloquent and attractive. The capsules are all-metal and mirror-plated. Each is made up of two visibly separate faces. The outer face has an equilateral triangle design, with very rounded corners. In the centre is the brand logo on the left capsule. While on the right side you can read LM. The model name is engraved on the rim in capital letters. The translucent, rigid plastic part, which contains the gold-plated 2Pin 0.78mm connection, is slightly recessed. The inner side has two levels. On the lower tier there is a recessed oval, which contains a hole, at the bottom of which there is a metal grid. Next to it is a gold-plated Torx screw. Outside the oval, but near the centre, there is an engraved circle, inside which is the letter indicating the channel. The second level of the inner face is more rounded and contains the mouthpiece. Close to the mouthpiece is another hole, the bottom of which is protected by a cloth grille. The nozzles are inclined and have a thread at their tip for attaching the metal filters. The silver filter with the red O-ring has nothing inside, while the black filter has a foam of the same colour. The gold filter also has a red O-ring and a black foam that looks more dense.
The nozzles have a length of 4.5mm, a smaller diameter of 5.1mm and a larger one, at the rim, of 6.1mm.
The cable has two coiled strands. Inside there are two wires, one black and one gold. It has a transparent PVC coating. The OFC cable is specified as high purity silver plated. The splitter piece is a black metal cylinder. The plug sleeve is the same, slightly longer, with the brand name written lengthwise. Both cylinders have whitish plastic cable outlet protectors. The pin is 3.5mm SE gold-plated. The pin is a gold-plated ring with a hole in its centre. The connection interface is a 2Pin 0.78mm and is the classic 2Pin 0.78mm connection interface mounted on transparent rectangular pieces with a dot to determine the channel, as well as a barely visible raised lettering. They have transparent over-ear guides.
Although the cable has a better finish than its predecessor, I think it should be accompanied by a thicker copper wire to counterbalance its brighter profile.
The capsule design is little changed. It’s still a very good construction but they haven’t stopped it from remaining a fingerprint magnet.

Adjustment and Ergonomics

Same size, same design, same ergonomics. The capsules seem a bit large, the design of the inner side, on two levels, facilitates the ergonomics and their placement 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 less 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 Simgot EA500 LM builds on the base of the previous EA500s but boosts the bass and compensates for this increased energy in the lower range by extending the treble with a little more power. Without a doubt, these are EA500s that are boosted at the extremes, something I welcome at the low end. Simgot doesn’t seem to want to lose that bright character and for every dB it adds in the sub-bass it adds a pinch from the upper midrange. In this way, the LMs have a more pronounced V to W profile, where the bass has gained in punch, to the good fortune of those who were looking for a little more meat in the lower band.
I have used the gold filter for the sound description because it is the filter with the most bass presence and the smoothest upper midrange and treble. The other two filters can be splashier and more vivid, especially in the 5kHz area.

Bass

I was looking forward to hearing more powerful bass in the style of the EM6Ls from Simgot, but in a unique dynamic driver. For my taste, both the early EA500 and the EA1000 were a bit behind in this respect, when it came to fulfilling my timid but clear preference for bass-head territory. This time around, the sub-bass is boosted as it was in those EM6Ls, they are even subtly higher in the low end and have a slightly cleaner tuning towards the midrange. The result is bass with weight, punch and power in the hit. They have a neutral timbre, with little colour. There is sensory darkness in the sub-bass, while the midrange sounds more canonical. The sum is that midrange and natural timbre, but with a certain leaning towards darkness that adds a superior realism. The texture is not very pronounced, as the surface of the bass is smoothed out by the speed of its execution and the little aftertaste that lingers in the ambience. The hit is of the dry, tight type that is usual for skilled dynamic drivers with powerful magnets and strong, resolute diaphragms. That the energy starts from the sub-bass is a further incentive. This time, however, Simgot seems to have wanted to give the bass a little more extension and prominence. In this way, the volume they acquire is more pronounced. The power is felt in the ambience, challenging that emphasised upper zone. It is as if both bands are trying to demonstrate their energy, but it is clear that the bass occupies a good space, as well as possessing a clear power delivery. The ability is demonstrated as soon as there are combined bases at different tempos. The LMs are able to draw several bases reliably and layer them with a mixture of delicacy and precision, not to mention power.
In the pure tone test the LMs raise their level by performing LFOs in an exemplary manner. There is no trace of a wave character. The lower frequencies are reproduced in a sensory, barely audible way, with a good degree of darkness. As the hertz increases, the bass becomes more audible, but the way in which the LFOs are executed is not lost, something which indicates that remarkable power is not at odds with exemplary behaviour. The translation to music is obvious, the demeanour is precise, skilful, technical, voluminous and very capable. This level of performance is reaffirmed when it comes to reproducing dirty, unfiltered bass. The LMs don’t suffer at all in the worst conditions and despite the high energy level, passages are dry, tight and under control, without generating sonic aberrations or excessive or misplaced rumble. Bass with punch, depth, control and volume.

Mids

There is a clean, but pronounced drop towards the first half of the midrange. The male voices feel lean and somewhat backward, not too full-bodied and their base is light. Even so, they are quite articulate as the driver has a high level of resolution. The notes are thinner, but very expressive. It manages to reconstruct the male voices from their base to their sibilance in a very complete way. In this sense, the informative capacity of the LMs is high, making up for the lack of body and physicality with a complete journey through the life of the voices. The instruments in this first half also come across as somewhat light and thin, set at a middle distance. The best remains their explicit, analytical level, though not as lush as the instrumentation of the upper midranges. In this sense, the polarisation within the central range is still there, and perhaps more noticeably so. Admittedly, the power and volume of the bass tries to counteract this, but it also highlights the distance between the upper midrange and the lower midrange. Female vocals border on the sibilant limit and the energy can be excessive if the black or red filters are used. On the other hand, the LMs remain an ode to clarity, light, transparency and resolution, but with a bass base that tries to stifle that distinctly splashy and vivid character of the first treble and upper midrange. But what happens if there is no bass present in the songs? Well, the power and energy concentrated in this second half of the midrange is unleashed, reaching a point of explicit saturation. I would have liked to find LMs with this level of bass, but with the energy somewhat more limited in the upper midranges of the first version. In my opinion, it would not have been necessary to increase the energy in this upper area so much. But if that had been the case, perhaps this model would no longer be called EA500. Simgot emphasises the incisive, very detailed, clearly informative, expressive and evident character of this new model, but with a little more imbalance in the central range. All this richness of nuance and ultra-realistic staging can be very eloquent and engaging, but also somewhat suffocating, demanding and somewhat harsh, but also less musical. On the other hand, LMs lend themselves to the exchange of tips, cables and sources, to iron out these rough edges. And a more relaxed version of the ensemble can be achieved, allowing you to enjoy the benefits of such striking midranges.

Treble

On the other hand, the treble has been strengthened. The LMs have their other strong point in the treble. There is a power struggle between bass and treble. And the centre can suffer the consequences. The high end is extended, the control drops are not very pronounced and the gradual decrease in its frequency response is the best weapon to naturalise the treble. They are clearly explicit, full of energy, undeniably fine and penetrating, sparkling and crisp. However, there is still authority to harmonise the whole range, not overblown or overblown high notes. Simgot repeats the pattern of the EA500 but adds that extra energy that makes the treble more present, ultra-resolute, vivid, yet retaining a bright, sparkling, incisive naturalness, reaching the air with great presence.

Soundstage, Separation

The scene is notable for its depth and for the path from the proximity to the background. There are elements in all three zones. Lots of detail and high notes in the foreground, the midrange right in the foreground, and bass that travels from the back to the front. However, the sound is not very broad horizontally. It is true that the volume of the bass also extends this sensation towards the sides of the scene, but without overpowering the frontal perception. On the other hand, the more detached and distant perception of the notes works against it. The background is not as sharp, despite the high resolution and level of detail of the LMs. Micro detail is not as visible and can be masked by more obvious macro detail. While the level of layering is good, it lacks a bit of horizontal space to separate that micro detail in space, feeling a bit congested at times, as well as somewhat saturated by the amount of elements above it. On the other hand, the height is remarkable and the image is quite good.

Comparisons

TinHiFi T5s

Without a doubt, the TinHiFi T5s have been one of the IEMS I’ve enjoyed the most lately. They are obviously $30 more expensive, have more emphasis on sub-bass and a smoother upper midrange and first treble. It is a warmer, more musical and fatigue-free tuning. The T5s do not have interchangeable mouthpieces, but they do have a superior cable, an extra set of silicone tips and a few other extras. Construction is good in both cases. The T5s have a semi-custom metal shape with very good ergonomics and fit. But they are a bit bigger. The LMs are also excellent in this respect and a bit smaller. That may be the difference between one and the other, which makes it possible to choose a particular type of capsule. In my opinion, I have no problem with the size, I prefer the ergonomics of the T5s because the mouthpiece-tips joint is more occlusive, they fit better in my ear canal and their fit is more durable and firm.
En cuanto a sensibilidad, los LM son claramente más sensibles que los T5s.
The difference in tunning is clear as soon as you use one or the other model. The T5s are darker and smoother. That is something you can feel from the sub-bass. There is more power in the low end of the T5s and that is noticeable in the very low frequency pure tone test. The lower notes are more sensory, noticeable and perceptible in the TinHiFi. The LMs have slightly more colour and may be more compact and subtly drier. On the other hand, darkness, depth and volume is more noticeable in the T5s.
In the midrange the darkness and softness of the T5s persists. You feel their warmth and more nuanced character. The notes are thinner and lighter in the LMs, but there is more light, sparkle and separation, you feel they are more analytical. Although, in the upper midranges they are more splashy, which makes them more abrupt and somewhat harsher. On the other hand, the T5s are the opposite, with less informative midranges, but more musical, relaxed and somewhat thicker.
The treble is quite different. If the LMs feel more natural, crisp, with more emphasis, energy and power, they are also sharper. They feel like the star of the show, while in the T5s the high end is relegated to a more secondary, nuanced plane, serving the rest of the band. There is more extension and more air in the LMs.
There is more separation in the LMs, but the scene is wider and deeper in the T5s. Although the macro detail is more noticeable in the LMs, the micro detail is not much better. There is this problem that the macro detail of the LMs stays ahead of the micro detail, even covering it up. This does not happen in the T5s and this loss of informative capacity is gained in certain nuances. On the other hand, the image seems more accurate due to the higher resolution of the LMs.

Conclusion

The Simgot EA500 LM is a more polarised and excited bass, upper midrange and treble version of its EA500 predecessor. Although it has lost some homogeneity compared to the first version, the higher energy in the bass makes it more fun and all-rounder. But it’s the treble that benefits from the increased presence and energy. It is certainly a version with a more V-profile, but it does not lose the brand’s hallmarks: three pairs of interchangeable mouthpieces, brilliant tuning, outstanding analytical capabilities, remarkable resolution, clarity, separation and definition. In my opinion, the LMs raise the bar compared to the basic version thanks to a tunning that I prefer. But on the other hand, the weaknesses of that one are still present in this new version, as it is still punchy in the upper midranges and the micro detail feels overshadowed by the macro detail. With the EA500 LMs, Simgot is taking steps to establish itself among the best sub-$100 IEMS, but there is still room for improvement. But it’s certainly an excellent choice for its great price/performance ratio and sound, making it a reference for $90.

Sources Used During the Analysis

• Aune X8 XVIII Magic DAC + EarMen ST-Amp.
• Burson Audio Playmate.
• EPZ TP50.
• Hidizs S8 Pro Robin.
• Tempotec V3.