- Remarkable representation of the bass.
- Explicit sound, very descriptive, analytical, technically skilled.
- Can be very suitable for short, intense monitoring, capable of extracting nuances with great ease.
- Crunchy and relatively extended treble.
- Very light, ergonomic capsules with a pleasant fit.
- Large zippered case.
- Relatively flat sound, lacking some depth.
- Uneven, thin and lean midrange. There is more emphasis on detail and nuance than on the base and physical aspects, such as body.
- Can be hot and fatiguing for long listens and for ears sensitive to midrange and energetic treble.
- Only one set of silicone tips is supplied.
- The cable is relatively thin.
- There is no balanced option.
Link to the Store
Simgot, the Shenzhen-based company founded in 2015, once again lives up to the meaning of its name, «Simple and Elegant», with the EM6L model. This is a 5-driver-per-capsule hybrid IEMS (1DD+4BA) tuned to the H-2019 target curve. This reference has been universally acclaimed for its three-frequency balance, accurate soundstage reproduction and precise imaging.
The EM6L combines a dual-cavity dynamic driver with a custom-designed 8mm polymer diaphragm. In addition, two sets of balanced armature transducers handle the high-midrange and high frequencies. The three frequency crossover have been meticulously tuned to achieve a coherent and harmonious frequency response. The SIMGOT EM6Ls reproduce sound perfectly with precise positioning and imaging and excel in both gaming and music playback.
The housing is made of finely textured resin, while the outer plate is CNC-processed. The whole has a mirror finish that conveys a delicate refinement.
Finally, a silver-plated OFC cable is included to ensure greater signal conductivity.
This is what the brand’s presentation says. Let’s see how this classic Simgot model performs.
- Driver Type: 1DD Dual-Cavity with custom-designed 8mm polymer diaphragm + 4BA.
- Frequency Response: 8Hz-40kHz.
- Effective Frequency Response: 20Hz-20kHz.
- Sensitivity: 119dB/Vrms.
- Impedance: 26Ω±15% (@1kHz).
- Jack Connector: SE 3.5mm gold-plated.
- Capsule Connection Type: 2Pin 0.78mm QDC.
- Capsule Technology: High precision 3D printed resin capsule.
- Cable: High purity silver plated OFC copper cable.
The Simgot EM6L comes in an eminently black box, whose dimensions are 144x121x63mm.
In the top left corner is the brand name and underneath is a small slogan. At the top right is the Hi-Res Audio logo. In the centre is a logo with a flaming phoenix inside a diamond with the corners cut off. At the foot, is the model name in gold lettering. On the back is the frequency response curve compared to the H-2019 Target. In the centre is an internal exploded view of the capsule. At the bottom are the model specifications in four different languages. After removing the outer packaging, the box opens like a book, with a dark cardboard cover with a phoenix icon on the cover, including the name in vertical and gold lettering. Opening the cover reveals the capsules encased in a dense, black foam mould. The back of the lid is protected with foam to protect the outside of the capsules. The outside of each capsule is protected by a transparent plastic sheet. On the underside is a black box containing the accessories. Behind the foam mould there is another box containing the silicone tips. The complete contents are as follows:
- The two EM6L capsules.
- A two-stranded cable with SE 3.5mm plug and 2Pin 0.78mm QDC interface.
- One black zippered case.
- Three pairs of translucent white silicone tips with black core, sizes SxMxL.
- One instruction manual.
The price of the EM6L is $110. The best part of the set of accessories is the zippered case, it is oval, wide and very well designed to hold the IEMS without any problem. It only comes with a set of silicone tips, the bare minimum. The cable itself is not bad, but there is only a 3.5mm SE option. In my opinion, the set of accessories is a little bit too small for a set that exceeds 100$.
Construction and Design
The capsules of the Simgot EM6L are made of black resin and printed using a high-precision 3D printer. The outer face of the capsules is CNC processed. The finish is fine and shiny, the classic fingerprint magnet. The shape of the capsules is almost triangular, namely a right triangle in which each side has been rounded off with a sharp apex that ends in a smooth point. The right capsule has the phoenix symbol on its outer face and the right capsule the brand logo, all in white ink. Near the apex is a hole that is protected by a metal grille. The rim is relatively thick, the difference between the outer and inner side is noticeable, separated by a visible line. The 2Pin 0.78mm QDC connection interface is in between this gap. The inner face of the capsules is relatively flat, although rounded at the edges and as you approach the mouthpieces. On them is the model name and the surname «Phoenix», plus a large lettering indicating the channel, all in gold ink. The mouthpieces are made of metal, completely cylindrical, with a diameter of 6mm and a length of approximately 5mm. Their orifice is protected by a perforated metal grid.
The cable has two coiled strands, is transparent coated and shows a gold and a black conductor inside. The plug is a 3.5mm gold-plated SE plug. It has a removable plastic protective sleeve. The sleeve is a simple black microtextured cylinder, with the brand name written lengthwise in grey ink. The splitter piece is the same but half the length, there is no writing on it and it has a plastic protection at the cable entry. On the other side there is a gold-coloured ring which serves as an adjustment pin. Its inner hole is just enough to do a good job in this respect. The cable has semi-rigid over-ear guides and the 0.78mm 2Pin connections have the classic QDC transparent sleeve at an angle.
The capsules have a completely smooth and shiny texture, are soft and weigh very little. The mouthpieces are generous and metallic. The design is very elegant, they don’t need to be made of metal to look durable and well-built. The size is adequate, the weight is very low and the fit and ergonomics benefit from this.
The cable is fine, its design is adequate and simple. Although I expected it to be a little thicker, a little more complex, given the scarcity of accessories such as a single set of tips. I miss the balanced cable option which should be a must in this price range.
Adjustment and Ergonomics
The outer face is flat, the rim is not too thick, the size is medium, the inner face is relatively flat with rounded edges. The weight is very low. The mouthpiece is straight, metallic, of good diameter and length. Its angle is almost perpendicular to the inner side, but it is inclined enough to reach into the ear canal. They have a good projection to ensure good insertion. But their diameter is somewhat thick, something that may prevent a deeper insertion, which could be medium or shallow, depending on the size of the tips used. As usual, I have used my foam-filled silicone tips and the fit obtained is shallow, with a high level of isolation. The capsules fit my ears very well and sit perfectly in the pinna. There is hardly any rotation and the weight is negligible. The fit is immediate, firm, durable, suitable for everyday use, even for long sessions or sports. Due to the medium thickness the capsules do not protrude too much and their black colour and smooth, glossy finish is elegant.
The Simgot EM6Ls are tuned according to the H-2019 reference curve. It is a V-profile with relatively hot high-mids and highs that get softer as the frequencies increase. The result is not as exaggeratedly clear or sibilant as it might seem from that peak between 3kHz and 4kHz. And that is because of the clear drop in control that exists in the early treble. In my opinion, this characteristic also plays a role in subtracting energy in that transient hotspot between midrange and treble. On the other hand, there is also a good ability to eliminate the metallic sheen of the BA drivers. That way, it doesn’t feel like a harsh or poorly tuned hybrid in this respect. But it does feel distinctly splashy.
What I find most appealing when analysing hybrid IEMS is the very low-frequency pure tone test. Especially if a «wise» configuration of the crossover filters is specified. In this case, I have to admit that Simgot has done it perfectly. What sounds when these tones are reproduced is clearly the dynamic driver, without any contamination from the BA drivers. The lower tone is slightly sensory, but not very audible. At 30Hz you already feel that mix of more realistic sonority and physical character, achieving a deeper, quite natural and powerful performance. At 40Hz, a canonical, well-represented low end with remarkable sonic characteristics is already apparent. As soon as the music plays, the EM6Ls manage to reproduce the fundamentals in a quite compact, dense and solid way. The bass doesn’t feel as heavy in the mix, although it has a good representation in its energy ratio. But I don’t think it’s completely predominant. In this aspect, you feel that V-profile where the midrange competes in presence with the lower range, even surpasses it. There is a certain rubbery and elastic aspect, but short, the bass is well tied and does not project, nor is it prolonged more than necessary, it just has that more flexible point that gives it a more rounded, pleasant and natural aspect, which prevents it from being sterile, inert or too hard. Without reaching Bass-Heads level, the bass has a more than decent volume, it is skilful and leaves little aftertaste, as it recovers quite well, acquiring a clean behaviour and without overdoing it. Undoubtedly, this is not a neutral low end, but obviously entertaining and with a certain presence, something that can be noticed in the energy level of the bass-midrange.
Technically speaking, the lower range is quite skilful, it is quite capable of withstanding a lot of sound pressure without distortion and without losing control. In the dirty, unfiltered bass test, the EM6Ls follow complex bass lines flawlessly, executing the kick drums with precision and without intrusion of the lower range into the vocals or midrange. The result is a very accurate, realistic, very well controlled reproduction, with a remarkable sense of precision and resolution, without any loss of punch or depth. It is even able to add a certain level of texture and appreciable roughness, which still adds a superior appeal to the range, while sweetening its sonority. I like it.
Being a V-profile, the first half of the midrange feels thin and lean, lacking base, physicality and body. This feeling is further accentuated by the steep slope towards the upper midrange. The result is an initial range that is relatively distant, with little warmth, but with quite accentuated and explicit overtones. In this sense, balance and homogeneity are lost, but without becoming a clarity-seeking IEMS at all costs. It is true that the sparkle and details are more present or closer. But, as I said, it doesn’t feel distinctly harsh, hard or cold. Simgot seems to have tamped down this aspect that could be much more negative, even in an area that is executed by a pair of BA drivers, which could be very susceptible to generate those adverse aspects. As I say, this has not been the case and it is right to point this out and note it in the list of advantages. Another feature that follows from this virtue is analytical trend control. The EM6Ls manage to be on the edge of musicality without losing it and of the most obvious expressiveness without falling into it abruptly and noticeably. Although, admittedly, the midrange is relatively hot and energetic for my taste. The result is that the bright details come to the foreground and are very abundant, giving a clear splashy aspect to the sound. On the negative side, the evidence of this aspect prevents the visibility of background details, not because of resolving power, but because of overlapping and close proximity of the more obvious ones. In this respect, the BA drivers are not as capable of generating layers and lose some ability to represent deeper elements of the second half of the midrange. This is the loss of homogeneity that exists between the two halves of the range.
Turning to the positive/conflicting side, the EM6Ls do not cross the red line of sibilance, as the treble control limits their energy. But it does feel that the thinness of the voices is not only present in the male voices, but the female ones also suffer from a certain body and physicality, appearing light and subtle. At times this sensation can lend the females an air of delicacy and finesse, though at others they feel sharper than they should.
In my opinion, the instrumentation lacks a certain weight that would give it a more abundant, exuberant or analogue presence. However, the zone is described as well exposed, clear, transparent, resolute and spaced. But I cannot finish without concluding that I would have liked a little less energy in the upper half, for a fuller, denser and more homogeneous sound in the central range. Also, less fatiguing.
The treble is full, fine, explicit, clear, crisp and evident. They are not hidden in their initial phase and are controlled as the frequencies grow. But that does not detract from the fact that they are sharp and penetrating in the first instance. The softness comes later, but this first phase is insistent if the song or musical genre is present in this band. This is not an IEMS to recommend for those who like their treble soft, but for those who are looking for more bite and sparkle in the upper range. In this aspect, the treble feels very well represented, with a certain BA character at its sharpest edges and losing a certain natural aspect in its execution.
Again, in my opinion, I feel that the range is beyond neutral and its energy level is a step above my tolerance for medium to long listens. Although I recognise that it can be very suitable for short, intense monitoring.
Finally, at the top end, the amount of air is just right.
The scene is eminently frontal, with good laterality, but without much height. I miss a more pronounced sense of depth, and this perception may be more evident depending on the song or genre of music. Details feel explicit and foregrounded, while the sound lacks a certain physical grounding that would offer more grounding to the vocals and instrumentation. In this sense, the music certainly feels congested in length, offering a relatively flat scene, without too many layers. This characteristic means that elements overlap and background detail is sometimes drowned out, even if the IEMS has sufficient resolution to represent it.
On the other hand, as the sound is technically skilful and has a good analytical degree, the notes are represented in a fine and delicate way, achieving a good level of clarity, transparency and separation. But it can become a bit tiring if the volume is high.
The image has good precision in positioning, but the frontal representation and the lack of depth only allows an eminently horizontal placement of the elements.
TinHiFi T4 Plus
As you know, I like to compare models of a similar price and similar frequency response. In this case, I find that the TiHiFi T4 Plus can be a good contender. With a slightly higher price (119 USD), a single DD and a classic and recurrent shape in TinHifi: the cylindrical or ballistic design with over-ear crossover. The design of the two is quite different. I prefer the semi-custom capsule shape of the EM6L and its more secure ergonomics. Although the construction of the T4 Plus is quite good. TinHiFi opted for a 2Pin 0.78mm connection interface on this model, although they have now gone back to using MMCX on their latest models, which I dislike. And the cable of this model is not bad, it is thicker than the EM6L model. It also comes with a good set of accessories, with a leather-like hard case and a good set of tips (3 sets in total), including some Symbio Mandarine tips. On the other hand, the EM6L only comes with one set of tips, although it is accompanied by a remarkable zippered case.
Both models flirt with the H-2019 reference curve. However, the EM6Ls have a more V-shaped profile, while the T4 Plus are more restrained, both in bass, midrange and treble, creating a more homogeneous and balanced profile.
The T4 Plus are slightly more sensitive than the EM6L.
The first difference I feel is the lack of flesh in the first half of the EM6L midrange. It lacks body and physicality in this part, something that is noticeable in the male vocals, which sound lean, thin and more distant. A quick switch to the T4 Plus allows the gap in this area of the EM6L to be somewhat filled. The second clear difference is the midrange and the more penetrating, incisive, technical, sparkling and analytical character of the EM6Ls. Meanwhile, the T4 Plus are softer and calmer in all these respects.
In the pure tone test, the T4 Plus comes in lower and leaves a more sensory and physical presence at the lower audible end. The performance of the T4 Plus on those very low pure notes has more energy yet is more oscillating, this gives it a greater roughness as well as a more pronounced texture. The EM6Ls are smoother, technically very good, more continuous sounding, a complex skill to find. The result is that the EM6L bass is technically more skilful, faster, drier, with less aftertaste and a quicker recovery. They are also very capable in fast, dirty, complex and layered lines. The T4 Plus is softer, with an average texture, the bass shape is more rounded and simplistic. But it is more punchy and energetic than in the EM6Ls, if only slightly. They are also respectful of the midrange, as well as warmer.
In the midrange the imbalance is more evident in the EM6Ls, with that thinner, more sunken first half contrasting with a more excited, vibrant, incisive and energetic second half. TinHiFi exploited the curve of the T4 Plus in other models, raising the sub-bass or modifying the midrange, but without reaching the EM6L’s level of excitement, playing on the edge of balance. The EM6Ls add this emphasis on the transition zone towards the treble, with the use of 4 more analytical, bright and splashy BA drivers, capable of generating faster, finer notes, with more precision and resolution. But they can also lead to more sibilance and fatigue. It is clear that the EM6Ls are more technically adept, their treble is crisp and extended, but they forget the base.
The image is more accurate on the EM6L, it has more separation. But its soundstage is flatter, more frontal, with less depth. The T4 Plus is more homogeneous and dense, which gives it more balance and a fuller sound.
Simgot has moved slightly away from its more traditional curve to approach the Harman 2019 target, but in a somewhat «hot» way. The EM6Ls are a hybrid model with an excellent dynamic driver plus 4 quite technical BA drivers. The crossover filter treatment is also outstanding, with the BA drivers being completely disconnected when the dynamic driver operates in its lower region, allowing for a splendid performance on its part. As the frequencies advance, the EM6Ls lose the good balance of the low end to generate a light and somewhat distant first half of midrange, and then rise, with emphasis, towards the treble, generating a sound more focused on the nuances, on clarity, on sparkle, causing a more splashy, cold, technical and analytical character. The EM6Ls play in a daring way, in that barrier that separates sibilance, intensity and fatigue. Many times they exploit this to their advantage, gaining in precision, resolution and detail. At other times, this energy may be too explicit for some.
Sources Used During the Analysis
- MUSE HiFi M3 II
- Tempotec V3
- Hidizs S9 Pro Plus.
- Burson Audio Playmate II.
- Aune M1p.
- Aune X8 XVIII Magic DAC + EarMen ST-Amp.