Mirror, Mirror, Mirror…

Ratings

Pros

• Great low end, with a lot of punch, resolution, volume, forcefulness, energy and quality.
• Expressive, vivid, splashy, analytical, yet controlled and pleasing midrange.
• Low/medium energy level treble, but sharp and crisp yet very extended and airy.
• Great frontal presence, wide and coarse.
• Outstanding design quality, level of accessories, great cable, very good selection of add-ons.
• Four tuning mouthpieces, spare silicone rings and extra tuning foams.
• Premium sound and quality for a totally justified price.

Cons

• I would have liked the cable to have a screw-in pin locking mechanism.
• It could improve on aspects such as a more surrounding soundstage, better layering and layer separation, greater depth.
• It presents a cooler, more analytical and splashy sound that takes it away from a warmer, more relaxed organic base.

Purchase Link

https://www.linsoul.com/products/simgot-et142

Link to the WEB

http://www.simgot.com/en/

Introduction

SIMGOT means “Simple and Elegant”. The brand coming from China which is one of the big ones among the low and medium budget models, is characterized by relying on the best product and a perfect service, besides the fusion of old school and fashion creativity. And in that fashion is to have in the catalog some IEMS with a planar driver. But Simgot has not stopped there, but has taken up the series that opened with its first planars, the ET1000, to continue with the ET142, IEMS that mount a planar magnetic transducer with a double-sided grille system that drives the ultra-thin diaphragm with great precision. This innovative design ensures an even application of force for dynamic bass, smooth mids and detailed highs. In addition, the ET142s are a hybrid driver design, as they mount a custom multi-layer PZT ceramic transducer that refines the high and ultra-high frequencies, adding sparkle and micro-detail to the music. After extensive tuning, Simgot has eliminated mechanical artifacts to allow for a smooth, natural and realistic presentation. The ET12s use a CNC-machined capsule, come with the premium LC7 cable, plus 4 sound tuning mouthpieces. Among them are the Blazed Titanium mouthpieces, manufactured using a high-temperature flaming process. This intricate technique involves heating chemically treated titanium tubes with a flame torch, resulting in unique and unpredictable colors ranging from blue and purple to red and yellow. These colors vary depending on the intensity and duration of the heat, making each nozzle visually unique. The variations in color and texture of each tube reflect the handcrafted nature of this art. Each mouthpiece offers enhanced harmonics, clarity and speed, making it a dream for classical and instrumental music enthusiasts.
The high-quality LC7 cable combines high-purity oxygen-free copper and silver-plated wires in a 732-core Litz structure, enhancing resolution and dynamic range. Interchangeable 3.5mm and 4.4mm connectors ensure compatibility between devices for maximum versatility.
The ET142s have been meticulously tuned to the SIMGOT-Golden 2023 target curve to provide a harmonious balance between technical precision and musical enjoyment. This tuning approach combines years of experience with state-of-the-art simulations to achieve unrivalled sonic performance.
Let’s see what this excellent new model is capable of in the following review.

Specifications

• Driver Type: 12.5mm magnetic planar driver and multilayer piezoelectric ceramic PZT driver.
• Frequency Response: 8Hz-40kHz.
• Sensitivity: 118dB/Vrms (@1kHz).
• Impedance: 14Ω ±15% (@1kHz).
• Cable: 732-wire oxygen-free copper-silver plated mixed Litz.
• Jack Connector: 3.5mm SE and 4.4mm BAL interchangeable plugs.
• Capsule Connection Type: 2Pin 0.78mm.
• Starting Price: $219.99.

Packaging

The Simgot ET142 comes in an eminently black square box, whose dimensions are 147x146x46mm. On the main side you can read the brand name in the top left corner in a faint form. In the centre is a realistic photo of a capsule, while in the bottom right corner is the name of the model with the drivers it uses. The back side retains that faint ink colour that makes it difficult to read. With it, the entire model is described at the bottom in several languages. In the centre there is an exhaustive exploded view of the capsule. After removing the outer cardboard, a box with a black cardboard lid opens up. In its centre is a symbol of planar technology: a grid. There is also the brand slogan, all in silver ink. On the two opposite corners are silhouettes of each capsule. After removing the cardboard, the capsules can be seen inside a dense black foam at the top. Underneath, still using black cardboard boxes with copper lettering, are boxes containing the carrying case and other accessories. The silicone tips are underneath the foam block that houses the capsules. The contents are quite extensive and are as follows:

• The two ET142 capsules.
• A plate containing two pairs of short tuning mouthpieces.
• A pair of gilded copper tuning mouthpieces.
• A pair of Blazed Titanium tuning mouthpieces mounted on the IEMS.
• Three pairs of translucent off-white silicone tips with black core, sizes SxMxL, spherical shape.
• Three pairs of translucent grey silicone tips with orange core, sizes SxMxL, conical shape.
• Four pairs of black silicone tips, sizes SxMxL, spherical shape, wide channel.
• Warranty certificate.
• User manual.
• Four black silicone rings.
• Four red silicone rings.
• Four yellow silicone rings.
• Four transparent silicone rings.
• Six foam cylinders for inserting into the tuning mouthpieces.
• One grey rectangular case with rounded corners and magnetic closure.
• One LC7 cable with interchangeable plugs.

In a rather small box there are a lot of high quality accessories. The LC7 cable is of very high quality and by itself costs 70$. The box is a classic, as it came with the EA1000. In fact, the packaging is very similar to that one, but with some differences. There are three complete sets of silicone tips and four pairs of tuning mouthpieces. One pair of mouthpieces comes on a metal plate with threaded holes for storage. I find it strange that it doesn’t have three pairs of holes and there are a couple of mouthpieces that are orphaned. There are spare silicone rings for the four colours used, plus some foam cylinders to add to the two pairs of long tips (the short tips already have foam inside). This is certainly an excellent packaging and quantity of accessories.

Construction and Design

The capsules are made of polished and shiny metal alloy, as is the brand’s trademark, with a mirror finish. The external shape is very similar to other designs of the brand. Each capsule consists of two visibly separate sides. The outer face has an equilateral triangle design, with very rounded corners. In the centre is the brand logo on both capsules, while the brand name is located on the rim. In what could be a corner is a gold-plated Torx screw in each capsule. On the way to the bottom rim there is a bezel, a narrow sloping face that surrounds half a capsule. On the smooth, short edge is the 0.78mm 2Pin connection interface, consisting of a translucent plastic rectangular plate and two gold and metal cylinders. Next to it there is a hole. The inner side is rounded at the edges, while the nozzles are clearly projected and inclined, looking for the best shape and angle of insertion. Near the edge is engraved the name of the moulding, the drivers it contains on another line, while a font twice as large represents the side of the channel on the side close to the connection interface. On the way to the nozzles there is another hole protected by a white mesh at the bottom. The mounted nozzles are the Blazed Titanium nozzles. There are two sizes of nozzles: the long nozzles have dimensions of: smaller diameter 5.2mm, crown diameter 6.1mm, length 4.5mm. The short nozzles have dimensions of: minor diameter 5mm, crown diameter 6.1mm, length 3.1mm. All nozzles are protected by dense metal grids.
The cable consists of two thick strands wound together. The conductor consists of 732 mixed Litz wires of oxygen-free, silver-plated copper. It has a detachable system with two plugs: a 3.5mm gold-plated SE plug and a 4.4mm gold-plated BAL plug. The two parts of the detachable system are formed by two highly polished metal cylinders with a mirror finish, just like the capsules. The splitter piece is another perfect cylinder, smaller and narrower. The pin is a metal ring of the same shape, the inner hole of which serves the purpose of a good fit. The sleeves of the 2Pin 0.78mm connection interface follow the same cylindrical, metallic, mirror-finished structure. But they have a slotted ring near the cable outlet. The two gold-plated pins are mounted on a rectangular translucent plastic platform with a round base. The cable has transparent ear guides.
As usual, the metallic, polished and mirror-finished design is a must, even with the cable. But the design is impeccable, minimalist, with the engraved lettering of the logo, brand and model. On the outside, there is only the gold-plated screw. The inside with its rounded and polished shape. It’s true that they are fingerprint magnets, but the design of the capsules is premium. And the cable? So premium that it is sold separately. Fully matching and with two thick strands, with silver-plated wires that give it a practically white colour that enhances the beauty of the whole. And, as it should be, plugs with a detachable mechanism in two sizes. It’s a pity that the mechanism is not screw-on. It would be almost perfect.

Adjustment and Ergonomics

The capsules are of medium size and not too heavy, despite their metallic finish. Simgot seems to have perfected the shape of the capsules and the inclination of the mouthpieces to offer one of the most comfortable IEMS, even more so than other models from the same brand. Abandoning the dual-platform system of previous models and offering a tilted mouthpiece that seeks the best insertion angle has hit the mark, and offers a very precise, proper and long-lasting fit. There is no possibility of rotation, the fit is almost unique, but practically perfect, with a superficial insertion, which could be average depending on the mouthpieces used and the internal morphology of each one. As I say, the fit is superior, and I get it with my homemade foam-filled large tips. With them I get a great seal, high isolation and long lasting comfort. Last but not least, the over-ear cable guides are unobtrusive. Another good thing.

Sound

Profile

The Simgot ET142s have four tuning nozzles that allow you to change their sound from 1500 Hz upwards. Variations in the frequencies below this value are not relevant in themselves, although they can have more weight due to the incidence of the rest of the frequencies. In addition, they have foam filters that can be used to modify the response of long mouthpieces. But, starting from what the manufacturer says, it is the following for each mouthpiece:

Blazed Titanium mouthpiece (transparent silicone ring): Extended treble and lightness for a classical and instrumental approach.
Gold-plated copper mouthpiece (yellow silicone ring): Warm and balanced tuning, perfect for versatile listening.
Stainless steel short tube mouthpiece (red silicone ring): A refined sound profile with enhanced clarity and precision.
Stainless steel short tube mouthpiece (black silicone ring): Smooth, dynamic tuning with a balanced response at all frequencies.

In my opinion:
Blazed Titanium mouthpiece (transparent silicone ring): Slightly balanced W-profile, with a clear Simgot accent in the upper mids.
Gold-plated copper mouthpiece (yellow silicone ring): More exciting W-profile, with more treble representation, perhaps also the most technical.
Short stainless steel tube mouthpiece (red silicone ring): Profile with more accentuated bass, warmer and darker.
Short tube stainless steel mouthpiece (black silicone ring): Profile more similar to many other planar IEMS.

Finally, I used the foam filters that come as accessories and tried inserting them into the long nozzles:

Blazed Titanium mouthpiece plus foam filter (transparent silicone ring): They lower the peak at 2khz by 1.5dB and the following frequencies somewhat less. This is the configuration I like the most and this review has been written with this mouthpiece. It has the classic planar profile mixed with the Simgot sparkle that gives it freshness, explicit, descriptive, informative and slightly splashy capability.
Gold-plated copper mouthpiece (yellow silicone ring): They lower the peak at 2khz by almost 2dB and frequencies upwards by about 1dB. There is a slight increase in sub-bass. This configuration is subtly lower than the Blazed Titanium and might be the perfect fit for many people.

The Simgot ET142s have a clear W profile that is more polarised in the sub-bass and around 2kHz. They also have a very extended treble, while they are in the current trend of lowering the energy level of the transition between upper mids and treble, even with a dedicated PZT driver in mind. Believe it or not, this model can sound dark in some configurations. But there are always filters to bring Simgot back to reality.

Bass

What you expect from planar bass: dryness, punch, speed, low decay, speed, punch, energy, associated with a good amount of volume, power, presence and fullness, the Simgot ET142 has it. Being one of the IEMS with this type of driver with more sub-bass presence, the amount of bass can be intimidating for the most neutral. But it’s certainly a fun range for bass lovers. Having a relatively smaller planar driver than the competition (12.5mm versus classic drivers above 14mm) it is able to move a good amount of air in the low end, as well as generate a level of energy that clearly hits our eardrums in a generous way. But it also feels dark, deep and wide, which is appreciated, as well as having a realistic, natural and accurate timbre.
In the very low frequency pure tone test, a mixture of darkness, physical presence and slight wave character is observed in the lower frequencies. It is undeniable that the oscillation and associated behaviour is there. But there is also a truly physical, powerful and dark component that compensates for this subtle colouring. In reality, the wave aspect disappears and the dark, physical part remains, which is what is transmitted to the deeper bass drums and the more sub-bass bases. When linking this first and classic test with the second one of dirty, complex and unfiltered bass reproduction, one realises that the above mentioned is reinforced: the ET142’s ability to generate those heavy, dark, dense and complex bass lines is highly efficient, always reinforced by a very respectable physical part, which has to be respected due to the great energy it possesses. Be careful with this set! The energy level of the sub bass is not to be taken lightly, conjugated with a great sealing of the silicon tips, the power demonstrated is very high, as addictive as it is stupefying in the medium/long term. But, despite this clear caveat, the ET142s are truly capable of executing the dirtiest and most complex bass in the most fitting, descriptive and faithful manner you’d expect from a big one. The level of proficiency impresses, definition is not lost despite the combined power and the level of resolution is at an excellent stage. All this while maintaining a very high respect to the rest of the frequencies. Practically canonical.

Mids

With a marked W-tuning it is obvious that the first half of the mids is perceived as somewhat lean, as well as slightly excited and vivid. The male voices have a subtle touch of brightness, but they also have a very full range, starting with the lowest component. For the deepest male voices you can feel that physical and energetic part that the ET12 bass has and that is also maintained for the lower mids. With the Blazed Titanium mouthpiece with foam filter, a little warmth is gained, but the expressive part of the upper mids is not spoilt. Although the presence of this first half is not the closest, there is an undeniable feeling of fullness, resolving power and informativeness throughout the entire range. In this way the male voices are extended in a very complete way, generating a level of density that makes them very homogeneous, totally structured and without any hollowness. Thus, the first half of the central range, without being a complete protagonist, can stand on its own in terms of quality, richness, exuberance, volume and informative presence. Yes, this all-round feel is common in the best planars, which make up for some frequency imbalances with a sense of body, physicality, density and level of resolution that completes the music with no ifs or buts. Couple this with an equivalent instrumental level and things get really ugly for the rest of the rivals.
It is clear that Simgot likes to have a reserve of sparkle in the upper mids. That’s where the PZT driver can make its case, in the most splashy part of the notes. But that’s also where the foam filters do their job. I don’t want to give up Simgot’s more technical, expressive and analytical capabilities, but I also don’t want it to penalise the sound by making it ungainly or more incisive. The mix of the Blazed Titanium mouthpiece with foam filter is entirely adequate to achieve everything I’m looking for in these IEMS. It may not be the right spot for other fans, but it is for me. This is how I get to hear female vocals in a way that is totally expressive, sparkling, prominent, obvious, clear, transparent, elastic and completely sculpted. For some people ET12 might sound a bit metallic. But I think they have that cooler, more obvious and highly informative look that I like. The wise part is that it has managed to keep up with the current trend of the new planars by limiting the energy level in the transition from the mids to the highs, using the level of resolution of its set of drivers to not lose an iota of musical expressiveness, nor of resolving power. As always, the speed, the swift transients and the ability to represent as many elements at once demonstrate that well-designed planars know how to recreate the fullest mids per dollar spent. Truly commendable and musically expressive in equal measure.

Treble

We enter the controversial area of planars and power level. The current trend is to tamp down the power level of the planar treble, as this is where the planar timbre can make the most impact. And Simgot takes a risk by adding a PZT driver into the equation. And the move hasn’t backfired. It has gained in extension in the non-audible range, raising the air area, but maintaining a low profile and restrained energy. Performing this tuning with other drivers can have a very smooth result. But with the two drivers of the ET142 you get that restrained profile, but with a treble sonority, with sharp notes but with a low/medium level of energy. This way the notes have an edge, but are not piercing or incisive. I think this is what Simgot has aimed for, and he has succeeded. This is how you get a realistic treble, with a crisp, natural, mellow touch, but expressive throughout. To be enjoyed for many hours.

Soundstage, Separation

The ET142s are horizontally extended, with excellent headroom, while the sense of depth is somewhat ambivalent. The bass is very powerful, with a great level of volume, but does not feel as extended in depth. Perhaps they lack a point of elasticity, while the dryness and speed of the lower notes makes that sense of depth somewhat more limited. The very explicit level of the ET142s allows a lot of information to exist on planes very close to the listener and this is something that also limits that sense of depth. Much of the music is very close. The mid-plane also has a lot of information, but the deeper layers are somewhat overshadowed by the overall macro exposure. In this way, any micro detail that might exist in the background is not as visible.
In a fairly wide scene, with a noticeable sideways feel, the horizontal separation is obvious, as is the distance in height. But this separation is not so three-dimensional. The bass can indeed offer an immersive feeling thanks to its volume and its immersive, physical power. But the character of the ET142s is more explicit and overwhelming, rather than gaseous or volatile. That said, the sheer amount of resolution means that the positioning of the elements in the image is quite evident and discernible.

Comparisons

7Hz Timeless II (Gold flat mouthpieces)

A great model has to be compared with another great model to know if it is up to the task. And this year’s great planar model is the legendary second edition of 7Hz, the outstanding 7Hz Timeless II. As I said in my review about them, they are the reference to beat, so the comparison with the Simgot ET142 is totally appropriate. Starting with the price of the two, there is only a $9 difference, with the 7Hz costing $229 and the ET142 $220. It is clear that the 7Hz has a very particular design, with that round shape, with the pyramids on its external face. While the ET142s use a capsule shape with a more semi-custom shape, but with a premium finish. The level of construction is impeccable in both cases and the design, although classic, is more different in the 7Hz, so that originality gives them a plus. But the level of solidity and the details that make the ET142s more comfortable and easier to put on also give them an overall plus. So, almost a tie in construction and design, while in the fit/ergonomics section I find the Simgot clearly better. As far as accessories are concerned, again there is a great deal of choice for both brands. But the 7Hz offers a unique metal case, a detachable screw-on cable (just what I ask from Simgot) and a plate to store all the mouthpieces. Yes, the 7Hz also comes with four mouthpieces. The Simgot also offer those foams to modify the sound a bit more. But their plate can only store two pairs of mouthpieces, while the 7Hz allows the other three pairs to be stored. It is clear that the Simgot cable, the LC7, is totally premium, thick and distinguished. But the 7Hz cable has 4 strands that make it more flexible, plus that screw-on jacket that secures the connection of the pins. A hybrid between the two cables would be great. But Simgot has also taken care of the details, including the spare silicone washers, as well as those foam cylinders. Both offer three pairs of silicone tips and both offer a set with four sizes. But 7Hz have provided a special and different set. Again, this accessory section is very close, but I think for the metal case of the 7Hz, the detail of the cable thread and those special nipples, I’ll take the 7Hz by a very small margin.
In terms of profile, the 7Hz offers a more balanced and homogeneous profile in all its mouthpieces. There are four tunings whose changes are noticeable from 1000Hz onwards, with that clear difference at 2kHz. The ET142s also offer 4 tunings from their 4 mouthpieces, but the foams allow the two tunings of the long mouthpieces to be smoothed out, so there are 6 tunings. Here the differences are found from 1500Hz onwards, while the differences at 2200Hz are larger, although they are somewhat compressed when the two tunings appear with the foams.
As I say, the 7Hz profile is more balanced, while the ET142’s profile is more pronounced in W, with a higher sub-bass, a peak at 2kHz also more energetic, while the treble of both models are almost the same, except that the ET142 has a bit more air.
For the comparison I have used my preferred mouthpieces on both models, the Flat Gold for the 7Hz and the Blazed Titanium with foams for the ET142. With these configurations the frequency responses of both models are quite similar, with the caveats mentioned above: the 7Hz are more balanced, with a subtle lower emphasis on the sub-bass and less peak at 2kHz. Each model demands a good level of power to perform optimally, but I would say that the 7Hz requires a little more power to match volumes.
If there is one thing that captivated me about the 7Hz, it was the size of its soundstage and the texture of the bass. The ET142s have a more expressive profile and more bass power. The Simgot’s low end is more powerful, punchier, stronger, a little more elastic, voluminous and perhaps a little darker and deeper. The 7Hz bass is very well textured, more agile, dry and fast. The very low frequency pure tone test shows that the Simgot’s start to be more noticeable when it comes to reproducing the sub-bass, offering more physical and audible presence from the first 20Hz note. There is perhaps a little more wave character in the ET142s and a little more colour, while the 7Hz offers pure tones with a physical component above the audible, creating a more natural sense of realism. But the Simgot’s offer more power, punch and impact, as well as more volume. Thus, their bass is more spectacular against the more exquisite technical quality of the 7Hz. The ET142s don’t fall short in this respect, but they stand out for their greater physical component. My opinion? Well, the Simgot’s punch leaves me hooked. And when I talk about technical performance, both offer excellent behaviour, but perhaps that more focused control of the 7Hz makes the Timeless IIs more precise and balanced with the rest of the frequencies. But that’s not to say that the Simgot’s don’t perform well in dirty, unfiltered bass tests, it’s just that their character is wilder.
In the first instance, the overall differences between the two IEMS become clearer. When compared hand in hand, these differences are diluted. The male voices of the 7Hz are warmer and move towards the lower end of the frequencies. Whereas on the ET142s they feel a little more projected, with a little more clarity and a little cooler, perhaps with a little less base. It is clear that the vocals on the Simgot stay closer, they are a bit more obvious. But that richness that comes from having a sharper base, a deeper fundamental, which gives it a superior body and lushness, with that purer soulful feel and that level of texture that it gains, makes the first part of the 7Hz more delightful and enjoyable in the long run.
Something similar happens in the second half of the midrange. The 7Hz offers that more natural, warmer side, with that more natural, organic timbre, approaching a magical realism. The ET142s are more excited and offer less texture and a smoother surface, but are closer, more expressive, splashy, vivid and informative. But also clearer and a little more penetrating.
Those looking for an expressive balance, more warmth, a more organic and natural sound, should choose the 7Hz, while those looking for stronger sensations, more liveliness and a sound with more punch, bite and presence, should go for the ET142s.
The treble of both models sound very similar to me, with a very similar tuning. Only the timbre is a bit fresher and the notes seem a bit sharper and more sparkling in the ET142s, with all the positive and negative things that can happen. It also seems to have a bit more air with that piezo character that comes from the hybrid construction.
And now come the differences. While the 7Hz seems blunter, a little less refined, it has a better layering of sound, being more defined when it comes to layering. And in that respect, the micro detail is better uncluttered as well. Their soundstage is larger, with a more obvious lateral feel. The ET142s are much more frontal, while the Timeless IIs are much more open, surrounding the head. The sense of lateral provenance in the 7Hz is impressive, while the ET142s are more focused, with less flat, less immersive and less dramatic in presentation. The 7Hz’s soundstage is more surrounding and three-dimensional. And although they seem a little rougher, that natural organic feel adds a richness that enhances the micro detail. It also seems to have more space to develop it. Whereas the great expressive and resolving ability of the ET142s is limited by the somewhat more compressed and frontal scene it possesses. This also makes the Simgot’s sense of separation feel more limited, even though macro detail is more vivid on the Simgot.
Choosing between the 7Hz Timeless II and the Simgot ET142 is like choosing between mum and dad, between big brother and little brother, with the middle one being between opting for one of your two best friends. Each has its strengths and each will make us enjoy ourselves in that respect.

Conclusion

Simgot has gone one step further in the planar race by creating a hybrid IEMS that features a 12.5mm planar magnetic driver with a double-sided grille, plus a multilayer piezoelectric ceramic PZT driver. And it does so inside a mirror-finished metal capsule that has a medium-sized semi-custom design, with a shape that enhances comfort, ergonomics and fit in my ears, as the best do. The presentation is exquisite, in a package that’s modest in size, but generous in quality and quantity of accessories. Simgot provides this model with its high-end LC7 cable, whose connection reinforces the premium character of the set. In addition, it adds four pairs of tuning mouthpieces, plus foam cylinders that allow up to 6 different tunings in total. The importance of the tuning foams lies in my impression that with them, plus the Blazed Titanium filter, the most appropriate tuning of this great model is achieved. Its sound is characterised by an energetic W that starts with a heavy sub-bass, a high physical component, volume, power and punch. It seems incredible how a smaller planar driver can generate so much bass energy, moving so much air as if it were a dynamic driver, but with that precision, speed and resolving power typical of planars. In the midrange the ET142s present themselves as a vivid, expressive, analytical and splashy package, but in a more controlled and restrained way. The piezo driver brings an extended sparkle in both the midrange and treble, gaining finesse, edge, adding a very controlled crispness that separates it from the competition, even, reaching a greater extension. The scene is eminently frontal, large, but close, where macro detail is displayed with clarity and obviousness. In addition, it possesses sufficient expressive capacity to demonstrate micro detail, although the layering capabilities, depth extension, surround character and three-dimensionality of the elements fall short of the larger ones. Nevertheless, there is no doubt that the Simgot ET142s are among the best IEMS at this price point and one of my favourites when it comes to powerful, accurate bass reproduction and fresh, analytical, full and impressive sound. Undoubtedly among this year’s greats.

Sources Used During the Analysis

• iFi GO bar Kensei.
• EPZ TP50.
• Burson Audio Playmate 2.
• Aune X8 XVIII Magic DAC + OpAmp Sparkos Labs SS3602 + ifi ZEN CAN 1.
• Tempotec MARCH V.
• Tempotec V3 Blaze.