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EarSonics S-EM9 In-Ear Monitors

EarSonics S-EM9 In-Ear Monitors

Right now, all over the world, people are listening to music through headphones. And just as listening is an international thing, manufacturing earphones is also a global endeavor. The French company EarSonics has been producing in-ear monitors since 2004. Founded by pro-sound engineer Frank Lopez, EarSonics was the first company in France to produce in-ears for onstage use. In 2007, EarSonics expanded with a hearing-protection division. EarSonics also developed a patented universal-fit earphone with loudness correction called “The Earpad.” For its first reviewed product in The Absolute Sound, EarSonics sent its current top-of-the-line universal-fit in-ear monitor, the $1799 S-EM9.

The S-EM9 has nine balanced-armature drivers (four mids, four highs, and one bass) in a very compact enclosure. Unlike 95% of balanced-armature in-ear monitors, the S-EM9, like all EarSonics in-ears, uses drivers custom made for them by Knowles instead of Knowles’ off-the-shelf drivers that are found in most other in-ear monitors. EarSonics drivers are the company’s own proprietary designs, which puts EarSonics in a unique position compared to most other in-ear monitor manufacturers.

Along with its proprietary drivers, EarSonics employs a three-way crossover system. Although there’s no mention of whether the crossover employs resistive circuits, a cutaway illustration of the S-EM9 on EarSonics’ website shows there’s scant room inside for much beside the drivers and sound channels. These “channels” are tubes that direct the sound from the front of the balanced-armature driver to the earphone’s tips. The S-EM9 employs a unique three-bore, three-channel cannula profile. According to EarSonics, its design “combines optimal phase management through asymmetrical channels and maximum treble extension.”

Ergonomics and Fit
As you would expect from a top-of-the-line earphone, the S-EM9 comes with a plethora of accessories, including the usual nice, but blessedly compact, cloth-covered presentation case. Inside you will find two pairs of Comply tips, two pairs of silicon tips, one pair of double-flange tips, a cleaning tool, user manual, and hardshell cloth-covered everyday carry case. The exceedingly lightweight (in a good way) cable is replaceable, and uses a fairly standard two-pin connection (on the upper side of the enclosure when in the S-EM9 is in your ears) that is sufficiently robust not to pull loose, even when yanked. The supplied cable does not have any provisions for iOS or Android smartphone controls and is terminated in a standard single-ended mini-stereo plug.

EarSonics S-EM9 In-Ear Monitors

The S-EM9 is designed so the cable goes over your ears and then either drops straight down or is routed behind your head. The first two inches of cable has an additional sleeve of malleable plastic that can be formed into an adjustable loop. I mentioned that the cable was “exceedingly lightweight,” but it is also exceedingly strong. My only complaint is that because it is so strong and its attachment point to the earphones is so tight, when it gets yanked the only place that the cable can “give way” is where it attaches to a player or headphone amplifier, which puts the strain on the headphone connection in the player or amp itself. So…don’t do that.

I tried all the tips and settled on the large Comply foam ones. The S-EM9’s only true ergonomic oddity is that the left-hand capsule has a red “9” on it while the right one has a white “ES.” Red has traditionally been the indicator for the right channel. Of course, the first time I tried them on I inserted the red into my right ear. That did not go well. The S-EM9’s barrel is mid-sized, not as large as that of some multi-driver IEMs, such as the 1-More Quad, but not as narrow as the Etymotic ER4-SR’s. This mid-sized barrel combined with the larger foam tips gave me a good seal that did not intrude too far into my ear canal. My second choice was the double-flange tips, but they tended to slip and required periodic readjustment to remain in place.

Because the S-EM9s are among the most sensitive in-ears I’ve reviewed (121dB/mW) I expected that some amplifiers designed to drive inefficient headphones might produce hiss through them, and indeed that was the case with several, such as the AVM 8.2’s headphone output. I was encouraged to find that other headphone amps including the ModWright Tryst and the Sony TA-ZH1ES, which either had gain reduction switches or special low-gain settings, were hiss-free. With its high sensitivity, lower-output devices such as my iPhone 5SE had no problems driving the S-EM9s to well past loud into very loud levels.

Before I move to sound, I want to focus on the EarSonics S-EM9’s acrylic capsules. Unlike most multi-driver IEMs, the S-EM9’s capsule dimensions aren’t that much larger than less well-endowed IEMs. Also, unlike most multi-driver IEMs, the S-EM9 capsules are much lighter. While acrylic may have different and in some designs less desirable sonic properties compared to other more exotic materials, its low mass means you will hardly feel the S-EM9s once they are installed comfortably in your ears.

 

Sound
I broke in the EarSonics via a robust headphone output for several days before doing any serious listening (as per the manufacturer’s email instructions). I did cheat and give them a brief listen before break-in, using the double-flange tips, and thought to myself, “These sound like a pair of Etymotic ER4-SRs,” meaning they were clear, very neutral, and perhaps not bass monsters. But after break-in I had to revise my opinion of the S-EM9’s bass response (besides burn-in, I switched the tips)—these IEMs have the most extended and controlled mid and low bass of any universal in-ear I’ve heard. Not only is the bass tight, powerful, and nuanced, but the S-EM9s also produce a large, evenly proportioned, and three-dimensional soundstage with excellent image specificity. Their overall harmonic balance is quite neutral, especially considering their exceptional bass extension. Listening to Chance the Rapper’s “Blessings” via Tidal, I was impressed by how little effect the big low bass had on the rest of the spectrum. Even sudden bass transients didn’t color or mask the vocals or instrumentation.

Midrange clarity and decipherability through the S-EM9 were exemplary. Whether it was a soprano or a baritone voice, timbre was exceedingly natural and relaxed, but still delightfully clear. Listening to a recent musical discovery, Will Hoge’s superb song “Through Missing You” from his Anchors album via Tidal played back via the Astell&Kern KANN player, the track had a level of intimacy and verisimilitude that drew me in completely. Also, the electric and acoustic guitars had just the right combination of crunch and harmonic complexity. Give a listen to Hoge’s “Not That Cool” from his Blackbird on a Lonely Wire album, and I dare you not to try not to dance.

The S-EM9’s soundstage size and dimensionality was not quite as spacious as with some in-ears, such as the Empire Ears Zeus, but slightly larger than what I hear from the Ultimate Ears Reference Remastered. On the other hand, the S-EM9’s image specificity was especially good, not only in lateral placement but also in back-to-front layering and edge definition. On Mike Posner’s “Red Button” from his One Foot Out the Door EP, it became clear that the synth exists in a much larger sonic space than do the vocals, and it sits much farther back in the soundstage. Moving to a very different musical genre, on my DSD5.6 recording of the Boulder Philharmonic performing Benjamin Britten’s Peter Grimes, the S-EM9/KANN combination did a superb job of preserving the layering and distances between the front row string section and the winds further back on the stage.

As with full-range loudspeakers in a completely sealed room, there is a point where low-octave energy from an earphone can “box” your ears on an especially bass-a-licious track by building up pressure and leaving that pressure no place to go. Some in-ears reduce this effect by way of a small opening, so your ears are not in a completely sealed environment. The S-EM9 can produce so much low bass energy that on some selections, particularly those from modern bass-centric pop divas such as Katy Perry (e.g., “Chained to the Rhythm”), the pressure buildup can be noticeable if not worse. While that buildup never reached the point of pain, I did very occasionally need to re-seat the S-EM9 to alleviate pressure.

Competition
When compared with the similarly-priced Jerry Harvey Roxanne CIEM ($1795) the S-EM9 delivered more extended, detailed bass and sub-bass. After adjusting the Roxanne’s bass controls for a richer mix, the Roxanne did generate more midbass than the S-EM9 but not more low bass. The Roxannes were slightly more comfortable (they are a custom fit, after all), but both IEMs were comfy enough for multi-hour listening sessions. While both in-ears imaged quite well, the S-EM9 had slightly more specific image placement with greater sense of three-dimensionality.

Comparing the S-EM9 to the original version of the Astell&Kern AK T8iE ($999), I noticed that the latter produced a slightly tighter soundstage, but it wasn’t quite as expansive. Having only a single dynamic driver, the Astell&Kern takes a very different approach than the S-EM9, but the two earphones had an eerily similar harmonic balance, except for the bottom octave, where the S-EM9’s superior control, power, and articulation bested those of the AK T8iE. Comfort-wise, they were quite similar, as well. Even though the AK T8iEs were smaller and a bit lighter (both are quite light), once in place in my ears I had no comfort issues with either model.

Switching over to the recently reviewed Ultimate Ears 18+ Pro CIEMs ($1500), the most obvious difference was the fit. The 18+ are a custom fit and once they’re seated it’s “game over” compared to any universal-fit design. The 18+ had more complete isolation, and generated a huge soundstage. The 18+’s bass control and extension also gave the S-EM9 stiff competition, but the UEs were still edged out by the S-EM9 due to the S-EM9’s ability to produce slightly more low bass “puff of air” impact. Both produced a gloriously delicious midrange on songs such as Laura Marling’s “Soothing” from her Semper Femina album.

Summary
The EarSonics S-EM9 ranks as the best-sounding universal in-ear I’ve heard that does not have a CIEM version available. But at a price that is usually reserved for custom in-ears and some mighty fine full-sized headphones, this universal-fit in-ear has stiff competition. Still, if you listen to music with deep bass and are in the market for an in-ear with exceptional extension combined with a surprisingly neutral harmonic signature, the S-EM9 may be exactly what you have been seeking.

Specs & Pricing

Type: Balanced-armature, universal-fit in-ear
Driver complement: Nine drivers with three-way crossover
Impedance: 38.5 ohms
Frequency response: 5Hz–20kHz
Sensitivity: 121dB/1mW
Price: $1799

Audio Plus Services (U.S. Distributor)
156 Lawrence Paquette Industrial Drive
Champlain, NY 12919
(800) 663-9352
audioplusservices.com
EarSonics.com/in-ear-monitors/en/

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