Preview information available:
InEarz IE-P250 custom in-ear monitor
Minerva Mi-Artist Pro & Mi-Performer Pro custom in-ear monitors
Lear LCM BD4.2 universal fit & LUF BD4.2 custom fit in-ear monitors
Perfect Seal Fusion 11 custom in-ear monitor
Hidition Viento-R custom in-ear monitor
I am currently quite backlogged with the sheer number of review units I have as well as my time being divided among different tasks, so I have decided to write some brief summaries of the custom in-ear monitors I have received but not yet reviewed. Make sure you take the previews with a grain of salt, as the true findings come from comparison listening as well as finding good and bad source matching. Please ask your questions in the comments below.
See the custom in-ear monitors review list for previously reviewed products
The InEarz IE-P250 is an affordable dual-driver custom in-ear monitor made in the US for $295. The sound is balanced with a slightly mid-forward presentation that is never offensive and offers quite good performance for the price. While extension on both ends isn’t the greatest, it still has a very pleasant sound that would be expected of a top performer in this price range. It is easy for me to listen to the P250 for extended periods of time, which I can’t say for all my lower cost CIEMs due to my snobby ears that are used to the higher end products :). I still have yet to compare it with the vast majority of my lower cost (sub-$500) collection, but I am expecting very good performance from what I have heard.
Minerva Mi-Artist Pro & Mi-Performer Pro: Minerva has been making hearing related products for over half a century and got into the CIEM game several years ago with the Mi-3. They recently updated their lineup, replacing previous CIEM products with the Mi-Artist Pro and Mi-Performer Pro. The Artist Pro is a dual driver in an acrylic shell with detachable cable while the Performer Pro is uses the same dual balanced armature driver housed in silicone. The cables are different, but both nice.
As far as fit goes, the Mi-Artist Pro acrylic shell is the tightest fitting acrylic shell I have that doesn’t cause pain or discomfort, except when removing. This CIEM does best with a push-in insertion method vs. a twist-in, and especially during the removal. The Performer Pro also fits snugly, but isn’t quite as tight.
Sonically, they are quite different than the Mi-3, with a more forward overall presentation and a good deal more bass capability. The Artist Pro and Performer Pro share a mid-forward presentation, but the Mi-Performer Pro outperforms the Mi-Artist Pro in bass extension and capability while the Mi-Artist Pro has better dynamics, treble extension, and treble quality. The Performer Pro midrange is more forward and also resolves more detail than the acrylic shelled Artist Pro.
The custom fit LCM BD4.2 & universal fit LUF BD4.2 are new in-ear monitor offerings from Lear that utilize 4 balanced armature drivers and 2 dynamic drivers per channel. There is a bass adjustment switch that changes the bass from low, single balanced-armature levels to bass-head levels. On the max setting. The universal version doesn’t have the same deep bass quantity and isn’t quite as open as the customized version.
I did some quick comparisons with already reviewed high-performance CIEMs such as the Spiral Ear 5-way Reference, Ultimate Ears Personal Reference Monitor, and Unique Melody PP6. The presentation is laid-back and is closest to the UM PP6 while being more open and spacious. The PRM and SE5 are both a bit more forward still, but the BD4.2 still provides an overall presentation that is very competitive. The BD4.2 bass adjustment allowed matching bass levels of all three both as well as set the quantity higher or lower. The PP6 with max bass boost has quite a bit of bass, but the LCM BD4.2 has more deep bass while the PP6 has a good deal more warmth, but doesn’t sound as clean as the BD4.2.
The midrange and treble are very neutral, detailed, yet smooth and musical. There is a great balance between being analytical and smooth allowing the BD4.2 to be enjoyed by audiophiles and used by engineers and performers as a tool. While I haven’t started my serious comparing, I can tell the BD4.2 will be competitive with the top-tier custom and universal in-ear monitors. Product introduction post
The Perfect Seal Fusion 11 is the first silicone shelled hybrid CIEM, and that is pretty cool by itself. But, when listening there were several things that jumped out at me and made me grab some of the top-tier CIEMs for comparison. The first is tonal balance, which is spot on, and a close second is the coherence between drivers, which is significantly better than the other dynamic + ED hybrid I have, the Thousand Sound TS842.
The bass quantity can be adjusted by changing out plugs, and there are 5 different settings to choose from (for now). While the solid plug has quite a neutral sound to it, the deep bass is a bit rolled-off, and the next plug up in bass quantity, the yellow filtered plug, has bass that is north of neutral. The red filter, small hole ports, and completely open all add bass quantity, with the amount increasing in that order. I found myself listening primarily to the yellow filter but would prefer the solid plug if the deep bass had more weight.
The midrange and treble are very neutral and reminiscent of the much more expensive Lear LCM BD4.2 in linearity, but not as detailed and with a very different presentation perspective. While the Lear presents from a distance with a large space, the Fusion 11 presents much more forward perspective similar to a stage monitor sound. Switching back and forth did not leave me wanting from either. The presentation perspective is reminiscent of EarSonics products, and the EM4 is quite close.
Comparing the Fusion 11 with the Heir Audio 8.A, the tone sounds more balanced with less bass emphasis (yellow filtered plug) and more treble emphasis leading to better clarity and a more natural tonality. Even though the Fusion 11 is a hybrid, it has better coherence and transparency, and the soundstage recreation is more linear. Compared with the Lime Ears LE3B, the Fusion 11 offers better clarity, transparency, and coherence for a better listening experience.
The Fusion 11 performs closer to the EarSonics EM4 from a technical standpoint, but the tonality is different as the Fusion 11 is brighter and not quite as smooth. Comparing with a new flagship such as the Hidition Viento-R, the Fusion 11 doesn’t quite perform at the same level, but the fact that I can switch between the two and not be disappointed with the Fusion 11 says something. Given a base price around $500, the Perfect Seal Fusion 11 offers stellar value for money.
The new offering from Hidition, the Vineto-R, has vented shells and uses switches to change the bass and midrange presentation. With both switches off, the sound is balanced and linear across the spectrum, but doesn’t lack in extension on either end. Changing the bass switch to the up position pulls the bass forward, making the presentation more forward and bass enhanced. When the midrange switch is moved to the up position, the midrange is pulled forward, but the differences aren’t too significant, but in contrast to the switch down position, it is more suited for stage use or listening to vocals.
The Viento-R is closest to the NT-6 with both switches in the down position, but the NT-6 has better low-end note sustainment capability. When the Viento-R bass switch is in the upper position, bass is north of the NT-6 by a small amount, but the NT-6 quality is a bit better. Changing the midrange switch to on, the Viento-R midrange presentation is closer to the NT-6, but still not as forward as the NT-6. While the treble region of the two sounds similar overall, there are slightly different hills and valleys that slightly change the accentuation of various parts of the spectrum. Clarity of the Viento-R is slightly superior to that of the NT-6. Note presentation is close between the two, but details are more articulated with the NT-6 while the Viento-R has better clarity within the overall presentation, and is clearer in general.
The NT-6 Pro’s emphasis at both ends is apparent in direct comparison with the more spacious Viento-R. The NT-6 pro detail level is higher, but the Viento-R presents notes with a slightly more natural sound. The enhanced treble of the NT-6 pro can sound unnatural in comparison to the Viento-R, which is more forgiving. While clarity is similar, the overall focus of the soundstage is sharper from the Viento-R resulting in a superior presentation. Tonally, the Viento-R isn’t quite a cold as the NT-6 or NT-6 Pro.
Compared with the Lear LCM BD4.2, the Viento-R is more mid-forward with more articulation of detail and a fuller sound within the midrange. Spatially, the BD4.2 is larger, bass capability is superior, and bass quantity can be continuously adjusted from little to immense. Listening to a poorly mastered Metallica track, the Lear was less forgiving, but both revealed the issues with the track. The BD4.2 recreates more spatial queues within the presentation while the Viento-R brings details more to the forefront. Center imaging of the Viento-R is better which can cause the BD4.2 to sound slightly hollow in comparison.
It’s easy to hear that the Hidition Viento-R is a Hidition product, but it has an overall more refined note presentation that results in a slightly more natural sound. The switching capability enables changing the sound signature for a slightly different feel, but the overall characteristics don’t change much. While further listening and more in-depth comparisons that go into a review will help me better understand the Viento-R, it is a CIEM worthy of serious consideration.