Great box opening experience Aluminum Alloy build weighing 8 grams each, and custom universal shape fits inside ear Amazing performance from just a standard phone, but scales with improved sources Big sized sonic immersion with a warm musical tone with a treble spike Realistic natural timbre and image positioning, in a way better than Hybrids Dramatic subtle V shaped swagger with extra trebles Built like a brick schiit house Vocals are right in place, not too back to issue boredom, or too forward Stage is grand in a forward to back way, and top to bottom way
Cons:
Treble may be too much for regular listeners, yet welcome to those looking to grab extra treble spice
VSA-MAX by EarAcoustic Audio formally The Fragrant Zither Part of the Silver Angel Series of IEMs
Another in The Fragrant Zither/Silver Angel Series/EarAcoustic Audio line-up. This time they have boosted both the treble and bass to ensure a strong V signature. Such additives over the more subtle SPARK series of EarAcoustic Audio………..get us extra vibrancy and contrasts, Plus the actual back of this aluminum shell is almost exactly like the $429.90 Limited Edition at 8 gram a piece. Only here we are given more treble in an energetic fashion, going and parlaying an added sense of technicality and detail, yet when directly compared to the LE flagship model this illusion of more detail is just that, an audio illusion…….suggesting items in the treble are more vibrantly placed finding clarity, but lacking the overall poise and posture of the true LE flagship in the Silver Angel line.
Modular cable: Using the included cable which is identical to the VSA-V1 is a rewarding event, being EarAcoustic Audio implemented a modular connection offering both 3.5mm and 4.4mm. Previously the SPA Silver Angel series by EarAcoustic Audio only came with a 3.5mm permanent plug. Such extras allow the audiophile here to access a different amplifier in the WM1A and WM1Z DAPs, allowing a bigger stage and better separation of found imaging.
Today I’m going to compare the $149.00 VSA-MAX to the little brother, the $99.00 VSA-V1, the $289.90 SPA-Hi End MAX and the flagship, the $429.90 Limited Edition. Also just for schiits and giggles I will use a series of 4 additional aftermarket cables to see where we end-up. Then finally I will test the VSA-MAX with a few of my favorite test songs.
Sonic summary: With all this talk about what I’m going to include in this review, I figure this is a good place to cut this short. To be direct in understanding what we have here with the VSA-MAX. While the included cable took the MAX to 90% of its sonic potential, I couldn’t help but test the MAX right away with the Penon ASOS+X. Upon entering the ASOS+X instantly I found the stage bigger and within brought this strict V shape tune into both slightly smoother waters along with expanded smoother treble details. Yes, the VSA series so far is promoting a stronger V response than the SPARK series of 11.4mm single full-range DDs.
Upon first impressions (8 days ago) I was a little concerned that this extra treble gain could lean into trouble being it was even more pronounced than my previously reviewed VSA-V1. Though I have to say 168 hours of burn-in smoothed out the top and added the missing listenability in my eyes. We are rewarded with a vibrant and well imaged presence finding great details and much more dynamic contrasts than you may guess from a simple single DD.
DD ideas: This idea comes about due to separation and itemization of treble elements, that while slightly skewed towards upper intense energy, the foundation of well done bass throbs keeps it grounded, yet from memory, a little less bass than the VSA-V1, yet only because of the bass needing to be in competition with the highs.
Because really this MAX goes forward to showcase where your extra $50.00 went………more details found parlayed into separation of imaging. Maybe more audiophile, I mean kids these days are all about the bass, and the VSA-V1 does that 100%. But to summarize this, the MAX offers a slightly more involved and effervescent style of audio increase, to where really the VSA-V1 bass is more pronounced through lesser MAX upper-treble attitudes. Still for the treble sensitive I would recommend the cheaper VSA-V1 as the less risky purchase. And even for those normal folks, the VSA-V1 walks a more even and correct idea of an IEM here. Unless you really want those treble details at a great price, then the whisky is on order!
Model: VSA MAX Cavity: Tesla dynamic coil unit Unit: 11.4MM full amplitude titanium diaphragm dual magnetic circuit dual Sensitivity: 110dB Impedance: 32Ω Frequency Range: 5Hz-40,000kHz Wire specifications: 4.4mm+3.5mm 2-in-1 408 core oxygen free copper and silver plated wire mixed weave 0.78mm 2Pin 1.20M wire length
Side-by-sides: Left to right: $429.90 Limited Edition: $289.90 SPA-Hi End MAX: $149.90 VSA-MAX: $99.00 VSA-V1:
Side-by-sides done with the ASOS+X cable and Sony WM1A DAP with zero EQ, along with Penon PAC LStips.
$99.00 VSA-V1: So same manufacture, almost the same 11.4mm single full-range DD, yet the VSA-V1 weights 14 grams each and our MAX here only 8 grams. This is due to the VSA-V1 being made from a Zinc Alloy and the VSA-MAX Aluminum Alloy. Still really the extra weight of the V1 is presented well, being the universal custom shell shape that gets this sucker way inside of your ear……….without any movement!
Yes, the MAX exploits these extra treble images and placements, making the stage seem slightly bigger, only at the expense of prolonged listenability maybe? Where the V1 is very contrasty and vivid, only these ideas have a slightly smaller treble size, and a place they don’t go to in terms of upper treble energy!
This V1 action gets us a little closer to the bass, it is probably the exact same bass, only with that MAX upper treble out-of-the-way, we are closer, closer bass friends here. Still the basic technicalities and tune are shared by both, as a way to take the single full-range DD idea and make it work, to go to work through great stage placement, great timbre!
$289.90 SPA-Hi End MAX: Here we are given extra details across the board. Meaning the extra money spent to get to the SPA-Hi End MAX goes forward to project even more detail, yet the SPA-Hi End is not using treble powers to do this, no we are met with a more relaxed idea, a more smooth and careful upper aspect. What this does is create a more unified stance, holding those details into a more polite character and showing just what more money gets you.
This SPA-Hi End MAX is second place only to the top Limited Edition in cost and results here. Though there is almost this illusion of the VSA-MAX treble being more spread-out, but it is not true. The SPA-Hi End MAX goes forward to simply offer you a more refined and careful approach, that if you are more treble sensitive, the SPA-Hi End MAX is truly the ticket here. This style is as said before……across the board, which means we actually get a better itemized bass, that the bass holds more low-end detail, and there is even a perception of a better pace due to such gifts.
Though there may be slightly extra bass energies to the VSA-V1 and VSA-MAX, this is neutered by the upper midrange/treble in perception. But yes, the extra V is there, and at times even more noted as bass power in hand with both the VSA-V1 and VSA-MAX.
$429.90 Limited Edition: Hearing the LE once again drives home the results found, unarguably here. Bigger-bigger stage, and that stage filled with more relaxed ideas of musicality, more refined…….yet harmonically enriched. A softer idea than what the VSA-MAX is going for, but softer does not mean less detail, only less contrasts and a little vividness. Where there are LE satin bed sheets offering smoother comfort and a relax-ability never found with-in the VSA-MAX walls. The VSA-MAX is a heck of a performer, only once the ultimate incarnation of LE perfection arrives, well……I know why I like it best, and while the VSA-MAX is a step up (possibly) from the VSA-V1, there is still a level of pleasant afternoon hours that the LE just does naturally and purely!
Cables: Top-down: Penon OSG: Penon Apex: Included cable: Penon Quattro cable: Penon ASOS+X cable:
Cables methodology preface: For me they are the easiest things to review because (besides the look and feel) the ability to grab information and display it comes down to a couple features.
A) Is the cable warm or bright? B) Is the new cable neutral and uncolored, and if so by what extent? C) Is the stage larger than most provided included manufacturer's cables? D) How are the lows, are they defined or blurry and how does such affect pace? E) How does this cable provide imaging, is it defined or softer edges? F) And finally how does this cable perform, is it able to mix with most IEMs, or is it a specialty cable?
Really judging cables is like drinking Coke:
Coke: To where you just know the taste. You know if it has been left out and lost its fizz, you totally understand if the ice cubes have melted and deluded the flavor, or both lost the fizz and deluded flavor. So we can call this the character of experience, and I would argue with anyone that said you can't remember the taste of Diet Coke, because you can. Even regular Coke, if you go to different countries and experience their idea of the Coke taste, it may be close to the same taste, but often not! So cables are the same thing, and sure different IEMs can relay the character, but still it is easy to hear how the cable character shines through. Also finding 1 or 2 reference IEMs and reference sources helps, but not always mandatory. The best part is when a few members hear exactly the same cable character, like a forward midrange, or an enhanced bass, often a cable character is found the same by many on Head-Fi.
Lesser cables: Thin, lacking stage, or sounding stifled, that is true, once you find a certain "lesser" example of a cable, the lacking luster or harmonic complexity, mixed with lesser imaging is readily noticeable.
Manufactures: What about how manufacturers actually tune their new IEMs to go with an included cable? I have too many examples of this to list. But it should be noted how manufacturers will place a colored cable to try and align a certain IEM to a more even and complete tonal replay. At the same time (in a different case) the manufacture will include a tonally balanced cable, which leaves the signal to the new IEM untouched, replaying that IEMs idea of intrinsic balance and correct replay.
You personally: The other important idea comes from the Head-Fi member to leave the cable believer to his or her own ideas, this is because truly music is a personal experience. Each member has his or her own ear anatomy and sensitivities. Yep, that is right. Each new IEM in this is heard to be slightly different by each user replaying his or her music library and offering up desired tone, we key-in on various tones different from one another. Sure hearing is mental psychology and with that the biases and prior expectations found with a new cable. With that said, science does not understand everything that is provided by the listening experience. Remember too this is a hobby and is at the same time difficult to try and figure out. We as readers here are all going to the same town, the fidelity and immersion part of town. The best thing to do is simply let people find out for themselves what works. The cable non-believers can call this cable rolling nonsense, and that's their propagative, yet at the same time this argument has gone on since the 1950s and is never going away. Some people hear a difference and some don't, there is no clear answer for these results in phenomena.
Cable frequency graphs: Science can not test cable abilities due to IEM graphs only being so sensitive.
Measurement sensitivity: This is one reason why IEMs that measure the exact same actually sound different to every Head-Fi member. Sure in audio science graphs are able to find very very accurate examples of headphone driver ability, yet there is still so much left out. Graphs don't show IEM decay, IEM spatial placement, they don't show how at times small frequency peaks are smoothed over by larger peaks. The graphs don't show the exact size of stage from one IEM to another. They don't show actual sculpturing on desired images of vocals or instruments. They do not show how one IEM may play the bass detailed, and another IEM showcases the bass as blurry. This idea of pace can actually be different across the entire frequency response, and with Hybrids it most definitely is. Meaning DDs show a slower decay and BAs show fast start-ups and decays. Timbre......this is a huge factor that results in the listener hearing different instruments of exactly the same frequency response as separated and different. Graphs are not sensitive enough to show various IEM timbre abilities.
Cable side-by-sides with the VSA-MAX using WM1A DAP and Penon PAC LStips:
$299.00 Penon OSG: One of the most detailed cables in use today. Here the Graphene moves to (in a way) make the treble smoother and more accessible. Yet this detail is not from brightness, though it is also combined with one of the largest stages in todays tests. This imaging thickness is addictive and detailed, big and bountiful. Here large entertainment ideas take hold of the stage and make themselves known due to size and distance, but more due to image density and clarity.
This clarity is not bright, actually the opposite of bright. That sure it is less bright and more grounded than the ASOS+X following cable, yet also more real sounding, though we are left out of the airy images, replaced by substantial note weight………while still this extra enlarged midrange stage sets precedence. Here we are witnessing Graphene at work, adding its own tone, yet that tone with the VSA-V1 sounds totally correct though a little darker than the included cable and the ASOS+X.
This treble has a slight warmth, a warmth that takes it to a great place, only because it is a sculptured style of creation, and we can hear and perceive the sculpture due to the distance between notes. Really in many ways like the (to follow) lesser expensive Penon Quattro cable in demeanor, just that the stage is more open and filled with separated imaging that takes the cake.
You would have to hear this maybe to understand. But a definite winner here, and one I would recommend to also smooth-out the VSA-MAX in the best of ways. Top-dog here! Is it colored, maybe a fraction of a bit, but still in the most natural and musical and imaged of ways.
$219.90 Penon Apex (OFC Gold-Plated Plug): Here we are shown a OFC Plug thicker and less detailed idea of the Apex opposed to the modular Apex Rhodium plug. Here our playback is surprisingly good. In fact this was the very last cable I tested today, and the correctness with the VSA-MAX was truly noticeable.
Bigger expanded bass, fluid mids and not too bright of treble……..really the separation here and imaging are up there with some of the best cables in use today. Less color than the Penon OSG, less air than the ASOS+X, that we are witnessing the VSA-MAX as dead center in tone, a bigger stage than the included cable, farther out occurring images of detail, and cool little treble artifacts getting distance too.
In many ways this is one of the very best cables tested today and yet it is not the most expensive.
More grounded idea of fun than the ASOS+X, less colored than both the Penon Quattro cable and OSG. Still to criticize it, the stage is way better with the ASOS+X…….and the stage is more separated and slightly bigger with the OSG? Only this sounds more realistic, even more correct somehow than the included cable does. Good image density combined with a smooth careful treble really make this Apex cable with the OFC plug a total recommendation.
Still though the OSG does this thing, where it maybe less natural than the Apex, but the OSG does this thing with stage imaging that is so very mesmerizing.
Yet here we have a bass which may just be the very best today? A sculpted and clear bass that seems to add technicalities to the low-end? Maybe not the very most clear, but well separated, it’s like what the OSG does to the upper midrange in the stage, the Apex does to the lows? Somehow the Apex is contrasty but the top end doesn’t make the treble more contrasty, it makes it smoother compared to the included cable?
(Free) included cable: Here is the thing. I keep coming back to this included cable. There is honesty here. That sure the stage is not the biggest, but when I listen to music I’m familiar with.......there is a truth found, all except here we have an ever so slightly brighter example than any other cable tested today.
This may be what EarAcoustic Audio wants us to have. Only I liked the better sculptured and separated bass of the Apex, it held a rounder bass and held a style of clarity. Still this cable presents the bass as it was intended maybe, a little farther back, and slightly more subtle. And sure you could call the Penon Quattro cable and OSG as slightly colored, where here playback is not. Only there was stage displacement to the OSG which was the money!
And while the ASOS+X was more airy, it was a tad smoother too, which I liked. Still in the end this (included cable) take on the VSA-MAX is totally acceptable and gets you really the sound in a non-messed-up way. I could see a purchaser staying with this style of tone and being grateful for this level of cable to be included.
$59.00 Penon Quattro cable: Not as airy as the ASOS+X to follow here, and while holding a lesser stage, that stage has great itemization and clarity, an overall warmth and while sounding more lower midrange than what the included cable does, it is also slightly more softer and thicker at the same time, thus more relaxed and cohesive. We are not grabbing details just for detail sake, but looking at warmer smoother low end and treble, which sounds great with the VSA-MAX probably due to the fact that the MAX has a well-rounded way it takes to all these different cable tones, where none of them are bad, or even off. Yet at the same time I would call this thick and sculptured, more down-to-earth than the ASOS+X.
This results in a more note-weighty example compared to the ASOS+X, yet there is more of an idea where different parts of songs are offered up holding a different place in the stage combined with a unique tone. That tone also grabs hold of the lower midrange and makes newly heard images from them. Maybe this is from the unique separation that comes as a unique feature with the Penon Quattro cable……..only one upped by the character of the OSG?
Penon ASOS+X cable: Here we are witnessing a slight smoother idea, though only in some places. Ever so slightly softer and more spread-out into the stage. Thicker ideas of midrange and lower midrange. A spacial additive that comes off both slightly more inviting and easier to listen to.
Where the included cable just goes about its day providing much of what the VSA-MAX is, only the boost in treble is left wide and clear. Where typically the ASOS+X is brighter than some with certain IEMs compared to their included cable, though here we get a relaxed accessibility, one that is simply better. Bigger ideas of elements, rounded bass, bigger bass examples.
Maybe deeper bass, only it is the size of everything here that is the money. Plus the ASOS+X’s ability to smooth-out our treble into a more desirable place. To tell you the truth, I used the ASOS+X soon after burn-in as I really was curious how this union would play out, I used the included cable, then looked for ASOS+X improvements and was joyous as it wasn’t brighter, but wider and more easy going, and I liked that.
Even stark additions in songs were tailored to a better aspect into musicality and fun. Yes, this is more airy, only that air is not thin but note weighty and real sounding. Slightly more laid-back, only the realizations of elements inside the stage show a softer and more accessible tone.
This may not be the first take (you have read about) on what the VSA-MAX is. Meaning sure the TFZ/EarAcoustic Audio Company has sent out a few MAXs. Plus this is in addition to the already heavily populated Silver Angel Series product line. The line so far consists of the new STA-K and regular STA series, the SPA series and this new Vocal Sweetness Amplified or VSA Series.
My first encounter with the VSA line was the VSA-V1. Now it is marketed as a vocal IEM. Yet after 6 days of burn-in and the right ear-tips I found the VSA-V1 to be an all-rounder. Meaning not only were vocals a little more pushed than the SPA series, but even the bass was fortified to advance in energies. This dynamic V response offered the VSA-V1 contrasts and well as a style of livelihood that made it both fun and entertaining.
VSA-MAX: Putting the MAX in my ears I’m reminded that it is only 8 grams each, opposed to the heavier VSA-V1 at 14 grams. Now really this extra 6 grams of the VSA-V1 is still not a deal breaker as the universal custom form means it sits deep inside your ears………….and I like that. Still though, the VSA-MAX holds a slight extra comfort-ability in place! Where really all the VSA series and SPA series are pretty much exactly the same shape. The Silver Angel Series made its mark on great shape, so why should they ever change anything?
Box: You can see it comes with 6 pairs of ear-tips, a 3.5mm/4,4mm modular cable, a booklet and a beautiful zipper-case!
Sound: So coming from my VSA-V1 experience I will be waiting to find-out if the bass grabs more prominence after 6 days of burn-in. As far as my history (especially) with the VSA-V1 the tone changed more dramatically than the SPA series IEM I was reviewing at the time. Meaning I was hoping to get a little more bass with the SPA after burn-in, to match the VSA-V1……….but it never happened. Ultimately the VSA-V1 promoted a more intense V response, and I liked it!
Here (from memory) the treble is a little more involved than the VSA-V1 out of the box, and sure slightly better technicalities as that is what the brand is known for as you go up-line with these 11.4mm DDs. Yep, the whole SPA and VSA line are the same size driver, what changes is the coatings and the resulting sound taking a more realistic stance into better realism. I’m just hoping the VSA-MAX smoothes out like the VSA-V1 little brother did. In fact the VSA-V1 changed more than any IEM in recent memory, into a slightly different idea of tone dynamics. Smoother top-end and more prominent bass, along with an added accessibility to the vocals, that while still a great vocal IEM, the VSA-V1 really does it all.
Yet at this point the VSA-MAX is projecting really good vocals, kind of projecting them and isolating them, then this bass comes in, yet it is not as clear or as smooth as the VSA-V1 became with burn-in.
Cheers, thank-you for reading.
Music: Using the Sony WM1A with MrWalkman’s firmware modification (no EQ) with ASOS+X cable in 4.4mm, Penon PAC LStips.
Lord of the Lost Opvs Noir Vol. 1 The Things We Do For Love 44.1kHz - 24bit Timestamps only pertain to digital file, not video.
Here is the thing, sure these are slightly forward treble IEMs, only they don’t really have the sound of marketed vocal IEMs.
Meaning you would be forgiven for simply getting into the bass they display. This bass has been provided to counteract the extra treble. Though with this ASOS+X cable we are experiencing an added stage displacement, forward, back and side-to-side/top-to-bottom.
Here this creates an arena for these styles of vocals, and with this exact set-up (I’m guessing) the stage is on the way better than average, even for the price point here. At just 00:05 the vocals come in, now it is safe to say they are intimate encounters, yet never as forward as you would guess from the nonsensical marketing material. This my friends brings us to the accessibility found here with the VSA-MAX. That no, we are not basking in total vocals, but experiencing a warm and imaged well display, still of balance. Though I take part of that back, especially in contrast to the $289.90 SPA-Hi End MAX, as the VSA-MAX shows what an aggressive energy can do. Why? Because the energy is here now!
Delain Apocalipse & Chill Chemical Redemption 44.1kHz - 24bit Timestamps only pertain to digital file, not video.
Here we want to discover if the treble helps to amplify the female vocals into a vivid statement. Yet first at just 00:00 the bass throbs arrive. Here we are newly rewarded with a style of imaging expansion, the throbs are both dense and present a cool imaged (separate) part of the stage that is moving from side to side. Deeper and better timbre than all BA IEM devices. A warm thrill and a great way to introduce us to this song. I guess I need to reiterate on the pace here, because this is the perfect example of how it is done, clean, fresh and crisp. Yep, I just used the word crisp to describe low end synth sequences.
At 00:08 the guitar starts. It seems the timbre of the guitar is actually grabbing the upper additives with the treble, adding a metallic tone that may be what the producers were going for? And yes, Charlotte Wessels voice is heard just as we have learned to understand it. Meaning, yes it is a little forward, but not the way-out front “Vocal” IEMs EarAcoustic Audio are promoting, and I’m fine with that, I mean that’s what reviews on Head-Fi are for right, to get an understanding beyond the product’s marketing material.
Though when you combine everything the MAX is doing at this place in time, it really works for this style of music. Why? Well the bass is there, the high pitched guitar is formed in perfect timbre, not something I can say with all IEMs, and those vocals, yes they do kick a little, adding relief and contrasts here, which you are looking for, at least I hope you are looking for?
Kaveh Cohen, Michael Nielsen Forza Motorsport OST Brotherhood 44.1kHz - 24bit Timestamps only pertain to digital file, not video.
Such a song displays an alternative route to the understanding of the VSA-Max, a more wholesome and back positioned way to perceive more subtle fireworks in action. This is actually game soundtrack music and purposely aligned to become background music, not to necessarily grab the limelight, but to act as reinforcement to gameplay. At 00:08 the throbs of low-end take and make a tempo statement. This tempo is through-out the whole song. But more importantly there is a deep bass drum which is provided holding perfect timbre and tone. This example of rhythm is shown in the most natural of ways and could be in itself the very reason to make the VSA-MAX a possible purchase. Why?
Correctness and positioning in and around the other song additives. The bass drum here is just right for no better word.
Hearing it we feel the depth and roundness, the warmth and the energy becoming all that is needed, even though maybe a background device! After you go along into the song, it is fully heard and in correct natural positioning. In many ways this is the character of the VSA-MAX at its best.
The decays, the attacks, everything. I will often comment that this tone is heard as a slap, but no not here, the full detail of a natural drum holding deep timbre is perceived. At 00:21 we get into the middle of the piano tone, spread-out into extra imaging (to the right and left) and again holding the timbre goods, the decays and crisp attacks.
At 00:26 the deep extra bass emphasis is just as I want it, as it is strong and authoritative, big and grabbing bass emotion! At 00:28 and 00:29 there is a questionable treble display that is at the height of treble ideas with the piano, as this could be an individual call if it is too much or just brighter than normal daily listening. But yes, that energy is there, proclaiming a style that has become unique in our VSA-MAX understanding.
At the 00:41 place the lower midrange additives take the stage. This new background synth is not really in the background being this is an instrumental song. As here it is almost front and center, bigger than life…..showcasing the best ideas about what the VSA-V1 is about. And really I was waiting for this part of the song, as each IEM in testing through-out my collection does this area differently. Where the best results, like we have here, create an added level of involvement and entertainment. Maybe it is the layers of lows.......that must be the ticket here to describe what is taking place? Whatever it is, it is the money here, and far better than many IEMs priced higher, and I just love that!
At 01:01 there are the continuing rhythmic accents of drums that are really extra separated reverberated stick hits, which embrace the decay tails and find themselves fully spread across the IEM stage….. At 01:11 we notice the violins and you can rest assured their tone and timbre is spot on, something that DDs do without fault, only this time, and with this IEM the 11.4mm DD is going and adding the extra crisp space between instruments and making my day!
Ghost Skeletá Peacefield 48kHz - 24bit Timestamps only pertain to digital file, not video.
Here I wasn’t going to include another song example, only here we are in for a treat. After hearing this song I was emotionally propelled to include its features. Even at 00:04 you realize that this treble has a quality function. Yep, parlaying the choir and single female singer which is grabbing the top-end. When you combine the DDs decays with this song's decays, well this is where it is at!
At 00:56 the guitar grabs a crunchy upper detailed stance. At 00:04 the vocals of Tobias Forge plus a continuous big bass drum hits home, and yes finally we do realize this is a fully fortified vocal idea.
Though what comes with this ad is a slight thinness that other deeper vocal IEMs replace with stout vocal authority and thickness.
At 00:34 we get the full force of the introduction, as fully heard into dynamics and the message the song has to offer tonally. And that is the thing here, that while I have heard this song many different ways, this way is promoting the extra air of speed and fastness, more centered into the realization of extra trebles. While yes, technically it is fast and detailed, there are even extra cymbal strikes, right at 00:35 that the record producers have genuinely placed apart lovingly in the full-mix, and sure we can be a part of this happening.
Only my question is does this occur from the ASOS+X, and what would this song be like with the included cable?
Let's try the included cable again: Same over-the-top brightness with this particular song.
Let's try the Penon OSG: During the review process here at Redcarmoose Labs I spent two days writing this review. One thing that was out of the ordinary was the fact that I left the prior group of cables out (on the table) from the cable side-by-sides. This was an action that I normally never do. I started to ask myself if I was going to return to the cable selection once more. Much of this review stuff is intuitive and random, and sure enough I needed to access the OSG and included cable just to see where I would go with this Hyper-mix of a song. Such a song has vibrancy to wake-up some headphones and create a better than normal display of technicalities and tone. But what if, what if you already have a contrasty and treble fortified example like the VSA-MAX?
What about the intrinsic qualities of the Penon Apex cable: Well it needs to be revealed that the song is truly the best heard with the Penon Apex cable. That the added boost of treble imaging was smoothed-out into better accessibility by the carefulness and newly added completeness of the Apex, yes, even over the OSG!
Package:
Ear-tips: While centering on the slightly thin side of the street. The wide-bores are an example of my favorite shape of donut ear-tip. What this gives you is ultimate nozzle width and stage size.
In fact due to the wall thickness and material used I could actually use these at home, but found them slightly on the less supportive side of life, yet they worked to get correct fitment, only if you were outside or had a pull on the cable, a dislodge could occur. Still I found the included ear-tips useable and great.
Included cable:
While we already went over the sound characteristics, I really like how this cable is built, the attention to detail, the fact that every metal part is cellophane wrapped upon the box-opening experience. The subtle ear-hooks, the metal and marked right and left 2Pins.
Just the fact that both 3.5mm and 4.4mm plugs go on firmly and stayed on without issue throughout my testing process. That sure it is a little thick, but I liked that. The fact that it is all chrome adds a special detail and feel.........the cable is flashy and pricy looking, not to mention correct sounding.
Build: Coming in at only 8 grams a piece the MAX is a joy to use. Why? Well also the universal custom shell design, meaning such a database holds outer-ear-shapes which seem to allow manufactures to make a genuinely generic shape that fits all ears.
Not only is this deep fitting shell design important with the 8 gram MAX, but even more important to get a deep seated fit with the 14 gram VSA-V1 IEM we have been discussing. The next unique aspect is the venting, that while there is a regular vent on the backside, another giant port has been placed using a nozzle screen to keep the IEM internals protected. So besides open back IEMs, this is the very biggest vent I have seen, and it is normal with the VSA and SPA series.
The next super important feature comes from exact nozzle length and circumference. Such a size makes it that much easier to access many different ear-tip designs and build materials. This found freedom means that I can actually use the included wide-bores. The 2Pin is flush and easy to change cables as well as I don’t seem to notice (when using) the aluminum texture surface held as a design look on the MAX?
If anything it helps the IEM breath a little being next to my ear. Sure the flashy faceplate crystal design may not be for everyone, and it is just as surprising, if not more so in real life. The only words of wisdom I have is try to live with it, even if you are not sure about the look. I say this as the MAX is so very different in build that it may be met with questioned upon first seeing it, yet later after you get used to it, you may find (like I did) that the design and build are truly interesting and further fascinating?
Conclusion: Well there you have it, a brighter idea than the previously tested VSA-V1. This idea of tune gets us extra treble imaging and stage than the VSA-V1, though at a cost of intensity maybe not always welcomed by every Head-Fi member. Though the thing is, I was able to find happiness with certain songs with the MAX and Penon Apex cable, also other songs were fully enjoyable with both the included cable and even more so with the Penon ASOS+X cable. What this means is we have a sale of EarAcoustic Audio Speciality IEM, slightly less accessible to the masses than the very balanced and easier to find fun VSA-V1. Though for treble heads this may be the absolute money, especially for those looking on the brighter part of town for thrills and expanded imaging inside the MAX arena!
Disclaimer: The EarAcoustic Audio VSA-MAX Universal IEM has had a full 7 days of burn-in.
Disclaimer: I want to thank Penon Audio for the love and for the EarAcoustic Audio VSA-MAX Universal IEM review sample.
Disclaimer: These are one person's ideas and concepts, your results may vary.
Equipment Used: Sony WM1A Walkman DAP MrWalkman Firmware 4.4mm Sony WM1Z Walkman DAP MrWalkman Firmware 4.4mm Sony TA-ZH1ES DAC/AMP Firmware 1.03 Electra Glide Audio Reference Glide-Reference Standard "Fatboy" Power Cord Sony Walkman Cradle BCR-NWH10 AudioQuest Carbon USB Samsung Phone 3.5mm output ifi GO bar Dongle 4.4mm and 3.5mm
STAR Series: STA-Pro: STA-Pro Ultra: STA-Pro MAX: STA-Hi End: STA-Hi End MAX:
SPARK Series: SPA-Pro: SPA-Pro Ultra: SPA-Pro MAX: SPA-Hi End: SPA-Hi End Ultra: SPA-Hi End MAX: SPA-Limited Edition X 2 (Different shell surfacing):
New Vocal Sweetness Amplified Series: 1) The VSA-V1: 2) The VSA-MAX: 3) The VSA-Mix: 4) The Astronaut: (????Haha) 5) The VSA-V2: 6) The VSA-LTD: 7) The VSA-PM:
