New VSA-V1 Universal IEM by EarAcoustic Audio
Redcarmoose Labs July 30th, 2025
Review Summery:
Starting with the name of this thing, it’s called Vocal Sweetness Amplified or VSA. Now at first, including my very (1st day) first impressions........I was sure it was arrived at by EarAcoustic Audio by pushing the Pinna Gain. And after 12 days of ownership I can say my ideas have slightly changed here........for the better! The VSA-V1 does project vocals into a presence, but not as much as I originally thought. Yep, there is a great balance still arrived at. What this does is makes the VSA-V1 the perfect well-rounder, allowing vibrant and full-staged immersion into all your music genres!
I almost jokingly called the VSA-V1 a Flagship during my first impressions, only due to the swanky look and feel. Sure the V1 is the very bottom of the whole new 7 member VSA line. Only this line of IEMs is in addition to the already numbered 13 IEM EarAcoustic Silver Angel Series, to make an even 20 in all! Only to my surprise VSA-V1 has totally captivated my listening now. Meaning often I will review an IEM, then away it goes to never be heard from again. Yet the VSA-V1 is so fun and exciting that it demands attention and use in my collection. As not only does it do vocals splendidly, the fast and authoritative bass blends with Electronic Dance Music to seemingly do it better than expected justice! And if it does those to genres, you can guess that this all-rounder goes with every music genre available.......and it does! But not only does it go along, the VSA-V1 provides a filled-in and expanded stage holding big note-weighted images and realistic textures! Yep, it does it all really well…………
12 days Earlier...............
First impressions: (somewhat correct, and somewhat missing what the VSA-V1 ultimately truly is)
VSA-V1 now on offer!
So yes, another of the Silver Angel Series made by EarAcoustic Audio. Only now we have moved on to a Vocal IEM, and while I was fine with the EarAcoustic Audio SPA-Pro MAX I am just in the process of posting a review today, in fact . Yet here we don't have the big $219.90 price of the SPA-Pro MAX! So they upped the resolution into vocal enhancement and went a slight town over to push vocals here! Yes, this VSA-V1 boost in resolution seems to take charge of the whole signature displacement? Wild?
Vocals here:
Yep, those SPA-Pro Max vocals charm and sway with the best of resolution and poise. So why do we have a Vocal enhanced edition of the already plethoric EarAcoustic SPA line? Also note this VSA-V1 is slightly heavier at 14 grams a piece, whereas the SPA-Pro MAX is like the TOTL Flagship..............the LE at only 8 grams a piece. What does this weight do? Only really when you think about it the difference from a regular 7 gram a piece IEM, is like a whole new IEM in your ears. Meaning the VSA-V1 is 2X the weight of some IEMs out there in IEM land.
14 gram weight:
Does it really matter, well not to me as the fitment here with the VSA-V1 is epic. Though I have to say the notch the vocals have been projected to is just on the edge of too bright. Yep, this VSA-V1 walks that line where perceived enhanced resolution comes from a boosted Pinna Gain.
The Pinna Gain sector of our hearing is the most sensitive and can "see" even differences of 1/2 a dB in changes. SO..........here EarAcoustic Audio are adding a flavor of vocal positioning. And I have to say, normally I'm slightly sensitive to such devices in tuning, yet all this does is force me to lower the volume levels by about a dB? Yep, I'm fine with this, only we are a far cry from the $99.90 EarAcoustic Audio regular resin SPA Pro. And the crazy thing is the VSA-V1 is actually near the same entry SPA price of the SPA-Pro. Here the company is doing a slight value trick, offering an IEM that, while different, is also an upgrade in build and sound at the same price as the smoother SPA-Pro. Now if you really think you want smoother than the VSA-V1 you will be fine with the original resin SPA-Pro, the easiest way to enter the SPA-line.
What, a modular cable too? What?
But, you don't get the modular cable we have here if you get the SPA-Pro. Yep, while I have reviewed my share of the Silver Angel line, I am now showcasing a first in the included offering. Yep, a modular cable. After taking 7 different pieces of clear cellophane off each little piece, like the 2Pin barrel, the Chin-cinch etc, etc. The cable is great, and I'm using it right now, that and the fact that the cable has cool brand-naming, what else do you want? A 4.4mm and a 3.5mm!
Oh, and the ear-tips are the regular tips provided along the way with the SPARK and STAR line of IEMs. The wide-bore I actually use as an example of my favorite tip-shape. Only outside I have issues with the ear-tips being a little thin (in structure of build) which affects how the IEM sits in position inside your ear-canal. SO.........great eat-tips provided for home use, though your results may vary as tips are one of the most subjective things in the IEM world!
Anyway......EarAcoustic Audio are probably going to use this packaging on a few other new IEMs to come as the writing on the outside of the box explains that the IEM may come with a different colored case! Thus they are already upgrading the upgrade here! All this effort would be nonsense by The Fragrant Zither/EarAcoustic Audio, and I will forgive any of you that take shock as an emotion to the many IEMs to get an idea about in this series..........The Silver Angel Series!
Though my one point of interest that will take hold of the listening community is the fact that EarAcoustic is actually increasing their value factor. Meaning this is a TOTL IEM in a way, offered at a budget price in the end. So we are seeing the economy of scale now take hold as EarAcoustic Audio has made and sold a boatload of these shinny guys!
My final thoughts about the VSA-V1 you ask? A deal really, and even more of a deal if the enhanced vocal ability is the town you want to visit. What happens in this vocal town is the lower midrange and bass get taken back just by perceived balance, though the Pinna Gain seems to additionally affect (the higher level) the treble here. Meaning I hear more treble than just the Pinna Gain 3.5-4.5kHz area? Now in truth there is no finite agreed placement (range) of the Pinna Gain area. Most would say this concerns audio information in the 3.5kHz sound event area.
At just $99.00! Thank-you for reading! Cheers, oh and beers......................
https://penonaudio.com/EarAcoustic-VSA-V1
Left to right……
The Fragrant Zither EarAcoustic Audio SPA-Pro 11.4mm full-range DD $99.90
The 2023 The Fragrant Zither (Super TFZ) Crown (in treble impedance reduction mode) 68Ω or 20Ω $219.00 (sold-out, used for demonstration purposes only)
The Fragrant Zither EarAcoustic Audio new VSA-V1 11.4mm full-range DD $99.00
Do you see what they did here?
While the SPA-Pro has a more reserved Pinna Gain, the SPA-Pro literally rocks the house, being a lot of sound for the money. While it is the only SPA that doesn’t offer a back shell made from metal, the resin promotes a lighter weight and feels great! Where (from memory) the 2023 Crown offers great playback from any source. The 2023 Crown vocal and treble forward, like the new VSA series! Crazy as it seems TFZ also makes a 2025 Crown edition too!
The trick they did with sound:
You see if you take a comparable driver and make it so the Pinna Gain and upper treble get vibrant, you're going and increasing perceived resolution, getting the IEM to gain realization of bigger images and detail in that critical location. The downside is the lower midrange girth and bass gets the downplay, so it would only appear to those asking and hearing for such energies. Such a Vocal-tune simply results from locating the frequency balance to a different overall IEM tone. Now for me I simply dash the VSA IEM volume down a dB and I'm home free. But that would be a determining factor for those Metalheads that yearn for more volume impact and sizable volume swagger!
So EarAcoustic Audio is upping what you get at this price point, going with a 14 gram sculpted universal custom shell and flashy faceplate……….but, but it is the sexy cable that the VSA-V1 comes with, that has me admiring it!
Yep, the VSA-V1 is the first lowest cost VSA that has this modular 3.5mm or 4.4mm balanced cable that stands out. Why? Well none of the prior STA or (many) SPA series ever gave you this modular option. I love this new cable! Plus just look at it, look at the sexy finish and quality it provides. Don’t tell anyone (wait I just did) but I have been using this cable to test many IEMs since it arrived!
Just bear with me as I use up review space real-estate here!
The Fragrant Zither EarAcoustic Audio SPA-Pro 11.4mm full-range DD $99.90
The 2023 The Fragrant Zither (Super TFZ) Crown (in treble impedance reduction mode) 68Ω or 20Ω $219.00 (sold-out, used for demonstration purposes only)
The Fragrant Zither EarAcoustic Audio new VSA-V1 11.4mm full-range DD $99.00
Do you see what they did here?
While the SPA-Pro has a more reserved Pinna Gain, the SPA-Pro literally rocks the house, being a lot of sound for the money. While it is the only SPA that doesn’t offer a back shell made from metal, the resin promotes a lighter weight and feels great! Where (from memory) the 2023 Crown offers great playback from any source. The 2023 Crown vocal and treble forward, like the new VSA series! Crazy as it seems TFZ also makes a 2025 Crown edition too!
The trick they did with sound:
You see if you take a comparable driver and make it so the Pinna Gain and upper treble get vibrant, you're going and increasing perceived resolution, getting the IEM to gain realization of bigger images and detail in that critical location. The downside is the lower midrange girth and bass gets the downplay, so it would only appear to those asking and hearing for such energies. Such a Vocal-tune simply results from locating the frequency balance to a different overall IEM tone. Now for me I simply dash the VSA IEM volume down a dB and I'm home free. But that would be a determining factor for those Metalheads that yearn for more volume impact and sizable volume swagger!
So EarAcoustic Audio is upping what you get at this price point, going with a 14 gram sculpted universal custom shell and flashy faceplate……….but, but it is the sexy cable that the VSA-V1 comes with, that has me admiring it!
Yep, the VSA-V1 is the first lowest cost VSA that has this modular 3.5mm or 4.4mm balanced cable that stands out. Why? Well none of the prior STA or (many) SPA series ever gave you this modular option. I love this new cable! Plus just look at it, look at the sexy finish and quality it provides. Don’t tell anyone (wait I just did) but I have been using this cable to test many IEMs since it arrived!
Just bear with me as I use up review space real-estate here!
End of first Impressions:
Side-by-sides:
Really this stuff is all about music, I want to get a few issues out of the way first. Yep even before we start the side-by-sides.
Really this stuff is all about music, I want to get a few issues out of the way first. Yep even before we start the side-by-sides.
Aerosmith
Rocks (Reissue)
Back In The Saddle
176.4kHz - 24bit
A classic album like the one shown here should offer the listener an avenue to explore his or her youth. Only times have changed, and no tweaking or digital replay will restore the vocals on this album. Not that it is that bad, except it was recorded in a different era, and hence a different sound in comparison to today's music. Sure I’m a classic Rock fan, only here we have vocals that even the VSA-V1 cannot unearth. So I’m just posting this here as I thought maybe such a recording would be fun as a new addition to the music I regularly use to review IEMs. Though instead what it did was show me the limits of how the VSA-V1 works with vocals. Meaning after 6 days of burn-in and 12 days of ownership I’m experiencing the VSA-1 as a smoother idea, and not as bright as I first guessed!
Now that never should take away from the VSA-V1 as a vocal centric window to look at your vocal tracks. In fact the bass became enhanced and somehow fortified, and as we all know it is this balance between the 3 frequency bands which leaves a final statement in hearing your music. Anyways……..on to the side-by-sides.
SuperTFZ Crown:
Rocks (Reissue)
Back In The Saddle
176.4kHz - 24bit
A classic album like the one shown here should offer the listener an avenue to explore his or her youth. Only times have changed, and no tweaking or digital replay will restore the vocals on this album. Not that it is that bad, except it was recorded in a different era, and hence a different sound in comparison to today's music. Sure I’m a classic Rock fan, only here we have vocals that even the VSA-V1 cannot unearth. So I’m just posting this here as I thought maybe such a recording would be fun as a new addition to the music I regularly use to review IEMs. Though instead what it did was show me the limits of how the VSA-V1 works with vocals. Meaning after 6 days of burn-in and 12 days of ownership I’m experiencing the VSA-1 as a smoother idea, and not as bright as I first guessed!
Now that never should take away from the VSA-V1 as a vocal centric window to look at your vocal tracks. In fact the bass became enhanced and somehow fortified, and as we all know it is this balance between the 3 frequency bands which leaves a final statement in hearing your music. Anyways……..on to the side-by-sides.
SuperTFZ Crown:
The Crown sports a huge 12mm DD! It came with a modular cable plug, and an impedance switch to change the IEM (on the faceplate) from 20Ω to 68Ω. Timbre is the ultimate, and the Crown made ways to show you exactly how your source sounds. In fact the phone's 3.5mm output allowed owners to hear an incredibly balanced and subtle character, in a way close to “straight” bypassing an Audiophile Pizzaz from a DAP. Though the main issue here is the Pinna Gain was a little intense at both impedance settings! Yet the benefits of this energy was a provider of detail and clarity on a daily basis. When the switch on the faceplate was on we obtained a brighter sound, and when off……lesser. This test today will be with the switch off.
I’m using the Sony WM1A and VSA-V1 cable with Penon PAC LStips and no EQ.
This DIP switch is really small, so small a loop was used to verify the setting on down position.
ON Crown = most bright
OFF Crown = lesser bright
As such after trying out the VSA-V1 again…….the Crown showed its performance and reminded me why I gave it such a great score. Where the bass is big and awesome. What does awesome mean and how did the word make its way into this review? Well being a 12mm the bass has a slight lumbering, and I like that, realizations that come from the pure surface area this guy proclaims.
And while I did read my Crown review from 2023……this is the future we are inhabiting. Plus a lot of new and different IEMs have crossed my ears since the Crown review was obtained. Yet there are still consistent ideas here, ideas that make the SuperTFZ Crown a Flagship and the amount of respect given to a past TOTL entity.
I’m using the Sony WM1A and VSA-V1 cable with Penon PAC LStips and no EQ.
This DIP switch is really small, so small a loop was used to verify the setting on down position.
ON Crown = most bright
OFF Crown = lesser bright
As such after trying out the VSA-V1 again…….the Crown showed its performance and reminded me why I gave it such a great score. Where the bass is big and awesome. What does awesome mean and how did the word make its way into this review? Well being a 12mm the bass has a slight lumbering, and I like that, realizations that come from the pure surface area this guy proclaims.
And while I did read my Crown review from 2023……this is the future we are inhabiting. Plus a lot of new and different IEMs have crossed my ears since the Crown review was obtained. Yet there are still consistent ideas here, ideas that make the SuperTFZ Crown a Flagship and the amount of respect given to a past TOTL entity.
The Crown:
Still switching back to the VSA-V1 we receive a louder response from the same DAP volume used. Now to be critical here, this is making the VSA-V1 only a tad louder and really they are pretty much the same, only what would a review be without these small details. Though the trippy thing is that while the Crown had its tell-tale vocal ability, the VSA-V1 actually goes forward to offer a slightly larger and smoother idea of vocals. But not only that, this new 11.4mm VSA-V1 driver (even at this price-point) moves forward to proclaim its superiority here!
Still switching back to the VSA-V1 we receive a louder response from the same DAP volume used. Now to be critical here, this is making the VSA-V1 only a tad louder and really they are pretty much the same, only what would a review be without these small details. Though the trippy thing is that while the Crown had its tell-tale vocal ability, the VSA-V1 actually goes forward to offer a slightly larger and smoother idea of vocals. But not only that, this new 11.4mm VSA-V1 driver (even at this price-point) moves forward to proclaim its superiority here!
More back-to-back action:
The Crown is brighter in the Pinna Gain and treble areas, but not holding the superior note-weight of the VSA-V1. Where the VSA-V1 is like a denser bread loaf, holding images maybe slightly closer to itself, only those images are both softer and more inviting, doing away with these larger treble contrasts and providing a slightly more relaxed attitude. Yet, of course when you hear those big cymbals way off to the Crown sides, it's good, only it comes with that extra energy that was one of the faults I found in my review back in 2023.
VSA-V1:
The killer here is the fact that the VSA-V1 holds a more even and projected series of imaging events. Things are more homogeneous, and more accessible to even folks who would run at the thought of a vocal sweetness producer.
Why?
Well the way I hear it, the VSA-V1 is pretty close to perfect for everyone. Thicker note-weight, but still holding that vocal positioning, that is maybe the reason you buy it, I mean sure I’m into the looks here, but the fitment and sound are why we came to the party here.
And…….the VSA-V1 is less than half the price of the 2023 Crown. To me it is just more real sounding, that and the fact that the imaging may not be as separated and the Crown did, but there is still a more wholesome sound and even positioning that would never have you ever want more separation. I mean the staging with what the VSA-V1 is doing 24/7 is dynamic and very well orchestrated into top-down-front-to-back, and right to left. It is this 3D-ness that makes you want more time in VSA-V1 land…………….and finally stuff here to me just sounds more real, while still holding all the details in the file!
The Crown is brighter in the Pinna Gain and treble areas, but not holding the superior note-weight of the VSA-V1. Where the VSA-V1 is like a denser bread loaf, holding images maybe slightly closer to itself, only those images are both softer and more inviting, doing away with these larger treble contrasts and providing a slightly more relaxed attitude. Yet, of course when you hear those big cymbals way off to the Crown sides, it's good, only it comes with that extra energy that was one of the faults I found in my review back in 2023.
VSA-V1:
The killer here is the fact that the VSA-V1 holds a more even and projected series of imaging events. Things are more homogeneous, and more accessible to even folks who would run at the thought of a vocal sweetness producer.
Why?
Well the way I hear it, the VSA-V1 is pretty close to perfect for everyone. Thicker note-weight, but still holding that vocal positioning, that is maybe the reason you buy it, I mean sure I’m into the looks here, but the fitment and sound are why we came to the party here.
And…….the VSA-V1 is less than half the price of the 2023 Crown. To me it is just more real sounding, that and the fact that the imaging may not be as separated and the Crown did, but there is still a more wholesome sound and even positioning that would never have you ever want more separation. I mean the staging with what the VSA-V1 is doing 24/7 is dynamic and very well orchestrated into top-down-front-to-back, and right to left. It is this 3D-ness that makes you want more time in VSA-V1 land…………….and finally stuff here to me just sounds more real, while still holding all the details in the file!
SPA-Pro:
Look, I have been on a crusade in recent times, going and proclaiming the SPA-Pro to be the genuine deal. The only resin shell of the whole SPA line, and yet still holding that 11.4mm DD inside. At $90.90 the SPA-Pro is a deal, only because it gets you that 11.4mm stage and imaging, well above what the EarAcoustic Audio STAR line does.......at least to me. Sure there were one or two instances where the STA went and grabbed more involvement and excitement for a moment or two, Only the STA bass was never getting as low due to the STA 10mm driver combined with a 6mm. Now I must say this VSA line startled me. Why? Well I didn’t expect EarAcoustic Audio to rewind into their old Crown territory. At least that is what I thought they did when I read they were making a Vocal IEM.
Fast forward to today, and I can hear that they went and improved the Crown sound and made it slightly smoother with our new VSA-V1. So in reality we now have a totally new IEM, even though the Silver Angel Series holds a boatload of them………
Look, I have been on a crusade in recent times, going and proclaiming the SPA-Pro to be the genuine deal. The only resin shell of the whole SPA line, and yet still holding that 11.4mm DD inside. At $90.90 the SPA-Pro is a deal, only because it gets you that 11.4mm stage and imaging, well above what the EarAcoustic Audio STAR line does.......at least to me. Sure there were one or two instances where the STA went and grabbed more involvement and excitement for a moment or two, Only the STA bass was never getting as low due to the STA 10mm driver combined with a 6mm. Now I must say this VSA line startled me. Why? Well I didn’t expect EarAcoustic Audio to rewind into their old Crown territory. At least that is what I thought they did when I read they were making a Vocal IEM.
Fast forward to today, and I can hear that they went and improved the Crown sound and made it slightly smoother with our new VSA-V1. So in reality we now have a totally new IEM, even though the Silver Angel Series holds a boatload of them………
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
So here you can see the art of IEM making is expanding. And I guess the reason for so many is to sell a lot? But also the management heard what they could do and suggested that these variations of sound and variations of price-point could in-fact make a few souls happy……..along with the owners of TFZ.
SPA-Pro:
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
So here you can see the art of IEM making is expanding. And I guess the reason for so many is to sell a lot? But also the management heard what they could do and suggested that these variations of sound and variations of price-point could in-fact make a few souls happy……..along with the owners of TFZ.
SPA-Pro:
So what does the SPA-Pro do in relation to the VSA-V1, and how is it different? The SPA-Pro is $99.90 and the VSA-V1 is $99.00. Now looking at the two back to back one may guess the VSA-V1 to be worlds more cash! It is 14 grams and the SPA-Pro is 5 grams on my humble kitchen scale. The SPA-Pro I would be more inclined to do sports with. And sure the SPA-Pro resin body may be better in sub-zero climate conditions.
But here we are primarily concerned with the tone and technicalities of these items we put into our ears. Well, this is actually fairly simple. Where the SPA-Pro is showcasing a more subdued Pinna Gain. That in itself has so many direct repercussions here.
Yep, the bass may be heard more clearly, only the bass on the VSA-V1 was speedy and romantically profound.
So……maybe the SPA lower midrange gets more attention? Yes, this whole signature comes across toned-down. Only after so much VSA-V1 listening, the SPA-Pro sounds ever so slightly sleepy in contrast to the vibrant VSA-V1.
I mean if you read my VSA-V1 first impressions I was tuning the volume down to deal with the prominent Pinna Gain. Yet now after burn-in the VSA-V1 bass became more authoritative and smoother, then the Pinna Gain got a hair softer. All I can say is after 6 days of burn-in, I was listening and saying to myself, that I can get with this, I now blend with the VSA-V1 even better than before.
Now the side benefit here is a pronounced Pinna and treble will often lend itself to the perception of more detail, then when you combine that facet with more bass, it comes across more contrasty and more vivid, doing better technicalities, and that folks is what we have here!
Music:
So sure I have used these songs all before. I know how they sound on a number of IEMs, actually a large number. And sure it is fun to turn people on to new music, and in a way these songs are slightly played-out, only when I hear them, they still sound fully interesting.
Same set-up as the previous tests, the Sony WM1A, included cable and Penon PAC LStips........and no EQ, except we do have MrWalkmans firmware here as in contrast to the stock Sony WM1A sound.
Kaveh Cohen, Michael Nielsen
Forza Motorsport OST
Fate
44.1kHz - 24bit
Timestamps only pertain to digital file, not video.
Forza Motorsport OST
Fate
44.1kHz - 24bit
Timestamps only pertain to digital file, not video.
This is my newest song to use as far as reviews go. As when I started to learn more about it, it had good ideas which transferred into my words about sound replay, and can be a useful tool (maybe) to broadcast points across. This is a game soundtrack and this is (I can guess) a backdrop to video racing. At only 02:35 it only has so much to say, yet goes forward to showcase much of what we need to learn about the VSA-V1. Why no vocals with a Vocal IEM test song? Here I’m trying to convey how well-rounded the VSA-V1 is.
At 00:17 we are thrilled with a sub-bass happening! This style of prominent bass takes and makes the replay carefree as at once you know there will never be any worries as to performance here!
Even right at the start at 00:00 there is a pleasant stage and big imaging of metronome synth play out! Later at just 00:22 we find two different aspects of elements somehow flowing together. This sequence of events is startled by the main beat at 00:32. Such impact of the bass drum is then analyzed for tone and timbre…….coming of right in the zone. Meaning there is no unnaturalness or even synthetics to this sound, even though it does not exist outside of the direct to mixing board line-in.
At 00:51 there begins again the main theme programmed to be a darker piano set of keys. And again our tone of timbre and fullness of positioning inside the stage is right on the money here.
At 01:07 there becomes an added extra filigree of details that are once more simply synth work, only they show us a new and different part of the soundstage and tonal potentials to arrive at. These exact sounds are used both for a type of rhythm and tone simultaneously.
Now because this is an instrumental number, there are again small keys that almost sound like a Fender Rhodes..........far outside in the mix. This extra playfulness is adding interest only by sounds being themselves at the 01:13 point to 01:14 point.
But it may be the blackness of the stage that brings this clarity to the front........something? Finally at 01:21 we come to the perception that the song is now becoming louder.
Musicians will use every device at their disposal to add variations and changes here, especially since the instruments are the only focus here. At 02:03 there is found subtle extra bass emphasis that leads to interests, for me anyway? At 02:07 there is a recess of events, a simplification that is less information is used to bring about a change, just by providing less notes. At 02:11 we hear almost a guitar sound, and the song drifts to its end.
The value here is that I was fully engrossed by this simple tune, taking it at face value, being in enjoyment of what the simple aspects are, and can be found to be.
At 00:17 we are thrilled with a sub-bass happening! This style of prominent bass takes and makes the replay carefree as at once you know there will never be any worries as to performance here!
Even right at the start at 00:00 there is a pleasant stage and big imaging of metronome synth play out! Later at just 00:22 we find two different aspects of elements somehow flowing together. This sequence of events is startled by the main beat at 00:32. Such impact of the bass drum is then analyzed for tone and timbre…….coming of right in the zone. Meaning there is no unnaturalness or even synthetics to this sound, even though it does not exist outside of the direct to mixing board line-in.
At 00:51 there begins again the main theme programmed to be a darker piano set of keys. And again our tone of timbre and fullness of positioning inside the stage is right on the money here.
At 01:07 there becomes an added extra filigree of details that are once more simply synth work, only they show us a new and different part of the soundstage and tonal potentials to arrive at. These exact sounds are used both for a type of rhythm and tone simultaneously.
Now because this is an instrumental number, there are again small keys that almost sound like a Fender Rhodes..........far outside in the mix. This extra playfulness is adding interest only by sounds being themselves at the 01:13 point to 01:14 point.
But it may be the blackness of the stage that brings this clarity to the front........something? Finally at 01:21 we come to the perception that the song is now becoming louder.
Musicians will use every device at their disposal to add variations and changes here, especially since the instruments are the only focus here. At 02:03 there is found subtle extra bass emphasis that leads to interests, for me anyway? At 02:07 there is a recess of events, a simplification that is less information is used to bring about a change, just by providing less notes. At 02:11 we hear almost a guitar sound, and the song drifts to its end.
The value here is that I was fully engrossed by this simple tune, taking it at face value, being in enjoyment of what the simple aspects are, and can be found to be.
Kaveh Cohen, Michael Nielsen
Forza Motorsport OST
Brotherhood
44.1kHz - 24bit
Timestamps only pertain to digital file, not video.
Forza Motorsport OST
Brotherhood
44.1kHz - 24bit
Timestamps only pertain to digital file, not video.
Here we can find a style of recluse from the drama. Where inviting are the textures and fluid flow taking place………sounds found waiting for use with the VSA-V1. Really this is so much more warm and digestible than my first impressions, and better than I could have ever dreamed for.
Floaty and floating is where we are………….really this style may in-fact be the resulting energies from balance, a balance that makes the VSA-V1 work for all music. And really this is a 180 degree turn-of-events taking place for me? A vocal IEM, that in confidence does it all. At 00:25 the rumbly bass speaks my language!
Floaty and floating is where we are………….really this style may in-fact be the resulting energies from balance, a balance that makes the VSA-V1 work for all music. And really this is a 180 degree turn-of-events taking place for me? A vocal IEM, that in confidence does it all. At 00:25 the rumbly bass speaks my language!
Dead Can Dance
Anastasis
Kiko
44.1kHz - 24bit
Anastasis
Kiko
44.1kHz - 24bit
Timestamps only pertain to digital file, not video.
Here is an important song I often use to qualify IEM playback in my reviews. Why? This example of well recorded drums found inside a spacious stage, with the decays in place that only a full-range DD could perform.
The timbre that comes from these ideas and the fact that the yangqin in use holds again that aspect of timbre, not sounding too bright or dull, but just right here.
There is an additional thrust of these drums taking place overhead making the drums become unstoppable and real. Lisa Germaine Gerrard is heard, only not as bright or as overbearing as I would have guessed here. Where that is actually a good thing, if we are talking Vocal IEMs, only because it means we have a correct balance, only yes, the vocal additive is out front and taking charge, just not maybe the total star of the show, and this is the ultimate magic with the VSA-V1. It is this perfect placement that has you realize that the vocal presence is all you need, and you never want more…………finally we got to the vocals in this review!
Just so you know, I went from my first impressions of “Yes, I will review the VSA-V1, but seldom use it after the review” to “This in-fact is my exact idea of tune, way smoother than I could have ever guessed?” “And the stage and other technicalities are right on the money, way better than you may estimate for under $100.00.”
Here is an important song I often use to qualify IEM playback in my reviews. Why? This example of well recorded drums found inside a spacious stage, with the decays in place that only a full-range DD could perform.
The timbre that comes from these ideas and the fact that the yangqin in use holds again that aspect of timbre, not sounding too bright or dull, but just right here.
There is an additional thrust of these drums taking place overhead making the drums become unstoppable and real. Lisa Germaine Gerrard is heard, only not as bright or as overbearing as I would have guessed here. Where that is actually a good thing, if we are talking Vocal IEMs, only because it means we have a correct balance, only yes, the vocal additive is out front and taking charge, just not maybe the total star of the show, and this is the ultimate magic with the VSA-V1. It is this perfect placement that has you realize that the vocal presence is all you need, and you never want more…………finally we got to the vocals in this review!
Just so you know, I went from my first impressions of “Yes, I will review the VSA-V1, but seldom use it after the review” to “This in-fact is my exact idea of tune, way smoother than I could have ever guessed?” “And the stage and other technicalities are right on the money, way better than you may estimate for under $100.00.”
Gdanian
Induction
Shield Emitter (feat. Tineidae)
44.1kHz - 24bit
Induction
Shield Emitter (feat. Tineidae)
44.1kHz - 24bit
Timestamps only pertain to digital file, not video.
So in reality people probably would not choose the VSA-V1 by reading on paper what this specific IEM is about.
I mean it is promoted by the Silver Angel Series as almost a speciality IEM. Such nomenclature would have you turn-away, at least if you read about it on paper. That is why reviews are important, and why a single user history of an IEM can do wonders for the understanding of a product. On paper this VSA-V1 would appear to rebel against this genre (the ambient bass genre) when in fact it does it fine, and better than fine! It is the big synth washes that start to add drama here. Now there is a specific use that this song is used for in my testing. That starts with this Blade Runner synthesizer. Even at just 00:14 the solo style synth is introduced here.
Blade Runner Synth:
Now to be upfront, it is not as contrasty nor as bright and forward as I have heard it. Yet that is OK, nothing is ruining the party here. But let’s just say it is a little more blended than with Hybrid IEMs. Also there are a few high-up effects here like triangles and small hits, even a clock ticking sound. At 01:20 you hear the clock, though it is not as separate or even into relief as I have heard with past IEMs. Yet still no worries here as the milky synth (Blade Runner style) takes the center position and the deep physical throbs of this ultimately wild ride take hold of your listening emotions as far as bass goes.
That this presence in bass I could have never guessed would be coming from a vocal centric (they say) IEM. Now in truth this song caused me to delay this review 24 hours. Why? Because while the bass was low and fully textures and big, the super-high-up treble realizations had me scratching my head. Meaning when you read the next E-Mantra song impressions, you will feel the excitement. But if both are electronic styles of music, then what is left out here. After waiting a full-day and coming back to Shield Emitter song I realize that the VSA-V1 doesn’t have the tippy-top energy that I thought, and way less than originally guessed upon first impressions. And Gdanian went and accessed that frequency range, and included whole instruments inside of that stratification. Only they are at times heard, and at times almost not heard. This in fact is not the biggest deal, as when you read the next song description, we can maybe feel this energy together, in that the VSA-V1 is pretty close to the perfect tune, yet not quite.
So in reality people probably would not choose the VSA-V1 by reading on paper what this specific IEM is about.
I mean it is promoted by the Silver Angel Series as almost a speciality IEM. Such nomenclature would have you turn-away, at least if you read about it on paper. That is why reviews are important, and why a single user history of an IEM can do wonders for the understanding of a product. On paper this VSA-V1 would appear to rebel against this genre (the ambient bass genre) when in fact it does it fine, and better than fine! It is the big synth washes that start to add drama here. Now there is a specific use that this song is used for in my testing. That starts with this Blade Runner synthesizer. Even at just 00:14 the solo style synth is introduced here.
Blade Runner Synth:
Now to be upfront, it is not as contrasty nor as bright and forward as I have heard it. Yet that is OK, nothing is ruining the party here. But let’s just say it is a little more blended than with Hybrid IEMs. Also there are a few high-up effects here like triangles and small hits, even a clock ticking sound. At 01:20 you hear the clock, though it is not as separate or even into relief as I have heard with past IEMs. Yet still no worries here as the milky synth (Blade Runner style) takes the center position and the deep physical throbs of this ultimately wild ride take hold of your listening emotions as far as bass goes.
That this presence in bass I could have never guessed would be coming from a vocal centric (they say) IEM. Now in truth this song caused me to delay this review 24 hours. Why? Because while the bass was low and fully textures and big, the super-high-up treble realizations had me scratching my head. Meaning when you read the next E-Mantra song impressions, you will feel the excitement. But if both are electronic styles of music, then what is left out here. After waiting a full-day and coming back to Shield Emitter song I realize that the VSA-V1 doesn’t have the tippy-top energy that I thought, and way less than originally guessed upon first impressions. And Gdanian went and accessed that frequency range, and included whole instruments inside of that stratification. Only they are at times heard, and at times almost not heard. This in fact is not the biggest deal, as when you read the next song description, we can maybe feel this energy together, in that the VSA-V1 is pretty close to the perfect tune, yet not quite.
That during these rare listening times a level of extra high-up detail is downplayed, and not the ultimate focus of the way this IEM is. So if you never heard this number before, you would use the VSA-V1 and never be the wiser as to what was left out. And remember there is enough interaction with just the bass textures to make this style of playback still totally fun, and cool.
E-Mantra
Stapanii Timpului
Ravenmocker (Original Mix)
44.1kHz - 16bit
Stapanii Timpului
Ravenmocker (Original Mix)
44.1kHz - 16bit
Timestamps only pertain to digital file, not video.
Part of the very reason for this style of review to exist is to demonstrate how music like this could be performed by a vocal IEM. I mean EDM Psychedelic Trance would not be my first demo material here, and I consider myself somewhat of an IEM expert!
Yet when the bass drops, you go into full amazement mode here. You really do, I still can’t get over it.
And I checked each and every song on this album has this intrinsic drama at hand. I will try and describe it here? First off, everything, meaning all the synth sounds are way projected both inside and outside the stage. Next there is a fluid and detailed low-end which never lets up.
Each and every instrument holds this exotic texture that makes you feel like you have never heard the song before? I know I’m gushing here, and I am!
It is this fast paced-clarity that every instrument is dialed into a very precise and structured event into the stage. Maybe it is the 14 gram resonance absorbing Zinc Alloy material of these shells. Really I would feel sorry for anyone into EDM that didn’t at least get a chance to hear this phenomena in real life!
I can grab the shells with my hands and yes I can feel the bass.
That is where I’m at volume wise, yet all that talk about lowering the volume a dB to somehow adjust to this Pinna Gain flew straight out the window after burn-in.
Remember too there was a cable burn-in event too as I used the provided cable to burn these suckers in! This event which holds this exact treble, just right mids and a deep profound bass that kicks this into orbit!
The instruments never contain stridence or dullness? It is the fast that the bass is totally there, yet also totally clean in regards to messing with the mids? Just the fact that every synth (in the song) is a rhythm instrument with this style of music! And the overall tone……it makes me believe this was the tone (he heard) when the song was made?
After a second day of listening, meaning after a night's sleep I can come back to this song and get a better less emotional idea of why I like it so much, and that is probably due to two things, one the bass is tight and clear but still seems to use sub-bass to offer-up all the inseparable authority. Then the mids and treble are big, meaning they take precedence into both the edges of the stage and the center, this realizes the ample imaging that takes music like this exact genre to the next level, for me personally.
Build:
OK, the build here is one of my favorites. Just the feel in my ears. Now I will remove a few points for noise occlusion as it is just average due to the big port off to the back. But remember those ports are what make the stage what it is. A chrome plated 14 gram Zinc Alloy build, with refractive faceplates. Just the fact that the nozzles are the correct length, the 2Pin receivers are flush, and the nozzle screen itself is back set out of danger. Sure they are fingerprint magnets, but who cares, right. They feel like something substantial between your fingers and seem to be able to last?
Cable:
Oxygen free copper, silver plated with a 408 strand inner core covered in PVC with an easy to use Modular plug system. The cable tie is a nice extra, as is the naming on the cable. The modular plug works like a miracle never coming off, or getting misaligned upon placement. The chin-cinch and splitter are all metal, as are the 2Pins holding R and L markers here. The ear-guides are of a subtle style and never become noticeable in use. All and all this was a dream IEM to review.
Ear-tips:
These are the same collection of 6 pairs which have come with the entire STA and SPA series. The donut wide-bores are actually one of my preferred styles, though that is only in shape, as the build could be a little firmer here. As such the back pressure works fine at home, yet this style of ear-tip build seems to move a little out and about, especially with 14 grams a piece of IEM moving it. So yes, inside the tips are the bomb, though outside I use the same shape, but of a firmer back pressure making material.
Packaging:
EarAcoustic VSA-V1 11.4mm Full-Amplitude Titanium Diaphragm Dynamic Driver with Dual Chamber Resonance Control 2Pin 0.78mm HiFi Audiophile In-Ear Earphone IEMs
Conclusion:
So there you have it. Another in the Silver Angel Series by EarAcoustic Audio. Only they played us, yep they introduced a Vocal IEM that is so well balanced that it does it all. This VSA-V1 is advertised as a specific IEM, like a tool to be used in exact applications…….only that is not exactly what I found to be true. The VSA-V1 is in fact an all-rounder that I can welcome anyone who likes IEMs to get hold of. That in use the VSA-V1 seems to play anything you dish-up, and plays the music with better technicalities and a balanced tone, far better than you would guess from looking at the marketing script. This would be like being introduced to a new friend.............. that you felt would simply not workout for friendship due to preconceived notions about what was first visualized. Only (upon further meeting) find the person charming and sincere, offering a playful sparkle and an easygoing nature.
Sound:
The timbre is spot-on, the tune carries a balance, the stage is fairly big, and made just that much bigger by the Pinna Gain and treble additives here. Yet all this is coming from a listener just (maybe) like you, who is not a treblehead, or a basshead.
Probably I’m a midrange lover? And sure this is only one review, yet it is as sincere and factual as I can make it. Sure the weight is a lot at 14 grams, yet the custom universal shell design has taken information from the human ear database to provide a deep and comfortable fit.
The box opening experience is something else. EarAcoustic Audio used their economy of scale to provide all you need, and packaged it swanky. Honestly I almost think this is the best deal on the market in the under $100.00 range, literally times have changed and you get a big dramatic style of replay for this style of cash. I have done everything possible to get my points across……..what you do with that information is now your business……..thank-you for reading!
$99.00 (Probably the best EarAcoustic Audio Value there is)
https://penonaudio.com/EarAcoustic-VSA-V1
Disclaimer:
The EarAcoustic Audio VSA-V1 Universal IEM has had 6 days of burn-in.
Disclaimer:
I want to thank Penon Audio for the love and for the EarAcoustic Audio VSA-V1 Universal IEM review sample.
Disclaimer:
These are one person's ideas and concepts, your results may vary.
The EarAcoustic Audio VSA-V1 Universal IEM has had 6 days of burn-in.
Disclaimer:
I want to thank Penon Audio for the love and for the EarAcoustic Audio VSA-V1 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
