SIMGOT EM6L: Terrific Yet Somehow Insipid
"Music produces a kind of pleasure which human nature cannot do without."
~~Kong Fuzi/Confucius, Chinese philosopher during Zhou dynasty.
SIMGOT or XINGGE is on the blitzkrieg mode right now since the introduction of SIMGOT EA500 on the international market as if it revolutionise a single dynamic driver which was quite well-tuned one for just in under $100 with superb build quality that really punches above its asking price.
What I have here is SIMGOT's latest model for the entry-level segment and this time it has a different driver set-up unlike their previous releases.This is SIMGOT EM6L, it has a hybrid driver configuration consisting of a single dynamic driver and four balanced armature drivers on each side.
The dynamic driver is a 8mm polymer diaphragm in a dual cavity set-up that solely handles the low frequency while the midrange and high frequencies will be held by the four (4) custom balanced armature drivers. The drivers were enclosed in a composite shell chassis made of CNC-milled metal alloy that was carefully buff to have that mirror-like finish on its shell chassis and a resin cavity base that was moulded via 3D-printing to ensure better dampening on acoustic resonance. The overall build of its shell chassis will give a solid structure yet ligh enough to be worn for a long listening session. SIMGOT decided to use a QDC-type 2-pin connector as they have their reason particularly for the implementation of an array of drivers on its medium-size shell structure.
SIMGOT EM6L ensures a better fitting and comfort as they snug well into my lugholes without any issue. It also has a good sealing and noise isolation that is able to block some external noises from the outside surroundings.
It appears that SIMGOT includes a stock cable on EM6L and it is somehow of a decent quality. It has 2-core silver-plated oxygen-free copper wiring that was coated with a clear insulating material to have a better signal transmission. The termination plug is a 3.5mm SE and it was gold-plated to have a better resistance against heat, wear, tear and corrosion.
The product packing of SIMGOT EM6L is somehow impressive to give a pleasant unboxing experience of its packaging box and the contents inside are well-organised.
Here are the following contents inside of its box:
■ Pair of SIMGOT EM6L IEMs
■ Stock cable
■ 3 pairs of white-coloured balanced bore ear tips
■ Oval-shape zippered IEM case
■ Paperwork like instruction manual and warranty certificate.
With a normal impedance and high sensitivity rating, EM6L is quite an easy to amplify set that some devices like smartphones and tablets which usually have an average power output of under 1Vrms. Putting up a decent power output on this set will deliver a full range and vivid sound.
In terms of its tonality, it appears that EM6L has a U-shaped sound signature that specifically targets that Harman-style target curve. It emphasises more on sub bass and upper-mids which makes it a more ambivalent tuning among the audio community with this kind of tuning.
LOWS/BASS:
This type of target curve is known to favour more on sub-bass presence than the mid-bass to give that clean and tighter bass response but at the expense of less textured, mellow and inadequate slam that affects certain tonal colours of some instruments and vocals and EM6L have these characteristics on its bass response.
I clearly hear a good rumbling and reverberations from sub bass focus instruments like low tone bass guitars, drum machines and synthesisers. Mid-bass has enough texture just to give a punch on some instruments and a decent depth on male vocals although I still hear it as a bit hollow in my opinion just like most of the set that follow this particular target curve. Bass guitars have a hollow and sombre sound while cellos have a bit muffled and less weighty in my liking. Bass kick drums sounds rather soft and hollow in my liking and bass-baritone vocals seem to have lack of depth and less darker tone.
MIDRANGE
I initially noticed a tad recession of its midrange on this set but it is able to deliver a clean and transparent presentation. It sounds a bit lean and lacks depth especially on some vocals especially on most male ones like baritones and tenors and also contraltos but it performs well on mezzo-sopranos and sopranos as they sound crisp, energetic and expressive. Baritones have some vocal characteristics which are a bit too smooth, mellow and velvety in my liking which will somehow get along with lyric baritones than kavalier and dramatic types. Tenors sound a bit mellow, less warmer and bright in which lyric tenor will fare better than spintos, dramatic tenors and heldentenors in which they need a heftier, richer and darker tone. The late Luciano Pavarotti was a spinto/dramatic type of tenor singer but he sounded like a lyric type one on this set (La Donna e Mobile). Both countertenors and mezzo-sopranos have similar characteristics as they have a smooth, graceful and tender sound. Contralto vocals seem to have a lack of richness and lush sound that should sound richer and have a darker tone. Sopranos seems to project a silvery and silky sound that this set is able to render.
On instruments, it's rather quite a mixed bag on this set. while it delivers a good tonal colour on strings and woodwinds, it gives less engaging and lethargic sound on percussives and some brass instruments. Strings like guitars and violins have a crisp, bright and vibrant sound from them and woodwinds like piccolos, concert flute and clarinets have light, bright, soft and graceful sounds. On brasses, trumpets have rounded and softer sound while horns have a tad muffled, soft and mellow sound, and then on trombones, they also have a bit soft sound with less darker timbre. On percussion, snare drums have a bit muffled and dry sound, toms have less resonant and hollow sounding, then kettledrums sound dull and hollow as they don't have enough depth to sound at least more substantial and rumbly. Pianos sounds more balanced and it has an even tone to make them sound more pleasant.
HIGHS/TREBLE:
The treble response to this one is well-balanced and smooth as it has mild emphasis on the upper-mids just to give a sufficient presence on vocals while providing a decent attack notations on both percussive and rhythm instruments. Sibilance is well-controlled while there's not a hint of jarring and harshness although there are some instances that it might sound shrilly due to an energetic presence.
Brilliance treble on this one seems pretty decent as it has a sufficient airiness and enough sparkle on its harmonics. Cymbals have a crisp and glistening sound with some added sizzle while hi-hats, timbre were depicted accurately on this set as they have that distinctive chick sound. Celestas have a velvety and glassy sound, then on glockenspiels, they sound rather shimmering and thin.
SOUNDSTAGE, IMAGING AND OTHER TECHNICALITIES:
On sound/speaker stage presentation, it has an above average overall proportion, naturally wide on its lateral span, a good height reach and depth distance from front to back that it gives me fairly moderate head room within my aural sphere.
On imaging projection, it manifests a typical 2-dimensional stereo presentation where I was able to locate the placement of instruments and vocals within its spatial auditory. Its separation and layering aspects are passable as it has good spacing on each instrument and voices while its tonal and frequency layering are decently arranged although sometimes, it projects two layers rather than three or four.
Cohesive performances of its multi-driver set-up is quite impressive. Its dynamic driver able to deliver a fast transient response while its balanced armature drivers able to deliver a clear and articulate sound with less metallic and tinny sound which is associated with "BA timbre".
Regarding its resolution aspect, It has good micro-dynamics as it is able to retrieve some detail and nuances from an audio track while it has a sufficient texture on its note to give a variable onsets of its instruments' specific frequencies while maintaining an optimal and gradual decay on its macro-dynamics.
PEER COMPARISONS:
KIWI EARS QUARTET
■ Like EM6L, QUARTET also has a hybrid driver configuration, two dynamic drivers and two balanced armature drivers. But the difference between them was that this set was housed in a resin shell structure and also has tuning switches for variations of sound profiles.
■ Due to the implementation of tuning switches, it gives the QUARTET more versatility but it is still leaning towards a warm, U-shaped sound signature. It has boomy bass due to more emphasis on mid-bass, a recessed yet warmer and lusher midrange and smooth but less brighter treble response with a meagre air and meagre sparkle. On technicalities, QUARTET perform quite average to below average on this aspect due to its narrow sound/speaker stage, less refinement on separation and layering and poor micro-dynamics due its blunted definition on detail retrieval.
TANGZU FU DU
■ This is also an IEM with hybrid driver set-up but it has lesser driver quantity as it has only one dynamic driver and two balanced armature drivers. They have a similar shell chassis as it is also made of composite materials but the difference is that the FU DU's interlocking mechanism on its connector uses a proven 2-pin connector.
■ Regarding its tonality, FU DU has a U-shaped sonic signature with a balanced-warmish tuning profile. Compared to EM6L, It has more texture and depth of its mid-bass, an even and consistency on its midrange albeit its a tad depressed on its overall frequency presentation and a smooth and balanced treble response but its lacking a bit of air. On technical aspects, FU DU has average to above average overall proportion of its head room, a bit linear 2-dimensional stereo imaging and fairly decent layering and separation. What makes the FU DU have advantage over EM6L was its more solid macro-dynamics.
As I concluded my review on SIMGOT EM6L, this set offers the best product proposition on its price segment that it will cater a substantial customer due to its quality and sound quality. Speaking of its tonality, to be honest, I don't really adhere on current standard Harman-type of tuning as it doesn't give me that engaging and emotive factor while I'm listening on my preferred library tracks and it appears that SIMGOT EM6L follows this particular target curve which is rather a mixed bag in my humble opinion. For listeners who wants a more Harman-type of tuning, I will definitely encourage them to try this set out as it will surely suits on their preferred tuning and SIMGOT has a develop a good reputation in the audio community.
SIMGOT EM6L is now available on their official store, check the link below.
http://www.simgot.com/en/products/detail/30.html
For more SIMGOT product reviews, check out the link below.
SPECIFICATION:
MODEL: SIMGOT EM6L
IMPEDANCE: 26Ω
SENSITIVITY: 119dB
FREQUENCY RESPONSE: 8Hz – 40KHz
CABLE LENGTH: 1.2m
PIN TYPE: QDC-TYPE 2-PIN CONNECTOR (0.75mm)
PLUG TYPE: 3.5mm
DRIVER UNIT(S): 1 DYNAMIC DRIVER + (4) BALANCED ARMATURE DRIVERS
PROS:
△ Solid build quality on its overall shell construction while attaining a lightweight mass.
△ Very ergonomic design as it is quite comfy to wear them in long listening session.
△ Good quantity amount of inclusions.
△ Decent quality stock cable.
△ Quite a safe tuning due to its conformity with Harman-style tuning.
△ Tight and clean bass response.
△ Clear and transparent midrange.
△ Somehow it fares well with some females vocals and strings instruments.
△ Smooth and inoffensive treble quality.
△ Competent technical capabilities for its price.
CONS:
▽ Inadequate mid-bass texture due to sub-bass focus tuning that somewhat simply obscured it.
▽A tad hollow and less density sound on most male vocals like baritones and tenors, and also contraltos.
▽ A bit soft definition on percussive attacks.
▽ QDC-type 2-pin connector which might be an issue. (Subjective but given that I have some sets with the same type of connector which are now practically useless due to sudden crack, I'm quite reserved on this one especially for its price point.)
▽ Less vivid and a noticeable recessed midrange presentation.
Some Tracks Tested: ( * = 16-bit FLAC, ** = 24-bit FLAC, *'* = MQA, '*' = DSD, *'= .WAV)
Alison Krauss -When You Say Nothing At All *
Jade Wiedlin - Blue Kiss**
Led Zeppelin - When The Levee Breaks **
Mountain - Mississippi Queen *
Queen - Killer Queen **
Guns N' Roses - Patience *'*
Eric Clapton - Tears in Heaven '*'
Sergio Mendes- Never Gonna Let You Go '*'
Pearl Jam - Daughter **
Roselia - Hidamari Rhodonite *
Assassin - Fight (To Stop The Tyranny)*
Celtic Frost- Visual Aggression *
New Order - Blue Monday *
The Corrs- What Can I do (unplugged version) *
Jimi Hendrix Experience - Voodoo Child *
The Madness- Buggy Trousers *
Metallica - Motorbreath **
Mariah Carey- Always Be My Baby *
Destiny's Child - Say My Name *
Malice Mizer- Au Revoir *
Mozart - Lacrimosa *
New York Philharmonic Orchestra - Dvorak- Symphony 9 " From the New World." *
Eva Cassidy - Fields of Gold (Sting cover)*
Michael Jackson - Give In To Me *
Exciter - Violence and Force *
Diana Krall - Stop This World **
Debbie Gibson - Foolish Beat *'*
The Sisters of Mercy – Lucretia My Reflection**
Suzanne Vega – Luka **
Lauren Christy – Steep *
Ottoman Mehter - Hucum Marsi *
Diana Damrau - Mozart: Die Zauberflöte*
Type O Negative - Black No.1 *
Felix Ayo - Vivaldi: Presto **
Three Tenors - Nessum Dorma *
Mercyful Fate - Witches' Dance *
P.S.
I am not affiliated to SIMGOT nor receive monetary incentives and financial gains as they provide me a review unit for an exchange of factual and sincere feedback from yours truly.
Once again, I would like to send my gratitude to FIA LAM of SIMGOT for providing this review unit. I truly appreciate her generosity and trust towards me and other reviewers.
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