PULA AUDIO ANVIL 114: Smithing and Forging Of A Potential Archetype One.

The bone conduction principle is not a modern one as this one was allegedly conceptualised by Ludwig Van Beethoven, a famous composer and piano virtuoso in the late Classical period. It is said that when he lost his hearing gradually and not to be deterred with this auricular condition, he used his mouth to bite a rod with wire that was connected at the end of the rim of a piano.

PULA Audio is one of the rising audio companies in this year and it was established around in the early 2020's. I saw some of its products when I used to browse around Aliexpress to check some audio products way back a few years ago. Those models were HT100 and HT200, and I remember correctly, the latter model has a strong resemblance of a popular model from Tripowin, The Olina if my memory serves right and also, these sets were of a single dynamic driver.

And finally, I got their latest model and this one is quite different from their sets from the previous generation. This is PULA ANVIL 114 and has a hybrid driver configuration with three driver technologies that were implemented inside.  The 114 name, if I'm right about this one, if the series of numbers were broken up separately, 1,1 and then 4, corresponds somewhat to the numbers of drivers from each type of driver technology.

The entire composition of its hybrid driver set-up is comprised of dynamic driver, balanced armature drivers and bone conduction driver in which I'm quite familiar with this kind of driver technology as I tested some IEMs with similar driver technology and also happens to own some sets with this driver (Even my current top favourite TOTL IEM set has this type of driver technology, the Unique Melody Mason Fu Sang).

The single dynamic driver has 10mm diameter with “biometric” diaphragm which offers a faster, more responsive and precise sonic performance with less possibilities of unwanted resonance and distortion for deeper and modulated bass. The dynamic driver is then supported by a 11mm contact-type bone conduction driver with high strength neodymium magnet in a copper chamber as it was able to transmit an ultrasonic vibration through a skull via cartilage as our outer ear is also type of connective tissue too add more “atmospheric” reverberation effect on low frequencies. The rest of the frequencies were handled by four “custom” balanced armature drivers with some composite materials on it, these new generations of balanced armature drivers will deliver a rich, detailed and clarity on vocals and instruments. Each driver is connected to an acoustic tube with a dampener insider.

The drivers were encapsulated in a 3D-printed medium-sized shell chassis made of imported resin material which is known for its hypoallergenic properties with a CNC-milled stabilised wood faceplate that also laminated with resin. Each shell's  design has its own unique look with some variances on wood grain that makes it more differentiating on one another. The overall outline of its shell has a mould of a UIEM-style profile that offers more versatile fitting to all types of ear sizes and on its interlocking mechanism, it uses a 0.78mm bi-pin connector for fastening with its detachable cable.

When it comes to wearability, the ANVIL 114 offers a comfortable fitting as it sets well to my medium-sized Asian lug holes without any discomfort. Depending on the bore sizes and material type of the ear tips, it offers an excellent passive noise isolation on how it seals well against unnecessary external noises from the outside.

The ANVIL114's stock cable is quite premium as it is sturdy built with just the right amount of weight and pliable to hold. It is made of a high purity monocrystalline copper in a  4-core structure and braided with a modular termination plug on its end. The included interchangeable termination plugs are 3.5mm, 2.5mm balanced and 4.4mm balanced and all of them are gold plated to ensure better conductivity and offer some resistance against corrosion. I don't encounter any microphonic issues at all even when I move around.

The product packaging of this one is pretty well-accessorised as it was packed with inclusions in a quantifying amount in which this set will be even more useful to operate.

Here are the following contents inside of its packaging box:

• Pair of PULA ANVIL 114 IEM transducers.
• Stock cable
• A large leatherette storage case.
• 2 pairs of double flange silicone ear tips in different standard sizes.
• 3 pairs of narrow-bore silicone ear tips in different standard sizes.
• 3 pairs of balanced-bore silicone ear tips in different standard sizes.
• Modular termination plug (3.5mm SE)
• Modular termination plug (2.5mm Balanced)
• Modular termination plug (4.4mm Balanced)
• User's manual.

The ANVIL 114, despite its multi-driver set-up, when it comes to power scaling, this one is relatively easy to drive that it only needs  a sufficient power requirement from devices such as smartphones, tablets, laptops and basic dongle adapter which usually have a normal gain mode output. But putting it in a better source will assure more dynamics and fuller sound quality that this IEM is able to show its full potential compared to its rather satisfactory performance.

As for its tonality, the PULA ANVIL 114 has a U-shaped sound signature in which has more prominent lows and highs while the midrange is a bit scooped on its overall frequency range spectrum.

(FR graph was provided by [USER=516219]@baskingshark[/USER] , credits to him)

LOWS/BASS:

Apparently, it appears the bass quality of this one is quite well-balanced on both sub bass presence and mid bass consistency. Along it with the support of bone conduction driver, its adds some reverberating effect on its already rumbling sub-bass which are usually produced by instruments like synthesisers, drum machines, low tone bass guitars and double-basses on the punchy, tactual and slam on the mid bass texture.

While the mid bass quality on this one is sufficiently well-bodied as it affects the sound characteristics on some instruments whose notations are on the bass-clef and also, some low pitched male vocals. Bass guitars have a weighty and rasping sound while double-basses have broader and resonant sound on every bowing on its strings or plucking, bass trumpets have full and dark timbre on them and kick bass drums have thunderous and rumbling sound on every stroke. On male vocals, both bass and bass-baritones have a deep reverberating dark timbre on their voices with a full and dense sound.

MIDRANGE:

As I mentioned that the presentation on this particular frequency part is a bit recessed but good thing that it doesn't sound too lean and dry as it has an ample warmth, adequately rich, transparent and with just the right amount of energy for some vocals and instruments. The midrange tuning that affects the tonal colour of vocals and instruments to sound organic but it adds a bit of colouration.

On male vocals, baritones have a rich and plush sound that it add some fullness on Kavalierbariton baritone to sound more steely while both Verdi and dramatic types have full and warmer voice, tenors have brassy, clear and spiciness on their vocals, and countertenors have tender, smooth and emotive voices. As for female vocals, contralto have some good depth and volume on their vocals to sound strong, rich and smoky while mezzo-sopranos have a golden and fiery vocal characteristics on them, and then on sopranos, they sound sweet, crystalline and shimmering that lyric and coloratura sopranos will fare well.

The instruments sound somehow organic but it has some added colouration that affects the timbre on them. On strings, guitars appear to have a balanced and a bit bloomy sound on every plucking and strumming, cellos have full and sonorous sound and violins sound lustrous, lively and sweet. The brass instruments like the trumpets, trombones and horns sound rounded, powerful and velvety respectively. On the woodwinds, concert flutes sound mellow and poetic, piccolos sound clear and light, clarinets have lustrous sound and saxophones sound reedy and expressive. As for percussives, snare drums have hard, incisive and impactful sound, tom-toms have warm and resonant sound on every stroke, field drums have a hard and a bit booming sound on them, and kettledrums have deep, resonant and rumbling sound. Pianos sound on a balanced side as it has the right amount of warmth to sound a bit rich with some sweet and clear.

HIGHS/TREBLE:

The treble response of this one is rather balanced and smooth as it has a slight elevation on the upper mids then a noticeable scoop in the presence area to give that lustre and enough crispness and not to sound piercing, shrill-y or strident. Despite some scooping and dips on the presence area, it is still able to give a satisfactory clarity and definition of its overall sound that also bears on vocal details and attack on instruments in both rhythmic and percussive ones.

To think that the treble air extension of this set is rather moderate and acceptable in some regard but I wish that it augmented more of its airy presence volubly, at least it has a sufficient sparkle. Cymbals have a lustrous and resonant sound, hi-hats’ distinctive chick-y sound is a bit dull, glockenspiels have bell-like and lustrous (how many times I already mentioned this term) and celestas have a velvety and golden sound.

SOUNDSTAGE, IMAGING AND OTHER TECHNICALITIES:

Depends on what types of ear tips that will be pair on this set, it can project at least reasonably spacious sound/speaker stage up to the cavernous level as it has above-average to wide lateral span, excellent height and depth on its overall sound field dimension in which the bone conduction driver somehow added some roomy reverberations to add some illusory expansive sound.

On the stereo imaging, it portrays a soundscape in an atmospheric, 3-dimensional stereo presentation in multi-layered tones and dynamics of vocals and instruments that were orderly arranged in a clean, pitch-black sonic canvas where I can pinpoint and panned out the exact positioning of certain elements with some good separation on one another.

The cohesiveness of its multi-driver set-up is also excellent as all the drivers perform harmoniously without any out of phase or distortion issues as the tandem of dynamic driver and bone conduction driver to add depth and definition on its already fluid transient response while BA drivers delivers a detailed and clear sound output.

This one is also quite pretty resolving on resolution capabilities on both macro-dynamics and micro-detail capabilities as it has solid note compression on the former while a fairly sharp definition on micro-detail retrieval as it captures some nuances and details like notation attacks, vocal ends and instrumental reverb tails from an audio track.

PEER COMPARISONS:

BQEYZ WINTER

• While this set is considered as an IEM earphone with hybrid driver configuration, it has some differences from driver implementation and build materials.
• This one sports a larger 12 mm dynamic driver and a different type of bone conduction driver which is a piezoelectric-based one and the way of the BC driver configuration is more of an air conduction rather than a contact conduction as it supports the expansive and opened sounding of its high frequencies.
• While it's on par with the ANVIL 114 in terms of quantity and quality of inclusions on its product packaging , it also has a good quality stock cable but it doesn't have a modular termination plug feature unlike the ANVIL 114's stock cable.
• The Winter has a more balanced-neutral sound profile with some emphasis on the high frequencies.
• It has balanced bass response with rumbly sub bass presence and punchy mid bass, a well-balanced, linear, clean and a bit energetic midrange that highlights vocals clarity and instruments’ detail and definition and a shimmering and airy treble response.
• The Winter also has a capable technical performance as it can also project a spacious sound/speaker stage dimension in a concave-like stereo imaging presentation with some well-stacked of layers of tones and frequencies from certain instruments and vocals sections, and it also has a remarkable resolution capability but its focuses more on micro-dynamics.

BQEYZ WIND

• Another hybrid driver set-up model from BQEYZ with bone conduction driver on its internals but this time it uses a different type of this particular driver.
• Unlike its predecessor, The Winter, this one uses a copper-type bone conduction which will be a hybrid of air and bone conduction process in terms of operation, and it was encased in semi-open back aluminium alloy shell chassis.
• Like all BQEYZ sets, this one is pretty packed with quality and quantifying amount of accessories, and while the included stock cable is of a premium quality, it doesn't have a modular termination plug option.
• This set has a warmish-neutral sound profile that presents a well-balanced, neutral tuning with just a bit of warmth on its general tonal profile.
• It has a mid bass-focused bass response but it still has some sub-bass rumble on it, a well-textured, neutrally-tuned midrange that delivers a more accentuated vocals and instrument presentation, and then, a smooth and balanced treble with modest amount of air.
• On its technical performance, this set can project a roomy sound/speaker stage as it has a wide lateral span, good height and depth in an well-layered atmospheric-like stereo imaging presentation along with strong contrast on macro-dynamics.

KIWI EARS QUINTET

• KIWI EARS’ first hybrid driver IEM in the initial-level midrange segment and it equips more driver technology inside of its composite shell chassis.
• Aside from a piezoelectric bone conduction driver inside of its international, it also has a micro-planar transducers, balanced armature drivers and dynamic drivers.
• Unlike the ANVIL 114, the quantity of this unit's inclusions is rather sparse for its asking price.
• This one has a mild U-shaped sound signature with a more balanced yet almost neutral tonality.
• The bass response of this one is more of a sub bass-centric as it has sounds a bit tighter and precise, a bit recessed yet clean and energetic midrange presentation, and a tad brighter and airy treble response.
• On technical capabilities, while it has wide lateral span and height reach on its perceived soundstage, its depth is rather unremarkable as it presents a rather linear and shallow presentation.

The PULA ANVIL 114 is definitely one of the most enjoyable sets that I've tested this year. It performs with its bone conduction driver that I've only experienced on some TOTL flagships like from Unique Melody and the indication that it has contact-type bone conduction driver that wherever you tap lightly the shells, it will produce that springy effect. As an audio enthusiast happens to own some IEMs with bone conduction drivers, this device will truly deliver that bone conduction experience as if that you are centre stage in a perceived sound field in which bass-clefs instruments will produced those distinctive reverb tails with bit rumbling depth across the sonic spatial cues to even convey that notional roomy, atmospheric effect (as long as you will find a proper fitment on it).

With its tuning which sounds somehow balanced that all types of music lovers whether they are casual or experienced audio enthusiasts will enjoy its fun and engaging sound profile along with its well-packed with quality inclusions in a reasonable price, the PULA ANVIL 114 might one of the top contender of the IEM of this year.

The PULA ANVIL 114 is exclusively available in HIFIGO, Check out the unaffiliated link below:

★★PULA AUDIO ANVIL 114★★

SPECIFICATION:

MODEL: PULA ANVIL 114

IMPEDANCE: 16.5Ω

SENSITIVITY: 105dB

FREQUENCY RESPONSE: 5Hz – 40kHz

CABLE LENGTH: 1.2m

PIN TYPE: 0.78 2-PIN CONNECTOR

PLUG TYPE: MODULAR (3.5mm, 2.5mm, 4.4mm)

DRIVER UNIT(S):  (1) DYNAMIC DRIVER + (1) BONE CONDUCTION DRIVER + (4) BALANCED ARMATURE DRIVERS

PROS:

● Solidly built resin shell structure.

● Despite the large size of its earpiece transducers, it still offers an excellent comfortable fitting and a good passive noise isolation.

● Aesthetically-pleasing irregular wood grain patterns on each faceplate.

● Premium quality stock cable with modular termination plug feature.

● Fully-packed with quality accessories like many types of ear tips and a large PU-leather carry case.

● Its contact-type bone conduction driver will work some wonders on the overall sound quality and also, listening experience.

●  A likeable all-rounder type of its tonal profile.

● Rumbly, tactile and punchy bass response.

● Clean, transparent yet with ample warmth on its midrange presentation.

● Agreeable tonal colour reproduction on vocals and instruments as they sound almost organic and pleasant

● Smooth and lustre treble response with good amount of air.

● Impressive sound/speaker stage projection with excellent layering and an atmospheric-like stereo imaging presentation.

● Pretty well resolving on resolution capabilities.

CONS:

● Some users might feel unpleasant with those contact-type bone conduction drivers as it produces some springy effect and unwanted resonance whenever they touch the faceplate panel of its shells. (Not really my concern at all)

● Too coloured sounding for adherent neutral heads.

● A large size shell chassis might be an issue to some small-eared individuals.

● Some instances of a bit too energetic and hollow sound on the upper-mids up to presence section of the treble region.

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 PULA AUDIO nor receive any 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 Ms. Hermine Qiu and Mr. Kerwen Wu of HIFIGO for providing this review unit. I truly appreciate their generosity and trust towards me and other reviewers.