SOFTEARS VOLUME S: Virtually A Tonal Consummate One

The brand SOFTEARS became one of my favourite audio companies out there since I've tested some of their products a few years ago. And four of those models leave me with a long lasting impression of how incredible their tuning capabilities that were laid out on their midrange and top of the line model line-up. I actually posted a review on their previous initial-level midrange model last 2023, the all balanced armature driver configuration set, the SOFTEARS STUDIO 4 in which I put a high mark on it due its tonal performance on how it almost exactly aligned with my ideal neutral tuning curve.

SOFTEARS also known as Softears Acoustics is an audio company was established around 2017 in Shenzhen, which is the currently one of the major technological hubs in the world due to a strong presence of technology companies on both hardware manufacturing and software development and also known for its strong entrepreneurial and innovative spirit in the area. They also have their own R&D lab and factory in Chengdu and they have some strong connections with other audio companies like MOONDROP, TRUTHEAR and TANCHJIM that they might be some sort of a sister company although the latter company thatdenied and refuted this claimed that they have a link to them as they stated that they are an independent company, so I might get a wrong information about this narrative. It is stated on their company’s goal that they will bring us, the audio connoisseurs, a product that ensures durability while it provide a soft and comfortable to wear and a well-refined balanced tuning for better listening experience.

The product that will be the main feature here is their latest initial-level midrange model, the SOFTEARSVOLUME S, and it has a hybrid driver configuration. This model is s a successor of the previous model, the SOFTEARS VOLUME which is also a hybrid driver configuration IEM but this one has more drivers with some newly developed technologies and some features that makes this set more of a standout and a refined one compared to its preceding model.

The VOLUME S’ internal layout consists of two dynamic drivers (actually, the other one is an inactive driver that functions as a passive radiator as I read some information from its official marketing ad of this particular model) and two balanced armatures sourced from a reputable audio solution company. The dynamic driver of this one is a 10mm dual-chambered structure with a diaphragm consisting of titanium coating on its dome with a thin layer of silicon on its frame to have better tensile strength, flexible and better performance of electro-mechanical operation that greatly reduces distortions, while the passive driver which was placed inverted on the active driver driver has a wool-like material on its diaphragm, and with combination of these drivers, they will deliver a tactile, deep and voluminous bass quality. The balanced armatures that were implemented here were a customised ED series (most likely derived from ED-29689) model midrange BA driver which were use on Etymotic ER4B and Westone UM-1, and the other one is WBFK-series tweeter BA model (probably a tweaked WBFK-30095 one), and with the combination of these BA drivers, they will deliver a clear, detailed and crisp in the midrange and treble sections. And then, both of these BA driver series are from KNOWLES product catalogue so most likely, these ones were produced by the said company in collaboration with SOFTEARS. Each of the drivers were connected to an acoustic tube as it ensures low latency channeling for smooth, consistent and reliability on its frequency phasing distribution. There are some interesting audio technology that were implemented here like rear-chambered pressure release structure for better bass definition while having less ear fatigue as it releases some excess air pressure that were generated from its high performance driver in a sealed confinement of a shell structure and a RC tuning technology with a 3-way crossover that improves the performance of its electronic crossover circuitry with the components like mini resistor and capacitors with some complex layout series of acoustic microcircuitry that compensating and filtering some signal that runs along with it to deliver an accurate, clear and consistent means within its full sonic reproduction. These new audio technologies that were introduced here in VOLUME S are to a certain degree analogous to AFUL’s vaunted High-damping Air-Pressure Balance System and RCL Network Frequency Division Correction Technology.

The drivers along with other components were encased in composite shell chassis consisting of a CNC-milled aluminium alloy cavity base that underwent via anodising and sandblasting process that achieves its velvety and a matte-like finish on its surface and a faceplate panel which are also aluminium alloy with a forge carbon fibre on it to give that distinctive marble-like patterns to give that varying gleaming effect on different angles. It is also noted that it has a small inlet where the tuning knob was situated on how it was emplaced is a bit asymmetrical and misappropriated in my opinion.

On its wearability, despite its rather bulky size for an IEM, this one is able to give a comfortable fitting into my lugholes without any issues or some discomforts at all, neither ear fatigue nor occlusion effects. With the included stock ear tips, the premium UC Silicon Eartips, it does its job well-done that it offers an excellent passive noise isolation as it is effective to block some unwanted external noise from the outside surroundings.

The stock cable of this one looks quite premium and while its thickness is more on a balanced side, it was constructed with a four-core structure with a multi-strands of pure copper that were braided-sheathed with nylon fibre as its insulating material  in which offers durable, flexibility and strong resistance with a silk-like feeling whenever we touch it. Another notable feature that this cable has was its modularity on its termination plug which makes it even more versatile to be used on some audio devices especially with balanced output and aside from 3.5mm single-ended termination plug, SOFT EARS also included a 4.4mm balanced termination plug. And there are some slight issues that I want to address that this cable produces some mild microphonic effects whenever I’m in a physical activity while wearing it as whenever it contacts my clothes.

When it comes to product packaging, like a usual midrange set, it is well-presented with a matte-like velvety surface of its packaging box. The product packaging box has some stylised illustration of a product model on its front and some frequency range graph, basic specification and company addresses on its back part. Inside of its packaging box, it is well-packed with quantifying amounts of accessories.

Here are the following contents that we can find inside of its packaging box:

• Pair of SOFTEARS IEM transducers
• Modular stock cable
• 3.5mm termination jack adapter
• 4.4mm termination jack adapter
• Earpiece mesh bag
• PU-leather storage case
• Three (3) pairs of SOFTEARS UC eartips of different standard sizes.
• Three (3) pairs of B-type eartips of different standard sizes.
• Cleaning cloth
• Metal card with series production number.
• Paperwork like user’s manual and a QR code card

As for amplification and drivability, since this one has two impedance modes within its electronic crossover system which offers different sensitivity and resistance output rating, low impedance mode has an 9.8Ω while high impedance mode was rated at 31.2Ω, and these modes will have different scalability in terms of power output as low impedance mode will be easier to drive from the devices with a normal gain mode output without any distortion while on high impedance mode, it requires either medium or high gain mode to amplify it to achieve that optimal amplitude level. On both impedance modes as long as it was properly intensified with its respective power output requirement, this one will deliver a dynamic, vivid and full range sound.

When it comes to tonal signatures, it also corresponds with impedance modes that offer two distinctive sound signatures.

LOW IMPEDANCE MODE - a balanced-neutral sound profile with a slightly accentuated low frequency.

HIGH IMPEDANCE MODE - it will sound more aligned with a neutralish-bright sound profile with a more prominent on the upper-mids section and high frequency.

LOWS/BASS:

LOW IMPEDANCE MODE

In this setting, the bass quality of this one is well-balanced as both sub bass and mid bass were equally presented in the bass region. On its overall sound quality of its low frequency, it will deliver a punchy, quite impactful and tactual bass response while maintaining a sense of segregation between the lows and the other frequency parts especially on the midrange.

There is still some sub bass presence to be grasped as I can still feel that rumbling sound that was generated from certain instruments like from low-tuned bass guitars and double-basses, octobasses, synthesisers and drum machines. The mid bass section seemingly has an adequate rich and dense texture on it that adds some ample weight on the notations on bass-clef instruments and deep male vocals.

Instruments:

Bass guitars -  they have a sufficient weight and resonant sound on their bass grooves.

Double-basses - compared to the bass guitars, it sounds more broader and has a bit of a sombre sound.

Bass trumpets - it possesses a good dark timbre and full sound.

Bass kick drum - on every stroke on its drumhead, it has a full and sonorous sound.

Vocals: 

Basses -  it has a deep reverberating voice with a darker timbre.

Bass-baritones - they sound resonant with a bit wooly on its vocals.

HIGH IMPEDANCE MODE:

This setting will make the bass response more tighter but it has incisive and more rumbly and reverberating sound due to more focus on the sub bass presence while attenuates the texture quality of its mid bass. And also, the bass quality of this will sound cleaner and even more well-segregated.

The trimming of the midbass will somehow affect that note weight on some bass-clef instruments and low pitched deep male vocals

Instruments:

Bass guitars -  these ones sound more rasping and violent sounding with less weight on it.

Double-basses - they have a sustaining but a bit hollowed and wafting sound.

Bass trumpets - it lessened a bit of that warmth and full sound that this instruments has

Bass kick drums - these instruments have a rumbling and thudding sound.

Vocals:

Basses - they still sound resonant with some reverberation but apparently it lessened its dark timbre.

Bass-baritones - it still retains that resonance on their vocals but in a less dense and dusky sound.

MIDRANGE:

LOW IMPEDANCE MODE

The midrange presentation is quite neutral but it still retains a right balance on its note texture to have a sufficient amount of warmth, richness and clarity. The vocal clarity of this particular setting sounds quite natural and articulate along with a lushness and smoothness on male vocals, and then, a rich and mellow sound on some types of female vocals. Meanwhile, the instruments on this one relatively sound organic yet melodic.

Vocals: 

Baritones - warm, smooth and plush voices, some baritone subtypes like kavalierbariton, dramatic, verdi and baritones, they sound steely, full, richer and forceful respectively.

Tenors - the voices have its brassy, bold and clear sound, lyric tenors have that graceful yet piquant sound, spinto have that warm and resonance of their vocals and heldentenors have heady and richness on them.

Countertenors -they have these emotive, tender and velvety sounds from their typical registered falsettos.

Contraltos - they have a strong, hefty and smoky sound from their chesty vocals.

Mezzo-sopranos - musky, resonant and smooth vocalisation from their voices.

Sopranos - creamy and satiny with some richness on the vocals which will give a better definition on spinto and dramatic as they have a powerful, rich and delicate sound.

Instruments:

Guitars - balanced and with good presence on every plucking and strumming on its note strings.

Cellos - mellow, gentle and full sound from gripping on its bowstring and plucking on its strings.

Violins - lustrous, calm and sensuous sound on every latch on its bowstrings.

Trumpets - dark, full and warm sounding.

Trombones - round and full sound.

Horns - warm, sonorous and velvety sound.

Concert Flutes - mellow and rich sound.

Piccolos - delicate and graceful sound.

Clarinets - rich and warm sound.

Saxophones - velvety and gentle sound.

Snare Drums - it has full, hard and sharp sounds on every stroke on its drumhead.

Tom-toms - warm, resonant and round sound.

Field Drums - sonorous, sombre and full sounding.

Kettledrums - booming, deep and velvety sound.

Pianos - it has an even and a well-balanced sound as its rich, warm and sweet sound.

HIGH IMPEDANCE MODE

Compared to the LOW IMPEDANCE MODE, this one has a transparent, vibrant and energetic sound on its midrange presentation which sounds more open, lively and airy. This tuning will be more appealing to most females vocals, woodwinds and string instruments as they sound more crisp, sharper and delineating but there are some instances that too much boost might sound too sharp and a bit piercing. And so, we will notice a brighter tone on some countertenors, mezzo-sopranos and sopranos on vocal types and also on some classes of instruments like strings, woodwinds and some percussion instruments at expense of leaner male vocals presentation.

Vocals: 

Baritones - smooth, soft and lighter while lessens some of its richness and warmth on its overall sound that makes it more ideal on light baritones and lyric baritones as they sound light, mild and mellow.

Tenors - dazzling, resonating and spicy sound which pairs well with leggero tenors which have more light and gleaming voice, and lyric tenors which sound more graceful and intense.

Countertenors - light and delicate with an added fiery sound from their falsetto vocals.

Contraltos - smoky but it has less bold, plushy and strength from its chesty voice.

Mezzo-sopranos - bold, lively and coppery sound.

Sopranos - they sound more silvery, ethereal and shining to the point that it produces slight metallic tone on them, coloratura and lyric types of sopranos will have more sharper articulation on executing a florid vocal passage with agile, bright and insouciant vocal sound.

Instruments:

Guitars - crisp and lingering with

Cellos - sweet, lively and incisive

Violins - vibrant, brilliant and sweet

Trumpets - less full on its tone but it sounds more brighter and glassy.

Trombones - intense, penetrating and vibrant sounding.

Horns - metallic and clear sounding.

Concert Flutes - clear, airy and light sounding.

Piccolos - bright, intense and a tad penetrating sound

Clarinets -dramatic and lively sound

Saxophones -reedy and forceful sound

Snare Drums - bright, clear but a bit dry sounding on every stroke.

Tom-toms -resonant and incisive sound but it has a less warmth on it.

Field Drums - menacing and stately sounding.

Kettledrums - substantial, resonant and a dry sound.

Pianos - it has a brighter sound as it has a clear, brilliant and a bit metallic tone on every press of its note keys.

HIGHS/TREBLE:

LOW IMPEDANCE MODE

This mode is more balanced on how it presents its treble quality as it sounds smooth, even and with enough airiness on its overall treble response. There is a mild lift on the parts of the upper-mids up to the presence section just to give some emphasis on clarity and definition for attack on instruments and vocal quality, and any chances of stridency, shrill and piercing sound will impossible to occur on this type of tuning while it doesn't sound too dark nor veiled.

Surprisingly, despite its balanced treble tuning, it has ample air on its brilliance treble region with a bit over the average intensity of its sparkle with a fair amount of harmonics on it. The overall quality of its treble will always affect the timbre of some treble-clef instruments.

Instruments:

Cymbals - lustrous and undulating sound on every stroke.

Hi-hats - a bit dull and soughing on its chick-y sound.

Glockenspiel - lustrous and brilliant sound on either mallet-type or keyboard mode.

Celestas - velvety, mellow and lustrous sound.

HIGH IMPEDANCE MODE

The treble quality of this is definitely on the brighter side of treble tuning as it sounds more scintillating, crisp and it has even more airy extension but there are some caveats that I will point out later. The upper-mids up to brilliance section on the treble region are noticeably accentuated and has a more boosted presence if it will be compared to the LOW IMPEDANCE MODE as it highlights to have a more crisper and sharper definition and better clarity on attack on instruments and  more coherent vocals but at the expense of piercing, shrill and a tad higher-pitched that might be too fatiguing to some treble-sensitive folk.

It has a more airy and more intensity of its sparkle in the brilliance section as it more extends well across its frequency range and with a substantial amount of harmonics on it.

Instruments:

Cymbals - bright and brilliant sound on every hit on its head plate.

Hi-hats - it has that sloppy sizzling and resonant sound.

Glockenspiel - sound thin and shimmering on either mallet-type or keyboard mode.

Celestas - glassy, silvery and glistening sound.

SOUNDSTAGE, IMAGING & OTHER TECHNICALITIES:

In both modes, it projects a spacious head stage on its overall dimension of its perceived sound field, but there are some slight difference especially on illusory height and depth perception as the LOW IMPEDANCE MODE has a depth of its sound/speaker stage while the HIGH impedance has notable better reach on its height selling.

Meanwhile on its stereo imaging, it presents a holographic spatial presentation as I was able to clearly pan out certain cues, its well-layered sections of tones and dynamic ranges of vocals and instruments with excellent depth and texture on its soundscape with good contrast in terms of separation. The resolution capability of this one remarkable as it is quite resolving both macro-dynamics and micro-dynamics as the macro-dynamics has a more concrete presentation on highlighting some varying degree of volume and loudness levels on differentiating between choral lines and instrumental passages while the macro-dynamics have a good sharp definition on retrieving some micro-details, nuances and grains from an audio track as it delineating a good amount of reverb tails on instruments and notational attacks and textures of instruments.

Cohesion of its hybrid driver configuration of this one is quite an excellent performer as it was able to deliver a homogeneous and harmonious presentation responsive transients on highlighting bass speed with a detailed, clarity and accurate sonic performance from pretty responsive vibrating armature tongue without any distortion or phasing issues.

PEER COMPARISONS:

KIWI EARS QUINTET

• KIWI EARS’ old initial-level midrange model and it also has a hybrid-driver configuration.
• But in terms of driver configuration, QUINTET offers four types of driver technology namely dynamic driver in dual set-up, dual balanced armature drivers, a micro-planar transducer and a piezo-electric driver encapsulated in a composite shell chassis.
• It doesn't have a tuning dial or any tonal switches solution as it only offers a single tonal profile.
• Compared to the VOLUME S, its product packaging is rather simplistic with just rudimentary inclusions inside.
• It has a mild u-shaped sound profile as it has more balanced bass response as it has punchy and rumbly sound while the midrange have a transparent, energetic and clean presentation and a bit bright and airy treble presentation but if it will be compared to VOLUME S, it has less warmer tonality even to its HIGH IMPEDANCE MODE.
• As for its technicalities, it has similar sound/speaker stage size but it has less immersive depth, a concave-like stereo presentation and less solidity on its macro-dynamics.

LETSHUOER CADENZA 4

• A cheaper and more affordable model that takes the namesake of its Top-Of-The-Line flagship model elder sister, The CADENZA 12.
• It also has a hybrid driver configuration consisting of a single dynamic driver and a trio of balanced armature drivers from SONION and KNOWLES encased in a composite shell chassis.
• It doesn't have a tuning dial but it also has good quality stock cable with modular termination plug feature, and unlike VOLUME S’ stock cable, it doesn't have any microphonic issues at all.
• Its product packaging is also pretty well-packed with quality accessories.
• It also has a balanced-neutral sound profile with a well-balanced bass response with ample punch and rumbling sound, a neutral, clean with ample warmth midrange and lustre with just modest amount of air.
• In terms of its overall technical performance, it has an above-average sound/speaker stage size but it projects a 3D-like atmospheric stereo presentation and a very resolving resolution capabilities.

THIEAUDIO HYPE 2

• An initial-level midranger from THE AUDIO and it also has a hybrid driver configuration.
• On its driver configuration, it has dual dynamic driver in an “isobaric” set-up and two SONION balanced armature drivers that were encapsulated in a resin shell structure.
• It doesn't have tuning switches but it also has a premium grade stock cable that, while it has an absence of modular features on its termination plug , doesn’t have microphonic effects.
• This one is also fairly stocked with accessories just like a midrange set should be.
• The sound signature of this one has a U-shaped profile with more sub bass presence on its general bass response, a slightly recessed but well-balanced midrange and  smooth and neutral treble response with moderate airy extension.
• Regarding its technical performance, it has quite similar performance with VOLUME S as it also has moderately spacious sound/speaker stage, a holographic stereo imaging  presentation with good resolution capabilities.

Once again, SOFTEARS really delivers such an exquisite product that can be called as a true all-rounder set as to how it performs in both  facets of tuning excellence and as a technical performer. This set offers two distinctive neutral sound profiles with exceptional tonal balanced presentation across its frequency range, a well-rounded technical performance along with its fully-packed accessories that makes this set has a strong compelling presence in the midrange segment in the current audio market. For sure that this set still has some flaws but those concerns will be prevailed by its almost absolute overall product quality and will forthrightly recommend this IEM earphone model to other audio enthusiast who wants to elevate their portable audio pursuit who are looking for a more neutrally-tuned, excellent build quality and well-packed with inclusions

SOFTEARS VOLUME S is now available at HIFIGO, for those who are interested to purchase this set, I just provided a non-affiliated link below.

LINK:

https://hifigo.com/products/softears-volumes

And to know more about SOFTEARS, here is my another review of their previous model.

◼ SOFTEARS STUDIO 4

SPECIFICATION:

MODEL: SOFTEARS VOLUME S

IMPEDANCE: 9.2Ω/31.2Ω

SENSITIVITY: 124dB/114dB

FREQUENCY RESPONSE:  8Hz – 40KHz

CABLE LENGTH: 1.2M

PIN TYPE: 2-PIN CONNECTOR (0.78MM)

PLUG TYPE: (MODULAR) 3.5mm, 4.4mm

DRIVER UNIT(S): (1) DYNAMIC DRIVER, (1) PASSIVE DRIVER, (2) BALANCED ARMATURE DRIVER(S)

PROS:

● Sturdy yet lightweight aluminium alloy shell chassis

● Smooth finish texture on the shells’ surface and that carbon fibre faceplate that emanates that kind of supercar vibe. (I’m a fan of exotic supercars)

● It offers an excellent fitting and comfort and it seals well too for better passive noise isolation.

● As a midrange set should have, it is pretty well-accessorised with good quality accessories

● An inclusion of  SOFTEARS’ UC ear tips, probably one of the best silicone ear tips in the market.

● High quality nylon woven stock cable with a modular termination plug feature.

● An implementation of tuning dial knob as this set offers two tonal profiles.

● Two tuning profiles that will cater towards midcentric listeners and neutral heads but it has that kind of engaging factor that even some audio enthusiasts who prefer coloured sound profiles might find them appealing.

● Balanced bass presentation as it has punchy, sufficiently impactful and tactile bass response. (LOW IMPEDANCE MODE)

● Tight yet rumbly and clean bass response. (HIGH IMPEDANCE MODE)

● A neutral, well-balance with ample warmth and sufficiently rich midrange. (LOW IMPEDANCE MODE)

●  Smooth, plush and warm sound on some vocal types like baritones, some tenors, countertenors and contraltos as it was its natural timbre state. (LOW IMPEDANCE MODE)

● Clear, bright and energetic on female vocals like mezzo-sopranos and sopranos. (HIGH IMPEDANCE MODE)

● Almost accurate tonal color of all instruments. (It still depends on impedance mode as certain instruments will fare well on specific tonal target curve)

● Smooth and neutral yet moderately airy treble response. (LOW IMPEDANCE MODE)

● Crisp, shimmering and ethereal treble response (HIGH IMPEDANCE MODE)

● It has a remarkable technical performance. 

CONS:

● Highly unlikely will recommend this one to the fervent bass heads who want a more boomy, deep and fuller bass response.

● A quite confusing tuning knob system, at least there should be some indicators.

● Mild microphonics on its stock cable.

● Instances of a tad shrill, piercing and a metallic tone on the HIGH IMPEDANCE MODE.

● On HIGH IMPEDANCE MODE. It now requires a bit more power output that pairing it with a  usual normal gain mode might find it a bit underpowered as it sounds less dynamic and vivid.

● The inlet placement on its faceplate seems a bit asymmetrical in my opinion.

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 *

P.S.

I am not affiliated to SOFTEARS 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 send my gratitude to Mr. Kerwin Wu and Hermine Qiu of HIFIGO  for providing this review unit. I truly appreciate their generosity and trust towards me and other reviewers.