EARACOUSTIC AUDIO SPA HI END MAX: Classy, Sophisticated With An Unapologetic Familiar Tuning

"Angels are types of celestial and spiritual beings that take the shape of a humanoid with avian wings and their main roles are messengers, mediators or to some extent, an executor of God's will to enact divine judgment upon mortals. These supernatural entities are usually found on Abrahamic faiths and also in Zoroastrianism."

EarAcoustic Audio is one of the recently established audio companies aiming to be as one of the successful audio companies out there. Their main goal is to pursue audio perfection with their decade of experience on audio engineering, utilising high quality materials for their parts and components on portable audio technologies and a masterful tuning that defines their take on high fidelity sound. And also, this audio company happens to be continuation of the legacy of one of the famous Chinese audio brands from the 2010s, The Fragrant Zither also known as TFZ, but it aims to be more on the higher tier as they want to bring a luxurious feel to audio enthusiasm.

This is EarAcoustic SPA High End Max and this model is currently the second most pricey set on their SPA Silver Angel series line-up after SPA Limited Edition. All SPA series  models share a similar driver composition which is a single dynamic driver configuration, and while the cheaper models have composite shells, this one has a solid metal alloy casing which is more durable and stable.

The dynamic driver that was implemented here is a 11mm dual-chambered neodymium magnet in a double configuration with a composite diaphragm with a silicon crystal suspension topped with titanium dome as they yield a strong magnetic flux for a more responsive, better vibration and low distortion performance for a deeper and impactful bass, a rich and clean midrange, and then a crisp and detailed treble response.

The driver was then housed in a solid metal apply made of aircraft-grade aluminium alloy that underwent an electroplating process to achieve its shiny mirror-finished on its surface, and also with this application, it further enhances its corrosive and wear resistance, add more thickness on its surface and somehow improving its aesthetic appearance to give that silvery chrome look. The CNC-milled shells are somehow a bit large and its overall shape profile follows a more standard UIEM-style design with a stabilising fin for a more ergonomic fitting that will be suitable to almost all ear sizes. There are two vent holes with varying sizes as it allows to escape an excess amount of air that was generated from its highly capable transducer from its acoustic chamber to lessen listening fatigue for a long listening session. The faceplate have a high-grade aluminium alloy with some gem-like pattern with a swerving serpent coated with a crystalline resin that makes it look more luxurious, and as for its interlocking mechanism for its separable cable, it uses a 0.78mm bi-pin connector due to its reliable on stable and easy to snap on/off processes

The cable that was included along with this unit is quite a premium look and durable too as it has fairly thick construction and quite pliable and resilient from entanglement. It has 2-core  Litz structure made of silver-plated copper and oxygen-free pure copper that each strand is sheathed with PVC insulator and it is braided for stable audio signal transmission and enhances its anti-interference properties for a pure and detailed lossless sound quality. On its termination part, it has a 3.5mm single-ended plug that was gold-plated for better conductivity and enhances corrosion-resistance .

The UIEM-style shells will offer a comfortable fitting as it sets well into my lugholes without any discomfort and it also secures firmly into it. For having a proper sealing inside, it provides an excellent passive noise isolation that is able to block unwanted noises outside.

The EarAcoustic SPA Hi End Max has a bulky packaging box which is quite minimalist  but it has neatly-packed inclusions that were contained inside. Simple but somehow conveniently compact in terms of product presentation.

These are the following contents that were included of its packaging box:

• Pair of EarAcoustic SPA Hi End Max IEM transducer pieces.
• Stock cable
• Cable organiser strap
• PU-leather canvas storage case
• Three (3) pairs of narrow-bore silicone eartips in different standard sizes.
• Three (3) pairs of wide-bore silicone eartips in different standard sizes.
• Paperwork like instruction manual, warrant card and others
• Bracelet Strap

As for its driveability, with an impedance of 32 ohms and a sensitivity of 109dB, this set is pretty easy to drive from sources even with a standard gain mode of amplification without any some sort of distortion or clipping on a higher volume level that make this IEM quite scalable. With a sufficient power output to push upon this device, it will deliver a lively and full-range sound.

The Hi End Max appears to have a coloured tonality that follows a V-shape sound profile curve just like its distant preceding models from TFZ in which I’m pretty familiar with its in-house intonation signature but it has some refinement on its overall tuning that somehow delivers a different tonal flavour.

I’ll use the tracks from Lynyrd Skynyrd and The Cranberries, “Free Bird” and “You And Me” for testing purposes as they are types of ballads that were known to have a well-structured instrumental passage and highly melodic and emotional delivery.

LOWS/BASS:

This specific part of frequency range is undoubtedly elevated on how it delivers its bass quality and It certainly has more texture on the mid bass section than the sub bass presence to deliver that slam and punch on bass-clef instruments and fullness on  deep male vocal types. In general, the bass response of this one is quite impactful, substantial, reverberating with enough authority that bass heads will definitely nod their head readily in approval.

The sub bass feedback on this one is quite delineated as I was able to feel those rumbling and reverberations that were generated from instruments with the likes synthesisers, drum machines, bass guitars and double-basses. Regarding its mid bass quality that I mentioned a while ago, that sense of richness on its note density will give a weight sound on bass guitars, a broader and dark sound on double-basses, and pounding and a bit dull sound on bass kick drum. As for male vocals, both basses and bass-baritone have full and deep resonating dark timbre vocals on them as they sound dense and dusky.

For selected tracks that I tested here, let's start with the “Freebird” as it has the bassline groove from Leon Wilkeson which is rather straight-forward on delivering a more sombre and sonorous sound as it compliments well with guitars without overpowering them for a rhythmic homogeneity, while on bass kick drums from Bob Burns has a strong and dynamic presence as its sounds eerily and thudding just like some blues rock tracks that I’m quite familiar with.

And as for “You and Me”, a more consistent yet melodic bass line patterns from Mike Hogan have more rasping and sustaining sound as it complements well with vocals and percussion hits, while Fegal delivers a more steady rhythm bass kick drumming along with bass lines as it has a thudding sound yet a bit soft.

 MIDRANGE:

It is assured that the midrange presentation of this frequency part is relatively recessed as if that some of its vocals and instruments are placed at the rear in the sonic background. But it doesn't sound too lean nor too sterile as it has a warmth and richness on its note texture for some vocal types, predominantly male ones, and also on instruments like percussives and brasses. It is also an energetic tuning as it gives more vividness and gleam with a sense of spaciousness on female vocals and also on string, percussion and woodwind instruments.

When it comes to vocal quality, on the male vocals like baritones, tenors and countertenors, there is a plushness and warm sound on baritones, a brassy and dazzling sound on tenors, and then, tender yet emotive sound coming from falsettos of countertenors. As far as for the qualities on female vocals, a husky and strong sound coming from contraltos’ chesty vocals, a velvety yet glowing sound from mezzo-sopranos and last but not the least, a bright, shimmering and crystalline sound from the sopranos as they can reach the highest sustaining note in the upper vocal register.

In regards to instruments, they sound quite natural and accurate but some of them have a slightly unusual tonal colour. On string instruments, guitars have a crisp and bright sound, violins have a vibrant and brilliant sound from every bowing on its note strings, and a sonorous, lively and sweet sound on cellos. The brasses which are known for their powerful and resonating sound that were produced through lip buzzing, trumpets sound full and penetrating, while trombones have an intensity and eruptive sound, and the horns sound mellow with metallic brilliance from them. As for woodwind instruments, concert flutes have clear and silvery sound, piccolos have bright and penetrating sound, clarinets have warm and dramatic sound, and saxophones have a mild and reedy sound on them. Lastly on percussion instruments, a warm and resonating sound coming from tom-toms, a hard and bright sound on snares, a full and sonorous sound on field drums and then, a deep and rumbling sound on kettledrums. The pianos have a more balanced tone as it has warm, full and clear sound on them.

Back to the test tracks that were used here to conduct as a tuning assessment, on the “Freebird” Ronnie’s distinctive nasally baritone vocal tone in a gradual way from a soft and smooth up to more “tenor-like” ringing, a soothingly melancholic and sombre sound on the piano from Billy Powell in tandem with an organ that gives more resonating and rich sound in an atmospheric ambiance. On its rich and well-layered guitar lines, rhythm guitar solos from Gary sound full, resonant while Allen Collins iconic guitar solos have those melodic riffs to deliver that intensity as it sounds crisp and lingering. Bob Burns on his steady and well-place fills on snares and tom-toms have a dynamic with warm and resonance sound on every stroke.

On the other track, the breakdown of musical elements on “You And Me”, Dolores’ undulating mezzo-soprano vocals sound tender, velvety and emotive, while Noel Hogan’s tastefully melodic guitar riffs have those bell-like and shimmering sound with a lingering end as it harmoniously complement with other musical elements. Fergal’s drumming work on this track have a simple yet consistent fills on hitting the drum heads of snares and tom-toms as they sound bright, resonant and incisive, and then there’s a horn as it sounds warm and stately vibe.

HIGHS/TREBLE:

The treble response of this one is definitely on the brighter side. I can hear its shimmering and vibrant quality due the noticeable accentuate upper-mids up to presence section. Those highlighted frequency sections will somehow give more clarity and a bit sharper definition on both vocal articulation and attack on instruments, and while it seems that it manages to control sibilance and harshness but there are some instances of a bit piercing and also a  tad metallic on other tracks , but overall, I consider this quality as better than usual.

On its brilliance section, while in my initial impressions that it has very airy extension but the more I tested it, the more I realised that it has moderately extended that it's enough to give a sufficient amount of air. There’s an intense sparkle as it gives more glistening sound from cymbal strikes, a shortened warm resonant sound on hi-hats, a silvery sound from glockenspiels and a glistening sound on celestas.

Speaking about the testing tracks again, Bob Burns delivers more cymbal crashes as its sounds a bit lustrous as it comes along with his accented fills that play harmoniously along with those guitar solos on the middle to end phase on the Freebird, while on the track “You And Me”, we will hear those a bit  tighter sounds on cymbals and hi-hats as the former have a more undulating sound while the latter percussive have a shortened snappy resonant sound.

SOUNDSTAGE, IMAGING & OTHER TECHNICALITIES:

One of the impressive features of this set was its overall technical features on how these transducers are capable of. The perceived sound/speaker stage of this set is fairly expansive as it has a wide lateral span, good height ceiling and an enveloping depth within my aural  dimensions. On its imaging aspect, it projects a concave-like stereo presentation in which presents a fairly layered soundscape and good separation although not the most precise in terms of pinpointing exact placement of musical elements.

The driver coherency of this one has an impressive performance as it delivers a fast transient response on the bass response and a clarity of  vocals and instrument without distortion. The resolution capability of this one is pretty focus on emphasising the qualities of its macro-dynamics and micro-dynamics, as the macro-dynamics is quite firm on highlighting the intensity of varying sections from quietest up the loudness that were produced by instrumental passage and chorale lines, while its micro-dynamics has a sharp definition on extracting details, grains and nuances like notational attacks, vocal ends and instrumental reverb tails coming from a playback track.

PEER COMPARISONS:

HIDIZS MK12 TURRIS

• HIDIZS’ latest single driver set that was recently released in the market.
• It has a larger dynamic driver with an almost pure magnesium on its diaphragm for better transient response and detail on its overall sound quality.
• It has a bit smaller and less bulky shell with unusual design as it was supposedly inspired by an immortal jellyfish but it doesn't look like one in my opinion.
• While it is also well-accessorised, its stock cable is less compelling compared to the SPA Hi End Max more premium cable.
• It has detachable tuning filters as it offers three sound profiles; mild U-shaped, warm V-shaped and bright U-shaped.
• On its warm V-shaped tuning, it also has punchy bass but it sounds more cleaner and well-controlled, a less recessed but less warmer and also a bit lethargic midrange presentation and more smoother treble response with a bit of air.
• On its technicalities, it also has a roomy head stage, a concave-like stereo presentation with a well-layered soundscape in which I can pinpoint the exact placements of vocals and instruments and  also possesses well-resolving resolution capabilities.

BQEYZ AUTUMN

• BQEYZ’s old flagship model with single driver configuration.
• It uses a larger 13 mm dynamic driver in dual chambered structure.
• It has a bit smaller profile shell size made of aluminium alloy with a bit short nozzle but it has a lighter weight.
• It is also well-packed with quality accessories but it has more ear tips choices as it includes a pair of  memory foam ear tips.
• It has a unique feature as it has a detachable magnetic vent hole that influences its sound profile from balanced-neutral sound up to the bright U-shaped sound signature.
• On the warm U-shaped profile mode, compared to the SPA Hi End Max, it also has punchy bass but a bit more cleaner and it has reverberating sub bass presence, less recessed midrange with similar warmth and fullness on it texture but less energetic and a smoother and airier treble response.
• It has a tad more spacious soundstage size, well-layered and well separated musical elements on its atmospheric, 3D-like stereo presentation and also has a delineating resolution capabilities.

TANCHJIM OXYGEN (DEMO)

• TANCHJIM’s finest single driver set as its tonal performance itself set a standard.
• It has a dynamic driver with a graphene diaphragm.
• The shells have a bit slimmer profile but it is also made of metal alloy.
• It is also well-packed with accessories but its stock cable is a bit inferior to SPA Hi End Max.
• Fitting on this one is a bit finicky due to its short nozzle design.
• It has a balanced-neutral sound profile which has less pronounced bass punch compared to the SPA Hi End Max but it has a more reverberant sub bass, a more neutral but less warmth midrange as it tries to balance the smoothness and evenness of its treble response with a good amount of airy extension.
• Technicalities-wise, it has a fairly decent soundstage size, a well-layered soundscape with a good separation that I was able to pinpoint the placements of musical elements within its sonic canvas and a resolving resolution capabilities from the firmness of macro-dynamics up to the detail retrieval of its micro-dynamics.

DUNU FALCON ULTRA

• This is Dunu’s latest offering at over $200 with a single driver set-up.
• It uses their latest proprietary dynamic driver with Eclipse technology as it offers more accurate sound reproduction.
• Like all DUNU sets, this one is fully-packed with accessories and it offers more ear tips choices too and a stock cable with modular termination.
• It has a detachable tuning filter nozzle as it offers two types of tuning profile, a U-shaped with a balanced-warmish tonality and a bright U-shaped which follows a Harman-esque style of tuning.
• On the balanced-warmish tuning, it has a potent bass response, a less recessed midrange that has smooth and rich sound coming from the vocals and instruments and a smooth but less airy treble response.
• This one has an average-size head stage, a better definition of its multi-layer soundscape with a more accurate placement of musical elements with its concave-like stereo imaging and also, it has well-detailed resolution capabilities.

As I conclude this product assessment, this set has only one objective in the audio market and that is to deliver a pretty musical IEM that is unpretentious coloured sounding in terms tonality as it will give more rhythmic satisfaction to all types of listeners either a casual listener that doesn't really care about other sound profiles as long as it give them a satisfactory upbeat sensation or an experience audio hobbyist one that adheres this type of tuning as this one gives a fun and engaging factor. For sure this one is somewhat an anathema to the majority neutral heads when it comes to tonal profile out there as it is way too coloured for their tonal preference.

But overall, this set is excellent in its own right as it has a very solid, well-built shell design with  a classy aesthetic that sports some of the latest generation of dynamic driver on how it performs impressively along with the inclusion of a premium cable although I saw that it has a modular termination plug. I will recommend this product if you are looking for an old school colour sounding  set and at the same time, a kind of an exceptional technical performer.

The EarAcoustic Audio SPA Hi End Max is now available at your favourite online vendor, I’ll just put down some links below.

EarAcoustic Official Online Store:

https://www.earacoustic-audio.com/ProDetail.aspx?ProId=92

LINSOUL:

https://www.linsoul.com/products/earacoustic-audio-spa-pro-high-end-series?variant=46430709711065

SPECIFICATION:

MODEL: EARACOUSTIC AUDIO SPA HI END MAX

IMPEDANCE: 30Ω

SENSITIVITY: 109dB

FREQUENCY RESPONSE: 20Hz – 20KHz

CABLE LENGTH: 1.2m

PIN TYPE: 0.78mm 2-PIN CONNECTOR

PLUG TYPE: 3.5mm

DRIVER UNIT(S):  1 DYNAMIC DRIVERS

PROS:

● Overall solid build quality on its shell chassis.

● Elegant and fancy-looking design aesthetics

● Despite of its large profile, it offers a comfortable fitting and a good passive noise isolation   

● Its new generation dynamic driver delivers a snappy performance for better sound quality with no distortion issues at all.

● Fully-packed with accessories inside of its packaging box.

● Inclusion of a premium cable

● Fun and coloured tonality

● Punchy and potent bass quality.

● Rich, deep and almost accurate tonal colour on bass-clef instruments and deep male vocals.

● Full, lush and warm with an energetic midrange section.

● Smooth and plush sounds on male vocals and a more expressive and lively sounding female vocals.

● Bright, shimmering and vivid treble response that will be tonally pleasing to treble heads.

● It has a fairly spacious soundstage.

● Commendable resolution capabilities of a dynamic driver.

CONS:

● The size of its shell chassis might be a bit too large for some small-eared individuals, and also mirror-finish surface prones to scratches, nicks and fingerprint smudges.

● Very coloured sounding that ardent neutral heads might frown upon.

● A bit of a mid bass bleed that somehow slightly permeates to the midrange frequency section

● Wishing for modular termination feature on its stock cable.

● Recessed midrange and its airy extension on its brilliance section is rather modest.

● In some complex multi-instrumental tracks, it tends to present a bit of congested playback as it hinders on determining the precise placement of instruments and vocals on its sonic confines.

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 EARACOUSTICS AUDIO 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  ZOEWU EARACOUSTICS for providing this review unit. I truly appreciate their generosity and trust towards me and other reviewers.