Simgot EA500 LM

The SIMGOT revolution is still going strong as ever as it still garners more support and accolades from the audio community around the globe. Like almost all their sets are well-regarded and highly acclaimed since the release of the EA500 that truly changes the paradigm shift on the current state of the audio market.



And then, with the phenomenal success of the EA500, SIMGOT is quite firm on releasing a more refined version of this set and improving some of its features that truly differentiate it from its original version while retaining its main features that truly defines this model. Let's find out if there are some noticeable changes between the previous model and its newer reiteration which will be the featured product on this review article.



This is SIMGOT EA500LM and like its predecessor, it still has a single driver configuration which has a dynamic driver with some new composite materials that were implemented in it. The dynamic driver that was implemented here is an array of dual magnet and dual cavity in a 10mm ring structure with lithium-magnesium diaphragm with an application of their own DMDC technology (The initial “LM” means lithium-magnesium in which the set revolves around regarding its tech). Lithium-magnesium are known to be light yet strong material with one of the lowest densities in its class, and this material will be more favourable in terms of firmness and rigidity as it will be more ductile and responsive while properly controlling the vibrations to lessen any instances of distortion to deliver a deep and punchy low frequency and at the same time, a better clarity and crisper midrange and high frequencies.



Like the original EA500, this revamp one still retains its solid CNC-milled aluminium alloy structure as its shell chassis that encases its high performance dynamic driver. The shells were buffed to achieve that mirror-finished surface to give a sense of sophistication and elegance to its metal work while retaining its build quality. The EA500LM is preserving its precedent model's main core feature which is its tuning versatility as it has a detachable tuning nozzle system and SIMGOT added another one which makes this set offers three distinctive types of tuning unlike the previous one that only offers two sets of tuning nozzles. On its interchangeable connectivity with its cable, like the EA500, it still uses a proven and stable 0.78mm bi-pin connector which makes it easier to conduct cable swaps.



As for fitting and comfort, EA500LM offers a snug and pleasant placement into my lugholes while it offers a good sealing as it isolates well from external noises sources from the outside. I can actually wear it for long listening sessions and I really enjoy using it on my listening to some album discography of my favourite artists.



EA500LM stock cable is a two-core with a mixture of gold and black high-purity silver plated OFC wires that were insulated with PVC coating and it offers a better audio signal transmission. The cable seems to be decent and somehow flexible and supple and on its end, it has a gold-plated 3.5mm single end on its termination plug.



As for its product packaging, SIMGOT EA500LM is excellent in this regard on how it was presented and organised its contents inside of its packaging box.



These are the following contents and its accessories inside:

• Pair of SIMGOT EA500LM IEM transducers.
• Stock cable
• Three (3) pairs of balanced bore silicone eartips in different standard sizes.
• Storage case
• Pair of red ring silver tuning nozzles
• Pair of black ring silver tuning nozzles
• Paperwork like user's manual and Q.C. stub.

SIMGOT sets are known for its easy to drive aspect as it scales well to all types of sources with its high sensitivity, low impedance rating on how it responds with power amplification, and EA500LM still retains this facet that I can use on my smartphones and DAPs. This set sounds very dynamic and full sounding as it encompasses across its frequency spectrum to signify its amplitude scale.



Due to its detachable nozzle features , EA500LM offers three types of sound profiles that affect its tonal aspect and each of its detachable nozzles has its own target tuning curve. But, despite it offering three types of tuning, they are still veering towards a Harman-esque type of tuning which is a modified U-shaped sound profile.


(Credits to @baskingshark for providing a graph on this one)

Red Ring Brass Tuning Nozzles - probably the most “balanced” sounding among the three, it has more rounded lows, less recessed midrange and just slightly elevated upper mids up to the presence treble.

Red Ring Silver Tuning Nozzles - this tuning is closer to a typical Harman target, retains most of the bass quantity and quality from Red Ring Brass Tuning Nozzles but due to more emphasised on upper mids up to the brilliance treble region, it gives more energetic and crisper sound that somewhat lessens the bass quantity of the Brass Nozzles mode.

Black Ring Silver Tuning Nozzles - the brightest and the most resolving among the three types of tuning nozzles albeit its perceived dynamics are somewhat a tad leaner as upper mids and presence treble seems more prominent on its overall frequency range.




LOWS/BASS:

Red Ring Brass Tuning Nozzles

It presents a well-balanced bass quality and quantity as it has sub bass presence and a fairly textured mid bass element. This setting gives a punchier, full-bodied with a relative authority on its bass response.

Sub bass reverberation is audibly felt from sub-bass focus instruments like octobasses, drum machines, synthesisers and low-tuned bass guitars. A fairly textured mid bass gives an ample note weight on bass clef instruments like bass guitars, double bass, bass trumpets and bass kick drums. And also, it gives richer and fuller male vocals like bass and bass-baritones.

Instruments:

Bass guitars - it sounds weighty, sombre and resonant.

Double basses - a bit heavier, earthy and sounds more broader than bass guitars.

Bass trumpets - fuller with dark timbre.

Bass kick drums - produces a thudding and gloomy sound.


Vocals(male):

Basses - it has a dark, deep resonant with ample rumble on its voices

Bass-baritones - it also a deep and dark sound on their albeit noticeable less voluminous compare to bass vocals.


Red Ring Silver Tuning Nozzles

While it appears that it still has some bass quality on it although it has a noticeable a tad less mid bass texturing while it gives some pronounced sub bass presence as it delivers a more deep and rumbling sub bass with an incisive yet less punchy bass response.

Sub bass will be perceived more clearer as we felt more reverberation and resonance that were generated from these sub bass-centric instruments. Mid-bass texture seems to lessen a bit of its note density compared to the Brass Tuning Nozzle's tuning that it will somehow affect the tonality and tonal colour of some instruments and even male vocals.

Instruments:

Bass guitars - a tad less hefty, more mellow and rasping.

Double basses - similar to bass guitars sound characteristics but retains its sonorous sound.

Bass trumpets - less fuller and less richer overtones.

Bass kick drums - retains its resonance but sounds more precise and tighter but compared to Brass Tuning Nozzle settings, it sounds tad softer and less menacing.

Vocals(male):

Basses - it has a less darker tone but retains its deep resonant rumbling on its voice tail.

Bass-baritones - Still has a deep but again less voluminous that it will give less warmth, less darker and in lacking of fuller tone.


Black Ring Silver Tuning Nozzles

it has leaner and less denser mid bass as it has more bass shelf across the mid bass towards the lower midrange. It gives that cleaner and a tad tighter bass response at the expense of a textured and more natural sound bass clef instruments.

Like the Red Ring Silver Tuning Nozzle setting, it has more resonating and reverberating sub bass presence but here are the tonal and timbre sound quality from the instruments and vocals.

Instruments:

Bass guitars - a tad less hefty, more mellow and rasping.

Double basses - similar to bass guitars sound characteristics but retains its sonorous sound.

Bass trumpets - less fuller and less richer overtones.

Bass kick drums - retains its resonant but sounds more precise and tighter but compared to the Brass Tuning Nozzle settings, it sounds tad softer and less menacing.

Vocals(male):

Quite similar with Red Ring Silver Nozzles sound character albeit a noticeably a tad leaner.


MIDRANGE:

Red Ring Brass Tuning Nozzles

This setting gives a rather mild U-shaped as it has less notch midrange on its overall frequency range. It has a tad warmer with sufficient texture on its midrange section that affects the tonal quality on both vocals and instruments, retaining a well-balanced with sufficient details.

Vocal Types:

Male Vocals

Baritones - It has smooth, warm and rich vocals on this set, quite versatile on to give more power and authority on low octave ones like Kavalierbariton, Verdi, dramatic and noble baritones. On higher octave ones like light baritones and lyric baritones have milder and sweeter tones.

Tenor - Quite an all-rounder for all tenor types, leggero and lyric tenor have light, graceful and dazzling sound while spinto, dramatic and heldentenors have richer , powerful and emotive sound to give that brassy and ringing tone.

Countertenor - Mild, tender and passionate vocals with a tad of warmth not to sound too transparent.

Female Vocals

Contraltos - Rich, luscious and sufficiently to give that distinctive deep, well-modulated chesty husky vocals. Sounds exactly on how contralto singers should sound like in live performances.

Mezzo-sopranos - Smooth, lush and velvety sounding that gives a captivating and insouciant voice.

Sopranos - Excellent on lower notation sopranos like spinto and dramatic types as they sound rich, emotive and slightly darker tonal colour. Lyric, soubrette and coloratura types sound great as they sound gleaming but less energetic and less open sounding.

Instruments:

Strings

Guitars - Balanced and warm sounding on both acoustic and electric guitars with a good amount of sonic blooms on every pluck of its strings.

Violins - It sounds quite solemn, lustrous and sensuous on every stroking on its bow strings.

Cellos - Full, silky and sweet sounding, this instrument is known for its versatility in terms of tonal variety across its overall register.

Woodwinds

Piccolos - Graceful, sweet and delicate sounding.

Concert Flutes - Sounds relatively mellow, rich and silvery.

Clarinets - They have a lustrous, dramatic and warm sound on them.

Saxophones - similar to clarinets but they sound more round, sonorous and earthy.

Brasses

Trumpets - Full, magnificent and vivid sounding.

Trombones - They have this powerful and metallic sounding.

Horns - It has a warm, full and velvety sound on them.

Tubas - Ponderous, broad and robust sound that gives this instrument's non-transposing nature.

Percussions

Tom-toms - Warm and resonant sound with that hardness in every stroke.

Snare drums - Hard, precise with some tad shuffling sound on them.

Tenor drums - Venerable and full sounding

Kettledrums - It has a mellow, deep and velvety sound.

Pianos - Well-balanced tone as it has a warm and some bell-like and vivid sound.


Red Ring Silver Tuning Nozzles

Noticeably, it presents a tad more recessed and a bit leaner on its midrange presentation. Its sound is clearer, transparent and a bit more energetic compared to brass nozzles at the expense of less warmth. This type of tuning will be more advantageous on female vocals and some instruments, mainly strings and woodwinds.

Vocal Types:

Male Vocals

Baritones - Due to less warmth sound compared to the Brass Tuning Nozzles settings, it gives some less richness and plush on these vocal types but sounds good on both light and lyric baritones.

Tenors - Somehow it gives a brighter and dazzling sound on leggero and lyric tenors.

Countertenors - Still has a tender and emotive sound but it has a bolder and added vividness.

Female Vocals

Contraltos - Definitely less richer and lacking a bit of heft that affects the smokiness, depth and power of distinctive chesty vocals.

Mezzo-sopranos - Fiery with some semblance of smooth and velvety vocal characteristics.

Sopranos - The setting of these tuning nozzles will give more prominent sound on lyric and coloratura types of this particular voice type as it has projects more agile, energetic and spacious sound that these types of sopranos should sound like.

Instruments:

Strings

Guitars - More brighter and crisp sound on its string notations as it is more prevalent on acoustics-type ones.

Violins - Sounds more vibrant, lively and clear on every stroking on its bow strings.

Cellos - With the tonal versatility of these instruments, it sounds clear, vibrant and brilliant.

Woodwinds

Piccolos - Intense, bright and clear sounding.

Concert Flutes - It has an airy, brilliant and rich sound.

Clarinets - They have a bright and expressive sound on them.

Saxophones - it has a bright to the point being incisive, it also has brilliance and reedy sound on them.

Brasses

Trumpets - Vibrant, brilliant and vivid sounding.

Trombones - Intense powerful and metallic sounding as I describe it.

Horns - They have a less warm, sustaining and sonorous sound

Tubas - Hearty and resonant sounding.

Percussions

Tom-toms - it has less warmth and resonant sound with that bright in every stroke.

Snare drums - Bright, precise and a tad sharp sounding.

Tenor drums - Perhaps they sound hard, sharp and menacing.

Kettledrums - Dry and resonant sounding.

Pianos - it seems to diverge more on the brighter tone as they have a crisp and vivid sound.

Black Ring Silver Tuning Nozzles:

It appears that it has similar midrange presentation with the Red Ring Silver Tuning Nozzles albeit this one has even brighter and offers more bite. This tuning might be too sensitive to some listeners as it offers more energetic and instances of possible shrill sound on female vocals and too much boost on strings, brass and woodwinds.

Vocal Types:

Male vocals

Baritones - While its voice appears to sound smooth but it is noticeable even more leaner that we will probably look for texture and depth of its note.

Tenors - Similar to the Red Ring Tuning Nozzle sound quality albeit it is more apparent to sound even more bright and tinny.

Countertenors - tender, expressive yet it sounds even more intense and vivid.

Female vocals

Contraltos - It sounds even less natural as it sounds too lean and inadequate lushness to give that husky and smoky voice.

Mezzo-sopranos - Almost the same sound characteristics with countertenors in this particular tuning nozzle setting.

Sopranos - Shimmering and brilliant sounding to project the openness and energetic nature of both lyric and coloratura-type of sopranos although it might sound a bit too intense that it will sound more shrilly and metallic.

Instruments:

Strings

Guitars - Crisp, bright and a tad dry sounding on every pluck on its notation strings.

Violins - Sounds more vibrant, lively and clear on every stroking on its bow strings.

Cellos - Full, silky and sweet sounding, this instrument is known for its versatility in terms of tonal variety across its overall register.

Woodwinds

Piccolos - intense, bright sounding but occasionally it has some screeching sound.

Concert flutes - Brilliant, clear and a tad shrill sounding.

Clarinets - Incisive and penetrating sound.

Saxophones - Reedy, incisive and it has this kind of “narrowing” sound.

Brasses

Trumpets - Shrill, bright and penetrating sound

Trombones - They have these metallic sound characters to the point of being overpowering and intensive.

Horns - Metallic, brilliant and exceedingly intense.

Tubas - Powerful and resonant sound, has that sharp metallic sound that these particular instruments should sound have a smooth and round sound.

Percussions

Tom-toms - Noticeable less warm sounding and a sharp resonant sound.

Snare drums - Bright, precise with some tad sharp sound.

Tenor drums - Hard and sonorous sounding

Kettledrums - A tad dry and dead sounding.

Pianos - similar sound characteristic with Red Ring Silver Tuning Nozzles' mode.


HIGHS/TREBLE:

Red Ring Brass Tuning Nozzles

Like all SIMGOT that I've tested, their typical signature in-house has something to do with the accentuated upper-mids and presence part of the treble. This type of tuning will somehow give more definition and clarity on vocals, mainly female ones and also well-defined attack of instruments.

Looks like that it has sufficient sparkle with modest airy extension on the brilliance part in the treble region. With its tuning, it also affects the sound qualities of some treble clef instruments like cymbals, hi-hats, celestas and glockenspiels.

Instruments:

Cymbals - Bright and lustrous sounding.

Hi-hats - Shortened buzzing sound as if it sounds very natural in this regard.

Celestas - Mellow and sweet sounding.

Glockenspiels - Bell-like, sounds sort of lustrous.

Among the three of the tuning nozzles that SIMGOT included in EA500LM, this setting is probably the most balanced sounding out there.

Red Ring Silver Tuning Nozzles

It has a tad more elevation on the upper-mids and presence treble which boosted further the clarity and perceived resolution with added sharper attack of rhythmic and percussive instruments. Though with that boost, there will be some instances of shouty and piercing sound on vocals and instruments that might be an issue to treble-sensitives.

The brilliance treble region is notably an improvement as it has more airy extension with more vivacity on its sparkle and has more harmonics on it.

Instruments:

Cymbals - Bright and buzzing sounding.

Hi-hats - Still has a short buzzing sound but its marginal added sizzle.

Celestas - It has a bright and silvery sound.

Glockenspiels - Shimmering and brilliant sounding.

Black Ring Silver Tuning Nozzles

Probably the brightest sounding among its tuning nozzle settings as it has more blazing and crisper sound that it will sound even more shrilly and metallic, and some possible instances of sibilance that might be an issue to treble-sensitive folks out there.

It has a fairly well-extended treble air and is also quite glistening that also affects the timbre and tone of certain instruments.

Instruments:

Cymbals - Bright and shrill sounding.

Hi-hats - Still has a short buzzing sound but its marginal added sizzle.

Celestas - Silvery and silvery sound.

Glockenspiels - glistening yet thin and a tad strident sounding.


SOUNDSTAGE, IMAGING AND OTHER TECHNICALITIES:

On its overall sound/speaker stage, it has a fairly average to above average sound field dimensions with just decent height reach but excellent depth. This spatial perception projects a moderate head room within my aural sense.

As for its stereo imaging presentation, it gives a rather concave-like projection where I was able to correctly locate the placements of vocal(s) and instruments in an adequately layered soundscape with reasonably good separation as if it was well-spaced for a single dynamic driver IEM.

Coherency of its driver is quite laudable as it has a very fast transient response to transmit a clear sound quality without any distortion. Resolution capability-wise, the EA500LM has a solid macro-dynamics with a capable micro-detail retrieval that it can extract some nuances and subtleties from an audio track.


PEER COMPARISON:

SIMGOT EA500

• The predecessor model of EA500LM as both share the same structural design and detachable nozzle system but internally it uses 10mm DLC diaphragm in dual cavity configuration of its dynamic driver. It has an aluminium alloy shell chassis and also has a heft on it. Aside from similar packaging and inclusions, the difference between the are the stock cables in which this set uses a silver-plated OFC cable with an L-shaped termination plug and its offers a two pairs of detachable tuning nozzles in different tuning curves.
• The EA500 has two sound profiles, the standard Harman target curve and a SIMGOT in-house which is also derivative of a Harman target curve. The standard Harman has a more sub bass-focus, inert mid bass response, a leaner, less-textured midrange as I noticed the male vocals less depth and volume on their note density, and then, a smooth and even treble response. On the other hand, the SIMGOT in-house tuning curve has more textured, more warmth but due to emphasis on upper mids and presence treble, it has a tad brighter sound with some occasional sibilance on it. In this regard, The Red Ring Brass Nozzle of the EA500LM is a refinement of the two.
• As for technical performance, the original EA500 still has a bit wider sound/speaker stage due to more height reach and broader lateral span and its stereo imaging projects a more three-dimensional presentation. The rest of technical aspects are similar with the EA500LM in which the latter has a bit better resolution capability.

The SIMGOT revolution keeps raging on as they always release a product which will yield a high percentage of success for its appeal and overall quality from construction to sonic performance in which SIMGOT always delivers. And this set is a testament of this company's continuous quest of pursuing audio perfection as it has an exceptional build quality, well-tuned sound quality at affordable price.

The big question is, is the EA500LM an improvement over the EA500? Yes and No, Yes is for improvement as SIMGOT continues its tuning refinement with choices of drivers to deliver such a more polished sound quality, and No is because the changes of its tuning between the sets aren't that wide that I will consider it as an upgrade. I can certainly recommend this set to other audio enthusiasts who don't have or didn't try the original EA500 as their path towards SIMGOT Revolution.


SIMGOT EA500LM is still available at LINSOUL. You can simply click the unaffiliated link that I've provided below.

★★SIMGOT EA500LM - LINSOUL★★


If you are interested in my previous SIMGOT product reviews, check out the following provided links below.

■ SIMGOT EA500

■ SIMGOT EW100P

■ SIMGOT EM6L

■ SIMGOT EW200

■ SIMGOT EA1000 FERMAT




SPECIFICATION:

MODEL: SIMGOT EA500LM
IMPEDANCE: 21Ω
SENSITIVITY: 123-124dB
FREQUENCY RESPONSE: 10Hz – 50KHz
CABLE LENGTH: 1.2m
PIN TYPE: 0.78mm 2-PIN CONNECTOR
PLUG TYPE: 3.5mm
DRIVER UNIT(S): (1) DYNAMIC DRIVERS


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 MS. KAREENA TANG of LINSOUL for providing this review unit. I truly appreciate her generosity and trust towards me and other reviewers.

Summary
The Simgot EA500LM has been getting a lot hype recently, is it actually that good? Lets discuss. If you do not know already the EA500LM is a single dynamic driver iem from Simgot, coming in at 90$. This is also the sequel to their popular EA500. Considering the price packaging and accessories are nice, build and aesthetics are solid and fit and comfort are decent. Most importantly sound is great, this has a balanced to mild V signature with a generally pleasing clean, energetic, somewhat bright sound with nice yet tastefully balanced bass performance. Back to the main question, is it worth the hype? I would say it surely is, the level of sound quality you get for the price is amazing and I highly recommend this set.



Intro
Hey Guys, whats up….
Today I will be diving into the very hyped EA500LM from Simgot. This is a single dynamic driver iem coming in at 90$. Talking about Simgot, they are pretty well reputed ChiFi iem manufacturer. They have been around for a while now but they became crowd favorite after their original EA500 release. By now I have had the opportunity to try out several sets, and I have reviewed two the EW200 and the EA1000 Fermat. Besides the EA500LM, I am also checking out the EM6L hybrid iem, which I will publish the review of soon. So the EA1000 was my favorite simgot iem, but spoiler, the EA500LM is my new fav . Anyways enough yapping, lets get into the review, starting with the specs

Disclaimer: Thanks to Simgot for providing this unit. But as always this review is unbiased and my honest opinion. Thanks…



Specs
> Impedance: 21Ω±15%(@1kHz)
> Sensitivity: 123dB/Vrms (@1kHz Gold Copper nozzle & Red Silicone Ring)123dB/Vrms (@1kHz Silver Steel nozzle & Red Silicone Ring) 124dB/Vrms (@1kHz Silver Steel nozzle & Black Silicone Ring)
> Frequency response range: 10Hz-50kHz
> Effective frequency response: 20Hz-20kHz
> Connector: 0.78mm 2-pin
> Cable material: high-purity silver-plated OFC cable
= PRICE: $89.99 USD

Packaging/ Box Contents
Moving on to the packaging section, this comes in a nice box with a beautiful space theme art work. A breath of fresh air , I am bored of waifu boxes. I dropped the list of box contents below, all the accessories are of high quality. The case is simple but serves the purpose, the size is good enough to throw in a dongle dac too. The cable is good, I will get into a bit more detail on it later. The eartips are standard small, medium and large. Box contents:
Eartips
Cable
Replacement filters
Tuning Nozzles
Carrying Case
Iems itself
Papers


Build and Design
Moving on to the build and design of the EA500LM, this is solid.Simgot has gone for a full metal construction, aluminum I am guessing. In terms of looks this has a mirror like finish with a darker tint and Simgot logo on the face, I personally quite like the simple yet elegant approach but it is a finger print magnet. The design is pretty much same as the original EA500, just with a slightly darker gun metal type shade. Anyways, the shells are of medium to small sized and it has nice weight to them, feels substantial in the hands. Finger prints are an issue but scratches were not an issue in my use case. The 2pin connectors are recessed type. The nozzle is normally sized. The shells are vented.



Fit and Comfort
Continuing with fit and comfort, EA500LM scores high. The shells sit nice and flush in my regular sized ears. The stability is on point. Breathability is good thanks to the vented design. Isolation is good but nothing crazy. Driver flex was not an issue when inserting the iems. I did not find any issue with long term listening, is was plenty comfortable.

Cable
Now let’s look at the cable. The EA500LM comes with a ok built stock cable, this is not bad but there are more well built cable with iems at this price. This is a 2 core silver plated copper (OFC) cable. It uses a 0.78mm 2pin connector and has standard 3.5mm plug. The 2core braiding is tight and flexible. There is no audible microphonics. The preformed earhooks are ok, they blend in with the color of the cable and did not cause any irritation. In terms of looks this goes nicely with the iems.



Tested With
Source: cayin ru7, tempotec v3, apple type c dongle, jcally jm7
Eartips: stock, Final E, spinfit w1
Cable: stock
Music: Tested with versatile genre of music

Nozzles
So lets talk nozzles, this comes with 2 extra set of nozzles. Stock one is bronze, gold colored nozzle and the extra ones are silver with black silicone ring and silver with red silicone ring. The difference between each nozzle is not that major. I personally used and tested the EA500LM with the stock gold colored nozzles.



Sound tonality
Sound signature: balanced to mild v
Now most importantly sound, the EA500LM provides a generally pleasing clean, energetic, somewhat bright sound with nice yet tastefully balanced bass performance.

Bass
Let's delve into the bass performance of the EA500LM, which is quite good. This provides a snappy, fun yet high quality bass. In terms of positioning, the mid bass is subtly rolled off compared to the sub bass. The sub bass feels tactile and dynamic, slams hard when the music calls for it. Mid bass, although not as forward, provides decent punch. Overall, the EA500LM has a fast and precise bass response. The body and layering are executed quite well. Decay and reverberation are satisfactory, and bass note separation is good. Personally, I did not find it to be bloated or muddy in any way.

Mids
Moving on to the mids, EA500LM has a very similar midrange performance to their other sets. It prioritizes clarity and transparency with sparkle and crispness on top. The transition from bass to lower mids is slightly warm. Thus this contributes to a warm and thick male vocal performance, at least compared to the female vocals. Simgot usually goes for thinner and energetic upper mids, which is present here. This gives female vocals the shine and crispness. Positioning wise, female vocals are more forward compared to the male vocals. While this doesn't get sibilant or harsh, it might be fatiguing for treble sensitive listeners. I quite enjoyed the level of sparkle present in the midrange. Note weight and note separation is good.



Treble
Proceeding on to the treble section, they have opted for an almost bright tuning for the EA500LM, and I can say it's executed well. In short the treble is refined, well-extended, and it flows nicely with the frequency range. Details are crisp without being too in your face. It is easy to spot intricate nuances. Occasionally, instruments sound a bit sharp depending on the nozzle. While there is no significant harshness or sibilance issues, treble sensitive listeners may find it bothersome. The speed is normal to fast type. The airy presentation enhances the sense of space in the soundstage. This has good resolving capabilities.

Technical Sound:
Soundstage of the EA500LM is pretty good, better than average. All three plains are above average, this has good width but the height is ok. Stage depth is good.
Imaging is also better than average.
Sound separation and layering is good
Resolution is pretty good
Dynamics are satisfactory
Timbre is good



Conclusion
So to conclude the review, is worth the price tag? Yes, very much so. If you are looking for a balanced to mild V shape sound signature iem under 100$, this is the best option. I highly recommend this set, as I said in the intro, this is my new favorite Simgot, for now at least . One thing to consider, if you are treble sensitive then this might not be suitable for you. Anyways, props to Simgot , they did a fantastic job with this one. And thanks to you for sticking around.

Introduction

Just over a year ago I reviewed the Simgot EA500. Now it's the turn of the new Simgot EA500 LM. The Shenzhen-based company, founded in June 2016, has released a sub-$100 iteration of its successful model. This is the second-generation IEMS with dual-magnet, dual-cavity magnesium and lithium dynamic diaphragm. The new LM version uses an improved dual-magnet, dual-cavity design with refined 2nd generation DMDC™ technology. Again, it comes with three pairs of interchangeable mouthpieces for a different profile. Again, a high-purity silver-plated OFC wire is used, while the ergonomic design of its predecessor, made of CNC-etched high-density alloy, is repeated. Let's take a look, in this review, at what's new with the new EA500 LM.



Specifications

• Driver Type: 10mm dynamic with second-generation DMDC™ lithium-magnesium dome diaphragm.
• Frequency Response Range: 10Hz - 50kHz
• Effective Frequency Response: 20Hz - 20kHz
• Sensitivity: 123 dB/Vrms (1kHz Gold-plated copper mouthpiece and red silicone ring).
• 123dB/Vrms (1kHz Silver steel mouthpiece and red silicone ring).
• 124dB/Vrms (1kHz Silver plated steel mouthpiece and black silicone ring).
• Impedance: 21Ω±15%(1kHz).
• Jack Connector: 3.5mm SE.
• Capsule Connection Type: 2Pin 0.78mm.
• Cable Material: High-purity silver-plated OFC cable.
• Price: $89.99.

Packaging

There are similarities in packaging between this and its predecessor. The EA500 LM comes in a medium-large black box measuring 121x146x63mm. It has a somewhat special decoration, with circular silver motifs such as suns, stars, snow, planets, lightning, etc. that seem to come out of hands at the base of the box. On the top left is the brand logo, on the right the Hi-Res logo and on the base the name of the model. The upper part of the back side starts with the model description. Underneath are two frequency responses. In the lower third are the specifications in various languages. Sliding the outer sleeve sideways reveals a matt black box covered by a cardboard of the same colour, in the centre of which there is a kind of concentric rectangles. Underneath is a quote from Blaise Pascal. After opening the cardboard, in the upper half there is a black foam mould protected by black cardboard, which contains the capsules. In the lower half is a box with the accessories. Inside is a zippered case. The complete contents are as follows:

• The two Simgot EA500 LM capsules.
• One high-purity silver-plated OFC cable with 3.5mm SE gold-plated plug.
• A black, oval, zippered carrying case.
• One multilingual manual.
• A pouch with red and black O-rings.
• One warranty card.
• Three metal screw-on nipples. Two metal pairs with red and black seals and a third gold one. The gold nipple is screwed onto the capsules.
• 3 pairs of translucent white silicone tips with black core, sizes SxMxL.

A couple more filters are included, as in the EA1000. The nice zippered case is repeated. The cable seems a bit better, but I'm still not convinced, I would have preferred a thicker copper cable. Finally, it still comes with only one set of tips, which is a bit poor for the price level.



Construction and Design

The design is the same as its predecessor. The only difference is that on the outer face of the right capsule there is a rectangle with the letters LM inside and the metal material used is a little darker, not so silver. The construction is still polished, shiny, but with that darker touch. It retains its two-tiered design on the inside and those details that make it eloquent and attractive. The capsules are all-metal and mirror-plated. Each is made up of two visibly separate faces. The outer face has an equilateral triangle design, with very rounded corners. In the centre is the brand logo on the left capsule. While on the right side you can read LM. The model name is engraved on the rim in capital letters. The translucent, rigid plastic part, which contains the gold-plated 2Pin 0.78mm connection, is slightly recessed. The inner side has two levels. On the lower tier there is a recessed oval, which contains a hole, at the bottom of which there is a metal grid. Next to it is a gold-plated Torx screw. Outside the oval, but near the centre, there is an engraved circle, inside which is the letter indicating the channel. The second level of the inner face is more rounded and contains the mouthpiece. Close to the mouthpiece is another hole, the bottom of which is protected by a cloth grille. The nozzles are inclined and have a thread at their tip for attaching the metal filters. The silver filter with the red O-ring has nothing inside, while the black filter has a foam of the same colour. The gold filter also has a red O-ring and a black foam that looks more dense.
The nozzles have a length of 4.5mm, a smaller diameter of 5.1mm and a larger one, at the rim, of 6.1mm.
The cable has two coiled strands. Inside there are two wires, one black and one gold. It has a transparent PVC coating. The OFC cable is specified as high purity silver plated. The splitter piece is a black metal cylinder. The plug sleeve is the same, slightly longer, with the brand name written lengthwise. Both cylinders have whitish plastic cable outlet protectors. The pin is 3.5mm SE gold-plated. The pin is a gold-plated ring with a hole in its centre. The connection interface is a 2Pin 0.78mm and is the classic 2Pin 0.78mm connection interface mounted on transparent rectangular pieces with a dot to determine the channel, as well as a barely visible raised lettering. They have transparent over-ear guides.
Although the cable has a better finish than its predecessor, I think it should be accompanied by a thicker copper wire to counterbalance its brighter profile.
The capsule design is little changed. It's still a very good construction but they haven't stopped it from remaining a fingerprint magnet.



Adjustment and Ergonomics

Same size, same design, same ergonomics. The capsules seem a bit large, the design of the inner side, on two levels, facilitates the ergonomics and their placement inside the pinna. The angle of the mouthpieces is also very good. It is true that, on the whole, they are a little short and the insertion does not go beyond the surface. With some tips, a slightly deeper insertion could be achieved.
You also feel that the weight in the hand is evident, but in the ears it is less noticeable, thanks to the remarkable level of fit and integration. The capsules barely rotate and the fit is high, once you find occlusive and well-fitting tips, as is usually the case with my large foam-filled home-made tips. Thanks to them, the level of isolation is remarkable.



Sound

Profile

The Simgot EA500 LM builds on the base of the previous EA500s but boosts the bass and compensates for this increased energy in the lower range by extending the treble with a little more power. Without a doubt, these are EA500s that are boosted at the extremes, something I welcome at the low end. Simgot doesn't seem to want to lose that bright character and for every dB it adds in the sub-bass it adds a pinch from the upper midrange. In this way, the LMs have a more pronounced V to W profile, where the bass has gained in punch, to the good fortune of those who were looking for a little more meat in the lower band.
I have used the gold filter for the sound description because it is the filter with the most bass presence and the smoothest upper midrange and treble. The other two filters can be splashier and more vivid, especially in the 5kHz area.



Bass

I was looking forward to hearing more powerful bass in the style of the EM6Ls from Simgot, but in a unique dynamic driver. For my taste, both the early EA500 and the EA1000 were a bit behind in this respect, when it came to fulfilling my timid but clear preference for bass-head territory. This time around, the sub-bass is boosted as it was in those EM6Ls, they are even subtly higher in the low end and have a slightly cleaner tuning towards the midrange. The result is bass with weight, punch and power in the hit. They have a neutral timbre, with little colour. There is sensory darkness in the sub-bass, while the midrange sounds more canonical. The sum is that midrange and natural timbre, but with a certain leaning towards darkness that adds a superior realism. The texture is not very pronounced, as the surface of the bass is smoothed out by the speed of its execution and the little aftertaste that lingers in the ambience. The hit is of the dry, tight type that is usual for skilled dynamic drivers with powerful magnets and strong, resolute diaphragms. That the energy starts from the sub-bass is a further incentive. This time, however, Simgot seems to have wanted to give the bass a little more extension and prominence. In this way, the volume they acquire is more pronounced. The power is felt in the ambience, challenging that emphasised upper zone. It is as if both bands are trying to demonstrate their energy, but it is clear that the bass occupies a good space, as well as possessing a clear power delivery. The ability is demonstrated as soon as there are combined bases at different tempos. The LMs are able to draw several bases reliably and layer them with a mixture of delicacy and precision, not to mention power.
In the pure tone test the LMs raise their level by performing LFOs in an exemplary manner. There is no trace of a wave character. The lower frequencies are reproduced in a sensory, barely audible way, with a good degree of darkness. As the hertz increases, the bass becomes more audible, but the way in which the LFOs are executed is not lost, something which indicates that remarkable power is not at odds with exemplary behaviour. The translation to music is obvious, the demeanour is precise, skilful, technical, voluminous and very capable. This level of performance is reaffirmed when it comes to reproducing dirty, unfiltered bass. The LMs don't suffer at all in the worst conditions and despite the high energy level, passages are dry, tight and under control, without generating sonic aberrations or excessive or misplaced rumble. Bass with punch, depth, control and volume.



Mids

There is a clean, but pronounced drop towards the first half of the midrange. The male voices feel lean and somewhat backward, not too full-bodied and their base is light. Even so, they are quite articulate as the driver has a high level of resolution. The notes are thinner, but very expressive. It manages to reconstruct the male voices from their base to their sibilance in a very complete way. In this sense, the informative capacity of the LMs is high, making up for the lack of body and physicality with a complete journey through the life of the voices. The instruments in this first half also come across as somewhat light and thin, set at a middle distance. The best remains their explicit, analytical level, though not as lush as the instrumentation of the upper midranges. In this sense, the polarisation within the central range is still there, and perhaps more noticeably so. Admittedly, the power and volume of the bass tries to counteract this, but it also highlights the distance between the upper midrange and the lower midrange. Female vocals border on the sibilant limit and the energy can be excessive if the black or red filters are used. On the other hand, the LMs remain an ode to clarity, light, transparency and resolution, but with a bass base that tries to stifle that distinctly splashy and vivid character of the first treble and upper midrange. But what happens if there is no bass present in the songs? Well, the power and energy concentrated in this second half of the midrange is unleashed, reaching a point of explicit saturation. I would have liked to find LMs with this level of bass, but with the energy somewhat more limited in the upper midranges of the first version. In my opinion, it would not have been necessary to increase the energy in this upper area so much. But if that had been the case, perhaps this model would no longer be called EA500. Simgot emphasises the incisive, very detailed, clearly informative, expressive and evident character of this new model, but with a little more imbalance in the central range. All this richness of nuance and ultra-realistic staging can be very eloquent and engaging, but also somewhat suffocating, demanding and somewhat harsh, but also less musical. On the other hand, LMs lend themselves to the exchange of tips, cables and sources, to iron out these rough edges. And a more relaxed version of the ensemble can be achieved, allowing you to enjoy the benefits of such striking midranges.



Treble

On the other hand, the treble has been strengthened. The LMs have their other strong point in the treble. There is a power struggle between bass and treble. And the centre can suffer the consequences. The high end is extended, the control drops are not very pronounced and the gradual decrease in its frequency response is the best weapon to naturalise the treble. They are clearly explicit, full of energy, undeniably fine and penetrating, sparkling and crisp. However, there is still authority to harmonise the whole range, not overblown or overblown high notes. Simgot repeats the pattern of the EA500 but adds that extra energy that makes the treble more present, ultra-resolute, vivid, yet retaining a bright, sparkling, incisive naturalness, reaching the air with great presence.



Soundstage, Separation

The scene is notable for its depth and for the path from the proximity to the background. There are elements in all three zones. Lots of detail and high notes in the foreground, the midrange right in the foreground, and bass that travels from the back to the front. However, the sound is not very broad horizontally. It is true that the volume of the bass also extends this sensation towards the sides of the scene, but without overpowering the frontal perception. On the other hand, the more detached and distant perception of the notes works against it. The background is not as sharp, despite the high resolution and level of detail of the LMs. Micro detail is not as visible and can be masked by more obvious macro detail. While the level of layering is good, it lacks a bit of horizontal space to separate that micro detail in space, feeling a bit congested at times, as well as somewhat saturated by the amount of elements above it. On the other hand, the height is remarkable and the image is quite good.



Comparisons

TinHiFi T5s

Without a doubt, the TinHiFi T5s have been one of the IEMS I've enjoyed the most lately. They are obviously $30 more expensive, have more emphasis on sub-bass and a smoother upper midrange and first treble. It is a warmer, more musical and fatigue-free tuning. The T5s do not have interchangeable mouthpieces, but they do have a superior cable, an extra set of silicone tips and a few other extras. Construction is good in both cases. The T5s have a semi-custom metal shape with very good ergonomics and fit. But they are a bit bigger. The LMs are also excellent in this respect and a bit smaller. That may be the difference between one and the other, which makes it possible to choose a particular type of capsule. In my opinion, I have no problem with the size, I prefer the ergonomics of the T5s because the mouthpiece-tips joint is more occlusive, they fit better in my ear canal and their fit is more durable and firm.
En cuanto a sensibilidad, los LM son claramente más sensibles que los T5s.
The difference in tunning is clear as soon as you use one or the other model. The T5s are darker and smoother. That is something you can feel from the sub-bass. There is more power in the low end of the T5s and that is noticeable in the very low frequency pure tone test. The lower notes are more sensory, noticeable and perceptible in the TinHiFi. The LMs have slightly more colour and may be more compact and subtly drier. On the other hand, darkness, depth and volume is more noticeable in the T5s.
In the midrange the darkness and softness of the T5s persists. You feel their warmth and more nuanced character. The notes are thinner and lighter in the LMs, but there is more light, sparkle and separation, you feel they are more analytical. Although, in the upper midranges they are more splashy, which makes them more abrupt and somewhat harsher. On the other hand, the T5s are the opposite, with less informative midranges, but more musical, relaxed and somewhat thicker.
The treble is quite different. If the LMs feel more natural, crisp, with more emphasis, energy and power, they are also sharper. They feel like the star of the show, while in the T5s the high end is relegated to a more secondary, nuanced plane, serving the rest of the band. There is more extension and more air in the LMs.
There is more separation in the LMs, but the scene is wider and deeper in the T5s. Although the macro detail is more noticeable in the LMs, the micro detail is not much better. There is this problem that the macro detail of the LMs stays ahead of the micro detail, even covering it up. This does not happen in the T5s and this loss of informative capacity is gained in certain nuances. On the other hand, the image seems more accurate due to the higher resolution of the LMs.



Conclusion

The Simgot EA500 LM is a more polarised and excited bass, upper midrange and treble version of its EA500 predecessor. Although it has lost some homogeneity compared to the first version, the higher energy in the bass makes it more fun and all-rounder. But it's the treble that benefits from the increased presence and energy. It is certainly a version with a more V-profile, but it does not lose the brand's hallmarks: three pairs of interchangeable mouthpieces, brilliant tuning, outstanding analytical capabilities, remarkable resolution, clarity, separation and definition. In my opinion, the LMs raise the bar compared to the basic version thanks to a tunning that I prefer. But on the other hand, the weaknesses of that one are still present in this new version, as it is still punchy in the upper midranges and the micro detail feels overshadowed by the macro detail. With the EA500 LMs, Simgot is taking steps to establish itself among the best sub-$100 IEMS, but there is still room for improvement. But it's certainly an excellent choice for its great price/performance ratio and sound, making it a reference for $90.



Sources Used During the Analysis

• Aune X8 XVIII Magic DAC + EarMen ST-Amp.
• Burson Audio Playmate.
• EPZ TP50.
• Hidizs S8 Pro Robin.
• Tempotec V3.

Purchase Link



You can read the full review in Spanish here