Symphonium Audio Crimson

Preamble​

Many thanks to @Damz87 and Symphonium for arranging the Australian Head-Fi tour of the Symphonium Crimson

It is interesting how an IEM can shape your perception of a manufacturer and create biases that influence further impressions of their products. The first impression is crucial, and missing the chance to captivate a potential fan with their initial experience can be significant. My first encounter with Symphonium, a lauded manufacturer from Singapore was the Helios. Armed with high expectations and hopes generated from some great critical response, imagine my surprise when I didn’t like it! Perhaps a result of hype or simply personal preference, whatever the case may be, today’s review of the Crimson provides an opportunity to turn this sinking hype ship (my personal one at least) around! But would my experience with the Crimson be a dispelling of preconceived notions? Or a confirmation of my experiences?

The Factual Stuff​

The Crimson is a 4-BA setup with a 4-way “TrueX” crossover. The Crimson spruiks Symphonium’s FLAT and PHAT technology to ‘provide low-impedence and immunity from impedence mismatch” and “no unnecessary frequency inversions or phase cancellation” respectively.

This is all housed in a lightweight aluminium shell that represents a departure from the shells on the Helios and features a forged carbon fibre faceplate. In the rather simple packaging is an aluminium puck case, Divinus Velvet Eartips and Azla Sednafit Standard eartips. Purchasers will also have the chance to choose between a 4 wire or 8 wire version of the Altalune Audio Novaron. The cable features 26 AWG Type 2 Litz copper cable with a changeable termination between 3.5mm and 4.4mm.

This particular review unit has the 8-wire cable.

The Opinion Stuff​

Sound​

The majority of listening with the Crimson was conducted using Divinus Velvet tips, the included cable and with a Shanling M6 Ultra.

Bass​

The low-end of the Crimson is something that is rather tastefully tuned and well performing in terms of technical performance. The Crimson is decidedly sub-bass focused with a rather prominent sub-bass shelf tune providing a clean and deeply extending bass line.
It is not the most aggressively tuned low-end that I have experienced (looking at you FatFreq) but remains heightened enough to remain fun and restrained enough to avoid descending the rest of the frequency response into the abyss.
“You Should See Me in a Crown” by Billie Eilish provides a boomy and deeply extending bass-line which the Crimson handles expertly with lesser IEMs failing to articulate the bloaty bass in a coherent manner.

Mid-bass performance on the Crimson is definitely less of a focus but it provides an acceptable amount of punch for the purposes of maintaining a sense of pace and rhythm with tracks. “Before Dawn” by Slander and its incessant bassline throughout the track immediately provides feedback as to whether there is not enough or too much mid-bass in a song. The Crimson provides a decent performance, there is a hint of punchiness, but it remains somewhat restrained in its presentation here.

The detail and the texture reproduced by the Crimson in the low-end is quite excellent with bass notes rendering with a level of detail and texture that would be not found on more over-zealous bass tunings. The speediness of the Crimson’s rendition is nothing to sneeze at, and it manages to keep up with busier recordings with gusto.
Some key shortcomings in my mind are that there is simply not enough bass for bass-heads here and that the bass itself seems a little shallow and perhaps too speedy in its production. There is a desire for the slightest more decay and a truer feeling of air pressure being forced down your earholes, but this is likely a technical limitation of a BA-driver.

Mids​

The gradual decent from the sub-bass to the rather flat mids provides a delicate balance between clarity and fun. Lower-mids and male vocals are still present within the mix and are imparted with a degree of warmth and emotional presence that is rather pleasing to listen to.
This is not to say that this is a ‘warm’ IEM, but the subtle mid-bass tuning and lower-mid presence adds a little bit of note weight and more ‘gravitas’ to singers in this region. With, these male vocals are still slightly recessed when compared to female vocalists. The upper-mid lift seems to place precedence on female singers and this tuning toes the line between sibilance and spine-tingle inducing vocals.
The Crimson would be likely seen as some as leaning slightly bright, but I feel that it toes the line wonderfully. I admit at times, that singers such as Ariana Grande hitting her higher notes or sss sounds would render some degree of fatigue, but for the most part, female vocals sounded great.

The rendition of instrumentalization is also similarly impressive. Listening to a wealth of original soundtracks and more orchestral based pieces yielded and appreciation for the Crimson’s ability to render the delicate details of certain instruments. Strings sounded quite visceral and piano was also similarly impressive. The timbre of the mid-range is also very good. There is a slight lean to a thinner rendition in the grand scheme of things but by no means is this describable as dry, cold, or lacking soul.
The speediness of note rendition, the crispness of those notes and the perception that you can hear the ‘edges’ of each note lends itself to a less ‘soulful’ or ‘warm’ rendition, but the Crimson retains a degree of naturality and enjoyability.

Overall, the mids provide a great balance of technical prowess and musicality that is quite easy to listen to with a slight edginess to it to keep you on your toes.

Treble​

Moving to the upper-end of the FR curve, one must wonder if the Crimson can be three-from-three in terms of tuning. And yes, yes, it is three-from-three. The treble regions of the Crimson is delightfully tuned, managing to maintain tonal balance and also allowing certain notes to absolutely sing when given their time in a song. Percussion cuts through the FR curve in a manner that is clear, concise and crispy in its rendition.

There is a sense of ‘spice’ here as it is not exactly a relaxed and smoothed out rendition and as such, may cause individuals some fatigue over time but boy is it sure fun. “Teenage Heartbreak” by Yuna features a triangle being struck during the chorus and it has never sounded so prominent nor enjoyable as it did with the Crimson. Whilst surprising and a little jarring perhaps, I found myself rewinding to that section multiple times. There is a crystalline and clean quality to the treble region, percussion feels like a standout here.

For more electronic music, I feel that piercing synths present in a manner that is wholly enjoyable, providing me with the goosebump inducing tickle of having a note straddle the line between being ear-bleed inducing and being simply enjoyable.
The treble extension is also a thing to note with the Crimson. I am no bat and am confined by the limits of human hearing but I did notice that there appears to be no discernable roll off with the Crimson. It has the airiness and extension to feel as though there is no loss of dynamic range, this extension lends itself to a more grand and airy experience wherein I do not feel like I am losing out on any sonic information.

Technicalities​

Perhaps one of the more impressive elements of the Crimson is its technical performance, which, in conjunction with its well balanced, neutral tonality, seems to add to the overall experience. The soundstage on the Crimson feels nice and wide, providing a wider out-of-head experience that feels grand with certain songs. The stage depth, whilst good, is not the best in its price category. There is a sense of layering and the ability to discern the foreground and background of music but this is a subtle experience.

The imaging and detail retrieval of the Crimson is quite excellent. The aforementioned crispness and speed at which the Crimson renders notes lends itself to providing the sensation of a highly resolving and highly detailed listening experience. However, where most IEMs err in this regard is creating an etched and overly-sharpened experience which detracts from the enjoyability of music.

Dynamics are a fair performer with the Crimson as swings in volume are noticeable and songs building to crescendos provide the sense of scale that is enjoyable to listen too. Microdynamics in particular feel very detailed and well rendered when compared to macrodynamics.

Synergy​

One thought coming to my mind here namely lessons learnt after multiple DAPs, DACs and Amps plus headphones and IEMs is synergy! Hoping for the one and only holy grail Setup is maybe just a nice wish unless buying according synergy transducers. There's a reason why people are having multiple devices in parallel or reducing inventory and keeping only the ones with right synergy.

Shanling M6 Ultra:

The M6U provides a low-end imbuement of warmth and a slight elevation of treble to generate a more weighty and musical listening experience. This is not a technical heavyweight in the DAP market but it definitely has a enough charm and character to be my main source. The M6U does a great job of generating a more engaging and enjoyable listening experience with the Crimson and I feel that the added weight to the lower-mids, mid-bass region does a great job of synergising with Crimson’s rather crisp and edgier note rendition to create a more balanced sound signature.

Definitely a favourite pairing here.

Apple Dongle

For a fun time, I chucked on the venerated Apple Dongle to see if the Crimson, a notoriously ‘hard-to-drive’ IEM, would sound worse. The Crimson and the Apple Dongle resulted in a rather odd situation wherein volume was 100% adequate but there was a seemingly reduced sense of dynamism in its sound. Low-end oomph faded away, treble extension seemed to be silenced and overall the staging felt a lot more flat. Before you get your pitchforks /r/headphones, the Apple Dongle and the Crimson sounded fine, but I preferred my mountain of snake oil.

Comparisons​

vs MEST MK3 (from memory and review notes)​

The MK3 represents what I feel is one of the best choices in the ~2000 USD mark and can be found for much cheaper on the used market. In this regard, the Crimson has to contend with the strengths of the MK3 in its unique bone-conduction driver and its technical performance. This unique element lends itself to generating a truly holographic sound stage with a particular strength in stage depth. Separation, layering and the ability to accurately image notes within this stage is a strong suit of the MK3 and in this regard, it edges out the Crimson. In terms of tonality, the MK3 is a warmer more bass-forward presentation which is a winner for bass heads over the Crimson. The mids feel more organic and crisper on the Crimson and the treble sounds more well extended, prominent in the mix and crisper on the Crimson as well.

The MK3 is the more laid-back listening experience but still wows you with its technical prowess, its stage depth being its main selling factor. The Crimson feels more balanced, more neutral and more clinical in its rendition comparatively speaking and whilst it doesn’t absolutely wow me in terms of any particular aspect, it is well balanced and is a jack of all trades. I feel that the Crimson is the more ‘safe’ choice whereas the MK3 attempts to be more unique to the detriment of its everyman appeal.

Vs Symphonium Helios (from memory and notes)​

The Helios is the first Symphonium product that I experienced, and it had arrived with much fanfare. However, from the outset, I was disappointed with the clinical and almost sterile rendition of music that was not wholly enjoyable to me. I was impressed by the detail and crispness of note rendition as well as the treble, but overall, I did not find it an enjoyable listen. The Crimson builds on this foundation and improves some major issues. The mid-bass dip on the Helios is an odd tuning that seemingly removes certain instruments from existence in the mix and detracts heavily from that enjoyable mid-bass punch that I enjoy. The Crimson retains mid-bass punch and adds tremendously to the note weight, generating a sense of pace and rhythm. Otherwise, the mids on the Crimson feel much more naturally timbred and well expressed, providing me with the crispness and detail I desire but not at the cost of pure enjoyability and musicality. The Helios has a tendency to lean slightly into ‘drier’ note renditions that whilst good for that ‘etched’ note feeling, detracts from simply laying back and enjoying your music.

I feel that the Crimson is a straight upgrade from the Helios in practically all aspects and I would be completely fine with paying the premium that comes with it.

Quality of Life and Value​

The build quality of the Crimsons are quite impressive, consisting of an aluminium shell and a carbon fibre faceplate, the Crimsons feel sturdy, nicely weighted and well built. The shells are no longer as cumbersome and awkwardly shaped as the Helios and take on a more traditional shape. They are not exactly small however and as such will still cause some issues with smaller conchas. The comfort level on the Crimsons are quite good but the flatter shape of the earpieces are not as comfy as what you get with resin moulds. The nozzles are not that long nor hugely wide and didn’t cause any irritation in my ear over longer listening periods.

The Crimson, as demonstrated in the Synergy section above, is a rather ‘difficult-to-drive’ IEM. That is not to say that you will need a nuclear power plant to get it to an adequate volume but rather the Crimson seems to scale well depending on the quality and quantity of power that you are running through it. A Shanling M6U with 760mW sounded great, a CMA18P with around 1W also sounded great (if a little different) and pairing either unit with an external amplifier like the Sound Tiger Sinfonia (160mW but seemingly with plenty of clean current) seemed to improve technical performance and dynamic range. As such, I would venture with caution if you wish to pair it with the Apple Dongle alone.

In terms of value within the accessories, the inclusion of Azla eartips and Divinus Velvets is very welcome as both perform admirably and usually command a not-insignificant sum if you had bought them after-the-fact. The puck case, whilst small is well built and sturdy enough to protect your Crimsons from any drops or falls. The Altalune cable is also quality, with a soft and supple cable that feels easily malleable and doesn’t retain much memory despite being 8 wires (in this case at least).

Overall, I believe for the combination sound, build quality and included accessories, the asking price of 1500 USD (1700 USD for the 8-wire cable) is rather fair. I believe that the Crimson provides a step above perennial kilobucks of yesteryear such as the Andromedas and the IER-M9 in terms of its technical performance and its easy to love balanced tonality.

Conclusion​

Effervescent, crisp and refreshing are words to describe a new soda but oddly enough, these are words that ascribe to the Crimson. With a clean and nicely-balanced tonality, the Crimson excels in its ability to balance technical performance and musical enjoyment. I believe that the Crimson represents a step forward in what to expect in this price range and feel that it is deserving as being labelled as a “benchmark”. There is very little to fault with the Crimson and whilst it did not punch me in the face with some silver bullet specialisation, it did well in nearly every regard. For that, I think that this is the quintessential ‘neutral’ IEM that simply just does everything well.

I was able to try the Crimson on the Australian tour. Thanks as always to @Damz87 and Symfonium.

Design/Build: The Crimson is a premium IEM and looks and feels the part. I love the feel of the metal shells, they feel more premium than my Prestige Ltd. They are heavier but I didn’t find that a problem. I had no problems with comfort however don’t really listen for longer than an hour or two at most, so YMMV.

They come with an excellent cable. The tour unit came with the 8-wire upgrade cable. Ergonomics are superb, much lighter and more flexible than the 8w EA cables I own with no trade off in performance. Probably worth the upgrade if you’re getting these and can stretch.

Sound: I listened out of a Mojo2. Overall I found the Crimson to be pretty neutral, light and airy. I’m not gonna do a better job at detailed evaluation as others here. So I will describe my impressions relative to the Thieaudio Prestige Ltd which I was evaluating at the same time (and ended up buying) and which is in the same price range.

I would rank the Crimson and the Prestige Ltd in the same tier overall. I think technicalities they are pretty even. The Prestige has better bass benefiting from its dynamic driver. The Crimson has excellent BA bass (which is becoming more common now), it is detailed, fast and deep. But the Prestige has the tactility that only a DD can give you.

I found the Crimsons midrange a hair cooler than the Prestige. They both have superb, detailed and clear mid ranges. The Prestige maybe has a bit more space and clarity but the Crimson might be a little more coherent/together.

In the treble, the Prestige brings more a little more sparkle and air, but the Crimson is a little more forgiving.

Overall, I could have happily lived with either of these IEMs. I went for the Prestige because there was a good deal on them used from a friend and because my previous daily driver was the all BA Campfire Ara and wanted a hybrid that was something different to those. But if you wanted something bit more neutral and relaxed, the Crimson would be a great choice.

Review Of The Symphonium Crimson ​

Introduction​

This may be the first time I am assessing an audio product outside of the Chi-Fi business, but the company and their product, which I have previously been pleased with, are not new to me. Symphonium Audio is a Singaporean company founded in 2016 by three entrepreneurs who want to convey the delight of sonic bliss to the entire globe while also creating something special and unique. Many audiophiles, like myself, have previously praised their efforts and quality in producing such excellent products. I've already tested several of their offerings, including Helios and Meteor, which both astounded me with how easy they sounded. Though I wasn't able to evaluate them, I was fortunate enough to review one of their newest releases, the Symphonium Audio Crimson, but before I go any further, I want to clarify a few points.

Disclaimer​

*This is a review unit, courtesy of Pritam from Audio Store. All thanks to them for providing. And as I've said in all of my evaluations, the same is true for this one: all of the concepts I've expressed below are entirely my own, original ideas that haven't been influenced by anyone else. If interested, go to this link.
*I am not associated with the connection and receive no financial assistance from anyone.
*For the remainder of the review, I will refer to these IEMs as “Crimson.”
*I am using different Ear-tips for convenience and better versatility.
*Finally, I will only evaluate the Crimson based on their performance, even though I will explain how it feels and seems physically and aesthetically.

Specification​

The Crimson is equipped with an all-balanced armature driver made up of four BAs and three in-house created technologies. TrueX 4-way crossover is used for driver integration and employs two distinct but complementary technologies: FLAT and PHAT. FLAT ensures low impedance and immunity from impedance mismatch, while PHAT ensures no unnecessary frequency inversions or phase cancellation. The Crimson shell is made of high-grade T6 heat-treated AL6061 aluminium alloy, with a new colour scheme over the faceplate including a premium carbon fibre in the centre that pays homage to the brand's origins and resilience. The shell's design and feel are highly premium and minimalist in appearance, giving it a professional and distinctive vibe. The shape is also not an issue for my ears because they fit and isolate properly; nevertheless, people with small ears should be aware that the shells are on the larger side. The included cable is an Altalune Audio Novaron 26AWG Type 2 Litz copper cable with a modular termination on one end and a spring-loaded 0.78mm two-pin connector on the other. In my perspective, the cable appears substantial but feels light in my palm; it also combines nicely with the Crimson. The cable is also available in two variants: 4-core or 8-core unique offerings. The bundle also includes three different sizes of Azla Sednafit standard eartips, three different sizes of Divinus Velvet eartips, and a 3.5mm and 4.4mm termination plug. According to the technical parameters, the IEM's impedance is 6.05 Ohms and its sensitivity is 106dB. The frequency response spans 10 Hz to 24 kHz. The cable impedance for the 4-core cable is 0.12 Ohms.

Sound​

I have come across the Crimson IEMs and I have to say that they are a cut above my best-sounding IEM, the Prestige LTD. The Crimson provides an incredibly enjoyable experience, surpassing any other IEMs I have heard, whether they are top-of-the-line or not. The Crimson’s presentation is expressive yet smooth, with a balanced and warm response that accurately reproduces the quality of the notes while providing a playful presentation of the vocals and instruments. The newer BA IEMs can sound less metallic or artificial, but Symphoniom has gone above and beyond in this regard. I have previously thought that the Helios offered better detail retrieval than the Thieaudio Monarch MKII, but I preferred the Monarch MKII’s pleasing tonality, which became my favourite at the time. However, the Crimson has now generously offered everything I wanted and more, including the weight and impact of the bass, and the musicality in the presentation of the vocals and instruments in the upper frequencies while retaining a pleasing tonality. I truly enjoy these IEMs and would like to explore their sound further to find out more about their exceptional quality.

Treble​

Upon careful consideration, I must admit that the LTD has a more vibrant and lively treble region than the Crimson. While the Crimson's response strikes me as somewhat crazy, its sound is airy and expansive, with both vocals and instruments possessing a comforting, nuanced quality that never compromises their tonal integrity. The passive, cohesive response maintains a mesmerising quality of the presentation. The upper treble offers a hint of zing, allowing cymbal crashes or chimes to stand out in the overall mix, which adds distinction and favourability for the listener. Songs like Kujira Yumemi's "Kenka" showcase the chimes in a stunning, expressive way, without overwhelming the listener and losing fidelity. The lower treble also offers a similar experience, with a direct, forward approach that does sacrifice the lean adequacy and sharpness of the notes yet brings vibrancy to the presentation. The notes have great energy, which is spread evenly over the entire region to bring each note to life for the listener. The separation between vocal notes and instruments is impressive, creating a clear and defined soundstage. Despite this, the soundstage never feels too vast, allowing for a more nuanced, intimate listening experience. Additionally, the 4k dip creates a safer approach for the notes while maintaining a linear response. To sum up, the treble region's overall response is extensive, airy, and detailed, with a pleasing balance between expressiveness and fidelity.

Mid Range​

The Symphonion Crimson offers a truly captivating experience when it comes to the mid-range notes of both vocals and instruments. The vocals are rendered with full-bodied emotion and realism, while the instruments stimulate the senses and bring the entire soundscape to life. Listening to Miller’s “Anytime Anywhere” with the Crimson is truly a treat, with multiple vocals coming across close, clear, and full of character. The upper mid-range is well-rounded and tonally balanced, with forward vocals that draw the listener in and playful instruments that make the presentation enjoyable and welcoming. Compared to the Monarch MKII, the Crimson’s response is even better, with superior revelation of both vocals and instruments, albeit at the expense of some openness and spaciousness. The response is still lively, keeping the listener engaged and interested. The impact of the high and low notes is naturally occurring and true to life, with a dense quality that is particularly impressive for a response that relies solely on BAs. While the lower notes can sometimes feel hollow, the lower mid-range maintains a heftiness without becoming muddy or mumbly. Overall, the mid-range presentation of the Crimson is authentic, expressive, and truly captivating.

Bass​

When it comes to the bass response of this particular IEM, it is truly remarkable. It is the best bass I have heard from an all-BA IEM that falls under this price range. The tuning is such that it follows a neutral with sub-bass boost tuning, which results in an exceptional listening experience. What is particularly impressive is how the BA bass can deliver such quality and flexibility that is on par with what a dynamic driver can produce. However, what sets it apart is the cleanliness and accuracy of the impact of the notes. It is different from the natural decay that a dynamic driver produces but in an admirable way. The impactful notes are truly a delight for my ears, and I enjoy the weight and quality of the sound. The bass response is well-balanced and emphasises the sub-bass region, while also allowing for the mid-bass presence to be sustained. The deep rumble and punch of the bass have a noticeable impact on the response, making it an effective occurrence. The mid-bass presence brings a warmer response to the sound and delivers nice slams and powerful thumps in the mix. The mid-bass does leak into the lower mid-range, but it is not enough to detract from the overall quality of the sound. As you listen, you can feel the air pressure filling up your ears, giving you a sense of thumps and heaviness, while still resolving fast to keep the upper frequencies clean and clear. All in all, this IEM delivers an exceptional bass response that is sure to impress.

Technical Performance​

As an avid audiophile, I must say that the technical prowess of the Crimson IEM is truly marvellous in my eyes. However, I must admit that I haven’t given as much time to other IEMs around this price range, which makes it a bit difficult for me to evaluate it fairly. That being said, when it comes to comparisons, I can only truly compare it to the Thieaudio Monarch MKII or Thieaudio Prestige LTD. In terms of sound response, the Crimson IEM is more intimate and better expressed in terms of forwardness and involvement in the mix. To be more specific, the sound quality is simply outstanding and the level of detail and clarity is unmatched.

Soundstage, Sound Imaging & Separation​

Although the stage gives a more holographic response, it falls short in the closer approach, where the notes sound fuller and more complete. The sharpness and cleanliness of the notes, however, do provide great imaging capabilities. Even with such a response, the separation between the notes is surprisingly distinctive, which helps to better understand the direction of the sound. Nevertheless, when I compare it to the LTD or Monarch MKII, I find it to be a little stepped back. These two bring a more spacious sound while generating strong imaging and better distinction between the notes.

Speed & Resolution​

When I listen to LTD, it gives me a clear understanding of what resolution is. The Crimson defines it as having a highly detailed response, whether it’s macro or micro details. The notes’ attack and decay are fast-paced, yet not too fast or slow, creating a natural sound. However, sometimes, it fails to achieve that natural sound.

Sound Impressions ​

Sources​

Sony WM1A - While listening to the Crimson with WM1A, I noticed a marked improvement in the vocal expression and note clarity. The notes were crisp and clear, and the overall sound was simply stunning. The treble had an airy quality to it, which allowed the vocals to sound even more expressive and complete. However, this did come at the cost of sounding a little light, which sometimes resulted in a faint sibilance in the lower treble region. Despite this, the tonal balance remained undisturbed. Additionally, the bass had a fuller and richer sound, whether in the sub-bass or mid-bass range. The upper frequencies were kept clean, but the impact of the bass made it sound organic and natural. Overall, listening to the Crimson with WM1A was a truly exceptional experience.

Tempotec V6 - As I was listening to the Crimson with V6, I couldn’t help but notice the forwardness of the vocals in the overall response. The treble was exceptionally smoothed over, and the mid-range vocals were pushed up, resulting in a more vocal-centric sound. However, when it came to the bass, I was pleasantly surprised to find that even though it was well-controlled, it still managed to deliver a powerful punch. The result was a slightly dark, yet energetic response that left me thoroughly impressed.

Simgot DEW4X - As I was listening to music on the Crimson with DEW4X, I couldn't help but notice the transparent response and enhancement over all frequencies. The sound was clearer and more expressive than ever before, with every detail feeling stronger and more potent in the mix. This allowed for better clarity overall, making it easier to hear every note and nuance in the music. However, while the bass and treble did feel a little more linear and clearer, it also made the music sound less organic and natural. The tonality faced a leaner presentation of the notes, which might not be preferable for those who prefer a warmer, more natural sound.

Quloos MUB1 - During my listening experience with the Crimson and MUB1, I couldn’t help but notice how the response of the sound felt soft and rounded. While the detailed aspects of the notes were not as prominent, there was an improved grasp of the tonal quality which made the listening experience quite enjoyable. Another aspect that stood out was the spaciousness of the response, which allowed the vocals to sound open and free. Additionally, the treble felt extensive and airy, while the bass took a backseat in terms of power and impact, resulting in a sound that was warmer and more mellow than before. Overall, the listening experience was quite pleasant.

Comparison Between Symphonium Crimson and Thieaudio Prestige LTD​

Despite having similar frequency responses, I found both to be distant in sound, primarily because of the different configuration setups of drivers and synergy across the frequency response spectrum. The Crimson responds in a more fun and lively manner, bringing forth a lot of energy in both the instruments and the vocals. Nonetheless, I do believe that the Prestige LTD generates a sound that is larger and more expansive, with more zing and sparkle in the air and a strong overall contrast in the notes. The Prestige LTD's leaner response sounds a little more mysterious and captivating, but the Crimson does a better job of tonally accurate note depiction than the Prestige LTD. The Prestige has a more U-shaped sound than the Crimson, and as a result, it has a less forgiving and warmer tone with finer details. The Prestige LTD enhances the texture and details more than the Crimson, but the Prestige LTD wins out when it comes to the bass response's natural decay and dynamic physicality. The bass response in the Crimson is more precise and noticeable overall. The energy in the overall mix is more concentrated within Crimson, which accentuates the forwardness and lively response; however, the Prestige LTD produces a well-balanced response that allows for great separation, layering, imaging, and staging in terms of technical sound, resulting in a better perception of depth and width than the Crimson. Overall, I feel the Crimson to be more melodic and delightful to listen to, whilst the Prestige LTD provides an accurate understanding of sound and its features.

Tracks​

Millet - Anytime Anywhere
Anri - I can’t stop the loneliness
Kohana Lam - A Few Sentimental
Kohana Lam - Loving Me, Loving You
Uru - Kimino Shiawasewo
Uru - Kamihitoe
Kujira Yumemi - Kenka
Majiko - Kokoronashi
Anly - Sukinishinayo
Miliyah - Kono Yumega Samerumade
Rokudenashi - The Flame Of Love
Yu-Peng Chen - A New Day with Hope
Yu-Peng Chen - Another Hopeful Tomorrow
Yu-Peng Chen - For Riddles, for Wonders
Valentino Khan - Satellite
Kai Wachi - Happier By Now
Jawns - Erotica
ISOxo - how2fly
Kai Wachi - Happier By Now
Weeknd - Popular
YUNGBLUD - When We Die(Can We Still Get High)
Bring to Horizon - Kool-Aid
Middle Kids - Bend
FLETCHER - Leads Me On
Loathe - Aggressive Evolution
The Weeknd - Save Your Tears
Sigrid - Burning Bridges
AURORA - Black Water Lilies
AURORA - Runaway
X Ambassadors - Renegades
Lupe Fiasco - Words I Never Said
Macklemore & Ryan Lewis - Can’t Hold Us
Gotye - Somebody That I Used To Know
Jay-Z - Run This Town
Lady Gaga - Poker Face
Lady Gaga - Just Dance
Ladytron - Ghost
Travis - Love Will Come Through
LINKIN PARK - Somewhere I Belong
DJ Shadow - Six Days (Remix)
Hoobastank - The Reason
Ricky Martin - I Don’t Care
Tool - 7empest
Tool - Vicarious
A Flock Of Seagulls - Space Age Love Song
Zack Hemsey - Vengeance
Elton John - I’m Still Standing
The Moody Blues - Nights In White Satin
Micheal Sembello - Maniac
Guns N’ Roses - Sweet Child O’ Mine
A.R. Rahman - Kun Faya Kun

Conclusion​

To end this review, What Symphonium Audio strides to achieve and what goals they have set have been validated by Crimson, The precision in quality and redefining the parameters of elegance in sound reproduction is achieved through Crimson. The musical and lively response with robust and cohesive quality across the overall tuning makes it one of the most enjoyable, detailed and engaging IEM. A wonderful and satisfying innovation, to be sure. However, I cannot speak for the audiophile community regarding whether the price justifies the overall offering. However, when I compared my beloved PRESTIGE LTD to Crimson, I found the Crimson to be on par with LTD while offering a different taste, so Crimson has my wholehearted recommendation. You won't be able to let them go once you get them on your ears, I promise.