This and That:
Build quality is perfect, without any visible or tactile transition from the shells to the faceplates and no inconsistencies, bubbles or whatsoever. There is one complaint I have though – the nozzles do not have any barb/collar. While this is usually not a problem for many universal fit in-ears, even the stock tips of the EM-2 can come loose (although just very rarely) if they weren’t pushed onto the nozzle far enough.
It’s that the EM-2 is using ear tips that don’t seem to be off-the-shelf and that have to be stretched on further than regular ear tips in order to seal well and stay on securely. Therefore the tips' reinforced base is also stretched more and is the part that ultimately creates the seal between the nozzle and ear tip.
While there is no problem if the ear tips are put on as intended, a small lip/barb/collar would help the tips (that are by the way very nice and soft) to stay on even better and more easily.
What’s interesting to mention is that the tubes that are attached to the two drivers don’t go all the way to the end of the nozzle but fire into it. Nonetheless, both drivers are equipped with an acoustic Knowles damper.
The included carrying/storage tin is about as close to (my sense of) perfection as it can be – while it is undeniably on the heavier side since it is made of metal, it features a very premium build, has got a threaded lid, is softly bolstered on the inside with dark rubber and is on the smaller side while still offering enough space inside. And it looks and feels very beautiful as well as premium.
Sound:
My main sources for listening was mainly the iBasso DX200 (AMP1 module).
I only used the largest included silicone tips for listening.
Tonality:
“Warm, slightly bass driven signature with a very smooth and laid back treble response” is the description from the website. In universal fit form and driven from a low impedance source, I would agree with everything except for the “laid back treble response” because listening to music and using a sine generator (as well as my amateur Vibro Labs Veritas measurement setup), I can also sense an emphasis between 7 and 9 kHz.
Anyway, tonally the EM-2 greatly resembles the [original, not the inferior and differently voiced v2 with detachable cables] Brainwavz B200’s and NocturnaL Audio Atlantis’ frequency response with a bit more treble energy compared to the dark-ish Brainwavz and a somewhat more pronounced 7 kHz range compared to the Atlantis.
Just as advertised, it features tendencies to a generally rather warm presentation in the lower midrange and upper root without affecting midrange realism or timbre negatively, has got some bass elevation and fullness that is however not overdone, and sounds overall quite smooth and coherent.
Compared to an in-ear that is tuned for a diffuse-field bass response, such as my Etymotic ER-4S/ the ER4SR, the EM-2 has got about 8 dB more bass quantity and about 5 dB more than my Ultimate Ears Reference Monitors.
- - -
Around 700 Hz, the lows start gradually climbing and reach their zenith at about 90 Hz, although there is already a certain fullness between 100 and 200 Hz.
The bass elevation remains until about 40 Hz and loses a few decibels down to 20 Hz, although just gently, wherefore the in-ear sounds more midbass- than sub-bass-focussed without really suffering in the sub-bass.
Therefore the bass can be punchy and full if called upon but doesn’t appear overdone and doesn’t overshadow the midrange.
The midrange tends a bit into the warmer, smoother direction due to the gradually climbing elevation in the lower midrange/fundamental range. Nonetheless nothing is overshadowed or unnatural since the transition from the lows into the mids is done nicely and cohesively.
Level from the central midrange to the upper midrange is commendably flat and neutral. There is just a very mild relaxation between 2 and 5 kHz.
From 7 to 9 kHz, level is on the brighter, emphasised side. Although there is a peak in this area and although it does contribute to cymbals sounding somewhat “spread” and having a slightly metallic touch, the upper highs are still smooth and rather soft in their character wherefore they don’t appear sibilant or harsh/sharp. While they are rather smooth/soft despite being somewhat emphasised, the upper highs still don’t convey the same sense of realism and evenness of in-ears such as my InEar StageDiver SD-2, Etymotic’s models or the Noble Audio SAVANNA.
Extension past 10 kHz is just excellent, especially for a dual-BA in-ear at this price point.
- - -
The EM audio EM-2 therefore features a tonal tuning that is appealing and can be definitely described as being well-made.
There is a pleasant, non-overdone dose of bass and warmth with a little fullness in the lower midrange, along with a natural central vocal area and neutral upper mids. The treble is also implemented relatively well despite the 7-9 kHz elevation that is however rather soft than sharp or aggressive in terms of character (nonetheless the in-ear would have been even more natural in the highs if this range was slightly tamed).
As a result, most instruments except for cymbals that appear somewhat more “spread” sound realistic and natural, with an accurate timbre.
Resolution:
Following the path with a well-made tuning, the EM-2 continues this route when it comes to technical performance. In fact, it doesn’t really show any flaw in this regard either.
Bass is just a little on the softer side, without affecting speed (that is nicely high) or control (that is very good, even with fast and demanding tracks) negatively – instead, it adds some pleasant texture and layering to the sound while still remaining very controlled with fast genres like Metal and more demanding and fast Electronic music bass lines.
Speech intelligibility is good although not as high as from in-ears in the $400/500+ class, which should not be expected in the first place anyway. Nonetheless it is excellent at its price range (Eternal Melody’s dual-BA in-ear surpasses models such as my Shure SE425 and is about on the same level as my Fischer Amps FA-3E in terms of speech intelligibility).
Midrange resolution is high as well and small nuances are unveiled quite well, too. Only the lower midrange shows a minor resolution “disadvantage” with busy recordings that feature many tonal elements or musicians due to natural masking effects that come with a smoother, fuller tuning in the root and lower midrange.
Moving on to the detail retrieval in the highs, there is nothing bad to say about that area either. Separation and details are good and single notes and cymbal crashes are separated well from each other, even when busy and/or fast tracks are being played.
Soundstage:
What makes the EM-2 very special for a multi-BA in-ear in its price class is its very open, very wide and spacious soundstage. Only very few multi-BA in-ears below $300 can compete or even come close in this regard (honestly the only model I have in mind right now is my Pai Audio MR3 – but even its large and open, three-dimensional soundstage is not as wide as the EM-2’s).
Indeed, the soundstage really is very wide and among the widest I have ever heard from a multi-BA in-ear – putting it into words, the Eternal Melody’s soundstage easily exceeds the base of my head and reaches from my left to my right shoulder (actually, it is even a little wider).
In relation to that sheer width, there is not much spatial depth though – although two or three rows are present and also have a decent separation/layering, they just aren’t as noticeable due to the width, wherefore the EM-2 has got more of a wide, flat spatial presentation even though it can also go forward by a little.
Separation and placement of single instruments is done in an accurate and precise way, which together with the sheer width leads to small details being presented even more easily.
Build quality is perfect, without any visible or tactile transition from the shells to the faceplates and no inconsistencies, bubbles or whatsoever. There is one complaint I have though – the nozzles do not have any barb/collar. While this is usually not a problem for many universal fit in-ears, even the stock tips of the EM-2 can come loose (although just very rarely) if they weren’t pushed onto the nozzle far enough.
It’s that the EM-2 is using ear tips that don’t seem to be off-the-shelf and that have to be stretched on further than regular ear tips in order to seal well and stay on securely. Therefore the tips' reinforced base is also stretched more and is the part that ultimately creates the seal between the nozzle and ear tip.
While there is no problem if the ear tips are put on as intended, a small lip/barb/collar would help the tips (that are by the way very nice and soft) to stay on even better and more easily.
What’s interesting to mention is that the tubes that are attached to the two drivers don’t go all the way to the end of the nozzle but fire into it. Nonetheless, both drivers are equipped with an acoustic Knowles damper.
The included carrying/storage tin is about as close to (my sense of) perfection as it can be – while it is undeniably on the heavier side since it is made of metal, it features a very premium build, has got a threaded lid, is softly bolstered on the inside with dark rubber and is on the smaller side while still offering enough space inside. And it looks and feels very beautiful as well as premium.
Sound:
My main sources for listening was mainly the iBasso DX200 (AMP1 module).
I only used the largest included silicone tips for listening.
Tonality:
“Warm, slightly bass driven signature with a very smooth and laid back treble response” is the description from the website. In universal fit form and driven from a low impedance source, I would agree with everything except for the “laid back treble response” because listening to music and using a sine generator (as well as my amateur Vibro Labs Veritas measurement setup), I can also sense an emphasis between 7 and 9 kHz.
Anyway, tonally the EM-2 greatly resembles the [original, not the inferior and differently voiced v2 with detachable cables] Brainwavz B200’s and NocturnaL Audio Atlantis’ frequency response with a bit more treble energy compared to the dark-ish Brainwavz and a somewhat more pronounced 7 kHz range compared to the Atlantis.
Just as advertised, it features tendencies to a generally rather warm presentation in the lower midrange and upper root without affecting midrange realism or timbre negatively, has got some bass elevation and fullness that is however not overdone, and sounds overall quite smooth and coherent.
Compared to an in-ear that is tuned for a diffuse-field bass response, such as my Etymotic ER-4S/ the ER4SR, the EM-2 has got about 8 dB more bass quantity and about 5 dB more than my Ultimate Ears Reference Monitors.
- - -
Around 700 Hz, the lows start gradually climbing and reach their zenith at about 90 Hz, although there is already a certain fullness between 100 and 200 Hz.
The bass elevation remains until about 40 Hz and loses a few decibels down to 20 Hz, although just gently, wherefore the in-ear sounds more midbass- than sub-bass-focussed without really suffering in the sub-bass.
Therefore the bass can be punchy and full if called upon but doesn’t appear overdone and doesn’t overshadow the midrange.
The midrange tends a bit into the warmer, smoother direction due to the gradually climbing elevation in the lower midrange/fundamental range. Nonetheless nothing is overshadowed or unnatural since the transition from the lows into the mids is done nicely and cohesively.
Level from the central midrange to the upper midrange is commendably flat and neutral. There is just a very mild relaxation between 2 and 5 kHz.
From 7 to 9 kHz, level is on the brighter, emphasised side. Although there is a peak in this area and although it does contribute to cymbals sounding somewhat “spread” and having a slightly metallic touch, the upper highs are still smooth and rather soft in their character wherefore they don’t appear sibilant or harsh/sharp. While they are rather smooth/soft despite being somewhat emphasised, the upper highs still don’t convey the same sense of realism and evenness of in-ears such as my InEar StageDiver SD-2, Etymotic’s models or the Noble Audio SAVANNA.
Extension past 10 kHz is just excellent, especially for a dual-BA in-ear at this price point.
- - -
The EM audio EM-2 therefore features a tonal tuning that is appealing and can be definitely described as being well-made.
There is a pleasant, non-overdone dose of bass and warmth with a little fullness in the lower midrange, along with a natural central vocal area and neutral upper mids. The treble is also implemented relatively well despite the 7-9 kHz elevation that is however rather soft than sharp or aggressive in terms of character (nonetheless the in-ear would have been even more natural in the highs if this range was slightly tamed).
As a result, most instruments except for cymbals that appear somewhat more “spread” sound realistic and natural, with an accurate timbre.
Resolution:
Following the path with a well-made tuning, the EM-2 continues this route when it comes to technical performance. In fact, it doesn’t really show any flaw in this regard either.
Bass is just a little on the softer side, without affecting speed (that is nicely high) or control (that is very good, even with fast and demanding tracks) negatively – instead, it adds some pleasant texture and layering to the sound while still remaining very controlled with fast genres like Metal and more demanding and fast Electronic music bass lines.
Speech intelligibility is good although not as high as from in-ears in the $400/500+ class, which should not be expected in the first place anyway. Nonetheless it is excellent at its price range (Eternal Melody’s dual-BA in-ear surpasses models such as my Shure SE425 and is about on the same level as my Fischer Amps FA-3E in terms of speech intelligibility).
Midrange resolution is high as well and small nuances are unveiled quite well, too. Only the lower midrange shows a minor resolution “disadvantage” with busy recordings that feature many tonal elements or musicians due to natural masking effects that come with a smoother, fuller tuning in the root and lower midrange.
Moving on to the detail retrieval in the highs, there is nothing bad to say about that area either. Separation and details are good and single notes and cymbal crashes are separated well from each other, even when busy and/or fast tracks are being played.
Soundstage:
What makes the EM-2 very special for a multi-BA in-ear in its price class is its very open, very wide and spacious soundstage. Only very few multi-BA in-ears below $300 can compete or even come close in this regard (honestly the only model I have in mind right now is my Pai Audio MR3 – but even its large and open, three-dimensional soundstage is not as wide as the EM-2’s).
Indeed, the soundstage really is very wide and among the widest I have ever heard from a multi-BA in-ear – putting it into words, the Eternal Melody’s soundstage easily exceeds the base of my head and reaches from my left to my right shoulder (actually, it is even a little wider).
In relation to that sheer width, there is not much spatial depth though – although two or three rows are present and also have a decent separation/layering, they just aren’t as noticeable due to the width, wherefore the EM-2 has got more of a wide, flat spatial presentation even though it can also go forward by a little.
Separation and placement of single instruments is done in an accurate and precise way, which together with the sheer width leads to small details being presented even more easily.
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In Comparison with other Dual-BA In-Ears:
InEar StageDiver SD-2 (>>$):
The EM-2 has got ca. 3 dB more bass quantity. While measurements indicate otherwise, listening to music indicates the SD-2 to have a fundamental range/lower midrange that is thicker and reaches further into the midrange. Sub-bass extension is a bit more linear on the InEar’s side.
In the presence range, it is the SD-2 that is more forward wherefore it creates a more intimate midrange presentation.
The SD-2 has got the more relaxed upper treble that can even appear a little dull in comparison at first but is actually only smooth and inoffensive.
Still, the SD-2 is smoother and more linear in the highs.
Detail retrieval between the two in-ears doesn’t differ all that much, however when fast and busy, more demanding tracks are being played, it is the SD-2 that cannot keep up with the EM-2’s control. This is mainly because the InEar StageDiver SD-2 has got a slightly too soft bass response for Balanced Armature standards which leads to a softer, more masking bass response especially with fast recordings. Everything is absolutely fine with medium-paced and slow-ish tracks though.
So with fast and/or demanding music, such as Electronic or Metal, it is the EM-2 that shows superiority while the two are otherwise closer in terms of detail retrieval.
Midrange details and speech intelligibility are slightly higher on the Eternal Melody in-ear’s side while the SD-2 shows a slight advantage when it comes to treble separation and treble details (its highs are in the background but their resolution is good).
The InEar’s soundstage is deeper than the EM-2’s and generally doesn’t lack any width, however the EM-2’s stage is about twice as wide in comparison. Separation and placement of single instruments are somewhat sharper and cleaner on the Eternal Melody’s side.
Brainwavz B200 (the original with permanently attached cables, not the inferior and differently tned B200 v2) (<$):
The B200 is more relaxed and darker in the treble while both in-ears have got quite similar midrange and bass levels. The Brainwavz appears smoother and more natural in the upper highs in comparison though.
Compared to the EM-2, the B200 has got the softer bass response while control is about the same.
Midrange details are somewhat higher on the EM-2’s side while treble separation is comparable again.
The EM-2 has got the wider soundstage while depth is probably about equal, however due to its sheer width, the EM audio in-ear appears ultimately less deep compared to the Brainwavz.
When it comes to separation and placement precision, both in-ears are pretty much on the same level without any being actually superior.
Shure SE425 (≈$):
The Shure features the flatter, more neutral bass while central and upper midrange levels are quite comparable again (the Shure is just a bit more present in the presence range, making vocals appear closer).
When it comes to treble extension, the SE425 doesn’t even come close to the EM-2 (it rolls off much earlier which leads to audibly damped cymbals).
Speech intelligibility is the only area where the two in-ears are remotely comparable (the Eternal Melody in-ear still has the lead here) while resolution is generally higher on the EM-2’s side over the entire frequency range.
In terms of soundstage, the EM-2’s is much wider, along with also a little more spatial depth. It is also the superior model when it comes to spatial precision.
Conclusion:
In addition to its advanced customisation features that just very few manufacturers offer for their universal fit in-ears, the Eternal Melody/EM audio EM-2 is also convincing when it comes to tuning (smooth, warm and balanced with natural mids and some brightness in the higher central/upper highs) and technical abilities. On top of that, it has got a very wide (but still precise) soundstage that exceeds about any other multi-BA in-ear I know in this price class.
Any room for improvements? Not much. The only things that I’d like to see are a lip/collar/barb on the nozzle so that the ear tips fit even more securely and probably a slightly flatter upper treble response.