This & That:
Just like on the ER3XR as well as ER4XR, "XR" stands for "Extended Response", indicating a moderately boosted bass compared to the flatter tuned SE (respectively SR) models.
One dynamic driver per side; closed shells.
Comes with the same accessories as the ER3XR (almost the same small pouch case as that of my ER-4S and the ER3 series, one pair of green replacement filters along with a filter removal tool made of metal, one shirt clip, one pair of cylindrical foam tips, and last but not lest two pairs of differently sized silicone tips – that’s definitely a bit disappointing compared to the ER4 series’ amount of accessories).
Same black cardboard case with somewhat rubber-like surface finish as known from the ER3 series’, however without any shiny black “ER2” written on it.
Small blue shells that are made of metal. Same size as those of the other new ER series in-ears. Very beautiful blue colour – definitely personally my favourite colour among the various new ER series in-ears.
Good build quality.
It’s nice that each shell has the serial number as well as model number on it in white (the same is true for the ER3 and new ER4 series in-ears).
Removable cables with non-rotating (small notch that prevents it) MMCX connectors.
Nice blue y-splitter that’s made of metal, too.
A chin-slider is present.
Side indicators unfortunately only small and difficult to see in dimly lit environments – coloured indicators would have been better.
Fairly supple and flexible.
Rather high microphonics when worn down, but that can be fixed by guiding the cable over the ears and using the chin-slider (or alternatively using the included shirt clip).
Sound:
Low impedance sources.
Largest included triple-flange silicone tips, modified so that they create a seal in my large ear canals while still maintaining the original ear tip length (achieved by cutting off the smallest flange and putting it on the nozzle first, followed by the remaining double-flange rest of the tip).
Tonality:
Sub-bass elevation with diffuse-field-oriented midrange and treble neutrality. In other words, neutral midrange as well as treble combined with a really nicely integrated elevation of the lower midbass and especially sub-bass that the lows’ main focus lies on.
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In the midrange and treble, the ER2XR follows the ER2SE’s tonality almost exactly, which means that the ER2XR is highly linear and realistic sounding, which I cannot only confirm by listening to music (and performing acoustic measurements) but also when listening to sine sweeps that reveal a very even, linear tonal response without any unevenness, sudden peaks or dips; instead, the ER2XR, just like Etymotic’s other models that I am familiar with (ER-4S, ER4SR, ER4XR, ER3SE, ER3XR, ER2SE), shows remarkable upper midrange and treble neutrality and evenness that is only very rarely achieved by other in-ears, resulting in a highly natural and realistic treble timbre reproduction (which is also the reason why I prefer my ER-4S and the ER4SR over the various other, much more expensive, technically more proficient in-ears with a mostly neutral sound signature, for stationary music listening).
Therefore the ER2XR also closely resembles the ER4XR’s midrange and treble tuning, with slightly greater upper midrange and treble quantity compared to the ER3XR, and slightly lesser upper midrange/presence range quantity compared to the ER4SR.
While the ER2XR has got a bass elevation (more on that in a moment), it is implemented really well, as it avoids bleeding into the midrange buts mostly stays out of it (it starts to climb around 600 Hz and reaches its climax nicely low).
Compared to the ER3XR, the ER2XR has got a smidgen less lower midrange/upper fundamental range warmth, while it is just a tad warmer in this range than the ER4XR. Generally, it is quite remarkable how close all of the three in-ears are between 100 Hz and 500 Hz, with a tuning difference of only between around 1 dB (ER2XR compared to ER3XR / ER3XR compared to ER4XR) to around 2 dB (ER4XR compared to ER2XR) between each other.
The bigger differences in the bass start below 100 Hz – while the ER3XR and ER4XR show a more or less similar response between 20 Hz and 90 Hz, the ER2XR adds a few decibels on top and has got its highest bass amplitude at a lower frequency than the two other XR in-ears (the ER2XR peaks really nicely low at around 30 Hz with an elevation of around 8.5 dB compared to the ER4SR/my ER-4S), which makes it the bassiest and most sub-bass oriented in-ear out of the three.
While there is fortunately no bass bleed into the midrange, there’s nonetheless a bit of gentle, pleasant warmth/body, that doesn’t interfere with the midrange but stays mostly out of it, added to the lower fundamental range. Sure, the elevation is not sub-bass exclusive (almost no in-ear’s bass elevation is truly sub-bass exclusive) but already features an upper bass elevation of around 5 dB at 100 kHz compared to the central midrange at 1 kHz, however the ER2XR already does a tremendously great job and comes nicely close by peaking no higher than at 30 Hz wherefore it doesn’t sound thick or midbassy and also doesn’t have an unnecessarily strong upper bass kick or punch, but a nice, “driving” sub-bass elevation from below.
As a result of all, the ER2XR sounds highly natural, realistic and accurate, but also features a really nicely implemented elevation of the lower bass on top.
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The big question, at least to me, is (, or better said, was) – is a sub-bassy Etymotic in-ear really necessary?
The ER2XR would not serve me as one of my main in-ears for stationary music listening anyway (in-ears such as the Etymotic ER4SR, my ER-4SR, InEar ProPhile 8, Ultimate Ears Reference Monitors and few others take this spot), as I prefer a flatter, more neutral presentation for that.
For recreational music music listening and recreational in-ear use, however, Etymotic’s bass-elevated ER2 model is simply fantastic; yep this is exactly the right word for it. It delivers that high midrange and treble neutrality and realism but at the same time, of course only when the audio signal reaches that low, provides a pleasant, fun sub-bass boost that doesn’t interfere with the midrange.
So, coming back at the initial question – is a sub-bass Etymotic in-ear really necessary? I think it is; it’s not simply just a comparably tuned alternative to the ER4XR or ER3XR, instead it’s absolutely a fully qualified stand-alone alternative with that extra sub-bass lift. And I have to admit that I like and enjoy it much more than I had thought.
In fact, I go even further and am confident enough to say that the ER2XR may have become my all-time favourite non-neutral in-ear for non-neutral, recreational listening; this very powerful yet not overdone bass elevation that peaks very low and focuses mainly on the true sub-bass, along with the high midrange and treble linearity responsible for a highly realistic, authentic sound, is just something that is nothing less but truly fantastic and magnificent, and something that is so rarely achieved by other in-ears.
Resolution:
Very nice, natural timbre and note decay.
Very coherent, but that’s not really a too big surprise given it’s a single-driver in-ear and since the ER4 and ER3 series in-ears as well as the ER2SE and my ER-4S sound very coherent, too.
High midrange resolution and speech intelligibility. Fine details are revealed nicely.
Clean note and treble separation, although not fully on the same level as that of the single-BA Etymotic models from the ER4 and ER3 line as well as my ER-4S. This, however, gives the ER2XR a bit more “character” rather typical for dynamic driver in-ears, and sounds highly natural while still clean and precise.
Despite being subjectively a bit less resolving than the single-BA Etymotic models, the ER2XR doesn’t have any “grain” in the midrange when compared to them – something that’s also true for the ER2SE, and is probably due to that the dynamic drivers used in the ER2 series have less distortion than the BA drivers in the other Etymotic models.
Perceived lower midrange and fundamental range as well as bass resolution slightly behind that of the ER2SE; otherwise pretty much similarly resolving.
The bass softens a bit towards sub-bass and loses a bit of texture, but doesn’t really lose control.
The lows are precise and generally pretty tight and fast, but ultimately less tight than Etymotic’s bass-elevated BA models (ER3XR and ER4XR), with transients that are generally just a bit on the softer side in comparison. The ER2XR’s subjectively perceived bass “texture”, however, even in the bass range where the three XR models are mostly similarly tuned, is more perceptible and feels different; the general presentation of the dynamic driver is just a bit different and adds something to the ER2XR that could be described as having more “character”, something that could be definitely perceived as more “natural” by many people.
Soundstage:
Compared to Etymotic’s other single-BA in-ears from the ER3 and ER4 line as well as my ER-4S, the ER2XR’s soundstage appears subjectively larger in all dimensions, especially in terms of perceived spatial width (not by much, but still).
It sounds generally three-dimensional and therefore authentic as well as realistic with a believable front projection. (It’s even also good with the portrayal of elements that are behind the listener – if they are present on the recording.)
When it comes to imaging and precision, the ER2XR doesn’t show any real weakness either and places instruments and tonal elements accurately on the imaginary stage, with clean instrument separation and a soundstage that still remains mostly intact even with busy, fast and dense music material, even though the ER2SE’s stage remains just a bit cleaner in comparison due to its flatter, more neutral bass tuning that puts less stress on the driver in busy and demanding situations (in addition, due to its flatter tuning there’s of course also less subjective frequency masking). Nevertheless, the ER2XR’s imaging is precise as well.
Largest and most three-dimensional soundstage among all Etymotic in-ears to my ears (pretty much similarly perceived spatial width as the ER2SE, however more perceived spatial depth, probably an impression that’s caused by the sub-bass-focused elevation in the lows).
Almost perfectly circular to my ears; just a little wider than deep (slightly oval).
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Compared to my Shure SE846 (white Treble Filters):
Both in-ears have got a comparable tuning and are clearly heading into a similar direction in terms of sound, but still have some differences in their tonality.
While the upper bass presence at 100 Hz is almost identical on both in-ears, the ER2XR has got slightly more quantity in the root above it up to around 450 Hz, and has got a sub-bass boost that is a bit stronger and peaks a bit deeper, giving it an even somewhat stronger “subwoofer effect” than the SE846.
The Shure’s upper mids and presence range are somewhat more in the background wherefore its upper mids are a bit darker.
The Shure’s middle treble around 5 kHz is more in the background in comparison, giving it a more relaxed presentation. The upper treble (cymbals) are more forward on the SE846. Super treble extension past 10 kHz is definitely better on the Etymotic.
The Etymotic beats my Shure when it comes to upper midrange and treble linearity as well as realism and timbral accuracy.
Voices are more realistic on the Etymotic whereas they have a more relaxed, darker character on the Shure due to its comparatively more relaxed upper midrange, presence range and middle treble.
The biggest difference however is the upper treble – while the Shure renders cymbals brighter than the ER2XR, they don’t sound fully right, and that’s not because they are brighter, but because they appear as if they decayed faster, since they lack the upper tones and reverb as the SE846’s super treble extension is pretty limited; in comparison, cymbals appear to decay correctly on the ER2XR and have got that reverb, decay and the upper tones that they are supposed to have, as the Ety’s super treble extension is better.
Bass tightness and sub-bass definition are ultimately superior on the Shure when both in-ears are compared directly, but not by much.
If fast music tracks are played, the Shure remains a bit better controlled and more focused in the bass and mids than the ER2XR, although the difference is smaller than one may expect.
In terms of speech intelligibility, the Ety is ahead as its entire midrange is more neutral, however the Shure’s retrieval of micro details in the mids is better in direct comparison.
When it comes to treble details, however, the Etymotic is audibly somewhat ahead, as the Shure simply lacks information and sounds softer, less precise and less clean when it comes to treble separation.
The Ety’s soundstage appears subjectively bigger to me. The Shure’s is more circular to my ears while the Ety’s is slightly more oval in comparison.
In terms of imaging, the Shure is only minimally more precise in direct comparison. With dense, fast and complex music material, the Shure’s stage remains a bit more intact.
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While my Shure is a bit ahead in terms of technical performance in the lows and mids (but loses in the treble), the ER2XR beats it in terms of midrange and treble accuracy, linearity as well as timbre in these frequency ranges, and is not that far behind at all when it comes to technical performance, so I ultimately prefer the Etymotic (more than “just slightly”) and also think that generally, as a whole package, it is the better in-ear (and this even while neglecting the fairly big price difference between the two).
Conclusion:
Very high midrange and treble accuracy as known from Etymotic and loved by me, combined with a fun bass elevation that concentrates mainly on the sub-bass and doesn’t interfere with the midrange. This all, combined with the good technical performance as well as the subjectively most three-dimensional soundstage among the ER-4S, ER4, ER3 and ER2 line, makes the ER2XR a fantastic in-ear and one that I love much more than I had thought I would – even to the point that, out of the non-neutrally tuned in-ears, it may have become my all-time favourite for recreational music listening.