THE PLUS:
-sweetly balanced warm W shape tonality
-smooth in intensity yet muscular in dynamic
-dense vibrant sub bass that deliver fleshy natural bass line
-warm round mid bass punch
-lush and energetic mids with wide presence
-excellent for both piano, saxo and vocal
-enough lower mids substance
-crunchy and snappy treble with it’s own wide space
-cohesive timbre between 4 different drivers
-big holographic soundstage
-you part of music yet not mixed up in a mess
-good note weight
-versatile tuning that can deliver both fun and balance
-lush timbre, just a hint of warmth coloring that doesn’t erase texture info
-one of those safe but not boring tuning that is so rare yet so needed
-potent sound layering that avoid macro muddyness
-nice enough cable
-excellent sound value
THE MINUS:
-hint of warmth mean hint of bass bleed into lower mids
-not the cleanest nor the crispest spatiality
-air around instrument isn’t pristine limpid
-not most transparent sounding (some noise in timbre)
-piezo don’t deliver a lot of sharp brilliance with airy decay release
-not the most detailed sounding resolution
-need power to shine yet don’t like too much output impedance (extra warmth+bass boost)
-all plastic + aluminum backplate construction might not promise longest durability
-treble head or neutral head will perhaps not be in awe like me
TONALITY: 9/10
TECHNICALITIES: 8.8/10
TIMBRE: 8.5/10
SOUNDSTAGE: 9/10
IMAGING: 8.2/10
MUSICALITY (subjective): 8.8/10
CONSTRUCTION: 7.5/10
ACCESSORIES: 8/10
SOUND VALUE: 9.5/10
INTRO
Simgot is one of most respected chifi companies due to their high sound value offering that show both tuning and engineering knowledge and seriousness.
IEM like EA500, EW200 and EA1000 are all incredible success stories that still are praised today, every week a fan of one of those IEM expresses its satisfaction on ChiFi Love group. Personally, I consider EW200 as a sub50$ single DD benchmark then EA1000 as sub300$ single DD benchmark.
But today it’s a new Simgot era I’m going to discover, sure they have released hybrid IEMs before but no tribrid or quad drivers config, which is why 2024 is a big year for them and why i’m so intensely excited about their Supermix4 release.
Priced 150$, the Supermix4 is a quad drivers IEM using 1x10mm DD for bass-1 full range large custom BA for mids-1 micro planar and multi layered piezoelectric driver for highs, all this finely tuned RC 4 way crossover.
This make alot of audio engineering work for only 150$….but here it’s not about more drivers like those over packed with BA IEM that sound disastrous in balance, it’s about finding coherency between different driver with similar timbre and attack speed, if the DD is slower, it will be matched for the extra elasticity it can deliver.
But will it sound cohesive and musical and still deliver potent technical performance for its budget but not ultra cheap price? Let see in this review my honest impressions.
CONSTRUCTION&ACCESSORIES
The SM4 uses a plastic resin shell with a light aluminum back plate. In your hands, plastic seems thick and sturdy enough and it’s half transparent so you can see drivers through a light source.
Back plate has a matte finish. Design is sober and elegant, not particularly impressive or eye-catching. It reminds me of an eclipse.
The housing is light and smooth, it’s quite comfortable. 2 pin connectors aren’t recessed so cable pairing is versatile too.
In terms of durability, I’m always a bit concerned about glued back plates like this, so I’ll be cautious to not drop it on a hard floor.
The included cable is good, it’s well built and sturdy, this doesn’t throw away cheap cable that will negatively affect the sound dynamic of your IEM. It’s an oxygen free copper silver plated cable with 4 thick cores. Alas it only comes in single ended 3.5mm termination, which is only a bummer here.
As for packaging, like the IEM design it’s sober, elegant and minimalist. It comes in a small box with a metallic green cover. It includes a carrying case, the cable and a bit underwhelming number of silicone eartips (6 wide bore that don’t do full justice to SM4 potential).
All in all, more than decent packaging and accessories.
SOUND IMPRESSIONS
(SM4 has been tested on at least 10 different source, which include Questyle QP2R, Ibasso DX90, Xduoo X20, Penon Tail, Questyle M15, Tempotec V6, Aune Yuki, Fiio KA17 etc)
Okay oh man those are big crushes so i will let myself loose if you permit. When musicality is that immersive, fun yet well balanced and even offers impressive technical performance, we must not hide our enthusiasm.
Especially at 150$ price that would feel as legitly priced at 300$.
It’s rare I use hyper sentences like this, but I own nearly 100 pairs of iems in the 200-500$ price range so I know what I say isn’t irrational nor based on lunatism.
The fact is, these aren’t technical sounding nor analytical nor ultra boosted in resolution, even if they use 4 different type of driver to tonal balance is smooth and natural, slightly spicy but not spiky, we are in warm W shape territory where the bass line are thick and vibrant, kick round and punchy mellow way, mids are forwards and lush and treble is gently bright, not dark at all yet not aggressive and over begging your attention with forced micro details or percussions intensity on the listener.
These are true all arounder, between fun and balanced, near mid centric and offering a cinematic and holographic grand musicality that you can get lost in for hours and hours. This type of special sound experience is very rare in budget market, when its achieve their some trade off like recessed mids and center stage, too much mid bass scoop which mean cold boom à la Harman-Crin, or too much treble lift to add fake air that don’t inflict on multi layering 3D effect.
With the Simgot Supermix4 everything is treat at same level yet everything sound dynamic and meaty too, instruments has flesh, bass has vibrancy and elasticity, treble has crunch and speed, a hint of warmth glue this together and feed lower harmonic need too which mean wide range of vocalist and instrument range will get this natural full tone and widely open presence.
Even if great, the SM4 aren’t end game IEM in terms of technical performance, these aren’t monitor purpose IEM, these aren’t end word in fine resolution nor very sparkly, piezo drivers don’t really produce brilliance, it’s more about snap and crunch of attack that get extra accent. Yet I could say this about a lot of kilobucks IEMs too….SM4 goal is to be musical and offer a different type of sound experience, it take full advantage of holographic layering and seek a tonal balance that will do good for wide variety of music, it’s barely safe tuning but bass boost and upper mids energy as well
The bass is one of highlight of SM4, it’s rare I’m that addicted to Simgot bass, it does happen with EA1000 but in a less fun and musical way the thicker rumbler bass of SM4.
This bass digs deep, very deep and it’s not about resonance mimicking true rumble goodness here since double bass and cello sound full bodied and oh so lush and vibrant.
We have both the sub woofer like fully extracted bass line or rumble loudness release as well as a round mid bass, slightly thicken with warmth yet both can coexist without going muddy, the layering and transient being very good and the boom not too excited to the point of veiling anything, this bass stay in the back of an open holographic sound tapestry, yet, not thin nor compressed in this soundscape, it’s tactile and fleshy and very weighty but not hard hitting to the point of creating basshead level fatigue.
Yet, I would suggest those for mature basshead seeking a well balanced musicality with excellent bass quality and generous enough quantity.
As a big fan of cello which is one of my fav instrument even more so than violin, i was truly euphoric about how lush, bodied, wide in presence and vibrante in attack sustain-release this instrument sound, it’s rich in texture details too, complemented by other driver without going too much in texture boost, her it’s the tone and fullness of instrument that is put forward, its corpulancy which is anything but thin or lean, this mean you can confound the cello with violin which do happen with too much lower mids and upper bass scoop, again with bright lifeless harman target which Simgot bypass here. The SM4 are a must for both cello and piano lovers.
Yet, double bass while a notch warmer than cello in term of attack release is very good too, it have a rounded and densify sustain giving it more weight and presence fullness but affecting transparency of its otherwise lean extension that in fact isn’t suppose to be that thick, nonetheless i tremendously enjoy jazz trio with this, it’s more fast complex jazz that will make the double bass less accurate in attack and clean in separation.
Ok i think i will say every part of frequency is an highlight in it’s own right with this very enthusiastic review, so, in fact, if my mind wasn’t hooked that much by well layered bass section I would consider the SM4 mid centric because nothing sound recessed or lack weight within this range, as well, when piano sound rightly restitute in both tone fullness and weight or impact, it does mean mid range is fully cover and focused, which is the case here.
Piano has a perfect mix of warmth and transparency to me, each note is round and has a natural resonance that doesn’t feel forced and blossoms gently without mixing and blurring other notes. Higher pitches don’t suddenly sound too loud either, so the whole piano range is treated in similar balance, without harsh peak or overly boosted texture grain, this is pure lushness bliss.
Then as if it wasn’t enough, both male and female vocal sound great, sure the female vocal are a notch more forwards and loud than male but none sound recessed or shouty or too edgy in timbre, it’s in fact slightly creamy, fully bodied and widely extracted in presence, it don’t feel smaller than reality, perhaps a notch bigger and more stretched in presence so it do capt the attention more than other instruments yet the holographic layering permit you to focus on other layer, but not with as easy readability nor as carved fully in presence.
This is the thing here, SM4 mids aren’t plain crispy clean and transparent, we have lower mids warmth that rounded note and presence fullness, vocals are meaty not thin and forced in transparency not lacking proper tactility of presence, it’s well defined and forwards without going shouty. It’s not a mid range that make you distracted with too much sound info or excited macro dynamic of center stage, you tend to focus on main instrument or vocal which is magnify here, then you can appreciate other sound layers like you’ll appreciate other color of an impressionistic painting, vibrant with diversity of sound info stroke but not sharply define in presence micro details, this isn’t over edgy mids nor analytical, it’s even laid back.
As well, attack sustain release as a hint of balanced armature euphony, as if what is used is a vented BA, sustain dominant release adding this chunkiness to timbre.
It’s not an open yet thin mid range that feels recessed due to a U shape tuning that scoops whole lower mids, again, we are in near mid centric territory-well balanced.
The treble is thick, crunchy and rounded, percussions are bodied not just about short attack lead intensity, it’s not very sparkly yet not too dark or rolled off, we don’t lack air as a whole here, just a hint of brilliance and clean sparkly resonance. This is inherent to both planar and BA and some might wonder how these were implemented, I think Simgot chose to filter the intensity of air flow which means it makes highs more vibrant and densify than sharpen and intensify in attack and release. The planar seems to mix and complete upper mids and lower treble then the rest is rather smoothen and then we have an extra attack energy in percussion crunch and snap which has their own space for proper layering and dynamic freedom.
That mean its no splashy percussions, its fast and thigh, hithat ar thick and abrasive and free of unwanted resonance, crash cymbals are dense yet soften in long release, acoustic guitar are full sounding, not over boosted in any part, perfectly layered with again shorten brilliance release but this doesn’t annoy me as much as with other IEM cause it sound full and real, not too warmed by lower mids in attack lead so even electric guitar has enough texture bite.
Finger snap and snare too will reveal this smoothen attack sharpness, but the planar extract alot of texture info and mix it fluidly into timbre for a very pleasant result: both captivating yet smooth, both 3D yet not concert hall cold like a Sennheiser HD820.
I find this treble as refined as a Final E4000 with greater technical prowess.
Nothing sound mixed together with SM4, and even if just a notch darken in sharpness, you’ll be surprise to find new micro details or texture richness, both piezo and planar can really surprise by easy of transient and what it can dig up, but here, it’s not boosted for a wony wow effect, it’s balanced and creamy.
The soundstage is another positive surprise with those: wide, tall and holographic. It’s not the deepest, blackest or cleanest. It’s layered and out of your head with a feeling you’re being on your shoulder an intimate surround system. It’s the kind of spatiality that can make you turn your head to check what’s up with this sound at the back of my head?
Immersive to the max, you are in the middle of grand spatiality.
As for imaging, it’s not the end word in terms of lateral instrument spacing, it’s more the sound layers dynamic that float toward you and don’t mix up together. So for simple music it will be impressive, you’ll extract bass line, singer and percussions effortlessly and be able to track their playing singularity but when it comes to more complex polyphonic jazz, rock or classical, separation will feel a bit foggy, lacking precision for proper tracking. I’ll not suggest those for monitoring unless you’re a bassist or singer, yet even for their better stuff, even EW200 is more precise in that regard.
SIDE NOTE
The Supermix4 are odd in term of impedance and sensitivity, they have super low 7.2ohm (!!??) of impedance yet high sensitivity of 120db/Vrms. This means they are quite source picky, too low impedance or Vrms will greatly inflict on dynamic while too high impedance can warm and add distortion to sound, this will make macro dynamic more mushy as if some driver dominates other.
Yet sources like Aune Yuki, Penon Tail (bal-low gain) and Fiio KA17 are all good matches since we have both power and average impedance gain, the later having lowest one. Sm4 can get warmer and bassier with some source, Tail at high gain is a great example.
So, at they end this make the SM4 even more fascinating to enjoy in diversify flavor, it’s a polymorphous yet versatile sounding IEM that can get crisper or bassier or warmer depending of source, this will most likely explain different appreciation of its timbre and dynamic from reviewers and consumers.
Then they are very eartips picky too, it’s expected with such a thick nozzle with 3 holes in it connected to 4 drivers, those holes are near nozzle lip so prompt to be blocked with ear tips that don’t have a wide nozzle enough. I suggest short wide bore with those, if you can see 3 holes of IEM nozzle thru eartips hole it’s a good sign. This will greatly widen and deepen spatiality, make balance smoother, notch warmer and instrument and vocal wider in presence, the sense of layering has a bit more air and space around them too.
Then for cable, those that tend to add gain to dynamic are best match, it means it doesn’t damp impedance of source. I’m no electrician so I can’t really explain physics law about this. I guess betting on low impedance cable with lotta strands and silver plated material is a better bet since it’s the Simgot LC7 I use the most with SM4. I don’t suggest all copper cables that warm and smoothen dynamic energy or add mid bass cream, since bass is already warm enough with SM4, cleaning it is a better idea.
COMPARISONS
VS GEEKWOLD GK100 (3DD-2BA-4piezo-200$)
The GK100 is brighter, more W shaped and analytical, less bassy and warm and not as cohesive and organic in drivers timbre and dynamic flavor balance.
The bass is dryer, it has less density, less round chunky slam, less rumble and sub bass feel roll off. Bass lines are thinner and more about presence which has more texture details but less tone vibrancy and tactility. Acoustic kick drum of GK100 is less warm, cleaner and tighter in attack which is better defined and not as prompt to get lost in the mix of speedy rock or jazz.
Mids are brighter, thinner and more forwards and centered with GK100, it feels compressed in center stage yet has more boosted resolution and edgier definition of different instruments which are less warmed by bass. Mids are more prompt to shouting and sibilance and have more grainy timbre. Male vocals are more recessed and boxy with GK100 too. Mids are darker and lusher with SM4, vocal presence is wider, piano has more note weight and natural timbre, trumpet doesn’t sound loud and boxy.
Treble is way more energetic with GK100, 4 piezo truly extract greater number of micro details and limitation of 1 piezo is evident with SM4, though the balance is more natural and smooth it doesn’t have as much sharply extracted percussions, they aren’t as clean and snappy, sense of snap is sure more authoritative with GK100 but this can go borderline trebly since sound info it extract include background noise artifact which SM4 avoid. SM4 percussion and high pitch instruments are thicker, dense with more euphony. Hardcore treble heads will surely be more wowed with GK100 treble.
Soundstage is notably taller and wider with SM4, while depth is similar since both these IEM don’t have perfectly clean backgrounds and spatiality.
Imaging while more compressed with GK100 is still superior due to higher resolution and edgier separation of instrument, which are closer to each other but better carved in presence. I mean, if the GK100 is analytical, it means we can easily perceive diverse sound layers.
Here i struggle to conclude GK100 is superior technically, but I think even if tuning is inferior in cohesiveness and don’t trigger emotional response for me due to harsh timbre and overly forwards upper treble, the GK100 technical prowess is more upfront and since it deliver higher resolution, faster and more controlled attack as well as superior imaging, the GK100 is indeed the unbeatable treble head winner. Yet for bass and mids lover as well as soundstage lover the Supermix4 is the one that I prefer and will use daily, unlike GK100 I barely ever touch.
VS CELEST PHEONIXCALL (1DD-2BA-2SPD-130$)
The Phoenix is brighter and more hard V shape in balance and it’s again more analytical, as well as more crisp and sparkly.
Sub bass is more resonant and thin, overall bass feels more detached and artificial, it’s really less lush, dense, natural in balance and pleasant than the SM4. It feels more mid bass focus and more excited in speed, not as round in punch, not as warm too.
Mids are a bit similar to GK100 here, it’s more forwards and aggressive in upper mids, timbre is thinner, more prompt to sibilance with female vocal which aren’t pleasant at all and more shouty and artificial (again but that DNA of this IEM)…hum, yet mids are more open and clean too, more transparent and resolved, edgier way, harsher way. Mids are more recessed and thin, lacking lower mids fullness of lusher more mid centric SM4.
The treble is more upfront and aggressive, more analytical and speedy and snappy, cymbals have more brilliance and percussions can be followed more easily, in fact it’s forced on the listener. Instrument attack from guitar and violin is more edgy and abrasive, yet rougher and noisier too.
Soundstage is notably wider with SM4, but taller and a notch deeper with Phoenix that has a more recessed center stage to magnify a sense of concentrated openness.
Imaging is superior with Phoenix though less realistic in balance, macro sound layering is crisper and more edgy in separation, everything but bass line is easier to track with Phoenix.
All in all, i can’ handle to listen the Phoenix more than 5 min while im addict to SM4 musicality for hours and hours, so no doubt in term of tonal balance it’s from another league of refinement and well rounded fullness….as for technical performance, these are on par, treble is similar since both use planar, bass performance is better with SM4, mids are fuller and more even but treble isn’t as boosted and vivid, so again, plain hardcore treble head might prefer the Phoenix
VS Letshuoer Cadenza 4 (1DD+3BA-250$)
Cadenza4 more U shape and lean sounding, less bassy, a notch smoother as well as less airy and holographic.
SM4 feels more W shape and dynamic sounding with more punch and more vibrant rumble, it’s snappier and more airy and extended on top (past 10khz) and we have more air around the instrument for a more spacious and layered soundstage.
The bass is weightier and has more slam roundness and more impactful intensity, making Cadenza4 feel very mellow in attack, while for sub bass Cadenza is more lean and foggy. Attack is more speedy and tight with SM4, warmth doesn’t soften mids as much too.
The mids are more energetic and forwards with the SM4, the presence is less widen with resonance and not as light and as centered, its evident Cadenza use higher end balanced armature, it’s more transparent and rich in texture, attack is more controlled and less warmed in sustain release which make timbre a notch thinner with Cadenza.
The treble is leaner and less airy and crunchy with Cadenza, its dryer and even less sparkly than more energetic SM4 which is far from being aggressive already so Cadenza is safer in tuning, more neutral and again the knowle BA show its refinement in term of greater fine details and cleaner texturing, less creamed with euphony yet less dynamic and colder overall too.
Soundstage is notably wider and taller with SM4, a notch deeper and cleaner with Cadenza.
Imaging is superior due to greater sense of transparency and clean clarity with Cadenza.
All in all this comparison underline how good yet similar in balance these 2 IEMs are, the fact Cadenza cost 100$ more sure permit the use of better BA driver which is main different here, but this don’t mean treble extend further since past 10 khz the SM4 offer more piezo sparkle and air. Cadenza feels more refined and neutral in musicality, while SM4 is more fun and immersive, warmer overall but more energetic in dynamic too. Personally I find more musical pleasure in Supermix4 but for classical music I will choose Cadenza4.
CONCLUSION
After having tested more than 300 IEMs in all price range possible, i finaly conclude hardest thing to achieve is the balance between musicality and technicality, in fact, all in technical performance with wonky tuning or timbre is way easier to achieve than proper coherency of drivers timbre and dynamic energy as well as unspiky smoothness that will not feel overly damped in attack intensity.
This is when i consider an IEM is exceptional, and this musicality magic is very hard to find in sub200$ IEM market, so this explain my sincere intense enthusiasm about the phenomenal Simgot Supermix4.
To get such an wide open holographic 3D musicality with weighty vibrant bass, lush and full bodied mids and a fast crunchy treble that don’t stole attention nor feel out of place is a statement of love of music and to get this transient articulation, effortless sound layering capacity as well as well carved presence of each instrument and vocal without going analytical, too bright or too focused on one part of sound spectrum is a tour de force in it’s own right.
Sure, this isn’t end word in crispness nor resolution, it have some warmth darkening definition sharpness of mids, but this avvoid cold and clinical presentation, this avoid some issue i have with IEM like EA500LM and EA1000, it goes buttery musicality instead of ovverly edgy one.
The Supermix4 is a do-it-all versatile, fun, immersive and musical sounding IEM that can please everybody but hardcore treble head. Mid and bass lover will love those, as well as soundstage sucker and those listening to wide range of music seeking for proper performer. This isn’t an IEM tuned solely to listen to K-pop. This isn’t a cold harman tuning.
The Supermix4 are familiar yet different sounding, all about magnifying your musical experience.
VERY VERY HIGHLY RECOMMENDED!!
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PS: I want to thanks Simgot for sending me this review sample. As always, i’m wild and free minded and Simgot will discover this review at same time as other reader with zero positivist or biased compensation from my part. I have zero official affiliation or financial compensation to write this review either.
No Borders Audiophile 