ET142

simgot et142 is certainly up there, known to be a beast for resolution + techs a brighter signature (like et142) tends to have the effect of pushing up the perceived detail and resolution. whether or not you can handle or prefer that brightness though is a different story but it does have a more engaging sound while still being able to keep vocals present for resolution though you won't be disappointed with any of the planers you listed, those are all excellent choices. t10's are pretty much clones of s12 in a plastic shell so if you want something like what you had then those are there

Kiwi Ears Canta (around 100usd) Punch Audio Martilo (300ish usd) AFUL P5+2...have a mini planar in there...(a little over 200usd) Simgot ET142 .... planar with pzt driver (around 200) I have all those...and I love em. That's my regular rotation

I like BOTH the Divine and Diablo tuning. They are DIFFERENT. Those cables are certainly not my cup of tea. They were immediately replaced as soon as I unboxed the sets. I also have the ET142...the versatility (nozzle tuning) of that set puts it in a different spot compared to ALL the others. I have others "older" planar and planar hybrids. The only one that doesn't hold up (to me) is the F1Pro.... especially when compared to the Divine. The issues (for me) of the F1 Pro can be managed with EQ and tip rolling.

I think some folks (me included) get surprised with the quality and amount of bass a planar IEM can bring. Typically people hear planar and they associate the shimmery almost metallic treble. Add-in the fact that most planars are often associated with open back cans...which steers people toward open and bright (thank you HiFiMAN) Truth is planar drivers are EXTREMELY versatile. They take EQ like a champ! I have one planar only set and several planar hybrids. The F1 Pro (NiceNCK) can give me the rumble if I put on a nice bass shelf. The ET142 (Simgot) is a hybrid planar that can get plenty warm with a nozzle change AND a attenuation foam insert. Not quite Explorer level warmth...but warm nonetheless. Am excited to get my hands on the pair of 7Hz x Crinacle collabs that just came out. They both seem right in my sweet spot for the music I listen to

God no. If you want simgot you need to spend more to get to the level of Aether. Et142 will be on par but they cost more

It's a game changing planar. It's a real shame that so many reviews of the non-final version went up. I think it took a lot of wind out of the sails. Technically it might not be a massive step up from the other $100-$200 planars. But the *Versatility* that it offers is something no other planar can really offer. It competes with the kilobuck planars at a fraction of the price, and the only real downsides as you mentioned are the weight of the IEMs and the cable, and the fact that most people don't wanna swap nozzles. Happy you're loving it. I love mine.

There isn't one exactly (it's sort of the holy grail of IEMs), but the Truthear Pure has a lot of similarities although without EQ it's much bassier - and not just HD650+sub-bass. Also I believe the SoftEars Volume S has a lot of similarities as well (with more comfortable shells), but I haven't heard that one yet. For HD600+sub-bass, I describe the Thieaudio Legacy 2 that way a lot - it's a bit more vocal-forward where it's right on the edge of being a bit shouty, but not quite over the line. Otherwise very neutral, exactly like the HD600 (the 650 is warmer and more relaxed - and IMO more neutral than the 600, although that may be a controversial thing to say). It's more neutral than the Pure without EQ I would say, but the Pure is a better IEM if you EQ it, because the L2 treble doesn't extend past about 14kHz (which is fine for general music listening since there's normally very little information that high anyway, but it's not great for monitoring etc.). Apparently the SeeAudio Yume (the original version) is tuned a lot like the Legacy 2 and maybe even a bit better, but I haven't heard that one myself and I'm not sure if they still sell it. The CrinEar Reference may be worth a look too, but "neutral" in IEMs doesn't really exist because of HRTF differences between people, so it's debatable if the Reference really is a reference like the HD650 is or not. Reviews of it are a bit mixed, but reviews of the Pure are very mixed as well. Both are tuned to JM-1, but the Reference hits the target a bit better. If you want to understand that and why it is/isn't neutral, see [Joel's video about](https://www.youtube.com/watch?v=EZoKPtzjdtQ). Funnily enough more or less within the same week of the Reference coming out, the Headphone Show has stopped using JM-1 as their reference target because of research they've been doing lately (albeit the changes are small). So I don't expect the Reference will have anything like the longevity of the HD650, as too many people find it sounds not-quite-neutral. There's actually no evidence that JM-1 sounds perceptually neutral to anyone (it's based on mathematical model) - whereas the HD600/650 tunings were based on actual listening tests (and over-ears don't have the same problems of bypassing the pinna). A lot of people describe the Daybreak as very neutral even though it's technically U-shaped, and seems to be more enjoyable to listen to, to more people. I haven't heard the Reference yet, but IMO the Pure has a fairly enjoyable stock tuning, so it's probably more like the HD650, in that the HD650 is a very enjoyable headphone to listen to, even if it's not perfect. So it's unclear if the price difference is worth it, even if you're looking for a neutral reference, since the best way to achieve that is with EQ anyway. Bit if you want the general "vibe" of the HD650 the Pure is probably the one you want. The biggest downside of the Pure for me was comfort, but it's much better than the Hexa (which IMO is extremely overrated) so depending on your ears you may have no issues with it. It's no cheaper to buy anywhere other than Amazon though, so it makes sense to make use of their free returns policy. The Prisma Lumen is also tuned like this and seems to sound more perceptually correct to more people than the Reference, but it's in a whole other price bracket at around $1300.

I watched about 8 or 9 reviews back to back, as they all released at once due to the embargo. As a result they all blend together a bit, so I'm not going to be able to point you at specific ones, as there's a good chance I might misattribute something. If you pay close attention though, a lot of them call out minor issues, especially with the treble, which Precog just calls out more explicitly. In fact I'll probably go back and re-watch most of them later, with Precog's review in mind (and I'd recommend others start with his review *because* it's more explicit about what he doesn't like). Super Review said similar things, in different words. If you watch/read enough reviews, you start reading between the lines a bit more, as there's always a stronger positive bias in reviews (unless it's Dracomies). The reviews are overall positive, but the conclusions are mostly some variant of "this is very good for what it's trying to achieve, but it's not for me". Which if reviewers were more honest about just giving their own impressions than trying to guess what other people will think, would likely push the overall scores down a bit further. The big exception to that is Resolve who seems to genuinely really like it more than any other IEM. But Resolve is a bit of an outlier when it comes to IEM reviews, because he always gets length-mode issues. I don't mean that reviews were mixed in the sense that there were loads of outright negative ones - just that there are enough flaws that I don't see the Reference holding up as a benchmark IEM in 12-24 months' time, let alone 30-ish years like the HD6x0 series has. I'll be curious to see what people do think of the Reference in 12 months after the hype dies down, and when there are inevitably a lot more things on the market aiming for JM-1 without the excessive bass that a lot of the early new meta IEMs (like the KE4) had, which makes them sound veiled. And don't get me wrong, I agree with their overall sentiment that it's something that should exist and is almost certainly going to be good for the IEM market in general. I haven't heard it, so I can't comment on whether it's something I personally would buy or like, but as a *reference* I'd probably just pick up the Pure and EQ it. Especially given the Reference shells are apparently quite large, so it likely doesn't address the comfort issues the Pure has (and it hasn't knocked the Volume S off the top of my want-to-try list). I can be a bit more scientific when it comes to mixed reviews of the Pure, because they came out over a longer period and I kept a [running tally](/r/iems/comments/1lmledy/first_truthear_pure_review_is_out/) of them at the time. Having now heard the Pure myself, I can see where the "mud" accusations come from, although I'd personally call it a mild bass bleed rather than mud, and it's quite easy to fix with EQ. And it seems the adjustments the Reference needs are likely in the treble (hard) whereas the Pure mostly just needs a slight reduction around 200Hz (easy). Also the thing that worries me a bit about the Reference from a purely objective standpoint is that the treble seems to fall off a cliff at around 16kHz. I can hear up to about 17.5kHz so while I don't need extension all the way to 20kHz, for critical tasks I would want at least 18kHz without roll-off. This is actually the main reason I want to find a good upgrade from the Legacy 2, which stops at 14kHz (and no the Hexa isn't it). On that metric the Daybreak actually does a bit better. And the roll-off is so steep on the Reference that it probably can't be EQ'd back up, whereas the Daybreak can always be EQ'd down. Even the HD650 which is not known for its treble extension, doesn't start to roll off until about 18kHz, especially with fresh pads. > there are a ton of HD650/600 haters Yes, but also no. There are serious criticisms like the lack of bass extension and the issues with pad wear. Some people legitimately prefer other things, mostly for those reasons. And for certain tasks like mixing, a planar+EQ is going to outperform them. Then there are some deeply unserious criticisms that are mostly not in good faith, mostly from the same kind of people who say power cables affect sound quality. Outside of that, it's very clearly a benchmark headphone and recognised as such by the vast majority of people. The situation with IEMs bypassing the pinna is very different. It's not clear if there will ever be an HD650 of IEMs, unless it's something that's specifically designed to be easy to EQ, and EQ is accepted as part of the equation. In many ways the Dusk tried to do that, but it was let down by a very poor quality DAC implementation in the cable, and the stock tuning was different enough from the default DSP that it's not much good for use with analogue gear. I also think the Dusk was trying to use DSP to *fix* the analogue tuning, as opposed to aiming for a neutral baseline tuning with DSP purely for HRTF correction. Speaking of analogue gear, it's likely that the Reference *is* the most neutral IEM on the market currently if EQ isn't an option (or maybe the Lumen). Although it's also likely that if you have the opportunity to listen to a bunch of different things, that something might match your own HRTF a bit better through random chance, and hence end up sounding more neutral. JM-1 is just an average, so in theory it's going to sound too bright to 50% and too dark to the other 50%. There's not a lot that can be done about that, but it's worth keeping in mind that there's actually no evidence JM-1 sounds perceptually neutral to anyone. And the history of ergonomics research suggests that averages do not work. The HD6x0 wasn't tuned to a DF target in the same way that IEMs are currently tuned, it was tuned to "loudness diffuse field" which is based on [actual listener tests](https://www.youtube.com/watch?v=TE1AIbetvDs). It would be interesting if someone tried to apply that methodology to tuning an IEM, and if the result ends up sounding more neutral to more people, or if it just results in a wide spread that ends up back at JM-1 anyway, once you try to average the results - I suspect it would need iterative testing to avoid that. Harman IE, for all the issues people have with it, was actually based on listener preference research. The Harman MoA 2025 target looks quite different to JM-1 and actually if you compare the complaints people have about the Reference with that target, it looks like it might address them. I don't know much about that target though (I don't have an AES membership and haven't read all the research, so I'm not 100% sure what it's based on). And I don't think anything is actually tuned to it, yet. But that's another possible *new new meta*, that might end up being closer to true neutral, for more people.

> Actually I'm kinda hoping once all is said n done with the reference we start to see companies attempt IEMs with preference bounds in mind and create something more diverse. Yes actually it would be nice if someone tried to use tuning nozzles or switches in a less gimmicky way, so they maybe represent 2 or 3 HRTF targets, instead of one. But give us one tuning per IEM, don't use a switch for "normal" vs "basshead" - just pick one flavour per IEM and design everything else around that. And much of the rest of the future of IEM design should be about reducing ear canal resonances that aren't part of the unblocked HRTF. The interesting thing about tuning nozzles is that almost all of them affect the eargain region & treble where HRTF effects are present, but in almost 100% of cases that I can think of, reviewers universally prefer the same one and the rest are just junk, rather that falling into clusters of preference based on their HRTFs. The only exception I can think of is the Simgot ET142, where they simply provide multiple tunings that are all potentially good (for the same listener). I find that interesting because it shows that while we *know* HRTF effects 100% definitely affect preferences, they don't affect preferences for tuning nozzles in the way they are designed currently. Presumably this is because one follows a somewhat HRTF-like curve and the rest of the IEM is tuned around that one, while the others just add random frequencies well outside anyone's preference bounds. > a single target is just not ideal for listener preferences. While this is almost certainly true, what's missing is a solution. One thing that would be interesting is instead of a single median HRTF like JM-1, come up with clustered averages instead, so the result is 2 or 3 different targets which could then be used as the targets for tuning-switch modes. The result is then a lot more like a height adjustment on a chair than giving everyone PEQ and telling them to just build their own chair from scratch.

I recently tried the S12 Pro, S12 Anniversary, Timeless II, Timeless AE, Simgot ET142, Artti T10, Hidisz MP145, and Zetian Wu Legend. It's tough to pick a personal favorite since they all have their pros and cons, but if I had to choose, my top picks would probably be: * Timeless II or Timeless AE (whichever is cheaper). I like the Timeless II, but it can be prone to sibilance. The Timeless AE isn't as sibilant, but its upper treble is definitely a bit too much for me. * Simgot ET142. These are actually really good. The bass reminds me of the Timeless II/AE and the treble isn't as harsh as, say the S12 Pro. My only issue is the apparent peak in the upper-mids. * S12 Pro. Mostly because they're one of the cheapest options and the fit is easy as hell. They don't lack in technicalities compared to the rest either but yeah, the treble can be a bit too much for me. * Lastly, the MP145. The fit can be tricky, but when I get a good seal, they're good. Plus in my country they can be cheaper than the S12 Pro. As for the Artti T10, I had a hard time getting a good fit so I'll probably pass on that one. Still haven't tried the Zetian Wu Heyday or the Kiwi Ears Aether tho.

Sorry for the late reply bro, things were kinda hectic irl. >how is ET142 compared to others? Compared to other Simgots? Or other planars? I think they’re pretty comparable to something like the Timeless II and they’re super easy to fit in my ears. I was actually surprised I could enjoy the ET142 even though they have a lot of energy in the treble. They’re a lil bit harsher than the other Simgots (kinda comparable to the EA1000 in terms of harshness) but you can sort of tune it because of the nozzle options (they give you 4 nozzles). For the price they’re pretty detailed. Compared to the SM4, I feel like I get “better” bass in ET142 since they are kinda a planar set. I get faster transients and all that so the ET142s are nicer for metal song. The downside is ET142s have more energy in the upper mid and treble compared to SM4. Vocals can sound more shouty in ET142 and ET142s are more prone to sibilant due to that extra energy in the treble.

**Hello Community!** It is a great pleasure to share my experiences with the Simgot **ET142**, a special set of monitors and one of the brand’s flagships. I have spent days with it, enjoyed others, and picked them up again to finally bring you an analysis as accurate as possible, avoiding leaving anything in the inkwell. **Price:** 230€-250$ [Link](https://www.linsoul.com/products/simgot-et142?srsltid=AfmBOorsKamuyV1VP0bBIOHHs_ZaMYvQYBjdCQtZJ8FFWaKCM0CLHbHi) **Pros:** \-Technical capabilities above average. \-The sound separation is a delight. \-Very notable treble extension. \-Great level of macro and micro details. \-Airy sound presentation. \-Sense of speed and precision. **Cons:** \-It can be excessively revealing. \-With some nozzles fatigue may appear. \-The planar timbre is very noticeable with some nozzles. **Accessories:** \-Two shells. \-Three sets of ear tips. \-Four pairs of tuning nozzles. \-Sixteen pairs of O-rings for the nozzles. \-Two pairs of foam filters for the nozzles. \-Cable with 0.78mm termination and modular 3.5mm/4.4mm connection. \-Carrying and storage case. \-User manual.  **Comfort, design and construction:** The shape of the shell fits quite naturally in my ear, and although they are not the lightest IEMs, the weight is well distributed. I was able to use them during long sessions without them becoming uncomfortable, something I value quite a lot. With the stock ear tips, I feel that I have many options to find the perfect fit. They come with three different sets and that allows me to play both with comfort and with the type of sound. At the design and aesthetic level, they seem very striking to me. They have that polished mirror-like metallic finish that looks quite premium, although yes, fingerprints show easily. Even so, in hand and worn they convey a feeling of a well-cared and high-end product. In terms of materials and build quality, I notice them very solid. They give that sense of durability by being made of CNC metal, as if they were going to withstand the passage of time well. They do not feel fragile at any point and the body sealing is well finished. I also like the cable quite a lot. It is thick but flexible, does not tangle easily and feels of good quality. In general, my feeling is that the whole set is very well thought out and built, with an approach clearly pointing towards higher ranges. **Technical aspects:** \-1PLN+1PZT configuration. \-Impedance of 14 ohms. \-118 dB. \-Declared response 8hz-40khz. **Nozzles:** ET142 offers a set of interchangeable nozzles, each with a well distinguishable and differentiating tuning. The blue nozzle will be the reference for comparisons. Blue (long): the bass is not the protagonist for its rumble, but it is agile, firm and dry, giving way to a very clean, spacious midrange with outstanding note weight. The treble is detailed, sparkling and open. Without internal foam filter. Yellow (long): somewhat warmer in the midrange but the upper part gains brightness and information. The bass gains a bit of weight. The stage feels somewhat more compressed but the sound positioning is absolutely outstanding. Without internal foam filter. Black (short): seeks balance and focuses on smoothing the higher frequencies. The mids step forward showing a frontal presentation of voices and instruments and regarding the low frequencies, they are controlled at all times, without overflow or excessive prominence. It carries an internal foam filter. Red (short): bass and sub-bass gain a lot of prominence, but with a somewhat slow decay that may seem not clean. The mids maintain a soft and pleasant texture, with enough presence and separation although they are slightly invaded by the lower frequencies. The upper range is trimmed and far from any sibilant brightness, reducing in a certain way the captured detail. **Configuration for tests:** \-Warm/neutral source. \-Gain set to medium. \-Stock cable 4.4mm. \-Blue nozzle + stock ear tips with orange core for music. \-Red nozzle + stock ear tips with orange core for single player videogames. \-Yellow nozzle + Tri Clarion ear tips for multiplayer videogames. **Sound signature** Starting with the lowest frequencies, here I clearly notice that the bass does not want to be the protagonist. It is that typical planar magnetic bass, fast, clean and with a short decay that makes everything sound very orderly. The sub-bass is there, it does not disappear, it is heard with a natural wrap that can shake your head although it is more a presence than an overwhelming experience. It appears when the track asks for it and leaves without a trace. The mid-bass has punch but is dry, more focused on marking rhythm than giving body. There is no big hit nor that physical sensation of warmth. Here everything is focused on control. In complex tracks I enjoyed it a lot because it never invades the mids, it never gets dirty. I can follow the bass without effort and with emotion. It is a bass that I respect and savor to exhaustion. If I look for precision, it is perfect, but if I look for extreme fun or warmth, it falls a bit short. Even so, the cleanliness and separation are top and very much in line with what is expected from a well implemented planar Speaking of the midrange, ET142 begins to show its grace. The mids feel very open, quite airy and with good overall clarity. They move completely away from the density given by a warm sound signature, rather they approach and achieve a slightly bright neutrality. Guitars have that crunchy touch, details come out easily. It is not a thick midrange, it may even lack emotion although it is gratifyingly technical. What I do like is that it does not sound forced: fluidity is its hallmark, everything has its well delimited space, I separate instruments effortlessly, with a highly organic dynamism. Despite this, sometimes, and depending on recordings, I feel that there is a slight distance. That helps it not to fatigue, but also makes it lose some intimacy. It is not a romantic midrange, but it is extremely clean and functional. Now in the high range, and this is where this blue nozzle makes sense. The treble has air, a lot of extension and that point of brightness that makes everything sound bigger. It is not as aggressive as the yellow, but it is not soft either; future buyers are warned. It is in that middle point where there is sparkle without becoming unbearable. Cymbals have good definition, fine details shine easily and there is quite a sense of space. The PZT driver is very noticeable here, especially in that spicy touch that gives texture to the treble. What I do notice is that, if I raise the volume a lot, it starts to be too expressive. It is not the most relaxed IEM in the world, sometimes it behaves like a knife, it wants you to pay attention. I like it because it maintains detail without becoming excessive, and that makes it more usable day to day. In vocals, it seems quite balanced to me. Deep male voices sound somewhat light, they lack a bit of body. Normal male voices are well positioned, clear, without exaggerations. And female voices have good presence, with that air that makes them stand out, but without becoming too aggressive. In general, I would say that the voices here are more clean than emotional. In imaging I notice that it is one of its strong points. I can place sounds quite precisely, even in lateral planes and towards the back. It is not ultra surgical, but it is very competent and fun for games or complex tracks. The soundstage feels quite open, especially in width. Not so much in height, but I do have that sensation of air around. It is not gigantic, but it is above average in its range. In layering it performs very well, although it is not its star point. The layers are separated, with a well measured scale. Everything is perceived clearly, but more horizontally than in depth. And in detail retrieval… here it really shines. The detail is there, easy to perceive, without having to force listening in a more technical approach. **Single player videogames:** Always looking for the most cinematic experience possible, tested in narrative and intensive action titles. [Check my blog to see the specific games](https://hifijuegos.blogspot.com/p/como-analizo-el-audio.html) and the conditions of audio analysis in videogames. With the Simgot ET142 and red washer nozzle, in single player videogames everything feels more cinematic and less surgical, as if the game were designed for you to enjoy it instead of analyzing it. In action passages, the first thing that catches my attention is the weight that hits and explosions have. The bass here is not the fastest nor the driest, but it is rounder and with much more body, which makes each impact have a kind of natural reverb that fills the scene. It is not that hyper controlled bass of technical profile, here everything sounds bigger than it is, more dramatic, more forceful. In intense combats it is appreciated because the action feels more physical, although in extreme chaos I lose a bit of definition among so many effects. Even so, I prefer that more enjoyable approach than analytical in this type of games. The dialogue scenes follow that same line: warm, soft and quite natural voices. They are not exaggeratedly forward nor have that bright edge that can tire. They are easy to follow, although in moments with a lot of action behind they can lose a bit of sharpness. But in general, everything feels more relaxed and less aggressive. Regarding immersion, is where this tuning shines the most. Environmental sounds have more atmosphere than technical precision: wind, distant footsteps, echoes, machinery in the background… everything forms a continuous background that puts you inside the game world without you analyzing every detail. It is that type of sound that gently draws you in and simply lets you play. The stage feels relatively wide horizontally, with decent depth that helps separate near from far, although it does not become especially holographic or open. It is more enveloping than expansive. For this type of videogames it is more than enough. Speaking of the separation of sound elements, it performs well but is not very remarkable. In simple scenes everything is clear, but when it fills with effects, the sounds tend to come together a bit, without becoming confusing, without losing resolution, but the loss of transparency is somewhat evident compared to other nozzles. Sibilance is quite well controlled, even in intense moments, effects or raised voices. There are no annoying peaks or exaggerated harshness, everything remains smooth. Perfect for long hours of gaming. And positioning is correct and intuitive. You can locate enemies and directions without problem, but it is not millimetric precision. It is more a clearly enjoyment-oriented approach. **Multiplayer shooter videogames:** Always looking for the most analytical experience of the scenario possible, tested in competitive shooter titles. [Check my blog to see the specific shooter games](https://hifijuegos.blogspot.com/p/como-analizo-el-audio-en-videojuegos.html) and the conditions of audio analysis in videogames. With the Simgot ET142 with yellow nozzle, in competitive multiplayer the audio feels more immediate, brighter and with a quite aggressive reading of the sound. It is a tuning that prioritizes that you notice everything very quickly, although this is not always the most optimal. In Counter Strike 2, the performance is quite solid in terms of reaction. Footsteps are projected with great clarity due to the push in high frequencies, which helps to detect directions effortlessly. Lateral positioning is very reliable and the timing of movements is perceived as accurate. The problem appears when the round becomes very intense, which can make the scene lose some air, becoming more compressed than ideal. It is not confusing, but less surgical than more neutral options. In Apex Legends, this nozzle option shows its most chaotic side. The verticality of the game and the number of abilities make the scene feel sharper in your ears. I can follow important sounds well, but the coherence of the environment is not always firm. There is good detection of events, although everything tends to be more piled up when the fight gets complicated. It works better for aggressive play than for calmly reading information. In Call of Duty Warzone, the performance is useful but demanding. Footsteps stand out very well, even in noisy environments, which helps to react quickly. However, the problem is that the game itself is already very saturated sonically, and with this tuning everything becomes even brighter and more loaded. The separation holds up quite well, but not always with total cleanliness when there are explosions, vehicles and gunfire simultaneously. In Battlefield 6, the yellow feels more spectacular than precise. The battlefield sounds big and energetic, but the organization of layers is not its strong point here. I distinguish key situations, yes, but the scene loses some hierarchy: everything sounds quite present at the same level. It is immersive, but less tactical. Overall, this nozzle in competitive is fast, striking and reactive, but sacrifices some order and stability when the environment becomes too dense or chaotic. **Final conclusion and personal evaluations:** The ET142 is one of those IEMs that do not stay still in a single personality, but rather seem to enjoy changing masks depending on what you ask of them. And that is precisely what makes them so entertaining and tempting: it is not a passive listening, it is almost as if you and the earphone were playing to see which version of the sound fits best at each moment. In its blue version, the sound feels like a large, well-lit room, where everything is placed with elegant logic. There is air, there is order, and above all there is a feeling of nothing is left over here. It is a presentation that does not push emotions into your face, but invites you to observe calmly, like someone looking at a stage from the perfect distance. Everything is there, clean, defined, but without rush or dramatics. When the yellow version comes in, the atmosphere changes as if someone had raised the temperature of the room a bit. Everything becomes more immediate, more lively, more direct. It is as if the sound takes a step towards you with a certain mischief, saying “look at this too”. Details shine much more, things happen closer, and there is a sense of urgency that hooks quite a lot in games or intense moments. That said, so much closeness sometimes makes the space lose some oxygen. The black variant is the sensible friend of the group. It does not raise its voice, it does not seek protagonism, but it is the one that best knows how to keep the conversation in order. Here everything flows naturally, without roughness or excess. It is the mode that accompanies you for hours without you noticing, like background music that you suddenly discover you have been enjoying more than you thought. It is comfortable, stable, and quite smart when it comes to not bothering. And the red version is the most playful of all, but also the most relaxed. It is like putting on sunglasses indoors: everything softens, becomes more rounded, closer to touch than to analysis. Here the experience is pure sensory comfort, perfect to disconnect or to get lost in games where the important thing is not to dissect every sound, but to let yourself be carried away by the atmosphere or the emotion of the forcefulness of its bass. That said, so much softness also makes some things pass more lightly. Overall, the ET142 is less an IEM with a single signature and more a small portable laboratory of sensations. Its great asset lies in that almost mischievous versatility, in how it can go from being an elegant observer to a more impulsive companion without changing body, only attitude. That adaptability makes it very fun, almost addictive to adjust. Its greatest virtues appear in the general cleanliness and in that ease with which everything separates and is understood, even when the scene becomes complicated. But if what you are looking for is a sound with a fixed personality, very emotional or deeply romantic without touching anything, you are not going to find that here. This is not the type of IEM that takes you by the hand; it is rather the one that lets you choose how you want it to speak to you today. Ultimately, it is designed for someone curious, one of those who enjoy changing the listening mode almost like changing lenses on a camera. For the listener who wants a single immovable identity it may feel somewhat elusive, but for those who enjoy exploring nuances, it is a fairly serious toy disguised as fun. ET142 is a specimen of multiple personality. **If you made it this far, thank you for reading.** [More reviews on my blog.](https://hifijuegos.blogspot.com/) Social media on my profile. **See you in the next review!** **Disclaimer:** This set of monitors has been sent by **Simgot**. I sincerely appreciate the opportunity to be able to test one of their products at no cost and that no condition has been imposed when preparing this analysis. Despite this, my priority is to be as impartial as possible within the subjectivity involved in analyzing an audio product. My opinion belongs only to me and I develop it around the perception of my ears. If you have a different one, it is equally valid. Please feel free to share it. **My sources:** \-FiiO K11 for music and videogames on the main PC. \-FiiO KA13 while I work. \-FiiO BTA30 Pro + FiiO BTR13 for wireless LDAC listening at home. \-FiiO BTR13 + FiiO BT11 + Iphone 16 Pro Max for wireless listening on the street. \-FiiO KA11. \-FiiO Jiezi 3.5mm/4.4mm \-Shanling M0 Pro 3.5mm/4.4mm. \-Apple Music. \-Local FLAC and MP3 files.

Me alegro que los disfrutes. No solo los nozzles cambian el sonido, si no también la espuma. Prueba a poner espuma en los azules y quitársela a los rojos/negros.

**Hello Community!** It is a great pleasure to share my experiences with the Simgot **ET142**, a special set of monitors and one of the brand’s flagships. I have spent days with it, enjoyed others, and picked them up again to finally bring you an analysis as accurate as possible, avoiding leaving anything in the inkwell. **Price:** 230€-250$ [Link](https://www.linsoul.com/products/simgot-et142?srsltid=AfmBOorsKamuyV1VP0bBIOHHs_ZaMYvQYBjdCQtZJ8FFWaKCM0CLHbHi) **Pros:** \-Technical capabilities above average. \-The sound separation is a delight. \-Very notable treble extension. \-Great level of macro and micro details. \-Airy sound presentation. \-Sense of speed and precision. **Cons:** \-It can be excessively revealing. \-With some nozzles fatigue may appear. \-The planar timbre is very noticeable with some nozzles. **Accessories:** \-Two shells. \-Three sets of ear tips. \-Four pairs of tuning nozzles. \-Sixteen pairs of O-rings for the nozzles. \-Two pairs of foam filters for the nozzles. \-Cable with 0.78mm termination and modular 3.5mm/4.4mm connection. \-Carrying and storage case. \-User manual.  **Comfort, design and construction:** The shape of the shell fits quite naturally in my ear, and although they are not the lightest IEMs, the weight is well distributed. I was able to use them during long sessions without them becoming uncomfortable, something I value quite a lot. With the stock ear tips, I feel that I have many options to find the perfect fit. They come with three different sets and that allows me to play both with comfort and with the type of sound. At the design and aesthetic level, they seem very striking to me. They have that polished mirror-like metallic finish that looks quite premium, although yes, fingerprints show easily. Even so, in hand and worn they convey a feeling of a well-cared and high-end product. In terms of materials and build quality, I notice them very solid. They give that sense of durability by being made of CNC metal, as if they were going to withstand the passage of time well. They do not feel fragile at any point and the body sealing is well finished. I also like the cable quite a lot. It is thick but flexible, does not tangle easily and feels of good quality. In general, my feeling is that the whole set is very well thought out and built, with an approach clearly pointing towards higher ranges. **Technical aspects:** \-1PLN+1PZT configuration. \-Impedance of 14 ohms. \-118 dB. \-Declared response 8hz-40khz. **Nozzles:** ET142 offers a set of interchangeable nozzles, each with a well distinguishable and differentiating tuning. The blue nozzle will be the reference for comparisons. Blue (long): the bass is not the protagonist for its rumble, but it is agile, firm and dry, giving way to a very clean, spacious midrange with outstanding note weight. The treble is detailed, sparkling and open. Without internal foam filter. Yellow (long): somewhat warmer in the midrange but the upper part gains brightness and information. The bass gains a bit of weight. The stage feels somewhat more compressed but the sound positioning is absolutely outstanding. Without internal foam filter. Black (short): seeks balance and focuses on smoothing the higher frequencies. The mids step forward showing a frontal presentation of voices and instruments and regarding the low frequencies, they are controlled at all times, without overflow or excessive prominence. It carries an internal foam filter. Red (short): bass and sub-bass gain a lot of prominence, but with a somewhat slow decay that may seem not clean. The mids maintain a soft and pleasant texture, with enough presence and separation although they are slightly invaded by the lower frequencies. The upper range is trimmed and far from any sibilant brightness, reducing in a certain way the captured detail. **Configuration for tests:** \-Warm/neutral source. \-Gain set to medium. \-Stock cable 4.4mm. \-Blue nozzle + stock ear tips with orange core for music. \-Red nozzle + stock ear tips with orange core for single player videogames. \-Yellow nozzle + Tri Clarion ear tips for multiplayer videogames. **Sound signature** Starting with the lowest frequencies, here I clearly notice that the bass does not want to be the protagonist. It is that typical planar magnetic bass, fast, clean and with a short decay that makes everything sound very orderly. The sub-bass is there, it does not disappear, it is heard with a natural wrap that can shake your head although it is more a presence than an overwhelming experience. It appears when the track asks for it and leaves without a trace. The mid-bass has punch but is dry, more focused on marking rhythm than giving body. There is no big hit nor that physical sensation of warmth. Here everything is focused on control. In complex tracks I enjoyed it a lot because it never invades the mids, it never gets dirty. I can follow the bass without effort and with emotion. It is a bass that I respect and savor to exhaustion. If I look for precision, it is perfect, but if I look for extreme fun or warmth, it falls a bit short. Even so, the cleanliness and separation are top and very much in line with what is expected from a well implemented planar Speaking of the midrange, ET142 begins to show its grace. The mids feel very open, quite airy and with good overall clarity. They move completely away from the density given by a warm sound signature, rather they approach and achieve a slightly bright neutrality. Guitars have that crunchy touch, details come out easily. It is not a thick midrange, it may even lack emotion although it is gratifyingly technical. What I do like is that it does not sound forced: fluidity is its hallmark, everything has its well delimited space, I separate instruments effortlessly, with a highly organic dynamism. Despite this, sometimes, and depending on recordings, I feel that there is a slight distance. That helps it not to fatigue, but also makes it lose some intimacy. It is not a romantic midrange, but it is extremely clean and functional. Now in the high range, and this is where this blue nozzle makes sense. The treble has air, a lot of extension and that point of brightness that makes everything sound bigger. It is not as aggressive as the yellow, but it is not soft either; future buyers are warned. It is in that middle point where there is sparkle without becoming unbearable. Cymbals have good definition, fine details shine easily and there is quite a sense of space. The PZT driver is very noticeable here, especially in that spicy touch that gives texture to the treble. What I do notice is that, if I raise the volume a lot, it starts to be too expressive. It is not the most relaxed IEM in the world, sometimes it behaves like a knife, it wants you to pay attention. I like it because it maintains detail without becoming excessive, and that makes it more usable day to day. In vocals, it seems quite balanced to me. Deep male voices sound somewhat light, they lack a bit of body. Normal male voices are well positioned, clear, without exaggerations. And female voices have good presence, with that air that makes them stand out, but without becoming too aggressive. In general, I would say that the voices here are more clean than emotional. In imaging I notice that it is one of its strong points. I can place sounds quite precisely, even in lateral planes and towards the back. It is not ultra surgical, but it is very competent and fun for games or complex tracks. The soundstage feels quite open, especially in width. Not so much in height, but I do have that sensation of air around. It is not gigantic, but it is above average in its range. In layering it performs very well, although it is not its star point. The layers are separated, with a well measured scale. Everything is perceived clearly, but more horizontally than in depth. And in detail retrieval… here it really shines. The detail is there, easy to perceive, without having to force listening in a more technical approach. **Single player videogames:** Always looking for the most cinematic experience possible, tested in narrative and intensive action titles. [Check my blog to see the specific games](https://hifijuegos.blogspot.com/p/como-analizo-el-audio.html) and the conditions of audio analysis in videogames. With the Simgot ET142 and red washer nozzle, in single player videogames everything feels more cinematic and less surgical, as if the game were designed for you to enjoy it instead of analyzing it. In action passages, the first thing that catches my attention is the weight that hits and explosions have. The bass here is not the fastest nor the driest, but it is rounder and with much more body, which makes each impact have a kind of natural reverb that fills the scene. It is not that hyper controlled bass of technical profile, here everything sounds bigger than it is, more dramatic, more forceful. In intense combats it is appreciated because the action feels more physical, although in extreme chaos I lose a bit of definition among so many effects. Even so, I prefer that more enjoyable approach than analytical in this type of games. The dialogue scenes follow that same line: warm, soft and quite natural voices. They are not exaggeratedly forward nor have that bright edge that can tire. They are easy to follow, although in moments with a lot of action behind they can lose a bit of sharpness. But in general, everything feels more relaxed and less aggressive. Regarding immersion, is where this tuning shines the most. Environmental sounds have more atmosphere than technical precision: wind, distant footsteps, echoes, machinery in the background… everything forms a continuous background that puts you inside the game world without you analyzing every detail. It is that type of sound that gently draws you in and simply lets you play. The stage feels relatively wide horizontally, with decent depth that helps separate near from far, although it does not become especially holographic or open. It is more enveloping than expansive. For this type of videogames it is more than enough. Speaking of the separation of sound elements, it performs well but is not very remarkable. In simple scenes everything is clear, but when it fills with effects, the sounds tend to come together a bit, without becoming confusing, without losing resolution, but the loss of transparency is somewhat evident compared to other nozzles. Sibilance is quite well controlled, even in intense moments, effects or raised voices. There are no annoying peaks or exaggerated harshness, everything remains smooth. Perfect for long hours of gaming. And positioning is correct and intuitive. You can locate enemies and directions without problem, but it is not millimetric precision. It is more a clearly enjoyment-oriented approach. **Multiplayer shooter videogames:** Always looking for the most analytical experience of the scenario possible, tested in competitive shooter titles. [Check my blog to see the specific shooter games](https://hifijuegos.blogspot.com/p/como-analizo-el-audio-en-videojuegos.html) and the conditions of audio analysis in videogames. With the Simgot ET142 with yellow nozzle, in competitive multiplayer the audio feels more immediate, brighter and with a quite aggressive reading of the sound. It is a tuning that prioritizes that you notice everything very quickly, although this is not always the most optimal. In Counter Strike 2, the performance is quite solid in terms of reaction. Footsteps are projected with great clarity due to the push in high frequencies, which helps to detect directions effortlessly. Lateral positioning is very reliable and the timing of movements is perceived as accurate. The problem appears when the round becomes very intense, which can make the scene lose some air, becoming more compressed than ideal. It is not confusing, but less surgical than more neutral options. In Apex Legends, this nozzle option shows its most chaotic side. The verticality of the game and the number of abilities make the scene feel sharper in your ears. I can follow important sounds well, but the coherence of the environment is not always firm. There is good detection of events, although everything tends to be more piled up when the fight gets complicated. It works better for aggressive play than for calmly reading information. In Call of Duty Warzone, the performance is useful but demanding. Footsteps stand out very well, even in noisy environments, which helps to react quickly. However, the problem is that the game itself is already very saturated sonically, and with this tuning everything becomes even brighter and more loaded. The separation holds up quite well, but not always with total cleanliness when there are explosions, vehicles and gunfire simultaneously. In Battlefield 6, the yellow feels more spectacular than precise. The battlefield sounds big and energetic, but the organization of layers is not its strong point here. I distinguish key situations, yes, but the scene loses some hierarchy: everything sounds quite present at the same level. It is immersive, but less tactical. Overall, this nozzle in competitive is fast, striking and reactive, but sacrifices some order and stability when the environment becomes too dense or chaotic. **Final conclusion and personal evaluations:** The ET142 is one of those IEMs that do not stay still in a single personality, but rather seem to enjoy changing masks depending on what you ask of them. And that is precisely what makes them so entertaining and tempting: it is not a passive listening, it is almost as if you and the earphone were playing to see which version of the sound fits best at each moment. In its blue version, the sound feels like a large, well-lit room, where everything is placed with elegant logic. There is air, there is order, and above all there is a feeling of nothing is left over here. It is a presentation that does not push emotions into your face, but invites you to observe calmly, like someone looking at a stage from the perfect distance. Everything is there, clean, defined, but without rush or dramatics. When the yellow version comes in, the atmosphere changes as if someone had raised the temperature of the room a bit. Everything becomes more immediate, more lively, more direct. It is as if the sound takes a step towards you with a certain mischief, saying “look at this too”. Details shine much more, things happen closer, and there is a sense of urgency that hooks quite a lot in games or intense moments. That said, so much closeness sometimes makes the space lose some oxygen. The black variant is the sensible friend of the group. It does not raise its voice, it does not seek protagonism, but it is the one that best knows how to keep the conversation in order. Here everything flows naturally, without roughness or excess. It is the mode that accompanies you for hours without you noticing, like background music that you suddenly discover you have been enjoying more than you thought. It is comfortable, stable, and quite smart when it comes to not bothering. And the red version is the most playful of all, but also the most relaxed. It is like putting on sunglasses indoors: everything softens, becomes more rounded, closer to touch than to analysis. Here the experience is pure sensory comfort, perfect to disconnect or to get lost in games where the important thing is not to dissect every sound, but to let yourself be carried away by the atmosphere or the emotion of the forcefulness of its bass. That said, so much softness also makes some things pass more lightly. Overall, the ET142 is less an IEM with a single signature and more a small portable laboratory of sensations. Its great asset lies in that almost mischievous versatility, in how it can go from being an elegant observer to a more impulsive companion without changing body, only attitude. That adaptability makes it very fun, almost addictive to adjust. Its greatest virtues appear in the general cleanliness and in that ease with which everything separates and is understood, even when the scene becomes complicated. But if what you are looking for is a sound with a fixed personality, very emotional or deeply romantic without touching anything, you are not going to find that here. This is not the type of IEM that takes you by the hand; it is rather the one that lets you choose how you want it to speak to you today. Ultimately, it is designed for someone curious, one of those who enjoy changing the listening mode almost like changing lenses on a camera. For the listener who wants a single immovable identity it may feel somewhat elusive, but for those who enjoy exploring nuances, it is a fairly serious toy disguised as fun. ET142 is a specimen of multiple personality. **If you made it this far, thank you for reading.** [More reviews on my blog.](https://hifijuegos.blogspot.com/) Social media on my profile. **See you in the next review!** **Disclaimer:** This set of monitors has been sent by **Simgot**. I sincerely appreciate the opportunity to be able to test one of their products at no cost and that no condition has been imposed when preparing this analysis. Despite this, my priority is to be as impartial as possible within the subjectivity involved in analyzing an audio product. My opinion belongs only to me and I develop it around the perception of my ears. If you have a different one, it is equally valid. Please feel free to share it. **My sources:** \-FiiO K11 for music and videogames on the main PC. \-FiiO KA13 while I work. \-FiiO BTA30 Pro + FiiO BTR13 for wireless LDAC listening at home. \-FiiO BTR13 + FiiO BT11 + Iphone 16 Pro Max for wireless listening on the street. \-FiiO KA11. \-FiiO Jiezi 3.5mm/4.4mm \-Shanling M0 Pro 3.5mm/4.4mm. \-Apple Music. \-Local FLAC and MP3 files.

Gracias amigo mío. Yo prefiero rojo para juegos y azul para música. Me parecen una bestia estos et142