Unique Melody - MEST MKIII

Mind blowing might be things like U12T and MEST MKIII, but for many the $100 planars will already be mind blowing imo. $100-$200 IEM with a tuning that suits you can definitely be endgame. 

For years, my audio journey was anchored in the vibrant world of Chi-Fi IEMs—budget-friendly gems like the KZ ZS 10 pro, Moondrop Arias to Multi kilobuck killer - Monarch mk2/3, Mest, QDC VX. These in-ear monitors delivered thrilling soundscapes with their bold price to performance value, punchy bass, and sparkling treble. Yet, curiosity led me to the Westone Mach 80, a flagship renowned for its clinical precision and studio-grade neutrality. The transition wasn’t just an upgrade; it was a paradigm shift—a rediscovery of what music could be. Build and Comfort: From Plastic to PrecisionMy audio journey and experience, while impressive in sound, often felt utilitarian in build—oversized shells, hefty cables, and fit that demanded frequent adjustments. The Mach 80, by contrast, felt like a bespoke instrument. Its SUPER LIGHTWEIGHT (Yes in Caps), ergonomic design, molded from lightweight medical-grade resin, disappeared into my ears. The over-ear cabling and deep-seated fit provided a seal so secure and isolating like a Custom IEM that subway commutes became silent even without music playing. Westone’s decades of expertise in pro-audio ergonomics shone through; these were IEMs built for marathon listening sessions, not just casual use. Sound Signature: Chaos to ClarityThe first listen was… jarring. Gone was the bombastic bass slam or the polished midrange bloom. The Mach 80 greeted me with a stark, unapologetic neutrality. Bass was lean and taut, not thunderous. Treble was detailed but never sibilant. Mids? They weren’t “forward” or “recessed”—they just were, pristine and uncolored. It felt like swapping a neon-lit carnival for a sunlit art gallery. * Bass: The Mach 80’s 8 balanced armatures delivered bass with surgical control. Sub-bass rumble in electronic tracks like Jacques Greene’s “Feel Infinite” was textured and articulate, not bloated. Double kicks in metal tracks retained their speed but lacked the visceral “thump” I’d grown accustomed to. This wasn’t a deficiency—it was accuracy. The Mach 80 revealed how much of most of the iems was bass boosted. * Mids: Vocals and instruments emerged with startling realism. On Norah Jones’ “Don’t Know Why,” her voice floated with breathy intimacy, free of the midbass bleed that muddied my Chi-Fi sets. Acoustic guitars on John Mayer’s “Neon” showcased string plucks and finger slides I’d never noticed—a masterclass in microdetail, its surgically incredible! * Treble: Cymbals on TOOL’s “Pneuma” shimmered without piercing, and orchestral highs in Holst’s “The Planets” retained their airiness. The Mach 80’s treble wasn’t “exciting,” but it was ruthlessly honest, it’s very very smooth to listen. Soundstage and Imaging: From 2D to 3DThe Mach 80’s soundstage felt expansive and holographic, a stark contrast to the intimate, head-filling presentation of my Chi-Fi collection. Listening to Hans Zimmer’s “Blade Runner 2049” soundtrack, synths swirled around my head with pinpoint placement, while the decay of reverb tails in a jazz club recording felt almost tactile. Instruments weren’t layered—they occupied distinct spaces, like actors on a stage. The Adjustment Period: Learning to Listen AgainFor days, I mourned the loss of “fun.” Tracks that once felt anthemic now sounded restrained. But gradually, my ears acclimated. The Mach 80 didn’t impose its personality—it revealed the recording’s personality. Well-mixed tracks (think Daft Punk’s “Random Access Memories”) became transcendent, while poorly mastered songs laid bare their flaws. This wasn’t an IEM for mindless head-bobbing; it demanded engagement, rewarding critical listening with revelations. The Chi-Fi Rat raceNowadays everyone is chasing the best of the best while many companies are releasing new items week in and week out, and we often forget to slow down and appreciate music more. And often with massive waves of iems releasing we often overlooked some of the brands that do not come out new model very often. Conclusion: A New BenchmarkThe Westone Mach 80 isn’t for everyone. If you crave bass heft, WOW factor or euphonic coloration, it might underwhelm. But as a tool for understanding music—for dissecting mixes, savoring acoustic textures, or simply hearing your favorite albums anew—it’s peerless. The is the most resolving IEM I have ever heard in any price range and I have heard a lot; and it’s redefined what I expect from them—and from music itself.

I think my sony ier z1r sounds dynamic it adds reverb to songs making the sense of space a bit big compared to my latest um mest it's 3dish sound but don't have the added reverb of the sony makes sense? 😅

Why do youu say that? The Mest doesn't really have anything in common with any EJ07.

Where are you looking at graphs? They shouldn't look similar at all. The Kinda Lava has a pretty normal tuning profile. The Mest has very little pinna gain, and a prominence in the treble.

Can't say anything about other sets, but honestly, i would remove the Mest from that list.

Mest are great, just not what i would call a basshead set.

Glad you enjoying them! They're an excellent set and "endgame" for a lot of people. I want to mention this in case someone else is think of doing the same as you. Jumping straight to a kilobuck IEM is wild without knowing that your tuning preferences are. The MEST has a pretty unconventional tuning and I'd never recommend it to someone as their first IEM unless they had previously demoed it.

That certainly does sound like the MEST and I think you made a good choice if that’s what you were looking for. The MESTs lack of gain is unique and not for everyone, so I’m glad you knew what you were buying