Westone Audio MACH Series IEM Review

 

Introduction:

Westone Audio is an American manufacturer and a pioneer established in 1959 that is specialized in Custom (CIEM), Universal (UIEM) In-Ear Monitors and many other hearing products. Westone Audio provides products for Audiophiles up to International Superstars, which is now a part of the Lucid Audio Company since 2020. Westone Audio is well known in the Audiophile Community with product Series such like the UM, W, ES, Pro X and now with the new MACH Series.

The new MACH Series is Westone Audio’s latest product series in the Universal IEM (In-Ear Monitor) category. The MACH Series is available in 8 different driver configurations, which are the MACH 10, MACH 20, MACH 30, MACH 40, MACH 50, MACH 60, MACH 70 and MACH 80. The model number gives information about, how many balanced armature drivers have been used on each monitor. For Example, the MACH 10 features 1x Full Range Balanced Armature (BA) Driver, while the MACH 80 is equipped with 8x Balanced Armature Drivers.

The MACH Series is equipped with the new T2 connector and comes with on of the latest BaX Series (BaX, SuperBaX and UltraBaX) cables of the Danish company Linum that is division of the company Estron, which depends on the Model you have purchased.

Please note that the following review about the MACH Series will cover the MACH 10, MACH 30, MACH 60, MACH 70 and MACH 80 models that I have received from Weston Audio.

 

Disclaimer:

I would like to thank Westone Audio for providing me the MACH Series Universal In-Ear Monitors as review sample. I am not affiliated with Westone Audio beyond this review and all these words reflect my true and unaltered opinions about their products.

 

 

Price & Availability:

The actual MSRP price of the MACH Series varies between 399.99 US$/€ to 1999.99 US$/€ depending on the specific model. More details can be found under the link below;

• Westone Audio MACH Series

 

 

Package & Accessories:

Westone Audio has sent me the MACH samples without the original box’s, which means I don’t have any pictures about them. I have received the accessories, the specific Linum BaX / SuperBaX / UltraBaX cables, but not all storage cases that also vary in size depending on the model.

The original box contents are listed below;

• 1 x pair of Universal In-Ear Monitor
• 1 x Linum BaX T2 Cable (BaX, SuperBaX or UltraBaX depending on the MACH Model)
• 5 x pairs of STAR™ Silicone Ear Tips
• 5 x Performance Foam Ear Tips
• 1 x Cable tie
• 1 x Cleaning Tool
• 1 x Pelican Case (Small Orange or Large Black Case depending on the MACH Model)
• 1 x Cleaning Cloth

 

All MACH Series IEM’s do come with 5 pairs of STAR™ Silicone Ear Tips and 5 Pairs of Performance Foam Ear Tips that are of decent quality. I would wish that they could have a larger channel diameter so that we can use it with other In-Ear Monitors.

The MACH 10, MACH 20 and MACH 30 do have a small Pelican style Protective storage case in orange color, while the Series between MACH 40 to MACH 80 do come with a larger Pelican storage case in black color.

 

 

 

Design & Build Quality:

The new MACH Series follows Westone Audio’s rounded design shape, while it offers a more premium look thanks to the use of a main body made from molded plastic material and metal faceplate. The complete MACH Series has the same monitor design with a small difference of the main body color. The monitor body of both the MACH 70 and MACH 80 is in black color, while the rest of the Series do have one that is in grey color. The Right metal faceplate has the Westone Audio logo, while the faceplate of the Left monitors identifies the model you have purchased.

On the top of each monitor model is the new T2 female connector, which is a remarkable differentiation to previous models that do have used the more common MMCX (Micro Miniature Coaxial) connector in the past. The most important and at the same time the most positive aspect of this type of connector is that it is much easier to insert and remove than conventional MMCX connectors. There is also a negative aspect; it is not as common as MMCX and 2-pin connector types.

The rear surface of the monitor body features an approx 90 degree angled sound nozzle that has a diameter of about 2mm with the serial number on the top that are written with very small letters. The nozzle is relative long, which is a common design choice also used on previous models. The small disadvantage is the diameter of the nozzles, which makes the direct use of regular silicone or foam ear tips not possible. My solutions was to cute one pair of the Weston Audio STAR™ ear tips and use it like an adaptor that works quite good with many standard ear tips.

The rear surface of the monitors sports also the Westone Audio logo that is in blue on the left ear piece and red at the right ear piece surface, which is a sort of Left & Right indicator.

The overall build craftsmanship of the monitors is pretty good despite the use of plastic material that is of high quality. The junction points of the front and rear part is almost invisible.

 

 

Linum BaX T2 Series Cables:

The MACH Series is equipped with Linum’s detachable cable that are known with there lightweight design and durability. Westone offers 3 different sorts of Linum BaX cables depending on the purchased Model. The MACH 10, MACH 20 & MACH 30 comes with the Linum BaX T2 cable. The MACH 40, MACH 50 and MACH 60 models on the other do come with the higher end Linum SuperBaX T2 cable, while the MACH 70 and MACH 80 is bundled with the flagship Linum UltraBaX T2 detachable cable.

The Linum BaX T2 is a Double-Twisted Silver Plated Copper Litz wire cable that has 84 strands in total and an impedance of 1.50 Ω. The BaX T2 is a very thin and lightweight (approx 6 grams) cable that has a total length of about 127cm. The pull strength of Linum BaX T2 is 60 N/13lbs.

The SuperBaX T2 belongs to the premium segment of Linum Cables with a Double-Twisted design made from Silver Plated Copper Litz wires, which has 168 strands in total and lower impedance compared to the standard BaX cable with just 0.75 Ω. The cable weight about 7-8 grams and has a length of 127cm. The SuperBaX has pull strength of 20 N/26lbs.

The UltraBaX T2 is the flagship cable from Linum that features a Quad-twisted design, which is a combination of 224-strands of Silver Plate Copper wires. The UltraBaX T2 has a very low impedance of just 0.6-ohm that allows the signal to pass through without adding any sonic coloration to the sound. The UltraBaX weights about 9 grams and has a length of 127cm. This cable model offers pull strengths up to 40 pounds.

All three cables do have a 90 degrees L-angled headphone plug with a gold-plated 3.5mm TRS (Single Ended) termination.

The T2 connectors on all three cables do offers an IP67 waterproof standard, which makes them more durable against oxidation, which is a remarkable advantage over other standards like a MMCX or 2-Pin interface.

The microphonic effect of the cable insulation is very low, which is another common feature of the Linum BaX T2 series.

My only complaint comes to the standard BaX T2 variant of the Linum cables that came with the MACH 10 & MACH 30. The Linum BaX T2 has no ear guides that the SuperBaX and the UltraBaX variants do have. Another issue that I face with this standard BaX T2 variant is that it is very prone to mixings.

 

 

Fit & Isolation:

The Westone Audio MACH Series has a monitor shape that fits perfectly in to my ears with an average sized concha. The ergonomic shape the use of a lightweight martial like plastic makes the MACH Series very enjoyable for longer listening periods.

The passive noise isolation of the MACH Series is on an above average level, especially with the extended variants of the Westone Audio STAR™ Silicone Ear Tips.

 

 

Technical Specifications:

 

 

Paring & Drivability:

The sensitivity and impedance of the MACH Series varies depending on the model you will select. For example, the MACH10, MACH60 and MACH80 do have a lower sensitivity compared to the MACH 30 and MACH 70, which makes them more power-hungry.

The MACH30 and MACH70 can be easier powered to higher volume levels when you pair it with a USB DAC/Amplifier in form of a Dongle (iBasso DC03 Pro, Hidizs XO). The MACH10, MACH60 and MACH80 on the other hand do need a more powerful source such like a DAP (FiiO M11 Plus ESS, iBasso DX170 or Portable Amplifier (iFi xDSD Gryphon, Topping G5) to show their true potential.

 

 

Equipment’s used for this review: 

• IEM’s              : Westone Audio MACH 10 / MACH 30/ MACH 60 / MACH 70 / MACH80
• DAP/DAC      : FiiO M11 Plus, Topping G5, Quloos MC04, FiiO K7 Pro

 

 

 

Albums & tracks used for this review:

• Adele – My Little Love (Spotify)
• Randy Crawford – On Day I Will Fly Away (Flac 16bit/44.1kHz)
• Hayley Westenra – Odyssey Album (Dezzer HiFi)
• Dionne Warwick – Walk On By (Flac 16bit/44.1kHz)
• Sarah McLachlan – Angel (Flac 24bit/48kHz)
• Sertap Erener – Aşk (Flac 16bit/44.1kHz)
• Edith Piaf – Non Je Ne Regrette Rien (Flac 16bit/44.1kHz)
• Diana Krall – So Wonderful (DSF)
• Aretha Franklin – I Say A Little Payer (Flac 24bit/96kHz)
• Sonya Yoncheva – (Giuseppe Verdi) II Trovatore, ActI (Flac 24bit/96kHz)
• George Michael – Don’t Let the Sun Go Down on Me (Flac 24bit/192kHz)
• David Bowie – Heroes (Flac 24bit/192kHz)
• Elton John – Rocket Man ((Flac 24bit/96kHz)
• Barry White – Just The Way You Are (Flac 24bit/48kHz)
• Isaac Hayes – Walk On By (Flac 16bit/44.1kHz)
• Sting – Englishman in New York – (Flac 24bit/48kHz)
• Eric Clapton – Wonderful Tonight (Flac 24bit/96kHz)
• B. King – Riding With The King (Tidal Hi-Fi)
• Dave Gahan – Kingdom (Tidal Hi-Fi)
• U2 – Sunday Bloody Sunday (Flac 16bit/44.1kHz)
• Muse – Hysteria (Flac 24bit/96kHz)
• Rush – YYZ (Flac 16bit/44.1kHz)
• Red Hot Chili Peppers – Nobody Weird Like Me (Flac 24bit/48kHz)
• Bro Safari, UFO! – Drama (Deezer HiFi)
• Rok Nardin – Berserks (Spotify)
• Bear McCreary – Valkyries “God of War OST” (Deezer HiFi)
• Armin Van Buuren – Vini Vici (Flac 16bit/44.1kHz)
• Daft Punk – Doin’ it Right (Flac 24bit/96kHz)
• Jo Blankenburg – Meraki (Spotify)
• Lorde – Royals (Flac 24bit/48kHz)
• Massive Attack – Angel (Flac 24bit/48kHz)
• Toutant – Rebirth (Deezer HiFi)
• Gogo Penguin – Raven (Flac 24bit/192kHz)
• Gogo Penguin – Murmuration (Flac 24bit/192kHz)
• Alboran Trio’s – Cinque Lunghissimi Minuti (Flac 16bit/44.1kHz)
• Portishead – It Could Be Sweet (Spotify)
• Max Richter – On the Nature of Daylight (Flac 24bit/96kHz)
• Charly Antolini – Duwadjuwandadu (Flac 24bit/192kHz)
• Ferit Odman – Look, Stop & Listen (Flac 24bit/192kHz)
• Chopin – Nocturn No. 20 In C-Sharp Minor (Flac 16bit/44.1kHz)
• Fazıl Say – Nazım Oratoryosu (Live) (Flac 16bit/44.1kHz)
• Vivaldi – Le QuarttroStagioni “The Four Season” (Deezer HiFi)
• Otto Liebert& Luna Negra – The River (Flac 24bit/192kHz)
• Lunatic Soul – The Passage (Flac 16bit/44.1kHz)
• Deftones – My Own Summer (Shove it) (Flac 16bit/44.1kHz)
• Metallica – Sad but True (Flac 24bit/96kHz)
• Metallica – Death Magnetic Album (Flac 16bit/44.1kHz)
• Opeth – Windowpane (Flac 16bit/44.1kHz)
• Megadeth – Sweating Bullets (Tidal Hi-Fi)
• Rush’s – Leave That Thing Alone (Flac 16bit/44.1kHz)
• Slayer – Angel of Death (Spotify)
• Liquid Tension Experiment 2 – Acid Rain (Spotify)
• Yosi Horikawa – Bubbles (Spotify)

 

 

 

The Sound:

The Westone Audio MACH product line is a Series that has 8 members with different driver counts, which do vary between 1x Single Full Range BA driver per earpiece like the MACH10 up to 8x BA drivers per earpiece like the one found inside the MACH80 model. Each model has a quite different presentation and flavor, with its own strengths, while all models do reflect Westone Audios unique sound signature.

My sound impression below will cover the MACH10, MACH30, MACH60 MACH70 and the MACH80 that have been kindly arranged by the Westone Audio (Lucid Audio Company) Team.

Please note that my sound impression below are based on my auditions with their own stock cable (LinumBax, SuperBaX or UltraBaX depending on the specific model), in combination with the STAR™ Silicone Ear Tips included inside the package. I have paired all devices with the same audio sources, which are the FiiO M11 Plus ESS (DAP), Topping G5 (portable DAC/Amplifier), FiiO K7 Pro (desktop DAC/Amplifier) and Quloos MC04 (DAC/AMP dongle).

 

 

Westone Audio MACH10:

The Westone Audio MACH10 is equipped with a Single Full Range Balanced Armature Driver that is dedicated for the Lows, Mids and Highs. The MACH10 comes bundled with the Linum BaX cable that has a rated impedance of 1.50 Ω. It has a pretty natural tonality with a slightly hint of warmth. The overall presentation is smooth and inoffensive in its presentation from the lows up to the highs.

The lower frequency area is produced with a linear response that has in general a pretty fast and controlled nature. It is not the most detailed or textured bass reproduction that I have heard from a Balanced Armature Driver unit, while it stands out with is pretty fast and controlled response. Songs like Bear McCreary’s “Valkyries“and Daft Punk’s “Doin’ it Right” are shown with a moderate level of depth and rumble. The midbass region sounds quite linear, fast and controlled when I do listen to complex passages in Gogo Penguin’s “Murmuration”. However, I would wish a bit more body/fullness and impact for instruments like snare drums, pianos and bass guitars.

The midrange of the Westone Audio MACH10 has a tad warm than neutral tonality and is shown with a pretty natural and organic timbre, when I do listen to instruments and vocals. The sense of clarity and airiness is on an adequate level, while I would great to have a bit more dynamism and resolution in the upper midrange register especially for female voices. The lower midrange is relative uncolored that has a moderate level of depth and fullness, which was audible while listen to male voices or to instruments strings like an acoustic guitar or violin.

The treble range of the MACH10 is produced in a quite realistic manner, which is shown with just the right grade of airiness and sparkle. The lower midrange less pronounced and detailed compared to the upper midrange area and offers in general a sufficient grade of presence and extension. The clarity and resolution is on a moderate level when I do listen to vocal or instruments such like a violin and piano. The upper treble region has a slightly peak around the 8 kHz region that adds some sparkle to percussions such like cymbals.

The Westone Audio MACH10 offers an adequate performance when it comes to the separation of instruments and vocals. The soundstage is in general relative wide and open, especially for an In-Ear Monitor with a Single Balanced Armature Driver configuration.

 

 

 

Westone Audio MACH30:

The MACH30 comes with 3x Balanced Armature Drivers (1xBass, 1xMids and 1xTreble) per earpiece. It is equipped with the Linum BaX cable and has the same monitor design like the rest of the MACH Series. The MACH30 has in general a pretty mellow overall tuning, with exception of a peak around in the upper treble register, which adds attack and sparkle to the presentation.

The lower frequency area shows a fairly linear tuning that offers a very good sense of speed and authority, while the depth, impact and extension is on an sufficient level for genres like rock and metal music, while I would wish just a bit more intensity for electronic and pop music. The subbass region is a bit more accented compared to those of the MACH10. The depth and rumble is on a moderate level, while the real strength of the MACH30 is the decay and the authority of its subbass presentation. The midbass region is produced with an adequate grade of body while listen to instrument such like a bass guitar or viola. The bass notes of strings and percussions do have a tad less fullness than I do prefer.

The midrange of the Westone Audio MACH30 is pretty neutral and transparent in its presentation. The general timbre of vocals and instrument is pretty organic and silky smooth in this area. The lower midrange has an adequate level of body and depth, while the clarity and resolution is quite decent. Male voices such like Barry White, Dave Gahan or Elton John are reproduced in a fairly realistic manner. The upper midrange is slightly more pronounced, textured and detailed compared to the lower midrange area, which offers an efficient sense of clarity and presence, while the extension could be slightly more effective. Both female voices and instruments such like a pianos, side flute or violin do have a fairly natural timbre.

The treble range sounds relative smooth and inoffensive, with exception of a peak around the 8 kHz area, which adds some dynamism and that also avoids a veiled and too relaxed presentation in this area. However, this adjustment makes the MACH30 also relative prone to sibilance/harshness while listen to bad mastered songs. The treble range offers an adequate grade of information that is mainly focused on the macro detail retrieval. The lower treble region is able to produce a sufficient grade of clarity and definition, while the level of separation and authority is quite decent. The 8 kHz peak in upper treble region helps to create an efficient sense of airiness and sparkle, without to have an unnatural timbre. There is a fast roll-off in the upper treble register, which limits the extension of this area.

The Westone Audio MACH30 offers a fairly spacious soundstage atmosphere, which has a decent sense of wideness, while the depth and height of the stage is on a sufficient level.

 

 

Westone Audio MACH60:

The Westone Audio MACH60 features 6x Balanced Armature Drivers (2x Bass, 2x Mids and 2x Treble) per monitor that are carefully integrated in to the same monitor design like the rest of the MACH Series. The MACH60 comes with the Linum SuperBaX that has a 0.75 Ohms resistance. The MACH60 is has my favorite model when it comes to the tonality and sound signature, which offers an excellent balance when t comes to the technical performance, overall balance and musicality. The general presentation is silky smooth, detailed and highly versatile, which makes it ideal for a wide variety of genres.

The lower frequency register is nicely textured and pretty pronounced, from the subbass to the midbass area without to sound unnatural or overwhelming. The sense of speed, layering and resolution is impressive. The subbass region has a decent level of depth, extesion and rumble that was audible while listen to songs like Massive Attack’s “Angel”, Rok Nardin’s “Berserks” or Lorde’s “Royals”. This area has a pretty quick decay and nice grade of clarity that I have enjoyed during my auditions. The midbass region on the other hand stands out with its impressive level of authority and speed that was quite audible in songs with quite complex bass passages like Charly Antolini’s “Duwadjuwandadu” or Gogo Penguin’s “Raven” and “Murmuration”. The midbass region is slightly more highlighted compared to the subbass area, which sounds pretty natural and clear. Instruments like organs and acoustic guitars are reproduced with a nice sense of fullness.

The highlight of the show is the midrange presentation of the Westone Audio MACH60. It is silky smooth, very natural and resolving. The midrange tuning of the MACH60 makes it pleasant to listen to even after longer listening periods. The timbre of instruments and vocals pretty realistic and is shown with a nice sense of warmth that is not overdone. The lower midrange has just the right level of body and depth, without to affect the clarity of this area. Male from Elton John and Sting to Dave Ghana and Isaac Hayes are reproduced in a pretty musical and emotional manner, while instruments such like a snare drum or electro guitar do have a pretty realistic sense of fullness. The upper midrange is adjusted in a way to sound smooth yet detailed and clear. It offers the right level of clarity and brightness, which has the perfect balance that avoids a presentation that is too dull or sharp. Female vocals like Edith Piaf, Adel and Diana Krall are reproduced in petty natural, lively and realistic manner, while pianos, side flutes and violins do have a decent sense of brightness, clarity and level of extension.

The treble range stands out with its pretty natural, relative crisp and highly controlled tuning, which has a focal point in the upper treble register around the 7-8 kHz region. The lower treble area is less highlighted and energetic compared to the upper midrange register. The transitions from the upper midrange towards the lower treble region are smooth and highly controlled, even while listen to metal music in bad mastered albums like Metallica’s “Death Magnetic”. The upper treble region shows a higher grade of resolution and extension, without show any remarkable sharpness. Instruments such as hi-hats, ride or crash cymbals do sound fairly pronounced, while the sense of intensity and sparkle is on a decent level, which was a surprise despite its smooth nature. The overall treble tuning makes the Westone Audio MACH60 to an ideal In-Ear Monitor for those who do prefer a gentle and buttery smooth treble character, without to compromise in terms of clarity and definition.

The transparent and dark background of the Westone Audio MACH60 creates excellent conditions for a precise separation and natural placement of instruments and the vocals. The soundstage has a nice holographic atmosphere with decent sense of wideness, while the depth and height is on an efficient level.

 

 

Westone Audio MACH70:

The Westone Audio MACH70 features 7x Balanced Armature Drivers (1x Bass, 2x Mids, 4x Treble) per Monitor. This model comes bundled with the high end Linum UltraBaX cable that has an impedance of just 0.6-ohm, which allows the signal to pass through without adding any sonic coloration to the sound. The MACH70 sounds like the MACH60 with steroids, but in a pretty positive manner. It has a more dynamic presentation from the lows up to the treble register, without to lose the sense of control.

The lower frequency area of the MACH70 is nicely textured and layered, while it offers a pretty tight and impactful presentation that is highly entertaining when called upon. This was a big surprise for me since the MACH70 is equipped with just 1x Balanced Armature Driver that is dedicated for the lows. The subbass region is produced with good level of depth and rumble that will satisfy with pop and electronic music. It’s powerful but not overwhelming, which shows the efforts that have been spend by the sound engineers by adjusting the Balanced Armature Driver. The subbass notes in songs like Bear McCreary’s “Valkyries” (God of War OST) or Lorde’s “Royals” are powerful yet controlled, which makes the MACH70 quite exiting to listen to. When it comes to the midbass area of the MACH70, I can say that it is produced in a tight, impactful and pretty textured manner, which should be the case for a flagship IEM. Instruments from electro guitars to an organ do have good sense of body and fullness.

The midrange of the MACH70 has a mildly warm tonality, while the timbre of instruments and vocals are fairly natural and organic, which has just a hint of coloration that is not overdone. The level of transparency and airiness is on a good level thanks to the well pronounced upper midrange tuning, while the lower midrange is shown with solid grade of body and intensity that is assisted by upper bass. Bold and romantic male voices such like Barry White and Isaac Hayes are produced the right amount of warmth and fullness. Female vocals on the other hand do sound quite realistic and effortless, while the level of clarity and realism when I do listen to Edith Piaf, Aretha Franklin or Adel is quite breathtaking. The midrange presentation of instruments such like a violins, side flutes and pianos are gently bright in terms of tonality, while guitars are mildly bassy. The general instrument presentation of the Westone Audio MACH70 is fairly natural and detailed in the midrange area, while the control ability in moments when instruments are played with higher level of distortion is pretty good.

The MACH70 is equipped with 7x Balanced Armature Drivers and 4 of them are dedicated for the highs of the In-Ear Monitor. The MACH70 offers a solid technical performed when it comes to the treble area that is able to produce an excellent grade of detail retrieval and extension especially while listen to percussions or to soprano voices. The lower treble area is shown with a good sense clarity, presence and definition when I do listen to soprano voices or to instrument like hi-hats or snare drums. The upper treble region on the other hand is able to produce a pretty natural sense of airiness and sparkle while listen to crash cymbals or snare drums, which are quite countable and controlled. Instruments from pianos to strings, cymbals to snare drums are reproduced in a pretty detailed and controlled manner.

The Westne MACH70 offers a good performance in terms of separation and placement of both instruments and vocals. The soundstage has a pretty spacious and airy atmosphere, while the sense of depth and wideness is on an above average level.

 

 

 

Westone Audio MACH80:

The Westone Audio MACH80 is the model with the highest driver count, which features 8x Balanced Armature Drivers (2x Bass, 2x Mids, 4x Treble) inside of each monitor. The MACH80 comes with the same Linum UltraBaX cable that was bundled with the MACH70. The MACH80 is the model with the most linear presentation of the Series, which makes it ideal for studio monitoring. It needs a bit more power to show its true potential compared to the MACH60 and MACH70 due to its higher impedance and relative low sensitivity.

The bass of the Westone MACH80 is produced in a quite linear way, which shows just a slightly bit of coloration. The lower frequency stands out with its very fast and controlled response and its level texture and resolution. The subbass region is a bit less highlighted compared to the midbass region, which was audible in songs like Massive Attack’s “Angle” or Daft Punk’s “Doin’ it Right” that have been reproduced with a moderate sense of depth and rumble. The midbass region sounds quite neutral and very resolving, while the fullness and intensity of this area is on a sufficient level. Complex passages in songs like Megadeth’s “Sweating Bullets” up to Gogo Penguin’s “Murmuration” are produced in a pretty fast and controlled manner.

The Westone Audio MACH80 has a quite neutral, transparent and detailed midrange tuning that has a fairly even overall presentation with minimal elevations on both sides, the lower and upper midrange register. Both female and male voices are reproduced with a decent grade of clarity and resolution, while I would wish a tad more lower-midrange depth and body when I do listen to romantic vocals such like Isaac Hayes or Barry White. The lower midrange shows a sufficient amount of body and depth, while the sense of transparency is impressive when I do listen to vocals or strings like violas and guitars or to woodwinds like clarinets and bassoons. The upper midrange of the MACH80 has a mildly peak around the 3 kHz region that is nicely smooth and controlled, while it offers a pretty natural timbre. The upper midrange is able to produce an efficient grade of brightness and doesn’t get wild even at higher volume level. Female voices from Adel to Sertap Erener, from Diana Krall to Edith Piaf are reproduced with a good sense of clarity, without to shows a remarkable sibilance or harshness. Instruments on the other hand such like guitars do sound nicely clear, smooth and detailed, while violins do have a mildly bright tonality and pretty natural timbre.

The Westone Audio MACH80 offers pretty neutral and organic treble presentation, which is able do deliver a decent grade of information in this area without to sound aggressive, even at higher volume levels. What I really like about the treble character of the MACH80 is the natural timbre of instruments and soprano voices. Here are no negative conditions such like dryness or a metallic timbre that can be the case for IEM’s with Balanced Armature Drivers.

The lower treble region shows a good level of clarity and definition thanks to the well adjusted custom balanced armature drivers. Instruments like snare drums and crash cymbal do sound pretty crisp and detailed. The upper treble region has a natural level of brilliance and the sense of airiness and sparkle fulfills my expectation from a product at this price level. Instruments such like a hi-hat or cymbal in genres like metal music are produced with a decent grade of authority and extension.

The Westone Audio MACH80 shows an excellent performance when it comes to the separation and placement of vocals and instruments. The pretty expansive and airy soundstage of the MACH80 has a great sense of depth and wideness.

 

 

Conclusion:

Westone Audio seems to have created the MACH Series to reach a wide audience, both in terms of price and sound tuning. Each model has its own strengths and flavor, while the key aspect is common on all models, which are the comfort, build quality and Westone Audio’s house sound. My favorite models are by the end the MACH60 and MACH70 that do offer an excellent musicality and technical performance from an audiophiles perspective, while the MACH80 may more preferable for studio monitoring. The MACH10 and MACH30 on the other hand do reflect Westone Audio’s DNA with some few compromises here and there, while they do offer the same impressive comfort and isolation that the higher-end models do have.

 

Thank you for the Read!