SIMGOT EW200 Review – Audiophile’s IEM For The Budget
The new EW200 IEM from SIMGOT features the technology in the form of a 10mm dual magnetic circuit dynamic driver and dual cavity design, which provides a good level of acoustic performance. These earphones are different from regular ones because they use strong magnets to make the sound more powerful and clear.
EW200 in-ear monitor has a SCP Diaphragm. It combines DLC and LCP diaphragms, giving clear mid-range and extended high-frequency response. It overcomes high-frequency issues for smooth, luxurious sound. The diaphragm is enhanced with precise molding and material blending, delivering full, textured lows, natural mids, and detailed highs. With the dual magnetic circuit and cavities, the diaphragm and chamber create a balanced, enhanced performance.
The EW200 in-ear monitor has a shiny silver all-metal body that looks really nice. They are made with strong alloy material and precise machining, so they are durable. You wear them over your ears, which makes them comfortable and stable. They also reduce the noise from the cable rubbing against your clothes.
SIMGOT EW200 comes with a premium oxygen-free copper silver-plated cable with a detachable 2 Pin 0.78mm design. This allows for easy replacement and potential future upgrades. The detachable design adds versatility and enjoyment to the earphones.
I want to thank SIMGOT for providing me with the review sample of the EW200 IEM.
The EW200 delivers good punch and elaborate harmonics even when powered by sources that are less powerful.
The upper mids are clearly elevated, which contributes to a laid-back, V-shaped impression that strengthens vocal clarity, allowing different voices to cut through the mix at ease.
A natural timbral balance is achieved and there is more body with the mid-lows to provide a fun, punchy quality to the sound, to make it more engaging and dynamic in tone.
The EW200 delivers smooth bass with adequate bass quantity. Sub-bass has a moderately fast decay, which is sufficient to sound impactful and rhythmic. Lows are textured and punchy and most of all it’s fast.
It’s a highly focused bass that’s clean and precise. Sub-bass has a light rumble and the mid-bass is tight and precise. It works well with the overall tuning.
The smooth signature brings forward vocal harmonics to be revealed and has good synergy with older pop songs, as well as string instruments that sound swift and mellow.
When putting on the EW200 the first thing that comes to mind is its vocal presence, of which the upper mids are delicately elevated for stronger vocal presence, particularly with female singers.
There is adequate weight in the mids so it doesn’t sound veiled while being slightly laid back as mentioned. The pump favors lighter voices and with full, thicker, or hoarse voices you may feel the singer sounding more distanced, yet the image still holds together pretty firmly.
Male voices are characterized by a clear and light signature, while female vocalists tend to have a more biting quality.
The midrange frequencies are rendered smoothly, with slight dips that add to the overall clarity of the instruments when powered by dongles that may not have sufficient power to sound meaty and dense.
With more powerful sources, acoustic guitars have good presence and clarity, capturing the subtleties of fingerpicking without sounding overly sharp. When pumping up the volume, the EW200 can keep up well to reveal more details in the midrange frequencies while remaining smooth and textured.
The treble range exhibits a noticeable bump beyond 5kHz, followed by a rather sharp roll-off that enables percussion instruments and violins to come through with good presence and little harshness.
The areas that can cause harshness are carefully smoothed out, without compromising the intensity of vocals and high-pitched notes. This character allows high-pitched voices and instruments to be sweetened, slightly like when you are listening to live Jazzes in a bar.
The textured treble, in combination with the soothing midrange delivery, is particularly well-suited for strings and flutes, as there is ample air to occupy the soundstage rendered and with sufficient vibrancy.
The staging sounds well organized, with instruments clearly positioned with a good sense of control thanks to the forwardness of the treble. The EW200 avoids overemphasizing the soundstage while pushing the midrange frequencies slightly at a distance, making it ideal for chamber music or smaller performances.
Articulation on the other hand is swift and natural, with good separation power that favors female vocalists to sound firmer in image and power to cut through mixes. Switching to 3.5mm output the EW200 holds together an even firmer and denser image, though the dynamics are not as strong as when hooked to balanced output.
With a desktop setup such as the SMSL DO300EX that gives it enough swing, the EW200 can sound pretty expansive. It achieves a stronger sense of resolution though it may sound slightly hollowed out in the midrange.
The expansiveness and richness in harmonics make the output more engaging and immersive, at the expanse of resolution and control slightly though I would prefer its musicality.
The EW200 produces a natural timbre with good air, that is great for background music when working at the coffee place or on the ride.
The SIMGOT EW200 has a balanced sound with accurate positioning, rich details, and a wide soundstage. It works well with different audio sources, making it great for music lovers, studio work, and gaming.
With a robust yet attractive design and thoughtful tuning, the SIMGOT EW200 is a great choice for audiophiles seeking higher clarity as well as versatility on the go, all at a budget price point.