The FiiO FH5S is an in-ear monitor (IEM) that draws a lot of attention due to its hybrid driver configuration, modularity and sleek finish. A frequency response graph is one of the most important aspects of any in-earthed monitor that serves the purpose of valuating its tonal balance and sound signature. Frequency response graphs show how a pair of IEMs perform with regards to different frequencies, thus they are very useful for audiophiles and sound engineers. Many enthusiasts started to notice the FiiO FH5S because of its certain frequency response and so does this review as it looks at the details of the graph itself – how different sections of the spectrum add up to the sound of the IEM.
Reviewing the specifications of the FiiO FH5S
Before looking at the frequency response graph, it would be reasonable to present FiiO FH5S features first. The FH5S is a hybrid IEM with four drivers fitted in each ear that include two balanced armature (BA) drivers, a dynamic driver and an electrostatic driver. This setup’s primary aim is to achieve a convincing and fresh balance of bass, mids and treble. As such, the FH5S embraces a modular cable system with interchangeable tuning options so that one can achieve a desired fit for the listening preferences or genres they wish to engage.
A suitable response to such a demand from the target audience on the part of the manufacturer was FiiO’s incorporation of a switchable tuning system that enables complete alteration of bass, mids, and treble as illustrated by the frequency response graph 4. The focus of this review will be on how the graph changes with the different tuning and what that entails to the experience in general.
Grasping Frequency Response Curves
A frequency response curve simply depicts the effect of all the frequencies on the device in question, the FiiO FH5S in our situation. The frequency is the independent variable and is shown on the x-axis in hertz (Hz). Usually it ranges from 20 Hz to 20 kHz, which is roughly the range of frequencies humans can hear. The strain is plotted on the y-axis, that is, the amplitude of the signal, commonly in decibels (dB), which indicates how loud each frequency is. A straight line running from the left to right of the graph would point out a perfectly flat frequency response. There is no emphasising or recessing of any frequency within a perfectly flat frequency response. However, most pieces of IEM like the FH5S are psycho-acoustically tuned to either give an extra emphasis or suppression to certain frequencies leading to the development of a particular sound signature.
Frequency Response Graph of the FiiO FH5S
The frequency response of FiiO FH5S can also be divided into three broader sections: bass, mids and treble. Each section handles sounds differently, like how they would treat voices, drums or cymbals. Let’s investigate the component parts of the frequency response graph as well.
1. Sub-Bass and Mid-Bass (20 Hz to 200 Hz)
THey could easily differentiate the bass frequencies (20 – 60 Hz) from the rest of the other bass frequencies found above which they are often sound felt rather than heard. Fh5s undertone has a slightly more restrained performance that allows for enough depth without smothering the rest of the range. Those who appreciate electronic or hip-hop music and movie soundtracks may remember that the sub-bass on the FH5S is a bit flat when compared to IEMs that are heavy on the bass, but that tuning is excellent to those who like it a bit more polite.
The mid-bass region within the frequency band of 60 Hz to 200 Hz is where bass instruments deliver their impact and punch. In the case of the FH5S, the mid-bass is rated significantly higher than the sub-bass giving it a warm rich low-end. This frequency range exhibits a moderate hump in the mid-bass, which is good for perfecting a full-bodied sound. This is especially the case for music genres such as rock, pop, and jazz. It is that slight mid-bass enhancement that adds weight to drums and bass guitars, and lower register instruments in general without making them murky.
When it comes to tuning options, the bass switch on the FH5S allows sound tuning of the bass frequencies. And when the bass boost is turned on we notice the rise of the sub-bass and mid-bass, for all those bass heads out there with heavy bass signature sound who will enjoy the added rumble and impact. But still, in terms of excessive bass, even with the bass enhancement switched on, the FH5S manages to exert some dominance, preventing too much of the bass encroachment to the mids.
2. Midrange (200 Hz to 4 kHz)
Midrange frequencies also play a major role in presenting how a voice and certain musical elements such as the guitar and piano will sound. Looking at the FH5S graph, the bass midrange (which ranges between 200 Hz and 1 kHz) is quite flat except for a small peak dip around 400 Hz. This small reverse in dip at lower mids occurs to allow for a more comfortable wearing of the IEMs and prevents them from feeling overly warm which is especially unsuitable when listening to more busy mixes. Everything in this range sounds articulate in reproduction but loss some of the fullness due to the dip.
The upper midrange (spanning 1 kHz – 4 kHz) is the region where the FH5S performs best. A sharp rise in the curve can be seen at the graph around the 3 kHz mark which adds to the definition and presence of the igb vocal range and voices in general, especially those with a higher pitch as well as instruments with a similar frequency. The presence of this peak makes the soundstage more frontal, with an emphasis on the lead vocals and the primary instrumental section. This peak can however be overly aggressive or harsh, and might make some listeners uncomfortable, especially when loud.
Changes in the tuning settings in FH5S have the allowance of flexibility in the midrange as well. For instance, boosting the “midrange boost” raises the presence region (2 kHz to 4 kHz) even higher which is good for such tracks where vocals are prominent however can be tiring after listening over a certain period. On the other hand, turning the mids switch off gives an easy and relaxed and neutral midrange which is suitable for those who like a rather laid presentation.
3. Treble (4 kHz to 20 kHz)
Trebles are those frequencies that lie within a higher region, especially over 8 kHz that contributes to lightness, sharpness and detailed part of the sound perception. In fact, there is a pronounced peak of sound level within the FH5S graph indicating the frequency of about 6 kHz, which is then followed by an index of the upper frequency that is rather shown to be decreasing at a steady rate. This peak at 6 kHz lifts the clarity and sharpness in the sound, hence bringing up the sounds of high-hat, cymbals or even certain types of drums. For some people this peak can always make the music more interesting and bring some dynamics but for the other it can be too piercing or ringing especially with the tracks that are record while incorporating bright tendencies or are contrarily over bright sounds.
The upper treble (10 kHz to 20 kHz) on the FH5S does not stretch out as much as some electrostatic or planar magnetic IEMs but quite a reasonable distance. The high frequencies attenuation, which takes place at around 15 kHz, averts the sound from excessive brightness or hardness so that a desirable degree of detail and smoothness is achieved. This gives rise to a treble performance that is dynamic while not clinical and sapping.
In this region, the treble switch on an FH5S provides more options in customization. Once the treble boost is switchedOn, the high frequencies seem to dominate the sound, thus adding more detail and making the sound more airy. This helps a lot, especially appreciated when listening to classical or acoustic music where every imperfection of the recording is important. However, the same as with the mids, turning the treble boost on can make listeners very tired when done for a long time, especially if you are ‘high frequency prone’.
Sound Signature Overall and Impression
The frequency response graph of a FiiO FH5S shows that the headphone exhibits a mildly V-shaped sound signature with a moderate bass and treble levels, while the midrange frequencies are lower than the baseline. This is a common tuning used in IEMs designed to be more fun to listen to. This particular tuning style emphasizes the lower and the upper frequencies – precisely, why the FH5S is more inclined towards listening to pop, electronic and rock genres which tend to have loud bass and bright treble.
But owing to the presence of the tuning switches, there is more to the FH5S than the commonplace V-shaped IEM. Providing specifications for bass, mids, and treble means users can adjust the sound quality to the levels they desire. For example, the bass boost provides a warmer more impactful low-end while the treble boost adds clarity and precision to the high frequencies. These factors therefore suggest that the FH5S is meant for listeners who enjoy more than one type of music and like to customize their listening experience.
In terms of performance capabilities, the FH5S impresses greatly. Looking at the frequency response graph, we can see that both ends of the graph have good extension which contributes to the depth and width of the soundstage. The bass is well controlled, the mids are well articulated, and the treble is rich which makes the FH5S an all-around IEM suitable for casual and critical listening purposes.
Comparison with Other IEMs
The frequency response of FiiO FH5S seems to come out on top when it comes to integrating competing IEMs at the same price level because of its modularity and tuning adaptability. Quite a few other V-shaped IEMs including the likes of the Campfire Audio Polaris or the Moondrop KXXS do serve the purpose of sounding too bass and treble heavy but do not provide the tuning capabilities that the FH5S does.
The bass response of FH5S is slightly tamer than that of the Polaris which has a dominant and bold low end. The FH5S is also less prone to sub-bass bloat which is often the case with midrange heavy IEMs that usually come with a lot of bass. The treble region in the FH5S is more pronounced in energy than in the case of the Moondrop KXXS, though it may be a plus or minus depending on how much of a brightness one can stand.
The midrange on the FH5S is slightly lower in positioning than more neutral devices such as the Etymotic ER4XR. However, since the FH5S comes with tuning switches that allows a few dB’s to be added to the mids, the FH5S comes out on top in terms of adaptability. Audiophiles who would love a midrange dominant sound signature with the precision and flatness of the ER4XR might still prefer it, the FH5S however gives more room for people who love to customize their sound for various situations.
On the treble front, the FH5S isn’t lacking indeed detailed and energetic tuning especially with the treble boost switch turned on which can be quite a rival to IEMs like Directed Aux Moondrop Blessing 2 that is known for its quite clear treble as well. It’s worth noting however that the Blessing 2 treble is smoother, more even and neutral which may appeal to some degenerates more than the tamed but at times exaggerated treble peaks of the FH5S which can be overwhelming. For treble sensitive listeners, excessive zeal in the use of the FH5S’s treble boost will nasty consequences.
Soundstage and Imaging
The frequency response graph does not directly display soundstage and imaging features but the features in the graph can be able to provide indicators of how an IEM works in terms of these features. For instance, the controlled sub-bass and emphasized middle upper part as well as treble usually create a more extensive sound reproduction and better imaging.
The FH5S is able to create a reasonable impression of space. Its slightly sunken midrange and elevated upper midrange allow the voice and instruments to come out in the mix without being cluttered. The extension of the treble even though not as much airy as other high-end IEMs brings out a certain degree of openness hence improving the spatial arrangement of the sound image.
Imaging on the FH5S is done quite well, especially when it comes to the midrange and treble. It presents clear separation of instruments and vocals around the soundstage, allowing the listener to accurately identify the origin of each sound. This makes the FH5S a suitable device for listening to songs where spatial performance is a necessity such as classical or jazz music as well as in live recordings. When focused on I’ve listened France in this price range of IEMs the ability to create the soundstage and imaging offered by FH5S is rather impressive although the depth of layering may not reach some of the more expensive dynamic models.
Construction and Ease of Use
While the focus on the frequency response graph may be more on sound, it is also advisable to note the build quality as well as comfort level of the FiiO FH5S since they also impact on the quality of sound during use.
The FH5s is built impressively with a mix of metal and resin, housing the peripherals. The plastics are tough and sturdy enough to endure everyday use since one does not have to worry of breaking the IEMs. The unique pattern designs on the faceplates makes the FH5S look very elegant and expensive.
Fitting wise, the FH5S is quite light in weight and sits well on average sized ears, although it may be slightly difficult for users having smaller ear canals, due to the size of the housings. In addition, since a variety of eartips are provided within the package, it is possible for the users to achieve a usable seal, which is important in ensuring the quality of sound reproduction, especially the bass. A good fit is crucial especially because most of the time, sound frequency response curves are made to correlate with realistic listening experiences, which is of great importance at lower frequencies; as such sound leakage would mean loss in bass.
Conclusion
The FiiO FH5S is an in-ear monitor that presents a very appealing and lively musical experience. Its great form factor is complemented by the tunable switches which allow users to change the sound signature in the way they prefer. The frequency response chart shows a slight listening V, which shows that lower and higher frequencies are emphasized, thus is suitable for different types of music. Moreover, the FH5S grants an ability to adjust bass, mids, and treble separately which is rare in IEMs of this price range.
In terms of low and high frequencies, the FH5S seems to extend very well, with the low frequencies excelling in the controlled bass, midrange being clean, and high frequencies very articulate. The peaks located within the upper midrange and treble sections may come off too sharp for some individuals but there are options to re-tune that can get rid of this problem. Designed and made well, the FH5S features an IEM comfortable to wear for all types of listeners but especially for audiophiles who want to tweak their sound.
There are fans of a little V-shaped sound signature but these fans would like to play with their IEMs depending on the genre.FiiO FH5S is a solving solution. Perhaps the soundstage depth or verticality, or coherence between the low mids and the treble will not be competitive with some high-end IEMs, however, due to its good in-ear design, decent specs, and tuning ability, it is a worthy player in this price range. Finding yourself in the middle of a bass-intensive electronic mash-up or more complex acoustic scenes, the FH5S has a flexible sound character that can be tailored to your liking, which is also clearly shown in its frequency curve as well.