Aful MagicOne review – Pavan’s take

Introduction:

Hello everyone. Today I am reviewing the Aful MagicOne (hereinafter referred to as MO). Aful has been a brand that has been innovative right from the Performer 5 providing value for money IEMs and the newly launched MagicOne is no different coming from their arsenal.  To brief on the technology implemented by Aful here – Aful has developed a specifically customized full-frequency BA driver and also implemented its newly developed technologies including SE-Math Electro-Acoustic Intermodulation, and Nautilius Acoustic Maze. As per Aful, SE-Math allows better extensions at the high-frequency region making the sound clearer and crispier. Nautilius Acoustic tube design enables the BA driver to deliver a precise, powerful, and accurate low-end response. Did they deliver what they intended to? Let’s find out.

At the time of this writing, my unit has undergone around 200 to 250 hours of regular usage. I would like to thank the people at Aful Audio and HifiGO for arranging the sample for review purposes and I highly appreciate the gesture. The IEM has already been reviewed at MBA by Mahir Efe Falay and Chris Love. You may check both their reviews here and here. And with the best of my abilities and intentions, I will be as honest as I can be. So, here we go:

The IEM comes with a metal carrying case similar to the Aful Performer 5. The cable is well made with a nice look and texture and comes in either the 3.5mm or 4.4mm termination. The face covers are artistically designed with the theme of ‘Snowflakes Fall’ and are quite a looker. 2 varieties of silicon tips are provided. I did not use either of them as I found the Spinfit W1 suited them much better – both the seal and sound. The IEM is relatively small in size including the nozzle width and has no issues whatsoever regarding the fit and seal. Coming to the sound, MO has a neutral bright tonality with an adequately boosted lower end.  

Specifications:

• Self-Developed Wide-Frequency Response Balanced Armature Driver Unit 
• Innovative SE-Math Electro-Acoustic Intermodulation Technology 
• Nautilus Acoustic Maze Technology
• High-Purity Hybrid Stock Cable 
• Impedance: 38Ω 
• Sensitivity: 103dB/mW 
• Frequency Response: 5Hz-35kHz
• Passive Isolation: 26dB 
• Connectors: 2-pin 0.78mm
• Cable Length: 1.2mm

Disclaimer:

• The review is my own based on extensive and critical listening and was not influenced by any written or video review. 
• The review is subject to unit variance and my personal listening preferences.
• The review is subject to the gears I used for testing – DAC/ DAP/ Tips/ quality of the track 
• Last but not least, I have no affiliation with the supplier of the IEM.  

Gears and audio used for testing:

• Tempotec V6
• Cayin RU7
• Topping NX7 Amp paired with the above 2.
• Spotify Premium

Test Tracks:

This is a representative sample of the kind of music that I listen to most of the time. – is an inclusive list and not exhaustive. There are a lot more.

• Here we divide – Dead Letters Circus
• Landslide – Fleetwood Mac
• Make my move – Oliver Micheal
• Astronaut in the Ocean – Alok remix
• Code name Vivaldi – The Piano Guys
• Shout – Tears for fears
• Sandusky – Uncle Tupelo
• Cornflake Girl – Tori Amos
• Ice House – Ray Montford
• Dandelions – Ruth B
• Champion – Bishop Briggs
• Psychofreak – Camila Cabello
• Can you hear the music – Ludwig Goransson
• Beat – Tingvall Trio
• Strict Machine – Goldfrapp
• Fountain – iamamiwhoami
• You broke me first – Tate McRae
• Titanium – Sia
• You need to calm down – Taylor Swift
• Vachindha Megham – A R Rahman
• Shut Up and Dance – Walk the Moon
• Rihaayi De – A R Rahman
• Megham Karukatha – Anirudh Ravichandran
• Udi – Sanjay Leela Bhansali
• Danga Maari Oodhari – Harris Jayaraj
• Naatu Naatu (RRR) – Keeravani 
• Caribbean Blue – Enya
• Roygbiv – Boards of Canada
• Electric Love – Borns
• Take Five – The Dave Brubeck Quartet
• Rapid as wildfire – Genshin Impact
• Battlefield 4 Warsaw theme – Rami
• At the speed of force – Junkie XL
• Back in black – AC/DC
• Becoming Insane – Infected mushroom
• Chain reaction – Cloud Cult
• Hot girl bummer – Blackbear
• Memories of Dust – Nier Automata
• Pan – Plini
• Stress – Pain of salvation
• Love is gone – Slander
• You don’t own me – Saygrace
• Angel of Death – Slayer
• Sea of Suns – The Helix Nebula
• Unity – Royksopp
• Unfinished Sympathy – Massive attack
  

Driveability/ scalability

Simply put, these are hard to drive. Not because they do not sound good. But there is an untapped potential left to be desired if not driven properly. MO is a good-sounding unit with both the V6 and RU7 independently. It has opened up quite well over time compared to my initial impressions. However, at a given volume level, MO is still less audible than any other IEM I have heard including the planars. To me, it lacks some finesse if not properly amped. It plays flat and smooth without a solid attack, lacks tightness in the overall sound, and transient response is average at best – At the price point I can’t complain though. I have listened to multiple tracks with and without an AMP and my honest opinion is that these scale extremely well. Generally, for a fairly easier-to-drive IEM when amped, the sound gets tighter, the stage widens and such things are noticed in general. However, it does not make an impactful difference in most IEMs. Yes, you will hear and notice the difference but the difference is not big enough to warrant a purchase of an AMP. Lots of dongles flourishing does a great job already. However, what I see here is that the AMP makes a big difference. To me, without NX7 in the picture, it was an uninteresting listen, to be honest – spoilt by the NX7, you may say and I agree. I cannot go back as I have seen the potential here. NX7 brings in a pretty big impact on the overall sound characteristics. More than driveability, scalability makes the perfect sense here.

Sound Quality

The following sections are based on my impressions using the V6 + NX7 or RU7 + NX7

Bass

Coming to the overall bass performance, sub-bass is the MO’s biggest strength. Sub-bass has a very good depth, extends, resolves, and is well textured. Live to Survive from MO (Can’t be a coincidence…lol) is a fine example. The bass notes are heard prominently and transients are very resolving and textured. Unlike a DD like Final A5000 where you expect quite a rumble for a good sub-bass presence, here the rumble is heard more than felt. Mid-bass has a good punch and slam but is not at bass head level. Amping brings in an impact here, especially the bass attack and thump. Otherwise, it appeared smoother, and flat overall. Test track – Pretty Girls (Britney Spears), Big (Rita Ora). Subbass and mid-bass are well separated and are very resolving. There is no noticeable bass bleed into the lower mids as they were not tuned warm sounding in general. Overall, I’m very much satisfied with the bass performance here. It just needs more than a decent power to shine at its best.

Mids

Mids are the star of the show. Both the male and female vocals are well reproduced with subtle nuances, being open and lively.  Female vocals have the right energy without being shouty. Test track – Fountain (iamamiwhoami). Male vocals have adequate weight to them and are not dull/ dry sounding. Test track – Last Goodbye (Jeff Buckley). The instrumentation is crisp, fuller sounding, and has a nice depth to it. Airiness is present throughout the spectrum giving the instruments adequate breathing space to shine. Combined with great layering, stage depth, height, and imaging, listening to instrumentation is truly a delight. Test tracks – Code name Vivaldi (The Piano Guys); Ona/ 1154 (Plini). Upper mids are well tuned and there is no unnatural harshness or shout noticed at any point during my listening. At times, they may appear to sound more energetic but it appears natural overall. Nothing unnatural here.

Treble

Treble is very energetic, open sounding, and detailed, however, controlled. It may be off-putting and borderline sibilant to the treble-sensitive listeners, especially in certain treble-heavy tracks but if you are not, you are in for a treat. The upper treble is well extended with great micro details. Does not sound tamed or subdued in any way and is quite airy and open-sounding. Test track – Lux Eterna (Metallica), Themyscira (Hans Zimmer), Angel of Death (Slayer).

Technicalities:

This IEM has a natural tone and timbre although equipped with a single BA driver. The sound appears to be coming from a multi-driver set and not a single BA and the coherency across the frequencies takes an inherent advantage here making the response phenomenal. Resolution, layering/ separation, and detail retrieval are top-notch at the price point. The stage width is adequately wide. Not too wide like the Final A5000 nor too narrow either. Audible cues from either side make it appear wide. However, the kind of spacing the IEM has, I would say it is more of an accurate representation of the stage rather than overly wide. However, the stage depth and height are great. Imaging is precise to the point and there is a clear trail of sound tracing and positioning. Transient response is fast and dynamic especially when amped. Test tracks – Dacoit Duel (A R Rahman), Bubbles (Yosi Horikawa), The Last of the Mohicans (40 Fingers), Take Five (The Dave Brubeck Quartet). 

Comparisons:  using V6 + NX7

Vs Hidizs MP145

MO is priced at 139 USD currently and I can’t think of any other IEM around the price point that I have listened to that comes close to MO except the Hidizs MP145. MP145 is priced slightly above at 159 USD and they operate neck to neck under various use cases. Both are tonally and technically excellent at their respective price points however, there are subtle but noticeable differences between the two. I have written a detailed comparison between the two in my review of Hidizs MP145. You may check the same here. However, to put it short – I prefer the MO for its sub-bass performance, tonality, mids, vocals, and treble performance whereas I prefer the MP145 for its excellent technicalities especially the soundstage and imaging and the mid-bass performance. Both are slightly ahead of the other in their respective areas highly complementing each other.

MP145 is relatively easier to drive compared to MO which makes the MP145 an excellent value for money IEM. I don’t listen to MO without an AMP – as detailed in the scalability section. Fit goes to the MO right from the people with small ears to large ears whereas the people with small ears may find the fit and comfort of MP145 a tad difficult.

Vs Aful Performer 8

The comparison was more difficult than I thought it would be. Both coming from the same brand, the sound signature is almost identical between the two. Although the price difference is bigger, the sound quality is not by much. I prefer the MO over the P8 in some cases. Let’s dive in:

• The build and fit of both the IEMs is similar with design differences. I find them both attractive with contrasting appearances. Fit appears to be the same however, it is slightly better with P8 which positions relatively well in my ear.
• Bass is almost identical however rumble on the P8 is better perceived due to the presence of a DD. Similarly, mid-bass has a slightly better punch and attack on P8 compared to MO. However, both are not meant for the bass heads.
• Mids are fuller on both. Note weight is slightly better, fuller, and more rounded on the P8 compared to MO. It is crisper on the MO. Both are great in their own way. Vocals and instrumentation are terrific on both the sets.
• Treble is more energetic on the MO however, controlled. Due to the crispy note weight definition and control, I am more impressed with the treble performance of MO compared to P8. Both sound great however, the slightest of the BA timbre in the upper treble is evident in certain tracks on P8. Also, Airiness is slightly better on the MO.
• Detail retrieval is still the best with P8 compared to MO. MO is almost up there.
• The stage width is a bit wider on the MO compared to P8 – not by much. Stage height is identical however, depth is better on the MO compared to P8.
• Imaging has more precise positioning and movement tracing on the MO compared to P8.
• P8 is still more resolving compared to MO.
• Layering and separation are identical. I don’t see much difference.
• MO is slightly more musical overall due to the excellent coherency across the board.

Pros:

• Excellent Coherency
• Sub-bass depth and texture
• Impactful mid-bass
• Excellent mid-range – vocals and instrumentation
• Energetic and extended treble performance
• Airiness throughout
• Natural tonality
• Top-notch resolution, layering
• Very good stage height and depth
• Adequate stage width
• Precise imaging
• Excellent value for money compared to P8
• Quality cable

Cons:

• Hard to drive – missing out on the untapped potential
• Not for the bass heads (Not a con for me)

Conclusion:

In conclusion, the Aful MagicOne stands as a remarkable achievement in the realm of in-ear monitors (IEMs), firmly establishing itself as my top pick for 2023. Its exceptional performance spans from deep and impactful sub-bass to a lively and energetic treble, all while delivering a rich and well-balanced midrange. The tonality and technical prowess of the MagicOne are simply astounding, offering a listening experience that rivals even the esteemed Performer 8, yet at a far more accessible price point. Aful has truly excelled in crafting an IEM that not only meets but exceeds expectations, providing phenomenal value for money. The MagicOne is more than just an audio device; it’s a testament to Aful’s commitment to excellence and a magical addition to any audiophile’s collection. With the right DAC/AMP setup, it transforms into a powerhouse that can gracefully handle any music library. If I had to choose just one IEM to end my audio journey, the Aful MagicOne would be it, without a doubt. It’s a product that doesn’t just tick all the right boxes – it creates new ones.