Ame Mousa Review
Intro
This review and feature covers the latest flagship level iem from the audio brand AME Customs named the AME Mousa ($4,500). Without question the AME Mousa is a top tier bona-fide flagship level iem which consists of 13 balanced armature drivers & 2 Sonion bone-conduction drivers per side along with some of the most cutting-edge tech hidden inside of the large copper shells. By the way, the copper shells are crafted using one of the coolest methods that I’ve heard of, and I am beyond impressed. I will explain all of that to the best of my ability later in this review, that is, after I actually have the Mousa in hand. To say I’m excited to look at the Mousa, feel the Mousa in hand, and to listen the Mousa is a wild understatement. Never would I be able to hear a set like this without the collaboration of AME Customs as well as Audio Geeks. I should mention that I’m also part of the Audio Geeks USA Tour. No doubt it is a great honor to hear a set of this quality and prestige within the hobby. I will do my best to explain the sound to the best of my ability.
AME Customs
AME Customs is owned and manufactured through Shark Wave Co. Ltd which is all done in the fine country of Korea. I have to be honest; I really don’t know much about the origins of AME Customs as there really isn’t a whole lot of info that I could find. However, I can tell you that AME has crafted and created some very fine products. Sets like the AME Radioso $2,100 which is a 1DD, 2BA, & 4EST tribrid set. Or the AME Aura $2,000 which consists of 4BA’s & 2 EST drivers. They have the AME Raven $3,240 which is a flagship level 8BA and 4EST 12-driver hybrid earphone. Another highly regarded set is their other flagship level iem named the AME Gaia $3,240 which happens to be an 11 driver tribrid consisting of 1DD, 6BA’s, and 4EST drivers. Of course, the AME Mousa $4,500 which I’m reviewing today once again has a lofty total of 13 BA drivers and 2 bone-conduction drivers. I suppose the point I’m making is to try to explain the quality and pedigree we are talking about with this brand. Review after review you’ll read rave reviews. Thankfully, the Mousa should be in my possession in one day.
Mousa
From what I’ve gathered over my time waiting for the Mousa to arrive, it appears that AME Customs named this set as sort of a nod to its presumed ability to capture the listener, providing inspiration and artistic creativity. The name Mousa actually means… “Muse”. I find that naming scheme to be very cool and hopefully when I hear them, I can say the name is fitting too. We shall see.
Wow
Okay folks, I just received the AME Mousa today and I’ve spent every second with them in my ears as I want to get the most out of my time with them. I have so much to say and can’t wait to get into it with you all. Just… wow! I should state that because this is a tour unit I did not receive any of the packaging or any package contents other than the cable. Though, the cable is pretty special in its own right. At any rate, I obviously cannot speak on what I don’t have and so this will be more of a “sound review” of the AME Mousa. Well folks, I don’t want to prolong this intro any longer and I am very much ready to start speaking on this fine set. So, without further ado… the AME Mousa…
Non-Affiliated Purchasing Links
Disclaimer:
I received the AME Mousa from AME Customs as an Audio Geeks USA Tour review sample. In exchange I will conduct a full review and feature at Mobileaudiophile.com. I have not received any payment or any other form of compensation for this review. Also, AME Customs has not requested to pre-read any review and doesn’t have any control over “what” or “when” anything gets published to mobileaudiophile.com. All thoughts within this review are my own, though please take note that I will always have my own biases. This is impossible to get around. I try to be as objective as my subjective self can be, but this is an opinion piece folks. Thank you to the very kind people of AME Customs, namely Jae Song as well as Audio Geeks, and thank you for reading.
Mousa Pros
-Top level build quality. Maybe the best
-Design is extremely creative, simply gorgeous
-I hear that the unboxing is pretty impressive, as it should be
-Some impressive drivers used along with impressive tech
-Even with the huge shells, the fit is wonderful for my ears
-Extremely rich, milky, syrupy sound as well as a very precise sound
-Very earthy, and organic timbre. Musicality through and through
-Heavy, full-bodied and clean lined bass, truly impressive
-Lush and forward midrange with wonderful note definition
-Clear, precise, detailed treble which is wholly non-offensive
-Wonderful imaging and layering capabilities
-Better detail retrieval than I ever would’ve thought
-Huge holographic, palpable, euphonic, and well dimensioned stage
Mousa Cons
-Design may not be for everyone
-Some of the largest shells that I’ve worn, very weighted
-Cable is a hair flimsy for these heavy earphones
-Not for fans of a dead neutral or analytical signature
-May present too much low-end emphasis for some folks
-Treble isn’t the most brilliant
-Simply put, you have to enjoy a very warm and less sparkly sound
Gear used for testing
–IBasso DX240 with Amp8 MK2
Packaging / Accessories
Unboxing
Again, I did not receive the box or any accessories with what was mailed to me except the cable. I wish I could outline everything that comes with the Mousa and provide my thoughts but unfortunately, I cannot. However, I have seen others who received the entire package and so I’d recommend you check out some other reviews if you are wondering.
Cable
The included cable is actually the product of a collaboration between Eletech Cables and AME Customs. As it is, the cable is a very nice wire that I have zero issues with at all. It is a copper colored 2-pin cable made of 7N OCC copper cable and 5N pure silver wires as well. This cable is a type 1 Litz cable that’s 25awg in thickness. Honestly, it’s really not a bad cable at all and I could find many uses for it. However, the included cable is just a hair too flimsy for these gargantuan shells. It would have made sense to pair this set with a fatter and more substantial cable so as to offset the weight of the Mousa a bit. I always feel like the cable is about to break apart. Of course, that probably won’t ever happen, but it does give me that feeling. At any rate, the included cable is actually quite nice. It has a very nice look paired with the Mousa and sounds perfectly fine.
Build / Design / Internals / Fit
Build Quality
I couldn’t wait to tell you all about the build on this set. Folks, the AME Mousa is probably the best built set that I’ve ever had in my hands. It is ridiculously big, massive, and yet totally ergonomic. Yes, the Mousa is a heavy iem but the weight is distributed in a comfortable fashion. However, if you have smaller ears you may want to think again. Anyways, this set is built like an actual tank folks. Based on AME Customs promotional material, every Mousa shell takes no less than 10 hours to produce and only thirty can be made in a month’s time. The Shells are made entirely with Mokume Gane copper blocks which are processed and formed using 5-axis CNC machining. Mokume Gane is an ancient Chinese technique which involves layering many different alloys together to appear as wood grain. Folks, it’s simply beautiful. Really, go check out some of the Mokume Gane produced art out there and you’ll see it’s a special process which is beyond cool to see in a set of earphones. The Mousa has flat Mokume Gane faceplates which are screwed into the shell using three silver screws. It’s truly an amazing build. This is one case where I’d say the build itself is a work of art. The Mousa has two small vents. one the backside of the Shells and one on the top. Mousa calls this a two-way venting system. The nozzles are about medium length with roughly a 6mm nozzle width. I am so very impressed.
Design
This brings us to the design. Now, I’m sure not everyone is going to fall in love with the look. Personally, I feel the Mousa’s design is one of the better and most luxurious that my eyes have ever seen. I suppose I can appreciate what goes into making a set like this which brings the Mousa over-the-top for me. However, I’m completely positive that not everyone thinks as I do. That said, friends, the AME Mousa is truly beautiful. I just finished reviewing the EarAcoustics SPA Limited Edition (SPA LE Review) which is simply a gorgeous iem, but the Mousa is right there with it. Just the man-hours which goes into making this set is enough to give it an A+ for effort alone. As I said earlier, the name Mousa actually means “muse” helping the faceplate designs to make good sense. You see, on one side the faceplate has an embossed picture of a harp, and the other side has what appears to be a woman’s face. One can only suspect this woman to be a muse of sorts. The artistry of the faceplates is truly wonderful. Couple the creative faceplates striped in what looks like a Damascus style design. Just gorgeous.
Those shells…
The Mousa’s shells were made using a process called “Mokume Gane”. Basically, it’s a layered pattern which covers the entirety of the external side of the Mousa earphones. This is done by pressing different alloys together and honing out the shape. I cannot get over how dope this set looks. You can see the perfectly pressed, perfectly layered and differently colored alloys meandering in a wavy pattern all over this set. Friends, I am blown away at how unorthodox the aesthetic is, but also how imaginative and savvy the artisans have to be to come up with such a design. What a cool job! It makes me want to design earphones myself. I suppose the Muse is doing what a muse does.
Internals
Okay folks, let me start off by saying that the AME Mousa is unquestionably loaded with drivers. Each side features 15 drivers in total! That’s 13 balanced armature drivers and 2 bone-conduction drivers. I suppose this is why the shells are so enormous. To be exact the Mousa has two Sonion balanced armature drivers controlling the low-end. Sonion makes some of my favorite bass drivers when using BA’s. The low-mids and mid-mids are also covered by two Sonion balanced armature drivers and the upper-mids are taken care of by using four Sonion balanced armature drivers. Lastly, the highs are covered with one Knowles balanced armature driver and the upper treble is covered with four more Knowles balanced armature drivers. Of course, we cannot forget the two Sonion bone-conduction drivers which primarily cover the upper midrange through the treble regions. Friends, AME truly decked this set out with some of the best drivers on the market. To add to that, AME outfitted this set with a 6-way crossover unit to disperse the sound in a cohesive manner across the spectrum. AME also crafted “in house” what they call their two-way vent system along with what they call their ABCS (AME Breathable Chamber System). In front of the BC drivers, this system allows air to fully flow throughout its metal chamber helping the sound to come across with a more spacious sound. Also, the two-way vent system is said to “loosen up the the low-end”. The idea is to help the balanced armatures reverb and decay in a resembling way to dynamic drivers. Friends, the tech within this set is seriously impressive.
Fit / Comfort
This is one area which may pose a problem to some people. I say that because the Shells are absolutely enormous. They’re huge. Like I said, they need space in their acoustic chamber to breathe, along with enough space provided for the 15 drivers and crossover network. There’s a lot to pack in there. So, they’re huge. At any rate, smaller ears may want to think twice about the Mousa. However, I can only speak for myself in this area, and I can say with a smile on my face that the Mousa fits so perfectly for me. They simply seat perfectly in my outer ear. Almost like they were designed according to my ears. So, I don’t know how helpful I can be to you folks. The comfort is astounding considering the size and the weight. Again, even with the weight the Mousa doesn’t become a problem for me because of how well that AME distributed the weight. It’s truly genius. Have I told you all that I was impressed yet? If not, I’m impressed.
Drivability / Pairings
Output Power
Based on AME Customs marketing material I see that the Mousa is rated with an impedance of around 8 ohms @1khz and a sensitivity of about 106 db’s @ 1khz. What this basically means is that the Mousa is very easy to bring to loudness, or to volume. Do not get things twisted though, just because you can drive this set from weaker sources doesn’t mean that you should. Friends, the Mousa does very well with additional power. To the point that I’d say that the Mousa thrives off of more powerful source devices. Now, I used the Mousa with every source at my disposal, which is easily over 20 some sources. From weak to powerful the Mousa sounded great. However, it is without question a better sounding set with more power. What do I mean by “more power”? I’m talking, find a powerful dongle dac at the very least. I found the Mousa to perform best with my more powerful portable sources in the Shanling M6 Ultra, iBasso DX240, and the Fiio Q15. I used each on either medium or high gain. What I found was that the bass certainly sounded more dense, more dynamic, tighter in its dynamics too. The highs did the same thing. They sounded tighter, more focused, sprightlier, and better extension. In fact, the whole frequency sounded tighter. To enough of a degree that it’s noticeable to a discerning ear. So, give this set some reasonable power.
Source Pairing
This section I try to explain what source devices that “I” feel the Mousa pairs with best tonally. I’d first say that it isn’t fully conclusive what tonal pairing works “best”. I say that because the Mousa is certainly a warm sounding set and a lush sounding set. Now, my warm/neutral Shanling M6 Ultra sounded flat-out awesome! Furthermore, the neutral Fiio Q15 also sounded fantastic. Or the neutral iBasso DX240. I’d say that as long as your source device isn’t straight warm, then you’ll be good to go. Too much added warmth does slightly muck up the mix a bit, so do be weary of that. Having said that, basically any device I paired the Mousa with sounds good. I’d say the Mousa is certainly a chameleon to some extent. I suppose a lot has to do with the pedigree of this set and its amazing drivers and tech within. It just meshes well with many sources. That’s my opinion anyways.
What do you need?
Friends, this set is $4,500! Now, I’m going to go out on a limb here and state that anyone who has $4,500 to splurge on an iem most certainly has a nice source device to pair this set with. Basically, whatever you have should be fine so long as it isn’t weak and it isn’t overly warm. That’s it. Plug-and-play and have a good time.
Sound Impressions
*Note: before I dig into the sound portion of this review I have to relay some small tidbits of info. First, I went through every tip at my disposal (which is a lot) and the set of eartips which sounded and fit best for me was the KBear 07’s. I used them for the duration of critical listening. Something about the firm flange and semi-wide bore just hit the perfect auditory spot for me. I listen mainly to flac or better files which are stored on my devices. The Android music players of my choice is UAPP (USB Audio Player Pro) and Hiby Music Player. Lastly, I did not burn this set in as this was a tour unit.
BALLER!
Friends, I’ve never had anything costing $4,500 in my ears. As many reviews as I’ve conducted, as many sets which have graced these ears, I’ve never heard something so irrefutably and unequivocally “end game”. Now, that “end game” moniker does have some certain caveats. Without question if you are purchasing a set at this cost, you’ve probably done your homework, over and over again. You’ve read all the reviews, you watched all the videos too. However, the caveat is that the sound signature has to suit you. You are spending over $4k on an iem, it should meet your preferences. However, past that one caveat, the AME Mousa is a bona-fide BALLER of an iem. I will explain the sound as I hear it in a bit, but I had to preface the entire sound section to simply say that I was overly engrossed, completely sold, and so very enamored with the way the Mousa presents its particular style of sound. I wouldn’t even say the Mousa represents my exact preferences. Still, I could consider this an end game type of a set. Boy-oh-boy, if the Mousa does happen to meet your ideal target, your perfect signature, then fellas and ladies, I don’t think there is any way you would not be in love with the sound. Having said all of that, the Mousa causes no confusion over what its target is and so it may be polarizing for some of you. In fact, I know it will be. It will not be for everyone. But again, for whom this set is for… watch out…it’s really good.
What’s it sound like?
The AME Mousa carries a very unique and totally euphonic blend of warm and resolving. I’d say the Mousa is a very transparent L-shaped sound (I wouldn’t argue if you called it V-shaped) with a forward midrange and a subdued but also lively treble region. I’ll cover that all later. Timbre is very earthy, organic, and very smooth throughout. However, that smooth demeanor doesn’t blunt its crispness at note edges or lessen its note definition. I would most definitely say that the Mousa is a warm leaning iem with a heavy bass influence which casts its warmth frequency wide. Without question the focus of this set is the low-end, yet surprisingly enough the rest of the frequency is not left out and the focus can change as your track changes. The sound is still extremely resolving, very full, very flavorful (for lack of a better word) and vivid with some of the most rhythmic musicality that I’ve ever heard in an iem. Basically, you can audibly hear the pedigree of this set. As I say, “There’s levels to this game folks”. No doubt about it the Mousa brings to the table something different, but also a sound that is very particular as well. Now, if it was any other set I’d assuredly say that the sound will only fit a certain “type” of listener. However, this set is just so enthralling and precise despite the warmth and note weight that I feel many different people could get wrapped up in the sound.
Sound cont…
The Mousa has very dense, textured & full-bodied notes. The Mousa is generally rich in body with a clean-lined version of lush. Every single note is perfectly contoured, nicely separated (per the thicker note body), and well defined. Also, to top it all off; every midrange to treble note has some extra haptic feedback from the BC drivers (I’ll touch on that later). At any rate, the Mousa is completely engrossing with one of the more holographic sound fields that I’ve heard in an iem. It’s fun through & through, but within that fun is some of the best note control out there. Nothing sounds harsh, sibilant, metallic, and there’s nothing peaky at all. Also, the cohesiveness of these drivers and frequency divisions is absolutely stellar. Truly a refined sound that had me fast scrolling through my Playlists just to hear how each track sounded with the Mousa in my ears.
Technically Speaking
As far as the technical side of things, the Mousa doesn’t disappoint… at all. I called this an L-shaped (again, I wouldn’t argue if you called it V-shaped) iem but the quality and perfect emphasis in the upper ranges adds just enough sprightly energy to illuminate subtle details. Now, I am in no way calling this set a detail beast. It’s not exactly that. I’d hate to label the Mousa any one way, or give it any one moniker to label it with. It does so much and it does it all well. However, to have such a rich sound resolve micro details to the extent that the Mousa does is truly a testament to the people who toiled over the development of this set. Also, it’s a testament to the quality of drivers they used, the crossover, the housing, the venting, the shape of this set and the materials used.
Technicalities condensed
Instrument separation was the first thing I listened for as I had a good week awaiting this set and had plenty of time to peer at the frequency graph. To back things up, prior to hearing this set (looking at the graph) my first assumptions were that the Mousa would be at least somewhat muddy, probably overtly & overly warmed, I thought I’d hear fat notes possibly veiled in an overcast sludge. I figured that surely instrument separation would be non-existent and I thought that there was a good chance that I wouldn’t even review this set. I cannot begin to tell you how wrong I was. In fact, my experience from day 1 was the polar opposite. The first song which hit my ear showed off that grand and chasmic stage so well coming across both layered and holographic. Separation was at least average to above average. Oh, and those vocals which feel like the singer is right in front of me. Then there’s that deep & palpable bass which sounds nothing like a balanced armature controlled low-end. However, it was the Mousa’s technical showing which had me taken aback. Again, not that it’s some technical marvel at all times. Nevertheless, micro-dynamics and every subtle dynamic shift along with clear and clean macro-details sound crystal clear in all their warm glory.
Bass Region
Without a doubt the bass region carries the brunt of the focus in the Mousa’s tuning. I’m telling you people, though the Mousa has balanced armature drivers covering the low-end, there is almost no difference to a high-quality dynamic driver. The Mousa has all the rumble, all the depth, all the tactile, kinetic, and flat-out brut authority that a dynamic driver can exhort into my eardrums. If anything, the last little resonance harmonics mark the only true difference between the Mousa and most heavy bass emphasized dynamic driver earphones. The Mousa’s low-end is tight, highly controlled, with rounded notes down low which sound distinct, along with lucid and unsullied note outlines. Most heavy bass DD’s offer a hair more of an atmospheric sound, longer decay lag and “usually” won’t sound as detailed as the Mousa. Though that last distinction can be debatable. However, I digress, the point is that the Mousa’s bass region is truly mesmeric and one of the more full-bodied and beefy bass displays that I’ve heard. Here’s the kicker; you have all that emphasis, all that bulbous bass, but what you don’t have is mud. The bass is tight folks, it’s rounded, textured, and one of the most agile and ductile bass presentations that I’ve heard for a hugely emphasized bass. AME Customs used two Sonion balanced armature drivers to control this region and I’d say without the shadow of a doubt that they squeezed every last bit of quality fidelity out of them.
Quality=Quantity
Having said all of that, the bass shelf on the Mousa is certainly mid-bass focused but the sublevels do not lack in the slightest. It has right around a 10-11 dB bass shelf against about a 7db pinna rise. Basically, the Mousa is warm. However, the bass shelf does a very slow glide into the midrange and finally flattens out at around 800hz. What this means is that warmth is quite literally affecting most of the midrange. Despite that long slow gliding shelf, the sound still remains very clear and clean in the mids and so I honestly don’t see this as a detriment. Perhaps it’ll carry a tonality problem for some, but the bass only strengthens this set’s overall character to my ears and for my taste (at the moment). The bass has a mass filled note density and a very hard, quick, and tactile punch. This is a bass that carries a certain quality to its quantity that is so very impressive. I say that because of the details to the bass region, the separation, it’s never really one-noted, always precise, it’s always hard, impactful, and you can feel every bit of it.
Sub-Bass
The lowest of the lows on the AME Mousa comes across with a heavy-handed approach, laying down bass lines that you can feel, with a taut and very firm note delivery in respect to its bulbous nature. Friends, there is nothing at all even remotely sloppy about the sublevels on the Mousa. Absolutely nothing. It replays quite the same as a snappier bass in the way it can punch on attack, the harder note edge, the tidier and streamlined note contours. However, the sub-bass is absolutely pregnant with a certain deep-pitched & rounded convexity. There’s nothing soft, nothing grainy, there’s nothing dry, and there’s nothing overly bloated or blurred. Of course, there are sets which are tuned to reach lower decibels, even more guttural, perhaps a hair more weighted. That said, I don’t feel I’ve ever heard a bass that’s this malleable and tight whilst also having this much hardy substance. “The Hardest Part” by Washed Out is a track which begins with a heavy Chill Wave style bass that runs deep. Man does it hit on this set. Just like I said, its sub notes are guttural but quickly rebound after attack. So robust and penetrative and I can easily feel those notes while the rest of the melody plays along crystal clear. Another track that I always use for testing bass is “Tell Me What’s on Your Mind” by The Decemberists. Now, this track hits out the gate with that ultra deep eyelid vibrating bass. Folks, I love how well the low droning and hulking sub-bass replays for a balanced armature set. Very haptic and tangible and loaded with surface texture.
Mid-Bass
The mid-bass definitely takes the mantle as far as low-end emphasis. This is a mid-bass which slams in a thundering fashion folks. I mean, hard, very authoritative and with just the right measure of decay. Friends, this is one of the most fun sounding sets that my ears have ever heard with loads of guilty pleasure style boom and slam which still remains technically on point. I don’t know how else to say it. Though, I should point out that any set which comes across this warm with this much overarching bass shelf reach is not going to remind you of some ultra snappy and pin-point bass. I suppose it’s the clarity, the clean edges, the subtle crispness and vibrance of the mid-bass. You see, there’s depth to this bass, it’s layered, there’s that texture I keep going on about too. Bass guitar is so growling, mass-filled, and gravelly. Double bass sounds fantastic and the Mousa does sweet justice to any track featuring them. Also, kick drums sound very satisfying as they come across cavernous in their hollow boom (depending on the track). Take “Billie Jean” by Weezer. This track begins right away with rapid and successive kick drums followed by meaty snares. The sound is big, dense, but also tight with nothing lingering or lagging. Or the bass guitar in the track “Muse” by Hysteria. The Mousa cleanly sculpts every fast paced but meaty note. Furthermore, even with its heavy-handed emphasis, it still keeps up with this track rather easily. I have so many notes for different tracks, and each one was penned by a very satisfied listener.
Downsides to the Bass Region
I mean, do I really need to tell you about the downsides of a very large bass presence? Of course, this set, and its bulbous bass replay will not be for everyone. We know this. Not everyone is going to be as joyful as I am over the output here. Without a doubt the bass will mask certain frequencies in really bass heavy tracks. You can’t really get around that. I think my amazement comes from the fact that a bass which is this big is also so focused and so well tamed, which greatly lessens those moments of masking. So, I would think that those people who only enjoy a bass region which hits and gets, or a bass that barely makes its presence felt would obviously not enjoy the Mousa. Also, the bass region does warm the entire mix folks. This is a very warm set and that is largely due to the sheer emphasis down low as well as how much it bleeds into the midrange. So, there’s some issues there. However, anyone still reading this is likely a fan of a heavier bass presence and you are okay spending this kind of cash on a set like this. For those folks I’m just letting you know, the bass is very fun. I never would’ve thought I’d enjoy a bass more than the Hiby Zeta (Zeta Review), the ISN Audio EBC80 (EBC80 Review) and a handful of others. However, I couldn’t be happier with the bass on this set.
Midrange
I was immediately taken aback by the full and rich nature of the midrange. Not that I haven’t heard a lush midrange before either. I mean, I review iems and so I’ve heard many rich sounding sets. What sets the Mousa’s midrange apart from other sets for me is the overall depth, layering, and texture of the midrange along with its earthy and colored presentation. Couple those attributes with the fact that the midrange is very-very well controlled and nicely detailed too. In no way was I expecting that. AME Customs does divulge that the bone-conduction drivers affect mainly the midrange through the treble regions and folks I’m telling you right now the effect is simply awesome. It isn’t some overly exaggerated haptic recognition either. I am seeking out the words here, but I’d say the BC drivers help my music to sound lifelike in its structure. What the Mousa provides is that extra layering and dimension to every note. Like extra convexity to the note body. Just enough too. The BC drivers add that last little bit of sharpness and bite to the presence of each note. I really did find the performance of this midrange utterly captivating. Now, it did take some brain burn. You see, this is a very warm midrange. It’s very full bodied and very dense in its note body too. However, in that warmth and fullness you still have the tight attack and decay of highly qualified balanced armatures. So, it’s warm, it’s rich, but the midrange is also very well defined, great clarity too with an exact attack and a hair-quicker-than-natural decay. Each note sounds very robust with a clean-lined smoothness that is absolutely great for vocals and most instrumentation. Simply put… the AME Mousa’s midrange exemplifies musicality, through and through.
Midrange Cont…
Now that I’ve started to try to explain how the midrange sounds, I should also report that the midrange is not really recessed to my ears. It’s actually fairly far forward and both male and female vocalists come across with very nice presence. You have these syrupy and very viscous fundamental notes and just a touch of much needed crispness along with just enough haptic feel to each note. Friends, I went through so many of my favorite vocal tracks and each time I did it honestly feels like the singer is right next to me. There’s almost this heartrending and stirring quality which seems to pull or draw-out the sentiment of every artist I listen to. Again… there’s levels to this game! Oh, and the smoothness is uncanny folks. Yet that smoothness doesn’t overly blunt the crest of any notes. Well, I suppose when I compare it to truly analytical and clinically tuned iems the Mousa will sound less crisp and crunchy refined. However, I’m talking about a rich, warm, and full-bodied midrange here, and I’m also saying that this set is highly technical in respect to that fullness. Again, the mids are well detailed (so long as it isn’t a heavy bass jam) with enough sound separation to help notes stand out and feel very present and poignant. Add all of this up and you have a realistic and earthy sound that evokes all of the emotion out of any track you listen to. Furthermore, it’s speedy enough for complicated tracks, extremely cohesive throughout, and the Mousa does a good job of bringing my music to life, to the extent that an iem can do that.
Lower-Midrange
The low mids have that juicy moistness and palpable density that I love to hear in my music. Truthfully, I love just about every sound signature and all different kinds of interpretations of men’s voices. However, when you hear men that sound like men singing with a distinct vivid-authority and note saturation; it truly makes for a compelling listen. In my opinion anyways. Add to that the well dimensioned sound field. As simple as I can say it… the lower midrange is very well done. Like Alex Warren in “Ordinary”. This track sounds very smooth, very melodic too. However, what I enjoy is the sound of Alex’s voice and how nicely highlighted that voice comes across. Many sets will embellish his more dynamic and expressive moments in this track. Not with the Mousa. It has that warm and layered control, along with clean dynamics, coupled with a very holographic sound field surrounding his vocals, which almost emboldens his voice against the backdrop of the melody. I have a full page of notes covering males but one that stood out was David Draimen of Disturbed singing a cover of “The Sound of Silence”. Simply awesome. It’s almost haunting as his vocals are so purely authoritative yet completely symphonic. Again, the tonality of this set may not be for everyone, but I don’t see how anyone could hear it and not give a thumbs up.
Upper-Midrange
I generally associate the upper midrange and lower treble areas with female vocals. I know this is not always the case but for the most part it holds true. Females on the Mousa are never overburdened with too much brightness or any sharpness in the pinna rise. There really isn’t anything too harsh or too aggressive to my ears. What I hear is a warmer and perhaps slightly less energetic upper midrange that offers very songful and pleasant musicality. Again, like every other range the upper-mids cohesively remain smooth, easy on the ears, never coarse, grainy, sibilant, or abrasive. Yet the upper mids also carry that nice note body and just enough subdued sparkle to add some glitter to the presence of female vocalists. If that makes sense to you. Females on this set have all the presence though. They are seemingly always forward, well-defined, and every last inflection to every female voice comes through with nice transparency. Norah Jones, in her famous 90’s hit “Don’t Know Why” is absolutely liquid in every sense. Her vocals have this sweet and harmonic viscosity that soothes with the Mousa in my ears. My word, I’m fighting with myself over the examples that I give you. There’re so many female vocalists that shine with the Mousa. Like Olivia Rodrigo in “Deja Vu”. Her tracks are awesome for testing folks. Always well recorded. At any rate, I feel the same for her vocals as I do Norah’s vocals. I think what makes this set so captivating, is its ability to bolster the emotionality of these artists. Impassioned in all the best ways. There’s also dimensionality to every voice, every instrument, with a smoothened roundness along with a layered depth which puts these voices on this evocative and forward pedestal. Just awesome.
Instrumentation
Instrumentation is just the same. Now, it’s true that not every instrument thrives in a warmer climate. You’ll notice that some of the sparkle that you’ve grown accustomed to in your music may not be as illuminated as you’d like. Beyond those few situations, to me the Mousa creates such an impactful and very tuneful environment to replay most instruments. Also, the details from the macro and micro perspective are brought to the surface much better than I ever would’ve expected. You’ll see what I’m saying if you take the dive on this set. Which is nice to hear when each note comes across as rich as they do. I won’t go through every instrument here folks. I try to in my reviews but it always seems to drag on & get too wordy (as if I’m not “wordy” enough) and every track presents instruments a little differently as well. Let’s put it this way, try to envision your favorite instrumental moment. Now, picture that instrument with a slight warmth, embossed, great clarity, and set perfectly in its spot within the sound field. Envision them forward with a slightly less vibrant crispness but with a moist and rounded note body. What I’m getting at is that instruments generally sound great within the framework of the Mousa’s tuning.
Downsides to the Midrange
So, the only thing slight criticism I’d add is that instruments (or voices) which thrive with a sprightlier energy may feel a hair flat at times. Actually, “flat” is a bad word. How about “less enthused”. There’s slightly less tonal contrast at times I’d say. Those moments aren’t an issue for me whatsoever though because the structure of each note is so well outlined, distinct, and each note is set in an environment that has depth to it. I usually like a hair more sparkle at the crest each note (when appropriate), to add some contrast, some edge, some vibrance. The Mousa is simply a hair toned-down and less lustrous. Believe me, this acts as a blessing on so many tracks, but the few which are intended to have more resplendence, and vivaciousness may come across too subdued for some. As for me, I’m okay with it. I’ve grown to love this set and how it replays the midrange. Also, those who enjoy a more analytical sound are not going to enjoy the Mousa. To add to that, those folks have probably already stopped reading this. There’re other more petty “downsides” but I’m not going to list those all out. I’m sure by now you are getting the gist of the sound here. In my opinion, AME Customs did a tremendous job with this midrange.
Treble Region
The treble is very musical, it’s smooth, and also a very capable treble region which never seeks to offend. Now, it’s certainly a toned-down and less rambunctious treble than many sets. You won’t hear any outwardly vigorous or vivacious energy, and you won’t ever feel the need to turn the volume down with the Mousa. In fact, the treble is such that I can crank it up high and never hear anything sharp or too glaring. To me the treble is at least marginally confounding. I say that because this is not what I’d typically enjoy. It’s a warm treble. Shoot, some would call it a dark treble. Having said that, the confounding part is that the Mousa’s treble also has some nice bite, even some moderated and restrained crispness and crunch. It’s quite odd to hear a warmer treble that still has all the trappings of a sprightly and energetic treble. Without question the bone-conduction drivers intertwine with some superior quality Knowles balanced armature drivers. The BC drivers add just enough prevalence and presence to every treble note making them sound prominent, even in their subdued warmth. Just like the rest of the mix the treble region also has some solid note body, some richness to it. But, also like the rest of the mix, those richer notes decay rather snappy. Definitely this isn’t a slow treble region. Again, at least moderately confounding. It’s really a cool sounding region, even if it doesn’t carry the most brilliance, sparkle, or lift the rest of the mix in luminance. What gets me is… somehow this treble isn’t boring in the slightest.
No artificial boosting here
The Mousa also has a very well detailed treble region (so long as you aren’t listening to a bass heavy track). To my ears the highs have good clarity, they’re concise, precise, and they have a certain exactness to them. Even in their slightly smoother nature. In fact, “technically” the Mousa’s treble is actually pretty refined. I hear good note separation as nothing sounds blurred or mishmashed together. Also, layering is very evident in this region along with solid cohesiveness and cadence. Additionally, the highs also have some vivid enough extension into the upper treble. With the help of the BC drivers that extension up top does seem to help stretch the stage a bit. I’ve never heard a warmer and less intense treble region sound as technically savvy as the Mousa’s. At least none that come to mind right now. The point is that AME Customs didn’t need to artificially boost the Mousa’s treble region to get those solid details, the good separation, the layering, or the bite, and haptic treble punch.
Treble examples
As I said before, the Mousa’s treble region has some speed. It has the ability to play fast. I’ll say it again, even with the richer note body I hear a very precise stop-and-go dynamism in this region where every note has the ability to recover fast. Listening to “Keel Over and Die” by Old Crow Medicine Show the Mousa is able to resolve every last rapid fire note without breaking a sweat. And it does so with proper presence for each note. It may not be as brilliant as some may like, but structurally each note sounds vivid, tight, and precise. Also, “Evil Twin” by Lindsay Stirling. This is another track in my treble testing playlist that I frequently use and the Mousa simply sounds awesome folks. Her violin play coming through the Mousa is so very nice, very transparent, and each note had a moistness to it. Nothing dry at all. I just love it. Then you have the very fast electric guitar play of Greta Van Fleet in “The Falling Sky”. I was somewhat surprised that I didn’t hear a mess of treble tizz and the Mousa kept up without degrading its organic style timbre. It’s simply nice folks. No doubt this treble won’t fit any treble head or any person who enjoys more luster and brightness in their treble. However, if you can appreciate a talented treble region that doesn’t overburden our ears then the Mousa may be for you.
Downsides to the Treble Region
The first and most obvious downside would be that the treble region is not the brightest. Some folks will probably complain and say that it is too dark or not energetic enough. I’d probably tell them to give this set some eyes closed listening and let your brain burn in a bit, but very few want to actually do that. I think the highs are very nice for a warmer and less intense treble, but that’s me. Beyond that there really isn’t much else that I’d call an outright downside. I could say that treble heads will most definitely not enjoy this set. That’s for sure. So, there are some preferential issues, but when it comes down to it the Mousa’s treble is a fantastic supporting actor in an Oscar worthy film.
Technicalities
Soundstage
Folks, the soundstage is positively and conclusively huge. Though, the size of the stage isn’t the awesome part. Well, it’s definitely awesome. But It’s not just that the stage is huge which makes this an awesome set to experience. What makes the Mousa’s stage as awesome as it is would be its ability to render a multi-layered, well-dimensioned and holographic stage. Definitely the BC drivers help tremendously in the overall depiction of the stage. Add to that the awesome tuning work by AME Customs and what you have is one of the cleaner and more voluptuous stage presentations that I’ve heard in an iem. Without question this is a huge “Pro”.
Separation / Imaging
Instrument separation is about average to above average (depending on the track) for an iem of its caliber. I wouldn’t say it’s top class though. There’s absolutely no way a set could be tuned this rich and this smooth and still be considered “tops in class”. However, the amazing thing to my ears is just how good this set is at creating distinct lines and well contoured notes whilst coming across with such a warm and lush sound. There are some highly complicated tracks or bass heavy tracks which may trip this set up a hair. Though I really don’t often find this to be the case. I mean, notes come across very clean. Yes, they are rich, but they’re also very concise and each note has that high quality balanced armature style decay which keeps tight lines. The stage is huge and so each instrument has room to. Operate without feeling cramped. Also, Imaging and layering are top notch. I don’t know how else to say it folks. Basically, the imaging ability of this set sounds as a $4,500 set should sound. The Mousa is never clinical in its sound, but it’s clinical in its ability to place elements within the stage as well as its ability to render depth and to place those elements according to their depth in my music. I’m impressed.
Detail Retrieval
You’ve already read my thoughts on the Mousa’s detail retrieval ability in every section of this review. You already know that I feel the Mousa is way better at revealing the subtleties in my music than I ever thought it could be. Every last micro-dynamic, those subtle volume shifts, every fine noise, and most micro-details are fairly easily heard. Once again, I wouldn’t call the Mousa a “tops in class” set for this purpose as there are certainly sets which are made to bring the minutia to the surface better. But I would say that the Mousa is far above average. Just like separation and imaging, the Mousa will have some trouble in bass heavy tracks and there is some slight masking which can happen. However, I wouldn’t want anything changed about this set. I would absolutely hate to lose any of its musicality just for some pesky extra details. Believe me, it’s good enough. Much better than I had anticipated.
Is it worth the asking price?
Okay, this is an easy question for me to answer because the only people buying a set like this are people who have the disposable income to buy a set like this. Folks, the AME Mousa comes in at a lofty $4,500. There’s a huge subset of the community who feels that there’s no set on earth worth that much. I don’t agree, but they’re out there. The question really should be “why” the Mousa cost as much as it does and if it’s satisfying enough to take the plunge on a price like that. Now, there’s no way I’d be able to purchase something like this. I don’t have it. I have three kids and a mortgage, and I simply don’t have that kind of money. That said, if I did have $4,500 burning a hole in my pocket I would jump at the chance to purchase the Mousa. I say that because I know what it brings to the table. I have to thank Audio Geek for that, as well as Jae Song (founder of AME Customs). However, I’ve heard the pedigree folks. And once you hear it… you cannot unhear it. As much as it pains some of you to hear, I feel the Mousa is worth every penny. So, to those who can afford it… the Mousa is worth it.
The Why…
Because I have never in my life seen such an amazing build quality. The Mokume Gane style shells are simply extravagant, regal, ridiculously handsome, and they exude class in every way. The design is one of the most unique and simple designs that I’ve seen. The aesthetic is so very fitting for this set. I just feel that AME Customs nailed this aspect of the Mousa. Also, again, I didn’t receive any of the packaging or contents of that packaging other than the earphones and the cable and so I cannot speak from experience about how nice it is. Nonetheless, I was able to see what comes in the packaging and I was able to see what the unboxing looks like and all I can say is that it definitely looks fitting for such a set.
That sound!
There are many awesome looking iems that sound less than amazing though. I’ve heard many of them and coincidentally I chose not to review them for that reason. However, after I heard the Mousa I was sold. Yes, it took a hair of brain burn but once I truly understood the beauty of the tuning I was sold. Simply a wonderfully tuned iem for its intended target. The bass is bulbous but tight, rounded, textured and very well defined. Although these are BA drivers the bass hits exactly like a stellar dynamic driver, only more clean-lined, streamlined, and slightly quicker than a typical big-bass DD. I love the bass so much folks. Next, the midrange offers some of the richest and most enveloping vocals that I’ve heard for a warmer sounding iem. I mean, musicality to the extreme. Great timbre, organic, earthy, rich, yet precise with fantastic clarity. The midrange flourishes with its multi-layered approach and a very holographic and euphonic sound field. Also, the treble is not offensive in the slightest. It’s smooth, cohesive, and the treble has a very refined note structure. This treble has great note contours, the treble is detailed, notes are bodied, and there’s just enough emphasis in this region to add subtle levels of vibrance across the mix. Again, the Mousa is well detailed, very solid instrument separation, pin-point imaging, and one of the best stages that I’ve heard in an iem. Of course, there are some preferential issues that some may have, but for those looking for this style of set with this particular style of tuning then I feel that the Mousa is certainly worth the cost.
Final thoughts about the AME Mousa
I’ll be honest, it isn’t every day that I get to spend time with a set of this caliber. I really didn’t know what to expect. It’s easily the most expensive iem that I’ve had in my ears. I know many folks who routinely purchase sets around this cost, but for this guy it was a very unique and wonderful experience. I had two weeks to get to know the Mousa and I am not lying when I say that I did a deep dive into this set. Of course, I do on all reviews, but the Mousa simply overtook my time as I neglected other priorities. I simply cannot get over the sheer musicality of this set. Add to that the profound technical ability that the Mousa has. I must’ve mentioned fifty times in this review how nice it is to hear a rich and warm sound which is so transparent and clean. Friends, I write these reviews out of joy. This is why I never write a review of something that I don’t personally like. However, I love the sound of the Mousa. Instruments have such a roundness, such a presence, and vocals sound so real and so lifelike. I adore the big and rotund bass which adds such nice textures to my music. The mellifluousness of this set is simply all-consuming. Also, I realize I laid it on thick with this review. What I did was tell you exactly what I hear, and how I hear it, from my perspective and the only thing more bothersome than having to send this set away is that I cannot review this set again. Basically, what I’m getting at is that I absolutely recommend the AME Mousa for anyone who is seeking out a set at its price point.
Conclusion
To conclude my full review of the AME Mousa, I first have to thank the founder of AME Customs Jae Song for providing the Mousa to the Audio Geeks USA Tour. I am very thankful to him as I’d never have a chance to feature a set like this otherwise. Of course, I also thank Audio Geek for arranging this set for all of the people on the tour. A big thank you to both parties. Also, I need to thank you, the reader, for taking the time to read my words. I say that because it means everything to my partners and myself at mobileaudiophile.com every time you click a link to our website. We try our best to bring different opinions and points of view for our readers and our greatest hope is that those opinions are of some help to you. However, MBA is nothing without you folks. Really, thank you.
Different Perspectives
I would say that this review was pretty one-sided. I’d think there’s no question at all whether I enjoyed the AME Mousa. But I’m only one man with my own unique perspective and for a set at these prices I would hope that you would seek out as many reviews as possible. I implore you to read, watch, or listen to those other perspectives. It’ll only be a help to you and hopefully you will gather those thoughts and have a solid idea whether the Mousa will work for your life. With that I think I’m done folks. So, please take good care, stay as safe as possible and always… God Bless!!
