Audeze Euclid IEM Review

Materials, Quality & Comfort

Technology

When those waves collide, they become distorted. When this happens in audio, it's called wave interference. Audeze's Fazor technology combats this. Think of Fazors like guides for sound, maneuvering the sound waves out of the drivers in an even and smooth way without interfering with each other. Each Fazor element is placed just outside the magnets that drive the diaphragm, allowing the sound waves out in a more even and parallel direction, reducing interference and diffraction, or scattering of sound waves.

Fluxor™ magnets and Uniforce™ voice coils also help to reduce distortion. In addition, they improve sensitivity and create superior cohesion across the entire frequency spectrum.

Euclid is engineered for an incredible 105 dB/mW efficiency and a max SPL well over 120dB, which Audeze claims gives it the highest dynamic range of any in-ear in its size category. Of course, as any responsible audio company should, Audeze cautions against listening at volumes higher than 85dB, lest you damage your hearing.

Sound Impressions

There is a sense of width and depth that had me turning my head at times because I perceived certain sounds to be coming from within the room vs. my music. This can actually be startling, but I think it speaks to the amazing soundstage of the Euclid.

Review setup: Tested with 1) Matrix Audio Element X headphone amp/DAC/music streamer and 2) Astell&Kern A&ultima SP1000 DAP music player.

In a way, the Euclid sounded as I expected it would. In quite another way, it sounded nothing like I expected. Let me explain.

I expected a planar magnetic sound: natural, musical, relaxed, and detailed. Those terms definitely describe the Euclid. The bass response was lighter than I was expecting. But what it may have lacked in raw power and rumble it made up for in tightness, articulation, and refinement. Overall, though, I feel that the Euclid is a more mid- and high-centric IEM.

But the Euclid has a soundstage that I simply didn't expect on an IEM, much less a closed-back one. There is a sense of width and depth that had me turning my head at times because I perceived certain sounds to be coming from within the room vs. my music. This can actually be startling, but I think it speaks to the amazing soundstage of the Euclid. This happened, for example, in "Julius," where I literally turned around because I mistook female backing vocals for a conversation happening behind me! Also on that track, which sounded light and quick, the horns had a lot of presence in the mix, and they absolutely shined.

Instrument separation is a real strong suit for the Euclid. Frenetic music is a great way to gauge this, because you either keep track of the instruments or they start to blend. In Jethro Tull's "Skating Away," there was a great sense of separation in the second part of the song, where the bass, flute, guitar, and vocals all hold their own. And at the beginning of the track, one can hear Ian Anderson whistling and making tea. There are a lot of sound treats here, from the clink of the teaspoon against the cup to Ian Anderson's breath. The Euclid did a fine job of presenting this bit with a major amount of clarity and realism. Also, strings sounded amazing here and in other tracks. I love it when guitar plucks sound three-dimensional!

On "Time," there was a wonderful sense of dimension in the opening sequence, which is a series of jarring alarms followed by a simulated heartbeat via rototoms. It was the instrumentation that really shone in this track, with David Gilmore's strong and gritty vocals taking a slight backseat.

I chose David Bowie's "Golden Years" for its strong bass opening. There was great punch here, but it wasn't deep and rumbly and it wasn't the highlight. I was more focused on pops of sound and the way the instruments complemented rather than competed with each other. There was a nice funk factor, even if it wasn't the most energetic presentation.

Switching to the SP1000, which has a more forward sound than the neutral Element X, I found that the Euclid had a more analytical presentation. The opening of "Time," for example, had an insane level of sharpness and detail, which was really cool, but the alarm clocks were almost too shrill! The tap of the drums, however, was pleasingly sharp and holographic. The guitars absolutely wailed, to the point where I almost felt like they had voices.  

Songs:

• "Golden Years" - David Bowie (Station to Station)
• "Julius" - Phish (Hoist)
• "Skating Away on the Thin Ice of a New Day" - Jethro Tull (War Child)
• "Time" - Pink Floyd (Dark Side of the Moon)

Comparisons

Audeze Euclid vs. Meze Audio Rai Penta

Audeze Euclid vs. Audeze LCD-i3

The Verdict

• Genres: Especially good with blues, folk, acoustic rock, classical.

The Euclid is a great option for audiophiles who want a convenient, closed-back, and portable planar magnetic IEM. I really enjoyed my time with the Euclid. I love the detailed yet relaxed vibe of a planar headphone, and the Euclid did not disappoint. The Euclid has a natural and revealing sound that's neither fatiguing nor analytical. I especially enjoyed the Euclid with complex instrumental tracks and slower-paced music. There is definitely a mid-high focus, and the Euclid might be bass-light for some. I never felt like bass was lacking, but it's not the highlight. And the soundstage is amazing, instrument separation is phenomenal, and detail and clarity are top-notch.

Click See Our Headphones 101 Guide for More on Genre Pairings

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