AME Mousa - A Love Affair

5⭐️

+ Overall warm tonality, but still exciting and completely engaging

+ Vivacious, full bass response without being completely dominating

+ Luscious and smooth midrange magic

+ Treble has plenty of sparkle and air with no fatigue or sibilance in sight

+ Thick and supple note weight, but not overbearing or lacking in detail

 

- Would really expect a modular cable at this price

- Large, heavy shells may cause fit issues and fatigue over time

- Dark, warm tonality won't be for everyone

- Looks are always subjective, but personally, I love the design

- Price

thaslaya's star rating system:

☆☆☆☆☆ - Fantastic!

☆☆☆☆ - Recommended

☆☆☆ - There are buyers but not for me

☆☆ - Can't see the appeal

☆ - Product is a failure

Disclaimer: 

This set was provided by @musingclouds for a brief review period. I recieve no compensation and all thoughts and opinions are my own. A big shoutout and heartfelt thank you to a kind and friendly audiophile bro!

Gear used: 

●LG v30+

●Samsung Galaxy s22 Ultra

●iBasso DX180 

●Samsung dongle

●Hiby FC4

●Kiwi Ears Allegro 

●Letshuoer DT03 

●Dunu DTC480

●BLON V1

Source:

●Listening was done through Amazon Music HD or Ultra HD.

Introduction: 

AME Customs is a small IEM manufacturer based in South Korea. They offer multiple flagship IEMs, including the Gaia and the Raven. The Mousa is one of AME's newest releases, and it comes with a whopping $4,500 price tag. This golden IEM features 13 balanced armature and two bone-conducting drivers per side. That's 15 drivers inside each shell, which is quite a lot. Let's break down the Mousa and see if its sound warrants the asking price.

Build, fit, ergonomics:

Unboxing the Mousa is exactly what I would expect from a flagship release; everything about the experience feels very premium. The IEMs are featured front and center inside the box and can actually be seen through a window on the front of the box. The contents of the box include the IEMs, nine pairs of tips, a 4.4mm terminated Eletech cable, a cleaning cloth, cleaning brush, a commemorative Mousa coin, and a substantial carrying case. The shells are made of CNC-machined solid copper, and while they are indeed very heavy, they feel absolutely premium in the hand. They are gold in color with a Damascus-style striped pattern and feature a three-dimensional raised faceplate design. There is a harp on the right side with the letters AME and a profile of a face on the left with the model name Mousa. The overall design strongly resembles an ancient coin, reminiscent of those found in European archaeological discoveries. Even the name "Mousa" is derived from Greek, which translates to "muse." A muse is defined as a person or personified force that serves as a source of inspiration for a creative artist. The shells of the Mousa are undoubtedly a work of art, showcasing the remarkable creativity and craftsmanship of their creator. The shells are not only exceptionally beautiful but also very large and heavy due to the fact that they house fifteen drivers per side. They are also well contoured on the side that fits the ear and have two ventilation holes that help to alleviate any buildup of pressure: one on the back of the unit and one next to the 2-pin connection. The nozzle is about average in length, and it measures 5.9mm at its widest point on the thin lip that helps keep tips in place. The insertion depth is also about average, and I have no issues getting a good seal. What many people might find troublesome is the shells' enormous size and weight, but personally, I find them to be comfortable. The Mousa's shells feature a flat 2-pin connection, which makes cable swapping easily accessible. The stock cable is a custom-tuned 4W Eletech build consisting of 7N OCC copper and 5N OCC silver. It's a decent enough cable, but I would have really liked a modular inclusion, especially at this price point. There are three metal card tip holders housing a total of nine pairs of tips of three distinct varieties: AME stock tips, SpinFits, and Comply foams. The case is very large and can serve as a great storage option or as a daily carry that can house an entire portable setup, though you would need to put it in a bag or backpack to make it easier to lug around. The velcro dividers can be adjusted to easily compensate for a larger DAP, amp, and multiple IEMs and accessories. The case is very well built and a nice inclusion, but for just the Mousa, it's definitely overkill. I would have really appreciated a smaller, more pocketable option in addition to the large case.

I conducted extensive cable and tip rolling with my personal equipment to find the optimal synergy for the Mousa. The AME stock tips and Spinfits worked well, but I found the best fit, seal, and sound quality with the Eletech Baroque tips. The Coreir Brass tips were not a good match because the extra length added to the end of the nozzle placed the shell farther away from the concha, which meant less contact for the bone-conducting drivers. The Tri-Clarions had a strange effect of removing some of the midrange energy and making vocals sound a bit distant and recessed. The Penon Liqueurs and Kiwi Ears Flex tips also worked well, but the wider bore of the Baroque allowed for a bit more treble extension to my ear. As far as cables are concerned, the Mousa's tuning can certainly be altered when paired with different cable materials. Utilizing a pure silver cable can bring out the most of the upper-end sparkle and may be a better choice for treble enthusiasts. By contrast, a pure copper cable can add a bit more low-end rumble and even more warmth that will appeal to bassheads and those who prefer a more relaxed tonality.Ultimately, the stock Eletech mixed copper/silver cable pairs very well with the Mousa's tuning and is an excellent choice to get the best of both elements.

Despite containing 15 drivers per side, the Mousa is surprisingly easy to drive and can reach a higher volume level with just a simple dongle. However, any IEM with that many drivers might need a little extra power to bring out its full potential, and the Mousa is a great example of this. It absolutely benefits, and very well I might add, from proper amplification. Give it an injection of power and the Mousa sings so much more beautifully than before. It becomes fuller and more vibrant and really does come to life if driven properly. It is also fairly source-sensitive, so finding the right match is crucial. A brighter or more energetic and revealing source is a great choice if detail retrieval and separation are paramount to getting the most enjoyment. For me, I prefer a smoother, more musical, and more analog presentation, so my source of choice was the Dunu DTC480.

Sound impressions:

The Mousa is first and foremost a musically tuned and focused IEM, but that's not to say its technicalities are anything less than TOTL level. In the simplest of terms, its tuning is extremely unique and I struggle to describe it using the common audiophile nomenclature. It's not really V-shaped or U-shaped and it's definitely not neutral or bright. I think the closest term would be L-shaped but not in the classic sense. It's definitely a bassy affair to be sure, but there's also an emphasis on the upper midrange and great treble extension without harshness or fatigue. It has a dark and warm tonality but is still detailed with plenty of air and sparkle. It's completely engaging and immersive without forcing you to sit up and pay attention. The note weight is thick and syrupy but in the best way possible. Each note carries a great deal of authority and realism that I have not come across in any IEM before. The detail and resolution are absolutely top-tier, but it is presented in such a different and more musical way than the technical beast type of sets that I've heard previously. Each note and nuance is clear and easy to dissect, but it's also somehow much more than the sum of its parts, and music has such great cohesion that you really end up hearing the entire profile of the sound rather than the minute details behind it all. This year has seen a boom in the use and implementation of bone-conducting drivers. In my opinion, these drivers, when well utilized, can affect the soundstage of an IEM and add something special. The Mousa is no different and it might be the best example of this that I've heard to date. Its soundstage is enveloping, three-dimensional, and absolutely special. It sounds like a private show in a small concert venue. Granted, it's not the most expansive or outside the head, but it has the most realism and fullness, ensuring the entire space is being utilized and nothing is left empty. There are no audible gaps in the stage. Other sets may have a larger stage, but they sound less alive and lifelike and more artificial. Due to the Mousa's warm and somewhat dark tonality, the timbre doesn't have the most natural and organic quality. It can come across as a little over-warmed with a smoothness that timbre purists might not appreciate. I personally find it great, and even though it's not the best I've ever heard, it doesn't detract from my overall enjoyment. The dynamics are actually one aspect of the Mousa that I find less than stellar. In my opinion, the tuning doesn't hold up quite as well at lower volumes. The bass exhibits much more authority and vigor once the volume is cranked up, and some of the Mousa's magic and soul are lost without it. The imaging, separation, and layering are all truly exquisite. It's almost otherworldly how the Mousa can make a complex track sound so simple and easy. Each instrument, sound, and note has its own unique place, allowing them to be clearly distinguished from the others. The technicalities are masterfully executed and help to create a harmonious composition that I have yet to find in any other set.

●Lows - The bass is deep, visceral, and robust, but at the same time, it's also clean, focused, and not overbearing. Even though the low end is quite prominent, the Mousa is not necessarily a basshead-style tuning nor is it one-dimensional. The bass is only a single part of the intricate mixture, and it plays its role extremely well. There's both an ample midbass thump and great sub-bass depth, extension, and rumble. The texture is not really wet, but it's not dry either. I'd say it's more elastic and thick, akin to something like gelatin. The impact might be a little on the softer side, but the punch and slam are well represented. This could be a product of those bone-conducting drivers at play. Midbass notes are delivered quickly and directly but also not too hard or forceful. It really is a Goldilocks style of midbass punch for me. There is a good amount of reverberation in the bass, but it does well not to overstay its welcome. I'm not sure it's entirely fair to say the bass bleeds into the midrange, but it definitely doesn't exhibit a typical separation between the two. This style tuning is a conscious decision to keep the bass elevated into the lower mids, and it is used to great effect. It's as if the bass and lower midrange are one continuous entity. I think the Mousa can only get away with doing this because the detail and note separation are at TOTL levels. So even though technically the bass does "bleed," there is no interference, and nothing is overshadowed or lost in transition. It really is hard to believe the amount of bass being produced is from BA drivers with no dynamic driver in sight. It's an engineering feat that few companies have been able to achieve. The bass is plenty quick, and things like double kick drums are clearly defined, but the decay does linger a bit. Again, I think this must have been done intentionally, as the slower decay helps the bass feel full and alive and very far from sterile or gimmicky. With the Mousa, it's easy enough to throw on your favorite bass-heavy tracks and really experience and be enveloped by the bass, instead of just hearing it.

●Mids - The midrange truly holds some magical qualities. There's a good amount of warmth, darkness, and note weight here that might turn off those looking for an uncolored or unaltered midrange presentation. But this falls squarely within my wheelhouse, and I love how unique it sounds. Instruments still have a natural and realistic quality that helps them sound correct, but they are also grounded in a sense due to the sheer warmth and weight of the Mousa's tuning. Vocals too are warm, lush, evocative, and present perfectly forward enough to stand out in the mix. Both male and female artists are well balanced and exhibit an incredible smoothness that I have not come across before. There is no shout, nasal tonality, or thinness to be found here. To be fair, lower-midrange instruments are not as well represented, but they are still clear and easily discerned. This is likely due to the large bass shelf overshadowing instruments like cellos and some horns. However, the bass is one of the things that makes the Mousa unique, so I wouldn't think of dialing it back. It's a presentation that I personally thoroughly enjoy, but I can see how some may want there to be more definition between the two frequency bands. The upper midrange does fare better and is accentuated enough to elevate vocals above the dense bass that might otherwise be too intrusive. For me, the Mousas midrange exhibits a uniqueness that is part of its overall charm. There's a great balance between having clean, well-separated notes and exuding warmth and color with an intoxicating intimacy and emotionally charged vocals.

●Highs - Those who have read my previous reviews will know that I am far from a treble lover. I'll take a big bass and tamed treble any day of the week, but when it's done well, I can appreciate good extension and the right amount of sparkle. The Mousa's treble is as close to perfect for me as I've found to date, and it really makes me appreciate the amount of air, extension, and energy while also exhibiting no harshness or sibilance. It really is so well-executed for my tastes, and I love how it performs in conjunction with the bass and mids. Cymbals, claps, hi-hats, and snares are clean, clear, and precise but never troublesome. Some vocal notes can be a touch overly incisive but never approach true sibilant territory. It's exactly what I would hope for, and expect honestly, in a TOTL set costing $4,500. It's energetic but also toned down just enough to ensure the bass and midrange remain the stars of the show. If this same treble could somehow be extracted and placed into another IEM's tuning, I'm not sure it would hold up in the same way. It has the potential to come across as too bright, with a slight harshness and sizzle that could be irritating. However, in the case of the Mousa, the balance is just right for me. In fairness, the treble does probably roll off too early and lacks a certain amount of energy for true treble enthusiasts.

The Mousa's tuning is somewhat complex and difficult to summarize in its individual components. Each piece is only one part of the whole, and taken separately, they are not nearly as strong as when taken as a complete picture.

Comparison:

Just kidding! There are no comparisons that could hold up against the Mousa, at least for me. Nothing I've heard has come close to both evoking an emotional response and having the perfect tuning, articulation, and musicality of the Mousa. Also, I don't have anything else even remotely close in price, so any comparisons would be extremely detrimental to the other IEM.

In conclusion:

This is it! I’ve found my unicorn—the one I was never sure existed, but deep down always hoped was real. The Mousa ticks every box on my list, and its tuning is absolutely spot-on for my preferences. I cannot express how much the Mousa truly fits what I like to a tee. I know this review is basically just me fawning over its sound, but it really is the absolute best thing I've ever heard, and I hope it hasn’t ruined every subsequent IEM for my future reviews. The Mousa is as unique as it is enjoyable. It's hard to describe the tuning in words without sounding like an enigma. It's incredibly smooth, but notes also have a crispness, and nothing sounds overtly smoothed over. It's warm and bassy while also having ample air and sparkle. It is absolutely musical and evokes an emotional response, yet it is also one of the most effortlessly detailed and well-separated tunings I've experienced thus far. Upon first listen, the thing that sticks out most is the visceral bass response with both a fantastic sub-bass rumble and mid-bass warmth. But the longer you listen, so much more starts to become apparent. The bass, while undoubtedly elevated, is still nuanced and highly resolving. The amount of detail and separation across all frequencies showcases a masterclass in technicalities while retaining a degree of musicality that is unrivaled. The treble is both tame and nuanced while also having the perfect amount of air and sparkle without any hint of sibilance or harshness. I cannot overstate how each individual piece of the Mousa's tuning and technicalities somehow adds up to more than the sum of its parts. It makes a fantastic all-rounder, and at no point during my review did I find myself wanting more of anything. In fact, I had somewhat of the opposite issue. I noticed that the Mousa can, on occasion, exhibit too much energy, bass, and detail over longer sessions that can lead to some ever-so-slight fatigue. It isn't the overly detailed and clinical type of fatigue I've experienced with detail-monster sets. Nor is it the bright and harsh kind of fatigue I get with too much treble emphasis. It's almost as if the Mousa's tuning is dialed up to 11, and it can become a "too much of a good thing" type of problem. Don't get me wrong, it's absolutely fantastic, and words can't do justice to how much praise I have for this set, but taking a break every now and again to hear a different IEM and "reset," so to speak, goes a long way to keeping my enjoyment factor of the Mousa at a maximum. I'm a big proponent of variety in a collection. For me, listening to the same thing day in and day out can grow wearisome, even in the TOTL tier. I truly love everything about the Mousa, from the aesthetics and fit to the impeccable tuning and incredible warmth. But I also realize that unless I come into a windfall of money, I will likely never own one myself. It's important to keep in mind that just because an experience is fleeting, doesn't mean that it is any less meaningful. Therefore, please do not pity me because I experienced the best thing I have ever heard and do not get to keep it. Instead, feel for those who have not had similar opportunities and may never get those that I have been afforded. When the time came to return the Mousa to its rightful owner, it was not a sorrowful day. Rather, it was like bidding a fond farewell to a dear friend who brought me immense delight and left me with fond memories. I look forward to the day when I can be reunited with the Mousa and experience that joy all over again.