1 CommentSound: 
Value: 
(Read about our ratings)
I haven’t reviewed many in-ear monitors here at SoundStage! Solo, but that’s a gap I’m aiming to fill with a few upcoming products, starting with the Westone Audio Pro X10 earphones ($199.99, all prices USD). They’re small, and have a single balanced armature inside each earpiece. Westone claims they’re great for on-stage monitoring for vocalists, guitar players, and so on. These days, my live performances are limited to solo in-car baritone belts, so it’s a good thing that Westone also assumes these will be used by fans of bands, not just those in bands.
Just an FYI: recently Westone announced it’s no longer going to sell custom IEMs in the US market. This doesn’t include universal-fit models like the Pro X10 earphones.
In the box
In the X10 package is a small box that looks like a miniature Pelican case, just translucent red plastic. Inside that are an absolute plethora of eartips. There are six pairs in total, including the pair already installed on the earbuds. Half are foam; half are silicone. If you’d prefer something soft-sided to carry your earbuds, there’s also a small pouch. Lastly, there’s an owner’s manual and a Westone sticker. I’ve reviewed far more expensive headphones and earphones that include far less.
Use
The Pro X10s are absolutely tiny. The larger eartips practically double their volume. They have the typical IEM cable-over-ear design, and the thin, twisted cable feels smooth and soft. I got a secure and comfortable fit with the pre-installed eartips, which is a rarity. The foam tips offered even more noise isolation.
Sound
Overall, the Pro X10s have strong midrange, with enough bass and treble to mostly balance it out.
I started with the Yes classic “Owner of a Lonely Heart” (90125, 24-bit/96kHz FLAC, Rhino Entertainment / Qobuz), and Jon Anderson’s tenor never got lost in the multi-layered production. The guitars and synths were very present, but there wasn’t much low bass. The treble was clean and rather delicate. For earphones, the soundstage was decently wide, with the widely panned instruments seemingly out over my shoulders.
Next up was “Gravity” by John Mayer (Continuum, 24/96 FLAC, Columbia Records / Qobuz). I hated this song and album when it came out because it was everywhere. Time has been kind to it, to my ears anyway. It starts with a snare and hi-hat that, through the X10s, had great snap and crack. Then Mayer and his Stratocaster come in doing their best Stevie Ray Vaughan impression. It has a clear and smooth sound, something that came through well with the X10s. Mayer’s voice stood out in the mix perhaps a bit more than I’ve heard on other headphones.
For something with a bit more bass, I cued up “Salted Caramel Ice Cream” by Metronomy (Metronomy Forever, 24/44.1 FLAC, Because Music / Qobuz). This electronic indie pop track starts with a strong bass beat and lots of synths. The X10s have plenty of bass when required. In fact, they sounded their best with this track. The extra midrange was fine here, since there’s inherently a fair amount of bass in the song.
As you’d hope for something so small and obviously portable, the X10s aren’t difficult to drive. I was able to get plenty of volume from them, even with my underpowered Sony NW-A306 media player.
Comparison
At the end of last year, I reviewed the Sivga Nightingale earphones. At $229, these are roughly the same price as the Pro X10s, but have planar-magnetic drivers instead of the X10s’ balanced-armature transducers. “Le Dernier Jour du Disco” from Juliette Armanet (Brûler le feu, 24/44.1 FLAC, Universal Music Group / Qobuz) combines Armanet’s soaring vocals with piano and a beat that is unquestionably disco (as told in the 2020s). The Nightingales gave the opening piano and vocals a better sense of space, with a bit more air in the upper treble. They had far less bass, however. The mids were, perhaps, a little better balanced. Overall, the X10s had a smoother, warmer sound, with a wider soundstage.
Going into the wayback machine, I dusted off (literally) my beloved Bowers & Wilkins C5 Series 2 earphones (discontinued, $180 when available). Notoriously bass-heavy, these were my primary earphones for years. It seemed only fitting to play an old favorite on them. “Can’t Hardly Wait” by the Replacements (Pleased to Meet Me, 24/96 FLAC, Rhino Entertainment / Qobuz) is pretty straightforward rock. Putting in the C5 S2s was like sliding on a pair of well-worn leather gloves. Their wide soundstage, one of their best attributes, was even bigger than that of the Pro X10s. The latter’s midrange was far more apparent, with Paul Westerberg’s vocals and Chris Mars’s drums more clear in the mix. The biggest difference was the bass. The X10s had plenty, but the C5 S2s had far more. I can’t believe I’m admitting this, but it was too much. It was also fairly bloated—the X10s’ bass was far more controlled. Between the two, I’d reach for the X10s. At least, I would now. The C5s came out a decade ago. A lot has changed since then.
Conclusion
I don’t think I’d call the Pro X10s “flat,” but I would call them “fun.” They have a lively sound that can supply lots of bass if required while maintaining clear treble. There’s a bit of extra midrange, most notably with male vocals, but not excessively so. Overall, they have a sound profile I typically like, and their small, comfortable size and great noise isolation round out a solid package for $200. I’m not sure I’d use them as on-stage monitors, but for regular listening while blocking out the world, they’re a great deal.
. . . Geoffrey Morrison
Associated Equipment
- PC: iBuyPower Windows 10.
- DAC/headphone amplifier: Schiit Audio Magni.
- Portable media player: Sony NW-A306.
Westone Audio Pro X10 Earphones
Price: $199.99.
Warranty: Two years.
Westone Audio
14301 FAA Blvd., Suite 105
Fort Worth, TX 76155
Phone: (469) 746-5346
Email:
Website: www.westoneaudio.com
