A Vivid Take on Reference Sound!

PROS: Engaging, lively and exciting W-shaped tuning | Very nice sub-bass extension and physicality | Punchy, well-controlled bass with good texture | Open, articulate and resolving midrange | Excellent vocal clarity and definition | Energetic treble with plenty of sparkle and air | Very good resolution and micro-detail retrieval | Excellent separation and layering | Precise imaging | Good soundstage dimensions | Impressive driver integration | Highly attractive wood and CNC-machined aluminium construction | Very cool eartips carry case.

CONS: Bright upper-frequency presentation may not suit treble-sensitive listeners | Some recordings can sound a little energetic, particularly around the upper treble | Lower-midrange could use a little more body for listeners who prefer a fuller presentation.

Thanks to Jed at Craft Ears for making this review possible. 

Introduction.

Based in Poznań, Poland, Craft Ears has gradually evolved from a manufacturer primarily focused on professional musician-oriented monitors into a brand with increasingly ambitious audiophile offerings. Over the years, the company has developed its own acoustic technologies, experimented with different driver configurations and refined its approach to crossover and acoustic design. Technologies such as RASEN Bass, True Load and its various generations of the SES system reflect that willingness to explore different approaches rather than simply follow prevailing industry trends.

Of course, engineering complexity and proprietary technologies are only part of the equation. What ultimately matters is how effectively they translate into the finished product. Having followed Craft Ears over the years, I’ve seen the brand make some interesting progress, although not every release has been equally successful.

The Craft Four (review here) and Craft Six (review here) were both promising offerings, with good craftsmanship, distinctive aesthetics and plenty to appreciate sonically. The Four had a musical, slightly romantic take on the Harman target, with enjoyable bass, forward upper mids, a spacious presentation and good technicalities. However, its fuller lower frequencies and noticeable lower-treble dip came at the expense of some clarity and imaging precision. The Six took a more ambitious approach, delivering excellent bass resolution, clarity, instrument definition and an impressively wide, holographic soundstage. Its upper-treble extension also added plenty of air and openness, although I found the emphasis a little excessive at times. I unfortunately didn’t get an opportunity to try the Argentum or Aurum, but the Omnium (review here) represented a more convincing step forward, with a better-balanced tuning that retained the technical strengths of its predecessors while addressing some of their tonal shortcomings. The subsequent collaboration with Elise Audio, resulting in the Omnium Ti (review here), refined that foundation further, delivering tighter bass, a more natural midrange and better-controlled treble. Looking back, the progression is quite interesting: Craft Ears has gradually become more accomplished at translating its technical ambitions into a cohesive listening experience.

This brings us to the Leszy, the latest addition to the Craft Ears lineup and another attempt to push its design philosophy forward. Priced at $1,290, it features a five-driver tribrid configuration comprising a 9.2mm LSR dynamic driver, three balanced armatures and a proprietary 6mm planar magnetic driver. It also introduces Craft Ears’ latest SES 4.0 acoustic system, incorporating a custom-shaped horn and multiple resonators designed to work alongside the planar driver, as well as the True Load Evo impedance architecture.

On paper, there is plenty to be interested in, but specifications and elaborate acoustic implementations only tell part of the story. Having spent time with the Leszy, I find it an interesting addition to the lineup, with its own distinct approach and a few aspects worth examining more closely. Let’s take a look.

Official Website – Craft Ears Leszy ($1,290)

Technical Specifications. 

Drivers and Acoustic Design.

The Leszy uses five drivers per side, operating through a four-way passive crossover. The configuration consists of:

• 1 × 9.2mm LSR dynamic driver for bass.
• 3 × Balanced armature drivers covering the lower midrange, midrange and upper midrange.
• 1 × Proprietary 6mm round planar magnetic driver handling treble and upper-frequency reproduction.

This is a pretty standard combination with specialised role assigned to each driver group. The dynamic driver handles the low frequencies, while the three balanced armatures distribute the midrange workload. The planar magnetic driver takes care of the upper frequencies, working in conjunction with Craft Ears’ SES 4.0 acoustic system.

SES 4.0 – Space Expanse System – SES 4.0 is Craft Ears’ proprietary acoustic system designed to shape the upper-frequency response. The planar driver works into a custom-shaped horn, accompanied by three acoustic resonators incorporating quarter-wave and Helmholtz principles. These structures are intended to manipulate the acoustic response through the upper midrange and treble. The implementation is interesting because it gives Craft Ears additional control over the acoustic behaviour of the treble driver, rather than relying entirely on the electrical crossover to determine the final response. It is worth remembering that the audible result is a combination of the driver itself, the crossover and the acoustic structures surrounding it. A specialised driver or elaborate resonator arrangement doesn’t automatically guarantee superior performance, but the implementation certainly gives Craft Ears additional tools to work with.

True Load Evo – The Leszy also incorporates True Load Evo, Craft Ears’ impedance design. The intention is to provide a relatively predictable electrical load while retaining a deliberately non-flat impedance characteristic. The IEM has a rated impedance of 11Ω at 1kHz. The published frequency response specification extends from 20Hz to 35kHz. Overall, the Leszy has a fairly elaborate internal design for its asking price. However, as always, the more relevant question is whether the engineering translates into an audible advantage. That is something I will address in the sound analysis.

Design, Build Quality and Accessories.

The Leszy takes a different approach to construction from the conventional resin shells found on many high-end IEMs. It features CNC-machined aluminium housings with a dark forest-green anodised finish, complemented by particularly distinctive faceplates. These have a finely machined, honeycomb-patterned metal design with natural Polish wood inlays set into the intricate pattern, giving them an almost metallic mesh-like appearance. Interestingly, the wood has a rather local connection: as Jędrzej (Jed) explained, it comes from a forest just a few kilometres from Craft Ears’ premises, quite literally in their backyard. I like that this gives the design a genuine connection to its surroundings, rather than simply using exotic materials for decorative appeal. The overall combination works beautifully: the dark green anodised aluminium has a restrained, satin appearance, the intricate faceplates add visual character, and the natural wood brings a warmer, organic element to the design. The gold Craft Ears logo completes the look without making it unnecessarily extravagant.

The aluminium housings are produced using five-axis CNC machining, while the internal acoustic assembly incorporates 3D-printed inserts designed to accommodate the drivers, acoustic chambers, sound tubes and resonators. This is a sensible approach for a design that requires fairly precise internal geometry. The nozzles are made from a specialised bronze alloy intended to offer better resistance to oxidation and patina than conventional bronze. It’s a nice material choice that complements the rest of the construction. The shells feel solid and well finished, and the overall design has a distinctive identity. I particularly appreciate how Craft Ears has combined industrial precision with natural materials to create something that looks distinctive without relying on overly elaborate embellishments.

Cable – Craft Ears includes an eight-core OCC copper cable with the Leszy, featuring standard 0.78mm 2-pin connectors and a 4.4mm balanced termination. It is a good match for the IEM, both aesthetically and in terms of build quality. I also appreciate the use of standard 2-pin connectors, which gives users the flexibility to experiment with aftermarket cables without having to worry about proprietary connections. The cable itself is soft and supple, with very little stiffness or memory, and coils neatly for storage inside the supplied leather case. It is a well-chosen inclusion and entirely appropriate for an IEM in this price category.

Accessories – The packaging is well presented, with a magnetic product box and a round brown leather carrying case featuring an embossed Craft Ears logo. Craft Ears also includes a custom-designed magnetic eartip storage box, populated with silicone and bi-flange eartips in S, M and L sizes. The box has additional space for storing a few more pairs, which is a thoughtful inclusion for anyone who likes experimenting with different eartips. There is also a wooden warranty card featuring the serial number and production date, along with documentation inspired by the Slavic folklore associated with the Leszy name. Overall, the presentation is well considered. I particularly appreciate the combination of practical accessories and distinctive packaging, although the sound and construction remain considerably more important considerations at this price.

Sound Analysis.

The Leszy has a bright, energetic and exciting W-shaped sound signature. It isn’t strictly neutral, nor is it a conventional V-shaped tuning with an overly elevated bass and treble and recessed midrange. Instead, it uses multiple areas of emphasis to create a lively, contrast-rich presentation. The elevated sub-bass provides a solid foundation, the restrained lower midrange keeps things relatively clean, and the forward upper midrange and energetic treble bring plenty of clarity and articulation.

The overall result is an engaging presentation that makes music sound lively without relying on excessive bass quantity. It works well across a variety of genres, although its energetic upper frequencies can be less forgiving with brighter or aggressively mastered recordings. There is a noticeable sub-bass elevation that gradually transitions into a more restrained mid-bass and lower midrange, followed by a gradual rise towards the upper midrange, peaking around 4kHz. The treble is more contoured, with a dip around 5–6kHz followed by a pronounced peak around 7–8kHz and further fluctuations through the upper registers. This contributes to the Leszy’s lively character, although it also introduces some tonal variability depending on the recording.

Let’s look at the individual frequency regions.

Bass: The Leszy delivers excellent sub-bass extension, with good depth, rumble and physicality. Its 9.2mm LSR dynamic driver provides a satisfying foundation, particularly with electronic music and recordings that rely on deep bass. Importantly, the emphasis is more towards the sub-bass than the mid-bass, allowing it to deliver impact without adding excessive warmth or bloom.

Kick drums have good punch and definition, while bass guitars retain enough weight and articulation to remain distinct in busy arrangements. The controlled mid-bass also helps prevent low-frequency energy from spilling into the midrange, maintaining good clarity with rock and metal recordings. Texture retrieval is good, although I wouldn’t consider it an absolute benchmark in this regard. The greater strengths are extension, impact and control. Listeners who prefer a particularly full-bodied, warm bass presentation might find the Leszy a little leaner than expected, but I appreciate how effectively it balances physicality with cleanliness.

Midrange: The midrange follows a relatively restrained lower-midrange response before rising towards the upper mids, resulting in an open, articulate and forward presentation. This gives vocals and instruments excellent clarity, although some lower-midrange warmth and note density are sacrificed in the process. Male vocals have good definition and intelligibility but aren’t particularly thick or chesty. Female vocals benefit from the additional upper-midrange presence, coming across as expressive and immediate, with good articulation and detail.

Instrument definition is another strength. Electric guitars have plenty of bite and presence, making them particularly enjoyable with rock recordings, while acoustic guitars, pianos and strings retain good clarity. Distorted guitars cut through dense arrangements without getting buried beneath the rhythm section, and vocals remain easy to follow. However, the upper-midrange emphasis can become a little excessive with certain recordings. Bright female vocals, aggressive guitars and already forward-sounding mixes can come across as rather intense. I also think the lower midrange could benefit from a little more body, which would give male vocals and instruments a more natural sense of weight without necessarily compromising clarity.

Overall, the midrange prioritises articulation, presence and separation over warmth and density. It is resolving and engaging, although listeners who prefer fuller note weight may find it a little lean.

Treble: The treble is arguably the most defining and potentially divisive aspect of the Leszy. It has a bright, energetic presentation with plenty of sparkle, crispness and air, contributing significantly to the overall sense of excitement. The response isn’t particularly smooth or linear. There is a noticeable dip around 5–6kHz, followed by a substantial rise around 7–8kHz and further peaks and dips through the upper treble. The initial dip moderates the transition from the prominent upper midrange, while the subsequent peak adds considerable energy to cymbals, percussion and other high-frequency elements. Cymbals have good sparkle and definition, and hi-hats retain their attack and articulation. The upper treble also contributes to the sense of openness and air, preventing the presentation from sounding subdued or rolled off.

However, the upper-frequency response isn’t entirely forgiving. Depending on the recording, certain instruments can become more prominent than others, and cymbal-heavy tracks or aggressively mastered material can occasionally sound a little too energetic. Treble-sensitive listeners should keep this in mind, particularly at higher listening levels. I would have preferred a more even upper-treble response. The Leszy certainly doesn’t lack detail or extension, but better control over its peaks and dips could have improved tonal coherence without necessarily sacrificing its lively character. It is an enjoyable treble presentation for those who like sparkle and energy, but not one I would describe as particularly smooth or relaxed.

Technical Performance.

The Leszy is a capable technical performer for its $1,290 asking price, delivering good resolution, separation, imaging and layering. Its energetic tuning also makes individual elements within recordings relatively easy to follow.

Resolution and Detail Retrieval – Resolution is one of the Leszy’s stronger attributes. It retrieves plenty of information across the frequency spectrum, with particularly good articulation through the midrange and treble. Instrument textures are well defined, vocals have good detail, and subtle elements remain relatively easy to distinguish. There is a good sense of clarity without the presentation becoming excessively thin or artificially sharpened. The upper-frequency emphasis contributes to the perception of detail, but the overall performance isn’t dependent on treble energy alone. Low-level information, including vocal inflections and subtle instrumental nuances, is also presented with good clarity. While I wouldn’t necessarily place it among the absolute highest-resolution IEMs in the market, the Leszy delivers a very respectable level of detail retrieval for its price.

Soundstage – The Leszy has a good sense of openness, with respectable width and depth. Instruments have room to occupy their respective positions, and the overall presentation doesn’t feel overly intimate or congested. Width is particularly enjoyable with recordings that have well-recorded stereo information, while depth is helped by the controlled bass-to-midrange transition. The energetic upper frequencies also contribute to the perception of openness and air. Height is reasonably good, although I wouldn’t describe the soundstage as exceptionally expansive in every dimension. Overall, it offers a spacious and well-organised presentation without necessarily being class-leading.

Imaging and Separation – Imaging is another area where the Leszy performs well. Instrument placement is reasonably precise, with good left-to-right positioning and sufficient depth layering to distinguish foreground and background elements. Separation is particularly good with busy recordings. Multiple guitar tracks, bass lines, vocals and percussion remain relatively distinct, making it easier to follow individual elements within complex arrangements. The upper-midrange and treble articulation certainly help in this regard. That said, good separation shouldn’t automatically be equated with exceptional spatial precision. While the Leszy does a good job of keeping instruments distinct, its imaging isn’t necessarily the most holographic or three-dimensional in its price category. It is a strong performer, but there is still room for improvement at the higher end of the market.

Dynamics and Transients – The Leszy has an engaging dynamic presentation, with particularly good impact through the bass. Kick drums have satisfying weight, percussion has a nice sense of attack, and musical passages retain sufficient contrast to prevent the presentation from sounding restrained. Transient reproduction is also very good. Plucked instruments and percussion have well-defined attacks, while note decays retain enough information without sounding unnaturally abrupt. The dynamic driver contributes to the low-frequency impact, while the balanced armatures and planar driver handle their respective frequency regions with good articulation. The result is a technically accomplished presentation that combines clarity, impact and musical energy.

Comparisons.

Craft Ears Omnium.

The original Omnium is a highly resolving IEM, with an articulate midrange, excellent imaging and a strong sense of layering. Its presentation is more contrast-driven, bringing vocals and instruments into focus with an engaging sense of definition. The Leszy has a livelier, more energetic character, with a more overt sense of sparkle and transient definition. Both are technically capable, and the Omnium is certainly not lacking in either resolution or spatial ability. In fact, its ability to create depth and layer instruments is one of its defining strengths. However, in my listening, the Leszy creates a roomier and more holographic acoustic presentation, with a greater sense of openness around individual elements. It also brings microdetails further forward, making subtle textures and low-level information easier to notice. The Omnium has a more natural and controlled approach, while the Leszy is more expansive and explicitly revealing. I particularly appreciate how the latter combines its energetic presentation with such impressive separation and spatial scale.

Craft Ears x Elise Audio Omnium Ti.

The Omnium Ti is a more natural and refined-sounding IEM, with excellent tonal coherence and a very effortless presentation. Its fuller, more grounded character gives instruments and vocals a convincing sense of body, while its smoother treble makes it particularly easy to listen to over extended sessions. The Leszy takes a more energetic and explicit approach. It sounds livelier, with greater sparkle and a more immediate sense of detail. The distinction is not that the Omnium Ti lacks resolution; it is a highly capable technical performer in its own right. Rather, the Leszy makes its fine details and transient information more conspicuous, while also creating a roomier and more holographic soundstage. I find the Leszy more impressive in terms of perceived spatial expansiveness and the retrieval of small details, whereas the Omnium Ti prioritises naturalness, cohesion and refinement. They are both accomplished implementations, but their presentation philosophies are quite different.

Symphonium Zenith.

The Zenith is one of the most natural and refined-sounding IEMs in this comparison. It has an exceptionally coherent presentation, with a smooth and effortless quality that allows instruments and vocals to sound convincing without drawing unnecessary attention to individual elements. It is also highly resolving, but its approach to detail is more understated than the Leszy’s. The Leszy has a livelier personality, with greater sparkle, sharper articulation and a more explicit presentation of fine textures and transient information. I also find its soundstage roomier and more holographic, with a stronger sense of openness and separation. The Zenith remains an excellent technical performer, particularly in the way it presents music naturally and cohesively. The Leszy, however, is more immediately revealing and expansive. I would describe the Zenith as the more effortless and natural listen, while the Leszy is the more energetic and overtly detailed one.

Symphonium Europa.

The Europa has a fuller, more rounded and comparatively relaxed presentation. Its lower registers have a little more warmth and body, giving music a grounded character, while its smoother overall approach makes it a forgiving listen with brighter recordings. The Leszy is livelier and more incisive, with greater sparkle and a stronger sense of immediacy. It brings out the edges of individual notes more clearly and makes fine details easier to appreciate. The most striking difference, however, is the spatial presentation. The Leszy creates a much roomier and more holographic soundstage, with better separation and a stronger impression of depth between instruments. The Europa remains enjoyable for its fuller and more relaxed character, but the Leszy offers a more expansive and revealing listening experience.

Elysian Diva 2023 (Blue Switch).

The Diva 2023 has a warmer, more organic presentation, with a fuller sense of body and a smoother overall character. Vocals and instruments have a rounded, natural quality, making it a particularly enjoyable listen with acoustic music and vocal-focused recordings. The Leszy sounds leaner and more energetic in comparison, with a livelier presentation that brings out the attack and definition of individual notes. It is also more explicit with fine details and subtle textures, giving music a sharper sense of articulation. The Diva has a pleasingly musical quality, but the Leszy creates a larger and more holographic soundstage, with stronger separation and a greater sense of space around instruments. For listeners who prefer a warmer and more forgiving presentation, the Diva remains appealing; for those looking for a more expansive and revealing experience, the Leszy makes a stronger impression.

Elysian GAEA.

Both IEMs have an energetic, engaging character, although they approach it differently. The GAEA has a more forward and assertive presentation, particularly with vocals and guitars, which gives music an immediate, up-front character. The Leszy feels more open and expansive, with a stronger sense of sparkle and an ability to bring fine details into focus without relying solely on midrange forwardness. Its presentation has more breathing room, and instruments are positioned within a larger, more holographic soundstage. The Leszy also has the advantage in separation and perceived resolution, allowing busy arrangements to remain well-defined without becoming congested. The GAEA is undeniably exciting, particularly for listeners who enjoy an upfront and energetic sound, but the Leszy strikes me as the more spacious, refined and technically accomplished performer.

BGVP Solomon.

The Solomon has a fuller, more grounded and natural-sounding presentation. Its tonal character is comparatively relaxed, with a smoother approach that makes it easy to enjoy over longer listening sessions. The Leszy, by contrast, has a livelier and more energetic personality. It sounds more open and articulate, with sharper definition around instruments and a greater sense of immediacy. The difference is particularly apparent with busy arrangements, where the Leszy does a better job of separating individual elements and bringing subtle details to the forefront. Its soundstage is also considerably roomier and more holographic, creating a stronger impression of space between instruments. The Solomon is the more understated and natural listen, while the Leszy is more revealing, expansive and technically accomplished.

BGVP Phantom SE.

The Phantom SE has an engaging, dynamic presentation, with particularly good bass impact and a convincing sense of layering. It has an interesting spatial character of its own, but the Leszy sounds considerably more open and expansive. This is especially noticeable with complex recordings, where the Leszy creates more space around individual instruments and gives the overall presentation a stronger sense of depth. Despite the Phantom SE’s bone-conduction drivers, it doesn’t quite achieve the same roominess or holographic quality. The Leszy also has the advantage in separation and fine-detail retrieval, bringing subtle textures and transient nuances into sharper focus. The Phantom SE remains an enjoyable and technically capable IEM, but the Leszy offers a more impressive combination of spaciousness, resolution and overall technical performance.

Kinera Verdandi.

The Verdandi has a fuller, warmer and more relaxed character, with a presentation that is less overtly energetic than the Leszy. Its bone-conduction implementation contributes to an interesting sense of spatial depth, and it has a pleasant, rounded presentation that works well with a variety of music. However, the Leszy creates a noticeably larger acoustic space, with a more holographic presentation and better separation between instruments. It also sounds more incisive and revealing, bringing out finer textures, transient details and low-level nuances more readily. The Verdandi is the more relaxed listen, whereas the Leszy is livelier, more articulate and more explicit in its presentation. Despite the Verdandi’s interesting spatial capabilities, I find the Leszy considerably more impressive in terms of overall soundstage scale, separation and detail retrieval.

Final Verdict.

The Craft Ears Leszy is a very enjoyable addition to the company’s lineup, offering a lively, exciting and technically accomplished take on a reference-oriented W-shaped signature. What I particularly appreciate is how effectively it brings music to life. There is an infectious sense of energy and dynamism to its presentation that makes just about everything sound engaging, without resorting to the exaggerated bass or recessed vocals of a conventional V-shaped tuning. It retains excellent midrange presence and articulation while adding enough emphasis across the frequency spectrum to make listening an engaging experience. It’s not strictly neutral, nor is it trying to be, and I think that’s part of its appeal.

Beyond its tuning, the Leszy delivers very good technical performance, with excellent resolution, separation, imaging and dynamics for its asking price. The bass has impressive extension and control, while the overall driver integration is commendable. I also appreciate the attention to detail in its construction, from the CNC-machined aluminium shells and locally sourced Polish wood faceplates to the bronze nozzles and thoughtfully put-together accessories. It feels like a well-considered product rather than just another elaborate driver configuration.

Of course, there is still room for refinement. The relatively restrained lower midrange could use a tiny bit more body, while the uneven upper-treble response can occasionally make brighter recordings sound more energetic than ideal. A little more refinement in these areas would have made an already enjoyable tuning even more convincing. The Leszy won’t necessarily suit those who prefer warmer, smoother or more forgiving signatures, but for listeners who enjoy clarity, sparkle and exciting presentations, this will be right up their alley.

At $1,290, I think Craft Ears has put together a wonderful package. The Leszy gets considerably more right and very little wrong, and its combination of technical competence, build quality and sheer listening enjoyment makes it one of the standouts in its price category – even a segment or two above. Most importantly, it’s an IEM that makes me want to keep listening to the music without any other thought. That’s something I value, and Craft Ears deserves credit for getting that balance right. The Leszy is a very well-executed, exciting take on reference sound and one of the company’s most accomplished offerings to date. Highly Recommended!