Melody Wings Venus Review: Impossibly-Refined Debut

We live in wonderful times: it’s never been easier to find (and afford) high-quality audio products. In the 10 years since I started reviewing high-fidelity audio gear, we’ve gone from having a smattering of weird, but earnest, budget HiFi choices to having an overwhelming deluge of solid options. But with a flood comes drowning, and drown consumers did in “measurably-good mediocrity”. The quality plateau was reached, and brands didn’t have to… try, anymore. The formula was known, and the path forward, static.

But not every brand stays the course in such predictable ways. Kiwi Ears rocked the boat, dramatically, with the Aether. Xenns monopolized entire online HiFi communities with the Tea Pro. And now, I believe I’ve found the next disruptor:

The Melody Wings Venus.

The Venus is not yet available from any North-American vendors, but you can order it from Jaben for $228.44 SGD. For buyers in the USA, expect a final cost to-the-door between $210 USD and $225 USD.

About My Preferences

This review is a subjective assessment and is therefore tinged by my personal preferences. While I try to mitigate this as much as possible during my review process, I’d be lying if I said my biases are completely erased. So for you, my readers, keep this in mind:

• My ideal sound signature would be one with competent sub-bass, a textured mid-bass, a slightly warm midrange, and an extended, but not dramatic, treble.
• I have mild treble sensitivity.

Testing equipment and standards can be found here.

The Big Picture

Pros:

• Impressive technical aptitude
• Profoundly-balanced tuning
• Fast, nimble, bass response
• Modular cable with USB-C termination
• Strong price-to-performance ratio
• Excellent sound-staging ability

Cons:

• Average carrying case
• Above-average transmission of wind-noise
• No foam eartips
• Generic, underwhelming silicone eartips
• Carrying case offers minimal protection from dust, silts, fluids

Technical Specifications

• Drivers: 3x balanced armature, 1x dynamic
• Impedance: 32 ohms
• Sensitivity: 108dB SPL/mW
• Cable: 0.78mm 2-pin w/ modular termination (USB-C, 3.5mm, 4.4mm)

Sound Signature

The Venus possesses a profoundly-balanced sound signature. It fits cleanly into the “gently V-shaped” archetype and executes itself flawlessly. If you’ve read my reviews for any period of time, you may understand that I don’t write with hyperbole. I literally cannot fault it all. As for the specifics of what makes the Venus so immensely appealing, let’s get into it.

For starters, let’s talk treble. The Venus’s treble sits just a tad beyond its upper-midrange, but has a few internal peaks that robustly-emphasize sparkle and air. Take the high-hats and cymbals in the intro of In One Ear: the Venus captures an immense amount of detail and texture while maintaining a convincing sense of staging. Each slam of percussion attacks with deliberate intent, and decays out cleanly. The Venus manages this impressive performance while maintaining a complete absence of sibilance. Sharply-mastered tracks like Satisfy are rendered inert by the Venus’s tuning, allowing treble-sensitive listeners like myself to hum along comfortably.

The Venus’s midrange is implemented skillfully. The upper mids are lifted a few decibels beyond the lower mids, but do not step too far up in the mix. The Venus’s lower-midrange is gently recessed between its mid-bass and upper-midrange, but absolutely nails a balance between openness and warmth. The Venus, therefore, strikes an impressive balance between organic presentation and technicality. This internal synergy within its midrange makes the Venus extremely flexible. It sounds just as good with male vocals as it does with female vocals. It can juggle layer, after layer of string instrumentation in classical tracks, while also maintaining clarity in the chaotic climaxes of My Chemical Romance’s Dead!. The key here is that the Venus creates a wide and immersive space for instrumentation to play out, rather than over-pushing vocals. Instead, vocals are a cohesive and integral component of the track overall, instead of something distinct that floats on top of it.

Much to the chagrin of the Venus’s would-be competitors, it nails the lower-register as well. While not suitable for pathological bassheads, the Venus presents well-rounded and articulate mid and sub-bass. Drum slams and bass-guitar strummings are weighty and substantive. Synthetic elements, like those in Helium, flow off of the Venus’s drivers with authority. Its mid-bass is tight and well-controlled, evoking a sense of tactility that adds to the overall sense of realism. The Venus’s sub-bass is likewise cut from cloth of quality. Deep-set electronic elements are more-than-capable of rumble, but do so with discretion and calculation rather than overt eagerness. The quickness of the Venus’s drivers allows it to demonstrate an impressive amount of articulation, especially considering its dynamic-driver foundation. Break out (basically) any track from Dead Poet Society and hear if for yourself: the Venus is extremely good at creating a sense of depth and weight with its bass.

Build Quality

The Venus is house in high-grade 3D-printed resin shells. They’re assembled nicely and feature unique birch live-wood faceplates. I don’t believe that these are totally solid, but don’t feel entirely hollow like ZiiGaat’s IEMs.

The top of Venus’s shells host its 0.78mm 2-pin shells. They’re installed flush with the shell and are sturdily fixed in place. The Venus’s nozzles are metal and feature a simple metal debris filter set just-below the lip.

This has to be among the best implementations of a modular cable I’ve seen, at any price-point. It utilizes an affirmative locking-mechanism (threaded-nut), is compact (ahem, Kiwi Ears), and includes a genuinely useful USB-C termination. The cable’s wires are of average thickness and are soft/pliable. They have minimal body and are easy to coil. As such, I had zero issues neatly storing the Venus in its included carrying case. This is how a stock cable should be designed, and other manufacturers should take note.

Comfort

Note: Everyone’s ears are different, inside and out. Comfort is therefore varies person-to-person, and your mileage may vary.

The Venus is a very comfortable IEM. It is light, well-sized, and doesn’t have massive (or weirdly-long) nozzles. The Venus’s cable is likewise ergonomic and pliable, making for a hassle-free usage experience. My singular complaint would be that the Venus seems to pick up an above-average amount of wind-noise. My backyard gets quite a bit of costal wind, and blustery weather makes it difficult to focus on the music when I’m out there.

Accessories

Inside the box you’ll find:

• 1x 3.5mm, 4.4mm, USB-C termination
• 6x Pairs silicone eartips
• 1x IEM cleaning tool
• 1x Semi-hard carrying case
• 1x Cleaning cloth

This is a pretty solid accessory package, especially considering the Venus’s relatively-affordable pricing. The eartips are basic, but usable. I would have liked to see some additional selection included in the box, such as Comply foam eartips or some variety of liquid silicone, but those are fairly cheap to find on Amazon. The included carrying case appears to be extremely similar to those that Simgot used back in 2016–2018, which was a throwback I was not expecting. That said, this bodes well for longevity, as I still have all-three EN700 models and their cases are in great shape. This style of case isn’t particularly protective, but considering the Venus’s lightweight design and compact footprint, it should be sufficient for those that are even remotely-careful with their IEMs.

Comparisons

Note that comparisons are chosen based on what I find to be interesting and entertaining. If you want me to compare additional IEMs, just leave a comment.

Whoa, six comparisons? Yes. I’m serious about how good the Venus is. I’d like to stress that all the IEM I am comparing here are strong performers that I like, none of these products are bad, and I’m simply testing each of them against my (very specific) personal preferences.

Kiwi Ears Aether

The Aether is a slightly-cheaper IEM, coming in at about $170 USD, before taxes and shipping. It is less V-shaped than the Venus, and sounds more-reserved in general. It has a less-pronounced upper-midrange and mid-bass, with a more-linear upper-register. Both IEMs possess very strong technical capabilities, and are clear outliers in this price-bracket. That said, they offer very different experiences for their respective listeners. The Aether is a mildly-warmer IEM with a greater focus on linearity and reference-style tuning. The Venus, by comparison, will be much more familiar, sound-wise, to those who already listen to V-shaped IEMs. I have a deep appreciation for the Aether’s incredible transparency and speed, but the Venus puts up an extremely strong fight with traditional drivers. The Venus doesn’t have quite the finesse with sub-bass manipulation that the Aether does, but it makes up for it with a much-more-flexible overall bass tuning that’s compatible with bass-heavy electronic genres. The Venus has a similar amount of vocal emphasis as the Aether, but has a subtly-better grasp on high-pitched vocal timbre.

Beyond sound, the Venus is a clear superior to the Aether. It features nicer shells, a better (and modular) cable, USB-C capabilities, and a better suite of eartips. Neither IEM has a particularly-impressive case, though I find the Venus’s case is better-sized to its shells. Honestly, both IEMs are phenomenal performers, but I imagine that the Venus will be an easier pill to swallow for those seeking balanced, but traditional tuning. It’s also the more-complete offering, even if it does cost a little more. The Aether is well-suited for those who want planar-style performance without the usual blistering treble that accompanies it, or for those who want a “north of neutral” tuning.

HiSenior Cano Cristales

The Cano Cristales is a pricier IEM coming in at around $399 USD (before taxes and shipping). The total cost to buy is likely twice that of the Venus (via Jaben) for US-buyers, making it significantly higher up the “premium” totem-pole. It utilizes ten total drivers, versus the Venus’s four.

The Cano is a V-shaped, bass-friendly IEM that features a more-emphasized lower-register, particularly with its sub-bass. The Venus has a warmer lower-midrange and less-emphasized spike in its upper-midrange. Both IEMs have excellent sparkle in the upper-treble, though the Cano has much more lower-treble presence. The Cano Cristales is quite a refined IEM, and demonstrates a similar, though perhaps slightly improved, technical capacity. The Venus, does, however, maintain the lion’s share of the Cano’s performance for quite a bit less cash.

Both IEMs feature resin shells with 2-pin modular cables, though I like the Venus’s cable much more. It’s softer and doesn’t irritate the backs of my ears — an issue I had with the Cano’s cable. The Cano Cristales also lacks the Venus’s USB-C capabilities, making it less-accessible for those who swap between 3.5/4.4mm and USB-C sources. Instead, the Cano packs a 2.5mm termination, which is a plus for those with compact DAPs. The Venus may have a worse case and fewer eartips, but it’s a very-close runner-up on many other more-important traits of the Cano Cristales for ~50% off. Those with deeper-pockets who aren’t as concerned with price-to-performance, or those that want brighter, bassier IEMs will probably prefer the Cano Cristales — but other buyers should seriously consider the Venus and its incredibly-immersive sound signature.

EarAcoustic Audio SPA Limited Edition

The SPA Limited Edition (LE) is a single-dynamic-driver IEM coming in at $429 USD. This is a steep price tag compared to the Venus, though one I’ve recommended to folks. Total cost, after taxes and shipping, puts you well-clear of the Venus, again rendering it a tougher value-proposition out the gate.

The Venus and SPA LE are similar in that they aim to evoke a maximal sense of balance of flexibility, but diverge significantly in the details and nuances of their respective performances. To start, the Venus has a somewhat broader mid-bass presence with more-extended and emphasized sub-bass. The SPA LE’s mid-range is a tad cooler, though its upper-treble is less-extended and rolls-off sooner. The Venus is a more engaging out the gate, thanks to its more-robust bass presence, but doesn’t sweep the SPA LE entirely. The SPA LE’s driver is absurdly cohesive, and emits a sense of tactility and speed that I’ve yet to see other IEMs reproduce. The SPA LE’s midrange layers instrumentation similarly well, but pops a little more for guitars and drums. The Venus is fantastic in its own right, but simply doesn’t reach the levels of full-spectrum speed that the SPA LE does, instead presenting instrumentation as deep, but smooth, stage.

That said, will most listeners care about the SPA LE’s advantages? Probably not, and even then, those that care likely won’t be able to justify price-doubling for some subtle psychoacoustic benefits and metal shells. I expect that the Venus will be the IEM of choice for most buyers who A/B these IEMs — though in my books the SPA LE still has its place for deeper-pocketed prospectives and those seeking out top-shelf dynamic-driver IEMs.

Punch Audio Martilo

The Martilo ($329 USD) features brighter treble, and a much-larger bass response versus the Venus. Its midrange is cooler than the Venus’s, making it distinctly more-V-shaped, same as with the Cano Cristales and Tea Pro. The Martilo mixes vocals within the sound-stage similarly to the Venus, which make sense given how similar they present their respective upper-midranges. But the Martilo and Venus diverge quite a bit in their upper-registers. The Martilo pulls a lot more emphasis out of its extended upper-treble in a way that the Venus does not. This can occasionally come across as metallic or stiff, which is an observation I made during my Martilo review. The Venus, by contrast, articulates those frequencies without sounding forced. Electronic music is definitely more-engaging on the Martilo, thanks to its immense bass response, and will suite the tastes of bassheads much better.

Both IEMs are technically-inclined, and neither is a clear-cut winner — which is crazy considering the Venus is over $100 cheaper. I can’t really determine if one IEM is superior over the other, as they aren’t really direct competitors, nor suited for the same listeners — and both have their place in my collection. If I were forced to chose between the two, I’d probably go with the Venus due to the Martilo’s aforementioned metallic upper-treble timbre, but its a close call.

Meze Alba

The Alba is a well-balanced single dynamic-driver IEM that dabbles in the gently V-shaped arena, much like the Venus. That said, they express themselves pretty differently. The $159 Meze Alba has a similar amount of lower-treble, but a noticeable decrease in upper-treble presence. The Venus tends to “sparkle” a little more than the Alba does. Both IEMs demonstrate excellent overall timbre, particularly in the midrange. The Alba’s midrange is, relative to the Venus, recessed and cooler. The Venus also demonstrates greater mastery over the lower register with a better-articulated mid-bass and broader sub-bass expression.

The Alba is a cheaper IEM, but doesn’t feel cheaper. In the hand, it actually comes across as the “more-premium” offering, in spite of its thinner cable. The Alba has similar-quality eartips in the box, though it comes with a tighter and less-forgiving case. The Alba’s case, to its credit, does seal closed with a zipper, which makes it more secure than the magnet-flap on the Venus’s case. Both IEMs are USB-C-compatible out of the box, though the Alba comes with an (excellent) discrete dongle rather than a USB-C modular termination.

Both of these IEMs are great, but I prefer the Venus. Its broader bass response and more-immersive overall sound-signature are a lot more engaging, even for daily listening. The Alba does indeed cost less, and does come with a more-robust warranty and after-purchase support — but purely in terms of sonics, I think the Venus will impress a broader range of ears.

Xenns Mangrid Tea Pro

The Tea Pro is as close to a cult-classic as you’ll get in the high-end IEM space, and has a dedicated following. It packs eight total drivers and costs $359 before taxes and shipping, making it a noticeably more-expensive IEM that the Venus.

The Tea Pro is more V-shaped and is generally more-dramatic than the Venus. The Venus is a little warmer, and generally closer to what I’d consider a truly-organic sound signature. The Tea Pro’s lifted bass and treble region make for a more immediately-engaging experience, which will work wonders for those who enjoy true V-shaped sound signatures. That said, my treble-sensitive ears appreciate the Venus’s more-responsible emphasis. The Venus manages to deliver a sense of sparkle and air without edging close to sibilance, which is a feature not found in the Tea Pro’s treble. Both IEMs are very strong technical performers, but the Venus seems to give itself the sonic leeway to surface subtleties and textures that the Tea Pro may gloss-over. Fine textures in the upper-treble or lower-midrange can breath and decompress along the Venus’s less-intense sonic fault-lines, when they can be masked by the Tea Pro’s intensity. Given that both IEMs are DD + BA hybrids, they have similar psychoacoustic properties, though I find the Venus more-easily assembles a “holographic” sense of staging and does so with a greater display of timbral cohesion.

The Tea Pro’s eye-catching box and case, metal shells, and robust eartips selection may sway buyers over, but the Venus’s accessory package is entirely serviceable for its price-point. The money saved with the Venus also allows you to buy high-end cases and eartips like a Pelican 1010 and Comply foam, respectively. Which IEM is right for you? Well, if you’re interested V-shaped, bright-and-bassy IEMs, the Tea Pro will be your, well, cup of tea. If you prioritize balance, or don’t want an IEM as bright as the Tea Pro, or want to maximize price-to-performance, go with the Venus. My personal choice between the two is the Venus, though my gap in preference isn’t that big.

Conclusion

The Venus is a suspiciously-good debut IEM from Melody Wings. It’s almost like they’ve been stalking my reviews for the last two year and noting even my most-trivial irritations and complaints. This IEM is the real deal, and performs extraordinarily-well. Its well-rounded accessory package, well-designed modular cable, and sonically-elating sound signature make it a true gem in a sea of “meh”. The vast majority of audiophiles will find solace in its dedication to balance, and for them I recommend getting ahold of a pair, even if it means ordering from a vendor you’ve not used before.

Who This Is For

• Discerning audiophiles who value balance
• Those looking for an organic V-shaped sound signature without dramatic treble
• Bass-lovers who are don’t want it to dominate the soundstage
• Listeners that prioritize refinement and subtlety over in-your-face “detail”

Who This Is Not For

• Bassheads
• Deep-V-shape lovers
• Those seeking true-reference sound