64 Audio U12T VS Softears RSV MK II

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The 64 Audio U12t lands exactly where its reputation suggests: a warm, laid-back, yet highly detailed all-rounder that stays engaging without ever turning fatiguing. With the apex M15 module, bass shifts toward a tasteful sub-bass lift that adds punch and body while keeping the midrange clean; vocals sit a touch relaxed, and the treble reaches high with smooth extension and air. Despite being an all-BA set, the low end carries surprising weight and macro-dynamics, and the overall presentation feels effortless and cohesive—“does-it-all” tuning done right.

Trade-offs are minor: timbre can sound slightly artificial at times, and dropping to the M10 module trims bass but also some excitement. Build is comfortable and compact, though the stock cable is annoyingly wiry and memory-prone. Against its stablemates, U12t stands as the benchmark: cleaner and less fatiguing than U18t, more versatile than the warmer Nio (with M15), and less head-stage wow than Trio but more universally balanced. End result: a confident 5/5 for a high-price IEM that actually feels worth chasing if this signature hits the brief.

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Softears RSV MK II brings back the all-BA ethos at $700 with five armatures and a promise of “re-engineered BA bass.” Build and accessories feel premium (sleek shells, plush case), while the cable choice is quirky—4.4 mm only with a 3.5 mm pigtail. Fit is outstandingly secure and custom-like but on the larger side with a longer nozzle, so comfort depends on ear size. Softears’ Ultra Clear tips work well; the new metal-ring variant adds little beyond novelty.

On the graph, bass looks like gigabass, yet in ear it settles into a warm, weighty foundation without steamrolling the mids. The midrange follows a “new-meta neutral” tilt—fuller than Harman with forward upper-mids—while treble lands clean and sparkly without fatigue. Imaging is tidy rather than cavernous; separation and delineation are convincing, with the top end executed better than the bottom. BA bass here is among the more physical and satisfying of its kind, though tactility can be track-dependent and turn a bit tubby on very bass-heavy mixes.

Against peers, Symphonium Meteor sounds warmer and more “special” but less all-round; DUNU SA6 MK2 is more colored with janglier treble and the least convincing bass; 7th Acoustics Supernova trades warmth for vivid, bright-tilted imaging; Softears Studio 4 is lighter on bass and airier; and the old Moondrop S8 stays the lively, vocal-centric counterpoint. Net take: a supremely competent, character-light all-rounder that favors bass weight over panoramic staging. Verdict: 4/5 stars—a welcome throwback done right, and notably cheaper than the original RSV launch price.

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Presented as a former favorite turned cautionary tale, the 64 Audio U12t shows a neutral-warm bass with good texture, speed, and separation, though the mid-bass can feel unnecessary for a non–bass-head tuning. Trouble starts at the 3 kHz scoop, where vocals lose presence and clarity; attempts to restore bite via added treble create sharpness instead of openness, with emphasized peaks around 13 kHz and 17 kHz. This combo makes volume scaling tricky—either accept recessed vocals or endure fatiguing highs—though the treble is otherwise solid from 6–10 kHz. Technical chops are undeniably strong: detail retrieval, instrument layering, and imaging are top-tier, with quick attacks and clean separation across the stage. Still, the staging feels wide yet flat, as the recessed mids reduce depth and contrast, and dynamic tracks (K-pop/J-pop/J-rock) expose the unevenness, prompting constant volume tweaks; slower, softer material fares better. Given the vocal recession and treble fatigue, the value proposition is questioned for a $2,000 set—alternatives like the Variations and EGL7m offer more open, extended vocals with smoother treble, while RS5 and Heyday provide extra warmth without the same pitfalls.

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Softears RSV MK2 shifts from the OG’s vocal-centric tilt into a bass-forward all-rounder. The sub-bass and mid-bass hit with real slam and weight, giving drums and bass guitars a satisfying, dynamic punch. Upper mids (3–6 kHz) are tamed to avoid shout, while a gentle 1–2 kHz rise keeps vocals open and natural—slightly less pushed than the original but still clear. Treble is smooth with decent air; not super sparkly and there’s no EST “sauce,” but it stays clean and non-fatiguing.

As a package, MK2’s standout is the low-end texture—thunderous yet controlled—making it one of the more engaging bassy sets under four figures. Technical performance is solid for the tier, though some rivals at lower prices bring more raw detail and EST extension. Build and accessories get a tasteful, modern refresh. For best balance, the stock tips work well; bass-boosting or treble-opening tips can shift it toward a more V-shape at the expense of overall smoothness.

On genre fit, MK2 shines with hip-hop, pop, EDM, and R&B, where its punch and warmth bring rhythms to life; for orchestral or leaner acoustic picks, the bass can edge forward depending on the mix. It scales to mid–high volumes nicely (around the 70–80 dB zone) without turning sharp. Compared with the OG RSV—now likely affected by a silent retune in recent units—the MK2 is the safer buy: less shout, more authority down low, and a broader all-rounder appeal. Recommended, especially if found below full MSRP, for listeners craving tasteful bass with natural mids and relaxed, smooth treble.

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Presentation falls short of flagship expectations—especially the stock cable, which feels flimsy and uninspiring—but the tuning is where the 64 Audio U12t earns its reputation. With a gently U-shaped response and swappable apex modules altering bass quantity (M10 leaner; M15/M20 adding a deeper, sub-bass-tilted shelf), the low end carries uncommon texture and decay for an all-BA setup while preserving BA speed and control. The sub-bass shelf levels off around 200Hz, avoiding midrange bleed and keeping the overall tonality clean and balanced.

The mids are slightly scooped yet inoffensive, with ear-gain centering near 2kHz and a tasteful dip through 2–5kHz that preserves depth without hollowing out vocals. Treble is distinctive thanks to the tia super tweeter mounted at the nozzle: a mid-treble dip followed by pronounced peaks around 15–17kHz creates a sense of airy “pseudo-treble” that some listeners (especially younger ears) perceive as bright, while others may find it dark if those upper harmonics aren’t audible. Tip choice matters—Spinfits can emphasize air, while Final E can tame the top end—making the signature unusually tunable to preference.

On the technical front, the U12t is highly resolving, pulling micro-details forward with ease, yet its transient attack has a subtle softness that gives an “analog” character rather than razor-edged sharpness. Where it truly distinguishes itself is macrodynamics—quiet-to-loud swings feel visceral and engaging, a rarity among BA designs and rivaled only by a select few dynamic-driver flagships. Summed up, it’s the “90-in-every-subject” kind of performer: maybe not the single best at any one metric, but making the fewest compromises across the board. For anyone seeking a well-rounded flagship that handles almost anything with poise, the U12t remains a top recommendation.

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Unique Melody MEST MKII brings a distinctive recipe: a DD + 4BA + 2EST array augmented by a full-range bone-conduction driver, translating to a relaxed yet vividly holographic presentation. Bass quantity sits in the pocket—neither shy nor boomy—while the sub-bass extension digs deep and rumbles on cue, sketching out stage width and depth with authority. Mid-bass hits cleanly but avoids brute-force slam, keeping space clear for detail. Mids read a touch lean/diffused: tonally correct and easygoing, gorgeous on plucked strings, a bit light in note weight for violins and cellos. Treble is sparkly without sibilance at sane volumes; push volume for bigger bass hits and the upper range can tip into fatigue. Don’t over-trust FR graphs here—the BC driver adds presence that won’t show on measurements.

Technical chops are firmly high-end: resolution and separation impress, EST speed makes cymbals and chimes glide, and dynamics pop when sub-bass swells. The staging is the showstopper—layered, airy, and convincingly 3D (hell yeah). Versus peers, MEST MKII trades some midrange weight/tonality for superior sparkle and more satisfying bass texture; sets like V16 Divinity or Elysian Diva may win for mids, but MEST counters with atmosphere and bite up top. With the current price drop around the ~$1k mark, it becomes an easy recommendation for those seeking immersive imaging and sub-bass architecture—just ditch the atrocious stock cable ergonomics and enjoy the ride.