Simgot Supermix 4 VS Punch Audio Martilo

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SIMGOT Supermix 4 comes out swinging: a quad-brid with both planar and PZT drivers that somehow sounds buttery smooth and shockingly coherent—more like a single driver than a parts bin. Upper-mids and treble sit neutral and refined, avoiding the usual glare; tuning reads as Harman 2019 done right—what feels like endgame Harman. Versus sets like Supernova/Nova/Chopin, the SM4 brings cleaner extension, higher resolving power, and a smoother, more polished treble where cymbals and consonants land naturally. Note this is a pre-production unit, so final tuning may still shift.

Bass quantity measures lower than some peers, but that puts the low end in the background and boosts separation, layering, and transient clarity; texture is tidy, impact respectable, and decay well-judged. Vocals are a highlight—accurate, balanced, complete in extension, and consistently non-fatiguing. Treble adds a sprinkle of liveliness without turning sharp. In A/Bs: it feels like a cleaner, more energetic Origin; a smoother, more technical all-rounder than CK LVX/Pula (though those keep a fuller, dreamier flavor); trades blows with Dusk (Dusk hits harder and runs brighter, SM4 wins mid/upper-mid detail and vocal completeness); and out-separates Hype 4 while Hype 4 remains the bigger, bassier fun pick. As an all-rounder this is top-tier; if priced around Dusk/Hype 4 it’s a strong value, while a ~$500 tag would push it into diminishing returns.

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Build and comfort are front-and-center: a cozy shell with a metal faceplate, excellent ergonomics, and easy tip fitment. The red/blue two-pin sockets and the gunmetal cable add a premium touch, while the case is the familiar, functional Simgot pouch. Hype is warranted at least on construction—this is the most comfortable Simgot shell in the lineup so far.

Sonically, Supermix 4 follows a Harman-style curve with clean channel matching, solid resolution, and bass that balances sub-bass presence with controlled mid-bass. Treble can “touch the sun”—slightly bright on certain tracks—and the very low impedance makes it source/tip sensitive; tip rolling and even a basic Apple dongle often settle it down. Technicalities are strong for the price: clarity, shimmer on cymbals, and lifelike guitars impress, though some will crave a smoother top end.

Against peers, it surpasses EW200 in refinement and comfort and feels like a cleaner, easier-to-live-with replacement for EM6L. Compared with AFUL Explorer, this is the more forward/bright take versus Explorer’s laid-back vibe; versus CCA Hydro, vocals are steadier while Hydro punches harder down low. Kiwi Ears Quintet shows similar intent but has quirks around 10 kHz; DaVinci is a touch more refined yet pricier, and some will prefer Supermix 4’s shell and value. Net result: a strong recommendation for listeners wanting a comfortable, versatile, mildly vivid IEM that competes above its bracket—great for music and even gaming—so long as a hint of brightness is acceptable.

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Punch Audio Martilo steps in as a new-brand debut with a confident package: a hybrid array (planar + BAs + DDs), a metal nozzle, proper venting, and a recessed 2-pin socket set into a shell that sits securely thanks to an anti-tragus catch. The faceplate gives off AFUL Performer 7 vibes, the included cable is supple with clear R/L markings, and the textured carry case plus two tip sets round out a thoughtful accessory kit. Priced around $329—with occasional deep discounts during big Linsoul sales—build and accessories feel dialed in for the bracket.

Sonically, this is a bassy set that still behaves like an all-rounder. The bass shelf rises from roughly ~150 Hz, bringing weight and warmth without turning podcasts and vocals into mud; upper-mids are present yet controlled, minimizing shout, while mid-treble energy keeps things crisp. Female vocals avoid huskiness, note weight is satisfying, and the tuning strikes a balanced, fun profile that works across genres. On the graph it hugs a safe line, then sprinkles in extra low-end for flavor—bass-head friendly, but not a blunt instrument.

In A/Bs, it addresses the AFUL Explorer’s softness with more bass and mid presence, and compared to similarly priced Kiwi Ears Astral (the safer neutral pick), Martilo offers the spicier, more engaging option. Against “specialist” bass sets like Deuce or Quantum, Martilo feels cleaner in the mids, less abrupt in its slam, and more universally usable; versus warmer bass champs (e.g., Mega 5 Bass), it trades some warmth for clarity and refinement. This isn’t sterile “audiophile-neutral”—it’s audiophile-fun done with taste. Scoring reads like: bass (10/10), note weight (10/10), mids (9/10), with surprisingly solid highs, stage, and imaging for the money. Not flawless, but distinctive, well-tuned, and easy to recommend—especially for listeners who want real bass without sacrificing everyday versatility.

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Supermix 4 emerges as the standout of Simgot’s quartet for both fit and build, pairing a classy brushed bronze faceplate with the most refined tuning of the group. As a quad-brid, it delivers superior cleanliness, imaging, and depth perception versus EM6L, EA1000, and EA500LM, with tighter separation and more micro-detail; its presence region feels a touch more laid-back than EA1000, keeping gunshots from turning shouty. Footsteps could be slightly more elevated for sweaty lobbies, but that’s easily addressed with EQ while preserving the set’s natural balance.

Across titles it’s the most dependable all-rounder: in Valorant, the added cleanliness and precision outclass EA500LM (bloated, spicy gunshots) and nudge ahead of EM6L/EA1000; in Rainbow Six Siege, clarity, separation, and positional cues make it the clear pick. Call of Duty is closer—EA500LM is a solid budget choice and EA1000 can get intense—but Supermix 4 still pulls more footstep detail while staying composed; in Apex Legends it trades blows with EM6L yet edges ahead with extra information retrieval. Overall verdict: Supermix 4 wins, with EM6L in second, EA1000 around B-, and EA500LM around C+; a clean, precise, and thoroughly engaging pick for competitive and casual gaming alike.

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Punch Audio Martillo stands out as the rare basshead set that still reads as competitive. At $329 with a 2DD + 2BA + 1 planar array, it pushes more sub-bass and mid-bass than most, yet the low end is textured, tight, and notably fast in attack/decay. The result is bass that rumbles without smearing: mids remain intact, the treble stays airy and clean, and the stage presents with extra width, depth, and “air within the space.” Imaging feels precise, with strong depth perception and a lack of the bloat typical of warm tunings—distinctly different from anything else on the WallHack certified list.

In Valorant, Martillo scores around an A- (bordering B+): clear separation and layering, wide/deep staging, and crisp reads on lighter cues; only in heavy site pushes—multiple vandals plus abilities—does the extra low-end energy flirt with congestion. In Apex Legends, it sits at a strong B+: even with environmental rumble (thermites, storms, ults), the set preserves gunfire localization, slides, and verticality, handling third parties impressively well. Net: a uniquely exciting pick for those who want a visceral bass flavor that still performs at a high technical level for gaming—arguably the highest-ranking tuning of its type on the list.

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Boom — time for bass. Punch Audio’s Martilo is a tribrid (2×8 mm DD + 2 BA + 1 micro planar) coming in around $330. The package is stacked: sturdy square case, extra filters, multiple tip sets, and a genuinely excellent modular 3.5/4.4 cable that lays flat, has no microphonics, and a firm chin slider. The shells are ergonomic with venting, metal nozzles with a proper lip, and a small nozzle diameter (5.9/5.0 mm) that helps seal; comfort and passive isolation are both strong.

Sonically, this is unapologetically bass-focused without being bass-only. Expect massive sub-bass depth and a punchy mid-bass, yet the low end stays tight, controlled, textured and doesn’t bleed. Mids retain clarity with non-shouty presence, while treble is crisp, smooth, non-fatiguing with decent extension (not ultra-airy). For a bass-heavy set, technical performance is solid: detail is good, and imaging/separation keep busy tracks coherent and energetic.

Against Hisenior’s Mega5EST Bass Plus, Martilo hits harder, feels more engaging, and offers better vocal clarity — and it steamrolls on value at the lower price. Compared with Xenns Tea Pro, the Tea Pro is a bass-lover all-rounder that spotlights vocals/instruments more; Martilo goes full bass-head with bigger rumble and impact. Ideal for listeners who crave deep slam but still want clarity, comfort, and great accessories; not for neutral/reference chasers. Final verdict: 4/5 — it truly punches above its price.

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The SIMGOT SuperMix 4 pairs a lightweight metal and resin shell, good isolation and a decent cable with a mostly Harman-style, vocal-forward tuning. Bass comes across as clean, clear and reasonably detailed with no bleed into the mids, but slam, rumble and physical impact are noticeably softer than expected, especially compared with the cheaper EA500 LM and other sets on a similar curve. The low end feels slightly below average in attack and weight, so even hip-hop and pop tracks that usually hit hard come across as polite and less engaging.

The midrange is clean and clear with a strong focus on female vocals and upper mids, yet the 3–6 kHz region can easily drift into a shouty or shrill character depending on volume, genre and recording, leading to listening fatigue on K-pop, J-pop, rock and brighter material. Treble is detailed, airy and full of shimmer, but the overall presentation does not feel fully natural or cohesive, becoming harsh when the volume is raised and a bit strange when kept low. Technicalities are strongest in the upper mids and treble, while soundstage size is essentially average for the price range.

In direct comparisons, sets like EA500 LM, Nova, AFUL Explorer and Binary Chopin offer more convincing bass slam, more natural tonality and a more engaging, coherent presentation at similar or even lower prices, making the SuperMix 4 feel more like a sidegrade than a true upgrade around the $150 mark. SuperMix 4 provides slightly higher perceived technicalities in specific upper-mid and treble regions, but this comes at the cost of greater fatigue and a very smooth, almost boring overall character that struggles to excite across diverse genres. For most listeners, alternatives in this segment give better value, leaving SuperMix 4 mainly for brand loyalists who specifically want a cleaner, brighter, vocal-focused take and can tolerate the sharper ear-gain region.

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Punch Audio Martilo hits the brief for bass-centric listeners. The tuning kicks up from ~200 Hz, driving a potent low end, then rides a flat porch through the mids with a gentle ear-gain that crests around 3 kHz before easing off. It mirrors the well-known Kiwi Ears collab curve but with a touch more upper-mids energy for cleaner, clearer vocals. At $279 with the card (and still competitive around $320), this set undercuts many rivals and, for libraries heavy on rock and hip-hop, feels purpose-built.

The hybrid stack—2DD + 2 BA (branded) with a planar on top—keeps the upper-mids sensible and lets the treble play from roughly 5 kHz+ without glare. Personal preference might lean to EST or a high-end BA super-tweeter, but here the planar’s implementation stays out of trouble by avoiding an overcooked 1–3/4 kHz shelf. Result: strong slam, stable mids, and treble that’s present yet subordinate to the preceding bands—focused on transparency rather than flash.

Beyond sound, the packaging and cable show real forethought—distinct from the usual cookie-cutter unboxings—and the overall execution reads like a brand finally dedicated to the low-end community. With more models in the pipeline (including a budget single DD and a planar+DD combo), Martilo arrives as a market shaker for bass lovers seeking muscle without muddying the mids. For the asking price, it’s an easy recommendation to audition—especially if the playlist is built on rhythm sections and big grooves.

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Martillo is a hybrid (dual DD, two BA, one planar) tuned as a sub-bass-boosted U-shape with roughly 14 dB lift and a hard mid-bass drop. The low end hits like a quick hitter—fast, clean, and free of boom—while the sharp cut through the mid-bass keeps the presentation uncluttered and lets vocals come through clearly.

Mids favor female vocals with notable clarity, but lower mids and male voices sound thinner due to the deep mid-bass dip; timbre skews a bit digital and body is reduced. Treble avoids harsh BA/planar timbre and is generally clean, yet not especially airy; smoothing and a touch more body would improve naturalness.

Stage is wide with some height, yet depth and dimension are flatter around the midrange gap. A small EQ lift of about 2-3 dB in mid-bass fills in body, improves transparency, and broadens genre flexibility. As tuned, Martillo suits pop and dance where sub-bass drive matters, while listeners seeking weighty mid-bass impact may want that EQ or a different flavor.

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The Punch Audio Martilo shows up screaming BASSHEAD on the box, but the tuning is smarter than that. A hybrid stack—2×8 mm DD + 2×BA + 1 planar—delivers bass that hits when the track calls for it, then gets out of the way. The surprise is the huge soundstage: airy, wide, borderline cinematic, so pianos, crowds, and live recordings feel expansive rather than claustrophobic. Low 9 Ω impedance and easy efficiency keep the power demands chill, though a low-impedance cable is recommended.

Tip rolling matters. With thin-wall silicone (e.g., Dunu S&S) the stage opens up and balance feels right; foams and some wide-bore options can push treble into a slightly sharp zone on certain tracks. Tonality reads clean and natural—warm-adjacent without a blanket—so everyday music stays unbloated, while proper sub-bass test tracks pressurize with that “firm hand on the chest,” not a sledgehammer.

Build is solid: thick, comfy modular cable with swappable plugs, flashy red shells, and a comically oversized box for a modest accessory set (silicone + foams). Street price around $330 lands in the sweet spot—easily justifying $375 by ear. Think “poor man’s Mega 5 EST Bass Plus”: similarly satisfying slam and stage, with the pricier set showing a touch more upper-mid/treble refinement. Not just for bassheads—more like a full-range thrill ride that lets music breathe and hit when it should.