A 12.5 mm planar paired with a piezoelectric tweeter, sold with four nozzles that genuinely change the tuning rather than nudging it. Sources agree on the frame: the all-metal build and the packed-in modular cable are unusually good at the price, detail retrieval and separation are the technical headline, the stage is wide with real depth, and the bass is planar-fast and clean over a large measured sub-bass shelf that still does not slam like a dynamic driver. They divide on nearly everything the nozzle touches — whether the midrange is the strong suit, sits too far back, or shouts; whether the piezo top reads airy or peaky — and separately on whether the heavy mirror-chrome shells fit, and on how much they isolate. Easy enough to reach volume from a dongle, though most reviewers report it tightening up on better sources. It launched at $219; the retailer most reviews link now lists it near $250.
About this product
One SKU, mirror-chrome only — the four tuning nozzles are the whole configuration story. Not the SuperMix 4 or the EW300, which also pair planar and PZT drivers but in larger multi-driver arrays; and not the 2019 over-ear ET1000 whose badge it revives. Some early review samples shipped with only the two long nozzles.
Simgot spent its first decade on single dynamic drivers — the EA500, the EA1000 Fermat — tuned toward published target curves and sold in polished metal. The ET142, launched in early 2025 at $219, was the company's first in-ear planar and the revival of an ET badge last used on an over-ear headphone six years before: a 12.5 mm dual-sided planar in a mirror-chrome CNC shell, a multi-layer piezoelectric tweeter minding the top octaves, and the LC7 modular cable — sold separately for $69 — in the box.
Also in the box are four interchangeable nozzles, and they are the reason this set's press is so hard to read. Two are long and bright; two are short, foam-filled and considerably tamer. They move the upper midrange by five or six decibels — far more than the usual tuning-filter gesture — and they leave the bass alone entirely. What any given reviewer heard depended, quite literally, on what was screwed onto the front.
