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Review - Simgot EA1000 "Fermat"

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TLDR version on YouTube: TDLR - Simgot EA1000 "Fermat"

The EA1000 “Fermat” have been sent to me by Simgot in exchange for the publication of my opinions in this review. Simgot have not made any specific requests and I will attempt to be as unbiased as humanly possible in my review.

You can find the official page for the Simgot EA1000 here:!/specs

As always, this is a non-affiliate link.

To avoid being repetitive in my reviews, you can find all the info about how I create the reviews, equipment used, how I receive the products and how to interpret my reviews by visiting: About my reviews


The Simgot EA1000 are by no means a recent release, at least in the terms of IEM releases, which move faster than operating system updates! There are a lot of reviews out there, stretching back to October 2023 and I had already heard some very good things about the EA1000.

As I have said many times in the past, I try to not take much notice of reviews and comments by others when I plan on reviewing something, trying to avoid any expectation biases, but it has been impossible to avoid all mention of these IEMs in the past 6 months or so.

So, while my review may not be as completely free of preconceived expectations, I was still more than interested in trying out the EA1000 when Simgot reached out to offer the chance.

Now this is not the first set of Simgot IEMs that have been across my desk and my opinions of the previous models I have reviewed have been similar across the board, great performers but not my personal taste.

In the case of the EA1000, we again have a similar tuning to some of the previous models I tried from the brand, although with some minor tweaks. Here the choice has been a a single 10mm dynamic driver paired with a 6mm passive radiator, which is located on the inside of the shell facing the ear. 

I really don’t need to go into much more as far as specs and background, as there are already many reviews out there that have covered them, so let’s get on with my usual format.


The packaging of the EA1000 consists of a purple outer cover that refers to Fermat’s Last Theorem on the cover. On the back, in the usual Simgot style, we get three frequency graphs that show the tuning of the IEMs with each of the included nozzles. As the side of the graphs it shows what these tunings are targeted as, along with mentioning which nozzles to pick for each of them.

From the side of the cover, an internal black box pulls out that is presented in a way that is nicely different from so many othe presentations. Instead of a lift off lid, there is a top card (that also references Fermat) that lifts forwards in a sort of origami folded fashion and reveals a copper coloured business card showing Fermat's Last Theorem and a QR code on the back that can be scanned to extend the warranty period of the IEMs. There is a lot of other text on this top card layer, such as an explanation of the Theorem, which makes it look elegant and much more to the eye than a simple cover.

Folding this top cover to one side, we are greeted by the IEMs sitting in their respective cutouts at the top. Towards the bottom of the box there are two smaller boxes, one for the storage case and another for accessories. Then, finally, underneath the IEM layer, we find another accessory box inside which there are 6 sets of silicone tips (in 3 sizes, 2 of each) and the user manual.

In total, as far as contents, we get the IEMs, the cable, 6 sets of tips, a storage/transport case, 3 sets of nozzles and plenty of replacement o-rings for the nozzles.

I find the packaging and presentation of the EA1000 to be nice and elegant, making the unboxing experience something a little different to so many other sets. As always, I applaud companies that come up with their own twists on something as simple as packaging, without going overboard and using tons of plastics. In this case, except for the plastic bag containing the o-rings, all the packaging is cardboard and has a nice premium feel to it (as far as cardboard goes of course).

Build and aesthetics…

The shells of the IEMs are completely metal, except for the white faceplate that features a subtle design to the background and the Simgot logo in a coppery rose gold colour. I have to say that I think the IEMs look very elegant and discrete, with just enough going on to stand out.

On the inside of the shell, there is a passive radiator which is covered with a grille that is also a coppery gold colour. There is a metal and and center over the grille where Simgot have opted to put the L and R to identify the size and, once again, I think it is very tastefully done.

The cable is in a matching silver colour, with silver hardware, and just a gold coloured chin slider that is less coppery in colour than the other rose gold accents but still looks good. The cable seems to be of decent quality and I have had no complaints about using it paired with the IEMs. There is no balanced option included but that is not unusual.

The included storage/transport case is also of good quality, in a grey colour with a flip up lid and magnetic closure. Inside the case there is also some elastic on the lid and a pocket on the bottom to serve as organization. The case is plenty big enough to store the IEMs along with any accessories you may need.

As far as comfort, I do find them to be comfortable although I did have issues getting a good seal, even when opting for the largest size of included tips. I did get a seal, just that it took a little more work to get them seated correctly.

As a whole, I find everything to be of good build quality and have elegant aesthetics, so absolutely no complaints from me here.


All tracks mentioned are clickable links that allow you to open the reference track in the streaming service of your choice (YouTube, Tidal, Qobuz, Spotify, etc.)

As said a moment ago, there are three sets of nozzles included with the IEMs, each providing a slightly different tuning. The differences between the tunings are not huge but they are very noticeable, enough to prefer one over the other depending on preferences. 

While the 2 sets of silver nozzles do have different coloured o-rings, red and black, the set with black o-rings has a foam filter located inside the nozzle, which is why I have referred to “Silver” (the ones with the red o-rings) and “Silver with filter” (the ones with red o-rings). For brevity, I am going to refer to them as G (Gold), SwF (Silver with filter) and S (Silver), throughout the review.

Here is the frequency graph of the 3 tunings in relation to my usual preference target:

As you can see, the differences are not a lot but they are certainly enough to differentiate between them when listening.

While the bass ranges (and mids) are almost identical between the three nozzles, the change in the upper minds and treble is enough to reduce focus on the lower ranges depending on which nozzles are chosen. 

So, starting off with the subbass range, and with a focus on “Chameleon”, the G nozzles do rumble but not excessively. There is more of a focus on the midbass here than on the subbass. Moving to the SwF nozzles, there is a more noticeable rumble, even if the graph may not indicate a very noticeable difference in these ranges. This is due to the reduced upper peaks that allow the focus to be placed more on the lower end. With the S nozzles, the rumble is slightly less than the SwF but it is not a huge difference.

Moving over to “No Sanctuary Here”, the midbass with the G nozzles is clean and controlled, with clean hits that are fairly impressive. Swapping over to the SwF nozzles, the midbass is maybe not quite as clean sounding as the G but it is much more enjoyable in general. With the S nozzles, the midbass is slightly tamer sounding than with the SwF but still sounds a little less clean than with the G nozzles. The presentation with the S nozzles is nice but I do find the SwF presentation preferable to my ears.

Testing out the midbass for fatigue, using “Crazy” as always to judge any excessive reverb in the guitars lower notes, I found that with the G nozzles the midbass in not overly boosted and takes a bit of a back seat to the upper mids. It is not fatiguing in the midbass but the upper mids are too present and a little harsh, although not terrible, it is mostly noticeable in the moving of fingers on strings. Here the SwF nozzles give us a midbass that is still not fatiguing, although there is noticeably more presence of the reverb than with the G. Vocals are less harsh but there are still touches of sibilance. With the S nozzles, we are sort of mid way between G and SwF as far as midbass is concerned, although the upper ranges are slightly harsher and with touches of sibilance similar to the G.

Smooth Operator” is a fairly well produced track and has a decent balance in general but with the G nozzles, I do find it to be lacking a bit of bass presence and warmth to the vocals. With the SwF nozzles there is more presence in the bass and a warmer tonality in general, although vocals do take a slight step backwards. With the S nozzles, we have a similar story as with the G, the track loses some bass presence and warmth in general.

Looking at something a little busier, such as “The Room” by Ostura, the G nozzles do a good job of providing detail and separation of instruments, even with the busier parts of the track. With the SwF, the separation of instruments is not as impressive but the overall sound is much more pleasurable, less thin and more authoritative. With the S nozzles, the detail is more upfront but the track is thinner overall and harsher in its presentation.

Staying with something in a similar genre, “Killing in the Name” does sound a little thin with the G nozzles. Moving to the SwF nozzles, Rage Against The Machine starts to sound like I expect Rage to sound, with more authority to bass and guitars, less harshness and fuller sounding overall. The S nozzles bring a similar experience to the G nozzles, seeming a little thin and, in this case, a bit harsher in the higher guitar notes.

Something a little more acoustical, in this case “Free Fallin’”, I find the G nozzles to be a little thin sounding due to the upper mid forwardness. With the SwF nozzles, the guitar sounds more realistic, with vocals that are not quite as present but smoother and more enjoyable. The S nozzles sound a little more detailed than the SwF, with vocals a little more upfront but not quite as smooth.

Focusing on vocals, male in this case, “These Bones” has nice balance of vocals with the G nozzles although those upper mids remove some warmth from the bass focused vocals. With the SwF nozzles, there is more body to those low vocals, with a more smoothed out presentation. With the S nozzles, things are a little more detail focused but again lose a bit of warmth in those lower vocals.

With female vocals, in this case “Strange Fruit”, the G nozzles provide a good separation of layers but are missing some body to the vocals. The SwF nozzles are not quite as detailed in the nuances but provide more body to the voices and are a preferable, to me, presentation. The layers are not quite as separated but, again to me, it is worth it. The S nozzles bring back more focus to the details but again present us with a harsher experience.

Finally, as a last track I am going to mention as this review seems to be much longer than I anticipated, “La Luna”, a binaural recording. With the G nozzles, the space is decent but there is not a huge amount of depth to the rear. The SwF nozzles presenta a similar story, maybe even slightly more compact, whereas the S nozzles do present themselves as the most spacious of the three, with more depth and better separation of instruments and positioning.


The Simgot EA1000 “Fermat” is a set of IEMs that aims to give you a lot for a price that, while not the cheapest, is still very fair. We get a nice presentation, an excellent build, decent accessories and good looks. 

We also get three different tunings to choose from. While the tunings may not look that different on paper, they are certainly different enough to the ear to clearly pick one as a preference above the others. In my case, my preference lies with the “Silver with filter” nozzles, which, while not focusing on presenting detail as much as the other two, have a slightly rounder and more relaxed sound to them. Now, this is actually surprising to me as, looking at the graph, I would have expected the SwF nozzles to have the harsher presentation of the 3, due to the more elevated peaks around 2.5k and 5k, knowing that I am extremely sensitive to 5k. However, that is what my ears, or my brain, tell me, so who am I to argue?

However, I have to say once more that, although I cannot say that the EA1000 are not a great set of IEMs, they certainly are, I just don't find myself in love with any of the three tunings.

I don’t think that the EA1000 are a set of IEMs that will please those who want a bassier, more laid back, signature. Nor will they be a good option for those who are sensitive to boosts in the upper ranges but, for those who do like a little spice up top, they are certainly worth checking out.

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