Introducing the Final Audio A8000
Final Audio struggles with the alphabet. Their A series is arriving at last, following the F, E, B, and D series of headphones. Better late than never, I guess. The A8000 is the first of the line. It sits at a $1999 price point, which gains it access to the TOTL competition.
Final is a gracefully minimalist company when it comes to their general design. This branding is consistent in their product design, packaging, and general image. Everything they produce communicates the idea of simplicity and efficiency. Their E-Type tips are at the top of the silicon eartip game. The accessories included with the Final Audio A8000, however, were a bit more than I expected.
What I wasn’t surprised to find with the IEMs were a case, tips, and earhooks. The case seems to be a new design, being made of both aluminum and silicon. Replaceable filters and a little yellow tweezer looking thing were the accessories that I didn’t expect to see. The filters are apparently more for earphone-hygiene than sound shaping, and the little tweezers are Final’s new MMCX ASSIST miracle tool that I now cannot live without. They alleviate the process of MMCX cable separation in ways I didn’t know were possible.
For those who’ve seen the MAKE and B series of IEMs, the chassis of the A8000 may look a little familiar. It’s apparent that Final has found a mold that they like. Made from sleek, reflective stainless steel, the earpieces are little Bauhaus marvels. They have a nice weight to them that suggests solid build quality. And just like the other series I suggested, I found that their fit quite comfortable.
The A8000 features an entirely beryllium diaphragm on its singular dynamic driver. This driver design sets the earphones apart from the E series a bit more than I expected. The A8000 is generally more powerful in contrast to the E series, with a quick and impactful signature. They maintain their dynamics despite their slightly aggressive lean, however.
There’s a great amount of extension in the low frequencies of the Final Audio A8000. The sub range is pleasantly conjoined to the bass-bass. There’s more punch than boom though. Id sum these lows as tight, responsive, and free of distortion.
The middle frequencies are the least accentuated of the three general regions of the A8000, giving them a U-ish frequency response. Despite this balance, there is nothing veiled or underheard in their mids. The driver Final engineered is one of clarity and transparency. The singer is still at the front of the stage.
The highs on the A8000 are what sets them apart. There is so much detail and pronunciation up here, granting the IEMs an overall analytical appeal. The stunning extension I found in the lows continues all the way up to the top. There is a small amount of extra crisp in the forbidden sibilant zone. Luckily, it isn’t too harsh for me, and I don’t imagine it’s going to be an issue for most people. In fact, this little spice lends itself to its stage in an interesting way.
The stage of the Final Audio A8000 is pretty impressive. It’s big and realistic. As I was alluding to in the section above, there is a nice spectral sensation created in the high frequencies. This feeling of dimension combined with the A8000’s overall clarity creates an absurd perception of instrument separation.
Do I like them?
Yes, I do. Final Audio has once again proven themselves in the single dynamic driver in-ear game. The A8000 is more lively than I expected from just reading about them, and I’m here for it. What I can’t get over is how damn detailed they are. I’ve never heard a single dynamic driver IEM balance power and detail like this before. These are the type of in-ear monitors that may reveal the hell out of a bad recording, but give you your money’s worth if you’ve invested in a good playback system.
You can order a pair of Final Audio A8000 at Audio46.