PW Audio’s No. 10 is a specialist in vivid, explosive, dynamic energy. Its presentation is one fuelled by contrasts between the lows and highs, but with an impressive amount of integrity given to the midrange as well. It makes an ideal pair with in-ear monitors that lack power or immediacy without the timbral compromises you’d expect with such signatures. The lower-mids are full and well-textured, and neither the lows nor highs overcrowd the stage either. Although it surely isn’t the most laid-back or spacious, the authority and control that the No. 10 has in spite of its boisterousness is noteworthy. Richly-textured, impactful and composed, the No. 10 greatly appeals through its unique blend of power, body and space.

The No. 10’s extended highs bring a slightly brighter tone to the low-end as well; now clearer, cleaner and more palpably-defined. Kick drums that were previously fat or bloomy now have greater resolution and texture. But, again, the No. 10’s main draw is its bounds of kineticism and impact. The in-ear’s sub-bass is both extended and boosted for an addictively guttural presence, imbuing kick drums, toms and bass guitars alike with loads of power. Hooked up to itsfit Lab’s Fusion, the bass slide that kicks off Larnell Lewis’s Change Your Mind feels visceral; tactile. And, that force persists throughout the track. It’s a bass that blends clarity and fun seamlessly; one of the most solid, powerful lows I’ve heard at the price range.

Along the midrange, the No. 10 renders a livelier, more vivid presentation. But, more so than any sort of higher-mid rise, these dynamics come from the cable’s stable, rock-solid background. Instruments are set against a cleaner backdrop, so they pop with more energy and contrast. The woodwind that opens Incognito’s It’s Just One of Those Things from their Live in London album, for example, comes off more vibrant and effortless. Tonally, this also assists the lower-mids. Again, the No. 10 preserves a substantial, rounded timbre in spite of its energy, requiring no lower-mid cuts to achieve its intended sig. As a result, female vocals won’t come off thin, and neither will baritones lack gravitas. To me, it’s a best-of-both-worlds scenario that renders instruments both contrasty and coherent; a vibrant colouration that sounds natural, nevertheless.


Up high, the No. 10 sounds superbly clean. But, once again, rather than any amount of top-end elevation, that definition comes from the cable’s strong extension. A handful of space cocoons each treble note, refining them without adding any extra presence. Nevertheless, you will hear a slightly punchier, more articulate edge to the treble, because of its dynamic range. Like the woodwind on It’s Just One of Those Things, you will perceive a more tactile pop on instruments like cymbals and hi-hats, but with butter-smooth, refined transients all the same. Tonally, it may be a hair brighter than what I’d deem natural. Nevertheless, it’s tempered with enough meat and body to come off rounded, and its technique is, again, stellar.

PW Audio’s No. 10 earphone cable sees the company – once again – triumph at the entry level. While not the most uncoloured-sounding cable in the world, the twists it does bring to the table align perfectly with the monitor market’s most common pitfalls at a similar price class: A dearth in power, texture and end-to-end extension. The No. 10 puts a stop to flimsy low-ends with its big, beefy, woofer-like response. And, it ups resolution a notch through raw top-end reach, without compromising the low-mids in the process. It achieves all this while sporting a smooth, balanced timbre, as well as ergonomics that befit an industry veteran. In value and in sound, the No. 10 is the quintessential upgrade cable – a lift to your in-ear in every way.

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