The Binary Acoustics 1900 was my first exposure to the brand, so I really wasn’t sure what to expect going into this review. At $235, it sits in one of the most competitive parts of the IEM market, going up against models like the Punch Audio Martillo and the Ziggat Crescent.

What first caught my attention was the driver configuration. The 1900 uses a 10mm dynamic driver, a passive radiator and four balanced armatures. Passive radiators are something you normally see on the sides of Bluetooth speakers rather than inside an IEM, so I was pretty curious to hear whether it actually made a difference.

Disclaimer: This sample was provided by HiFiGo for an honest review. All observations and opinions here are my own, based on my experience with the product.

Design & Comfort

The shells are pretty distinct. The stainless steel faceplates have this engraved pattern that, to my eyes at least, looks a bit like an ancient Mayan or Aztec design. Whether that’s actually what Binary was going for or not, I don’t know, but I think they look cool.

The rest of the shell is made from a dark translucent resin. Depending on the angle, you can actually see through it slightly, although it’s still fairly dark overall. They also use triple-bore nozzles, and the overall build quality is excellent.

One thing I noticed straight away is that they have a bit of heft to them. They’re not heavy enough to become uncomfortable, but they do feel more premium than a lot of lightweight resin IEMs.

Size-wise they’re about average. Initially I thought they were smaller than the Ziggat Crescent, but putting them side by side they’re actually very similar. They do sit a little shallower in the ear than the Punch Audio Martillo though, so they don’t stick out quite as much.

Comfort is very good. I had no problems wearing them for long listening sessions and the fit remained secure throughout.

Cable

The supplied cable is one of the few areas where the 1900 feels slightly behind the times. Unlike most IEMs in this price range, it isn’t modular. Personally, that doesn’t bother me too much because I generally stick with one termination anyway, and my review sample came with the 4.4mm plug.

Aside from that, it’s a really good cable. It looks nice, handles well and doesn’t suffer from any annoying microphonics. A modular system would’ve been nice, but I don’t really have any complaints about the cable itself.

Sound

Binary describes the tuning as big and punchy with immersive bass, and honestly I think that’s a pretty accurate description. The 1900 isn’t trying to be a neutral reference monitor. It’s tuned to make music sound enjoyable, and in my opinion, it does exactly that.

Bass

If you look at the frequency response graph, you might think the 1900 has less bass than your average Harman-style IEM because the sub-bass shelf isn’t especially elevated.

That’s not really how it comes across when you’re actually listening.

Part of the reason is that the upper midrange isn’t boosted as much, so the bass naturally feels more prominent. The other reason… well, maybe it’s the passive radiator. I honestly don’t know how much of the credit goes to that, but whatever Binary has done here, the bass has real authority.

It’s punchy, it has genuine physical impact, and on certain recordings the tail end of kick drums can hit surprisingly hard. Not the initial attack, but that little thump afterwards. Depending on the recording, that can be quite intense.

The important thing is that it never becomes invasive. It doesn’t bleed into the midrange and it doesn’t dominate the overall tuning. I wouldn’t call the 1900 a basshead IEM, but it definitely isn’t shy about delivering a satisfying amount of slam.

Midrange

The midrange is probably my favourite part of the tuning.

It has a nice natural note weight that maybe leans just slightly warm, but never enough to sound thick or congested. Everything just sounds really well balanced.

Male vocals have plenty of body and sound powerful without becoming overly heavy, while female vocals are clear, vibrant and sit nicely in the mix.

The timbre is another highlight. Right across the frequency range, instruments sound convincing and lifelike. Nothing really jumps out as sounding artificial.

What impressed me most though is just how resolving the midrange is.

Instrument separation is superb. Every instrument has its own distinct place within the soundstage instead of everything being blended together. Even on busy recordings it’s easy to pick out individual parts without having to concentrate.

A lot of that comes down to the tuning as a whole. Nothing is overdone, so the detail comes through naturally instead of sounding forced.

Treble

The treble is done really well too. It extends nicely without sounding bright or aggressive. If anything, I’d say it’s just slightly laid back, but it never comes across as dull or muted.

There’s still plenty of detail, cymbals sound clean and natural, and the treble does a good job of bringing clarity to the overall presentation. It also helps give notes a nice crisp leading edge without ever becoming fatiguing.

Again, it’s all about balance. Nothing sticks out too much, but nothing feels missing either.

Technical Performance

This is where the 1900 really impressed me. The soundstage itself is probably around average in width, maybe a little wider than average, but that’s not really what stands out. What stands out is just how well organised everything sounds.

The instrument separation is excellent, the imaging is precise, and there’s a convincing sense of depth. Instead of sounding like everything is spread across a flat left-to-right line, you can actually hear sounds positioned in front of and behind one another.

The overall presentation is very clean. Every instrument has its own space, almost like looking at an exploded diagram where every individual part is clearly separated from the next. For an IEM in this price range, the resolution is genuinely impressive, and it’s one of the main reasons I enjoyed listening to the 1900 as much as I did.

Comparisons

Binary Acoustics 1900 vs Ziggat Crescent

Tonally, they’re actually quite similar. They both have a musical presentation rather than aiming for a strict reference tuning, but there are a few noticeable differences.

The Crescent has a little more fullness through the upper bass and the core midrange, along with a bit more energy in the treble. The 1900, on the other hand, sounds a little cleaner and a little more resolving to my ears.

That’s probably the biggest difference between them. With the 1900, I find it easier to pick out those small background details and individual sounds within a mix. The Crescent is certainly no slouch, but it tends to blend things together just a little more.

It’s not a night-and-day difference because both are excellent performers, but if I had to give one the edge purely on technical performance, it would be the 1900.

Binary Acoustics 1900 vs Punch Audio Martillo

The Punch Audio Martillo is another one of my favourites in this price range, and despite not getting as much attention lately, I still think it’s a fantastic IEM.

If you compare their frequency response graphs, they’re actually remarkably similar from the upper bass right through to the treble. The biggest difference is the bass shelf.

The Martillo has noticeably more bass and sub-bass, which isn’t surprising considering it’s very much aimed at bass lovers. It delivers more rumble and more outright impact than the 1900.

Despite that, the Martillo is also a very resolving IEM with excellent instrument separation, so this isn’t simply a case of one being technical and the other being fun. They’re both technically strong performers.

There are times when I prefer the Martillo, particularly with music that benefits from that extra bass lift. It can be ridiculously fun when the track suits it.

Then there are other times when I find myself reaching for the 1900 instead.

There’s just something about the way it presents bass. Whether that’s down to the passive radiator or simply the way the dynamic driver has been implemented, I really couldn’t tell you. What I can say is that it has a very physical low end that never feels overbearing. It grabs your attention, but it doesn’t dominate the mix.

Verdict

The Binary Acoustics 1900 ended up being one of the easiest recommendations I’ve made in quite a while.

It’s an IEM that isn’t afraid to sound bold and engaging, but at the same time it backs that up with genuinely impressive technical ability. The bass has real authority, the midrange is resolving and natural, the treble is well judged, and the instrument separation is simply excellent for the price.

Just as importantly, everything feels cohesive. Nothing sounds exaggerated for the sake of grabbing your attention. It delivers plenty of impact without sacrificing balance, which isn’t always easy to achieve.

Coming into this review, I had no experience with Binary Acoustics, but the 1900 has definitely changed that. If you’re looking for an IEM around the $200 mark that combines a musical tuning with excellent resolution, this one is very easy to recommend.