Flare Immerse won’t get the recognition they truly deserve. They’re especially valuable for anyone mixing or mastering with headphones—particularly when it comes to exposing how much distortion headphones introduce. Many users might feel like they’re “losing” certain frequencies, but in truth, Immerse removes the distortion that’s usually present. This clarity may be due to their unique acoustic design—possibly the arch within the listening chamber—which allows for an impressively clean and honest sound.

Paired with flat-response headphones like those from Focal or Sennheiser, Immerse helps present your mix as it truly is. The best approach is to find what sounds right to you first—then switch to Immerse to hear it stripped of artificial enhancements. The result is almost always a more refined and better-balanced final mix.

The only drawback is ear fatigue—primarily due to the eartip comfort. Personally, I find anything beyond two hours can become a bit much.

Disappointed.
The claims made by the manufacturer is not really true.
"Trebles" and 'highs" are now lost when using this products. I had high expectations about this but as an audio enthusiast I can't say it improves anything whatsoever,

I opted for the headphone style, have been living with them for a couple weeks and am fairly impressed. They have a significant impact on dynamics, imaging, separation, add depth and width to the soundstage and though they're said to primarily affect the 2k-8k range I find they add definition, speed and even slam to bass as well. Perhaps the latter is due to the signal no longer being smeared by the distortion of one's ear canal.

Immerse tends to do particularly well with unpacking recordings which are densely packed with sonic information such as symphonic music, Sun Ra, Van Dyke Parks' Song Cycle or Captain Beefheart's Trout Mask Replica. I listen to a vast amount of different styles from all over the world, including almost all genres and they've enhanced every recording I've checked out thus far. For instance, I have never before heard the Marimba Eroica on Harry Partch's Delusion of the Fury with so much clarity and impact. This is an instrument whose lowest pitch is around 27hz. The strings on the 1957 three channel Living Stereo Chicago Symphony recording of Bartok's Music for Strings, Percussion and Celeste, already known for its visceral quality, sound virtually etched in granite with Immerse. It allows me to hear Skip James' intricate picking cutting through the surface noise of the distressed sources of Special Rider Blues, and I'm So Glad from his legendary 1931 sessions.

I've listened to everything from '60s pop to Balinese Bamboo Gamelan (Jegog), Nick Drake, Tim Buckley, The Beatles, Tom Waits to Morton Subotnick's Buchla synth masterpieces and found Immerse to offer new perspectives to each of them. I'm sure these won't work for everyone, but if you're an enthusiast of some subset of organized sound production they're worth checking out.