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Jerry Harvey Audio Sirens Series Roxanne Custom IEM

Posted

Pros: Incredible Bass Response & Sound-Staging. Sonic fluidity & Lower-Midrange Control & Precision. Overall Dynamic Gestalt! Emotively Impactful

Cons: Don't have Anything to Complain About Yet!

 

I feel obligated to share out-of-the-gate that I am no CIEM expert! As a matter of fact, I don't even particularly enjoy IEMs - I love over-ear or on-ear headphones. That said: Experiencing JH Audio's JH-13 Pro (now Freqphase) IEMs at Canjam 2009 was nothing short of a revelation for me. As a matter of fact, the experience was so far from anything I had to compare it with that I ended up being fortunate enough to write the first formal review of the JH-13 Pro for Positive Feedback! That was an intimidating task to say the least. There I was, at the time, a music and high end audio two-channel writer/reviewer, and I had to try and paint a sonic picture of how amazing these in-ear-monitors were! I decided to approach the review like I did with all Hi-fi gear: from the experience of listening to the music through the component. I didn't have the technological acumen to write a technical review anyway. So, I took a chance, and I am very lucky that it paid off. The review was effective. I ended up hearing back from many readers - and many of them took a leap of faith and purchased the JH-13 Pros as the result of my down-to-Earth style in that IEM review. It was then that I realized the potential for headphones as high fidelity playback systems! I haven't looked back since.

 

The really crazy thing is: I wasn't even looking for headphones for myself! I was shopping for my cousin, Kenny Gould. Kenny works on Special Projects for Stevie Wonder, and he sent me on a mission to check out different IEMS from Westone, Ultimate, etc. Now - I knew Jerry Harvey for years. When I worked at Atlantic Records I used to go to Jerry to handle all the on-stage in-ear-monitors for our top artists. So, needless to say, I/we entrusted him with the ears (and so livelihoods) of some of the labels top multi-platinum selling artists! That's not a small thing to entrust somebody with. So when I saw him at Canjam 09 with a new company, he asked if I'd take a listen to his latest design. Jerry also knew I wasn't fond of in-ear-monitors - so I think this presented a cool challenge for him. Could he convert me? Well, here we are! He blew my brain back then, and he and the JH Audio team have done so again with the Roxannes. Just when I thought the air and dynamic contrasts of the JH-13 Freqphase couldn't be beat, the Roxannes have come along and re-defined, once again for me, what's possible in a CIEM when it comes to sonic integrity and musical engagement (actually - the word engrossment might be more accurate here). I honestly didn't believe this kind of bass response and extension that I experience with the Roxannes was possible at this time! That was the only thing missing for me with the JH-13 Freqphase. As a guy with his roots planted firmly in high end two-channel audio, and, now, over-ear or on-ear headphone playback, the bass weight and impact of the JH-13s always impressed me, but I've been yearning for a CIEM that delivers bass like my Audeze LCD-XC or LCD-3 w/ Fazor ever since I started listening to Audeze headphones! Well, this may sound strange, but the Roxannes did not present themselves to me, sonically, as a pair of CIEMs at all during my first listening sesh with my own custom molds. When I demo'd the Roxannes at Canjam 2014 I could tell there was some magic there - but I could never quite get the seal right. We all know, especially when it comes to bass and lower mid-range performance, a good seal in an IEM is everything. I tried all sorts of tips that I brought to the demo - and with triple-flanges I finally got a glimpse of the potential for these amazing earphones. I could tell I was missing something, that the Roxannes could do even more than what I was experiencing at the time - but I was still blown away by their silky mids, big bass (not exaggerated, but weighty) and mid-range clarity. I knew I had to hear em again. Luckily my friend Andy Regan (who was at Cardas for years) was there with JH Audio. Andy's running the company now, and is very much at home. It was great to see him all smiles - so much that he flipped the bill for our Head-Fiers breakfast at Newport! Thank you Andy and JH Audio by the way! Luckily, JHA was also a vendor in our Audio360.org event at T.H.E Show Newport this year (at T.H.E Headphonium) so I got to give em another shot. After hearing them again, just knowing there was something was out there far superior to my JH-13 Freqphase drove me insane. 

 

I admit being a professional reviewer has its perks. I didn't pay near full-price for these. But if you think that's some kind of payola, or that it drove me to write a positive review, well, lets just say that assumptions are the mother of all f_____ups. I've been an outspoken evangelist for JH Audio since I traveled the world with my JH-13s, especially after my review at Positive Feedback (and subsequent Writers Choice Award that I gave em that year). My advocacy for the brand did not stop at my review like so many other writer/reviewers. I share about my JH Audios often in my social media chain and any other place where I think people need to know about JH Audio. Believe me, I was perfectly content with my JH-13s! I didn't wanna have to upgrade! Actually, if I can approach a level of honesty bordering on stupidity here: You know what I said to Jerry Harvey when I heard the Roxannes for the first time at Canjam 2013? He can back this up: My exact words were (as I was using my own Astell&Kern AK120 as the source for the demo, so I knew the source material as well as a man can): F___ You! Meant as a compliment of course, as strange as that may sound. I meant it! There I was, now unfortunately armed with the knowledge that when I got on the plane to leave Denver after RMAF, and put on my JH-13 Freqphase, for the first time I'd be thinking: Damn, now I gotta get those freakin' Roxannes! I never thought of anything while bumpin' my JH-13 Freqphase before that! I was more than content, I was happy! Jerry disrupted that contentment. Damn you Jerry! :biggrin:

 

So, they arrived and I began throwing everything at them that I could think of...

I was also very impressed with the job they did using our Audio360.org logo! I didn't want the logo on both ears. That would be overkill (I think anyway). Since I'm a lefty the left ear was the best spot. I stuck with the JH Audio angel for the right side. I wasn't concerned with carbon-fiber or anything uber-pimp like that. I just wanted the CIEMS in all their sonic glory. After all, who cares what they look like as long as they fit snug and comfortably (which these do) and I can listen to em for hours. I also feel it's necessary to share that these are the only IEMs (even CIEMS, including my JH-13 Freqphase) that I have fallen asleep with em in my ears! Normally its not a matter of discomfort that prevents me from listening to in-ear-monitors when I sleep - especially since we always fall asleep listening to some form of meditative music - whether it be experimental electronic grooves or Dr. Wayne Dyer self-awareness LPs (yes, we listen to that lunatic sometimes - he's actually got some empowering tools to offer in his aural toolbox - I suggest you check him out) I have woken up with the Roxannes in my ears a bunch of times at this point. My cousin wondered why that was the case. After all, the fit is practically the same as my JH-13s! I told him I honestly don't think it's a matter of better fit. I think the improved sonics allow my brain to let go of the fact that foreign objects are sitting in my ears as I fall asleep! The Roxannes have this sense of three-dimensionality that's uncanny in a pair of CIEMs! That seemed nutty to me the first time I started jotting down notes about this concept, as the things sit in your ears! How can they create an actual sound-field? To be brutally honest: I don't know, and I don't care - it happens! The Roxannes are the one and only IEM I've experienced that paint a holographic image like an open-back over-ear headphone when I'm listening to tunes! Playing Fhloston Paradigm's "Light on Edge" from The Phoenix LP for example: There are these panning, transient synth stabs that travel in and around the sound-stage, encircling the airy vocal samples and hovering atmospheric sounds. I get the same spacial effect via the Roxannes that I get when rockin' this track with my Audeze LCD-3 w/ Fazor! How's that possible? I don't have a clue - I just know what I hear and it's mesmerizing. I can't get enough of this effect. I often play tracks like this over and over with the Roxannes, and, to me, that means there's something magical happening during playback and I want more of it every time I listen. The same thing happens while playing Eno & Hyde's latest album: High Life. I feel like I'm listening to large, over-ear headphones! On "Time to Waste it" off High Life there are also vocals being encompassed by breezy guitar-work and airy synths. This track is a little more stripped-down however, so the presence of space is infectious, especially considering I'm talking about listening to this with IN-ear-monitors! It's Eno & Hyde's use of the space between the notes/triggered sounds on this record that help make it such a captivating listening experience. I didn't know an IEM could be capable of translating that spacial quality. The Roxannes pulled it off with style, grace, and ease!

 

Associated equipment:

 

Sources:

* Astell&Kern AK240 DAP - via 3.5mm standard stereo output

 

* CEntrance / Glove Audio A1 DAC/Amp for Astell&Kern AK120 & 100 (I'm using my AK120 for storage) - the A1 is a DAC/amp for older A&K models: Essentially turns your old player into a whole new DAP! - By means of turning the AK120 or 100 into the storage - and the A1 takes over duties as DAC + Headphone amp  - via via 3.5mm standard stereo output

 

*ALO Island DAC/amp (w/ Amarra as source for the Island) via 3.5mm standard output

 

* Ernestolone Carot One tube/hybrid DAC/Amp

 

 

Music:

As indicated in the review

 

Another album that's been getting tons of spins over here is Recondites Hinterland. This record is pure ear-candy. Drivy kick-drums pound with abandon, floating synths weave in and out of other elements, and while each track has its own distinctive feel, there's a rhythmic pulse to this record that doesn't let up. For fans of underground electronic music - it's like a gorgeous, early-morning intelligent tech-house LP. One of my favorite tracks on the record is "Riant" - which, once it's in-motion, the forward progression doesn't halt until the end of the track, even during the breakdown. The wifey and I had our own lil' silent raves in my home office, dancing to this track. Usually she's wearing my Audeze LCD-3s, and me the LCD-2s (using my Cavalli Audio Liquid Gold as the power source behind it all). When I dropped this track using the Roxannes and Glove Audio A1 by CEntrance (currently two months out), a DAC/Amp for Astell&Kern's AK120 and 100 - the sound was so silky-smooth it sounded like water that'd been spilled on a pristine glass table - the beads of water moving along the glass until they trickled off.

The kick-drum was heavy, yet tightly controlled, the airy synths were like waves of sand. The overall effect was enrapturing. I couldn't stop listening to this track! I'd hit the play button over and over again. It was like being at an after hours party, when the 4AM DJ is just hitting his stride, and the beat is constant but also moody. The crowd, while over-tired, can't help but get up and move to the rhythm. That was me, dancing in my office at 5:30AM (oh, wait, that's happening right now...). I've never been so overwhelmed by the sheer power of music through CIEMs like this before. The track after "Riant": "Stems" kicks off with a pounding four-on-the-floor bass beat. The sound on systems that aren't resolute can be quite sterile, as there's a textural quality to the bass that's akin to that wonderful resonance you get when hearing a Funktion One club system, or the early Fazon systems in places like Club Twilo in the mid-90's. It's not merely a kick, its got a tonal quality that seems to ebb and flow, and the Roxannes captured and reproduced this is such glorious fashion. I swear these don't behave like IEMs at all when I'm lost in the music. It's just like listening to some of my better over-ear cans! The frequency spectrum is full-bodied and extended. From the lows to the highs I can almost feel the colorful timbre, the dynamic contrasts are extremely well-rounded. That is not to say there's any shading or muffling of any sound to make it so: The contrasts are wide and deep, almost opaque. The breath of sound is far greater than anything I've come to expect from IEMs or CIEMs! And the detail retrieval? That's another area where the Roxannes jump out at me. On Hecq's new Conversions LP (a remix compilation album) he re-works tracks of such musically diverse artists such as Bersarin Quartett, Bong-Ra, and TechDiff to Ruby My Dear and Anodyne! The sounds and styles are as varied as the artists names. The record's choc full of different sounds and effects, and it goes from chill-room atmospheric to slamming dub step in zero-to-sixty! It makes for entertaining listening and system tests (highly recommended btw)! The Roxannes did such an amazing job of reproducing the magical sonic variants of this album. That's no easy task. The transducers were getting worked, and they sound better the more worked-over they get! I can't wait to re-visit this review in a couple months. My JH-13s got better for at least 500 hours. I believe that. I heard it happen. 

 

I'm going to recommend Hecq's Conversions to the crew over there for demo purposes! That's another thing you hear in the Roxannes: that the Harveys of Jerry Harvey Audio are into all sorts of music! I know it, as Jaime-Harvey Penrod and I share a passion for The Dirty Projectors, and turning each other onto new music. If they weren't fellow music addicts their earphones wouldn't be able to handle such a wide variety of sounds. Some of us have been hearing this happen to a few high end loudspeaker designers over the years. Since we know the designers musical taste: Lets say jazz, classical, and about as pop as they go is Janice Ian - than it's no surprise when their speakers play back Stravinsky's The Fire bird Suite heavenly, but crumble under Eskmo, Amon Tobin, Foreign Beggers, and artists like Goldie! While I'm no audio designer, I can say straight-up part of my goal would be to make a product that's capable of reproducing (as we're deep in the music reproduction end of it here) the depths of the audio spectrum that humans can react to. What lives on that system? There are so many different artists/people out there - I think people should strive to make a product that's only discrimination pertains to audio quality of the source! Your headphones or speakers should, IMO, if I'm forking over scratch to buy them, play back my music too, as well as whatever you're listening to. JH Audio gets this at a fundamental level. Jerry's a monitor mix engineer for bands like Van Halen! That's as close to doing what we do as listeners as you can get in the live music world. It's a boatload more work, and just about everything comes down to your mix! But Jerry has to be a professional discriminating listener to nail it live! Plus: he's also about getting the most music out of his products! He told me to get Drew's Silver Dragon IEM cables from Moon Audio for my JH-13s years ago. Now Jerry's company had cables, but he tested Drews and it was better so he didn't waste any time in an ego-battle about who's getting what. He was about getting the most out of his work, his art, and Drew's art complements his! I still rock Silver Dragon as a must-have today, especially at Meets and shows! Then they started offering them online with their IEMs. That's a man who wants you to connect with music like he does That's salt-of-the-Earth kinda-thinking we need in this community. Well, we have more of that here than any other tribe in the audio hobby. I believe that, but we must keep that outlook alive. The great thing here is, Jerry also makes the world's most musically exciting IEMs on the planet as far as I'm concerned. I don't like the word best when it comes to describing gear on the reproduction end. We're all reacting to an art-form: Music. That's being translated by someone Else's art - the gear! And to that end, we're all human and therefore all unique in our reaction to things. The Roxanne, however, is not something that I'll bother arguing with someone over. It's a great in-ear headphone. It does such a grand job that the best compliment I can give it is that while I was typing this, I heard this bizarre effect mixed into Hecq's Conversions, where the gain wasn't merely adjusted in the mix - it was brought down and they introduced the vibe of a three dimensional space, where a car travels from one end of the soundstage to another, and when the change occurred, I thought something was going on outside the headphones, I took em out and looked for Alexandra! There I am, like "honey, you OK? - and she's on the side porch with our cat. So, whether Hecq's new brilliant record is in fact a headphone album, and I believe it is, after hearing things like that get me a few times... 

 

The best thing about the JH Audio Roxannes was, through that whole mix,

I didn't realize I was wearing in-ear-monitors! I went to grab a headphone off my head. No s___.

When I pulled em out I thought to myself, damn, these are amazing.

 

Sorry if I don't have anything to hate on.

These made my month, knowing I can travel with sound this big and powerful

without a couple cases! I'll only bring one headphone case when traveling personally now - YES,

it's a problem... I'm workin' on it.

 

The Roxannes could be Jerry's biggest challenge as he's reached such a high point in the in-ear-monitor arts!

Meaning: what's he gonna do to top this?

Posted

Pros: Big, authoritative and liquid smooth sound, extreme transparency and coherency

Cons: Always sound big and thick, issues with carbon fibre manufacturing


 

 

INTRODUCTION

As most of you should now, the Roxanne sits at the top of JH Audio’s line-up at 1.649 dollars, sporting 12 balanced armatures per ear in a three way configuration, the freqphase technology, passive bass control on the cable and the optional carbon fibre shell, at 500 dollars.

 

It brings, therefore, all the expertise that the maker has acquired over the last years.

 

 


 

 

PHYSICAL ASPECTS

One of the things that surprised me when I saw the Unique Melody Mentor demo for the first time was how small it was for something that houses 10 BAs. The Roxanne only has two more, but it is considerably larger. It protrudes from the ears quite a bit more than my old JH13 Pro, but not enough to draw too much attention to itself.

 

 

 

Another difference is the cable which, because of the extra conductors (there are six in total, as opposed to the usual three) needed for the bass control, is a lot thicker than the norm for this type of product. However, it’s not heavy and it’s quite flexible. The plug looks simple but not low quality and the connector on the earpieces is well thought and efficient, despite the issues that it had with cracks – that has been solved with the use of metal nuts.

 

I also like the bass control. Fortunately it isn’t located close to the earpieces (something that would be terrible because of weight and microphonics), but close to the plug. This means that it can stay inside the pockets, along with my mobile or DAP, and adjustments can be made in a convenient fashion – just like we take the DAP out of the pockets to change tracks, we can do the same to adjust the bass. The only problem is that the knobs are quite small and require the small tool included to be adjusted. The upside to that is that it’s almost impossible to mess with it by accident.

 

The carbon fibre version of the Roxannes are, when well made, a piece of art. I won’t talk about aesthetic preferences, but this material is arguably sophisticated and it’s very unusual to see a custom earphone, made just for use, using a material that is usually reserved for high-performance sports car or in the aerospace industry.

 

 

 

The included case is also made of this material, with an aluminium outer structure and an internal piece that houses a negative impressions of the earpieces where they are stored. The writing on the case is made with lasers (I think), including the name of the owner – a big improvement over the sticker on the Otter cases that JH Audio used to use. Despite having shown problems with the resin in some units – such as bubbles and badly placed fibres –, this piece is seriously cool. It does look like it stores something rather special. However, I can’t deny that it’s also spectacularly inconvenient, and storing the earpieces in the correct manner is annoying and takes maybe about a minute. This made me buy their regular case as well – just a small metal rounded case.

 

The list of accessories included is rather slim, however. Apart from the case, you only get a velvet bag, a cleaning tool and the tool for the bass adjustment. No ¼ inch adapter or even a manual.

 

 


 

 

THE SOUND

My first impression was, if I’m honest, of estrangement. I was expecting something like a JH13 on steroids, or at least something close to all the other high-end monitors I’ve ever auditioned, but what I heard was completely different. When I received the Roxannes I was auditioning the UM Mentor demo, and I was surprised with how different they were – especially since the Mentor sounded reasonably close to my old pre-freqphase JH13.

 

The way that I perceive the Roxanne has gone through several phases. I won’t spend much time with them so as not to bother the reader, but it suffices to say that at the beginning I heard a monitor with what seemed like exaggerated bass, even with the control at the minimum, thick and weighty mids, a somewhat claustrophobic presentation but, above all else, a big sound.

 

 

 

Today, however, I see it as a truly spectacular in-ear monitor: scarily natural and, like the JH13 Pro, it has the ability to excel in everything I ask it to play – however, in a different way.

 

I’ll start with the lower regions, which are somewhat complicated: while I like its bass performance, it’s not perfect and the bass control doesn’t really work like what I’d prefer. I’ll explain: the JH13 kept surprising me because it had the chamaleonic ability to sound small and think or big and authoritative solely depending on the recording, and that was most of all because of the bass. It sounded detached from the rest of the spectrum, and only appeared with extreme authority and weight when asked to. When it wasn’t asked, it seemed as if the bass drivers were simply turned off.

 

The Roxannes, however, always sound big and weighty. It’s always full and thick. At first, I thought this happened because of the bass (even with the bass control at the minimum). With time, I realized that this happened because of the mids, probably because of some mild mid-bass hump which, to be clear, did not impair clarity of transparency.

 

Consequently, the feeling I have is that, with the bass control at the minimum, the sound is not as light and airy as I expected. It still sounds thick, but with a sort of hole before the mids. As I increase the bass quantity, this frequency starts to fill a space that was already there waiting for it in the first place. What I would love, however, would be to have a thin and light presentation for some genres and, as I increased the bass control, the low frequencies would begin to appear and to form a firm and authoritative base, like I heard from the JH13 Pro in many situations. That way, I would be able to suit the bass to the music.

 

With the way that the bass control is implemented, however, I don’t see many options. It’s as if its sound was only one and I had the bass control simple to find not the sound that suits a particular moment, but the one that sounds coherent with its personality as a whole. So I just found my preferred position for the bass knob and left it alone. With less the sound is think but there seems to be something lacking, and with more I get a subwoofer in my ears.

 

 

 

Anyway, after I found my preferred position for the bass knob, I found that its performance in that region is excellent. The bass quantity becomes perfectly appropriate and coherent with the rest of the spectrum, and they possess startling definition, texture and extension. The bass is fat and rounded, but at the same time incredibly transparent.

 

This duality, which is still present in the mids, may be, to me, the most singular characteristic of the Roxannes. It is, along with the HE90, the only headphone or earphone I’ve ever heard that mixes this much mass, weight and body with extreme transparency. The only other headphones that possess this character to some extent are the Stax SR-007, which has the transparency but not the weight and the HiFiMAN HE500, which has the weight but not the transparency. Usually, when a headphone is this sweet and euphonic, it’s not particularly transparent. Not here. All the sounds seem to be perfectly in place and aligned somehow (maybe due to freqphase?), so it’s as if it was possible to “see deeper” in the recording. I know it’s a strange analogy, but it’s the closest I can get to explaining how I hear it.

 

This is somewhat surprising when I take into consideration that the thick personality of the Roxannes owes itself to the mids, which means that there’s probably a mid-bass hump somewhere. Fortunately, apart from the mild issues I have with the bass, there are no prices to pay. After all, this character – which reminds me of the Westone UM3X in a way – doesn’t hurt transparency and resolution. Quite the opposite: the result is that the mids sound exceptionally natural. This is what defines them. The timbre seems sport on, and this weighty and thick character, along with the feeling of alignment and transparency creates very tridimensional mids that seem to be alive. Another quality that helps is the absence of a plasticky character that is present in every other BA earphone I’ve heard so far.

 

All of those traits makes the Roxanne sound a lot closer than usual to full-sizes: it really sounds huge. The JH13s and the Mentors sound like earbuds next to these. However, despite all the spacial capabilities and the weighty but transparent character, there’s not denying: this is still and in-ear and it simply does not sound as spacial and as open as a headphone. There’s a lot of transparency and resolution, but the sounds are, despite considerably tridimensional, still close to each other. Considering the analogy I’ve made above: the sounds are close but perfectly aligned, so it’s possible to “see deep through the slits”. I don’t have this feeling with full-size headphones because the sounds are not close, so instead of having a slit between sounds, there’s a bigger space that doesn’t feel like a slit in the first place.

 

 

 

I’ve read pretty divergent opinions about the treble. Some consider them harsh, while many feel a lack of presence in that region. What I know is that Jerry Harvey seeked to overcome the limitations of the technology in balanced armatures – achieving highs with proper extension and providing a linear and neutral response in this end of the spectrum, with no artificial sparkle. In my opinion, he achieved that with flying colours. There’s no artificial sparkle as in most other headphones, so that’s why many will find the Roxannes to be lacking in clarity and brightness.

 

The result is that those IEMs don’t have prominent highs but, in my opinion, is spot on with regards to timbre and truthfulness of instruments that reside in this region. It reminds me a lot of the Grado HP1000s, but with slightly less withdrawn treble. The treble response is among the things that I appreciate the most in the Roxannes, as they provide a very accurate response along with a smooth and fatigue-free experience.

 

 


 

 

CONCLUSIONS

Maybe, in this text, I have explicited more downsides of the Roxannes than you, the reader, might have been expecting. So I’ll just make it clear: this last masterpiece from Jerry Harvey is undoubtedly the best in-ear I’ve ever heard, by a wide margin.

 

The reasons are simple: everything in them, even the small issues, seem to build a distinct personality. It doesn’t sound like a dry, authoritative and fun monitor, but rather an earphone targeted at the audiophile crowd. It’s not that I consider it neutral, but it is, quite clearly, one of the most organic headphones I’ve ever auditioned – maybe even the most.

 

 

 

I’m not sure about how to define this character clearly, but I know that it’s exactly what the Roxannes portray. With it, music sounds alive, palpable and organic. Everything I hear with it is jut enchanting.

At the same time, however, I know that it isn’t for everyone. It doesn’t have the energy and the fun-factor that I used to have with the JH13s or that I heard with the Mentor or even with the Merlin. I know that I wouldn’t be able to live solely with either of them now since I’d consider it a downgrade – the Roxannes goes far ahead any IEM I’ve yet heard in some aspects –, but I’m not going to lie, I’d love to have something like an improved JH13 Pro (with regards to transparency and linearity of mids and highs) to complement the Roxannes as the “fun” earphone.

 

Nevertheless, I can’t forget that it’s impossible to have everything in one single headphone. Unfortunately, that’s not how our hobby works. That’s why I own many: Audio-Technica W3000ANV and M50, Grado HP1000, HiFiMAN HE500 and Sennheiser HD800 and Amperior. Big names.

 

These little earphones, however, are my favorites of them all.

 

 

Associated equipment:

Portable: iPod Classic, Sony NW-ZX1, Sony Xperia Z2

Desktop: iMac, Abrahamsen V6.0, B.M.C. PureDAC, HeadAmp GS-X

Jerry Harvey Audio Sirens Series Roxanne Custom IEM
Description:

Jerry Harvey has been designing the worlds finest custom earphones for almost two decades and this newest innovation is no exception. Jerry Harvey Audio is proud to announce our most alluring custom offering yet, from the all new Sirens Series, Roxanne. Equipped with soundrIVe technology, our newest proprietary mini quad drivers, Roxanne lures you in with the widest frequency range you’ll ever hear and then seduces you with the first variable bass control IEM cable; adjustable, so you can shape the sweet spot of your low end to irresistible levels. Be careful, this Siren's song might just be the last you'll ever want to hear.

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