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Review: 1964 Ears V3 triple driver custom IEM (updated 10/24/12) - Page 10

post #136 of 194
Quote:
Originally Posted by JonRGM View Post  Anyone know what driver setup is used for the triple V3 and the V6?


V3: Lows - Knowles CI22955, Mids - Knowles CI22955, Highs - Sonion 2389

V6: Lows - Sonion 33AJ007i/9, Mids - Knowles DTEC-31323, Highs - Knowles SWFK-31736

 

That probably doesn't mean much to you, though?


Edited by tomscy2000 - 4/26/14 at 11:02am
post #137 of 194
I only have experience with my B2s (which I think have dual Knowles, unsure the model) but you've given me things to google at the very least.
post #138 of 194
I only have experience with my B2s (which I think have dual Knowles, unsure the model) but you've given me things to google at the very least.
post #139 of 194
Quote:
Originally Posted by JonRGM View Post  I only have experience with my B2s (which I think have dual Knowles, unsure the model) but you've given me things to google at the very least.


The B2 have a TWFK-30017, which is the only publicly-available TWFK model from Knowles. 1964 uses a company-only version (you gotta get it wholesale, as a client of Knowles), which is electrically very different --- likely completely different DC resistance, (and hence) coil impedance, damping scheme, etc. The TWFK family tends to have a distinctive "sound", though, as its armature design and housing dictates its mechanical resonances --- which is why I recommended the V6 to you out of all the different 1964 models. Though the tonal balance will be different, the V6 will share more timbre qualities with the B2 than any other 1964 product.

 

Google won't give you too much, and honestly, knowing the driver setup doesn't really tell the whole story to BA-based IEMs. There's the crossover and the tubing selection/length/diameter, which are actually more important and integral to the final sound signature of the entire design. 1964 spent a good amount of time experimenting with that stuff, I'm sure.

 

I have a resource thread on here that gives people a look at a lot of the driver setups of BA-based IEMs, but that's more for DIYers to have a reference to play around with and emulate their favorite earphones, etc., and for quizzical audio geeks like me.

post #140 of 194

I must say your knowledge seems to be voluminous. I forgot who originated the phrase, but I heard Josh Pastner (Memphis Tigers current mens basketball head coach, and a former Arizona Wildcat, "Bear Down!") talk about "paralysis through analysis" recently, which I think aptly describes my state of mind when I read more than 30 minutes of head-fi pablum each day :) To avoid this I just took the plunge and got the V3's, based as much on my inability to pay for the V6's as my wanting to pick them up in person when I have to take a trip to portland later in June. Ye-haw to rash choices! I'm sure I'm gonna love them. As much as I love the B2's I also find myself loving the Grado 225i's I have as well and they sound nothing alike, so I don't think I have an absolute favorite definable sound signature. Shoot, my aural tastes are so unrefined I find pleasure in listening to my Koss Portapro's often!

post #141 of 194

Ok, the guy at 1964 ears already reply my e-mail, its like this

 

"The V6 has neutral bass so as a bassists you may find that lacking. The Quad
has the most bass but it may be too colored for reference listening. The V3
strike a good medium between the 2.



The deposits are D $325, V3 $375, Q $3450 and V6 $575 for international
customers. Domestic lending is cheaper because it’s the same country.
Shipping with insurance and tracking is $45."

 
my current question for 1964 ears is like this: 
 
"Hi, I'm from Indonesia, I would like to request of the universal demo of 1964 Ears V6, Quad and V3. The question is that, do I need to pay the universal demo? and what time do you give to me when you guys lending the universal demo unit?. Sorry to ask this thing because there is no Audio store in Indonesia that sell or promote the 1964 Ears. 
 
If I can get the demo, maybe i would like to consider 1964 Ears as my first Custom In-Ear Monitors (because I'm afraid of buying CIEM without testing the sound). Maybe you guys can recommend which Demo is the best for On-Stage Bassist and Sound Engineer which fall in love with the detailed and a well balanced sound (I'm not a Basshead, I don't like Monitor which has too much treble and bass. I need balance and detail sound  ). 
 
I'll probably use this CIEM for my Live Stage and My Sound Engineer College."
 
He recommend the V3 and I reply him like this:
 
"So for my requirement is the V3 more suited than the V6?(some people said that the V6 is the most detailed custom in ear monitor that 1964 Ears made). And what do I use to pay the deposit, plus the shipping cost. Also can you give me the exact price of each demo?(because some people in the head-fi forum said that the deposit is not that expensive compare to the original price of the customs)."
 
for V3 owner, is it the right information?
post #142 of 194
Thread Starter 

I would think the V3 would make a great stage monitor. I don't know how different the needs are between a stage performer and a sound engineer. It seems like stage monitors tend to be slightly boosted on the low end, clear in the midrange, and a bit smoother on top so as not to be grating over long term performances. The V3 fits that description perfectly in my opinion. It does have nice detail but not extreme or forced like a more analytical IEM. 

post #143 of 194

and recently I want to know more about the Cosmic Ears BA3 which is good for bass player also (stated in the website that it has a good bass), and comparing the V3 and BA3

post #144 of 194

wow, your friend ljokerl said that the V3 is not that great for the real monitoring.

post #145 of 194
Quote:
Originally Posted by TimOgawa View Post  wow, your friend ljokerl said that the V3 is not that great for the real monitoring.


Really? Maybe he misunderstood the question. For accurate audio monitoring e.g. mastering, room environment mixing, etc. there are better options, but for musicians (and their accompanying stage/mix engineers) needing a relaxing monitor for use for long stage sessions, the V3 should be quite good.

post #146 of 194
Quote:
Originally Posted by tomscy2000 View Post


Really? Maybe he misunderstood the question. For accurate audio monitoring e.g. mastering, room environment mixing, etc. there are better options, but for musicians (and their accompanying stage/mix engineers) needing a relaxing monitor for use for long stage sessions, the V3 should be quite good.

Seeing as my V3's are brand new, I don't have much experience yet and these are also my first foray to into CIEMs so I can't really compare to others, but I purchased mine for the sole purpose of onstage monitoring. I have used them once for that and I don't think I could have had a better experience. I am a music director so I need to hear everything clearly and the V3's provided that. No bass distortion (which was a problem for me prior to these), and everything else was well balanced. My guitar sounds amazing through them.

post #147 of 194
Thread Starter 

I can't speak for ljokerl but he certainly knows his stuff, so it does seem likely to be a communication error in there somewhere. As Tom posted above, the V3 should work for that application, and Patrick confirmed it does, in his experience thus far. 

post #148 of 194

I emailed some of the CIEM company. First the 1964 Ears ask recommend me to get the V3. Second JH Audio recommend me to get the JH16 Pro. Third Westone recommend me to get the ES3X. So I think the 3 driver unit is more suitable for my criteria as a bassist and sound engineer, is it?

post #149 of 194

I'm thinking between the V3 and M-100. Can anyone help me? I'm currently using a Vsonic Gr07.

post #150 of 194
Thread Starter 

Sorry, have not heard the M100. 

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