So my Objective 2 Headphone Amplifier arrived today and I'm putting it through its paces for the first time. My signal chain is DX90 LO > O2 (4x gain [at John Seaber's personal recommendation]) > Sennheiser HD600s. I've barely begun but so far my test tracks have included the following—all ALAC CD rips:
Seal - "Kiss From a Rose"
Opeth - "To Rid the Disease"
Celldweller - "Unshakeable"
Andy McKee - "Drifting"
Keb' Mo' - "Soon as I Get Paid"
Musk Ox - "Arcanum"
Finsterforst - "Mann Gegen Mensch"
At first I was like
o_o because (A) Seal is the Voice of God, and (B) the dynamics, soundstage, and instrumental separation were SICK, and then I was all
0_o throughout Opeth's bleak, silken masterpiece. Then Celldweller hit and I realized that the HD600s will
never produce adequate sub-bass for this kind of music, so I went
D: for just a moment. The bite, reverb, and warmth of Andy McKee's acoustic airtap and transparency that highlighted what seem to be some kind of odd imperfection in the recording revitalized my senses, leaving me feeling
. Right out of the gate, Keb' Mo's flawlessly mixed blues put my jaw in my lap (
) with spectacular channel panning and layering. "Soon as I Get Paid" lit my Senns up like Christmas trees.
Although hampered by brickwalling, the 3D presentation of "Unchain Utopia" and the amplified soundstage made this song sound
enormous. Simone Simon's crystalline vocals have never sounded so natural to me—and I've seen Epica live in concert. So I went
>:O, which evolved rapidly into
\m/ (>_<) \m/ when Finsterforst's double-kick and gutteral bass assault stomped my ass. At about 2:00 into this song there's a fantastic passage sounds like a war chant shrieked over a marching band. I had to fight my urge to headbang blindly into a wall.
So much fun!—but at the same time I'm fairly certain that this rig allowed me to hear production flaws I'd never noticed before. (I guess that's why people use HD600s for studio monitoring, huh?)
And then there was Musk Ox, an instrumental Canadian neofolk band consisting of an acoustic guitarist, a cellist, and a violinist. Their 17-minute epic "Arcanum" is nothing shy of a religious experience through this setup. The instruments' natural elegance and sorrowful timbres were conveyed without flaw, in a deep and wide soundstage put to full use by world-class channel panning. It's as if the string trio was holding an intimate conversation for my personal benefit—but I was always on the cusp of understanding their language, and never quite clever enough to grasp it. Simply put, it was above my emotional and intellectual pay grades. You don't listen to music like this,
you feel it in your soul. (@_@)
Now all that's left is to wipe away the tears and apologize for the unsolicited book I just wrote here. But I'm not going to do that because it feels totally justified to me—and anyone else who's ever heard music this way before should understand. That said, none of this would be possible if I didn't have an absolutely marvelous, technically capable source to pull from.
I would like to close this (enormous) post by deeply and sincerely thanking iBasso for all of the work they've put into the DX90. It truly is a gorgeous DAP, and I love it with all of my heart.