Kiats
Headphoneus Supremus
Surprise Offer from Spkrs01
I knew that Spkrs01 (Gavin) was not going to rest on his laurels after he had first widened our horizons with the 1Plus2 and then blown our minds with the follow up Ref1. Let's just say that I felt conflicted: I was hoping he was going to rest on his laurels for a while to give us (or rather our wallets) some breathing space. On the other hand, I was hoping that he would continue to challenge the conventional wisdom surrounding and limiting the development of BA iems.
In the meantime I went headlong into a regional role which had me in different locations every few weeks. So, all this faded from my mind. So, you can imagine my surprise one day when Gavin sent me a photo of a pair of IEMs. He followed up to explain that it was the prototype of the 5 BA IEM he had been working on. There had been a few iterations of the IEM that he had tried and reworked. Insofar as the sonic signature was concerned, Gavin was of the view that he is finally happy with the tuning.
He asked me: Kiat, would you like to have a listen to the prototype and tell me what you think? I had missed out when Gavin first came out with the Ref 1 because we are in different locations and he did not know me well enough to send across a prototype for me to have a listen.
Initial Views
I should first explain that unlike the previous offerings from Tralucent which were hybrids, the Plus 5 is an entirely BA iem. It has 5 BA drivers.
CosmicHolyGhost managed to get a shot at the prototype when it has been burnt in around 50 hours. His initial reaction was: Gavin has created an IEM with fantastic mids and great for vocals.
It should be noted that by the time the Plus5 prototype made it to me, it had been burnt in for around 200 hours. The prototype came fitted with the Tralucent Uber Too cable with 2.5 mm balanced plug. Which was not an issue since I have 3.5 mm balanced and SE adapters.
Build Quality & Comfort
Fortunately by this time I have become accustomed to Tralucent iems, having both the 1Plus2 and the Ref 1 Too. The only patchy thing is that whist the 1Plus2 fitted me to a tee with the Ortofon tips, I had less luck with them on the Ref1 - the tips kept getting lodged in my ear canal and so I made the switch to Spin Fit tips. So, you can imagine that I had a bit of anxiety on how the Ortofon tips which Gavin favours as stock would interact with my ear canal this time. I am very happy to say that the fit is as good and comfortable as it is with the 1Plus2 with stock tips. The housing of the Plus5 also sits nicely in my ear - they did not conspire to stick out and make me look like Frankenstein. They sat nicely against the conch of my ears.
As for build quality, it may be a bit premature to speak to it since I only have the prototype. However, going by my past experience with the precedent IEMs, I would expect there to be no issues.
The Uber Too cable is one of the best cables around. I am sure you would have heard that some people have issues with the ergonomics and the like of the Uber Too. I am quite comfortable with it since I do not intend to go running on the threadmill with these IEMs or cable. My philosophy is I would always err on the side of SQ rather than looks, ergonomics and the like.
Music Genres & Sound Quality
In my previous reviews of gear, I have always been proudly an equal opportunist insofar as genres of music are concerned: as long as it is good music and well recorded, I will game to have a listen. My music library has grown a little since I last wrote a review. It has now grown to about 16 TB.
I could sense the excitement that Gavin had when he talked about the prototype but nothing prepared me for my first meeting with the Plus5. When the package arrived and I opened it up and plugged it into my office desktop rig of the Aurender Flow, I was really taken aback. This did not sound like a BA IEM at all. I asked Gavin to repeat the configurations of drivers he had just to be sure. What surprised me was the width and depth of the soundstage, the separation and depth of the bass. Lots of words and ideas swirled in my head. Gosh! It did not even sound like an IEM, never mind a BA IEM.
The Plus5 was transparent and yet very musical. And natural sounding at the same time. It is so precise in its imaging that I can visualize when the singer is nearer the mike or further away and even when the singer is shaking his head as he sings that he did not want the girl of his dreams to leave for a far away land.
One of the albums I tried the IEM out with was the greatest Japanese hits of Alan Dawa Dolma because the singer, of Tibetan descent, has a fantastic vocal range and the instrumentation for the songs are impeccable. On the opening track, you can feel the fantastic bass as well as the wide soundstage of that song. In the two tracks in the album which were from the soundtrack from the Red Cliff movie (Chinese movie in respect of an episode in the Romance of the Three Kingdoms), which I had heard innumerable times, I had never heard these tracks as I now heard them on the Plus5.
I could discern the distinct layering between the lead and back up singers, and then between the various backup singers. There was no smear at all. As the pace of the rhythm picked up, the Plus 5 showed how nimble it was by keeping up. In the theme song from Part 1 of the Red Cliffs, there is an atmospheric first minute or so before there is a great deep burst from traditional Chinese drums. Here, once I got over my shock on the impact and depth the bass extended, I noted the nice organic decay from the percussion and the layering with the front instruments. In this song, there is a slow build up before there is a sudden slam of music. I thought I actually felt the music slam into me, cascading down like a big wave.
Another thing is how emotive the Plus5 was: it could convey the nuances of Alan's voice interacting with the strings. While I cannot understand a word of what she is singing in Japanese, I can nonetheless feel emotions in both the timbre of the strings and her voice. This Plus5 has managed to grab hold of my emotions and tugged my heartstrings all over the place where the music took it.
Since that first listen, I have tried the Plus5 with a range of genre and singers from Alison Krauss, Michael Buble, Diana Krall, Michael Ball, Ryuchi Sakamoto, Sandy Lam, Stefanie Sun, Jacky Cheung, The Plus 5 is transparent and detailed. It is quick and nimble. It is also unexpectedly musical for such transparency. You can literally feel the strings vibrate like the dobro in Alison Krauss' music. You hear the true ping in the piano when Sakamoto plays. Add to that, a bass which is deep and tight - there is no bleeding at all into the mids. The soundstage is wide and deep. The separation between the various instruments and even between the backup singers is clear and discernible: there is no smear.
When I listen to a well recorded and well mastered song like Volcano from Damien Rice, the positioning of the guitar players, the cellist and the female vocals and Damien himself is crystal clear. You can even hear the two guitars on the side strumming while there is one in the middle is plucking. The mental image I get is clear, is precise and is stunning.
One word of caution: the Plus5 is a very transparent IEM - it will reward you with unbridled joy if you play well recorded and mastered music. On the other hand, it may show up the mediocrity of some of the lesser parts of your music collection.
Pairing
I will say more in due course about the DAPs that match well with the Plus 5. I have some nice ones. The Plus 5 is stellar with the Lotoo Paw Gold. It is also served well by the Aurender Flow, the Hifiman 901S, the HM 802, the Calyx M. Running it balanced off the HM 901S, AK 240 and Lotoo Paw 5000, you will be rewarded with better separation and more air.
The one pairing I really enjoyed is that with the Tera Player. Everyone raves, and quite rightly so, about the pairing of the 1Plus2 and Ref 1 with the Tera Player. And the conventional wisdom is that BA IEMs don't fare well with the Tera Player. Well, think again: the Plus 5 is so addictive and organic with the Tera Player! During my time with the prototype, I'm sitting on my sofa paralysed as I'm lulled into a sense of simple pleasure as I'm engulfed by the beautiful sound going into my ears and brain.
The one interesting pairing is actually with my iPhone 6 Plus. The iPhone actually drove the Plus5 competently. Whilst it is not going to win any prize for audiophile DAPs, it was actually very nice indeed. Surprisingly.
Conclusion
I am grateful that Gavin decided that I should be worthy enough to have a listen to the final prototype of the Plus5. It has again challenged conventional wisdom on what an IEM should sound like, and what a BA is capable of. Whilst the sheer transparency of the Plus 5 may cause some heartache when we listen to our loved pieces of music and discover that they are not as good sounding as we remember them; on the other hand, the Plus 5 will reveal to us aspects of our music that we may never have been able to hear before and enjoy the nuances therein.
Do I want one? Well, my first message to Gavin was: how much and when? Res ipsa loquitur. The facts speak for themselves.
Update Edit (5 April 2016)
I just wanted to update the first post for two things - firstly, the photos of the Tralucent Plus5 are now available. Secondly, the price of the Plus 5 and other Tralucents have now been released.
Prices
Firstly, the information on the prices:
1Plus2.2 @ US$1580 (stock cable) / US$2780 (with Uber Too cable)
Ref1 Too @ US$1680 / US$2880
Plus5 @ US$1880 / US$3080
As a default, all Tralucent IEMs will now come with the same stock cable which is 7N OCC copper. The Uber Too cable (now with rhodium plated connector pins), if purchased separately, will be US$1880.
Incidentally, the 1Plus2.2 is a revision of the original 1Plus2.
Photos
The photos of the production units of the Tralucent have now been posted. For ease of reference, I reproduce them here:
It will be noted that the polish of the housing and tip of the production Tralucent Plus5 is top notch.
The photos of the stock cable that are available as default cables as well as the latest iteration of the Uber Too cables are set out below:
I knew that Spkrs01 (Gavin) was not going to rest on his laurels after he had first widened our horizons with the 1Plus2 and then blown our minds with the follow up Ref1. Let's just say that I felt conflicted: I was hoping he was going to rest on his laurels for a while to give us (or rather our wallets) some breathing space. On the other hand, I was hoping that he would continue to challenge the conventional wisdom surrounding and limiting the development of BA iems.
In the meantime I went headlong into a regional role which had me in different locations every few weeks. So, all this faded from my mind. So, you can imagine my surprise one day when Gavin sent me a photo of a pair of IEMs. He followed up to explain that it was the prototype of the 5 BA IEM he had been working on. There had been a few iterations of the IEM that he had tried and reworked. Insofar as the sonic signature was concerned, Gavin was of the view that he is finally happy with the tuning.
He asked me: Kiat, would you like to have a listen to the prototype and tell me what you think? I had missed out when Gavin first came out with the Ref 1 because we are in different locations and he did not know me well enough to send across a prototype for me to have a listen.
Initial Views
I should first explain that unlike the previous offerings from Tralucent which were hybrids, the Plus 5 is an entirely BA iem. It has 5 BA drivers.
CosmicHolyGhost managed to get a shot at the prototype when it has been burnt in around 50 hours. His initial reaction was: Gavin has created an IEM with fantastic mids and great for vocals.
It should be noted that by the time the Plus5 prototype made it to me, it had been burnt in for around 200 hours. The prototype came fitted with the Tralucent Uber Too cable with 2.5 mm balanced plug. Which was not an issue since I have 3.5 mm balanced and SE adapters.
Build Quality & Comfort
Fortunately by this time I have become accustomed to Tralucent iems, having both the 1Plus2 and the Ref 1 Too. The only patchy thing is that whist the 1Plus2 fitted me to a tee with the Ortofon tips, I had less luck with them on the Ref1 - the tips kept getting lodged in my ear canal and so I made the switch to Spin Fit tips. So, you can imagine that I had a bit of anxiety on how the Ortofon tips which Gavin favours as stock would interact with my ear canal this time. I am very happy to say that the fit is as good and comfortable as it is with the 1Plus2 with stock tips. The housing of the Plus5 also sits nicely in my ear - they did not conspire to stick out and make me look like Frankenstein. They sat nicely against the conch of my ears.
As for build quality, it may be a bit premature to speak to it since I only have the prototype. However, going by my past experience with the precedent IEMs, I would expect there to be no issues.
The Uber Too cable is one of the best cables around. I am sure you would have heard that some people have issues with the ergonomics and the like of the Uber Too. I am quite comfortable with it since I do not intend to go running on the threadmill with these IEMs or cable. My philosophy is I would always err on the side of SQ rather than looks, ergonomics and the like.
Music Genres & Sound Quality
In my previous reviews of gear, I have always been proudly an equal opportunist insofar as genres of music are concerned: as long as it is good music and well recorded, I will game to have a listen. My music library has grown a little since I last wrote a review. It has now grown to about 16 TB.
I could sense the excitement that Gavin had when he talked about the prototype but nothing prepared me for my first meeting with the Plus5. When the package arrived and I opened it up and plugged it into my office desktop rig of the Aurender Flow, I was really taken aback. This did not sound like a BA IEM at all. I asked Gavin to repeat the configurations of drivers he had just to be sure. What surprised me was the width and depth of the soundstage, the separation and depth of the bass. Lots of words and ideas swirled in my head. Gosh! It did not even sound like an IEM, never mind a BA IEM.
The Plus5 was transparent and yet very musical. And natural sounding at the same time. It is so precise in its imaging that I can visualize when the singer is nearer the mike or further away and even when the singer is shaking his head as he sings that he did not want the girl of his dreams to leave for a far away land.
One of the albums I tried the IEM out with was the greatest Japanese hits of Alan Dawa Dolma because the singer, of Tibetan descent, has a fantastic vocal range and the instrumentation for the songs are impeccable. On the opening track, you can feel the fantastic bass as well as the wide soundstage of that song. In the two tracks in the album which were from the soundtrack from the Red Cliff movie (Chinese movie in respect of an episode in the Romance of the Three Kingdoms), which I had heard innumerable times, I had never heard these tracks as I now heard them on the Plus5.
I could discern the distinct layering between the lead and back up singers, and then between the various backup singers. There was no smear at all. As the pace of the rhythm picked up, the Plus 5 showed how nimble it was by keeping up. In the theme song from Part 1 of the Red Cliffs, there is an atmospheric first minute or so before there is a great deep burst from traditional Chinese drums. Here, once I got over my shock on the impact and depth the bass extended, I noted the nice organic decay from the percussion and the layering with the front instruments. In this song, there is a slow build up before there is a sudden slam of music. I thought I actually felt the music slam into me, cascading down like a big wave.
Another thing is how emotive the Plus5 was: it could convey the nuances of Alan's voice interacting with the strings. While I cannot understand a word of what she is singing in Japanese, I can nonetheless feel emotions in both the timbre of the strings and her voice. This Plus5 has managed to grab hold of my emotions and tugged my heartstrings all over the place where the music took it.
Since that first listen, I have tried the Plus5 with a range of genre and singers from Alison Krauss, Michael Buble, Diana Krall, Michael Ball, Ryuchi Sakamoto, Sandy Lam, Stefanie Sun, Jacky Cheung, The Plus 5 is transparent and detailed. It is quick and nimble. It is also unexpectedly musical for such transparency. You can literally feel the strings vibrate like the dobro in Alison Krauss' music. You hear the true ping in the piano when Sakamoto plays. Add to that, a bass which is deep and tight - there is no bleeding at all into the mids. The soundstage is wide and deep. The separation between the various instruments and even between the backup singers is clear and discernible: there is no smear.
When I listen to a well recorded and well mastered song like Volcano from Damien Rice, the positioning of the guitar players, the cellist and the female vocals and Damien himself is crystal clear. You can even hear the two guitars on the side strumming while there is one in the middle is plucking. The mental image I get is clear, is precise and is stunning.
One word of caution: the Plus5 is a very transparent IEM - it will reward you with unbridled joy if you play well recorded and mastered music. On the other hand, it may show up the mediocrity of some of the lesser parts of your music collection.
Pairing
I will say more in due course about the DAPs that match well with the Plus 5. I have some nice ones. The Plus 5 is stellar with the Lotoo Paw Gold. It is also served well by the Aurender Flow, the Hifiman 901S, the HM 802, the Calyx M. Running it balanced off the HM 901S, AK 240 and Lotoo Paw 5000, you will be rewarded with better separation and more air.
The one pairing I really enjoyed is that with the Tera Player. Everyone raves, and quite rightly so, about the pairing of the 1Plus2 and Ref 1 with the Tera Player. And the conventional wisdom is that BA IEMs don't fare well with the Tera Player. Well, think again: the Plus 5 is so addictive and organic with the Tera Player! During my time with the prototype, I'm sitting on my sofa paralysed as I'm lulled into a sense of simple pleasure as I'm engulfed by the beautiful sound going into my ears and brain.
The one interesting pairing is actually with my iPhone 6 Plus. The iPhone actually drove the Plus5 competently. Whilst it is not going to win any prize for audiophile DAPs, it was actually very nice indeed. Surprisingly.
Conclusion
I am grateful that Gavin decided that I should be worthy enough to have a listen to the final prototype of the Plus5. It has again challenged conventional wisdom on what an IEM should sound like, and what a BA is capable of. Whilst the sheer transparency of the Plus 5 may cause some heartache when we listen to our loved pieces of music and discover that they are not as good sounding as we remember them; on the other hand, the Plus 5 will reveal to us aspects of our music that we may never have been able to hear before and enjoy the nuances therein.
Do I want one? Well, my first message to Gavin was: how much and when?
Res ipsa loquitur. The facts speak for themselves.Update Edit (5 April 2016)
I just wanted to update the first post for two things - firstly, the photos of the Tralucent Plus5 are now available. Secondly, the price of the Plus 5 and other Tralucents have now been released.
Prices
Firstly, the information on the prices:
1Plus2.2 @ US$1580 (stock cable) / US$2780 (with Uber Too cable)
Ref1 Too @ US$1680 / US$2880
Plus5 @ US$1880 / US$3080
As a default, all Tralucent IEMs will now come with the same stock cable which is 7N OCC copper. The Uber Too cable (now with rhodium plated connector pins), if purchased separately, will be US$1880.
Incidentally, the 1Plus2.2 is a revision of the original 1Plus2.
Photos
The photos of the production units of the Tralucent have now been posted. For ease of reference, I reproduce them here:
It will be noted that the polish of the housing and tip of the production Tralucent Plus5 is top notch.
The photos of the stock cable that are available as default cables as well as the latest iteration of the Uber Too cables are set out below:
Kiats
Headphoneus Supremus
Synergy with DAPs
As I promised in the previous segment, I propose to say a little about the synergy that the Plus5 with DAPs in my little collection.
I do not propose to try the Plus5 with all of my DAPs. It might take a little bit of time... I can hear some of my head-fi friends sniggering..
In addition with my office desktop rig of Aurender Flow, I ran the Plus5 with the Lotoo Paw Gold, the Hifiman 901S, the Hifiman 802, the Calyx M and the Tera Player. For balanced output, I ran it with the Hifiman 901S, the AK 240 and the Lotoo Paw 5000.
The first key take away for me from this exercise is that the Plus5, while it can be driven by your average smartphone, enjoys being run out of a player which is able to provide it wit sufficient driving power. It benefits from the added power in that the sound will be more controlled, more detailed and dynamic
Off the Aurender Flow, playing music stored on the installed 1 TB SSD, controlled by Jriver Media Centre, the Plus5 was very comfortable. The bass was nice and deep, the mids organic and the trebles controlled. I have always taken the view that the Flow is pretty neutral and the Plus5 allows that to show through. The Plus5 is a very transparent IEM: it does not obscure the nature of the source and does not impose its own signature on the music. However, it will offer details, separation, timbre and an effortless ease of presentation of the music.
Lotoo Paw Gold: As all owners of the LPG will tell you, this heavy little box is one compact battleship - it really packs a punch insofar as driving power is concerned. It is also very neutral. And when the Plus 5 is plugged in, what becomes immediately apparent is you will get great details and dynamism without any coloration. I did very much enjoy this. Of course, your mileage may vary. To be fair, at no time did I discern any sort of harshness in the trebles nor any sibilance in female vocals.
Hifiman HM 901S (balanced amp card): the 901 has always been seen as being very detailed and clear, with a slight mids hump, giving it a slightly forwardness and slight warmth. The 901S is about the same save that the signature is probably a little less dense and thence more detailed and larger in terms of soundstage. The Plus5 does not add anything or detract from the signature of the 901S - it remains slightly forward. There are also benefits when the Plus5 is plugged in via the balanced headphone out: better soundstage and more separation. However, I must say that there seems to be great synergy with the 901S: the music is discernibly more catchy and involving. So, if you don't mind that that the 901S is not strictly neutral, then this is a good combination.
Hifiman HM 802 (IEM amp card): I love the 802 because of the current line up, it comes closest to the beloved organic sonic signature of the HM 801. The Plus5 does not mess with that sonic signature at all. There is a nice synergy here although the 802 is more laid as compared to the 901S. It is a lovely combination with which I could likely sit back and chill all evening.
Calyx M: The Calyx M was not always a DAP which I wanted desperately. The first time I heard it with the original FW, it sounded muddy and unnecessarily thick. The second time I heard it was with the updated FW. I reached out with my credit card immediately. It has a lovely dense and organic sound but yet is very detailed. A lovely combination. With this DAP, the music is slower on the Plus5 than the LPG or 901S. Nevertheless, it sounded just like the Calyx M that will always have a special place in my heart, its terrible battery life notwithstanding.
AK 240: at the time when the AK 240 was released, there were many who swore that the 240 had the most well implemented balanced output of all. Well, today I suspect many of those same persons will have a more moderated view of the balanced output with the oft repeated issues with the 2.5mm input and AK's implementation of the same. Be that as it may, there is plenty of air and separation in the balanced output. Again, the Plus5 lets this shine rhrough. In fact I would say that the Plus5 has very good synergy with the 240, helping it a little with the depth and body of its own sonic signature.
Lotoo Paw 5000: the Paw 5K is a lovely little DAP. It is not as detailed nor clear as its older sibling. But hey! at this price what did you expect? And its shortcomings will show up when the recordings are not well done. While I had little issues with jazz music and Mandopop, some of the other "ordinary" recordings did not fare so well. With other more forgiving IEMs, it was fine. But with the Plus5, these recordings proved to be more challenging. Hence, with the Paw 5K, I think I would have to qualify - if the music is well recorded, it does well with the Plus 5. Not quite so if the music is not.
Tera Player: Everyone knows that the Tera Player can be very good: organic and natural. However, many IEMs sound terrible with it - a good example being the FitEar IEMs. On the other hand, the Tralucent IEMs have always been stellar with the Tera Player. There are various explanations why, but that is something to discuss or argue elsewhere. For our current purpose, what is important is the Plus5 is VERY good with the Tera Player. Whilst it is not as dynamic as with the 901S or as open as when paired with the 240, the Plus5 is very liquid and organic with the Tera Player. It is addictive to the extreme. I am even given to crazy thoughts of whether Gavin would allow me to just keep this prototype Plus5.
I left my time with the iPhone 6 Plus for last. This one is interesting but potentially divisive. Audiophiles may think that something like the Plus5 deserves a dedicated music source like a DAP. Of course it does! I do not for a single moment disagree - anything to bring out the best of the Plus5. However, it was a question nonetheless that needed to be asked and answered. And the answer is: it is actually very pleasant. The one caveat is that with the iPhone 6 Plus, the immaculate control that the Plus5 exercises over the portrayal of the music is perhaps not as tight as it can be. But if you do not mind the occasional lapses, this is something which could be a viable alternative if the battery of your dedicated DAP decides to fail you. Which should not the case if it is a LPG.
What is patently clear from trying all the various sources with the Plus5 is the second key take away: the Plus5 is a very transparent IEM. Do not expect this IEM to change the sonic signature of your DAP. It will in some cases fill out certain parts but if the music is below par and the DAP not equipped to make up for it, the Plus5 will surely let you know. There is no hiding away from the sonic signature of your DAP nor from the quality of your music.
As I promised in the previous segment, I propose to say a little about the synergy that the Plus5 with DAPs in my little collection.
I do not propose to try the Plus5 with all of my DAPs. It might take a little bit of time... I can hear some of my head-fi friends sniggering..
In addition with my office desktop rig of Aurender Flow, I ran the Plus5 with the Lotoo Paw Gold, the Hifiman 901S, the Hifiman 802, the Calyx M and the Tera Player. For balanced output, I ran it with the Hifiman 901S, the AK 240 and the Lotoo Paw 5000.
The first key take away for me from this exercise is that the Plus5, while it can be driven by your average smartphone, enjoys being run out of a player which is able to provide it wit sufficient driving power. It benefits from the added power in that the sound will be more controlled, more detailed and dynamic
Off the Aurender Flow, playing music stored on the installed 1 TB SSD, controlled by Jriver Media Centre, the Plus5 was very comfortable. The bass was nice and deep, the mids organic and the trebles controlled. I have always taken the view that the Flow is pretty neutral and the Plus5 allows that to show through. The Plus5 is a very transparent IEM: it does not obscure the nature of the source and does not impose its own signature on the music. However, it will offer details, separation, timbre and an effortless ease of presentation of the music.
Lotoo Paw Gold: As all owners of the LPG will tell you, this heavy little box is one compact battleship - it really packs a punch insofar as driving power is concerned. It is also very neutral. And when the Plus 5 is plugged in, what becomes immediately apparent is you will get great details and dynamism without any coloration. I did very much enjoy this. Of course, your mileage may vary. To be fair, at no time did I discern any sort of harshness in the trebles nor any sibilance in female vocals.
Hifiman HM 901S (balanced amp card): the 901 has always been seen as being very detailed and clear, with a slight mids hump, giving it a slightly forwardness and slight warmth. The 901S is about the same save that the signature is probably a little less dense and thence more detailed and larger in terms of soundstage. The Plus5 does not add anything or detract from the signature of the 901S - it remains slightly forward. There are also benefits when the Plus5 is plugged in via the balanced headphone out: better soundstage and more separation. However, I must say that there seems to be great synergy with the 901S: the music is discernibly more catchy and involving. So, if you don't mind that that the 901S is not strictly neutral, then this is a good combination.
Hifiman HM 802 (IEM amp card): I love the 802 because of the current line up, it comes closest to the beloved organic sonic signature of the HM 801. The Plus5 does not mess with that sonic signature at all. There is a nice synergy here although the 802 is more laid as compared to the 901S. It is a lovely combination with which I could likely sit back and chill all evening.
Calyx M: The Calyx M was not always a DAP which I wanted desperately. The first time I heard it with the original FW, it sounded muddy and unnecessarily thick. The second time I heard it was with the updated FW. I reached out with my credit card immediately.
It has a lovely dense and organic sound but yet is very detailed. A lovely combination. With this DAP, the music is slower on the Plus5 than the LPG or 901S. Nevertheless, it sounded just like the Calyx M that will always have a special place in my heart, its terrible battery life notwithstanding.AK 240: at the time when the AK 240 was released, there were many who swore that the 240 had the most well implemented balanced output of all. Well, today I suspect many of those same persons will have a more moderated view of the balanced output with the oft repeated issues with the 2.5mm input and AK's implementation of the same. Be that as it may, there is plenty of air and separation in the balanced output. Again, the Plus5 lets this shine rhrough. In fact I would say that the Plus5 has very good synergy with the 240, helping it a little with the depth and body of its own sonic signature.
Lotoo Paw 5000: the Paw 5K is a lovely little DAP. It is not as detailed nor clear as its older sibling. But hey! at this price what did you expect? And its shortcomings will show up when the recordings are not well done. While I had little issues with jazz music and Mandopop, some of the other "ordinary" recordings did not fare so well. With other more forgiving IEMs, it was fine. But with the Plus5, these recordings proved to be more challenging. Hence, with the Paw 5K, I think I would have to qualify - if the music is well recorded, it does well with the Plus 5. Not quite so if the music is not.
Tera Player: Everyone knows that the Tera Player can be very good: organic and natural. However, many IEMs sound terrible with it - a good example being the FitEar IEMs. On the other hand, the Tralucent IEMs have always been stellar with the Tera Player. There are various explanations why, but that is something to discuss or argue elsewhere. For our current purpose, what is important is the Plus5 is VERY good with the Tera Player. Whilst it is not as dynamic as with the 901S or as open as when paired with the 240, the Plus5 is very liquid and organic with the Tera Player. It is addictive to the extreme. I am even given to crazy thoughts of whether Gavin would allow me to just keep this prototype Plus5.
I left my time with the iPhone 6 Plus for last. This one is interesting but potentially divisive. Audiophiles may think that something like the Plus5 deserves a dedicated music source like a DAP. Of course it does! I do not for a single moment disagree - anything to bring out the best of the Plus5. However, it was a question nonetheless that needed to be asked and answered. And the answer is: it is actually very pleasant. The one caveat is that with the iPhone 6 Plus, the immaculate control that the Plus5 exercises over the portrayal of the music is perhaps not as tight as it can be. But if you do not mind the occasional lapses, this is something which could be a viable alternative if the battery of your dedicated DAP decides to fail you. Which should not the case if it is a LPG.
What is patently clear from trying all the various sources with the Plus5 is the second key take away: the Plus5 is a very transparent IEM. Do not expect this IEM to change the sonic signature of your DAP. It will in some cases fill out certain parts but if the music is below par and the DAP not equipped to make up for it, the Plus5 will surely let you know. There is no hiding away from the sonic signature of your DAP nor from the quality of your music.
Kiats
Headphoneus Supremus
The Plus5 as compared with Other IEMs
Tralucent IEMs
The story of Tralucent iems has been about evolution and what Gavin has tried to achieve with each succeeding IEM.
1Plus2 vs Plus5
I must confess that the first time I heard the 1Plus2, it did not make an immediate impression on me. I remember it was Boxing Day, 2013. I was on a stopover in Hong Kong, on my way back from New York City. I decided to stay a couple of nights to break up the tedium of the long haul flight. Since I was there, I had this brainwave - let's meet up with Gavin and pick up the Tralucent silver/gold cable terminated with Fitear connectors. So, it was that Gavin kindly made time to meet me at the lobby of the Mandarin Oriental.
Gavin brought two other things he thought may tickle my fancy: the mythical Uber cable and the 1Plus2. My first meeting with the Uber is a story that bears repeating another day. Suffice it to say that I was kicking myself for committing myself to the silver/gold and my mind was blown away by the Uber cable. And this was a new cable which had not been burnt in as yet. I was then grateful that I had come from NYC where I had spent most of my US dollar emergency stash. All I will say is that it left an indelible mark on my mind and I would be back a few months thereafter to pick up my first Uber cable.
I digress... The other thing which Gavin had brought down was a new 1Plus2. It was not burnt in yet because it was new. I had good things about it but had never had the pleasure of listening to one. I plugged it in and I was struck by how the soundstage of my songs had just increased. What was immediately apparent was that not only was the soundstage something to behold for an iem, but it was also very detailed and transparent. The 1Plus2 had the misfortune of coming right after I was blown away by the Uber.
However, when I next heard the 1Plus2 when Gavin and I were having coffee at the Hyatt in Singapore, it was fully burnt in and I was very impressed by it. The drivers had settled down and the signature had smoothened out. It was very good indeed. So much that I initially thought it was the Ref 1. Gavin was kind enough to let me have that iem and it stayed back in Singapore with me.
What I love about the 1Plus2 is the soundstage. It is not something you would expect from an iem. The other outstanding sonic feature about it is the clarity, details and transparency. It had a very precise bass as well. At that point in time, I thought this was the complete and balanced iem for me.
When you compare the 1Plus2 and the Plus5, what is immediately noticeable is that while the two had great soundstage, the Plus5 had a deeper and more textured soundstage. The notes had more weight and meat. In terms of precision of imaging and instrument/vocal separation for which the 1Plus2 had been much lauded for, the Plus5 held a discernible advantage by a significant margin. The Plus5 also sounded more organic and the vocals and strings has better timbre.
Whilst the 1Plus2 has a very wide soundstage and is very detailed and transparent, the Plus5 matched it in those areas but is comprehensively better than the other areas.
Ref 1 vs Plus5
When the Ref 1 first came out, and the same still holds true vis-à-vis other iems, coming from the the 1Plus2, we were gobsmacked by the depth of the soundstage and visceral bass. When I first heard the Ref 1, the only question I had for Gavin was how quickly can you make me one? The Ref 1 was a more complete package than the 1Plus2: While the soundstage did not seem as wide as the 1Plus2, the bass added depth to the soundstage and a more realistic portrayal of the music. It just seemed more natural to me. What I like to call "full range". The same bass capability also meant that the timbre of the strings were more realistic and 3D in nature. Finally, when the bass is called for, boy did the bass hit you. It was visceral and hit you - I still take it off when listening to a fantastic percussion performance and look at it in wonder - how does something this size produce the kind of experience you would expect only from a full sized can?
The Ref 1 is such a fantastic iem that it is my daily use iem in the office together with the Aurender Flow running on the 1 TB SSD installed within and using Jriver Media Player as the controller. It has brought me much joy over the past year and it is a combination that is capable of sending shivers down my spine.
Of course, now that I have heard the Plus5, I may have to utter the heresy that Ref 1 fans may stone me for: I verily believe that the Ref 1 has been superseded by the Plus5. I have always loved the Ref 1 for its taut and precise bass and for being very neutral when the bass is not called into play. Now it has more than met its match in the Plus5: the Plus5 makes the Ref 1 almost sound flabby by comparison. And the bass on the Plus5 hits much lower and harder too. Make no mistake - I am not saying that the Ref 1 is unexceptional or bad. That it certainly is not! However, it just speaks to what the sonic qualities of the Plus5.
The Plus5 is more nuanced, has more precise imaging and much more controlled in its presentation of the music. The Plus5 is also more transparent. It reflects exactly the sonic characteristics of the source. In that sense, the Ref 1 adherants may take comfort if they do enjoy how the Ref 1 is more inclined to impose its signature on the music regardless of the nature of the source.
The BA customs
Thus far I have compared the Plus5 to the other Tralucent iems which are hybrid universal iems. I also want to give my impressions of the Plus5 and how they compare to BA customs that I own and which are close to my heart.
FitEar vs Plus5
Anyone who knows anything about me will know how enamoured I have been with FitEar and their house sound. I have the Private 333, MH 334, C 435 and MH 335DW. And I was one of the first persons to own the TG 334 as well.
The FitEar house sound can be summed up as there's always a sparkle to the sound - very lively and dynamic.
The Private 333 is very quick and a bit forward in its mids. It can be very addictive because the music is very immediate. Of course, its strength is also its weakness. If you think about it, in real life, it must mean that the singer is standing right in front of you while the other members of the band are much further back or the singer has very big mouth. In terms of perspective, that would be how it would be as compared to a live performance.
By contrast, the Plus5 is very balanced. While the singer is crystal clear and is not obscured by the accompanying band, you can hear each of the instruments without any smearing. Nor is the singer any closer to you than the band, nor would she have an extraordinarily large mouth. That is what the Plus5 does very well - positioning, details and instrument separation.
The 334 is more balanced. The bass in the TG version has a slower decay. Both the MH and TG are well loved for the timbre that they portray with strings.
Whilst these are excellent, the Plus5 more than matches the timbre and bass on these two iems. In fact the Plus5 sounds more natural because it shades these two in terms of bass reproduction.
The C 435 is commonly labeled the most neutral of the FitEar customs. In a sense it is a very flat sound - the trebles go on forever and the details are impeccable. However, its Achilles heel is its bass. There is not that much of it. Hence, there are those who complain that it is a tad too bright. And badly recorded music will cause the listener much pain and suffering as the 435 is very revealing. Good and bad.
The Plus5, on the other hand, has excellent treble extension also had great organic mids and a deep and visceral bass. All this time, it maintains its neutrality and transparency very well. There is great instrument separation.
The MH 335DW is probably the most divisive of the FitEars: its doubt woofer ensures no one forgets that they are present. So much so that the 335 sounds warm as the bass bleeds into the mids and handicaps the treble extension, With a silver based cable like the Tralucent silver/gold or Uber, there is much better control over the bass which is tightened up. When that is done, the trebles and full mids of the 335 can be revealed. Even then, there will be those who wish to have the SR mod done in order to give more treble extension to the 335.
For anyone who are frustrated by the issues set out above in respect of the 335 and what is required to tighten up the bass and ensure cleaner trebles, the Plus5 may be of interest: the bass of the Plus5 is taut and well structured while the mids are rich and the trebles are crystal clear.
In the ultimate analysis, the FitEar has a certain sparkle which to many may make them very attractive insofar as signature is concerned. The Plus5 is more natural and transparent - it allows the source to shine through while maintaining tight control over the portrayal of the music itself.
ACS Encore vs Plus5
I think my newfound love for the ACS Encore is well documented in the various threads. I love it for having a nice organic signature: the trebles while a little rolled off are crystal clear with a tube like tinge. The mids are alluring and a little forward. The bass is is solid while having a nice decay. I had picked up the Encore before Jaben Singapore even received the demos for the latest range from ACS, For that I have to thank Designmaniac who had sent me a PM and swore it is the most natural and stunning iem he has heard and that I would love it. Yes, you are right on the money, Duncan. And for that I thank you!
Compared to the Encore, the Plus5 while not being quite as seductive as the Encore with its tube-like soft focus, has better treble extension and has a deeper and more layered bass. The mids in the Plus5 are not quite forward, but nonetheless subtle and nuanced. I suspect that the Encore and the Plus5 will be constant companions of mine when I find myself on the road.
Tralucent IEMs
The story of Tralucent iems has been about evolution and what Gavin has tried to achieve with each succeeding IEM.
1Plus2 vs Plus5
I must confess that the first time I heard the 1Plus2, it did not make an immediate impression on me. I remember it was Boxing Day, 2013. I was on a stopover in Hong Kong, on my way back from New York City. I decided to stay a couple of nights to break up the tedium of the long haul flight. Since I was there, I had this brainwave - let's meet up with Gavin and pick up the Tralucent silver/gold cable terminated with Fitear connectors. So, it was that Gavin kindly made time to meet me at the lobby of the Mandarin Oriental.
Gavin brought two other things he thought may tickle my fancy: the mythical Uber cable and the 1Plus2. My first meeting with the Uber is a story that bears repeating another day. Suffice it to say that I was kicking myself for committing myself to the silver/gold and my mind was blown away by the Uber cable. And this was a new cable which had not been burnt in as yet. I was then grateful that I had come from NYC where I had spent most of my US dollar emergency stash. All I will say is that it left an indelible mark on my mind and I would be back a few months thereafter to pick up my first Uber cable.
I digress... The other thing which Gavin had brought down was a new 1Plus2. It was not burnt in yet because it was new. I had good things about it but had never had the pleasure of listening to one. I plugged it in and I was struck by how the soundstage of my songs had just increased. What was immediately apparent was that not only was the soundstage something to behold for an iem, but it was also very detailed and transparent. The 1Plus2 had the misfortune of coming right after I was blown away by the Uber.
However, when I next heard the 1Plus2 when Gavin and I were having coffee at the Hyatt in Singapore, it was fully burnt in and I was very impressed by it. The drivers had settled down and the signature had smoothened out. It was very good indeed. So much that I initially thought it was the Ref 1. Gavin was kind enough to let me have that iem and it stayed back in Singapore with me.
What I love about the 1Plus2 is the soundstage. It is not something you would expect from an iem. The other outstanding sonic feature about it is the clarity, details and transparency. It had a very precise bass as well. At that point in time, I thought this was the complete and balanced iem for me.
When you compare the 1Plus2 and the Plus5, what is immediately noticeable is that while the two had great soundstage, the Plus5 had a deeper and more textured soundstage. The notes had more weight and meat. In terms of precision of imaging and instrument/vocal separation for which the 1Plus2 had been much lauded for, the Plus5 held a discernible advantage by a significant margin. The Plus5 also sounded more organic and the vocals and strings has better timbre.
Whilst the 1Plus2 has a very wide soundstage and is very detailed and transparent, the Plus5 matched it in those areas but is comprehensively better than the other areas.
Ref 1 vs Plus5
When the Ref 1 first came out, and the same still holds true vis-à-vis other iems, coming from the the 1Plus2, we were gobsmacked by the depth of the soundstage and visceral bass. When I first heard the Ref 1, the only question I had for Gavin was how quickly can you make me one? The Ref 1 was a more complete package than the 1Plus2: While the soundstage did not seem as wide as the 1Plus2, the bass added depth to the soundstage and a more realistic portrayal of the music. It just seemed more natural to me. What I like to call "full range". The same bass capability also meant that the timbre of the strings were more realistic and 3D in nature. Finally, when the bass is called for, boy did the bass hit you. It was visceral and hit you - I still take it off when listening to a fantastic percussion performance and look at it in wonder - how does something this size produce the kind of experience you would expect only from a full sized can?
The Ref 1 is such a fantastic iem that it is my daily use iem in the office together with the Aurender Flow running on the 1 TB SSD installed within and using Jriver Media Player as the controller. It has brought me much joy over the past year and it is a combination that is capable of sending shivers down my spine.
Of course, now that I have heard the Plus5, I may have to utter the heresy that Ref 1 fans may stone me for: I verily believe that the Ref 1 has been superseded by the Plus5. I have always loved the Ref 1 for its taut and precise bass and for being very neutral when the bass is not called into play. Now it has more than met its match in the Plus5: the Plus5 makes the Ref 1 almost sound flabby by comparison. And the bass on the Plus5 hits much lower and harder too. Make no mistake - I am not saying that the Ref 1 is unexceptional or bad. That it certainly is not! However, it just speaks to what the sonic qualities of the Plus5.
The Plus5 is more nuanced, has more precise imaging and much more controlled in its presentation of the music. The Plus5 is also more transparent. It reflects exactly the sonic characteristics of the source. In that sense, the Ref 1 adherants may take comfort if they do enjoy how the Ref 1 is more inclined to impose its signature on the music regardless of the nature of the source.
The BA customs
Thus far I have compared the Plus5 to the other Tralucent iems which are hybrid universal iems. I also want to give my impressions of the Plus5 and how they compare to BA customs that I own and which are close to my heart.
FitEar vs Plus5
Anyone who knows anything about me will know how enamoured I have been with FitEar and their house sound. I have the Private 333, MH 334, C 435 and MH 335DW. And I was one of the first persons to own the TG 334 as well.
The FitEar house sound can be summed up as there's always a sparkle to the sound - very lively and dynamic.
The Private 333 is very quick and a bit forward in its mids. It can be very addictive because the music is very immediate. Of course, its strength is also its weakness. If you think about it, in real life, it must mean that the singer is standing right in front of you while the other members of the band are much further back or the singer has very big mouth. In terms of perspective, that would be how it would be as compared to a live performance.
By contrast, the Plus5 is very balanced. While the singer is crystal clear and is not obscured by the accompanying band, you can hear each of the instruments without any smearing. Nor is the singer any closer to you than the band, nor would she have an extraordinarily large mouth. That is what the Plus5 does very well - positioning, details and instrument separation.
The 334 is more balanced. The bass in the TG version has a slower decay. Both the MH and TG are well loved for the timbre that they portray with strings.
Whilst these are excellent, the Plus5 more than matches the timbre and bass on these two iems. In fact the Plus5 sounds more natural because it shades these two in terms of bass reproduction.
The C 435 is commonly labeled the most neutral of the FitEar customs. In a sense it is a very flat sound - the trebles go on forever and the details are impeccable. However, its Achilles heel is its bass. There is not that much of it. Hence, there are those who complain that it is a tad too bright. And badly recorded music will cause the listener much pain and suffering as the 435 is very revealing. Good and bad.
The Plus5, on the other hand, has excellent treble extension also had great organic mids and a deep and visceral bass. All this time, it maintains its neutrality and transparency very well. There is great instrument separation.
The MH 335DW is probably the most divisive of the FitEars: its doubt woofer ensures no one forgets that they are present. So much so that the 335 sounds warm as the bass bleeds into the mids and handicaps the treble extension, With a silver based cable like the Tralucent silver/gold or Uber, there is much better control over the bass which is tightened up. When that is done, the trebles and full mids of the 335 can be revealed. Even then, there will be those who wish to have the SR mod done in order to give more treble extension to the 335.
For anyone who are frustrated by the issues set out above in respect of the 335 and what is required to tighten up the bass and ensure cleaner trebles, the Plus5 may be of interest: the bass of the Plus5 is taut and well structured while the mids are rich and the trebles are crystal clear.
In the ultimate analysis, the FitEar has a certain sparkle which to many may make them very attractive insofar as signature is concerned. The Plus5 is more natural and transparent - it allows the source to shine through while maintaining tight control over the portrayal of the music itself.
ACS Encore vs Plus5
I think my newfound love for the ACS Encore is well documented in the various threads. I love it for having a nice organic signature: the trebles while a little rolled off are crystal clear with a tube like tinge. The mids are alluring and a little forward. The bass is is solid while having a nice decay. I had picked up the Encore before Jaben Singapore even received the demos for the latest range from ACS, For that I have to thank Designmaniac who had sent me a PM and swore it is the most natural and stunning iem he has heard and that I would love it. Yes, you are right on the money, Duncan. And for that I thank you!
Compared to the Encore, the Plus5 while not being quite as seductive as the Encore with its tube-like soft focus, has better treble extension and has a deeper and more layered bass. The mids in the Plus5 are not quite forward, but nonetheless subtle and nuanced. I suspect that the Encore and the Plus5 will be constant companions of mine when I find myself on the road.
H20Fidelity
Headphoneus Supremus
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What a wonderful introduction!
I'm interested in the shell size and design Gavin went for considering 5 balanced armatures.
Are there any photos floating around of Plus5?
I'm interested in the shell size and design Gavin went for considering 5 balanced armatures.
Are there any photos floating around of Plus5?
Kiats
Headphoneus Supremus
Thanks, man!
Very kind of you.As for the shell size, I haven't compared that of the prototype with my Ref1 and 1p2, but it's about same size. No pictures as yet. When I get my grubby hands on a commercial unit, I'll definitely upload and show alongside the 1p2 and Ref1.
fengwei007
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Excellent review, seems to be a pair of wonderful IEMs.
H20Fidelity
Headphoneus Supremus
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Thanks, man!
As for the shell size, I haven't compared that of the prototype with my Ref1 and 1p2, but it's about same size. No pictures as yet. When I get my grubby hands on a commercial unit, I'll definitely upload and show alongside the 1p2 and Ref1.
Excellent, all in due time.
I'm a big fan and owner of Ref.1 and 1Plus2, I'm not made of money but Tralucent is one company I've happily handed over the cash without disappointment. At first (at the time) I didn't think an IEM could get much more coherent than 1Plus2. Ref.1 proved it could be done. So I'll take your word on Plus5 pushing the bar even further.
Kiats
Headphoneus Supremus
Thanks, Fengwei! Yes it is. I had been really thrown off by it. In a very good way.
Kiats
Headphoneus Supremus
Excellent, all in due time.
I'm a big fan and owner of Ref.1 and 1Plus2, I'm not made of money but Tralucent is one company I've happily handed over the cash without disappointment. At first (at the time) I didn't think an IEM could get much more coherent than 1Plus2. Ref.1 proved it could be done. So I'll take your word on Plus5 pushing the bar even further.
Heheh! Indeed! I'm definitely looking forward when commercialisation starts and the first units make their way out of the Tralucent workshops to the wild.
Yes, I totally understand where you are coming from. We are privileged to be along for the ride as Gavin pushes the evolution of Tralucent iems further. As you say, Tralucent is constantly striving to raise that bar.
Thanks for the impressions. Looking forward to reqd more about it vs Ref1 paired with the Tera player.
Kiats
Headphoneus Supremus
You are most welcome, Musicday. As we speak, I'm listening to music on the Tera Player via the Plus5. I'll do more extensive listening to the Ref1 Too on the Tera Player over the weekend and the course of next week.
Rossliew
Headphoneus Supremus
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Impressive and super comprehensive review! Two thumbs up even if i'm not an IEM user!
toxicdrift
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Kiats any chance of getting a very short listen to it at canjam?
shotgunshane
Headphoneus Supremus
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I have been considering the SE5 ultimate for pairing with the Tera but hearing this pairs nice too has my attention. Hopefully someone can compare those two the the Tera soon.
unknownguardian
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so here comes the million dollar question. how much and when?
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