The Fostex TH900 remains one of my favourite headphones despite its detractors who want vocals like the singer has a meter wide mouth and suggestions that its sonic signature is coloured and therefore not deserving of any suggestion that it is a reference level headphone.
 
I later realized I was mistaken when I thought that Fostex did not make headphones in their own names. There is the T50RP which is cherished for its planar magnetic drivers. What happened is that it is one of the most modded headphones around. In fact, I understand that there is a headphone maker which made its name leveraging off the T50RP drivers. The consensus was that these were great drivers but Fostex had not realized the potential by poor enclosure and implementation.
 
After Fostex flexed its developmental muscles by releasing the TH900 which was heads and shoulders above the Denon D7000 it used to produce for Denon, everyone sat up and took notice. Including myself. So, when it was announced that Fostex was coming up with a new open headphone leveraging off and improving on the T50RP drivers, it sent more than a ripple of excitement in the head-fi community in Singapore. Particularly, when the announced price would place it lower than the Audeze LCD2.
 
Claire was kind enough to inform me when the TH500RP arrived at Jaben Singapore. Her modus operandi is simply to send me a photo of the gear she wanted to let me know had arrived. Simple but effective strategy. I suppose I responded much better to visual stimuli. After all, a picture does paint a thousand words. J
 
Even though I have plenty of choices and have in recent times been known to be open to being persuaded to let go of my cans, the TH500RP retains its place, alongside its more visually impressive sibling the TH900, in my little collection of full sized headphones comprising most of the top tier Grados, the LCD 2 & 3, HD700 & 800, Hifiman HE-6, HE-5LE, HE-560, HE-500, HE-1000, AKG K702 & K812, Stax SR007 MK1 & MK2.5, SR 009, SR L700, the Final Sonorous X and the Abyss. 
 
 
Home Desktop Headphone Set Up
 
As a background to what I hear from the TH500RP, I think it is important to be able to compare differing experiences in the context of the rig in which it is hard. My chain comprises an Auralic Aries (with external linear PSU), connected via a Audiquest Diamond USB 3 cable to a Bricasti M1 DAC and then JPS Superconductor V RCA to the Cavalli Liquid Gold. Power cord for the DAC is a Tralucent Uber power cord, and power cord for the Liquid Gold is a JPS Kaptovator power cord. Power to the components of the desktop rig and sources is fed through an Isotek Aquarus and all the power cords use US plugs. Mains power is fed to the Isotek Aquarius via a Tralucent Uber power cord.
 
My Synology DS 414 and a Seagate Backup Plus HDD (connected directly via USB to the Aries) are powered by the new Plixir Elite BDC Power Supply kindly customized for me by James Soh of Sound Affairs in Singapore. James had also helpfully suggested that I run a separate switch for the audio components away from the wifi access point. The switch is also powered by the Plixir Elite BDC Power Supply that James customized for me. The Aries and the Synology DS414 NAS are connected via the dedicated switch by a pair of Ranko Acoustics OCC audio LAN cables.
 
 
Build Quality
 
The build quality of the TH500RP takes a few cues from the TH900 – the headband is based on the same idea, while the ear pads seem to be the same. In place of the lovely urushi lacquer ear cups, there is this flat aluminum ear cup with perforations. The cables are very much the same as those of the TH900 and comes with a ¼ inch plug.
 
As with the TH900, there is no possibility of cable rolling as the cables are not detachable. Again, the ear pads are covered with pleather, the protein leather made from egg shell membrane. I would assume that the same caution, as with the TH900, to be exercised in keeping them dry or the pleather may degrade. The same precautions should be exercised in respect the stress point where the ear cups swivel on a joint. This had displayed fragility in TH900s in some cases.
 
 
Comfort and Isolation
 
Like its older sibling, the TH500RP ear pads are comfortable. And the weight of the headphone is really well distributed. The clamp force of the headphone is as gentle as on the TH900.
 
The TH500RP being an open can offers minimal isolation.
 
 
Music Genres
 
As confessed in one of my other reviews, I am a music person. J I do enjoy most genres of music. My music collection extends from medieval to classical to contemporary music. It is a pretty epic and complete collection, if I may say so myself.
 
Like its older sibling, the TH500RP is versatile:  it is at least competent with all genres. Again, I do enjoy it with jazz and acoustic vocals. It is also very nice with Mandopop vocal tracks. One category it does less well with is probably full orchestral classical music. Its soundstage is not as wide as I would like it probably because of its slightly rolled off trebles.
 
To be fair, generally, it is an easy headphone to enjoy.
 
 
Sound Quality
 
The sound quality of the TH500RP is pretty good. I frankly think it is on par with the LCD 2 and 3. Which is pretty impressive at its price point.
 
The TH500RP is quick and nimble as one would expect from a planar-magnetic. The trebles are smooth, albeit not as extended as I would like. The mids are rich and textured wihout being too forward or fatiguing. The bass is deep and tight. It may not have the same slam and impact as that of the TH900 but it is nonetheless of good weight.
 
In fact, I would say that the TH500RP is probably slightly more neutral than the TH900. Only pity is the treble roll off. The lack of immediate bass slam as there is in the TH900 is perhaps due to the  fact that it is not a closed can or it may be that the RP driver just doesn’t generate that sort of power as the 1.5 Tesla driver of the TH900.
 
 
Pairing
 
I currently run my TH500RP with the Cavalli Liquid Gold. On a desktop amp as this, I cannot understand or appreciate the oft-cited complaint that it lacks bass, whether quality or quantity. I can only guess that, being planar magnetics, the TH500RP are hungry for driving power and need power to show off its true nature.
 
 
Conclusion
 
Fostex has done a good job in breathing new life into the much loved and modded RP drivers. While the sound is generally balanced and neutral, it would have been a more complete package and even better value for money if the trebles had been more extended. That should however not take anything away from the Fostex TH500RP. It showcases what Fostex is capable of. It only leaves me eager to see what else Fostex comes out with in the headphone arena.

I have always enjoyed Denon headphones. They were one of the first I came across when I started listening to full-sized cans. They were lovely and had a very pleasing sonic signature. Then, one day, we all heard that the current beloved Denon series would be discontinued and replaced. That was the first time I heard that Denon did not produce their own headphones but that they were done for them by Fostex.
 
Then news slowly emerged that Fostex was producing a much better version of the previous top of the line Denon D7000. When photos first came across, we were all stunned by how stunning the new Fostex TH900 looked: the lovely urushi poison ivy lacquer. Everyone in Singapore was eagerly awaiting for the first units to arrive at Jaben, Singapore. I must confess that at point in time, I was not one of them. I was still at the beginning of my audio journey and at that point in time, I will confess that something looked that beautiful and cost that much rightly intimidated me.
 
When I was eventually persuaded by Claire of Jaben Singapore to try it, it was almost like attending an elaborate tea ceremony. I recall that she had to first roll out some soft felt or microfiber cloth on the counter before taking out the TH900 of the storage case. All this time Claire was wearing white gloves. I was not allowed to touch the TH900: Claire would careful slip it on my head and adjust the ear cups for me. You can imagine how nervous it made me feel. The comic moment came halfway the demo session when my son (when he was young enough to still think it was cool to hang out with his old man at a headphone store) yelled: “Daddy, M is calling!” A moment of panic seized me but fortunately, Claire with admirable speed and calm grace slipped the white gloves back on and glided over effortlessly and removed the headphones from my head. She patiently waited for the phone call to end before smiling and slipping the headphones back on. To cut a long story short, though I loved how full it made the music sound and yet retain delicacy of female vocals, I resisted the TH900 for a few more months before I finally succumbed.
  
Although I don’t listen to the TH900 as much as I would like, it still has a special place in my little collection of full sized headphones comprising most of the top tier Grados, the LCD 2 & 3, HD700 & 800, Beyerdynamic T1, Hifiman HE-6, HE-5LE, HE-560, HE-500, HE-1000, AKG K702 & K812, Stax SR007 MK1 & MK2.5, SR 009, SR L700, the Final Sonorous X and the Abyss. 
 
 
Home Desktop Headphone Set Up
 
To give a bit of context on my observations of my listening impressions of the TH900, my chain comprises an Auralic Aries (with external linear PSU), connected via a Audiquest Diamond USB 3 cable to a Bricasti M1 DAC and then JPS Superconductor V RCA to the Cavalli Liquid Gold. Power cord for the DAC is a Tralucent Uber power cord, and power cord for the Liquid Gold is a JPS Kaptovator power cord. Power to the components of the desktop rig and sources is fed through an Isotek Aquarus and all the power cords use US plugs. Mains power is fed to the Isotek Aquarius via a Tralucent Uber power cord.
 
My Synology DS 414 and a Seagate Backup Plus HDD (connected directly via USB to the Aries) are powered by the new Plixir Elite BDC Power Supply kindly customized for me by James Soh of Sound Affairs in Singapore. James had also helpfully suggested that I run a separate switch for the audio components away from the wifi access point. The switch is also powered by the Plixir Elite BDC Power Supply that James customized for me. The Aries and the Synology DS414 NAS are connected via the dedicated switch by a pair of Ranko Acoustics OCC audio LAN cables.
 
 
Build Quality
 
The build quality of the TH900 is good as one would expect from a Japanese company. The lovely red urushi lacquered ear cups are just stunning. Although the original version of the TH900 does not come with detachable cables, the cables were made of OFC 7N grade was nice and hefty.  It came standard with a ¼ inch plug.
 
As noted, the cables are not detachable. Firstly, there would be no possibility of cable rolling and, a fortiori, there would be no chance then of running the TH900 balanced without modification.  The other situation which I had once was that the ear pad, which is made from artificial leather made from egg shell membrane and therefore very comfortable, suffered deterioration because I had kept the TH900 in a case and there was likely some damp trapped and the leather looked like it had been eaten up by some vermin when I next took it out some time later. Fortunately, the ear pads are easily replaceable. A final issue has been that the way the headband is constructed, there is a stress point where the cups swivel on a joint which has been known in some cases to break.
 
 
Comfort and Isolation
 
As I had indicated above, the TH900 ear pads are very comfortable. And the weight of the headphone is really negligible compared to other TOTL headphones. The clamp force of the headphone was also pretty gentle.
 
While the TH900 is a closed can, the isolation is not the best. And that is an understatement, in case you missed that…
 
 
Music Genres
 
I do enjoy my music and so I do have around 12 TB of music (I do lose count). The music collection runs the full gamut of genres from medieval church music to Ella Fitzgerald & Frank Sinatra to Diana Krall & Michael Buble, to classic music to contemporary pop.
 
What I will say is that the TH900 is versatile:  it is at least competent with all genres. I derive particular joy from listening to jazz vocals and acoustic vocals on it, especially female vocals. It is really very good with songs like Blame by Calvin Harris featuring John Newsman. 
 
Frankly, it is one of those headphones I will just put on, and hit the play button on the remote of the Aries and just chill out. Easy path to enjoyment.
 
 
Sound Quality
 
The TH900 is nicely balanced for most parts: the trebles are extended and sweet, the mids are rich and engaging, the bass is fairly deep yet tight and layered. Do not get me wrong – this is close to but not a reference headphone. There is some coloration: the trebles are noticeably smooth, while vocals seem to be a little enhanced. However, the coloration is slight and only enhances the sonic experience.
 
Frankly, at the end of the day, despite its impactful bass and sweet trebles, for me the TH900 excels in vocal centric music, particular female vocals. It has a wonderful way of conveying the delicate and nuanced vocals of female singers like Stacey Kent and Alison Krauss. The other thing to note is that while there is quality bass on display with the TH900, it is not a warm headphone.
 
 
Pairing
  
I currently run my TH900 with the Cavalli Liquid Gold. I find that the oft-repeated accusation that the TH900 is mids-recessed is not borne out. Of course, it could either be that the TH900 opens up more with added driving power, or I am quite accustomed to the sound from balanced headphones and therefore do not expect the TH900 to have forward mids.
  
 
Conclusion
 
Regardless of the then shocking release price of the TH900, it is a lovely pair of headphones, both in terms of looks and sonic signature. It is thoroughly enjoyable and musical.

My personal journey into the realm of music reproduction in the IEM realm owes very much to the guidance of Takai-san, who was the inspiration and driving force behind Final Audio Design, through his offerings by way of his creations. The fuller narrative of how I came upon the house of Final Audio Design, with its distinctive and uncompromising house sound, is well documented in my other reviews of its other TOTL offerings. It never fails to raise eyebrows but I am proud owner of the FI-BA-SS, the Heaven S, the Heaven VI, the Pianoforte VIII, IX and X, the 1601SB (predecessor to the Pianoforte series), Lab 1 and AKR02 (special edition FI-BA-SS in collaboration with AK). I also have the Hope VI and the Sonorous X.
 
I recall that after the FI-BA-SS, the early Heaven series and the Piano Fortes, I ventured into the realm of custom IEMs with the likes of FitEar and ACS. I liked their sound signature and I also appreciated the splendid isolation when I fly or have to spend hours in noisy airport lounges in the Asia region. It also offered me a respite and oasis of calm and I could forget where I was and the people around me before I could form any dark thoughts towards them.
 
At the same time, Final Audio Design discontinued the early Heaven series and came up with the numbered Heaven series. I listened to them but they did not quite move me in the same way. I did pick up the Heaven VI but purely because, as had been introduced by Claire at Jaben Singapore, it was very much an IEM which seemed to be vocal-centric, which very much fitted my needs.
 
There was much excitement when Final Audio Design unveiled the Lab1 IEM. It was supposed to be limited to just 150 pairs around the world. The opinion was divided by the design and the interspacing of rough and smooth squares on the back of the housing. Again, I took but a peripheral interest in all of this. Then, out of the blue, Claire informed me that she had been notified by Final Audio Design of the qiet passing of Takai-san. It transpired that the great man had been ill for a while but wanted it to be kept private.
 
I will only say that when I received the sad news from Claire, I felt an immediate and irresistible welling up of a deep and inexorable sense of sadness. The waves of darkness washed over me as I felt my music soul sinking. This was the man who had opened up my eyes and changed the way I looked at and listened to music and what was possible in the presentation of music. I knew what I had to do: I picked up the phone and called Claire – keep a pair of Lab1 for me, I am coming down now. And so it was that I came to possess the last lesson that Takai-san had left to challenge and educate us all on the perception of space and music.
 
 
 Technical details
 
The Lab1 is different from the preceding IEMs from Final Audio Design: it has two BA drivers. Hitherto, Final Audio Design had bucked the trend of the race to squeeze in any many drivers as possible into a housing with nary a thought on implementation. These two drivers are twinned with no crossover. The thinking is that with two twinned drivers, the music portrayed would carry that extra note weight and bass which would create a much desired 3D soundstage and sound signature. The other intriguing thing about the Lab1 is the housing – it was titanium which had done initially by 3D printing and then lovingly hand polished and finished. It was a stunning piece of art to behold as well as to listen to.
 
 
Build Quality
 
The build quality of the Lab1 is excellent! Classy classy classy! That was the thought that ran through my mind as I first held it in my hand. The lines were smooth and elegant. Even the checkers design of rough and polished squares appeared as understated and confident showcases of the loving care with which the initial rough surface of the housing after the 3D printing had been polished to mirror like perfection.
 
The non-detachable cable is flat and soft. The cable is terminated with a straight 3.5mm plug. Again, there is no strain relief where the cable inserts into the housing.
 
 
Comfort and Isolation
 
As with all Final Audio Design IEMs, the fit of the Lab1 is comfortable. You hardly notice it is there once you have inserted it into your ear canal.  The stock ear tips were not thrown in randomly but there had been extensive testing to ensure that this material and its specifications were optimal for projecting the sound signature of the Lab1. Much care had been taken in selecting the type of stock ear tips.
 
With the stock ear tips, I will say that isolation is pretty good, while not distorting or impairing the sonic signature of the Lab1.
 
 
Music Genres
 
As stated elsewhere, I may many issues in life but not having enough music across different genres is not one of them.  I will however confess that I find the Lab1 particularly magical with acoustic vocals, jazz, mandopop and generally vocal music.
 
 
 
Sound Quality
 
Once I had gotten accustomed to the house sound of the Final Audio Design single BA IEMs, I learned to appreciate and enjoy their pristine clarity and bright but never harsh sonic signatures.
 
So, you can imagine my utter shock when I first slipped on the Lab1. What was this?!  A dark twin of the great FI-BA-SS? There was this weight to the notes and depth to the soundstage which was hitherto alien to the Final Audio Design BA IEM house sound. There was so much layering, texture and nuances. It was unapologetically lush. There was also a healthy dose of not just quality but also quantity of bass. The bass was resonant with a nice slow and organic decay. But you knew this was at the end of the day a creation of Takai-san because despite all this new found pith and substance to the sonic signature, it was nonetheless clear and detailed. And there was a great sense of space and instrument separation. The Lab1 has a very natural and organic sound signature.
 
It is interesting that during the same period of time, FitEar came out with the MH335DW, Tralucent introduced us to the Ref1 and FAD released the Lab1. All three IEMs were what I would simply call full range IEMs – there were not just crystal clear and extended trebles, nuanced and textured mids but also a healthy dose of bass. The result of this was three visionary individuals introduced us all to how an IEM could be clear, transparent and yet provide a true 3D musical experience. I am truly blessed to have all iterations of this common vision.
 
In the ultimate analysis, the Lab1 is dark toned. It is lush. It is organic. It is layered. And yet it is excellent in its soundstage and its treble extension. It is thoroughly enjoyable and utterly addictive.
 
 
 
Pairing
 
As is the norm with Final Audio Design IEMs, the cables are non-detachable and so there can be no cable rolling.
 
I must say that I have no issue pairing the Lab1 with music sources. It seems to work fine with all my DAPs. It even sounds good with Spotify Premium running on my iPhone 6 Plus.
 
I almost forgot to say: it is absolutely glorious with the Calyx M! I was surprised thinking that the lushness of the Calyx M would cancel out the darker signature of the Lab1 and result in a mud-fest. Amazingly, there is great synergy in this combination. I was practically glued to this pairing when I first received it. Even during my 20th wedding anniversary in Bali.
 
 
 
Conclusion
 
As I had once said in the Final Audio Design thread, the Lab1 is the last lesson that Takai-san has imparted to us – challenging any conception that a darker sonic signature is incompatible with clarity and transparency. He left the best for last… Such will be the enduring legacy of the genius of Takai-san.
 
In the BA IEM stable of Final Audio Design, the Lab1 stands proudly next to FI-BA-SS as the dark twin of the two flagship Final Audio Design BA IEMs.

The narrative of how I came upon Final Audio Design is found in my reviews of Sonorous X and the Piano Forte X. Suffice to say that I do enjoy the unique music presentation proposed by Takai-san, the man who was behind Final Audio Design. I am proud owner of the FI-BA-SS, the Heaven S, the Heaven VI, the Pianoforte VIII, IX and X, the 1601SB (predecessor to the Pianoforte series), Lab 1 and AKR02 (special edition FI-BA-SS in collaboration with AK). I also have the Hope VI and the Sonorous X.
 
I remember when I first started with the Heaven S, the Final Audio Design FI-BA-SS was spoken of in almost hushed tones. It was supposed to be this amazing single balanced armature from Final Audio Design with a sonic signature unlike any. The reverence was also because at that time it was the most expensive universal IEM around. To use the term of the Jaben Singapore team, it was “special”. It was proclaimed by Final Audio Design itself on its web site as being their flagship.
 
I was going fine and told myself I don’t need the FI-BA-SS. However, curiosity got the better of me. So, one day I walked into Jaben and declared that I wanted to try out the FI-BA-SS. The famous last words I uttered to a grinning crew at Jaben was: “I’m just trying”. Less than a month later, I was the proud, if not a little sheepish, owner of the little silver coloured bullets. Well, I am proud of myself that I did not succumb immediately but had agonized for a few weeks over the inevitable eventuality.
 
 
Technical details
 
The FI-BA-SS is made of shaved stainless steel. It is entirely hand made in Japan. Although it has a compact and small housing, it has a nice solid feel to it. Inside the housing there is just a single balanced armature driver. The thinking was to have just one driver obviates any need for crossover or any muddiness introduced when there are a few drivers. I imagine the idea was to have a housing that is simple and pure as is possible. All around the back of the housing are vents which allowed the air to be released. It was called Balancing Air Movement to prevent sound leakage and control air flow.
 
 
Build Quality
 
Build quality is impeccable. For the then highest price for a universal IEM, you get two solid nuggets of stainless steel. They are probably still the classiest housing I have seen for an IEM. With the vents at the back of the housing, it almost reminds me of a jet engine. The Final Audio Design FI-BA-SS looks simple, classy and elegant.
 
The non-detachable cable is quite thin, soft and has a penchant for entangling. All of which conspire to give me sleepless nights on whether I should pick up a spare FI-BA-SS in case I inadvertently kill it one day. The cable is terminated with a low profile right angled 3.5mm plug. While the housing extends its stainless steel housing to a short tube into which the cable enters,  there is no strain relief where the cable goes into this tube and it only adds credence to my nightmare scenario.
 
 
Comfort and Isolation
 
Because of the small footprint of the FI-BA-SS, it fits nicely into most ears. And while solid in feel there is not unduly great weight. Once you insert it into your ear canal, you hardly notice it is there. I do find that the stock ear tips are very comfortable. But of course, because it is pretty standard stuff, it is open to anyone to substitute the ear tips with any make of their own choosing for more comfort.
 
Insofar as isolation is concerned, this really depends on the type of ear tips that is being used. For the stock ear tips, I can say that isolation is pretty good. Despite my concerns, there does not seem to be any leakage of outside noise through the vents at the back of the housing.
 
 
Music Genres
 
Having a large collection of music, I have much choice in what I want to listen to. However, I will confess that with the FI-BA-SS, I tend to stick to acoustic vocals, jazz, pop and generally vocal music. I am not excited when listening to heavy metal or heavy rock with them because while it does possess quite a bass kick, the quantity of the bass is not quite optimal with these two genres.
 
 
Sound Quality
 
The first time I tried the FI-BA-SS I was stunned by how bright it was tonally. Once I got past the initial shock, I slowly learned to appreciate its sonic qualities.
 
What I will say is that the FI-BA-SS like its stable mate in the full sized can category, the Sonorous X, in that it paints a vibrant, vivid and rich presentation of the music. At the same time, there is surprisingly no harshness to its trebles even though they seem to feature prominently. The trebles are extended and pristine. There is plenty of grip and timbre in the mids. The bass is probably its Achilles heel – there is plenty of texture, resonance and quality in this department but it simply lacks the quantity that is required for certain types of music. Overall, there is also great detail in whatever music it plays. The flip side of this is that if the quality of the source is not up to scratch, do not expect the FI-BA-SS to gloss over the weaknesses.
 
One thing that is shocking about the FI-BA-SS is in how raw and emotional it makes the music sound. I still remember sitting in a freezing hotel room somewhere in North East China during the midst of winter and it was minus 35 Celsius outside, and I was listening to Diana Krall wrapping that voice of hers around the lyrics of Walk On By on the FI-BA-SS off my brand new AK100 – the rawness of her emotions and the nuances of her voice really tugged at my heartstrings and sent shivers down my spine.  I swear that I could feel myself tearing up. But then again, it could just be cabin fever from being snowed in…
 
 
 
Pairing
 
As with the other Final Audio Design IEMs, the cables are non-detachable and so the question of cable rolling is moot.
 
The FI-BA-SS seems to be an equal opportunist when it comes to pairing with music sources. I have used it with the iPod Classic all the way up to the Lotoo Paw Gold and have not experienced anything adverse worth reporting.
 
 
Conclusion
 
Whatever else I can say about the sound signature or sound quality of the FI-BA-SS, what will always come first to my mind is how vivid and vibrant, & raw and emotional it is.

My Journey of Discovery with Final Audio Design
 
At the recent CanJam in Singapore, when we were passing the Final Audio booth, Claire of Jaben Singapore took me over to JoJo-san and proudly proclaimed: this is your biggest fan in Singapore! Claire had kindly done the same thing during the first Mook Festival in Singapore, where I had met Takai-san and he had kindly shared on his philosophy of the portrayal of music. Through the kind assistance of Jojo-san of course since Takai-san and I had one thing in common: neither of us could speak the other’s language. Words cannot describe the deep thrill I felt then and still do now as I type these words.
 
Since then, Takai-san has sadly passed on. It did cause me infinite sadness when Claire informed me of the passing of the man who had done so much (by his creations) to challenge and educate me on the way I listened to music. Once I was able to shake off the darkness that descended upon me, I called Claire: hold a Lab1 for me, I’m driving down now.
 
To think that this incredible journey started one ordinary day in Jaben Singapore when Andy and Eric innocently asked if I wanted to try something special. Whereupon, they took out a pretty but innocuous looking brass IEM, the Heaven S. What followed was a passionate love affair with Final Audio Design IEMs. I am now the proud and blissful owner of a little collection comprising the FI-BA-SS, the Heaven S, the Heaven VI, the Pianoforte VIII, IX and X, the 1601SB (predecessor to the Pianoforte series), Lab 1 and AKR02 (special edition FI-BA-SS in collaboration with AK). I also have the Hope VI and the Sonorous X.
 
I already had the Pianoforte VIII and IX when I came to own the X. Terence, aka Awry, was the kind soul who afforded me the opportunity to own this little slice of Heaven. Awry was not quite sure whether to let it go, and I was not pushy. Quite a few months elapsed before he decided to allow me to have his beloved Pianoforte X. All I can say is that not only did I come to own a wonderful piece of musical magic, but I also gained a steadfast friend. It’s one of the best pieces of business I have done in the audio realm.
 
 
Technical details
 
The Pianoforte X is made of chrome copper. It is unusual in that the shape of the chrome copper housing is inspired by the vintage horn speakers in order to achieve the same sort of sonic signature. The eartips are not the usual soft ones but one which is made of chrome copper as well. The drivers are 16mm dynamic driver units. The Pianoforte X also comes with air pressure adjustment vents which, together with the fact that the eartips are too large to push into anyone’s ear canal and therefore the X should sit in the conch of the ear and the eartip loosely placed facing the opening of the ear canal, it is pretty much an open IEM.
 
 
Build Quality
 
Build quality is excellent! Because the Pianoforte comes in either gold or copper finishing, they look like pieces of jewelry than any IEM that I have seen. There’s a nice heft to the X. The housing are full metal after all.
 
The non-detachable cable is quite thin but fabric covered. I don’t have any complaints of microphonics from the cable nor can I say that they are difficult to manage. The cable is terminated with a low profile right angled 3.5mm plug. One concern may be that there is no strain relief where the cable goes into the housing and one does wonder about long term metal fatigue for the cables.
 
 
Comfort and Isolation
 
As noted above, the unique build of the housing of the Pianoforte X necessarily means there is little to no isolation. So, it is not something you would wear in a crowded place. It works well in a quiet office as there is minimal sound leakage compared to an open can. In fact, I used to carry them when I had to travel as a replacement for carrying a pair of headphones.
 
In terms of comfort, you are advised to try it on to see if the conch of your ears will support the Pianoforte. Surprisingly, for something which seems much heavier than the average IEM, once you work out how to wear them for optimal sonics, it is very comfortable. Of course, it is not something I would wear to go running on the treadmill.
 
 
Music Genres
 
I am the blissful owner of a large music collection. Does the Pianoforte X rock with all the genres?  I think it does a pretty good job with most genres. But the ones which with which it excels are acoustic vocals and jazz.
 
There is this magical sound with most genres and so you will appreciate the special sonic qualities of the Pianoforte X. However, there isn’t the most treble extension here and hence it may not be optimal for some forms of classical music. That said, I really do enjoy it with classical vocals and popera vocals (like Andrea Bocelli and Russell Watson).
 
 
Sound Quality
 
I still remember the first time I heard a Pianoforte, the sound presentation which was painted had shaking my head: how could something which looked so strange and be so unconventional in its implementation be emanating such a lovely sound. Final Audio is not exaggerating when it claims that to listen to a Pianoforte X is like sitting in a concert hall with its great sense of space.
 
That holds true for the Pianoforte X. But what distinguishes it from the other Pianoforte is that it seems to impart a slightly dreamy and languid quality to the music. It’s almost like putting on a pair of rose-tinted glasses. Everything is so fluid with nary a harsh edge.
 
That is not to say that the Pianoforte X lacks details. It is clear and detailed. The trebles are not extended nor sparkly. The lows are nuanced and full bodied. But the mids, oh the mids… Ask anyone who owns or has heard a Pianoforte will gush about the lushness, fullness, realism and timbre of the mids. There is fantastic separation and sense of space at the same time.  This is precisely why I particularly love the Pianoforte X for vocals of any kind. It never fails to send shivers down my spine.
 
The sound signature of the Pianoforte X is underpinned by its unassailable mids, its pristine clarity and sense of space. And its effortless musical presentation. It is truly something which would be fitting for listening to beautiful with a single malt whisky with a slow fire burning at the fire place.
 
 
Pairing
 
Cable rolling is not an option because of the non-detachable cables.
 
I can honestly say that I have never worried about any particular source with the Pianoforte X. As I type this, I am listening to it out of an Aurender Flow. I have used it with most of my DAPs and haven’t noticed any particular issue to report. So, it does seem to be easy to match.
 
 
Conclusion
 
The Pianoforte X is one of those earphones you have to listen to at least once in your lifetime. It portrays music like no other. Have a listen and you will understand the true meaning of “music to my ears”.

The Road to the ACS Encore
 
You do not often hear about ACS, an English company that makes hearing protection as well as in ear monitors. However, they are one of the few companies that make IEMs using silicone. A few years ago, when I wanted to venture into custom IEMs, being concerned about the discomfit and possible fit issues of acrylic customs, I had consulted Claire of Jaben Singapore in respect of my fears. She had assured me that a then little known Japanese company which  Wilson and her were then actively promoting outside of Japan, FitEar, had an impeccable record insofar as getting the fit right the time around. But she had another alternative, if that did not assuage my fears, to go silicone.
 
That was how I came to ACS and the then TOTL 3 driver T1. I bit the bullet and went ahead. If I recall correctly, Claire kindly arranged for Wilson to personally take my ear impressions, who did so with loving care. Within a month or so, I had my first pair of beautifully crafted silicone customs. I have not looked back since then.
 
The funny thing that happened during that period was that the local daily was working on a story on bespoke consumer products and what was available. So Claire asked me if the journalist working on the story could speak to me about the experience of having ear impressions taken and why I had chosen the customs route. I figured there was no harm. During the interview, when the journalist asked: “Could you tell me how much did the customs cost?” My reply was: “Of course not! My wife would kill me!” Well, the article was published with, inter alia, the story on customs IEMs and quoted the above exchange verbatim…  The Mrs never found out because she was safely away in NYC.  Though the Mother-in-law did ask one weekend: “Kiat, are you that chap who was interviewed? … Oh! Did the food go down the wrong way?!”…. I live to tell the tale but let that be a lesson to my brethren audiophiles in respect of being candid with journalists…
 
The ACS T1 is still something I have with me and still works nicely with a wonderful crystal clear yet organic signature. After that, I embarked on my FitEar journey. I was happily living in sonic bliss. Then one fine day in February 2015, DesignManiac dropped a PM. Duncan was positively frothing at the mouth raving about this new custom, the Encore, which ACS had come up with. He had heard them at a show in London. In his words, they were as detailed, spacious and dynamic IEMs he had ever listened to.
 
The first chance I got I asked Claire about the ACS Encore. At that time, she was still awaiting further details from ACS. However, she could enquire if ACS had retained my earlier impressions for the T1 and if those could be used for the Encore. Once ACS was ready to take orders for the Encore, Jaben Singapore had mine up there in the queue. My pair arrived in Singapore in May 2015, just over a month after the order had been made. It arrived in the same parcel as some of the demos of the new products ACS had come up with.
 
 
Technical details
 
The ACS Encore is a 5 driver, 3 way cross over, custom in ear monitor. It uses medical grade silicone moulds finished off with hard wearing flexible lacquer.  
 
 
Build Quality
 
The build quality of the ACS Encore is excellent.  The silicone shell is lovingly finished with a hard wearing flexible lacquer. I love the sonic qualities that the silicone imparts to the sound quality of the Encore, as it did with the ACS T1.
 
I am frankly not sure if you could reshell the Encore seeing that the drivers are embedded in the silicone. Unlike the T1, the Encore comes with Linum Bax detachable cable and socket system and a low profile 3.5mm straight plug. I have since purchased and replaced the stock cable with another Linum Bax cable with a similarly low profile 2.5mm balanced plug.
 
 
Comfort and Isolation
 
The ACS T1 and Encore are both beautiful fits. The wonderful thing about silicone is because of the give that the material has, the seal is impressive. Better than even my FitEar customs. ACS used the same impression which had been previously used when I made the T1 and so unsurprisingly the fit was perfect as it had been previously.  Once you get used to silicone, which is a little bit more difficult to handle and slip on than acrylic, you can slip the Encore on in a jiffy.  Once on, I can wear them throughout a long haul flight, eat my meals, lie back and all that without being reminded of their presence in the conch of my ears.
 
I have often been asked if having a pair of silicone customs are challenging in the hot humid weather of Singapore. All I will say is I have no idea where people get their ideas from… This is medical grade silicone, not the industrial silicone adhesive you use to seal tiles and windows…  And the answer is no, there are no issues. None of my silicone customs have melted in my ears while I am standing here near the Equator.
 
The isolation offered by the ACS Encore is impeccable. There is practically no noise leakage from the outside world.
 
 
Music Genres
 
I’ll admit it: I am a music person. I listen to most genres of music and the size of my music library, being more than 12 TB, is testament to that. However, the music must be good and it must move me.
 
The ACS Encore is pretty versatile. Thus far it sounds good with most genres I have thrown at it. The only caveat may be orchestral music: somehow the slight warmth of the IEM does tend to obscure the treble extension and make the soundstage smaller than optimal for orchestral music.
 
But with anything else, the Encore is really enjoyable. If you happen to be on the same fight as me, or stuck in the same crummy airport lounge, and you see me leaning back and looking absolutely chill and relaxed, it is likely that I have the ACS Encore in my ears.
 
 
Sound Quality
 
When I first received the ACS T1, I was astonished at its sound quality: it was crystal clear and yet organic. The only thing I wished for a bit more oomph in the bass. There is a sonic god after all: the Encore had two drivers dedicated to bass.
 
The Encore is crystal clear but slightly warm. While the trebles are pristine, there is a slight roll off. The mids are lush and sweet. The bass has excellent presence while having very nice decay. All this adds up to a very organic and lush sound signature.  What is particularly striking, and perhaps surprising, about the Encore is the soundstage is excellent: it is deep, layered while being wide. There are times when I still shake my head in disbelief at what I just heard. I suspect that the added bass aids the creation of a 3D soundstage. And did I say it was a very organic sound? That I think is a characteristic of silicone customs as I had the same sense with the preceding T1 customs.
 
I would sum up the sound signature of the Encore as an organic and realistic sound.  Short of orchestral music, the ACS Encore is a musical experience which can prove to be very enjoyable, addictive even. 
 
 
Pairing
 
The only IEMs in my stable that can compete with the ACS Encore for such realism would be the Tralucent Ref1 Too and the FitEar MH335DW. In fact, it has supplanted the MH335DW in the pecking order to be only behind the incredible Ref1 Too.
 
I currently run the Encore with the Linum Bax balanced cable with 2.5mm plug. Because it uses the Linum Bax connectors, I have not explored the use of third party cables with the Encore. Some may see that as a disadvantage of the Encore.
 
Because the Encore is slightly warm and is organic in its signature, it does very well with the Lotoo Paw Gold, the Lotoo Paw 5000, the AK240. It even does a pretty competent job with the Tera Player.
 
 
Conclusion
 
I am glad that Duncan had sent that PM to me and alerted me on the ACS Encore. My prayers had been answered. I now luxuriate in the organic bliss that is the ACS Encore.

I am a relative novice in the world of Stax. However, after almost a year of bliss, I have decided that I have heard enough to offer some impressions of some of the Stax cans I own. I have done a review of the Stax SR L700 as well as the top notch but fussy SR-009. I thought I would finish up my series of reviews by setting down my experience of the previous Stax flagship, the well-loved but slightly divisive SR-007.

Whenever and wherever there is a discussion on the Stax SR-007, there will be a divide between proponents of the much cherished MK1 and the current production MK2. Of course, the divide is really premised on slightly different tuning of the two versions. I have no skin in the game as I am fortunate enough to own both. So, any arguments of superiority or advantage inter se matter not to me. For the purposes of this review, however, I will primarily focus on the current production SR-007 Mk2, which is often referred to as the MK 2.5 to differentiate it from the first iteration of the much vilified initial production of MK2. It could take almost an entire thesis to debate the failings of that version, which admittedly I have not heard first hand. Suffice it to say that the oft-repeated complaint was that the mid-bass hump introduced with the advent of the SR-007Mk2 was clumsily done and as a result, the mids were muddied and it introduced incoherence to the resulting sonics.

As pointed out elsewhere as well, Spkrs01 and Anakchan have been absolute gems in fielding an endless stream of questions from a curious mind, as well as bringing me quickly up to speed to what has transpired in the past in the timelines of the development of Stax and their cans. The most valuable counsel from both has been the consistent mantra: have a listen yourself. That I find all too true when today opinions are offered which are not necessarily based on first-hand experience and without the context of the systems in which the listening was done.

It may be a little unusual but my little voyage into Stax territory began at the top with the SR-009 and the much sought after SR-007 MK1. I have since added the SR-007 MK2 and the SR L700 to my cosy Stax collection. I currently also have a few non-electrostatic cans: most of the top tier Grados, the LCD 2 & 3, HD800, Hifiman HE-6, HE-5LE, HE-560, HE-500, HE-1000, Fostex TH900, AKG K702 & K812, the Final Sonorous X and the Abyss.


Home Desktop Stax Set Up

My Stax set up comprises an Auralic Aries (with external linear PSU), connected via a Audiquest Diamond USB 3 cable to a Bricasti M1 DAC and then a pair of Tralucent Uber balanced interconnects to the Cavalli Liquid Lightning 2, and then pass through to the VAW 8PS via a pair of Toxic Cables Silver Venom balanced interconnects. Power cord for the DAC and the Liquid Lightning 2 is a Tralucent Uber power cord, while power to the VAW 8PS is supplied by a Tralucent Silver/Gold power cord. Power to the components of the desktop rig and sources is fed through an Isotek Aquarus and all the power cords use US plugs. Mains power is fed to the Isotek Aquarius via a Tralucent Uber power cord.

My Synology DS 414 and a Seagate Backup Plus HDD (connected directly via USB to the Aries) are powered by the new Plixir Elite BDC Power Supply kindly customized for me by James Soh of Sound Affairs, Singapore. At the advice of James, I run a separate switch for the audio components away from the wifi access point. The switch is also powered by the same Plixir Elite BDC Power Supply. The Aries and the Synology DS414 NAS are connected via the dedicated switch by a pair of Ranko Acoustics OCC audio LAN cables.


Build Quality

The build quality of the SR-007 is very good. I get raised eyebrows whenever I say this but I frankly prefer the headband of the SR-007. I find it more comfortable and I really enjoy being able to rotate the ear pads for my liking.

My SR-007 MK2 is the export version which is all black.


Comfort and Isolation

The ear cups of the SR-007 fit my ears well. The quality of the lambskin on the ear pads help create the great sense of comfort and luxury whenever I slip the SR-007 on. The grip or clamping force of the SR-007 is also not too tight, though slightly tighter than the SR-009. It is nevertheless still comfortable and sufficiently secure. As with the SR-009, the SR-007 is surprisingly light in my hand and on my head. If you struggle with the weight of the planars from Audeze or the older Hifiman range, you really have to give Stax cans a try. You will be impressed.

The Stax SR-007 is an open can with practically zero isolation. You can’t have your cake and eat it: the airiness and sense of space you get in return is well worth the lack of isolation.


Music Genres

The last time I checked on JRiver Media Centre, I could run my music collection non-stop for almost 2 years. That gives you an idea of how much there is available for my listening pleasure. In the two years of listening, you will come across most genres from medieval church vocals and classical music all the way to acoustic vocals, modern jazz vocals and most of types of pop music, international or regional.

Because of the tonality of the SR-007, being on the warmer side of the SR-009, it is actually very easy to listen to most genres of music. Frankly, I cannot say I can recall any type of music I have heard on the SR-007 where I winced. It is actually very good with EDM. I love Blame by Calvin Harris featuring John Newman on the SR-007: lovely pulsating bass line and so quick. On the other hand, it shares the mastery of female vocals like the SR-009. While not offering as clear a glimpse into the souls of the singers as the SR-009, it can nonetheless be breathtaking. Spkrs01 was absolutely right about the magical quality of the Omegas with female vocals. Though, of course, I have yet to experience the incontinence which he suggested will come with the enthrallment.

I am happy to say that the SR-007, while being really quite transparent, is much more forgiving than the SR-009. I suspect the warmth of the SR-007 helps mask shortcomings in the music quality.


Sound Quality

What is clear is that the SR-007 is darker in tonality than the SR-009. Those who find the SR-009 too neutral or transparent to be enjoyable may prefer the SR-007.

Of course, even with the darker tonality, the trebles of the SR-007 are what you would expect with a Stax Omega: extended, clear, pristine and smooth. It may not be as in your face as those in the SR-009. This is because of the more present bass in the sound signature of the SR-007. Nonetheless, Alison Krauss still sings with the voice of an angel. With lesser cans, with the presence of more bass, Alison may sound more womanly. That would be coloration or distortion. It is testament to the treble credentials of the SR-007 that Alison Krauss’ voice is still as plaintive and lilting as it is on the SR-009.

In the realm of mids, the SR-007 might be preferred by some to the SR-009. Whilst the texture, timbre and soundstage witnessed with the SR-009 are present, the added warmth makes everything more 3D. Everything is fuller. Whether this is a good thing or bad is a matter of debate. For me, as long as it breathes life into the music, I am happy. Female vocalists are wonderful and the nuances and emotions are well and delicately conveyed. What is notable is that vocals and music from the 50s and 60s sound fuller, less brittle and a whole lot more listenable. For example, Dionne Warwick sounds astonishingly good in her earlier albums.

While the bass of the SR-007 is never going to come close to the visceral bass of the SR-009, it is a whole lot more present than that in the SR-009. It possesses quality as with its younger sibling, but injects quantity as well. The SR-007 has easily the most impressive bass in the entire Stax range of cans. The other thing which the darker tonality adds is a more organic sound signature.

I frankly think that the SR-007 is much easier to love for most persons and is much more forgiving (than the SR-009) of less than well recorded and mastered music.


Pairing

The SR-007 is not an easy can to drive. I think of my little collection, the SR-007 is the one which is most difficult to drive. Hence, it thrives on the driving power of the Cavalli LL2 and VAW 8PS. While it is never going to be as transparent as the SR-009, nonetheless the differences in character between my two amps are nonetheless apparent: the slightly languid presentation of the LL2, while the VAW is more energetic and forward in its presentation. Regardless, both pairings are musical and afford me hours of listening pleasure.


Sidebar: SR-007MK1 vs SR-007MK2

As alluded to above, the most divisive debate in the Stax world (other than between SR-009 and SR-007 adherents) is the relative virtues of the two iterations of the SR-007. I own both and hence it matters not who is right or wrong. This may be a bit simplistic but the divide is between the cleaner leaner mids of the MK1 and the fuller mids of the MK2. Here, I am talking about the sonic differences. The discussion about what causes this is another topic which can take up pages upon pages of discussion in forum threads. Is one better than the other? All I will say is that in the ultimate analysis, it boils down to a question of preferences which are necessarily personal in nature. I shall leave at that.


Conclusion

The SR-007 is a wonderful creation from Stax. One forgets that until the advent of the SR-009, the SR-007 ruled the roost and easily one of the best, if not the best, headphone around. It is less demanding and more forgiving of the music it is fed. Its more organic signature may also be easier to love.

As I have pointed out before in my review of the Stax SR L700, electrostatics and Stax are the latest port of call in my journey of discovery in the world of audio bliss. I recall it was April or May 2015 when Spkrs01 opened the door to the intriguing world of Stax. Prior to this, Stax was only something that I heard about occasionally, but always referred to in hushed tones of deference, especially when the subject was the venerable Stax SR-009. Everyone swore blind that it is the best headphone in current production, bar none. Pity about the lack of bass but what ethereal sonics: so the conventional wisdom went. Admittedly, when I heard the SR-009 off a Stax amp, this seemed to be borne out – great atmospheric trebles and very quick, but where did the bass go?!
In this journey into Stax territory, two persons get honourable mention as my trusted and patient guides: Spkrs01 and AnakChan. No question was too trivial or frivolous. Poor Spkrs01, in particular, bears the brunt of my insatiable curiosity.
 
I have since learned that fed sufficient driving power, the SR-009 is peerless in its transparency, details and texture. While it will never match the visceral bass of the Abyss, it possessed a bass that was detailed and layered. And I would never accuse the SR-009 of sounding “thin” when properly set up and driven.
 
I started off with the SR-009 and SR-007 Mk1. Since then I have added the SR-007 Mk2 and the SR L700 to the stable of Stax cans. On an aside, I have a tidy little collection of non-electrostatic cans comprising most of the top tier Grados, the LCD 2 & 3, HD800, Hifiman HE-6, HE-5LE, HE-560, HE-500, HE-1000, Fostex TH900, AKG K702 & K812, and the Final Sonorous X and the Abyss.
 
 
Home Desktop Stax Set Up
 
The Stax setup  starts with an Auralic Aries (with external linear PSU), connected via a Audiquest Diamond USB 3 cable to a Bricasti M1 DAC and then a pair of Tralucent Uber balanced interconnects to the Cavalli Liquid Lightning 2, and then pass through to the VAW 8PS via a pair of Toxic Cables Silver Venom balanced interconnects. Power cord for the DAC and the Liquid Lightning 2 is a Tralucent Uber power cord, while power to the VAW 8PS is supplied by a Tralucent Silver/Gold power cord. Power to the components of the desktop rig and sources is fed through an Isotek Aquarus and all the power cords use US plugs. Mains power is fed to the Isotek Aquarius via a Tralucent Uber power cord.
 
My Synology DS 414 and a Seagate Backup Plus HDD (connected directly via USB to the Aries) are powered by the new Plixir Elite BDC Power Supply kindly customized for me by James Soh of Sound Affairs in Singapore. James had also helpfully suggested that I run a separate switch for the audio components away from the wifi access point. The switch is also powered by the Plixir Elite BDC Power Supply that James customized for me. The Aries and the Synology DS414 NAS are connected via the dedicated switch by a pair of Ranko Acoustics OCC audio LAN cables.
 
 
Build Quality
 
The build quality of the SR-009 is really top notch. Even my personal preference for the headband of the SR-007 doesn’t detract from this.
 
 
Comfort and Isolation
 
The round ear cups of the SR-009 sit very comfortably  over my ears. The use of lambskin for the earpads help in that respect. The other thing that helps is the light clamping force, while being sufficiently firm.  At the same time, it is amazingly light in my hand or on my head. It puts some of the planar magnetics like the Audezes and the older Hifiman to shame in this area.
The Stax SR-009 is an open can and isolation practically non-existent. The fact that I can hear almost every word the Mrs says when I have them on is testament to that.
 
 
Music Genres
 
My digital music collection extends about 12-15 TB. In my collection, you will find most genres from classical music all the way to acoustic vocals, modern jazz vocals and mandopop music. I even do rock and pop.
 
I wish I could say that the SR-009 is incredibly versatile and can handle anything I throw at it with finesse and aplomb. That would be music to the ears of those who complain about how much it costs. Well, I am not going to say that. However, I will say that it does classical music, jazz , mandopop and vocals very well. In fact, no other can does female vocals like the Stax Omegas, in particular the SR-009. I still recall Spkrs01 warning me that one may pee in one’s pants listening to the magical quality of female vocals on the SR-009.
 
One word of caution: the SR-009 is very transparent – if you feed it badly recorded music, it will chew it up and spit it back in your face. This is no shy retiring ice princess. If you music sucks, it will let it all through, magnified, back to you.
 
 
Sound Quality
 
I own the HD800 and I have it paired with a crystal piccolino balanced cable. I also thought it was the last word on refinement and transparency. At least until I heard the Stax SR-009. I recall that I used to wince now and then at certain sibilance in vocals by Alison Krauss in her plaintive and lilting voice beloved by Bluegrass aficionados. At other times, there would be certain hard edges in the trebles. 
 
Well, with the SR-009, there are no such issues to fix. Ms Krauss sings with the voice of an angel as she is.  The trebles on the SR-009 are extended and yet are clear and pristine with nary a harsh edge. While I am not a big fan of treble extension as some other hobbyists, this smooth and flawless treble extension can be very useful if you listen to someone like Sarah Brightman…
 
The mids of the SR-009 are lethal: other than the possibility of incontinence, you get lulled in this state of swooning when you listen to lovely voices belonging to Anita Mui, Sandy Lam, Stacey Kent, Diana Krall and their ilk. The nuances, inflection of their voices and emoting of their heart felt feelings can be almost unbearable.  With regard to the music generally, the SR-009 conveys great texture and timbre. The soundstage is wide as it is dense, layered and deep.
 
The bass of the SR-009 is the one area which attracts a lot of adverse comments. Like I had said earlier, do not expect this to be like the Abyss. Nothing will come close to the Abyss for its visceral bass. Yet, the SR-009 does have a deep and tight bass. Whenever I play the album, Audiophile Percussions by Gabrielle Roth and the Mirrors, which features 9 divine tracks exploring the various types of percussion instruments on the SR-009, it leaves me picking up my jaw from the floor. I defy anyone to listen to that album on the SR-009 off a TOTL electrostatic amp and say thereafter that the SR-009 has no bass… What you will also notice when you play this album is how quick the SR-009 is.
 
At the end of the day, the SR-009 is a very unusual can. It is very transparent. It is quick. It is smooth, refined and nuanced. However, it will hiss and spit at you if you dare to try to insult it by playing crappy music.
 
 
Pairing
 
The SR-009 does appreciate the driving power of the Cavalli LL2 and VAW 8PS. It is so transparent that the differences in character between my two amps are easily apparent: the slightly more laid presentation of the LL2 in mid concert hall, while the VAW is more immediate in its presentation where you are seated in the first few rows of the same concert hall. Both pairings are absolute joy and very musical. This is very important to me. I fear that I am not quite an audiophile who listens to my gear: what I want and demand from my rig is that I should enjoy the music and be moved by its presentation.
 
 
Conclusion
 
Thus far, I am happy to say that, despite Spkrs01’s promise, I have yet to suffer any incontinence while listening to my favourite female singers, like Diana Krall or Sandy Lam, on the SR-009. However, when I feed the rig well recorded and mastered music, whether red book or high res, the SR-009 is peerless in moving me. It doesn’t get any better than this.

I am a relative newcomer to Stax and electrostatics. I would say that my journey began in or about April 2015 when Gavin, aka Spkrs01, was kind enough to introduce me to this wonderful part of the music world. Spkrs01 was absolutely wonderful in that he was unfailingly patient and kind with my endless stream of questions. Anakchan has also patiently offered reliable and honest views.
 
I started off with the SR-009 and SR-007 Mk1. Thereafter I picked up a pair of SR-007 Mk2 late last year to complete the line-up of Stax Omegas. Aside from my Stax set-up, I also have a little collection of other full sized cans: most of the top tier Grados, the LCD 2 & 3, HD700 & 800, Hifiman HE-6, HE-5LE, HE-560, HE-500, HE-1000, Fostex TH900, AKG K702 & K812, and  the Final Sonorous X and the Abyss.
 
I still remember when Spkrs01 and Anakchan were at the May Avic Fujiya Show, they had both heard the new Stax Lambdas which were being unveiled at the show. Both of them gave glowing impressions of the L500 and L700. The common thread was they liked the tonality of the Lambdas. Especially the L700 which was more refined and perhaps may extended in its range.  It was indeed exciting to read the specs and other details about the L700: http://www.stax.co.jp/Pdf/Export/Web_News_SR-L700-E.pdf. I had mentioned the impending release when I had dinner with Anakchan in early April when I was in Tokyo for meetings. I am glad that I did and both Anakchan and Spkrs01 gave it a listen at the show.
 
I immediately dropped a note to Claire of Jaben Singapore for her to secure me a pair when it became available in Singapore. The exact date escapes me but I recall that the new Lambdas were launched in Singapore in time for the International Sight & Sound Exhibition 2015 which was held at the end of November 2015. When Claire informed me that my set had arrived, I quickly drove down and made a pay, grab and run. The lovely Sheila, who works with Claire, bore witness to my famous whirlwind check out process.
 
 
Home Desktop Stax Set Up
 
Currently, the Stax chain comprises an Auralic Aries (with external linear PSU), connected via a Audiquest Diamond USB 3 cable to a Bricasti M1 DAC and then a pair of Tralucent Uber balanced interconnects to the Cavalli Liquid Lightning 2, and then pass through to the VAW 8PS via a pair of Toxic Cables Silver Venom balanced interconnects. Power cord for the DAC and the Liquid Lightning 2 is a Tralucent Uber power cord, while power to the VAW 8PS is supplied by a Tralucent Silver/Gold power cord. Power to the components of the desktop rig and sources is fed through an Isotek Aquarus and all the power cords use US plugs. Mains power is fed to the Isotek Aquarius via a Tralucent Uber power cord.
 
My Synology DS 414 and a Seagate Backup Plus HDD (connected directly via USB to the Aries) are powered by the new Plixir Elite BDC Power Supply kindly customized for me by James Soh of Sound Affairs in Singapore. James had also helpfully suggested that I run a separate switch for the audio components away from the wifi access point. The switch is also powered by the Plixir Elite BDC Power Supply that James customized for me. The Aries and the Synology DS414 NAS are connected via the dedicated switch by a pair of Ranko Acoustics OCC audio LAN cables.
 
 
Build Quality
 
The build quality of the L700 is pretty good for its price point. There is probably more plastic or synthetic material on this Stax can that I have seen prior to this, as compared to the Omegas. However, I am not saying that it is flimsy. It is well made and put together. The nice touch is the genuine lambskin on the ear pads, which is probably the most important part, if you ask me.
 
 
Comfort and Isolation
 
Although the ear cups of the L700 is in the classic rectangular shape of all Lambdas I have come across, it was surprisingly comfortable. This is not least because of the lambskin ear pads. The clamping force was also quite light, although still adequately firm.
 
As for isolation, well, it is as isolated or not as the rest of the Stax cans. It was is really an open can and if isolation is what you are after, this not the can for you.
 
 
Music Genres
 
I have a decently comprehensive music collection with a wide repertoire. Early church music, classical music, classic jazz and  extends to modern jazz, rock, pop, acoustic vocals and even some EDM and Indie (thanks to Awry and Destrozer who are happy to educate me).
 
What I will say about the L700 is that it is such an easy can to match with different genres. It handles them without skipping a beat. It is also pretty forgiving of the less than perfect recordings because of its tonality. It lends itself to pure musical enjoyment.
 
 
Sound Quality
 
I think the L700 is fairly well balanced: the trebles are extended, the mids border on lush. The bass, while it is quality bass, is not quite in the same class at the 009 or 007 for the matter. In terms of tonality, I think it sits somewhere between the 009 and the 007. Which suits me perfectly as I was looking for something which would have a place in my current range of Stax cans.
 
The L700 is very musical and enjoyable. One can just sit back and relax, be absorbed by the music. That is the most charming characteristic of the L700: it is wonderfully enjoyable and even addictive. If you are looking for a Stax can which is relatively easy to drive, thoroughly enjoyable with excellent sound density and depth and yet carries the quickness in response of an electrostatic, this is the Stax for you.
 
While there have been some exuberant suggestions that the L700 is better than the 007 and a possible candidate for 009 replacement, I think these are perhaps a tad euphoric. Do not get me wrong: I thoroughly enjoy the L700 and think it is an excellent Stax can. However, in terms of soundstage (both width and depth), detail retrieval, nuances and suppleness, the Omegas are still in a class of their own.
 
 
Pairing
 
While the L700 is admittedly not as finicky or difficult to pair with amps as the Omegas, it still appears to appreciate the additional driving power of the LL2 and VAW, and is sufficiently transparent to allow the differences in character between the two amps to be apparent.
 
 
Conclusion
 
I am glad that two reliable pairs of ears in Spkrs01 and Anakchan got to hear the L700 at the Avic Fujiya Show and that I was able to take the leap of faith as a result. I am as always grateful that Claire was able to secure me a set as soon as it was available in Singapore. The L700, while hardly being the last word in electrostatic technology is a very musical and easily enjoyable pair of Stax can at a very attractive price..

One of the most divisive models in the Fitear range of IEMs is the MH335DW. The MH335DW is a bit of an enigma. There are those who swear that it is too bass heavy with its double woofers. There are others who shrug their shoulders and go “What bass?”
 
As stated on the Fitear website, like the MH334, the MH335DW is voiced by one of Japan's top mastering engineers, Mitsuharu Harada. In fact, both the MH334 and the MH335DW were designed to be mastering studio reference monitors. It may surprise some but both were voiced for a more natural but nonetheless clear sound. The MH335DW attracted a lot of attention when it was first released in 2013 to the international market because it was then the most expensive of the FitEear customs.
 
I have had the MH335DW for more than a year now. This was the last of the then available FitEar top end customs I had yet to order and I recall it took almost 6 months for order to delivery. The wait was, for want of a better word, character-building.
 
 
Technical details
 
The MH335DW is a 3 way crossover configuration, 3 units, 5 drivers (1 high, 2 low-mid 2 low woofer) Custom In-Ear Monitor.
 
 
The Road to MH335DW
 
Claire from Jaben Singapore had been by my side throughout my journey through Custom IEMs: from my first, the ACS T1, then the FitEar C435, Private 333 and then MH334. She was an early adopter of the MH335DW and was always trying to persuade that it was a fantastic CIEM and that I would love it.
 
For the longest time I had resisted MH335DW because I had issues with the overpowering bass which seemed to bleed into the mids and obscure them and cloud the trebles.
 
Gavin, aka Spkrs01, then opened my eyes (or rather ears) when he introduced the Ref1 to me. I resisted buying it immediately, for which I am very proud of myself. But as we all know in this hobby of ours, resistance is futile. The Ref1 opened up an entirely new world to me – if the bass can be controlled, it does in fact lend great realism to the sound, as well creating a deep textured soundstage. 
 
By then, I had also picked up the pinnacle of cables for FitEars, the Tralucent Uber cable. Gavin suggested I give the MH335DW another listen. I did. Paired with the Uber as well as the Tralucent silver/gold cable. I was shocked at the results – the bass of the MH335DW no longer bled but was taut and textured. The mids and trebles were also consequently unshackled  and were glorious. What was this 3D imaging I was getting in my head?!
 
The good and bad thing about FitEar is that they keep the ear impressions of customers…. So, ordering the MH335DW was easy as a breeze. Claire just had to make the order for me. No complications.
 
 
Build Quality
 
The build quality of the MH335DW (as with all their CIEMs) is the proud showcase of Japanese artistry and the pride they take with their handiwork. The acrylic shells are lovingly polished so that there is this beautiful glow. Someone had once remarked that it was bling for the ears. The shells are lovingly filled in with acrylic once the drivers have been fixed in place. I think having the shell solid has the advantage that you don’t worry about any lose parts clanging around. Furthermore, it allows the drivers to transmit more sensations than CIEMs which are hollow.
 
As pointed out in my previous reviews on the C435, MH334, Private 333, having the shells filled with acrylic means reshelling is probably not an option. The connectors are also different from the connectors favoured by other brands - they lock in with a nice solid and reassuring click.
 
 
Comfort and Isolation
 
As with all my FitEar customs, the MH335DW fits me as it should – it was made for my ears only. Since Fitear kept my previous impression, as well as the reverse impression, which had been used for my first FitEar custom, the C435. I believe the same one was used again since I was spared having to sit through another impression taking since my first time. The MH335DW  slips in and out with comfort and ease. I can do so with just one hand and with one smooth movement. I am able to wear my MH335DW on long haul flights and  I don’t even notice they are in my ears.
 
The isolation offered by all FitEar customs is excellent, making it wonderful to block out the sound of jet engines, noisy airport lounges, crying babies, nagging significant others and other vicissitudes of life.  The same is true of the MH335DW.
 
 
Music Genres
 
I am always tickled by the breadth and depth of my digital music library. My poor teenaged son is half embarrassed that his old man listens to K-Pop when he doesn’t do so. As well as listening to all these Indie bands. Strangely he enjoys my collection of Deep Purple and Metallica in DSD and high res. Of course, he would not touch the church choral music, Mandopop/Cantopop or acoustic vocals with a barge pole.
 
What I particularly like about the MH335DW is that it is wonderful with most genres. The only caveat is classical music, with which you may be better off with the C435. One category which deserves mention is the albums from the 50s and 60s which somehow sound a bit thin, flat and lifeless. Sometimes even downright harsh. One example is Dusty in Memphis. Even the DSD versions of the album sound less than optimal. However, the MH335DW seems to be able to round up the sound and give it more body and it becomes so much more listenable, if not plain enjoyable. For this quality alone, I would recommend this CIEM to any lover of classic jazz.
 
 
Sound Quality
 
The sound quality of the MH335DW is a dream – everything sounds fuller and there is a wonderful 3D soundstage and a great sense of space. As I am writing this, I am listening to some mainland Chinese singer and the entire song sounds full, alive and textured without any loss of the nuances or details. At the same time, there is wonderful instrument separation and excellent timbre.
 
The width and depth of the soundstage of the MH335DW once you tame the bass and have it tightened with a silver-based cable is breathtaking. The notes have good weight to them as well. And did I say that they have the best bass out of a BA IEM that I had heard at that point in time.
 
Save for classical music, the MH335DW is excellent: breathing life into the recording with its full range of sound, and creating a balanced soundstage both deep and wide.
 
 
Pairing
 
I currently run the MH335DW with the Tralucent Uber Too cable.
 
While I am not terribly fussed with regard to source, I do find that the MH335DW flourishes with a more neutral source. I love it with my Aurender Flow in the office, and balanced off the AK240 or the Lotoo Paw Gold. It is also excellent with the Hifiman HM901 and 901S.
 
 
Conclusion
 
For a full and realistic sonic picture of the music,  nothing comes close to the MH335DW in the range of FitEar customs that I own.

I have admired what Dr Fang Bian has tried to do in his relentless pursuit of the ultimate sound signature for his products. I have followed his achievements from my first Hifiman can, the HE 500 with its mellow and liquid mids, the dark one in the family. I had since moved on to the HE-6 (of which I have two, the later one I picked up because I heard that it was to be discontinued), the HE-5LE and the HE 560. I also have  a soft spot for his DAPs: I have the HM603, the classic that is HM801, the peerless HM901, the organic HM802 and the reinvigorated HM901S.
 
So when I heard that Dr Fang Bian had come out with a nanometer thick diaphragm and reputed to be natural and musical, my interest was piqued. Particularly since I was sadly overlooked for the beta testing exercise. When the commercialization commenced, I reached out to Eric, who was then at AV One in Singapore and I had only one simple question: when? There were delays in the production but I was fortunate to that Eric managed to arrange for me to receive the first commercial specimen in Singapore.
 
When I was informed that my HE-1000 was in, I quickly drove down, handed over my credit card and shooed poor Jeremy through the cash out process. Jeremy at AV One, being the great chap that he is, had been carefully taking the can out from its case, gently unpacking protection sheets etc to show me that it was in pristine condition. He even kindly asked if I wanted to test it before I took it home. I was impatient to get it home to my system and get on with the listening. Credit to Jeremy for being his usual patient and calm self despite my hustling him to get on with the cashing out.
 
When I got home, I could hardly wait to unpack it and plug it into my home desktop rig. Hence began the wonderful sonic journey.
 
The HE-1000 still has a special place in my little collection of full sized headphones comprising most of the top tier Grados, the LCD 2 & 3, HD700 & 800, Beyerdynamic T1, Hifiman HE-6, HE-5LE, HE-560, HE-500, Fostex TH900, AKG K702 & K812, Stax SR007 MK1 & MK2.5, SR 009, SR L700,  the Final Sonorous X and the Abyss. 
 
 
Home Desktop Headphone Set Up
 
The chain comprises an Auralic Aries (with external linear PSU), connected via a Audiquest Diamond USB 3 cable to a Bricasti M1 DAC and then JPS Superconductor V RCA to the Cavalli Liquid Gold. Power cord for the DAC is a Tralucent Uber power cord, and power cord for the Liquid Gold is a JPS Kaptovator power cord. Power to the components of the desktop rig and sources is fed through an Isotek Aquarus and all the power cords use US plugs. Mains power is fed to the Isotek Aquarius via a Tralucent Uber power cord.
 
My Synology DS 414 and a Seagate Backup Plus HDD (connected directly via USB to the Aries) are powered by the new Plixir Elite BDC Power Supply kindly customized for me by James Soh of Sound Affairs in Singapore. James had also helpfully suggested that I run a separate switch for the audio components away from the wifi access point. The switch is also powered by the Plixir Elite BDC Power Supply that James customized for me. The Aries and the Synology DS414 NAS are connected via the dedicated switch by a pair of Ranko Acoustics OCC audio LAN cables.
 
 
 
Build Quality
 
The build quality of the HE-1000 seems to be good. While there are constant complaints about the build quality of Hifiman cans, I cannot say I have any personal experience with such issues. In any event, looking at the anecdotal evidence of failure of Audeze drivers, it would appear that any issues faced by owners of Hifiman cans is nothing which is higher in incidence than that experienced by owners of other brands.
 
The headband of the HE-1000 follows the general look and system which was started with the HE-560. I will say that it is easy to adjust and the headband comprising some nice perforated leather is comfortable. The touches of wood and aluminum grills on the ear cups, with the two-part aluminum and suspended leather headband combine for a very good looking headphone indeed.
 
The cables that come with the HE-1000.are removable, thereby allowing users to switch cables to their personal preference and tastes. I must confess that I have only used the balanced cables with a 4 pin XLR connector. Anyone who wants to consider after market cables should note that the connectors used here are not the traditional Hifiman connectors but the 2.5mm 2 pole plugs, the same ones used in the Senn HD700.
 
 
Comfort and Isolation
 
Those who have always struggled with the weight of planar magnetic cans, especially the heavyweights from Audeze, will be happy to know that you no longer need the neck muscles of a sumo wrestler to wear these. The HE-1000 is astonishingly light. Once you have them on, they disappear from your consciousness the same way that the HD800 and SR 009 do.
 
The ear cups of the HE-1000 are large and elongated. I would struggle to think of anyone who could not fit their ears within those cups. Isolation is not really there since it is an open can. This is one headphone where the Mrs is able to tell me what I am listening to when she is sitting downstairs in the sitting room while I am listening to music on the Mezzanine level study. I think you can surmise from this experience that isolation is not one of the strong suits of the HE-1000…
 
 
Music Genres
 
I am an equal opportunist insofar as music genre is concerned. So, I have accumulated an impressive digital music collection running the gamut from medieval music to modern day EDM, acoustic vocals and jazz.
 
I must say that the HE-1000 sounds great with the music I have heard on it thus far. The full bodied sonic signature of the HE-1000 lends a sense of lushness and musicality to anything you listen to. The sound you get is natural and flows easily.
 
One genre that the HE-1000 is particularly helpful for are the older jazz recordings. For some reason some of the 50s and 60s jazz recordings tend to sound a tad thin on most modern drivers. One suspects that they were mastered in a particular way to compensate for the shortcomings of the speakers or record players of that era. However, the HE-1000 with its full bodied and full range sonic signature make these very listenable, if not enjoyable.     
 
 
Sound Quality
 
The key words I would use to describe the HE-1000 are organic, lush, quick and supple. These are not words I would normally use together but then again the HE-1000 is not a normal headphone.
 
The HE-1000 is such an easy headphone to listen to all day. It is natural sounding and musical at the same time. To my ears, no part of the sonic spectrum is emphasized or damped. Of course, the hallmark of the Hifiman can has always been details and clarity. The HE-1000 is true to that heritage. At the same time, it carries with it an organic signature where the music just sounds right and is downright musical. The timbre on strings are excellent. Vocals shine with much emotion and nuances The soundstage is first class: wide and deep.
 
The reason for this, I suspect is because the HE-1000 has one characteristic which makes it quite different from our normal expectation of Hifiman cans: it has very high quality bass and full-bodies and layered mids. Hence, I would use the word supple when I describe the mids and bass – there is real grip on the music and you can almost feel the strings being plucked or drawn, or the quiver in the vocals of Corrinne May or Diana Krall. Very natural and emotional. 
 
If you prefer the sonic signature of your headphones to be thin and flat with exaggerated trebles and nary a bass line, you need to look elsewhere. But if you have been longing for a reference level headphone which has depth, substance and emotion in its sound signature, this is the can for you.
 
 
Pairing
 
While the specs of the HE-1000 does not seem to suggest it, it does appreciate driving power and the head room and soundstage will open up when driven properly. I prefer the HE-1000 with the Liquid Gold on high gain.
 
One of the criticisms you will read on forum threads about the HE-1000 is that it is too languid and not edgy enough. Well, the HE-1000 as a stock product with stock cables is tuned to be musical and organic. If you would like it to be edgy or change its sonic signature, perhaps one way to do so is to change the cable. As noted above, the cables can be switched. Frank from Toxic Cables has been a gem in this respect: he has made me a pair of adapters to allow me to use my cables terminated for the Abyss or with mini XLR connectors to be used with the HE100. Frankly, I actually prefer the stock cables. But I am of course always open to tweaks. I currently alternate the stock cable with the Tralucent Uber and the Toxic Cables Silver Widow 22. Each cable brings with it a different sonic signature. With these two cables, you realize what truly excellent drivers the HE-1000 has: the sound is even quicker and more nimble.
 
 
 
Conclusion
 
The HE-1000 is a great addition to the Hifiman family of headphones. Dr Fang Bian has really pushed the envelope insofar as the house sound of Hifiman is concerned: organic, musical and natural is no longer the exclusive domain of other houses like Audeze. Add to that the heritage of clarity and details and you have a magical experience. With its impressive light weight, the HE-1000 is a headphone you can put on, plug in, sit back and just enjoy the magical music.

Every now and then, comes a headphone which defies conventional wisdom and challenges the way we look at headphones. The JPS Abyss AB-1266 is one such headphone. Whether it is by its distinctive looks, its industrial strength construction and its sonic signature, it is something which will figure strongly in our collective consciousness for a while to come.
 
I am blessed to own one such specimen. It sits nicely in the top tier, if not at the apex, of my little collection of headphones comprising most of the Grados, the LCD 2 & 3, HD700 & 800, Beyerdynamic T1, Hifiman HE-6, HE-5LE, He-560, HE-500, HE 1000, Fostex TH900, AKG K702 & K812, Stax SR007 MK1 & MK2.5, SR 009, L700 and the Final Sonorous X. 
 
 
Build Quality
 
The build quality of the Abyss is first class. The frame is solid aluminum; two sides joined together via a rivet which allows the two sides to be pulled together as adjustment as well as the angle of the cups for a different listening experience with each angle. The earpads are also unusual: they can be adjusted around as it attaches to the frame magnetically, allowing the user to decide if he wishes to have more bass or treble. The Abyss is hefty. It is solidly built. The rigidity of the frame ensures that there are no vibrations or distortions which is important given the hefty bass kick the planar magnetic drivers will emit when called upon. The Abyss is adjustable in various ways for the user for a different listening experience. This pair of cans are well conceived and designed.
 
Finally, the Abyss comes with JPS own cables. Of course JPS is well known for their audiophile grade cables and power cords. So, the stock cables are one of the best you will see as stock. The cables are also removable thereby allowing users to switch cables to their personal preference and tastes. 
 
Comfort and Isolation
 
The Abyss may look terribly uncomfortable with a look that may make you look like Frankenstein when you put it on and its solid heft will cause some concern. What I can say is that the design of the suspended headband actually works very well to spread out the weight of the Abyss such that when I first received the Abyss, I actually had it on every day for about a week and I did not end up in a neck brace nor develop neck muscles the Incredible Hulk would be envious of.
 
The Abyss is not to worn like any other headphone: it is not meant to clamp on your head like a conventional headphone. You have to adjust the headphone so that it sits on your head and with the cups touching but not clamping on your ears. It is worth noting that the Abyss are open cans and so there is some inevitable leakage.  
 
 
Music Genres
 
I am known to be fairly open-minded in my music tastes. As long as it is good music I will listen. I currently have more than 12 TB of music. in my music collection: all the way from medieval choral music to modern pop music to classical music and everything in between.
 
Make no mistake: the Abyss is a paragon of neutrality and clarity. Hence, I can listen to any sort of music on the Abyss and it sounds right. The Abyss sounds good with vocals running the gamut of acoustic to rock. Considering how everyone talks about its explosive and visceral bass power, the Abyss can be very nuanced and gentle: it all depends on the music that is being played. No colour. That being said, the bass line when called upon in crescendos can sweep you away or have you toe tapping when listening to EDM. Did I mention that it is versatile? Whether it is the emotional cello of Yo Yo Ma in the OST of Crouching Tiger Hidden Dragon or a full orchestra, it conveys the right emotion, timbre of the strings or soundstage of the full orchestra. 
 
 
Sound Quality
 
The Abyss is very neutral and flat. No part of the sonic spectrum is emphasized or hampered. It is all about the music. Whatever is called for, the Abyss will produce. There is great details and clarity. At the same time, the timbre on the strings are outstanding. Emotional inflections  and nuances of the vocalists are also clearly conveyed across. Soundstage and imaging is first class. The soundstage here is true soundstage - there is width as well as depth. No congestion in the music flowing from this headphone. Headroom is also outstanding. And, of course, there is the visceral bass - no other headphone comes close. The bass is taut as well - no bleeding or unnaturally long decay to cause any muddiness. The Abyss is, in the ultimate analysis, a very immersive experience - it is closer to speakers than headphones.
 
There are some criticism of the Abyss not being emotional or being a bit recessed. For the latter, I suspect the critics come from the school of forward mids and so anything which is natural will sound recessed. As for lack of emotions, I defy anyone to have a listen to Fly Away from Corrine May's eponymous debut album: this song is semi-autobiographical about how difficult it was for her to leave her grandmother, whom she was very close to since childhood,  And the emotions of her flying away to a faraway land to seek her musical dreams. In the song, her grandmother fell terminally ill when she was away and she flew back to see her on her death bed. The simple instrumental accompaniment of piano to Corrine's distinctive and nuanced vocals is something that never fails to pull at my heartstrings every time I hear it on the Abyss.
 
I am known for my admiration for the work of Tibetan singer Alan Dawa Dolma: the songs she does as part of the OST of the Red Cliff (Parts 1 & 2) is particularly impressive on the Abyss because of the grand soundstage that the songs demand and the additional headroom that the Abyss is able to afford. The two songs are cinematic and panoramic: between the demonstration of impressive vocal range by Alan, her soaring vocals and her emotional repertoire and the lush and layered instrumentation and the visceral and realistic bass, they are great showcases or the stunning ability of the Abyss.
 
There will always be those who prefer their TOTL cans to be tilted towards the treble end of the sonic spectrum: that gives a perception of soundstage and details. They will need to look elsewhere. The Abyss is stunning. It is wide open and neutral. It is detailed and conveys great instrumental separation and layering. It is also emotional and nuanced when the music calls for it. You feel the quake from the visceral bass. It is full range from treble all the way down to the quick and deep bass. If that is what you desire from a headphone, look no further.
 
 
Pairing
 
One caution about the Abyss is that it needs driving power to reap the full benefit of the impressive drivers. If there is not sufficient power, the Abyss will not sound the spectacular pair of cans it is.
 
As noted above, the cables can be switched. I currently alternate a few pairs of dual balanced cables with the Abyss: the Tralucent Uber, the Toxic Cables Copper Venom and Toxic Cables Silver Venom. Each cable brings with it a different sonic signature. And as I said, the Abyss is transparent and so the sonic characteristics of each cable will be discernible.
 
My home desktop rig comprises an Auralic Aries (with external linear PSU), connected via a Audiquest Diamond USB 3 cable to a Bricasti M1 DAC and then JPS Superconductor V RCA to the Cavalli Liquid Gold. Power cord for the DAC is a Tralucent Uber power cord, and power cord for the Liquid Gold is a JPS Kaptovator power cord. Power to the components of the desktop rig and sources is fed through an Isotek Aquarus and all the power cords use US plugs. My Synology DS 414 and a Seagate Backup Plus HDD (connected directly via USB to the Aries) are powered by the new Plixir Elite BDC Power Supply kindly customized for me by James Soh of Sound Affairs in Singapore.
 
 
Conclusion
 
As I had cautioned above, the Abyss challenges our preconceptions of how a pair of headphone should sound. It is transparent, neutral and flat. It is detailed and nuanced. Yet, it packs a body blow of a bass when bass is called for. If you are looking for pair of headphones that seem to be more like ear speakers with impressive soundstage and headroom, and all these qualities, this is the headphone for you!

In the Singapore audiophile community, my adulation of Final Audio Design is quite well known. Well, it is borne out by my little collection of FAD IEMs: I have the FI-BA-SS, the Heaven S, the Heaven VI, the Pianoforte VIII, IX and X, the 1601SB (predecessor to the PF), Lab 1 and AKR02 (special edition FI-BA-SS in collaboration with AK). I also have the Hope VI. I think I would qualify as a Final Audio Design fan and believer in the late Takai-san's vision of the portrayal of music.
 
I still remember the fateful day in Jaben Singapore, when Andy and Eric asked me if I wanted to try something special. In due course  I would learn to recognize the danger of that question. They took out this innocuous brass IEM, the Heaven S. I stuck it into my ears and the rest, as they would say, is history...
 
Fast forward to December 2015. I was already one of the first in Singapore to have the Hope VI headphone when it arrived at Jaben. Wilson and Claire were kind enough to ensure that my long wait for its arrival was over. I had first met Takai-san at the first Mook Festival held in Singapore, where Claire had kindly introduced me to Takai-san and introduced me as one of the most ardent admirers of his IEMs and his vision of music. Takai-san does not speak English and my Japanese is not much better than his English. Fortunately, his lovely assistant was able to translate between the two of us. Takai-san wanted me to listen to the prototypes of the Hope series and they were wonderful. Nothing that you would expect form a headphone. The pulsating percussion pieces he had running out of his AK100 was fantastic - the bass was deep and quick. How I looked forward to hearing the Pandora Hope series, now renamed the Sonorous series.
 
In the intervening years, Takai-san sadly passed away. My immediate reaction, aside from infinite sadness on the passing of the man who had done so much (by his creations) to challenge and educate me on the way I listened to music, was to call Claire and drove down immediately to pick up one of the last Lab1s in the wild. The next wait for the Final Sonorous X to go into commercial production and be released in Singapore. Although this was released posthumously, the vision was Takai-san's. It was the culmination of his vision of what headphones could sound like. I was at Jaben Singapore as soon as I could manage after Claire informed me that it had arrived. I listened to it via the Lotoo Paw Gold, then through the Phatlab portable amp and finally off the Otomatsu desktop amp, Whilst the LPG and the Phatlab portable amps did credible jobs driving the X, my suspicions were confirmed that it would relish the driving power of a desktop amplifier. The soundstage opened up, the middle of the soundstage filled up to be much more dense and textured. I entertained this suspicion by the fact that the X came with a short cable and a much longer cable and a 1/4 plug adapter. I just smiled at Claire and Sheila and handed over my credit card. Sonic bliss has followed. To understand how much I loved the X, I did not listen to any other headphone for the next 2 or 3 weeks and even today it forms the mainstay of my listening pleasure in the evenings or over the weekends.
 
As a background, I have , or have had, practically all the TOTL headphones: LCD 2 & 3, HD700 & 800, Beyerdynamic T1, Hifiman HE-6, HE-5LE, He-560, HE-500, HE 1000, Fostex TH900, AKG K702 & K812, Stax SR007 MK1 & MK2.5, SR 009, L700 and the Abyss. 
 
 
Build Quality
 
The build quality of the X is gorgeous. The combination of silver and gold may seem garish on paper but when you see in person, although it will take your breath away, you will simply marvel at the beauty of the beast. There is a nice hefty solid feel about the solid metal frame and cups. Although it feels pretty heavy in my hands, as soon as I put them on I don't feel the weight - perfectly balanced in its ergonomics and design. I particularly liked the way the arch of the headphone band was built such that it pressed the ear cups inwards towards your ears to give really quite excellent noise isolation. It is noteworthy that this is probably the only headphone the Mrs has not complained about being able to hear what I am listening to. Her only complaint is that I don't hear her speaking. She believes it is solely due to the noise isolation of the X, and I allow her to continue to believe so... But seriously, the noise isolation arising from the ingenious design is excellent!
 
The X uses the same 3.5mm two pole plugs on each side. It comes the now customary twist lock system which ensures that the connector is secure. The cables come in two lengths, one for portable use and the longer one for use with a desktop rig, if like me, your desktop rig is a bit further away. A 1/4 inch adapter is also provided. I understand that ALO Audio may be producing after-market cables, including balanced ones for use with desktop amplifiers. That should be interesting, to say the least.
 
 
Comfort and Isolation
 
What I found with the X is that it fits me very well. The clamping force of the headband was just nice, although because of the sheer weight of the X I would not recommend any vigorous dancing with the X perched on your head. I must confess that I don't notice it is there even if I wear it most of the day, which I tend to do over weekends.
 
As I have noted above, because of the design of the headband, the isolation for this closed can is pretty impressive. 
 
 
Music Genres
 
I have a very wide repertoire of music in my music collection: all the way from medieval church music to Mandopop to Calvin Harris, Above & Beyond and most things in between.
 
What is enjoyable about the X is that it is at least competent with all genres. I particularly enjoy acoustic and jazz vocals with the X. Female vocals are particularly stunning as the emotions of the singer are vividly conveyed across and you can hear the inflections of the voice.
 
Similarly, I really enjoy Robin Schulz's Sugar with the X. The bass line on the X is really authoritative and pulsating. 
 
What really works for the X is that there is no harshness at all in the portrayal of music.
 
 
Sound Quality
 
The X are very well balanced: the trebles are extended, the mids are full, lush and have a lovely timbre, the bass is deep and hard hitting yet tight. Overall, I would say that the sound signature of the X is smooth, rich, vivid and vibrant. The vocals are intimate and nuanced. On top of this, the X has a surprisingly large soundstage for a closed can while maintaining beautiful layering, accurate imaging and excellent nuances and details.
 
Alison Krauss has the voice of an angel, but her voice is difficult to convey: on lesser drivers, she can come across as being shrill or sibilant. On the X, her voice is plaintive, frail but so nuanced and emotional.
 
Another favourite singer of mine, the Tibetan singer Alan Dawa Dolma shows off her incredible vocal range and nimbleness during the themes from the movie Red Cliff (Parts 1 & 2) and the instrumentation is exquisite. The soundstage is also well portrayed. the bass is also well portrayed and realistic.


 
While there will be naysayers who will take the view that it is not as accurate as some of the other TOTL cans, the X is unapologetically musical and enjoyable. The thing about Final Audio Design and Takai-san is that they have never apologized for their house sound and vision of music presentation. If you enjoy their other products, you should give the X a listen. 
 
 
Pairing
 
What I will say is that this pair is cans is really addictive. It should really come with a warning label that it may be addictive and may have an adverse effect on productivity and in interest in life generally.
 
As noted above, while the X can be driven by a portable rig, you will be really rewarded on a desktop rig as it benefits from the added driving power and will scale up very nicely.
 
I currently run my X with its stock cable. I am waiting for Frank from Toxic Cables to make an adapter so that I can use the Toxic Cables SW22 and the Tralucent Uber cables with the X.  Don't get me wrong, the X is magical as is. But of course we are always aspiring to better the sound or at least introduce a different tonality.
 
My desktop rig at home comprises of an Auralic Aries (with external linear PSU), connected via a Audiquest Diamond USB 3 cable to a Bricasti M1 DAC and then JPS Superconductor V RCA to the Cavalli Liquid Gold. Power cord for the DAC is a Tralucent Uber power cord, and power cord for the Liquid Gold is a JPS Kaptovator power cord. Power is fed through an Isotek Aquarus using US plugs. My Synology DS 414 and a Seagate Backup Plus HDD (connected directly via USB to the Aries) are powered by the new Plixir Elite BDC Power Supply kindly customized for me by James Soh of Sound Affairs in Singapore.
 
 
Conclusion
 
In my world, the Sonorous X has its own special place - where music is for enjoyment and pleasure. The vivid, lush, smooth and yet nuanced presentation makes it a very special can indeed. This is the epitome of howFinal Audio Design wants us to listen to our music and the culmination of the musical vision of the late Takai-san. Takai-san has left us a special legacy indeed...

I don’t get asked very often about the Private 333 amongst the Fitear customs I own. Nor do you hear people raving about it as you might in respect of the C435, the MH 334 and the MH335DW.
 
That is quite a pity because the 333 has its own charms. In fact, in a sense the 333 is probably one of the clearest yet intimate of the Fitear range of customs.
 
My pair of 333s have been with me for just over a year now. In fact, I quickly made these after I was so pleased with my first pair of Fitears, the C435s.
 
Technical details
 
The Private 333 is a 3 way crossover configuration, 3 Units, 3 drivers Custom In-Ear Monitor.
 
The Life of the Private 333
 
When I was in the process of considering another Fitear custom after the C435, there were not that many choices around. Of course the flavor of the month at that time was the MH335DW. Well, I had tried it and at that point in time of its life, the 335 demo unit still had rather exuberant bass which could be uncontrolled and would bleed into the mids. I told myself that this one would have to be revisited in time.
 
So, Claire from Jaben, Singapore, suggested that I might want to try the 333 demo. Especially since she figured that I would appreciate its immediacy and clarity. Well, she was right. I did like it. Well, the rest of as 
 
The wait for the Private 333 was about the same as for the C435 – under a month. Of course, this was in the early days of Fitear's foray into the international consumer market. These days, the wait could be up to almost half a year. How the times have changed… Well, I guess it is rather difficult to keep a good thing under wraps.
 
 
Build Quality
 
As with all the Fitear customs, the build quality of the 333 was gorgeous. Beautiful gleaming little pieces of joy and musicality. All my Fitear customs are clear. Of course,I half in jest suggest that there is a strategic reason for this – in order that anyone would be none the wiser that I had more than a pair since they all looked alike to the unpractised eye. But the real reason is because I enjoy how they do look crystalline and pure.
 
A few things I have pointed out in previous reviews should be noted: firstly, the acrylic shells are filled in with liquid acrylic and so reshelling is probably not an option; secondly, Fitear uses its own special connectors and, so, if you wish to cable roll, you would need to have cables with these Fitear connectors.
 
Comfort and Isolation
 
As with my other Fitear customs, the fit is wonderful. Fitear has retained my impressions from the C435 and so I just need to order without the need for a fresh impression. I can slip on the 333 with just one hand. There is no need for all the maneuvering around or digital gymnastics as you do with some other brands of customs.
 
The isolation the 333 offers is what I have come to expect with all my Fitear customs: I slip them on in a crowded airport lounge or on a flight and I am cocooned in my little musical paradise.
 
Music Genres
 
My friends joke that insofar as music is concerned, I’m an equal opportunist: as long as it is good music, I will have it and I will listen to it. And the size and range of my music collection stand testament to that philosophy.
 
The Private 333 is quite versatile. It deals with most musical genres competently. However, I personally think it excels in Jazz and audiophile vocals, particularly female vocals. When I listen to Diana Krall on the Private 333, I can feel the nearness of her as she breathes her songs into my ears and caresses them. It never fails to send shivers down my spine.
 
Sound Quality
 
The Private 333 has a very engaging sound signature. The trebles are are clear and extended, the mids are crystal clear, the bass is tight and quick. While the soundstage is nothing like the C435, it is nonetheless good.
 
I suspect that the reason why the mids are so clear is because there is a slight bump in its mids.
 
According to conventional wisdom, the Private 333 is for fast music. However, the 333 has matured into a custom which conveys one of the most intimate vocals in the Fitear range of IEMs.
 
Pairing
  
I currently run the Private 333 with either Toxic Cable's Gold Poison (which is gold plated Silver Poison) or the Tralucent copper cable, depending on my mood.
 
With regard to sources, I find that the 333 has fantastic synergy with the HM901 on Angel card. It also works wonders with the Calyx M with the lushness of that DAP.
 
Conclusion
 
If you love your female vocals, I think nothing comes close to the Private 333.

The Beyer T1 will always hold a special place for me. This is because this was my first flagship headphone. I had thought long and hard over choosing the HD 800, LCD 2/3 and the T1. Many thanks to Wilson and Claire for their ceaseless patience and unstinting hospitality as I went back and forth between the various candidates over a month or two. 
 
I finally settled for the T1 as my first pair for two simple reasons: the liquid mids and the fact that Jaben in Singapore had "balanced-ready" T1s whereby the T1s came modded with mini XLR connectors. Which was wonderful so that I could use them single ended or in due course balanced.
 
How time has flown and I now have a little collection of very nice headphones: AKG K702& K812, LCD 2 & 3, HD800, Beyerdynamic T1, Hifiman HE-6, HE-5LE, HE-500, Fostex TH900, plus all the higher end Grados (save for the PS1000) and the Abyss. 
 
 
Build Quality
 
The build quality of the T1 is pretty good. However, the adjustment mechanism of the headband does seem a little imprecise, while seeming to be a bit loose in most pairs I tried. This of course is of some concern since each end of the headband had a cut out of "T1" which surely is a stress point for the metal and will surely lead to metal fatigue and it giving way.
 
The stock cable which came with the T1 is probably the best stock cable I have seen on a TOTL can. Is anyone from Audeze, Sennheiser and AKG reading this? I recall that unlike the normal cable which Beyer tends to do in-house, for the T1, they sourced the cable from an external cable specialist. And it tells! I will frankly admit that my removable cables - SE or balanced are actually made from stock T1 cable and even though now I have really exotic cables in my modest cable library, I think that that the T1 still probably has best synergy with the stock cable. And that tells you something about the quality!
 
 
Comfort and Isolation
 
The T1 is actually quite comfortable. Very, in fact. While it doesn't fit me to a T as the AKG K812 does, it certainly feels more secure than the HD 800. The ear pads are a light touch - nice and cushy without being too soft.
 
Isolation is actually not bad in the bigger scheme of things. But of course because its an open can, isolation is not why you choose this can.
 
 
Music Genres
 
I have a pretty comprehensive music collection: the fact that it's stored in a 4 by 4TB NAS (and its almost reached capacity) speaks for its repertoire. Early church music, through the classic jazz era to today's jazz, rock, pop, acoustic vocals and even some trance (thanks to my good friends, Terence and Shawn, who are desperately trying to educate me).
 
What I discovered early on, especially once I had worked out that the T1 craves driving power, is the T1 is pretty much comfortable with most genres. Once I had ensured sufficient driving power for the T1 and ran it balanced, there was really no turning back. I think it struck me one day that I was literally rocking to Depeche Mode 101 and Keane's greatest hits. On the venerable T1! 
 
Of course, there is a special category which I love the T1 for: vocals. I remember reading somewhere, after I had purchased the T1, that it had liquid mids. That hit the nail on the head - the T1 has such lush and easy flowing mids. Wonderful for vocals.
 
 
Sound Quality
 
In my view, the T1 is fairly well balanced: the trebles are extended, the mids are bordering on lush. The bass, while it is quality bass, it is not quite in the same class as the AKG K812. I would say that the T1 also attracted me because I liked its soundstage - it was not too wide, but had some depth to it as well. And there were details galore.
 
I constantly read reviews complaining about the T1 sound and how its trebles are too much or that it compares poorly to the ethereal soundstage of the HD800. Well, all I will say is that I never quite understood the fuss over the trebles because I have always felt that the T1 had excellent controlled treble extension. As for the soundstage, the HD800 has a soundstage which is not suited for all genres - eg. with rock, the soundstage is spread out so far that there is a total lack of energy. On the other hand, the T1 is more versatile and is competent to very good with most genres.
 
 
Pairing
 
I currently run my T1 off a a desktop rig of modded Mac Mini (with external linear PSU) via USB to a Bricasti M1 DAC, with balanced out to the Bryston BHA-1 and RCA to a Woo Audio WA2. My favourite all round set up is to run the T1 on dual 3 pin XLR on the Bryston - the T1 really opens up: the tonal richness of the T1 run this way is really something to behold. Of course, when I want to listen to slightly more acoustic vocals or I want a more organic tone, I listen to the T1 via the WA2. 
 
 
Conclusion
 
I am grateful that Wilson and Claire were kind to me when I was first looking for a flagship can. And that I did choose the T1 with my ears. It still gives me immense pleasure. There is nothing more anyone could ask for.

I have owned the AKG K702 for a few years now. Of course, it is one of the most difficult to drive full sized cans around. If not properly driven, it sounds rather bright and is bass light. Feed it enough power, the sound you get out of it is rich and there some serious bass there. The K702 was under appreciated by the general public but a jealously guarded little secret of audiophiles who knew its true nature. It was also many years since AKG first came out with the K702 as its flagship headphone. 
 
We all despaired if AKG would ever rise to such heights again. Of course, AKG surprised us a few years back with the AKG K3003 which was a phenomenal little in ear monitor, with a soundstage like it thought it was a pair of full sized cans.
 
As to how I came upon the AKG K812, I have two good audiophile friends in Singapore to thank: Joe and Ken. When the AKG K812 was showcased in Singapore last December during Mook, I was laid up in bed because of a bad bout of flu. Immediately after that, I travelled to NYC for a few weeks. Hence, I did not hear about the buzz the K812 caused during Mook. However, separately, both of them swore blind that they thought it was the best dynamic in the market and that I would love it. Perhaps I should explain - the both of them almost NEVER agree on any iem or can. This had to be a first. I knew it was a sign... So, when limited stock arrived at Jaben, I made sure that I had one. Wilson and Claire were kind enough to set one aside for me. 
 
As a background, I have practically all the TOTL headphones: LCD 2 & 3, HD800, Beyerdynamic T1, Hifiman HE-6, HE-5LE, HE-500, Fostex TH900, plus all the higher end Grados (save for the PS1000) and the Abyss. 
 
 
Build Quality
 
The build quality of the AKG K812 is good. There is a nice hefty solid feel about them. It doesn't feel too heavy, certainly nothing close to the Audezes. I particularly liked the ear pads which was oh so comfortable and my ears fit nicely within.
 
The only downside is that the cable connection is similar to the old AKGs, ie. on one side only. Further, while the connectors that are used seem solid enough, they are not the common mini-XLR used in the AKG K702, which means that you couldn't rotate after-market cables between the two AKGs.
 
 
Comfort and Isolation
 
What I found with the K812 is that it was very well fitting for me. The clamping force of the headband was just nice and there is never any fear that it may just slip off. And yet when i'm wearing the K812, I don't notice it is there even if I wear it most of the day. 
 
As you may expect from an open can, the isolation is moderate at best. 
 
 
Music Genres
 
I have a very wide repertoire of music in my music collection: all the way from medieval church music to Ella Fitzgerald, Billie Holiday, Frank Sinatra to Diana Krall, Holly Cole, Stacey Kent, Rumer to classic music to modern pop.
 
What is enjoyable about the K812 is that it is at least competent with all genres. There are some in which I find I do enjoy tremendously and that would be jazz vocals, opera and acoustic vocals. I have even listened to Calvin Harris and Above & Beyond on these cans without any issue. 
 
I don't actually worry about finding particular genres to listen to when I am on the K812: I just pick any album on the JRemote on my iPad and just hit play with full confidence that nothing but realistic and organic goodness will fill my ears. 
 
 
Sound Quality
 
The K812 are very well balanced: the trebles are extended, the mids are full and have a lovely timbre, the bass is deep yet tight. On top of this, the K812 has a wide and deep soundstage while maintaining beautiful layering, accurate imaging and excellent details.
 
Of course, there have been reports of tizzy trebles, but to date I cannot say I have heard any. As for some critics claiming that its soundstage is not as wide as the HD800, whilst that is true, the depth and layering of K812's soundstage cannot be beat. And it does make for a much more organic and natural representation of the music.
 
 
Pairing
 
What I will say is that next to only the Abyss, this is the pair of cans that has the capacity to take my breath away or move me so.
 
I currently run my AKG K812 with Toxic Cables Black Widow. I wanted a fuller and more detailed sound from the K812 - no change in basic sig of the can but something which could communicate more than the very sad stock cable. On a side note, AKG K702 owners will be glad to know that AKG didn't discriminate against the K702: the stock cable of the K812 is just as flimsy.
 
My desktop rig at home comprises of a modded Mac Mini (with external linear PSU), Bricasti M1 DAC and then balanced out to the Bryston BHA-1 and RCA to the Woo Audio WA2. I will say that I am particularly fond of the sweet organic sound, with a wonderful intimate soundstage, that the K812 produces with the WA2. Of course, I also run it off the Bryston, with which the soundstage opens up and the K812 is more dynamic.
 
 
Conclusion
 
In my cosy little musical universe, the AKG K812 comes only second to the Abyss in the pleasure it constantly gives me. This is a pair of headphones which are organic while being transparent  and detailed. AKG rises again!

As stated elsewhere, for the longest time I have been more familiar with Tralucent Audio as the makers of the Uber cable as well as its silver/gold cable. both of which I have terminated for Fitear customs. I have owned the 1plus2 for for more than a month now. My 1Plus2 comes with the silver/gold cable. As with its younger sibling, the 1Plus2 needs at least 200 hours to hit the sweet spot. One thing which all owners of the 1Plus2 never fail to talk about is the sheer soundstage of this IEM. This soundstage is apparent even from the outset. The other thing which owners constantly rave about is the tight bass of the 1Plus2.
 
Technical Details
 
The 1Plus2, as you may have guessed from its name, uses one dynamic driver with a pair of balanced armature drivers. It is a hybrid IEM.
 
First Impressions & a Second Meeting
 
I will be the first to admit that the first time that I met the 1Plus2, it was after a 15 hour flight from NYC and my ears were still recovering from the flight. Spkrs01 had very kindly met me on Boxing Day to hand me the Tralucent silver/gold cable for Fitears. Of course, he tempted me by whipping out  a Uber as well. But that is a story for another day...
 
Spkrs01 also produced a brand new 1Plus2 and asked if I would like to try. I put it on and listened to a couple of passages on my DAP. At that point in time, the 1Plus2 did not make me sit up and take notice. Blame it on the jet lag, ears not fully popped or having the Fitear 435 and AKG K3003. 
 
The second time I had a chance to listen to the 1Plus2 was again when I met Spkrs01. This time he had a fully burnt in one which had clocked well in excess of 200 hours. This time around, the 1Plus2 blew me away as I listened to DSD music on the balanced output on the AK240: That soundstage! The grip of the mids and the purity of the sig! I wanted it; and it was mine. That was how I came to own the 1Plus2.
 
Build Quality & Comfort
 
As I had indicated previously, by this time, I had stopped buying universals because I found that Fitear customs fit me so well and were so comfortable. As with the Ref 1, I was surprised how comfortable the 1Plus2 were. Unlike the Ref 1 (which I prefer with Spin Fits), I am very happy using the 1Plus2 with Ortofons. The interesting thing is that although there have been some complaints that the 1Plus2 is less comfortable than the Ref 1, I found that the 1Plus2 fit my ears much better. With the Ref 1, I actually have to do some adjustment. While with the 1Plus2, I plonk the tips in and that is it: perfect seal.
 
I will say that I am also happy with the build quality of the 1Plus2. No issues here.
 
The Tralucent silver/gold cable is perhaps unfortunate to find itself in the same family as the Uber cable. In any other company, the silver/gold would be the flagship cable. That it is not is down to not so much its lack of quality but rather because it stands next to the superlative Uber.  While there have been some concerns expressed about the ergonomics etc of this cable, I feel that the payback in terms of excellent sound quality far outweighs any inconvenience of a stiff cable. Of course, I will be frank and say that I can't say that it is any worse than the stock 001 Fitear cable. 
 
Music Genres & Sound Quality
 
I am blessed to have an abundance of riches insofar as my music collection is concerned: it covers a wide range of genres from the Tallis Scholars (medieval church music) to Ella Fitzgerald, Billie Holiday, Frank Sinatra, Diana Krall, Stacey Kent, to Mandopop to Popera to K-pop.
 
The 1Plus2, with proper burn in, handles all the genres in my music repertoire very nicely. Of course, what is outstanding about the 1Plus2 is its unrivalled soundstage. It even has a 3D soundstage which is eclipsed only by the Ref 1. The 1Plus2 also has a very tight bass with deep impact. Again, this bass is eclipsed by the visceral sub bass of the Ref 1. Unlike some other IEMs with significant soundstage, the 1Plus2 does not suffer from being overly bright or harsh trebles. Once, burnt in, the 1Plus2 displays none of these issues which plague other IEMs: the 1Plus has smooth and clear treble. 
 
While I have seen the sig of the 1Plus2 being characterised as V shaped, I cannot help but wonder if too many of us have grown up listening to rather mid forward cans and therefore anything which is not mid forward is then characterised as having recessed mids. From my perspective, I find the 1Plus2 very balanced: everything is kept in the appropriate proportion to the other parts.
 
What I do like about the 1Plus2 is that the mids have great clarity and timbre. There is a great rawness in emotions I always feel when I listen to strings on it. The 1Plus2 is no slouch in terms of voices either. In fact, I do love the purity it renders on vocals. 
 
The 1Plus2 has one characteristic which may be good or bad depending on the quality of your chain: it is very neutral, detailed and transparent. If there are any shortcomings in the music files or sources, you can be sure that you will hear them. 
 
Pairing
 
The 1Plus2 is quite versatile with DAPs. In fact, it is fantastic with the notoriously finicky Tera Player. Other than the usual suspects like the HM 901, HM 802, Calyx M, and AK240, the 1Plus2 is also very good with the HM 801 and HM 603 which have what is commonly characterised as warmer sigs. Of course, my view is that they are more mid-centric than anything else. This of course plays right up to the strength of the 1Plus2 with its pure and emotive mids.
 
The lesson I learnt in my journey to the Tralucent 1Plus2 is that we should look beyond first impressions. I did and I have reaped the rich rewards of having the 1Plus2.

Prior to owning the Ref 1, Tralucent Audio was primarily known to me for it Uber cable as well as its silver/gold cable. I own both cables terminated for Fitear customs.
 
I have had the Ref 1 for more than a month now. I opted for the Ref 1 to come with the Uber cable. The Ref 1 does in fact get better beyond 200 hours of use. There is no doubt that even before it is burnt in, the Ref 1's bass will wow the first time listener. However, with burn in, the timbre settles down and the quality of the bass shines through. And the Ref 1 is wonderfully musical.
 
 
Technical Details
 
As explained in AnakChan's review, the Ref 1 employs a pair of 9.2mm dynamic drivers in an isobaric design, together with a pair of balanced armature drivers. It is a 3-way, 4 driver, hybrid and isobaric IEM.
 
 
First Meeting with the Ref 1
 
The first time I heard the Ref 1, the thing which struck me was that bass - it was visceral, it was persistent and there was such deep sub bass which had no business in an IEM! But what struck me was that at the same time, the bass did not obscure the details or layers in the acoustic vocals I was listening to. And then when the bass was called upon, it hit and it hit hard. 
 
Although I am proud of myself that I overcame my initial panic and scrounging around to see if I had enough cash on me, and did not buy it immediately, I did eventually succumb.
 
 
Build Quality & Comfort
 
Prior to this, I had for the most part foresworn universals. Hence, there was some apprehension on how the build quality and comfort would be. I was pleasantly surprised that it was really quite comfortable with the Ortofon tips which came with the Ref 1. I did subsequently switch them out to Spin Fit tips which did fit my ears a little better. The housing of the Ref 1 sat in my ear quite nicely - they did not stick out and sat nicely against the conch of my ears.
 
As for build quality, there has some sweeping statements about number of users facing build quality issues. For myself, I cannot say that I have faced any thus far. Coming from Fitear customs where the build quality is par excellence, I do not find any occasion to have any complaints in this department.
 
The Uber cable is one of the best cables around. Much has been made of its ergonomic issues. While I do not go mountain climbing with the Uber, I must say that the fuss is a little overstated. Of course, it is everyone's prerogative if they place more emphasis on aesthetics or whether they simply want a cable that gives the best sound quality.
 
 
Music Genres & Sound Quality
 
As has been noted in my previous reviews, I'm an equal opportunist when it comes to music: as long as it is good music, I will listen to it. My music library currently stands at just under 12 TB and, according to JRiver, I have enough music to play continuously for the next 1.87 years before I run out.
 
What I find amazing about the Ref 1 is that, while everyone can rave about its bass and what quality there is once it is properly burnt in, it will do just as well with acoustic vocals, pop era, jazz vocals, piano music, strings or Mandopop. All because the Ref 1 has an almighty bass kick does not mean it is warm and veiled like some other IEMs that claim to have quality bass. The Ref 1 remains transparent and detailed. The Ref 1 is also very quick: it keeps up with some of the trance music I have in my library thanks to Awry. It also keeps up with groups like Keane and renders the piano so true.
 
While the Ref 1 shares its wide soundstage with its older sibling, the 1Plus2, the bass adds a dimension that most IEMs cannot compete with: a truly 3D soundstage. The Ref 1 has a very deep soundstage which enriches the entire listening experience. The bass gives body to the music and renders it more realistic. 
 
I do appreciate that the mids have great timbre, especially when strings are involved. It never fails to send shivers down my spine when I listen to YoYo Ma playing the cello on the OST of Crouching Tiger, Hidden Dragon. Vocals are also rendered very well indeed.
 
I do own some quality full sized cans. And I will confess that often times I actually forget I'm listening to an IEM rather than a full sized can.
 
There is one word of caution, however: the Ref 1 is quite ruthless about showing up the shortcomings of your music or your DAP. In that sense, it is very revealing.
 
 
Pairing
 
I have a modest collection of DAPs (I can hear my friends sniggering already...) and I have heard them with the Ref 1. What I will say is this: the Ref 1 does actually benefit from the driving power of some DAPs like the Hifiman HM901 and HM802, as well as the Calyx M. Of course, I do enjoy the Ref 1 off the balanced output on the AK 240 where you do get astounding details and separation. Those of you who own the divisive Tera Player will be happy to know that I think the Ref 1 is a even better match with it than the 1Plus2. 
 
 
Conclusion
 
For myself, I thank the day when Spkrs01 persuaded me to take a chance on the Ref 1. I went in with an open mind and I have been rewarded by the realistic and rich signature of the Ref 1. I agree with AnakChan: the signature of the Ref 1 is unique and not heard anywhere else. Not everyone may appreciate such a realistic portrayal of music, but it is something which has to be experienced at least once.

One of the most underrated models in the Fitear range of IEMs is the MH334. As stated on the Fitear website, the MH334 is voiced by one of Japan's top mastering engineers, Mitsuharu Harada,
 
In fact, the MH334 was designed to be a mastering studio reference monitor. So, this would be the natural choice for someone looking for a more natural but nonetheless clear sound. In fact, I find that it is an excellent complement for my C435, which I had previously reviewed here. 
 
 
I have had the MH334 for more than a month now. This time around, delivery took just under a couple of months because of the surge of orders from the Mook Festival in Singapore in December 2013 as well as year end orders from artists in Japan.
 
Technical details
 
The MH334 is a 3 way crossover configuration, 4 drivers (1 high, 2 low-mid 1 low woofer) Custom In-Ear Monitor.
 
The Road to MH334
 
When Claire from Jaben, Singapore, sent me a message that the demo for the MH334 had landed, I almost immediately jumped into my car and drove over. I have had the TG334 for more than half a year now and I've always loved the slight warmth in its sig and the lovely slow decay of the bass. Of course, the TG334 comes with a titanium tube which was reported to give it more treble extension than the MH334, on which it is alleged to have been based. 
 
While I enjoyed the TG334, I am still occasionally irritated by having to make adjustments to the insertion to maintain a balance between isolation and soundstage. That was when I started to entertain thoughts about the MH334. Of course, there was no demo of the MH334 at that point in time. But I was assured by Claire that the MH334 demo would be forthcoming. There started the waiting game... 
 
When I heard the MH334 demo, I was instantly addicted. How could it sound so musical and yet be so controlled? It did not take me long to decide it had my name written on it.
 
 
Build Quality
 
The build quality of the MH334 (as with all their CIEMs) is as good as it gets. The acrylic shells are lovingly polished so that there are no nasty bits which may cause a gash or two (which sadly one cannot say about all brands). The shells are carefully filled in with acrylic. My view has always been that having the shell solid allows it to transmit more sensations than CIEMs which are hollow. 
 
As pointed out in my previous review on the C435, having the shells filled with acrylic means reshelling is not an option. The connectors are also different from the run-of-mill connectors used by other brands - they seem to more hardy and lock in with a nice click.
 
Comfort and Isolation
 
As with my C435, the MH334 fits me to a "T". Fitear kept my previous impression, as well as the reverse impression, and so used the same one which was done for my C435. The MH334 is easy to pop in and take out, which is useful when I fly when the crew come around to take orders, etc. I can wear my MH334 most of the day in the office and not notice that it's in my ears.
 
The isolation offered is the same as all Fitear customs - par excellence. I have flown on about 5 trips with the MH334 thus far and it blocks out more than 95% of the noise. 
 
Music Genres
 
As indicated in my previous review, my music collection covers a very broad spectrum: all the way from medieval church music to classic jazz to modern jazz and audiophile vocals to Chinese pop to Popera to K-pop. In fact, recently, I have added post-modern rock and vocal trance to the music collection. For those of you who have always thought that trance is just head-splitting bass, you should have a listen to the Acoustic album just released in 2014 by Above & Beyond - it is something that I listen to every day. (I can hear Awry screaming already - I have him to thank for introducing trance in general, and this album in particular, to me)
 
What I do like about the MH334 is that it is so musical with most of the genres in my collection. However, I will say that with classical music, the MH334 may not be so optimal; you may be better off with the C435. The reason is quite simple - there is not as much treble extension as the C435. It is also not as neutral.
 
But with anything else, the MH334 is sheer musical bliss. You just want to sit back and relax and enjoy the music.
 
Sound Quality
 
The MH334 is clear and slightly warm. The trebles are good but with slight roll off, the mids are sweet and lush, the bass is tight and has good impact. While the soundstage is nothing like the C435, it is nonetheless very good. As compared to the TG334, I would say that the MH334 has more controlled trebles and bass - my favorite analogy is that the MH334 is the grown up more controlled and sophisticated version whereas the TG334 is more like an exuberant adolescent. What I do like about the MH334 is that while it has more bass than the C435, it doesn't bleed into the mids and muddy them. What is particularly outstanding for the MH334 has to be the timbre: it never fails to send shivers down my spine when there are strings in the music.
 
If you listen to most genres, save perhaps for classical music, you will enjoy how the MH334 renders the music in a musical and organic manner: you just close your eyes and enjoy the music. It's very addictive!
 
Pairing
 
The only CIEM that I have which can compete with the MH334 is another Fitear, the C435. However, while C435 renders the details and layers of each song beautifully and clearly, the MH334 offers me a glimpse into the soul of the singer and the song.
 
I currently run the MH334 with either Toxic Cable's Black Widow or the Tralucent silver/gold cable, depending on whether I want to emphasise the lushness and organic character of the sound or I want greater clarity. 
 
While I am agnostic on the source, I find that the MH334 has fantastic synergy with the Hifiman HM802 and the AK 240.
 
Conclusion
 
For sheer enjoyment and pure musical joy, I think the Fitear MH334 is unparalleled. 
 

As nicely explained by Victor in his review of the same CIEM, this is the previous flagship model from FitEar. In fact, unless you are married to the emphasised bass of the MH335DW, this would still be top of the line for anyone looking for a balanced sound. 
 
I have had the C435 since August this year. I ordered on 7th August and delivery was on last week of August. It took just over 2 weeks. I was impressed!
 
Technical details
 
The C435 is a 4 way crossover configuration, 5 drivers (2 highs, 2 mids 1 low woofer) Custom In-Ear Monitor.
 
Initial Impressions during Demo
 
I must confess that Claire from Jaben, Singapore, had suggested this to me when I was first looking for a CIEM. I had fears about acrylic CIEMs after hearing horror stories about bad fits and the discomfit of having acrylic CIEMs. I ended up getting the ACS T1 as my first CIEM because it is silicon and therefore was an easier entry point in terms of comfort.
 
Once I had gotten used to the idea of something embedded into my ear, I tried out Wilson's personal C435 (who owns Jaben). What I will say is that I was gobsmacked: how can such a clear, balanced and complex sound be coming out of a small little bit of acrylic? 
 
As a background, I have practically all the TOTL headphones: LCD 2 & 3, HD800, Beyerdynamic T1, Hifiman HE-500, Fostex TH900, plus all the wooden Grados (save for the PS1000) and most of the Final Audio Design earphones. Hence, you can understand why I was shocked  that an IEM could be so clear, balanced and yet so vivid. It forced to me re-assess the way I thought about CIEMs and IEMs generally.
 
Build Quality
 
The build quality of the Fitear C435 (as with all their CIEMs) is fantastic - beautiful acrylic. The shells are then filled in with acrylic and hence have a hefty solid feel about them. I suspect that this solidness has a position impact on the timbre of the music - the same way that the ACS T1s sounds as it does with its silicon.
 
The only catch with this method of builidng is that I don't think you can go for a reshell. Further, while the connectors that are used are very solid, they are not the common ones which means that you may be more limited in your choice of after-market cables.
 
Comfort and Isolation
 
The C435 is, as with all Fitears, incredibly well fitting. I can pop it in and out with just one hand. And yet when it is in, I don't notice it is there even if I wear it most of the day. 
 
The isolation offered by the C435 is fantastic. I suspect it has to do with the fact that it is solid because the shell has been filled up. I have used it on quite a few flights on both Airbus and Boeing: no issue at all - blocks out more than 95% of the noise.
 
Music Genres
 
I have a very wide repertoire of music in my collection: all the way from Tallis Scholars (medieval church music) to Ella Fitzgerald, Billie Holiday, Frank Sinatra to Lee Ritenour to Diana Krall, Alison Krauss, Stacey Kent, Adele to Chinese pop to Popera to K-pop.
 
What I do like about the C435 is that it handles all these genres without batting an eyelid. While I have heard that if your music is focused on pop or rock music, then you may want to give the C435 a miss. I don't think anyone is saying that the C435 sounds terrible with pop or rock, but rather that it is not optimal - probably the Private 333 or MH334 or TG334 is a better choice. 
 
I can honestly say that I can have my DAPs run on shuffle and not have to worry about the music coming out sounding anything less than stellar. 
 
While the C435 may not make all genres sound spectacular, it will render all of them truly and clearly. It is pretty much transparent and balanced.
 
Sound Quality
 
The C435 is amazingly balanced. The trebles are extended, the mids are just a bit sweet and lush, the bass is nice and tight. And it is incredibly clear with a big soundstage. 
 
If you listen to singers like Alison Krauss, Stacey Kent, Sarah McLachlan, you will appreciate how smooth the C435 is as it can render their voices without a hint of sibilance and oh so clearly. You will be able to hear the voices of angels without wincing.
 
Pairing
 
The C435 is currently still top dog even though I have some very good IEMs and CIEMs.
 
I currently run it with either Toxic Cable's Virus or Crystal Piccolino cable, depending on whether I want to emphasise the lushness of the mids or I want a clean smooth sound. I am still awaiting the arrival of the Toxic Cable Black Widow which I believe will add lushness to the sound.
 
I have no real preference what I run it with: usually it is the HM-901 when I am in the office and the AK120 when I am travelling.
 
Conclusion
 
Whilst I have some other Fitears and some really excellent IEMs, this remains the IEM I reach out for when I need balance and clarity - it is my default IEM. I suspect it will remain so even if I were to get more IEMs or CIEMs.