ShortShorts: Sennheiser HD800 vs HD660S (alternate title: Of Cables and Fables)​

I’m currently testing some upgrade cables for the Sennheiser HD800 and HD660S. I got a 4-core high purity litz 7N OCC+palladium+graphene Three Elements modular for the HD800 and an 8-core high purity 7N OCC+single crystal copper silver-plated modular for the HD660S. How I wish I had these to test with the balanced output of the Hiby R6 Pro II. Sigh.

Cables, Fables, Foibles




At this point, I’d like to apologize to those who feel strongly that cables don’t alter the sound quality and condemn them as snake oil. Please skip this part; there’s nothing for you to see here. For those inclined to consider the merits of upgrading cables, do read on:

• Comparing the upgrade cable of the HD800 from our local Sennheiser shop with the new palladium modular cables, listening to the HD800 again (playing my go-to test track: Hotel California) on the old upgrade cable, I’m once again amazed by its detail retrieval. Certain minor instruments like the cabasa and the shaker are so distinctly replayed compared to my other headphones. The timbre of the electric guitars is really top-tier. There’s a superlative resolution with the high-hats’ open and close hits, replayed without the sonic breaks in other less capable headphones. The cymbals are crisp without diffusion, and the sound is pleasing even on intense strikes.
• With the palladium cables, the bass is a little richer and deeper, with a more satisfying replay. I daresay even more details are exposed, a little more than the old Sennheiser upgrade cable. The treble is a little rounded off, which I like as I find the HD800 a bit bright by my standards. The drums have a more “thumpy” sound that I prefer, not with that slight hollow replay that I hear on some of my headphones and IEMs.
• Conclusion: The palladium cables give a perceptible improvement in the sound quality and replay of the HD800. The old upgrade cable is not bad, but the palladium cable adds more. But I feel that this level of resolution and amount of detail will be fatiguing for long-term listening; I haven’t reached that point yet as I’m still enjoying all the seemingly new nuances being revealed to me on my favorite tracks--pleasant surprises I didn’t know were present in the recording.

HD800 Redux (or why I like the younger sibling, HD660S)

Another thing I realized, apart from the HD800 being detail monsters, and that with the palladium cables, there’s a perceptible improvement in resolution. I know, I know, to some, this might be confirmation bias and a lot of snake oil bull. But my point is, despite the technical capabilities of the HD800, I prefer the HD660S for longer listening sessions. Go figure.

Happy International Workers’ Day to all the hard-working people around the world!

#ShortShorts #Sennheiser #HD800 #HD660S #MALEAudioReviews

Hiby Crystal 6 II Mini Review​

INTRO

“Woah
Cover your crystal eyes
And feel the tones that tremble down your spine
Woah
Cover your crystal eyes
And let your colors bleed and blend with mine.”

— Crystals by Of Monsters and Men

Disclaimer: I received the Hiby Crystal 6 II (Crystal6 v2, $349) as part of Hiby’s review tour. Again, I’d like to thank them for the opportunity to review some awesome audio gear, particularly the Hiby R6Pro2 and the Crystal6 v2. All content, opinions, conjectures, and errors expressed herein are entirely my own. I try not to be biased as far as humanly possible.

I am not an expert on the subject matter or a professional reviewer. I’m just an audio enthusiast who loves listening to music; hence my review references songs/tracks. My opinions (and they are just that) should be taken with a grain of salt.

Specs: 6 Balanced Armatures (BAs) per side IEMs co-designed with Sonion: 39AY dual bass BA, 1006 dual mid-high BA, E50DT dual tweeter BA.




MINI REVIEW

The Crystal6 v2 immediately hooked me when I plugged them into my ears. Very musical and laid-back, they invite you to stay a while, relax, and enjoy your favorite tracks. As someone partial to using audio gears as tools to enjoy music rather than using music to test audio gears, I find it challenging to review units like the Crystal6 v2 as I often get sidetracked in my attempts at critical listening. In other words, the Crystal6 v2 is a delightful listen.

Gears




I used the Aune Flamingo Tube Amp DAC as a source playing Apple Music lossless and hi-res tracks to test the Crystal6 v2. I used only the stock cable and ear tips. I also used the Hiby R6Pro2 and the FiiO M11 Plus ESS to stream Apple Music and play some DSD, FLAC, and WAV music files. I’ve always appreciated IEMs packaged with essentials included, allowing you to hit the ground running once you open the box. No need for tip or cable rolling. Speaking of unboxing, the Crystal6 v2 was a straightforward experience sans bells and whistles.






Accessories & Configuration

What’s in the box? Aside from the IEMs, it includes a soft case, a cooperative modular cable, three sets of ear tips (crisp, balanced, and bass), a hook clip, and some documentation. The Crystal6 v2 faceplates are like fine crystals that faintly catch the light and give understated gem-like reflections. I think they look terrific yet subtle. When I opened the box and removed the IEMs from their plastic packaging (individually packed in sturdy plastic containers), I thought they had MMCX connectors. Upon closer inspection, what I thought were MMCX connectors were actually unusually large vents.



As mentioned above, we have an all-BA set with 6 BA drivers co-designed with Sonion on each side. Based on my limited experience, Sonions is one of the best, if not the best, in the business when it comes to balanced armatures. One of my favorite all-BA sets, the SeeAudio Bravery Red Anniversary Edition, also uses Sonion BAs, among others. I prefer its sound over other versions, like, for instance, the BAs used in the TRN BA15, a set with a whopping 15 BAs per side.

The fit is ultra comfortable, one of the lighter and more comfy fitting IEMs I’ve tried; great for long listening sessions as you are most likely to spend hours with the Crystal6 v2.

Music & Sound Quality

My initial listen is with my go-to test track, the Eagle’s Hotel California via Apple Music at 24 bit 194 kHz, but this time using the Hiby R6 Pro 2 (instead of the usual Aune Flamingo) on high gain, Class A amp at 40 dB. Based on experience, this track requires a higher volume output than my other test tracks, which play satisfyingly at 30 to 35 dB. At first blush, I noticed the Crystal6 v2’s detail replay already; very good treble and high frequencies with just enough brightness to give the cymbal strikes satisfying execution.



The mids are very good to excellent, with Don Henley’s lead vocals presented and positioned just right and reasonably accurate. The bass is good, albeit distinctly BA sounding, but still a satisfying replay with a textured sound quality (mainly the bass guitar) owing to the BAs technical ability. More on this below as I discuss certain tracks.

While listening to my chill playlist, there’s this distinct sound quality that’s very pleasing to me. I know this is so subjective, but I really like the overall sound replay, not just specific tracks or genres, albeit the Crystal6 v2 excels in particular kinds of music, as you’ll see later. When I switched to the Aune Flamingo, listening was already uber satisfying, even at 50 to 55 dB.



At first, I was just enjoying them while I did some WFH (not really critically listening), but I took a pause, and it hit me when Stan Getz, João Gilberto, Astrud Gilberto, and Antônio Carlos Jobim’s The Girl From Ipanema cued in hi-res (24 bit 96 kHz ALAC). I realized this pair is truly accomplished and can offer more, depending on the track and source. Now, I know they play well with a favorite genre: bossa nova. The Crystal6 v2 translates the essence of bossa nova very well. That in-between of happiness and sadness, of pining and release, and of loneliness amidst a crowd is expressed well by the Crystal6 v2. Tim Bernardes’ Última Vez sounded more convincing and pleasing than ever. Tiago Nacarato’s live cover of Onde Anda Você for The Voice Portugal, despite my music file not being hi-res, resonated with the relaxed and laid-back style of the talented vocalist.



I noticed that the Crystal6 v2 has a very wide soundstage insofar as possible for IEMs (please hold your ALL CAPS comments and violent reactions, we’re not getting into that argument today ). Abby Celso’s cover of How Deep Is Your Love in the Love Stories Album Vol I is so pleasingly detailed and nuanced, with guitar plucks and voice modulations sounding very accurate and natural—the acoustics sound so lovely!

The fantastic duo Simon & Garfunkel’s America is exceptionally articulate and musical, the Crystal6 v2 expertly retelling this remarkable short story of a song, weaving its tale and leaving you wanting to know what happens next. It feels like you’re reading a Raymond Carver short story. To perfectly exhibit the Crystal6 v2 capabilities, listen to Tom Misch’s distinct sound as prominently and beautifully rendered in It Runs Through Me (feat. De La Soul)—head bobbing guaranteed.

Another artist wonderfully showcased by the Crystal6 v2 is the American Idol and internet sensation Alejandro Aranda (aka Scarypoolparty); his musical genius is shown in how the acoustic guitar, vocal harmonies, arrangement, and mastering of his now famous original audition song Out Loud. His skillful guitar mastery is matched only by his talent as a composer and music arranger, and this is better appreciated with the Crystal6 v2 plugged into your ears.

Jazz funk tracks also sound great with them, particularly the slower and less busy songs, e.g., Something About Us by Pomplamoose. Those spoken French lines are ASMR heaven to listen to on the Crystal6 v2. There’s a lovely replay of bass with a wide soundstage and vocal harmonies exemplified in Pomplamoose’s Lovefool. Speaking of low frequencies, I noticed a terrific reproduction of bass guitar in my All About the Bass Apple Music playlist. The bass guitar techniques (the plucks, hammer-on and pull-off, slap, pop, etc.) are accomplished and rich with details. Those studying bass guitar might benefit from this replay.

Except for the live track I mentioned above (Onde Anda Você), the Crystal6 v2 is more unforgiving of lossy tracks and poorly recorded songs. Flaws are immediately apparent. Is this a sign of good detail retrieval? I’m not sure.

Synergy

There’s a significant and perceptible synergy with the R6Pro2, intentional or not; you can hear it. Those AK4191EQ and dual AK4499EX DACs complement the all-BA configuration of the Crystal6 v2 very well. Compared with the synergy between the FiiO M11 Plus and FA9 (which I also like), I’d say the R6Pro2 and Crystal6 v2 are at 9, while the M11 Plus and FA9 are at 8 on a scale of 10.




The R6Pro2 and Crystal6 v2 give enjoyable vocal playback; details and articulation are top-notch but not pushed forward. Positioning and imaging give you the impression that the singer is spatially aligned with the rest of the band—a rather pleasing presentation to my ears. Again, bass replay is rich and textured, particularly the bass guitar, with the plucks, picks, hammer on and off techniques accurately and nicely played. Although, understandably, the kick drums lack the physicality of dynamic drivers. But I must underscore that this does not detract from the quality of the sound replay of drums; they are still very detailed and accurate.

The combo gave me one of the best replays of Tanita Tikaram’s The Cappuccino Song which featured background noises and conversations and was handled by the Crystal6 v2 quite well, making you feel that you’re in a cafe with the two protagonists of the song’s story as it unfolds. It was very nice to experience one of my favorite songs this way—this track underscores the uncommonly wide soundstage of the Crystal6 v2. Also notable was that the artist’s husky female voice is more smoky and mesmerizing with the Crystal6 v2.

The combination also gave me one of the most accomplished replays of acoustic guitar and music I’ve heard; the strum, plucks, and riffs sound so natural. If anything else, the Crystal6 v2 was meant to play your acoustic playlists, and it’ll do an astounding job when paired with the R6Pro2.

Select Comparison



For this section, I decided on an all-BA shootout. However, since I had to cut short my time with both the Hiby R6Pro2 and Crystal6 due to an out-of-town emergency trip, I was only able to compare the Crystal6 to two other all-BA systems near its price range: the FiiO FA9 ($499) and AudioSense T800 ($498). The comparison was made using the Hiby R6Pro2 + Hiby balanced 4.4 cables and volume at about 40 dB on high gain with Class A amp—

• vs. the AudioSense T800: The lower frequencies, especially the mid-bass replay, are better with the Crystal6 v2—very textured and deep. The same goes with vocals, not pushed forward but still articulate and clear. The treble is a tad better on the T800, particularly the crisp replay of cymbal strikes and other instrumentations in high frequencies. The T800 is brighter, but I’ve always liked how they handled sibilance—always within the threshold of my treble-sensitive ears. The drums and kick drums are understandably better with the Crystal6 v2. The slight emphasis on the high frequency might give the impression that the T800 is superior when it comes to detail and imaging, but to my ears, the Crystal6 v2 has better imaging since it has a more expansive (as IEMs would allow it) soundstage, allowing for better instrument separation, giving the sound replay, sonically speaking, a more layered presentation—hence, psychoacoustics-wise, seemingly better detail. For those who like a warmish neutral sound, you should go for the Crystal6 v2. Trebleheads or those wanting a brighter sound signature are better served by the T800. Bass heads might find both a bit lacking in that department. However, I’m pretty much satisfied with the T800’s low frequencies and impressed with the Crystal6 v2’s bass replay. Crystal6 v2 is for easy listening and relaxing, while the T800 is for more analytical sessions.

• vs the FiiO FA9: for this A/B test, I set the FA9 at the “Strong Bass” setting to match what I think is the strong suit of the Crystal6 v2. Note that with the FA9, I had to raise the volume to 47 to get a satisfying replay. Again the Crystal6 has a better low-frequency presentation, and the bass guitar has a more pleasing sound. The FA9’s bass is similar to the T800—not really bad, but the Crystal6 v2 edges both out in texture and slam. The vocals are, however, better with the FA9 than the T800 and the Crystal6 v2, but not by much. FA9’s treble handling is closer to the T800 than the Crystal6, maybe a smidgen brighter than the T800 (and this is not even the “Crisp Highs” setting of the FA9, mind). It’s still within my sibilance threshold but poking at the ceiling already. The vocals are where the FA9 edges out both the Crystal6 v2 and T800, with even the second voices/backup singers coming in clear, albeit some would say that the vocals might be slightly pushed forward. Again, for enjoyable listening sessions with your favorite playlists, particularly acoustic guitars and bass-heavy tracks, you’ll like the Crystal6 v2. For those looking for versatility, a brighter sound signature, and the ability to tweak their IEMs, the FA9 has those advantages.

Niggles & Giggles

They say it’s the little things that count. This section includes what I perceive as minor points that may be worth considering, perhaps even deal-breakers for some. Things that delighted me (giggles) and those that piqued me (niggles).

Niggles

• The cable plugs partially cover a small part of the left and right indicators. Not really a biggie, except for people with OCD, perhaps.

Giggles

• I like the subtle branding on the cable plugs, which is not in your face and is stylishly executed.
• Initially, I was a bit undecided, but now I’m sure I love the simple 4-core stock cable of the Crystal6 v2. It has little to no microphonics, has a good build and with quality materials, and is well-behaved and tangle-resistant compared to most cables. I also like the golden copper colorway.

CONCLUSION

In a word: DELIGHTFUL. The Hiby Crystal6 v2 is an accomplished piece of tech with a relaxed and playful tuning that goes well with laid-back, chill, and relaxed tracks, particularly bossa nova and acoustic music. At this price point, it’s certainly worth considering after an audition. Fans of mellow music and chill playlists, those looking for a relaxed listening session, and those listening to music while working (whether WFH or at the office) will find this pair a delightful companion. However, those looking for high-energy replay might find the Crystal6 v2 lacking. I think the Crystal6 v2 covers all the bases well, from the low frequencies to the highs, but I fear some might find the pair lacking energy.

#Hiby #Crystal6v2 #IEMs #MALEAudioReviews #MALEMiniReviews

INTRO

Here’s another distraction to my pending reviews. I promise those are forthcoming soon. However, I must digress: In my relatively nascent journey in this hobby, I always gravitated towards portable audio gear due to my limited budget and small desk real estate. As a general rule, smaller music devices are cheaper and would definitely leave a small footprint, not to mention that I’m often mobile and will have to work from where ever I am currently located, so portability is a big plus for me. I have always been searching for an ultra-portable digital audio player (DAP) to satisfy my audio cravings while on the go. I think I’ve found that elusive device: the Shanling M0 Pro.

Disclaimer: Again, this is a personal purchase, so there might be some confirmation bias involved in this post. I am not affiliated with Shanling, and all thoughts, musings, opinions, and errors expressed herein are entirely my own.

Out of the Box









Unboxing was a simple affair, as one reviewer would fondly comment. The box includes the basic items sans the essential accessories, i.e., the case and 3.5 mm to 4.4 mm balanced adapter, which are conditions sine qua non for enjoying this little gem’s full potential. Fortunately, I was able to buy these accessories, particularly the adapter, which even arrived ahead of the M0 Pro.









I plugged in my 1 terabyte microSD card to do an initial test. It scanned around 380 gigabytes of music files in 15 minutes or thereabouts. This is much slower than the scanning ability of the Hiby R6Pro2 (running on Android 12) or the FiiO M11 Plus ESS (running on Android 10), but this is simply not a fair comparison and is actually a testament to the capabilities of this diminutive DAP. Running on its own no-frills Hiby OS, I think that’s quite acceptable.

Sound Impressions

For sound impressions, I immediately tested the M0 Pro with the FiiO FA9 on a 4.4 balanced connection via the Shanling adapter using the TRN pure gold modular cable with volume at 32 dB on high gain. A few quick observations:

• Bass is surprisingly good, thumpy, and digs deep on kick drums and bass guitar. I like the sound replay.
• I tried the M0 Pro with the not-easy-to-drive Audeze Sine+custom pure silver 4.4 mm balanced cable plugged into the M0 Pro via the Shanling adapter. The volume was at a comfortable 72 dB with satisfying replay already. This diminutive DAP packs a punch.
• I then checked the device’s Bluetooth capabilities, particularly its receiving mode, by connecting it to my iPhone. When connected to the iPhone and streaming AAC, the volume had to be raised to 76 to 82 dB. The quality was still outstanding, and it was still quite enjoyable to listen to.
• I switched to USB DAC mode connected to the iPhone, and the volume was raised to 80 to 86 dB; playback was slightly better than Bluetooth over AAC. Both are enjoyable, albeit with better performance via wired DAC mode.
• I then connected the Edifier Neobuds Pro to the M0 Pro via LDAC. The sound replay is lovely, at around 60 to 65 dB. I got a very clear and detailed playback. It seems to have retained the last setting of the Neobuds Pro when connected to the M0 Pro, which is high noise canceling. This is my favorite combination so far, considering the case-use scenario I envisioned when I bought the M0 Pro.

OUTRO

I’m excited to find more hidden synergies the M0 Pro has with my other audio gears and discover the perfect combo for this little gem. I am sure that this will be my constant travel companion due to its sheer portability, or should I say, pocketability. I don’t even need a bag for this. The Edifier Neobuds Pro and the Shanling M0 Pro will fit in my jeans pockets.

#ShortShorts #DAPs #Shanling #M0Pro #MALEAudioReviews

INTRO

The problem with business trips is that when you leave with audio review backlogs, you return home with more. I arrived from a 5-day work-related road trip to find the Philips Fidelio X3 (list price: $349) already waiting for me at home. I ordered this on April 19 via Amazon, and it arrived on April 23. Man, that was fast! And they were at 60% off, btw. Thanks to “El Patron” for giving a heads-up on this fantastic deal!! You are a godsend, Sir.

Before I start, please mind the confirmation bias, as this is a personal purchase. As far as humanly possible, I shall avoid the pitfalls of natural bias. I am not connected with Philips; all content, opinions, conjectures, and errors herein are my own.

Out of the Box









Unboxing was a delight, albeit straightforward. The headphones look premium and well-built. It feels sturdy, and the Muirhead leather headband is something to behold (and get a whiff of). For the Scottish craftsmanship, I’d say that the headphones are well worth the price. The leather headbands indeed passed the “smell test.” They smell like genuine, high quality, and soft leather expertly crafted and built into one superb “Alice band,” as the Scots would call it. With the stylish and durable Kvadrat speaker fabric, suited up in a sexy black and grey colorway, you’ve got one of the best-looking headphones I’ve seen. A combination of excellent Scottish and Danish materials and design. As a side note, I was fortunate to visit Scotland, and they have amazing craftsmen there. I purchased some quality Amy Britton Harris Tweed accessories years ago, and they hardly look worse for wear now. I’m expecting the headband of the X3 to age well and withstand wear and tear.







Sound Impressions

Listening was at a relatively high 83 dB for my go-to initial test track: Hotel California at 24 bit 192 kHz on the Aune Flamingo amp/DAC on op amp mode (and then later, tube mode) using the stock cable. Here are a few quick takes on the X3:

• The sound signature is a little bright, brighter than most of my headphones. I suspect it shares a slightly similar replay as the Sennheiser HD880 (I’ll A/B test them to confirm). But with that amount of brightness, somewhat aggressive treble, and high frequencies come very welcome clarity and detail—treble-heads will like this set of cans.
• The bass presentation is good, just enough oomph for me, but it might prove lacking for some, particularly bass-heads.
• The soundstage is satisfyingly wide, not the widest among my headphones. Still, I suspect it’s wide enough to enjoy live tracks, classical music in concert hall settings, instrumentals, and musical scores. I think I’ll enjoy Metallica’s entire S&M album on these.
• The mids are a bit recessed or pushed a little further back. Hence some vocals may seem a bit thin to some ears. It sounded a tad anemic to mine on a few tracks. However, the overall sound replay improved a lot when I used tube mode on the Aune Flamingo. Some of the treble were rounded off, and bass replay became more satisfyingly substantial, not necessarily more powerful, but with more presence. The mids for me are now ok, very nice actually, particularly on instrumentals.
• One stand out is the audio panning and positioning on certain tracks with left to right or vice versa sound replay. I think gamers might like this Fidelio X3 skillset. This also translates to a good reproduction of the live track The Foxey Lady by Joe Satriani, Steve Vai & John Petrucci. Their dueling trio of electric guitars sounded surprisingly good despite the treble-forward tendencies of the X3—that tube amp mode really helped a lot.

OUTRO





I look forward to trying this pair with other sources to discover hidden synergies and compare them with my headphones at or near their price bracket. But this has to wait as I have to finish my mini-reviews of the Hiby R6Pro2 DAP and Crystal6 IEM. For now, this beauty will remain on a dedicated stand to brighten up my home office.

#Philips #FidelioX3 #Headphones #Unboxing #InitialImpressions #MALEAudioReviews

INTRO



I just got the latest medium-end DAP from Hiby (available for pre-order today on their website), the R6 Pro II (hereinafter R6Pro2), as part of Hiby’s review tour. Before anything else, I’d like to thank them for the opportunity to review some awesome audio gear, particularly the R6Pro2 (spoiler alert!). That being said, all content, opinions, conjectures, and errors expressed herein are entirely my own. I try not to be biased as far as humanly possible.

Out of the Box










The unboxing experience is straightforward and simple, yet stylish, setting the tone for my initial impressions. Upon opening, you are immediately greeted by the device itself, the tour unit coming in wearing sexy black (there’s a more popular purple colorway too). Its large screen is the first thing I noticed; much larger than my FiiO M11 Plus. It’s also considerably thinner than the M11 Plus (please see included photos for size comparison). I’m digging the overall design language, particularly the “waveform” design at the back, which probably helps dissipate heat. The included accessories, spartan but complete, are also well appreciated, particularly the faux leather case, the type A adapter for the type C cable, and the extra screen and back protectors. No need to look for essential aftermarket accessories. Very thoughtful.







At First Blush

Of course, I couldn’t help but boot it up immediately after unboxing. Initial boot time took just about 3 to 5 seconds. The introduction screen and dialogue boxes are straightforward and easy to follow since I’m familiar with Android from the M11 Plus. However, the R6Pro2 uses Hiby’s proprietary OS, which is a first for me.




Although I couldn’t test the touted 2 terabyte capacity of the R6Pro2, I’m happy to report that it had no problems with my 1 terabyte microSD card. The DAP was able to scan around 380 gigabytes worth of music in less than a minute.




Logging into my Apple Music account was also a breeze. However, loading my entire Apple Music Library took a bit longer, around 2 minutes. In fairness, I have accumulated a relatively extensive library and created several playlists, as I’ve been using Apple Music for quite some time now. Once that was complete and Apple Music was up and running, I immediately noticed that playback abruptly cut at the tail end of songs. My theory is that I would need to tweak the playback settings. I’ll report back to you guys once I’ve confirmed this.

Sound Impressions



My initial listen was done with the settings on class A amp mode at high gain using Letshuoer Cadenza 12 playing, as per usual, the Eagles’ Hotel California (24-bit 192 kHz) at 32 to 38 dB. Here’s my initial take, all in comparison to the FiiO M11 Plus:

• I couldn’t help but notice immediately how nicely warmer the sound replay was. As I prefer a warmish neutral sound signature, this is right up my alley.
• Bass was a tad richer, with the bass guitar at the intro full and accomplished (note replay from beginning to end is complete and accurate).
• During this initial listen, I hazard to say that the sound replay is akin to tube amps, perhaps with less natural distortion. I must say that they really complement the Cadenza 12’s technical capabilities. It reveals more nuances of the tracks played by the Cadenza 12, with micro details pleasantly and subtly revealed but nothing overboard or unnaturally pushed forward.
• At this point, I veered from my usual initial listening routine as I couldn’t help but immediately throw a few DSD files at it to test how well it could handle them. With the Cadenza 12, the details are wonderfully revealed, with a touch of warmth that ticks off my first impressions like boxes.
• I did notice some noise when music is on pause at the class A amp and high gain setting, but nothing distracting or annoying. This could depend on the IEMs used; in this instance, it’s the Cadenza 12.

OUTRO

So these are my initial thoughts on the R6Pro2 based on a very short time with it. I look forward to spending more time getting to know it. I’m very excited to try them with Hiby’s Crystal6 version 2, explore possible synergies with other audio gears (headphones, IEMs, and Bluetooth devices), and compare this DAP extensively with my trusty FiiO M11 Plus ESS. Thank you for taking the time to read this short take, and I hope to see you in the next one.

#HibyR6ProII #DAP #Unboxing #InitialImpressions #MALEAudioReviews

INTRO



This tour unit was kindly provided by HiFiGo, and I’m incredibly grateful to them for giving ordinary folks like me the opportunity to hear a TOTL in-ear-monitor (IEM). For the life of me, I will not be able to purchase this costly pair. Kudos to them for keeping their ear on the ground and being interested in the take of us hoi polloi.



Disclaimer: I am not connected with HiFiGo or Letshuoer, and all opinions, conjectures, and errors herein are my own. To the best of my abilities, I will try to remove bias. Since this is a tour review unit, human nature’s confirmation bias might be lessened. I am also not a technical expert or audiophile. I’m just an enthusiast who loves listening to music and enjoys gears that help me do that.

Out of the Box





The unboxing experience of the Cadenza 12 is what you’d expect at this price point ($2,299/PhP125,000). The presentation is superlative with a cohesive design language. The outer box is shiny silver, foreshadowing what you will see when you open the box. The inner box is equally lovely with suitable materials, perfect for storing those special IEMs and audio gears. It also comes with some nifty storage dividers that allow you to have compartments.









The included accessories are classy and well-made: the carrying box is one of the best I’ve seen, with the right shade of gray and silver highlights using what I think are good materials (not sure if it’s genuine leather), with strong magnets that give a reassuring snap when you close the lid. There are three types of ear tips for vocals, bass, and balanced tuning. As I’m wont, I went for the medium bass ones.

Before opening the box, I wondered why it was so darn heavy. Upon opening it, I discovered that it had this metal plate depicting what seemed to be a dog with a fiddle. That’s a fresh take on the ubiquitous waifu accessories/stands with many IEMs nowadays. I’m a little on the fence about this, though, on the practical side, what with shipping fees and customs duties to worry about. Not to mention security concerns: couriers and delivery personnel might be more curious about a box that’s too heavy for its size.

I like the stock modular cable with a paracord black sleeve up to the y-splitter, revealing a classy bronze-like thick cable leading to the IEM connectors. I’m guessing copper, but I could be wrong. The fact that the Cadenza will work out of the box sans any cable and tip rolling is a massive plus for me.

Sound Impressions



In my initial sitting, I used all stock configurations (cable and IEM) plugged into the Aune Flamingo Tube amp playing the Eagles’ Hotel California at 24-bit 194 kHz hi-res lossless Apple Music at 65 to 70 dB. This is my first time hearing a TOTL at this tier/level, so please bear that in mind. Here are my initial impressions:

• Oh boy, talk about layers and layers of musicality. The details on this pair are top-notch. The song’s soft intro sounds busier than in my other IEMs.
• The “dueling” double lead electric guitars of Joe Walsh and Don Felder are more textured and nuanced, with their unique guitar techniques more prominent than all IEMs I’ve tried. This will sit well with musicians and instrumentalists who would approach this iconic song analytically—dissecting the riffs, tone, rhythm, tempo, and harmonization of two talented guitarists.
• The Cadenza 12’s detail and resolution justify the purchase price for those purist and serious audiophiles looking for that elusive plus factor that separates a TOTL set from the rest—they might find that missing sound and replay here. The surprising detail retrieval and ability to present the whole gamut of a song’s sound replay as recorded or mastered without being fatiguing is an enormous feat. I believe it has been achieved here.
• Vocals are more articulate, not overly forward, but rather more present (if that makes sense). Inflections in the voices hitherto unheard or pushed back during busy portions surface to acoustic consciousness, leaving the peripheries. Again this is not to say that vocals are pushed forward, but rather more present, articulate, and “illuminated.”
• Low frequencies and bass are more satisfyingly layered than other sound replays by lesser IEMs. They say the devil’s in the details, and details are legion in this pair. Low rumbles are much more satisfying not because of the sound replay’s physicality and “thumpiness” but more so the texture and richness of the tonality. I have yet to decide that this is my preferred way of acoustically presenting bass, particularly bass guitars, but I am sure there are those who will like it a lot.

OUTRO



I still have to spend more time with these very expensive IEMs to come up with an informed conclusion. Suffice it to say that they are ticking off many of my “like boxes” and only a few of my “dislike” ones. I hope to catch you on the next, more substantial review of the Cadenza 12. Thanks for reading!

#Letshuoer #Cadenza12 #Unboxing #InitialImpressions #MALEAudioReviews

Top of the morning to everyone (or good afternoon/evening, depending on your location and time of reading). This is a short and quick unboxing of my wife’s advance birthday gift for me (yes, I failed the Marshmallow test miserably).





Dan Clark Audio says these are specially designed planar drivers built on their ETHER 2 technology. The box says it’s entirely “designed, built, and tested in San Diego, USA.” So I guess this does not qualify as ChiFi.





The unboxing experience is both laid-back and tasteful. It’s refreshing to see packaging that’s both spartan and well thought of. There are no frills, but the inclusions are essential and complete. Well, except for the cable, more on that later. Small touches like the content of the literature inside the box. Even the use of the Oxford comma in the quoted portion above speaks to a very detail-oriented and mature branding, marketing, and company. Hifiman can take its cue from Dan Clark Audio in implementing its no-nonsense packaging.



How do they sound out of the box? Great. They sound really, REALLY good. This is a personal purchase, mind, so watch out for confirmation bias and the fact that this is an initial listen. That being said, here are my first impressions:

• The details are very good. I hesitate to say excellent because when deciding to get these cans, I was fortunate enough to audition and compare them with some big boys, i.e., the Hifiman Susvara ($6,000), Dan Clark Audio Expanse ($4,000), and the Focal Clear ($1,500). The Susvara and Expanse were definitely at the excellent tier regarding detail. But at this price point, the Aeon 2 Noire comes relatively close. There’s enough resolution to say it’s very good to excellent. Without comparing them to the Susvara and Expanse, they definitely have excellent detail retrieval. I like Noire’s tuning and resolution over the Focal Clear. To reiterate, this is based on my personal preferences and is entirely subjective. Contrary opinions and constructive input are welcome, but rude comments are not.
• Bass is there and plays like dynamic drivers, which is a good thing. To my ear, they don’t sound like most planars when it comes to kick drums and drums in general—physically present and thumpy with a sense of air being pushed like DDs. The Noire aptly plays the low frequency very, very well. Dark and intense, with satisfying rumbles, just how I like it.
• Treble is a bit of a wildcard, especially for treble-sensitive people like me. But it’s well within my sibilance and brightness threshold, which makes for very satisfying and crisp replays of cymbals and high hats. I like the seeming trade-off of having some sibilance in naturally bright track and portions thereof with a very gratifying reproduction of cymbals, which I personally think is difficult to achieve, tuning-wise.
• The vocals are very good as well. Fricative consonants are well within the bounds of pleasant listening. I suspect, though, that very challenging portions of my sibilance test tracks may touch my brightness ceiling.
• As mentioned, the stock cable is particularly piquing because it’s just a 3.5/6.35 mm jack. No options for 4.4 or 2.5 mm, so your other sources with these types of output will be left hanging. Adding to this niggle, the store I purchased them from sells the Dan Clark balanced 4.4. cable for more than $200.

Again these are just initial thoughts based on this early morning (5 am) listen because I don’t have the discipline to wait before I open my birthday gift. I plan to come out with a more thorough assessment of the Aeon 2 Noire after I finish my initial impressions of the Letshuouer Cadenza 12, which also arrived with the Noire (yet more backlog, I know). I hope to catch you guys in the next one.

#ShortShorts #DanClarkAudio #Aeon2Noire #Headphones #MALEAudioReviews #Backlog

ShortShorts: Revisiting Audeze Sine​

Early Sunday morning with Audeze Sine redux. Pardon my French (or, more accurately, my Latin); I’m listening to Nouvelle Vague’s cover of Ever Fallen in Love by the, erm, Buzzcocks.

I really am blown away by how good these petite planar cans are. It’s a tragedy that they marketed it as a mobile companion for iPhone/iPad with the somewhat cantankerous Cipher lightning cable. With that configuration, it understandably struggles. I “modded” mine with over-the-ear pads and custom 8-core silver-copper modular cables plugged into the iFi iCan Nano+Aune Flamingo on tube mode, and they sing.

Beautifully designed—thanks to BMW’s Designworks—sleek, all-black (I’m a sucker for black colorways). It’s my favorite compact and light planar headphones.

#HeadPhones #Audeze #AudezeSine #MALEAudioReviews #ShortShorts

FiiO FA9 Unboxing and First Impressions​

INTRO

I’m never going to catch up with my audio-related backlog. I’m obviously very excited about this, as other pending unboxing and initial impressions were put on hold.

The FiiO FA9 arrived yesterday. Shipping was fast since I ordered on March 26 and was holding it 4 days later. Kudos to the FiiO AliExpress store; thank you for such efficient service. Unfortunately, there were additional fees from FedEx for “warehousing processing charges,” negating FiiO’s very generous free shipping offer. Bad FedEx, bad.









Out of the Box

Anyway, pardon the rant. Back to happier news. The unboxing was a pleasant experience, with the presentation tasteful and not over the top; very classy. Very apt for this price range ($449 at Amazon, $349 [30% discount as of this writing] at FiiO AliExpress official store). I like how they laid out the IEMs with the cable, greeting you with a heart when you open the box for the first time. One niggle is the cable. For flagships, we have come to expect a modular one at the very least, especially for units that aren’t cheap.







These IEMs are gorgeous. Although entirely different from the design language of the Kinera Urd I recently reviewed, but equally attractive nonetheless. Its aesthetics are somewhat similar to the AudioSense AQ7 Pro Insight (whose unboxing and initial impressions got sidelined by the FA9 ) but is a little bit more polished and refined, I should say. The touted ultra-long sound tubes for the bass drivers of the FA9 are tastefully presented in this black colorway—which I like better than the clear version. Again the AQ7 and FA9 share the same looks regarding their innards. You can see that the execution and implementation were done by an OCD, impeccable, compact, and orderly, even with the tubes, more so with the FA9 with longer tubes cleverly arranged as a “low-pass filter” for the low frequencies.



Sound Impressions

Dropping everything else, I immediately tested them using the stock cable and without changing the ear tips (SpinFit M), as well as not touching the tuning switches yet (which were set at standard mode out of the box). As per usual, I used the Eagle’s Hotel California at 24-bit 194 kHz hi-res lossless with volume at 60 to 65 dB on the Aune Flamingo on tube mode. Here are my initial sound impressions:

• Even at this stock configuration, the bass is already outstanding, deep, and reverberating, not sounding like an all-BA set.
• Cymbal strikes during the song’s intro are delicate and articulate, with very nice details and enough crispiness but with a controlled treble that tells me I need not worry about sibilance for this pair. This was confirmed when I reached my “stress test” for treble at 4:20, where other IEMs failed to execute that intense cymbal strike with control and mastery; the FA9 handled it pretty well.
• Details are present and so clear that the Cabasa percussions are already rhythmic as early as the first part of the song (usually, the percussive replay is more evident during the second part of the song for most IEMs)
• Kick drums are thumpy and with good physicality, almost like a DD, giving me the psycho-acoustic impression that there’s air being pushed where there should be none.
• The toggle switches do change the sound but don’t expect too significant a difference. There are subtle but perceptible shifts, and I suspect this will appeal to those who like to play with tuning their IEMs but abhor using EQ (yes, I know you’re out there) or just don’t know how (like me ). I’ve noticed that more IEMs are coming out with switches and toggle recently. It’s becoming a thing for the current crop of monitors, so this feature will cater to those who prefer a bit more control and versatility.
• Based on initial impressions, I think I’m partial to the strong bass setting—more rumble and less sibilance (did I mention I’m a bit treble sensitive?). But you do lose a bit of detail, not by much, mind. Rest assured that the replay is still enjoyable and filled with musicality.

OUTRO

I shall spend more time with these beauties, play more with the different permutations presented by the toggle switches, and hopefully get to compare them with another unit I also recently purchased, the AQ7 Pro Insight. Or, perhaps it’s best to compare them with all BA sets like the T800, the SeeAudio Bravery Red Anniversary Edition, and the TRN BA15? Let me know which ones are best to test the FA9. Thanks!

#FiiOFA9 #FiiO #IEMs #MALEAudioReviews

Quick Take & Initial Impressions



I got the AFUL Performer 5 (hereinafter P5) as part of its Philippine review tour. These are my quick, brief first impressions of this exciting and (relatively) new set of IEMs:





For this first sitting, I used (as per usual) the Aune Flamingo + stock cable + stock tips (initially the red stems), playing Hotel California via Apple Music at 24-bit 192 kHz ALAC. Here are my thoughts while they’re plugged in—

• tuning is great, tonality is very good, details are really, really nice, replay extension is clinical and precise, particularly bass replay - the start and end (attack and decay?) are distinct, not over-extended (although at times, I feel that the end would seem just a little bit abrupt and not fully extended in some parts of the track)
• drums are comparatively a bit relaxed but still satisfying; there’s already clear (not just loud) replay even at low to medium volume
• bass replay is somewhat slower than other IEMs, but layer and separation are top-notch; bass replay is more “melodious” since it sounds more like a string instrument rather than a percussive instrument (if that makes sense), and there’s better nuance in the plucks and notes played compared to other IEMs
• one niggle would be the slightly different replay of the electric guitar (with the stock red stem tips vs the blue stem ones, see below); not the most natural sounding, but there’s a different tone or timbre there, not exactly SPD-unique but a little bit closer to planar, but with a slight variation in sound presentation
• I’m surprised that with the level of detail, they’re hardly ever sibilant or too bright—quite controlled treble with nary an instance of peaking
• there’s a high level of detail here since the first part of the song where the Cabasa is playing in the background; usually, most IEMs would play it with a little bit less detail compared to the second part of the track; the P5 plays that instrument a lot clearer even on the first part of the song, and yes, come the second part of the track, the Cabasa is replayed more clearly compared to most IEMs I have listened to, very percussive and nuanced
• when I switched to the narrow bore blue stem, the slight unnatural replay of the electric guitar was gone, and the resonance and note extension became more natural and pleasing (not that the previous replay was bad, mind), although the vocals were pushed a bit back, I preferred the sound quality with these tips; I’m not talking about night and day difference and some folks might like the warmer, darker replay of the wide bore red stem tips; I like the additional details provided by the brighter replay of the blue tips, with the level of treble control the P5 has, it can handle extra brightness and still deliver great replay
• one other surprise (although I’m not 100% sure about the technicalities, and this is definitely not my wheelhouse) was that it didn’t require too much power to drive the tech that’s reportedly inside this pair.

All in all, these IEMs are really good. I plan to compare them with other IEMs that may compete with the P5’s technical performance, like the Mangird Tea OG, the SeeAudio Bravery Red AE, 7Hz Timeless OG, Raptgo Hook X, and AudioSense T800. A longer review to follow. Please stay tuned.

#AFUL #Performer5 #IEMs #MALEAudioReviews

INTRO

“[R]avel porcelain, made by masters in China.” (Masters in China by Priscilla Ahn)

Specs: 2 Sonion ESTs + 2 Titanium Coated Diaphragm Coaxial DD + 1 Kinera Customized 11021 BA



DISCLAIMER: Kinera provided the unit as part of a review tour. All contents, conjectures, and errors herein are my own, sans any bias to the extent possible (everyone has a bias, as is human nature, but that’s another discussion). I am not an expert on the subject matter or a professional reviewer. I’m just an audio enthusiast who loves listening to music; hence my review references songs/tracks. My opinions (and they are just that) should be taken with a grain of salt.

MINI REVIEW


In my first impressions, I harped on the Urds design, aesthetics, and its enjoyable sound signature and tuning—truly a visual and auditory feast. I stand by those initial observations. Now that I’ve spent more time with them let me elaborate:

Gears

As I’m wont, I used the Aune Flamingo Tube Amp DAC as a source playing Apple Music lossless and hi-res tracks to test the Urd. I used only the stock cable and ear tips. This adds credence to my previous post: “you’re getting your money’s worth.” Note that the Final Audio Type E ear tip is difficult to put on the IEMs but is worth the effort, as I will explain below.

I also tried the Urd with several other audio gears to test compatibility and possible synergy. I used the FiiO BTA30 Pro, TRN BT3S Pro, Moondrop Dawn Mini DAC, iFi Go Blu, FiiO M11 Plus, and FiiO Q3.

Accessories & Configuration

One thing I like about this set is that you don’t need to spend more for upgrade cables or ear tips; everything you need is included in the box, as it should be. As mentioned below, the included ear tips and modular cable are enough to get the most out of these IEMs.



This is not your typical IEM tribrid configuration—dual dynamic drivers (usually single) for the lows and single BA (usually in pairs) for the mids; the Sonion ESTs always come in pairs. With 2 dynamic drivers handling the low end and a solitary BA for the mids, some might think that the DDs will overwhelm the single BA. Indeed, some quarters claim that this set’s middle frequency is thin. This is not so in my experience. To my ear, the single BA is doing an excellent job handling the mid-frequency—which should not surprise me as I’m sure many of you are thinking: “Etymotic ER4SR, dude.” I hear you, I hear you. Suffice it to say, Kinera did an excellent job tuning the Urd using just a single BA for the mids.



These are pretty chunky with an extended nozzle, and one would think comfort will be an issue. I compared it with the thickest IEM I have, the KZ AST, and the Urd is a bit wider with a longer nozzle. Like the AST, the Urd is surprisingly comfortable to wear, and the elongated nozzle helps fit and isolation. It is also lighter than the AST, which adds to the wearing comfort level. There’s a single vent that helps relieve pressure and deliver excellent bass replay.



Music & Sound Quality

Listening volume is at a comfortable 65 to 70 on the Aune Flamingo initially at tube mode and (later, I would discover as better) on OpAmp mode, using the excellent Final Type E ear tips (L) playing my go-to first test track Hotel California by the Eagles at 24-bit 192 kHz. The bass, like well-textured chocolate, is so delicious, thick on the cocoa and not the sweetness. What stands out is the physicality of the bass impact thanks to the 2 dynamic drivers pushing air as it replays low frequencies, making the sound quality more palpable compared to planars or BAs. Details are one of the best I’ve heard, with distinctly separate but cohesive instruments. I took particular note of that portion of the track where drummer/vocalist Don Henley performs a soft tap open and close rolling percussion of the high-hats beginning at around 3:29. Some IEMs’ replay of this part is thin with a sonically perceptible break in the cymbal roll before Henley closes the high-hat to end the note. The Urd’s replay is continuous even at the softest part of the roll, indicating that it’s adept at detail retrieval.

The Urd handled the busy live track Foxey Lady (G3 Joes Satriani, Steve Vai, and John Petrucci: Live in Tokyo) pretty well, the sound replay was not overcrowded, and the separation, albeit less, is still there with no diffusion. The live electric guitar replay is a strength, as well as the drums. However, heavy cymbal strikes are still a bit muted and a tad off.

There’s a bit of a different timbre when it comes to bass guitar replay. To my ears, it’s enjoyable, albeit unusual. It’s not a deal breaker since it’s only noticeable in a few tracks like Alice Merton’s No Roots. The bass guitar sounds great in Scary Pockets’ cover of Back to Black featuring Madelyn Grant, particularly the deliciously thick and textured replay starting at 2:07 to 2:38. I suspect the double DDs and excellent tuning are doing their magic there.

The soundstage is wider than most of my IEMs, if not the widest. Hence, vocal harmonies are a bit farther apart and give a different effect in terms of presentation and harmonization. It initially threw me off, but I’ve gotten used to it. I have yet to decide if I prefer it over the replay of my other IEMs. Again, it appears to be track specific and depends on how the song was recorded when comparing Emotion by O’G3NE and Helplessly Hoping by Girl Named Tom. The former track has a narrow presentation and positioning, while the latter is broader with a precise left, right, center, and correct arrangement.

As for treble, the Final Type E ear-tips indeed pulled back some of the sharp edges from the intense electric guitars and cymbals, which I really love but might not sit well with treble heads. I switched to the stock regular silicone tips resulting in a slight treble increase but not much difference in the bass. This might make the high-frequency junkies a little happier. I prefer the smoother treble of the Final Type E, except that it somewhat sacrifices cymbal strikes replay, but again only in specific portions of certain tracks, e.g., at 4:20 of Hotel California.

As mentioned above, I also discovered that switching the Aune Flamingo to OpAmp mode can remedy the somewhat blunted high-frequency range. A more clinical and neutral source appears to cure this “malady” in the Urd’s sound signature. This was later confirmed when I tried them with other gears.

Female vocals (e.g., Norah Jones) are light when needed and powerful where required, again with details to satisfy most except the pickiest of audiophiles. The same goes with Adele’s voice in When We Were Young; the Urd presents her at once distinctly strong and subtle vocals quite nicely. Billie Eilish’s rendition of idontwannabeyouanymore seemed more delicate and hypnotic (if that’s even possible)—her vocals were a lot more textured than my other IEMs’ presentation. Billie’s breathy vocalization is more subtle yet detailed.

I also noticed that the Urd is adept at presenting ethereal tracks and voices: Imogen Heap’s Hide and Seek is as mesmerizing as ever; the slight intake of breaths, soft sighs, and unique vocals are very much detailed but still somewhat relaxed and enjoyable. This is a marvel in tuning, as this much detail retrieval should be fatiguing. Unfortunately, the replay of male vocals is average. They’re not bad, but not outstanding like female vocals.

Speaking of detail retrieval, the Urd presents us with an interestingly unique sound. Considering that it excels in resolution, it differs in precision. Some detail-oriented IEMs will let you hear certain features you’ve missed with other, less capable units. But the Urd ups the ante and presents those details, to my ear, a little bit more precise. The peripheral sounds, instrumentations, and vocals are placed well in the background where they should be but are still clear and detailed, as it were. I’m sure detail and resolution freaks will be thrilled.

I have to talk about sibilance (or lack thereof), particularly when referring to the Urd. With 2 ESTs in this tribrid, one might expect some sibilance in fricative consonant sounds. Treble-sensitive people might shy away from the Urd because of this. I’m happy to report that sibilance is well under control. Even the most notoriously sibilant tracks in my audio test playlist are tamed to my liking (which, again, might not appeal to everyone). I’m a little treble-sensitive, more so after my recent bout with hyperthyroidism. Fortunately, the Urd seems to have that elusive Goldilocks mix of treble response that makes intense cymbal strikes enjoyable and removes the grating on notes and vocals jabbing at my sibilance threshold. Ed Kowalczyk’s S’s and T’s in T.B.D. were surprisingly smooth, which is a feat (unless you’re listening to a really low-res copy of the track, in which case, everything is muted). The Urd also handles the hectic parts of this track well, albeit some instruments, particularly the cymbals, are a bit muffled still. In fairness to the Urd, though, I have yet to find an IEM that can play T.B.D. by Livé starting at 3:29 with refinement and dexterity.

For instrumental and classical music, I used Yo-Yo Ma’s interpretation of Bach’s Unaccompanied Cello Suite No. 1 in G Major: a very rich and textured replay of the cello, with finger taps and slides present but not unnaturally forward. The same goes with Alexandre Tharaud playing Franz Schubert’s 4 Impromptus, Op. 90: very satisfying, especially when the lower notes are being played. I can confirm that the Urd can play instrumental and classical music well.

Synergy & Other Observations



The Urd has excellent synergy with the FiiO M11 Plus, which implies that it doesn’t need much power to perform well. There’s not much difference in sound quality from a portable source which means scalability. My other IEMs play noticeably better on the Aune Flamingo Tube Amp and DAC plugged into a MacBook Pro than sourcing from my FiiO M11 Plus or FiiO Q3 plugged into my iPhone.





As I surmised above, the synergy with the FiiO M11 Plus might be partly due to the Urd’s preference for analytical and neutral sources. Hence it plays better on Op Amp mode on the Aune Flamingo and sounds decent on the FiiO BTA30 Pro via LDAC and aptX HD. Sound quality improved when I paired the iFi Go Blu with the BTA30 Pro over LDAC. The Moondrop Dawn Micro DAC seems to add a bit more treble, and the vocals sounded a tad more articulate, perhaps due to the slight boost in the high frequencies.



The Urd benefits from both a good source and high-quality music. It plays DSD files like heaven, e.g., Holly Cole’s cover of Waters of March is as detailed as I’ve heard it played, with all the nuances of her singular voice present and tangible.

CONCLUSION

In a word: ENJOYABLE. The Urd satisfies both analytical listening sessions and relaxed, enjoyable ones. Heck, when I first listened to them, I forgot to go through the typical sequence of test tracks in my audio test playlist—I finished all the tracks without realizing it; that’s how delightful this pair is.

I love the way the Urd played my indie favorites playlist. They sound good across almost all tracks, which speaks to their versatility, considering how eclectic and varied my indie songs are in instrumentation, arrangement, and vocals. Case in point, I really like how it replays Zee Avi’s The Book of Morris Johnson, with the tambourine, rainstick, triangle, and a slew of other odd instruments present and presented well—accurate, natural, and precisely positioned.

This set is highly recommended if your budget permits it. At $650, it’s definitely not cheap, but like I said before, you will get your money’s worth.

P.S.: The Urd expertly plays my naughty playlist too (e.g., Cherry by FLETCHER & Hayley Kiyoko), perhaps because of the type of vocalizations in those tracks—breathy, whispery, ASMR-inducing voices. Very nice!

#Kinera #KineraUrd #MALEAudioReviews