Sky-bolt (left), Indra (right)

Preamble: Introduction to Hakugei

I'd like to introduce a brand here to everybody. It's a relatively "small" brand in the reputation it's garnered, but one that has had a pervasive influence in providing us our gears today.

This is an introduction to a OEM/ODM wire manufacturing company named Hakugei.

I'm sure some of you recognize them from the chi-fi exploratory phase we've all gone through at one point in our journey. But they stand apart as an anomaly as one of the few brands to own (not partnered) a factory to manufacture their own proprietary wires. This allows them to process natural ores from the ground up and have more jurisdiction in the culmination of their end products. It's a more faithful approach compared to boutique cable makers that rely on 3rd party factories, as Hakugei is an independent that carries out supplying their own cables. Their abundance of resources allows them to creatively navigate through myriads of different samples and host a massive portfolio that surpasses many others in the industry.

It's not often "chi-fi" gets their own spotlight in today's saturated market, but I'm calling attention to this particular brand for being affiliated with many reputable brands unbeknownst to us all.

Hakugei is the official cable and wire supplier of -

- Noble Audio
- Fiio
- ddHiFi
- QDC
- MEIZU
- Moondrop
- F-Audio
- Private boutique cable makers, and many more...

Hakugei’s factory (inside view)

It's fair to say none of us may have ventured out of our way to purchase one of their cables, but I'm certain we've all at least held one that was supplied as a stock cable by one of the aforementioned companies during our past expenditures. Most notably, Noble Audio sources all their cables directly from Hakugei (with the exception of newer iems, such as Ronin), so for those who are already familiar with the reverable Magnus 8-wire, you can best bet your wallet that Hakugei make competent cables that can stand up to the market. If you're a fan of ddHiFi's adapters, their latest 2023 models - such as the DJ44CPro - also use an upgraded internal wire supplied by Hakugei. There are many other instances where the origin of held cables and wires ultimately source back to Hakugei. Therefore, much of Hakugei's revenue comes from their OEM/ODM service, as they can reach a bigger audience through the reputation of other companies who may be seen in a more favorable light. They are, by definition, our industry's equivalent of a "ghost producer" - working behind the scenes and providing goods under the name of "larger" companies. They forgo all credits of being the original manufacturer and linger in the shadows unbeknownst to everybody.

Over the past five months, I've been able to acquaint myself with Michael (Hakugei founder) through coincidental discovery and learned the intricacy of our industry from observing numerous relationships from one manufacturer to another. This has been a fascinating experience, and so, I’ve chosen to share this insight for the sheer informative purpose for our community.



Sky-bolt (left), Indra (right)

Diving into Cables

After diving deep into Hakugei’s manufacturing relationships, I’ve been given an opportunity to review two new cables that they recently released, named Indra and Sky-bolt. They are a silver and graphene-based cable, named after their lightning-like appearance with an impressively fast and tactile transient. They’re originally based off the Magnus cable with a “cool” leaning tonality opposite from the copper timbral warmth. So for those who’ve always wanted to experiment with graphene and have an innate bias for a cool and brighter tonality, these may be cables you can look into and see if they may do the deeds for you.

In this review, I'll be comparing them against today's summit-fi cables :

- Chiron
- Orpheus Shielding
- Yatono Ultimate 8-wire
- Murakumo 2

and measure their competence in this ever crowded market. I hoped to bring Aeneid and Iliad into the review, but Eletech recently overhauled their Korean distributor for a new one - making them difficult to source for this particular writing. As for Orphy, Yatono, and Murakumo - they are not the most relevant comparisons to make due to the inherent alloy differences, but I figured it would be a good time to introduce them as well considering the hot topics surrounding them within my audiophile circles.

As always, this review is one person's opinion so please take it as a grain of salt. Our hearings are subjected to vary based on our anatomical differences and implementation in our setups. Different chains of synergy can lead us to have different perceptions, so please be mindful when reading through.



Sky-bolt


Indra

I've originally introduced the prototype models of Indra and Sky-bolt to several Watercooler friends back during Canjam Singapore. Back then, the cables did not have a name so it's fun to look back and reminisce how far they've come as it was still undergoing the finalizing process. The most common remark I've received were their visual similarities to the Magnus cables. It's no surprise as I've yet to find any other cable with the same silvery-black grandeur as its primary decor.

I’d like to highlight that these are not a "copy" or "replica" as some may assume, as Hakugei is the original manufacturer of the Magnus cables. Terminologically, an original manufacturer would not be able to "copy" their own cables. Rather, these are variants - or dare I say, re-imagining of the original Magnus 8-wire that utilizes similar alloy composition, but with a subtle change in geometry and sleeves that result in slightly different executions and different tunings.



Magnus 8-wire (left), Indra (right)

For those unfamiliar, Magnus 8-wire uses multi-sized variants of graphene-plated silver and silver at a 1:1 ratio, with a pure graphene strand at its center core. Indra uses the exact same geometry, but with a thicker sleeve that leads them to not only look different, but also sound different. This might sound difficult to believe, but my A/B testing concluded that Indra had a slightly wider and leaner presentation, whereas Magnus 8-wire sounded fuller and more focused in comparison.

Of course the differences are minute, but it is audible. Otherwise, they retain the exact same tonality. So for the Magnus fans out there, you can purchase Indra for less than half the price of Magnus 8-wire ($2k through Noble Audio) and receive a very similar grade product. That's a huge win from a value proposition and I doubt anybody would be keen on spending an extra $1k for a minor difference in hardware.



Indra (left), Sky-bolt (right)


Indra (top), Sky-bolt (bottom)

Sky-bolt takes a larger deviation than Indra, as the internal geometry is changed for a more apparent tuning adjustment. Sky-bolt keeps the same alloy composition as Indra but with a different silver to graphene-plated silver ratio of 65:25 with a pure graphene stand at its center core. This is visibly evident if you take a close look at the two cables, as provided in the photo above. The black strand is the graphene-plated silver and you'll notice there is a greater proportion of it embedded into Indra than Sky-bolt. The internal wire thickness and core count are also different, so this is something to keep in mind as we inspect deeper into these cables.

I've talked to a few cable makers - some very reputable members in the industry - and graphene seems to be a controversial topic that's been met with caution and skepticism. Some claimed it as nothing more than a hoax, while others seem to be a proponent of this new material. I personally take no stance on either side of the debate, but my experience with graphene leads me to suspect that it is used to control the hardness and transients of each note without having a characteristic timbre itself. Of course, that wouldn't mean "more" is necessarily "better" as is the case of Indra and Sky-bolt. But it is a sure sign that graphene can be utilized, whether for good or worse in its varying implementation by manufacturers.



Sky-bolt

Ergonomics

Cable ergonomics are often under looked, as I've seen a fair share of competent cables go down the drain due to questionable fitting - looking at you, Code 23. Thankfully, neither Indra nor Sky-bolt suffers from stiffness or poor malleability. Being a 8-wire 21 AWG cable, they are quite a hefty beast to hold with a comparable weight to Orpheus Shielding - Indra being slightly heavier. But they're very supple and flexible to use, packing neatly into smaller surface areas when stowing them away in a bag.

Sky-bolt comes with a unique braiding style I've yet to see from any other brands out there. It's almost "square-ish" below the Y-splitter, and incredibly supple and malleable to use. It is softer and more pliable than any of EA 8-wire Signature Series, and visually appealing too - if you are a fan of its lightning-like appearance. It weighs somewhere in between Ares S and Cadmus 8-wire (the latter being the lightest), and would be my pick of choice for comfort among the three aforementioned cables.

Indra is slightly heavier and I presume the weight comes from the thicker sleeve used than the one on Sky-bolt. Indra has a more traditional braiding and is a little less supple to touch, but close enough to not be bothersome when walking down the streets. Indra has a darker and more vivid appearance with a carbon-based splitter to match its bold aesthetics. Sky-bolt, on the other hand, uses a green translucent splitter with the word "Salvation" engraved on it - denoting to Hakugei's premium lineup in its expansive portfolio.

Both cables are terminated in gold-plated OFC plugs by Pentaconn - a gold standard for having one of the highest electrical conductivity amongst all plugs.



Indra

Sound Signature

Source used: Hiby Rs8 -> Viking Ragnar

Indra and Sky-bolt are uniquely characteristic of their "cool" sounding tonality. They have a top-end leaning presentation that highlights the treble as one their most impressive assets, with a vast and wide soundstage comparable to flagship grade cables of other brands. For the past few weeks, I've been using them on a daily basis as complements to my Orpheus Shielding, and it's safe to say they’ve provided as much joy to my musical experience, albeit some shortcomings which I’ll get to later.

Indra and Sky-bolt share many similar characteristics, but mark their difference in the different frequency regions they emphasize.

Indra places more oomph and rumble down low with more glimmer and radiance up top. The subbass emerges from a deeper region (quite literally from underneath), making the low range growl more palpable and visceral to experience. Treble sparkles more from a slightly higher region, giving it a tall intergalactic experience like stars shining through from space. With the emphasized subbass and treble, midrange takes a step back as the overall presentation ends up something close to a "U-shape". Vocals take place behind stage, and instruments take authority in shaping and manipulating the soundscape. Indra has one of the speediest transient responses I've heard to date - appropriate to its name (God of Lightning) - as the ends of each note is etched out precisely with more articulation than any cables I’ve heard from memory. It has a spherical presentation with a soundstage comparable to Chiron - a little less in each axis - and is the more sophisticated sounding cable between Sky-bolt. Imaging is rendered to a high-degree, but more appropriate to its price sector than reaching the holography of boutique flagship cables. It still layers very nicely and is a definite front runner in its price sector.

Sky-bolt is a vocal centric cable that places more emphasis in the midrange. Different from Indra, vocals come across more forward and revealing with bass and treble acting as supportive figures. I'm hearing a little more body in the midbass, but the subbass is rendered more polite in comparison. The treble energy is well retained from Indra, but slightly tamed here, allowing the vocals to take greater presence on stage. It has a very fast transient, but one more akin to other flagship cables, as Indra is slightly faster and more tactile in comparison. Sky-bolt has a tremendously wide soundstage. It’s panoramic in experience as It’s width alone is comparable to Orpheus Shielding, which is spectacular for a cable ⅙ of Orpheus’ price. It falls short in creating a convincing holographic stage, as it is rendered on a flatter plane with a more traditional depth of stage. Center imaging goes in favor of Indra, but Sky-bolt is able to vastly spread notes across the X-axis with sufficient space between each note.




Key summarized notes :

Indra has a taller and deeper soundstage with a more holographic imaging.
Sky-bolt has a wider soundstage that is panoramic in experience.

Indra places more emphasis in the bass and treble with midrange taking the backseat.
Sky-bolt places more emphasis in the midrange with a more supportive bass and treble (still with enough presence).

I’d recommend :

• Indra for more instrumental genres
• Sky-bolt for vocal-centric genres

It’s personally difficult to choose one between the two, but my electronic filled library has been favoring Indra ever so slightly. I often rotate between the two cables based on my mood, but ergonomically, I favor Sky-bolt’s lighter and more pliable handling.




Cable Comparisons

The following comparisons have been written in a note-style review, so a little heads up for the clinical style of writing.




EA Chiron (~$3000 usd) :

Many of my Cooler friends know I’ve been one of the earliest advocates of Chiron during its release. It’s the cable that first opened my eyes to flagship territory and one that holds a special place within my heart. Chiron is a GPS (gold-plated silver) cable that is characteristic of its lean and sweet presentation. It is a “brighter” sounding cable that places emphasis in the upper-mid range for a more forward and lively rendition of vocals.

Sky-bolt is a fuller and wider sounding cable that is enveloping in comparison, but lacks the depth and holographic imaging that Chiron excels at. They both render vocals to a similar degree, but Chiron is a tad more transparent and revealing with a little more forward midrange in comparison. Sky-bolt has a sparklier and more accentuated treble. Its treble sounds noticeably clearer and more alive in comparison.

Indra is also fuller sounding next to Chiron’s lean presentation, but slightly more closed in stage, while retaining better depth than Chiron (by a margin). I’m hearing the subbass emerge from a deeper position. Chiron, however, sounds more spacious in every axis that delineates front-to-back layering to a more holographic level. Indra has a sparklier and more accentuated treble (more so than Sky-bolt), without any signs of sibilance that could be piercing to my ears. Indra also has a more visceral rumble down in the subbass, but the vocals are positioned a little further, whereas Chiron sounds more transparent and revealing with a higher clarity forward vocals.




PWA Orpheus Shielding w/ Con-X (~$5860 usd) :

I consider Orpheus as the de-facto flagship copper cable that has set the standards of today’s boutique flagship cables. Orpheus is a multi-strand copper-based cable insulated by 3 different types of shielding - one of which being applicable to only below the Y-splitter. It is characteristic of its smooth and warm tonality with a unique PWA copper warmth that is slightly less aggressive compared to traditional copper timbre and more organic and mature in the way it shapes its presentation. Orpheus has a tremendous soundstage (only behind Murakumo 2, which I’ll get to below) and is widely known for uniquely smoothening out any harsh ends. Treble is articulated more sublime than vivid, and has its hallmark in the super clear and transparent midrange.

Sky-bolt can surprisingly match the width of Orpheus, but falls short in every other axis of stage leading to a shallower and flatter presentation. Sky-bolt is noticeably brighter with a slightly more forward midrange, but Orpheus is a bit cleaner and more transparent in the way it renders vocals. Orpheus has a fuller and more spacious sound with a thicker bass that thumps at a more palpable degree. Sky-bolt is a tad leaner (as Orpheus leans thicker in presentation) and its brightness has a way of making it sound more lush and euphonic in comparison. Orpheus has a more convincing holographic stage with a blacker background that seems to darken up any empty space. Sky-bolt has a sparklier and more lively treble that sounds more satisfactory to my ears.

Indra has a smaller soundstage in every axis, but with a competitive depth and height not far from Orpheus. Indra has a faster presentation with quicker and more etched out transients. It is brighter in tonality and has a more reserved upper-midrange in comparison, but retains a similar vocal presence for male vocals in the lower-midrange. Orpheus has a clearer and more resolving sound, with a more midbass heavy presentation compared to Indra’s subbass leaning sound in the low range. Indra sounds more vivid and has a sparklier and more accentuated treble that sounds more lively to my ears.






Brise Yatono Ultimate 8-wire (~$2500 usd) :

I’m observing many of my friends jump on the Brise bandwagon chasing after the all fabled Yatono Ultimate 8-wire. It is a pure copper-based cable most notable for having a thick multi-layered shielding and a raw, industrial aesthetic that is forthright and unapologetic in visuals. It is characteristic of having a raw and vivid signature that is energetic in presentation, but simultaneously mature in its overall rendition. Compared to PWA house sound, it has a more rigorous and dynamic signature that keeps you actively engaged. Its best asset is in its hyper clear midrange. Its vocals are more transparent than Orphy to my ears, which is no small feat in this vast and competitive industry. The cable is very hefty and heavy to hold, so do be cautious of its contentious ergonomics.

Sky-bolt has a slightly wider soundstage than Yatono, but Yatono is a bit taller and deeper. Sky-bolt has a brighter tonality with a similarly upfront midrange, but it sounds comparatively elevated whereas Yatono is clearer and more transparent. Yatono is the more immersive cable and surprisingly has a speedier presentation. Sky-bolt has a tad sparklier treble, but looser bass. Yatono’s bass is cleaner and grittier, which I find more satisfying.

Indra has a smaller soundstage width, but a similar height and depth (albeit, Indra’s subbass emerges from a lower region). Indra has a cooler and brighter tonality with a faster and more etched transient, and a similarly clean presentation that could come across mildly sterile next to Yatono. Yatono has a clearer and more resolving midrange and sounds filled with more note weight. Indra has a more accentuated treble with greater sparkle and clarity up top. Yatono is slightly more immersive, but I find both cables equally engaging in its own respect.






Brise Murakumo 2 (~$7600 usd) :

Murakumo 2 seems to hold a mythical-level status that very few seem to have tried. What was originally a super limited edition cable that was sold only to a select VIP members has expanded out into the Western market as more cables were subsequently made (or at least, so have I been told). I first visited this cable sometime last year, but largely kept quiet to myself as I was honestly bewildered by its existence. Murakumo 2 is a copper-based flagship cable with a tremendous size and weight that urges the question of - “why” - in the practicality of its usage. But such is the nature of this hobby, as us manias would go out of our way to sacrifice ergonomics if it guarantees a 5% increase in overall technical performance. Murakumo 2 opts for a very smooth and organic presentation different from the Yatono series. Its characteristic is closer to Orpheus than Yatono, albeit a very neutral colored presentation with just a slight hint of copper timbral warmth. The midrange is positioned a little back in stage, different from the forward and engaging signature of Yatono ultimate, but has a much vaster and expansive soundstage that is larger than any cables I have come across to date. “Neutral” is key here, as it does not emphasize any particular range of frequency. It could come across a little “bland” in its neutral tonality, if it wasn’t for its impressive technicality that immerses you in a huge soundscape across every spectrum. To hear the full capacity of Murakumo 2, I strongly urge you to pair it to a competent amplifier. Scaling is key here and Murakumo 2 will reward you on a more competent source.

Sky-bolt has a smaller stage across every axis and is flatter in overall presentation. Sky-bolt is brighter and cooler sounding, whereas Murakumo 2 is much more neutral in tonality. I find both to be euphonic in presentation, but done so in a different way - Sky-bolt being a tad sweeter, whereas Murakumo 2 coming across cleaner, lush, and more organic. Murakumo 2 has a more etched out transient, as the ends of each note come across clearer and more precisely. It has a speedier presentation, but not as noticeable due to the calm and organic signature. Murakumo 2 has a more rumbly and satisfying bass with a crisper and more accentuated treble that sparkles from a taller region.

Indra has a brighter and cooler tonality with a speedier sound by the virtue of its leaner presentation. They both etch the transients to a spectacular degree, but Indra sounds “quicker” due to the aforementioned reason above. They both have similarly accentuated treble, but Murakumo 2 sounds a tad more refined in the way it handles hi hats. Both are excellent and are my personal references to how a flagship treble should resolve within the summit-fi category. Indra has a smaller stage across every axis and falls behind in clarity and resolution. The bass is a little more full on Murakumo 2 whereas Indra leans closer toward the subbass. Their bass both emerge from an abyssal region, but Murakumo 2 dives a tad deeper in comparison.



Indra

Priced at $950 and $900 respectively, Indra and Sky-bolt are Hakugei’s statement that they too can introduce flagship grade cables without breaching the $1k barrier. I’ve previously discussed in my Code 23 review, hoping and urging manufacturers to lower the price of flagship grade cables and make them more accessible to a larger community. I’m hoping to see the trend continue moving downward, as I’m very content to see how well the cables performed next to significantly more expensive cables. This is my first introduction of Hakugei to the head-fi community and I hope it won’t be the last, as they have a bright future ahead of them in this growing and ever expanding industry.

- Steve

Preamble

I first heard about this cable from a friend of mine who happened to have an early prototype model back when it was still undergoing production of the final samples. I had heard great impressions left by both revered and experienced audiophiles that I just had to take the chance and contact Effect Audio to see if I can get a demo unit myself. That was a few weeks ago, which was made possible by the grace of @JordonEA who gave me this opportunity to write this review.

I’ve now had this cable for a little over two weeks to collectively gather my thoughts. My first impression left me impressed by what a $600 cable was able to achieve - but soon after diving into comparisons, I was surprised to find that this is more than just a “value” cable but a competent one that objectively performs on par with more expensive offerings by the likes of PWA and Eletech. From a quick synopsis, I can safely say Code 23 does not falter behind the likes of 1950s and Ode to Laura. It would be more correct for me to say Code 23 takes the technical points we expect from 1k+ territory, but has its strength redistributed to different criterias that denotes to being a flagship quality by Effect Audio’s standards.

Hence, their advertised statement - “befitting of our flagship copper cable label, Code 23”

If this isn’t clear by now, Code 23 is already a win in my book. The cables I'll be comparing down below are all within the 1k+ territory (except Eros S) because I felt it was technically proficient enough to stand up against the upper-echelon category. And by utilizing today’s flagship cables for comparison, I hope to give readers a familiar point of reference to connect the dots and triangulate whether Code 23 will do the deeds they seek at the $600 price mark.






Ergonomics

Before dissecting its sound signature, I must emphasize that the manner in which we appreciate cables isn’t determined by sound quality alone. Cables are physical components with weight and ergonomics to take into consideration and Code 23 isn’t too forgiving in this regard. I already had in mind it was going to be a hefty cable with the 16.5 AWG wire that makes up its core, but it turned out to be stiffer than I expected that I’m still in the adjustment phase getting used to the ergonomics. The good news is that the entire structure of the cable is malleable from top to bottom, so you can shape it to whichever form you need. A few of my friends (all owners of Code 23) joked that it can stand in a right-angle without any support, and to my surprise this turned out to be true as I was able to shape it to stand by itself.

The cable I have is a demo unit that came in dystopian black, but the color is actually closer to dark brown in natural lighting. In the official retail version, the plastic covering of the ear-hook comes in black, so do note the minute differences in hardware compared to my photos here.




ConX is easily one of my favorite accessories to have as an audiophile and I’m happy to see it being implemented here as well. All you need to do is twist and turn the connector part of the cable and it will easily slide off for you to switch out to different connectors to your needs. It’s a nifty feature that will satiate the needs of audiophiles who don’t like to deal with the added length from using third-party adaptors. You can get any of your cables to ConX by reaching out to Effect Audio and Jane will be more than happy to service you as she has done for me.






TermX is another accessory that comes as a default with Code 23. It allows you to switch out its termination to any of your choosing from 2.5mm, 3.5mm, and 4.4mm. This is my first exposure to TermX through Code 23 and it’s a simple mechanic where you twist and turn the housing to reveal the inside connector, which you can then pull out and switch to other terminations of your desire. There is a little hole that you must match when doing this, so do keep in mind the orientation of the connector so that all 5 holes align as seen in the photo above.




Sound signature

Effect Audio has an uncanny ability to make silver cables sound like copper and copper cables sound like silver while retaining the core characteristics of its alloy timbre. Cleopatra II comes to mind where its lush analogue nature is reminiscent of the characteristics of copper, while preserving that bright and lively sound we associate with silver cables. Code 23 is similar in this regard in that it doesn’t retain the stereotypical copper warmth, but is very neutral in tonality that one could mistake it as a copper-based mixed alloy. I’ve spoken with Jordon in regards to this and apparently it’s the twelve proprietary smaller core bundles that keep its main core from getting too warm. So kudos to the architects of Effect Audio for inventing this geometry because it is unlike most copper cables out there that only prioritize warmth and fullness of sound as the basis of its signature.

Code 23 is unapologetically a reference-like tuning with strict neutrality in mind. It’s neither warm nor bright, but stays right in the middle to provide a balanced tone with just a smidge hint of copper timbre-related warmth. I must emphasize that this warmth is only timbre-related as the general characteristic of copper, and I find it to add just the right amount of musicality to keep it from getting sterile. Code 23 is also more akin to a transparent cable that takes the intrinsic qualities of its connected transducer and elevates the technical performance without drastically changing its tonal character. This made it easy to match up with any iems without worrying about potential mishap in synergy. I’ve tried it with Odin, Xe6, Kr5, Viking Ragnar, and Nodachi and found its pairing to all work well without encountering any issues.

This already makes it a very easy and forgiving cable to work with, which would make it one of the easiest recommendations I can give towards newcomers who aren’t sure what they are looking for but are curious about trying out a high-performance cable.

The technical performance of Code 23 is very impressive and performs right below Cleopatra II OCTA within Effect Audio’s lineup. The stage is enveloping in a sense that you’re sucked into the center of an orchestra and have instruments playing in a spherical field all around you. To reiterate, you’re not placed five rows behind a concert to observe the music in a fan shape. Rather, this is a presentation that brings you close and upfront into the music with a holographic imaging to accentuate a three dimensional field. I do not say “holographic” loosely as there is a clear delineation of foreground, background, and all layers in between to give a sensation of space that is beyond the conventional X and Y axis. This is commonly seen in more expensive cables and certainly rare within the mid-ranged price territory. This is a stage that is more comparable to the industry standard 8-wire flagship cables than 4-wires. It may not be competing with the heavyweight champions like the Orpheus Shielding or Chiron, but you’re essentially getting about 90% of its performance at a fraction of its price – plus, a very forgiving and neutral tonality that is easy to pair with more iems.

Code 23 has just the right amount of grit and body in note weight that you’ll feel anchored to the music without any feeling of evanescence. It’s muscular in its dynamic swing, but not overpowering to make it fatiguing. I love how well its bodied signature works well with its crisp and tactile transient. It’s not the sharpest and most incisive I’ve heard, but there is a sort of magic that comes to fruition when the two harmonize together to create a sound that is simultaneously filling and punchy.




Comparison Review Cables:

I’ve had numerous visits to different audio stores (more often than what the photos justify) to gather samples of high-end audio cables and do a side-by-side comparison. I was curious to see how it performed next to Effect Audio’s own flagship cables and with the likes of PWA and Eletech.

• Magnus 4-wire
• Orpheus Shielding
• Chiron
• Centurion
• Cleopatra II
• Cleopatra II OCTA
• Eros S
• 1950s
• Ode to Laura

To take into consideration of the fallacy of human memory and primarily utilizing the notes I've written during my audition, this will be a summarized note-style comparison review so I apologize ahead of time if it will sound too pedantic or anemic.


Gears used for comparison: Sony WM1ZM2 -> [insert cable] -> Viking Ragnar -> Azla Crystal


Noble Audio Magnus 4-wire (~$1200 msrp) :

This is the stock cable that comes with my Viking Ragnar and its transients are incisive and addicting. Highs are a bit piercing as there are hints of sibilance with certain songs and genres (most notably in EDM). But this sibilance can be mitigated by switching up the source or ear tip rather than it being a flawed characteristic of Magnus 4-wire itself.

Transitioning from Magnus 4-wire to Code 23 –

There's an immediate expansion of soundstage in every direction. The aforementioned sibilance is mitigated and there is slightly more weight throughout the overall frequency. Its brightness is slightly tamed as the forward treble of Magnus 4-wire is reigned back to neutral in quantity. I can hear the familiar copper timbre coming through but without any added warmth. That's a huge plus on my side. Vocals sound closer and more revealing with a hint of romance that melds well with the old-time warmth of Sony M2.

I'm a strong proponent of synergy and can most definitely find myself preferring one over the other based on how I weave them into my setup. But the one objective remains in that Code 23 is the technically more proficient cable.



PWA Orpheus Shielding (~$$$ msrp) :

Orpheus sounds lush and romantic. Noticeably smoother than Code 23 that some may seek a more articulate transient if they're used to crisper presentations. Its smoothness doesn't smother any details, but provides a different presentation that's more laid back for a comfortable listening session. It's warm, but definitely not "hot". Synergy is key as is applicable to every cable out there. It'll benefit most from iems with a sharp and energetic presentation that could use some smoothening to relax some hot upper-end treble (Ragnar for example). It has the blackest background I've heard in any cable right next to Murakumo 2 with an enveloping soundstage that literally swallows you whole. Compared to Code 23, it has a clearer and more revealing midrange. The positioning of vocals doesn't come closer and remains where it's situated, but becomes so clear and resolving that you can hear and "see" the details better.

Code 23 has a smaller stage in comparison and its imaging falls short on par against Orpheus Shielding. However, it comes competitively close from a value standpoint that I find myself more amused than disappointed how well Code 23 performs next to a significantly more expensive cable. On the bright side, Code 23 is more articulate in attack and decay, giving a more satisfactory punch in comparison to the smoother listening session of Orpheus Shielding.



EA Chiron (~$3000 msrp) :

It's hard to be biased as Chiron is undoubtedly one of my favorite cables out there. Like Orpheus, Chiron has a significantly larger soundstage in all axes with an incredibly holographic presentation that has layers and depth expected of a summit-fi cable. Being a GPS alloy, it has an added sweetness especially in female vocals which I attribute as a property of gold. Chiron is brighter, cleaner, and sweeter in presentation with a slightly less note-weight than Code 23. Code 23 is fuller in comparison with a bit more midbass quantity, while Chiron is faster and leaner in presentation with an articulate transient that is crisper in attack and decay.



EA Centurion (~$5000 msrp) :

Centurion has a slightly wider soundstage than the already massive stage of Chiron, but I hear Chiron to have a tad better depth in comparison. Centurion sounds bright and very transparent across the entire frequency spectrum and there is a sense of holographic imaging that rivals some of the best I've heard – e.g. Orpheus Shielding, Rhapsodio Evolution Hybrid Wizard, Brise Murakumo 2 cable.

It's undoubtedly Effect Audio's flagship cable and I must humbly admit that Code 23 has much more to improve to get to Centurion’s level in the technical aspect.

Compared to Code 23, Centurion has a leaner presentation with similar note weight as Chiron but with less midbass, focusing all its attention from upper-mids and above. It gives you a feeling like you're floating above the clouds. Code 23 is much more neutral and sounds tamed in comparison to the very bright Centurion. Code 23 is the much easier cable to work with as Centurion can come across too bright with some pairings. Centurion is more of a collector’s cable that has the potential to synergize outstandingly with a specific setup, but could render as being fatiguing without a cohesive pairing.



EA Cleopatra II & OCTA (~$1000 & $1600 msrp) :

Cleopatra II and OCTA are essentially the same tonality with a notable difference in soundstage, imaging, and resolution – with the 8-wire being the technically more proficient one. Its general sound signature is slightly bright, but strangely organic and lush that you’d be surprised how analog it sounds for a pure silver-based geometry. It is a slightly warm presentation for a silver cable, but certainly brighter than Code 23 in a side-by-side comparison.

The technical difference between the 4-wire and 8-wire is very noticeable that I would recommend the 8-wire between the two without any hesitation. Code 23 is technically superior over the 4-wire with a better soundstage and clearer image that the 4-wire comes across slightly veiled in a side-by-side comparison. However, the story changes when compared to the 8-wire, as the OCTA is noticeably more enveloping with a larger soundstage that takes you a few rows back behind a concert to give you a wide cinematic experience. Code 23 places you more upfront within the center stage to give you a more forward presentation in comparison.
Cleopatra has an added sweetness that injects an appreciative amount of emotive vitality. Code 23 sounds neutral and clean in comparison, but certainly not sterile or lacking in emotive flavor. I found the OCTA to be slightly better in depth and imaging than Code 23, but the 4-wire unfortunately falls slightly behind in this regard. Code 23 transient is surprisingly crisper than the OCTA. There is a sense of tactility and weight to it that I find very engaging, in spite of the neutral and reference-tone signature.



EA Eros S (~$300 msrp) :

Eros S may be a competent cable at its price range, but there is a clear reduction in soundstage when compared next to the Code 23. It sounds as if the walls of sound are more caved into my own head instead of expanding out to give a wide field-like presentation. Eros S sounds closer to the typical SPC (silver-plated copper) cable, but its actual geometry is a hybrid setup composed of pure silver litz and pure copper litz. Eros S retains the characteristic of copper-timbre grit, but has a brighter and more elevated treble compared to Code 23. Code 23 has a more natural extension in treble that sounds clear and organic without needing brightness to give it an artificial perception of extension.

I enjoy the tonal signature of Eros S, but Code 23 is the more capable cable by a large margin.





PWA 1950s (~$2150 msrp) :

PWA left a large impression to audiophiles back when it first introduced the Century Series in 2018. And within the Century Series, 1950s captivated the most number of audience that it still holds a special place in many audiophiles’ hearts. Having owned one myself for a significant amount of time, I like to see the 1950s as the younger brother of Orpheus Shielding as they share similar tonality but with a notable difference in technical prowess.

With that being said, I’m happy to announce that Code 23 is not only competent with the 1950s, but has a wider and more holographic soundstage in every direction possible. They both have similar transparent midrange, but Code 23 is positioned a hair back without losing any of its details. Code 23 has a slightly more tactile treble compared to the more organic treble of 1950s and everything sounds a tad more crisp in its articulation. I can see the transient working in favor of Code 23, but the highlight of 1950s is in the romantic warmth that is not overdone and is tasteful in tonality.

I do think Code 23 is the technically more proficient cable, but the tone of the 1950s romance is hard to ignore that I can see audiophiles favoring one over the other by the virtue of tonal preferences.



Eletech Ode to Laura (~$2800 msrp) :

OTL (Ode to Laura) is one of “the” flagship copper cables of 2022 and still holds an appreciative place in many audiophiles' collections. It specializes in providing texture and details in spades with a tremendous holographic imaging that delineates each spatial layer with finesse and precision. There is a sense of grittiness that is palpable and enduring with sparkly highs that isn’t subdued as you may find in Rhapsodio’s flagship copper lineup. It’s a very engaging signature, which comes to show why it has a home in many audiophiles' inventory.

With that being said, its biggest drawback is in the soundstage width, because next to Code 23, OTL has a more conical signature that is narrower in width but deeper in depth. There are layers within layers that you’ll be able to pick apart instruments with greater precision, but it doesn’t expand as far out horizontally as Code 23 is able to do so. OTL is tad warmer with more elevated treble in comparison. Midrange is slightly pulled back as Code 23 sounds more revealing in female vocal rendition.

Code 23 brings you closer to the music, with the stage expanding and surrounding you. OTL is more holographic in its conical presentation that makes it easier to analyze spatial and positioning cues. Code 23 has more note weight that sounds fuller and weightier, anchoring you down to the music. OTL is grittier and more textured that makes it a fun listening session to experience.


Finale

Code 23 screams value within the $600 mark that the only dissuader I can think of is its cumbersome ergonomics. Having spoken with several owners of this cable and lending it out to my friends during my weekly audiophile congregations, there have most certainly been a divided fanbase in how it had been received due to the weight and ergonomics. However, if you're a purist at heart with sound being the only focus of your attention, this is a highly technical cable that should most certainly be in your shortlist if you're not interested in breaking the bank and emptying your wallet.

I’m delighted to see Effect Audio offer a highly technical cable that is made accessible to hobbyists who aren’t keen on spending over a thousand dollars on cables that are worth more than their iems. This is a win for both the manufacturer and consumers, which I hope would inspire other companies to follow suit and offer cheaper flagship cables to make it more accessible for the general audiophile consumers.

Thank you

Preamble

I’m finally dedicating a review on an IEM after a year long prolonged absence from Head Gear. I think the last time I did this was back during my mid-fi venture, but I’ve moved away from writing reviews as I found it too time consuming of an effort when I can be leaving small impressions on established forums instead. Speaking of which… Come join the Watercooler thread! (shameless promo) You’ll enjoy it if you like participating in thought-provoking discussions.

Now, I’ve been swimming in a pool of summit-fi gears for the past several months, which have raised my already high standards when it comes to appreciating audio gears. I didn’t think I was ready to retract back down to mid-fi until stumbling upon an iem I’ve never even heard of. This discovery I made was by complete accident when I was scavenging through a cabinet at my local audio store – and boom. What landed on my hand was a completely unknown brand I have never heard of, which made me hesitate from taking it back to my table as I honestly couldn’t be bothered. But as you’ve guessed it… being the obsessively curious person I am, I just had to take the chance, roll the dice, and pray for it to sound beyond mediocrity.

And then there I laid impressed







Ov800 is a flagship iem by a Chinese company named Oriveti. Coming in at $999, they perform competitively within its price bracket and appeal to those looking for a fast tempo with an energetic but refined signature. To put it simply – If you found the Monarch Mkii (currently the most popular choice in this price bracket) a little too polite, relaxed, or god forbid… “boring” for your engagement, Ov800 is one option you could consider for a clarity-oriented experience.

It’s not your typical “neutral with bass-boost” variation you see crowded in the market, but a contemporary W-shaped tuning with a highlight mid-range that fits oh-so-well in today’s modern genres. It also boasts a remarkable build quality that puts some totl iems to shame – yes, you know what I'm talking about if you’ve witnessed bubbles of glue leaking out from shells.


A little bit about myself

I primarily listen to pop and edm/electronic genres with a little bit of classical music. I prefer vocal-centric tuning with a brighter signature as I love crystal clear voices. I am a bit sensitive in the 8khz region. At this time and moment, Jewel and Odin are my two favorite iems I enjoy listening to the most.

Hopefully, this may give a background to where my inherent bias lies. You can use this information to see whether my impression may line-up to your expectations.





Disclaimer

This is a review sample that I received from Oriveti, but it’s one that I specifically requested due to how much I enjoyed listening to them at my local audio shop. I wanted to take one home for an extended listening session and navigate where it stands in the already crowded market. So thank you Marco (Oriveti representative) for providing me this opportunity.


Specifications

Ov800:

• Drivers: 2 Bass BA, 4 Mid BA, 2 High BA
• Impedance: 15 Ohm
• Frequency Response: 10~40KHz
• Sensitivity: 110+-3dB/mW, 1000Hz
• Distortion: <1%

Stock Cable:

• Cable: New Handmade Class 8 wires Silver Plated Copper wire
• Connector: 0.78mm 2pin connector
• Plug: Gold-plated 3.5mm Stereo Plug
• Cable: 1.2 M

Inside the box

• Ov800
• Leather Carrying Case
• 8 Wire Silver Plated Copper Cable
• (S, M, L) Bowl-shape Eartips
• (S, M, L) Bullet-shape Eartips
• 2 x Foam Tips
• 2 x Double-flange Eartips
• (SS, S, SM) AZLA SednaEarfit Xelastec
• Flight adaptor
• Cleaning tool
• 3.5mm to 6.5mm connector

Build quality

Personally, I don’t care too much about appearance as I’m in for the music. But when multi-kilobucks iem (*cough* Jewel) can get away with such mediocre build and design, Oriveti deserves a round of applause for fleshing out a look that doesn’t remind me of another “off-the-shelf” iem.

Aesthetics are purely subjective, but I have to admit this is one of the best build quality I have come across in the industry. It is literally seamless with an ergonomic contour fit that rivals the universal fit of CA flagship Supermoon. If you’re like me and have a preference towards pseudo-custom-like fit, you’re in for a treat because Ov800 is really comfortable.

Ov800 uses a brass-colored steel as its stem and has a stopper that ensures a snug fit for whichever eartips you choose to wear. I hope this becomes an industry standard, because I cannot count the number of times my eartips fell out from my Odin after being done listening for the day.

Ov800 uses a green wooden faceplate with a resin finish, which matches perfectly with its gold-plated logo and signature. There really is nothing I can nitpick on when the whole design scheme is laid out thoughtfully from start to finish.





Eartips selection -

Bowl-shape (Stock silicone black) : Open and diffused presentation

Bullet-shape (White and black silicone) : More focused presentation with better bass texture. Vocals positioned more within the centerfield of your head.

Azla Sednaearfit Xelastec : Great isolation, giving the impression of a blacker background with better detail retrieval. Boosted bass that looms over vocals. Comparatively a darker presentation. It has a unique appeal that may be favorable to some.

Double flange : Great isolation just next to foam tips, giving a blacker background with more detail retrieval. Feels stuffy and gets fatiguing over time (more noticeable than foam tips). Boosted bass that looms over vocals.

Foam tips : Similar impression as double flange, but better isolation with the blackest background that reveals more details. Feels stuffy and gets fatiguing over time.


My two favorites are the Bowl-shape and Bullet-shape eartips. They are both quite excellent.


Switches

Ov800 has two switches that you can choose to flip up (on) or down (off). The default setting comes with both switches down, and this is also my preferred orientation.

Switch “1” - Controls from lower-mids to subbass
Switch “2” - Controls from upper-mids to treble


(off, off) - Balanced. Has the smoothest and most refined presentation.

(1, off) - Lift in the lower-mids and male vocals become more prominent and a substantial lift in bass. Cellos and bass take the center stage.

(off, 2) - Lift in the upper-mids and treble. Female vocals become more prominent and cymbal strikes are more apparent.

(1, 2) - Lift in bass and treble. Has the most energetic and dynamic presentation.


Feel free to choose whichever orientation you desire, as I did not hear any degradation in sound quality from playing with the switches.







Sound quality –

Source: Dx320 Amp13 → stock cable → Ov800 (both switches off) → Stock silicone black “Bowl-shaped” eartips

Ov800 takes a more unconventional approach in tuning their iem. I’ve seen many different variations of FR graphs measured by members of this community, but none of them seems accurate to my subjective hearing. Instead, the stock graph provided by Oriveti resonates most to my hearing, so you can take confidence in what you’re seeing because that awkward roller coaster from 1khz onward is indeed perceivable. Now before anybody melts down in disbelief (because I know this spells riot to the FR objectivist), it is done so exceptionally well to my subjective hearing that I can’t praise enough how Oriveti came up with this ingenious tuning.

There is a noticeable dip early in the pinna region, which quickly picks itself back up around 4khz. These valleys of ups and downs give off an impression of there being a “pocket” of air spaced right in between where female vocals are usually rendered. This creates a unique sensation of space in the mid-range that’s created purely through the virtue of tuning, rather than by the technical competence of its drivers – because, admittedly, it does not perform beyond its price-range.

There is a nice full body in the lower-mid range that provides a sense of weight and warmth, as opposed to the clean-cut leanness seen in iems like Odin. The bass delivers a quick and agile speed as expected of BA drivers, but the texture is quite lacking as I’m comparing it back and forth from the Andromeda. The hefty added db in the bass do make up for its mediocre performance, but keep in mind – mediocre doesn’t mean bad; just at a performance that is neither impressive nor disappointing.

I’ve previously mentioned Ov800’s highlight is in the midrange, and I stand by my statement as it renders vocals beautifully. It has a bit of a feathery light rendition of midrange that keeps itself from getting diffused as there is an appreciable amount of note weight anchoring down. It’s certainly not “meaty” like how some like to chew on, so do keep in mind if you categorize yourself as a thick syrupy mid-range lover. There is this refined quality I haven’t seen from its competitors, and it polishes all harsh ends from approaching shouty or sounding nasal. It has a tad relaxed vocal presentation, but keeps it clear and energetic that you won’t be drifting off in a lullaby.

I’m not particularly picky on the treble as long as I don’t find it sibilant, and I’d like to gleefully announce that I hear no sibilance around the 8khz region, which is often where my sensitivity gets triggered. There is a satisfactory articulation in the percussion hits and cymbal strikes, but does fall behind the Andromeda for those looking for more note density and gain in this region. I could use more extension in the higher registers, which leads me to conclude that the treble acts more as a supporting foundation than a marvel of its own. With that being said, it does synergize well with the overall spectrum, as there is a healthy boost to stay relevant and not be drowned out by its upper-mid range.

Overall, there is a similar amount of presence from the lowest to the highest octave; and with a little audible dip in certain frequency regions, it is quite evident that Oriveti was aiming for a “W” shaped tuning philosophy.





Technicality

Soundstage is quite mediocre and doesn’t expand further out as you’d expect in this price range. Although I must say it scales down well and is very competitive on low-tiered sources like dongle dac, it stays relatively in-your-head once you start comparing it to its competitors on higher-tiered sources like the Dx320. Its imaging isn’t particularly impressive either. I can definitely use more separation and layering, but it is convincing enough once I take a little break and allow myself to adjust going from the Odin. I am being quite strict here, but it truly is “good enough” to not cause any distraction as none of the frequencies come across smothered nor appear as “one note.” I just can't tell you that this is an excelling technicality at its price-range and doesn’t disrupt the market in ways that Supermoon have had (although unfair as it retails at a more expensive $1500).

Ov800 key strength lies in its ability to resolve. It has a way of finessing every detail that comes across refined rather than edgy at the ends of each transient. It’s as if each note had been smoothed out, but not cleansed from the microdetails that we hone in and appreciate.

“Refined” is the key word here I’d like to emphasize, and will most likely be reiterated in my comparison review further down below.





Comparisons (I’ll be using a short note-style comparison for the sake of memory and convenience) –

– Using Dx320 Amp13 and Questyle M15 –


Andromeda 2020 ~$1099 :

Noticeable and audible hiss even before the music plays. Slightly faster transient attack, brighter and "grittier" sound with a more holographic presentation. Andromeda images and layers better, while Ov800 sounds smoother, more polished, and refined in comparison.

Ov800 does sound more closed-in, but has a blacker background and is easier to drift and fade out into the music.

(On M15 dongle) –

More sensitive and requires less volume. Borderline nasal upper-mids. Continues to maintain great technical proficiency and comes ahead of Ov800.
Ov800 retains its refined signature and is easier on the ear without any harsh or grating sounds. Its soundstage and imaging is more on par with Andromeda on this setup.


Softears Twilight ~$930 :

Softer transients and airier sound. Wider and more open soundstage, with larger instrumental layout (more room between instruments) although attributed to its form factor with its open vent. Does Not isolate well. A bit more gain in the pinna-region, but with a noticeable veil in comparison to Ov800. Smoother sound. You're in for its organic DD timbre. Less mid-bass lift but with better texture and rumble. Cymbal strikes are relaxed and put in the background, whereas it sounds more articulate on the Ov800.

Ov800 sounds crisper and more articulate. Less forward upper-mids in comparison but more revealing. Sounds more focused as opposed to Twilight's diffused presentation. Ov800 has a tighter and quicker decay in bass but with noticeably less texture. Ov800 resolves better with higher detail retrieval.

Twilight is a smoother listen overall.
A noticeable veil in the midrange, but a relaxing listen that you can fade into. Vocals sound more airy and float with each breath.

(On M15 dongle) –

Much more comparable soundstage between the two, with a slightly more width on Twilight, but better height on the Ov800. Both images to a similar degree, but slightly favors Twilight once again. Overall, much of my impression is similar to the dx320 but at a much closer technicality.

The midrange veil is still evident on the M15 dongle.


Westone Mach 70 ~$1399 :

More open and wider soundstage. Resolve better.

"Clear-sounding" tuning with a more polite pinna-gain. Treble rolls off in the higher registers. A smoother listen but with an articulate and powerful bass. Has noticeably better dynamics, but vocals come across subtle and less articulate in comparison to Ov800.

Ov800 sounds more detailed and enjoyable and incites more energy into everything it plays. Mach 70 has a more natural timbre, whereas BA timbre is evident on the Ov800.

(On M15 dongle) –

Scales down incredibly well. Retains most of its technical proficiency from the Dx320 pairing. Similar impression as the Dx320 and compares relatively in proportion to M15's scaled back technicality.


Fir Audio VxV ~$999 :

Wider soundstage with better imaging. Treble comes across sibilant and coarse in comparison (too much energy). Higher resolution with better dynamics. Can induce fatigue through elevated upper-mids. Sounds shouty and nasal around 4~5k. Very engaging but much more conducive to fatigue. More elevated treble. If you found odin fatiguing, VxV may not be it for you.

Better texture and oomph in bass.

All around a technically more proficient and resolving iem with better dynamics, soundstage, and imaging. However, it sounds more coarse and rough around the edges in comparison.

Ov800 sounds more polished, clean, and refined, but lacks the technical knack of VxV. Has a more pleasant tonality with sweeter vocals in comparison. Also has a blacker background to observe details better.

(On M15 dongle) –

Similar impression to dx320.
Continues to resolve better (but just marginally) on the VxV, but now with a more comparable soundstage. Nasal harshness is still evident. More textured and impactful bass with more prominent treble.

Ov800 sounds more refined and easier on the ears.
Overall, I'd honestly take the Ov800 over VxV for its refined quality. VxV comes across quite “rough” in comparison.


Kinera Nanna 2.0 Pro ~$949 :

Mid-centric tuning like the Ov800. Comes across darker, but vocals remain clear and present. Has a wider and more spherical soundstage with better separation and layering. Better bass impact and texture as attributed by its dynamic driver.

Ov800 sounds more polished and refined across the entire spectrum. Sweeter and clearer vocals with faster transient decay. Cleaner and more “refreshing” tuning.

(On M15 dongle) –

Ov800 pulls ahead in technicality and provides a more convincing presentation. Nanna 2.0 pro requires good amping to get the most of what it's capable of. For the porta-fi dongle user, it's much easier to recommend the Ov800.


Dorado 2020 ~$1099 :

High noise floor regardless of price-range. Midrange sounds veiled in comparison, but has captivating weight and dimension to it. Treble rolls off, but heavy rumbling bass. Elevated midbass that bleeds into the lower mids. Enveloping soundstage that is a tad wider and deeper than Ov800. Slower transients and approaches music with a heavy demeanor. Colored mids.

Sounds like V.

Generally sounds muffled in comparison. Vocals are placed in the background, but sounds veiled rather than just tamed.

(On M15 dongle) –

Enveloping soundstage as on the Dx320, but now with more comparable width.
Noticeable shout in the upper-mid (~5k) region. Still sounds muffled, but bass sounds fantastic and extends deep down into abyss. Ov800 has better imaging with noticeably clear and separated instruments.


Vision Ears EVE20 ~€1300 :

Wider and more spherical soundstage with a larger-than-life presentation. Has a spectacular imaging at its price-range. EVE20 resolves better, but is quite shouty and can induce fatigue for extended periods of listening time. There is a noticeable noise floor, as opposed to the darker background of the Ov800.

EVE20 has a fuller, more impactful bass that is better textured and extends further down low. It is a very forward and intense signature, so I can see it being an appeal and deterrent depending on what the user is looking for.

Ov800 sounds thinner and a bit compressed in comparison, but sounds more polished and refined from all harsh edges. Ov800 is a much easier listen for the ears.

(On M15 dongle) –

Performs well at minimal amplitude, but its technicality doesn't differ as striking as on the Dx320. Same impression as mentioned above but at a less striking difference.

Ov800 continues to pull ahead in refinement and polish the upper-ends in comparison to the intense and border-line hoarse EVE20. Ov800 is my preferred iem on the dongle dac.




Sources paired with Ov800 (in comparison to Dx320 Amp13) -

Sony Wm1zm2 (S.E. output) :

Blacker background, better dynamics, colder (as expected of SS amp), punchier, and more textured elevated bass. Has sharper transients and more forward upper-mids.

Dx320 (amp13, right output) has more emotive vocals with a sweeter and “liquidity” presentation. More tamed dynamics, but wider soundstage and deeper depth. Sounds a tad more holographic. Airier vocals with more dimensions.

Questyle M15 (S.E. output) :

Coldest sounding of the three. Less soundstage width and depth. Energetic signature with more prominent upper-mids.
Less refinement overall as expected of a dongle dac.



*Stock cable on left, Affinity 2 on right

Affinity 2 Cable

Marco decided to surprise me with an upgrade cable throughout my trial and sent me one without me having asked for it. It arrived in a box with the same leather case as the one provided in the Ov800 with a nifty option to choose and plug your own termination to your needs. This saves me from adding more bulky adaptors throughout the whole chain and the fact that the connectors are in right-angle is just an added bonus.

**IMPORTANT**
Make sure that the "red" and "blue" dots seen on the 2-pin connectors are both positioned at the top. There will be an audible channel imbalance if you do not follow correctly. I thought the driver units had broke the first time I experienced this, so please be aware!





Cable Specifications:

Material: 4x (Ultra Pure OCC Copper & Silver Plated Copper)
Conductor: 4 (Coaxial)
Audio Jack: 2.5mm , 3.5mm , 4.4mm
Connector: 2-pin (0.78mm)
Ear Guide Section: Metal Guided Wire, None
Length: 1.2 meters









Given the opportunity to demo this cable, I had to compare it with some popular aftermarket cables to see how it competes in the market.

Comparisons:

Source: Dx320 amp13 → ____ cable → Ov800

Affinity 2 ~$300 :

It keeps the same DNA of the stock cable with a focus on articulating higher frequencies. Expansion of soundstage in all directions (width, height, and depth) with a noticeable amount more space between each instrument with added layers beneath.

Paired with Ov800, it gives a more enveloping soundstage and sucks you within. Sounds more coherent as if each band flows better from one to another. I wish this came as the stock cable for the Ov800 because it sounds so good together, but I do understand the manufacturer’s standpoint of needing to control cost. Highly recommend this pair up.


Ares S ~$179 :

Affinity 2 extends higher up in the upper frequency with a wider and taller soundstage and better separation of instruments.

Ares S sounds fuller in the bass and lower-mids. It is slower and more syrupy compared to the faster, cleaner, and lean presentation of the Affinity 2.


Cadmus ~$199 :

Cadmus shares a lot of the same DNA as Affinity 2. Affinity 2 sounds a tad leaner, smoother, and more refined. Affinity 2 also has more air between instruments with a slightly wider and taller soundstage.

Affinity 2 sounds like a refined version of Cadmus. A little more relaxed with better rendering of vocals and higher frequencies.

Cadmus has a slightly darker background. Slightly better articulation of notes with more prominent weight. Similar bass texture.


Eros S ~$299 :

Eros S has more emphasized midrange with revealing vocals; fuller presentation with more textured bass; and better articulation of note weight with a tad slightly faster transients.

Affinity 2 has a wider and taller soundstage with a leaner presentation. It sounds more ethereal, smooth, and "floaty".





Finale -

I’ve had a very enjoyable time demoing the Ov800 for the past several weeks. It is not a technical beast by today’s standards, but I had to give it some slack as it was an older model that was built in consideration of the mid-fi market. Tuning and refinement is the name of the game here, because it truly is exquisite enough to want another updated variation of the Ov800. Just add an updated driver configuration that technically competes on par with today's summit-fi iem, and I wouldn't hesitate to get my hands on them.

Ov800 may not be a perfect contender to disrupt the market balance, but offers a unique and flavorful tuning that sets itself apart as an anomaly. It is a testimony of this brand’s competence, and one we should all be taking note of.

PW Audio Orpheus Shielding – TOTL Cable War

--
For convenience sake, this will be a short paragraph style comparison review, so I apologize ahead of time if it will sound too anemic
--

Preamble -

It’s funny I never meant to write a review here on the “head gear” category, as there is this undisclosed expectation to be all formal when formality couldn’t be further from how I typically like to present myself. Maybe it’s all inside my head? But I falter at the thought of writing media centric reviews that’s commonly found at a click of a button on Google. I find it tedious and uncomfortable, as I am burdened with the pressure of sounding like a salesman rather than giving a simple description of what I’m hearing as I do with all my audiophile friends here.

I prefer writing in a vernacular manner, which is why I’ve transitioned towards writing small paragraph-style reviews on established threads like the Watercooler Forum. It gives me the flexibility to stay within my comfort zone while still being able to contribute to the community I know and love.

Now with that being said, imagine how surprised I was to find that there was not one review done of the world’s most expensive cable in the “head gear” space when that respect was given to iems of the same accolade like Traillii or Jewel. I’ve been wanting to write a comparison review for quite some time, so I figured this may be the perfect opportunity to finally add the all-mighty Orpheus to the “Head Gear” space and give it the publicity it deserves.

This review isn’t me diving deep into Orpheus Shielding in particular, but speaking of it as a whole in comparison against other totl cables in the market. I figured this may give everyone a little insight into each cable’s characteristics and how they differ from one another. It is my hope that I can provide a vicarious experience as you guys read this, but of course – as one famous reviewer once said…

“YMMV and all that…”



*Orpheus (top), Chiron (left), Cardas Clear (middle), Centurion (right)


Comparison Review Cables:

- Khanyayo Cardas Clear (Dr. Juggles 1950s clone) ← personal unit that I drive daily
- PW Audio 1950s
- PW Audio Orpheus Shielding
- Effect Audio Centurion
- Effect Audio Chiron
- Effect Audio Chiron 4 wire
- Eletech Ode to Laura
- Liquid Links Venom


Gears used for comparison: iBasso DX320 amp13 --> __?__ cable --> Empire Ears Odin




*Paired it with Jewel for fun here, but all impressions have been done with Odin
**Cardas Clear (left), 1950s (right)


Khanyayo Cardas Clear (Dr.Juggles 1950s clone) ~$900+ :

This is my most used cable I drive daily. It’s an achievement itself how tangly it gets, but I love it for how good it sounds at a fraction of its original cost. As subjective as this may sound, I find its tonality to be the quintessential sound of pure copper with analogue goodness. Its warmth reverberates throughout the whole spectrum with texture for days that growls from the feet of the bass. Its resolution is almost on par with today’s totl cables, falling ever so short when it comes to the last leg of refinement. To quantify, I’d say it at least gets within the 5% margin of how it resolves details.

The mids are tamed back and leans closer to a relaxed presentation from neutral. The treble is not over-the-top sparkly, but exudes that ethereal air reminiscent of EST timbre we know and love. Where it truly falls short is in the soundstage and imaging. It’s wide and big, but lacks the holographic depth seen in totl cables below.

Still an incredible value imho.



PW Audio 1950s ~$2300 :

I’ve done a back and forth test between the 1950s clone and the original 1950s. To my ears, they sound identical in tuning. The Cardas Clear gets upto 99% of how the 1950s perform, but my ocd brain pulls me ever so slightly towards OG’s favor without telling me why. I don’t know if it’s a placebo effect, but I assure you it’d be very difficult to tell the difference if you were doing a blind test side-by-side.



PW Audio Orpheus Shielding ~$7800 :

The first time I had the Orpheus in my ears, I was shocked due to a number of reasons beyond its expected acoustic performance. Firstly, its tonality is very similar to the 1950s. I haven’t seen any mentions of this from reviews I’ve read so far, but Orpheus is literally the big brother of the 1950s. If you want a budget Orpheus, you can buy the 1950s (or its clone) and still be content with getting at least 90% of what the Orpheus provides.

I can only assume Peter tuned Orpheus this way because why change a formula that works and is loved by the community (resembling the 1950s)? And secondly, the PVC and FEP shielding feels soft and elegant to touch. The weight is noticeable but not cumbersome even for a small-statured person like me (compared to my Western friends). It’s surprisingly ergonomic and free from tangle, and aesthetically speaking, this is probably my favorite cable among the plethora of other cables I’ve come across to date.

From here on out, you can copy and paste my description of the Cardas Clear (1950s clone) and you’ll have a general understanding of what its tonality is about. The difference, however, is in the soundstage and imaging. Orpheus envelops you and transports you to an alternate reality where you’re sucked in by this evocative depth of emotions. It is the most enveloping soundstage I have heard (even against all other totl cables below) with the blackest background that takes you down to the abyss.

The mids are scooped slightly further back, while treble is more reserved compared to Centurion or OTL (Ode to Laura). However, it’s presented in an ethereal floaty manner like the 1950s and provides a sense of air in spades without losing any details.

Vocals are tamed into the background, but have an immersive quality that expands all the way out into the distance. None of the frequency jumps at you (unlike how I hear from Chiron) but has a weighty bass that anchors you down so that you can freely meander through its acoustic landscape.

• Its resolution is on par with other totl cables below.
• Compared to the 1950s, very very similar tonality with about 5~10% difference in technicality (depending on brain fatigue).
• The most enveloping soundstage with the blackest background among any cables
• Very holographic, on par with Chiron (just different presentation)
• Warmest, wettest, and most analogue sounding of the bunch.
• Incredibly effortless
• Falls slightly behind in texture as a sacrifice to give off that relaxed presentation (in comparison to Ode to Laura)

Orpheus is literally the embodiment of Traillii in the form of a cable. A relaxed and enveloping presentation with a huge soundstage. It is the smoothest and most effortless sounding cable I have tried to date.



Effect Audio Centurion ~$5000 :

Brightest presentation of the bunch. Has a more forward upper-mids and treble (without inducing harshness) with the same wide soundstage as seen on Orpheus, but falls short when it comes to the holographic depth that’s present on Orpheus, Ode to Laura, and even from its cheaper flagship Chiron.

Centurion has a sweet and slightly cool timbre. Think of freshly picked morning apples, as opposed to the hot chocolatey cocoa of Orpheus.
Preference is subjective, but personally I prefer this timbre over Orpheus due to my bias towards brighter sounding tonality. Guitar plucks sound more present and tangible. It has a livelier sound to it as if you’ve opened a window out into a clear field intoxicated by spring fever.

• Brighter and energetic
• Crispier transients than Orpheus with more forward treble
• Linear bass but fast and articulate (bass more in line with mids, and not emphasized like the Orpheus)
• Same incredibly wide soundstage as Orpheus, but falls short in holographic depth

Effect Audio Chiron (8 Wire) ~$3000 :

Retains Centurion's cool timbre, but warmer and more organic. Not chocolatey-warm like Orpheus, but a bit pulled back in brightness. Tonality wise, it sits in between Orpheus and Centurion, but leaning closer to Centurion.

Vocals are deliciously sweet and are placed right in your forehead, within the centerfield of the soundstage, while instruments position themselves above and below you. It's more noticeable than any other totl cables I've tried. It has an engaging presentation like Centurion, but more mature, organic, with a greater sense of depth. Holography is very impressive and on the same level of Orpheus, but with a very different presentation –

Chiron accentuates each band of the frequency, giving a W-like appearance.

Chiron sounds more tactile and has textured grit compared to Orpheus, which is smoother and relaxed. Treble is crisp and accentuated without overpowering the rest of frequency.

Truely a “W” shaped tuning.

• Similar tonality as Centurion but more reserved in the upper-midrange and treble. Noticeably better depth. Width is about the same, although sometimes I’ve heard Centurion coming across a tad wider in my head (could be placebo effect after switching back and forth multiple times).
• Slightly more bass than Centurion, but still just as fast and tactile
• Orpheus is still more enveloping, but Chiron’s “W” is more engaging with sweeter vocals

One of my absolute favorites.



Effect Audio Chiron (4 wire) ~$2000 :

Same tonality as the original 8 wire. "W" shape with equally accentuated frequencies in each band, but noticeably less resolve, dynamic contrast, and imaging.

It's about 90% there compared to the 8 wire version.

1950s has better resolution, dynamics, and soundstage in comparison.




*Orpheus (left), Ode to Laura (right)


Eletech Ode to Laura ~$2800 :

Noticeably less width than other aforementioned cables above. Taller and deeper than width like an oval shape with accentuated treble energy. Has textured sparkle up top but not splashy.

Still retains that copper analogue timbre but with very fast and snappy transients. The texture down low is incredible with a gritty palpable rumble.

Generally speaking, it has an energetic presentation with vivid tonality that invokes adrenaline all throughout your body.

The best texture ive heard among any cables ive tried so far.




*My Venom before it went away to a friend :')


Liquid Links Venom ~$1090 :

It’s been about a month since I’ve owned the Venom before sending it away to a new owner, but it’s characteristic still remains fresh in my memory as having been the most unique cable I’ve tried to date.

Venom has an uncanny ability to “uncolor” any iems it pairs to. It is the epitome of how a “clear-sounding” cable would sound if such cable existed in the market. Some may find its “uncolorization” as a way of revealing the intrinsic quality of its connected transducers and showcase how it's meant to sound in its purest form. However, I found this to strip away the emotive quality as well, leading me to be more disengaged than vibing with the music.

Compared to other totl cables, Venom performs on par in soundstage width, but falls short in the abyssal-like depth as seen on Chiron. It has a unique way of putting forth midrange upfront without inducing any brightness whatsoever. Its vocals sound crystal clear reminiscent of Jewel’s midrange and remain natural without sounding artificial. It has a fast and articulate presentation with shorter decay of notes and competes on par with aforementioned cables strictly on resolution.


Finale :

I tried to pick a favorite cable of the bunch, but was unable to do so as each had its ups and downs relative to how it synergizes with different sources and iems. Through this experience, I came to ask myself - what if, instead of collecting different iems, we simply cable roll on our favorite iem to appeal to the moods that we're in.

Hope you found this review informative

Tldr:

A V-shaped iem with spectacular clarity and resolution with no details to reserve. The SE12 is the quintessential bass-centric iem, tuned in favor of bassheads at the sacrifice of mids. This is by the far the punchiest bass I've heard with a high degree of transient attack. Its Achilles heel lies in the technical imagery presentation, where each note lacks space and struggles to distinguish one from another. If you are a natural-born basshead, the SE12 do live up by your alley. If you like "clear" sounding iem or any variant of the Harman target, do look elsewhere.

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My music library primarily consists of EDM and pop, with a mix array of kpop, rap, classical, and rock.

I prefer a clean sounding iem and with lots of sub-bass and 3k pinna-gain that is similar to the Dusk. I use the Dusk as my foundational reference point, as I believe it is impeccably well tuned all the way up to the 3k region, which from there on I have little expertise and knowledge in understanding my desired treble presentation.

Sources: Luxury & Precision W2, EPro 01, Stock cable + CEMA PS series cable
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Technical Specification:

8BA + 4EST

Driver Composition

2 Sonion 38D series (Subbass~bass)
2 Sonion 37 series (bass~lower-mid)
4 Knowles TWFK series (Upper-mids ~ treble)
4 Sonion EST65QB02 (Ultra high frequency)

>Impedance: 22 ohms.

>Frequency Response Range: 9Hz-40kHz.

>Effective Frequency Response Range: 20Hz-20kHz.

>Sensitivity: 118dB SPL/mW





Intro:

I've spent close to a month now trying to have a full understanding of the SE12 after a mediocre initial impression that kept me from writing a decent review. This will unfortunately be a short paragraph-style review that summarizes my general feeling of the SE12, but I do feel it will greatly benefit this community of ever-persistent enthusiast seeking after higher audio quality experience.

Thus, let's begin with GS Audio's own marketing phrase to describe the SE12 - "Luxury Beast"





Now, I could careless about whichever catchy vernacular phrases they use for marketing purpose, but in the grand scheme of things, it does accurately profile the general sound signature of the SE12 in coherence with its "luxurious" shell. The SE12 is undeniably a V-shaped signature that aims to boost the bass and treble to a prominent degree. As a result, the midrange vocals take a step back to allow the rest of the frequency to shine. The "beast" within the SE12 connotes to the excellent bass reproduction in conjunction to the heavily bass-centric tuning and sheer technical resolution.

As someone who is not against V-shaped tuning (although not a fan either), this is clearly an overemphasis in wanting to please a niche category of bassheads without taking full consideration of the traditional audiophiles who appreciate a cleaner reproduction without sacrificing the mids. I'd like to give GS Audio the benefit of the doubt by giving leeway to their massive portfolio with numerous tunings and setups for consumers to choose from, but this is in no way a mature hifi tuning that prioritizes balance in respect to the different music genres people listen to.

To further scrutinize, it would make most sense for viewers to analyze and dissect the frequency response graph, as the sound is quite resemblant to how it graphs provided by the manufacturer (IEC 603 coupler).





Personally, I believe ~250hz is the most ideal region to add incremental gain to transition into mid-bass substance and ultimately subbass impact without any bass bleeding into the mids. In contrast, the SE12 transitions into that gain starting from 600hz onward, which leads to a noticeable 3dB difference between 300hz and 600hz (and this is still within the lower-mid region). By the time we reach the 150hz mid-bass substance, we're already at a 7dB difference from the midrange. To my subjective listening, such tuning leads to the bass and mids meshing together, which is further exacerbated by the lack of separation of instrument. If it wasn't for its incredible clarity and high transient attack, its tuning alone would have induced a feeling of stuffiness, which would have been unforgivable at this price point.

The SE12's resolution is the saving grace that makes up for the lack of separation (in respect to price) by giving definition to each note, which in turn brings rise to dimensionality. Paired with this is its incredibly punchy and fast transient attack, which attempts to make a point why it deserves a flagship status. This is a highly resolving iem with a remarkable clarity and punch, which demands the listener's attention than to fade into the background. I found it fatiguing for long-term listenening session, but can see it being pleasurable for those who prefer detail-oriented signature.

Soundstage is intimate, but has good depth to add layers within the music. Unfortunately, the SE12 cannot take advantage of such layers due to its limited separation capabilities, rendering spatial positioning and imaging on a relatively flatter plane. However, it has enough potential to make me believe GS Audio can come up with a much more improved flagship.





Bass is excellent in quality. The best BA bass I've heard without a doubt (albeit the BA decay), and scales exceptionally well with the right source and cables. I'd like to make a short personal anecdote that SE12 is the very first iem to have confirmed me a cable believer, which I know is an incredibly controversial topic. I find this as a sign of how flexible and source sensitive the SE12 is, but one can make their own decision after experimenting with this iem.

Midrange vocals has a surprisingly good natural timbre. If only the tuning gave leeway to more midrange prominence, I can see how it could be intoxicating for vocal lovers.

Treble is where I believe the SE12 ends in a lackluster fashion - more so than midrange - falling within the realm of mediocrity as I cannot audibly hear the benefit of having four EST drivers. There is good resolution, but nothing else to offer, besides the occasional sibilance in treble-intensive songs. There is a peak around the 5k and 7k mark, but remains relatively tame due to the overbearing energy in the mid-bass and lower-mid region. There is not much air to be found: both within notes and in its treble extension.


Conclusion:

I've been very critical of the SE12, but such is the standard when it demands a flagship price in a competitive market. With that being said, the SE12 is by no means a "bad" iem, but moreso a prototype in my view, as a lot can be fixed through the tuning alone. This is a difficult recommendation at the $925 MSRP, but may fit in a niche collection if available at a cheaper second-hand market.

- SteveK

Tldr:

A musical sounding, clean and lean presentation with emphasis in upper-mid and sub-bass. Very good imaging that is comparable to sub-one-thousand dollar iem. One of the more genre specific iems i've listened to. Difficult to call it "balanced" by the virtue of tuning, but a thoughtful tuning catered to today's contemporary audience encompassed by electronic and synthesized instruments utilized in contemporary chart-hitting genres. If you've enjoyed the Blessing 2: Dusk, this is a clear upgrade that keeps the best qualities of the Dusk while making improvements in what it lacked - namely, treble extension and bass quality (dynamics and micro-details/texture).


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My music library primarily consists of EDM and pop, with a mix array of kpop, rap, classical, and rock.

I prefer a clean sounding iem and with lots of sub-bass and 3k pinna-gain that is similar to the Dusk. I use the Dusk as my foundational reference point, as I believe it is impeccably well tuned all the way up to the 3k region, which from there on I have little expertise and knowledge in understanding my desired treble presentation.

Sources: Luxury & Precision W2, Spinfit 155, CEMA PS series cable
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Technical Specification:

2EST + 2BA + 1DD

Bass: 10mm LCP dynamic driver
Mids: Softears-D-Mid-B
Treble: Sonion EST

>Impedance: 15.2 ohms.

>Frequency Response Range: 9Hz-40kHz.

>Effective Frequency Response Range: 20Hz-20kHz.

>Sensitivity: 118dB/Vrms.

>THD+N: <1%@1kHz.

Intro:

I've been using my Clairvoyance as the go-to for the past few months, until I came to a realization that I found it's bass presentation a little too "blunt" for my taste, which gave off a sensation of bloatedness, even if the tuning does not indicate bloat at all. This may be a nit-picky issue, but such is the standards of being in this hobby as each one of us become more obsessed in search for a higher-quality audio. I assumed the drivers inside the Clairvoyance were more at fault rather than the tuning itself, which led me down the path to selling my Clairvoyance in search for an iem that was tuned more akin to the Blessing 2: Dusk with higher technicalities. The time in which the Variations has been released is uncanny, as it struck me out of nowhere. I was not expecting any new Moondrop releases until this winter or so, and thus purchased the Variations on the day its been released...


only to receive it a month later smh...


For those familiar with the Blessing 2/dusk lineup, the Variation is a direct upgrade with a similar sound signature, but with a more refined technicality that gives off an impression of a mature hifi iem. There is very little wrong here, and a lot more to like and appreciate rather than the sensation of missing something. It keeps the Moondrops's VDSF house tuning, but seems to have taken a subbass inspiration from the 2019 harman target. The infused Harman target into their house tuning appropriately justify their naming scheme, Variations, as Moondrop publicly stated -

"The 'variations' in music/dances." - Moondrop Official

The sub-bass emphasis with forward vocals satisfy the two frequency regions many contemporary songs and genres utilize, giving off a target preference that's been tuned in accordance to today's standards over the classic rock and blues that were prevalent in the 60s and 70s.

To those unfamiliar with Moondrop's house tuning, there is a clear focus on the upper midrange vocals through a 10db pinna-gain at the 3k region. By keeping a modest boost in mid-bass, the mids are clearly separated from the lower-end to bring a clean and unadulterated sound. Such tuning can result in the perception of higher clarity and resolution at the cost of a bit of fullness and body in the midrange. "Thinness" may not be an appropriate term as some would like to describe, as the mids do have enough body to anchor itself as the foundation of music. I would consider "lean" as a more appropriate term, as it accurately address the sensation of "thinness" without the negative connotation associated when we think of a "thin" sounding audio.





Comparisons

Blessing 2: Dusk -

Variations is a literal step forward from the Dusk, as it fixes the two biggest gripe I've had during my time with this amazing set. Namely, the treble extension and it's quality of the bass. Unfortunately, I must admit the dynamic driver used in the Blessing 2 lineup is mediocre at best, lacking the dynamics and texture, along with micro-detail presentation. This does not take away from how amazing the Dusk is at its price point, with a complete TOTL reference tuning up to the 8k resonance peak, which from there nosedive hard due to driver limitations. The Variations fixes these problems with a new LCP (liquid crystal polymer) dynamic driver and having the Sonion EST drivers handle the treble frequency. With these driver upgrades results in a very well textured dynamic bass with a life-like treble presentation that extends all the way up to the upper-air. The Variations do sound more lean due to the 2db decrease in the 200~300hz region, but makes up by adding about 2~3db gain in the sub-bass region, resulting in a more musical presentation compared to the Dusk. Imaging is undoubtedly much better on the Variations, as instruments are clearly separated, positioned, and well-defined in what feels like a spherical shape around your head.

The Variations would be an easy upgrade to move forward from the Dusk, as long as you are comfortable having a leaner mid-bass impact that some may feel "shallow." I still think the Dusk has been tuned better, having a better sense of weight and body in the midrange. But it cannot compete with the Variations on its technicalities. No way.





Monarch/Clairvoyance -

There has been a prevailing discourse leading up to the release of Variations how it graphs "similarly" to the Monarch. If price was indicative to sound quality in the most objective sense, it would be a justifiable response to claim the Variations as being the younger brother of the Monarch. But such is not the case as the Variations do not kneel to the Monarch, and dare I say offers a more thought out and mature tuning within the same philosophical approach. Both upholds the same clean and lean presentation to provide an unadulterated sound, which often comes from the mid-bass elevation bleeding into mids. The difference, however, lies in the tuning compartment within the bass sector in deciding how and where to place the gain. The Variation has a comparatively steeper gain from around 200hz onward, as opposed to a more gradual rise from 130hz onward of Monarch's bass. Such "minuscule" decision gives the Variation enough sense of weight and body in the midrange, which translates to a relatively musical presentation that I found lacking in the Monarch with its sterile and dry quality. Now if only Monarch was "better" in its technicalities, it may be a preferential bias for one to pick the Monarch over the Variations, but both presents a similar quality of resolution with maybe an ever so slight better imaging on the Variations. Soundstage width may be a win for the Monarch, but the Variations competes within the height and depth department. The Variations also offer a more natural timbre in both the midrange and treble, with a treble presentation that I find more engaging in its ethereal quality (not to take anything away from Monarch's airy treble presentation). As technicality is quite comparable, it ultimately boils down to the tuning philosophy of a lean, yet musical enjoyment of the Variations, or a lean and analytical approach of the Monarch.





I've had a more enjoyable experience with the Clairvoyance over the Monarch given the mid-bass treatment that fixes the aforementioned sterility. The 200hz gain provides enough sensation of weight to keep the bass-guitar region from sounding too dry without bloatedness in the mids. It's tuning philosophy is very similar to the Monarch from the 1k pinna-gain onwards, thus making it most sensable to observe the difference in the mid-bass region, which respectively impacts the mids as well in the sensation of weight and body. We can dive much deeper into this topic, but such comparison will come at another time as this is a review for Moondrop's Variation.

Clairvoyance is what I would consider a supremely neutral tuning with bass-boost. If there was such thing as an "audiophile" tuning, the Clairvoyance would fit under such category as it has a very well balanced presentation from the very low to high ends with all shades in-between. Now even as I harp about how well balanced the Clairvoyance has been tuned, its technicality falls behind the Variation in almost every metric with the exception of soundstage, which I would consider as being on par or equal (although a better sensation of height on Variations). The Variations have better imaging, with a clearer and more concise positioning with superior separation of instruments. It is much easier to pinpoint sources from a three-dimensional space, being able to almost draw a sphere around your head. The Variations also has a hint higher resolution with more sub-bass texture and details that I find lacking (or maybe wanting more) in the Clairvoyance. Their vocal presentation is quite different in spite of a similar pinna-gain in the upper-mid region, with the Variations sounding more present and natural. I suspect this has more to do with the Softears BA doing wonders in the Variations than the tuning itself. The Variations also offer a more natural timbre in the treble region, which gives off a more ethereal quality that I find more pleasing to my ears. Such treble presentation leads me to "perceive" it as having better extension over the Clairvoyance, even if their extensions are quite similar in the most objective sense. The Clairvoyance do have more mass and body in the mid region, as opposed to the quite "thin" and lean sounding Variations. They both approach a different philosophy, and thus, would satisfy the needs of a listener based on the listener's tuning preference and music library. The Clairvoyance is more forgivable and applicable on more, if not all, music genres, in comparison to Variations. I can see how one would prefer the Clairvoyance due to the sense of weight and mid-bass impact that the Variations lacks (or voluntarily strays away from). Male vocals and bass guitar have more presence in the Clairvoyance, and is arguably the more "balanced" set that adheres to strict neutrality. Those who listens to a lot of rock or hip hop may find the Clairvoyance more satisfying due to its mid-bass presence.





Personally, I believe the golden-era of Thieaudio's first-generation twin is fading with the rise of myriad of tribrids that is not only cheaper, but offers a comparatively better performance in either the maturity of its tuning or its technicalities.

I would easily take the Variations over either one of the twins in a heartbeat.


Xenns UP -

I won't dive deep into this comparison, as I'd like to do a much more comprehensive review of the Xenns UP on a separate occasion when I have more time. But I'm adding this here as it is one of the most sought out tribrid people want to hear in comparison to the Variations.

Xenns Up is a very good set. In fact, one of the best bass quality I've heard with a very natural sounding bass. Although I prefer the bass presentation on the Variations strictly tuning wise, the dynamic driver on the Xenns Up is undoubtedly on another level with how well integrated it sounds with the rest of the frequency.

Comparing these two iems is like comparing apples and oranges. Each presents its own flavor extremely well, and would easily sway someone one over the other strictly based on their music library and their ideal tuning composition, as both the Variations and Xenns Up are very different. Soundstage is roughly the same, where as resolution and imaging may go a hair toward the Xenns Up, but to an insignificant degree. Therefore, choosing to pick up one over other is based on how much you prioritize your bass, as the Xenns Up gives an abundance of bass in every single track that has bass frequency (whether for good or not). You'll need to channel your inner basshead, as I personally found it a bit too distracting when trying to focus on the vocals. This feeling may be due to the recessed upper-mid range in comparison to the Variations, but many will find the vocals present enough. I, however, like my pinna-gain more accentuated.





Variations is a clean and lean sounding set with sub-bass focus. You will not miss out on the bass texture even though I find the Xenns Up dynamic driver to be of higher quality. Female vocals sound better and have a more natural timbre to it. There is also a higher "perception" of treble extension, although I believe this has to do with the general upper-mid range emphasis that helps deliver a better sensation of air in the upper treble region. In the most objective sense however, they both have an equal degree of treble extension. It's just that Variations present it in a more ethereal quality.

Xenns Up is on the slightly warmer and darker side of tonality. The less present upper-mid range leads to other parts of frequency (especially the bass) to be more prominent. Male vocals sound full and toasty with a grandiose presentation, giving it a more pleasant experience over the Variations. Female vocals do not take the spotlight, only lightly when called for, and aims to integrate itself coherently with all spectrum of music. Those who find the Moondrop tuning too bright may prefer this sound signature instead.

To make an analogy, listening on the Xenns Up is like drinking a nice set of whiskey, as everything sounds fuller and grand with a hint of aforementioned warmth. This is a set what I would imagine an "audiophile basshead" would like. A supreme refinement with an ever-present and impactful bass.

My recommendation is the Xenns Up if you like genres similar to hip-hop and rock.

If your music library consists similar to mine - EDM, pop, and acoustic - Variations may be of a better choice.

I would personally take the Variations over Xenns Up, but this would be a highly contentious set.





Conclusion:

2021 is a year of midfi tribrids, making appearance that contests the price to performance ratio of higher-end models. Among the numerous tribrids that have recently come out, Variations sit at one of the cheapest available tribrid at $520, and $460 if you can purchase it at the Chinese MSRP. Even as it sit at the cheaper ranks of tribrids, its performance will not disappoint as it is already one of my favorite iem to have listened to.

- SteveK