The LCD-5, together with the CRBN, forms Audeze's flagship series. With both models, Audeze enters new territory in terms of tonality. While the older LCD models are known for their very smooth and warm tuning, the new flagships sound a lot more neutral, especially in the upper midrange. I will describe how exactly the two differ in the following.

The scope of delivery includes an aluminum carrying case, a warranty card with serial number and production date, and a high-quality connection cable. My tested model is a production from the end of 2022, which already has the current headband on board. Audeze had initially delivered a headband with very high contact pressure and then improved this after some time. Since I also know the original model, I must say that the new headband is much more comfortable with perfect contact pressure. The very high quality OCC headphone cable has a 4 pin XLR connector. In my opinion, all manufacturers in this price range should ship such cables with the headphones. I have a few other aftermarket cables to test here, but this included one beats them all! So there's really no need to spend hundreds of dollars on another cable here.



What is immediately noticeable is the lower weight compared to the predecessor, the LCD-4 and significantly! The newly developed drivers are slightly smaller than those of the LCD-4. The geometry of the ear pads is also fundamentally different. The reshaped, inwardly sloping ear pad architecture reduces unwanted resonance and internal reflections. All in all, it sits super comfortably on the head and the weight does the rest.

The workmanship is typical Audeze absolutely top. Where wood was used before, acetate is now used to further reduce the weight. The design is reminiscent of the colors of a turtle shell, the acetate shimmers in the light, I like it. I think in the future you may even be able to select the colors/design, as is the case with Rosson Audio.





I tested the Audeze LCD-5 once portable on the Shanling M8 and stationary on my Topping D90SE->Niimbus US4 chain. The LCD-5 is so easy to drive that even the low gain setting of the M8 is quite sufficient.

There are only two words that come to mind for the first few tracks, and they are "clean" and "resolution". The LCD-5 sounds so clean and has a resolution that I think I'm listening to an electrostatic headphone. Transients come out like a shot. Surprisingly, the CRBN as an electrostatic sounds more like a full-blown planar magnetic, whereas the LCD-5 sounds like a straight electrostatic. This is probably not what one would have expected! In direct comparison to an LCD-4, the 5's more neutral playing style is noticeable. A little more in the mid-range, more treble and somewhat more moderate bass range.

The bass has an unimagined richness of details and lets this typical Audeze punch emerge despite a slightly lower quantity compared to the LCD-4. It also goes down really far.

In terms of resolution, you can really hear every detail. This is somewhat reminiscent of a RAAL-requisite SR1 or Stax SR-009. The LCD-5 beats the new Utopia 2022 as well as the Hifiman Susvara in this discipline.

Tonally, the LCD-5 is very reminiscent of the Utopia 2022, but with a bit more forward midrange and a bit less punch in the bottom end. In terms of stage, it offers more illumination in all directions than the Utopia 2022, whose parade discipline this is not exactly. As delivered, I prefer the Utopia 2022 to the LCD-5.

It is a pity that the LCD-5 is technically one of the best headphones that you can buy at the moment, but tonally not 100% as I imagine it at least. A little more bass, less mids then it would be perfect. But I can only speak for my taste and I listen to 90% rock and metal and very little jazz or classical music. With vocal based material, a little more around 3 KHz can even seem more pleasing if a perfect recording is illuminated a little more. Besides, every ear is sometimes more sometimes less susceptible around 3 Khz. Also the bass quantity will be quite enough for one or the other, I'm just a little Bass Head. We are not talking about a bass weak headphones here for a long time, not at all! The bass in the LCD-5 is, however, qualitatively so good that I just wanted more pressure in the lower rum in some passages.

Fortunately, the LCD-5 can be easily adjusted with the PEQ without any distortion. This is probably thanks to the technically excellent features it possesses. And now the best part: with PEQ, it plays in the absolute ranks of the top 5 headphones. As a reference for EQing, I recommend the settings of @Resolve. They already fit for many like a fist on the eye. If you like it not quite so neutral and a little warmer, you can try these settings, which I have made based on the @Resolve EQ.



If you now compare a CRBN with Bob Katz EQ against an LCD-5 with Resolve EQ, you ask yourself again the initial question, who is the planar magnetic and who is the electrostatic? Wrong world! The CRBN sounds like a LCD-4 on stereoids with much better mids and a brilliant low end! The LCD-5 like a scalpel with a musical flow that makes you forget you're wearing headphones. The sound virtually detaches itself from the ear cups. Speed, resolution and nothing but purity! Madness! The CRBN and LCD-5 outperform a Utopia 2022 in terms of stage. The CRBN with an almost unbelievable depth, whereas the LCD-5 is a bit broader. In the bass and in the mids, I see the CRBN slightly ahead, the LCD-5 trumps in the treble and plays there past a Hifiman Susvara and 1266 Abyss TC.

In conclusion, I can say that the LCD-5 is a right and important step for Audeze towards a more neutral tonality. I would have liked a little less midrange and a little more bass out of the box, then it would be perfect. But fortunately, I'm more than pleasantly surprised by what these headphones are capable of delivering after the PEQ adjustment, and it's nothing short of great cinema! So if you are willing to use an EQ, I can highly recommend the LCD-5. Then it is one of the best headphones you can buy at the moment. If you don't want to use an EQ, you should definitely listen to these exceptional headphones. For those who have not wanted to invest in an electrostatic setup, the LCD-5 is a planar magnetic that plays as close to electrostats as any other of its kind.

Many thanks to @AudiophileAri who assist me with the review unit.

The Fourté Blanc is a limited edition IEM of 500 pieces, which is based on the Fourté technology.



As you would expect from such a limited and exclusive IEM, the packaging comes across as very luxurious. This green fabric box design perfectly matches the design of the IEM. Inside you will find a leather case for storing the Blanc, a 3.5mm connection cable, a cleaning brush, a clip and tips in 3 different sizes. The tips are foam, silicone and a version of the CP155 from SpinFit. In an additional box is a beautiful silver cable with 4.4mm connector, which was designed exclusively for the Blanc. This is a mixture of pure silver strands with copper OFC silver plated. It is fantastically finished and by using a sleeve it has no negative microphonic effects. Individually, this cable costs $999!!! In my review, I drove the Blanc balanced over this cable, of course.




When I unpacked it for the first time, it hit me when I read the "1 of 500" on the packaging. Of course, I did not receive the serial number 1 of 500, but one of 500.

The shimmering green faceplate in the white shell looks elegant and timeless at the same time. In the pictures you can only guess how good it looks in reality. The white shell is a cream-colored ceramic coating. The inner values have also been upgraded compared to the regular Fourté. A special cable made by Cardas is used for the wiring and the Mundorf Supreme, which is well-known among high-enders, is used as the solder.



The Blanc is the second reinterpretation of the Fourté from 64 Audio. Previously, a limited Fourté Noir was released, which was completely sold out after a short time. Since I entered the IEM theme a little later, I unfortunately missed the Noir at that time. I never bought the regular Fourté, because it is supposed to sound too bright and thin and many reviewers confirm this. I am not a fan of the very bright headphones and IEMs and like a fuller presentation down low. Similar to the Noir, the Blanc (according to 64 Audio) goes in the direction of a warmer tuning compared to the regular Fourté with more bass presence. However, with the Blanc specifically, the dynamic woofer has been improved and distortion greatly reduced. Like any Fourté, the Blanc contains a total of 4 drivers. A dynamic for the low frequency, two TIA drivers for the highs and midrange and one BA driver for the high-midrange.

For the sound test, I use the Blanc on my Shanling M8 in balanced cabling with the exclusive 4.4mm silver cable. Since the Blanc can be operated very efficiently, the "low gain" setting on the M8 is quite sufficient.

My reference among the IEMs so far is clearly the U12T from the same house, which has an impeccable tonality for me, which I could not experience with any other IEM before. Many IEMs have come and gone for me in recent times. A Legend X, which of course builds up a fabulous pressure in the lower range, but has clear tonal weaknesses. A Vision Ears Elysium, which plays super clean with great mids, but builds up too little pressure in the lower range. The legendary Erlkönig, which is trimmed for musicality and not for reference sound. Recently, I was also able to compare the Tia Trio with the U12T. In the end, I narrowly decided in favor of the U12T, which simply seems more balanced from bass to treble, although the Trio offers the more fun and punchy bass that the BA driver of the U12T can't quite deliver. However, for me, tonality is paramount above all else! And here, the Trio seems a bit too sharp in the upper registers and lacks the audibility in the mids compared to the U12T.

For testing, I mainly use the JVC SpiralDots++, which are in front for me in terms of sound and comfort. The AZLA Xelastecs are even more comfortable, but the Blanc sounds a bit thinner with them. The Complies T500 sit bombproof and isolate the best, but you have to forfeit some airiness.

How does the Blanc sound? In one word: sensational! When I first put on and playes Obama of the Counting Crows, I had downright goose bumps. What a performance! This abysmal and punchy bass, the large stage with this razor-sharp imaging and then these mids "to die for". But now slowly in order. My first few hours of listening were spent with just the Blanc, with no other IEM or headphones for comparison. Reference track for reference track I reeled off one song after the other and the evenings became longer and longer, because I could hardly stop. The plan was actually a comparison against other IEMs like the U12T, but in the end it turned out a bit different than expected. To further explore the quality of the Blanc I had to reach for my Focal Utopia 2022, Hifiman Susvara and RAAL-requisite SR1b, all driven by the Niimbus US4. So a fulminant ensemble with which the Blanc had to compete.

To my surprise, the Blanc is tuned very similarly to the Utopia 2022. A slightly warmer, more neutral tuning with enough low end without coming across too harsh at very high volumes. Here, compared to the U12T, you notice that it has a slight midbass hump and doesn't have the listenability of the Blanc and Utopia 2022 in the lower registers. And certainly not this "dynamic" impact, which the BA driver of the U12T simply can not provide. The Trio was much better at this, but it's not as balanced and you can't follow fast bass passages as effortlessly as with the Utopia 2022 or Blanc. The voice reproduction is perfectly staged to the rest of the spectrum and it sounds so real! When I close my eyes, I can literally hear the vocals in front of me. Not too restrained or too forward, just the way I like it! The TIA middriver does a terrific job here, surpassing the midrange of the U12T. Even the Utopia doesn't sound as natural as the Blanc. Here I have to use the king of mids, the Hifiman Susvara, which shows both the limits of what is possible today. The distance of the Blanc is really strikingly small to the Susvara and in contrast to this it scores with the fuller sound and is in the stage representation on a par with the Hifiman flagship! The Utopia 2022 sounds much more cramped on stage and can only keep up with the Blanc in terms of low-frequency imaging. In terms of instrument separation, both the Blanc and Utopia 2022 are a scalpel. I can concentrate on any sound event and hear every little detail. Could it be any better! Yes, but for that you have to go to the specially designed ribbon driver based RAAL-requisite SR1b. My absolute reference when it comes to resolution. You get that in abundance, but the tonality and musicality of the Blanc clearly tops the SR1b. There is perhaps only one other headphone that also offers more resolution than the Blanc and that is Audeze's flagship LCD-5, but not without EQ! With the Blanc, I would never think of trying to EQ anything. Everything from bass to treble is so coherently staged. Here I would not know what else to improve.

I had to get to the bottom of this detached and brilliantly acting bass and try the Utopia 2022. The Blanc has minimally more quantity. But to my astonishment, I can't determine a winner in bass precision. Both have impact, audibility and speed "to the max". With really fast metal, however, I have the feeling to be able to follow the bass passages with the Blanc a bit more, because a double bass is outlined more strongly. The Utopia 2022, on the other hand, delivers minimally more impact. The latter is not surprising since the Utopia is the punchiest headphone of its kind. That the Blanc comes so close in a direct comparison is a great achievement on the part of 64 Audio and that the attributes of speed and precision have been pushed to the extreme. I always thought that a BA bass driver had an advantage over a dynamic driver in terms of speed. Legend X is nowhere near as fast and inflates too much. Tia Trio's bass is also punchy, but doesn't have the speed of a U12T. Elysium is fast, but has little low end. With the Blanc, I was proven wrong. 64 Audio has really done a great job here with improving the woofer. How I would love to test this directly against the Noir or the regular Fourté.

What genre does the Blanc feel most comfortable in? I really tested through everything from classical, jazz, pop, rock to metal. The Kleiber Concerto Beethoven No. 5 from 1974 has to be heard with the Blanc. Such depth, separation, brilliance and authenticity of the instruments, just brilliant. Jen Chapin's interpretation of Master Blaster with probably the gnarliest saxophone ever. Pure goosebumps and a spatial representation that only the Susvara can top. Pop, rock and metal are insane fun once the bass kicks in and you can follow any sound event effortlessly with striking accuracy. The Blanc is a genre master and any genre works well with it, provided the recording is also good. The Blanc has a reference sound, and due to its high resolution, mistakes in recording do not go unnoticed.

My conclusion about the Blanc, well done 64 Audio! You have really delivered a masterpiece here and I can hardly imagine more IEM. I am sure that the Blanc will remain my reference among the IEMs for a long time until perhaps a new top model from the same house sees the light of day. A very clear buy recommendation from me. Who can afford it grabs and no longer looks back to other models. If you consider what you have to pay for a Utopia 2022 or Susvara in combination with the Niimbus US4 (even without amp!), the Blanc, which works well with the M8, is not too high in price. It even beats the Utopia 2022 in total attributes and ranks just behind the Susvara.

The Audeze MM-500 is Audeze's first headphone from the new MM Series, designed for mixing in the recording studio. During development, no less a master than 11-time Grammy winner Manny Marroquin was on hand to offer advice and support. And he says about the MM-500: "With the MM-500 I feel confident to deliver the best mix".



With the introduction of the LCD-5, Audeze pursues a new concept in design and comfort, which also finds its application here. The shape, design and size of the MM-500 is very reminiscent of the LCD-5. The weight is also less compared to the classic LCD series, although the LCD-5 is still slightly lighter 420 g vs. 495 g. The carbon headband of the LCD-5 will make the biggest difference here. Another difference is the shape of the pads, which are angled inward on the LCD-5. The transducer size is identical on both (90mm). The MM-500 also uses the Fluxor magnet array and Neodymium N50 magnets, but not a nano-level driver like the LCD-5 has.



The workmanship of the headphones is very good and is in no way inferior to the model of the more expensive price range, in this case the LCD-5. The scope of delivery includes a carrying case, a 6.35 mm connection cable, a cloth bag and a warranty card.

Due to the weight and weight distribution, the headphones sit very well on the head. Unfortunately, it is also a bit tight, as the new headband exerts a contact pressure that should not be underestimated, which can become uncomfortable especially on a larger head during longer listening sessions. However, you can pull the headband apart a bit to relieve the pressure or hang the headphones around a stapple books for a few days, that definitely helps! The first series of the LCD-5 also included a headband with very high contact pressure. Audeze has greatly improved that with the introduction of a new headband. I hope they do the same with the MM-500!

With an impedance of only 18 ohms and a sensitivity of 100 dB/1 mW, the MM-500 is very easy to use portable. My Shandling M8 has no trouble in low gain getting the MM-500 to play sufficiently loud and with authority, unbalanced connected.

The LCD-X was Audeze's first headphone for professional audio and the brand's best-selling headphone. Can the MM-500 follow in its footsteps? Well, first of all, they are quite a bit apart in price. The MM-500 is clearly the better sounding headphone! Technically more comparable with the LCD-5 than the LCD-X, so I would like to describe the sound in the following with reference to the LCD-5.

The LCD-5 began with the introduction of a whole new sound concept. The typical warm, smooth Audeze house sound was replaced with a new tuning with more upper mids and highs that saw the light of day in the form of the LCD-5! More presence in the mids, more detail, and all at such a high level that the LCD-5 is technically one of the best headphones ever for me, if not the best! There is a slightly bigger "but" here, though. Namely, it doesn't sound quite right to me without EQ. There is a little too little bass on the one hand and too much energy in the range around 3 Khz on the other. But if you are willing to use an EQ, you get an incomparable sound over headphones that is not available from any other manufacturer! How is the MM-500 tuned? You can hear the similarity to the LCD-5, but it doesn't have much in common with the older LCD models. You hear this incredibly punchy and strong slam in the bass range. In addition, the upper mids, which come crystal clear and direct. And a high frequency range that is teeming with details and still comes across as pleasantly smooth and not annoying. The advantage of the MM-500 over the LCD-5 is that I no longer need EQ! What I improved with the EQ on the LCD-5 is already very well done here in the delivery state. One or the other may be in the range around 3 Khz perhaps still a little more sensitive than me. Then you could still easily lower 2-3 dB in this range. However, in my opinion, no bass shelf is necessary.

Technically, it clearly puts an LCD-X in its place in terms of transients, resolution and cleanliness. Compared to the MM-500, the LCD-5 has an even cleaner sound with more speed. However, the distance is by far not as high as the price suggests.

The stage distance is on LCD-5 level with razor sharp imaging of the individual sound events. Here, I can easily focus on one source and listen to it. This is the kind of stage I like. I am an audiophile, whether this is the way a studio professional wants to listen I can't fully judge. But a Manny Marroquin with all his successes certainly can! From the point of view of an audiophile, however, I can clearly attest that the MM-500 is a playback device with which you can listen to your reference recordings for hours on end across genres. If you have tamed the headband.

The bass range is certainly one of the first features you come into contact with on the MM-500. As powerful, punchy and deep down as possible, that's the bass of the MM-500. Very detailed too, although it doesn't quite reach the precision of an LCD-5 or CRBN.

The MM-500 is a headphone that never sounds too thin. The sound always has enough foundation. The mids have presence, voices come across crystal clear and genuine without screaming at you. Guitars sound crisp, just the way I like it.

The MM-500's drivers are technically strong enough that no detail is missed in the high-frequency range. With the LCD-5, however, you can hear some details even more easily. Here, however, the question is always whether it is not due to the fact that this also has less bass and the details are therefore easier to hear out.

My music is 90% rock & metal, but I also have a large collection of jazz and classical recordings. For rock, pop, metal and EDM, the MM-500 is incredibly good! Made for this kind of music. But also classical (Kleiber's Beethoven Concerto) or jazz (Jen Chapin Master Blaster) as well as Eagles (Hotel California) invite you to bob along.

In terms of sound, Audeze has achieved a great success with the MM-500. A clear leap compared to the LCD-X and the better tuning compared to the LCD-5. My full recommendation!

Many thanks to @AudiophileAri who has assist me with the review unit!

The company RAAL requisite has been developing headphones with ribbon drivers for several years. The SR-1b is the new flagship model from RAAL requisite. This was only slightly adapted compared to the predecessor SR-1a. Besides a different looking grill and an internal silver wiring nothing has changed, as David Lauterbach from RAAL confirmed to me. Both sound absolutely identical.





Ribbon drivers are an absolute rarity in the headphone field. However, the RAAL company has brought this to the sonic pinnacle in recent years, and what exactly is special about the sound of ribbons, I would like to describe below.

Similar to electrostatic headphones, ribbons require a different drive than ordinary headphone amplifiers can provide. Since they are designed to be extremely low impedance and require a lot of current, normal headphone amplifiers cannot meet this requirement. Currents of 4-5 A are necessary to drive the SR-1b!

When the SR-1a was launched a few years ago, the only way to drive it was through speaker amplifiers. By means of a small adapter interface, which was coupled to the speaker amplifier, one could connect the SR-1a. Which of course meant that you had to buy a separate amplifier, which also had quite a bit of power (>=100W) left over to adequately drive the SR-1a. Later came a smaller amplifier solution in cooperation with the manufacturer Schiit (Jotunheim R) as well as a proprietary amplifier in the form of the HSA-1b, which RAAL developed specifically to drive the SR-1a/b, with the goal of ultimate drive. But each of these solutions ends up requiring an amplifier, which must be purchased separately.

Every headphone enthusiast usually already has a very good headphone amplifier at home. So what could be more obvious than to use it to drive a RAAL headphone? RAAL thought so too and so they developed the TI-1a interface box and later the TI-1b interface box (more compact dimensions and all connections on the front, which also makes sense), which I also use to drive the RAAL SR-1b. With this interface box it is possible to drive the SR-1a/b with an ordinary headphone amplifier. What exactly does this wonder box do? Without diving into the technical details, it is based on transformers that convert a signal with high voltage and low current into a signal with low voltage and high current. So the interface box is connected to the 4 pin XLR output of the headphone amplifier. You have the choice of using a 16 Ohm or 32 Ohm input to the interface box. It is recommended to use a headphone amplifier that is capable of delivering approx. 2W at 32 ohms. The supplied cable SC2 in the length of about 2m is specially designed to meet the requirements for operation with the TI-1b and has a low inductance and a certain resistance per unit length. I use the SR-1b in conjunction with the Niimbus US4, which delivers 5.6W into 32 ohms. So power to spare and a control range that I barely left above 12 o'clock on the Niimbus. With amplifiers that deliver over 6W at 32 ohms you should also rather use the 32 ohm input on the TI-1b, otherwise it can become too much power. By the way, the TI-1a/b was developed together with the new circum-aural ribbon headphones CA-1a, which I will certainly test at a later time.



If you look in the packaging of the TI-1b, you will find 2 XLR connectors and 2 RCA connectors. What do you need them for? Well to drive the SR-1a/b a so called "open baffle compensation" is necessary. Because of the completely open construction some frequency ranges have to be adjusted. This is exactly what these plugs do, which are plugged into the input of the headphone amplifier before the source. They operate as an equalizer, so to speak. If you use an equalizer anyway, you don't need these plugs and can set the following parameters in your PEQ (source: https://www.head-fi.org/threads/raal-ribbon-headphones-srh1a.890603/page-377#post-17046043):

Type=Highshelf, Frequence=1134Hz, Q=0.5, Gain=-5dB

Before I come to the sound a few sentences to the design and comfort. The SR-1b is very well manufactured and also looks valuable. The construction is chosen in such a way that you can really change every foam pad and even the ribbon drivers very easily. And the whole thing still at very human prices. I know that from some manufacturers also different. That you can even as a layman just replace the drivers I find great! And 450 USD for 2 drivers I still find completely okay, considering the purchase price of the SR-1b.

When I first held the SR-1b in my hand, I was a little worried about the comfort on the head. I must say, however, in retrospect, once you have adjusted the SR-1b correctly and take some time for it, you get in return a comfort where you can wear the headphones without problems for a long time. The weight distribution just needs to be adjusted correctly first. A first starting point for the adjustment is this Youtube video:



The SR-1b has two headbands. A usual headband, as you know it from other headphones and a band which is stretched around the back of the head. Both leather straps can be easily adjusted like a belt. Once you have adjusted the height and the head circumference, it goes on to the angle of the two ear cups to each other. Since I have a slightly larger head, I have both shells on the metal suspension bent slightly outward so that they point almost parallel to each other when I let the headphones hang in the air with one hand. The final stage of adjustment is the opening angle. You can open the shells outward and close them again. For best sound and comfort, I recommend a level that just barely touches the ear, but only so that it doesn't become uncomfortable, of course.





How does it sound? When you put on the SR-1b for the first time, it becomes clear in a flash what the fascination of ribbon drivers is all about. You get an incredibly clean and clear picture of the sound, which at first reminds you of electrostatic headphones. The resolution, however, takes it to the next level. It is unbelievable what details this SR-1b can tease out of a recording. Transparent, naturalness are terms that instinctively pop into my head. Everything is rendered so effortlessly, slag-free. Is Ribbon by any chance another term for speed? I have rarely experienced such a brilliant transient reproduction, maybe never. You'd have to pull out an SR-009 to achieve anything similar. That would be you the most outstanding attributes of the SR-1b: resolution, speed.

Wait, I forgot something important! How is the stage imaging actually? This is a headphone titled as Earspeaker, which is designed completely open to all sides. So it's like having two small speakers that you literally hang over your head. Now comes the third superlative, the stage! In terms of stereo width, "normal" headphones can't keep up. This is a wide image, which is only known from the Mysphere. In addition, the whole thing is paired with an absolutely razor-sharp imaging of the individual sound events. This is in a league of its own, together with the Mysphere!

So far, I haven't even talked about the usual attributes like treble, midrange and bass. I must honestly confess, in the first hours of listening, these did not even cross my mind, so much I focused on the sound events within the stage and the details. The SR-1b is a bright timbrated neutral headphone, an absolute magnifying glass. It immerses the listener in a world of detail. It is a kind of roller coaster ride, where you are always fully concentrated in the sound event. It's different from listening to music with a Hifiman Susvara or Audeze CRBN, for example, which are more restrained, more relaxed. The SR-1b is more comparable to the SR-009, the highs, as ultra-precise as they are never seem too peaky or annoying. Still, I wouldn't use headphones like the SR-009 or SR-1b for hours of listening, they simply require too much concentration from the listener. But more on how to achieve it anyway later.

Voices are reproduced absolutely free of coloration and true. The Raven by Rebecca Pidgeon gives me goose bumps, so well does the SR-1b reproduce the voice. Classical music, like the Beethoven No. 5 concerto by Carlos Kleiber (Deutsche Grammophon) or Cuban sounds like Chan Chan on Buena Vista's Socal Club are parade disciplines for the SR-1b. You can really locate every single instrument, every sound, concentrate on it completely, while the next second you are concentrating on another instrument again. Is that because of the ribbon drivers or the completely open design? I think it's the combination of both! With my usual reference recordings like Hotel California, pieces by Lynird Skynyrd I can't get out of the amazement, so the first listening sessions with the SR-1b always ended quite late.

Many who know me, know that I am usually in a completely different music genre on the road and namely Prog Rock and Metal. How does the SR-1b do here? First of all, the bass range is absolutely top in terms of quality. Due to its brilliant transient reproduction, it effortlessly reproduces even the fastest metal completely without slagging. However, like an Audeze LCD-5, for example, it is very neutral. As with the LCD-5, I therefore naturally asked myself the question of how well the SR-1b reacts to the use of an equalizer. Can you make this inherently punchy bass even punchier? Yes you can! For metal I recommend to start with a Lowshelf of +4-6dB at 40Hz as well as 80Hz. That makes the drivers with my volumes at least nothing. Who owns the SR-1b, should really play once with the equalizer. A good starting point for this are the settings of Amir from the ASR forum: https://www.audiosciencereview.com/...requisite-sr1a-ribbon-headphone-review.16355/

By lowering the midrange and treble, you get a completely fatigue-free earspeaker that you can enjoy for hours at a stretch without any loss, be it in terms of spaciousness or resolution. It's all there in terms of detail, but doesn't demand that much from the listener. In the meantime, I listen almost exclusively with the EQ, whose setting I developed from Amir's basic setting. I can only advise everyone to listen to the SR-1b with an equalizer. You can always turn it off afterwards if you don't like it.

After this start in the world of ribbons, which is new to me, I am even more curious to hear how a circumaural ribbon headphone like the CA-1a sounds. Or whether the sound can be improved with an HSA-1b, the ribbon amplifier specially developed by RAAL. Let's see when the opportunity for such a test arises.

The Audeze Euclid is an IEM with an 18 mm orthodynamic driver patented by Audeze. In the IEM field, dynamic and BA drivers are certainly more common. How then an IEM with orthodynamic driver sounds I want to describe in the following once.



To the scope of supply of the 1499 € expensive Euclid belongs a transparent Pelican case, 3 cables (unbalanced, 4.4mm balanced, Bluetooth Cipher Module), 3 Eartips (Audeze silicone, SpinFits, Complies), a cloth bag, brush as well as a warranty card. I find the delivery with balanced and unbalanced cables good, so everything is there from the start to get started.

The Euclid is very comfortable to wear due to its ergonomic shape and light weight. With an impedance of only 12 ohms at 105 dB/1 mW sensitivity, it can be driven effortlessly by any DAP. I used it balanced on the Shanling M8 with the low gain setting. Balanced it plays a bit snappier on the M8 compared to the 3.5mm output.

So how does a orthodynamic IEM driver sound? From Audeze we know this incredibly powerful but still detailed and under any level effortlessly acting bass range. Does the Euclid sound the same? No. On the one hand, this is due to a different basic tonal setting compared to an LCD-2 or LCD-3. The Euclid is less warmly tuned and also plays more restrained in the bass than the aforementioned LCD models. In terms of bass quantity, it plays somewhere between LCD-5 and LCD-4, i.e. quantitatively minimally more than an LCD-5 (without EQ) but less than an LCD-4. In terms of speed, it can't quite keep up with a TOTL BA bass like that of the U12T. However, the 18mm driver of the Euclid brings more impact to the fore, similar to the situation between a BA driver and Dynamic one, e.g. U12T vs Tia Trio. At the same time, the bass goes down really deep and is very good in terms of quality and audibility! Also the midbass range is absolutely neutral, it absolutely does not crack here.

Tonally, it plays a touch on the warmer side, but as said not as warm as an LCD-4. The mids come across a bit more distant. Voices and instruments sound natural without nasal coloration. You have to unpack a U12T for the Euclid's limitations to become apparent.

Resolution is very high without the highs sounding too peaky at any point. Here, the comparison with an LCD-5 is closer than with an LCD-4 where the treble sounds duller and the effervescence is achieved by a boost in the super high frequencies.

The stage is decidedly wide and deep. This is due to the somewhat recessed midrange. However, this makes the sound absolutely relaxed and stress-free to enjoy. However, the Euclid is not a real rocker, but rather intended for people who want to enjoy classical music and jazz with it on the go and isolated from the outside world.

Of the included ear tips, I liked the Audeze silicone pads best, because they give you a balance of airiness and bass quantity. With the Complies, the bass range is raised noticeably, but the airiness suffers too much for my taste and it sounds a bit too muffled.

With the Euclid, Audeze has created a very good IEM. I can give it a recommendation for all people who are looking for a neutral somewhat restrained representation and listen to jazz and classical music with it. For friends of rock and metal, I can not quite recommend the Euclid, because it plays a little too slim for my taste in the lower rum especially in the midbass range.

This review is about the latest revision of the Sundara (the so-called Stealth Version 2020).

The Sundara comes in a storage box, which is bedded in cloth and provides an ideal way to store the headphones for extended periods of time. Additionally included is a 3.5 mm connection cable with 6.35 mm adapter. A description and warranty card are also included. When you hold the Sundara in your hands, you may hardly believe that these are headphones that cost (only) 350 €. It is very solidly constructed and the finish is also very good. The connection cable serves its purpose and the good thing is that it does not create microphony effects, as is often the case with cables and disturbs me personally when listening.



Due to the low weight of about 370 grams, the Sundara is very comfortable to wear. It also does not have a high contact pressure and the cushions are nice and soft. Even during longer listening sessions, I never had to take the headphones off. The adjustment mechanism of the faux leather headband provides enough adjustment points and again, a nice soft feel on the head.

During the review, I used the Sundara portably with the Shanling M8 as well as stationary with a Niimbus US4. Due to its low impedance of 37 ohms and an efficiency of 94 dB/mW, it poses no problem for the M8 and plays very high volumes effortlessly here even in low gain. On a Niimbus US4 it can score with the somewhat sovereign control and minimally more bass punch.



So how does the Sundara sound? Without much to anticipate I can already say that I have never heard such a good tonality for under 500 € in headphones. That surprised me more than positively. It plays very coherently from the bass up to the treble. In the process, it follows the Harman curve with the exception of a linear bass (magnetostatic typical) and a drop below 50 Hz. Due to the linear bass, the mids run about 3-4 dB below the Harman curve from 1.5 Khz up to the highs to achieve a coherent presentation. If I listen to a HD820 in comparison, I immediately notice a clear difference open vs. closed. The 13 Khz boost also contributes to the Sundara sounding very open, much more open than an HD820 and also more open than an LCD-2, for example.

Now we come to the bass. The Sundara always offers a sufficient foundation in the bottom end for me. It is neither weak nor extremely strong in the bass. The low bass drops a bit below 50 Hz and noticeably below 30 Hz. Fortunately, not much happens in music below 30 Hz. If you compare the bass range with a Susvara, the Sundara is naturally at a disadvantage in the lowest frequencies. If you listen to metal and rock at the appropriate volume, you won't miss any bass punch. The Sundara can do that. The quality is also very good for this price range!

In the mids, it doesn't play "in your face", but a bit distant. You don't sit in the front row, but 1-2 rows behind. The stage seems sufficiently dimensioned in depth as well as width. Instruments sound natural and voices also not nasally discolored. You have to go into the > 1000 € class to hear clearer differences here. Very solid!

The Sundara is a brightly tuned headphone, but at no time annoying by sibilants or the like. It rather invites to listen a bit louder. Resolution and details are present in sufficient quantity and in this price range, in my opinion, can not be topped. I have to get out an LCD-5 to hear a clear difference. The Audeze offers the more commanding treble rendering and places instruments accurately in space, whereas the Sundara's imaging is not at that level. It doesn't have to be, the Audeze costs about 13x the Sundara! But it's not 13x better by a long shot.

What makes the Sundara stand out the most is its absolutely coherent tonality and that makes it a genre all-rounder. No matter what I heard from classical to jazz to pop, rock and metal. The Sundara can do it all and always cuts a fine figure! It can easily be driven by a DAP and sounds there already very good. Nevertheless, it can still benefit from high-quality stationary devices as is the case with my Niimbus US4 and thus scales up a bit again. I know this price range at Hifiman now since HE-400, then the HE-400i/s as well as HE-560. And with each new headphone the sound got better. But this Sundara clearly tops them all, because unlike the others, it has no more serious tonal weaknesses! Hifiman has absolutely convinced me with the Sundara and in my opinion there is nothing better in this price range!

My current reference among the IEMs is the U12T from 64 Audio. I was all the more curious to see how the Tia Trio compares to the U12T.

The scope of delivery of the Trio is identical to that of the U12T with the difference of a rectangular transport box in contrast to the round leather case (but the newest Trio models comes also with the leather case!). I don't find the rectangular box as elegant, but more practical as there is simply more space available. I did not use the silicone and foam tips for the review. For the most part, I used the JVC Spiraldots here, which sounded best with the Trio. More on that later.

Since the Trio uses fewer drivers than the U12T, it's a bit lighter in weight and even more comfortable to wear. The shape is almost identical.



The Trio has a dynamic driver for the bass, a BA driver for the mids and the typical 64 Audio Tia driver for the treble. The U12T has 12 drivers, but only BA drivers, also for the bass range.

For testing, I used the Shanling M8 high-end DAP. Both IEMs are very easy to drive and the low gain is quite sufficient. There is very little change in tonal balance between balanced and unbalanced modes. With both, I prefer unbalanced a bit more, as they act fuller and rounder. The 4.4mm is slightly more energetic.

The U12T is a reference IEM with a neutral tuning with slight bass emphasis. The Trio is described by 64 Audio as the "perfect balance between reference sound and personal hifi" and I think that sums it up very well overall. Unlike the U12T, the Trio has a slight V shape tuning with a slightly higher bass level and slightly boosted treble, resulting in a more energetic, more dynamic sound compared to the U12T.



The bass has the typical dynamic punch and seems a bit "fatter" in the midbass area. The U12T has an incredibly good punch for a BA bass, but the Trio beats it in this discipline, even if not clear (because "punch" is something that also the U12T delivers!). But the bass of the U12T is faster and more audible down to the subbass. It seems more controlled and cleaner. However, the Trio is really fun with metal, if the U12T acts too tame and honest in some recordings. The strong punch doesn't spread to other frequencies the way it does with the Legend X. Despite its strength, it always remains controlled and the mids untouched.

The mids seem a bit more direct with the Trio. Vocals play more "in your face". The slight treble boost makes everything seem a bit more lively and energetic. One has the feeling that it is more transparent than the U12T. But if you compare directly, it's not like that. The U12T can resolve finer nuances in the mids better and seems more controlled and audible in the highs. You can already sense individual sibilants in the Trio, where the U12T still acts very smoothly. Nevertheless, the Trio is not a very bright IEM, but an IEM with a slight tendency to the bright side. The U12T, on the other hand, is a slightly warm IEM. The latter has the more "cautious" tuning that fits almost all recordings. The Trio by its more energetic appearance, however, can give somewhat darker recordings the necessary "something".

In terms of spatiality, I can attest to the Trio's very good imaging in width and depth for an IEM, with laser-accurate pin point localization of individual sound events. Since the U12T illuminates the mids a bit more, it wins in the depth staggering. However, I can't think of any other IEM that can hold a candle to both.

There are some IEMs, e.g. the VE Elysium, which I prefer to hear with Comply tips than with silicone tips. The reason is a bit too sibilant highs. Foam dampens here somewhat. However, it no longer sounds so airy. With the two 64s, however, I want to hear the full potential of the absolutely terrific acting Tia drivers and therefore reach for silicone. The 64s achieve the best sound with the normal SpiralDots and the SpiralDots++. Azla Xelastec also work very well but take away minimal airiness. With the two 64s I do not have to dampen anything with foam, there is nothing annoying!

These are already two very hot caliber in the product range of 64 Audio. The U12T remains for me the absolute all-rounder. However, the Trio complements this very well with its fun tuning with the incredibly good bass range, which conjures up a super punch. With some thinner and warmer recordings, I prefer the Trio, which virtually "breathes life" into these recordings. With both IEMs together, you'll most likely cover even more than you'll ever need. Whoever can afford both should listen to them in peace. You can't make a mistake with either one. But the decision for a Trio or U12T I can not take from anyone. If you want the absolute neutral reference, I can recommend the U12T. If you want a more fun tuning and still want to feel the status of "reference", you should go for the Trio. Both are priced in similar spheres. I have not been able to hear the Fourte yet, but it will probably sound too bright and thin for me as the measurements show. The Trio is still totally fine for me in terms of bright presentation. Less bass than a U12T or brighter than a Trio, however, I would not want an IEM. I am curious what else we can expect from 64 Audio in the near future. For me, the manufacturer with the best IEMs on the market.

The workmanship of the headphone is really absolute top class. You immediately have the feeling that you are holding a high-priced object in your hand. It cost 4500 USD. The CRBN is light as a feather and very comfortable to wear, although the contact pressure could be minimally lower. Even then, it would still sit perfectly on the head. The leather pads have a very high-quality finish and are velvety soft, so they contribute to a pleasant wearing comfort. The pads have very wide edges. Nevertheless, there is still enough space for the ears due to the diameter. I think Audeze chose a smaller cutout here to create more bass pressure, which has also succeeded! Electrostatic typical, you can also create the "Stax fart" with the CRBN. Strangely, more often when putting the headphones down than when putting them on. Once I put them on, I could not create the effect even with rapid head movements. You have to press hard on the ear cups from the outside, which does not happen in practice during a listening session.



Funnily enough, when my CRBN arrived, I spoke of the LCD-5's "brother". After the first listening session, it was clear: these two have more in common than I thought! If you compare both you think you are comparing two electrostats. The LCD-5 sounds so little like a orthodynamic, like no other of its kind. The cleanliness, speed and resolution of both is on a level that currently marks the top class. I can't pick a winner here.

First, I compared the two without EQ. The CRBN has more bass volume and minimally more illumination in the treble. However, less in the highs than the measurements suggest. The LCD-5 probably makes up for this with the somewhat leaner bass range. Both are very midrange-focused. When I first heard vocals with the CRBN I was stunned. Patricia Barber, Steven Wilson with such a realistic, goosebump-authentic representation that is already great. The LCD-5 can't quite keep up in this discipline, although vocals are reproduced very cleanly, clearly and genuinely. Before I put on the CRBN, I didn't miss anything here. But when the CRBN got going, I noticed what was missing before.
In terms of stage, I see slight advantages with the LCD-5, which is a bit more airy and spacious. Left and right seem wider than on the CRBN. However, the CRBN has an insanely suggested depth for a headphone. Amazing! Both have absolutely razor sharp pin point localization of individual sound sources. I suspect that Audeze had to compromise on "airiness" to achieve this strong bass range.



For an electrostatic, the CRBN has a very punchy bass that also reach really deep. Even if you change from a 1266 TC to the CRBN, you miss nothing. The CRBN reach even deeper, but doesn't have the visceral impact of the 1266 TC. No Stax can do it like the CRBN, not even my 007, which has more midbass. But breaks further down, where the CRBN does not even batting an eyelash. For me, the CRBN has the very best bass I've ever heard in an electrostatic! Without EQ, the LCD-5 seems slimmer in volume, but it still punches a bit tighter in the midbass range. It lacks a bit of subbass, which the CRBN has in abundance.

I then compare the LCD-5 with EQ (Resolve v2) against the CRBN, I don't see any other discipline where the CRBN comes close to the LCD-5, except for the insanely well-rendered vocal range and the better depth staggering. The LCD-5 is then tonally perfect with bass volume, as the CRBN brings from home, but with a punch that clearly adds to it, downright noticeable. The CRBN is then a bit too warm in comparison, too superficial in the mids. The LCD-5 has the advantage to play big even on a DAP, since no particularly powerful amplifiers are necessary for its operation. If only everything would be so simple? The CRBN has something in its presentation that I can hardly describe. It invites you to sing and bob along and some vocals really give you goose bumps. The CRBN is also inherently better tuned than the LCD-5, which has me without EQ too little bass and plays too superficial in the mids. The CRBN also has superficial mids, but manages through this insanely "real rendering" of the voices that you hardly get enough of it and it never seems too concise. Maybe it's the electrostatic principle that makes them come across so buttery smooth and real? I don't know. It's not for nothing that people talk about the magic in the mids when it comes to electrostatic.

For someone who doesn't want to use an EQ and has an electrostatic amplifier, the CRBN is the better choice. It is already very well tuned out of the box. By the way, the CRBN is very efficient (much better than the 007) and no problem to drive. I hardly ever turned up my KGSSHv Carbon above 10/11 o'clock. But if you want to use an EQ you can get so much more out of the LCD-5 and get a sound that is then among the best in the headphone field. And this also on mobile on a DAP. You can probably get even more out of the CRBN with EQ. A little less mids, more treble and it comes very close to the LCD-5 with EQ already, because both are similar in many aspects as I described. However, I have not tried EQ with the CRBN. I like the CRBN as it is. This was not the case with the LCD-5 from the beginning.

With CRBN + LCD-5 one thing is clear. Audeze has now left the path of the typical "Audeze house sound" and navigates more and more to a more neutral presentation.
My longtime number 1 electrostatic the SR007 MK2 SZ21xx bass port mod has now met its match in the Audeze CRBN!

The Audeze LCD-XC is now available in a new 2021 version. Here Audeze has made some improvements. Not only the drivers and the tuning has been refined, but also the weight has been significantly reduced. To further improve the comfort, the pads have also been further developed. It is interesting how all these improvements are ultimately reflected in the sound as well as the comfort. I used an LCD-XC Bubinga from 2014 as a comparison, which was available to me for comparison purposes. In recent years, I have also owned a 2016 LCD-XC Bubinga, whose driver Audeze has slightly improved over the original 2014 model. However, the differences between these two models are very slight and not immediately audible in a direct comparison as between the original model and the current 2021. The bass range of the 2016 model seems minimally tighter than the original 2014 model, but the rest is nearly identical.



The Audeze LCD-XC is available in the Creators Package (like mine here) and the Premium Package. The Premium Package includes the well-known Pelican Travelcase and a 4 pin XLR and 6.35mm connection cable. Whereas the Creators Package contains only a simple travelcase and a 6.35mm cable.





When I first unpacked it, I was surprised by the Travelcase. It doesn't quite have the rugged look of a Pelican travel case, but it does the job. Inside it is sufficiently padded and thus it can be used without problems also for the transport of the LCD-XC.

When you first put it on, you immediately feel the noticeably lower weight of the 2021 model compared to the 2014 Bubinga model. The contact pressure is lower, the cushions softer, the pressure of the carbon headband compared to the leather one, so that in the end it has become a much more comfortable headphone for me. Whereas with the Bubinga, I find the contact pressure not so nice after just one album, with the 2021 I can listen to two or three albums at a time without having to put the headphones down.

Now we come to the most important thing - the sound. And here a lot has changed. It is no longer a matter of nuances, but the tuning differs significantly between the original model and the current 2021. While the Bubinga sounds warmer, smoother, more unobtrusive, you might think that the 2021 is not an Audeze. The 2021 is clearly more neutrally tuned. The target group of recording studios and people who want an unadulterated sound reproduction are in my opinion much better served with the 2021 model than with the Bubinga.

I have heard the two XCs once on my stationary chain consisting of V850 and Niimbus US4. Due to the high sensitivity of 100 dB/1mW and low impedance of 20 ohms, the XC can be used with any portable DAP without any problems. I listen to it portable via 4.4mm cable on my Shanling M8 on low gain. More power is not necessary!

In the bass range, the Bubinga sounds fuller with a little more focus on the midbass range. The 2021 is more neutral here with a more balanced presentation of the entire bass range. Bass instruments sound more audible and snappier. In general, the transient response of the 2021 is snappier because it doesn't thicken up in the lower frequency range. I also have the feeling that the driver has been technically improved here in terms of transient response.

The upper midrange on the Bubinga is not as pronounced as on the 2021, which is more honest here with more level and thus more detail reproduction. The Bubinga is warmer here and forms a very smooth sound carpet, which is known from other Audeze models such as the LCD-2 or LCD-3. Voices don't seem as direct and obtrusive as with the 2021 model as a result. Poorer recordings are reproduced a bit nicer with the Bubinga, but the 2021 scales higher on better recordings.

The treble range is greatly improved for me over the Bubinga, which swallows up some detail in direct comparisons. The 2021 manages to reveal these details without sounding too peaky or intrusive. Fabulous!

In terms of soundstage, both are almost on par. However, the instrument separation of the 2021 is more precise, sound events can be located even better. For a closed headphone, the overall size of the stage is above average. A Focal Stellia draws a significantly smaller stage in comparison.

The LCD-XC scales with the sources and amplifiers. Not as strong as it is, for example, the case with a Susvara but still clearly audible. Unlike a Susvara, however, it can be driven by any DAP without any problems. The Shanling M8 fits the 2021 like a glove with its smooth, warm tuning. I don't like the Bubinga as much with the M8. On a Niimbus US4, the 2021 illuminates even more details in a direct comparison and seems more lively. But I would say that on the M8 it brings over that certain something and I also enjoy this chain very much and do not necessarily feel worse, rather different.





In conclusion, from my point of view, Audeze has optimized and improved an already very good closed headphones more and more. Especially successful I find how they could save so much weight compared to the 2014 Bubinga. For future LCD models, I wish that one possibly saves even more weight in this area through a different design, so that the LCD models remain a companion on the head for hours in the future.

The LCD-XC 2014 Bubinga for comparison:

The Erlkönig marks the absolute reference class of the German manufacturer Vision Ears from Cologne. Unfortunately, it is currently no longer produced. A limited variant that appeared last was sold out within 3 hours. Who knows, maybe there will be something else at some point? The used prices are around 3000€ and more.



Fortunately, Amin Karimpour from Vision Ears provided me with his personal model of the Erlkönig for a review. It is a black version with a leather top, which was never sold like this. Supposedly the first black model that was produced at that time, insane! And many thanks to Amin for this!

Vision Ears has with the Elysium the best IEM I have ever heard. Tonally close to perfection with minimal too little bass for my taste. The test of the Erlkönig was all the more interesting for me. Already in the run-up Amin said to me: "If you like bass, try the Erlkönig! No sooner said than done, I'll get to the sound a bit later. The original package and the entire presentation I did not have at home. However, I already know from the Elysium that VE has not blotted here and the product images speak a clear language. This is an absolute luxury object and so it is also presented.



The first impression of the Erlkönig's design: case made of purest silver in perfect workmanship. Leather top, which gives the IEM a very noble touch. However, the weight is higher than other IEMs due to the material. This could perhaps be a bit annoying with the Seal if the ear tips are too loose. For me, however, it fit with the right ear tips (Comply T400) and was also comfortable to wear for longer periods. The cable (silver) is a custom made cable from Effect Audio specifically for the Erlkönig. I have tried in between also another pure silver cable as well as copper cable. But in the end I always ended up with the stock cable. Perfectly balanced. I have no incentive to improve anything. Rather the uncertainty that it can become worse.

Now we come to the sound. The highlight right at the beginning. The Erlkönig has a rotary switch with 4 sound profiles and thus covers a very wide range of preferred sound signatures. I used it 95% of the time in the standard position 3. For me, the most balanced sound of all, with nothing missing. Position 4 lowers the treble a bit for a warmer sound while keeping the bass range the same. Position 2 increases the bass range a bit in contrast to position 3. Position 1 presents the bass in the most massive version. For me, this was already too much of a good thing. Reminiscent of the Legend X. There is a lack of control in the bass. Position 2 also has the charm for me to be adjusted when just the desire arises for maximum slam and punch. The bass always remains very controlled in this position and does not extend to other areas.

But back to position 3, how does it sound? I must say that when I heard it for the first time, I was a bit flabbergasted. Here is a very precise IEM at work with a very clean sound. However, you don't start analyzing right away from the bass to the treble. VE has managed to create such a coherent sound that at first you just want to dive into this sound. BA Bass? It should not be so dynamic and gripping? Wrong. If I didn't know the technical data, I would claim that a DD driver is doing its job. Treble is clean and transparent like an E Stat. No EST drivers here, only BA drivers. As you can see, you can't always conclude the sound from the driver topology. There are 13 pressure chamber drivers at work here, divided into 4 for the bass, 4 for the mids, 4 for the treble and a Super Tweeter. Perhaps the latter is responsible for the fact that the treble has the perfect symbiosis of transparency and musicality without ever drifting into the harsh. The Elysium is technically a touch ahead of the Erlkönig in the treble department. It's hard to imagine how good the Erlkönig's highs would be if VE had used EST drivers.

The mids and especially the voice reproduction beats my previous reference the Elysium. Bryan Adams voice at Summer of 69 (MTV Unplugged) that is pure goosebumps and I have not experienced with an IEM so far. Real and natural, that's how I imagine it!

Unlike the Elysium, I never have the feeling that there is not enough punch with the Erlkönig. There is always enough bass and it is even more detailed than the Elysium. The bass also doesn't demand the listener's attention and you focus on it, but it blends so perfectly into the mix that you just enjoy the big picture.
And here we are already at the tonality. This I would describe as neutrally warm with no technical flaws or compromises.

Stage imaging extends to about Elysium level. Individual instruments and sound sources are precisely positioned in the room and can be located effortlessly. However, it's not as razor-sharp as with a Utopia, nor is it as expansive with the Erlkönig as it is with the SR009. The TOTL Over Ears still have the edge for me.

Is the Erlkönig now the best IEM in the world? Of all the models I have ever heard, it does set itself apart, sometimes considerably. However, I have not yet heard some models, which are always talked about as the best, such as the Oriolus Traillii. But it costs even more (6000 USD).

The Elysium belongs to the Premium Line of the German IEM manufacturer Visions Ears from Cologne. The packaging is the first eye-catcher right after unpacking. As soon as you open the box, the middle part rises. I have not seen so yet. Reminds me a bit of the tubes in the HE1 - well, not quite as spectacular. But it is a good idea.



The package includes CP145 SpinFits and HornTips as well as an 8 wire silver coated balanced cable with 2.5mm plug. Plus a leather storage box, description and a set of some self-adhesive guards to protect the Nozzle from wax.



For the sound test, I ran the Elysium out of the 2.5mm output of the Shanling M8 DAP. This DAP is known for its incredibly musical and warm reproduction and fits like a glove due to the tonality of the Elysium. The Empire Ears Legend X as well as a Focal Utopia and Stax SR-009 served as comparison.



Now let's get to the most important thing - the sound. The Elysium plays neutrally bright over the entire frequency response with slightly recessed mids. Voices don't play directly in your face like with a Utopia, but slightly distant. What I find pleasant, however. At the same time, they don't seem nasal or discolored, but come across naturally. By the way, VE uses a dynamic driver for the midrange, while a BA driver is responsible for the bass range. An unusual constellation. But the engineers certainly thought of something and what comes out sonically is very good.

The bass range is incredibly good in terms of quality. A Legend X punches a lot harder and has more low end, but it doesn't offer the control of an Elysium. In terms of quality, there's really nothing to complain about. Quantitatively, it's between the SR009 and the Utopia. The Utopia offers more dynamic punch that the Elysium BA driver so lacks. While the SR009 has a little less in terms of quantity, the Stax Bass hits harder. With thinner recordings, I sometimes wish the Elysium had a little more punch. On well-recorded tracks, however, it again fits the bill. I also played around with the M8's EQ a bit and the Elysium can easily handle a +3dB boost here without anything distorting or getting out of control.

The Elysium's highs are nearly perfect. The two EST drivers at work here do a terrific job. Almost on SR009 level! Resolution without end and never annoying or sibilant. That's how it has to be.

The stage imaging is generously wide with good depth and razor-sharp instrument separation. A Legend X and Utopia play more directly. Here it is more reminiscent of the SR-009.

Of course, I didn't just feed the Elysium with classical and jazz in my listening session, but drew on some references from my favorite genre, metal, to explore the transient response. In the bass, it doesn't have the amount to push like a Legend X. The Elysium never gets out of control on the most complex drums, which is more than I can say for the Legend X, especially with the wrong tips, everything seems much more voluminous and not as fast. So the VE feels faster than a Legend X, but doesn't quite reach the speed of a Utopia or SR-009.

During my listening sessions, I tried several tips. Working well and I can recommend the included SpinFits CP145 as well as Comply T400. The Final Audio E tips and JVC SpiralDots don't go deep enough into the ear canal and thus produce too much bass loss. The Elysium thus sounds much too thin. The CP145s sound punchy and lively, very airy. The T400s dampen the high frequency range somewhat and sound warmer overall. I don't have a clear favorite here. In the future, I'd like to try the Sedna Xelastec, a hybrid silicone/foam construction.

In summary, I can say that the Elysium is an insanely good IEM and is suitable for anyone looking for a similar tuning to that of a Utopia and all that on the go. With a little EQ you can tickle out the last bit of punch and make it very similar to a Utopia. If VE had also relied on a dynamic in the bass here it would probably THE IEM at all! The mids, treble, soundstage are already perfect! Well done, VE!