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Clear Tune Monitors two top-end monitors, the DaVinci IX and X are identical in shell design and box contents, but offer very different sound signatures. So if you've already read my other DaVinci review, you may directly skip to "Sound"
I've got to listen to these IEMs as part of a review tour, so this review is my own and completely unbiased opinion, based on my experiences with audio equipment and my personal taste. If you have any questions, feel free to ask me in the comments or via PM.
Build & Design
The first thing you'll notice when taking the DaVincis into your hands is their excellent build quality. The shells are completely made of metal with a nice satin black finish and screwed-on faceplates depicting the model number in roman numerals. Little spoiler alert here: The faceplates already give away the model's sound signature. The "IX" is kept in the shell's low-profile matte black, while the "X" is inlaid with a shiny chrome finish. The screw-thing seems to be inspired by Campfire's Andromeda, but the rest of the shells if fortunately way more ergonomic, its curves fitting perfectly into the ear. This semi-custom fit gained a lot of popularity lately and I'm happy to see that CTM have adopted it, too.
Accessories
The bundled accessories are exactly what you'd expect from IEMs in this price class, including a variety of silicone and foam tips, adapters, cleaning tool, carrying case, filters and two different cables. I'll go further into detail with the most important goodies of the DaVinci package:
The Carrying Case
Several things have to be said about the carrying case. First of all, the good thing: Once the IEMs are fitted into the case, you could basically play soccer with it. The DaVincis are held incredibly secure, with some extra foam padding holding the earpieces in place, no matter what you're doing. That's especially great news for professionals who are having these babies on tour with them, because tour equipment can be in for a rough treatment at times. There's also a "hidden" compartment which holds a small selection of eartips, a cleaning tool and an adapter, nice! Now the bad news: If you're a regular dude using your IEMs for the commute, you're going to buy another case. Balancing that thing on your lap while fiddling in the IEMs in the correct manner and then coiling up the cable correctly is one task nobody wants to attempt in a crowded subway at 7:00am.
Cables
CTM are supplying you with two cables. One standard cable with an angled 3,5mm connector and one balanced premium cable with a straight 2,5mm plug. Both cables are sturdy and sufficiently long, with securely fitting 2-pin connectors (MMCX haters will be pleased) and a protective transparent tubing for the part that comes in touch with your ears, thankfully without memory wire. The premium cable is a piece of art on its own, braided of pure copper and silver plated(?) wire and beefy plugs to underline the word "premium". It's not exactly designed for great portability, but the difference between a balanced and standard connection, let alone different cable types (if there is any) certainly cannot be heard in public transport or loud venues. So use the standard one for the go and the premium cable for your armchair or showing off at your local Head-Fi meet.
Filters
Besides the standard silver one, CTM are adding two different kinds of filters to the box, red and blue. And at this point I have to give the guys at CTM some more criticism. Nowhere on the box or in the instruction manual it's mentioned what the filters are supposed to do. Sure, by trying them out or simply searching the official Head-Fi thread you may find out. But undertaking in-depth research in forums or extensive A/B listening comparisons are not exactly the kind of experiences I'm associating with buying a premium product. Now back to topic: As CTM explained in the aforementioned thread, the blue filters are for taming the treble, the red filters are for enhancing the bass frequencies a little more. And they actually work like that; but the difference is, to be honest, very subtle. Changing filters takes a few moments, which makes direct comparisons difficult and you may end up not noticing any difference at all. But if you're treble sensitive or longing for these 3 decibels of extra-bass, the filters may be a nice addition. Offering these kinds of tuning options costs money and effort, so I'm giving CTM huge props for that anyway.
Ergonomics
You would not expect a very pleasant experience from plugging massive metal objects into your ears. But due to their ergonomically curved shape and short nozzle length, the DaVinci series feel very comfortable and secure in my ears. In fact, they're among the most comfortable IEMs I've ever tested and going back to my JH Angies made me realize that I should consider an upgrade soon. CTM's cables just add to the overall very pleasant experience; so wearing these IEMs for several hours is not a concern at all. The DaVincis are a true winner in the comfort category.
Sound
Being the higher-priced model of the DaVinci range, the X gets overall the more positive reviews here. But don't be fooled: The DaVinci X sounds vastly different than its little sibling. Equipped with an additional armature driver for the extreme treble region and a leaner midrange, the X are sporting a very bright and detail-oriented signature with slightly enhanced sub-bass for tonal balance. The treble lift is not just a peak but starts around 7-8khz and stretches far beyond 10khz, exposing every detail and every weakness in the recording. Let's start at the bottom:
Silicone tips
The X and it's smaller sibling IX are sharing the same low-end DNA.
On bass-heavy tracks like Banks' "screw with myself" and Lorde's "Royals", the X pump out a decent amount of low end with a great balance between wobble and definition. There seems to be a dip in the lower midrange, so busy tracks like Trivium's "Until The World Goes Cold" or The Ocean's "Mesopelagic: Into the Uncanny" sound very tidy with pristine instrument separation, layering and positioning. Due to this little twist in frequency response, voices and guitars are lacking a little body and substance. This trade-off is not an unpopular choice in in-ear-monitoring, especially if maximum spaciousness and instrument separation are desired. Fortunately, the DaVinci X achieve this effect just perfectly. So while Tina Turner's voice in "Goldeneye" lacks authority, the orchestral arrangements around her sound very holographic with pinpoint accurate instrument positioning. The leaned out midrange is less apparent in Sam Smith's "Writing on the Wall", where the DaVinci X really shine, perfectly positioning his tenor/falsetto voice into the wide orchestral arrangement. Throw some fierce sub-bass lines into an orchestral mix, like in Hans Zimmer's "Why So Serious?" And the X really start showing off their impressive reach into both ends of the frequency spectrum and bringing out every detail. They handle Hip-Hop surprisingly well too, showing off their love for detail while giving a fun ride on the bass train. You've never listened to Jay-Z's "Magna Carta... Holy Grail" like this before! The X's narrow focus on particular strengths has a downside though: Certain Rock and Metal recordings, like Metallica's "...And Justice for All" or Vektor's "Terminal Redux" will quickly become top-heavy and topple over. It's still impressive to have cymbals and hi-hats thrown in your face with all details and nuances, but that's quite a fatiguing listening experience. Try a crushed or poorly mixed recording and the experience will become even unpleasant. So choose your genres, sources and file quality wisely.
Foam Tips
Tip selection is one underestimated possibility to influence an IEM's sound signature. The DaVinci X is one model that's particularly sensitive towards ear tip material. Like most other manufacturers who are aware of this phenomenon, CTM also add some foam tips to the package. With these, the X's treble dominance gets more tamed and transform them into a different beast altogether. At least for me: My hearing is very good and I'm quite treble sensitive, so usually my criticism towards enhanced higher frequencies is much harsher than most people's. So when I tried the X with foam tips on, I could finally enjoy its vast headroom and staging appropriately without bleeding ears. The mids are still tilted towards their upper spectrum, but the foams' addition of warmth and thickness does the overall signature some good. Revisiting problematic recordings like "…And Justice for All" or live recordings like Alice in Chains' MTV Unplugged Album is a much smoother experience. Hi-hats and cymbals are still presented boldly with exceptional shimmer and fizz, but take a little step back, giving the overall mix a better balance and musicality. Of course, some resolution will be sacrificed in the process, but the DaVinci X are detail monsters that can easily afford this little trade-off.
TL;DR
TheDaVinci X are rather bright/analytical sounding monitors with an approximately U-shaped frequency response and a heavy focus on imaging, detail and treble extension.
Verdict
While I definitely can appreciate the technical capabilities of the DaVinci X, I couldn't quite warm up to the lean midrange and the forward treble presentation. If you're a treble-sensitive person like me, these IEMs are only usable with foam tips for many music genres, which is kind of a let-down for a 2,5k product. If you have an acquired taste for strong treble and want the maximum quantity and quality of detail and stereo imaging imaginable in a 2019 flagship IEM, the DaVinci X are definitely worth looking (listening) into. CTM's TOTL product has not only the highest requirements for treble tolerance/love, but also source quality and your wallet. If you can meet all three of them, the DaVinci X might be your audio-nirvana.
Clear Tune Monitors two top-end monitors, the DaVinci IX and X are identical in shell design and box contents, but offer very different sound signatures. So if you've already read my other DaVinci review, you may directly skip to "Sound"
I've got to listen to these IEMs as part of a review tour, so this review is my own and completely unbiased opinion, based on my experiences with audio equipment and my personal taste. If you have any questions, feel free to ask me in the comments or via PM.
Build & Design
The first thing you'll notice when taking the DaVincis into your hands is their excellent build quality. The shells are completely made of metal with a nice satin black finish and screwed-on faceplates depicting the model number in roman numerals. Little spoiler alert here: The faceplates already give away the model's sound signature. The "IX" is kept in the shell's low-profile matte black, while the "X" is inlaid with a shiny chrome finish. The screw-thing seems to be inspired by Campfire's Andromeda, but the rest of the shells if fortunately way more ergonomic, its curves fitting perfectly into the ear. This semi-custom fit gained a lot of popularity lately and I'm happy to see that CTM have adopted it, too.
Accessories
The bundled accessories are exactly what you'd expect from IEMs in this price class, including a variety of silicone and foam tips, adapters, cleaning tool, carrying case, filters and two different cables. I'll go further into detail with the most important goodies of the DaVinci package:
The Carrying Case
Several things have to be said about the carrying case. First of all, the good thing: Once the IEMs are fitted into the case, you could basically play soccer with it. The DaVincis are held incredibly secure, with some extra foam padding holding the earpieces in place, no matter what you're doing. That's especially great news for professionals who are having these babies on tour with them, because tour equipment can be in for a rough treatment at times. There's also a "hidden" compartment which holds a small selection of eartips, a cleaning tool and an adapter, nice! Now the bad news: If you're a regular dude using your IEMs for the commute, you're going to buy another case. Balancing that thing on your lap while fiddling in the IEMs in the correct manner and then coiling up the cable correctly is one task nobody wants to attempt in a crowded subway at 7:00am.
Cables
CTM are supplying you with two cables. One standard cable with an angled 3,5mm connector and one balanced premium cable with a straight 2,5mm plug. Both cables are sturdy and sufficiently long, with securely fitting 2-pin connectors (MMCX haters will be pleased) and a protective transparent tubing for the part that comes in touch with your ears, thankfully without memory wire. The premium cable is a piece of art on its own, braided of pure copper and silver plated(?) wire and beefy plugs to underline the word "premium". It's not exactly designed for great portability, but the difference between a balanced and standard connection, let alone different cable types (if there is any) certainly cannot be heard in public transport or loud venues. So use the standard one for the go and the premium cable for your armchair or showing off at your local Head-Fi meet.
Filters
Besides the standard silver one, CTM are adding two different kinds of filters to the box, red and blue. And at this point I have to give the guys at CTM some more criticism. Nowhere on the box or in the instruction manual it's mentioned what the filters are supposed to do. Sure, by trying them out or simply searching the official Head-Fi thread you may find out. But undertaking in-depth research in forums or extensive A/B listening comparisons are not exactly the kind of experiences I'm associating with buying a premium product. Now back to topic: As CTM explained in the aforementioned thread, the blue filters are for taming the treble, the red filters are for enhancing the bass frequencies a little more. And they actually work like that; but the difference is, to be honest, very subtle. Changing filters takes a few moments, which makes direct comparisons difficult and you may end up not noticing any difference at all. But if you're treble sensitive or longing for these 3 decibels of extra-bass, the filters may be a nice addition. Offering these kinds of tuning options costs money and effort, so I'm giving CTM huge props for that anyway.
Ergonomics
You would not expect a very pleasant experience from plugging massive metal objects into your ears. But due to their ergonomically curved shape and short nozzle length, the DaVinci series feel very comfortable and secure in my ears. In fact, they're among the most comfortable IEMs I've ever tested and going back to my JH Angies made me realize that I should consider an upgrade soon. CTM's cables just add to the overall very pleasant experience; so wearing these IEMs for several hours is not a concern at all. The DaVincis are a true winner in the comfort category.
Sound
Being the higher-priced model of the DaVinci range, the X gets overall the more positive reviews here. But don't be fooled: The DaVinci X sounds vastly different than its little sibling. Equipped with an additional armature driver for the extreme treble region and a leaner midrange, the X are sporting a very bright and detail-oriented signature with slightly enhanced sub-bass for tonal balance. The treble lift is not just a peak but starts around 7-8khz and stretches far beyond 10khz, exposing every detail and every weakness in the recording. Let's start at the bottom:
Silicone tips
The X and it's smaller sibling IX are sharing the same low-end DNA.
On bass-heavy tracks like Banks' "screw with myself" and Lorde's "Royals", the X pump out a decent amount of low end with a great balance between wobble and definition. There seems to be a dip in the lower midrange, so busy tracks like Trivium's "Until The World Goes Cold" or The Ocean's "Mesopelagic: Into the Uncanny" sound very tidy with pristine instrument separation, layering and positioning. Due to this little twist in frequency response, voices and guitars are lacking a little body and substance. This trade-off is not an unpopular choice in in-ear-monitoring, especially if maximum spaciousness and instrument separation are desired. Fortunately, the DaVinci X achieve this effect just perfectly. So while Tina Turner's voice in "Goldeneye" lacks authority, the orchestral arrangements around her sound very holographic with pinpoint accurate instrument positioning. The leaned out midrange is less apparent in Sam Smith's "Writing on the Wall", where the DaVinci X really shine, perfectly positioning his tenor/falsetto voice into the wide orchestral arrangement. Throw some fierce sub-bass lines into an orchestral mix, like in Hans Zimmer's "Why So Serious?" And the X really start showing off their impressive reach into both ends of the frequency spectrum and bringing out every detail. They handle Hip-Hop surprisingly well too, showing off their love for detail while giving a fun ride on the bass train. You've never listened to Jay-Z's "Magna Carta... Holy Grail" like this before! The X's narrow focus on particular strengths has a downside though: Certain Rock and Metal recordings, like Metallica's "...And Justice for All" or Vektor's "Terminal Redux" will quickly become top-heavy and topple over. It's still impressive to have cymbals and hi-hats thrown in your face with all details and nuances, but that's quite a fatiguing listening experience. Try a crushed or poorly mixed recording and the experience will become even unpleasant. So choose your genres, sources and file quality wisely.
Foam Tips
Tip selection is one underestimated possibility to influence an IEM's sound signature. The DaVinci X is one model that's particularly sensitive towards ear tip material. Like most other manufacturers who are aware of this phenomenon, CTM also add some foam tips to the package. With these, the X's treble dominance gets more tamed and transform them into a different beast altogether. At least for me: My hearing is very good and I'm quite treble sensitive, so usually my criticism towards enhanced higher frequencies is much harsher than most people's. So when I tried the X with foam tips on, I could finally enjoy its vast headroom and staging appropriately without bleeding ears. The mids are still tilted towards their upper spectrum, but the foams' addition of warmth and thickness does the overall signature some good. Revisiting problematic recordings like "…And Justice for All" or live recordings like Alice in Chains' MTV Unplugged Album is a much smoother experience. Hi-hats and cymbals are still presented boldly with exceptional shimmer and fizz, but take a little step back, giving the overall mix a better balance and musicality. Of course, some resolution will be sacrificed in the process, but the DaVinci X are detail monsters that can easily afford this little trade-off.
TL;DR
TheDaVinci X are rather bright/analytical sounding monitors with an approximately U-shaped frequency response and a heavy focus on imaging, detail and treble extension.
Verdict
While I definitely can appreciate the technical capabilities of the DaVinci X, I couldn't quite warm up to the lean midrange and the forward treble presentation. If you're a treble-sensitive person like me, these IEMs are only usable with foam tips for many music genres, which is kind of a let-down for a 2,5k product. If you have an acquired taste for strong treble and want the maximum quantity and quality of detail and stereo imaging imaginable in a 2019 flagship IEM, the DaVinci X are definitely worth looking (listening) into. CTM's TOTL product has not only the highest requirements for treble tolerance/love, but also source quality and your wallet. If you can meet all three of them, the DaVinci X might be your audio-nirvana.