Effect Audio Eros S, Ares S and Cadmus Review.
by Nick Smith
“Cables all sound the same. You must be hearing things.”
Either we are, or we purchase them because they’re pretty. Manufacturers know sound & looks aren’t mutually exclusive so they tempt us both ways.
In any event this review does not intend to change minds on the subject. Many of us hear a difference and are prepared to pay, there I’ll let matters stand.
Introduction
Effect Audio have long been leaders in the portable audio cable world. My first “serious” IEM cable experience came from owning an EA Ares II a number of years ago which was famous for its’ price-performance ratio, but having been released in 2017 was since surpassed by the entry-level offerings of other brands.
This led many of us to wonder when EA would release an update, and the moment arrived in June 2022 when they announced their new
Signature Series, consisting of the following models:
•
Ares S - a 4 wire, 24 AWG UP-OCC copper litz cable (USD $179)
•
Cadmus - a 4 wire, 24 AWG UP-OCC silver-plated copper litz cable ($199)
•
Eros S - an 8 wire, 26 AWG UP-OCC silver & copper litz cable ($299)
This review will compare all three, exploring their differences.
Packaging
All three cables are packaged similarly, with only the exterior logo varying between them. Inside, each sturdy cardboard box contains a fabric-lined tray to display the Y-split section of the cable attractively for the unboxing experience, some informational papers, a leather cable buckle, carry case, and the cable itself.
The cloth carry case is lightweight but its’ quality does not impress. Cleverly the leather cable buckle also serves to close the case, discouraging them from becoming separated.
Given the entry-level pricepoints I have no issues with the packaging materials, my only disappointment being the absence of a more-durable leather case – something we often see bundled with cheaper Chinese cables & IEMs.
Ergonomics
Ares S & Cadmus I weighed at 32.6 grams & 33.2 grams respectively, and though Cadmus is very slightly thicker they feel ergonomically identical. Both are slightly stiffer & heavier than typical entry-level cables, but not to the extent I see it preventing most people using them without discomfort.
Eros S at 40.9 grams is appreciably heavier yet slightly more flexible due to its’ use of 26 rather than 24 gauge wire. Not so heavy I’d label it uncomfortable, but weighty enough it has trouble ‘disappearing’ when worn. However that weight difference would not sway me towards Ares S or Cadmus if forced to choose between them.
Hardware
Much of the weight of these cables stems from their Y-splits. Despite being constructed of aluminium with attractively angled meteorite finishes, they’re larger & bulkier than I’d like. Made of the same material, the plugs at the other end conversely seems to lack the heft needed to feel premium.
All Signature Series cables feature ConX connectors as stock, allowing their terminations to be swapped at will between 2pin, MMCX, A2DC, IPX & Pentaconn EAR. Cables are typically supplied with one type of connector -selectable at time of purchase- with the full ConX connector set available separately for USD $50.
The unrivalled flexibility of this system has become a major selling point for Effect Audio cables, and to see it offered as standard on their entry-level range is terrific.
The remaining question is to what degree these friction-fit connections affect performance compared to a solder joint – one I’ve yet to answer. I personally see the added convenience as a worthy trade-off, but might think differently if spending several thousand on a flagship cable where unrestrained performance might take precedence.
Test Equipment
The cables were tested using an iBasso DX240 via AMP8MK2 and AMP3MOD amp cards, and all files were played back locally from a 1GB Micron Micro-SD card.
Three IEMs were used, all of which feature single dynamic-drivers as that is my pronounced preference – the placidly innocuous Sennheiser IE600s, the analytically strident Final Audio A8000s, and the agreeably bombastic CCA CRA+.
The following test tracks were chosen on the basis of being superbly high-quality recordings that cover a variety of genres & test a number of audio characteristics, which happen to be intimately familiar to me:
Basil Poledouris – Theology / Civilization (24 bit/192khz version)
Michael Jackson – Billie Jean (DSD 64)
Daft Punk – Lose Yourself To Dance (24/96)
Musica Temprana – Tono De La Virgen (Binaural DSD 64)
Jazz At The Pawnshop – Jeep’s Blues (DSD 128)
Yello – Way Down (24/48)
Louis Armstrong – Mack The Knife (DSD 256)
Van Morrison – Crazy Love (24/192)
Manfred Honeck – Beethoven Symphony No.9, IV. Finale (DSD 512)
Final Audio A8000 Impressions
The A8000s are ruthlessly transparent with outstanding resolution, deep sub-bass and a very forward upper midrange presence.
Ares S demonstrated the flattest soundstage & most congestion of the three cables, but offered the largest mid-bass boost and infused the presentation with a dash of warmth that was particularly evident between instruments & notes, enhancing the lower vocal range in the process.
Cadmus delivered greater treble sparkle, a brighter upper midrange and a slightly wider soundstage. Upper frequencies tended to be more heavily emphasised, with less warm air between notes and slightly better dynamics, delivering a somewhat more nuanced presentation than Ares S but inflecting a metallic timbre.
Eros S was more dissimilar to the other cables than they were from each other due to its’ 8 wire configuration. It’s presentation was smoother & more relaxed than both, featured a noticeably taller & deeper soundstage with more space between instruments and a blacker background. It also featured slightly increased note weight, but marginally less sub-bass than Ares S. Overall Eros S was the most satisfying A8000 pairing.
Sennheiser IE600 Impressions
The IE600s are extremely well-balanced across the frequency spectrum, with respectable technical abilities for a single dynamic driver.
Ares S portrayed the narrowest stage of the three and the most forward midrange, lending the presentation a hint more excitement & aggressiveness. Mid-bass was emphasised, and generally the lower frequencies were accentuated to give the presentation a warmer, meatier timbre.
Cadmus had a slightly wider stage than Ares S, spotlighting the central performer in it more sharply and separating instruments better. However it presented a drier, leaner timbre with an upper midrange emphasis that leaned towards sibilance, which not suit the IE600s well.
Eros S delivered a smoother sound, well-balanced across all frequencies without a perceptible emphasis on any particular range. Combined with a full-bodied presentation with slightly improved dynamics & detail, and a marginally more three-dimensional stage, Eros S was the most satisfying IE600 pairing.
CCA CRA+ Impressions
The CRA+ deliver an extremely fun, slightly V-shaped sound with powerful sub-bass emphasis. Stage & resolution are surprisingly close to the IE600, with the slow speed of the drivers being the main drawback.
Ares S delivered a slightly deeper but narrower stage than Cadmus, with a more forward midrange. However the earthier timbre bestowed seemed to enrich a presentation already a touch too warm and full to begin with.
Cadmus featured a wider stage with greater treble emphasis, yet even greater sub-bass impact than Ares S rendering it the most V-shaped cable of the three. Despite the increased upper midrange trending towards sibilance, Cadmus gave the CRA+ the sparkle they needed and proved to be the most satisfying CRA+ pairing.
Eros S possessed a more three-dimensional stage than the other cables, with the soundstage seemingly wrapped around one's head rather than laid out in front of it, improving separation as a result. However this was a smoother, more polite voicing less suited to the “fun” CRA+ tuning than the Cadmus’ V-shaped presentation. Interestingly, the differences between cables were easier to detect through the CRA+ than the IE600s.
Conclusion
Cables are tone controls that impact IEM technical performance. In this role EA’s Signature Series has impressed, rendering them easy recommendations to anyone seeking to upgrade an entry or mid-level IEM stock cable.
Eros S is the cable I suspect will be most universally appreciated. More flexible than the others but slightly heavier, differences in ergonomics & price are relatively minimal yet the deeper, more three-dimensional stage demonstrated across all three IEMs sets it apart in a manner worthy of the added expense & heft.
Cadmus may prove the most difficult to match of the three, yet is ideal for ‘waking up’ more docile IEMs with added sharpness and zing.
Ares S like its’ forebears be a mainstay of future entry-level cable recommendations and deservedly so, it being difficult to go far wrong with a quality pure copper cable.
If choosing between them, I strongly suggest picking your poison based on how you’d like tone of your IEM altered: Smoother? Eros S. Brighter? Cadmus. Warmer? Ares S.
As for the age-old question… “are audio cables worth it?”, I would argue the widespread adoption of 4.4mm & presence of ConX suggests a Signature Series cable may remain useful for longer than past generations. Indeed time seems to run slower in the cable world, whereas IEMs & digital sources are more rapidly overtaken by new offerings.
Of course merely suggesting a cable will last does not establish its’ inherent value. To that I suggest beauty is in the eye of the beholder.