The design
The faceplate of SR11 is mainly colored in turquoise, and the clever fusion of dark green and azure brings infinite mystery, and is also embellished with glitter to make it more dynamic. Thanks to SWEEAR's continuous research on the unique aesthetics of its products, the SR11's refinement also meets public expectations, as it always does. The cavity is handmade of skin-friendly resin, without the slightest bubble or impurity, looks crystal clear, and the unique luster also makes the texture pull full. As an eleven-unit headphones, SR11 cavity size is just right, the overall weight is also lighter, there will be no sense of falling ear, wearing feeling is still quite good.
CABLE
SR11 comes with 8 cores of silver-plated cable, with 3.5, 2.5, 4.4 three interchangeable plugs, wire and headset connection using 0.78 double pin, and the pin with a groove design is also more stable.
Sound Design
Bass/Mids/Treble:
SR11 is also worthy of the flagship newcomer, sound into the ear on the sense of surprise, the overall quality of performance than other headphones in the same price range is not inferior in any way. The wide horizontal, excellent vertical layers, almost impeccable. The performance on the separation is also very good, even if the low-frequency ferocious, there is no offense to cover the location of the human voice. The soundstage extension is dense and thin, very far-reaching, but even with such a wide soundstage, the SR11's sound density is still sufficient to fill in the gaps in the sound. At the same time, the richness of detail brought about by the powerful resolution is also very stunning, and the sound of strings touching the piano is audible. The overall listening experience is excellent.
And in testing the quality of SR11, I first chose Min Huifen's "River Water", this track is full of dynamics, up to the clouds of high notes down to the faint details are included, with SR11 to dry listening, the details than the headphones used in the past to come more, especially the first section of pulling strings clearly visible, coupled with a sense of air is quite obvious, SR11 does not show other headphones in the very high frequency part The burr of other headphones, overtones of the details are also very warm, not tired of listening for a long time. Another song is the more dynamic <Tracy's Tune>, the guitar texture is exceptionally clear, the sound of string rubbing alive. The tambourine in the distance is well-defined, with a strong dive that brings a sense of sink and is also full of elasticity. The wide sound field makes the rendition of the track more infectious, and also shows this very South American style song to the fullest.
In the three frequency performance, the SR11 has been enhanced in the very high frequency part while maintaining the overall balance, and the ultra-wide frequency response of 5Hz-102kHz can also show more details of the sound. Overall, the SR11's high-frequency performance is delicate and full, without lacking flavor and power, and the contours of instrument shapes are cohesive in the ultra-high frequencies, making the presentation of instruments more realistic. The vocal and string instrument performance in the midrange is particularly good, with full vocal image shape, moderate instrument separation, and natural overall articulation and density; the low frequency also has a surprisingly expressive, large and loose volume, elasticity and rebound are very good; rich musical atmosphere, supplemented by good thickness, moderate reverb, and deep throat dive, excellent presence performance, which is a representative of quality and quantity.
In order to verify more possibilities of the SR11's musical expression, I also conducted some tests on other styles of tracks.
For female voices
I listened to Sweetheart Goddess Wang Xinling's "Rainbow Smile" and Faye Wong's "Rush Hour" and found that the SR11 was able to handle both sweet and lovely and ethereal and clean music styles very well, with a slight sense of veneer that made the sound very dynamic, with a very clear vocal base and an overall embodied sense of vocal moistness.
For the male voice
I chose Jay Chou's "Cowboy is Busy" and Eason Chan's "Red Rose", two songs with different tempos and different timbres. The SR11 was not afraid to show the performance and details of the song. Jay Zhou's lazy voice spread every note of the song without swallowing the sound due to the fast tempo, while Eason Chen's thick bass was magnetic, and the SR11 rendered it with a delicate texture.
In terms of instrumental music
Liu Mingyuan's "Five Shifts of the Moon", known as the "master of the Huqin", was chosen. The middle section has the lightness and tenderness of Liang Zhu, and the latter section picks up speed and bounce. The crispness and clarity of the banhu is very well interpreted, and the artistic quality of the babbling is also a bit more rhythmic; many instruments are played together, and in this atmosphere we can clearly feel the harshness and transparency of the instrument lines; the burst of images is quite full, and the sound is portrayed with a kind of sculptural beauty, and each instrument is clearly sounded in its designated position, presenting a bright and spontaneous atmosphere. The SR11 fully integrates the player's rich depth of feeling into the music.
THE END
Each of SWEEAR's headphones have a more distinctive style, each attempt to bring us a new experience, is progress and innovation; each iteration seeks to solve different pain points, each innovation, is a breakthrough in the product, but also the upgrade of the entire industry.
The same goes for the SR11 this time, as a representative of SWEEAR's current flagship plug, its extraordinary strength also shows us SWEEAR's determination, and I believe it has poured a lot of effort into the product, and it is enough to make you indulge in it.
