[HeartOfSky]

Your description of the music...I cant take anymore~~

My current setup sounds more like what you've mentioned regarding the soundstage and imaging. The lows somewhat lackluster, everything slightly positioned away from you. The whole soundtrack sounds less engaging but analytical, and from my side I'd rather be crowded since the soundtrack is somewhat dynamic.

I'll still consider the Vega, to hear music some what differently than what I am currently used to. Thank youu for the feedbacks.

It's definitely engaging. I think Vega will impress you. Shame you're not in Seattle. I'd let you listen, and then you would be sure.

 

[Lurk650]

That's a hefty cable at a great price. How is its flexibility?

It's very supple. @alpha421 is the guy who runs Triton Audio if you are interested.

 

[HeartOfSky]

It's very supple. @alpha421 is the guy who runs Triton Audio if you are interested.

Will keep it in mind. Not looking to change cables until I upgrade from my Sony a17.

 

[macdonjh]

I’ve posted about this a couple times, so apologies for repeating, but I spent more than an hour with the very gracious Campfire guys at their booth at Canjam NY in February, going back and forth between Vega, Dorado, and Lyra II. I luckily could’ve afforded any of them, and chose the Lyra II over Vega and Dorado. After almost a year, I’m still surprised every time by their incredibly musical, coherent, enveloping sound. The Vega was also amazing, but they were just too much for me, I felt like I was being pummeled. Really, all three were so good that the choice is more about your taste, not which one is objectively “better.” Nothing else I’ve tried this year has tempted me away from the Lyra II.

Thanks, straleno. I'll search on your username to find your previous posts.

 

[BucketInABucket]

How do the Lyra II compare to the Periodic Audio BE? I'm tempted to trade my Lyra IIs for a pair of BEs since my Lyras don't see that much use and are probably a bit too expensive for how often I use them for.

 

[DWbirdseye]

Absolutely love my Vega, but they are for sale. Please check for sale section. Thanks

 

[faithguy19]

Absolutely love my Vega, but they are for sale. Please check for sale section. Thanks

Thinning the herd?

 

[DWbirdseye]

Thinning the herd?

Exactly!

 

[Stranger Than Fiction]

Has anyone gone from the SE846 to the Vega? I’m tempted AF!

I just love my John 00 Fleming / progressive trance, techno and bass music hence a bass-forward IEM is my preference. Until recently I thought the 846s were untouchable. Evidently a lot has emerged since I purchased them back in 2014.

Can you please provide a link to the for sale page Birdseye??

 

[DWbirdseye]

Here you go:
https://www.head-fi.org/threads/campfire-vega.867079/

 

[Stranger Than Fiction]

^ Bugger. I’m based in Australia.

Happy to wait until February when I know I can afford to get a brand new pair though.

Here are my impressions from my first audition, song by song...

Pinch: RA Podcast (ID)

Profound bass attack & decay. The first thing I notice, like the whiskey notes on a good barrel-aged barleywine. It’s just as rich, full and intoxicating as the bass on my SE846s (current IEM) but more detailed and nuanced.

John 00 Fleming: “First Take Off”

Beneath its visceral, whomping kick drum is that bready CA midrange presentation that is a few steps up from but still reminiscent to that of the Jupiters.

Mystica: “Bliss”

Same again. Interestingly the bass doesn’t blow up the kickdrum of this old ‘90s trance classic like I thought - and hoped - it might. Clearly these guys know how to control bass and when to unleash it.(

Mike Oldfield: “Sentinel”

Piano sounds sweet but not cloyingly so (cue another barleywine reference...). Bass guitar warm, lush, palpably real. So too the vocal harmonies.

But where’s that reported treble sparkle? Oh right... Volume up!

Things really start shimmering. The heartbeat, the closest thing to actual percussion in this song (true to Oldfield style and form) pulsates.

In fact everything is pulsating...

Pink Floyd: “It’s What We Do”

Strapping myself in now. Wondering which one of my internal organs the pathology clinic next door would be happy to take so I can walk out of here with these puppies right now.

Where the Shure SE846s rushed this track the Vegas take another whiff and savour the intoxicating sweetness. The bass can be heard note for note. The guitars sing, sing, sing!

And I never thought the 846s’ timbre could be topped in terms of hi-hats.

Devin Townsend: “Hide Nowhere”

Okay, a vocal track. Townsend’s vocals are a touch recessed surrounded by those cold blue waves. I’m not liking this quite so much...

Machine Head: “Now We Die”

The violins ghost in with real authority and conviction. Seems the Vegas are better at handling straight up metal than prog. Every note of the bass can be heard, nay, felt! Drums on the other hand seem to be right at the back of the stage, and Robb Flynn’s vocals sound a touch dry and recessed.

Meshuggah: “The Paradoxical Spiral”

The mosquito-like guitar-laden opening promises much. Vocals don’t carry the same authority as I’d like. But most of what I listen to is free of vox so can happily overlook. Mids sound dry-bready again here.

Soundstage strikes me as similar but fuller than the 846s.

Clutch: “X-Ray Visions”

Most stoner rock sounds lacking with the 846s but the Vegas handles it with aplomb thanks to that aforementioned dryness. Texturally perfect and a metric crap tonne of detail to go with that metric crap tonne of bass! This barleywine just went all US style with a whopping late hop addition!*

Heiner Stadler: “Outer Rock”

Now I’m no jazz aficionado but this sounds great! The soundstage reaches for the sky while the details sparkle all around.

Akala: “Let It All Happen”

Time for some hip hop recorded with a live backing band. The intro kick drum marches in with sincere and powerful authority. Akala even sounds authoritative! Bass and high hats punch through with superior musicality to the 846s.

Dire Straits: “Sultans of Swing”

I should have put the 24 bitdepth version on. Listening carefully there are details I’ve never heard before on the periphery. . Air and spaciousness become apparent. Where the 846s put Dire Straits into a more studio like aesthetic while the Vegas places them somewhere dirtier, sweatier, south of London town.

At this point I’m wondering if the ambient air pressure in this building is having an effect as it often does on my hearing... Meanwhile every Dire Straits song sounds incredible! “You and Your Friend” has a real magic to it.

— Nary a trace of sibilance, even when the guitars begin whaling. In saying that the more I listen through my iPhone 7 the more I’m thinking these need the extra juice of an amp.

Bob Holroyd: “Autumn Leaves”

This morose chillout track is full of bass rolls, hi hats, piano, violins and intricate details - all of which pulsate, shine, shimmer and resonate. My heart almost stops and I feel as though my breath has been taken away.

Kay D: “Falling”

An airy, somber progressive trance piece that already sounds lush. I’m almost done here. Treble shimmers. I’m as spent as the exhaustion with life’s trials and tribulations the late bridge of this track speaks of.

So much sparkly detail!

Kamilo Sanclemente & Dabeat: “Cygnus”

Oh my that bass rumble! That towering soundstage. This is not big room trance but it has gone and thrown Above & Beyond and their wicked wicked EDM crossover ways from the booth! It’s stadium-esque! Huge !!

Now after 90 minutes I’m sampling the concluding tracks on FabricLive 91: Mixed by Special Request, which is a mix of modern jungle. I’m feeling a little fatigued.

A little drunk from all that barleywine perhaps. But my oh my, what a sensory indulgent experience! One heck of a ride! These are definitely on my shortlist.

* I generally dislike most US-style barleywines because of their astringency. Fellow craft beer nerds will know what I’m banging on about. I love a good English style barleywine or old ale, and if it’s spent time in whiskey barrels, so much the better.

Source: iPhone 7+
Most tracks are ALAC but some compressed AAC and mp3, minimum 320 kpbs.

 

[HeartOfSky]

^ Bugger. I’m based in Australia.

Happy to wait until February when I know I can afford to get a brand new pair though.

Here are my impressions from my first audition, song by song...

Pinch: RA Podcast (ID)

Profound bass attack & decay. The first thing I notice, like the whiskey notes on a good barrel-aged barleywine. It’s just as rich, full and intoxicating as the bass on my SE846s (current IEM) but more detailed and nuanced.

John 00 Fleming: “First Take Off”

Beneath its visceral, whomping kick drum is that bready CA midrange presentation that is a few steps up from but still reminiscent to that of the Jupiters.

Mystica: “Bliss”

Same again. Interestingly the bass doesn’t blow up the kickdrum of this old ‘90s trance classic like I thought - and hoped - it might. Clearly these guys know how to control bass and when to unleash it.(

Mike Oldfield: “Sentinel”

Piano sounds sweet but not cloyingly so (cue another barleywine reference...). Bass guitar warm, lush, palpably real. So too the vocal harmonies.

But where’s that reported treble sparkle? Oh right... Volume up!

Things really start shimmering. The heartbeat, the closest thing to actual percussion in this song (true to Oldfield style and form) pulsates.

In fact everything is pulsating...

Pink Floyd: “It’s What We Do”

Strapping myself in now. Wondering which one of my internal organs the pathology clinic next door would be happy to take so I can walk out of here with these puppies right now.

Where the Shure SE846s rushed this track the Vegas take another whiff and savour the intoxicating sweetness. The bass can be heard note for note. The guitars sing, sing, sing!

And I never thought the 846s’ timbre could be topped in terms of hi-hats.

Devin Townsend: “Hide Nowhere”

Okay, a vocal track. Townsend’s vocals are a touch recessed surrounded by those cold blue waves. I’m not liking this quite so much...

Machine Head: “Now We Die”

The violins ghost in with real authority and conviction. Seems the Vegas are better at handling straight up metal than prog. Every note of the bass can be heard, nay, felt! Drums on the other hand seem to be right at the back of the stage, and Robb Flynn’s vocals sound a touch dry and recessed.

Meshuggah: “The Paradoxical Spiral”

The mosquito-like guitar-laden opening promises much. Vocals don’t carry the same authority as I’d like. But most of what I listen to is free of vox so can happily overlook. Mids sound dry-bready again here.

Soundstage strikes me as similar but fuller than the 846s.

Clutch: “X-Ray Visions”

Most stoner rock sounds lacking with the 846s but the Vegas handles it with aplomb thanks to that aforementioned dryness. Texturally perfect and a metric **** tonne of detail to go with that metric **** tonne of bass! This barleywine just went all US style with a whopping late hop addition!*

Heiner Stadler: “Outer Rock”

Now I’m no jazz aficionado but this sounds great! The soundstage reaches for the sky while the details sparkle all around.

Akala: “Let It All Happen”

Time for some hip hop recorded with a live backing band. The intro kick drum marches in with sincere and powerful authority. Akala even sounds authoritative! Bass and high hats punch through with superior musicality to the 846s.

Dire Straits: “Sultans of Swing”

I should have put the 24 bitdepth version on. Listening carefully there are details I’ve never heard before on the periphery. . Air and spaciousness become apparent. Where the 846s put Dire Straits into a more studio like aesthetic while the Vegas places them somewhere dirtier, sweatier, south of London town.

At this point I’m wondering if the ambient air pressure in this building is having an effect as it often does on my hearing... Meanwhile every Dire Straits song sounds incredible! “You and Your Friend” has a real magic to it.

— Nary a trace of sibilance, even when the guitars begin whaling. In saying that the more I listen through my iPhone 7 the more I’m thinking these need the extra juice of an amp.

Bob Holroyd: “Autumn Leaves”

This morose chillout track is full of bass rolls, hi hats, piano, violins and intricate details - all of which pulsate, shine, shimmer and resonate. My heart almost stops and I feel as though my breath has been taken away.

Kay D: “Falling”

An airy, somber progressive trance piece that already sounds lush. I’m almost done here. Treble shimmers. I’m as spent as the exhaustion with life’s trials and tribulations the late bridge of this track speaks of.

So much sparkly detail!

Kamilo Sanclemente & Dabeat: “Cygnus”

Oh my that bass rumble! That towering soundstage. This is not big room trance but it has gone and thrown Above & Beyond and their wicked wicked EDM crossover ways from the booth! It’s stadium-esque! Huge !!

Now after 90 minutes I’m sampling the concluding tracks on FabricLive 91: Mixed by Special Request, which is a mix of modern jungle. I’m feeling a little fatigued.

A little drunk from all that barleywine perhaps. But my oh my, what a sensory indulgent experience! One heck of a ride! These are definitely on my shortlist.

* I generally dislike most US-style barleywines because of their astringency. Fellow craft beer nerds will know what I’m banging on about. I love a good English style barleywine or old ale, and if it’s spent time in whiskey barrels, so much the better.

Source: iPhone 7+
Most tracks are ALAC but some compressed AAC and mp3, minimum 320 kpbs.

This was an absolute pleasure to read.

 

[Stranger Than Fiction]

Thankyou sir. I must say that’s rather humbling. I occasionally write articles for a range of craft beer publications and would love to break into headphone reviewing if only I had the capital.

 

[Chefano]

Well, Im back to chime after +100hs burnin.
To avoid been biased along the burnin period, I decided to choose some tracks and compare them before and after the 100hs mark.
Its hard to say that I could notice some difference, if any.
Sibilance was not EVER a problem to me, even with armatures, but geez, Vega was able to annoy me with a ton of sibilance, most of the time I listen to rock and cymbals and hi-hats on vega are simply intolerable.
Maybe, my pair is falty, but $600 would be a fair place, really distant from $1300.

 

[Stranger Than Fiction]

^ If I hadn’t lost every accessory my Shure SE946 came with over the past fes years (all I have now is the monitors, HeadphoneLounge copper litz cable and single pair of large Spinfits) and they were newer I’d suggest a trade+extra $$ from me. That’s if you were truly unhappy with the Vegas and they’re definitely not faulty too.

Have you tried different tips? And are they fully burned in?