Pink Freud
100+ Head-Fier
Thank you for the playlist! It is my current soundtrack while reading these impressions
CanJam Singapore 2019 Impressions Thread
- Thread starter third_eye
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Thank you for the playlist! It is my current soundtrack while reading these impressions
I did not read that Andy prefers the SS version. Where did you see that?
I am torn between the 2 versions, but would like to know if there is really and difference in sound. Tks.
I thought i read it on the N8 thread, but i went back to check Andy post and i couldn't find it anywhere, i'll keep looking for that post on different threads.
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If I buy an N8 I would choose the brass one. I am pretty sure it sounds warm and sweet due to the brass body.
IneffableMusic
Head-Fier
Wow that came quick! Thanks for doing a nice, detailed review so fast. It's a shame it doesn't have the tonality I'm looking for though for such a technically competent iem
. I like a balanced/neutral sig especially with a balanced non recessed presence/treble region. Possibly the customs or final revision universal will be a different story. I can only hope but I doubt it.
Hey everyone! This is my first of about six sets of impressions that I'll be publishing here over the next few days. They'll all eventually end up on my CanJam coverage article on TheHeadphoneList.com, but I felt I should share them here as well for the community to see. I hope you enjoy the first instalment! 
Advanced Acousticwerkes
Advanced Acousticwerkes (or AAW, for short) have found themselves embodying the show’s identity in more than one way. The Singaporean in-ear manufacturer are renowned for being one of the first proponents of hybrid technology in custom form. So, seeing them in their hometown among a sea of philosophical competitors proved quite the comedic sight, but it was a challenge too. Has their heritage allowed them to one-up rivals? Or, have AAW lost their killer app?
AAW Nightingale: AAW’s planar-magnetic Nightingale is a smooth-sounding monitor with a lightly warm tonal balance. It’s easy to listen to because of how laid-back it is, particularly in the upper-mids. Instruments span large, but they’re calmly projected. This goes for the low-end as well. The bass sounds roomy, airy and three-dimensional, though those expecting a planar low-end may yearn for more impact. Like the A1D and A3H, the Nightingale aligns the low-end a hair behind the midrange, but there is a clear mid-bass bias over the sub-bass. The latter is more reserved by comparison.
Personally, I prefer listening to slower, simpler music with AAW’s Nightingale. The in-ear’s calmness creates headroom, giving those recordings a spacious, effortless quality. My only qualm would be it in the upper-mid dip. Compared to more mainstream tunings, instruments may sound slightly nasal-y. That comes down to preference. With busier tracks or arrangements, I find the Nightingale lacking dynamic impact. It does not incite movement when listening to genres like hip-hop or rock. So, for those who prefer calmer, more relaxing genres of music, the Nightingale is one to consider.
AAW Mockingbird: Of the four, the Mockingbird is one of two that clearly embodies AAW’s current house sound – the same one I heard with the A1D 2018 and A3H 2018. It possesses a neutral-bright tone driven by a prominent mid-treble. There are peaks perhaps at 8, 10 and 12kHz that bolster the top-end forward, providing clarity and air to the midrange, and definition to the bass. This is what gives the Mockingbird its crisp, brightly-hued top-end. Like the other in-ears, the bass isn’t overtly prominent or warm. It is more linear than the Nightingale's, and it excels at impact due to extension.
The midrange is well-balanced as well. It’s neutrally positioned and sufficiently bodied, while the low-treble takes care of articulation and vibrancy. Its negatives to me are in tone and refinement. There’s a persistent glare to the Mockingbird, particularly when it comes to percussion or higher-pitched instruments. The treble has a tendency of becoming brittle as well. Unlike the Canary’s e-stats, a bright haze tends to linger up top. But, if you enjoy the AAW house sound and you want further technical performance in stage expansion and imaging, the Mockingbird is a great option to consider.
AAW Canary: The Canary is perhaps the most fun-sounding in-ear I heard all day. It possesses a neutral tone – a warm, hearty sub-bass meeting a crisp, crisp treble – and it’s fantastic for genres like pop, EDM and hip-hop. There’s a club-like, guilty pleasure quality to its sound that combines head-bob-worthy bass with crystal clarity. Now, tone is nowhere near natural. This is a highly-coloured sound meant to emphasise dynamic impact as much as possible. But despite that, the Canary does come together quite coherently; bound by the warmth of the mid-bass and cut through with top-end air.
The electrostats definitely give it an edge over similar-sounding monitors in space and headroom. It’s an explosive sig set within a holographic, richly-layered and well-nuanced stage. So, fatigue or compression don’t set in as quickly. The low, middle and top-ends fill it sufficiently without one overshadowing the other. But, if realism is at all a criteria – for classical or jazz, especially – the Canary will not deliver. I find the emotionality of these pieces to truly suffer under the Canary’s coloured looking glass. But for maximum fun when listening to club music, I’ve hardly heard anything better.
AAW ASH: The ASH is perhaps the most vast, open-sounding I’ve tried of the lot, but synthetically so through a raised upper-treble and a laid-back upper-midrange. This is the other in-ear that’s adopted the AAW house sound through and through. There’s a pre-dominantly bright tone to the top-end. But, linearity makes the rise considerably more palatable.
Detail retrieval is also a strong suit, because of how compact its notes are relative to the Canary and Mockingbird. The dynamic low-end provides a healthy rhythmic too – whilst contributing a hint of body to the midrange – although it again is more neutral in quantity. Oddly, I’d call the ASH a bright-yet-laid-back listen for treble enthusiasts. Those who don’t want an energetic response forced upon them despite a raised upper-treble will have the ASH to look forward to.
Stay tuned for instalment two, coming soon.
Advanced Acousticwerkes
Advanced Acousticwerkes (or AAW, for short) have found themselves embodying the show’s identity in more than one way. The Singaporean in-ear manufacturer are renowned for being one of the first proponents of hybrid technology in custom form. So, seeing them in their hometown among a sea of philosophical competitors proved quite the comedic sight, but it was a challenge too. Has their heritage allowed them to one-up rivals? Or, have AAW lost their killer app?
AAW Nightingale: AAW’s planar-magnetic Nightingale is a smooth-sounding monitor with a lightly warm tonal balance. It’s easy to listen to because of how laid-back it is, particularly in the upper-mids. Instruments span large, but they’re calmly projected. This goes for the low-end as well. The bass sounds roomy, airy and three-dimensional, though those expecting a planar low-end may yearn for more impact. Like the A1D and A3H, the Nightingale aligns the low-end a hair behind the midrange, but there is a clear mid-bass bias over the sub-bass. The latter is more reserved by comparison.
Personally, I prefer listening to slower, simpler music with AAW’s Nightingale. The in-ear’s calmness creates headroom, giving those recordings a spacious, effortless quality. My only qualm would be it in the upper-mid dip. Compared to more mainstream tunings, instruments may sound slightly nasal-y. That comes down to preference. With busier tracks or arrangements, I find the Nightingale lacking dynamic impact. It does not incite movement when listening to genres like hip-hop or rock. So, for those who prefer calmer, more relaxing genres of music, the Nightingale is one to consider.
AAW Mockingbird: Of the four, the Mockingbird is one of two that clearly embodies AAW’s current house sound – the same one I heard with the A1D 2018 and A3H 2018. It possesses a neutral-bright tone driven by a prominent mid-treble. There are peaks perhaps at 8, 10 and 12kHz that bolster the top-end forward, providing clarity and air to the midrange, and definition to the bass. This is what gives the Mockingbird its crisp, brightly-hued top-end. Like the other in-ears, the bass isn’t overtly prominent or warm. It is more linear than the Nightingale's, and it excels at impact due to extension.
The midrange is well-balanced as well. It’s neutrally positioned and sufficiently bodied, while the low-treble takes care of articulation and vibrancy. Its negatives to me are in tone and refinement. There’s a persistent glare to the Mockingbird, particularly when it comes to percussion or higher-pitched instruments. The treble has a tendency of becoming brittle as well. Unlike the Canary’s e-stats, a bright haze tends to linger up top. But, if you enjoy the AAW house sound and you want further technical performance in stage expansion and imaging, the Mockingbird is a great option to consider.
AAW Canary: The Canary is perhaps the most fun-sounding in-ear I heard all day. It possesses a neutral tone – a warm, hearty sub-bass meeting a crisp, crisp treble – and it’s fantastic for genres like pop, EDM and hip-hop. There’s a club-like, guilty pleasure quality to its sound that combines head-bob-worthy bass with crystal clarity. Now, tone is nowhere near natural. This is a highly-coloured sound meant to emphasise dynamic impact as much as possible. But despite that, the Canary does come together quite coherently; bound by the warmth of the mid-bass and cut through with top-end air.
The electrostats definitely give it an edge over similar-sounding monitors in space and headroom. It’s an explosive sig set within a holographic, richly-layered and well-nuanced stage. So, fatigue or compression don’t set in as quickly. The low, middle and top-ends fill it sufficiently without one overshadowing the other. But, if realism is at all a criteria – for classical or jazz, especially – the Canary will not deliver. I find the emotionality of these pieces to truly suffer under the Canary’s coloured looking glass. But for maximum fun when listening to club music, I’ve hardly heard anything better.
AAW ASH: The ASH is perhaps the most vast, open-sounding I’ve tried of the lot, but synthetically so through a raised upper-treble and a laid-back upper-midrange. This is the other in-ear that’s adopted the AAW house sound through and through. There’s a pre-dominantly bright tone to the top-end. But, linearity makes the rise considerably more palatable.
Detail retrieval is also a strong suit, because of how compact its notes are relative to the Canary and Mockingbird. The dynamic low-end provides a healthy rhythmic too – whilst contributing a hint of body to the midrange – although it again is more neutral in quantity. Oddly, I’d call the ASH a bright-yet-laid-back listen for treble enthusiasts. Those who don’t want an energetic response forced upon them despite a raised upper-treble will have the ASH to look forward to.
Stay tuned for instalment two, coming soon.
Attachments
Mimouille
Headphoneus Supremus
So basically, they are all awesome if you pick a track that doesn't have any of the frequencies where they suckHey everyone! This is my first of about six sets of impressions that I'll be publishing here over the next few days. They'll all eventually end up on my CanJam coverage article on TheHeadphoneList.com, but I felt I should share them here as well for the community to see. I hope you enjoy the first instalment!
Advanced Acousticwerkes
Advanced Acousticwerkes (or AAW, for short) have found themselves embodying the show’s identity in more than one way. The Singaporean in-ear manufacturer are renowned for being one of the first proponents of hybrid technology in custom form. So, seeing them in their hometown among a sea of philosophical competitors proved quite the comedic sight, but it was a challenge too. Has their heritage allowed them to one-up rivals? Or, have AAW lost their killer app?
AAW Nightingale: AAW’s planar-magnetic Nightingale is a smooth-sounding monitor with a lightly warm tonal balance. It’s easy to listen to because of how laid-back it is, particularly in the upper-mids. Instruments span large, but they’re calmly projected. This goes for the low-end as well. The bass sounds roomy, airy and three-dimensional, though those expecting a planar low-end may yearn for more impact. Like the A1D and A3H, the Nightingale aligns the low-end a hair behind the midrange, but there is a clear mid-bass bias over the sub-bass. The latter is more reserved by comparison.
Personally, I prefer listening to slower, simpler music with AAW’s Nightingale. The in-ear’s calmness creates headroom, giving those recordings a spacious, effortless quality. My only qualm would be it in the upper-mid dip. Compared to more mainstream tunings, instruments may sound slightly nasal-y. That comes down to preference. With busier tracks or arrangements, I find the Nightingale lacking dynamic impact. It does not incite movement when listening to genres like hip-hop or rock. So, for those who prefer calmer, more relaxing genres of music, the Nightingale is one to consider.
AAW Mockingbird: Of the four, the Mockingbird is one of two that clearly embodies AAW’s current house sound – the same one I heard with the A1D 2018 and A3H 2018. It possesses a neutral-bright tone driven by a prominent mid-treble. There are peaks perhaps at 8, 10 and 12kHz that bolster the top-end forward, providing clarity and air to the midrange, and definition to the bass. This is what gives the Mockingbird its crisp, brightly-hued top-end. Like the other in-ears, the bass isn’t overtly prominent or warm. It is more linear than the Nightingale's, and it excels at impact due to extension.
The midrange is well-balanced as well. It’s neutrally positioned and sufficiently bodied, while the low-treble takes care of articulation and vibrancy. Its negatives to me are in tone and refinement. There’s a persistent glare to the Mockingbird, particularly when it comes to percussion or higher-pitched instruments. The treble has a tendency of becoming brittle as well. Unlike the Canary’s e-stats, a bright haze tends to linger up top. But, if you enjoy the AAW house sound and you want further technical performance in stage expansion and imaging, the Mockingbird is a great option to consider.
AAW Canary: The Canary is perhaps the most fun-sounding in-ear I heard all day. It possesses a neutral tone – a warm, hearty sub-bass meeting a crisp, crisp treble – and it’s fantastic for genres like pop, EDM and hip-hop. There’s a club-like, guilty pleasure quality to its sound that combines head-bob-worthy bass with crystal clarity. Now, tone is nowhere near natural. This is a highly-coloured sound meant to emphasise dynamic impact as much as possible. But despite that, the Canary does come together quite coherently; bound by the warmth of the mid-bass and cut through with top-end air.
The electrostats definitely give it an edge over similar-sounding monitors in space and headroom. It’s an explosive sig set within a holographic, richly-layered and well-nuanced stage. So, fatigue or compression don’t set in as quickly. The low, middle and top-ends fill it sufficiently without one overshadowing the other. But, if realism is at all a criteria – for classical or jazz, especially – the Canary will not deliver. I find the emotionality of these pieces to truly suffer under the Canary’s coloured looking glass. But for maximum fun when listening to club music, I’ve hardly heard anything better.
AAW ASH: The ASH is perhaps the most vast, open-sounding I’ve tried of the lot, but synthetically so through a raised upper-treble and a laid-back upper-midrange. This is the other in-ear that’s adopted the AAW house sound through and through. There’s a pre-dominantly bright tone to the top-end. But, linearity makes the rise considerably more palatable.
Detail retrieval is also a strong suit, because of how compact its notes are relative to the Canary and Mockingbird. The dynamic low-end provides a healthy rhythmic too – whilst contributing a hint of body to the midrange – although it again is more neutral in quantity. Oddly, I’d call the ASH a bright-yet-laid-back listen for treble enthusiasts. Those who don’t want an energetic response forced upon them despite a raised upper-treble will have the ASH to look forward to.
Stay tuned for instalment two, coming soon.
Too bad the Sennheiser Orpheus wasn't there. I heard that the track they play on it is Hotel California.
Anyway can anyone who tried the Rupert Neve headphone amp (RNHP) comment on how it sounded? I'm interested in purchasing one but I didn't manage to try it out
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Hi guys, this is the fourth and final part of my Canjam Singapore impressions. We still have lots to cover so cover up, and buckle up. And put on some pants.
Part 1 here.
Part 2 here.
Part 3 here.
FIR Audio IEMs (M2 to M5)
Ultra-short impressions of the entire series. They have made innovations that include tubeless drivers and ADEL/apex-like modules. The boss is the brother of 64 Audio’s Vitaly, so yeah. The “house sound” is sort of V-shaped, with excellent imaging but in an average-sized stage.
As the series progresses, the sound becomes fuller and more resolute, going from V to L as we move up. M2 (2BA) has a midbass and upper mids hump, producing a fun-oriented sound that’s airy and spacious, but has a BA bass that decays too quickly. M3 (1DD+2BA) is seriously fun with a natural, rumbly and punchy DD bass, while maintaining the M2 airiness, and is my favourite of the series. M4 (1DD+3BA) takes on an L-shape, with heightened midbass and lower mids. The treble is very detailed too, but from here on the sound is too immediate and congested for my liking. The flagship M5 (1DD+3BA+1EST) takes the M4 sound and increases treble clarity and air, but to the point of sibilance for me. They show some potential, it’s just a bit weird I prefer the lower end of the series since I normally have expensive taste lol.
Bonus content: Music Sanctuary brings out their updated Soundwriter project. No longer a collabo with 64, it’s a FIR Audio shell with FIR drivers and PW internal wiring, plus a PW 1960s cable. The sound signature is sort of M4-ish with a more organic tone, and a most welcome increase in stage size and airiness. I quite like it.
Sony IER-Z1R
In one word: epic. Big stage, big bass, big everything. They’ve also moved on from the house sound of old which was overly warm and smooth with muted treble, which is nothing short of a miracle. The Z1R does everything correct. Bass sounds authoritative yet quick with good rumble/physicality, mids have a sweetness to it, sounding euphonic and natural rather than dry and calculated. Treble is smooth and extended, at the same time tremendously airy and transparent.
Best yet is the presentation. Stage size is wantonly huge and airy, dynamics simply fit the epicness of the Z1R, overall tone manages to remain organic, while note size is just right and well-textured. It’s the flagship nobody expected, and few deserve. What an achievement.
Meze Rai Penta
Probably the nicest universal shell I’ve seen. The signature is warm, smooth and quite bass-oriented. Technical ability is good while maintaining an organic tone, but the sound is non-engaging and lacks dynamics. Can’t really put my finger on it, but I could not get into the music despite the positives. Gotta say I wasn’t bowled over by this one.
EarSonics Grace
The Grace is like its namesake, carrying a soft and gentle signature which is balanced and technically sound. However, to me it sounds almost too pleasant and absent of dynamics. It might be perfect for non-fatiguing, prolonged listening, but really not for me.
EarSonics Purple
This is a more exciting listen, with good treble and airy vocals, if just a bit thin. What mars the tuning is the tame and one-note bass performance which plods along with poor decay. Even among BA bass this was bad. Pity.
Dita Audio Fealty
This is quite nice. The smoother of the Twins is well, smooth and balanced with a bit of excitement, and for the most part sounds coherent and clean. The bass is curiously, a bit muffled and perhaps too rounded, but otherwise the rest of the signature is beautifully textured.
Dita Audio Fidelity
The detail-oriented Twin is neutral to a fault and highly resolute. Notes have a crunchy, bitey texture while the stage is wide and open. Like its namesake however, it’s too technical-minded for leisure listening, and the timbre leans toward brightness. Taken as a whole, both the Twins are nearly there.
Dita Audio Project 71
Wow, this was unexpected. A good marriage of both worlds, sounding lush and organic yet open and refined. Note size is just right so the overall sound isn’t thick and congested. Tone and timbre is wonderfully natural, while vocals are brought forward slightly, syrupy seductive and emotional. Sold out everywhere, hot dang I missed the boat.
Hidition NT-6
The legendary CIEM has a clarity-focused signature that is at once transparent and dynamic. Extension is excellent on both ends and contrary to impressions I’ve read, isn’t bass-light at all. The balance is perfect here and I’m guessing the bassier NT-6 Pro might just throw the balance off. A prominent upper mids boost lends air and clarity to the signature, sounding fast and precise. My only gripes are the small soundstage and the BA-quality bass. Still, call me impressed, this has aged well.
Hidition NT-8
The update is a technical monster, sounding like a brighter NT-6 with more treble focus and flatter bass thuds. Although sporting a bigger and airier presentation than NT-6, the NT-8 has a timbre that is essentially too bright. Notes are hard-edged and grainy too, promoting a sterile sound I find hard to get into. Pass.
Hidition Violet
I wasn’t ready for this jelly. Expecting even more treble, I was met with the best-balanced Hidition of the lot. Eschewing the bright signature they’re known for, this is neutral-warm, but nearly at its finest. Notes have emotional quality for once, sounding fully-formed. Even so, crispy air is abundant throughout, never sounding congested despite the weighted notes. The entire signature sounds incredibly refined and dynamic. The treble here is (obviously) crystal clear, and extends to highs rivalling Fourte and Flamenco, it’s that good. But what’s better is the treble has serious backup this time, an organic bass to form a solid foundation, and mids that are clear, emotional, and clearly emotional. The experience is heaven-sent. Violet is truly a masterfully-tuned masterpiece, and one of my show highlights.
Noble Audio Khan
Khan, the mighty triple-hybrid flagship, veers further away from their old K10 which was tuneful and easy-to-like. This is a powerful and detail-oriented sound, showcasing the most aggressive tuning I’ve heard from them. Notes have a bright edge, making the treble and mids sound extremely textured. The treble leans dangerously toward slight sibilance, while the bass is mildly elevated giving tight, rounded hits. No doubt Khan showcases immense technical ability, and pares music like a surgeon after a few rounds of caffeine; but a part of me wishes for the old Noble sound, with emphasis on euphony and emotion. Can’t have it all.
Noble Audio Kaiser Encore
Imagine Khan’s signature, take away the overt dynamism and aggressiveness, and you have the Encore. They share a similar bright-edged signature, and while Khan is the fun one, Encore chooses the more serene route, although only as serene as a neutral-bright signature affords. I kinda like Khan more.
Aroma Audio Shock
This is an interesting implementation of the miniature estat driver, sporting 2BAs and 2ESTs. It’s a smooth, easygoing, vocal-forward signature that has flat, too-tight bass, and a relaxed treble that extends fairly well. The stage size is average, as are the imaging, but mids and vocals are well-tuned. It’s alright.
Aroma Audio Ace
The affable owner, Anthony, walked me through the four sound sigs (Ace, Jack, Queen and King) of his beloved flagship, each tuned with a specific frequency bump. Aroma’s proud to say they nailed the vocal tuning, and I tend to agree. Vocals both male and female sound supremely rich, intimate, and smooth as butter. Elsewhere, the bass is warm and full, while the treble is crisp but not splashy. The soundstage might be average, but layering and imaging is quite good.
Ace was, I bet, tuned with Cantopop in mind. Anthony took me through each tuning with his personal SP1000M Gold, and each track sounded sublime, in a “buy me now” kind of way. The poison was at its most venomous when rendering vocals with simple instrumental backdrops, very characteristic of pop ballads in Cantopop. I spent 20 minutes with his A&K as he showed me Ace’s greatest strengths. The sad thing was Ace didn’t jive well with my genres (rock and er, more rock), struggling with complicated passages and gasping for air. For a staggering SGD5699, I expected it to handle every genre and make me sandwiches. Oh well.
Rhapsodio Eden
As always, Rhapsodio’s flagships tend to be V-shaped. Bass is well-executed, featuring hard hits, superb extension and a clean, natural decay. Treble also has excellent extension and detail, narrowly avoiding harshness. However, the mids, although showing precise timbre and good speed, are too backwards-placed for my liking. Not a bad effort.
Kumitate Labs KL-Lakh
Known for their one-of-a-kind CIEM faceplate designs, I was curious to hear how they sound. The Lakh is a 6BA with a balanced signature with fast and smooth transients and a tight quality to the notes. It’s a pleasant sound but held back by the metallic tinge to the timbre.
Kumitate Labs KL-Ref
The delicateness of the notes continue, and their flagship is tuned neutral-bright. The upper mids bump is very prominent, and combined with the tight, flat bass made the signature sound crisp and clean. Timbre is improved but the overall sound is too light and fluffy for me.
Campfire Audio Solaris
Ooh. Controversy. Solaris showcases what a good hybrid can do, and covers the basics very well. The bass is powerful, full-bodied and rumbly, and just about threatens the mids for space. The mids are located a step back, with a lower and upper mids lift that brings life to vocals. Notes are thick and organic with a steady decay, but I find my enjoyment multiplies with silicon tips, which gives an “air boost” to the entire spectrum. The treble is how I like it best, airy and sparkly. Soundstage is above average with good dimensions in depth and width, and altogether it’s a competent hybrid that’s easy to recommend if you like a full lower end.
Like many, I fell in love with Andromeda, their old flagship which a very airy, distinctive treble and large soundstage. With their recent forays into a bassy, full-bodied sound, Solaris is probably the closest they’ve come to an “Andromeda with bass”.
Campfire Audio Equinox
I just mentioned Campfire’s new direction, and this is an example. Equinox is far too bass-oriented for my tastes, and I thought the signature suffocatingly muddy and muffled. Couldn’t finish a full song with them, sorry.
Stealth Sonics U9
This 8BA+1DD hybrid was started by a company with deep, deep roots in audiology and hearing aids. Their first flagship model covers the bases well with good technical ability and an addictive U-shaped tuning. The bass is full and rumbly, maybe slightly too full, with slight bleed into the mids. The mids and treble are clear and articulate, although instrument timbre isn’t that accurate. The soundstage is adequately wide, with so-so imaging and separation. At a discounted price of SGD1059, it was the bargain buy flagship of the show.
oBravo ERIB-1a
oBravo is a name normally associated with words like “expensive” and “luxurious”, and at the other end, “ludicrous pricing” and unprintable cursewords. We let the sound speak for itself. A DD+planar hybrid, it’s a hybrid rarely, if never implemented before. The good news is the sound is stellar. It’s tuned neutral with copious amounts of air and transparency, with an ethereal treble tuning balanced out by a swift, punchy bass. The soundstage is effortlessly large and open, with precise imaging as well. I’m actually surprised I enjoy this, although the timbre leans towards the brightish side.
oBravo Ra C-Cu
We arrive at the conclusion of my lengthy post with the biggest bang of all, the world’s most expensive IEMs. How’s that for class? It’s easier to describe the sound when compared with ERIB-1. If ERIB-1 is neutral and analytical, Ra C-Cu is coloured and euphonic, and showcases a more romantic, hi-fi tuning. Presentation-wise, it takes on an organic, bodied tone with more accurate timbre than ERIB-1, with once again an airy and simply colossal soundstage. Note edges are smoothed out, and across the spectrum it’s quite lovely to listen to, especially the sweet vocals. Resolution remains high for treble and mids, but the bass is a tad bloated and full. There is no way to justify the USD10k pricetag, but for what you’re paying, at least the sound is not a dud.
Canjam Singapore 2019 had been tremendously fun. I had a blast meeting (and doxxing) Head-Fi luminaries like @Deezel177 and @audio123 , as well as meeting industry heads like Dean and @Jack Vang , Amin and Marcel from Vision Ears, Eric from @EffectAudio , and many others. There were no marquee products like Shangri-La or HE-1 which the 2016 edition had, but the sheer amount of new stuff to listen to meant it didn’t matter that much to me. As always, we end with my imaginary awards.
Show favourites:
1) Abyss AB-1266 TC
2) QDC Anole VX
3) Hidition Violet
4) Sony IER-Z1R
5) Advanced Acousticwerkes Canary
Notable mentions:
1) Focal Stellia
2) Meze Empyrean
3) Vision Ears Erlkonig
4) Lime Ears Aether R
5) Dita Audio Project 71
The "God, STAX is so good they need their own category" award:
1) STAX SR-009S
2) STAX SR-L700
3) STAX SR-L300
Value buys:
1) Moondrop Kanas Pro
2) Verum Audio Verum 1
3) Stealth Sonics U9
The "I didn't know they had it in them" award:
oBravo ERIB-1a
oBravo Ra C Cu
SoftEars Cerberus
Biggest disappointment:
The triple hybrids weren't the big industry leap forward as they were hyped to be.
The "I took sick leave" no-shows:
1) Hifiman
2) Unique Melody
3) Ultimate Ears
Part 1 here.
Part 2 here.
Part 3 here.
FIR Audio IEMs (M2 to M5)
Ultra-short impressions of the entire series. They have made innovations that include tubeless drivers and ADEL/apex-like modules. The boss is the brother of 64 Audio’s Vitaly, so yeah. The “house sound” is sort of V-shaped, with excellent imaging but in an average-sized stage.
As the series progresses, the sound becomes fuller and more resolute, going from V to L as we move up. M2 (2BA) has a midbass and upper mids hump, producing a fun-oriented sound that’s airy and spacious, but has a BA bass that decays too quickly. M3 (1DD+2BA) is seriously fun with a natural, rumbly and punchy DD bass, while maintaining the M2 airiness, and is my favourite of the series. M4 (1DD+3BA) takes on an L-shape, with heightened midbass and lower mids. The treble is very detailed too, but from here on the sound is too immediate and congested for my liking. The flagship M5 (1DD+3BA+1EST) takes the M4 sound and increases treble clarity and air, but to the point of sibilance for me. They show some potential, it’s just a bit weird I prefer the lower end of the series since I normally have expensive taste lol.
Bonus content: Music Sanctuary brings out their updated Soundwriter project. No longer a collabo with 64, it’s a FIR Audio shell with FIR drivers and PW internal wiring, plus a PW 1960s cable. The sound signature is sort of M4-ish with a more organic tone, and a most welcome increase in stage size and airiness. I quite like it.
Sony IER-Z1R
In one word: epic. Big stage, big bass, big everything. They’ve also moved on from the house sound of old which was overly warm and smooth with muted treble, which is nothing short of a miracle. The Z1R does everything correct. Bass sounds authoritative yet quick with good rumble/physicality, mids have a sweetness to it, sounding euphonic and natural rather than dry and calculated. Treble is smooth and extended, at the same time tremendously airy and transparent.
Best yet is the presentation. Stage size is wantonly huge and airy, dynamics simply fit the epicness of the Z1R, overall tone manages to remain organic, while note size is just right and well-textured. It’s the flagship nobody expected, and few deserve. What an achievement.
Meze Rai Penta
Probably the nicest universal shell I’ve seen. The signature is warm, smooth and quite bass-oriented. Technical ability is good while maintaining an organic tone, but the sound is non-engaging and lacks dynamics. Can’t really put my finger on it, but I could not get into the music despite the positives. Gotta say I wasn’t bowled over by this one.
EarSonics Grace
The Grace is like its namesake, carrying a soft and gentle signature which is balanced and technically sound. However, to me it sounds almost too pleasant and absent of dynamics. It might be perfect for non-fatiguing, prolonged listening, but really not for me.
EarSonics Purple
This is a more exciting listen, with good treble and airy vocals, if just a bit thin. What mars the tuning is the tame and one-note bass performance which plods along with poor decay. Even among BA bass this was bad. Pity.
Dita Audio Fealty
This is quite nice. The smoother of the Twins is well, smooth and balanced with a bit of excitement, and for the most part sounds coherent and clean. The bass is curiously, a bit muffled and perhaps too rounded, but otherwise the rest of the signature is beautifully textured.
Dita Audio Fidelity
The detail-oriented Twin is neutral to a fault and highly resolute. Notes have a crunchy, bitey texture while the stage is wide and open. Like its namesake however, it’s too technical-minded for leisure listening, and the timbre leans toward brightness. Taken as a whole, both the Twins are nearly there.
Dita Audio Project 71
Wow, this was unexpected. A good marriage of both worlds, sounding lush and organic yet open and refined. Note size is just right so the overall sound isn’t thick and congested. Tone and timbre is wonderfully natural, while vocals are brought forward slightly, syrupy seductive and emotional. Sold out everywhere, hot dang I missed the boat.
Hidition NT-6
The legendary CIEM has a clarity-focused signature that is at once transparent and dynamic. Extension is excellent on both ends and contrary to impressions I’ve read, isn’t bass-light at all. The balance is perfect here and I’m guessing the bassier NT-6 Pro might just throw the balance off. A prominent upper mids boost lends air and clarity to the signature, sounding fast and precise. My only gripes are the small soundstage and the BA-quality bass. Still, call me impressed, this has aged well.
Hidition NT-8
The update is a technical monster, sounding like a brighter NT-6 with more treble focus and flatter bass thuds. Although sporting a bigger and airier presentation than NT-6, the NT-8 has a timbre that is essentially too bright. Notes are hard-edged and grainy too, promoting a sterile sound I find hard to get into. Pass.
Hidition Violet
I wasn’t ready for this jelly. Expecting even more treble, I was met with the best-balanced Hidition of the lot. Eschewing the bright signature they’re known for, this is neutral-warm, but nearly at its finest. Notes have emotional quality for once, sounding fully-formed. Even so, crispy air is abundant throughout, never sounding congested despite the weighted notes. The entire signature sounds incredibly refined and dynamic. The treble here is (obviously) crystal clear, and extends to highs rivalling Fourte and Flamenco, it’s that good. But what’s better is the treble has serious backup this time, an organic bass to form a solid foundation, and mids that are clear, emotional, and clearly emotional. The experience is heaven-sent. Violet is truly a masterfully-tuned masterpiece, and one of my show highlights.
Noble Audio Khan
Khan, the mighty triple-hybrid flagship, veers further away from their old K10 which was tuneful and easy-to-like. This is a powerful and detail-oriented sound, showcasing the most aggressive tuning I’ve heard from them. Notes have a bright edge, making the treble and mids sound extremely textured. The treble leans dangerously toward slight sibilance, while the bass is mildly elevated giving tight, rounded hits. No doubt Khan showcases immense technical ability, and pares music like a surgeon after a few rounds of caffeine; but a part of me wishes for the old Noble sound, with emphasis on euphony and emotion. Can’t have it all.
Noble Audio Kaiser Encore
Imagine Khan’s signature, take away the overt dynamism and aggressiveness, and you have the Encore. They share a similar bright-edged signature, and while Khan is the fun one, Encore chooses the more serene route, although only as serene as a neutral-bright signature affords. I kinda like Khan more.
Aroma Audio Shock
This is an interesting implementation of the miniature estat driver, sporting 2BAs and 2ESTs. It’s a smooth, easygoing, vocal-forward signature that has flat, too-tight bass, and a relaxed treble that extends fairly well. The stage size is average, as are the imaging, but mids and vocals are well-tuned. It’s alright.
Aroma Audio Ace
The affable owner, Anthony, walked me through the four sound sigs (Ace, Jack, Queen and King) of his beloved flagship, each tuned with a specific frequency bump. Aroma’s proud to say they nailed the vocal tuning, and I tend to agree. Vocals both male and female sound supremely rich, intimate, and smooth as butter. Elsewhere, the bass is warm and full, while the treble is crisp but not splashy. The soundstage might be average, but layering and imaging is quite good.
Ace was, I bet, tuned with Cantopop in mind. Anthony took me through each tuning with his personal SP1000M Gold, and each track sounded sublime, in a “buy me now” kind of way. The poison was at its most venomous when rendering vocals with simple instrumental backdrops, very characteristic of pop ballads in Cantopop. I spent 20 minutes with his A&K as he showed me Ace’s greatest strengths. The sad thing was Ace didn’t jive well with my genres (rock and er, more rock), struggling with complicated passages and gasping for air. For a staggering SGD5699, I expected it to handle every genre and make me sandwiches. Oh well.
Rhapsodio Eden
As always, Rhapsodio’s flagships tend to be V-shaped. Bass is well-executed, featuring hard hits, superb extension and a clean, natural decay. Treble also has excellent extension and detail, narrowly avoiding harshness. However, the mids, although showing precise timbre and good speed, are too backwards-placed for my liking. Not a bad effort.
Kumitate Labs KL-Lakh
Known for their one-of-a-kind CIEM faceplate designs, I was curious to hear how they sound. The Lakh is a 6BA with a balanced signature with fast and smooth transients and a tight quality to the notes. It’s a pleasant sound but held back by the metallic tinge to the timbre.
Kumitate Labs KL-Ref
The delicateness of the notes continue, and their flagship is tuned neutral-bright. The upper mids bump is very prominent, and combined with the tight, flat bass made the signature sound crisp and clean. Timbre is improved but the overall sound is too light and fluffy for me.
Campfire Audio Solaris
Ooh. Controversy. Solaris showcases what a good hybrid can do, and covers the basics very well. The bass is powerful, full-bodied and rumbly, and just about threatens the mids for space. The mids are located a step back, with a lower and upper mids lift that brings life to vocals. Notes are thick and organic with a steady decay, but I find my enjoyment multiplies with silicon tips, which gives an “air boost” to the entire spectrum. The treble is how I like it best, airy and sparkly. Soundstage is above average with good dimensions in depth and width, and altogether it’s a competent hybrid that’s easy to recommend if you like a full lower end.
Like many, I fell in love with Andromeda, their old flagship which a very airy, distinctive treble and large soundstage. With their recent forays into a bassy, full-bodied sound, Solaris is probably the closest they’ve come to an “Andromeda with bass”.
Campfire Audio Equinox
I just mentioned Campfire’s new direction, and this is an example. Equinox is far too bass-oriented for my tastes, and I thought the signature suffocatingly muddy and muffled. Couldn’t finish a full song with them, sorry.
Stealth Sonics U9
This 8BA+1DD hybrid was started by a company with deep, deep roots in audiology and hearing aids. Their first flagship model covers the bases well with good technical ability and an addictive U-shaped tuning. The bass is full and rumbly, maybe slightly too full, with slight bleed into the mids. The mids and treble are clear and articulate, although instrument timbre isn’t that accurate. The soundstage is adequately wide, with so-so imaging and separation. At a discounted price of SGD1059, it was the bargain buy flagship of the show.
oBravo ERIB-1a
oBravo is a name normally associated with words like “expensive” and “luxurious”, and at the other end, “ludicrous pricing” and unprintable cursewords. We let the sound speak for itself. A DD+planar hybrid, it’s a hybrid rarely, if never implemented before. The good news is the sound is stellar. It’s tuned neutral with copious amounts of air and transparency, with an ethereal treble tuning balanced out by a swift, punchy bass. The soundstage is effortlessly large and open, with precise imaging as well. I’m actually surprised I enjoy this, although the timbre leans towards the brightish side.
oBravo Ra C-Cu
We arrive at the conclusion of my lengthy post with the biggest bang of all, the world’s most expensive IEMs. How’s that for class? It’s easier to describe the sound when compared with ERIB-1. If ERIB-1 is neutral and analytical, Ra C-Cu is coloured and euphonic, and showcases a more romantic, hi-fi tuning. Presentation-wise, it takes on an organic, bodied tone with more accurate timbre than ERIB-1, with once again an airy and simply colossal soundstage. Note edges are smoothed out, and across the spectrum it’s quite lovely to listen to, especially the sweet vocals. Resolution remains high for treble and mids, but the bass is a tad bloated and full. There is no way to justify the USD10k pricetag, but for what you’re paying, at least the sound is not a dud.
Canjam Singapore 2019 had been tremendously fun. I had a blast meeting (and doxxing) Head-Fi luminaries like @Deezel177 and @audio123 , as well as meeting industry heads like Dean and @Jack Vang , Amin and Marcel from Vision Ears, Eric from @EffectAudio , and many others. There were no marquee products like Shangri-La or HE-1 which the 2016 edition had, but the sheer amount of new stuff to listen to meant it didn’t matter that much to me. As always, we end with my imaginary awards.
Show favourites:
1) Abyss AB-1266 TC
2) QDC Anole VX
3) Hidition Violet
4) Sony IER-Z1R
5) Advanced Acousticwerkes Canary
Notable mentions:
1) Focal Stellia
2) Meze Empyrean
3) Vision Ears Erlkonig
4) Lime Ears Aether R
5) Dita Audio Project 71
The "God, STAX is so good they need their own category" award:
1) STAX SR-009S
2) STAX SR-L700
3) STAX SR-L300
Value buys:
1) Moondrop Kanas Pro
2) Verum Audio Verum 1
3) Stealth Sonics U9
The "I didn't know they had it in them" award:
oBravo ERIB-1a
oBravo Ra C Cu
SoftEars Cerberus
Biggest disappointment:
The triple hybrids weren't the big industry leap forward as they were hyped to be.
The "I took sick leave" no-shows:
1) Hifiman
2) Unique Melody
3) Ultimate Ears
Last edited:
So basically, they are all awesome if you pick a track that doesn't have any of the frequencies where they suck
No, they’re all worth considering if you pick a track that is not reliant on frequencies where their performances may be un-ideal.
Hi guys, this is the fourth and final part of my Canjam Singapore impressions. We still have lots to cover so cover up, and buckle up.
FIR Audio IEMs (M2 to M5)
Ultra-short impressions of the entire series. They have made innovations that include tubeless drivers and ADEL/apex-like modules. The boss is the brother of 64 Audio’s Vitaly, so yeah. The “house sound” is sort of V-shaped, with excellent imaging but in an average-sized stage.
As the series progresses, the sound becomes fuller and more resolute, going from V to L as we move up. M2 (2BA) has a midbass and upper mids hump, producing a fun-oriented sound that’s airy and spacious, but has a BA bass that decays too quickly. M3 (1DD+2BA) is seriously fun with a natural, rumbly and punchy DD bass, while maintaining the M2 airiness, and is my favourite of the series. M4 (1DD+3BA) takes on an L-shape, with heightened midbass and lower mids. The treble is very detailed too, but from here on the sound is too immediate and congested for my liking. The flagship M5 (1DD+3BA+1EST) takes the M4 sound and increases treble clarity and air, but to the point of sibilance for me. They show some potential, it’s just a bit weird I prefer the lower end of the series since I normally have expensive taste lol.
Bonus content: Music Sanctuary brings out their updated Soundwriter project. No longer a collabo with 64, it’s a FIR Audio shell with FIR drivers and PW internal wiring, plus a PW 1960s cable. The sound signature is sort of M4-ish with a more organic tone, and a most welcome increase in stage size and airiness. I quite like it.
Sony IER-Z1R
In one word: epic. Big stage, big bass, big everything. They’ve also moved on from the house sound of old which was overly warm and smooth with muted treble, which is nothing short of a miracle. The Z1R does everything correct. Bass sounds authoritative yet quick with good rumble/physicality, mids have a sweetness to it, sounding euphonic and natural rather than dry and calculated. Treble is smooth and extended, at the same time tremendously airy and transparent.
Best yet is the presentation. Stage size is wantonly huge and airy, dynamics simply fit the epicness of the Z1R, overall tone manages to remain organic, while note size is just right and well-textured. It’s the flagship nobody expected, and few deserve. What an achievement.
Meze Rai Penta
Probably the nicest universal shell I’ve seen. The signature is warm, smooth and quite bass-oriented. Technical ability is good while maintaining an organic tone, but the sound is non-engaging and lacks dynamics. Can’t really put my finger on it, but I could not get into the music despite the positives. Gotta say I wasn’t bowled over by this one.
EarSonics Grace
The Grace is like its namesake, carrying a soft and gentle signature which is balanced and technically sound. However, to me it sounds almost too pleasant and absent of dynamics. It might be perfect for non-fatiguing, prolonged listening, but really not for me.
EarSonics Purple
This is a more exciting listen, with good treble and airy vocals, if just a bit thin. What mars the tuning is the tame and one-note bass performance which plods along with poor decay. Even among BA bass this was bad. Pity.
Dita Audio Fealty
This is quite nice. The smoother of the Twins is well, smooth and balanced with a bit of excitement, and for the most part sounds coherent and clean. The bass is curiously, a bit muffled and perhaps too rounded, but otherwise the rest of the signature is beautifully textured.
Dita Audio Fidelity
The detail-oriented Twin is neutral to a fault and highly resolute. Notes have a crunchy, bitey texture while the stage is wide and open. Like its namesake however, it’s too technical-minded for leisure listening, and the timbre leans toward brightness. Taken as a whole, both the Twins are nearly there.
Dita Audio Project 71
Wow, this was unexpected. A good marriage of both worlds, sounding lush and organic yet open and refined. Note size is just right so the overall sound isn’t thick and congested. Tone and timbre is wonderfully natural, while vocals are brought forward slightly, syrupy seductive and emotional. Sold out everywhere, hot dang I missed the boat.
Hidition NT-6
The legendary CIEM has a clarity-focused signature that is at once transparent and dynamic. Extension is excellent on both ends and contrary to impressions I’ve read, isn’t bass-light at all. The balance is perfect here and I’m guessing the bassier NT-6 Pro might just throw the balance off. A prominent upper mids boost lends air and clarity to the signature, sounding fast and precise. My only gripes are the small soundstage and the BA-quality bass.Still, call me impressed, this has aged well.
Hidition NT-8
The update is a technical monster, sounding like a brighter NT-6 with more treble focus and flatter bass thuds. Although sporting a bigger and airier presentation than NT-6, the NT-8 has a timbre that is essentially too bright. Notes are hard-edged and grainy too, promoting a sterile sound I find hard to get into. Pass.
Hidition Violet
I wasn’t ready for this jelly. Expecting even more treble, I was met with the best-balanced Hidition of the lot. Eschewing the bright signature they’re known for, this is neutral-warm, but nearly at its finest. Notes have emotional quality for once, sounding fully-formed. Even so, crispy air is abundant throughout, never sounding congested despite the weighted notes. The entire signature sounds incredibly refined and dynamic. The treble here is (obviously) crystal clear, and extends to highs rivalling Fourte and Flamenco, it’s that good. But what’s better is the treble has serious backup this time, an organic bass to form a solid foundation, and mids that are clear, emotional, and clearly emotional. The experience is heaven-sent. Violet is truly a masterfully-tuned masterpiece, and one of my show highlights.
Noble Audio Khan
Khan, the mighty triple-hybrid flagship, veers further away from their old K10 which was tuneful and easy-to-like. This is a powerful and detail-oriented sound, showcasing the most aggressive tuning I’ve heard from them. Notes have a bright edge, making the treble and mids sound extremely textured. The treble leans dangerously toward slight sibilance, while the bass is mildly elevated giving tight, rounded hits. No doubt Khan showcases immense technical ability, and pares music like a surgeon after a few rounds of caffeine; but a part of me wishes for the old Noble sound, with emphasis on euphony and emotion. Can’t have it all.
Noble Audio Kaiser Encore
Imagine Khan’s signature, take away the overt dynamism and aggressiveness, and you have the Encore. They share a similar bright-edged signature, and while Khan is the fun one, Encore chooses the more serene route, although only as serene as a neutral-bright signature affords. I kinda like Khan more.
Aroma Audio Shock
This is an interesting implementation of the miniature estat driver, sporting 2BAs and 2ESTs. It’s a smooth, easygoing, vocal-forward signature that has flat, too-tight bass, and a relaxed treble that extends fairly well. The stage size is average, as are the imaging, but mids and vocals are well-tuned. It’s alright.
Aroma Audio Ace
The affable owner, Anthony, walked me through the four sound sigs (Ace, Jack, Queen and King) of his beloved flagship, each tuned with a specific frequency bump. Aroma’s proud to say they nailed the vocal tuning, and I tend to agree. Vocals both male and female sound supremely rich, intimate, and smooth as butter. Elsewhere, the bass is warm and full, while the treble is crisp but not splashy. The soundstage might be average, but layering and imaging is quite good.
Ace was, I bet, tuned with Cantopop in mind. Anthony took me through each tuning with his personal SP1000M Gold, and each track sounded sublime, in a “buy me now” kind of way. The poison was at its most venomous when rendering vocals with simple instrumental backdrops, very characteristic of pop ballads in Cantopop. I spent 20 minutes with his A&K as he showed me Ace’s greatest strengths. The sad thing was Ace didn’t jive well with my genres (rock and er, more rock), struggling with complicated passages and gasping for air. For a staggering SGD5699, I expected it to handle every genre and make me sandwiches. Oh well.
Rhapsodio Eden
As always, Rhapsodio’s flagships tend to be V-shaped. Bass is well-executed, featuring hard hits, superb extension and a clean, natural decay. Treble also has excellent extension and detail, narrowly avoiding harshness. However, the mids, although showing precise timbre and good speed, are too backwards-placed for my liking. Not a bad effort.
Kumitate Labs KL-Lakh
Known for their one-of-a-kind CIEM faceplate designs, I was curious to hear how they sound. The Lakh is a 6BA with a balanced signature with fast and smooth transients and a tight quality to the notes. It’s a pleasant sound but held back by the metallic tinge to the notes.
Kumitate Labs KL-Ref
The delicateness of the notes continue, and their flagship is tuned neutral-bright. The upper mids bump is very prominent, and combined with the tight, flat bass made the signature sound crisp and clean. Timbre is improved but the overall sound is too light and fluffy for me.
Campfire Audio Solaris
Ooh. Controversy. Solaris showcases the what a good hybrid can do, and covers the basics very well. The bass is powerful, full-bodied and rumbly, and just about threatens the mids for space. The mids are located a step back, with a lower and upper mids lift that brings life to vocals. Notes are thick and organic with a steady decay, but I find my enjoyment multiplies with silicon tips, which gives an “air boost” to the entire spectrum. The treble is how I like it best, airy and sparkly. Soundstage is above average with good dimensions in depth and width, and altogether it’s a competent hybrid that’s easy to recommend if you like a full lower end.
Like many, I fell in love with Andromeda, their old flagship which a very airy, distinctive treble and large soundstage. With their recent forays into a bassy, full-bodied sound, Solaris is probably the closest they’ve come to an “Andromeda with bass”.
Campfire Audio Equinox
I just mentioned Campfire’s new direction, and this is an example. Equinox is far too bass-oriented for my tastes, and I thought the signature suffocatingly muddy and muffled. Couldn’t finish a full song with them, sorry.
Stealth Sonics U9
This 8BA+1DD hybrid was started by a company with deep, deep roots in audiology and hearing aids. Their first flagship model covers the bases well with good technical ability and an addictive U-shaped tuning. The bass is full and rumbly, maybe slightly too full, with slight bleed into the mids. The mids and treble are clear and articulate, although instrument timbre isn’t that accurate. The soundstage is adequately wide, with so-so imaging and separation. At a discounted price of SGD1059, it was the bargain buy flagship of the show.
oBravo ERIB-1
oBravo is a name normally associated with words like “expensive” and “luxurious”, and at the other end, “ludicrous pricing” and unprintable cursewords. We let the sound speak for itself. A DD+planar hybrid, it’s a hybrid rarely, if never implemented before. The good news is the sound is stellar. It’s a tuned neutral with copious amounts of air and transparency, with an ethereal treble tuning balanced out by a swift, punchy bass. The soundstage is effortlessly large and open, with precise imaging as well. I’m actually surprised I enjoy this, although the timbre leans towards the brightish side.
oBravo Ra C-Cu
We arrive at the conclusion of my lengthy post with the biggest bang of all, the world’s most expensive IEMs. How’s that for class? It’s easier to describe the sound when compared with ERIB-1. If ERIB-1 is neutral and analytical, Ra C-Cu is coloured and euphonic, and showcases a more romantic, hi-fi tuning. Presentation-wise, it takes on an organic, bodied tone with more accurate timbre than ERIB-1, with once again an airy and simply colossal soundstage. Note edges are smoothed out, and across the spectrum it’s quite lovely to listen to, especially the sweet vocals. Resolution remains high for treble and mids, but the bass is a tad bloated and full. There is no way to justify the USD10k pricetag, but for what you’re paying, at least the sound is not a dud.
Canjam Singapore 2019 had been tremendously fun. I had a blast meeting (and doxxing) Head-Fi luminaries like @Deezel177 and @audio123 , as well as meeting industry heads like Dean and @Jack Vang , Amin and Marcel from Vision Ears, Eric from @EffectAudio , and many others. There were no marquee products like Shangri-La or HE-1 which the 2016 edition had, but the sheer amount of new stuff to listen to meant it didn’t matter that much to me. As always, we end with my imaginary awards.
Show favourites:
1) Abyss AB-1266 TC
2) STAX SR-009S
3) STAX SR-L700
4) QDC Anole VX
5) Hidition Violet
6) Sony IER-Z1R
7) Advanced Acousticwerkes Canary
Notable mentions:
1) Focal Stellia
2) Meze Empyrean
3) Vision Ears Erlkonig
4) Lime Ears Aether R
5) Dita Audio Project 71
Wonderful series of impressions, Lau! Likewise, it was fantastic to meet you in real life, and I found it funny every time we successively bumped into each other again and again in deteriorating states of wear.
‘Hope to see you next year, man!
Drop #2 will feature German CIEM superstars: Vision Ears - featuring their all new VE3.2, VE4.2 and Elysium!
Vision Ears
Vision Ears have certainly come to play at CanJam Singapore 2019 – bringing along a whopping three new products to debut at the show. Two of them are refreshes of Vision Ears’ more affordable in-ear monitors: The VE3.2 and the VE4.2. And, the other is on the entirely opposite end of the spectrum. Hopping on the trybrid (triple hybrid) train, Vision Ears have announced a new custom flagship in the Elysium. How do all three monitors perform? Read below and find out!
Vision Ears VE3.2: Like the original VE3, the 3.2 possesses a linear tonal balance. Thankfully, the 3.2’s most noticeable change directly addresses the original’s main flaw: Spatial performance. The stage it exhibits is now stable with decent headroom, strong holography and even proportions. The diagonals are particularly impressive. So, when listening to overhead microphones, the VE3.2 accurately positions them at 10 and 2 o’clock; how the drummer would hear them.
The low-end is a touch past neutral, providing a healthy kick. The midrange too has impressive dynamic range. Although positioning is decidedly forward, the 3.2 is capable of discerning between vocalists of different strengths. Listening to a belter with gusto and flair like Rachael Price will yield a vastly different experience from listening to a sultry, seductive songstress like Laura Fygi. There’s a hair too much 4kHz energy for my tastes, as vocalists sound saturated; as if they were singing with a slight lump in their throat. A more neutral response would’ve complied with the marketing better.
The VE3.2’s treble region is present and airy, but articulation is a touch diffuse. There seems to be a dip around 8kHz that removes that sharp edge from transients. Personally, I’d say it does remove a key bit of definition, but it’s an ideal tuning for those sensitive to top-end bite. That lack of edge to me also prevents headroom and background blackness from reaching max potential. But, as a well-balanced, exciting and inoffensive all-rounder, I’d say Vision Ears have done an admirable job reprising the VE3. Whether or not it can contest its peers – however – is still very much up in the air.
Vision Ears VE4.2: The VE4.2 possesses a signature that’s more spatially-oriented. A laid-back upper-midrange and a more articulate treble create a stronger sense of space. The treble seems to extend further as well, rendering a blacker background, greater headroom and a more holographic presentation. Despite the VE4.2’s pitch as a bass-driven IEM, the signature is impressively well-balanced. The low-end contributes body, verve and drive, rather than bloomy warmth.
I’d call the VE4.2 just as much as an all-rounder as the VE3.2, given you like a healthy dose of bass. The tone of the bass is darker too relative to the VE3.2, which I prefer with bass guitars. And, the sub-bass rise adds a satisfying guttural-ness to them as well. Again, the midrange is gorgeously spacious whilst remaining likeable with a large majority of music. It’s a thicker shade of neutral, so it sounds pleasing with everything. A neutrally-positioned lower-midrange further boosts definition as well, but coherence is maintained all the while to not compromise resolution, as well as vocal timbre.
Like the VE3.2, the midrange possesses strong dynamic range as well, but the VE4.2’s blacker background and sense of space exacerbate that effect. The latter’s treble has more of a bite as well. It’s a more coherent top-end positioned perfectly to cut the bass, but sat nicely against the midrange too. Combined with low-end kick, this makes it an ideal IEM for drums, as well as all sorts of pop, rock and EDM. But again, the space it’s able to eek out, as well as the balance, resolution and power of the midrange make it a proper all-rounder too, as long as you can handle a dose of bass.
Vision Ears Elysium: The Elysium is a clarity-focused in-ear with heaps of headroom, cleanliness and precision. From top to bottom, the Elysium possesses speed and finesse. Although the top-end may take a second of getting used to, treble timbre is exceptional to my ears. Unlike other electrostatic tweeters I’ve heard, the Elysium splits articulation and body evenly. I found Alclair Audio’s Electro to emphasise the latter, while the Trinity did the former. So to my ears, the Elysium’s cymbal reproduction sounded realistic and three-dimensional – neither dull stumps nor thin, bright wraiths.
The way it portrays believable depth is impressive too. Instruments aren’t quite Erlkönig levels of detached-from-your-head-and-standing-on-their-own, but the stage wraps convincingly around the head with resolution, headroom and air. This is particularly true of the Elysium’s DD-fuelled midrange. There’s a depth and holography to it, whilst sounding textured, vibrant and engrossing. Tonally, the Elysium is a hair top-heavy. There’s a tizz to the top-end that calls for the aforementioned adjustment period. Much of that is due to of low-end quantity. The bass is focused, tight and compact, filling only a certain portion of the stage. For my tastes, I would’ve sacrificed a bit of that precision for more warmth.
But on the other hand, bass timbre as it is is truly outstanding. There’s a roundedness and meatiness to it that comes across organic and realistic without being wishy-washy. Impacts are well-resolved and well-defined too. So at the end of the day, it’s a matter of preference. VE8 owners should have no fear, because the Elysium is a different beast all on its own. It’s geared towards cleanliness and precision, whilst remaining musical in the midrange. In that way, the Elysium bridges the gap somewhat between the VE8 and the Erlkönig. But nevertheless, the VE8 remains the engagement king.
In either case, the Elysium is a piece with excellent resolution, cymbal reproduction and midrange integrity. I’d love for a hair less mid-treble and a warmer mid-bass, but those are minor quirks on an otherwise strong product. However, if the rumoured MSRP (between the VE8 and Erlkönig) proves to be true, the Elysium will have to endure further scrutiny.
Vision Ears
Vision Ears have certainly come to play at CanJam Singapore 2019 – bringing along a whopping three new products to debut at the show. Two of them are refreshes of Vision Ears’ more affordable in-ear monitors: The VE3.2 and the VE4.2. And, the other is on the entirely opposite end of the spectrum. Hopping on the trybrid (triple hybrid) train, Vision Ears have announced a new custom flagship in the Elysium. How do all three monitors perform? Read below and find out!
Vision Ears VE3.2: Like the original VE3, the 3.2 possesses a linear tonal balance. Thankfully, the 3.2’s most noticeable change directly addresses the original’s main flaw: Spatial performance. The stage it exhibits is now stable with decent headroom, strong holography and even proportions. The diagonals are particularly impressive. So, when listening to overhead microphones, the VE3.2 accurately positions them at 10 and 2 o’clock; how the drummer would hear them.
The low-end is a touch past neutral, providing a healthy kick. The midrange too has impressive dynamic range. Although positioning is decidedly forward, the 3.2 is capable of discerning between vocalists of different strengths. Listening to a belter with gusto and flair like Rachael Price will yield a vastly different experience from listening to a sultry, seductive songstress like Laura Fygi. There’s a hair too much 4kHz energy for my tastes, as vocalists sound saturated; as if they were singing with a slight lump in their throat. A more neutral response would’ve complied with the marketing better.
The VE3.2’s treble region is present and airy, but articulation is a touch diffuse. There seems to be a dip around 8kHz that removes that sharp edge from transients. Personally, I’d say it does remove a key bit of definition, but it’s an ideal tuning for those sensitive to top-end bite. That lack of edge to me also prevents headroom and background blackness from reaching max potential. But, as a well-balanced, exciting and inoffensive all-rounder, I’d say Vision Ears have done an admirable job reprising the VE3. Whether or not it can contest its peers – however – is still very much up in the air.
Vision Ears VE4.2: The VE4.2 possesses a signature that’s more spatially-oriented. A laid-back upper-midrange and a more articulate treble create a stronger sense of space. The treble seems to extend further as well, rendering a blacker background, greater headroom and a more holographic presentation. Despite the VE4.2’s pitch as a bass-driven IEM, the signature is impressively well-balanced. The low-end contributes body, verve and drive, rather than bloomy warmth.
I’d call the VE4.2 just as much as an all-rounder as the VE3.2, given you like a healthy dose of bass. The tone of the bass is darker too relative to the VE3.2, which I prefer with bass guitars. And, the sub-bass rise adds a satisfying guttural-ness to them as well. Again, the midrange is gorgeously spacious whilst remaining likeable with a large majority of music. It’s a thicker shade of neutral, so it sounds pleasing with everything. A neutrally-positioned lower-midrange further boosts definition as well, but coherence is maintained all the while to not compromise resolution, as well as vocal timbre.
Like the VE3.2, the midrange possesses strong dynamic range as well, but the VE4.2’s blacker background and sense of space exacerbate that effect. The latter’s treble has more of a bite as well. It’s a more coherent top-end positioned perfectly to cut the bass, but sat nicely against the midrange too. Combined with low-end kick, this makes it an ideal IEM for drums, as well as all sorts of pop, rock and EDM. But again, the space it’s able to eek out, as well as the balance, resolution and power of the midrange make it a proper all-rounder too, as long as you can handle a dose of bass.
Vision Ears Elysium: The Elysium is a clarity-focused in-ear with heaps of headroom, cleanliness and precision. From top to bottom, the Elysium possesses speed and finesse. Although the top-end may take a second of getting used to, treble timbre is exceptional to my ears. Unlike other electrostatic tweeters I’ve heard, the Elysium splits articulation and body evenly. I found Alclair Audio’s Electro to emphasise the latter, while the Trinity did the former. So to my ears, the Elysium’s cymbal reproduction sounded realistic and three-dimensional – neither dull stumps nor thin, bright wraiths.
The way it portrays believable depth is impressive too. Instruments aren’t quite Erlkönig levels of detached-from-your-head-and-standing-on-their-own, but the stage wraps convincingly around the head with resolution, headroom and air. This is particularly true of the Elysium’s DD-fuelled midrange. There’s a depth and holography to it, whilst sounding textured, vibrant and engrossing. Tonally, the Elysium is a hair top-heavy. There’s a tizz to the top-end that calls for the aforementioned adjustment period. Much of that is due to of low-end quantity. The bass is focused, tight and compact, filling only a certain portion of the stage. For my tastes, I would’ve sacrificed a bit of that precision for more warmth.
But on the other hand, bass timbre as it is is truly outstanding. There’s a roundedness and meatiness to it that comes across organic and realistic without being wishy-washy. Impacts are well-resolved and well-defined too. So at the end of the day, it’s a matter of preference. VE8 owners should have no fear, because the Elysium is a different beast all on its own. It’s geared towards cleanliness and precision, whilst remaining musical in the midrange. In that way, the Elysium bridges the gap somewhat between the VE8 and the Erlkönig. But nevertheless, the VE8 remains the engagement king.
In either case, the Elysium is a piece with excellent resolution, cymbal reproduction and midrange integrity. I’d love for a hair less mid-treble and a warmer mid-bass, but those are minor quirks on an otherwise strong product. However, if the rumoured MSRP (between the VE8 and Erlkönig) proves to be true, the Elysium will have to endure further scrutiny.
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CanJam Singapore 2019 Show Report - Part 1
Our report is now up - including some thoughts on Hawkers food
https://headfonics.com/2019/04/canjam-singapore-2019-show-report-part-1/
Our report is now up - including some thoughts on Hawkers food
https://headfonics.com/2019/04/canjam-singapore-2019-show-report-part-1/
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