Cross-posting from the Watercooler thread...
Another year, another CanJam. While this occasion, to me, used to entail solo travel, exhausting coverage and a rush for content, the past few couldn’t have been more different. I get to go on these trips with my wife now and have an actual vacation. Then, I get to spend all of CanJam - even the day or two before - with the ever wonderful, ever generous Watercooler community. I can’t wait to talk about the gorgeous time I had, as well as the plethora of gear I heard. This will be quite the behemoth of a post, so sit back, grab some popcorn and... let’s begin.
This year, @metaljem77 generously arranged a chalet where we could meet up, try some gear and have a good ol’ barbecue. This is a pic taken by @HiFiHawaii808 earlier in the day, as I was still making my way from the zoo.
As soon as I arrived, Jim gave me one of his signature bear hugs, and I was greeted by as many familiar faces as new ones. I was reunited with folks like Jemy, Jim, @Crazeee, @AxLvR, @yaps66, @Loafy and Ken. And, I met, for the very first time, folks like @needtosleep and two guys I’ve spoken to online for over half a decade now: @Damz87 and @GiullianSN. It was a wonderful, wonderful start to the afternoon, which only got better as soon as I saw the grill.
Something we learned that day is put Indonesians near a charcoal grill and hand fans, and we’ll get to work. There’s a tukang satay in all of us.
After getting the fire built and most of the meat cooked, we all started chatting and listening the night away. Later in the evening, we were also joined by @Valrhona, @Yifang (and friends), @JordonEA, @Eric Chong and @Riccardoyeh. We all had an excellent time as always, and while I didn’t do a ton of listening there, I did manage to get my ears on a couple things I wanna talk about before we get to show day.
L&P P6P PRO 10TH ANNIVERSARY EDITION - GOLD
Luxury & Precision DAPs have slowly become the stuff of legend, fulfilling every audio purist’s dream of being exceptional at sound and puzzling at almost everything else. They’re known for having some of the industry’s most archaic UIs and most frustrating sorting systems. But, in exchange, you get a combination of sound and portability that you arguably can’t find anywhere else in the world. A lot’s been made, particularly, of LP’s analog sound. No one seems to know how they do it, but they’re all enamored by it, which is how you get a find-the-logic-in-everything guy like me extremely curious. After finally hearing an LP DAP for myself, I think I might have an inkling of an answer.
Without going into the specifics of how the DAP sounds, I think how LP achieves their signature sound is extremely narrow, targeted cuts in the treble. I believe they take tiny slivers of info - tens of Hz wide - out of the highs, completely muting them. This results, first and foremost, in the removal of a lot of post-transient ringing. What I mean by this is, after a hi-hat or cymbal is struck, rather than allowing them to fade or sizzle away, the player cuts them off short. So, after a hi-hat goes tick, it vanishes almost immediately. A cymbal crashes and does the same. The absence of this high-frequency data results in a more vintage, analog tone. But, it also enhances the DAP’s perceived performance at the same time. In the tiny gaps where this ringing once was, you’re allowed to peek into the player’s black background. It makes notes seem tighter and quicker, and it allows your brain to process more info because of the extra bandwidth it now has to work with.
Now, one thing I should stress is this is not a cheap trick. This isn’t something brands can now just replicate and execute with the same success. It takes a tremendous amount of skill to pull off this colouration without it sounding off or artificial. What frequencies to take out, how wide the dips are, how much to dip… these are all considerations LP have had to make, and, again, how seamlessly they’ve been able to pull this off is nothing short of a masterstroke. I applaud LP for taking a unique approach to tuning that has genuinely set them apart in such a crowded market. And, I look forward to the day they make a DAP I can both comfortably navigate and monetarily afford. Kudos to them.
NIGHTCRAFT AUDIO CABLES
At the chalet, Albert introduced me to @needtosleep, whose products I’d heard tons about. He runs a cable brand called Nightcraft Audio, and - after we finished manning the grill together - he let me listen to a few of his creations; both released and unreleased.
While I won’t go into extreme detail about each and every one, I will note down trends I heard, especially among his shielded cables. Whether it’s the Eclipse, the Nocturne or his selection of shielded prototypes, they all had some of the best left-middle-right separation I’d heard from a cable upgrade. Listening to Snarky Puppy’s Bet or Pineapple, which have a plethora of panned percussion, I went from having a general idea of where they were to knowing exactly what hour they’d be on a clockface. Switching to an unshielded cable like Jonathan’s entry-level SPC or some of my own stock cables, I immediately lost that specificity, which confirmed that it was the shielding’s work.
The conductors behind the shielding determined the tone or colour the cable would push the IEM towards. Again, though, no matter the direction, that separation and precision remained true across them all. There was a particular prototype called the “Copper 2,” which we all found wonderful. That cable had the horizontal separation I’ve been talking about, as well as superb z-axis layering. Elements that were stacked on top of each other in the centre (say, the lead instrument, bass guitar, kick and snare) were given the slightest bit of distance, so you could distinguish between them all. We were all hilariously making preorders of this cable right then and there, and I can’t wait for Jonathan to release it.
And then, it was D-Day. While the show didn’t start until 11 AM, the Coolers were primed and ready at the hotel lobby by 9.45, fueling ourselves with caffeine and carbs. There, I was reunited with another fellow Indonesian, @RonaldS86, as well as everyone who attended the aforementioned chalet.
During breakfast, I learned some of them had visited the Pan Pacific the night before for some pre-show meets. And, just before they were about to head home, they happened to run into Lee setting up his booth, where they leapt at the chance to hear his now-stratospherically-hyped Mysticraft HEX. Giullian said he couldn’t sleep afterwards. Raymond said CanJam was basically over for him. So, naturally, as soon as we finished our pre-show meals, got our tickets and watched the doors open, every single Cooler immediately sprinted over to…
Lee’s Mysticraft booth. Because my top sprint speed was hampered by the 4kg Mjolnir strapped around my shoulder, I arrived 3rd in the queue to hear the HEX. I obviously didn’t want to waste any time, so I sat and listened to Lee’s tri-brid prototype first.
MYSTICRAFT TRI-BRID PROTOTYPE (tentatively USD 999)
This is the entry-level piece in Mysticraft’s debut line, consisting of a DD, BA and planar tri-brid setup. What I heard was a vibrant, lively, W-shaped response with emphases in the mid-bass, upper-mids and mid-treble. The lows peak around 80-100Hz with a pronounced, hard-edged slam. Rather than light thwacks, the DD Lee’s used here deliver thicker thumps, which we'll see present in the HEX as well. The bass extends excellently, and the subs are capable of immense rumble when called for. This is the first of the tri-brid’s three cornerstones of energy.
The second is the midrange, which rises healthily between 1-2kHz, creating notes that are big, rounded and dense. Images of guitars and horns fill the stage. Then, this energy carries onto the upper-mids, giving said instruments a vibrant, agitated tonality. This gives the in-ear a fun, immersive, you’re-on-stage presentation. When pushed loud, I can see the upper-mids being a tad brassy for some people. Trumpets and female vocals may get a tad intense. But, again, I reckon this’ll only pose an issue if you listen particularly loud. Thankfully, despite the larger note size, instruments remain cleanly, crisply separated, enough for me to tell Lee this piece would compete in the $1500-2000 tier before he revealed its tentative price.
Up top, the treble is articulate, but not overly airy. It’s light on low-treble glitz, so those with a low tolerance shouldn’t worry. Instead, it has more presence in the sandy, powdery mid-treble, which I assume is due to the planar driver. I observed this quality in almost all planar-equipped IEMs at the show. Thankfully, it isn't elevated to the point where vocalists sound like they need a glass of water. Rather, it's just enough to give everything a palpable texture. For perfect accuracy, I would personally like a bit more brightness or edge in the uppermost highs. It also falls short of delivering a vast, out-of-head stage. But, for $999, it delivers more than enough refined cut, imaging precision and note separation to satisfy.
All in all, I found the Mysticraft tri-brid immensely fun, bouncy and packed. Again, I told Lee it’d be competitive in the $1500-2000 range, so $999 with a full titanium shell isn’t a bad deal at all. I assume this one’ll be a hit among the Coolers, and I can’t wait to see what design he comes up with for it.
MYSTICRAFT HEX (USD 9000)
Undeniably the star of the show, Mysticraft’s HEX is the best thing I heard at CanJam SG 2025. The thing that surprised me most is how “normal” (or, more aptly, uniform) it sounded. Not once during my demo did I ever think about its drivers or its insanely intricate config. I expected to be met by a myriad of textures and tones - colours all over the place - but it sounded near-seamless to me; cohesive, harmonized and moving (almost) as one.
The in-ear’s definitely coloured in a lively, bombastic way. I’d classify it somewhere between a W and a U-shaped response. Its stage is holographic and expansive, but also filled pretty densely. Its lively, larger-than-life tonality creates big, vivid notes, so you won’t get that empty, cavernous, concave image. Instead, it plays more like a massive, hi-fi arena, emitting powerful sonics with huge, fleshed-out images. Its main technical feat is physicality. Its instruments are solid, three-dimensional and rounded, but not through the tonal tricks you’d typically employ. Instead of fattening them through mid-bass or low-mid lifts, it sounds like Lee’s used this myriad of drivers to add subtle textures, filling these images in as much as possible. And, again, it’s shocking how invisible these techniques are in the IEM’s final sound.
The lows are big, bouncy and powerful. They pack a dense punch. But, for my personal tastes, down here is where I find myself liking it the least, because of its thicker, heavier timbre. I tend to like my bass snappy, airy and easy on the ear. Whereas, the HEX has a fatter, wider thud to it. I don’t think it’s because of an excessive or boomy mid-bass, because the hits are clean. They’re just drawn with a thicker line than I’d like. So, keep this in mind if you have similar preferences.
That thickness also makes it come dangerously close to merging with the lower-mids. When I played a Snarky Puppy track with the bass guitar, baritone sax and pads playing at the same time, there were points when they’d touch and almost blur into each other. Thankfully, they never did, and the lines between them were always clear. But, if your library isn’t as well-mixed, or if your chain happens to be a bit smokier (keep in mind, I used a Mjolnir, which is pretty darn clean), they just might cross that line. Tiny details like these are crucial to remember before potentially making a $9000 purchase.
The midrange treads the line between clean and full expertly. It fixes an issue I had with - Lee’s other flagship - the DIO’s midrange, which I find light and floaty. The HEX’s is solid, rounded, dense (once again), yet maintains that revealing, well-etched clarity you ought to expect from an IEM this expensive. In terms of sheer, three-dimensional resolution, it’s certainly one of the best I’ve heard in an in-ear, generating tactile instruments with palpable physicality standing freely in open space. Again, though, they’re colored with a bit of attitude, making them sit a bit forward, taking up a bit more room. If you like your instruments lighter and more distant, perhaps the DIO might be better suited to you. But, if you like mids that sit nicely in the mix, but can get gnarly when the track calls for it, the HEX will deliver.
Up high, the HEX has what I think is a near-impeccable treble. It has a slightly warmer tonality, and I can compare its general shade to something like the APX SE; not too airy, not too glitzy, straddling neutral-natural. What’s remarkable is how, for lack of a better word, plain-sounding it is. Again, there are none of the wild colours I expected to hear. It's simply a straightforward, ultra-linear (as usual for Lee) treble performing at 10/10 capacity. I think what sets it apart from Lee’s previous output is texture. I think the Anni and DIO’s trebles are super-even, refined and pleasing, but they also have this light, silky sheen to them ever-so-slightly smoothing them over. I suspect it’s the electrostats, which are known to be airy and ethereal, but lacking in hardness. The piezoelectric (and perhaps planar) drivers Lee adds here have given that grit back. So, I’m getting the immovable, unyielding refinement (or lack of harshness) I’d find in the Anni and DIO, but now with a more tactile, granular texture.
Now, the elephant in the room is obviously the $9000 price tag. As I said on one of my previous posts, as much as I wanna rag on it, the HEX is ultimately the first of its kind: A hex-brid with 13 drivers and a 10-way crossover, which, as far as I know, every single person at the show found astonishingly seamless. Until another brand can replicate that feat or the HEX’s performance in general, I’m afraid we have a monopoly on our hands. I can, however, criticize it for, as of now, having a resin shell at $9000, which I think is nigh unacceptable. You’d expect something more premium and durable at half this price. Also, it’s still unknown whether or not Lee will deliver the IEMs on schedule, or if the DIO’s perpetual delays are something we’ll see repeated here.
So, time will tell, and the stakes are extremely high for Mysticraft. But, as far as trade show debuts go, Lee has certainly set the bar really, really high. Let’s just hope he sticks the landing.
After this, the Coolers headed up stairs to visit the Jaben room, mainly to try out the prototype of PMG Audio’s APX V3. Because, again, I was doing weighted cardio the entire show, I lagged a bit behind, and I decided to try AAW’s latest line of IEMs while I waited.
AAW MOKARA (SGD 2599 UIEM, SGD 2899 CIEM)
The Mokara sports a 14BA + 4EST config, and it definitely sports AAW’s house sound: A tuning that starts off fairly normal, but is then capped with a massive high-treble shelf. It has a safe, mainstream sound coloured with an emphasized low-end. I actually think its midrange is better-filled (or not as thinned) compared to AAW’s standard fare, which I appreciate. Its timbre isn’t anything new. I’ve probably heard these BAs (or family of BAs) elsewhere. But, they have a good amount of character (meaning they ebb and flow appropriately with the music), and they’re well-balanced; neither sucked out for clarity, nor honky, nasally or muddy.
The elephant in the room, however, is that upper-treble elevation. It’s isolated fairly high up, so it doesn’t add any glitz or grain to transients, which is why the midrange is as natural as it is. But, it does give notes this very, very strong outline. It’s like if you maxed out the Clarity slider on a photo editing program. There’s just this crisp, bright line etched around each and every image, and it’s something I reckon you’ll either love or hate. What this does give the Mokara is heaps of surface clarity. Peripheral sounds like chimes or effects panned around the head are highlighted strongly too, so you’ll get an excellent sense of space. However, in terms of actual, fleshed out, three-dimensional resolution, I think the Mokara is merely decent. It does well for the money it’s charging, but I’d need to see more if AAW were to compete in higher price tiers.
I’m surprised to see AAW use a BA woofer for their flagship. They used to be the only brand in the world pushing hybrids (before their recent resurgence), so the lack of a DD here is puzzling. Before I was even made aware of the driver config, I’d written down that I found the bass a little underwhelming for a flagship product. It delivers small, central jabs with middling punch, even though it does have decent sub-bass rumble when called for. This is another area I’d love to see AAW improve, perhaps by going back to their hybrid roots.
AAW BLACK MALUS (SGD 1849 UIEM, SGD 2149 CIEM)
Next, I auditioned their co-flagship, the 16BA Black Malus, which I actually much preferred. The highs aren’t on an island doing their own thing anymore. The rise is now along the mid-treble, so instruments have a crisper bite. But, it’s a much less intense colouration. While the treble is still pretty vivid, it’s nowhere near as abrupt. The upper-mids also help here, lifted to meet the highs in the middle and bridge the gap. So, compared to the Mokara’s more rounded, colourless mids, the Black Malus’s are more vibrant, brassy and lively in delivery. The trade-off here is dynamics. Because of all this energy, the in-ear can get pretty dull after a while. When everything is hyped, nothing is. And, the Black Malus also lacks the Mokara’s exaggerated sense of air and space, so it’ll sound less expansive. Whether to get the Mokara or the Malus will very much depend on your priorities.
Down low, the Malus is leaner and more sub-bass-oriented than the Mokara. It rumbles really well, despite its all-BA config. I think a bit more mid-bass warmth to cushion all the energy further up would help with the dynamics issue. But, all in all, the Black Malus is a pretty fun piece, and it provides a nice counterpoint to the Mokara in AAW’s repertoire.
AAW Z06 (SGD 439)
The Z06 is AAW’s latest budget model, and it’s a reminder that they know how to deliver at this price range. The in-ear sports a W-shaped response that’s forward, fun and quite saturated. Its images are large and full, largely because of its midrange. At the time, I couldn’t tell whether it would’ve benefited more from an upper-mid cut taking away some of its saturation or a low-mid dip tightening instruments up. Either way, I think tidying its midrange could’ve done wonders for its openness and space. This is probably where I found the in-ear weakest.
Onto what I loved about it, though, the DD delivers excellent bass impact; deep and bellowing from a sub-bass rise, followed by a mid-bass just sniffing through underneath. It was the kind of power I was missing on their flagships, and I’m relieved to see AAW still capable at doing what they do best. I found its treble quite naturally coloured, decently resolving and spacious. Clearly, it won’t have the best technique in the world, but I definitely found it good enough for an active, engaging listen. It’s not the kind of an in-ear that’ll lose your attention because of a lack of detail or dynamics, which is a praiseworthy achievement at this price range.
So, despite a less-than-ideal midrange, I found the Z06 a strong, solid performer for the price. It punches above its weight in the lows and highs, and, again, it’s proof AAW know how to make their budget pieces really count.
So, the time finally came for me to hear PMG Audio’s latest prototype. As a reminder, I heard the SE a year or so ago, and I thought it sounded excellent, but with a few caveats. I found the midrange a little too relaxed or compressed; pulled back as soon as a singer was about to belt. And, I found the treble a bit rocky; lacking that silky, seamless refinement that’s put guys like Lee on the map.
PMG AUDIO APX V3 PROTOTYPE (TBA)
This V3 prototype fixes a couple of those issues. First, I think the low-end is better integrated here. I’ve said that certain elements of the kick drum can sound like they're coming from different drivers on the SE, but it’s not the case here. Bass timbre is certainly more uniform. While a couple of the Coolers found this change positive, I actually kinda miss the SE’s unique presentation. It’ll come down to taste.
The midrange has thankfully been given a noticeable boost in dynamics and character. My lead instruments are finally allowed to move, and I didn’t feel any of the tightness that brought the SE down a peg. Unfortunately, I wasn’t able to relish all those positive changes, because of a massive issue: The V3’s peaky low-treble. Somewhere between 5-6kHz, this prototype had a constant, annoying glitz that wouldn’t go away no matter what track I played. It wasn’t sharp or painful per se, but it was persistent, and it was a complete distraction throughout my listen. I talked to the other guys, and this peak was the very first thing on their minds as well.
So, while the V3 made very welcome changes that, I think, were well done, it also created a problem that left a lasting, bitter impression on us all. I hope Piotr remedies that treble ASAP, because I think there’s a real, real winner underneath that bothersome peak.
Remaining on the second floor, the next booth I visited was Zeppelin and Co.’s, where I heard Volk Audio’s brand-new Etoile. This is Jack Vang’s new outfit with Grammy-winner Michael Graves, and I was curious to see how it differs from his work he did with Dean at Empire Ears.
VOLK AUDIO ETOILE (USD 3999)
On Head-Fi’s CanJam Singapore 2025 preview video, Jude said the Etoile has a focus on vocal clarity, and I couldn’t agree with that statement more. This in-ear’s specialty is pushing midrange instruments forward - be it vocals, horns, guitars or keys - and having them stripped as bare as possible; removing any and all notions of a veil. While that may imply a clinical sound - and the Etoile is admittedly on the dry side - it doesn’t do it through tone shaping alone, to my ears. The mids are bowed slightly out towards you - a convex presentation, as I like to call it - and they’re given this ultra-granular texture. If you’ve ever heard brass instruments live, the Etoile captures that gritty, reedy quality of the saxophone better than any IEM I’ve personally heard. It’s difficult to explain to someone who hasn’t had that experience. The best way I can put it is it, again, seemingly removes any obstacle between you and the instrument, letting you hear it in as raw a form as possible.
This specific colouration definitely makes it a specialist IEM, though. It’s not a monitor I’d at all recommend to someone looking for a laidback sound. The Etoile constantly emulates near-field monitors; saturated, vivid and direct. So, it’s inherently incapable of sounding distant or sparse, which is more of a far-field sound. Though, it’s still a very capable layerer and separator, simply because of how stripped-bare and distinct its elements are. I’d also warn folks about the Etoile’s drier, crisper treble. It has a uniform top-end lift that imparts a strong, bright etch to everything. It reminds me of the Empire Ears Raven’s treble, but with even less low-end warmth to cushion it. So, keep this in mind if you’re sensitive. Speaking of, the Etoile’s bass is fairly neutral, especially the mid-bass. But, its deep, tactile, wide-spanning subs ensure a strong, physical presence, and thinness or anemia should be of no concern here.
The Volk Audio Etoile is an ambitiously-colored IEM that truly leaves no stone in the midrange unturned. If you appreciate open, revealing vocals, guitars, keys or horns, this could very well be the best I’ve heard them done. As with all specialist models, though, you’ll have to consider how much that killer app is worth, and whether you’re okay with it not being an all-rounder for the price you’re paying. As for me, I love when brands set out to achieve a specific target and don’t *****foot around it. This is a strong opening gambit from Volk Audio, and I’m keen to see what they do next.
After this 2-hour run of demos, we all headed over to Hai Tien Lo, where we had a wonderful Cantonese lunch, discussing what we’d heard so far, trading some banter and fueled back up for the rest of the day.
Returning full-bellied to the show floor, I headed over to Noble’s booth to try out their latest: The Shogun. After finding the Ragnar far too bright, the Ronin a tad lethargic, but absolutely loving the Onyx, I wanted to see where this piece stood.
NOBLE AUDIO SHOGUN (USD 3900)
Unlike its loud, flashy aesthetics, the Noble Shogun is actually a calm, understated and relaxing in-ear. The majority of its FR strikes that safe, well-balanced, Harman-esque curve. Then, past around 7kHz or so, the treble is shelved down pretty substantially, resulting in transients having a soft, feathered, pillowy timbre. Basically, the frequencies responsible for brightness, crispness and edge have been pulled back, but there’s still enough of them to produce decently clean outlines for the in-ear’s images. This is a treble response that anyone instantly put off by articulation will really enjoy. It puts a silky, velvety blanket over everything, so even the hottest of recordings will be calmed down. There are trade-offs, though, in holography and air. It lacks the upper-treble presence required for notes to truly detach from the backdrop and stand freely in the space, so I’d call its images 2.5D. But, it’s an open stage nonetheless, and I’m impressed by the stereo spread, size and space Noble were able to pull off, despite the tuning.
I also find its midrange surprisingly well-defined. Noble have added the required low-mid dip for contrast, allowing instruments to be tight and well-etched, even with the IEM’s aversion to cut. The timbre of the midrange is pretty familiar, so I wasn’t necessarily blown away in that sense. But, it's still immensely likable, musical and absorbing. I can easily see myself drifting away to the warm, full-blooded, yet clear vocals this monitor delivers. The bass follows a similar brief; quite strongly mid-bass-leaning, extended in decay and unafraid to warm the midrange. Unlike the dry, snappy or even thump-y lows I’ve heard in most high-end IEMs today, the Shogun’s is a bit of a throwback, adopting more of a looming, smoky boom. I actually like how it ties in with the rest of its sound. It’s a cohesively warm, relaxing and alluring piece that’s clear in its intentions, uniform in its colourations, and I think it’ll easily find its audience as a result.
The next booth I went to was Melodic Artification’s. They’re responsible for the Alter Ego, which won a lot of the Coolers’ hearts last year. This time, they brought a planar magnetic headphone called the Infinitum.
MELODIC ARTIFICATION INFINITUM (TBA)
The Infinitum is a lightweight, compact, open headphone, which I found immensely comfortable. Not a lot of headphones are wide enough for my large head, but this one, thankfully, more than sufficed. Clamping force is really light, and it uses a suspended headband system (which they were still iterating at the show, by the way). So, it was vanishing on the head, and I found it easy to drive on my Mjolnir as well.
Sonically, the Infinitum is a warm, yet articulate headphone. It has shades of the OG HD650 in how its very ends - the sub-bass and upper-treble - are tapered off in favour of a mid-forward curve. The difference is in the Infinitum’s far superior technique. Its midrange, for example, has excellent depth and resolution. Horn instruments have that reedy brassiness to them - that gritty texture - and pianos are rendered with a refined clarity. It’s a midrange that’s emphasized closer to 1-2kHz, so it’s chestier, densier and earthier, making that granularity all the more important. But, it’s also a far lighter, more open midrange than that of the HD650, so you’ll get lots of space around instruments, making for a sweet, laidback listen.
The Infinitum’s treble, again, is shelved down, giving the headphone soft, pillowy transients. The upper-treble thankfully extends enough to deliver good air, though I think it could be a bit more resolving and granular here. There’s definitely a slight sheen smoothing things over. Articulation mainly comes from the low-treble, with the mid-treble just beneath. I really appreciate how linear the highs are - free of any sudden dips or spikes - which makes its technical shortcomings a tad more forgivable. The Infinitum’s low-end is clean, but surprisingly adaptable. It can get warm and smokey on some tracks, then tight and snappy on others. So, it’s quite the chameleon here, but it always maintains that clean attack. Sub-bass is always hard to judge on a show floor, but it seemed to only slam along the outer perimeter of the stage. So, its rumble never overwhelmed, but was always palpable.
Overall, I found the Infinitum an easy, breezy, sweet-sounding headphone that - combined with its stellar comfort - is tailor-made for relaxation. It’s not the kind of active-listening headphone I’m looking for right now; something more stimulating like the Susvara, for example. But, if you want a headphone that vanishes on the head and gently guides you into the temperate waters of your favourite tunes, this is one to definitely look out for.
Next, I met back up with the Coolers for a demo of the much-hyped Alpha Omega Fulgrim. It’s the Malaysian brand’s debut, and it’s currently still in the prototyping phase. Both the Fulgrim’s external finish and sections of its tuning are still subject to change, so keep that in mind.
ALPHA OMEGA FULGRIM (tentatively USD 6000)
The Fulgrim is a relaxed, open and organic-sounding IEM made memorable by its outstanding low-end. Both its sub- and mid-bass have been shelved up, and they deliver wave after wave of absolute quality. It thumps without obstruction, and it digs without effort, and I can see listeners of, say, EDM or pop consider the in-ear for this quality alone. While I won’t definitively say it’s the best bass I heard at the show, it certainly stands out as one of my favourites in timbre; character.
This shelf falls pretty steeply down the upper-bass and low-mids, giving the midrange a lighter, daintier sound that can come off reedy or nasally. It’s a slight colouration that’ll take the gusto out of a male vocalist or the warmth out of a tenor sax, so keep that in mind if you’re particular about those sorts of instruments. Female vocals and the like aren’t affected as much, and you shouldn’t worry about dryness either, because the mid-bass does carry over some warmth to wet the mids. In fact, there is a wetter, more organic timbre to the midrange in general. It isn’t the tight, crispy kind, so certain background elements (like background vocals and larger string sections) may blend together as a result. But, again, like that reedy quality, it’s just a slight colouration worth noting.
The treble, I think, is very nicely shaped. It’s refined and smooth, yet articulate and extended. It adds air and detail, but never forces them on you. I adore its subtler nature, whilst maintaining strong technique. This is also shown in the in-ear’s clean and distinct background, along with its open, expansive stage. Though, I will critique it a tad here. The Fulgrim, despite its width, lacks scale, and I think it’s down to the in-ear’s average height. It doesn’t quite have that wow factor in staging. Also, I’d love a bit more texture (or granularity) in both the treble and midrange for it to compete with the best of the best.
I came away from the Fulgrim demo feeling pretty impressed that this was the brand’s first IEM, and thinking that it could certainly compete in the $3000-4000 range. However, finding out later that this in-ear is set to come out at $6000 definitely gave me some pause. Not only did it have quite a few sonic shortcomings, it also lacked the metal shell, or the premium finish, or the luxe accessories… something, to justify such an exorbitant price tag. If Alpha Omega are set on that $6000 MSRP, they’re gonna have to do a ton of work, lest they plunge their feet deep in the fire.
The next booth I visited was Vision Ears. The German juggernauts were launching a new line of custom in-ears, including the VE ZEN (a custom VE10), which I’m particularly excited about. Since I’ve talked about the ZEN and the PURE (formerly known as the VE7) in the past, I chose to solely focus on the new models: The ONE, PRO and XCON.
VE ONE (900 EUR incl. German VAT)
The VE ONE is a 1BA + 1DD hybrid, and it’s a warm, yet lively in-ear monitor. Its lows and mids are pushed forward, creating a bouncy, engaging, in-your-face sorta sound. The treble peaks at around 6kHz for a bright, glitzy transient, then the rest of the region is pushed pretty far back. It isn’t the airiest or tightest-sounding in-ear as a result, but the treble extends enough to give the ONE a solid image with good separation.
A nice balance is struck between the ONE’s sub- and mid-bass, resulting in a low-end that can both thump and sing. Listening to Snarky Puppy’s Bet, Michael League’s bass guitar has just as much presence and character as the kick drum, which makes that record all the more fun. And, the kick drum itself is rendered with a full, meaty and satisfying thump. The midrange, despite receiving no aid from outrageous driver counts or BCDs, boasts excellent dynamics too. Lead instruments ebb and flow, showing a level of movement that I’ve seen much pricier IEMs often ignore.
So, the ONE isn’t the most technical IEM in the world. It images wide, but its forward mids and relaxed high-treble limit depth. And, neither its background nor its outlines are as clean as, say, Lime Ears’ Terra, which is only slightly more expensive. But, as far as musicality, engagement and character go, especially in the midrange, I think the ONE is a standout piece. For those who seek personality and movement in your instruments, as well as a custom form factor, the ONE is one to watch.
VE PRO (1400 EUR incl. German VAT)
The PRO is a 3BA + 1DD hybrid, and it’s, to me, a spiritual successor to VE’s 4.2. It’s dynamic, impact-driven and lies somewhere between a V and W-shape in tone. It’s got a more extended treble than the ONE, but it has that same 5-6kHz peak at the same time. So, despite achieving more cleanliness and air, it’s all masked by the splash and glitz that elevation brings. The highs lack linearity, and that’s what bugged me most throughout my demo.
Compared to the ONE, the mids and bass have been altered a tad to maximise contrast. The former is cleaner and more relaxed, so you’re getting less of a vocal focus. And, the lows are more sub-bass driven; more nimble and light on their feet. I think these changes are why I prefer the ONE’s sound, and why I don't mind the lower-treble there. At least it has a fuller lower-half cushioning those transients, while the PRO almost lets the peak dominate its signature.
To my ears, this is a model that’ll be far more appreciated by performers than listeners. I think it’s too brash and edgy to casually listen to. I think the ONE is far more pleasing, personally. However, that intense, impactful, grab-your-attention sound is something musicians on stage will want. Because of the in-ear’s clean, palpable lows and its cutting highs, I reckon the bassists, drummers and percussionists among you will love this as a monitor. So, of all the new models, this is the one I personally liked least, but I can see its uses in the pro’s toolbox.
VE XCON (2200 EUR incl. German VAT)
The XCON is a successor to the VE’s once-flagship VE6XC. Like it, the XCON has 6 BAs and 2 switchable signatures. However, instead of a mechanical switch, the XCON toggles between its 2 profiles with magnets. There’s a port in the faceplate where a magnetic module lives, and the XCON’s sound is determined by whether or not the module is inside it. Amin explained to me that the previous design (which had a switch protruding from the faceplate) was prone to accidental switching when a performer was, for example, changing their costume. So, they gave the XCON a switch that’s flush with the faceplate. VE provide a metal tool (essentially, a small metal rod) to transport the module in or out of the faceplate. And, because the magnets are strong enough to “guide” themselves, I found it super easy to do even with the XCON’s in my ear; without looking.
Personally, I think this new system kinda replaces a problem with another. You won’t mistakenly toggle the switch anymore, but switching is now a lot more cumbersome - near-impossible to do on the fly - and you now have a tool to worry about potentially misplacing too, not to mention the modules. To circumvent the latter though, if the XCON’s storage case is any indication, it looks like VE might include a backup pair in case anything goes wrong. And, again, the magnets are really strong, so it’s not like they’ll accidentally fall off the tool as you’re using it. So, I don't know if it's the most ideal solution in the world, but at least it works.
It’s also worth noting that these modules aren’t like ADEL or apex modules, which shape sound acoustically. The toggle between the XCON’s 2 profiles is purely electronic. And, you won’t lose the seal if you take the modules out, because the port is closed off; not a vent. Finally, the last difference between it and the 6XC is you can’t order it with only 1 of the 2 signatures; it’ll always come with both.
With the magnets in, the XCON has a thick, smoky, organic tone; not unlike how I described the Noble Audio Shogun earlier. It’s a sound that’s otherwise well-balanced and safe, enhanced by lifts in the lows and low-mids. The bass is mid-bass-leaning, delivering thud-y, throbby hits with a heavy hand. It honestly does sound like a lifted, BA bass with more bark than bite, so I wasn’t necessarily blown away there. The midrange is on the thicker, darker side, which is excellent for deeper male vocals, baritone saxes, etc. Whereas, instruments that require texture higher up - say, raspier male vocals, female vocals or reedier brass instruments - may find this profile a bit lacking. The treble is articulate, but light on crispness and air. It’s a rounder treble with dulled, feathered edges, so you’ll get transients that are soft and buttery, versus ones that are clean and floaty.
Taking the magnets out, you’ll get a much cleaner, airier and more neutral response. That wet, thud-y bass is now tighter, quicker and more reserved. And, this then allows the treble to gain openness without lifting a finger. Because there are less elements taking up space, the in-ear’s stage immediately becomes airier and more open. So, even if those highs are still on the softer side, the XCON’s soundscape in this setting is clean, tidy and expertly separated. An element that’s remained from the previous profile is the thicker midrange. That elevation now is closer to the centre-mids - around 1kHz - which gives instruments a dense, chesty, rounded timbre. But, because they’re far less obstructed, they can breathe more freely. So, the XCON in this setting is light, refined and safe, but with the bonus of having rich, substantiated vocals sat comfortably in its clean, open space.
YU9 AUDIO QUE (USD 400)
This was probably the biggest surprise throughout the entire show for me. After wading through pools of $4000 in-ears, I was introduced to one a tenth of the price (credit to @Crazeee). The Que is a 1BA + 1DD hybrid from Yu9 Audio, and it is, far and away, the best sub-$1000 IEM I’ve heard in a very, very long time; maybe, ever.
The Que is a superbly-balanced, U-shaped IEM, and the star of the show here is its outstanding treble. Despite dedicating just a single BA to the region (and the mids, mind you), it immediately comes off levelled, refined and balanced; as if, from 5kHz up, it holds a perfectly-straight line to the very top. Whether it’s hi-hats, cymbals or vocal sibilants, the treble is crisp and granular, yet flawlessly smooth. There isn’t a tick, or a tizz, or a ring that sticks out, and, again, it’s as if every possible spike has been compressed and controlled. It’s a treble I truly can’t fault in tuning, nor in detail (which it has a ton of). It puts quite a few multi-tweeter trebles I heard at this show to shame, and this region alone is worth the price of admission to me. It’s stunning work from the Yu9 team, and I’m glad to see that a tuner’s skill will always shine, no matter the price or driver count.
The lows get out of the way unless called for; tilted more towards the sub-bass, providing some needed wub-wubs along the perimeter of the stage. As a result, the midrange is pretty light on warmth. But, like the treble, because of how linear they are - rising steadily from the lower-mids into the pinna gain - they have a natural, organic density to them. For example, when a pianist slams on the leftmost keys, the mid-bass won’t add any extra boom or decay. But, what is there is represented with a realistic amount of body, and nothing ever sounds hollow or thin. Its staging is also impressive for the price, easily lining the head with an even sphere that’s rich in spatial detail.
To me, the upper-mids could be a bit more evocative or expressive to hold your attention. And, its main weakness overall is definitely dynamics. Like most entry-level in-ears, it’s not fantastic at portraying huge, macrodynamic swings, so tracks, rather than going from 0 to 100, instead go from 30 to 70 most of the time. And, after 3 or 4 tracks, those used to elite IEMs will likely feel it go a little bit dull. But, despite these shortcomings, I think the Que accomplishes way, way more than its $400 price tag demands. It outclasses TOTLs multiple times its price in treble tuning, it doesn’t drop the ball on any of the basics, and it’s just unfailingly likable, pleasing and refined in just about every way. This was easily my dark horse of the show, and I’m absolutely certain that it’ll be a hit whenever it comes out.
As the show was coming to a close, I decided to visit two brands local to Singapore: Forte Ears and Jomo Audio. First heading to the former, fresh off reviewing their flagship Macbeth, I was curious to see what Riccardo had in store for his sophomore effort: The Mefisto.
FORTE EARS MEFISTO (USD 2899)
If the Macbeth is a refined, sophisticated concert hall, the Mefisto is a rowdy rock concert. The transition between the former’s BA woofers to the latter’s dual-DDs sets the tone for how the two differ. The Mefisto has bigger notes, bigger macrodynamic swings and a more unified wall of sound. It’s not too concerned with the finer minutia (like the Macbeth is), opting instead to deliver bouncy waves to get your toes tapping.
The DDs trade off the Diablo BA’s finesse for a thicker, heavier, more physical thump, as well as a more melodic upper-bass. The former strongly beefs up kick drums, while the latter highlights basslines. It’s a more sing-songy bass, rather than one that only exists to thud and rumble. The woofers take longer to decay too, resulting in wetness and warmth permeating the midrange. This is part of the reason why the Mefisto is a rowdier monitor than its bigger brother, and it’s a theme we’ll see echoed further up.
The Mefisto’s midrange curve actually follows the Macbeth’s pretty similarly. It has that same lower-midrange tightness and upper-midrange tilt. But, it doesn’t feel as dry or corseted, thanks to that extra smoke provided by the lows. The mids are a tad less distant to you as well, though that could just be the treble sending you nearer spatial cues. Speaking of, the Mefisto’s highs have experienced a similar change as the lows. Versus the Macbeth’s smaller, sparser pin pricks, the Mefisto’s transients have a broader attack. Those edges aren’t as small or distantly separated, so you’re trading away a bit of precision (or specificity) for a more washy, less pointed edge.
My only qualms with the in-ear would be its middling background. It’s not as clean and distinct as the Macbeth’s, even if it is a lower-end model. The treble also has that planar sand that I’ve been talking about this entire article. There’s a gritty shimmer that makes all hi-hats sound more like sand hats, and it can introduce the tiniest hints of a rasp on certain voices. But, whether or not that’s an issue for you will ultimately be determined by your sensitivity, as well as whether or not your library provokes it.
Listening to it with the Temptation cable, I hear a stronger change versus the Ambition on the Macbeth. It immediately gains a lusher, richer timbre, which I’d classify as organic-warm. Vocals are much wetter and thicker, and they take longer to decay, as if enhanced with reverb. But, I think the biggest improvements are three-dimensionality and depth. Despite not having a BCD, I hear shades of the Macbeth’s holography in the midrange. And, the treble has more headroom with less coarseness too. So, it’s a potential avenue to explore if you want a lusher, warmer, deeper sound out of the Mefisto. Though, at double the original price, I’d probably recommend searching for more affordable cable options elsewhere; perhaps in Eletech’s own lineup.
And, finally, Singapore’s very own Jomo Audio. They had a collection of old and new, including a couple of prototypes, and here’s what I thought of them all.
JOMO AUDIO SERENITY (TBA)
The Serenity is a tri-brid IEM with 2 DDs, 4 BAs and 2 planar drivers, delivering what I consider an easy, breezy, relaxing listen. It has a U-shaped curve with a nice, bellowing low-end, playing an unintrusive, supporting role, despite its elevation. And, the highs provide a smooth sense of openness and air, whilst remaining refined almost at all times. That slight planar grain does rear its head every once in a while, but never to any notable degree, and the top-end’s linear tuning greatly aids in blending it in.
The midrange is probably where I’m not as positive. I find it a bit light; lacking in centre-mid content. Instruments almost sound brighter and higher-pitched, with less of an emphasis on density, earthiness or warmth. It’s not a strong enough colouration to ever seem shouty or nasal, but I do find it a bit floaty, and whether or not you agree will come down to preference. What I appreciate about the midrange is how uniform it is with the lows and highs. It doesn’t impose itself, which is why it never gets too intense. It knows its place in the mix, and it keeps its energy levels relatively calm. So, the end result is, again, a breezy, relaxing tone.
The Serenity is a shoo-in for listeners looking for an open, spacious IEM to put your feet up and listen to. As long as you don’t mind its lighter, less earthy midrange, it’s a monitor that’s as easy to listen to as it is to look at.
JOMO AUDIO ‘NAUTIC GLEAM’ PROTOTYPE (TBA)
Next, we have the Nautic Gleam prototype, which looks like a companion or spiritual successor of the Nautilus. Sporting a similar config of 1 DD, 1 BA and 1 planar driver, it’s warm with a hit of crisp air. It has a rich, natural tone from the lows to the high-mids, then the highs are heightened with a powdery, sandy, mid-treble rise. The result isn’t dissimilar from AAW’s Mokara; balanced, well-rounded instruments colored with a bit of etch. For me, trading some of that mid-treble for more high-treble air would make the region more linear. It’d make for a broader, gentler colouration. Alternatively, the bass could also be a little wetter to pillow some of that crispness. I find the Nautic Gleam technically sound too, but not as dynamic and deep-sounding as the Serenity. I can see this being a great companion to the fuller, rowdier Nautilus, and I hope to see it refined a tad bit more before release.
JOMO AUDIO ‘VIPER’ PROTOTYPE (TBA)
Just before the show closed, I managed to sneak a listen to Jomo’s Viper prototype, and I found myself enjoying this one quite a bit. It comes packed with 1 DD, 2 BAs and 1 planar driver, and it has a dynamic, yet well-balanced tonality. It's neutral-natural with a W-shaped response, though I can’t recall exactly where its emphases are. What I’m certain of is the contrast they generate, resulting in a punchy, vivid, toe-tapping sound. The one caveat I have with the Viper prototype is the midrange could be a bit more open. The monitor’s energetic, jam-packed sound leaves little space for vocals to open up and breathe. But, if Joseph can fix that issue by the in-ear’s launch, this could be a model listeners gravitate to for its musicality.
And, that’s a wrap for my coverage of CanJam Singapore 2025. I feel like a broken record saying each year is better than the last, but I’d be lying if I said it wasn’t true. Every single time I fly out, there’s something new to look forward to - new people to meet, new stories to tell - and I’m constantly grateful for the community that Head-Fi and this specific Watercooler thread has cultivated. More than ever before, attending CanJam is about the people, rather than the gear, and it very well shows in that photo below, which only gets more and more packed every single year. I hope more and more Coolers get the chance to attend these shows, because you have no idea how much fun you’ll have. And, I hope this sense of togetherness never fades, because this is what this hobby should be all about. Until 2026, cheers!
CANJAM SINGAPORE 2025
Another year, another CanJam. While this occasion, to me, used to entail solo travel, exhausting coverage and a rush for content, the past few couldn’t have been more different. I get to go on these trips with my wife now and have an actual vacation. Then, I get to spend all of CanJam - even the day or two before - with the ever wonderful, ever generous Watercooler community. I can’t wait to talk about the gorgeous time I had, as well as the plethora of gear I heard. This will be quite the behemoth of a post, so sit back, grab some popcorn and... let’s begin.
T-MINUS 2 DAYS TO CANJAM
This year, @metaljem77 generously arranged a chalet where we could meet up, try some gear and have a good ol’ barbecue. This is a pic taken by @HiFiHawaii808 earlier in the day, as I was still making my way from the zoo.
As soon as I arrived, Jim gave me one of his signature bear hugs, and I was greeted by as many familiar faces as new ones. I was reunited with folks like Jemy, Jim, @Crazeee, @AxLvR, @yaps66, @Loafy and Ken. And, I met, for the very first time, folks like @needtosleep and two guys I’ve spoken to online for over half a decade now: @Damz87 and @GiullianSN. It was a wonderful, wonderful start to the afternoon, which only got better as soon as I saw the grill.
Something we learned that day is put Indonesians near a charcoal grill and hand fans, and we’ll get to work. There’s a tukang satay in all of us.
After getting the fire built and most of the meat cooked, we all started chatting and listening the night away. Later in the evening, we were also joined by @Valrhona, @Yifang (and friends), @JordonEA, @Eric Chong and @Riccardoyeh. We all had an excellent time as always, and while I didn’t do a ton of listening there, I did manage to get my ears on a couple things I wanna talk about before we get to show day.
L&P P6P PRO 10TH ANNIVERSARY EDITION - GOLD
Luxury & Precision DAPs have slowly become the stuff of legend, fulfilling every audio purist’s dream of being exceptional at sound and puzzling at almost everything else. They’re known for having some of the industry’s most archaic UIs and most frustrating sorting systems. But, in exchange, you get a combination of sound and portability that you arguably can’t find anywhere else in the world. A lot’s been made, particularly, of LP’s analog sound. No one seems to know how they do it, but they’re all enamored by it, which is how you get a find-the-logic-in-everything guy like me extremely curious. After finally hearing an LP DAP for myself, I think I might have an inkling of an answer.
Without going into the specifics of how the DAP sounds, I think how LP achieves their signature sound is extremely narrow, targeted cuts in the treble. I believe they take tiny slivers of info - tens of Hz wide - out of the highs, completely muting them. This results, first and foremost, in the removal of a lot of post-transient ringing. What I mean by this is, after a hi-hat or cymbal is struck, rather than allowing them to fade or sizzle away, the player cuts them off short. So, after a hi-hat goes tick, it vanishes almost immediately. A cymbal crashes and does the same. The absence of this high-frequency data results in a more vintage, analog tone. But, it also enhances the DAP’s perceived performance at the same time. In the tiny gaps where this ringing once was, you’re allowed to peek into the player’s black background. It makes notes seem tighter and quicker, and it allows your brain to process more info because of the extra bandwidth it now has to work with.
Now, one thing I should stress is this is not a cheap trick. This isn’t something brands can now just replicate and execute with the same success. It takes a tremendous amount of skill to pull off this colouration without it sounding off or artificial. What frequencies to take out, how wide the dips are, how much to dip… these are all considerations LP have had to make, and, again, how seamlessly they’ve been able to pull this off is nothing short of a masterstroke. I applaud LP for taking a unique approach to tuning that has genuinely set them apart in such a crowded market. And, I look forward to the day they make a DAP I can both comfortably navigate and monetarily afford. Kudos to them.
NIGHTCRAFT AUDIO CABLES
At the chalet, Albert introduced me to @needtosleep, whose products I’d heard tons about. He runs a cable brand called Nightcraft Audio, and - after we finished manning the grill together - he let me listen to a few of his creations; both released and unreleased.
While I won’t go into extreme detail about each and every one, I will note down trends I heard, especially among his shielded cables. Whether it’s the Eclipse, the Nocturne or his selection of shielded prototypes, they all had some of the best left-middle-right separation I’d heard from a cable upgrade. Listening to Snarky Puppy’s Bet or Pineapple, which have a plethora of panned percussion, I went from having a general idea of where they were to knowing exactly what hour they’d be on a clockface. Switching to an unshielded cable like Jonathan’s entry-level SPC or some of my own stock cables, I immediately lost that specificity, which confirmed that it was the shielding’s work.
The conductors behind the shielding determined the tone or colour the cable would push the IEM towards. Again, though, no matter the direction, that separation and precision remained true across them all. There was a particular prototype called the “Copper 2,” which we all found wonderful. That cable had the horizontal separation I’ve been talking about, as well as superb z-axis layering. Elements that were stacked on top of each other in the centre (say, the lead instrument, bass guitar, kick and snare) were given the slightest bit of distance, so you could distinguish between them all. We were all hilariously making preorders of this cable right then and there, and I can’t wait for Jonathan to release it.
SHOW DAY
And then, it was D-Day. While the show didn’t start until 11 AM, the Coolers were primed and ready at the hotel lobby by 9.45, fueling ourselves with caffeine and carbs. There, I was reunited with another fellow Indonesian, @RonaldS86, as well as everyone who attended the aforementioned chalet.
During breakfast, I learned some of them had visited the Pan Pacific the night before for some pre-show meets. And, just before they were about to head home, they happened to run into Lee setting up his booth, where they leapt at the chance to hear his now-stratospherically-hyped Mysticraft HEX. Giullian said he couldn’t sleep afterwards. Raymond said CanJam was basically over for him. So, naturally, as soon as we finished our pre-show meals, got our tickets and watched the doors open, every single Cooler immediately sprinted over to…
Lee’s Mysticraft booth. Because my top sprint speed was hampered by the 4kg Mjolnir strapped around my shoulder, I arrived 3rd in the queue to hear the HEX. I obviously didn’t want to waste any time, so I sat and listened to Lee’s tri-brid prototype first.
MYSTICRAFT TRI-BRID PROTOTYPE (tentatively USD 999)
This is the entry-level piece in Mysticraft’s debut line, consisting of a DD, BA and planar tri-brid setup. What I heard was a vibrant, lively, W-shaped response with emphases in the mid-bass, upper-mids and mid-treble. The lows peak around 80-100Hz with a pronounced, hard-edged slam. Rather than light thwacks, the DD Lee’s used here deliver thicker thumps, which we'll see present in the HEX as well. The bass extends excellently, and the subs are capable of immense rumble when called for. This is the first of the tri-brid’s three cornerstones of energy.
The second is the midrange, which rises healthily between 1-2kHz, creating notes that are big, rounded and dense. Images of guitars and horns fill the stage. Then, this energy carries onto the upper-mids, giving said instruments a vibrant, agitated tonality. This gives the in-ear a fun, immersive, you’re-on-stage presentation. When pushed loud, I can see the upper-mids being a tad brassy for some people. Trumpets and female vocals may get a tad intense. But, again, I reckon this’ll only pose an issue if you listen particularly loud. Thankfully, despite the larger note size, instruments remain cleanly, crisply separated, enough for me to tell Lee this piece would compete in the $1500-2000 tier before he revealed its tentative price.
Up top, the treble is articulate, but not overly airy. It’s light on low-treble glitz, so those with a low tolerance shouldn’t worry. Instead, it has more presence in the sandy, powdery mid-treble, which I assume is due to the planar driver. I observed this quality in almost all planar-equipped IEMs at the show. Thankfully, it isn't elevated to the point where vocalists sound like they need a glass of water. Rather, it's just enough to give everything a palpable texture. For perfect accuracy, I would personally like a bit more brightness or edge in the uppermost highs. It also falls short of delivering a vast, out-of-head stage. But, for $999, it delivers more than enough refined cut, imaging precision and note separation to satisfy.
All in all, I found the Mysticraft tri-brid immensely fun, bouncy and packed. Again, I told Lee it’d be competitive in the $1500-2000 range, so $999 with a full titanium shell isn’t a bad deal at all. I assume this one’ll be a hit among the Coolers, and I can’t wait to see what design he comes up with for it.
MYSTICRAFT HEX (USD 9000)
Undeniably the star of the show, Mysticraft’s HEX is the best thing I heard at CanJam SG 2025. The thing that surprised me most is how “normal” (or, more aptly, uniform) it sounded. Not once during my demo did I ever think about its drivers or its insanely intricate config. I expected to be met by a myriad of textures and tones - colours all over the place - but it sounded near-seamless to me; cohesive, harmonized and moving (almost) as one.
The in-ear’s definitely coloured in a lively, bombastic way. I’d classify it somewhere between a W and a U-shaped response. Its stage is holographic and expansive, but also filled pretty densely. Its lively, larger-than-life tonality creates big, vivid notes, so you won’t get that empty, cavernous, concave image. Instead, it plays more like a massive, hi-fi arena, emitting powerful sonics with huge, fleshed-out images. Its main technical feat is physicality. Its instruments are solid, three-dimensional and rounded, but not through the tonal tricks you’d typically employ. Instead of fattening them through mid-bass or low-mid lifts, it sounds like Lee’s used this myriad of drivers to add subtle textures, filling these images in as much as possible. And, again, it’s shocking how invisible these techniques are in the IEM’s final sound.
The lows are big, bouncy and powerful. They pack a dense punch. But, for my personal tastes, down here is where I find myself liking it the least, because of its thicker, heavier timbre. I tend to like my bass snappy, airy and easy on the ear. Whereas, the HEX has a fatter, wider thud to it. I don’t think it’s because of an excessive or boomy mid-bass, because the hits are clean. They’re just drawn with a thicker line than I’d like. So, keep this in mind if you have similar preferences.
That thickness also makes it come dangerously close to merging with the lower-mids. When I played a Snarky Puppy track with the bass guitar, baritone sax and pads playing at the same time, there were points when they’d touch and almost blur into each other. Thankfully, they never did, and the lines between them were always clear. But, if your library isn’t as well-mixed, or if your chain happens to be a bit smokier (keep in mind, I used a Mjolnir, which is pretty darn clean), they just might cross that line. Tiny details like these are crucial to remember before potentially making a $9000 purchase.
The midrange treads the line between clean and full expertly. It fixes an issue I had with - Lee’s other flagship - the DIO’s midrange, which I find light and floaty. The HEX’s is solid, rounded, dense (once again), yet maintains that revealing, well-etched clarity you ought to expect from an IEM this expensive. In terms of sheer, three-dimensional resolution, it’s certainly one of the best I’ve heard in an in-ear, generating tactile instruments with palpable physicality standing freely in open space. Again, though, they’re colored with a bit of attitude, making them sit a bit forward, taking up a bit more room. If you like your instruments lighter and more distant, perhaps the DIO might be better suited to you. But, if you like mids that sit nicely in the mix, but can get gnarly when the track calls for it, the HEX will deliver.
Up high, the HEX has what I think is a near-impeccable treble. It has a slightly warmer tonality, and I can compare its general shade to something like the APX SE; not too airy, not too glitzy, straddling neutral-natural. What’s remarkable is how, for lack of a better word, plain-sounding it is. Again, there are none of the wild colours I expected to hear. It's simply a straightforward, ultra-linear (as usual for Lee) treble performing at 10/10 capacity. I think what sets it apart from Lee’s previous output is texture. I think the Anni and DIO’s trebles are super-even, refined and pleasing, but they also have this light, silky sheen to them ever-so-slightly smoothing them over. I suspect it’s the electrostats, which are known to be airy and ethereal, but lacking in hardness. The piezoelectric (and perhaps planar) drivers Lee adds here have given that grit back. So, I’m getting the immovable, unyielding refinement (or lack of harshness) I’d find in the Anni and DIO, but now with a more tactile, granular texture.
Now, the elephant in the room is obviously the $9000 price tag. As I said on one of my previous posts, as much as I wanna rag on it, the HEX is ultimately the first of its kind: A hex-brid with 13 drivers and a 10-way crossover, which, as far as I know, every single person at the show found astonishingly seamless. Until another brand can replicate that feat or the HEX’s performance in general, I’m afraid we have a monopoly on our hands. I can, however, criticize it for, as of now, having a resin shell at $9000, which I think is nigh unacceptable. You’d expect something more premium and durable at half this price. Also, it’s still unknown whether or not Lee will deliver the IEMs on schedule, or if the DIO’s perpetual delays are something we’ll see repeated here.
So, time will tell, and the stakes are extremely high for Mysticraft. But, as far as trade show debuts go, Lee has certainly set the bar really, really high. Let’s just hope he sticks the landing.
After this, the Coolers headed up stairs to visit the Jaben room, mainly to try out the prototype of PMG Audio’s APX V3. Because, again, I was doing weighted cardio the entire show, I lagged a bit behind, and I decided to try AAW’s latest line of IEMs while I waited.
AAW MOKARA (SGD 2599 UIEM, SGD 2899 CIEM)
The Mokara sports a 14BA + 4EST config, and it definitely sports AAW’s house sound: A tuning that starts off fairly normal, but is then capped with a massive high-treble shelf. It has a safe, mainstream sound coloured with an emphasized low-end. I actually think its midrange is better-filled (or not as thinned) compared to AAW’s standard fare, which I appreciate. Its timbre isn’t anything new. I’ve probably heard these BAs (or family of BAs) elsewhere. But, they have a good amount of character (meaning they ebb and flow appropriately with the music), and they’re well-balanced; neither sucked out for clarity, nor honky, nasally or muddy.
The elephant in the room, however, is that upper-treble elevation. It’s isolated fairly high up, so it doesn’t add any glitz or grain to transients, which is why the midrange is as natural as it is. But, it does give notes this very, very strong outline. It’s like if you maxed out the Clarity slider on a photo editing program. There’s just this crisp, bright line etched around each and every image, and it’s something I reckon you’ll either love or hate. What this does give the Mokara is heaps of surface clarity. Peripheral sounds like chimes or effects panned around the head are highlighted strongly too, so you’ll get an excellent sense of space. However, in terms of actual, fleshed out, three-dimensional resolution, I think the Mokara is merely decent. It does well for the money it’s charging, but I’d need to see more if AAW were to compete in higher price tiers.
I’m surprised to see AAW use a BA woofer for their flagship. They used to be the only brand in the world pushing hybrids (before their recent resurgence), so the lack of a DD here is puzzling. Before I was even made aware of the driver config, I’d written down that I found the bass a little underwhelming for a flagship product. It delivers small, central jabs with middling punch, even though it does have decent sub-bass rumble when called for. This is another area I’d love to see AAW improve, perhaps by going back to their hybrid roots.
AAW BLACK MALUS (SGD 1849 UIEM, SGD 2149 CIEM)
Next, I auditioned their co-flagship, the 16BA Black Malus, which I actually much preferred. The highs aren’t on an island doing their own thing anymore. The rise is now along the mid-treble, so instruments have a crisper bite. But, it’s a much less intense colouration. While the treble is still pretty vivid, it’s nowhere near as abrupt. The upper-mids also help here, lifted to meet the highs in the middle and bridge the gap. So, compared to the Mokara’s more rounded, colourless mids, the Black Malus’s are more vibrant, brassy and lively in delivery. The trade-off here is dynamics. Because of all this energy, the in-ear can get pretty dull after a while. When everything is hyped, nothing is. And, the Black Malus also lacks the Mokara’s exaggerated sense of air and space, so it’ll sound less expansive. Whether to get the Mokara or the Malus will very much depend on your priorities.
Down low, the Malus is leaner and more sub-bass-oriented than the Mokara. It rumbles really well, despite its all-BA config. I think a bit more mid-bass warmth to cushion all the energy further up would help with the dynamics issue. But, all in all, the Black Malus is a pretty fun piece, and it provides a nice counterpoint to the Mokara in AAW’s repertoire.
AAW Z06 (SGD 439)
The Z06 is AAW’s latest budget model, and it’s a reminder that they know how to deliver at this price range. The in-ear sports a W-shaped response that’s forward, fun and quite saturated. Its images are large and full, largely because of its midrange. At the time, I couldn’t tell whether it would’ve benefited more from an upper-mid cut taking away some of its saturation or a low-mid dip tightening instruments up. Either way, I think tidying its midrange could’ve done wonders for its openness and space. This is probably where I found the in-ear weakest.
Onto what I loved about it, though, the DD delivers excellent bass impact; deep and bellowing from a sub-bass rise, followed by a mid-bass just sniffing through underneath. It was the kind of power I was missing on their flagships, and I’m relieved to see AAW still capable at doing what they do best. I found its treble quite naturally coloured, decently resolving and spacious. Clearly, it won’t have the best technique in the world, but I definitely found it good enough for an active, engaging listen. It’s not the kind of an in-ear that’ll lose your attention because of a lack of detail or dynamics, which is a praiseworthy achievement at this price range.
So, despite a less-than-ideal midrange, I found the Z06 a strong, solid performer for the price. It punches above its weight in the lows and highs, and, again, it’s proof AAW know how to make their budget pieces really count.
So, the time finally came for me to hear PMG Audio’s latest prototype. As a reminder, I heard the SE a year or so ago, and I thought it sounded excellent, but with a few caveats. I found the midrange a little too relaxed or compressed; pulled back as soon as a singer was about to belt. And, I found the treble a bit rocky; lacking that silky, seamless refinement that’s put guys like Lee on the map.
PMG AUDIO APX V3 PROTOTYPE (TBA)
This V3 prototype fixes a couple of those issues. First, I think the low-end is better integrated here. I’ve said that certain elements of the kick drum can sound like they're coming from different drivers on the SE, but it’s not the case here. Bass timbre is certainly more uniform. While a couple of the Coolers found this change positive, I actually kinda miss the SE’s unique presentation. It’ll come down to taste.
The midrange has thankfully been given a noticeable boost in dynamics and character. My lead instruments are finally allowed to move, and I didn’t feel any of the tightness that brought the SE down a peg. Unfortunately, I wasn’t able to relish all those positive changes, because of a massive issue: The V3’s peaky low-treble. Somewhere between 5-6kHz, this prototype had a constant, annoying glitz that wouldn’t go away no matter what track I played. It wasn’t sharp or painful per se, but it was persistent, and it was a complete distraction throughout my listen. I talked to the other guys, and this peak was the very first thing on their minds as well.
So, while the V3 made very welcome changes that, I think, were well done, it also created a problem that left a lasting, bitter impression on us all. I hope Piotr remedies that treble ASAP, because I think there’s a real, real winner underneath that bothersome peak.
Remaining on the second floor, the next booth I visited was Zeppelin and Co.’s, where I heard Volk Audio’s brand-new Etoile. This is Jack Vang’s new outfit with Grammy-winner Michael Graves, and I was curious to see how it differs from his work he did with Dean at Empire Ears.
VOLK AUDIO ETOILE (USD 3999)
On Head-Fi’s CanJam Singapore 2025 preview video, Jude said the Etoile has a focus on vocal clarity, and I couldn’t agree with that statement more. This in-ear’s specialty is pushing midrange instruments forward - be it vocals, horns, guitars or keys - and having them stripped as bare as possible; removing any and all notions of a veil. While that may imply a clinical sound - and the Etoile is admittedly on the dry side - it doesn’t do it through tone shaping alone, to my ears. The mids are bowed slightly out towards you - a convex presentation, as I like to call it - and they’re given this ultra-granular texture. If you’ve ever heard brass instruments live, the Etoile captures that gritty, reedy quality of the saxophone better than any IEM I’ve personally heard. It’s difficult to explain to someone who hasn’t had that experience. The best way I can put it is it, again, seemingly removes any obstacle between you and the instrument, letting you hear it in as raw a form as possible.
This specific colouration definitely makes it a specialist IEM, though. It’s not a monitor I’d at all recommend to someone looking for a laidback sound. The Etoile constantly emulates near-field monitors; saturated, vivid and direct. So, it’s inherently incapable of sounding distant or sparse, which is more of a far-field sound. Though, it’s still a very capable layerer and separator, simply because of how stripped-bare and distinct its elements are. I’d also warn folks about the Etoile’s drier, crisper treble. It has a uniform top-end lift that imparts a strong, bright etch to everything. It reminds me of the Empire Ears Raven’s treble, but with even less low-end warmth to cushion it. So, keep this in mind if you’re sensitive. Speaking of, the Etoile’s bass is fairly neutral, especially the mid-bass. But, its deep, tactile, wide-spanning subs ensure a strong, physical presence, and thinness or anemia should be of no concern here.
The Volk Audio Etoile is an ambitiously-colored IEM that truly leaves no stone in the midrange unturned. If you appreciate open, revealing vocals, guitars, keys or horns, this could very well be the best I’ve heard them done. As with all specialist models, though, you’ll have to consider how much that killer app is worth, and whether you’re okay with it not being an all-rounder for the price you’re paying. As for me, I love when brands set out to achieve a specific target and don’t *****foot around it. This is a strong opening gambit from Volk Audio, and I’m keen to see what they do next.
After this 2-hour run of demos, we all headed over to Hai Tien Lo, where we had a wonderful Cantonese lunch, discussing what we’d heard so far, trading some banter and fueled back up for the rest of the day.
Returning full-bellied to the show floor, I headed over to Noble’s booth to try out their latest: The Shogun. After finding the Ragnar far too bright, the Ronin a tad lethargic, but absolutely loving the Onyx, I wanted to see where this piece stood.
NOBLE AUDIO SHOGUN (USD 3900)
Unlike its loud, flashy aesthetics, the Noble Shogun is actually a calm, understated and relaxing in-ear. The majority of its FR strikes that safe, well-balanced, Harman-esque curve. Then, past around 7kHz or so, the treble is shelved down pretty substantially, resulting in transients having a soft, feathered, pillowy timbre. Basically, the frequencies responsible for brightness, crispness and edge have been pulled back, but there’s still enough of them to produce decently clean outlines for the in-ear’s images. This is a treble response that anyone instantly put off by articulation will really enjoy. It puts a silky, velvety blanket over everything, so even the hottest of recordings will be calmed down. There are trade-offs, though, in holography and air. It lacks the upper-treble presence required for notes to truly detach from the backdrop and stand freely in the space, so I’d call its images 2.5D. But, it’s an open stage nonetheless, and I’m impressed by the stereo spread, size and space Noble were able to pull off, despite the tuning.
I also find its midrange surprisingly well-defined. Noble have added the required low-mid dip for contrast, allowing instruments to be tight and well-etched, even with the IEM’s aversion to cut. The timbre of the midrange is pretty familiar, so I wasn’t necessarily blown away in that sense. But, it's still immensely likable, musical and absorbing. I can easily see myself drifting away to the warm, full-blooded, yet clear vocals this monitor delivers. The bass follows a similar brief; quite strongly mid-bass-leaning, extended in decay and unafraid to warm the midrange. Unlike the dry, snappy or even thump-y lows I’ve heard in most high-end IEMs today, the Shogun’s is a bit of a throwback, adopting more of a looming, smoky boom. I actually like how it ties in with the rest of its sound. It’s a cohesively warm, relaxing and alluring piece that’s clear in its intentions, uniform in its colourations, and I think it’ll easily find its audience as a result.
The next booth I went to was Melodic Artification’s. They’re responsible for the Alter Ego, which won a lot of the Coolers’ hearts last year. This time, they brought a planar magnetic headphone called the Infinitum.
MELODIC ARTIFICATION INFINITUM (TBA)
The Infinitum is a lightweight, compact, open headphone, which I found immensely comfortable. Not a lot of headphones are wide enough for my large head, but this one, thankfully, more than sufficed. Clamping force is really light, and it uses a suspended headband system (which they were still iterating at the show, by the way). So, it was vanishing on the head, and I found it easy to drive on my Mjolnir as well.
Sonically, the Infinitum is a warm, yet articulate headphone. It has shades of the OG HD650 in how its very ends - the sub-bass and upper-treble - are tapered off in favour of a mid-forward curve. The difference is in the Infinitum’s far superior technique. Its midrange, for example, has excellent depth and resolution. Horn instruments have that reedy brassiness to them - that gritty texture - and pianos are rendered with a refined clarity. It’s a midrange that’s emphasized closer to 1-2kHz, so it’s chestier, densier and earthier, making that granularity all the more important. But, it’s also a far lighter, more open midrange than that of the HD650, so you’ll get lots of space around instruments, making for a sweet, laidback listen.
The Infinitum’s treble, again, is shelved down, giving the headphone soft, pillowy transients. The upper-treble thankfully extends enough to deliver good air, though I think it could be a bit more resolving and granular here. There’s definitely a slight sheen smoothing things over. Articulation mainly comes from the low-treble, with the mid-treble just beneath. I really appreciate how linear the highs are - free of any sudden dips or spikes - which makes its technical shortcomings a tad more forgivable. The Infinitum’s low-end is clean, but surprisingly adaptable. It can get warm and smokey on some tracks, then tight and snappy on others. So, it’s quite the chameleon here, but it always maintains that clean attack. Sub-bass is always hard to judge on a show floor, but it seemed to only slam along the outer perimeter of the stage. So, its rumble never overwhelmed, but was always palpable.
Overall, I found the Infinitum an easy, breezy, sweet-sounding headphone that - combined with its stellar comfort - is tailor-made for relaxation. It’s not the kind of active-listening headphone I’m looking for right now; something more stimulating like the Susvara, for example. But, if you want a headphone that vanishes on the head and gently guides you into the temperate waters of your favourite tunes, this is one to definitely look out for.
Next, I met back up with the Coolers for a demo of the much-hyped Alpha Omega Fulgrim. It’s the Malaysian brand’s debut, and it’s currently still in the prototyping phase. Both the Fulgrim’s external finish and sections of its tuning are still subject to change, so keep that in mind.
ALPHA OMEGA FULGRIM (tentatively USD 6000)
The Fulgrim is a relaxed, open and organic-sounding IEM made memorable by its outstanding low-end. Both its sub- and mid-bass have been shelved up, and they deliver wave after wave of absolute quality. It thumps without obstruction, and it digs without effort, and I can see listeners of, say, EDM or pop consider the in-ear for this quality alone. While I won’t definitively say it’s the best bass I heard at the show, it certainly stands out as one of my favourites in timbre; character.
This shelf falls pretty steeply down the upper-bass and low-mids, giving the midrange a lighter, daintier sound that can come off reedy or nasally. It’s a slight colouration that’ll take the gusto out of a male vocalist or the warmth out of a tenor sax, so keep that in mind if you’re particular about those sorts of instruments. Female vocals and the like aren’t affected as much, and you shouldn’t worry about dryness either, because the mid-bass does carry over some warmth to wet the mids. In fact, there is a wetter, more organic timbre to the midrange in general. It isn’t the tight, crispy kind, so certain background elements (like background vocals and larger string sections) may blend together as a result. But, again, like that reedy quality, it’s just a slight colouration worth noting.
The treble, I think, is very nicely shaped. It’s refined and smooth, yet articulate and extended. It adds air and detail, but never forces them on you. I adore its subtler nature, whilst maintaining strong technique. This is also shown in the in-ear’s clean and distinct background, along with its open, expansive stage. Though, I will critique it a tad here. The Fulgrim, despite its width, lacks scale, and I think it’s down to the in-ear’s average height. It doesn’t quite have that wow factor in staging. Also, I’d love a bit more texture (or granularity) in both the treble and midrange for it to compete with the best of the best.
I came away from the Fulgrim demo feeling pretty impressed that this was the brand’s first IEM, and thinking that it could certainly compete in the $3000-4000 range. However, finding out later that this in-ear is set to come out at $6000 definitely gave me some pause. Not only did it have quite a few sonic shortcomings, it also lacked the metal shell, or the premium finish, or the luxe accessories… something, to justify such an exorbitant price tag. If Alpha Omega are set on that $6000 MSRP, they’re gonna have to do a ton of work, lest they plunge their feet deep in the fire.
The next booth I visited was Vision Ears. The German juggernauts were launching a new line of custom in-ears, including the VE ZEN (a custom VE10), which I’m particularly excited about. Since I’ve talked about the ZEN and the PURE (formerly known as the VE7) in the past, I chose to solely focus on the new models: The ONE, PRO and XCON.
VE ONE (900 EUR incl. German VAT)
The VE ONE is a 1BA + 1DD hybrid, and it’s a warm, yet lively in-ear monitor. Its lows and mids are pushed forward, creating a bouncy, engaging, in-your-face sorta sound. The treble peaks at around 6kHz for a bright, glitzy transient, then the rest of the region is pushed pretty far back. It isn’t the airiest or tightest-sounding in-ear as a result, but the treble extends enough to give the ONE a solid image with good separation.
A nice balance is struck between the ONE’s sub- and mid-bass, resulting in a low-end that can both thump and sing. Listening to Snarky Puppy’s Bet, Michael League’s bass guitar has just as much presence and character as the kick drum, which makes that record all the more fun. And, the kick drum itself is rendered with a full, meaty and satisfying thump. The midrange, despite receiving no aid from outrageous driver counts or BCDs, boasts excellent dynamics too. Lead instruments ebb and flow, showing a level of movement that I’ve seen much pricier IEMs often ignore.
So, the ONE isn’t the most technical IEM in the world. It images wide, but its forward mids and relaxed high-treble limit depth. And, neither its background nor its outlines are as clean as, say, Lime Ears’ Terra, which is only slightly more expensive. But, as far as musicality, engagement and character go, especially in the midrange, I think the ONE is a standout piece. For those who seek personality and movement in your instruments, as well as a custom form factor, the ONE is one to watch.
VE PRO (1400 EUR incl. German VAT)
The PRO is a 3BA + 1DD hybrid, and it’s, to me, a spiritual successor to VE’s 4.2. It’s dynamic, impact-driven and lies somewhere between a V and W-shape in tone. It’s got a more extended treble than the ONE, but it has that same 5-6kHz peak at the same time. So, despite achieving more cleanliness and air, it’s all masked by the splash and glitz that elevation brings. The highs lack linearity, and that’s what bugged me most throughout my demo.
Compared to the ONE, the mids and bass have been altered a tad to maximise contrast. The former is cleaner and more relaxed, so you’re getting less of a vocal focus. And, the lows are more sub-bass driven; more nimble and light on their feet. I think these changes are why I prefer the ONE’s sound, and why I don't mind the lower-treble there. At least it has a fuller lower-half cushioning those transients, while the PRO almost lets the peak dominate its signature.
To my ears, this is a model that’ll be far more appreciated by performers than listeners. I think it’s too brash and edgy to casually listen to. I think the ONE is far more pleasing, personally. However, that intense, impactful, grab-your-attention sound is something musicians on stage will want. Because of the in-ear’s clean, palpable lows and its cutting highs, I reckon the bassists, drummers and percussionists among you will love this as a monitor. So, of all the new models, this is the one I personally liked least, but I can see its uses in the pro’s toolbox.
VE XCON (2200 EUR incl. German VAT)
The XCON is a successor to the VE’s once-flagship VE6XC. Like it, the XCON has 6 BAs and 2 switchable signatures. However, instead of a mechanical switch, the XCON toggles between its 2 profiles with magnets. There’s a port in the faceplate where a magnetic module lives, and the XCON’s sound is determined by whether or not the module is inside it. Amin explained to me that the previous design (which had a switch protruding from the faceplate) was prone to accidental switching when a performer was, for example, changing their costume. So, they gave the XCON a switch that’s flush with the faceplate. VE provide a metal tool (essentially, a small metal rod) to transport the module in or out of the faceplate. And, because the magnets are strong enough to “guide” themselves, I found it super easy to do even with the XCON’s in my ear; without looking.
Personally, I think this new system kinda replaces a problem with another. You won’t mistakenly toggle the switch anymore, but switching is now a lot more cumbersome - near-impossible to do on the fly - and you now have a tool to worry about potentially misplacing too, not to mention the modules. To circumvent the latter though, if the XCON’s storage case is any indication, it looks like VE might include a backup pair in case anything goes wrong. And, again, the magnets are really strong, so it’s not like they’ll accidentally fall off the tool as you’re using it. So, I don't know if it's the most ideal solution in the world, but at least it works.
It’s also worth noting that these modules aren’t like ADEL or apex modules, which shape sound acoustically. The toggle between the XCON’s 2 profiles is purely electronic. And, you won’t lose the seal if you take the modules out, because the port is closed off; not a vent. Finally, the last difference between it and the 6XC is you can’t order it with only 1 of the 2 signatures; it’ll always come with both.
With the magnets in, the XCON has a thick, smoky, organic tone; not unlike how I described the Noble Audio Shogun earlier. It’s a sound that’s otherwise well-balanced and safe, enhanced by lifts in the lows and low-mids. The bass is mid-bass-leaning, delivering thud-y, throbby hits with a heavy hand. It honestly does sound like a lifted, BA bass with more bark than bite, so I wasn’t necessarily blown away there. The midrange is on the thicker, darker side, which is excellent for deeper male vocals, baritone saxes, etc. Whereas, instruments that require texture higher up - say, raspier male vocals, female vocals or reedier brass instruments - may find this profile a bit lacking. The treble is articulate, but light on crispness and air. It’s a rounder treble with dulled, feathered edges, so you’ll get transients that are soft and buttery, versus ones that are clean and floaty.
Taking the magnets out, you’ll get a much cleaner, airier and more neutral response. That wet, thud-y bass is now tighter, quicker and more reserved. And, this then allows the treble to gain openness without lifting a finger. Because there are less elements taking up space, the in-ear’s stage immediately becomes airier and more open. So, even if those highs are still on the softer side, the XCON’s soundscape in this setting is clean, tidy and expertly separated. An element that’s remained from the previous profile is the thicker midrange. That elevation now is closer to the centre-mids - around 1kHz - which gives instruments a dense, chesty, rounded timbre. But, because they’re far less obstructed, they can breathe more freely. So, the XCON in this setting is light, refined and safe, but with the bonus of having rich, substantiated vocals sat comfortably in its clean, open space.
YU9 AUDIO QUE (USD 400)
This was probably the biggest surprise throughout the entire show for me. After wading through pools of $4000 in-ears, I was introduced to one a tenth of the price (credit to @Crazeee). The Que is a 1BA + 1DD hybrid from Yu9 Audio, and it is, far and away, the best sub-$1000 IEM I’ve heard in a very, very long time; maybe, ever.
The Que is a superbly-balanced, U-shaped IEM, and the star of the show here is its outstanding treble. Despite dedicating just a single BA to the region (and the mids, mind you), it immediately comes off levelled, refined and balanced; as if, from 5kHz up, it holds a perfectly-straight line to the very top. Whether it’s hi-hats, cymbals or vocal sibilants, the treble is crisp and granular, yet flawlessly smooth. There isn’t a tick, or a tizz, or a ring that sticks out, and, again, it’s as if every possible spike has been compressed and controlled. It’s a treble I truly can’t fault in tuning, nor in detail (which it has a ton of). It puts quite a few multi-tweeter trebles I heard at this show to shame, and this region alone is worth the price of admission to me. It’s stunning work from the Yu9 team, and I’m glad to see that a tuner’s skill will always shine, no matter the price or driver count.
The lows get out of the way unless called for; tilted more towards the sub-bass, providing some needed wub-wubs along the perimeter of the stage. As a result, the midrange is pretty light on warmth. But, like the treble, because of how linear they are - rising steadily from the lower-mids into the pinna gain - they have a natural, organic density to them. For example, when a pianist slams on the leftmost keys, the mid-bass won’t add any extra boom or decay. But, what is there is represented with a realistic amount of body, and nothing ever sounds hollow or thin. Its staging is also impressive for the price, easily lining the head with an even sphere that’s rich in spatial detail.
To me, the upper-mids could be a bit more evocative or expressive to hold your attention. And, its main weakness overall is definitely dynamics. Like most entry-level in-ears, it’s not fantastic at portraying huge, macrodynamic swings, so tracks, rather than going from 0 to 100, instead go from 30 to 70 most of the time. And, after 3 or 4 tracks, those used to elite IEMs will likely feel it go a little bit dull. But, despite these shortcomings, I think the Que accomplishes way, way more than its $400 price tag demands. It outclasses TOTLs multiple times its price in treble tuning, it doesn’t drop the ball on any of the basics, and it’s just unfailingly likable, pleasing and refined in just about every way. This was easily my dark horse of the show, and I’m absolutely certain that it’ll be a hit whenever it comes out.
As the show was coming to a close, I decided to visit two brands local to Singapore: Forte Ears and Jomo Audio. First heading to the former, fresh off reviewing their flagship Macbeth, I was curious to see what Riccardo had in store for his sophomore effort: The Mefisto.
FORTE EARS MEFISTO (USD 2899)
If the Macbeth is a refined, sophisticated concert hall, the Mefisto is a rowdy rock concert. The transition between the former’s BA woofers to the latter’s dual-DDs sets the tone for how the two differ. The Mefisto has bigger notes, bigger macrodynamic swings and a more unified wall of sound. It’s not too concerned with the finer minutia (like the Macbeth is), opting instead to deliver bouncy waves to get your toes tapping.
The DDs trade off the Diablo BA’s finesse for a thicker, heavier, more physical thump, as well as a more melodic upper-bass. The former strongly beefs up kick drums, while the latter highlights basslines. It’s a more sing-songy bass, rather than one that only exists to thud and rumble. The woofers take longer to decay too, resulting in wetness and warmth permeating the midrange. This is part of the reason why the Mefisto is a rowdier monitor than its bigger brother, and it’s a theme we’ll see echoed further up.
The Mefisto’s midrange curve actually follows the Macbeth’s pretty similarly. It has that same lower-midrange tightness and upper-midrange tilt. But, it doesn’t feel as dry or corseted, thanks to that extra smoke provided by the lows. The mids are a tad less distant to you as well, though that could just be the treble sending you nearer spatial cues. Speaking of, the Mefisto’s highs have experienced a similar change as the lows. Versus the Macbeth’s smaller, sparser pin pricks, the Mefisto’s transients have a broader attack. Those edges aren’t as small or distantly separated, so you’re trading away a bit of precision (or specificity) for a more washy, less pointed edge.
My only qualms with the in-ear would be its middling background. It’s not as clean and distinct as the Macbeth’s, even if it is a lower-end model. The treble also has that planar sand that I’ve been talking about this entire article. There’s a gritty shimmer that makes all hi-hats sound more like sand hats, and it can introduce the tiniest hints of a rasp on certain voices. But, whether or not that’s an issue for you will ultimately be determined by your sensitivity, as well as whether or not your library provokes it.
Listening to it with the Temptation cable, I hear a stronger change versus the Ambition on the Macbeth. It immediately gains a lusher, richer timbre, which I’d classify as organic-warm. Vocals are much wetter and thicker, and they take longer to decay, as if enhanced with reverb. But, I think the biggest improvements are three-dimensionality and depth. Despite not having a BCD, I hear shades of the Macbeth’s holography in the midrange. And, the treble has more headroom with less coarseness too. So, it’s a potential avenue to explore if you want a lusher, warmer, deeper sound out of the Mefisto. Though, at double the original price, I’d probably recommend searching for more affordable cable options elsewhere; perhaps in Eletech’s own lineup.
And, finally, Singapore’s very own Jomo Audio. They had a collection of old and new, including a couple of prototypes, and here’s what I thought of them all.
JOMO AUDIO SERENITY (TBA)
The Serenity is a tri-brid IEM with 2 DDs, 4 BAs and 2 planar drivers, delivering what I consider an easy, breezy, relaxing listen. It has a U-shaped curve with a nice, bellowing low-end, playing an unintrusive, supporting role, despite its elevation. And, the highs provide a smooth sense of openness and air, whilst remaining refined almost at all times. That slight planar grain does rear its head every once in a while, but never to any notable degree, and the top-end’s linear tuning greatly aids in blending it in.
The midrange is probably where I’m not as positive. I find it a bit light; lacking in centre-mid content. Instruments almost sound brighter and higher-pitched, with less of an emphasis on density, earthiness or warmth. It’s not a strong enough colouration to ever seem shouty or nasal, but I do find it a bit floaty, and whether or not you agree will come down to preference. What I appreciate about the midrange is how uniform it is with the lows and highs. It doesn’t impose itself, which is why it never gets too intense. It knows its place in the mix, and it keeps its energy levels relatively calm. So, the end result is, again, a breezy, relaxing tone.
The Serenity is a shoo-in for listeners looking for an open, spacious IEM to put your feet up and listen to. As long as you don’t mind its lighter, less earthy midrange, it’s a monitor that’s as easy to listen to as it is to look at.
JOMO AUDIO ‘NAUTIC GLEAM’ PROTOTYPE (TBA)
Next, we have the Nautic Gleam prototype, which looks like a companion or spiritual successor of the Nautilus. Sporting a similar config of 1 DD, 1 BA and 1 planar driver, it’s warm with a hit of crisp air. It has a rich, natural tone from the lows to the high-mids, then the highs are heightened with a powdery, sandy, mid-treble rise. The result isn’t dissimilar from AAW’s Mokara; balanced, well-rounded instruments colored with a bit of etch. For me, trading some of that mid-treble for more high-treble air would make the region more linear. It’d make for a broader, gentler colouration. Alternatively, the bass could also be a little wetter to pillow some of that crispness. I find the Nautic Gleam technically sound too, but not as dynamic and deep-sounding as the Serenity. I can see this being a great companion to the fuller, rowdier Nautilus, and I hope to see it refined a tad bit more before release.
JOMO AUDIO ‘VIPER’ PROTOTYPE (TBA)
Just before the show closed, I managed to sneak a listen to Jomo’s Viper prototype, and I found myself enjoying this one quite a bit. It comes packed with 1 DD, 2 BAs and 1 planar driver, and it has a dynamic, yet well-balanced tonality. It's neutral-natural with a W-shaped response, though I can’t recall exactly where its emphases are. What I’m certain of is the contrast they generate, resulting in a punchy, vivid, toe-tapping sound. The one caveat I have with the Viper prototype is the midrange could be a bit more open. The monitor’s energetic, jam-packed sound leaves little space for vocals to open up and breathe. But, if Joseph can fix that issue by the in-ear’s launch, this could be a model listeners gravitate to for its musicality.
And, that’s a wrap for my coverage of CanJam Singapore 2025. I feel like a broken record saying each year is better than the last, but I’d be lying if I said it wasn’t true. Every single time I fly out, there’s something new to look forward to - new people to meet, new stories to tell - and I’m constantly grateful for the community that Head-Fi and this specific Watercooler thread has cultivated. More than ever before, attending CanJam is about the people, rather than the gear, and it very well shows in that photo below, which only gets more and more packed every single year. I hope more and more Coolers get the chance to attend these shows, because you have no idea how much fun you’ll have. And, I hope this sense of togetherness never fades, because this is what this hobby should be all about. Until 2026, cheers!
