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Effect Audio cables thread
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Cross posting from Discovery Thread:-
Hello guys, I have posted a review on the latest Effect Audio Ares S MKii cable. IMO, it adds a good character to my IEMs adding an overall more heft and weight to the sound.
I believe the pros would be the added punch to the mid-bass region, more weight to the vocals, and more depth to the stage. For cons, I would say the Ares S MKii is not very revealing in terms of minute details.
My full take here:-
https://www.head-fi.org/showcase/effect-audio-ares-s-mkii.27643/reviews
Hello guys, I have posted a review on the latest Effect Audio Ares S MKii cable. IMO, it adds a good character to my IEMs adding an overall more heft and weight to the sound.
I believe the pros would be the added punch to the mid-bass region, more weight to the vocals, and more depth to the stage. For cons, I would say the Ares S MKii is not very revealing in terms of minute details.
My full take here:-
https://www.head-fi.org/showcase/effect-audio-ares-s-mkii.27643/reviews
Well well well, what do we have here? the full line-up of Signature Series-II is in! Below are my impressions of them.
For my assessment of the performance of the Signature Series II, I chose the 634EARS LOAK2-TX01, one of their flagship trio. It is a single DD iem costing around 835 USD (128000 JPY). The sound profile is v-shaped, with highly transparent mid, lots of energy throughout, and brilliant end-to-end extension. I felt that this is a nice candidate to properly reveal the cables' inherent nature. As a source I used ibasso DX260.
This new Signature Series II differs most obviously from its predecessor in the strand count - whereas the earlier series Ares-S and Cadmus were 4-wire in the standard configuration (with 8-wire released later, Eros-S was already 8-wire), the Ares-S II and Cadmus II comes by default in 8-wire configuration.
First of all, I would like to talk about the ergonomics. While I liked the previous Signature series. I felt that the flexibility of the Ares-S and Cadmus could be improved further. The Eros-S was fine though. Well, looks like EA did read my mind and accordingly improved them. The transparent sheath this time is very pliable and easier to handle, with almost no memory effect. Makes the fit around the ears noticeably more comfortable. Despite the thicker 8 -wire configuration, they are super ergonomic.
The upgraded hardware also looks classier than the previous one. Especially the touch of carbon fiber with matching colour scheme in the splitter elevates the presentation altogether.
Ares-S II
Prior to this I was using a 7N UPOCC pure copper cable with the TX01. As soon as I swapped the Ares-S II, I noticed an immediate improvement in the spaciousness of the presentation. The whole soundstage got bigger with more space between notes. I also could hear a subtle improvement in the subbass and midbass heft, but no boominess at all. The midrange and treble notes were largely unaffected. The way it added a slight boost in the lower frequency range whereas not touching the rest is commendable indeed.
Cadmus II
When I replaced the Ares -S II with the Cadmus II, I could feel something changed, but it did not become immediately apparent. I had to swap them back 3-4 times to finally apprehend the difference Cadmus II is making to the sound. Simply put, it slightly attenuated the bass heft that Ares S II introduced, and simultaneously enhanced the presence of the upper frequencies. It made the sound slightly more revealing, and a tiny bit brighter in the process. Now, the TX01 is already a very energetic iem, so this effect does not exactly go well with its sound signature, at least for my taste. But I can guess for smoother or a bit darker iems the Cadmus II will do wonders!
Eros-S II
I still remember my original impression of the Eros-S. I was a bit puzzled at what it was doing - the note definitions seemed oddly slightly more realistic, nothing seemed overly energised yet the details seemed a bit more prominent. That same effect is present here as well, just more enhanced. It makes the stage bigger, with more separation, and slightly bigger notes, without any over-exaggeration. Very skillfully crafted I must say. Just like it claims, it enhances the overall musicality.
Effect Audio has improved the introductory Signature Series in both the physical presentation and performance to its second generation. Hats off to them for that!
Effect Audio Signature Series 2 Review
Pros: Technicalities improvement over EA cables signature series 1
Analog Sound customization as per personal choice
An aesthetic improvement over previous cables
Great build quality (8W especially feels very regal to me)
Value for money
Cons: None at this price
Disclaimer: - I am a bass head and prefer a wide sound with natural timbre, excellent imaging and thumpy mid-bass with moderate decay and clinical precision regarding instrument separation. I am highly averse to bright-sounding transducers and sibilance in my music.
This Trio of Effect Audio Signature Series 2 was sent to me by Audio Geek India as part of the EA cables SS2 tour. I have the prototypes which don’t have the new connectors and Y-Splitters but offer the same performance as the final version. I thank Audio Geek India & Effect Audio for this opportunity to listen and review SS2. My views aren’t influenced either by Audio Geek/Effect Audio in any way.
Let’s eat our frog first and duel with questions like:-
Do cables even make a difference?
I feel yes. They do. I feel quite a bit of difference when I roll cables. I know I am not immune to placebo and might just parroting the stereotypical perceptions of various metals, used in a cable. So, take this as my subjective take. Not based on any scientific reasoning, just what I feel.
Do cables make enough difference to warrant additional spending?
Yes. I do invest in cables separately with my iems.
As a rule of thumb, what ratio should be spent in an iem/cable proposition?
I would guess maybe 80-20. For a 800-1500 USD iem I feel 200-400 cables should make sense. It’s more about the synergy of the iem with the cable rather than pricing here. So, YMMV. I say this because cables impart minimalistic yet perceivable change to the sound.
Build quality: I have always liked hefty, thick cables and EA pretty much makes cables that are right up my alley when it comes to aesthetic appeal. At first, I wasn’t aware that I had prototypes on me and I didn’t find the connectors to be quite appealing.
But, from the pics of the newer models, they seem fine. So I won’t delve much into the build quality.
I had no issues with fit or cable management in any way during my listening time with them.
Introduction: Having tried 6 EA cables I feel they do have a house sound. There is a slight warmth ringing to all EA cables. Just a smudge of sub-bass I believe that all EA cables help put in front.
Also, I feel they blunt the bass attacks and the harsh highs alike. This leads to a slight rounding of bass notes but at the same time tames those harsh highs. Every EA cable I hear has this tendency to some extent. In SS2 I hear the same DNA but bass textures and the property of rounding the lower notes, taking their edge off is minimal and all of the three cables don’t change much in the tuning as much as they change in technicalities.
I feel the improvement in technicalities and leaning to a more analytical side of things is the direction that EA has taken with SS2. Rather than feeling the change in one frequency over another, the change in soundstage, Imaging, ‘Heft’ and darker background are very easily perceptible on the SS2, especially over the previous gen.
Sound Impressions with iems:
Flip Ears Aurora:
Aurora with Cadmus 2: sounds pretty clean compared to other cables. The house effect audio ringing is there. Rounding of edges is there but in Cadmus, I felt that the original texture in bass is retained better than in other combinations. And the highs also get the treatment of being less harsh without compromising in detail.
I feel the sound leaning towards the analytical side of things, just a tad; since I don't feel a lot of warmth in this presentation. Imaging definitely feels more accurate on Cadmus. The soundstage spans pretty wide pushing the aurora to its capacity to depict a wide soundstage. Overall I found it to be 'clean' sounding if I had to put it in one word.
Aurora with Ares S 2: Definitely more mid-bass than Cadmus. I feel the mid-bass is relatively unhinged in this cable and slams deeper than cadmus. The quantity of highs is reduced and highs feel smoothed out. Compared to Cadmus it leans on the musical side but standalone it is also equally technical itself. Against Cadmus s 2 I feel the technicalities are at par. They pop more on Cadmus due to a tamed low end. I would generally turn the volume up by 4 on Ibasso dx320 when I would switch from Cadmus to Ares S ii.
Aurora with Eros s(old version - 8W) I feel the texture of the bass is better on the Ares s2. Technicalities are also a tad better. Instrument separation takes a slight hit. Smoothing of highs is there but not as much as Ares SS2. Here I feel like raising the volume by 2 steps compared to Cadmus s 2, which I guess because of my aversion to highs and aurora being a V-shaped tuning can be taxing at high volumes(32 on amp14).
Aurora with Eros s: it imparts out more V-shaped characteristics to the iem. Highs do get blunted and are free from harshness but gain a little in quantity. Relatively more gain is felt in the mid-bass than the gain in the highs. I listened to this cable at around 30 at first but later it sounded too busy. Busy as in, with the details popping out left right and center it was a tad overwhelming. Aurora already being the V-shaped iem was too much for my taste on this pairing.
Aurora with stock cable - highs sometimes feel harsh which gets greatly treated by any of the effect audio cables. Mid-bass texture is better on the stock cable. Mid-bass quantity, impact and slam were better on Ares SS2.
Technicalities get quite improved in all the signature 2 ones.
If I had to go with one, I would pick Ares SS2 for Aurora. And especially when I want to listen to upbeat music at loud volumes.
Cadmus would be my second choice for the different presentations it provides. I would prefer instrumental or classical or something more relaxed on this cable.
Thieaudio Monarch MK3
Mk3 with Ares S2: If you want to go for a warmer sound I will say the Ares SS2 doesn’t make the sound as warm as the SS1. The gain in lower frequencies isn’t perceived as much as the previous one but technicalities definitely improve over SS1. I would pick this one if I wanted to tame the highs marginally and wanted a tinge of warmth.
Mk3 with Ares S1: For a warmer presentation this is still my go-to cable as it tames the highs a bit more than the newer ones for me and imparts more warmth. The background isn’t as dark and clean as with the Ares S2 so I prefer this one when I want to hear upbeat loud music.
MK3 with Cadmus SS2: I found this to be quite a nuanced pairing for Mk3. Classical and instrumental sound best on this one. Bass textures are easily perceptible. Doesn’t add warmth in any way and is the cleanest out of our comparisons. Timbre on the drum attacks feel very incisive and accurate on this cable. Marginally increases the treble but I would say despite the V-shaped MK3 and my aversion to highs, it was still my second choice in this whole comparison.
I particularly enjoyed classical and instrumental on it. Ghazals, Sufi Music, and Instrumental sound phenomenal in this pairing.
Mk3 with Eros SS2: Well, this is the pairing that derived the most mileage from MK3 for me. I feel elevation in the mid-bass here. More than Ares ss2 and less than Ares S1. Hitting a sweet spot with an overall balanced sound. The technicalities are top notch and the presentation is very engaging with this cable. The highs have enough air around them and with the already spacious-sounding MK3. I could lean my attention comfortably through highs, mids or lows. Busier tracks are handled best on this cable.
Mk3 with stock: Sounds a little thin to me. Like lacking a little bit of ‘Heft’. The silver cable doesn’t offer a dark background and enough note weight.
Overall, if I could pick one with Mk3 I would go for Eros SS2 but as a close second, I also feel enticed towards Cadmus with the MK3 for instrumental.
All 3 cables do offer technical improvements over the stock and are particularly nice to hold and use. Mk3 fits like a custom in my ears and the cables worked fine with it when it came to the fit.
ISN Audio EST50:-
Lunashops 7N OCC cable: I feel this one to be less warm than the Ares s but the imaging takes a hit which makes this cable less enjoyable. It's a fine cable and is my baseline for est50. I started cable rolling with this cable.
Ares S: this is my guilty pleasure. Combining an already warm iem with a warm cable. I need this combination when I hear to my regional upbeat music and don't want to worry about any sibilance. The sub-bass and mid-bass come into the foreground for me. The vocals have a melodic effect on me which I highly revered in this pairing. Not as technical as the next three but it enables my est50 to do what it was meant to do in the best possible rendition for me
Ares S SS2: technicalities improve with the SS2. Warmth is reduced as compared to SS1 and highs are relatively boosted compared to the previous gen Ares SS1. I feel the timbre of guitar strings shine more on this one. The soundstage and imaging feel better.
Eros S SS2: relative to Ares S SS2 I find this one to be delivering smoother highs. I will assume on par with technicalities in Ares SS2 but better tonality for me. It makes EST50 sound from a very smooth warm iem to a balanced sounding iem on this cable. Imaging and soundstage like the Ares SS2 sound excellent. It's hard to infer which cable I feel better technicalities. I feel more of a tonal change here.
Cadmus SS2 - I find this to be the cleanest presentation for the est50. The background seems darkest in this pairing the warmth is lowest among the comparisons. Instruments shine out of a dark background and post the decay the darker background is retained creating the most technical listen. Vocals have more air around them with this cable. This is true for all pairings. Air around the vocals separating them from the rest of the sound cues is I would say a Cadmus SS2 feature.
I have a tie in this selection. I would personally like to have the est50 with two flavours. For a truly musical and warm sound, I would choose Ares S1 despite the better technicalities or Eros SS2.
In order to tweak the sound towards a less warm yet not bright, I would like to pair it with cadmus. It's great for analytical listening to notice timbre, soundstage and instrument separation.
Conclusion: I had a very fun time reviewing EA cables. I am someone who wants to juice the last drop of water out of a rock when it comes to my audio chain and I am tumbling down the rabbit hole and enjoying my experience with tip rolling & cable rolling.
I feel they offer great value for money. Getting the synergy right is more important than thinking about the price among these three or similar-priced cable options. The kind of marginal change that you want to impart to the sound should dictate your decision, IMO. Eros SS2 might be the priciest but with Aurora, I did like the Ares SS2 to tame the highs and for its technicalities.
Signing off, thank you for reading.
Pros: Technicalities improvement over EA cables signature series 1
Analog Sound customization as per personal choice
An aesthetic improvement over previous cables
Great build quality (8W especially feels very regal to me)
Value for money
Cons: None at this price
Disclaimer: - I am a bass head and prefer a wide sound with natural timbre, excellent imaging and thumpy mid-bass with moderate decay and clinical precision regarding instrument separation. I am highly averse to bright-sounding transducers and sibilance in my music.
This Trio of Effect Audio Signature Series 2 was sent to me by Audio Geek India as part of the EA cables SS2 tour. I have the prototypes which don’t have the new connectors and Y-Splitters but offer the same performance as the final version. I thank Audio Geek India & Effect Audio for this opportunity to listen and review SS2. My views aren’t influenced either by Audio Geek/Effect Audio in any way.
Let’s eat our frog first and duel with questions like:-
Do cables even make a difference?
I feel yes. They do. I feel quite a bit of difference when I roll cables. I know I am not immune to placebo and might just parroting the stereotypical perceptions of various metals, used in a cable. So, take this as my subjective take. Not based on any scientific reasoning, just what I feel.
Do cables make enough difference to warrant additional spending?
Yes. I do invest in cables separately with my iems.
As a rule of thumb, what ratio should be spent in an iem/cable proposition?
I would guess maybe 80-20. For a 800-1500 USD iem I feel 200-400 cables should make sense. It’s more about the synergy of the iem with the cable rather than pricing here. So, YMMV. I say this because cables impart minimalistic yet perceivable change to the sound.
Build quality: I have always liked hefty, thick cables and EA pretty much makes cables that are right up my alley when it comes to aesthetic appeal. At first, I wasn’t aware that I had prototypes on me and I didn’t find the connectors to be quite appealing.
But, from the pics of the newer models, they seem fine. So I won’t delve much into the build quality.
I had no issues with fit or cable management in any way during my listening time with them.
Introduction: Having tried 6 EA cables I feel they do have a house sound. There is a slight warmth ringing to all EA cables. Just a smudge of sub-bass I believe that all EA cables help put in front.
Also, I feel they blunt the bass attacks and the harsh highs alike. This leads to a slight rounding of bass notes but at the same time tames those harsh highs. Every EA cable I hear has this tendency to some extent. In SS2 I hear the same DNA but bass textures and the property of rounding the lower notes, taking their edge off is minimal and all of the three cables don’t change much in the tuning as much as they change in technicalities.
I feel the improvement in technicalities and leaning to a more analytical side of things is the direction that EA has taken with SS2. Rather than feeling the change in one frequency over another, the change in soundstage, Imaging, ‘Heft’ and darker background are very easily perceptible on the SS2, especially over the previous gen.
Sound Impressions with iems:
Flip Ears Aurora:
Aurora with Cadmus 2: sounds pretty clean compared to other cables. The house effect audio ringing is there. Rounding of edges is there but in Cadmus, I felt that the original texture in bass is retained better than in other combinations. And the highs also get the treatment of being less harsh without compromising in detail.
I feel the sound leaning towards the analytical side of things, just a tad; since I don't feel a lot of warmth in this presentation. Imaging definitely feels more accurate on Cadmus. The soundstage spans pretty wide pushing the aurora to its capacity to depict a wide soundstage. Overall I found it to be 'clean' sounding if I had to put it in one word.
Aurora with Ares S 2: Definitely more mid-bass than Cadmus. I feel the mid-bass is relatively unhinged in this cable and slams deeper than cadmus. The quantity of highs is reduced and highs feel smoothed out. Compared to Cadmus it leans on the musical side but standalone it is also equally technical itself. Against Cadmus s 2 I feel the technicalities are at par. They pop more on Cadmus due to a tamed low end. I would generally turn the volume up by 4 on Ibasso dx320 when I would switch from Cadmus to Ares S ii.
Aurora with Eros s(old version - 8W) I feel the texture of the bass is better on the Ares s2. Technicalities are also a tad better. Instrument separation takes a slight hit. Smoothing of highs is there but not as much as Ares SS2. Here I feel like raising the volume by 2 steps compared to Cadmus s 2, which I guess because of my aversion to highs and aurora being a V-shaped tuning can be taxing at high volumes(32 on amp14).
Aurora with Eros s: it imparts out more V-shaped characteristics to the iem. Highs do get blunted and are free from harshness but gain a little in quantity. Relatively more gain is felt in the mid-bass than the gain in the highs. I listened to this cable at around 30 at first but later it sounded too busy. Busy as in, with the details popping out left right and center it was a tad overwhelming. Aurora already being the V-shaped iem was too much for my taste on this pairing.
Aurora with stock cable - highs sometimes feel harsh which gets greatly treated by any of the effect audio cables. Mid-bass texture is better on the stock cable. Mid-bass quantity, impact and slam were better on Ares SS2.
Technicalities get quite improved in all the signature 2 ones.
If I had to go with one, I would pick Ares SS2 for Aurora. And especially when I want to listen to upbeat music at loud volumes.
Cadmus would be my second choice for the different presentations it provides. I would prefer instrumental or classical or something more relaxed on this cable.
Thieaudio Monarch MK3
Mk3 with Ares S2: If you want to go for a warmer sound I will say the Ares SS2 doesn’t make the sound as warm as the SS1. The gain in lower frequencies isn’t perceived as much as the previous one but technicalities definitely improve over SS1. I would pick this one if I wanted to tame the highs marginally and wanted a tinge of warmth.
Mk3 with Ares S1: For a warmer presentation this is still my go-to cable as it tames the highs a bit more than the newer ones for me and imparts more warmth. The background isn’t as dark and clean as with the Ares S2 so I prefer this one when I want to hear upbeat loud music.
MK3 with Cadmus SS2: I found this to be quite a nuanced pairing for Mk3. Classical and instrumental sound best on this one. Bass textures are easily perceptible. Doesn’t add warmth in any way and is the cleanest out of our comparisons. Timbre on the drum attacks feel very incisive and accurate on this cable. Marginally increases the treble but I would say despite the V-shaped MK3 and my aversion to highs, it was still my second choice in this whole comparison.
I particularly enjoyed classical and instrumental on it. Ghazals, Sufi Music, and Instrumental sound phenomenal in this pairing.
Mk3 with Eros SS2: Well, this is the pairing that derived the most mileage from MK3 for me. I feel elevation in the mid-bass here. More than Ares ss2 and less than Ares S1. Hitting a sweet spot with an overall balanced sound. The technicalities are top notch and the presentation is very engaging with this cable. The highs have enough air around them and with the already spacious-sounding MK3. I could lean my attention comfortably through highs, mids or lows. Busier tracks are handled best on this cable.
Mk3 with stock: Sounds a little thin to me. Like lacking a little bit of ‘Heft’. The silver cable doesn’t offer a dark background and enough note weight.
Overall, if I could pick one with Mk3 I would go for Eros SS2 but as a close second, I also feel enticed towards Cadmus with the MK3 for instrumental.
All 3 cables do offer technical improvements over the stock and are particularly nice to hold and use. Mk3 fits like a custom in my ears and the cables worked fine with it when it came to the fit.
ISN Audio EST50:-
Lunashops 7N OCC cable: I feel this one to be less warm than the Ares s but the imaging takes a hit which makes this cable less enjoyable. It's a fine cable and is my baseline for est50. I started cable rolling with this cable.
Ares S: this is my guilty pleasure. Combining an already warm iem with a warm cable. I need this combination when I hear to my regional upbeat music and don't want to worry about any sibilance. The sub-bass and mid-bass come into the foreground for me. The vocals have a melodic effect on me which I highly revered in this pairing. Not as technical as the next three but it enables my est50 to do what it was meant to do in the best possible rendition for me
Ares S SS2: technicalities improve with the SS2. Warmth is reduced as compared to SS1 and highs are relatively boosted compared to the previous gen Ares SS1. I feel the timbre of guitar strings shine more on this one. The soundstage and imaging feel better.
Eros S SS2: relative to Ares S SS2 I find this one to be delivering smoother highs. I will assume on par with technicalities in Ares SS2 but better tonality for me. It makes EST50 sound from a very smooth warm iem to a balanced sounding iem on this cable. Imaging and soundstage like the Ares SS2 sound excellent. It's hard to infer which cable I feel better technicalities. I feel more of a tonal change here.
Cadmus SS2 - I find this to be the cleanest presentation for the est50. The background seems darkest in this pairing the warmth is lowest among the comparisons. Instruments shine out of a dark background and post the decay the darker background is retained creating the most technical listen. Vocals have more air around them with this cable. This is true for all pairings. Air around the vocals separating them from the rest of the sound cues is I would say a Cadmus SS2 feature.
I have a tie in this selection. I would personally like to have the est50 with two flavours. For a truly musical and warm sound, I would choose Ares S1 despite the better technicalities or Eros SS2.
In order to tweak the sound towards a less warm yet not bright, I would like to pair it with cadmus. It's great for analytical listening to notice timbre, soundstage and instrument separation.
Conclusion: I had a very fun time reviewing EA cables. I am someone who wants to juice the last drop of water out of a rock when it comes to my audio chain and I am tumbling down the rabbit hole and enjoying my experience with tip rolling & cable rolling.
I feel they offer great value for money. Getting the synergy right is more important than thinking about the price among these three or similar-priced cable options. The kind of marginal change that you want to impart to the sound should dictate your decision, IMO. Eros SS2 might be the priciest but with Aurora, I did like the Ares SS2 to tame the highs and for its technicalities.
Signing off, thank you for reading.
Zerstorer_GOhren
1000+ Head-Fier
Initial impressions on Effect Audio Ares S II
Reviewing IEM cable is probably one of the hardest and quite a time-consuming affair for me as I always try to switch IEMs to another by means of attaching and detaching processes. I am also trying hard to figure out if there are some noticeable changes of the sonic qualities but again in my opinion, it's up to capacitance, inductance, resistance and conductance of certain materials.
What I have here is another product from EFFECT AUDIO, the ARES S II, which is the latest variant of the ARES family on their signature series in which I did a previous review on its preceding model, the ARES S last year. Unlike its predecessor, it has more core structures and a tad thicker as it has an 8-core structure in 26 AWG wire with their newly improved design profile coined EPO Pro (Ergonomic Performance Optimization) that makes the cable lighter, flexible and smoother.
The cable is made of solid monocrystalline Litz copper wires which have EA Ultra Flexi Insulation coating on them. On its end, it has a 4.4mm rhodium-plated termination plug and its receptacle part is a 0.78mm bi-pin connector in which has an interesting feature as it has a proprietary feature, CON-X System where you can replace the bi-pin connector with MMCX connector. The ear hooks are very flexible so that it fits well into the back into my outer ear without irritation, discomfort or doing constant adjustments.
If you pair it to some sources like DAPs, headphone DAC/amp dongles, there is a very subtle emphasis on the bass
response and noticeable texture on its midrange presentation to have a bit fuller and smooth sound with no noticeable improvements on the treble section. Again it's up to the source matching if you want to determine any possible changes but to my ears, it's rather marginal and less significant like if your IEM is already has a tighter and incisive bass response, it wouldn't turn into an authoritative and boomy one which is quite unlikely in a law of physics.
But the most selling point of this premium upgrade cable would be its exquisite workmanship, build quality and aesthetically eye-pleasing design and colour scheme as it uses some of the best materials that will improve the conductivity and seamless flow of electrical signal for clean and clear sound output for the IEM transducers. And so, any microphonics issues that might affect our listening session are virtually eliminated on this high quality cable.
Reviewing IEM cable is probably one of the hardest and quite a time-consuming affair for me as I always try to switch IEMs to another by means of attaching and detaching processes. I am also trying hard to figure out if there are some noticeable changes of the sonic qualities but again in my opinion, it's up to capacitance, inductance, resistance and conductance of certain materials.
What I have here is another product from EFFECT AUDIO, the ARES S II, which is the latest variant of the ARES family on their signature series in which I did a previous review on its preceding model, the ARES S last year. Unlike its predecessor, it has more core structures and a tad thicker as it has an 8-core structure in 26 AWG wire with their newly improved design profile coined EPO Pro (Ergonomic Performance Optimization) that makes the cable lighter, flexible and smoother.
The cable is made of solid monocrystalline Litz copper wires which have EA Ultra Flexi Insulation coating on them. On its end, it has a 4.4mm rhodium-plated termination plug and its receptacle part is a 0.78mm bi-pin connector in which has an interesting feature as it has a proprietary feature, CON-X System where you can replace the bi-pin connector with MMCX connector. The ear hooks are very flexible so that it fits well into the back into my outer ear without irritation, discomfort or doing constant adjustments.
If you pair it to some sources like DAPs, headphone DAC/amp dongles, there is a very subtle emphasis on the bass
response and noticeable texture on its midrange presentation to have a bit fuller and smooth sound with no noticeable improvements on the treble section. Again it's up to the source matching if you want to determine any possible changes but to my ears, it's rather marginal and less significant like if your IEM is already has a tighter and incisive bass response, it wouldn't turn into an authoritative and boomy one which is quite unlikely in a law of physics.
But the most selling point of this premium upgrade cable would be its exquisite workmanship, build quality and aesthetically eye-pleasing design and colour scheme as it uses some of the best materials that will improve the conductivity and seamless flow of electrical signal for clean and clear sound output for the IEM transducers. And so, any microphonics issues that might affect our listening session are virtually eliminated on this high quality cable.
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Hey, everyone! Effect Audio kindly gave me the opportunity to check out their new Signature Series II cables. These are my impressions of the three, which were graciously provided at Effect’s own expense. I hope you enjoy. 
First off, these cables mark a notable departure from the Signature and Premium lines (aside from the Eros S) by adopting an 8-wire design by default. They’ve gone from the usual 4-wire, 24 AWG to 8-wire, 26 AWG. They’ve also incorporated the solid conductor core from the CODE line, as well as a few other metallurgical innovations like Quantum Copper on the Ares and TESC on the Eros, which you can read further about on Effect’s site or the full reviews of these cables, which I’m sure will arrive soon.
Another ergonomic change is the trimmed Y-split, which I’m glad to see. I’ve been getting more and more into Y-splits that are vanishing, yet stylish, and this is what Effect have achieved here. So, while the wire count has doubled, the smaller gauge and tighter braid have made them just as supple as their predecessors. I've always preferred 8-wire braids, because they’re far less likely to unwind, as the 2-wire twists on Effect’s 4-wire cables have been prone to. So, the Signature Series II will almost certainly be more durable and conductive with nearly no trade-offs in ergonomics or weight.
The one major complaint I have, though, is the plastic wrap on the ConX connectors. Not only have they used a thick, heat-shrunk plastic that glue themselves to the barrels and were impossible to tear, their attempts at giving the plastic pre-made cuts (to make removal easier) were also awfully inconsistent. Some had no cuts at all, while others had cuts so shallow that they didn't make a difference. In the end, I literally had to pick at the plastic with my nails until I had the slightest bit of a lip, then pulled on that lip slowly with tweezers, being careful not to scratch the finish on the connectors. It took me and my wife over half-an-hour (at least it felt like it) to get the plastic off all 6 ConX connectors, and it’s something I don’t want to experience ever again. I’d suggest a simple, loose wrapping of plastic next time, and I’d suggest Effect test these things before they ship it on (potentially) thousands of cables. As they say, the devil is in the details.
Anyway, ‘rant out of the way, here’s how the cables sound.
ARES S II
Like the S before it, the Ares S II delivers a one-two punch of openness and warmth. This time, I’d say it leans more towards the former. While copper cables are generally known (some might say stereotyped) for adding lushness and body, I’d argue this is more of an auxiliary weapon in the Ares S II’s arsenal. The ace up its sleeve is the depth and dynamic range it offers over your average stock cable, owing to its 8-wire design. Musical passages that were once compressed suddenly have room to move; resonate and express. And, that space is darker and cleaner too. This is especially in the mids. Whether it’s vocals, horns, guitars - you name it - they’ll enter the mix from further back, and they’ll step further forward when called for, resulting in a more open, presentation that gives the track more life. The Ares S II imparts a slight lower-mid boost helping that along too.
Speaking of its warmth, it’s not the kind that just boosts bass and loses clarity. Rather, this Ares refines IEMs by shaving off tizz or glare to round them off without hurting technique. The Aroma Audio Fei Wan is a famously energetic IEM, particularly in the low- and mid-treble. On this Ares, those regions aren’t rolled-off or dipped. I’m hearing about as much presence and cut. But, the digital, prickly notes that were on the stock cable have been combed through and cut, resulting in a finer, easier-on-the-ear sound that preserves most (if not all) of the Fei Wan’s original tone. Bass-wise, I’m not hearing the S II change too much, which I find refreshing. The improvements there are more a result of the 8-wire design. The extra dynamic range gives the lows more room to hit and decay cleanly, and the added resolution helps it cut with more detail too.
As far as weaknesses go, the Ares S II isn’t the best enabler for width. The funny thing is that it has a clean, black backdrop in all directions, but sounds on the x-axis just seem to bunch up a tad. It’s like a band playing on a big stage, but choose to stay close together anyway. Also, I do hear a low-treble bias in the top-end, tapering off in the highest registers. While it’s smooth and refined, I wouldn’t pair it with an IEM that’s already articulate there, simply for color and balance. That aside, though, I think the Ares S II sets a high bar for the entry level market. As long as you don’t mind the feel of its 8-wire config, the benefits you’ll reap from the design’s dynamic range, background blackness and air are invaluable.
CADMUS II
The Cadmus II thankfully improves on the weakness of the OG. I found the original specifically coloured and, therefore, limited as far as IEM and genre pairings go. This Cadmus eases up on that, resulting in a more versatile cable. I’d call it ever-so-slightly U-shaped, with additions in the sub-bass and high-highs. Versus the Ares S II, there’s a cleaner, flatter, more plain timbre to its midrange. Instruments don’t have the extra girth the copper cable gives them. Fortunately, they aren’t thinned out either. There’s still a hint of wetness that keeps them life-like and semi-analog. The same goes for the treble, which hasn’t been pumped up for clarity’s sake. If anything, I think it’s a bit more linear (or even) versus the Ares’s lower-treble bias. It’s a refined, clean, airy treble that doesn’t indulge in articulation, and imparts its clarity subtly.
While the Cadmus lacks the Ares’s boldness, it easily makes up for that in vibrance, expansion and note size. The light shimmer (or brilliance) it imparts onto an IEM’s treble highlights chimes, cymbals, splashes and hi-hats. They pop more than they do on the Ares, which adds an exciting contrast when the percussionist strikes them. The same goes for the upper-mids. There’s more here than the Ares S II, heightening horn stabs, snare hits and vocal belts. Then, the Cadmus’s notes are further spread out. It doesn’t have the Ares’s width issues, and it sounds notably more out-of-head. Aside from being spread further apart, these notes grow larger too. So, again, while the Ares injected life through expressive, resonant mids, the Cadmus does so with light pops of zingy energy spread throughout the stage.
Now, the Cadmus II isn’t a cable I’d get for IEMs that need intimacy or body. And, despite the improvements over its predecessor, it also isn’t a cable that’s perpetually exciting. Eventually, there will be a point in your listening session where its little pops of energy even out, and you may find the cable a smidge dull. But, that’s inevitable with 99% of cables with this sound. Either way, I commend the efforts Effect have made in improving their SPC cable. Like the Ares S II, I think it’s stellar for the money, and I can easily see it giving sleepier IEMs a spring in their step.
EROS S II
The Eros S II surprised me with a sound that’s - seemingly - drier than the Cadmus II’s. It has a tighter, crisper, cleaner attack to it. But, eventually, I realized it wasn’t because of colourations in the low-mids, mid-bass or anywhere in the FR. It’s because of the Eros’s cleaner, more pristine, more distant background, its stronger separation and faster PRaT. Notes themselves remained intact - in fact, I found them weightier and 3D-er than the Cadmus II’s - but the spaces between them were far quieter. It’s like how cutting noise in a photo automatically increases contrast. So, the Eros S II isn’t nearly as coloured as I first thought. Rather, it’s its technique that gives it this snappy, now-you-see-it-now-you-don’t sorta presentation.
The other notable advantage it has over its siblings is space. The Eros images far wider than the Ares, and marginally so over the Cadmus. Where it leaps over the latter is height. Notes on the Eros spanned a bit further upwards and downwards, and that’s a good chunk of the reason why I found its notes more 3D. It maintained tangibility more consistently too; resolving sounds with equal weight and impact all around the head. Whereas, the Cadmus II was most resolving at the center, far-right and far-left. Keep in mind, these are very minor differences I picked up in successive A/B tests. But, these discrepancies do add up towards the Eros S II’s, again, more dynamic, dense and engaging sound.
Tonally, I don’t get a lot of colouration from the Eros S II. Its primary augmentations are clarity, expansion, precision and speed. If I am to pinpoint anything, I’d say it has a similar neutrality (or nonchalance) to its lower-mids to the Cadmus, and it has a slight low-treble bite like the Ares. But, they’re quite minor, and I don’t think they’d impede the Eros from matching well with most IEMs. Just keep in mind that, again, this is a cable that adds technique more than emotion (or warmth, or resonance). So, if your IEM is already adept, and what you’re looking for is a bit of organicity or soul, then I’d suggest looking elsewhere. But, if your IEM is in need of ability, or if clarity and space are where you draw your enjoyment from, then the Eros S II is a great option, especially, like the two cables before it, for the price.
First off, these cables mark a notable departure from the Signature and Premium lines (aside from the Eros S) by adopting an 8-wire design by default. They’ve gone from the usual 4-wire, 24 AWG to 8-wire, 26 AWG. They’ve also incorporated the solid conductor core from the CODE line, as well as a few other metallurgical innovations like Quantum Copper on the Ares and TESC on the Eros, which you can read further about on Effect’s site or the full reviews of these cables, which I’m sure will arrive soon.
Another ergonomic change is the trimmed Y-split, which I’m glad to see. I’ve been getting more and more into Y-splits that are vanishing, yet stylish, and this is what Effect have achieved here. So, while the wire count has doubled, the smaller gauge and tighter braid have made them just as supple as their predecessors. I've always preferred 8-wire braids, because they’re far less likely to unwind, as the 2-wire twists on Effect’s 4-wire cables have been prone to. So, the Signature Series II will almost certainly be more durable and conductive with nearly no trade-offs in ergonomics or weight.
The one major complaint I have, though, is the plastic wrap on the ConX connectors. Not only have they used a thick, heat-shrunk plastic that glue themselves to the barrels and were impossible to tear, their attempts at giving the plastic pre-made cuts (to make removal easier) were also awfully inconsistent. Some had no cuts at all, while others had cuts so shallow that they didn't make a difference. In the end, I literally had to pick at the plastic with my nails until I had the slightest bit of a lip, then pulled on that lip slowly with tweezers, being careful not to scratch the finish on the connectors. It took me and my wife over half-an-hour (at least it felt like it) to get the plastic off all 6 ConX connectors, and it’s something I don’t want to experience ever again. I’d suggest a simple, loose wrapping of plastic next time, and I’d suggest Effect test these things before they ship it on (potentially) thousands of cables. As they say, the devil is in the details.
Anyway, ‘rant out of the way, here’s how the cables sound.
ARES S II
Like the S before it, the Ares S II delivers a one-two punch of openness and warmth. This time, I’d say it leans more towards the former. While copper cables are generally known (some might say stereotyped) for adding lushness and body, I’d argue this is more of an auxiliary weapon in the Ares S II’s arsenal. The ace up its sleeve is the depth and dynamic range it offers over your average stock cable, owing to its 8-wire design. Musical passages that were once compressed suddenly have room to move; resonate and express. And, that space is darker and cleaner too. This is especially in the mids. Whether it’s vocals, horns, guitars - you name it - they’ll enter the mix from further back, and they’ll step further forward when called for, resulting in a more open, presentation that gives the track more life. The Ares S II imparts a slight lower-mid boost helping that along too.
Speaking of its warmth, it’s not the kind that just boosts bass and loses clarity. Rather, this Ares refines IEMs by shaving off tizz or glare to round them off without hurting technique. The Aroma Audio Fei Wan is a famously energetic IEM, particularly in the low- and mid-treble. On this Ares, those regions aren’t rolled-off or dipped. I’m hearing about as much presence and cut. But, the digital, prickly notes that were on the stock cable have been combed through and cut, resulting in a finer, easier-on-the-ear sound that preserves most (if not all) of the Fei Wan’s original tone. Bass-wise, I’m not hearing the S II change too much, which I find refreshing. The improvements there are more a result of the 8-wire design. The extra dynamic range gives the lows more room to hit and decay cleanly, and the added resolution helps it cut with more detail too.
As far as weaknesses go, the Ares S II isn’t the best enabler for width. The funny thing is that it has a clean, black backdrop in all directions, but sounds on the x-axis just seem to bunch up a tad. It’s like a band playing on a big stage, but choose to stay close together anyway. Also, I do hear a low-treble bias in the top-end, tapering off in the highest registers. While it’s smooth and refined, I wouldn’t pair it with an IEM that’s already articulate there, simply for color and balance. That aside, though, I think the Ares S II sets a high bar for the entry level market. As long as you don’t mind the feel of its 8-wire config, the benefits you’ll reap from the design’s dynamic range, background blackness and air are invaluable.
CADMUS II
The Cadmus II thankfully improves on the weakness of the OG. I found the original specifically coloured and, therefore, limited as far as IEM and genre pairings go. This Cadmus eases up on that, resulting in a more versatile cable. I’d call it ever-so-slightly U-shaped, with additions in the sub-bass and high-highs. Versus the Ares S II, there’s a cleaner, flatter, more plain timbre to its midrange. Instruments don’t have the extra girth the copper cable gives them. Fortunately, they aren’t thinned out either. There’s still a hint of wetness that keeps them life-like and semi-analog. The same goes for the treble, which hasn’t been pumped up for clarity’s sake. If anything, I think it’s a bit more linear (or even) versus the Ares’s lower-treble bias. It’s a refined, clean, airy treble that doesn’t indulge in articulation, and imparts its clarity subtly.
While the Cadmus lacks the Ares’s boldness, it easily makes up for that in vibrance, expansion and note size. The light shimmer (or brilliance) it imparts onto an IEM’s treble highlights chimes, cymbals, splashes and hi-hats. They pop more than they do on the Ares, which adds an exciting contrast when the percussionist strikes them. The same goes for the upper-mids. There’s more here than the Ares S II, heightening horn stabs, snare hits and vocal belts. Then, the Cadmus’s notes are further spread out. It doesn’t have the Ares’s width issues, and it sounds notably more out-of-head. Aside from being spread further apart, these notes grow larger too. So, again, while the Ares injected life through expressive, resonant mids, the Cadmus does so with light pops of zingy energy spread throughout the stage.
Now, the Cadmus II isn’t a cable I’d get for IEMs that need intimacy or body. And, despite the improvements over its predecessor, it also isn’t a cable that’s perpetually exciting. Eventually, there will be a point in your listening session where its little pops of energy even out, and you may find the cable a smidge dull. But, that’s inevitable with 99% of cables with this sound. Either way, I commend the efforts Effect have made in improving their SPC cable. Like the Ares S II, I think it’s stellar for the money, and I can easily see it giving sleepier IEMs a spring in their step.
EROS S II
The Eros S II surprised me with a sound that’s - seemingly - drier than the Cadmus II’s. It has a tighter, crisper, cleaner attack to it. But, eventually, I realized it wasn’t because of colourations in the low-mids, mid-bass or anywhere in the FR. It’s because of the Eros’s cleaner, more pristine, more distant background, its stronger separation and faster PRaT. Notes themselves remained intact - in fact, I found them weightier and 3D-er than the Cadmus II’s - but the spaces between them were far quieter. It’s like how cutting noise in a photo automatically increases contrast. So, the Eros S II isn’t nearly as coloured as I first thought. Rather, it’s its technique that gives it this snappy, now-you-see-it-now-you-don’t sorta presentation.
The other notable advantage it has over its siblings is space. The Eros images far wider than the Ares, and marginally so over the Cadmus. Where it leaps over the latter is height. Notes on the Eros spanned a bit further upwards and downwards, and that’s a good chunk of the reason why I found its notes more 3D. It maintained tangibility more consistently too; resolving sounds with equal weight and impact all around the head. Whereas, the Cadmus II was most resolving at the center, far-right and far-left. Keep in mind, these are very minor differences I picked up in successive A/B tests. But, these discrepancies do add up towards the Eros S II’s, again, more dynamic, dense and engaging sound.
Tonally, I don’t get a lot of colouration from the Eros S II. Its primary augmentations are clarity, expansion, precision and speed. If I am to pinpoint anything, I’d say it has a similar neutrality (or nonchalance) to its lower-mids to the Cadmus, and it has a slight low-treble bite like the Ares. But, they’re quite minor, and I don’t think they’d impede the Eros from matching well with most IEMs. Just keep in mind that, again, this is a cable that adds technique more than emotion (or warmth, or resonance). So, if your IEM is already adept, and what you’re looking for is a bit of organicity or soul, then I’d suggest looking elsewhere. But, if your IEM is in need of ability, or if clarity and space are where you draw your enjoyment from, then the Eros S II is a great option, especially, like the two cables before it, for the price.
Lim Rui EA
Sponsor: Effect Audio
Sick photos manHey, everyone! Effect Audio kindly gave me the opportunity to check out their new Signature Series II cables. These are my impressions of the three, which were graciously provided at Effect’s own expense. I hope you enjoy.
First off, these cables mark a notable departure from the Signature and Premium lines (aside from the Eros S) by adopting an 8-wire design by default. They’ve gone from the usual 4-wire, 24 AWG to 8-wire, 26 AWG. They’ve also incorporated the solid conductor core from the CODE line, as well as a few other metallurgical innovations like Quantum Copper on the Ares and TESC on the Eros, which you can read further about on Effect’s site or the full reviews of these cables, which I’m sure will arrive soon.
Another ergonomic change is the trimmed Y-split, which I’m glad to see. I’ve been getting more and more into Y-splits that are vanishing, yet stylish, and this is what Effect have achieved here. So, while the wire count has doubled, the smaller gauge and tighter braid have made them just as supple as their predecessors. I've always preferred 8-wire braids, because they’re far less likely to unwind, as the 2-wire twists on Effect’s 4-wire cables have been prone to. So, the Signature Series II will almost certainly be more durable and conductive with nearly no trade-offs in ergonomics or weight.
The one major complaint I have, though, is the plastic wrap on the ConX connectors. Not only have they used a thick, heat-shrunk plastic that glue themselves to the barrels and were impossible to tear, their attempts at giving the plastic pre-made cuts (to make removal easier) were also awfully inconsistent. Some had no cuts at all, while others had cuts so shallow that they didn't make a difference. In the end, I literally had to pick at the plastic with my nails until I had the slightest bit of a lip, then pulled on that lip slowly with tweezers, being careful not to scratch the finish on the connectors. It took me and my wife over half-an-hour (at least it felt like it) to get the plastic off all 6 ConX connectors, and it’s something I don’t want to experience ever again. I’d suggest a simple, loose wrapping of plastic next time, and I’d suggest Effect test these things before they ship it on (potentially) thousands of cables. As they say, the devil is in the details.
Anyway, ‘rant out of the way, here’s how the cables sound.
ARES S II
Like the S before it, the Ares S II delivers a one-two punch of openness and warmth. This time, I’d say it leans more towards the former. While copper cables are generally known (some might say stereotyped) for adding lushness and body, I’d argue this is more of an auxiliary weapon in the Ares S II’s arsenal. The ace up its sleeve is the depth and dynamic range it offers over your average stock cable, owing to its 8-wire design. Musical passages that were once compressed suddenly have room to move; resonate and express. And, that space is darker and cleaner too. This is especially in the mids. Whether it’s vocals, horns, guitars - you name it - they’ll enter the mix from further back, and they’ll step further forward when called for, resulting in a more open, presentation that gives the track more life. The Ares S II imparts a slight lower-mid boost helping that along too.
Speaking of its warmth, it’s not the kind that just boosts bass and loses clarity. Rather, this Ares refines IEMs by shaving off tizz or glare to round them off without hurting technique. The Aroma Audio Fei Wan is a famously energetic IEM, particularly in the low- and mid-treble. On this Ares, those regions aren’t rolled-off or dipped. I’m hearing about as much presence and cut. But, the digital, prickly notes that were on the stock cable have been combed through and cut, resulting in a finer, easier-on-the-ear sound that preserves most (if not all) of the Fei Wan’s original tone. Bass-wise, I’m not hearing the S II change too much, which I find refreshing. The improvements there are more a result of the 8-wire design. The extra dynamic range gives the lows more room to hit and decay cleanly, and the added resolution helps it cut with more detail too.
As far as weaknesses go, the Ares S II isn’t the best enabler for width. The funny thing is that it has a clean, black backdrop in all directions, but sounds on the x-axis just seem to bunch up a tad. It’s like a band playing on a big stage, but choose to stay close together anyway. Also, I do hear a low-treble bias in the top-end, tapering off in the highest registers. While it’s smooth and refined, I wouldn’t pair it with an IEM that’s already articulate there, simply for color and balance. That aside, though, I think the Ares S II sets a high bar for the entry level market. As long as you don’t mind the feel of its 8-wire config, the benefits you’ll reap from the design’s dynamic range, background blackness and air are invaluable.
CADMUS II
The Cadmus II thankfully improves on the weakness of the OG. I found the original specifically coloured and, therefore, limited as far as IEM and genre pairings go. This Cadmus eases up on that, resulting in a more versatile cable. I’d call it ever-so-slightly U-shaped, with additions in the sub-bass and high-highs. Versus the Ares S II, there’s a cleaner, flatter, more plain timbre to its midrange. Instruments don’t have the extra girth the copper cable gives them. Fortunately, they aren’t thinned out either. There’s still a hint of wetness that keeps them life-like and semi-analog. The same goes for the treble, which hasn’t been pumped up for clarity’s sake. If anything, I think it’s a bit more linear (or even) versus the Ares’s lower-treble bias. It’s a refined, clean, airy treble that doesn’t indulge in articulation, and imparts its clarity subtly.
While the Cadmus lacks the Ares’s boldness, it easily makes up for that in vibrance, expansion and note size. The light shimmer (or brilliance) it imparts onto an IEM’s treble highlights chimes, cymbals, splashes and hi-hats. They pop more than they do on the Ares, which adds an exciting contrast when the percussionist strikes them. The same goes for the upper-mids. There’s more here than the Ares S II, heightening horn stabs, snare hits and vocal belts. Then, the Cadmus’s notes are further spread out. It doesn’t have the Ares’s width issues, and it sounds notably more out-of-head. Aside from being spread further apart, these notes grow larger too. So, again, while the Ares injected life through expressive, resonant mids, the Cadmus does so with light pops of zingy energy spread throughout the stage.
Now, the Cadmus II isn’t a cable I’d get for IEMs that need intimacy or body. And, despite the improvements over its predecessor, it also isn’t a cable that’s perpetually exciting. Eventually, there will be a point in your listening session where its little pops of energy even out, and you may find the cable a smidge dull. But, that’s inevitable with 99% of cables with this sound. Either way, I commend the efforts Effect have made in improving their SPC cable. Like the Ares S II, I think it’s stellar for the money, and I can easily see it giving sleepier IEMs a spring in their step.
EROS S II
The Eros S II surprised me with a sound that’s - seemingly - drier than the Cadmus II’s. It has a tighter, crisper, cleaner attack to it. But, eventually, I realized it wasn’t because of colourations in the low-mids, mid-bass or anywhere in the FR. It’s because of the Eros’s cleaner, more pristine, more distant background, its stronger separation and faster PRaT. Notes themselves remained intact - in fact, I found them weightier and 3D-er than the Cadmus II’s - but the spaces between them were far quieter. It’s like how cutting noise in a photo automatically increases contrast. So, the Eros S II isn’t nearly as coloured as I first thought. Rather, it’s its technique that gives it this snappy, now-you-see-it-now-you-don’t sorta presentation.
The other notable advantage it has over its siblings is space. The Eros images far wider than the Ares, and marginally so over the Cadmus. Where it leaps over the latter is height. Notes on the Eros spanned a bit further upwards and downwards, and that’s a good chunk of the reason why I found its notes more 3D. It maintained tangibility more consistently too; resolving sounds with equal weight and impact all around the head. Whereas, the Cadmus II was most resolving at the center, far-right and far-left. Keep in mind, these are very minor differences I picked up in successive A/B tests. But, these discrepancies do add up towards the Eros S II’s, again, more dynamic, dense and engaging sound.
Tonally, I don’t get a lot of colouration from the Eros S II. Its primary augmentations are clarity, expansion, precision and speed. If I am to pinpoint anything, I’d say it has a similar neutrality (or nonchalance) to its lower-mids to the Cadmus, and it has a slight low-treble bite like the Ares. But, they’re quite minor, and I don’t think they’d impede the Eros from matching well with most IEMs. Just keep in mind that, again, this is a cable that adds technique more than emotion (or warmth, or resonance). So, if your IEM is already adept, and what you’re looking for is a bit of organicity or soul, then I’d suggest looking elsewhere. But, if your IEM is in need of ability, or if clarity and space are where you draw your enjoyment from, then the Eros S II is a great option, especially, like the two cables before it, for the price.
d m41n man
100+ Head-Fier
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Wondering how different is the Ares S sequel to its predecessor's 8W counterpart? Here are some snapshots and take a closer look. The successor is much smoother and flows freely with a sleeker aesthetic compared to the original. Despite also having a handwoven solid core 8W as its breathren, it does not retain so much memory, is less thicker and is much comfortable to hold and wear. All the while, having the same sound benefits of added heft and weight to notes and a bit lusher midrange. Some of my friends favor this in combination to their Harman-tuned sets such as the Moondrop Variations, Simgot SuperMix 4, and Truthear Nova. Definitely a welcome introduction to the Effect Audio experience and a worthy upgrade if you're in the market for a sturdier and more premium copper cable to match your midrange IEM.
Sonic Sleuth
500+ Head-Fier
Effect Audio Signature Series II cables comparison:
Preface: These cables were sent to me by @Ace Bee.
Disclaimer: All impressions and opinions in this post are my own. I have not been paid or compensated by Effect Audio or any other entity for these impressions. My assessment is based solely on my personal experience with the product.
My thoughts about cable rolling:
Now, I know the whole 'cables make a difference' thing can be a bit controversial. Honestly, I used to be skeptical myself. I mean, it's just a wire, right? But after trying out a few different cables with my own IEMs, I've come to realize that there can be noticeable changes.
It's not always night and day, and it definitely depends on the specific cable and the IEMs you're using. But sometimes, a cable can bring out qualities in your music that you didn't even know were there. Maybe the bass becomes tighter, the vocals smoother, or the soundstage wider. It's subtle, but it's there.
Technically speaking, it makes sense. Cables do have electrical properties like resistance and capacitance that can affect the audio signal. And the quality of the connectors and shielding can play a role too.
But hey, I get it if you're not totally convinced. It's one of those things you kind of have to experience for yourself. If you're curious, I'd encourage you to try out a few different cables and see what you think. You might be surprised!
Sources used:
MG800's Stock Cable:
Effect Audio Ares S II:
Effect Audio Eros S II:
Effect Audio Cadmus II:
Overall Conclusion:
Ares S II:
Preface: These cables were sent to me by @Ace Bee.
Disclaimer: All impressions and opinions in this post are my own. I have not been paid or compensated by Effect Audio or any other entity for these impressions. My assessment is based solely on my personal experience with the product.
My thoughts about cable rolling:
Now, I know the whole 'cables make a difference' thing can be a bit controversial. Honestly, I used to be skeptical myself. I mean, it's just a wire, right? But after trying out a few different cables with my own IEMs, I've come to realize that there can be noticeable changes.
It's not always night and day, and it definitely depends on the specific cable and the IEMs you're using. But sometimes, a cable can bring out qualities in your music that you didn't even know were there. Maybe the bass becomes tighter, the vocals smoother, or the soundstage wider. It's subtle, but it's there.
Technically speaking, it makes sense. Cables do have electrical properties like resistance and capacitance that can affect the audio signal. And the quality of the connectors and shielding can play a role too.
But hey, I get it if you're not totally convinced. It's one of those things you kind of have to experience for yourself. If you're curious, I'd encourage you to try out a few different cables and see what you think. You might be surprised!
Sources used:
- iBasso D16
- RME ADI 2 Pro FS-R
- FiiO M17
- Shanling MG800
- Balanced Sound Signature: The MG800 starts with a relatively neutral and balanced sound. This provides a clean slate, allowing the nuances of different cables to shine through more clearly. If I used an IEM with a very strong bass or treble emphasis, for example, those inherent characteristics might overshadow the subtler changes a cable introduces.
- Detailed and Revealing: The MG800 is quite detailed and resolving. This allows me to pick up on the subtle ways a cable might affect things like soundstage, imaging, and micro-details. If the IEM itself lacked detail, it would be harder to hear the improvements a high-quality cable can bring.
- Good Technical Performance:The MG800 has a decent soundstage and imaging capabilities, This means I can accurately assess how a cable might impact the spatial presentation of the music, something that's harder to do with IEMs that have a very narrow or congested soundstage.
- Hide and Seek by Imogen Heap: This track is a fantastic choice for evaluating soundstage and imaging due to its intricate vocal layering and use of spatial effects. We'll pay close attention to how the cables affect the placement and separation of the vocal layers and the overall sense of space.
- Keith Don't Go by Nils Lofgren: This acoustic guitar piece will be perfect for assessing the impact on timbre and dynamics. We'll listen for how the cables render the nuances of the guitar's tone and how they handle the dynamic shifts between soft fingerpicking and powerful strumming.
- The Night They Made Love by Marvin Gaye: This soulful ballad will help us analyze the cables' effect on vocal delivery and emotional expression. We'll focus on how the cables portray the nuances of Gaye's voice and the overall intimacy of the song.
- The Chain by Fleetwood Mac: This classic rock track will be useful for evaluating the impact on bass response and overall energy. We'll listen for how the cables handle the iconic bassline and how they affect the dynamics and drive of the song.
MG800's Stock Cable:
- Overall: The stock cable provides a solid foundation for the MG800, delivering a balanced and detailed sound.
- In "Hide and Seek," the soundstage is well-defined, with Imogen Heap's layered vocals clearly separated and positioned accurately. The spatial effects are rendered with a good sense of depth and width.
- With "Keith Don't Go," the guitar timbre is natural and well-balanced, with a good amount of detail and texture. The dynamics of the performance are captured effectively, from the delicate fingerpicking to the more powerful strumming sections.
- In "The Night They Made Love," Marvin Gaye's vocals are smooth and expressive, with a good sense of intimacy. The instrumentation is well-balanced, allowing the vocals to take center stage.
- "The Chain" has a punchy and well-defined bassline that drives the song forward. The vocals are clear and well-separated from the instruments, and the overall energy of the track is well-maintained.
Effect Audio Ares S II:
- In "Hide and Seek," the soundstage feels slightly wider and deeper, with a greater sense of air between the instruments and vocals. The vocals have a richer, more intimate quality, and the spatial effects are rendered with a greater sense of realism.
- With "Keith Don't Go," the guitar takes on a warmer, more full-bodied tone. The notes have a slightly longer decay, adding to the sense of intimacy and emotion. The dynamic shifts are handled with greater finesse, making the performance even more captivating.
- In "The Night They Made Love," the Ares S II truly shines. Gaye's vocals become more captivating, with a greater sense of depth and emotion. The instruments are rendered with a warmer, more organic quality, creating a more intimate and enveloping atmosphere.
- "The Chain" benefits from a slightly more impactful bass response, adding weight and texture to the iconic bassline. The vocals are smoother and more forward in the mix, and the overall presentation is more engaging and musical.
- Bass: The Ares S II adds a touch of warmth and fullness to the bass, making it slightly more impactful without sacrificing control or definition. This is particularly noticeable in tracks like "The Chain," where the bassline has a more prominent presence.
- Midrange: Vocals and instruments in the midrange benefit from a smoother, more liquid presentation with the Ares S II. This adds to the emotional connection with the music, as heard in "The Night They Made Love" and "Keith Don't Go."
- Treble: The treble is slightly smoother and more refined with the Ares S II, reducing any hint of harshness or sibilance that might be present with the stock cable. This contributes to a more relaxed and fatigue-free listening experience.
- Soundstage: The Ares S II seems to expand the soundstage slightly, both in width and depth. This adds to the sense of immersion and realism in tracks like "Hide and Seek."
- Overall Presentation: The Ares S II leans towards a more musical and engaging presentation, emphasizing warmth, smoothness, and emotional impact. The stock cable, while still excellent, is slightly more neutral and analytical in comparison.
Effect Audio Eros S II:
- "Hide and Seek" by Imogen Heap: This track immediately reveals the Eros S II's strengths. The soundstage opens up, not drastically, but noticeably. Imogen Heap's layered vocals have more breathing room, and the spatial effects in the song are rendered with a greater sense of depth and dimension. However, this expansion comes with a slight trade-off. Some of the pinpoint imaging precision of the stock cable seems to soften a touch. It's a subtle difference, and whether it's a positive or negative depends on your priorities.
- "Keith Don't Go" by Nils Lofgren: With this acoustic track, the Eros S II adds a touch of warmth and richness to the guitar's timbre. The notes have a slightly longer decay, which some might find adds to the emotional resonance of the performance. However, others might feel that the stock cable offers a slightly more accurate and neutral presentation of the guitar's natural tone. It's a matter of taste.
- "The Night They Made Love" by Marvin Gaye: This is where the Eros S II truly shines. Gaye's vocals take on a captivating quality, with a greater sense of intimacy and emotional depth. The midrange is smoother and more liquid, adding to the overall sense of warmth and musicality. However, this added warmth might be a bit too much for some, particularly those who prefer a leaner, more analytical presentation.
- "The Chain" by Fleetwood Mac: The Eros S II adds weight and texture to the iconic bassline in this track, giving it a more visceral impact. The overall presentation is more dynamic and engaging. However, this added emphasis on the bass might overshadow some of the finer details in the midrange and treble.
- Bass: The Eros S II consistently adds warmth and fullness to the bass across all tracks. This can be a positive or negative depending on your preferences and the specific IEM you're using.
- Midrange: The Eros S II tends to smooth out the midrange, which can be beneficial for vocals and instruments that sound a bit harsh or edgy with the stock cable. However, this smoothing effect can also reduce some of the detail and transparency.
- Treble: The treble is generally smoother and more refined with the Eros S II, but this can sometimes come at the expense of some sparkle and air.
- Soundstage: The Eros S II often expands the soundstage, but this expansion can sometimes be accompanied by a slight reduction in imaging precision.
- Overall Presentation: The Eros S II leans towards a warmer, smoother, and more musical presentation. The stock cable tends to be more neutral and analytical.
Effect Audio Cadmus II:
- "Hide and Seek" by Imogen Heap: Right away, the Cadmus II reveals its analytical nature. The soundstage feels wider and more spacious compared to the stock cable, with excellent instrument separation. Each layer of Imogen Heap's vocals is distinct and precisely placed. However, this enhanced clarity might make the track feel a tad less intimate. The stock cable, with its slightly warmer presentation, might provide a more emotionally engaging experience for this particular song.
- "Keith Don't Go" by Nils Lofgren: This acoustic piece highlights the Cadmus II's ability to extract detail. The nuances of the guitar strings, the subtle finger movements, and the resonance of the guitar body are all rendered with impressive clarity. However, some might find that the Cadmus II leans towards a slightly drier presentation. The stock cable might offer a touch more warmth and "body" to the guitar's tone, which I prefer.
- "The Night They Made Love" by Marvin Gaye: With this soulful ballad, the Cadmus II presents Gaye's vocals with impressive clarity and detail. You can hear the subtle inflections in his voice and the emotion in his delivery. However, the Cadmus II might not provide the same level of warmth and intimacy as the stock cable. I found that the stock cable better captures the soulfulness and emotional depth of Gaye's performance.
- "The Chain" by Fleetwood Mac: The Cadmus II injects this track with energy and drive. The bassline is tight, controlled, and impactful, providing a solid foundation for the song. The individual instruments are well-defined, and the overall presentation is clear and dynamic. However, the Cadmus II might make the track feel a bit less "smooth" overall. The stock cable might offer a more relaxed and forgiving listen, particularly in the treble region.
- Bass: The Cadmus II tightens and controls the bass, adding impact without sacrificing definition. This can be a significant improvement for those who find the stock cable's bass a bit loose or undefined.
- Midrange: The Cadmus II emphasizes clarity and detail in the midrange, which can be both a positive and a negative. While it enhances the analytical aspect of the listening experience, it might reduce some of the warmth and intimacy.
- Treble: The Cadmus II generally presents a clean and detailed treble, but it can sometimes come across as a bit dry or analytical.
- Soundstage: The Cadmus II often expands the soundstage, providing a greater sense of space and instrument separation.
- Overall Presentation: The Cadmus II leans towards a more analytical and detailed presentation, which can be excellent for critical listening or genres that benefit from a high level of clarity.
Overall Conclusion:
Ares S II:
- Strengths:
- Adds warmth and richness to the overall sound.
- Enhances bass impact without muddying the details.
- Creates a smoother, more forgiving treble presentation.
- Improves vocal presence and intimacy.
- Weaknesses:
- Can sound overly warm with already warm-sounding IEMs.
- May slightly reduce detail and transparency in some setups.
- Best for:
- Bright or analytical IEMs that could benefit from added warmth and smoothness.
- IEMs with a thin or recessed midrange that need a boost in vocal presence.
- Strengths:
- Provides a balanced enhancement with a touch of warmth and smoothness.
- Improves detail and resolution without sacrificing musicality.
- Expands the soundstage slightly, adding a sense of space.
- Weaknesses:
- Changes can be subtle and might not be noticeable with all IEMs.
- May not be the best choice for those seeking a drastic change in sound signature.
- Best for:
- IEMs that already have a good balance but could benefit from some refinement and added musicality.
- IEMs with a slightly harsh or sibilant treble that could use some smoothing.
- Strengths:
- Enhances clarity and detail retrieval across the frequency spectrum.
- Tightens and controls the bass, improving definition and impact.
- Expands the soundstage, creating a more spacious presentation.
- Weaknesses:
- Can sound dry or analytical with some IEMs, particularly those that are already lean.
- May not be the best choice for those who prioritize warmth and musicality.
- Best for:
- Warm or thick-sounding IEMs that lack clarity and definition.
- IEMs with a rolled-off treble that could benefit from some added sparkle.
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EFFECT AUDIO 11.11 BFCM | SOLFEGGIO FREQUENCIES SUPERSIZED DEAL
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417Hz - Cleansing Voucher1 Nov to 3 Dec (8pm SGT)
The Solfeggio Frequency Vouchers are back, with a twist! Originally launched in 2023 for World Music Therapy Day, they’ve become a beloved tradition at EFFECT AUDIO. This year, we’re extending our 11.11BFCM promotion, giving you the time to make thoughtful decisions and choose the perfect sound—no need for impulse buys, just the right choice for the best audio experience.
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So good to see all the love and praise to the new Signature Series 2. I really liked Ares S2.
reallynotareview
Head-Fier
Hello everyone! Just wanted to share my experience with the Effect Audio Signature Series II cables (Ares S, Cadmus & Eros S)
There's also a giveaway and a discount code for a limited time. Hope you guys enjoy the video and for anyone entering the giveaway, wishing all of you the best!
There's also a giveaway and a discount code for a limited time. Hope you guys enjoy the video and for anyone entering the giveaway, wishing all of you the best!
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d m41n man
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Just lovin' the Eros S II, the change to that darker gray colorway from the concrete cement gray finish of the original is a welcome treat. Just looks and feels more premium. Also, noticed that the predecessor is a bit thicker, maybe 8W 24AWG, but the sequel Eros S II feels more flowy and less tangly. Retains minimal memory and is really comfortable without any stiffness. Posted my in-depth insights of the Eros S II here - https://www.head-fi.org/showcase/effect-audio-signature-series-2.27660/review/36171/
Though let's take a look below at the visual differences between the original Eros S and the new improved Eros S II:
Though let's take a look below at the visual differences between the original Eros S and the new improved Eros S II:
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