[saldsald]

The Signature Series cables are finally out! Fresh from the oven
Check them out: https://www.effectaudio.com/signature-series

Congrats! The new hardwares really look amazing!

 

[saldsald]

Congrats! The new hardwares really look amazing!

However, haha, I think the product page of each cable should have a clearer macro shot of the cable core, shot at a smaller aperture to show the fine detail of the winding of the wire and the skin.

 

[Ufanco]

However, haha, I think the product page of each cable should have a clearer macro shot of the cable core, shot at a smaller aperture to show the fine detail of the winding of the wire and the skin.

If you go to there Facebook page they include info and pictures of cable material.
Number 1 Eros S
Number 2 Cadmus
Number 3 Ares S

 

[rantng]

Con-X out of the box is great & the new hardware looks really nice as well. Really digging the grey sleeve on the Eros S. Congratulations on the launch.

 

[Deferenz]

I’ve just received the email from EA introducing the new Signature Series and giving pictures and technicalities of the three cables. It really is a nice summation of everything many of us have been discussing and reporting on over the last month or so.

 

[holsen]

I’ve just received the email from EA introducing the new Signature Series and giving pictures and technicalities of the three cables. It really is a nice summation of everything many of us have been discussing and reporting on over the last month or so.

Cant wait to get my hands on the 3 I ordered, 1 of each on the way!

 

[Suyang]

Thank you all for participating the pre-launch prototype campaigns, as well as all EA Fam that shows tremendous support to us to make this happen, YOU ARE THE BEST!!!!

13 Yrs back when I started EA with Crystal, Pearl and Diabolo, I just wanted to share with the community about the improvement and enjoyment I got from these cables I made, thats where EA started.

6 Years back, Ares II, Eros II and Thor Silver II was introduced as a first self designed and developed affordable upgrade cable. They are widely and overwhelmingly appreciated by many of our customers and friends globally from then until now.

Today with the support and love from all of the audiophile community, we proudly introduce the successors of the Premium Series, namely Ares S, Cadmus and Eros S. With years of proven record, experiences in design and developing top of the line products, we took the extra mile to make our next milestone worthy line up - The Signature Series.

A lot of things has changed in these years, but the passionate and energy of producing great product to our supporters and all audiophiles will never change in my mind as well as the entire EA team. Please stay with us and enjoy the improvement and change that brought by Signature Series to your listening experiences, Thank You!!!

Suyang

 

[tavishdegroot]

Do you have thicker mmcx connectors for Sony IER iem mmcx?

 

[JordonEA]

A million thanks to everyone for showering the Signature Series with so much love!

@tavishdegroot
Thanks for checking in with us! Our mmcx options are able to work on Sony's IER series

- Jordon

 

[tavishdegroot]

A million thanks to everyone for showering the Signature Series with so much love!

@tavishdegroot
Thanks for checking in with us! Our mmcx options are able to work on Sony's IER series

- Jordon

But I understand that Sony Mmcx inlet has a wide pit, so unless the connector is as wide as the pit it will wobble and spin in the pit. Does your Mmcx connector wobble when inserted into Sony Mmcx inlet?

 

[Xinlisupreme]

A million thanks to everyone for showering the Signature Series with so much love!

@tavishdegroot
Thanks for checking in with us! Our mmcx options are able to work on Sony's IER series

- Jordon

Ares S (P38) is a really good cable for BA's iems or hybrids that need to sweeten mids, add a bit of body and punchy bass.

 

[Deezel177]

Hey, everyone! I’m a bit late to the Signature Series party, but I wanted to wait ’til I could call the cables by their real names, rather than their confusing, numerical counterparts. I had a great time listening to all three cables Effect generously lent me, and I found each to have their own unique appeal. So, here are my thoughts on the Ares S, the Cadmus and the Eros S, and I hope you guys enjoy as always!

Ares S

The Ares S, succinctly, delivers lush sonics against a crisp, clean background. While the Ares II attempted the same warm-yet-crisp blend by contrasting (or skewing) different parts of its FR, the S’s approach keeps its tonality even and uniform, whilst leaving the burden of clarity on its improved technique. In place of the rich mids/sharp highs blend its predecessor had, the Ares S is evenly-bodied and coherently-hued from top to bottom. The hue in question is on the wetter side - lush, resonant, emotive - and it’s a particular treat with live instruments. It accentuates the live room feel that a record like Shaun Martin’s 7Summers or Snarky Puppy’s We Like It Here thrives off of. And, of course, it’s conducive to emotion on a track like Renee Olstead’s A Love That Will Last. At the same time, it’s not the heavy, cloying, veiled kind of warmth. Everything’s just given a teensy bit more weight and girth. So, IEMs that are naturally open and light-sounding will remain that way. This is especially true from the upper-mids to the treble, which I find to have a delicate, yet super-clear feel. Again, it adds body and liquidity without bogging them down in warmth; tricky in those regions. Jazz rides and acoustic keys are a treat. So, all in all, it’s an analog-leaning cable that lends its tone whilst preserving all the clear, open, airy qualities the IEM may already have.

That blend of lushness and clarity wouldn’t be possible without its impressive technique. Similar to Effect’s EVO 10 cable, the Ares S promotes resolution by darkening and cleaning up the monitor’s background. Details (even the smallest of them) naturally float upwards as a result, and separation between notes becomes more distinct as well. It eschews the need for the Ares II’s more aggressive lower-treble, and it’s why the S has the more natural, coherent tone of the two. The clean backdrop allows transients to enter with more immediacy and punch too, which, in turn, aids imaging precision, as you’re able to tell when and where elements come into frame. And, dynamics are strong for a warmer cable as well, which is why it’s able to maintain the openness and clarity I described earlier. All this comes down to strong treble extension, which gives the cable great authority and ease. And, the same is true for its low-end extension, which gives dynamic-driver hybrids a healthy dose of oomph too. The mid-bass in particular is an inch above neutral to me. Its stage expansion is great for a cable at its price, and it’s good overall. I wouldn’t call it outstanding there, as its fuller notes do take up a bit of space. But, it still delivers more than enough room for them all to breathe, and it’s a negligible quibble anyway for a cable this affordable.

To me, the Ares S is a strong, strong successor to the Ares II. It approaches the latter’s philosophy in a more challenging, yet more effective way, and it’s resulted in a cable that tonally pairs with more IEMs, elevates their technique to higher highs and commits fewer “sins” along the way. It’s the cable in the line-up I felt had the most potential, and I’m so glad to see Effect beyond clear that bar; truly, a new frontrunner in the accessible cable market.

Cadmus

While the Ares S is about giving instruments presence and substance, the Cadmus takes almost the opposite approach. It lightens and aerates its notes in both heft and attack. Lows or low-mids that were once meaty and dense feel a tad slighter and cleaner. And, treble peaks that were once bright and tizzy have their edges ever-so-slightly tapered off. The former comes down to a focus on sub-bass over mid-bass, so low-end notes are felt more than they’re heard. They hit the chest more than the ear. And, the latter comes down to a similar colouration in the highs; a bias towards the upper-treble. So, in-ears like the Vision Ears EXT (which has a sandier, grittier mid-treble) will have its abrasiveness turned into airiness further up the range instead. The midrange, then, comes off relaxed or subdued. The upper-mids aren’t allowed to project or shine as much as on the Ares S. So, horn stabs, for example, won’t jump at you when they come in. All of these colourations that, again, lighten instruments and soften their blows, are in an effort to make them seem more distant, more relaxed and, thus, make the soundscape seem bigger; more holographic. It’s a colouration that favors long, passive listening and one that tames more aggressive, rambunctious IEMs. Yet, like the Ares S, it does so without too many tonal aberrations along the way.

Against the Ares S, the Cadmus will give you a more spherical stage, simply by virtue of, again, instruments sounding a bit more distant. When you’re listening to a track like Cody Fry’s Underground (the orchestral version), the Cadmus will turn your attention more towards the peripheral strings and percussion, while the Ares S will give you more vocal presence. Instruments are also separated a bit more tidily on the Cadmus, so you’ll get more clarity in that sense. But, the Ares S will flesh out individual instruments a lot more to my ears - resolving their individual colors and textures - as they aren’t as stripped down as on the Cadmus. So, it depends on what kind of detail you’re ultimately searching for. To me, the spaciousness (and sub-bass focus) of the Cadmus best suits genres like electronica, especially the ambient kinds. For lack of a better phrase, the Cadmus enhances atmosphere. So, on a track like FKJ’s Ylang Ylang, rather than intimately focusing on the piano or the bass line, your mind instead just floats through the soundscape as a whole; the sum, rather than its parts.

So, as long as you don’t mind the Cadmus’s minimal focus towards making instruments sound 1000% fleshed out and distinct, I think the spaciousness and immersion it adds to more atmospheric arrangements could make it a winner to a lot of listeners. Like the Ares S, it doesn’t make many tonal leaps, even though I’d say this cable is more colored than the former to my ears. Still, if you’re a fan of the genres and presentations I mentioned, the Cadmus’s MSRP isn’t a hard pill to swallow for a new swatch on your sonic palette.

Eros S

Of the three, the Eros S definitely comes across the most no-frills and… one could say calculated. It doesn’t have the romantic lushness of the Ares S, neither does it have the wispy lightness of the Cadmus. It’s a very what-you-see-is-what-you-get kind of cable, and whether or not that’s a good thing will depend on you. Let’s start with the objective first. Surely, the Eros S is the strongest spatial performer in the line-up. Its holography (or 3D-ness) is outright outstanding at its price tier. The background here is even darker and cleaner than on the Ares S, instruments float convincingly around you, and they’re a lot more tactile - corporeal - than on the Cadmus. The big differentiator for me are the diagonals; 10 and 2 o’clock. Those points in the space are far better-resolved to me, which results in a consistently-solid image all around your head. Depth is much greater here too for clearer z-axis layering. And, because of the cable’s 8-wire design, it’s all done with a palpable effortlessness. It’s a degree of authority and ease in delivering detail that I’ve only heard on 8-wire cables - a phenomenon I’ve compared in the past to the same band being able to play in a larger, freer venue - and it’s very audible here. With that comes dynamics capable of going from tiny to grand on genres like classical, as well as an openness that lets instruments breathe more.

Now, with all the technical praise out of the way, comes the more subjective discussion of tone. As said, the Eros S is a more matter-of-fact-sounding cable, and that may turn off those looking for a more exciting tonality. It’s not a dull, or thin, or clinical-sounding cable at all. But, it is very blasé; plainly coasting along, rather than romanticizing this, or highlighting that, or concentrating this, etc. I’d call it a more passive-sounding cable, compared to the active Ares S or the euphoric Cadmus. So, it’s worth keeping in mind if you prefer a more motivated sound. I feel those who prefer studio monitors or IEMs of that ilk will appreciate the Eros S’s sound most. It’s for those who find musicality and engagement in honesty, rather than style. Otherwise, there aren’t really any notes I have on its tonality. On the IEMs I tested, I found the bass was neither pushed towards the sub- nor the mid-bass; only gaining in clarity, due to the more extended treble. The midrange is perhaps ever-so-slightly high-mid biased, but it’s minor at best. And, the treble is nicely-feathered and airy; straddled well between articulate and refined, and providing heaps of space to everything below it.

Again, it isn’t a cable for those after strong biases or colourations towards one direction or the other, but the Eros S is clearly the most technical of the three for me. It keeps the IEM’s inherent traits largely in place, only expanding the spatial and dynamic boundaries its stock cable put upon it. Notes are more clearly three-dimensional with massive boosts across the diagonal and z axes. And, they’re all conjured with less effort as well. So, if you’re after a cable that does nothing but expand and purify, then the Eros S is the Signature model for you.

 

[efftee]

Hey, everyone! I’m a bit late to the Signature Series party, but I wanted to wait ’til I could call the cables by their real names, rather than their confusing, numerical counterparts. I had a great time listening to all three cables Effect generously lent me, and I found each to have their own unique appeal. So, here are my thoughts on the Ares S, the Cadmus and the Eros S, and I hope you guys enjoy as always!

Ares S

The Ares S, succinctly, delivers lush sonics against a crisp, clean background. While the Ares II attempted the same warm-yet-crisp blend by contrasting (or skewing) different parts of its FR, the S’s approach keeps its tonality even and uniform, whilst leaving the burden of clarity on its improved technique. In place of the rich mids/sharp highs blend its predecessor had, the Ares S is evenly-bodied and coherently-hued from top to bottom. The hue in question is on the wetter side - lush, resonant, emotive - and it’s a particular treat with live instruments. It accentuates the live room feel that a record like Shaun Martin’s 7Summers or Snarky Puppy’s We Like It Here thrives off of. And, of course, it’s conducive to emotion on a track like Renee Olstead’s A Love That Will Last. At the same time, it’s not the heavy, cloying, veiled kind of warmth. Everything’s just given a teensy bit more weight and girth. So, IEMs that are naturally open and light-sounding will remain that way. This is especially true from the upper-mids to the treble, which I find to have a delicate, yet super-clear feel. Again, it adds body and liquidity without bogging them down in warmth; tricky in those regions. Jazz rides and acoustic keys are a treat. So, all in all, it’s an analog-leaning cable that lends its tone whilst preserving all the clear, open, airy qualities the IEM may already have.

​

That blend of lushness and clarity wouldn’t be possible without its impressive technique. Similar to Effect’s EVO 10 cable, the Ares S promotes resolution by darkening and cleaning up the monitor’s background. Details (even the smallest of them) naturally float upwards as a result, and separation between notes becomes more distinct as well. It eschews the need for the Ares II’s more aggressive lower-treble, and it’s why the S has the more natural, coherent tone of the two. The clean backdrop allows transients to enter with more immediacy and punch too, which, in turn, aids imaging precision, as you’re able to tell when and where elements come into frame. And, dynamics are strong for a warmer cable as well, which is why it’s able to maintain the openness and clarity I described earlier. All this comes down to strong treble extension, which gives the cable great authority and ease. And, the same is true for its low-end extension, which gives dynamic-driver hybrids a healthy dose of oomph too. The mid-bass in particular is an inch above neutral to me. Its stage expansion is great for a cable at its price, and it’s good overall. I wouldn’t call it outstanding there, as its fuller notes do take up a bit of space. But, it still delivers more than enough room for them all to breathe, and it’s a negligible quibble anyway for a cable this affordable.

​

To me, the Ares S is a strong, strong successor to the Ares II. It approaches the latter’s philosophy in a more challenging, yet more effective way, and it’s resulted in a cable that tonally pairs with more IEMs, elevates their technique to higher highs and commits fewer “sins” along the way. It’s the cable in the line-up I felt had the most potential, and I’m so glad to see Effect beyond clear that bar; truly, a new frontrunner in the accessible cable market.

Cadmus

While the Ares S is about giving instruments presence and substance, the Cadmus takes almost the opposite approach. It lightens and aerates its notes in both heft and attack. Lows or low-mids that were once meaty and dense feel a tad slighter and cleaner. And, treble peaks that were once bright and tizzy have their edges ever-so-slightly tapered off. The former comes down to a focus on sub-bass over mid-bass, so low-end notes are felt more than they’re heard. They hit the chest more than the ear. And, the latter comes down to a similar colouration in the highs; a bias towards the upper-treble. So, in-ears like the Vision Ears EXT (which has a sandier, grittier mid-treble) will have its abrasiveness turned into airiness further up the range instead. The midrange, then, comes off relaxed or subdued. The upper-mids aren’t allowed to project or shine as much as on the Ares S. Sp, horn stabs, for example, won’t jump at you when they come in. All of these colourations that, again, lighten instruments and soften their blows, are in an effort to make them seem more distant, more relaxed and, thus, make the soundscape seem bigger; more holographic. It’s a colouration that favors long, passive listening and one that tames more aggressive, rambunctious IEMs. Yet, like the Ares S, it does so without too many tonal aberrations along the way.

​

Against the Ares S, the Cadmus will give you a more spherical stage, simply by virtue of, again, instruments sounding a bit more distant. When you’re listening to a track like Cody Fry’s Underground (the orchestral version), the Cadmus will turn your attention more towards the peripheral strings and percussion, while the Ares S will give you more vocal presence. Instruments are also separated a bit more tidily on the Cadmus, so you’ll get more clarity in that sense. But, the Ares S will flesh out individual instruments a lot more to my ears - resolving their individual colors and textures - as they aren’t as stripped down on the Cadmus. So, it depends on what kind of detail you’re ultimately searching for. To me, the spaciousness (and sub-bass focus) of the Cadmus best suits genres like electronica, especially the ambient kinds. For lack of a better phrase, the Cadmus enhances atmosphere. So, on a track like FKJ’s Ylang Ylang, rather than intimately focusing on the piano or the bass line, your mind instead just floats through the soundscape as a whole; the sum, rather than its parts.

​

So, as long as you don’t mind the Cadmus’s minimal focus towards making instruments sound 1000% fleshed out and distinct, I think the spaciousness and immersion it adds to more atmospheric arrangements could make it a winner to a lot of listeners. Like the Ares S, it doesn’t make many tonal leaps, even though I’d say this cable is more colored than the former to my ears. Still, if you’re a fan of the genres and presentations I mentioned, the Cadmus’s MSRP isn’t a hard pill to swallow for a new swatch on your sonic palette.

Eros S

Of the three, the Eros S definitely comes across the most no-frills and… one could say calculated. It doesn’t have the romantic lushness of the Ares S, neither does it have the wispy lightness of the Cadmus. It’s a very what-you-see-is-what-you-get kind of cable, and whether or not that’s a good thing will depend on you. Let’s start with the objective first. Surely, the Eros S is the strongest spatial performer in the line-up. Its holography (or 3D-ness) is outright outstanding at its price tier. The background here is even darker and cleaner than on the Ares S, instruments float convincingly around you, and they’re a lot more tactile - corporeal - than on the Cadmus. The big differentiator for me are the diagonals; 10 and 2 o’clock. Those points in the space are far better-resolved to me, which results in a consistently-solid image all around your head. Depth is much greater here too for clearer z-axis layering. And, because of the cable’s 8-wire design, it’s all done with a palpable effortlessness. It’s a degree of authority and ease in delivering detail that I’ve only heard on 8-wire cables - a phenomenon I’ve compared in the past to the same band being able to play in a larger, freer venue - and it’s very audible here. With that comes dynamics capable of going from tiny to grand on genres like classical, as well as an openness that lets instruments breathe more.

​

Now, with all the technical praise out of the way, comes the more subjective discussion of tone. As said, the Eros S is a more matter-of-fact-sounding cable, and that may turn off those looking for a more exciting tonality. It’s not a dull, or thin, or clinical-sounding cable at all. But, it is very blasé; plainly coasting along, rather than romanticizing this, or highlighting that, or concentrating this, etc. I’d call it a more passive-sounding cable, compared to the active Ares S or the euphoric Cadmus. So, it’s worth keeping in mind if you prefer a more motivated sound. I feel those who prefer studio monitors or IEMs of that ilk will appreciate the Eros S’s sound most. It’s for those who find musicality and engagement in honesty, rather than style. Otherwise, there aren’t really any notes I have on its tonality. On the IEMs I tested, I found the bass was neither pushed towards the sub- nor the mid-bass; only gaining in clarity, due to the more extended treble. The midrange is perhaps ever-so-slightly high-mid biased, but it’s minor at best. And, the treble is nicely-feathered and airy; straddled well between articulate and refined, and providing heaps of space to everything below it.

​

Again, it isn’t a cable for those after strong biases or colourations towards one direction or the other, but the Eros S is clearly the most technical of the three for me. It keeps the IEM’s inherent traits largely in place, only expanding the spatial and dynamic boundaries its stock cable put upon it. Notes are more clearly three-dimensional with massive boosts across the diagonal and z axes. And, they’re all conjured with less effort as well. So, if you’re after a cable that does nothing but expand and purify, then the Eros S is the Signature model for you.

Great pics! Nice write up!

 

[Deezel177]

Great pics! Nice write up!

Thank you!

 

[GiullianSN]

Hey, everyone! I’m a bit late to the Signature Series party, but I wanted to wait ’til I could call the cables by their real names, rather than their confusing, numerical counterparts. I had a great time listening to all three cables Effect generously lent me, and I found each to have their own unique appeal. So, here are my thoughts on the Ares S, the Cadmus and the Eros S, and I hope you guys enjoy as always!

Ares S

The Ares S, succinctly, delivers lush sonics against a crisp, clean background. While the Ares II attempted the same warm-yet-crisp blend by contrasting (or skewing) different parts of its FR, the S’s approach keeps its tonality even and uniform, whilst leaving the burden of clarity on its improved technique. In place of the rich mids/sharp highs blend its predecessor had, the Ares S is evenly-bodied and coherently-hued from top to bottom. The hue in question is on the wetter side - lush, resonant, emotive - and it’s a particular treat with live instruments. It accentuates the live room feel that a record like Shaun Martin’s 7Summers or Snarky Puppy’s We Like It Here thrives off of. And, of course, it’s conducive to emotion on a track like Renee Olstead’s A Love That Will Last. At the same time, it’s not the heavy, cloying, veiled kind of warmth. Everything’s just given a teensy bit more weight and girth. So, IEMs that are naturally open and light-sounding will remain that way. This is especially true from the upper-mids to the treble, which I find to have a delicate, yet super-clear feel. Again, it adds body and liquidity without bogging them down in warmth; tricky in those regions. Jazz rides and acoustic keys are a treat. So, all in all, it’s an analog-leaning cable that lends its tone whilst preserving all the clear, open, airy qualities the IEM may already have.

​

That blend of lushness and clarity wouldn’t be possible without its impressive technique. Similar to Effect’s EVO 10 cable, the Ares S promotes resolution by darkening and cleaning up the monitor’s background. Details (even the smallest of them) naturally float upwards as a result, and separation between notes becomes more distinct as well. It eschews the need for the Ares II’s more aggressive lower-treble, and it’s why the S has the more natural, coherent tone of the two. The clean backdrop allows transients to enter with more immediacy and punch too, which, in turn, aids imaging precision, as you’re able to tell when and where elements come into frame. And, dynamics are strong for a warmer cable as well, which is why it’s able to maintain the openness and clarity I described earlier. All this comes down to strong treble extension, which gives the cable great authority and ease. And, the same is true for its low-end extension, which gives dynamic-driver hybrids a healthy dose of oomph too. The mid-bass in particular is an inch above neutral to me. Its stage expansion is great for a cable at its price, and it’s good overall. I wouldn’t call it outstanding there, as its fuller notes do take up a bit of space. But, it still delivers more than enough room for them all to breathe, and it’s a negligible quibble anyway for a cable this affordable.

​

To me, the Ares S is a strong, strong successor to the Ares II. It approaches the latter’s philosophy in a more challenging, yet more effective way, and it’s resulted in a cable that tonally pairs with more IEMs, elevates their technique to higher highs and commits fewer “sins” along the way. It’s the cable in the line-up I felt had the most potential, and I’m so glad to see Effect beyond clear that bar; truly, a new frontrunner in the accessible cable market.

Cadmus

While the Ares S is about giving instruments presence and substance, the Cadmus takes almost the opposite approach. It lightens and aerates its notes in both heft and attack. Lows or low-mids that were once meaty and dense feel a tad slighter and cleaner. And, treble peaks that were once bright and tizzy have their edges ever-so-slightly tapered off. The former comes down to a focus on sub-bass over mid-bass, so low-end notes are felt more than they’re heard. They hit the chest more than the ear. And, the latter comes down to a similar colouration in the highs; a bias towards the upper-treble. So, in-ears like the Vision Ears EXT (which has a sandier, grittier mid-treble) will have its abrasiveness turned into airiness further up the range instead. The midrange, then, comes off relaxed or subdued. The upper-mids aren’t allowed to project or shine as much as on the Ares S. Sp, horn stabs, for example, won’t jump at you when they come in. All of these colourations that, again, lighten instruments and soften their blows, are in an effort to make them seem more distant, more relaxed and, thus, make the soundscape seem bigger; more holographic. It’s a colouration that favors long, passive listening and one that tames more aggressive, rambunctious IEMs. Yet, like the Ares S, it does so without too many tonal aberrations along the way.

​

Against the Ares S, the Cadmus will give you a more spherical stage, simply by virtue of, again, instruments sounding a bit more distant. When you’re listening to a track like Cody Fry’s Underground (the orchestral version), the Cadmus will turn your attention more towards the peripheral strings and percussion, while the Ares S will give you more vocal presence. Instruments are also separated a bit more tidily on the Cadmus, so you’ll get more clarity in that sense. But, the Ares S will flesh out individual instruments a lot more to my ears - resolving their individual colors and textures - as they aren’t as stripped down on the Cadmus. So, it depends on what kind of detail you’re ultimately searching for. To me, the spaciousness (and sub-bass focus) of the Cadmus best suits genres like electronica, especially the ambient kinds. For lack of a better phrase, the Cadmus enhances atmosphere. So, on a track like FKJ’s Ylang Ylang, rather than intimately focusing on the piano or the bass line, your mind instead just floats through the soundscape as a whole; the sum, rather than its parts.

​

So, as long as you don’t mind the Cadmus’s minimal focus towards making instruments sound 1000% fleshed out and distinct, I think the spaciousness and immersion it adds to more atmospheric arrangements could make it a winner to a lot of listeners. Like the Ares S, it doesn’t make many tonal leaps, even though I’d say this cable is more colored than the former to my ears. Still, if you’re a fan of the genres and presentations I mentioned, the Cadmus’s MSRP isn’t a hard pill to swallow for a new swatch on your sonic palette.

Eros S

Of the three, the Eros S definitely comes across the most no-frills and… one could say calculated. It doesn’t have the romantic lushness of the Ares S, neither does it have the wispy lightness of the Cadmus. It’s a very what-you-see-is-what-you-get kind of cable, and whether or not that’s a good thing will depend on you. Let’s start with the objective first. Surely, the Eros S is the strongest spatial performer in the line-up. Its holography (or 3D-ness) is outright outstanding at its price tier. The background here is even darker and cleaner than on the Ares S, instruments float convincingly around you, and they’re a lot more tactile - corporeal - than on the Cadmus. The big differentiator for me are the diagonals; 10 and 2 o’clock. Those points in the space are far better-resolved to me, which results in a consistently-solid image all around your head. Depth is much greater here too for clearer z-axis layering. And, because of the cable’s 8-wire design, it’s all done with a palpable effortlessness. It’s a degree of authority and ease in delivering detail that I’ve only heard on 8-wire cables - a phenomenon I’ve compared in the past to the same band being able to play in a larger, freer venue - and it’s very audible here. With that comes dynamics capable of going from tiny to grand on genres like classical, as well as an openness that lets instruments breathe more.

​

Now, with all the technical praise out of the way, comes the more subjective discussion of tone. As said, the Eros S is a more matter-of-fact-sounding cable, and that may turn off those looking for a more exciting tonality. It’s not a dull, or thin, or clinical-sounding cable at all. But, it is very blasé; plainly coasting along, rather than romanticizing this, or highlighting that, or concentrating this, etc. I’d call it a more passive-sounding cable, compared to the active Ares S or the euphoric Cadmus. So, it’s worth keeping in mind if you prefer a more motivated sound. I feel those who prefer studio monitors or IEMs of that ilk will appreciate the Eros S’s sound most. It’s for those who find musicality and engagement in honesty, rather than style. Otherwise, there aren’t really any notes I have on its tonality. On the IEMs I tested, I found the bass was neither pushed towards the sub- nor the mid-bass; only gaining in clarity, due to the more extended treble. The midrange is perhaps ever-so-slightly high-mid biased, but it’s minor at best. And, the treble is nicely-feathered and airy; straddled well between articulate and refined, and providing heaps of space to everything below it.

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Again, it isn’t a cable for those after strong biases or colourations towards one direction or the other, but the Eros S is clearly the most technical of the three for me. It keeps the IEM’s inherent traits largely in place, only expanding the spatial and dynamic boundaries its stock cable put upon it. Notes are more clearly three-dimensional with massive boosts across the diagonal and z axes. And, they’re all conjured with less effort as well. So, if you’re after a cable that does nothing but expand and purify, then the Eros S is the Signature model for you.

As usual great comments, pictures and aligned to what I hear as well.

That's why I think Cadmus is an excellent pairing to A12t and Ares S to LX. These cables just balances those IEMs to a brand new level in this price range. It's like using sunglasses with and without Polarization. Still sunglasses, but with polarized lenses everything is more clear and defined.