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FATfreq Impressions Thread - Bass Cannons and More
Oct 27, 2022 at 2:51 PM Post #76 of 1,983
Oct 30, 2022 at 12:01 AM Post #86 of 1,983
Oct 30, 2022 at 7:21 AM Post #87 of 1,983
I've had 2 weeks with the Maestro Mini's now and feel that I'm ready to share my thoughts. First impression with unboxing, well there is no box. As many know who's read the detailed reviews here, The MM's come in a plastic case in bubble wrap that my large iPhone fits in. Not an ideal case to carry around your iems, but thankfully the foam inserts come out easily and I use it to keep my tips and the small Aria round case fits inside too. Taking out the MM's, I was very surprised that they're almost weightless. With no tips and wired attached, it's off putting. How can something that's supposed to be so bassy have such little heft? I now own one of the lightest and heaviest (OH10) iems. The build/fit and finish on these does not scream +$400 at all. The cable is average at best and like another user, found it hard to remove the 2 pin cable from the housing.

I burned them in for 3 days almost fully, occasionally putting them in my ears for a few songs, I was encouraged as some songs sounded promising though bright. They did improve over the first week. Bass got a little tighter and the highs quieted a bit. But not enough. FatFreq tuned the treble up above the harmon curve to balance out the bass. But they went too far in my opinion. I was a bit disappointed. I had the Azla SednaEarFit Max tips ready before the MM's arrived so I'd have the wax guard preventing any dust/wax getting into the open nozzles. Again, at this price point, what's with the open nozzles with the BA's right there too? makes no sense to me. The SE Max tips are high quality, wide bore silicone tips that enhance treble and stage. Didn't want to exacerbate the high end problem so I got the Comply Isolation TX-400 memory foam tips which also have the wax guard filters. These improved the sound a lot. Definitely tamed the treble and brought everything under control. There were some songs that had a metallic/tinny timbre to some treble parts, that went away with these tips. I create electronic music and I use Audeze LCD X 2021's (the best mixing headphones imo) to mix on but it's good to have other sets as reference. My OH10s are helpful as well as others, but the MM's had too much high end at first. Now with these foam tips, I can enjoy and mix with these too.

Here's the issue though for me. The MM's aren't as bass heavy as I expected. The reviewers all comment about how the sub bass/bass does not bleed into the mids. That's true because they tuned the mid bass back down to harmon levels. The FatFreq site claims "Deepest bass on the planet. Listen at your own risk". A bit bold and don't worry people, your ears will be safe. Unfortunately. Still, I find the bass full and satisfying. It's rare when I want or need more than what's there. It's not too boomy and holds up well. Kick drums sound more like they should. Most IEMS, kicks can sound like heavy cardboard so this is a benefit of that sub bass extension. The MM's can take a bunch of EQ down low too.

Now I do enjoy these and felt better after the tip change. But a buzzkill happened right after I got my MM's. Two days later, the $20 QKZ x HBB arrived. I got them to support HBB, (bad guy good audio reviews) whom most of you know. They seemed to be my kind of warm tuning, and they are. The QKZ's cost the same as the Azla SednaEarfit tips alone and together they sound surprisingly good. Glad I had them around as they open up the treble nicely. But back to the bassics, because both the OH10's (by a small margin) and the QKZ's (by about 4db) have more mid bass, some songs replay with better bass than than the MM's. FatFreq tucked in the mid bass too much imho. Raise that 2nd frequency on your EQ to get that mid bass going...A lift in the tuning in that 150-300Hz range, somewhere in between the two below would've been sweet:
Screen Shot 2022-10-30 at 6.43.20 AM.png


Most music doesn't have much going on below 50Hz and the MM's basshead beast prowess should be stronger. That mid bass is important and you can hear the difference as I was sound testing these 3 iems mentioned a ton for many days. Songs/albums that were recorded well with decent mid bass sound great on the MM's. Others sound better/fuller on the other sets. For a set that really has one trick up its' sleeve, it could have been performed better. HBB rated the MMs with Bass 9, Mids 5 and Treble 5. Pretty much on the mark. Maybe an 8 for the bass overall. Technically, the MMs aren't for detail seekers, the treble is not the most refined but can be pleasing. Treble 6 with foam tips. One interesting effect from the tuning is that there is a separation from the extreme sub bass to the highs that can feel nice with certain songs, like there's a bigger space for the music to reside in and gives guitars and synths air to swirl around in. Radiohead comes to mind.

The MMs are harder to drive than the other 2 sets and not ideal for gaming/movies. That's ok. There's just enough juice to power them with your phone but they sound better with my little $30 Neotek amp (thing is amazing actually).

Overall, I do like them but to quote another - they're a luxury more than a necessity. With one 9mm DD and 2 BA's, they should be around $295-$350, and I think FatFreq would maybe make more $ at that price point with more sales. But they're a very small company and perhaps couldn't handle higher demand. While I was waiting for them to arrive, it didn't help to learn that the Maestro Mini V2 would be coming out soon with 5 more db of sub bass and more treble. More treble? Why? That's a mistake. Ideally add a few more db of mid bass and leave the treble alone or bring down those peaks at 3-4k and 7-8k closer to harmon. And they're charging $490 with the new tuning and I think may be adding a vent(s). I'll pass or refrain from trying to exchange. I'd love to eventually see 1 DD, 2 BA's and 2 EST's (Variations) in the $500-$600 range with the added mid bass.

If you're interested in these and like sub bass and aren't too sensitive to a lot of treble, go for it. Not an all rounder but can make a good complement to others in your arsenal. Listen to Tipper's Dreamsters and Cinder Cone and you'll feel what these can do. Electronic artists like Ital Tek, Rival Consoles and LSG sound engaging and sometimes thrilling. The prices need to come down a bit though. I think they're going to make some more waves in the future and I'll be watching.

edit added for music/bass lovers... something about some 1980-82 recordings. Quality analog gear, crazy chops as midi was just getting implemented. Culturally music was at a wonderful impetus, synergies of exploding genres - new wave, reggae, post punk, ambient, experimental and many others. Very new and raw. Technology improving hifi gear entering the 80s, many paths colliding. Two 3 piece bands (one short lived) created their best work (in my eyes) and the recordings are stellar (new masters since were done well and not overly compressed but original pressings stand). The Police and Rush, each individual unique and so talented at their craft and hitting on all cylinders at the time. Well, at least musically for the Police. Tempers were already flaring over Sting's ego and the end was near...but those songs!).

Alex Lifeson has commented on the Police's influence helping to introduce reggae to modern music and nudging them in that direction. You hear it on Vital Signs on Moving Pictures (1981) but much more prominent on Signals (1982). Two incredible albums with a sound all their own. The woody and deep texture of Geddy's Rickenbacker bass. Afterwards, he was talked into a Steinberger then a Wal as digital and new wave was taking over for Grace Under Pressure and Power Windows respectively. No Geddy no! The impact of Neil Peart's hits, never more legendary than on these albums. Lifeson's playing and tone. Those artful solos. Moving Pictures must be one of the greatest albums recorded. It has a palpable feel. Similar to the Police as I point out soon, Rush's sound went to a new level. From the slick and polished sound of Tom Sawyer and Limelight, the story felt by the music of Red Barchetta's arrangement glueing the lyrics to the sounds flowing in your ear. The anomaly that is YYZ. Every track is memorable and lasting. Signals features the best merging of guitars, bass and synths from the band in their collection, before the guitar took a step back to fit in the heavier use of layers of synthesizers on the next few albums. Those Oberheims sure sound good though. Songs like Digital Man, The Analog Kid, Chemistry and on still resonate with me. One after the other they hit you and bring out emotion. I digress though..

The Police's Zenyatta Mondatta (Oct 1980) and Ghost In the Machine (Oct 1981). International touring and creating that output in a year to the week? Insane. Like Rush's albums mentioned, These both hold up very well. I'll say that Voices In My Head has one of the best grooves I ever heard. The title is appropriate as the song will linger long after an intent listen. Zenyatta Mondatta introduced a maturity from the band. Their sound punctuated by tasteful riffs and interplay. Driven To Tears shows off this new ability to harness every measure and captivate the listener. Too many to talk about. The band changed producers for Ghost to Hugh Padgham, who worked with many bands over the years and helped to create the gated drum sound in Phil Collins' In the Air Tonight (though I heard it was a happy accident - moving on). Technology advancing quickly and with their new producer, GITM has a more sophisticated sound. From the opening Spirits in the Material World's eerie and mysterious tone, this is different, more evolved. The sounds bite. The reverbed sax accents the percussion. A complex bass line, time signature and chord changes for a hit. Sting making use of some synths in the studio (Oberheim Xa and Prophet-10), lending more diversity to the album than in the past. And it's mixed and presented so well. Summer's guitars were more ambient on the album and further pushed his sound/style. Hidden gems like Rehumanize Yourself, Hungry For You and Darkness, the moody closer, aren't to be missed. There's a lot of ambience in the background of the whole album. Ghost in the Machine was recorded partly in Montserrat in the Caribbean, and you can hear some instruments from the area along with a very playful and experimental inclination to try things, and they work. Local flavor is most apparent on Every Little Thing.. It was also recorded in Le Studio, Quebec, ironically where Rush was recording at that time and was a second home. Sting's bass playing is under rated. Every note has purpose. Copeland's drumming as well, a master with a diverse background. Both drummers here are better termed as percussionists and a big influence on me taking up drums in the 8th grade at that time. Also listen to Synchronicity II on their final album, also produced by Padgham, but a more hit and miss affair. (Synch II gets forgotten after Every Breath, Wrapped Around Your Finger - sublime, you'll feel the bass notes sustain with the MMs more than you remember, King of Pain etc).

My intention here was to have you try these 4 albums out with your Maestro Mini's (or your favorite basshead set). Sting's and Geddy's bass tones, playing and their recording here are really something special and should be enjoyed if you're young and haven't had the chance. Or to be reminisced with if you're of my generation or older. The sub bass adds something to the presentation in a visceral way. They might be a bit sibilant without the foam tips, but each ear to their own. My bass settings in Spotifys EQ is up almost all the way, rest in a V shape. HBB mentioned the live aspect of the the MM's sound. Like you're front row center and I agree. Specifically, try Jacob's Ladder and Xanadu from Rush's live Exit Stage Left (1981). Those two tracks have best bass recordings on the album and you'll hear what HBB means. Shove those baby's in tight, turn it up and enjoy some music. And def try both of Tipper's songs I mentioned above (Dreamsters, Cinder Cone), they're an experience on the MM's and the first two songs i listen to on any new headset to really see what the bass and treble are capable of.

​

 
Last edited:
Oct 30, 2022 at 12:58 PM Post #88 of 1,983
MoonsOfJupiter said:
I've had 2 weeks with the Maestro Mini's now and feel that I'm ready to share my thoughts. First impression with unboxing, well there is no box. As many know who's read the detailed reviews here, The MM's come in a plastic case in bubble wrap that my large iPhone fits in. Not an ideal case to carry around your iems, but thankfully the foam inserts come out easily and I use it to keep my tips and the small Aria round case fits inside too. Taking out the MM's, I was very surprised that they're almost weightless. With no tips and wired attached, it's off putting. How can something that's supposed to be so bassy have such little heft? I now own one of the lightest and heaviest (OH10) iems. The build/fit and finish on these does not scream +$400 at all. The cable is average at best and like another user, found it hard to remove the 2 pin cable from the housing.

I burned them in for 3 days almost fully, occasionally putting them in my ears for a few songs, I was encouraged as some songs sounded promising though bright. They did improve over the first week. Bass got a little tighter and the highs quieted a bit. But not enough. FatFreq tuned the treble up above the harmon curve to balance out the bass. But they went too far in my opinion. I was a bit disappointed. I had the Azla SednaEarFit Max tips ready before the MM's arrived so I'd have the wax guard preventing any dust/wax getting into the open nozzles. Again, at this price point, what's with the open nozzles with the BA's right there too? makes no sense to me. The SE Max tips are high quality, wide bore silicone tips that enhance treble and stage. Didn't want to exacerbate the high end problem so I got the Comply Isolation TX-400 memory foam tips which also have the wax guard filters. These improved the sound a lot. Definitely tamed the treble and brought everything under control. There were some songs that had a metallic/tinny timbre to some treble parts, that went away with these tips. I create electronic music and I use Audeze LCD X 2021's (the best mixing headphones imo) to mix on but it's good to have other sets as reference. My OH10s are helpful as well as others, but the MM's had too much high end at first. Now with these foam tips, I can enjoy and mix with these too.

Here's the issue though for me. The MM's aren't as bass heavy as I expected. The reviewers all comment about how the sub bass/bass does not bleed into the mids. That's true because they tuned the mid bass back down to harmon levels. The FatFreq site claims "Deepest bass on the planet. Listen at your own risk". A bit bold and don't worry people, your ears will be safe. Unfortunately.

Now I do enjoy these and felt better after the tip change. But a buzzkill happened right after I got my MM's. Two days later, the $20 QKZ x HBB arrived. I got them to support HBB, (bad guy good audio reviews) whom most of you know. They seemed to be my kind of warm tuning. These cost the same as the Azla SednaEarfit tips alone...and sound great. These tips are a great pairing for that set and I highly recommend them as the QKZ x HBBs have smooth treble that open up nicely with those on. And because both the OH10's (by a small margin) and the QKZ's (by about 4db) have more mid bass, some songs replay with overall more (or more pleasing) bass than than the MM's. FatFreq tucked in the mid bass too much imho...Screen Shot 2022-10-30 at 6.43.20 AM.png

Most music doesn't have much going on below 50Hz and the MM's basshead beast prowess should be stronger. That mid bass is important and you can hear the difference as I was sound testing these 3 iems mentioned a ton for many days. Songs/albums that were recorded well with decent mid bass sound great on the MM's. Others sound better/fuller on the other sets. For a set that really has one trick up its' sleeve, it could have been performed better. HBB rated the MMs with Bass 9, Mids 5 and Treble 5. Pretty much on the mark. Maybe an 8 for the bass overall. Technically, the MMs aren't for detail seekers, the treble is not the most refined but can be pleasing. Treble 6 with foam tips. One interesting effect from the tuning is that there is a separation from the extreme sub bass to the highs that can feel nice with certain songs, like there's a bigger space for the music to reside in and gives guitars and synths air to swirl around in. Radiohead comes to mind.

The MMs are harder to drive than the other 2 sets and not ideal for gaming/movies. That's ok. There's just enough juice to power them with your phone but they sound better with my little $30 Neotek amp (thing is amazing actually).

Overall, I do like them but to quote another - they're a luxury more than a necessity. With one 9mm DD and 2 BA's, they should be around $295-$350, and I think FatFreq would maybe make more $ at that price point with more sales. But they're a very small company and perhaps couldn't handle higher demand. While I was waiting for them to arrive, it didn't help to learn that the Maestro Mini V2 would be coming out soon with 5 more db of sub bass and more treble. More treble? Why? That's a mistake. Ideally add a few more db of mid bass and leave the treble alone or bring down those peaks at 3-4k and 7-8k closer to harmon. And they're charging $490 with the new tuning and I think may be adding a vent(s). I'll pass or refrain from trying to exchange. I'd love to eventually see 1 DD, 2 BA's and 2 EST's (Variations) in the $500-$600 range with the added mid bass.

If you're interested in these and like sub bass and aren't too sensitive to a lot of treble, go for it. Not an all rounder but can make a good complement to others in your arsenal. Listen to Tipper's Dreamsters and Cinder Cone and you'll feel what these can do. Electronic artists like Ital Tek, Rival Consoles and LSG sound engaging and sometimes thrilling. The prices need to come down a bit though. I think they're going to make some more waves in the future and I'll be watching.

edit added for music/bass lovers... something about 1some 980-82 recordings. Quality analog gear, crazy chops as midi was just getting implemented. Culturally music was at a wonderful impetus, synergies of exploding genres - new wave, reggae, post punk, ambient, experimental and many others. Very new and raw. Technology improving hifi gear entering the 80s, many paths colliding. Two 3 piece bands (one short lived) created their best work (in my eyes) and the recordings are stellar (new masters since were done well and not overly compressed but original pressings stand). The Police and Rush, so talented at their craft and hitting on all cylinders at the time. Well, at least musically for the Police. Tempers were already flaring over Sting's ego and the end was near...but those songs!).

Alex Lifeson has commented on the Police's influence helping to introduce reggae to modern music and nudging them in that direction. You hear it on Vital Signs on Moving Pictures (1981) but much more prominent on Signals (1982). Two incredible albums with a sound all their own. The woody and deep texture of Geddy's Rickenbacker bass. Afterwards, he was talked into a Steinberger then a Wal as digital and new wave was taking over for Grace Under Pressure and Power Windows respectively. No Geddy no! The impact of Neil Peart's hits, never more legendary than on these albums. Lifeson's playing and tone. Those artful solos. These songs are embedded in my soul. I digress though..

The Police's Zenyatta Mondatta (Oct 1980) and Ghost In the Machine (Oct 1981). Like Rush's albums mentioned, hold up very well. Song after song, from Spirits in the Material World's eerie and mysterious tone, Secret Journey, lush guitar textures wash over a very tight and intricate rhythm section (as in Rush) that were captured with incredible detail, especially for the time. But I really enjoy more hidden gems like Rehumanize Yourself and Darkness, the moody closer. There's a lot of ambience in the background of the whole album. Ghost in the Machine was recorded partly in Montserrat in the Caribbean, and you can hear some instruments from the area along with a very playful and experimental inclination to try things, and they work. It was also recorded in Le Studio, Quebec, ironically where Rush was recording at that time and was a second home. Sting's bass playing is under rated. Every note has purpose. Also listen to Synchronicity II on their final album. Copeland's drumming as well, a master with a diverse background. Both drummers here are better termed as percussionists.

My intention here was to have you try these 4 albums out with your Maestro Mini's (or your favorite basshead set). The sub bass adds something to the presentation in a visceral way. They might be a bit sibilant without the foam tips, but each ear to their own. My bass settings in Spotifys EQ is up almost all the way, rest in a V shape. HBB mentioned the live aspect of the the MM's sound. Like you're front row center and I agree. Specifically, try Jacob's Ladder and Xanadu from Rush's live Exit Stage Left (1981). The best bass recordings to me and you'll hear what he means. Shove those baby's in tight, turn it up and enjoy some music. And def try both of Tipper's songs I mentioned above, they're an experience on the MM's and the first two songs i listen to on any new headset to really see what the bass and treble are capable of.

​

Click to expand...
Great review. If I get the Maestro Mini one day, which I highly doubt, it will be for one purpose and one purpose only, and that is to listen to poorly mixed electronic music from the 90's. There's really no other scenario or type of music that I can think of that benefits from this much subbass; not electronic music from the 80's or 00's, not rock music from the 90's, not well-mixed electronic music. Definitely not well-mastered classic or prog rock. But if I do listen to well-mastered music with it, I'd probably be wow'ed for a few songs, then the fatigue will kick in.

IMO the Maestro series is more of a statement piece than general enjoyment tool. If you have 0 iem and you are looking for one that helps you enjoy your entire library to the fullest, I wouldn't advice the Maestro. But if you are the type of guy to have many iems covering different kinds of sound for different parts of your library, then Maestro's should be a nice addition.

On a side note, someone needs to start a FatFreq thread for non-Maestro discussions. I know that FatFreq knows that the Maestro's isn't their best offerings when it comes to an all-around TOTL sound. It'd be a shame if the the buzz around their products, started around a statement piece, ends there. Their portfolio of sound signature is incredibly wide, covering the 535, UE11, UERR, even U18S type of tunings.
 
Oct 31, 2022 at 9:53 PM Post #89 of 1,983
MoonsOfJupiter said:
I've had 2 weeks with the Maestro Mini's now and feel that I'm ready to share my thoughts. First impression with unboxing, well there is no box. As many know who's read the detailed reviews here, The MM's come in a plastic case in bubble wrap that my large iPhone fits in. Not an ideal case to carry around your iems, but thankfully the foam inserts come out easily and I use it to keep my tips and the small Aria round case fits inside too. Taking out the MM's, I was very surprised that they're almost weightless. With no tips and wired attached, it's off putting. How can something that's supposed to be so bassy have such little heft? I now own one of the lightest and heaviest (OH10) iems. The build/fit and finish on these does not scream +$400 at all. The cable is average at best and like another user, found it hard to remove the 2 pin cable from the housing.

I burned them in for 3 days almost fully, occasionally putting them in my ears for a few songs, I was encouraged as some songs sounded promising though bright. They did improve over the first week. Bass got a little tighter and the highs quieted a bit. But not enough. FatFreq tuned the treble up above the harmon curve to balance out the bass. But they went too far in my opinion. I was a bit disappointed. I had the Azla SednaEarFit Max tips ready before the MM's arrived so I'd have the wax guard preventing any dust/wax getting into the open nozzles. Again, at this price point, what's with the open nozzles with the BA's right there too? makes no sense to me. The SE Max tips are high quality, wide bore silicone tips that enhance treble and stage. Didn't want to exacerbate the high end problem so I got the Comply Isolation TX-400 memory foam tips which also have the wax guard filters. These improved the sound a lot. Definitely tamed the treble and brought everything under control. There were some songs that had a metallic/tinny timbre to some treble parts, that went away with these tips. I create electronic music and I use Audeze LCD X 2021's (the best mixing headphones imo) to mix on but it's good to have other sets as reference. My OH10s are helpful as well as others, but the MM's had too much high end at first. Now with these foam tips, I can enjoy and mix with these too.

Here's the issue though for me. The MM's aren't as bass heavy as I expected. The reviewers all comment about how the sub bass/bass does not bleed into the mids. That's true because they tuned the mid bass back down to harmon levels. The FatFreq site claims "Deepest bass on the planet. Listen at your own risk". A bit bold and don't worry people, your ears will be safe. Unfortunately. Still, I find the bass full and satisfying. It's rare when I want or need more than what's there. It's not too boomy and holds up well. Kick drums sound more like they should. Most IEMS, kicks can sound like heavy cardboard so this is a benefit of that sub bass extension. The MM's can take a bunch of EQ down low too.

Now I do enjoy these and felt better after the tip change. But a buzzkill happened right after I got my MM's. Two days later, the $20 QKZ x HBB arrived. I got them to support HBB, (bad guy good audio reviews) whom most of you know. They seemed to be my kind of warm tuning, and they are. The QKZ's cost the same as the Azla SednaEarfit tips alone and together they sound surprisingly good. Glad I had them around as they open up the treble nicely. But back to the bassics, because both the OH10's (by a small margin) and the QKZ's (by about 4db) have more mid bass, some songs replay with better bass than than the MM's. FatFreq tucked in the mid bass too much imho. Raise that 2nd frequency on your EQ to get that mid bass going...A lift in the tuning in that 150-300Hz range, somewhere in between the two below would've been sweet: Screen Shot 2022-10-30 at 6.43.20 AM.png

Most music doesn't have much going on below 50Hz and the MM's basshead beast prowess should be stronger. That mid bass is important and you can hear the difference as I was sound testing these 3 iems mentioned a ton for many days. Songs/albums that were recorded well with decent mid bass sound great on the MM's. Others sound better/fuller on the other sets. For a set that really has one trick up its' sleeve, it could have been performed better. HBB rated the MMs with Bass 9, Mids 5 and Treble 5. Pretty much on the mark. Maybe an 8 for the bass overall. Technically, the MMs aren't for detail seekers, the treble is not the most refined but can be pleasing. Treble 6 with foam tips. One interesting effect from the tuning is that there is a separation from the extreme sub bass to the highs that can feel nice with certain songs, like there's a bigger space for the music to reside in and gives guitars and synths air to swirl around in. Radiohead comes to mind.

The MMs are harder to drive than the other 2 sets and not ideal for gaming/movies. That's ok. There's just enough juice to power them with your phone but they sound better with my little $30 Neotek amp (thing is amazing actually).

Overall, I do like them but to quote another - they're a luxury more than a necessity. With one 9mm DD and 2 BA's, they should be around $295-$350, and I think FatFreq would maybe make more $ at that price point with more sales. But they're a very small company and perhaps couldn't handle higher demand. While I was waiting for them to arrive, it didn't help to learn that the Maestro Mini V2 would be coming out soon with 5 more db of sub bass and more treble. More treble? Why? That's a mistake. Ideally add a few more db of mid bass and leave the treble alone or bring down those peaks at 3-4k and 7-8k closer to harmon. And they're charging $490 with the new tuning and I think may be adding a vent(s). I'll pass or refrain from trying to exchange. I'd love to eventually see 1 DD, 2 BA's and 2 EST's (Variations) in the $500-$600 range with the added mid bass.

If you're interested in these and like sub bass and aren't too sensitive to a lot of treble, go for it. Not an all rounder but can make a good complement to others in your arsenal. Listen to Tipper's Dreamsters and Cinder Cone and you'll feel what these can do. Electronic artists like Ital Tek, Rival Consoles and LSG sound engaging and sometimes thrilling. The prices need to come down a bit though. I think they're going to make some more waves in the future and I'll be watching.

edit added for music/bass lovers... something about some 1980-82 recordings. Quality analog gear, crazy chops as midi was just getting implemented. Culturally music was at a wonderful impetus, synergies of exploding genres - new wave, reggae, post punk, ambient, experimental and many others. Very new and raw. Technology improving hifi gear entering the 80s, many paths colliding. Two 3 piece bands (one short lived) created their best work (in my eyes) and the recordings are stellar (new masters since were done well and not overly compressed but original pressings stand). The Police and Rush, each individual unique and so talented at their craft and hitting on all cylinders at the time. Well, at least musically for the Police. Tempers were already flaring over Sting's ego and the end was near...but those songs!).

Alex Lifeson has commented on the Police's influence helping to introduce reggae to modern music and nudging them in that direction. You hear it on Vital Signs on Moving Pictures (1981) but much more prominent on Signals (1982). Two incredible albums with a sound all their own. The woody and deep texture of Geddy's Rickenbacker bass. Afterwards, he was talked into a Steinberger then a Wal as digital and new wave was taking over for Grace Under Pressure and Power Windows respectively. No Geddy no! The impact of Neil Peart's hits, never more legendary than on these albums. Lifeson's playing and tone. Those artful solos. Moving Pictures must be one of the greatest albums recorded. It has a palpable feel. Similar to the Police as I point out soon, Rush's sound went to a new level. From the slick and polished sound of Tom Sawyer and Limelight, the story felt by the music of Red Barchetta's arrangement glueing the lyrics to the sounds flowing in your ear. The anomaly that is YYZ. Every track is memorable and lasting. Signals features the best merging of guitars, bass and synths from the band in their collection, before the guitar took a step back to fit in the heavier use of layers of synthesizers on the next few albums. Those Oberheims sure sound good though. Songs like Digital Man, The Analog Kid, Chemistry and on still resonate with me. One after the other they hit you and bring out emotion. I digress though..

The Police's Zenyatta Mondatta (Oct 1980) and Ghost In the Machine (Oct 1981). International touring and creating that output in a year to the week? Insane. Like Rush's albums mentioned, These both hold up very well. I'll say that Voices In My Head has one of the best grooves I ever heard. The title is appropriate as the song will linger long after an intent listen. Zenyatta Mondatta introduced a maturity from the band. Their sound punctuated by tasteful riffs and interplay. Driven To Tears shows off this new ability to harness every measure and captivate the listener. Too many to talk about. The band changed producers for Ghost to Hugh Padgham, who worked with many bands over the years and helped to create the gated drum sound in Phil Collins' In the Air Tonight (though I heard it was a happy accident - moving on). Technology advancing quickly and with their new producer, GITM has a more sophisticated sound. From the opening Spirits in the Material World's eerie and mysterious tone, this is different, more evolved. The sounds bite. The reverbed sax accents the percussion. A complex bass line, time signature and chord changes for a hit. Sting making use of some synths in the studio (Oberheim Xa and Prophet-10), lending more diversity to the album than in the past. And it's mixed and presented so well. Summer's guitars were more ambient on the album and further pushed his sound/style. Hidden gems like Rehumanize Yourself, Hungry For You and Darkness, the moody closer, aren't to be missed. There's a lot of ambience in the background of the whole album. Ghost in the Machine was recorded partly in Montserrat in the Caribbean, and you can hear some instruments from the area along with a very playful and experimental inclination to try things, and they work. Local flavor is most apparent on Every Little Thing.. It was also recorded in Le Studio, Quebec, ironically where Rush was recording at that time and was a second home. Sting's bass playing is under rated. Every note has purpose. Copeland's drumming as well, a master with a diverse background. Both drummers here are better termed as percussionists and a big influence on me taking up drums in the 8th grade at that time. Also listen to Synchronicity II on their final album, also produced by Padgham, but a more hit and miss affair. (Synch II gets forgotten after Every Breath, Wrapped Around Your Finger - sublime, you'll feel the bass notes sustain with the MMs more than you remember, King of Pain etc).

My intention here was to have you try these 4 albums out with your Maestro Mini's (or your favorite basshead set). Sting's and Geddy's bass tones, playing and their recording here are really something special and should be enjoyed if you're young and haven't had the chance. Or to be reminisced with if you're of my generation or older. The sub bass adds something to the presentation in a visceral way. They might be a bit sibilant without the foam tips, but each ear to their own. My bass settings in Spotifys EQ is up almost all the way, rest in a V shape. HBB mentioned the live aspect of the the MM's sound. Like you're front row center and I agree. Specifically, try Jacob's Ladder and Xanadu from Rush's live Exit Stage Left (1981). Those two tracks have best bass recordings on the album and you'll hear what HBB means. Shove those baby's in tight, turn it up and enjoy some music. And def try both of Tipper's songs I mentioned above (Dreamsters, Cinder Cone), they're an experience on the MM's and the first two songs i listen to on any new headset to really see what the bass and treble are capable of.

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Yes i was afraid it might not have enough mid bass. Ideally i want to have my cake and eat it to with slamming mid bass without damaging the mids.
 
Nov 1, 2022 at 1:33 PM Post #90 of 1,983
Edric Li said:
Great review. If I get the Maestro Mini one day, which I highly doubt, it will be for one purpose and one purpose only, and that is to listen to poorly mixed electronic music from the 90's. There's really no other scenario or type of music that I can think of that benefits from this much subbass; not electronic music from the 80's or 00's, not rock music from the 90's, not well-mixed electronic music. Definitely not well-mastered classic or prog rock. But if I do listen to well-mastered music with it, I'd probably be wow'ed for a few songs, then the fatigue will kick in.

IMO the Maestro series is more of a statement piece than general enjoyment tool. If you have 0 iem and you are looking for one that helps you enjoy your entire library to the fullest, I wouldn't advice the Maestro. But if you are the type of guy to have many iems covering different kinds of sound for different parts of your library, then Maestro's should be a nice addition.

On a side note, someone needs to start a FatFreq thread for non-Maestro discussions. I know that FatFreq knows that the Maestro's isn't their best offerings when it comes to an all-around TOTL sound. It'd be a shame if the the buzz around their products, started around a statement piece, ends there. Their portfolio of sound signature is incredibly wide, covering the 535, UE11, UERR, even U18S type of tunings.
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Thanks. You make some good points, but I want to reassure you that the MM is going to be more than fine with most of the genres you mention, especially with well mastered fare. The sub bass is not as extreme as you may think, might pose a problem with heavily deep mixed dub and hip hop but I haven't come across too much that's an issue. I had more of a fatiguing issue with the treble, but that was solved with the foam tips I recommended. I'm liking the MM's more and more each day. You can enjoy your poorly mixed 90's electro but you'll really enjoy the properly mixed stuff and some of it in a new way.
 
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