[Rockwell75]

​

Also, drool...

 

[Scubadevils]

In spite of owning two single DDs already, I am incredibly tempted to add Isa next, especially with the praise for vocals.

Has anyone tried both IE900 and Isa?

 

[Rockwell75]

In spite of owning two single DDs already, I am incredibly tempted to add Isa next, especially with the praise for vocals.

Has anyone tried both IE900 and Isa?

No but all reports I've read so far suggest that if you already love the IE900 then the Isabellae would make a wonderful complimentary partner.

 

[Ace Bee]

Thanks so much, my friend! Yeah, that midrange timbre will definitely react differently depending on what you're listening to. I like how it sharpens and focuses instruments in the genres you mentioned, and I like how it adds space in more atmospheric R&B or soul mixes as well. Miguel, Kehlani and Mac Ayres come to mind. It'll obviously depend on the production of the track too. I found the drums on Dimas Pradipta's 9 Range Road still had loads of body and weight in spite of that colouration, but the ones on Mark Lettieri's Deep, Vol. 3 ended up a bit too light or clang-y. So, it's something people will or won't jive with. But, that's the nature of IEMs, and listening in general too: Nothing is perfect, so find the one that's perfect for you.

The way you described the midrange...well, I feel the TSMR Land that I am enjoying currently delivers mids in very much the same way...so I guess I should strike Isabellae off my list, as I am searching for a smoother counterpart, without compromising much of the air and stage.

 

[bluestorm1992]

Jump in and share some eye candies I spotted. I believe they are from UM Mentor V3.

The one on the left is called “candy mix” which is the most loved UM faceplates in mainland China.

Here are two more pics of how this faceplate is applied to another set.

 

[gLer]

But, for those who want their mids very lush, meaty and chesty, and their highs liquid-y and smooth, the Isabellae probably isn’t for you.

Fantastic review @Deezel177, but that goes without saying by now. Such a pleasure reading how someone who works with and understands music at its core describes the gear and how it presents that music.

I pulled out that quote above not because it defines the review but because it speaks to how I 'imagined' the Isa's midrange would sound based on other reviews and impressions...and completely dispels those assumptions.

For me, an emotive midrange is exactly how you've described it, lush and meaty, or at least with the music I listen to, and it really helps when a reviewer can articulate the sound in a way that I can 'see' myself hearing it, regardless if that type of sound appeals to me or not.

Makes me want to actually hear Isa for myself, if only to say yeah, that's it (or not it, in this case).

PS. Your photography is next level man. I take personal cues from it every time I see it. Gold standard stuff. Thank you.

 

[Ace Bee]

Fantastic review @Deezel177, but that goes without saying by now. Such a pleasure reading how someone who works with and understands music at its core describes the gear and how it presents that music.

I pulled out that quote above not because it defines the review but because it speaks to how I 'imagined' the Isa's midrange would sound based on other reviews and impressions...and completely dispels those assumptions.

For me, an emotive midrange is exactly how you've described it, lush and meaty, or at least with the music I listen to, and it really helps when a reviewer can articulate the sound in a way that I can 'see' myself hearing it, regardless if that type of sound appeals to me or not.

Makes me want to actually hear Isa for myself, if only to say yeah, that's it (or not it, in this case).

PS. Your photography is next level man. I take personal cues from it every time I see it. Gold standard stuff. Thank you.

Can you suggest an iem under $1000 with such a midrange where the air and stage isn't compromised much?

 

[Deezel177]

I for one am a huge fan of simple, compact aesthetically appealing packaging. I received the Cayin Fantasy a couple days after receiving Isa and the contrast in packaging was rather dramatic. The Fantasy came in one of those large, multi-tiered boxes complete all sorts of layers, bells & whistles all of which will just sit in my closet (generally until I sell it to move on to something else). Oriolus' packaging (and Campfire's) is simple, efficient, effective and beautiful and hope more companies start to go that route. It's nice being able to display the nice, artistically appealing little boxes, on a shelf in my house. My only personal beef with the packaging/accessories etc. is the lack of an included case.



Shots fired. That said now that I've received Isabellae and most recently the Reborn my honest suspicion, especially given Oriolus' tendency towards the unconventional, is that the notably unassuming packaging of the Traillii, despite its Himalayan price, was meant as something of a statement suggesting that the tuning & sound quality is the real product and not ostentatious, excessive packaging, bells & whistles etc. Maybe I'm way off but that's a little what it feels like.



+1



That's a really interesting perspective. I actually EQ my Reborn down a bit at the 2K reason and one of the reasons I've been so enamoured with the Isabellae is how much upper mids presence there is without it feeling shouty or over vibrant. I might fiddle with EQ on Isa a bit (which I haven't yet) in that region and see what happens.



LOVED this description of the bass...i've been struggling to really put it into words but you nailed it. The quality of bass on all 3 Oriolus IEMs I've heard has really caught me by surprise.

Thank-you for sharing! A thorough, articulate, engaging and informative review as always.

Thanks, man! I can personally go either way as far as packaging's concerned. I appreciate it when a company can execute simplicity without it feeling cheap. Examples of that would be FiR Audio, 64 Audio or Empire Ears' packaging. And, on the opposite end of the spectrum, I give massive kudos to guys like Vision Ears who leave everyone else in the dust as far as extravagant packaging is concerned.

Personally, though, I think your reasoning for the Trailli's packaging's simplicity is incredibly generous to Oriolus. For sure, one could interpret it to mean such, but it sounds like a stretch to me at best. Obviously, sonics must always take precedent, and I can always sympathise when packaging has to take a hit in order to keep prices down. This is why I gave the Isabellae a pass for throwing all its accessories into a small plastic bag. And, on my upcoming FiR Audio VxV review, it's also why I didn't go too hard on them for their "packaging", which is literally the most barebones, white, cardboard box in the world, compensated only by the leather case and - admittedly, very fun and good-looking - stickers they've included with it.

But, with the Trailli at $6000, I fail to see how its packaging could be seen as anything other than subpar. And, the funny thing is - for me, at least - it isn't because it didn't come in a huge jewellery case or some military-grade suitcase. A good unboxing experience doesn't have to be expensive or lavish. All it has to do is enhance the product (whether aesthetically, thematically, etc.) and serve as a fitting companion to it. I'm not taking a shot at the Trailli because its packaging was cheap. Cheap, as the examples I've shown prove, can still look very nice. I took shots at it because it did absolutely nothing for the product, its image or its brand. To me, taking the Trailli's packaging up to at least a passing grade is as easy as looking at the Rhapsodio Orla. That $300 IEM came in a wooden, tatami-style box that screamed Japanese, Legacy, Regality, etc. Hit that with a few bird engravings here-and-there and you've got yourself a winner.

Again, it isn't about how expensive or luxurious the packaging itself is. It's how it enhances the product, how it enhances the customer's experience, and how it represents the brand. That's what makes successful packaging and a successful unboxing experience. Funnily enough, that's everything that represents the Trailli and its success too. It's an IEM made not with the most expensive or unobtainable materials, whether internally or externally. But, it ultimately proves its worth by how it enhances your music and how it makes you feel, and it speaks volumes of its brand and its maker as well. So, I feel like fans of the Trailli should resonate with my sentiments more than anyone, if anything.

Ultimately, though, that's simply my opinion, which is coming from someone who's a tad more picky and stringent about packaging than a lot of consumers or reviewers out there tend to be, I think. As always, I must emphasise that this isn't a critique at the Trailli as an IEM, its makers, its buyers, etc. I'm just pointing out an area where a brand could do better, so customers can get a better deal for their money in the future. That doesn't sound like such a bad thing to me.

Nice review. I like your description of the Isa being "vivid." Does that mean bright? I ask because I am listening to Monarch and Odin. In trying to describe the difference in sound, the word "vivid" does seem to fit to me. The Odin is more vivid than the Monarch and I think that is due to its treble response.

Thanks! For me, vividness refers to how far forward instruments can leap and project, so you could say that it's the distance (or contrast) between the instrument and the in-ear's backdrop. So, a vivid signature has to have at least one of these things: A dark, stable backdrop or crisp, clean, punchy transients. Ideally, you'd have both to create the most dynamic sound possible. But, for example, if want to create a warmer in-ear that won't have the sharpest, most hard-edged transients, then you'd have to rely entirely on a black backdrop to achieve your dynamic range. An example of such an in-ear would be the A18s or VE8.

The treble can absolutely play a role in making things sound sharper and punchier. A note's transient is largely treble-reliant after all. But, there's a difference between a vivid treble and a vivid instrument. When Jennifer Hudson belts on I Run, for example, you'd expect her to get louder and punchier throughout the range; not just her sibilants or plosives, which is what the treble reproduces vocally. So, though vividness and power can be faked somewhat with certain treble peaks or upper-mid bumps, it can't replace true, technical vividness, which should exist throughout most of the range. Punchiness and liveliness throughout the sig (bar the low-mids), is something I did mention on the Presentation section of my ODIN review, so that could definitely be what you're hearing on yours.

There are also occasions where parts of an in-ear's frequency range can be more vivid than others. For example, on my EVE20 review, I noted its thunderous dynamics down low and up top, but not in its upper-mids. That's why it had engagement and drive with electronic tracks, but belting vocalists like Hudson fell a tad flat on them. So, it's definitely not out of the question to have just the ODIN's midrange be more vivid than the Monarch's, in your case, for example.

So, all in all, vividness to me is something that has its building blocks in technique and dynamic range, but it's something you can manipulate with tuning as well. Which of the two your specific case has to do with will ultimately depend on what areas come across vivid to you and why.

Fantastic review @Deezel177, but that goes without saying by now. Such a pleasure reading how someone who works with and understands music at its core describes the gear and how it presents that music.

I pulled out that quote above not because it defines the review but because it speaks to how I 'imagined' the Isa's midrange would sound based on other reviews and impressions...and completely dispels those assumptions.

For me, an emotive midrange is exactly how you've described it, lush and meaty, or at least with the music I listen to, and it really helps when a reviewer can articulate the sound in a way that I can 'see' myself hearing it, regardless if that type of sound appeals to me or not.

Makes me want to actually hear Isa for myself, if only to say yeah, that's it (or not it, in this case).

PS. Your photography is next level man. I take personal cues from it every time I see it. Gold standard stuff. Thank you.

Thanks so, so much, my friend. The pleasure truly is mine. I think it just goes to show how different one's triggers for engagement and emotiveness can be. Between you and I, for example, I don't share your need for a DD anywhere at all. Bass isn't something that interests me as much as the mids or highs, which is why you'll hardly find any thorough descriptions of timing, decay, distortion, etc. on most of my reviews. There are other reviewers for that, and I respect their work immensely as well. @Rockwell75 also mentioned turning 2kHz down on the Reborn for his tastes, which explains why he resonated with the Isabellae more than I did. My favourite midrange tuning in an IEM is on the A18s, which has a healthy 2kHz bump. But, again, such is the beauty of the diversity in our hobby.

I love your point about articulating sound to the point where you can see it as well. Listening is as much a tactile and visual experience for me as it is auditory. I think it can't be helped, given that vision tends to be the strongest and most visceral stimulus that we have. So, if anything could describe my style or approach, it would definitely be that.

 

[HiFiHawaii808]

Thanks, man! I can personally go either way as far as packaging's concerned. I appreciate it when a company can execute simplicity without it feeling cheap. Examples of that would be FiR Audio, 64 Audio or Empire Ears' packaging. And, on the opposite end of the spectrum, I give massive kudos to guys like Vision Ears who leave everyone else in the dust as far as extravagant packaging is concerned.

Personally, though, I think your reasoning for the Trailli's packaging's simplicity is incredibly generous to Oriolus. For sure, one could interpret it to mean such, but it sounds like a stretch to me at best. Obviously, sonics must always take precedent, and I can always sympathise when packaging has to take a hit in order to keep prices down. This is why I gave the Isabellae a pass for throwing all its accessories into a small plastic bag. And, on my upcoming FiR Audio VxV review, it's also why I didn't go too hard on them for their "packaging", which is literally the most barebones, white, cardboard box in the world, compensated only by the leather case and - admittedly, very fun and good-looking - stickers they've included with it.

But, with the Trailli at $6000, I fail to see how its packaging could be seen as anything other than subpar. And, the funny thing is - for me, at least - it isn't because it didn't come in a huge jewellery case or some military-grade suitcase. A good unboxing experience doesn't have to be expensive or lavish. All it has to do is enhance the product (whether aesthetically, thematically, etc.) and serve as a fitting companion to it. I'm not taking a shot at the Trailli because its packaging was cheap. Cheap, as the examples I've shown prove, can still look very nice. I took shots at it because it did absolutely nothing for the product, its image or its brand. To me, taking the Trailli's packaging up to at least a passing grade is as easy as looking at the Rhapsodio Orla. That $300 IEM came in a wooden, tatami-style box that screamed Japanese, Legacy, Regality, etc. Hit that with a few bird engravings here-and-there and you've got yourself a winner.

Again, it isn't about how expensive or luxurious the packaging itself is. It's how it enhances the product, how it enhances the customer's experience, and how it represents the brand. That's what makes successful packaging and a successful unboxing experience. Funnily enough, that's everything that represents the Trailli and its success too. It's an IEM made not with the most expensive or unobtainable materials, whether internally or externally. But, it ultimately proves its worth by how it enhances your music and how it makes you feel, and it speaks volumes of its brand and its maker as well. So, I feel like fans of the Trailli should resonate with my sentiments more than anyone, if anything.

Ultimately, though, that's simply my opinion, which is coming from someone who's a tad more picky and stringent about packaging than a lot of consumers or reviewers out there tend to be, I think. As always, I must emphasise that this isn't a critique at the Trailli as an IEM, its makers, its buyers, etc. I'm just pointing out an area where a brand could do better, so customers can get a better deal for their money in the future. That doesn't sound like such a bad thing to me.


Thanks! For me, vividness refers to how far forward instruments can leap and project, so you could say that it's the distance (or contrast) between the instrument and the in-ear's backdrop. So, a vivid signature has to have at least one these things: A dark, stable backdrop or crisp, clean, punchy transients. Ideally, you'd have both to create the most dynamic sound possible. But, for example, if want to create a warmer in-ear that won't have the sharpest, most hard-edged transients, then you'd have to rely entirely on a black backdrop to achieve your dynamic range. An example of such an in-ear would be the A18s or VE8.

The treble can absolutely play a role in making things sound sharper and punchier. A note's transient is largely treble-reliant after all. But, there's a difference between a vivid treble and a vivid instrument. When Jennifer Hudson belts on I Run, for example, you'd expect her to get louder and punchier throughout the range; not just her sibilants or plosives, which is what the treble reproduces vocally. So, though vividness and power can be faked somewhat with certain treble peaks or upper-mid bumps, it can't replace true, technical vividness, which should exist throughout most of the range. Punchiness and liveliness throughout the sig (bar the low-mids), is something I did mention on the Presentation section of my ODIN review, so that could definitely be what you're hearing on yours.

There are also occasions where parts of an in-ear's frequency range can be more vivid than others. For example, on my EVE20 review, I noted its thunderous dynamics down low and up top, but not in its upper-mids. That's why it had engagement and drive with electronic tracks, but belting vocalists like Hudson fell a tad flat on them. So, it's definitely not out of the question to have just the ODIN's midrange be more vivid than the Monarch's, in your case, for example.

So, all in all, vividness to me is something that has its building blocks in technique and dynamic range, but it's something you can manipulate with tuning as well. Which of the two your specific case has to do with will ultimately depend on what areas come across vivid to you and why.


Thanks so, so much, my friend. The pleasure truly is mine. I think it just goes to show how different one's triggers for engagement and emotiveness can be. Between you and I, for example, I don't share your need for a DD anywhere at all. Bass isn't something that interests me as much as the mids or highs, which is why you'll hardly find any thorough descriptions of timing, decay, distortion, etc. on most of my reviews. There are other reviewers for that, and I respect their work immensely as well. @Rockwell75 also mentioned turning 2kHz down on the Reborn for his tastes, which explains why he resonated with the Isabellae more than I did. My favourite midrange tuning in an IEM is on the A18s, which has a healthy 2kHz bump. But, again, such is the beauty of the diversity in our hobby.

Thanks. I really appreciate that technical description. It's helping me to build my audiophile vocabulary to better describe what I hear.

 

[Deezel177]

Thanks. I really appreciate that technical description. It's helping me to build my audiophile vocabulary to better describe what I hear.

No worries, man! It's funny, because I came to a lot of my terminology and my adjectives just like you did as well. I hear something that I can't quite put into words from an IEM, then I dig through thesauruses and publications 'til I find the one that lights the bulb. Or, I come across something whilst reading someone else's review and go, "Why haven't I thought of that?!" It's something that I continue to try to expand and simplify over time as well. I think describing something as vivid is far more helpful than orating the breadth of a transducer's dynamic range. But, yeah, thanks as well for the support, and I look forward to learning just as much from everyone else here too.

 

[HiFiHawaii808]

No worries, man! It's funny, because I came to a lot of my terminology and my adjectives just like you did as well. I hear something that I can't quite put into words from an IEM, then I dig through thesauruses and publications 'til I find the one that lights the bulb. Or, I come across something whilst reading someone else's review and go, "Why haven't I thought of that?!" It's something that I continue to try to expand and simplify over time as well. I think describing something as vivid is far more helpful than orating the breadth of a transducer's dynamic range. But, yeah, thanks as well for the support, and I look forward to learning just as much from everyone else here too.

Haha. Like the sound stage is one inch wider on this IEM vs. that one. For me, audio is like wine. You need terms that people can relate to which trigger memory and emotional connection. The Rock is good at that as well. Glare is a great example. Everyone knows what glare means from sunlight. When you use it to describe the hotness of treble, it really resonates with people.

 

[Wyville]

...I keep coming back for Barney...

wowww.

so great to see barnie again!

(and you too, @Wyville.)

lol! Yeah, Barnie is always the popular one. Where we live most people are absolutely in love with him. I had one older lady who was initially a bit irritated because dogs kept soiling the grass in front of her house, yet 10 minutes later she was casually laughing as Barnie was lying there on his back eating her flowers.

 

[RTodd]

Sharing the second solution for carrying two IEMs on the go. Like the first one it took a couple months to build this on weekends and some nights.

https://www.head-fi.org/threads/fli...ortable-audio-discussion.826876/post-16686620

 

[ian91]

Sharing the second solution for carrying two IEMs on the go. Like the first one it took a couple months to build this on weekends and some nights.

















Link to first design;

Post in thread 'flinkenick's 17 Flagship IEM Shootout Thread (and general high-end portable audio discussion)'
https://www.head-fi.org/threads/fli...ortable-audio-discussion.826876/post-16277662

Incredible work! They look beatiful and designed with purpose and care. If you plan to make more of these, put me in line.

 

[HiFiHawaii808]

Sharing the second solution for carrying two IEMs on the go. Like the first one it took a couple months to build this on weekends and some nights.

















Link to first design;

Post in thread 'flinkenick's 17 Flagship IEM Shootout Thread (and general high-end portable audio discussion)'
https://www.head-fi.org/threads/fli...ortable-audio-discussion.826876/post-16277662

Beautiful case. Only problem is that you need a 130 IQ or higher to use it properly.