[491326]

so that's the official name? just love it, never had better..
the price is reasonable too.

lol, not the official name, just saying, go mango milk. mango ice is awesome too. (mango is awesome) if you ever come again, I highly recommend going to a supermarket to buy these really small mangos. They arent too sweet but they have a very strong mango aroma and flavor, its super good (i love mango)

 

[noplsestar]

This is how a DAP should look like. Alas it didn´t get the attention it deserved ... they did nearly everything right (back then in 2014!!!)

The DAP is a bit slow, but very dynamic and powerful sound.
For all of you with hiss problems: never an issue here as the Calyx M has an output impedance of around 0 ohm! In addition it has enough power to drive an HD650 to earbleading levels. Alas the battery is weak. But can also be used as USB dac and has SD card and micro SD card slot for nearly 1TB storage if you like. In addition it can play DSD native ... oh, I love this device

So if you guys get a hand on them used, this DAP is worth every penny.
End of commercial

 

[ThinkerMakerDIYer]

lol, not the official name, just saying, go mango milk. mango ice is awesome too. (mango is awesome) if you ever come again, I highly recommend going to a supermarket to buy these really small mangos. They arent too sweet but they have a very strong mango aroma and flavor, its super good (i love mango)

those golden and small as egg mango right? they are super super good.

 

[klaimzlgd]

My AK Layla socket came off DDD Does anyone knows who to contact?

 

[Layman1]

My AK Layla socket came off DDD Does anyone knows who to contact?

Jerry Harvey

 

[ctsooner22]

Very well put, but I am surprised the round earth is "US type of hi-fi", I was under the impression that "round earth" vs "flat earth" is a modern vs old-school analogy.

There is one important advantage in the Headfi hobby: you can easily own 10-20 headphones or IEMs and swap them anytime, but you have to stick with one pair, or at most two, of speakers in a home audio system. Therefore convergence in 2 channel become a important trend but not so much in headfi hobby. For example, you won't see a 17 flagship speaker shootout in 2 channel hobby.

I agree totally, however in 2 channel we have many more choices that are 'neutral'. I personally like a reference type of sound adn in 2 channel it's all about trying to get what was recorded. Two totally different hobbies. Both are fun in their own right. In 2 channel (US at least) I can go audition nearly any speaker I have interest in, but I can't do that with IEM's or even most headphones.

Couldn't agree more, and the situation is even worse in Hong Kong, we can even split the audiophile gang out from the music appreciation completely. A significantly number of audiophiles over here will listen to a small collection of "audiophile recording" repeatedly. I can understanding you should stick with "reference tracks" that you are familiar with when you review or compare audio equipment, but if you'll stick with the same collection during your daily music listening, that would be difficult to comprehend from music appreciation perspective.

Back to my choice of headphones that I appreciate its presentation over out-right performance, I want to say the good old HD250/HD540G are my most frequently used headphones. I listened to pop music of late 70s and early 90s most of the time, so to certain extend, matched the "age" of these headphone completely, so maybe on top of your analogy that choice of music play an important role in our hobby, the relationship between age of music and age of equipment also come into play as well, interesting?

totally agree. Audiophiles are in 3 camps. One loves the gear. One loves teh music and some of us love both. I have plenty of audiophile recordings that I love to listen to, but I also will listen to anything I like.

As Cayin and others know, you can't be everything to everyone. I was on the phone yesterday with an ultra high end maker of electronics for 2 channel. We spoke about their Pono connection for cans as I want them to make a 4.4mm connector. They said sound quality is why they went that way at first. Since they aren't making Pono anymore, they will possibly switch to the DIN socket connection. Not good for IEM folks, but it's what the can folks like. Small niche markets can't have leverage when asking for things in audio, lol.

 

[klaimzlgd]

anyone knows the difference between Layla I and Layla II of Astell and Kern apart from the build differences?

 

[John Culter]

anyone knows the difference between Layla I and Layla II of Astell and Kern apart from the build differences?

Internal components should be same.

 

[deafdoorknob]

bourdain ... sighs

 

[klyzon]

bourdain ... sighs

Pity. Had a huge influence on me. Even though I’m not cheffing any longer, still utmost respect to the man

 

[491326]

omg... i just found out.

 

[Ike1985]

This is how a DAP should look like. Alas it didn´t get the attention it deserved ... they did nearly everything right (back then in 2014!!!)

Beautiful.

 

[Deezel177]

Not one to be outdone by the venerable @flinkenick, I’ve just finished my first of eight days on the tropical island of Singapore, and HERE is…

The Deezel Dash: In-Ear Edition - Unique Melody Mentor V3
​

The first location I visited was the Plaza Singapura shopping mall. I was in the mood for a plate of Nando’s chicken, but more importantly was the Stereo Electronics outlet located on the very same floor. They sell a number of mainstream audiophile brands - including Audeze, Focal and Sennheiser - along with two brands of CIEMs: Noble and Unique Melody. Naturally, I instantly requested demos of the Mentor V3 and Mason V3. Since I’ve already covered the Mason V3 in a full THL review (here), I put all my focus into the Mentor V3 - the Mason’s punchier, more engaging and more musical little brother.

The Mentor’s energetic signature is bolstered by its emphases on the mid-bass, centre-midrange and lower-treble; constructing a large and (especially) tall image filled with larger-than-life instruments. The Mentor is more wide than deep - due to its upfront presentation of vocals - but generates enough headroom to maintain a black background and strong resolution. Above all, its defining signature trait is heaps of dynamic energy. The image it puts out is not only large, but also punchy and impactful. Tracks teem with vibrancy and instruments sound wholly alive. However, this amount of energy leads to a compromise in long-term listening. The longer the listen, the more you feel the effort within the Mentor’s dynamite-like approach. So, although vocals are intimate and musical, they’re not the most inviting. Musical engagement is high though, due to a 1kHz bump. This boldness and chestiness - combined with the elevated mid-bass - create a warm ambience within the Mentor’s stage, which makes the image more cohesive. There’s a thread binding all the instruments together for a more euphonic listening experience.

The Mentor’s bass is satisfyingly impactful. Whether the overall emphasis lies on the sub-bass or the mid-bass depends on the Dual-Tone cable setting, but there’s about equal amounts of both on average. The region is decently accentuated - resulting in strong overall slams - but there’s enough speed to maintain a relatively transparent stage. Decay is natural (bordering on slow), but the linear sub-bass adds a guttural quality to the low-end as a substitute for clarity and texture. Extension is adequate, imparting a physicality to the low-end, but texture - like clarity - is slightly compromised. Upright basses for example have more mid-bass bloom than upper-bass definition. But, again, that adds to the warm ambience in the Mentor’s stage, which results in a more unified and engaging presentation. Bass tone is on the warmer side with strong body and punch, which certainly aids how kick drums are reproduced. A sense of thump is palpably prominent, with a certain “thwack” as the beater’s swing, the fundamental hit and the harmonics that follow decay into each other evenly. Overall, it’s a low-end with a mindful balance between physicality, impact and tone; well-rounded, decently versatile, and constantly enjoyable.

The midrange is where the Mentor sets itself apart from the Mason V3. Bolstered by a 1-3kHz bump, the Mentor V3 truly flaunts it size - showcasing up-front and immensely tall instruments, akin to a movie theatre experience. While the Mason’s notes are denser and more rounded, the Mentor V3 trades that in for surface area. Vocals take up a significant portion of the stage, allowing the listener a more close-up view of the instrument, along with a more prominent sense of texture. Though, ultimate resolution is comparable between the two, and the Mason V3’s smaller notes procure more focus on each individual instrument. Returning to the 1-3kHz bump, this adds a strong sense of chestiness to the Mentor V3’s vocal presentation. Vocalists sing with gusto and power, contrasting against the leaner lower-midranges that’ve dominated the mainstream. However, courtesy of the mid-bass and a peak around 6kHz, vocals take on a more neutral tone. The latter peak also causes some instruments to sound a touch honky on the Mentor, so pairing choices should be advised. Vocals aren’t the airiest as a result of the Mentor’s linear upper-treble, but great extension maintains admirable headroom nonetheless.

The Mentor’s top-end begins with a lower-treble peak; instantly more aggressive than its bigger brother’s. While the Mason focuses on the more delicate middle-treble, the Mentor’s 6kHz peak gives it solidity. Hi-hats and snare crackles are instantly more prominent - and punchy - but decently controlled. Sibilance is rare, though it can border on harshness on select tracks. This peak gives the Mentor a dynamic contrast against the mid-bass and the centre-midrange. When vocalists belt, you really hear them belt, and the Mentor renders throat reverberations and strain with great detail. Finally, the Mentor’s upper-mids become more neutral than sweet. The Mentor then dips around 8-10kHz, so the overall soundscape takes on a warmer and meatier ambience rather than an airy or open one. The Mason V3 has instruments that are better lit and more free, but texture and fibrousness is more obvious on the Mentor. Extension is similar between the two, but the Mason is the more linear one. As a result, its stage is more evenly spherical, as well as wider and deeper. Conversely, the Mentor’s is less precise by comparison, but more engaging, involving and musical.

Mentor V3 vs. Mason V3

As I’ve outlined several times, the differences that exist between the Mentor and the Mason V3 lie within their intended signatures. The Mason emphasises air, spaciousness and precision by implementing small notes, a relatively subdued low-end and a rise in the treble. The Mentor instills more energy within its presentation through contrasting bumps along the mid-bass, centre-midrange and lower-treble.

The Mentor has a more prominent low-end in general, with a mid-bass that naturally fills the stage. The Mason’s low-end is just as dense, but its jab-y approach contrasts against the Mentor’s warmer ambience and thicker body. The Mason has a relaxed lower-midrange, which means vocals are more airy, wispy and sweet. The Mentor’s 1-3kHz bump enhances chestiness, texture and resonance at the cost of transparency and precision. The Mentor’s vocals are also livelier, taller and more forwardly-placed. The Mason has a smoother touch, while the Mason is all for clarity, articulation and texture in the lower-treble - almost to an aggressive degree. The upper-treble is more accentuated on the Mason for an airier stage and a brighter tone, while the Mason’s is warmer and fuller. Finally, the Mason portrays a more open and linear soundscape with “less going on”, but it’s more spherical and coherent overall. The Mentor conversely emphasises dynamic energy, with a more intimate, tall and loud image.

 

[ctsooner22]

Not one to be outdone by the venerable @flinkenick, I’ve just finished my first of eight days on the tropical island of Singapore, and HERE is…

The Deezel Dash: In-Ear Edition - Part 1
​

The first location I visited was the Plaza Singapura shopping mall. I was in the mood for a plate of Nando’s chicken, but more importantly was the Stereo Electronics outlet located on the very same floor. They sell a number of mainstream audiophile brands - including Audeze, Focal and Sennheiser - along with two brands of CIEMs: Noble and Unique Melody. Naturally, I instantly requested demos of the Mentor V3 and Mason V3. Since I’ve already covered the Mason V3 in a full THL review (here), I put all my focus into the Mentor V3 - the Mason’s punchier, more engaging and more musical little brother.



The Mentor’s energetic signature is bolstered by its emphases on the mid-bass, centre-midrange and lower-treble; constructing a large and (especially) tall image filled with larger-than-life instruments. The Mentor is more wide than deep - due to its upfront presentation of vocals - but generates enough headroom to maintain a black background and strong resolution. Above all, its defining signature trait is heaps of dynamic energy. The image it puts out is not only large, but also punchy and impactful. Tracks teem with vibrancy and instruments sound wholly alive. However, this amount of energy leads to a compromise in long-term listening. The longer the listen, the more you feel the effort within the Mentor’s dynamite-like approach. So, although vocals are intimate and musical, they’re not the most inviting. Musical engagement is high though, due to a 1kHz bump. This boldness and chestiness - combined with the elevated mid-bass - create a warm ambience within the Mentor’s stage, which makes the image more cohesive. There’s a thread binding all the instruments together for a more euphonic listening experience.

The Mentor’s bass is satisfyingly impactful. Whether the overall emphasis lies on the sub-bass or the mid-bass depends on the Dual-Tone cable setting, but there’s about equal amounts of both on average. The region is decently accentuated - resulting in strong overall slams - but there’s enough speed to maintain a relatively transparent stage. Decay is natural (bordering on slow), but the linear sub-bass adds a guttural quality to the low-end as a substitute for clarity and texture. Extension is adequate, imparting a physicality to the low-end, but texture - like clarity - is slightly compromised. Upright basses for example have more mid-bass bloom than upper-bass definition. But, again, that adds to the warm ambience in the Mentor’s stage, which results in a more unified and engaging presentation. Bass tone is on the warmer side with strong body and punch, which certainly aids how kick drums are reproduced. A sense of thump is palpably prominent, with a certain “thwack” as the beater’s swing, the fundamental hit and the harmonics that follow decay into each other evenly. Overall, it’s a low-end with a mindful balance between physicality, impact and tone; well-rounded, decently versatile, and constantly enjoyable.



The midrange is where the Mentor sets itself apart from the Mason V3. Bolstered by a 1-3kHz bump, the Mentor V3 truly flaunts it size - showcasing up-front and immensely tall instruments, akin to a movie theatre experience. While the Mason’s notes are denser and more rounded, the Mentor V3 trades that in for surface area. Vocals take up a significant portion of the stage, allowing the listener a more close-up view of the instrument, along with a more prominent sense of texture. Though, ultimate resolution is comparable between the two, and the Mason V3’s smaller notes procure more focus on each individual instrument. Returning to the 1-3kHz bump, this adds a strong sense of chestiness to the Mentor V3’s vocal presentation. Vocalists sing with gusto and power, contrasting against the leaner lower-midranges that’ve dominated the mainstream. However, courtesy of the mid-bass and a peak around 6kHz, vocals take on a more neutral tone. The latter peak also causes some instruments to sound a touch honky on the Mentor, so pairing choices should be advised. Vocals aren’t the airiest as a result of the Mentor’s linear upper-treble, but great extension maintains admirable headroom nonetheless.

The Mentor’s top-end begins with a lower-treble peak; instantly more aggressive than its bigger brother’s. While the Mason focuses on the more delicate middle-treble, the Mentor’s 6kHz peak gives it solidity. Hi-hats and snare crackles are instantly more prominent - and punchy - but decently controlled. Sibilance is rare, though it can border on harshness on select tracks. This peak gives the Mentor a dynamic contrast against the mid-bass and the centre-midrange. When vocalists belt, you really hear them belt, and the Mentor renders throat reverberations and strain with great detail. Finally, the Mentor’s upper-mids become more neutral than sweet. The Mentor then dips around 8-10kHz, so the overall soundscape takes on a warmer and meatier ambience rather than an airy or open one. The Mason V3 has instruments that are better lit and more free, but texture and fibrousness is more obvious on the Mentor. Extension is similar between the two, but the Mason is the more linear one. As a result, its stage is more evenly spherical, as well as wider and deeper. Conversely, the Mentor’s is less precise by comparison, but more engaging, involving and musical.

Mentor V3 vs. Mason V3

As I’ve outlined several times, the differences that exist between the Mentor and the Mason V3 lie within their intended signatures. The Mason emphasises air, spaciousness and precision by implementing small notes, a relatively subdued low-end and a rise in the treble. The Mentor instills more energy within its presentation through contrasting bumps along the mid-bass, centre-midrange and lower-treble.



The Mentor has a more prominent low-end in general, with a mid-bass that naturally fills the stage. The Mason’s low-end is just as dense, but its jab-y approach contrasts against the Mentor’s warmer ambience and thicker body. The Mason has a relaxed lower-midrange, which means vocals are more airy, wispy and sweet. The Mentor’s 1-3kHz bump enhances chestiness, texture and resonance at the cost of transparency and precision. The Mentor’s vocals are also livelier, taller and more forwardly-placed. The Mason has a smoother touch, while the Mason is all for clarity, articulation and texture in the lower-treble - almost to an aggressive degree. The upper-treble is more accentuated on the Mason for an airier stage and a brighter tone, while the Mason’s is warmer and fuller. Finally, the Mason portrays a more open and linear soundscape with “less going on”, but it’s more spherical and coherent overall. The Mentor conversely emphasises dynamic energy, with a more intimate, tall and loud image.

You aren’t Nic as we are all different, but that takes nothing away from the great job you do. Thanks Daniel. Awesome write up

 

[flinkenick]

Excellent post Daniel, but I think you guys are hijacking the mango milk discussion.