While Hiby is solving the digital filter issue, I hasten to share a comparison of two products from Hiby.
Mr. "incomparable musicality" Hiby FC6 and Mr. "dark horse" (because I never heard AK chips) Hiby R6 Pro 2.
FC6 was auditioned in NOS mode, R6 Pro 2 was auditioned in class A, High gain mode. All plugins are disabled.
IEM - custom 6x BA IEM Snowy Prism (not to be confused with TANCHJIM PRISM!
), Van der hul (VDH) custom conductor cable.
Music in FLAC / hi-res. Accordingly bit perfect mode at the level of the whole OS.
Low frequencies
In R6 Pro 2 the bass is massive, and the mid-bass is punchy where it needs to be. At the same time, the bass is generally technical and detailed. It is impossible to call the bass after the r-2r dry. Lower frequencies are rounded and due to the added massiveness and percussion seem slightly accentuated. It sounds universal both on electronic music and on live music with various instruments. To my subjective taste (!!!!) - Hiby's trademark bass coloration is what multi-driver technical BA iem needs.
In the FC6 the bass is softer and more emphasized in the mid bass. Low frequencies as well as in R6 Pro 2 seemed rounded, but not due to massiveness and percussiveness, but due to saturation (elevated by dB) of mid-bass and lower midrange. At the same time low frequencies do not turn into mush. Everything is quite technical and detailed, but of course not like in R6 Pro 2. Signature coloration from Hiby, but softer, slower and genre less universal.
Mid frequencies
Vocals in the R6 Pro 2 are transparent and detailed, calm and neutral. Low frequencies do not overlap with the midrange. After the r-2r, the vocals lack fleshiness, i.e. a slight accent relative to the rest of the AFC and solidity in the lower midrange. But at the same time, vocals in R6 Pro 2 are more intelligible, it's easier to concentrate on them and, like a sommelier, enjoy various overtonal subtleties and nuances. The same applies to live instruments.
Vocals in FC6 are already a little less transparent and detailed, but more accentuated and soft at the same time. Low mid frequencies warm up vocals very pleasantly and they sound more natural than in R6 Pro 2. At the same time FC6 does not spoil with overtonal details against the background of R6 Pro 2, it does not give an opportunity to contemplate the vocal part in all its details. You just listen and listen, without analytical concentration. The same applies to live instruments.
High midrange frequencies
The R6 Pro 2's high midrange
is quite smooth and comfortable. At the same time, it stays on the edge between softness and harshness. Excellent balance that doesn't let the device roughly slip to the "light side of power" (pseudo-detail) or to the "dark side of power" (pseudo-tube).
In FC6 the high midrange is even smoother and more comfortable. Which of course already comes at the expense of the overall vigor of the sound, making the sonic signature warm and comfortable over long distances and with more different IEMs. This is where the flavor point regarding the R6 Pro 2 comes into play, because there are genres of music where extra emotional pepperiness wouldn't hurt. High-quality electronics with various special effects, heavy metal, classical music with various bowed instruments etc. But for those who are afraid of sibilants high mid frequencies in FC6 is certainly a godsend.
High frequencies
The R6 Pro 2's treble is both very detailed and smooth. Together with the multi-driver BAs, it is simply "mind blowing", in the best sense of the word. After the r-2r in FC6 format, the high frequencies of the AK4499EX in BA are masterpiece. What I would like to note separately: the treble in the R6 Pro 2, relative to all delta sigmas that I have heard is CRUCIAL! That is, the high frequencies are not scattered or shallow, going into a flickering microcontrast. They are very natural and detailed, in balance between micro and macro contrast.
In FC6 the high frequencies are of course simpler, shorter and fewer. In favor of comfort during long listening and according to the limitation of r-2r technology and limited circuitry in the small whistle format. No miracles happened. But it still sounds pleasant, because there are no special requirements for recording quality.
Stage
In the R6 Pro 2, the stage is equally voluminous in both width and depth. Transparency in the midrange and treble gives the scene a slight subjective boost in scale. Instrument placement is precise and easily identifiable. The near field plays more accentuated than the far field, which is actually inherent in the recording. Everything is normal, everything is as it should be in a decent delta sigma.
In FC6 the scene is more compact both in width and depth. Due to the r-2r addition in the mid-bass and low midrange, a subjective boost is given to what can be called "intimate presentation". Everything plays more compact and close. At the same time, the special fluidity of the musical canvas of r-2r has not gone anywhere and the sound of distant plans relative to the close ones is also accentuated and hence the effect of mesmerizing sound. There is no such effect in the R6 Pro 2.
Resolution
The R6 Pro 2 has unprecedented resolution across the entire frequency range relative to the FC6. With a direct plug-in you get a wow from the elaboration of subtleties and nuances. There is nothing to say, in fact.
In FC6 the resolution is not as high as in R6 Pro 2, but it is enough for non-critical listening. Again, on the one hand, everything is in favor of sound comfort, but on the other hand, the access to audiophilia in relation to R6 Pro 2 is closed.
Overall conclusion
If we talk about the intention of the R6 Pro 2 - it is an attempt to make a musical audiophile brick. So that the bass was fun to play, the vocals and instruments sounded transparent, and the treble sounded expensive and rich. In general, Hiby succeeded in this. I had complaints only about neutral midrange and detailed treble. But the brain is such a thing - it gets used to anything. And I liked the pitch of R6 Pro 2 with BA very much.
If we talk about FC6 on the background of R6 Pro 2 - it is a self-sufficient sound, with its own character and orientation. This is a story purely about musical presentation, without pretensions to nuance and elaboration in the entire frequency range. It's warm (bass), natural (midrange) and unstressed (high midrange and treble) sound that doesn't sound cheap. Because the lack of transparency and resolution is compensated for by midrange frequencies that sound more convincing and engaging than in the R6 Pro 2. There's nothing you can do about it. It's either a road trip or a ride.
I'm keeping the R6 Pro 2 as a more versatile sounding device, and I'll wait for the FC6 on the r-2r in the form of the RS6 ii, which will replace the old RS6.
Note bene
About the mode of the amp in the R6 Pro 2. In A mode, relative to AB mode, it adds a little more control at low frequencies and adds a little more mass at mid-bass. At high frequencies there are already less significant changes, really catching fleas.
About Gain in the R6 Pro 2. There is no noise or hiss on the BA at any gain level. Absolutely black background.
Thank you all for your attention!
There will be a comparison of Hiby R6 Pro 2 vs Cayin N6 II R01 (r-2r) a little later.
