Kennerton Thekk
Traditionally, let's start with the general sound signature of the cans. And wel’ll go through the description of characters of the nearest neighbors - Thor and Odin v 2. Highs (unlike Thor and even more so from Odin) with a bright spark, not so intense that you squint at the brightness, but the spark definitely is present and noticeable. Mids are clean and smooth, reminiscent of Thror, but with a noticeable warm, or rather even sweet flavour. Odins, however, differ in a more "rough" (in a good sense) mids. The bass is also not like that of the neighbors – first of all, more prominent on the lower part of the bass and larger in volume. In general, it is closer to Thror-structured and detailed bass, without the fat and slightly unhurried character of Odin bass. But at the same time, the overall quality is probably simpler than that of Thror – it lacks the thoroughness and confidence of attacks. With a larger volume of impact mass, it seems that the density of this substance is less than that of Thror or Odin, so the result from the impact is less impressive (which, for example, on metal music, is quite noticeable). The scene width is superior to both Thror and Odin, in this aspect Thekk is the undisputed leader.
From the first hours of listening, I had the impression that I was dealing with the reincarnation of the Fostex 900, in an isodynamic version. A bit bright treble, sweet mids, provocatively big bass, the overall breadth and boldness of character – everything about them.
Let's see what's going on music genres.
Jazz. As with Fostex 900 - the tips of the fingers tickle the tips of the nerve endings. The “wow-factor” running at full speed and is quite appropriate. Female vocal purrs in a mermaid attraction manner. A piano - uncannily rolling. But I repeat – for a short distance, it is quite delicious and exciting. Roll the discography of Diana Krall 200 times in a circle and not get bored.
Electronica. Here cans surprised me - on the one hand it was predictable (prominent bass/subbass, convincing clean mids, clear treble and overall high speed - a serious guarantee of success). The other is still somewhat suddenly – very rare for this genre I like warm colored cans character. (Everything is beginning to feel very friendly. The cold, more detached approach to electronic music is much closer to me.) However, the practice of the last couple of weeks has shown that Thekk is really a great tool for this genre, an excellent guide both for energizing Infected Mushrooms, for example, and for motivating background thinking activities through Autechre.
Metal.
What’s impressive.
Power - way to the astral travel. Crazy genre and crazy headphones – 100% subject for synergistic resonance. Frodo and Gandalf dance lezginka with two-handed swords in their teeth to the rhythmic applause of the Nazgûl. The space, brightness and briskness of the bass are the basis of the resonance.
Alternative, Thrash – well, cool and perky, not too serious cans sound signature, sparkle and fervor for subgenres - the very needed things hitting the bull's-eye
Industrial – it turns out almost perfectly (see a more detailed review of Electronica).
Symphonic, Progressive - everything is not so clear. The scale of soundstage is certainly beneficial. And if on relatively frivolous albums, for example early Nightwish all looks well on mood (but here is the quality of these early albums alas…), then on something more thoughtful, say Opeth - relevance of headphones coloration already much less obviously. Well, due to the objectively high level and tear-knocking vocals, the overall impression remains far in the positive zone.
Heavy Metal - headphones perfectly play rock, colored aside from the neutrality of boring – quite delivers the opportunity to exhale and float on the waves of the genre. Well, the technical ability is enough with a reserve.
Not so impressive.
Black, Death, Grindcore – impressions remain generally in a positive zone. But this point clearly puts Thekk below both Thor and Odin – "with a larger volume of impact mass, it seems that the density of this substance is less than that of Thor or Odin, so the result from the impact is less impressive." On these subgenres, Thror is clearly dominates by greater technicality, and Odin - by more synergic character.
Doom, Sludge, Stoner – a quick ride with fog lights on through the subgenres isn't exactly what you expect. It is more correct to collect the fog thicker, tidying up the detail and brightness of the treble, making the meat on the bass fatter.
Goth - anti-synergic for sad genre, fan and joy flow miss to hit the aim.
In total, we have cans that can make the first vivid impression, “wow-factor”. And then hold it securely – due to the fact that the cans are certainly top level cans, the special effects embedded in them do not give the impression of cheap, there is something to look at for your own pleasure. Over a long distance, however, things may not work out so good for Thekk's benefit. For example, Fostex 900, I, after listening to their sweet voices, finally sold without much regret. And in this sense, the higher price of more balanced, neutral, calm and honest Thror looks understandable. Odin really look simpler than Thekk, at least the resolution of the highs and bass in the first place - clearly on the side of Thekk. And if Thekk and Odin are relatives, they are more likely cousins or even second cousins.
(for those that don't know: the bass is very prominent, very)
