Thanks David! I was fortunate enough to listen to the Purple as well at CanJam Singapore 2019. Here are my impressions:
EarSonics Purple: The Purple’s Tight setting posits outstanding definition, detail retrieval and spatial performance. The soundscape is remarkably transparent. But at the same time, it’s all delivered effortlessly and coherently. There aren’t any egregious treble peaks or unnatural dips – everything sounds seamlessly joined. Listening to tracks like Royce da 5’9”’s Caterpillar or God Speed, the high-pitched whines and whooshes at the very back of the mix come through with stunning clarity. But, this is accompanied by depth and holography too. No detail is ever forced; simply highlighted.
The midrange and treble sit evenly with each other, with a couple key peaks for clarity and articulation. The bass sits further back, but high extension yields great impact regardless. Hits feel tight and compact, with sufficient physicality for all genres of music. The bias towards the treble does leave its tone squarely neutral-bright, though. Stereo separation, imaging precision and holography are all stunning. The entire image feels cohesively put together; tirelessly rehearsed. As I touched upon in my EM64 review, every instrument sounds like they start and stop at the very same time. It’s a stunning achievement, and I can see the Purple becoming a favourite for analysts and pros, in this setting especially.
With Standard, there seems to be a touch less treble bite. It’s a more linear signature that sits more towards neutral in tone. I’d probably call it a more forgiving variant of Tight, whilst retaining most of its technical faculties. Stage expansion isn’t perhaps as holographic as the layers (depth-wise, especially) are spaced closer together. Regardless, I think it’s a great alternative for professionals who want the precision and definition of the Tight setting with less fatigue and bite.
Warm seems to bring the upper-mids forward, along with the bass. There’s far more liveliness and intimacy with this setting, but I wouldn’t say it’s warmer or fuller in any way. Overall tone remains neutral, because the low-end is more sub-bass-driven than mid-bass. The previously vast stage is now more filled with larger, closer instruments. This is a setting that’s more musical, more fun to listen to and more akin to the EM64. Again, I wouldn’t call this signature warm by any means, but it does make for an excellent all-rounder – shades of Tight’s technical prowess with a dose of fun.
