$2399
That's in USD. I wrote S$3300, which means Singaporean dollars.
$2399
That's in USD. I wrote S$3300, which means Singaporean dollars.
You know what would look good on the gram? A picture of the only set in the world with a reef coral face plate. Get to it sonny, make dad proud.
I was fortunate enough to audition the Khan at Plaza Singapura's Stereo Electronics. Apologies for the horrid phone photo.
Here are my thoughts:
The Khan has a crisp, energetic and musical signature - the product of a sparkly, open treble counterbalanced against a warm, full-bodied bass. Although it’s a signature that’s become relatively common nowadays, the Khan supersedes most of its ilk through sheer physicality. This is an immensely punchy IEM that sounds downright addictive with percussion, especially. Pre-panned tom rolls where hits are happening all around the listener's head are where this phenomenon is most effective. Hits pop from the in-ear’s serene, black background with great impact, and it’s a treat every time.
The bass is to credit for this. The Khan’s low-end punches with a balance of warmth and authority. Hits are harmonic, rounded and - again - pop, but they aren’t terribly undefined either. The low-end is quite strongly layered and only a hair bright in tone. Of course, for such a signature to exist, there’s a sacrifice to be made in timbre. Although the Khan remains admirably neutral in tone - largely due to the warmth of the bass - the crispness of the treble prevents it from being wholly accurate to my ears. Horns and saxophones have a slight reediness to them, and vocals are crisper - more transient-led - than what I’d call natural. Vocal performances hold weight, but aren’t the most powerful or resonant I’ve heard. Simply put, the treble could’ve been smoother for a more life-like texture, but that’s not what I believe the Khan aims to be anyway.
What it loses in naturalness however, it gains in imaging, layering and separation. The treble’s snappy nature gives the Khan great immediacy, and laces its soundscape with lots of detail as well. For its intended tuning and configuration, coherence is relatively high. Where it's weakest however is probably the midrange. The upper-mids are well-presented with zing to spare, but the lower-mids leave some to be desired. It’s neutrally-positioned and un-impactful relative to the rest of the pack. This isn’t an IEM I’d recommend for rich male vocals or meaty, roaring electrical guitars.
But all in all, the Khan is immensely proficient at crafting large stages and packing them to the brim with nuance and detail. This is an IEM that lovers of the A18t or the Legend X should look out for. Its arsenal of physical quirks certainly offer something extra to percussion that I haven't heard from those two. In terms of tonal transparency, the Khan is... good. The lower-mids are on the lean side and the middle-treble tends to tizz quite a bit; I’m guessing there’s a significant peak around 10kHz. It’s definitely not made for the studio. But, if you’re up for a vast, detailed and fun-sounding TOTL - and you don’t mind having all your tracks tinged with a similar brand of crisp cleanliness - the Khan is a flagship worth looking out for, even at its hefty price of S$3300.
Kinda ironic seeing the part about percussion, ever time I play Bang Bang by Jesse J, there is a major presence of a punching type of drum, possibly a snare drum. Its way outside of my right ear, its really amazing to hear the detail of that. I notice other tracks also demonstrating a sound outside of the right ear, so it doesn't just happen for drums, I guess its just showing a wide sound stage, I really enjoy that. I also agree about the use of tizz, good word to describe what I also hear.
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I was fortunate enough to audition the Khan at Plaza Singapura's Stereo Electronics. Apologies for the horrid phone photo.
Here are my thoughts:
The Khan has a crisp, energetic and musical signature - the product of a sparkly, open treble counterbalanced against a warm, full-bodied bass. Although it’s a signature that’s become relatively common nowadays, the Khan supersedes most of its ilk through sheer physicality. This is an immensely punchy IEM that sounds downright addictive with percussion, especially. Pre-panned tom rolls where hits are happening all around the listener's head are where this phenomenon is most effective. Hits pop from the in-ear’s serene, black background with great impact, and it’s a treat every time.
The bass is to credit for this. The Khan’s low-end punches with a balance of warmth and authority. Hits are harmonic, rounded and - again - pop, but they aren’t terribly undefined either. The low-end is quite strongly layered and only a hair bright in tone. Of course, for such a signature to exist, there’s a sacrifice to be made in timbre. Although the Khan remains admirably neutral in tone - largely due to the warmth of the bass - the crispness of the treble prevents it from being wholly accurate to my ears. Horns and saxophones have a slight reediness to them, and vocals are crisper - more transient-led - than what I’d call natural. Vocal performances hold weight, but aren’t the most powerful or resonant I’ve heard. Simply put, the treble could’ve been smoother for a more life-like texture, but that’s not what I believe the Khan aims to be anyway.
What it loses in naturalness however, it gains in imaging, layering and separation. The treble’s snappy nature gives the Khan great immediacy, and laces its soundscape with lots of detail as well. For its intended tuning and configuration, coherence is relatively high. Where it's weakest however is probably the midrange. The upper-mids are well-presented with zing to spare, but the lower-mids leave some to be desired. It’s neutrally-positioned and un-impactful relative to the rest of the pack. This isn’t an IEM I’d recommend for rich male vocals or meaty, roaring electrical guitars.
But all in all, the Khan is immensely proficient at crafting large stages and packing them to the brim with nuance and detail. This is an IEM that lovers of the A18t or the Legend X should look out for. Its arsenal of physical quirks certainly offer something extra to percussion that I haven't heard from those two. In terms of tonal transparency, the Khan is... good. The lower-mids are on the lean side and the middle-treble tends to tizz quite a bit; I’m guessing there’s a significant peak around 10kHz. It’s definitely not made for the studio. But, if you’re up for a vast, detailed and fun-sounding TOTL - and you don’t mind having all your tracks tinged with a similar brand of crisp cleanliness - the Khan is a flagship worth looking out for, even at its hefty price of S$3300.
Nice, do you know if Stereo will continue to demo the Khan for the foreseeable future? Can't go this weekend, need to find some time to go andbreak in to steal itlisten to it.
Stay updated on Noble Audio at their sponsor profile on Head-Fi.
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A sound engineer in Japan and Korea heard the Khan, both stated they wanted the Khan ASAP.
Like always YMMV and sound is subjective.
I recently had a Katana lover in Bangkok give the Khan a listening session. To sum up his remarks .... "Normally I dont care much about bass response..... but the Khan's bass is addictive."
My take on the Khan, it isnt the amount of bass, but just how the bass is presented.... nice helpings of bass, without going into the "mud zone."
It is a fun ride, and it is my current favorite in the portfolio.
Nice, do you know if Stereo will continue to demo the Khan for the foreseeable future? Can't go this weekend, need to find some time to go andbreak in to steal itlisten to it.
Stay updated on Noble Audio at their sponsor profile on Head-Fi.
|
Stay updated on Noble Audio at their sponsor profile on Head-Fi.
|
Did a quick demo with some of my favorite songs. The Khan was really good and does well bringing out the details. The only con I have was the way vocal high sound harsh when it went pass a certain pitch. I will have to demo it again with more tracks to confirm.