[kadinh]

I agree, and FH5 over FH7. They really lost their way after the FH5.

I had both at the same time and also preferred the FH5.

 

[TooPoorForHiFi]

Agree, FiiO has always been mediocre. Only FH5 I find decent, I was hoping the FH5S would be the successor, guess not. I guess they can just pump out more IEM and see what sticks.

 

[Fargeg]

Ken got mad again.

 

[Precogvision]

Ken got mad again.

This is not the first time something like this has happened unfortunately. The paradigm of the industry is rapidly shifting due to the widespread availability of FR graphs and a small, but growing subset of reviewers who are keen to shake up the established framework with critical, honest reviews. This is especially relevant for manufacturers in the audiophile space (read: not necessarily in the professional space, where there's a lot more industry stability) who are either adapting or risking getting left behind.

But I am not insensitive to the work that goes into the products I critique. Having spoken with a number of manufacturers, I know that hitting an established target is not an easy task and there are a myriad considerations that go into making a product. It's far from being as easy as "Make these changes to hit this FR target" as many reviewers would like to say. A manufacturer has to balance considerations such as the audience they're targeting (different demographics tend to prefer different signatures), how much funds to allocate to the build quality over sound R&D (some demographics just want eye candy), and the driver configuration ('more' tends to translate to 'better' in the eyes of the uninitiated).

Reviewers wield considerable power with much less risk; it's much easier to tear something down like what I do than to build it up. For these reasons, I do try to take into account the considerations noted above when writing my concluding thoughts on a product. All that said, even if it means more work for manufacturers, everyone serves to benefit when reviewers are being honest and critical.

 

[Precogvision]

A Detour Back to the Music #1​

I write a lot about the gear that we use to listen to music, but a chance of pace focusing on the music itself once in a while can't hurt. This is the first time I’ve written a song review - I’m still figuring out a format - but I think I might write more of these in the future if I have the time. Perhaps this can also help lend some more context regarding the type of music I enjoy and the qualities of sound that I’m looking for a transducer to produce. Anyways, today I want to share my thoughts on one of my favorite country artists, Martina McBride, and what I believe is one of her best singles.

Martina McBride doesn’t seem to be as active these days, but she was one of the most well-known female country artists in the 2000s. Her music is distinctive for exploring more sensitive topics that country music doesn’t seem to be as keen on touching these days amidst the cacophony that is beer, girls, and trucks. In this vein, a glance at some of her older works such as “Concrete Angel” (2002) and “God’s Will” (2004) depict commentaries on child abuse and being born with a disability respectively.



But the subject of my thoughts today is McBride’s latest hit to date, “I’m Gonna Love You Through It” (2011). It tells the story of a mother and her battle with breast cancer. The production starts off slowly with guitar plucks, some piano, and what sounds like a violin crescendoing in the back, effectively capturing the sobriety of the situation; the narrator has just received the diagnosis. The writing is succinct but fleshes out the narrator satisfactorily: mother of three, 38 years of age, and with a caring husband. Despite the specificity of the lyrics, I appreciate that the narrator extends the possibility of cancer to anyone with the lines, “cancer don’t discriminate or care if you’re just 38, with three kids who need you in their lives” while efficiently integrating the aforementioned characterization details.

The cadence of the song picks up moving into the chorus which is, in essence, her husband lending her his support. It follows a basic “when you’re…I’ll be there” anaphora structure that’s easy to get stuck in the head. This is aided by a drum and some cymbals kicking in and McBride showing off her voice. McBride’s never had the greatest range – she’s a mezzo soprano, after all – but she’s a vocalist that is simply exceptional at propelling emotion and making it feel palpable. Perhaps this impression can be partly attributed to the mastering work. I do feel like there’s a strong sense of micro-dynamics (minuscule shifts in volume) on this track in terms of her vocal inflections and texture. In any case, she certainly has that vibrancy to the timbre of her voice that I associate with the most emotional singers.

Moving back to the lyrical content, the surgery goes well and the narrator survives, but she is plagued by insecurities: “Now it’s forced smiles and baggy shirts, To hide what the cancer took from her”. Again, it’s the realism of the lyrics that appeals to me. The lyrics assert that it’s not all sunshine and daisies even after she survives the cancer; they don’t sugar-coat it. Her womanhood has been called into question and she finds herself wondering whether she “can do this anymore”. Her husband, in turn, reassures her that he’s still by her side and then there’s another chorus. I think what I appreciate most here is that her husband is just a genuinely good guy. He’s doing what a good husband should do, but he doesn’t detract from the situation she is facing, detract from her insecurities, or sound patronizing despite the cliche nature of the chorus. Of course, to this end, there are definitely some other cliches in the writing. I’m specifically referencing the whole being a mom thing; however, in this instance, I do think it tastefully enhances the impact of the track via the implications of if she doesn’t make it.

The production on “I’m Gonna Love You Through It” is also quite solid. First, that violin works wonders considering it’s an instrument you don’t hear often in country music. Moving on from the opening, it’s generally oscillating to match the pace of the track, further facilitating a couple of very nice, dramatic build-ups that wouldn’t be possible otherwise. There’s also some steel guitar thrown into the mix that can sound a little disjoint at times (particularly at 2:42), but it gives the track that 2000s sound that I really adore. Writing-wise, as I alluded to above, there’s little to complain about even if there are some common tropes present. The writing effectively conveys an uplifting message for women who are going through breast cancer, as well as their loved ones. In any case, I think “genuine with some flare” are the words that comes to mind when describing the production of this track; it possesses a sense of depth balanced with thrilling-ness that a lot of contemporary country music is missing.

This is unmistakably the most upbeat song of the three from McBride I’ve listed. Both “Concrete Angel” and “God’s Will” are paced more slowly and their endings are indescribably sobering; perhaps for this reason alone, “I’m Gonna Love You Through It” is my favorite song from McBride. Yes, it might be the weakest in terms of writing and I’m ever the no-good-contrarian, but I’m still a sucker for these types of songs. I didn’t understand these songs as a kid (honestly, 10-year old me probably thought the other two were rather boring), but these days they’re wrenching enough that I can only listen to her work every once in a while. Definitely give some of McBride’s songs a listen if you don’t mind the subsequent waterworks; few songs invoke as much emotion for me as the ones I’ve heard from this artist.

Score: 8/10

 

[Ojisan]

A Detour Back to the Music #1​

I write a lot about the gear that we use to listen to music, but a chance of pace focusing on the music itself once in a while can't hurt. This is the first time I’ve written a song review - I’m still figuring out a format - but I think I might write more of these in the future if I have the time. Perhaps this can also help lend some more context regarding the type of music I enjoy and the qualities of sound that I’m looking for a transducer to produce. Anyways, today I want to share my thoughts on one of my favorite country artists, Martina McBride, and what I believe is one of her best singles.

Martina McBride doesn’t seem to be as active these days, but she was one of the most well-known female country artists in the 2000s. Her music is distinctive for exploring more sensitive topics that country music doesn’t seem to be as keen on touching these days amidst the cacophony that is beer, girls, and trucks. In this vein, a glance at some of her older works such as “Concrete Angel” (2002) and “God’s Will” (2004) depict commentaries on child abuse and being born with a disability respectively.



But the subject of my thoughts today is McBride’s latest hit to date, “I’m Gonna Love You Through It” (2011). It tells the story of a mother and her battle with breast cancer. The production starts off slowly with guitar plucks, some piano, and what sounds like a violin crescendoing in the back, effectively capturing the sobriety of the situation; the narrator has just received the diagnosis. The writing is succinct but fleshes out the narrator satisfactorily: mother of three, 38 years of age, and with a caring husband. Despite the specificity of the lyrics, I appreciate that the narrator extends the possibility of cancer to anyone with the lines, “cancer don’t discriminate or care if you’re just 38, with three kids who need you in their lives” while efficiently integrating the aforementioned characterization details.

The cadence of the song picks up moving into the chorus which is, in essence, her husband lending her his support. It follows a basic “when you’re…I’ll be there” anaphora structure that’s easy to get stuck in the head. This is aided by a drum and some cymbals kicking in and McBride showing off her voice. McBride’s never had the greatest range – she’s a mezzo soprano, after all – but she’s a vocalist that is simply exceptional at propelling emotion and making it feel palpable. Perhaps this impression can be partly attributed to the mastering work. I do feel like there’s a strong sense of micro-dynamics (minuscule shifts in volume) on this track in terms of her vocal inflections and texture. In any case, she certainly has that vibrancy to the timbre of her voice that I associate with the most emotional singers.

Moving back to the lyrical content, the surgery goes well and the narrator survives, but she is plagued by insecurities: “Now it’s forced smiles and baggy shirts, To hide what the cancer took from her”. Again, it’s the realism of the lyrics that appeals to me. The lyrics assert that it’s not all sunshine and daisies even after she survives the cancer; they don’t sugar-coat it. Her womanhood has been called into question and she finds herself wondering whether she “can do this anymore”. Her husband, in turn, reassures her that he’s still by her side and then there’s another chorus. I think what I appreciate most here is that her husband is just a genuinely good guy. He’s doing what a good husband should do, but he doesn’t detract from the situation she is facing, detract from her insecurities, or sound patronizing despite the cliche nature of the chorus. Of course, to this end, there are definitely some other cliches in the writing. I’m specifically referencing the whole being a mom thing; however, in this instance, I do think it tastefully enhances the impact of the track via the implications of if she doesn’t make it.

The production on “I’m Gonna Love You Through It” is also quite solid. First, that violin works wonders considering it’s an instrument you don’t hear often in country music. Moving on from the opening, it’s generally oscillating to match the pace of the track, further facilitating a couple of very nice, dramatic build-ups that wouldn’t be possible otherwise. There’s also some steel guitar thrown into the mix that can sound a little disjoint at times (particularly at 2:42), but it gives the track that 2000s sound that I really adore. Writing-wise, as I alluded to above, there’s little to complain about even if there are some common tropes present. The writing effectively conveys an uplifting message for women who are going through breast cancer, as well as their loved ones. In any case, I think “genuine with some flare” are the words that comes to mind when describing the production of this track; it possesses a sense of depth balanced with thrilling-ness that a lot of contemporary country music is missing.

This is unmistakably the most upbeat song of the three from McBride I’ve listed. Both “Concrete Angel” and “God’s Will” are paced more slowly and their endings are indescribably sobering; perhaps for this reason alone, “I’m Gonna Love You Through It” is my favorite song from McBride. Yes, it might be the weakest in terms of writing and I’m ever the no-good-contrarian, but I’m still a sucker for these types of songs. I didn’t understand these songs as a kid (honestly, 10-year old me probably thought the other two were rather boring), but these days they’re wrenching enough that I can only listen to her work every once in a while. Definitely give some of McBride’s songs a listen if you don’t mind the subsequent waterworks; few songs invoke as much emotion for me as the ones I’ve heard from this artist.

Score: 8/10

Nice write up! So refreshing!

I listened to her a lot in the early 2000's and quite liked the touching stories and, most of all, her emotional delivery. Her recording seems to be supported by a very skilled musicians and engineers, like today's top country artists. Honestly though, her live singing is not that great, IMHO. It's not that she has a great range, dynamics, chops, etc, say compared to the very gifted Le Ann Rimes. But somehow, her songs evoke emotions and that to me is the power of music.

Well tonight I'll have to go back and listen. Maybe she will bring a tear or joy Thanks for the write up and album rec!

 

[Hanesu]

Ken got mad again.

Sorry, I think I did not get the meaning of this post? Why did he get mad? I see a bunch of "open box" IEMs being reduced, but I don`t see a direct correlation to Precogvision`s critical review? Can someone please explain this to me?

 

[gLer]

A Detour Back to the Music #1​

I write a lot about the gear that we use to listen to music, but a chance of pace focusing on the music itself once in a while can't hurt. This is the first time I’ve written a song review - I’m still figuring out a format - but I think I might write more of these in the future if I have the time. Perhaps this can also help lend some more context regarding the type of music I enjoy and the qualities of sound that I’m looking for a transducer to produce. Anyways, today I want to share my thoughts on one of my favorite country artists, Martina McBride, and what I believe is one of her best singles.

Martina McBride doesn’t seem to be as active these days, but she was one of the most well-known female country artists in the 2000s. Her music is distinctive for exploring more sensitive topics that country music doesn’t seem to be as keen on touching these days amidst the cacophony that is beer, girls, and trucks. In this vein, a glance at some of her older works such as “Concrete Angel” (2002) and “God’s Will” (2004) depict commentaries on child abuse and being born with a disability respectively.



But the subject of my thoughts today is McBride’s latest hit to date, “I’m Gonna Love You Through It” (2011). It tells the story of a mother and her battle with breast cancer. The production starts off slowly with guitar plucks, some piano, and what sounds like a violin crescendoing in the back, effectively capturing the sobriety of the situation; the narrator has just received the diagnosis. The writing is succinct but fleshes out the narrator satisfactorily: mother of three, 38 years of age, and with a caring husband. Despite the specificity of the lyrics, I appreciate that the narrator extends the possibility of cancer to anyone with the lines, “cancer don’t discriminate or care if you’re just 38, with three kids who need you in their lives” while efficiently integrating the aforementioned characterization details.

The cadence of the song picks up moving into the chorus which is, in essence, her husband lending her his support. It follows a basic “when you’re…I’ll be there” anaphora structure that’s easy to get stuck in the head. This is aided by a drum and some cymbals kicking in and McBride showing off her voice. McBride’s never had the greatest range – she’s a mezzo soprano, after all – but she’s a vocalist that is simply exceptional at propelling emotion and making it feel palpable. Perhaps this impression can be partly attributed to the mastering work. I do feel like there’s a strong sense of micro-dynamics (minuscule shifts in volume) on this track in terms of her vocal inflections and texture. In any case, she certainly has that vibrancy to the timbre of her voice that I associate with the most emotional singers.

Moving back to the lyrical content, the surgery goes well and the narrator survives, but she is plagued by insecurities: “Now it’s forced smiles and baggy shirts, To hide what the cancer took from her”. Again, it’s the realism of the lyrics that appeals to me. The lyrics assert that it’s not all sunshine and daisies even after she survives the cancer; they don’t sugar-coat it. Her womanhood has been called into question and she finds herself wondering whether she “can do this anymore”. Her husband, in turn, reassures her that he’s still by her side and then there’s another chorus. I think what I appreciate most here is that her husband is just a genuinely good guy. He’s doing what a good husband should do, but he doesn’t detract from the situation she is facing, detract from her insecurities, or sound patronizing despite the cliche nature of the chorus. Of course, to this end, there are definitely some other cliches in the writing. I’m specifically referencing the whole being a mom thing; however, in this instance, I do think it tastefully enhances the impact of the track via the implications of if she doesn’t make it.

The production on “I’m Gonna Love You Through It” is also quite solid. First, that violin works wonders considering it’s an instrument you don’t hear often in country music. Moving on from the opening, it’s generally oscillating to match the pace of the track, further facilitating a couple of very nice, dramatic build-ups that wouldn’t be possible otherwise. There’s also some steel guitar thrown into the mix that can sound a little disjoint at times (particularly at 2:42), but it gives the track that 2000s sound that I really adore. Writing-wise, as I alluded to above, there’s little to complain about even if there are some common tropes present. The writing effectively conveys an uplifting message for women who are going through breast cancer, as well as their loved ones. In any case, I think “genuine with some flare” are the words that comes to mind when describing the production of this track; it possesses a sense of depth balanced with thrilling-ness that a lot of contemporary country music is missing.

This is unmistakably the most upbeat song of the three from McBride I’ve listed. Both “Concrete Angel” and “God’s Will” are paced more slowly and their endings are indescribably sobering; perhaps for this reason alone, “I’m Gonna Love You Through It” is my favorite song from McBride. Yes, it might be the weakest in terms of writing and I’m ever the no-good-contrarian, but I’m still a sucker for these types of songs. I didn’t understand these songs as a kid (honestly, 10-year old me probably thought the other two were rather boring), but these days they’re wrenching enough that I can only listen to her work every once in a while. Definitely give some of McBride’s songs a listen if you don’t mind the subsequent waterworks; few songs invoke as much emotion for me as the ones I’ve heard from this artist.

Score: 8/10

Yes but will it sound good with my $30 giant killer IEM I got for $15 on sale? Seriously though, great review man, and very refreshing. A note on which gear you used to review the song could also be useful for those who are into genre matching (unless your point is to be gear agnostic).

 

[Fargeg]

Sorry, I think I did not get the meaning of this post? Why did he get mad? I see a bunch of "open box" IEMs being reduced, but I don`t see a direct correlation to Precogvision`s critical review? Can someone please explain this to me?

CFA has a history of conflict with critics of their avant-garde tunings, with KB himself sometimes getting personally involved in the drama.

CFA demanded that headphones.com refrain from posting negative reviews in order to remain an authorized retailer, so the site decided to stop selling CFA's IEMs instead and use the opportunity to post a message backing their reviewer staff. The open-box sales are the leftover bought-and-returned stock the store is trying to offload.

 

[Hanesu]

CFA has a history of conflict with critics of their avant-garde tunings, with KB himself sometimes getting personally involved in the drama.

CFA demanded that headphones.com refrain from posting negative reviews in order to remain an authorized retailer, so the site decided to stop selling CFA's IEMs instead and use the opportunity to post a message backing their reviewer staff. The open-box sales are the leftover bought-and-returned stock the store is trying to offload.

Ok, I see, thanks for explaining me. That sounds in deed quite dramatic

 

[BokTroy]

CFA has a history of conflict with critics of their avant-garde tunings, with KB himself sometimes getting personally involved in the drama.

CFA demanded that headphones.com refrain from posting negative reviews in order to remain an authorized retailer, so the site decided to stop selling CFA's IEMs instead and use the opportunity to post a message backing their reviewer staff. The open-box sales are the leftover bought-and-returned stock the store is trying to offload.

Good for headphones.com. I expect nothing less from the absolutely stand-up people there; including the review/curation team. Hopefully this is a wake-up call for Ken and maybe he'll get his act together and stop his perpetual whine fest.

 

[InvisibleInk]

Hopefully this is a wake-up call for Ken and maybe he'll get his act together and stop his perpetual whine fest.

That'll be the day!

 

[Elite_Force]

@Precogvision Have you demoed Indigo yet?

 

[Precogvision]

@Precogvision Have you demoed Indigo yet?

I haven't. I'd like to hear it, but a full review probably isn't on the table.

It's not quite related, but IEM prices appear to be skyrocketing. The MEST Indigo is basically double the price of the MEST/MEST MKII and it's crazy to think that UM now has a $6500 IEM considering I didn't think the FuSang was very impressive. Then there's the other releases we've seen like the Aroma Jewel, Traillii, and the VE Phonix with sky-high pricing. The flagship IEM market is becoming a total bubble; hell, just a couple years ago, I remember already thinking $2000 was absurd for an IEM!

 

[efftee]

It's not quite related, but IEM prices appear to be skyrocketing. The MEST Indigo is basically double the price of the MEST/MEST MKII and it's crazy to think that UM now has a $6500 IEM considering I didn't think the FuSang was very impressive. Then there's the other releases we've seen like the Aroma Jewel, Traillii, and the VE Phonix with sky-high pricing. The flagship IEM market is becoming a total bubble; hell, just a couple years ago, I remember already thinking $2000 was absurd for an IEM!

It doesn't appear like all the brands are going crazy with pricing their IEMS. I think EE, VE, FIR, just to name a few, have put some good tech behind their latest offerings and still priced them relatively reasonably -- accounting for some adjustments due to inflation, a messed-up global supply chain and the overall increased cost of manpower, etc... At least way below what some other brands, no need to name names, have done with mere cosmetics upgrade on limited-run editions for no good functional reason.