Q-Jays are back.
- Thread starter mcdj
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You can switch sides(Jays even recommend that for over ear cable), so it's up to you how they will be angled. I always just take them into hands and thanks to shape I know immediatly which side goes where.
For me, keep the flat side of the earpiece to the front and you are good to go, given that you have installed them properly.
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Yeah they're installed properly. It's sorted now. I was just seeking confirmation really as it's not immediately obvious.
I think these sound better with a shallow insertion. Great soundstage and good for most music.
goodvibes
Headphoneus Supremus
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Shallow always sounds bigger but for me it's tonally better deep. We all have our preferences.
I know some are using Rin's references but if you look at the B2, he likes deep insertion and on the R-50, shallow insertion so there will be variables. He also mentions how the 100 ohm resistor works on a 1.6k xover point but in reality, the xover point changes to 800hz, or less if the tweeter impedance is much below 100ohms which it likely is. Could have a lower range impedance similar to the woofer which would drop the xover point below 400hz. That resistor is part of a series circuit and the overall value that the crossover part(s) work on. If there are inductors, they go the other way.
I know some are using Rin's references but if you look at the B2, he likes deep insertion and on the R-50, shallow insertion so there will be variables. He also mentions how the 100 ohm resistor works on a 1.6k xover point but in reality, the xover point changes to 800hz, or less if the tweeter impedance is much below 100ohms which it likely is. Could have a lower range impedance similar to the woofer which would drop the xover point below 400hz. That resistor is part of a series circuit and the overall value that the crossover part(s) work on. If there are inductors, they go the other way.
goodvibes
Headphoneus Supremus
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nm
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Shallow always sounds bigger but for me it's tonally better deep. We all have our preferences.
I would usually say the same but I'm finding with these that there's not a lot in it. I think they lack the sub bass that is often improved by a deeper insertion and impact is pretty much the same for me regardless of the tips I wear. I'm finding that they're a little airier worn shallow and don't notice any real change in tonality. Of course, YMMV, IMO etc
gnarlsagan
Headphoneus Supremus
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Picked up the tour package today. It was delayed last week until Monday and I couldn't pick it up until today. Looking forward to getting some impressions in!
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They're great little earphones and probably the best I've heard in their price range. The sound coming out of them - especially when plugged into my Mojo - never ceases to surprise me given their size.
rasmushorn
Headphoneus Supremus
Very good review indeed! It was nice reading it and I can only agree to it all the way.
getclikinagas
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Received these a few days ago(On Review).
I must admit, I wasn't wowed at first. Maybe that's a good thing (similar experience with the RE400)
I've given it a few days and I must say, they're growing on me. Something about the way it all comes together.
If I have one niggle (thus far), it's how the male vocals sound. "Intelligibility" isn't as good as I know it can be.
Currently paired with the FiiO X7(low gain), wide range of music.
I must admit, I wasn't wowed at first. Maybe that's a good thing (similar experience with the RE400)
I've given it a few days and I must say, they're growing on me. Something about the way it all comes together.
If I have one niggle (thus far), it's how the male vocals sound. "Intelligibility" isn't as good as I know it can be.
Currently paired with the FiiO X7(low gain), wide range of music.
shane55
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I’ve had these for the last week, or so…
Upon opening the well stuffed and laid-out box, all it’s little compartments, I was struck by how nicely it was all packaged. I was also amazed by the size of these… TINY. Like, seriously small.
First things first… put a new pair of Comply’s on them (untrimmed because I’d been ‘warned’ and concerned that the highs were going to be brutal) and attach the cable.
Nice. Things went together well. The screw-on cable is machined very well and connecting the lead to the IEM body was quick and easy.
The cable is one of those springy rubbery things that I can’t stand, and this is my biggest issue with these. That sticky rubber coating is a real PITA. Sure it’s lightweight, but a tiny snag, and you’re attempting to untie the knot as the train is coming and it is just plain annoying. This, and the fact that the stickiness prevents it from using its own weight to keep it taught under a jacket or over-shirt. I like the effect gravity plays on a cable. This defies that effect and the cable tends to ride up.
For months I’d been switching between my DBA-02’s (BA’s) and W4. I wore the W4 at the gym and the DBA’s on the train. These two are very different. The DBA’s are bright bordering on brittle and a bit metallic. The W4’s are warm, rich and unfortunately rolled-off on the high end. But very good and ‘natural’… not neutral. For neutrality, the DBA’s have it, but where they are close to overkill on the highs, they lack the depth that the W4’s produce.
Then I put the Q’s in my ears and hit play on my iBasso DX90.
Oops, wrong song for these, obviously. Bothy Band live (Afterhours), ripped from LP at 24/96 with the AT440MLx. This is a revealing and mega-bright cartridge, and brightly recorded uilleann pipes are not what you want to listen to with these IEM’s. Piercing and shrill, I was immediately turned off to these Q’s. That 7-8k spike seemed very similar to my DT-880 Beyer’s. Brutal.
Then I tried some standard test tracks. Norman Blake, New Brick Road (from Original Underground Music… LP, ripped with AT440). A very well balanced recording and the AT440 brought out all the micro-detail and picking-wonder without being piercing. Much better.
I kept these in my head for the next week, listening to no other IEM’s or cans. Various sources… DX90, iPod’s, Audiolab M-DAC into my Luxman amp, with various types and styles of music. A lot of classical and jazz, bluegrass and folk. Then the rock: High-Def downloads of Cream, Zep, Steely Dan, and all the LP’s I’ve ripped, especially the brilliantly recorded and mastered Waiting for Columbus (ripped with 3 different carts… the AT440, ATOC9 and Shure M97). This live masterpiece has a perfect mix of sweet highs, percussion, deep resonant bass and vocals. I really liked how it all sounded.
I wondered if I should even try Miles Davis with these. If uilleann pipes were difficult, how would the brash brass of Sir Miles play out on these? So on went the 45 rpm remaster (Someday My Prince...), ripped with the AT-OC9 (specifically because it’s a gloriously ‘mellow’ cart). Very good. The sharpness of the horn had been slightly reduced by the cart, and it sounded wonderful… very present and clear, the bass was punchy and rich. I was pleased.
Paul Desmond’s brilliant rendition of Skylark (from LP of the same name), an amazingly well-recorded track (Creed Taylor prod.) was next, then the high def download of Nora Jones, Come Away With Me, and as always the multiple versions of Kind of Blue, and the Andreas Vollenweider Trilogy (wonderfully recorded and mastered – orig. release LP’s).
The reason I pedantically mentioned all the above… and there was a lot more… was because, as it turned out… I could not get enough. Each bit of music put into my head by these tiny gems was not a revelation (as I’ve heard them all played wonderfully on other IEM’s and headphones before), but so competently and neutrally played that I was getting past the technology and testing mindset and getting into the music… and isn’t that at least half of what this is about?
The uber-brightness of the uilleann pipes first heard was an anomaly. I re-recorded the LP with the AT-OC9, and it was now perfect. This of course, tells me that the Q’s are revealing, crystal clear, and let the source come through with truth.
If the recording is over-bright or problematic (holy crap… Goodbye Yellow Brick Road, orig. release, is a nightmare of over-compressed, early ‘70’s electronics, brittle noise), and if you have something well-produced; that will come through just as beautifully. CD’s of high quality were wonderful (Jordi Savall on Alla Vox!!!), and those others that had issues became unfortunately noticeable. Since I don’t listen to MP3’s, or to any compressed music (other than ALAC at 24/48), I can’t comment on how they would sound. But I imagine that good will sound good, and bad will sound awful.
There was only one thing left to do… compare them directly to the DBA-02, as whatever IEM’s I buy would be replacements for these aging beauties (I only have one set remaining of my original 3).
I was not pleased with the results of the test. The Q’s made the DBA’s sound metallic and tinny, thin and hollow. The DBA’s are equal to, or slightly brighter than the Q’s, and their sound seemed slightly false to me in comparison. There was not only a neutrality to the Q’s, but a very natural quality to the way they reproduced acoustic instruments and voice. Q for Quite impressive.
Pro’s: Veritas. A true rendering of the source sound. Fast, bright and revealing, but with a nice rich lower mid. The form-factor is just wonderful. Great little size and impeccably made.
Con (only one): The cable. Definitely not the worst I’ve ever experienced, but not great. Not a deal-breaker, however.
Just might get me a set of these. They are that good…
Cheers.
Upon opening the well stuffed and laid-out box, all it’s little compartments, I was struck by how nicely it was all packaged. I was also amazed by the size of these… TINY. Like, seriously small.
First things first… put a new pair of Comply’s on them (untrimmed because I’d been ‘warned’ and concerned that the highs were going to be brutal) and attach the cable.
Nice. Things went together well. The screw-on cable is machined very well and connecting the lead to the IEM body was quick and easy.
The cable is one of those springy rubbery things that I can’t stand, and this is my biggest issue with these. That sticky rubber coating is a real PITA. Sure it’s lightweight, but a tiny snag, and you’re attempting to untie the knot as the train is coming and it is just plain annoying. This, and the fact that the stickiness prevents it from using its own weight to keep it taught under a jacket or over-shirt. I like the effect gravity plays on a cable. This defies that effect and the cable tends to ride up.
For months I’d been switching between my DBA-02’s (BA’s) and W4. I wore the W4 at the gym and the DBA’s on the train. These two are very different. The DBA’s are bright bordering on brittle and a bit metallic. The W4’s are warm, rich and unfortunately rolled-off on the high end. But very good and ‘natural’… not neutral. For neutrality, the DBA’s have it, but where they are close to overkill on the highs, they lack the depth that the W4’s produce.
Then I put the Q’s in my ears and hit play on my iBasso DX90.
Oops, wrong song for these, obviously. Bothy Band live (Afterhours), ripped from LP at 24/96 with the AT440MLx. This is a revealing and mega-bright cartridge, and brightly recorded uilleann pipes are not what you want to listen to with these IEM’s. Piercing and shrill, I was immediately turned off to these Q’s. That 7-8k spike seemed very similar to my DT-880 Beyer’s. Brutal.
Then I tried some standard test tracks. Norman Blake, New Brick Road (from Original Underground Music… LP, ripped with AT440). A very well balanced recording and the AT440 brought out all the micro-detail and picking-wonder without being piercing. Much better.
I kept these in my head for the next week, listening to no other IEM’s or cans. Various sources… DX90, iPod’s, Audiolab M-DAC into my Luxman amp, with various types and styles of music. A lot of classical and jazz, bluegrass and folk. Then the rock: High-Def downloads of Cream, Zep, Steely Dan, and all the LP’s I’ve ripped, especially the brilliantly recorded and mastered Waiting for Columbus (ripped with 3 different carts… the AT440, ATOC9 and Shure M97). This live masterpiece has a perfect mix of sweet highs, percussion, deep resonant bass and vocals. I really liked how it all sounded.
I wondered if I should even try Miles Davis with these. If uilleann pipes were difficult, how would the brash brass of Sir Miles play out on these? So on went the 45 rpm remaster (Someday My Prince...), ripped with the AT-OC9 (specifically because it’s a gloriously ‘mellow’ cart). Very good. The sharpness of the horn had been slightly reduced by the cart, and it sounded wonderful… very present and clear, the bass was punchy and rich. I was pleased.
Paul Desmond’s brilliant rendition of Skylark (from LP of the same name), an amazingly well-recorded track (Creed Taylor prod.) was next, then the high def download of Nora Jones, Come Away With Me, and as always the multiple versions of Kind of Blue, and the Andreas Vollenweider Trilogy (wonderfully recorded and mastered – orig. release LP’s).
The reason I pedantically mentioned all the above… and there was a lot more… was because, as it turned out… I could not get enough. Each bit of music put into my head by these tiny gems was not a revelation (as I’ve heard them all played wonderfully on other IEM’s and headphones before), but so competently and neutrally played that I was getting past the technology and testing mindset and getting into the music… and isn’t that at least half of what this is about?
The uber-brightness of the uilleann pipes first heard was an anomaly. I re-recorded the LP with the AT-OC9, and it was now perfect. This of course, tells me that the Q’s are revealing, crystal clear, and let the source come through with truth.
If the recording is over-bright or problematic (holy crap… Goodbye Yellow Brick Road, orig. release, is a nightmare of over-compressed, early ‘70’s electronics, brittle noise), and if you have something well-produced; that will come through just as beautifully. CD’s of high quality were wonderful (Jordi Savall on Alla Vox!!!), and those others that had issues became unfortunately noticeable. Since I don’t listen to MP3’s, or to any compressed music (other than ALAC at 24/48), I can’t comment on how they would sound. But I imagine that good will sound good, and bad will sound awful.
There was only one thing left to do… compare them directly to the DBA-02, as whatever IEM’s I buy would be replacements for these aging beauties (I only have one set remaining of my original 3).
I was not pleased with the results of the test. The Q’s made the DBA’s sound metallic and tinny, thin and hollow. The DBA’s are equal to, or slightly brighter than the Q’s, and their sound seemed slightly false to me in comparison. There was not only a neutrality to the Q’s, but a very natural quality to the way they reproduced acoustic instruments and voice. Q for Quite impressive.
Pro’s: Veritas. A true rendering of the source sound. Fast, bright and revealing, but with a nice rich lower mid. The form-factor is just wonderful. Great little size and impeccably made.
Con (only one): The cable. Definitely not the worst I’ve ever experienced, but not great. Not a deal-breaker, however.
Just might get me a set of these. They are that good…
Cheers.
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Great write up Richard - so pleased that they ticked your boxes, and that I had the chance to recommend them to you. Nice to see when a recommendation works out
shane55
Headphoneus Supremus
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Great write up Richard - so pleased that they ticked your boxes, and that I had the chance to recommend them to you. Nice to see when a recommendation works out
Indeed.
And from past experience I know we either have similar tastes, similar hearing... or both.
Cheers
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