sp3llv3xit
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RHINES STAGE 7
#Review
“I have no recollection of that afternoon.”
A week later that was how I described the Stage 7 to my childhood friend, Albert. Neither am I a fan of obtuse references nor am I in the habit of fusing the aural with the metaphysical. To dignify that question with a more concrete answer, allow me to start with the demo unit sent me by Rico Cheng (proprietor of Egghead Audio Hub in Manila) 4 weeks ago.
The universal demo pair is tipped with triple-flange silicon. Noticeably smaller than the Vision Ears VE5, these Rhines gems come equipped with seven balanced armatures. Oddly, its seal bested my VE5’s. The three-feet long twined cable – according to Klaus (Eulenbach) is made of silver-plated copper from PlasticsOne, headquartered in Roanoke, VA.
Stage 7’s shiny and polished acrylic shell is hand-made. This is to set it apart from those that are 3D printed. Rhines’ founder and owner Felix Reinsch had this to say about the new technology, “I don’t really believe in 3D-printers. It sounds funny but they are less exact than handcrafted molds… More than that, the color variety is smaller and the shells are not as durable.” Given his misgivings about the 3D printed shells, it is obvious that for now, Rhines will stick to making them by hand.
RHINES CUSTOM STAGE 7 MONITOR SPECS:
• 7 precision BA drivers
• 4-way crossover
• up to 26dB noise isolation
• gold-plated 3,5mm connector
• 10Hz-20kHz frequency response
• 118dB input sensitivity at 1mW
• 21 ohms impedance
At first listen, the 7 sounds lean and flat. After leaving it plugged into my laptop for 3 days on loop playback, I notice the midrange has thickened with a slight bump (approx. 2 dB in 150 Hz range) in the midbass frequencies. People upon whom I rely for early impressions have pronounced the Rhines to be a “warm” to “warmish” monitor.
Of late I found it a disservice to say that a headphone or an amplifier is simply either warm or cold, bright or dark. In a hobby where everything is relative to almost everything else, this kind of pigeonholing or worse, simple dichotomy renders reviews totally stuck in the reviewer’s head. Typically, that is fine provided that readers know (a) the reviewer’s preference; (b) all the gears that the reviewer owns or has owned up until that point; (c) the gears that he loves and hates. Absent those three qualifiers as frame of reference, reading his biases mean absolutely nothing to anyone.
Reviews, however, can never be totally devoid of subjectivity. There will always be an element of it in any review - this one included. So how does the Rhines Custom Stage 7 monitor sound?
If you’re upgrading from mid-tier (USD 500 – USD 999) universal monitors, the two qualities that should immediately impress you are the wide (wider than it is deep) soundstage and the relatively flat and smooth sound (no noticeable peaks). However, for someone who owns and uses the AKG K3003 as reference, the shrinkage in the width of soundstage is disconcerting at first listen. At 1:07 into Enya’s “Athair ar Neamh”, the diffusion of ambient sound out of the K3003 is perceptibly wider (by about 2 feet) and the rear depth of field is also appreciably more cavernous than when it is played out of the 7.
My biased reference in this comparison is the universal but loosely fitting AKG K3003. Notorious for its poor seal: the leakage could invariably factor into the wearer’s perception of that out-of-head feel. Alternately, if I choose the Sennheiser IE-800 as my reference, the Rhines flagship does measure up nicely to have about similar depth and width of stage. In both bass quantity and extension, the Stage 7 has less of it than the AKG flagship IEM. It does however, sound tighter than the K3003. Treble wise, both would lean toward the brighter end of the sonic spectrum with the AKG universal perceptibly more so. Where articulation speed and coherence are concerned both are behind the 7.
In Custom In-Ear Monitors, by contrast, both the VE5 and the Noble 4c that I owned sound smaller in presentation. The VE5 stands closer to the Stage 7 than the Noble does in soundstaging. 7, VE5 and 4c share a similarity. All three by and large produce a midcentric sound. While certainly not veiled, the treble of the VE5 has less of that edge even in playback of heavy metal tracks – a genre at which the 4c is quite adept. In comparison with the 7, VE5’s midrange sounds fatter; treble is generally presented about half a step behind the mids and the lows are large but less tight.
The Noble 4c can make a meaningful comparison with the Stage 7 if only we take out the whole bass region from the contest. In this, the Rhines flagship trounces both 4c and VE5. My Noble’s bass texture is like a cut of fabric that’s been left exposed to the tropical sun for a day. It’s clean-cut and dry. VE5’s is a tad too bloated. Stage 7 cuts a fine line in between these two – subjectively. It allows me to finely make out the tomtoms from the snare and the bass drums with nary a strain in my hearing.
In treble presentation, the extensions of the Noble 4c come off as more impressive but contrived than the 7’s are. Both are fast but the faster decay of the trebles out of the 7 sound more natural than the thinner but more concentrated push of the 4c’s.
One of the perks of having a childhood friend who owns a disco and a band is that I have ready access to both. As part of my due diligence for this review, I consulted both him and Mr. JD Villanueva of ABS-CBN, extensively. If timbre is the quality of the tone or sound, I’d say with prejudice (my hearing while keen is far from perfect) that the 7 presents timbre of percussions and strings harmonics to be nigh on the money.
Clair Marlo’s “Do You Love Me” on DSD sounds fantastically vivid. The panning of the gradually receding AKAI Ewi at 2:11 paints a picture of how deep the recording area (or phantom image) was. Cymbal rides shimmer with air. Crisp and dry. Beautiful. Beautiful. Down the sampling rate to FLAC 16/44, out of my 240SS, Eagles’ “Hotel California” (from “Hell Freezes Over”) markedly and effortlessly floats the bouncy and fuller sounding nylons from the sharper and brighter notes of metal cuerdas. 33 seconds into the live recording, the bass drum powerfully vibrates in-ear, thunders low. Passed my head, dissipates as it reaches my throat. I shake my head. Too bad. It could extend lower.
Bass of the Stage 7 is authoritatively deep (audible to about 100 Hz). I speak mainly of its quality not quantity. In no way should this be construed as anywhere near ideal for EDM or Trance tracks. Out of the 7, Daft Punk’s “Lose Yourself To Dance” leaves me feeling that the dance party has only a few warm bodies in attendance. 250 Hz to 600 is there but attenuated down to a waiflike presence. There’s just very little of that subwoofer-like fullness. Halfway through it, I ask myself, “Whoa. What happened to the party?”
Although 7’s articulation is nimble and energetic, it is not coked-up flighty. Joe Cocker’s “Fire It Up” at 2:01 as is suggestive of its title, displays the firing attack of the drums in quick volley. Snappy, with minimal bloom upon entrance; and in exit, leaves no lingering shadow. In contrast, this same section displays faster attack out of the Noble 4c but the strikes sound drier and lighter. The drumstick’s contact with the Mylar creates a bass slam but is too shortlived to bloom.
Wanting to add more low-end weight, I push up (on my 240SS) the 120 Hz and 250 Hz EQ bands by approx. 2.5 dB, 30 Hz and 60 Hz by 4 dB. To my surprise, it responds beautifully with subtle distortion. Upped two notches, 3 dB on 250, 5 dB on the 40 and you notice the midbass bleating wooly, subbass betraying hints of cracking. I doubt if this type of music was what Felix had in mind when he designed the 7.
Moving to “Brazilian Nights”, I can almost make out the pulsating cadence of air from Kenny G’s beautiful sax. Its vibrato envelopes and permeates; and wraps me in a blanket of warm, quavering breath. I feel my hips lilt to bossa nova. Kick bass is appropriately kept tight, low, and out of the way of the piano (on the right) and the cello (on the left). On centerstage is the star and the lead, Kenny’s saxophone. Fantastically, this hard, pinpoint stereophonic imaging is maintained throughout the track.
Comparing the 7 to earlier Rhines’ offerings, it is a literal step forward. Midrange, particularly, its vocals, sound front, center and forward in comparison with say, the Stage 4’s. Human voice comes off as focused, closer to lean than full - but forward. If I can picture the artist singing the lyrics, I consider its midrange to be okay. As Allan Taylor’s audience of one in “Colour To The Moon”, I find his sing-song narrative generally done in baritone fairly accurate but perfectly nuanced.
D. Fogelberg’s voice in his rueful ballad “Same Old Lang Syne” - typically gets drowned out in the panoply of drums, violins and piano - sees it raised above the din of the orchestra during the chorus. Generally speaking, in the order of midrange warmth, Stage 7 comes off as warmer than the IE800 and K3003, with attenuated and fast midbass in tow.
Where the Rhines Stage 7 excels prove to be the Achilles’ heel of both the Sennheiser and the AKG flagships: midrange transition to highs. Brightness can be a beautiful experience if only implemented correctly. The rise in amplitude from 2 kHz to 7 kHz if done without nasty peaks could proselytize even Sith Lord Darth Sidious to embrace the light.
Anyone who has had the chance to listen to Luther Vandross’ “Dance With My Father” can attest to that constant, almost metronomic, cross-stick snare as a challenge to their tolerance for sibilance. The tapping on the rim sounds less harsh (but still timbre-correct) out of the 7 than out of either flagships from Sennheiser or AKG. Tail-end percussive harmonics are rolled off to dull the edge. Out of the IE800, it sounds thin and sharp. AKG, in contrast, sounds like there’s a light etching of the tap. Each tap peaks and stings. That said, K3003 does by a wide margin produce greater treble extension than the Stage 7.
PAIRINGS:
With the Hifiman HM901 using the Balanced Card, the Stage 7 sounds distinctly less detailed. The musical presentation comes in a whole package that does not give you the benefit of picking out the individual instruments. This pairing gives off a feeling of being in the midst of a band rather than as a spectator or an audio engineer determining the timbre accuracy of each instrument. That said, midbass hum is raised, the sub-bass slam is dramatically smoothed out, and about half a notch softer than when played out of the 240SS. Consequently, treble is drastically rolled-off but not veiled. Midrange – particularly the human voice – sounds large and for lack of a better term, obese.
With the old AK100 from Astell& Kern, the 7 comes off very clinical and tinny sounding. Extension up top is incredibly clear and separated but everything lacks body. I reckon this evaluation may require a“YMMV” caveat as some people do prefer to listen to music that way. However, where a reality check is in order, the reproduced sound out of this pairing certainly does not come close to what we hear from a live performance. That said, you can pick out even the subtle flexing and flapping of Mylar on the bass drum here.
With the iBasso DX50, the Stage 7 sounds fun with obviously rolled off extremes. Midrange is almost comparable to the 240SS’ but has that lack of focus or concentration in its push. On the other hand, it does sound appreciably warmer than the SS. Midbass is thicker, smoother, if only less textured.
With the Samsung Galaxy S6, the Stage 7 sounds like a Zero Audio Doppio with hyped up and consequently buzzing midbass. Apparently the WM8740 dac in the S6 renders the 7 sounding less like a flagship. To avoid preempting the review of the Doppio, I shall leave my thoughts on this tandem temporarily punctuated here. Generally, it gives off an impression that the Stage 7 is sounding and punching 2 or 3 rungs below its price point in terms of precision and detail.
SUMMARY:
To listen to the Stage 7 is to be deliriously lost in the enchantment of its tunes. Whilst the AKG K3003 bedeck your surrounding with sound, supplanting you in its impressive soundstage; the Rhines Custom Stage 7 casually pulls you into the music. Its engaging immediacy, its natural timbre and realism are a more intimate songster that effortlessly and slowly fade you into its music. Now do you know why I told my friend that I had no memory of that afternoon?
No headphone is perfect. None can play all genres perfectly. So what are the weaknesses of the Stage 7? I wish it has a larger (deeper and wider) soundstage – one that at least matches the K3003’s. I wish it sustains the subbass response and keep the extensions above 8 kHz at or north of 40 dB. That would have resulted in a flatter signature. The near waterfall drop after 100 Hz practically eschews low-level details. Although that last bit sounds more like a quirky personal preference than an actual flaw.
Is it truly a flat, reference sound? We’d have to redefine reference if I say yes. Then again, what's fun about flat? Even in women we seek the bigger curves. In my brief comparison, the Ortofon EQ-8 sounds flatter with less obvious accentuation of the mids and a more linear treble that scales up to the Pearly Gates. Thus, rendering the Ortofon in proximity to a less-colored reference than the Rhines. The 7 however, has the beautifully warmer and consistently smoother midrange with a well-controlled midbass - making it a more enjoyable listen.
Much much more enjoyable.
LOSSLESS ALBUMS/TRACKS USED:
Clair Marlo {A Major Technicality} [DSF]
Hotel California {Hell Freezes Over} [16/44]
Fra Lippo Lippi {The Greatest Hits} [16/44]
Luther Vandross {Dance With My Father} [24/44]
Alison Krauss {Now That I've Found You - A Collection} [DSF]
Kenny G {Brazilian Nights} [16/44]
Allan Taylor {ColourTo The Moon} [16/44]
Queen {Greatest Hits II} [DSF]
Josh Groban {Stages} [24/96]
Sarah Brightman {Time To Say Goodbye} [DSF]
Dire Straits {Brothers In Arms - 20th Anniversary Edition} [DSF]
Peter White {Glow} [DSF]
Dan Fogelberg {Portrait} [16/44]
Enya {The Very Best of Enya} (2009) [16/44]
