Yes I own the AB-1266 since 2017 and I have always been a fan of them. Actually I have built my system around them over the years, hence the AIC-10.
I still believe the AB-1266 is one of the most versatile and complete hp available, with the bonus of some special tricks (speaker-like presentation and sub-bass quality) that make me grin everytime I use them even after all these years. It is one of those very rare headphones that could be the one-and-only even in the collection of an eclectic listener.
However, when I got the Valkyria they have been slowly but steadily growing on me and now they are my daily driver. I listen to the Valkyria 90% of the time right now, perhaps even more.
This is partly because as years go by I tend to listen more and more to acoustic music (all classical sub-genres, jazz, vocals in this order) and this is where the Valkyria really shines. The reason why it shines, for me, are in the Spoiler below (cut and paste from a recent conversation I had with a fellow head-fier).
In comparative terms, the 1266 is technically more proficient (transparency, frequency extension, detail retrieval) and fun, while the V. is more organic, moving and authentic. I use the 1266 for all kind of electronica, and for some special type of classical (e.g. organ), or for recordings taken in very large venues. Rock and pop are a bit of a mixed bag, depending on the recording techniques, the complexity of the music, the palette of instruments used etc..
As for (why I love so much) the Valkyria the answer is simple to state and complex to explain at the same time: it is the only headphone I have tried so far that reproduces (how I react to) acoustic instruments timbre, texture and dynamics in a nearly lifelike fashion.
This is especially apparent when I come back from live concerts and go straight to listening the same type of material on my rig. Of course, the recording, the venue, everything is different so I am not talking in terms of plain accuracy. Rather, it is that my brain / guts recognize the Valkyria presentation as if it was a real thing.
Note that the V. is not a neutral hp, it has some bump in the mid-bass, and lacks extension to the sub-bass, for example, so, again is not that a studio-like tuning. However, its flaws can be easily interpreted (as my brain does) as they would be produced in reality by some kind on non-ideal live listening environment, still maintaining the illusion that I am listening to something realistic.
Another highlight of the V. is how they convey percussions. The weight, the punch, the attack and decay are so satisfying. This applies of course to drums, tympani etc., but - combined to the timbre and harmonic richness I was mentioning above, makes piano immensely satisfying.
Visceral dynamics and forceful delivery of bass / mid-bass make double bass thrilling, even intimidating at times.
There are many negatives I could mention about the V. of course (transparency, clarity, bass extension, treble refinement, etc.), but I happily accept these as part of the deal. Think about a woman who's not perfect but so damn sensuous that you can't get enough of her, and the fact that you do not entirely sort out why she's grabbing you so much makes the excitement grow and last even more.
This is especially apparent when I come back from live concerts and go straight to listening the same type of material on my rig. Of course, the recording, the venue, everything is different so I am not talking in terms of plain accuracy. Rather, it is that my brain / guts recognize the Valkyria presentation as if it was a real thing.
Note that the V. is not a neutral hp, it has some bump in the mid-bass, and lacks extension to the sub-bass, for example, so, again is not that a studio-like tuning. However, its flaws can be easily interpreted (as my brain does) as they would be produced in reality by some kind on non-ideal live listening environment, still maintaining the illusion that I am listening to something realistic.
Another highlight of the V. is how they convey percussions. The weight, the punch, the attack and decay are so satisfying. This applies of course to drums, tympani etc., but - combined to the timbre and harmonic richness I was mentioning above, makes piano immensely satisfying.
Visceral dynamics and forceful delivery of bass / mid-bass make double bass thrilling, even intimidating at times.
There are many negatives I could mention about the V. of course (transparency, clarity, bass extension, treble refinement, etc.), but I happily accept these as part of the deal. Think about a woman who's not perfect but so damn sensuous that you can't get enough of her, and the fact that you do not entirely sort out why she's grabbing you so much makes the excitement grow and last even more.
