[BPED]

A start is born... great to see a new addition to the select TOTL club.
Thanks for the review @simorag and congrats for you amazing set up!

In terms of spatial presentation, I understand the TC is king. Would you be able to roughly compare the Valkyria to other headphones? Also, besides soundstage (3D), is the presentation of the music close by, intimate or with a sense of air a bit like the TC?

 

[simorag]

So I am guessing Valkyria is better at this than Raal's SR1a?

That's quite a tough question for me to answer. I had mixed feelings about the SR1a during my 1 year+ of ownership. I admired the SR1a throughout, and enjoyed at times, especially when listening to acoustic music, and especially when pairing them with very synergystic amplifiers (my AIC-10 not being up to the task due to lack of power).
Their uniqueness relies IMO in presenting the sound as coming out of nowhere, and to display an almost hyperrealistc level of detail: a sense of suspension of reality which is amazing but also can become a weakness in the long run - at least it was for me.

While the rational, analytical side of my brain has always been a fan of the SR1a, the lack of weight to the notes, a tendency to bright, tight, unforgiving sound and the lack of oomph in the low end made me ultimately reach for them less and less, hence the decision to let them go.

. Would you be able to roughly compare the Valkyria to other headphones? Also, besides soundstage (3D), is the presentation of the music close by, intimate or with a sense of air a bit like the TC?

The Valkyria has some traits in common with the Susvara in terms of tonality: a very natural timbre, slightly tilted - with the V. - in a warmer, denser fashion, due to a slight emphasis in the mid-bass region. To give another reference, the LCD-4 is significantly fatter and creamier, and so is, to a lesser extent, the Empyrean.

Also the soundstage size and the placement of the musicians is not far from the Susvara, i.e. very wide (although not as cinematic as the AB-1266), perhaps with a bit less air, and a more highlighted display of the resonant nature of the environmental and instrumental cues. Would not call it an intimate presentation, as the Utopia produces for example, rather it keeps an expansive projection of the music with the soloists in a more forward location w.r.t. the Abyss but less than the Utopia, i.e. producing proportion close to the Susvara.

The Valkyria is a technically accomplished headphone, it is able to image very well, it is transparent and neutral sounding, and has very good frequency response extension, but it is not the type of gear that makes you focus on these (like the SR1a, the TC or - say - an HD800S or Mysphere do in different ways and to a varying extent), rather it speaks more directly to the music lover in me than to the audiophile, if that makes sense.

 

[jeffhawke]

Not @Mikey99, but as long as I own both I thought I could add my 2 cents here ...

The AB-1266 and the Valkyria are very different sounding headphones, so much so that they are almost literally complementary in what they do best.

What they have in common, and that is the reason I am keeping both, is that they are able to produce very strong emotional feelings when you listen to music through them. It may seem obvious, and many would argue that the music itself should provide strong emotions regardless of the media used, which is of course true in a way, but after having owned many of the TOTL headphones I learned that some very rare and special pieces of gear are able to just build further attachment to the music in various forms (fun, wow-effect, movingly, ...) than other, to me.
Well, both the TC and Valkyria can do this to the maximum degree, just by pulling different strings.

Where the TC excel is about the rendering of spatial cues, the soundstage, the venue size, resonant flavor, the 3D deployment of the musicians, the small ambient noises, the subterranean rumble which sometimes can be present. Another area of magic is the bass quantity and quality, which, combined to the sparkle in the treble, to the visceral air pumping capabilities of driver / pads machinery and to the 3D simulation capabilities mentioned above, delivers a 'live effect' which is utterly exciting and involving.

The Valkyria grips your attention in a whole different way. It does it, first, with an authoritative, authentic, masculine - while seducing - rentition of tone, especially in the area where us humans are typically more sensitive, i.e. the midrange. It is not a feather like, euphonic, sweet midrange, or a creamy, thick, mellow one, it is a solid, believable, palpable characterization of vocal contents and of the material consistency of instruments playing in the midrange region.
The second striking feature of the Valkyria is the dynamics. It can go from extremely soft to crazy loud without effort, and it does that whatever is the scale or mass of sound to be displaced. Be it the articulation of a scale on a harpsichord, or a drums solo, or a percussive fortissimo on a piano shaking its entire structure, you can almost feel the physical effect this type of events produce live (of course within some obvious limitations).

In the end, choosing between the AB-1266 and the Valkyria really depends on what drug you want to pick, satisfaction is guaranteed in both cases

While I am still in my learning curve with the Valkyria, I find I tend to grab the TC with EDM, bass heavy, large scale classical including organ, and Valkyria for most acoustic music, piano, vocals, classic rock. Having mixed feelings about which I like most with jazz at the moment.

Thank you, very clear, well written and exhaustive impressions!

 

[jeffhawke]

...rather it speaks more directly to the music lover in me than to the audiophile, if that makes sense.

Actually, it makes a lot of sense. It's the old Alan Parson's distinction between the musicophile and the audiophile (which I totally share, btw)

 

[BPED]

That's quite a tough question for me to answer. I had mixed feelings about the SR1a during my 1 year+ of ownership. I admired the SR1a throughout, and enjoyed at times, especially when listening to acoustic music, and especially when pairing them with very synergystic amplifiers (my AIC-10 not being up to the task due to lack of power).
Their uniqueness relies IMO in presenting the sound as coming out of nowhere, and to display an almost hyperrealistc level of detail: a sense of suspension of reality which is amazing but also can become a weakness in the long run - at least it was for me.

While the rational, analytical side of my brain has always been a fan of the SR1a, the lack of weight to the notes, a tendency to bright, tight, unforgiving sound and the lack of oomph in the low end made me ultimately reach for them less and less, hence the decision to let them go.



The Valkyria has some traits in common with the Susvara in terms of tonality: a very natural timbre, slightly tilted - with the V. - in a warmer, denser fashion, due to a slight emphasis in the mid-bass region. To give another reference, the LCD-4 is significantly fatter and creamier, and so is, to a lesser extent, the Empyrean.

Also the soundstage size and the placement of the musicians is not far from the Susvara, i.e. very wide (although not as cinematic as the AB-1266), perhaps with a bit less air, and a more highlighted display of the resonant nature of the environmental and instrumental cues. Would not call it an intimate presentation, as the Utopia produces for example, rather it keeps an expansive projection of the music with the soloists in a more forward location w.r.t. the Abyss but less than the Utopia, i.e. producing proportion close to the Susvara.

The Valkyria is a technically accomplished headphone, it is able to image very well, it is transparent and neutral sounding, and has very good frequency response extension, but it is not the type of gear that makes you focus on these (like the SR1a, the TC or - say - an HD800S or Mysphere do in different ways and to a varying extent), rather it speaks more directly to the music lover in me than to the audiophile, if that makes sense.

I knew it was dangerous to ask now I have a new craving

Regarding the ability to reproduce details in a natural way: that's a big challenge and I have been thinking about that while attending live performances in the past weeks.

An instrument live never comes across as "detailed". With modern recordings and hi-fi equipment I see two challenges: 1) jazz/classical acoustic music is often very closely mic'ed. It compares to sitting to 2 metres away from the piano or in turn sitting on the lap of violin players. A part from the weird listening perspective, you hear ambient noise that in real life is hard to hear. 2) some hi-fi equipment amplify these tiny details in an unnatural way.

In my hi-fi voyage I am looking for a set up that minimizes n. 2) and on the contrary integrates details into a credible sonic image... way to go..

 

[jeffhawke]

I knew it was dangerous to ask now I have a new craving

Regarding the ability to reproduce details in a natural way: that's a big challenge and I have been thinking about that while attending live performances in the past weeks.

An instrument live never comes across as "detailed". With modern recordings and hi-fi equipment I see two challenges: 1) jazz/classical acoustic music is often very closely mic'ed. It compares to sitting to 2 metres away from the piano or in turn sitting on the lap of violin players. A part from the weird listening perspective, you hear ambient noise that in real life is hard to hear. 2) some hi-fi equipment amplify these tiny details in an unnatural way.

In my hi-fi voyage I am looking for a set up that minimizes n. 2) and on the contrary integrates details into a credible sonic image... way to go..

That's more up to the recording setup than the audio chain, I believe.

 

[BPED]

That's more up to the recording setup than the audio chain, I believe.

For n. 1) sure, and if a player is recorded too close up there is not much that can be done. But with ref. to n. 2) hi-fi gear extract and present details in very different ways.

I recall that moving from Hugo2 to MScaler + Dave my expectation was to hear more details but I actually heard a slower, denser musical flow that didn't strike me as detailed at first. It took me a while to realize that details where less in my face and more "integrated" reproducing instruments in a more realistic way. I believe that headphones do vary also in this respect

 

[ThanatosVI]

For n. 1) sure, and if a player is recorded too close up there is not much that can be done. But with ref. to n. 2) hi-fi gear extract and present details in very different ways.

I recall that moving from Hugo2 to MScaler + Dave my expectation was to hear more details but I actually heard a slower, denser musical flow that didn't strike me as detailed at first. It took me a while to realize that details where less in my face and more "integrated" reproducing instruments in a more realistic way. I believe that headphones do vary also in this respect

I totally agree, headphones do thst as well.

A prominent example is going from HeKSE to Susvara. The experience is similsr to what you just described

 

[jeffhawke]

For n. 1) sure, and if a player is recorded too close up there is not much that can be done. But with ref. to n. 2) hi-fi gear extract and present details in very different ways.

I recall that moving from Hugo2 to MScaler + Dave my expectation was to hear more details but I actually heard a slower, denser musical flow that didn't strike me as detailed at first. It took me a while to realize that details where less in my face and more "integrated" reproducing instruments in a more realistic way. I believe that headphones do vary also in this respect

Excellent consideration

 

[simorag]

An instrument live never comes across as "detailed". With modern recordings and hi-fi equipment I see two challenges: 1) jazz/classical acoustic music is often very closely mic'ed. It compares to sitting to 2 metres away from the piano or in turn sitting on the lap of violin players. A part from the weird listening perspective, you hear ambient noise that in real life is hard to hear. 2) some hi-fi equipment amplify these tiny details in an unnatural way.

That's more up to the recording setup than the audio chain, I believe.

I agree that the recording process is by far the major contributor to how the sonic imaging is eventually presented via audio gear. Both ends of recording 'philosophies' (minimalistic and heavily mic'd and processed) present a huge challenge to sound engineers and the reproduction chain cannot recover or manipulate the spatial and resolving information after the fact.

There are, however, and this is especially applicable to headphones, some pieces of gear that act like some sort of lens on the music that can work both ways, either as a microscope analysis able to expose the minute detail with such an etching that they become overwhelming compared to the whole picture (SR1a) or by expanding / diffusing the information further out of proportion (HD800).

In the case of the Valkyria, and more broadly of the Spirit Torino way of intending the whole end-to-end process of rendering a real event through audio technology, a great experience is achievable by reproducing binaural recordings which Andrea Ricci has made and validated by using the Valkyria, via the Valkyria itself. A 1795 Shanz fortepiano recording is to be released soon:

 

[BPED]

I agree that the recording process is by far the major contributor to how the sonic imaging is eventually presented via audio gear. Both ends of recording 'philosophies' (minimalistic and heavily mic'd and processed) present a huge challenge to sound engineers and the reproduction chain cannot recover or manipulate the spatial and resolving information after the fact.

There are, however, and this is especially applicable to headphones, some pieces of gear that act like some sort of lens on the music that can work both ways, either as a microscope analysis able to expose the minute detail with such an etching that they become overwhelming compared to the whole picture (SR1a) or by expanding / diffusing the information further out of proportion (HD800).

In the case of the Valkyria, and more broadly of the Spirit Torino way of intending the whole end-to-end process of rendering a real event through audio technology, a great experience is achievable by reproducing binaural recordings which Andrea Ricci has made and validated by using the Valkyria, via the Valkyria itself. A 1795 Shanz fortepiano recording is to be released soon:

I am listening this with a pair of el cheapo headphones from my laptop and I checked twice what was creaking below my desk... unsettling recording... must be paradise with the V.!

 

[simorag]

Listening to piano with the Valkyria

Piano is arguably among the most difficult instruments to record and reproduce. Not only it is a challenge from the tonal standpoint due to its broad frequency range, ultra-rich color palette and complex harmonic overtones interaction, but most of all its dynamics - which can really be tremendous especially with the most powerful grand pianos - and the sonic picture - being very dependent on the mic placement or the listener position in the concert hall - are extremely difficult to capture.

As piano covers at least one third of my listening, I value piano performance very much when evaluating headphones. This is one area where the mighty AB-1266 is 'only' very good, to my ears, and I tried / purchased several other headphones over the years to find a better option.

Utopia, LCD-4 and Susvara were providing some kind of improvement over the Abyss with piano, and - to some respect - even the Empyrean, but either the improvement was too small or the trade-off with other musical content was too much to justify keeping them to complement the AB-1266.

Well, finally my search has succeeded with the Valkyria, which is offering me the best version of piano listening through headphones I have experienced thus far, in terms of tonal richness, body and weight of the notes, dynamics fidelity, rendition of both percussive and diffusive nature of the sound manufacturing of this wonderful keyboard machine.

​

While being a great piano recording from the technical standpoint, Nojima Liszt from Reference Recording can sound a tiny bit metallic and dull. Not with the Valkyria, where a nice wetness and the expressive handling of the pedalwork enrich the overall tonality.

The highly percussive last part of La Campanella, moreover, is well articulated yet hefty; the piano is presented as full bodied yet not exaggerated in size.

The AB-1266 in comparison is faster, more agile lucid and transparent, but slightly hollow in the mid-bass region, lacking perceived density despite a nice sustain from the bottom end. The Empyrean on the other hand provided an elastic, round sound signature, but were slightly less resolving and refined on the upper midrange / lower treble.

​

A legendary footage of Horowitz at his best from the late 60s, nicely remastered by Sony. While not on par with the most transparent modern recordings, the weight of the piano notes, the immense power of Horowitz fingers is presented well, and the Valkyria delivers an atmospheric yet insightful overall sound.

In comparison, the Utopia more intimate picture and slightly more aggressive upper midrange is less emotional and the Abyss sound clearer, but less full and dynamic, especially in the loudest passages (see e.g. the finale of the 3rd piece of the Kreisleriana), where the thundering Steinway is pounded by the Maestro with utter - controlled - violence.

​

Far from being of audiophile-grade recording quality, the Gilels Beethoven sonatas cycle is among my very top favorites.

The AB-1266 provides a more distant image, a drier and colder timbre, together with an airier presentation. It can almost be harsh at times, especially on the loudest passages, as with the Moonlight sonata Presto Agitato.

The Valkyria offers a more sonorous, fuller, almost warm presentation, and the dynamics is way more visceral.

​

This is a very muscular recording of a very muscular performance on a muscular grand piano of Chopin most muscular compositions, so ... yes, it is a bit over the top. But nonetheless it is thoroughly enjoyable and fun to listen to.

Well, the Valkyria produces a ... muscular delivery and its warm, thick and sonorous rendition envelops you in this hyper-romantic chopinesque display. Who doesn't like comfort food every now and then?

 

[Deolum]

This is the ugliest headphone i ever saw. It looks exactly like those little cookies with the jam inside.

 

[mammal]

This is the ugliest headphone i ever saw. It looks exactly like those little cookies with the jam inside.

You need to check out this earlier post, haha.

 

[jeffhawke]

This is the ugliest headphone i ever saw. It looks exactly like those little cookies with the jam inside.

To me, the ugliest is the Abyss, by far. Looks like a portable electric chair.