[Orlok]

That may seem a rather plain and simple request at first sight, but it actually underlies a very broad and complex topic.

If we focus to the most immediate part, i.e. the timbre of acoustic instruments, I believe this is one of the strongest assets of the Valkyria, and personally I would have no doubt defining them as more realistic than the 009 with most acoustic instruments and vocals, and especially with violin and trumpet, for instance.

But, as we move deeper to what 'reproducing the sound heard live' may imply, then many other aspects come into play, as the experience of hearing an acoustic performance live is holistically involving spatial cues, timing accuracy (attack / decay), dynamics and physical impact, ambience characterization, immediacy (literally, the absence of media), etc. etc..

Under this more extensive definition, it is very hard to identify - at least for me - a single headphone as the most faithful / realistic. Among the ones that I have owned or heard extensively, the three that most succeed in recreating the illusion of a live performance, or evoke the feelings I have when listening live, are the AB-1266 TC, the Valkyria and the RAAL SR1a. The interesting thing is that they succeed in very different ways and to varying extent depending on the musical program and recording technique.

As an example, I am currently listening to this with the Valkyria, and just by closing my eyes I can really fool myself that I am on stage with Mischa and Martha

A dream team this is: Mischa and Martha! For me, the cello sonatas seem to be a better match than the violin sonatas. On "paper", the piano would seem like a better match for the violin to complement each other but I've always found that I enjoyed the interplay between the piano and cello more. I'll have to check this recording out with both the TC and SR1a and try to imagine what the Valkyria brings to the table.

 

[simorag]

I also very much relate to your affection for the piano. It is, by far, my favorite instrument to listen to.

Same for me, it is so wildly diverse what the piano can bring to our souls. All the palette of human feelings, from sadness or melancholy to pure joy or conteplation of the holy, rage, sheer virtuosic fun, and a mix of all these.
It really is a wonderful machine and in the hands of the artists you mentioned and many others it has endless and timeless awe inspiring powers.

Among the great pianists of the late '900 I have a sweet spot for Benedetti Michelangeli, Richter and Horowitz, and we are so fortunate to have some of their heritage available on decently recorded albums (OK I could rave about Cortot's Chopin or Landowska or Rachmaninoff artistry, but I just can't stand early '900 recordings alas).

From the younger generations I especially like Trifonov, Levit and Blechacz.
Listening to this now on the Valkyria and it's a gorgeous, immersive experience.

​

Anyway, the Valkyria is very intriguing based on what you describe. Honestly, it's not something that I can consider anytime soon but your comment about what it can convey in regards to the piano makes me take notice. I love listening to the sound - as well as the performance - of the piano more than any other instrument (by a very wide margin) with the violin, cello and woodwind instruments like the clarinet, oboe and flute next, so I can envision myself exploring this more in the future.

Valkyria capture - in my opinion - the very inner core of some instruments in an especially effective way, which is difficult to translate in audiophile terms, as it is not necessarily (or only) achieved through 'accuracy', rather sometimes more in an evokingly way. Most notable examples are piano, cello (my second most loved instrument), drums and trumpet.

In some cases the timbre and harmonics richness do the trick, in other cases it is more about dynamics and the timing (attack and decay, sense of pulse), and with piano specifically it is a combination of all the above.

When it works, I feel totally detached from analyzing the music or focusing on my gear, just overwhelmed by emotional reactions and this is the real magic we audio-musico-philes are striving for, no? (at least, I am )

Now, these Roumanian Folk Dances ...

​

 

[Orlok]

Same for me, it is so wildly diverse what the piano can bring to our souls. All the palette of human feelings, from sadness or melancholy to pure joy or conteplation of the holy, rage, sheer virtuosic fun, and a mix of all these.
It really is a wonderful machine and in the hands of the artists you mentioned and many others it has endless and timeless awe inspiring powers.

Among the great pianists of the late '900 I have a sweet spot for Benedetti Michelangeli, Richter and Horowitz, and we are so fortunate to have some of their heritage available on decently recorded albums (OK I could rave about Cortot's Chopin or Landowska or Rachmaninoff artistry, but I just can't stand early '900 recordings alas).

From the younger generations I especially like Trifonov, Levit and Blechacz.
Listening to this now on the Valkyria and it's a gorgeous, immersive experience.

​

Valkyria capture - in my opinion - the very inner core of some instruments in an especially effective way, which is difficult to translate in audiophile terms, as it is not necessarily (or only) achieved through 'accuracy', rather sometimes more in an evokingly way. Most notable examples are piano, cello (my second most loved instrument), drums and trumpet.

In some cases the timbre and harmonics richness do the trick, in other cases it is more about dynamics and the timing (attack and decay, sense of pulse), and with piano specifically it is a combination of all the above.

When it works, I feel totally detached from analyzing the music or focusing on my gear, just overwhelmed by emotional reactions and this is the real magic we audio-musico-philes are striving for, no? (at least, I am )

Now, these Roumanian Folk Dances ...

​

"audio-musico-philes"... I really like that.

I always take the time to look up your recommendations and will certainly check out this Romanian Folk Dances album this evening. Just favorited it on Qobuz. Of course, the Brahms sonata I'm already familiar with.

Yes, the early 20th-century and pre-stereo recordings can be rather difficult to listen to - especially through high-end gear. When I want to listen to some really old stuff like, say, Furtwängler and Toscanini performances, pianists like Cortot and Cziffra, and a violinist like Menuhin, I'll just listen through the computer/monitor speakers and focus strictly on the music. The same goes for the early recordings of Rubinstein, Horowitz, Richter, Gilels, Arrau, Fleisher, Backhaus, Serkin, and many other giants of the 20th century. Fortunately, an amazing new generation of players keep on coming. I'll have to look up Blechacz.

I fully understand what you mean about getting to the essence of the performances that evokes a deep emotional response rather than merely trying to attain the highest level of audio realism because we know there is simply a limitation on what recordings and gear can convey. That's a totally intangible characteristic which cannot be measured or even described in words properly. It's why amazing musicians are very poor at describing what they do. Haha.

I can relate from the perspective of making music, performing, and improvising. It's about internalizing all the technical aspects like chords, scales, harmony and theory to the point that you never think about any of that during performance. If you have to actually think about what scale or passing tones you can play over a certain chord progression, you are already lost and the heart-brain-fingers (emotional-mental-physical) connection is out-of-sync. I've seen this happen to the best players. They'd come backstage shaking their heads in disgust and sometimes so livid that they can barely talk to the fans after the shows.

What exactly is that essence and being able to get to the inner core? It's a mystery and I believe it will remain so and why it's art, not science. Audio is like that as well. We are trying to attain that deepest level of being connected to the music. It's great to know that the Valkyria, for you, has helped in getting that much closer and deeper to attaining a musical nirvana, not merely audio/sonic nirvana. It's what I'm striving for as well and it's an endless journey...

 

[TomKorn]

Sitting at home listening to this with Valkyria:

Intimate, almost uncanny. The Voice goes through and through. The channel separation is almost too much. I can't believe how good this recording is.
I even heard his guitar creak silently for the first time.

 

[simorag]

Valkyria and orchestral, a special spot in the hall

When I decided to purchase the Valkyria, their performance on large scale orchestral works was not among my priorities, as I had that base well covered by the AB-1266.

I like the AB-1266 nearly to the point of fanboysm, and their capability to render large scale venues like concert halls or even outdoor productions is one of their strongest assets. They project a big, out-of-your head soundstage that, while being very wide, is also deep, cohesive, atmospheric and well organized.

As for timbre, a stock 1266 is - to my ears - a bit lean in the midrange / lower treble area, which sometimes, especially with dry-ish recordings, makes the string section sound borderline harsh, unengaging. The Superconductor cable, a synergistic amp like the AIC-10, especially paired with a euphoric tube like a NOS Mullard balanced out things pretty well for me. You won't get Susvara-like midrange, but still ...

The take of the Valkyria on orchestral works is very different from the Abyss (and even more SR1a) open, crystal clear, transparent and finely chiseled detail portrayal.

The soundstage is less wide and, on a quick swap, the sense of wearing headphones is definitely more apparent, with an almost muffled initial feeling.

But, as my ears and brain adapt, a rewarding experience is awaiting. The thicker, less airy sound adds weight to the notes, making the whole string section of the orchestra seem more authoritative and meaty.

The attack and decay is less swift than the 1266 and SR1a, but has a heft to it that makes - for example - the percussions on the first movement of this album way more satisfying.

​

The slightly bass-prominent signature, combined with the Valkyria capability to render explosive dynamics in the most effortless way, projects a full-blown orchestral mass at you with a density of energy which is unknown to the 1266 or SR1a (or any other headphones I have owned). Both can slam hard, but the airwaves come at you as a big, soft bubble supported by the sub-bass (Abyss) or a dry punch shot (SR1a), whereas the Valkyria in comparison is like a solid, compact wall of sound.

Take this recent recording of the Beethoven 7 for example. With the Abyss, the size of the hall seems larger, the resonant character of the environment is better defined, it is very easy to visualize the various sections - or even the various elements of a section - in space.

With the Valkyria since the very first notes you are grabbed by your guts, and connected with the immediate, emotional and physical side of musical experience, where the brain and its analytical activity is less relevant.

​

So, is the Valkyria more realistic or better than Abyss or SR1a at orchestral music?

Not quite, as depending on the recording or the composition or just the mood of the day, I may prefer the one or the other.

It is more like listening to the same performance in a different hall (more diffusive with the V., less dry), or in a different spot in the hall - closer to the first row, or perhaps with a different personal approach, closed-eyed and emotionally receptive rather than an investigative, intellectually active attitude.

 

[mammal]

Valkyria and orchestral, a special spot in the hall

When I decided to purchase the Valkyria, their performance on large scale orchestral works was not among my priorities, as I had that base well covered by the AB-1266.

I like the AB-1266 nearly to the point of fanboysm, and their capability to render large scale venues like concert halls or even outdoor productions is one of their strongest assets. They project a big, out-of-your head soundstage that, while being very wide, is also deep, cohesive, atmospheric and well organized.

As for timbre, a stock 1266 is - to my ears - a bit lean in the midrange / lower treble area, which sometimes, especially with dry-ish recordings, makes the string section sound borderline harsh, unengaging. The Superconductor cable, a synergistic amp like the AIC-10, especially paired with a euphoric tube like a NOS Mullard balanced out things pretty well for me. You won't get Susvara-like midrange, but still ...

The take of the Valkyria on orchestral works is very different from the Abyss (and even more SR1a) open, crystal clear, transparent and finely chiseled detail portrayal.

The soundstage is less wide and, on a quick swap, the sense of wearing headphones is definitely more apparent, with an almost muffled initial feeling.

But, as my ears and brain adapt, a rewarding experience is awaiting. The thicker, less airy sounds adds weight to the notes, making the whole string section of the orchestra seem more authoritative and meaty.

The attack and decay is less swift than the 1266 and SR1a, but has a heft to it that makes - for example - the percussions on the first movement of this album way more satisfying.

​

The slightly bass-prominent signature, combined with the Valkyria capability to render explosive dynamics in the most effortless way, projects a full-blown orchestral mass at you with a density of energy which is unknown to the 1266 or SR1a (or any other headphones I have owned). Both can slam hard, but the airwaves come at you as a big, soft bubble supported by the sub-bass (Abyss) or a dry punch shot (SR1a), whereas the Valkyria in comparison is like a solid, compact wall of sound.

Take this recent recording of the Beethoven 7 for example. With the Abyss, the size of the hall seems larger, the resonant character of the environment is better defined, it is very easy to visualize the various sections - or even the various elements of a section - in space.

With the Valkyria since the very first notes you are grabbed by your guts, and connected with the immediate, emotional and physical side of musical experience, where the brain and its analytical activity is less relevant.

​

So, is the Valkyria more realistic or better than Abyss or SR1a at orchestral music?

Not quite, as depending on the recording or the composition or just the mood of the day, I may prefer the one or the other.

It is more like listening to the same performance in a different hall (more diffusive with the V., less dry), or in a different spot in the hall - closer to the first row, or perhaps with a different personal approach, closed-eyed and emotionally receptive rather than an investigative, intellectually active attitude.

Valkyria really seems like a good complement (since it is very different) to 1266. Thank you, as always, for your detailed write up.

I am demoing Utopia and Susvara right now, adding Valkyria to the mix on Monday, comparing them all to 1266. Like yourself, I am finding Susvara too close to 1266, and even if it has much more satisfying midrange, and as for Utopia, I am finding it less technical and even though I enjoy its intimate soundstage, I miss the rest.

Cannot wait to hear what Valkyria has to bring to the table. I was originally convinced that I only enjoy cold EDM, hence my preference for 1266. But when I auditioned Sennheiser HE-1, I fell in love with its intimate soundstage & lush mids, trying to recreate it ever since. It worked well for some other type of music I used to like, before I switched completely to EDM. Notable examples would be piano pieces from Max Payne game soundtrack (sounds too cold on 1266), or even indie rock or nu metal bands, somehow 1266 is portraying them as if they were singing from a hallway (too distant, recessed and cold), where as HE-1 made them sound just right.

I had hoped for Susvara to be "my HE-1" for less money, but I am not 100% convinced it is the same level as 1266 to my ears. It has better mids, but not as good as HE-1 in my opinion (which I simply cannot afford).

So definitely looking forward to seeing if Valkyria will become the headphone I am looking for, complementing 1266 for Linkin Park, Max Payne, The Weeknd and music alike.

 

[simorag]

Sitting at home listening to this with Valkyria:



Intimate, almost uncanny. The Voice goes through and through. The channel separation is almost too much. I can't believe how good this recording is.
I even heard his guitar creak silently for the first time.

Thank you for this recommendation, a fantastic album indeed!

Vocals are one of the major strenghts of the Valkyria, and I find that male vocals are especially good. They seem to have a burnished tone and some slight accentuation of characters like graspiness, chestiness, throatiness, that makes them even more masculine and communicative. No surprise Johnny Cash style is rendered so well

Valkyria really seems like a good complement (since it is very different) to 1266. Thank you, as always, for your detailed write up.

I am demoing Utopia and Susvara right now, adding Valkyria to the mix on Monday, comparing them all to 1266. Like yourself, I am finding Susvara too close to 1266, and even if it has much more satisfying midrange, and as for Utopia, I am finding it less technical and even though I enjoy its intimate soundstage, I miss the rest.

Cannot wait to hear what Valkyria has to bring to the table. I was originally convinced that I only enjoy cold EDM, hence my preference for 1266. But when I auditioned Sennheiser HE-1, I fell in love with its intimate soundstage & lush mids, trying to recreate it ever since. It worked well for some other type of music I used to like, before I switched completely to EDM. Notable examples would be piano pieces from Max Payne game soundtrack (sounds too cold on 1266), or even indie rock or nu metal bands, somehow 1266 is portraying them as if they were singing from a hallway (too distant, recessed and cold), where as HE-1 made them sound just right.

I had hoped for Susvara to be "my HE-1" for less money, but I am not 100% convinced it is the same level as 1266 to my ears. It has better mids, but not as good as HE-1 in my opinion (which I simply cannot afford).

So definitely looking forward to seeing if Valkyria will become the headphone I am looking for, complementing 1266 for Linkin Park, Max Payne, The Weeknd and music alike.

I believe you will find the Valkyria as an interesting step in your discovery journey. I am not sure they are the best fit for the genres you mention, but I am confident they will make you appreciate a different flavor on your library and get you focusing on different facets of how you react to music.

Enjoy and please report back!

 

[TomKorn]

Valkyria and orchestral, a special spot in the hall

When I decided to purchase the Valkyria, their performance on large scale orchestral works was not among my priorities, as I had that base well covered by the AB-1266.

I like the AB-1266 nearly to the point of fanboysm, and their capability to render large scale venues like concert halls or even outdoor productions is one of their strongest assets. They project a big, out-of-your head soundstage that, while being very wide, is also deep, cohesive, atmospheric and well organized.

As for timbre, a stock 1266 is - to my ears - a bit lean in the midrange / lower treble area, which sometimes, especially with dry-ish recordings, makes the string section sound borderline harsh, unengaging. The Superconductor cable, a synergistic amp like the AIC-10, especially paired with a euphoric tube like a NOS Mullard balanced out things pretty well for me. You won't get Susvara-like midrange, but still ...

The take of the Valkyria on orchestral works is very different from the Abyss (and even more SR1a) open, crystal clear, transparent and finely chiseled detail portrayal.

The soundstage is less wide and, on a quick swap, the sense of wearing headphones is definitely more apparent, with an almost muffled initial feeling.

But, as my ears and brain adapt, a rewarding experience is awaiting. The thicker, less airy sounds adds weight to the notes, making the whole string section of the orchestra seem more authoritative and meaty.

The attack and decay is less swift than the 1266 and SR1a, but has a heft to it that makes - for example - the percussions on the first movement of this album way more satisfying.

​

The slightly bass-prominent signature, combined with the Valkyria capability to render explosive dynamics in the most effortless way, projects a full-blown orchestral mass at you with a density of energy which is unknown to the 1266 or SR1a (or any other headphones I have owned). Both can slam hard, but the airwaves come at you as a big, soft bubble supported by the sub-bass (Abyss) or a dry punch shot (SR1a), whereas the Valkyria in comparison is like a solid, compact wall of sound.

Take this recent recording of the Beethoven 7 for example. With the Abyss, the size of the hall seems larger, the resonant character of the environment is better defined, it is very easy to visualize the various sections - or even the various elements of a section - in space.

With the Valkyria since the very first notes you are grabbed by your guts, and connected with the immediate, emotional and physical side of musical experience, where the brain and its analytical activity is less relevant.

​

So, is the Valkyria more realistic or better than Abyss or SR1a at orchestral music?

Not quite, as depending on the recording or the composition or just the mood of the day, I may prefer the one or the other.

It is more like listening to the same performance in a different hall (more diffusive with the V., less dry), or in a different spot in the hall - closer to the first row, or perhaps with a different personal approach, closed-eyed and emotionally receptive rather than an investigative, intellectually active attitude.

This is the best description /review I have read so far on the Valkyria. I cannot compare (yet) to the other cans you mentioned but your depiction of the Valks is spot on. Thank you.

 

[TomKorn]

@mammal That's gonna be an interesting listening session tomorrow. You bring 1266 and I bring Valk.

 

[TomKorn]

"They seem to have a burnished tone and some slight accentuation of characters like graspiness, chestiness, throatiness, that makes them even more masculine and communicative."

They even kind of market the Valkyria as "masculine" headphone. I find female voices great as well.

Try Sara K.

https://tidal.com/artist/6475537

And Chris Jones

https://tidal.com/album/116440526

My favorite...

 

[TomKorn]

I tend to use 2 IEMs and 2 headphones most of the time, complementing each other :

Empire Ears Legend X, Odin
Spirit Torino Radiante, Valkyria

 

[mammal]

Thank you @TomKorn for coming over today! We gave a couple of headphones a listen and had a wonderful conversation about audio.

 

[jeffhawke]

Thank you @TomKorn for coming over today! We gave a couple of headphones a listen and had a wonderful conversation about audio.

Nice stuff! Impressions?

 

[TomKorn]

Nice stuff! Impressions?

Coming up. I might manage tomorrow

 

[TomKorn]

Thank you @TomKorn for coming over today! We gave a couple of headphones a listen and had a wonderful conversation about audio.

Thank you @mammal for inviting me and for the great conversations! 3 hrs went by in a heartbeat. Next week follow up with improved source (if thats even possible).