That's the beauty of 3. We must choose and exclude otherwise great IEMs from the list. The summary therefore reflects what the watercooler believes is the best of the best. Any IEM in my top 6 can be in my top 3 on any given day.
The Watercooler -- Impressions, philosophical discussion and general banter. Index on first page. All welcome.
- Thread starter Rockwell75
- Start date
I don't think ZEN PRO needs much to drive it, listening this afternoon coincidentally on my 1A and it sounds divine - if I didn't have a insatiable thirst to keep trying more, I could absolutely live happily ever after with this combo. Bliss.
I hear that-- I had many blissful sessions with the Zen Pro + SR25ii and thought exactly that. I'm kind of burnt out at the moment-- in part from life, in part from the fact that all my ideals (for the time being) seem to have converged in the Supermoon...but I could easily live with a modest setup like the Dorado 2020 + SR25ii and be totally happy.
Glad you're enjoying the Solaris. The truth is even at MSRP it has always shot above it's price...but for what they go for used lately they're an absolute no-brainer.
You can't give more than one point to a single IEM. I'll count your vote for Traillii but I invite you to vote for 2 more IEMs.
I like to think that it's our poll and our thread
On that note I encourage everyone to frequents this place to cast a vote-- results are more interesting that way.
In terms of portability, versatility and quality it's possibly the most "complete" DAP on the market right now.
Tchoupitoulas
100+ Head-Fier
I'm going to have to be a good boy for Santa.
I also appreciate the many hours provided by a single charge of the battery - something like 20 hours, right? With that and a portable power bank, I could hide up a tree for a good long time during the zombie apocalypse.
Scubadevils
Previously known as Scuba Devils
- Joined
- Nov 18, 2011
- Posts
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- 46,565
Yeah synergy a different story but I do think at times that's down to brain burn-in too... certainly in my experience.
My first pair of planar IEM have been shipped this morning
TRN Kirin
Let's see how what my ears tell me
About 21 days of waiting ...
.
TRN Kirin
Let's see how what my ears tell me
About 21 days of waiting ...
.
I believe in brain burn, particularly switching between Mason FS and back to Traillii that is where I have felt it the most.
Synergy,
Depends on sound preference, and then there is power, these are the two that create the most differences to me. A DD and power, unless your sound preferences lean to less dynamics. Warm or Bright IEM and double the warm or double the bright with a warm or bright DAP. Also I think analog vs. digital sounding as another factor similar to warm or bright. Power can equal more resolution/detail, too much of something, or make a mediocre set sound amazing.
Kind of like the 3.5 vs 4.4 discussion. Which is another element of the synergy (best combination for the entire chain, from source file to driver).
Crazy addicting rabbit holes.
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KuroKitsu
Headphoneus Supremus
Just missing one more X in that list Damien1. Xe6
2. MEST Indigo
3. X
A little different to my last ranking. Still love Jewel and think it’s the best IEM I’ve heard from a more objective standpoint. But I decided to sell it as I’m downsizing my collection and I find it a little less engaging than the above three for my music library. X has also taken a couple of notches back simply due to enjoying a bit more mid bass and lower mid thickness lately.
Looking to continue downsizing my collection of gear to 3-4 IEM’s so some more hard decisions to be made soon
My cheap edition list would be:
1. Blessing 2
2. Final A4K
3. Final A3K
But alas I have already voted
I found that with audio gear, having too many settings can be distracting. An example of this was with the SP2000T. It has the ability to toggle between different amplification modes. There are "notches" you can toggle between Solid State and Tubes. I didn't really notice much of a difference between those and if I did, my brain would eventually used to it.
claud W
Headphoneus Supremus
Another DAP that is highly portable and very musical is the Ibasso DX 240. I have been breaking in my DX 240 w/ Amp 8 Mk2 for over a week and sometimes wonder why I went Shanling.I hear that-- I had many blissful sessions with the Zen Pro + SR25ii and thought exactly that. I'm kind of burnt out at the moment-- in part from life, in part from the fact that all my ideals (for the time being) seem to have converged in the Supermoon...but I could easily live with a modest setup like the Dorado 2020 + SR25ii and be totally happy.
Glad you're enjoying the Solaris. The truth is even at MSRP it has always shot above it's price...but for what they go for used lately they're an absolute no-brainer.
You can't give more than one point to a single IEM. I'll count your vote for Traillii but I invite you to vote for 2 more IEMs.
I like to think that it's our poll and our thread
On that note I encourage everyone to frequents this place to cast a vote-- results are more interesting that way.
In terms of portability, versatility and quality it's possibly the most "complete" DAP on the market right now.
KutuzovGambit
1000+ Head-Fier
1. Yanyin Moonlight
2. Oriolus Isabellae
3. Penon Serial
2. Oriolus Isabellae
3. Penon Serial
Becomes a catch 22, if you change something and it sounds different and then your brain balances out the difference, why bother making the change, since after brain burn your going to normalize back to the same sound, through the magic of neuronal interpretation.I found that with audio gear, having too many settings can be distracting. An example of this was with the SP2000T. It has the ability to toggle between different amplification modes. There are "notches" you can toggle between Solid State and Tubes. I didn't really notice much of a difference between those and if I did, my brain would eventually used to it.
Now we can leave the rabbit hole
and eat some greens.
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1. UM Mest Mkii
2. CA Andromeda
3. FiiO FD3 Pro (wear at the gym)
2. CA Andromeda
3. FiiO FD3 Pro (wear at the gym)
vladzakhar
1000+ Head-Fier
1. Fir XE6
2. Mason FuSang
3. Dorado 2020
2. Mason FuSang
3. Dorado 2020
Hey, everyone! ‘Apologies for the delay on these impressions. I’ve been a bit busy with drumming and driving lessons, but I’ve finally put it all together just before I go on a brief family vacay to Bandung for the next couple days. So, without further ado, I present my first look at the JH Audio Sharona!
The Sharona is, in many ways, a spiritual successor to JH’s flagship Layla. It’s an in-ear tuned with a similar end-goal; to present music with the nonchalance, distance and ease of studio monitors. This is perceivable first-and-foremost in its transients. The Sharona is not an in-ear that beautifies, or contrasts, or crisps up, nor is it a monitor with a ton of sharp edges. Instruments aren’t brightened more than they absolutely need to be, and they may be positioned - depending on the track, which we’ll get into later - up to two-or-three rows out from the audience. It’s a monitor that’s overall relaxed, aside from a healthy low-end bump (again, later), and it wouldn’t be out-of-line to call it warm or ever-so-slightly dark.
The reason why it doesn’t quite fit in those camps is because, despite the Sharona’s shier cuts, it is a surprisingly defined, precise-sounding in-ear. The borders between notes are clear, and so are the lines that lift them off the backdrop. It’s all impressively clean for a monitor that doesn’t attempt to tizz or tazz at every opportunity. That’s down to the new Knowles RAU supertweeters, which have given the Sharona about as much top-end extension as an IEM could get. While the Layla, despite its admirable reach, would taper ever-so-slightly at the very end, the Sharona easily crosses that proverbial finish line. It’s got a backdrop that’s, again, as clean and stable as possible. So, despite cymbals and hi-hats sitting further back in the mix, they’re still absolutely there. The question becomes not whether it can resolve those little nuances, because it certainly can, but how much effort the listener can tolerate picking them out. That’s what surveyors of the IEM will have to ask themselves.
That improved definition and precision is what separates it most from the Layla, to my ears. By comparison, JH’s previous flagship will come off fuzzier; instruments ever-so-slightly overlapping, then warm air sneaking in between. The Sharona is much tighter-sounding with stronger holography and left-right separation. And, its soundstage (with appropriately-vast material) is outstanding. I haven’t heard stuff like the Jewel or DC Ti yet, but this one’s definitely up there from what I have heard. The treble tuning is much more linear too; smoothing the Layla’s sometimes-metallic resonant peak, then extending the highs without lifting them to, say, the Jolene’s quantity. Notes are, again, much better-defined, so you’ll basically hear a cleaner-cut, better-resolved, more three-dimensional sound overall against the Layla. The technical leap is stark, to say the least.
This is especially true of the mids, which, despite having a similar tone to the Layla’s, are now much more open, dynamic and defined because of all the changes going on around it. Textures and colors come through much more apparently, and, from a professional’s POV, they’re a lot more source-sensitive too. Going from one track to the next, it’s obvious when, say, track A has a louder lead instrument than track B. On an ensemble arrangement like Snarky Puppy’s Trinity, you can hear the difference in levels and dynamics between the guitar solo, the ad libs, the sax solo, etc. It feeds into the in-ear’s track sensitivity as a whole, which we’ll get into later. As far as the high-mids go, they’ve definitely benefitted from how the rest of the FR’s been jiggled around too. The low-mids don’t cast as much of a shadow on them as the Layla’s do, and the low-to-mid-treble isn’t as far ahead of them either. So, they will get a bigger share of the spotlight in a bigger venue; more so than JH’s in-ears have been able to afford in the past.
Down low is where I feel the Sharona’s most interesting. it’s obviously been tuned with a hefty low-end boost, comparable (at the sub-bass) to about 2-or-3 o’clock on the Layla. Kicks slam hard, and it’s knocking on DD’s door for me. But, I also am not the pickiest when it comes to woofers either, so YMMV. What makes it intriguing to me, though, is how reminiscent it is of a subwoofer in a control room, instead of speakers in an ear canal. My best attempt at describing it is, rather than tight, close-fisted punches, bass notes hit you like open-hand slaps; strong ones. The impacts are a bit spread-out. Then, they disperse cleanly and outwardly (radially) - yet, not too quickly - into the air, so no smoke trails obscure the rest of the FR. It’s a specific presentation that’ll come down to taste, but I’ve personally taken a real liking to it, because of how much it reminds me of listening to the subs in my uncle’s studio. One could see it as an alternate way-in to the territory that DDs have dominated for so long, but with the lightness and agility that only a pack of BAs could pull off.
The tone of the low-end itself should appeal to the majority of DD-heads here. The muscle starts immediately at the sub-bass, which gives it that subwoofer physicality. Then, it’s a steady, linear drop all the way to the lower-mids, so it doesn’t have the mid-bass issue I had with the Jolene, and it’s why it has a meaty, dense sound overall. Again, though, it doesn’t completely cross over to dark or rich territory to me, simply because of how extended that treble is, and how much extra fat or smoke it’s able to mitigate. I can say with confidence, though, that kick drums and toms will sit in front of cymbals and snare crackles about 80% the time, so keep that in mind if you aren’t keen on lots of lows.
Now, I’ve mentioned track sensitivity and source sensitivity numerous times, and it’s because it’s a fairly major aspect of the Sharona’s final sound. On a more compressed track like Dirty Loops’ Rock You, you can hear how tightly-packed it is. The lows struggle to find a place they can sit without stepping on any toes, the mids are kinda stuck dynamically, and the top-end can barely shine amongst it all. Then, each one of those loud rock you! ad libs feels like a punch to the ear drum. Then, like on the EE ODIN, the track overall will look like a meek ball in the middle of the soundscape; the space around it empty and/or unused.
But, play a record like Oz Noy and Ozone Squeeze’s self-titled album, and suddenly you get lots of height and width. The lead vocals move back-and-forth and breathe, and every element jives together without pushing each other down. So, it is one of those in-ears you can get the wrong impression of if you don’t test it with a wide array of music. It can feel as vast, open and elegant, as it can seem small, overwhelmed and dull.
As a little addendum, I also want to talk briefly about JH’s decision to go with IPX connectors this time around. Personally, I love the standard, and it (or JH’s 7-pin) would probably get my vote to replace 2-pin; purely from an ease-and-durability POV. It’s worth noting, though, the IPX sockets the Sharona has are recessed. So, say, the IPX plugs from Effect’s ConX set won’t work on these IEMs, and I’m not aware of any cable brands that offer these plugs either. The safest bet for balanced use would be the balanced cables that JH themselves sell, or reterminating the stock cable to a balanced connector. It’s a bit unfortunate in that regard, but I am relieved to finally use a JH IEM without a bass pod dangling around all the time.
So, that concludes my initial impressions of the JH Audio Sharona. If you’re looking for a Layla 2.0 (with the bass set at 3 o’clock), I think this is as close as you could possibly get. If you want tons of bright, vibrant, bites, this probably won’t be your cup-of-tea. And, if you’re accustomed to all the textural variety that planar, DD and e-stat hybrids have to offer, the Sharona’s all-BA design may lack that extra flavour. But, again, from its unique, control-room-subwoofer lows to its vast, holographic and preternaturally-resolving treble, there’s still tons of new to this in-ear too. I hope that gives you a good-enough picture of what the Sharona sounds like. I’ll start working on the full review in a few weeks, while I finish the couple that are set to launch within that time frame. As always, I hope you guys are all doing well, and I hope you’ve enjoyed. Cheers!
The Sharona is, in many ways, a spiritual successor to JH’s flagship Layla. It’s an in-ear tuned with a similar end-goal; to present music with the nonchalance, distance and ease of studio monitors. This is perceivable first-and-foremost in its transients. The Sharona is not an in-ear that beautifies, or contrasts, or crisps up, nor is it a monitor with a ton of sharp edges. Instruments aren’t brightened more than they absolutely need to be, and they may be positioned - depending on the track, which we’ll get into later - up to two-or-three rows out from the audience. It’s a monitor that’s overall relaxed, aside from a healthy low-end bump (again, later), and it wouldn’t be out-of-line to call it warm or ever-so-slightly dark.
The reason why it doesn’t quite fit in those camps is because, despite the Sharona’s shier cuts, it is a surprisingly defined, precise-sounding in-ear. The borders between notes are clear, and so are the lines that lift them off the backdrop. It’s all impressively clean for a monitor that doesn’t attempt to tizz or tazz at every opportunity. That’s down to the new Knowles RAU supertweeters, which have given the Sharona about as much top-end extension as an IEM could get. While the Layla, despite its admirable reach, would taper ever-so-slightly at the very end, the Sharona easily crosses that proverbial finish line. It’s got a backdrop that’s, again, as clean and stable as possible. So, despite cymbals and hi-hats sitting further back in the mix, they’re still absolutely there. The question becomes not whether it can resolve those little nuances, because it certainly can, but how much effort the listener can tolerate picking them out. That’s what surveyors of the IEM will have to ask themselves.
That improved definition and precision is what separates it most from the Layla, to my ears. By comparison, JH’s previous flagship will come off fuzzier; instruments ever-so-slightly overlapping, then warm air sneaking in between. The Sharona is much tighter-sounding with stronger holography and left-right separation. And, its soundstage (with appropriately-vast material) is outstanding. I haven’t heard stuff like the Jewel or DC Ti yet, but this one’s definitely up there from what I have heard. The treble tuning is much more linear too; smoothing the Layla’s sometimes-metallic resonant peak, then extending the highs without lifting them to, say, the Jolene’s quantity. Notes are, again, much better-defined, so you’ll basically hear a cleaner-cut, better-resolved, more three-dimensional sound overall against the Layla. The technical leap is stark, to say the least.
This is especially true of the mids, which, despite having a similar tone to the Layla’s, are now much more open, dynamic and defined because of all the changes going on around it. Textures and colors come through much more apparently, and, from a professional’s POV, they’re a lot more source-sensitive too. Going from one track to the next, it’s obvious when, say, track A has a louder lead instrument than track B. On an ensemble arrangement like Snarky Puppy’s Trinity, you can hear the difference in levels and dynamics between the guitar solo, the ad libs, the sax solo, etc. It feeds into the in-ear’s track sensitivity as a whole, which we’ll get into later. As far as the high-mids go, they’ve definitely benefitted from how the rest of the FR’s been jiggled around too. The low-mids don’t cast as much of a shadow on them as the Layla’s do, and the low-to-mid-treble isn’t as far ahead of them either. So, they will get a bigger share of the spotlight in a bigger venue; more so than JH’s in-ears have been able to afford in the past.
Down low is where I feel the Sharona’s most interesting. it’s obviously been tuned with a hefty low-end boost, comparable (at the sub-bass) to about 2-or-3 o’clock on the Layla. Kicks slam hard, and it’s knocking on DD’s door for me. But, I also am not the pickiest when it comes to woofers either, so YMMV. What makes it intriguing to me, though, is how reminiscent it is of a subwoofer in a control room, instead of speakers in an ear canal. My best attempt at describing it is, rather than tight, close-fisted punches, bass notes hit you like open-hand slaps; strong ones. The impacts are a bit spread-out. Then, they disperse cleanly and outwardly (radially) - yet, not too quickly - into the air, so no smoke trails obscure the rest of the FR. It’s a specific presentation that’ll come down to taste, but I’ve personally taken a real liking to it, because of how much it reminds me of listening to the subs in my uncle’s studio. One could see it as an alternate way-in to the territory that DDs have dominated for so long, but with the lightness and agility that only a pack of BAs could pull off.
The tone of the low-end itself should appeal to the majority of DD-heads here. The muscle starts immediately at the sub-bass, which gives it that subwoofer physicality. Then, it’s a steady, linear drop all the way to the lower-mids, so it doesn’t have the mid-bass issue I had with the Jolene, and it’s why it has a meaty, dense sound overall. Again, though, it doesn’t completely cross over to dark or rich territory to me, simply because of how extended that treble is, and how much extra fat or smoke it’s able to mitigate. I can say with confidence, though, that kick drums and toms will sit in front of cymbals and snare crackles about 80% the time, so keep that in mind if you aren’t keen on lots of lows.
Now, I’ve mentioned track sensitivity and source sensitivity numerous times, and it’s because it’s a fairly major aspect of the Sharona’s final sound. On a more compressed track like Dirty Loops’ Rock You, you can hear how tightly-packed it is. The lows struggle to find a place they can sit without stepping on any toes, the mids are kinda stuck dynamically, and the top-end can barely shine amongst it all. Then, each one of those loud rock you! ad libs feels like a punch to the ear drum. Then, like on the EE ODIN, the track overall will look like a meek ball in the middle of the soundscape; the space around it empty and/or unused.
But, play a record like Oz Noy and Ozone Squeeze’s self-titled album, and suddenly you get lots of height and width. The lead vocals move back-and-forth and breathe, and every element jives together without pushing each other down. So, it is one of those in-ears you can get the wrong impression of if you don’t test it with a wide array of music. It can feel as vast, open and elegant, as it can seem small, overwhelmed and dull.
As a little addendum, I also want to talk briefly about JH’s decision to go with IPX connectors this time around. Personally, I love the standard, and it (or JH’s 7-pin) would probably get my vote to replace 2-pin; purely from an ease-and-durability POV. It’s worth noting, though, the IPX sockets the Sharona has are recessed. So, say, the IPX plugs from Effect’s ConX set won’t work on these IEMs, and I’m not aware of any cable brands that offer these plugs either. The safest bet for balanced use would be the balanced cables that JH themselves sell, or reterminating the stock cable to a balanced connector. It’s a bit unfortunate in that regard, but I am relieved to finally use a JH IEM without a bass pod dangling around all the time.
So, that concludes my initial impressions of the JH Audio Sharona. If you’re looking for a Layla 2.0 (with the bass set at 3 o’clock), I think this is as close as you could possibly get. If you want tons of bright, vibrant, bites, this probably won’t be your cup-of-tea. And, if you’re accustomed to all the textural variety that planar, DD and e-stat hybrids have to offer, the Sharona’s all-BA design may lack that extra flavour. But, again, from its unique, control-room-subwoofer lows to its vast, holographic and preternaturally-resolving treble, there’s still tons of new to this in-ear too. I hope that gives you a good-enough picture of what the Sharona sounds like. I’ll start working on the full review in a few weeks, while I finish the couple that are set to launch within that time frame. As always, I hope you guys are all doing well, and I hope you’ve enjoyed. Cheers!
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