I've talked about this a bunch of times, but, to keep it simple, I think there are two general types of reference. The first would be an ideal, objective reference, which, to me, would be an IEM with as little tonal colouration and technical limitations as possible. A reference IEM should be as transparent as possible to the music it's playing, and the only way to know that is to see how well it translates the differences between the tracks it plays. A common example I use is: If I play a jazz track, then I play a dance/EDM track, and the IEM is giving me similar amounts of bass on both, then it clearly isn't a reference in-ear. You'd want the IEM to tell you the latter has more bass than the former (as the case tends to be). Narrowing those differences to tracks on the same album, even, another common comparison I make is between Tracks 2 and 3 on Tom Misch's Geography album. Tom's vocals are ever-so-slightly brighter and lighter on Track 3 than on 2. An IEM with a colored midrange (at the very least) would mask those nuances and, therefore, not let the tracks come through as transparently and, therefore, not be a reference IEM.
Extending this into the technical realm, you'd also want an IEM to show you differences in scale and dynamics between two tracks. What use is tonal transparency if you're hearing the same degree of compression on every track, or the same stage sizes, etc.? A reference IEM should also be able to grow and shrink its stage to accurately show what the track has to offer. I've heard IEMs, headphones, even cables that stretch images to fake a wide soundstage, but if it's happening on every single track, then it's not really reference, is it? A good example of an IEM that I'd consider reference in imaging, specifically, is Empire Ears' ODIN. If you play a well-mastered track with great space and dynamics, it fills that in-ear's stage up beautifully. There seems to be a nice spot for each instrument to sit in. Whereas, playing a super-compressed, radio-inclined track will give you every instrument scrunched up into a tight ball in the middle of the soundscape - never expanding, never growing - while the outer reaches of the stage remain unoccupied; empty-feeling.
Dynamically-speaking, there are also IEMs like the VE EVE 20 (another common staple in posts of mine like this) that are very punchy and contrasty macro-dynamically, but can't dial that energy back when it comes time for a slow ballad or a bossa nova record. A reference in-ear should toe the line and let the track sway its energy up or down. This is, to me, what separated the U12t from the U6t or the U4s. Although they share many tonal similarities (as their FRs aptly suggest), their capacity to let tracks rise and fall in energy are worlds apart. Given a dynamically-mastered track like Snarky Puppy's Go, the U6t and U4s would usually start at a 5 or 6 (energy-wise) and top out at an 8. Whereas, the U12t can go from a 4 at the start of the track and climax at a 9 or 10. Being able to accurately ebb and flow with the music is another key component of the ideal reference IEM.
Now, whether or not an IEM with all these qualities exist is the million-dollar question... My money is on No...t yet.
My second definition of reference would be the subjective kind, and that's much simpler to explain. Basically, it's the IEM that your brain most quickly and easily recognizes as correct-sounding, and would therefore allow you to analyze the music you're listening to with as little effort as possible. It's what your brain references as your personal, baseline sound, and you accumulate it over years of listening experience. For example, if you took one person with a lifetime of hearing the piano and another without one, their references of what the instrument sounded like would wildly differ. On the other hand, if you took two people who grew up playing the piano, but in different homes with different acoustics, then their ideas of what the piano sounded like would differ too.
So, that's more of a subjective definition of the word, and, whenever I wanna use that meaning specifically, I always preface it by saying my reference, which, I've found, tends to be a bit warmer, less-upper-mid-forward and more laidback than most. To use a relevant example, the U18t is an IEM many people call colorless or neutral, but I've always found its low-to-mid-treble peak lingers and carries over from one track to another. There's a tizz that makes it not reference to me. But, hey, the last two words of the previous sentence are there for a reason.
Hope this helps.
Ofc he got he golden sunset editionThe CFA Trifecta just arrived, the HK edition "Golden Sunset". One of the most remarkable designs I have ever held the pleasure of holding in my hands...
Now, on to the listening ...
(yes im jalous)
I’m “jelly”, that is a lovely colour!!The CFA Trifecta just arrived, the HK edition "Golden Sunset". One of the most remarkable designs I have ever held the pleasure of holding in my hands...
Now, on to the listening ...
Congrats on finding a deal on these! A very cool design. Looking forward to impressionsThe CFA Trifecta just arrived, the HK edition "Golden Sunset". One of the most remarkable designs I have ever had the pleasure of holding in my hands...
Now, on to the listening ...
Woah, those are sharp... the smoked shell with the gold accentsThe CFA Trifecta just arrived, the HK edition "Golden Sunset". One of the most remarkable designs I have ever had the pleasure of holding in my hands...
Now, on to the listening ...
. And quite limited in quantity as well. Nice score! Looking forward to impressions.Great track choices for this evaluation! Diva is still quite high on my 'want to hear list.' A lovely looking pairing with the Eros S 1st edition.Here it goes again everyone. I posted this pairing a few weeks ago as I just got them, how glad I am to have a chance of getting to test this two together. Here are a bit more details of how it have been over this time…
The Elysian Audio IEM boasts a nice and ergonomic design that looks modern yet classic. With its shiny faceplate, a bit different from the cheap IEMs in the market, it is still hard to pass unnoticed. The Effect Audio Eros S 1st anniversary edition paired with Diva just feels like they were born for each other and I really really EA and Elysian get to an agreement for an special edition or special bundle sale of these two together. the subtle gold flakes on the y-splitter and the cable itself are just the cherry on top of the design for both of them.
But lets go to what really matters...
Bass and Low Mids:
My listening session began with Metallica's "Sad But True", because I love the humph I get from Metal songs. The drum kicks and bass guitar lines were rendered precisely. With the Eros S cables, there was a controlled yet impactful low-end presence with more sense of space. The BA drivers pumped out authoritative, deep, and tight bass, without any muddiness.
Elysian's proficiency in the low mids was highlighted by the iconic guitar riffs from Black Sabbath's "Iron Man". In addition to giving a layered, rich sound, Tony Iommi's guitar play was exceptionally detailed and textured, giving it a feeling that was almost tangible. These qualities are further accentuated by the Eros S, which assures clarity and smooth resonance. This again adds some air to the area, giving the impression of a larger venue, instead of a smaller one.
Upper Mids and Treble:
For the upper mids, I turned to the unrivalled vocals of Iron Maiden's "Run to the Hills". Bruce Dickinson's vocal prowess was beautifully reproduced with a distinct clarity and energy. The Elysian showcased a natural tonality, ensuring vocals stood out but never felt piercing. Paired with the Eros S, the combination delivers a synergistic blend of clarity and warmth.
I chose to test the treble response with Slayer's "Raining Blood". The cymbal crashes and high-frequency guitar solos sound crisp without sibilance. Throughout the treble region, the Elysian demonstrated a balanced sound signature, ensuring energy and detail remained present without causing fatigue. The Eros S enhances the overall treble experience by adding a touch of sparkle.
Final thoughts:
Especially for metal fans, the Elysian Audio IEM and Effect Audio Eros S 1st anniversary edition pair is a real audiophile's dream. The combination delivers a powerful, detailed, and articulate sound across all frequency bands. All the nuances in a metal track are present with the greatest precision, from bass lines to guitar solos.
It is clear that the Elysian stands above the rest with its impeccable sound quality and the Eros S enhances it further with its depth and cohesion.
There's nothing better than an IEM that can capture the essence of metal songs, which are known for their complexity and intricate instrumentals. With the Elysian and Eros S, you're sure to get an amazing audio experience, whether you're a metal lover or just someone who appreciates good sound. This combination is really amazing, and any audiophile should give it a try if possible.
Yeap! This is a lovely pairHere it goes again everyone. I posted this pairing a few weeks ago as I just got them, how glad I am to have a chance of getting to test this two together. Here are a bit more details of how it have been over this time…
The Elysian Audio IEM boasts a nice and ergonomic design that looks modern yet classic. With its shiny faceplate, a bit different from the cheap IEMs in the market, it is still hard to pass unnoticed. The Effect Audio Eros S 1st anniversary edition paired with Diva just feels like they were born for each other and I really really EA and Elysian get to an agreement for an special edition or special bundle sale of these two together. the subtle gold flakes on the y-splitter and the cable itself are just the cherry on top of the design for both of them.
But lets go to what really matters...
Bass and Low Mids:
My listening session began with Metallica's "Sad But True", because I love the humph I get from Metal songs. The drum kicks and bass guitar lines were rendered precisely. With the Eros S cables, there was a controlled yet impactful low-end presence with more sense of space. The BA drivers pumped out authoritative, deep, and tight bass, without any muddiness.
Elysian's proficiency in the low mids was highlighted by the iconic guitar riffs from Black Sabbath's "Iron Man". In addition to giving a layered, rich sound, Tony Iommi's guitar play was exceptionally detailed and textured, giving it a feeling that was almost tangible. These qualities are further accentuated by the Eros S, which assures clarity and smooth resonance. This again adds some air to the area, giving the impression of a larger venue, instead of a smaller one.
Upper Mids and Treble:
For the upper mids, I turned to the unrivalled vocals of Iron Maiden's "Run to the Hills". Bruce Dickinson's vocal prowess was beautifully reproduced with a distinct clarity and energy. The Elysian showcased a natural tonality, ensuring vocals stood out but never felt piercing. Paired with the Eros S, the combination delivers a synergistic blend of clarity and warmth.
I chose to test the treble response with Slayer's "Raining Blood". The cymbal crashes and high-frequency guitar solos sound crisp without sibilance. Throughout the treble region, the Elysian demonstrated a balanced sound signature, ensuring energy and detail remained present without causing fatigue. The Eros S enhances the overall treble experience by adding a touch of sparkle.
Final thoughts:
Especially for metal fans, the Elysian Audio IEM and Effect Audio Eros S 1st anniversary edition pair is a real audiophile's dream. The combination delivers a powerful, detailed, and articulate sound across all frequency bands. All the nuances in a metal track are present with the greatest precision, from bass lines to guitar solos.
It is clear that the Elysian stands above the rest with its impeccable sound quality and the Eros S enhances it further with its depth and cohesion.
There's nothing better than an IEM that can capture the essence of metal songs, which are known for their complexity and intricate instrumentals. With the Elysian and Eros S, you're sure to get an amazing audio experience, whether you're a metal lover or just someone who appreciates good sound. This combination is really amazing, and any audiophile should give it a try if possible.
Hope that will make the 16hrs flight to LA more bearable!
Epic write-up. Must-read for every neutrality lover.
I would appreciate (and others too, I am sure) if you post here (instead of a PM to 1 person)...I’ll do what I can to do some comparisons with Vanguard which I have now as well, I’ll perhaps do it this weekend. Happy to take this sharing via pm, as my visits to HF are random and irregular. Caveat: my comparisons will be inadequate, perhaps Chang would be best placed to provide insights
Fantastic articulation of something that has been fuzzy for me. In the lack of an objective (not sure if that’s possible anyways) dictionary of audiophile languaging, these are the kind of Cooler footnotes that really deepen my understanding of the world I’ve immersed myself in.Well, obviously, it would take years of experience to have enough skill to discern those tiny nuances, so there would be a degree of subjectivity in it too. But, the reason why I call it an ideal, objective reference is because we're not taking into account any biases or preferences the end user may have here. We're using the IEM as control, and we're letting only the tracks be the variables. Unfortunately, it's impossible to establish a singular baseline with a single listen or a single measurement. It's not like a desktop monitor where we can slap a measuring device and see how color accurate it is or how much contrast it has. The only way is to listen to a bunch of tracks and see how distinct the IEM can make each track sound. In the Tom Misch example, we can objectively say there is a difference in the way his vocals sound between tracks 2 and 3 because, well, there is a difference. We're not introducing any subjectivity by saying which of the two sounds better, or more correct, etc., but there definitely is a difference. You can hear it on a number of earphones that err on neutral. The one that showcases that distinction best would be the most reference-ish of them all... but only in that region, specifically.
Obviously, just using that test is barely enough to call an IEM's midrange reference, let alone the sum of its parts. That's why we need a wide variety of tracks for the IEM to output, so we can see what qualities stay and what qualities don't. To reuse the U18t as an example, if I listen to 10 tracks with the IEM, I'll hear the same 7kHz tizz on every single one. It's a quality that stays, adds a common tint to every track I listen to and, therefore, minimizes the differences between them. So, it isn't an ideal reference. There are a number of bass cannon in-ears that give a similar oomph down low to every track it plays, and we've established that similar and reference don't mix. This applies also to texture, imaging, dynamics, etc. If we take a desktop monitor again as an example, if you put up 10 different images (from 10 different artists and 10 different mediums) and they all have a slight green tint, it wouldn't be unreasonable to say the green tint is a coloration of the monitor, no? The display that makes those 10 images as distinct as possible would then be the ideal, objective reference.
So, the difference between the objective reference and subjective reference is that the former may not sound "comfortable" to you. It's not designed to sound correct to you, necessarily. Its main purpose is to be as transparent as possible by showcasing as many differences between tracks as possible, and that may mean certain tracks sounding off or unnatural. More likely than not, that's just how the track was mixed and mastered in the first place. And, that is where the last line of your reply comes in. That ultimate, objective reference will not be for everyone. I think marketing for headphones and earphones has been incredibly detrimental in making people think this sound is what every audiophile should be striving for. Listen to the tracks as the artists intended! Purely colorless and transparent! In my opinion, that's all BS. I say, find the IEM that sounds best and most correct to you. Heck, do I listen to the A18s when I'm not working nowadays? No. It's the JH Sharona if I still want that reference-ish sound, the Nightjar Acoustics Singularity for fun, or my car speakers the other 90% of the time. As I've said numerous times in the past, the reference sound isn't the best or ultimate sound. It's just a sound.
Yeah, exactly. I've heard the Harman curve a few times, and the word that keeps coming back to me is "digestible." It's safe, unexaggerated and blasé. The issue I run into most with it, as it's most commonly found in cheaper IEMs, is it has nowhere near the technical faculties to be comfortably called reference. Most of the times I've run into the Harman curve are on IEMs with compressed dynamics, same-y imaging, etc. I think that's the bit most people forget when they're trying to pin down whether or not an IEM is reference.
I talked about my definitions of neutral and natural some time ago. I feel neutral is like that ideal reference I talked about. It's the sound that doesn't necessarily come natural to you, but shows off the differences between tracks most clearly, and, therefore, is colorless. Because it's used in tonal connotations more often than not, I think neutral can be summarized as objective reference, but without the technicalities part (dynamics, imaging, etc) playing as big of a role. As I explained above, because we can't pin down an exact reference or neutral sound based on one listen (as it would be far too subjective), the only way to determine that would be listen to as many tracks as possible and see which IEM makes them sound as distinct as possible. That's been my longstanding opinion for years now, and I'm still looking for that one thing that'll change my mind.
1) Ronin
