The Watercooler -- Impressions, philosophical discussion and general banter. Index on first page. All welcome.

Oct 29, 2024 at 12:50 PM Post #97,472 of 102,820
Hey, everyone! Effect Audio kindly gave me the opportunity to check out their new Signature Series II cables. These are my impressions of the three, which were graciously provided at Effect’s own expense. I hope you enjoy. :)

EA-SS2-1.jpg

First off, these cables mark a notable departure from the Signature and Premium lines (aside from the Eros S) by adopting an 8-wire design by default. They’ve gone from the usual 4-wire, 24 AWG to 8-wire, 26 AWG. They’ve also incorporated the solid conductor core from the CODE line, as well as a few other metallurgical innovations like Quantum Copper on the Ares and TESC on the Eros, which you can read further about on Effect’s site or the full reviews of these cables, which I’m sure will arrive soon.

Another ergonomic change is the trimmed Y-split, which I’m glad to see. I’ve been getting more and more into Y-splits that are vanishing, yet stylish, and this is what Effect have achieved here. So, while the wire count has doubled, the smaller gauge and tighter braid have made them just as supple as their predecessors. I've always preferred 8-wire braids, because they’re far less likely to unwind, as the 2-wire twists on Effect’s 4-wire cables have been prone to. So, the Signature Series II will almost certainly be more durable and conductive with nearly no trade-offs in ergonomics or weight.

The one major complaint I have, though, is the plastic wrap on the ConX connectors. Not only have they used a thick, heat-shrunk plastic that glue themselves to the barrels and were impossible to tear, their attempts at giving the plastic pre-made cuts (to make removal easier) were also awfully inconsistent. Some had no cuts at all, while others had cuts so shallow that they didn't make a difference. In the end, I literally had to pick at the plastic with my nails until I had the slightest bit of a lip, then pulled on that lip slowly with tweezers, being careful not to scratch the finish on the connectors. It took me and my wife over half-an-hour (at least it felt like it) to get the plastic off all 6 ConX connectors, and it’s something I don’t want to experience ever again. I’d suggest a simple, loose wrapping of plastic next time, and I’d suggest Effect test these things before they ship it on (potentially) thousands of cables. As they say, the devil is in the details.

Anyway, ‘rant out of the way, here’s how the cables sound.

ARES S II

Like the S before it, the Ares S II delivers a one-two punch of openness and warmth. This time, I’d say it leans more towards the former. While copper cables are generally known (some might say stereotyped) for adding lushness and body, I’d argue this is more of an auxiliary weapon in the Ares S II’s arsenal. The ace up its sleeve is the depth and dynamic range it offers over your average stock cable, owing to its 8-wire design. Musical passages that were once compressed suddenly have room to move; resonate and express. And, that space is darker and cleaner too. This is especially in the mids. Whether it’s vocals, horns, guitars - you name it - they’ll enter the mix from further back, and they’ll step further forward when called for, resulting in a more open, presentation that gives the track more life. The Ares S II imparts a slight lower-mid boost helping that along too.

EA-SS2-8.jpg

Speaking of its warmth, it’s not the kind that just boosts bass and loses clarity. Rather, this Ares refines IEMs by shaving off tizz or glare to round them off without hurting technique. The Aroma Audio Fei Wan is a famously energetic IEM, particularly in the low- and mid-treble. On this Ares, those regions aren’t rolled-off or dipped. I’m hearing about as much presence and cut. But, the digital, prickly notes that were on the stock cable have been combed through and cut, resulting in a finer, easier-on-the-ear sound that preserves most (if not all) of the Fei Wan’s original tone. Bass-wise, I’m not hearing the S II change too much, which I find refreshing. The improvements there are more a result of the 8-wire design. The extra dynamic range gives the lows more room to hit and decay cleanly, and the added resolution helps it cut with more detail too.

EA-SS2-7.jpg

As far as weaknesses go, the Ares S II isn’t the best enabler for width. The funny thing is that it has a clean, black backdrop in all directions, but sounds on the x-axis just seem to bunch up a tad. It’s like a band playing on a big stage, but choose to stay close together anyway. Also, I do hear a low-treble bias in the top-end, tapering off in the highest registers. While it’s smooth and refined, I wouldn’t pair it with an IEM that’s already articulate there, simply for color and balance. That aside, though, I think the Ares S II sets a high bar for the entry level market. As long as you don’t mind the feel of its 8-wire config, the benefits you’ll reap from the design’s dynamic range, background blackness and air are invaluable.

CADMUS II

The Cadmus II thankfully improves on the weakness of the OG. I found the original specifically coloured and, therefore, limited as far as IEM and genre pairings go. This Cadmus eases up on that, resulting in a more versatile cable. I’d call it ever-so-slightly U-shaped, with additions in the sub-bass and high-highs. Versus the Ares S II, there’s a cleaner, flatter, more plain timbre to its midrange. Instruments don’t have the extra girth the copper cable gives them. Fortunately, they aren’t thinned out either. There’s still a hint of wetness that keeps them life-like and semi-analog. The same goes for the treble, which hasn’t been pumped up for clarity’s sake. If anything, I think it’s a bit more linear (or even) versus the Ares’s lower-treble bias. It’s a refined, clean, airy treble that doesn’t indulge in articulation, and imparts its clarity subtly.

EA-SS2-6.jpg

While the Cadmus lacks the Ares’s boldness, it easily makes up for that in vibrance, expansion and note size. The light shimmer (or brilliance) it imparts onto an IEM’s treble highlights chimes, cymbals, splashes and hi-hats. They pop more than they do on the Ares, which adds an exciting contrast when the percussionist strikes them. The same goes for the upper-mids. There’s more here than the Ares S II, heightening horn stabs, snare hits and vocal belts. Then, the Cadmus’s notes are further spread out. It doesn’t have the Ares’s width issues, and it sounds notably more out-of-head. Aside from being spread further apart, these notes grow larger too. So, again, while the Ares injected life through expressive, resonant mids, the Cadmus does so with light pops of zingy energy spread throughout the stage.

EA-SS2-5.jpg

Now, the Cadmus II isn’t a cable I’d get for IEMs that need intimacy or body. And, despite the improvements over its predecessor, it also isn’t a cable that’s perpetually exciting. Eventually, there will be a point in your listening session where its little pops of energy even out, and you may find the cable a smidge dull. But, that’s inevitable with 99% of cables with this sound. Either way, I commend the efforts Effect have made in improving their SPC cable. Like the Ares S II, I think it’s stellar for the money, and I can easily see it giving sleepier IEMs a spring in their step.

EROS S II

The Eros S II surprised me with a sound that’s - seemingly - drier than the Cadmus II’s. It has a tighter, crisper, cleaner attack to it. But, eventually, I realized it wasn’t because of colourations in the low-mids, mid-bass or anywhere in the FR. It’s because of the Eros’s cleaner, more pristine, more distant background, its stronger separation and faster PRaT. Notes themselves remained intact - in fact, I found them weightier and 3D-er than the Cadmus II’s - but the spaces between them were far quieter. It’s like how cutting noise in a photo automatically increases contrast. So, the Eros S II isn’t nearly as coloured as I first thought. Rather, it’s its technique that gives it this snappy, now-you-see-it-now-you-don’t sorta presentation.

EA-SS2-4.jpg

The other notable advantage it has over its siblings is space. The Eros images far wider than the Ares, and marginally so over the Cadmus. Where it leaps over the latter is height. Notes on the Eros spanned a bit further upwards and downwards, and that’s a good chunk of the reason why I found its notes more 3D. It maintained tangibility more consistently too; resolving sounds with equal weight and impact all around the head. Whereas, the Cadmus II was most resolving at the center, far-right and far-left. Keep in mind, these are very minor differences I picked up in successive A/B tests. But, these discrepancies do add up towards the Eros S II’s, again, more dynamic, dense and engaging sound.

EA-SS2-3.jpg

Tonally, I don’t get a lot of colouration from the Eros S II. Its primary augmentations are clarity, expansion, precision and speed. If I am to pinpoint anything, I’d say it has a similar neutrality (or nonchalance) to its lower-mids to the Cadmus, and it has a slight low-treble bite like the Ares. But, they’re quite minor, and I don’t think they’d impede the Eros from matching well with most IEMs. Just keep in mind that, again, this is a cable that adds technique more than emotion (or warmth, or resonance). So, if your IEM is already adept, and what you’re looking for is a bit of organicity or soul, then I’d suggest looking elsewhere. But, if your IEM is in need of ability, or if clarity and space are where you draw your enjoyment from, then the Eros S II is a great option, especially, like the two cables before it, for the price.
 
Oct 29, 2024 at 12:59 PM Post #97,473 of 102,820
Hey, everyone! Effect Audio kindly gave me the opportunity to check out their new Signature Series II cables. These are my impressions of the three, which were graciously provided at Effect’s own expense. I hope you enjoy. :)

EA-SS2-1.jpg

First off, these cables mark a notable departure from the Signature and Premium lines (aside from the Eros S) by adopting an 8-wire design by default. They’ve gone from the usual 4-wire, 24 AWG to 8-wire, 26 AWG. They’ve also incorporated the solid conductor core from the CODE line, as well as a few other metallurgical innovations like Quantum Copper on the Ares and TESC on the Eros, which you can read further about on Effect’s site or the full reviews of these cables, which I’m sure will arrive soon.

Another ergonomic change is the trimmed Y-split, which I’m glad to see. I’ve been getting more and more into Y-splits that are vanishing, yet stylish, and this is what Effect have achieved here. So, while the wire count has doubled, the smaller gauge and tighter braid have made them just as supple as their predecessors. I've always preferred 8-wire braids, because they’re far less likely to unwind, as the 2-wire twists on Effect’s 4-wire cables have been prone to. So, the Signature Series II will almost certainly be more durable and conductive with nearly no trade-offs in ergonomics or weight.

The one major complaint I have, though, is the plastic wrap on the ConX connectors. Not only have they used a thick, heat-shrunk plastic that glue themselves to the barrels and were impossible to tear, their attempts at giving the plastic pre-made cuts (to make removal easier) were also awfully inconsistent. Some had no cuts at all, while others had cuts so shallow that they didn't make a difference. In the end, I literally had to pick at the plastic with my nails until I had the slightest bit of a lip, then pulled on that lip slowly with tweezers, being careful not to scratch the finish on the connectors. It took me and my wife over half-an-hour (at least it felt like it) to get the plastic off all 6 ConX connectors, and it’s something I don’t want to experience ever again. I’d suggest a simple, loose wrapping of plastic next time, and I’d suggest Effect test these things before they ship it on (potentially) thousands of cables. As they say, the devil is in the details.

Anyway, ‘rant out of the way, here’s how the cables sound.

ARES S II

Like the S before it, the Ares S II delivers a one-two punch of openness and warmth. This time, I’d say it leans more towards the former. While copper cables are generally known (some might say stereotyped) for adding lushness and body, I’d argue this is more of an auxiliary weapon in the Ares S II’s arsenal. The ace up its sleeve is the depth and dynamic range it offers over your average stock cable, owing to its 8-wire design. Musical passages that were once compressed suddenly have room to move; resonate and express. And, that space is darker and cleaner too. This is especially in the mids. Whether it’s vocals, horns, guitars - you name it - they’ll enter the mix from further back, and they’ll step further forward when called for, resulting in a more open, presentation that gives the track more life. The Ares S II imparts a slight lower-mid boost helping that along too.

EA-SS2-8.jpg

Speaking of its warmth, it’s not the kind that just boosts bass and loses clarity. Rather, this Ares refines IEMs by shaving off tizz or glare to round them off without hurting technique. The Aroma Audio Fei Wan is a famously energetic IEM, particularly in the low- and mid-treble. On this Ares, those regions aren’t rolled-off or dipped. I’m hearing about as much presence and cut. But, the digital, prickly notes that were on the stock cable have been combed through and cut, resulting in a finer, easier-on-the-ear sound that preserves most (if not all) of the Fei Wan’s original tone. Bass-wise, I’m not hearing the S II change too much, which I find refreshing. The improvements there are more a result of the 8-wire design. The extra dynamic range gives the lows more room to hit and decay cleanly, and the added resolution helps it cut with more detail too.

EA-SS2-7.jpg

As far as weaknesses go, the Ares S II isn’t the best enabler for width. The funny thing is that it has a clean, black backdrop in all directions, but sounds on the x-axis just seem to bunch up a tad. It’s like a band playing on a big stage, but choose to stay close together anyway. Also, I do hear a low-treble bias in the top-end, tapering off in the highest registers. While it’s smooth and refined, I wouldn’t pair it with an IEM that’s already articulate there, simply for color and balance. That aside, though, I think the Ares S II sets a high bar for the entry level market. As long as you don’t mind the feel of its 8-wire config, the benefits you’ll reap from the design’s dynamic range, background blackness and air are invaluable.

CADMUS II

The Cadmus II thankfully improves on the weakness of the OG. I found the original specifically coloured and, therefore, limited as far as IEM and genre pairings go. This Cadmus eases up on that, resulting in a more versatile cable. I’d call it ever-so-slightly U-shaped, with additions in the sub-bass and high-highs. Versus the Ares S II, there’s a cleaner, flatter, more plain timbre to its midrange. Instruments don’t have the extra girth the copper cable gives them. Fortunately, they aren’t thinned out either. There’s still a hint of wetness that keeps them life-like and semi-analog. The same goes for the treble, which hasn’t been pumped up for clarity’s sake. If anything, I think it’s a bit more linear (or even) versus the Ares’s lower-treble bias. It’s a refined, clean, airy treble that doesn’t indulge in articulation, and imparts its clarity subtly.

EA-SS2-6.jpg

While the Cadmus lacks the Ares’s boldness, it easily makes up for that in vibrance, expansion and note size. The light shimmer (or brilliance) it imparts onto an IEM’s treble highlights chimes, cymbals, splashes and hi-hats. They pop more than they do on the Ares, which adds an exciting contrast when the percussionist strikes them. The same goes for the upper-mids. There’s more here than the Ares S II, heightening horn stabs, snare hits and vocal belts. Then, the Cadmus’s notes are further spread out. It doesn’t have the Ares’s width issues, and it sounds notably more out-of-head. Aside from being spread further apart, these notes grow larger too. So, again, while the Ares injected life through expressive, resonant mids, the Cadmus does so with light pops of zingy energy spread throughout the stage.

EA-SS2-5.jpg

Now, the Cadmus II isn’t a cable I’d get for IEMs that need intimacy or body. And, despite the improvements over its predecessor, it also isn’t a cable that’s perpetually exciting. Eventually, there will be a point in your listening session where its little pops of energy even out, and you may find the cable a smidge dull. But, that’s inevitable with 99% of cables with this sound. Either way, I commend the efforts Effect have made in improving their SPC cable. Like the Ares S II, I think it’s stellar for the money, and I can easily see it giving sleepier IEMs a spring in their step.

EROS S II

The Eros S II surprised me with a sound that’s - seemingly - drier than the Cadmus II’s. It has a tighter, crisper, cleaner attack to it. But, eventually, I realized it wasn’t because of colourations in the low-mids, mid-bass or anywhere in the FR. It’s because of the Eros’s cleaner, more pristine, more distant background, its stronger separation and faster PRaT. Notes themselves remained intact - in fact, I found them weightier and 3D-er than the Cadmus II’s - but the spaces between them were far quieter. It’s like how cutting noise in a photo automatically increases contrast. So, the Eros S II isn’t nearly as coloured as I first thought. Rather, it’s its technique that gives it this snappy, now-you-see-it-now-you-don’t sorta presentation.

EA-SS2-4.jpg

The other notable advantage it has over its siblings is space. The Eros images far wider than the Ares, and marginally so over the Cadmus. Where it leaps over the latter is height. Notes on the Eros spanned a bit further upwards and downwards, and that’s a good chunk of the reason why I found its notes more 3D. It maintained tangibility more consistently too; resolving sounds with equal weight and impact all around the head. Whereas, the Cadmus II was most resolving at the center, far-right and far-left. Keep in mind, these are very minor differences I picked up in successive A/B tests. But, these discrepancies do add up towards the Eros S II’s, again, more dynamic, dense and engaging sound.

EA-SS2-3.jpg

Tonally, I don’t get a lot of colouration from the Eros S II. Its primary augmentations are clarity, expansion, precision and speed. If I am to pinpoint anything, I’d say it has a similar neutrality (or nonchalance) to its lower-mids to the Cadmus, and it has a slight low-treble bite like the Ares. But, they’re quite minor, and I don’t think they’d impede the Eros from matching well with most IEMs. Just keep in mind that, again, this is a cable that adds technique more than emotion (or warmth, or resonance). So, if your IEM is already adept, and what you’re looking for is a bit of organicity or soul, then I’d suggest looking elsewhere. But, if your IEM is in need of ability, or if clarity and space are where you draw your enjoyment from, then the Eros S II is a great option, especially, like the two cables before it, for the price.
 
Oct 29, 2024 at 2:18 PM Post #97,474 of 102,820
The cable upgrades sound really nice, but I totally get the struggle with that plastic wrap—what a pain! After hearing about its warmth and openness, I’m leaning towards the Ares S II. Thanks for sharing!
Hey, everyone! Effect Audio kindly gave me the opportunity to check out their new Signature Series II cables. These are my impressions of the three, which were graciously provided at Effect’s own expense. I hope you enjoy. :)

EA-SS2-1.jpg

First off, these cables mark a notable departure from the Signature and Premium lines (aside from the Eros S) by adopting an 8-wire design by default. They’ve gone from the usual 4-wire, 24 AWG to 8-wire, 26 AWG. They’ve also incorporated the solid conductor core from the CODE line, as well as a few other metallurgical innovations like Quantum Copper on the Ares and TESC on the Eros, which you can read further about on Effect’s site or the full reviews of these cables, which I’m sure will arrive soon.

Another ergonomic change is the trimmed Y-split, which I’m glad to see. I’ve been getting more and more into Y-splits that are vanishing, yet stylish, and this is what Effect have achieved here. So, while the wire count has doubled, the smaller gauge and tighter braid have made them just as supple as their predecessors. I've always preferred 8-wire braids, because they’re far less likely to unwind, as the 2-wire twists on Effect’s 4-wire cables have been prone to. So, the Signature Series II will almost certainly be more durable and conductive with nearly no trade-offs in ergonomics or weight.

The one major complaint I have, though, is the plastic wrap on the ConX connectors. Not only have they used a thick, heat-shrunk plastic that glue themselves to the barrels and were impossible to tear, their attempts at giving the plastic pre-made cuts (to make removal easier) were also awfully inconsistent. Some had no cuts at all, while others had cuts so shallow that they didn't make a difference. In the end, I literally had to pick at the plastic with my nails until I had the slightest bit of a lip, then pulled on that lip slowly with tweezers, being careful not to scratch the finish on the connectors. It took me and my wife over half-an-hour (at least it felt like it) to get the plastic off all 6 ConX connectors, and it’s something I don’t want to experience ever again. I’d suggest a simple, loose wrapping of plastic next time, and I’d suggest Effect test these things before they ship it on (potentially) thousands of cables. As they say, the devil is in the details.

Anyway, ‘rant out of the way, here’s how the cables sound.

ARES S II

Like the S before it, the Ares S II delivers a one-two punch of openness and warmth. This time, I’d say it leans more towards the former. While copper cables are generally known (some might say stereotyped) for adding lushness and body, I’d argue this is more of an auxiliary weapon in the Ares S II’s arsenal. The ace up its sleeve is the depth and dynamic range it offers over your average stock cable, owing to its 8-wire design. Musical passages that were once compressed suddenly have room to move; resonate and express. And, that space is darker and cleaner too. This is especially in the mids. Whether it’s vocals, horns, guitars - you name it - they’ll enter the mix from further back, and they’ll step further forward when called for, resulting in a more open, presentation that gives the track more life. The Ares S II imparts a slight lower-mid boost helping that along too.

EA-SS2-8.jpg

Speaking of its warmth, it’s not the kind that just boosts bass and loses clarity. Rather, this Ares refines IEMs by shaving off tizz or glare to round them off without hurting technique. The Aroma Audio Fei Wan is a famously energetic IEM, particularly in the low- and mid-treble. On this Ares, those regions aren’t rolled-off or dipped. I’m hearing about as much presence and cut. But, the digital, prickly notes that were on the stock cable have been combed through and cut, resulting in a finer, easier-on-the-ear sound that preserves most (if not all) of the Fei Wan’s original tone. Bass-wise, I’m not hearing the S II change too much, which I find refreshing. The improvements there are more a result of the 8-wire design. The extra dynamic range gives the lows more room to hit and decay cleanly, and the added resolution helps it cut with more detail too.

EA-SS2-7.jpg

As far as weaknesses go, the Ares S II isn’t the best enabler for width. The funny thing is that it has a clean, black backdrop in all directions, but sounds on the x-axis just seem to bunch up a tad. It’s like a band playing on a big stage, but choose to stay close together anyway. Also, I do hear a low-treble bias in the top-end, tapering off in the highest registers. While it’s smooth and refined, I wouldn’t pair it with an IEM that’s already articulate there, simply for color and balance. That aside, though, I think the Ares S II sets a high bar for the entry level market. As long as you don’t mind the feel of its 8-wire config, the benefits you’ll reap from the design’s dynamic range, background blackness and air are invaluable.

CADMUS II

The Cadmus II thankfully improves on the weakness of the OG. I found the original specifically coloured and, therefore, limited as far as IEM and genre pairings go. This Cadmus eases up on that, resulting in a more versatile cable. I’d call it ever-so-slightly U-shaped, with additions in the sub-bass and high-highs. Versus the Ares S II, there’s a cleaner, flatter, more plain timbre to its midrange. Instruments don’t have the extra girth the copper cable gives them. Fortunately, they aren’t thinned out either. There’s still a hint of wetness that keeps them life-like and semi-analog. The same goes for the treble, which hasn’t been pumped up for clarity’s sake. If anything, I think it’s a bit more linear (or even) versus the Ares’s lower-treble bias. It’s a refined, clean, airy treble that doesn’t indulge in articulation, and imparts its clarity subtly.

EA-SS2-6.jpg

While the Cadmus lacks the Ares’s boldness, it easily makes up for that in vibrance, expansion and note size. The light shimmer (or brilliance) it imparts onto an IEM’s treble highlights chimes, cymbals, splashes and hi-hats. They pop more than they do on the Ares, which adds an exciting contrast when the percussionist strikes them. The same goes for the upper-mids. There’s more here than the Ares S II, heightening horn stabs, snare hits and vocal belts. Then, the Cadmus’s notes are further spread out. It doesn’t have the Ares’s width issues, and it sounds notably more out-of-head. Aside from being spread further apart, these notes grow larger too. So, again, while the Ares injected life through expressive, resonant mids, the Cadmus does so with light pops of zingy energy spread throughout the stage.

EA-SS2-5.jpg

Now, the Cadmus II isn’t a cable I’d get for IEMs that need intimacy or body. And, despite the improvements over its predecessor, it also isn’t a cable that’s perpetually exciting. Eventually, there will be a point in your listening session where its little pops of energy even out, and you may find the cable a smidge dull. But, that’s inevitable with 99% of cables with this sound. Either way, I commend the efforts Effect have made in improving their SPC cable. Like the Ares S II, I think it’s stellar for the money, and I can easily see it giving sleepier IEMs a spring in their step.

EROS S II

The Eros S II surprised me with a sound that’s - seemingly - drier than the Cadmus II’s. It has a tighter, crisper, cleaner attack to it. But, eventually, I realized it wasn’t because of colourations in the low-mids, mid-bass or anywhere in the FR. It’s because of the Eros’s cleaner, more pristine, more distant background, its stronger separation and faster PRaT. Notes themselves remained intact - in fact, I found them weightier and 3D-er than the Cadmus II’s - but the spaces between them were far quieter. It’s like how cutting noise in a photo automatically increases contrast. So, the Eros S II isn’t nearly as coloured as I first thought. Rather, it’s its technique that gives it this snappy, now-you-see-it-now-you-don’t sorta presentation.

EA-SS2-4.jpg

The other notable advantage it has over its siblings is space. The Eros images far wider than the Ares, and marginally so over the Cadmus. Where it leaps over the latter is height. Notes on the Eros spanned a bit further upwards and downwards, and that’s a good chunk of the reason why I found its notes more 3D. It maintained tangibility more consistently too; resolving sounds with equal weight and impact all around the head. Whereas, the Cadmus II was most resolving at the center, far-right and far-left. Keep in mind, these are very minor differences I picked up in successive A/B tests. But, these discrepancies do add up towards the Eros S II’s, again, more dynamic, dense and engaging sound.

EA-SS2-3.jpg

Tonally, I don’t get a lot of colouration from the Eros S II. Its primary augmentations are clarity, expansion, precision and speed. If I am to pinpoint anything, I’d say it has a similar neutrality (or nonchalance) to its lower-mids to the Cadmus, and it has a slight low-treble bite like the Ares. But, they’re quite minor, and I don’t think they’d impede the Eros from matching well with most IEMs. Just keep in mind that, again, this is a cable that adds technique more than emotion (or warmth, or resonance). So, if your IEM is already adept, and what you’re looking for is a bit of organicity or soul, then I’d suggest looking elsewhere. But, if your IEM is in need of ability, or if clarity and space are where you draw your enjoyment from, then the Eros S II is a great option, especially, like the two cables before it, for the price.
 
Oct 29, 2024 at 4:46 PM Post #97,475 of 102,820
Hey, everyone! Effect Audio kindly gave me the opportunity to check out their new Signature Series II cables. These are my impressions of the three, which were graciously provided at Effect’s own expense. I hope you enjoy. :)

EA-SS2-1.jpg

First off, these cables mark a notable departure from the Signature and Premium lines (aside from the Eros S) by adopting an 8-wire design by default. They’ve gone from the usual 4-wire, 24 AWG to 8-wire, 26 AWG. They’ve also incorporated the solid conductor core from the CODE line, as well as a few other metallurgical innovations like Quantum Copper on the Ares and TESC on the Eros, which you can read further about on Effect’s site or the full reviews of these cables, which I’m sure will arrive soon.

Another ergonomic change is the trimmed Y-split, which I’m glad to see. I’ve been getting more and more into Y-splits that are vanishing, yet stylish, and this is what Effect have achieved here. So, while the wire count has doubled, the smaller gauge and tighter braid have made them just as supple as their predecessors. I've always preferred 8-wire braids, because they’re far less likely to unwind, as the 2-wire twists on Effect’s 4-wire cables have been prone to. So, the Signature Series II will almost certainly be more durable and conductive with nearly no trade-offs in ergonomics or weight.

The one major complaint I have, though, is the plastic wrap on the ConX connectors. Not only have they used a thick, heat-shrunk plastic that glue themselves to the barrels and were impossible to tear, their attempts at giving the plastic pre-made cuts (to make removal easier) were also awfully inconsistent. Some had no cuts at all, while others had cuts so shallow that they didn't make a difference. In the end, I literally had to pick at the plastic with my nails until I had the slightest bit of a lip, then pulled on that lip slowly with tweezers, being careful not to scratch the finish on the connectors. It took me and my wife over half-an-hour (at least it felt like it) to get the plastic off all 6 ConX connectors, and it’s something I don’t want to experience ever again. I’d suggest a simple, loose wrapping of plastic next time, and I’d suggest Effect test these things before they ship it on (potentially) thousands of cables. As they say, the devil is in the details.

Anyway, ‘rant out of the way, here’s how the cables sound.

ARES S II

Like the S before it, the Ares S II delivers a one-two punch of openness and warmth. This time, I’d say it leans more towards the former. While copper cables are generally known (some might say stereotyped) for adding lushness and body, I’d argue this is more of an auxiliary weapon in the Ares S II’s arsenal. The ace up its sleeve is the depth and dynamic range it offers over your average stock cable, owing to its 8-wire design. Musical passages that were once compressed suddenly have room to move; resonate and express. And, that space is darker and cleaner too. This is especially in the mids. Whether it’s vocals, horns, guitars - you name it - they’ll enter the mix from further back, and they’ll step further forward when called for, resulting in a more open, presentation that gives the track more life. The Ares S II imparts a slight lower-mid boost helping that along too.

EA-SS2-8.jpg

Speaking of its warmth, it’s not the kind that just boosts bass and loses clarity. Rather, this Ares refines IEMs by shaving off tizz or glare to round them off without hurting technique. The Aroma Audio Fei Wan is a famously energetic IEM, particularly in the low- and mid-treble. On this Ares, those regions aren’t rolled-off or dipped. I’m hearing about as much presence and cut. But, the digital, prickly notes that were on the stock cable have been combed through and cut, resulting in a finer, easier-on-the-ear sound that preserves most (if not all) of the Fei Wan’s original tone. Bass-wise, I’m not hearing the S II change too much, which I find refreshing. The improvements there are more a result of the 8-wire design. The extra dynamic range gives the lows more room to hit and decay cleanly, and the added resolution helps it cut with more detail too.

EA-SS2-7.jpg

As far as weaknesses go, the Ares S II isn’t the best enabler for width. The funny thing is that it has a clean, black backdrop in all directions, but sounds on the x-axis just seem to bunch up a tad. It’s like a band playing on a big stage, but choose to stay close together anyway. Also, I do hear a low-treble bias in the top-end, tapering off in the highest registers. While it’s smooth and refined, I wouldn’t pair it with an IEM that’s already articulate there, simply for color and balance. That aside, though, I think the Ares S II sets a high bar for the entry level market. As long as you don’t mind the feel of its 8-wire config, the benefits you’ll reap from the design’s dynamic range, background blackness and air are invaluable.

CADMUS II

The Cadmus II thankfully improves on the weakness of the OG. I found the original specifically coloured and, therefore, limited as far as IEM and genre pairings go. This Cadmus eases up on that, resulting in a more versatile cable. I’d call it ever-so-slightly U-shaped, with additions in the sub-bass and high-highs. Versus the Ares S II, there’s a cleaner, flatter, more plain timbre to its midrange. Instruments don’t have the extra girth the copper cable gives them. Fortunately, they aren’t thinned out either. There’s still a hint of wetness that keeps them life-like and semi-analog. The same goes for the treble, which hasn’t been pumped up for clarity’s sake. If anything, I think it’s a bit more linear (or even) versus the Ares’s lower-treble bias. It’s a refined, clean, airy treble that doesn’t indulge in articulation, and imparts its clarity subtly.

EA-SS2-6.jpg

While the Cadmus lacks the Ares’s boldness, it easily makes up for that in vibrance, expansion and note size. The light shimmer (or brilliance) it imparts onto an IEM’s treble highlights chimes, cymbals, splashes and hi-hats. They pop more than they do on the Ares, which adds an exciting contrast when the percussionist strikes them. The same goes for the upper-mids. There’s more here than the Ares S II, heightening horn stabs, snare hits and vocal belts. Then, the Cadmus’s notes are further spread out. It doesn’t have the Ares’s width issues, and it sounds notably more out-of-head. Aside from being spread further apart, these notes grow larger too. So, again, while the Ares injected life through expressive, resonant mids, the Cadmus does so with light pops of zingy energy spread throughout the stage.

EA-SS2-5.jpg

Now, the Cadmus II isn’t a cable I’d get for IEMs that need intimacy or body. And, despite the improvements over its predecessor, it also isn’t a cable that’s perpetually exciting. Eventually, there will be a point in your listening session where its little pops of energy even out, and you may find the cable a smidge dull. But, that’s inevitable with 99% of cables with this sound. Either way, I commend the efforts Effect have made in improving their SPC cable. Like the Ares S II, I think it’s stellar for the money, and I can easily see it giving sleepier IEMs a spring in their step.

EROS S II

The Eros S II surprised me with a sound that’s - seemingly - drier than the Cadmus II’s. It has a tighter, crisper, cleaner attack to it. But, eventually, I realized it wasn’t because of colourations in the low-mids, mid-bass or anywhere in the FR. It’s because of the Eros’s cleaner, more pristine, more distant background, its stronger separation and faster PRaT. Notes themselves remained intact - in fact, I found them weightier and 3D-er than the Cadmus II’s - but the spaces between them were far quieter. It’s like how cutting noise in a photo automatically increases contrast. So, the Eros S II isn’t nearly as coloured as I first thought. Rather, it’s its technique that gives it this snappy, now-you-see-it-now-you-don’t sorta presentation.

EA-SS2-4.jpg

The other notable advantage it has over its siblings is space. The Eros images far wider than the Ares, and marginally so over the Cadmus. Where it leaps over the latter is height. Notes on the Eros spanned a bit further upwards and downwards, and that’s a good chunk of the reason why I found its notes more 3D. It maintained tangibility more consistently too; resolving sounds with equal weight and impact all around the head. Whereas, the Cadmus II was most resolving at the center, far-right and far-left. Keep in mind, these are very minor differences I picked up in successive A/B tests. But, these discrepancies do add up towards the Eros S II’s, again, more dynamic, dense and engaging sound.

EA-SS2-3.jpg

Tonally, I don’t get a lot of colouration from the Eros S II. Its primary augmentations are clarity, expansion, precision and speed. If I am to pinpoint anything, I’d say it has a similar neutrality (or nonchalance) to its lower-mids to the Cadmus, and it has a slight low-treble bite like the Ares. But, they’re quite minor, and I don’t think they’d impede the Eros from matching well with most IEMs. Just keep in mind that, again, this is a cable that adds technique more than emotion (or warmth, or resonance). So, if your IEM is already adept, and what you’re looking for is a bit of organicity or soul, then I’d suggest looking elsewhere. But, if your IEM is in need of ability, or if clarity and space are where you draw your enjoyment from, then the Eros S II is a great option, especially, like the two cables before it, for the price.
Which one do you think is the best pairing with XE6?
 
Oct 29, 2024 at 6:56 PM Post #97,476 of 102,820
Many Thanks for the warm welcome in Utrecht and the great evening the two of us had Joop! It is all about talking about the hobby we love and the beautiful but also mad world we are living in. The challenge we had in mapping different iems to wines and the respective grapes was a fun excercise. We both agreed that the Aroma Fei Wan is a white wine called "Gewürztraminer". Until the next time !
 

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Oct 29, 2024 at 7:10 PM Post #97,477 of 102,820
I’m curious if I can edit something I write here. I think I can!
Only got to listen today - Ciara has a beautiful voice and clearly very talented! She reminds me a bit of Julia Holter, especially earlier work… I must revisit this fantastic album.


b-e-a-u-t-i-f-u-l , unique and delicate voice
 
Oct 29, 2024 at 7:10 PM Post #97,478 of 102,820
Many Thanks for the warm welcome in Utrecht and the great evening the two of us had Joop! It is all about talking about the hobby we love and the beautiful but also mad world we are living in. The challenge we had in mapping different iems to wines and the respective grapes was a fun excercise. We both agreed that the Aroma Fei Wan is a white wine called "Gewürztraminer". Until the next time !
Yeah, it's truly a pity we had to do this, but where else do you go when the snackbar is closed? ;-)

It's my third 1-on-1 meeting in a row where we don't even listen to any of the gear that connects us. First I thought there was something wrong with @NYanakiev, then @slumberman, but now it seems it might be me who has slightly gone mad. Funny world... I bet EiffelJam will be better without any gear at all!

drftr
 
Oct 29, 2024 at 7:12 PM Post #97,479 of 102,820
Many Thanks for the warm welcome in Utrecht and the great evening the two of us had Joop! It is all about talking about the hobby we love and the beautiful but also mad world we are living in. The challenge we had in mapping different iems to wines and the respective grapes was a fun excercise. We both agreed that the Aroma Fei Wan is a white wine called "Gewürztraminer". Until the next time !
This is the way to review an IEM! You should do a global tour, I’ll join one of the cities!
 
Oct 29, 2024 at 7:33 PM Post #97,480 of 102,820
Yeah, it's truly a pity we had to do this, but where else do you go when the snackbar is closed? :wink:

It's my third 1-on-1 meeting in a row where we don't even listen to any of the gear that connects us. First I thought there was something wrong with @NYanakiev, then @slumberman, but now it seems it might be me who has slightly gone mad. Funny world... I bet EiffelJam will be better without any gear at all!

drftr
I have a few name suggestions for your global city tour:

The Epicurean IEM Experience

Sips and Soundsapes

Sound and Savor City Tour
 
Oct 29, 2024 at 7:52 PM Post #97,481 of 102,820
Hey, everyone! Effect Audio kindly gave me the opportunity to check out their new Signature Series II cables. These are my impressions of the three, which were graciously provided at Effect’s own expense. I hope you enjoy. :)

EA-SS2-1.jpg

First off, these cables mark a notable departure from the Signature and Premium lines (aside from the Eros S) by adopting an 8-wire design by default. They’ve gone from the usual 4-wire, 24 AWG to 8-wire, 26 AWG. They’ve also incorporated the solid conductor core from the CODE line, as well as a few other metallurgical innovations like Quantum Copper on the Ares and TESC on the Eros, which you can read further about on Effect’s site or the full reviews of these cables, which I’m sure will arrive soon.

Another ergonomic change is the trimmed Y-split, which I’m glad to see. I’ve been getting more and more into Y-splits that are vanishing, yet stylish, and this is what Effect have achieved here. So, while the wire count has doubled, the smaller gauge and tighter braid have made them just as supple as their predecessors. I've always preferred 8-wire braids, because they’re far less likely to unwind, as the 2-wire twists on Effect’s 4-wire cables have been prone to. So, the Signature Series II will almost certainly be more durable and conductive with nearly no trade-offs in ergonomics or weight.

The one major complaint I have, though, is the plastic wrap on the ConX connectors. Not only have they used a thick, heat-shrunk plastic that glue themselves to the barrels and were impossible to tear, their attempts at giving the plastic pre-made cuts (to make removal easier) were also awfully inconsistent. Some had no cuts at all, while others had cuts so shallow that they didn't make a difference. In the end, I literally had to pick at the plastic with my nails until I had the slightest bit of a lip, then pulled on that lip slowly with tweezers, being careful not to scratch the finish on the connectors. It took me and my wife over half-an-hour (at least it felt like it) to get the plastic off all 6 ConX connectors, and it’s something I don’t want to experience ever again. I’d suggest a simple, loose wrapping of plastic next time, and I’d suggest Effect test these things before they ship it on (potentially) thousands of cables. As they say, the devil is in the details.

Anyway, ‘rant out of the way, here’s how the cables sound.

ARES S II

Like the S before it, the Ares S II delivers a one-two punch of openness and warmth. This time, I’d say it leans more towards the former. While copper cables are generally known (some might say stereotyped) for adding lushness and body, I’d argue this is more of an auxiliary weapon in the Ares S II’s arsenal. The ace up its sleeve is the depth and dynamic range it offers over your average stock cable, owing to its 8-wire design. Musical passages that were once compressed suddenly have room to move; resonate and express. And, that space is darker and cleaner too. This is especially in the mids. Whether it’s vocals, horns, guitars - you name it - they’ll enter the mix from further back, and they’ll step further forward when called for, resulting in a more open, presentation that gives the track more life. The Ares S II imparts a slight lower-mid boost helping that along too.

EA-SS2-8.jpg

Speaking of its warmth, it’s not the kind that just boosts bass and loses clarity. Rather, this Ares refines IEMs by shaving off tizz or glare to round them off without hurting technique. The Aroma Audio Fei Wan is a famously energetic IEM, particularly in the low- and mid-treble. On this Ares, those regions aren’t rolled-off or dipped. I’m hearing about as much presence and cut. But, the digital, prickly notes that were on the stock cable have been combed through and cut, resulting in a finer, easier-on-the-ear sound that preserves most (if not all) of the Fei Wan’s original tone. Bass-wise, I’m not hearing the S II change too much, which I find refreshing. The improvements there are more a result of the 8-wire design. The extra dynamic range gives the lows more room to hit and decay cleanly, and the added resolution helps it cut with more detail too.

EA-SS2-7.jpg

As far as weaknesses go, the Ares S II isn’t the best enabler for width. The funny thing is that it has a clean, black backdrop in all directions, but sounds on the x-axis just seem to bunch up a tad. It’s like a band playing on a big stage, but choose to stay close together anyway. Also, I do hear a low-treble bias in the top-end, tapering off in the highest registers. While it’s smooth and refined, I wouldn’t pair it with an IEM that’s already articulate there, simply for color and balance. That aside, though, I think the Ares S II sets a high bar for the entry level market. As long as you don’t mind the feel of its 8-wire config, the benefits you’ll reap from the design’s dynamic range, background blackness and air are invaluable.

CADMUS II

The Cadmus II thankfully improves on the weakness of the OG. I found the original specifically coloured and, therefore, limited as far as IEM and genre pairings go. This Cadmus eases up on that, resulting in a more versatile cable. I’d call it ever-so-slightly U-shaped, with additions in the sub-bass and high-highs. Versus the Ares S II, there’s a cleaner, flatter, more plain timbre to its midrange. Instruments don’t have the extra girth the copper cable gives them. Fortunately, they aren’t thinned out either. There’s still a hint of wetness that keeps them life-like and semi-analog. The same goes for the treble, which hasn’t been pumped up for clarity’s sake. If anything, I think it’s a bit more linear (or even) versus the Ares’s lower-treble bias. It’s a refined, clean, airy treble that doesn’t indulge in articulation, and imparts its clarity subtly.

EA-SS2-6.jpg

While the Cadmus lacks the Ares’s boldness, it easily makes up for that in vibrance, expansion and note size. The light shimmer (or brilliance) it imparts onto an IEM’s treble highlights chimes, cymbals, splashes and hi-hats. They pop more than they do on the Ares, which adds an exciting contrast when the percussionist strikes them. The same goes for the upper-mids. There’s more here than the Ares S II, heightening horn stabs, snare hits and vocal belts. Then, the Cadmus’s notes are further spread out. It doesn’t have the Ares’s width issues, and it sounds notably more out-of-head. Aside from being spread further apart, these notes grow larger too. So, again, while the Ares injected life through expressive, resonant mids, the Cadmus does so with light pops of zingy energy spread throughout the stage.

EA-SS2-5.jpg

Now, the Cadmus II isn’t a cable I’d get for IEMs that need intimacy or body. And, despite the improvements over its predecessor, it also isn’t a cable that’s perpetually exciting. Eventually, there will be a point in your listening session where its little pops of energy even out, and you may find the cable a smidge dull. But, that’s inevitable with 99% of cables with this sound. Either way, I commend the efforts Effect have made in improving their SPC cable. Like the Ares S II, I think it’s stellar for the money, and I can easily see it giving sleepier IEMs a spring in their step.

EROS S II

The Eros S II surprised me with a sound that’s - seemingly - drier than the Cadmus II’s. It has a tighter, crisper, cleaner attack to it. But, eventually, I realized it wasn’t because of colourations in the low-mids, mid-bass or anywhere in the FR. It’s because of the Eros’s cleaner, more pristine, more distant background, its stronger separation and faster PRaT. Notes themselves remained intact - in fact, I found them weightier and 3D-er than the Cadmus II’s - but the spaces between them were far quieter. It’s like how cutting noise in a photo automatically increases contrast. So, the Eros S II isn’t nearly as coloured as I first thought. Rather, it’s its technique that gives it this snappy, now-you-see-it-now-you-don’t sorta presentation.

EA-SS2-4.jpg

The other notable advantage it has over its siblings is space. The Eros images far wider than the Ares, and marginally so over the Cadmus. Where it leaps over the latter is height. Notes on the Eros spanned a bit further upwards and downwards, and that’s a good chunk of the reason why I found its notes more 3D. It maintained tangibility more consistently too; resolving sounds with equal weight and impact all around the head. Whereas, the Cadmus II was most resolving at the center, far-right and far-left. Keep in mind, these are very minor differences I picked up in successive A/B tests. But, these discrepancies do add up towards the Eros S II’s, again, more dynamic, dense and engaging sound.

EA-SS2-3.jpg

Tonally, I don’t get a lot of colouration from the Eros S II. Its primary augmentations are clarity, expansion, precision and speed. If I am to pinpoint anything, I’d say it has a similar neutrality (or nonchalance) to its lower-mids to the Cadmus, and it has a slight low-treble bite like the Ares. But, they’re quite minor, and I don’t think they’d impede the Eros from matching well with most IEMs. Just keep in mind that, again, this is a cable that adds technique more than emotion (or warmth, or resonance). So, if your IEM is already adept, and what you’re looking for is a bit of organicity or soul, then I’d suggest looking elsewhere. But, if your IEM is in need of ability, or if clarity and space are where you draw your enjoyment from, then the Eros S II is a great option, especially, like the two cables before it, for the price.
Nice impressions! I like the lighting in those pictures as well. How does one achieve that? 🙂
 
Oct 29, 2024 at 9:56 PM Post #97,482 of 102,820
How does it compare to RU6? One of the YouTuber reviewer recently stopped dongle review, claiming that all top tier dongles reach such a level that they are all very good, but also so similar that reviewing them and ranking becomes not interesting anymore.
There is some truth to this. I am quite satisfied with my Cayin RU7. Buying a new dongle simply won't be worth it for the time and money involved. I could get a different sound. Better or more musical? All open for debate, a debate that I am not sure is worth it.

My only issue is that Apple keeps messing up its hi res music firmware calls. Right now I am stuck on IOS 17.X because 18.X has a bug that messes up hifi. So annoying.

But another dongle player won't sound demonstrably better or improve the Apple situation.
 
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Oct 29, 2024 at 10:06 PM Post #97,483 of 102,820
Yes - definitely musicality. I think I've just already hit my quota for the week in saying "musicality" so I was trying to not saying it again. :p

The big difference between OG and MK2 is that OG has a little more bass, and MK2 has a little more treble. I did this graph with the alignment at 20Hz because I felt like it lets you see the difference really clearly.
Stephen whenever you do a review for the EXT MKII please compare it to the Aura.

I feel bad whenever people ask for an iem recommendation and I steer them to an Aura or RN6 then remember they are limited editions. Whoops.

So now we have a new drinking game. Take a sip of water every time Stephen says musical regarding vision ears. Hydrate people.
 
Oct 29, 2024 at 10:36 PM Post #97,484 of 102,820
Did some tip rolling today on the Fugaku today. My current favorite is Canal Work CWU-GECL, aka the Meat Ball (肉球). Leftmost in the pic below. Bass is more bouncy and mid-high sounds more smooth than that of the Baroque tips. Bought a set from Amazon JP and I have one extra pair in Large size that I will leave at MT's table at Dallas CJ for those who are interested.
 

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