Some new discovery for tip rolling, I found these Azla Xelastec tips work great with MEST. For those who want deep insertion, but don't like foam tips, these tips are a great solution. I selected a half size down from my regular tips(M to MS).
Feel free to reach out to us at any time! To reach me personally, leave me a PM or email me at umwang@uniquemelody.org and I'll get back to you as soon as I can!
Stay updated on Unique Melody at their sponsor profile on Head-Fi.
Some new discovery for tip rolling, I found these Azla Xelastec tips work great with MEST. For those who want deep insertion, but don't like foam tips, these tips are a great solution. I selected a half size down from my regular tips(M to MS).
Unfortunately for me, I haven‘t really found a use for Xelastec tips. They almost always cause driver flex when I use them. This is why I’ve been using foam tips a lot more lately. I just cut them so that they are shorter, and thus don‘t extend much past the end of the nozzle, and in turn don’t effect the sound much.
Interested in MEST or mini MEST, great thread and hope to make it through all 50 pages soon to round out my knowledge. Until then would appreciate folks' thoughts on 2 questions:
1. Is the MEST worth twice the cost of mini MEST, either because the EST treble is far superior to BA or the ability to get them as CIEM's makes the sound / user experience that much more satisfying?
2. I have (mild) tinnitus, wondering if the open BA / bone conduction minimize canal pressure as can exacerbate ear fatigue / tinnitus. BUT I don't have experience with EST treble as to it's pro's and con's for tinnitus. Can anyone with tinnitus comment on how MEST / mini MEST work out for them compared to more conventional IEM's?
Official qdc connectors are reversed polarity, whereas some IEMs have the same shape of connector, but the same polarity as tradition 2 pin connectors. FWIW, as long as I connect R and L sides the same, I have never had a polarity issue cause sound problems.
QDC and UM use the same extruded 2-pin connector. At least the MEST does in relation to other recent models. QDC is more know for the usage these days. As for reversing polarity, I've had some cables that did that and didn't notice an issue on my VX when I had it. Some cable makers say it doesn't matter, some say there is a slight difference. Afaik I was told that UM also had reversed polarity, but I couldn't any sources myself.
QDC and UM use the same extruded 2-pin connector. At least the MEST does in relation to other recent models. QDC is more know for the usage these days. As for reversing polarity, I've had some cables that did that and didn't notice an issue on my VX when I had it. Some cable makers say it doesn't matter, some say there is a slight difference. Afaik I was told that UM also had reversed polarity, but I couldn't any sources myself.
Interesting I used the IMR 2pin cable and there's audible difference especially Le Freak Chic
During 18secs onwards the bass distortion details are gone and smoothen out if i use the normal 2pin cable from IMR
QDC and UM use the same extruded 2-pin connector. At least the MEST does in relation to other recent models. QDC is more know for the usage these days. As for reversing polarity, I've had some cables that did that and didn't notice an issue on my VX when I had it. Some cable makers say it doesn't matter, some say there is a slight difference. Afaik I was told that UM also had reversed polarity, but I couldn't any sources myself.
Maintaining absolute polarity can be heard with loudspeakers, but I question whether there would be any difference with IEMs if absolute polarity is reversed. This is not the case with relative polarity where each side is out of phase with each other.
QDC and UM use the same extruded 2-pin connector. At least the MEST does in relation to other recent models. QDC is more know for the usage these days. As for reversing polarity, I've had some cables that did that and didn't notice an issue on my VX when I had it. Some cable makers say it doesn't matter, some say there is a slight difference. Afaik I was told that UM also had reversed polarity, but I couldn't any sources myself.
Feel free to reach out to us at any time! To reach me personally, leave me a PM or email me at umwang@uniquemelody.org and I'll get back to you as soon as I can!
Stay updated on Unique Melody at their sponsor profile on Head-Fi.
Interesting I used the IMR 2pin cable and there's audible difference especially Le Freak Chic
During 18secs onwards the bass distortion details are gone and smoothen out if i use the normal 2pin cable from IMR
Great thread, appreciate the reviews and info. One thing I've noted is that for mini MEST the bass receives positive comment but can anyone comment on the mini's mids (clinical or euphonic?) and treble extension / sparkle. My budget may not permit the full MEST so I'm interest5d in a little more feedback about mini across the frequencies, apart from what I can infer from the graphs. Thanks!
Great thread, appreciate the reviews and info. One thing I've noted is that for mini MEST the bass receives positive comment but can anyone comment on the mini's mids (clinical or euphonic?) and treble extension / sparkle. My budget may not permit the full MEST so I'm interest5d in a little more feedback about mini across the frequencies, apart from what I can infer from the graphs. Thanks!
This is a powerful and balanced sound with a similar high-contrast approach as the bigger MEST but with less of a focus on technical prowess and more on keeping things “fun”.
Much like the MEST, the Mini takes a more colored approach to its tuning emphasis with an impressive and fulsome sub-bass response for a BA monitor. Unlike the MEST, the Mini holds that elevation a bit longer into the mid-bass with some elegant warmth and then gently drops into a more traditional V-shaped lower-mids dip around 500Hz-1k.
The Mini also has a more exaggerated midrange bump around 1-2 with a quick drop around 3-4k to take the sting out of sounding potentially shouty sounding vocals that traverse that range. Male vocals do not have quite the excellent presence and air of the MEST with that lower-mids dip compared to female or higher pitching vocal performances which are more forward sounding.
Upper mids and highs have more of a traditional BA response with an energetic response, particularly from 5-8k but not a terribly wet and juicy sound. It does add some essential balance to that excellent low-end and compared to other all-BA creations such as the YB04 from Cayin, it does offer a lot more power and weight.
How are these with electronic-ambient music? I think it was Szore who gave a nice breakdown on a couple Budd and Eno albums, but how about something demanding a more mid bass punch?
Has anyone noticed changes for the better over time?
Ultimately I'm looking for something to complement my chain, but I need it to play well with my library.
Andro, Atlas, and Bravado are my three main listens.
I'd be grateful for any insight, thanks in advance!
First Light, Harold Budd, Brian Eno: Switching gears and genres, lets go minimalist and see what the MEST can do, where subtlety is required over slam and impact. Turning the volume WAYYY down for this ambient masterpiece, Budd’s haunting piano chords ring and chime out of an ethereal haze. If you ever wanted to find a song that acts like a musical version of an abstract expressionist work from Rothko, this is it. There is no “bass” here, no rumble, no slam, no sizzle, no ‘timbre or tone’ (well, maybe tone): but there are ‘effects’; lots and lots of effects, and ‘treatments’. It’s one of the things the Father of Ambient, Brian Eno, is known for. With the high, mid high, and ultra high drivers of the MEST, these ethereal, subtle expressions, as fine as gossamer threads, theoretically should be brilliantly captured, and they are! The MEST is showing amazing range and adaptability here. Bravo.
Delta Rain Dream, Jon Hassell, Brian Eno: Staying with Eno and ambient, I wanted to take a look at this song, because it has all the subtlety and nuance of First Light, but adds what sounds like African bongo drums. The synthesized background contrasts the drums marvelously. Jon’s synthesized trumpet, the drums, and the synthesizers create a vast, layered, detailed soundscape which has all the extension and vastness of the sky. Or the ocean. Or space, even. The drums… you can almost see the palms and fingers smacking the skins…
This site uses cookies to help personalise content, tailor your experience and to keep you logged in if you register.
By continuing to use this site, you are consenting to our use of cookies.
