Yeah, I don’t quite understand the physics behind it either. I’m fortunate to live in/near a place with a plethora of DAPs to try, so I usually just speak from experience.
Vision Ears and Rhines Custom Monitors (formerly Compact Monitors)
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Yeah, I don’t quite understand the physics behind it either. I’m fortunate to live in/near a place with a plethora of DAPs to try, so I usually just speak from experience.
Mimouille
Headphoneus Supremus
Isn't it if SNR of DAP > sensitivity of IEM, then no noise？
Theoretically, yes, but I'm more talking about how the numbers relate to each other. I've heard people say IEMs that have a certain impedance are best paired with sources that have a certain output impedance, etc. I believe there was mention that higher output impedances result in less-noise, but increase the possibility of a more severe FR swing in multi-BA IEMs. These statements are the ones that I have a harder time sussing out.
Mimouille
Headphoneus Supremus
I have no idea about the technicalities, but I have heard that output impedance of source x8 should be below IEM impedance? I have indeed noticed that my SE5U and SE6, which both have above 130 of impedance, never pick up any noise from the source, at least not hiss. But they can pick up buzz from bad grounding.
The VE8 on the other hand, picks up noise easily. For instance it was unlistenable on the QP2R
AllenShrz
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I dont pick any noise with the stock cable at all, I doesn't matter the source and those are my go to earphones, so I use them all the time with different sources, inside and outside.
BUT it can pick noise sometimes with the pw audio N5 jp cable, which brings a little bit more sparkle and love them for that. So I use this cable mostly when Im on my desk.
Mimouille
Headphoneus Supremus
It depends what you mean by noise. I don't mean microphonics, I mean hiss from the source. Cable doesn't affect that too much.
AllenShrz
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I can hear some hiss sometimes with thepw cable from my ipad, cellphone but not from the hugo, mojo and other dacs.
With the stock cable nothing with any source.
Which other sources you hear hissing sounds from?
I dont have the QP2R to compare.
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Mimouille
Headphoneus Supremus
Only with the QP2R so far, a little bit with my DTr1 player, which is super super powerful.
Oh boy, these are definitely the best overall sounding IEM I’ve heard to date. Powerful yet refined bass, clear yet not harsh treble, good amount of spacing, and really good ‘fatness’ to the sounds. Vocals especially shine when set to ‘4’ switch (personally I liked the ‘2’ switch). The only negative thing I can say is that it’s quite uncomfortable (shape and weight).
I haven’t tried the VE8 yet but I can’t wait to try it soon.
I haven’t tried the VE8 yet but I can’t wait to try it soon.
Did you demo or buy them?Oh boy, these are definitely the best overall sounding IEM I’ve heard to date. Powerful yet refined bass, clear yet not harsh treble, good amount of spacing, and really good ‘fatness’ to the sounds. Vocals especially shine when set to ‘4’ switch (personally I liked the ‘2’ switch). The only negative thing I can say is that it’s quite uncomfortable (shape and weight).
I haven’t tried the VE8 yet but I can’t wait to try it soon.
A while back I was lucky enough to demo all the models, except for the VE2 and the Erlkönig (which I don't think was available at that time). Loved the VE5 and the VE8. The VE5 had a very special sound that I still miss and the VE8 felt very versatile at a truly top-end level.
I had a chance to demo them in Tokyo, and since no one else seemed all that interested in trying them, I ended up hogging them for 2.5 hrs. I was especially shocked at the macrodynamics and soundstage when paired with Sony’s DMPZ1.
You were very fortunate there! That must have been a really enjoyable demo session to have them available for so long and be able to listen to them from such a high end source.
Thank you so much for your kind advice and help!
Hey everyone, I just published my CanJam SG 2019 coverage article on TheHeadphoneList.com. Vision Ears' three new releases made an appearance, and here's their excerpt from the article:
Vision Ears
Vision Ears have certainly come to play at CanJam Singapore 2019 – bringing along a whopping three new products to debut at the show. Two of them are refreshes of Vision Ears’ more affordable in-ear monitors: The VE3.2 and the VE4.2. And, the other is on the entirely opposite end of the spectrum. Hopping on the trybrid (triple hybrid) train, Vision Ears have announced a new custom flagship in the Elysium. How do all three monitors perform? Read below and find out!
Vision Ears VE3.2: Like the original VE3, the 3.2 possesses a linear tonal balance. Thankfully, the 3.2’s most noticeable change directly addresses the original’s main flaw: Spatial performance. The stage it exhibits is now stable with decent headroom, strong holography and even proportions. The diagonals are particularly impressive. So, when listening to overhead microphones, the VE3.2 accurately positions them at 10 and 2 o’clock; how the drummer would hear them.
The low-end is a touch past neutral, providing a healthy kick. The midrange too has impressive dynamic range. Although positioning is decidedly forward, the 3.2 is capable of discerning between vocalists of different strengths. Listening to a belter with gusto and flair like Rachael Price will yield a vastly different experience from listening to a sultry, seductive songstress like Laura Fygi. There’s a hair too much 4kHz energy for my tastes, as vocalists sound saturated; as if they were singing with a slight lump in their throat. A more neutral response would’ve complied with the marketing better.
The VE3.2’s treble region is present and airy, but articulation is a touch diffuse. There seems to be a dip around 8kHz that removes that sharp edge from transients. Personally, I’d say it does remove a key bit of definition, but it’s an ideal tuning for those sensitive to top-end bite. That lack of edge to me also prevents headroom and background blackness from reaching max potential. But, as a well-balanced, exciting and inoffensive all-rounder, I’d say Vision Ears have done an admirable job reprising the VE3. Whether or not it can contest its peers – however – is still very much up in the air.
Vision Ears VE4.2: The VE4.2 possesses a signature that’s more spatially-oriented. A laid-back upper-midrange and a more articulate treble create a stronger sense of space. The treble seems to extend further as well, rendering a blacker background, greater headroom and a more holographic presentation. Despite the VE4.2’s pitch as a bass-driven IEM, the signature is impressively well-balanced. The low-end contributes body, verve and drive, rather than bloomy warmth.
I’d call the VE4.2 just as much as an all-rounder as the VE3.2, given you like a healthy dose of bass. The tone of the bass is darker too relative to the VE3.2, which I prefer with bass guitars. And, the sub-bass rise adds a satisfying guttural-ness to them as well. Again, the midrange is gorgeously spacious whilst remaining likeable with a large majority of music. It’s a thicker shade of neutral, so it sounds pleasing with everything. A neutrally-positioned lower-midrange further boosts definition as well, but coherence is maintained all the while to not compromise resolution, as well as vocal timbre.
Like the VE3.2, the midrange possesses strong dynamic range as well, but the VE4.2’s blacker background and sense of space exacerbate that effect. The latter’s treble has more of a bite as well. It’s a more coherent top-end positioned perfectly to cut the bass, but sat nicely against the midrange too. Combined with low-end kick, this makes it an ideal IEM for drums, as well as all sorts of pop, rock and EDM. But again, the space it’s able to eek out, as well as the balance, resolution and power of the midrange make it a proper all-rounder too, as long as you can handle a dose of bass.
Vision Ears Elysium: The Elysium is a clarity-focused in-ear with heaps of headroom, cleanliness and precision. From top to bottom, the Elysium possesses speed and finesse. Although the top-end may take a second of getting used to, treble timbre is exceptional to my ears. Unlike other electrostatic tweeters I’ve heard, the Elysium splits articulation and body evenly. I found Alclair Audio’s Electro to emphasise the latter, while the Trinity did the former. So to my ears, the Elysium’s cymbal reproduction sounded realistic and three-dimensional – neither dull stumps nor thin, bright wraiths.
The way it portrays believable depth is impressive too. Instruments aren’t quite Erlkönig levels of detached-from-your-head-and-standing-on-their-own, but the stage wraps convincingly around the head with resolution, headroom and air. This is particularly true of the Elysium’s DD-fuelled midrange. There’s a depth and holography to it, whilst sounding textured, vibrant and engrossing. Tonally, the Elysium is a hair top-heavy. There’s a tizz to the top-end that calls for the aforementioned adjustment period. Much of that is due to of low-end quantity. The bass is focused, tight and compact, filling only a certain portion of the stage. For my tastes, I would’ve sacrificed a bit of that precision for more warmth.
But on the other hand, bass timbre as it is is truly outstanding. There’s a roundedness and meatiness to it that comes across organic and realistic without being wishy-washy. Impacts are well-resolved and well-defined too. So at the end of the day, it’s a matter of preference. VE8 owners should have no fear, because the Elysium is a different beast all on its own. It’s geared towards cleanliness and precision, whilst remaining musical in the midrange. In that way, the Elysium bridges the gap somewhat between the VE8 and the Erlkönig. But nevertheless, the VE8 remains the engagement king.
In either case, the Elysium is a piece with excellent resolution, cymbal reproduction and midrange integrity. I’d love for a hair less mid-treble and a warmer mid-bass, but those are minor quirks on an otherwise strong product. However, if the rumoured MSRP (between the VE8 and Erlkönig) proves to be true, the Elysium will have to endure further scrutiny.
I'm also happy to announce that the Elysium has won a CanJam Cup award! It's one of three in-ears to take home the Technique Magnifiqué category, which recognises technical performance. Congrats VE!
"Vision Ears’ Elysium delivered some of the best individual responses I heard at the show. Its bass was an accomplished all-rounder, managing to sound taut, full-bodied, resolving and natural in tone all at the same time. The midrange too delivered excellent emotionality and depth without compromising clarity. And, the top-end had some of the best clarity-to-body ratios I’d heard from electrostatics yet. Now, how all that comes together – as well as the rumoured MSRP – is still up for debate. But, I reckon the Elysium is an outstanding achievement, as well as an engaging listen, regardless.
Vision Ears
Vision Ears have certainly come to play at CanJam Singapore 2019 – bringing along a whopping three new products to debut at the show. Two of them are refreshes of Vision Ears’ more affordable in-ear monitors: The VE3.2 and the VE4.2. And, the other is on the entirely opposite end of the spectrum. Hopping on the trybrid (triple hybrid) train, Vision Ears have announced a new custom flagship in the Elysium. How do all three monitors perform? Read below and find out!
Vision Ears VE3.2: Like the original VE3, the 3.2 possesses a linear tonal balance. Thankfully, the 3.2’s most noticeable change directly addresses the original’s main flaw: Spatial performance. The stage it exhibits is now stable with decent headroom, strong holography and even proportions. The diagonals are particularly impressive. So, when listening to overhead microphones, the VE3.2 accurately positions them at 10 and 2 o’clock; how the drummer would hear them.
The low-end is a touch past neutral, providing a healthy kick. The midrange too has impressive dynamic range. Although positioning is decidedly forward, the 3.2 is capable of discerning between vocalists of different strengths. Listening to a belter with gusto and flair like Rachael Price will yield a vastly different experience from listening to a sultry, seductive songstress like Laura Fygi. There’s a hair too much 4kHz energy for my tastes, as vocalists sound saturated; as if they were singing with a slight lump in their throat. A more neutral response would’ve complied with the marketing better.
The VE3.2’s treble region is present and airy, but articulation is a touch diffuse. There seems to be a dip around 8kHz that removes that sharp edge from transients. Personally, I’d say it does remove a key bit of definition, but it’s an ideal tuning for those sensitive to top-end bite. That lack of edge to me also prevents headroom and background blackness from reaching max potential. But, as a well-balanced, exciting and inoffensive all-rounder, I’d say Vision Ears have done an admirable job reprising the VE3. Whether or not it can contest its peers – however – is still very much up in the air.
Vision Ears VE4.2: The VE4.2 possesses a signature that’s more spatially-oriented. A laid-back upper-midrange and a more articulate treble create a stronger sense of space. The treble seems to extend further as well, rendering a blacker background, greater headroom and a more holographic presentation. Despite the VE4.2’s pitch as a bass-driven IEM, the signature is impressively well-balanced. The low-end contributes body, verve and drive, rather than bloomy warmth.
I’d call the VE4.2 just as much as an all-rounder as the VE3.2, given you like a healthy dose of bass. The tone of the bass is darker too relative to the VE3.2, which I prefer with bass guitars. And, the sub-bass rise adds a satisfying guttural-ness to them as well. Again, the midrange is gorgeously spacious whilst remaining likeable with a large majority of music. It’s a thicker shade of neutral, so it sounds pleasing with everything. A neutrally-positioned lower-midrange further boosts definition as well, but coherence is maintained all the while to not compromise resolution, as well as vocal timbre.
Like the VE3.2, the midrange possesses strong dynamic range as well, but the VE4.2’s blacker background and sense of space exacerbate that effect. The latter’s treble has more of a bite as well. It’s a more coherent top-end positioned perfectly to cut the bass, but sat nicely against the midrange too. Combined with low-end kick, this makes it an ideal IEM for drums, as well as all sorts of pop, rock and EDM. But again, the space it’s able to eek out, as well as the balance, resolution and power of the midrange make it a proper all-rounder too, as long as you can handle a dose of bass.
Vision Ears Elysium: The Elysium is a clarity-focused in-ear with heaps of headroom, cleanliness and precision. From top to bottom, the Elysium possesses speed and finesse. Although the top-end may take a second of getting used to, treble timbre is exceptional to my ears. Unlike other electrostatic tweeters I’ve heard, the Elysium splits articulation and body evenly. I found Alclair Audio’s Electro to emphasise the latter, while the Trinity did the former. So to my ears, the Elysium’s cymbal reproduction sounded realistic and three-dimensional – neither dull stumps nor thin, bright wraiths.
The way it portrays believable depth is impressive too. Instruments aren’t quite Erlkönig levels of detached-from-your-head-and-standing-on-their-own, but the stage wraps convincingly around the head with resolution, headroom and air. This is particularly true of the Elysium’s DD-fuelled midrange. There’s a depth and holography to it, whilst sounding textured, vibrant and engrossing. Tonally, the Elysium is a hair top-heavy. There’s a tizz to the top-end that calls for the aforementioned adjustment period. Much of that is due to of low-end quantity. The bass is focused, tight and compact, filling only a certain portion of the stage. For my tastes, I would’ve sacrificed a bit of that precision for more warmth.
But on the other hand, bass timbre as it is is truly outstanding. There’s a roundedness and meatiness to it that comes across organic and realistic without being wishy-washy. Impacts are well-resolved and well-defined too. So at the end of the day, it’s a matter of preference. VE8 owners should have no fear, because the Elysium is a different beast all on its own. It’s geared towards cleanliness and precision, whilst remaining musical in the midrange. In that way, the Elysium bridges the gap somewhat between the VE8 and the Erlkönig. But nevertheless, the VE8 remains the engagement king.
In either case, the Elysium is a piece with excellent resolution, cymbal reproduction and midrange integrity. I’d love for a hair less mid-treble and a warmer mid-bass, but those are minor quirks on an otherwise strong product. However, if the rumoured MSRP (between the VE8 and Erlkönig) proves to be true, the Elysium will have to endure further scrutiny.
I'm also happy to announce that the Elysium has won a CanJam Cup award! It's one of three in-ears to take home the Technique Magnifiqué category, which recognises technical performance. Congrats VE!
"Vision Ears’ Elysium delivered some of the best individual responses I heard at the show. Its bass was an accomplished all-rounder, managing to sound taut, full-bodied, resolving and natural in tone all at the same time. The midrange too delivered excellent emotionality and depth without compromising clarity. And, the top-end had some of the best clarity-to-body ratios I’d heard from electrostatics yet. Now, how all that comes together – as well as the rumoured MSRP – is still up for debate. But, I reckon the Elysium is an outstanding achievement, as well as an engaging listen, regardless.
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