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The sound is engaging and quite detailed, while the tuning is excellent although too midbassy at times. Soundstage is below average and the boomy midbass threatens to congest it every now and again. Fun though, and a good budget pick.

Before listening I wanted to nickname this Kanasai a Chinese dialect for "just like poop" but nah, it's not bad. SoftEars Cerberus I didn't know who they were too, but I'd love to hear how Chi-fi implements the miniature electrostatic drivers.

Vocals are clear and forward, bass is tight and impactful, and treble is smooth and shimmery. The soundstage is wide and airy too. Dunu DK "What earphones are you into? I first heard the prototype in , here in Canjam too, and they took their time with the release. Was it worth it then? Not quite. Like the Cerberus the vocals are clear and forward, and subbass provides enough rumble for fun.

However, the midbass hits aren't clean and tends to be boomy, the treble is Dunu-hot having heard their DN2KJ in at least they're consistent and the stage is too small to contain all the action. Do you have USD? Save it. So far it's been a miss for me the unEQ-ed LCD-i4 sounding horribly off to me so here's a shot at redemption Nightingale has a warm signature suited for easy listening.

It's light on the subbass, but the heavy midbass congests the signature. Mids are fine but the treble sounds muted. The open vents present a far and wide soundstage, but curiously lacking depth, going so far as affect centre imaging which is muddled. Notes are overly smoothed out resulting in an uninvolved, indifferent listen. Maybe it's just me? I've had the original W for quite some time.

The good stuff I like are still there, like the clean and airy mids, and wonderful DD bass that's impactful and decays wonderfully. The retune of the treble is odd to say the least. The timbre is also a bit I gotta say I don't know what happened with this one. I like it a lot. A hell lot, probably the first triple hybrid I truly enjoy. It gave me a wow factor like the Fourte did last year. Subterranean bass with real impact and rumble down to the abdomen unheard since their W days , midbass with quick and natural decay, clear and ethereal mids, with a delicate tone that's not accurate but still inviting all the same, and a treble that continues in the same fashion, with clarity, transparency and air at the forefront.

As an added plus, the soundstage is among the widest I've heard, just Look, AAW flagships will not be known as studio-accurate or Timbretron , but they present music in a way that is unrivalled in enjoyment. It's so much fun relisten to songs you're familiar with, just to see how they do it.

Throughout the show I listened to segments of tracks I'm familiar with. But here, I play the tracks in full. Just for kicks, I played a classical track, heard some subbass rumble and had a good laugh. Curiosity piqued and wow factor through the roof, I listened to the Canary three times throughout the show.

Showing technical proficiency and head-bopping fun in one package, it's mind-bogglingly addictive. When they went ahead and introduced the new flagship with titanium chambers, decked out in gold, I thought I should save up.

But no. Unsurprisingly, this is the most technically accomplished Acoustune yet. With the nittiest, grittiest of details unearthed, fastest transients and the widest, airiest soundstage of the brand. However, the treble is bright to the point of splashiness, and distracted me from the rest of the signature. Although mids and bass are well done, the off-timbre treble is too prominent and I couldn't listen to anything else.

I really wanted to like this, but again, true love lost. Meze Empyrean What a beautiful headphone. I felt inferior just holding it. The sound signature is neutral-warm, and inescapably, beautifully coloured and refined. The colouration heightens the emotions, sweetens the human voice and instrument timbre, giving me a one-way ticket to Tingletown. It is technically sound too, with great resolution and a spacious presentation. Notes are finely crafted and round, weaving in and out of the soundscape effortlessly, but images with cool precision.

You could very well imagine a small string quartet or live band playing in front of you. I could listen to this headphone for a long, long time. Notes are thick and syrupy easing into one another like making ice cream. I like more treble excitement and bite to the notes. Auteur has a big, bold and musical sound, sounding immediately more refined and detailed than Aeolus, while maintaining most of the lushness. Here the transients are faster and presentation is airier, although the stage size is deep and not too wide.

Do I like it? Totally worthy of flagship status. Verite veers ever closer to neutral, but yet again, house sound intact. Transients and texture are better than ever now, as are the spaciousness and airiness. With each new flagship we get more technicalities without sacrificing musicalty. Perhaps I should get a neutral can elsewhere instead of waiting for new ZMF flagships? But I really love them woods. For the record I spent half an hour listening here, longer than any other booth.

No other headphone transports me to a venue like this. I listened to unfamiliar tracks and closed my eyes, safe in the knowledge the exhibitor was watching over me. As the band played, I could hear fingernails tapping on piano keys before the actual key is played, fingertips gliding on strings, and as the audience clapped, I felt they were around me.

Simply out of this world. The best of the best of the best lol. The nuances are lost, like the overt physicality and brute power of the TC. Bass was most affected, sounding thuddy and thwacky instead of resounding wallops. Mids are treble are still finely textured, but the overall experience is horribly inadequate compared to the magnificence of the TC.

Lesson learnt, drive Diana Phi or any Diana for that matter from a full setup. Focal Stellia Here it is point blank. The detailed, dynamic signature is fine, but the claustrophobic soundstage made it sound like tiny arrows lunging towards my skull. It is still snappy and dynamic, with a Utopia-like signature but warmer and smoother. Most important, notes have some body to them, not just pins and needles.

The bass is well-layered and visceral, and while the detail levels are excellent throughout, upper mids can be shouty. The stage is still smallish, but acceptable for a closed back, and imaging is stellar. This is my favourite Focal can. Stax SR-L Back to estat land. This is like liquid butter. Smooth and analogue all the way through with a natural decay, yet with transients fast enough and a background clean enough befitting an estat headphone.

Like a leaner and meaner LCD Mids take centrestage and sounds quite captivating. In the full context of the L-series, the L has the best balance and detail levels. The sound is even more textured and realistic, as well as having fantastic tone and timbre, taking engagement level and musicality to new highs.

The analogue signature is not lost, sounding even more effortless. All this lovingly wrapped in a natural, expansive soundstage with accurate imaging. Damn good. Stax SRS All hail the new king, as they say. And true enough, the merciless treble of the is now sweeter and tamer. Notes on the whole, are given smoother, rounded edges, losing none of the resolution of the original.

I would however, try out some Eminem with the TC just for the heck of it. But, this magic only happens outside my ears. The exhibitor said I wore it right, increasing my paranoia. Verum Audio Verum 1 This is one of the value buys of the show. For the life of me, I cannot take home something that looks this ugly. So with looks like that, can I expect a refined, perhaps exquisite experience? The midbass more or less overpowers everything else in the spectrum, with a slow, slow decay that lingers for hours after the note is played, injecting the signature with wafts of warm, humid air.

Mids when I do get to hear them and treble were muffled. With regret, I ditched the listening session before even the song has ended. True love lost, once more. As the series progresses, the sound becomes fuller and more resolute, going from V to L as we move up.

The treble is very detailed too, but from here on the sound is too immediate and congested for my liking. Bonus content: Music Sanctuary brings out their updated Soundwriter project. The sound signature is sort of M4-ish with a more organic tone, and a most welcome increase in stage size and airiness.

I quite like it. Big stage, big bass, big everything. The Z1R does everything correct. Treble is smooth and extended, at the same time tremendously airy and transparent. Best yet is the presentation. Stage size is wantonly huge and airy, dynamics simply fit the epicness of the Z1R, overall tone manages to remain organic, while note size is just right and well-textured. What an achievement. The signature is warm, smooth and quite bass-oriented. Technical ability is good while maintaining an organic tone, but the sound is non-engaging and lacks dynamics.

EarSonics Grace The Grace is like its namesake, carrying a soft and gentle signature which is balanced and technically sound. However, to me it sounds almost too pleasant and absent of dynamics. It might be perfect for non-fatiguing, prolonged listening, but really not for me.

EarSonics Purple This is a more exciting listen, with good treble and airy vocals, if just a bit thin. What mars the tuning is the tame and one-note bass performance which plods along with poor decay. Even among BA bass this was bad. Dita Audio Fealty This is quite nice. The smoother of the Twins is well, smooth and balanced with a bit of excitement, and for the most part sounds coherent and clean.

The bass is curiously, a bit muffled and perhaps too rounded, but otherwise the rest of the signature is beautifully textured. Dita Audio Fidelity The detail-oriented Twin is neutral to a fault and highly resolute. Notes have a crunchy, bitey texture while the stage is wide and open. Taken as a whole, both the Twins are nearly there. Dita Audio Project 71 Wow, this was unexpected. A good marriage of both worlds, sounding lush and organic yet open and refined.

Tone and timbre is wonderfully natural, while vocals are brought forward slightly, syrupy seductive and emotional. Sold out everywhere, hot dang I missed the boat. A prominent upper mids boost lends air and clarity to the signature, sounding fast and precise.

My only gripes are the small soundstage and the BA-quality bass. Still, call me impressed, this has aged well. Hidition NT-8 The update is a technical monster, sounding like a brighter NT-6 with more treble focus and flatter bass thuds. Although sporting a bigger and airier presentation than NT-6, the NT-8 has a timbre that is essentially too bright. Notes are hard-edged and grainy too, promoting a sterile sound I find hard to get into.

Expecting even more treble, I was met with the best-balanced Hidition of the lot. Notes have emotional quality for once, sounding fully-formed. Even so, crispy air is abundant throughout, never sounding congested despite the weighted notes. The entire signature sounds incredibly refined and dynamic. The experience is heaven-sent. Violet is truly a masterfully-tuned masterpiece, and one of my show highlights.

Noble Audio Khan Khan, the mighty triple-hybrid flagship, veers further away from their old K10 which was tuneful and easy-to-like. Notes have a bright edge, making the treble and mids sound extremely textured. The treble leans dangerously toward slight sibilance, while the bass is mildly elevated giving tight, rounded hits. No doubt Khan showcases immense technical ability, and pares music like a surgeon after a few rounds of caffeine; but a part of me wishes for the old Noble sound, with emphasis on euphony and emotion.

They share a similar bright-edged signature, and while Khan is the fun one, Encore chooses the more serene route, although only as serene as a neutral-bright signature affords. I kinda like Khan more. The stage size is average, as are the imaging, but mids and vocals are well-tuned. Aroma Audio Ace The affable owner, Anthony, walked me through the four sound sigs Ace, Jack, Queen and King of his beloved flagship, each tuned with a specific frequency bump.

Vocals both male and female sound supremely rich, intimate, and smooth as butter. Elsewhere, the bass is warm and full, while the treble is crisp but not splashy. The soundstage might be average, but layering and imaging is quite good. Ace was, I bet, tuned with Cantopop in mind. The poison was at its most venomous when rendering vocals with simple instrumental backdrops, very characteristic of pop ballads in Cantopop.

For a staggering SGD, I expected it to handle every genre and make me sandwiches. Do take this review with a pinch of salt. The retail package differs greatly, so I am not in a position to discuss the packaging and accessories. Cable believers, you do the math. Specimen 1: PW Audio s aka really, really expensive. Pentaconn Ear Plug One other thing of note. It looks like a modified MMCX connector that has a pin in the center of the socket to improve secureness.

From my experience, the fit is easier and more compliant than MMCX, and the build is more robust than 2-pin. A small click connects the cable, and removal needs just a short tug, alleviating the ill-fitting nightmares MMCX might bring.

Sound Quality WIth a name that can only be associated with warships and wrestlers, you can bet the Annihilator harbors aggression and demands attention. But does it sound any good? Overall Sound Signature In a word, yes. Resoundingly so. The Annihilator is a U-shaped IEM in its purest form, with elevated and authoritative bass, hyper-detailed and bright treble, and a mids section that takes a step back but binds the volatile signature together.

Notes are fast and furious, while the presentation is aggressive yet airy. This is an IEM that carries out a protracted character study on the Sonion EST drivers, a meditation on the attributes of full electrostatic setups: astounding detail, pristine transparency, relentless transient speed and air, ungodly air.

Listening Conditions Being a well-worn, oft-auditioned demo unit, burn-in was not carried out. Bass Once upon a time, my virgin ears were exposed to the almighty bass of the Legend X, and it became my benchmark for jaw-dropping, earth-shattering bass… until now. Annihilator has an ominous sub-bass that is more heard than felt, with a rumble that just tickles the throat. Extension below is superb, but there are other sub-basses with more gruff and thump.

The meat is in the midbass, which conveys authority and power via hard, solid punches. The midbass energy is counterbalanced by a balletic, swift decay that wipes the stage clean. So despite the heavy-handed bass punch, positioning, layering and texture are rendered wonderfully thanks to the note swiftness and abundant black space. The bass is further enhanced by a natural roundness and timbre, lending an organic, speaker-like quality. Tight, taut and impactful, with tons of detail to spare.

It runs circles around its peers without breaking a sweat. Mids First off, these are not mids to soothe the heart nor calm the nerves. You will find no reprieve if you seek seductive vocals, or a shoulder to cry on. Emotion is a currency and the Annihilator is stingy. Transition from the full, padded bass notes to the thinner, sharper mids is noticeable.

The mids are called to action with crystal-clear definition and a relentless pace, but note richness and timbre fall by the wayside. Timbre is unmistakably skewed bright, and the note texture is a bit edgy. Lower mids also take a dip, leading to throaty male vocals. But once you accept the mids for what they are, you begin to enjoy them.

They provide a clear, transparent window to the music, an honest and unfiltered representation of the recording without tint nor coloration. They pave the way in detail levels, speed, air and dynamics, uncovering nuances and micro-details even my seasoned ears could not hitherto perceive in familiar songs. For sticklers of detail, the Annihilator is easy to recommend. Measuring IEMs the only way I know how. The highlight of the Annihilator, the Sonion EST drivers are pushed to the last drop of sweat, retrieving layers upon layers of information found in every pore and crevice of the track.

You will hear music in all its glory, for better or worse. The resolution is nigh insurmountable. The treble is thin and crispy with a bright tinge, while note size is reduced further from the mids, rendered more agile and pinpoint.

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I typically used them for working out and now, mostly for running. Sweat played a big role in the failure of the earbuds. The sweat would either cause the individual earbuds to slip out of my ear during a run sometimes a race! And in even worse conditions, the sweat would cause an individual earbud to stop working usually temporarily, but sometimes permanently.

Sound I am in no way, shape, or form an audiophile. The sound is crisp and clear, there is some nice bass behind it, which I like. Some of the things I was reading about reviews for these headphones were that the quality was great for the price. The stock iPod earbuds did not fit into my ears and fell out almost all the time while running. When I first opened the package, the instructions actually showed how you could straighten the wire to use as regular ear bugs if you were so inclined to do so.

But I think this is a really unique feature to tailor to all users and not just one specific type of user with a certain shaped ear. They want to be both bassy and detailed, but they over-shoot and miss the intended mark by some way. Bass response is good for a low-end earphone, with plenty of the stuff to go around. It goes over the top occasionally, with some bass guitars and low synth sound bubbling over uncomfortably like a jug of custard left in the microwave too long.

MEElectronics has tuned the M6 earphones to offer improved detail over the slightly cheaper M9 buds, but the resulting high-end is harsh and sibilant. Classical music sounds tinny and artificial, the over-reaching treble unable to summon anything approaching a realistic tone for searing violins and woodwind instruments.

Even far less refined electronic music — which should make good use of the MEElectronics M6 bass response — is adversely affected by the brittle treble in a way that puts a damper on the things it can do well. The Sennheiser CX may pump out less high-end detail, but at least their sound is never offensive. Verdict In the M6 earphones, MEElectronics was admirably trying to create a pair of earphones that both look and sound far more expensive than their very low price.

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