I'll start by thanking Sebastien Chiu for giving me the chance to try these two Effect Audio cables:
1) Effect Audio Code 24
2) Effect Audio Code 24 C. Limited
Let's start with aesthetics. Given that I think this cable is (obviously a demo) it was not finished in all its "aesthetic" details and they were sent to me in cardboard packaging. Therefore not in their original box/packaging. Apparently in terms of external construction and measurements they are very similar, in addition to the fact that the Code 24 is BLUE in color and the Code 24 C. Limited is PURPLE in color.




List prices: $799 for the Code 24 (Blue) and $499 for the Code 24 C.L. The previous Code 23 cost $599.
Aesthetically, the two cables have very bright and shiny colors. To my taste, the purple color is very beautiful. I noticed a certain rigidity in both. Especially in the curvature that passes above the ears. Pins (maybe...and I mean MAYBE) slightly shorter than "normal". But I repeat: What was sent to me is a demo, so it may be that certain "details" have been put in the background.
I tested the two cables mainly with L&P LP6 Ti and LPGT Ti. And I must say that the results were very similar, in the sense that the two cables maintained their respective peculiarities more or less in both daps in the same way. The comparison was made with: Fir Audio RN6 (with its stock cable) and with Noble Viking Ragnar (with its stock cable). I preferred to focus attention on the test with L&P LP6 Ti, as the best performance of the two Effect Audio cables was reflected more with L6P than with Lotoo.
Let's go…………….

FIR AUDIO RN6 – Effect Audio Code 24 (Blue):
On the low range I noticed a stronger "thud" than the stock cable. The scene appears slightly more closed (but RN6 itself is quite "open") so it is a subtlety that can be grasped with certain listenings and with certain recordings. The sound with Code 24 acquires much, much more body (which is a small deficiency that I personally have always found in the excellent stock cable). The sound is also more structured across the entire sound spectrum, but is more noticeable on notes in the low range. Female voices with Code 24 appear to be a little further forward and are noticeably clearer and brighter. The midrange (like part of the low range) is a little warmer. Compared to the original cable, the Code 24 pays off in speed and clarity. Overall the sound is less open, as I had already written, but it is less dispersive and more "centralized" in the head.








FIR AUDIO RN6 – Effect Audio Code 24 C. Limited (purple):
The low range is lighter than both the stock cable and Code 24. But the attacks are faster and clearer. You can clearly feel each shot a little clearer and more sculpted. The midrange is overall more forward. The high range is faster and clearer (compared to stock and Code24) and faster. The body of the entire sound is excellent at 360°, which remains very similar to the Code 24. The Code 24 C. Limited is especially striking for being more open than the Code 24 but always less open than the stock cable.





NOBLE VIKING RAGNAR – Effect Audio Code 24 (Blue):
Low range a little further back than the stock cable. But sculpted and without smudges or continuation of the notes. It has (again) more body than the stock cable. However, it remains less clear and less fast... and I would like to point out that this (for many) could be an advantage, because I often hear people complain about Ragnar's "limitation" which lies in too much clarity and speed (but for me personally the stock cable I like it for this reason, but it remains a completely subjective evaluation). Even the Code 24 voices remain just a little behind the stock cable. However, the mid and medium/high range improves and acquires more body (as in RN6). The Code 24 is (in my opinion) compatible with the original cable if you want more body in the midrange and less speed. Here too... the scene remains a little narrower than the stock cable.
This confirms that Code 24 in both RN6 and Viking Ragnar has still maintained his character, without getting upset.










NOBLE VIKING RAGNAR – Effect Audio Code 24 C. Limited (purple):
At first glance, the openness of the Code 24 C is clear. Limited has more body than Code 24. The voices are very nice, clear but never intrusive. Slightly older than the original cable. The Code 24 C. Limited however loses something in terms of speed: therefore the Code 24 C. Limited is slower than the stock cable, but faster than the Code 24 (on Viking Ragnar). In the high range, the Code 24 C. Limited is very pleasant, even if it loses just a little in clarity, but it gains body, on a high range (like that of Viking Ragnar) which makes it really more beautiful than it already is with the stock cable . To my great surprise! I come to say one thing: Before now I had never had (as MY limit) the tiring high range of Viking Ragnar. Code 24 C. Limited makes it that much more "harmonious" to perceive a more "smoothed", "persuasive" listening experience. The impact of the sound as a whole is less "WOW" than the performance of the stock cable, but makes it more qualitative, finer in grain. I'll say it again: Maybe I prefer (on Viking Ragnar) the Code 24 C. Limited certainly to the Code 24, but also to the stock cable. STUPENDOUS !!!!!!!!!!!!!!!!

AROMA FEI WAN
Specifications

• 12 drivers with 4-way crossover,

• impedance of 18Ω at 1KHz,

• sensitivity of 103 dB SPL at 100 m V RMS,

• acoustic insulation of 26 dB (CM),

• frequency response of 20-20KHz.

It is composed of 10 balanced armature drivers and 2 9.2mm dynamic drivers, with a unique patented technology called "Magnetic Phase Pair Strong Coaxial Dynamic Driver Technology". This technology involves reversing the magnetic and coil polarity of one of the dynamic drivers, resulting in improved sound density and dynamics.

I tried and listened to Aroma Audio FEI WAN, kindly lent by my friend Xinlisupreme. Let's start with visual and tactile contact: Shell not small but comfortable and adaptable at least to my ear canal. Transparent yellow side color, very intriguing due to the visibility of the perfect internal construction with relative driver housing. Stands out in the yellow, the coppery internal color of the copper wires. Visually the contrast is very fascinating. The upper shell is always yellow, but darker and not transparent. Very nice Aroma cable, not slippery or stiff but light and easy to handle. This too is very refined and beautiful due to the assonance of colors, where the black color of the cable meets the burnished silver color of the connector (4.4 in this case).

I ran the test with:

LP6 Ti Luxury Precision (199)

Lotoo Paw Gold Touch Ti
iBasso DX320
The songs I chose for the comparison are part of my normal selection:
Rage Against the Machine (Killing in The Name) – Peter Gabriel (Apres Moi) – Jambinai (Onda) – Mono (Halcyon).

Well... with LP6 and LPGT the differences were very subtle and in fact I believe that the substantial differences were expressed more by the character of the two dap than by Fei Wan who kept his prerogatives, his character, his quality high. Different story for listening with iBasso 320.

With iBasso the mid-low and low range hits harder (whether you like it or not is a subjective factor). Very full-bodied, dense sound. Clear voices. Precise and quite detailed sound.


With LPGT the low range has less texture and sounds less deep in the mid-bass. Increase the speed and the sound remains more fluid but with less body. With LP6 Ti (199) it seems to be in the middle between iBasso and LPGT. Everything sounds more compliant and above all balanced. It remains a bit less "cold" than LPGT where the sound remains clear (without ever exaggerating). LP6 Ti (199) has a great personality and of the 3 daps it is the one that best suits Fei Wan's character. He gives it a more correct sound than on LPGT or iBasso320.

Same thing about the midrange. I sound quite close with LPGT and LP6 Ti, where (like the Jewel) you get lost in the quality (high I must say) and I think it is the star of listening to Fei Wan. Structured voices, just a hair behind the instruments, but by equalizing LP6 Ti and LPGT you can adjust this parameter (if desired). Very clean, precise high range. From memory I would perhaps venture to say that personally I prefer the high range of Fei Wan to that of Jewel. Su Fei Wan seems fresher, bolder, freer. With LP6 Ti the sound remains enveloping, soft, but always responds excellently when the songs require energy and liveliness.

With iBasso both the mid range and the high range remain very very granitic. The sound acquires great power and structure. All this is a bit to the detriment of focus and three-dimensionality. The sound, while remaining qualitative, remains less fluid and a little less fast than with the other two Daps. But I repeat...here there is also a personalized issue of listening pleasure. I'm notoriously not a fan of low range. The sound of iBasso is therefore the one where Fei Wan's low range is most exalted. Although I prefer Fei Wan's low range with LPGT, where it loses a bit of body and remains drier and more controlled.


The characteristics of Fei Wan, however dap regardless, are very clear. She is different from Thunder, different from Ace and Jewel. In common with Jewel, I appreciate the quality of the midrange. On the high range it remains the most pleasant Aroma that I have listened to so far. A mix of quality and freshness that is not easy to combine in a single iem. The sound has a good soundstage. Neither immense nor narrow. But very well circumscribed. It seems to be in an excellently treated recording room. Where the sound remains neither analytical nor artificial in the opposite sense. The voices are good in general, always and anyway. On LPGT they are slightly advanced compared to the instruments, while on LP6 they seem more in line with the instruments. With iBasso the voices are more structured but barely veiled. The high range was a revelation for me. Clear, full, fast, never tiring or lacking. I found it perfect if I may say so.

I had Aroma Ace. I listened carefully to Thunder and tried Jewel for a few hours. I'm not hiding: Among these (each of which I liked for different reasons) I however find that this is a sort of collection of the work done by Aroma previously for a different product. I found Fei Wan to be very balanced throughout. Harmonious, but fast, open, but without overdoing it. It's not the iem that you put on and say "Wow" (as happened to me with Viking Ragnar for example), but after a while you forget you have it. She is light, sweet, never tiring. A listen that is never tiring or demanding, but still of high quality, like almost all the Aromas I mentioned. If I were to buy an Aroma today, I would definitely get Fei Wan. A truly new product. Unexpected…that you still think about it even after a few hours of listening, trying to find its flaws….

Congratulations Aroma

I received two cables from the VERUS AUDIO company, which I had asked for as a "test", since I had read right here on Headhifi, that musically speaking they were interesting products, with a good compromise in terms of quality/price ratio. Having no further feedback, I contacted Verus Audio and after a few emails, the company (very kind, courteous and helpful), sent me two cables: White Caviar 8 (in silver) and Vanilla 8 (SPC). The packaging is simple and clean. Aesthetically, the two cables are very similar, if not for their (different) dimensions. However, both are light, flexible and also appear to be quite robust. I tested both Verus Audio cables with the Dap LPGT-Ti and my four IEMs: Oriolus Traillii, Noble Audio Ragnar and FirAudio RN6, AFUL P8 (which I later sold).

The White Caviar 8 is UP -OCC Silver Litz 28 AWG Type 2 Litz. 8 braid (1.2mt) Available connector : Rhodium Connector , 3.5mm, 4.4mm, 2.5mm Tellurium Copper Rhodium 2 pin 0.78mm or MMCX

The Vanilla 8 is UP-OCC SPC Litz 28 AWG Type 2 Litz. 8 braid (1.2mt) Available connector : Gold Connector 3.5mm, 4.4mm, 2.5mm Tellurium Copper Gold 2 pin 0.78mm, or MMCX






Let's go immediately to the tests, which I carried out with this method: Iem with its standard sales/reference cable (except AFUL 8 where I put the Effect Audio Chiron cable) and subsequently, the comparison with White Caviar8 and Vanilla8.

Traillii /PW Audio 1960 : Traillii's voices appear slightly veiled, but nonetheless enjoy excellent presence. Controlled and deep bass, with plenty of detail spread across the entire musical range. Really excellent and harmonious midrange (the strong point of Traillii). Highs slightly set back but still clearly audible and present. Wide and deep stage really very remarkable.

Traillii/White Caviar8 : Clearer vocals and a bit forward than PW Audio. Low end a bit drier but very controlled. Slightly prominent bass. There are less details than PW Audio. Midrange also sharper and here too a little forward. Deep stage but a little less wide than PW Audio. Overall, the sound is faster, more vivid, more exuberant than PW Audio (which for Traillii is a remarkable quality…at least for my listening pleasure).

Traillii /Vanilla8 : Items like on PW Audio, may seem a bit more advanced at times. Deeper bass than with PW Audio, there's more thump on the notes. It has less detail than PW Audio. Slightly faster and forward-shifted midrange than PW Audio. Vanilla8 overall feels more responsive than PW Audio. Truly huge 360 degree internship. The sound seems to come equally from all sides. Here Vanilla8 is impressive.






Ragnar/Wires of Magnus : Slightly back entries. Highlights. Nearly perfect bass. Deep, dry and controlled. Excellent details. I've never heard of any iem going that far. Open sound (wider than deep). Micro details at the highest level. Full sounding, and maybe (maybe) slightly clear overall

Ragnar/White Caviar8 : Voices later than the original cable. Thicker sound than stock cable. High range a little less incisive and not as fast as the Magnus. The details with the Caviar8 are like the stock cable or in any case hardly distinguishable in their differences.

Ragnar/Vanilla8 : Clean voices and still a little more forward both compared to the Caviar8 and in the presence of Magnus. Really beautiful and quality. Fuller bass than Caviar8 as well as stock. Excellent detail and control, more or less like the Magnus. The Vanilla8 loses to the stock on the speed factor. Width and depth like the Magnus. In general, Vanilla8 is less clear than Magnus, but of the 3 cables tested it is the one that makes the low range more full-bodied and full, always maintaining excellent control. It dampens the clarity of the stock (to some the Ragnar is slightly bright) but gaining in granite and body. It's a bit more relaxing sound than the Magnus in terms of listening fatigue.





RN6/FirAudio Cable : Voices a little behind. Deep bass but not over controlled. Clear highs but never dry and/or tiring. Medium/High a little evident overall. However, the sound is rich, beautiful, present. Not very detailed. Great “Live” effect.

RN6/White Caviar8 : Overall better vocals than FirAudio, with more presence. Sound a little more open. Bass stronger in impact and more present, more audible. Excellent details across the range. Clearer high end and more fun to listen to. Adds cleanliness almost everywhere. Generally improves the performance of RN6.

RN6/Vanilla8 : Normal entries. Less textured bass, but more micro detail than stock cable. However, the sound is thicker. Medium / low more present as well as the medium / high. Overall clearer scene, but much less circumscribed in the listener's head.





AFUL P8/ Effect Audio Chiron : (which is not its stock cable) Standard voices, and very faithful reproduction. Very strong bass impact, full, sufficiently controlled. Full-bodied and present mids. Not very strong and incisive highs, but enjoyable and with excellent presence. Smooth yourself. The Chiron doesn't feel very fast.

AFUL P8/ White Caviar8 : Forward-shifted vocals are sharper than Chiron8. More open and more transversal sound. Sharper and brighter high end. Full and very well controlled low end. Everything is more correct and it seems that a veil has been lifted in front of the listener with respect to Effect Audio. With Caviar8 the sound has more “studio effect”. AFUL P8 thanks!!!!!

AFUL P8/Vanilla8 : Very beautiful and quality voices. Hotter than Caviar8, but crisp and slightly forward. There is overall less impact, less “wow” effect than Caviar8. Low end like Caviar8, but a grain less controlled. All in all, a more rounded, persuasive, enveloping sound than Caviar8. The midrange is excellent, slightly ahead of the whole scene. Overall, more correct sound than Cavia8, but less impactful. Great details.

Overall two cables of really excellent quality and workmanship. White Caviar8 generally maintains its qualities, but significantly affects the IEMs. In the sense that its character can change the musicality of the iem, and shift it to various parameters. It is therefore important to know WHAT you want to change, fade or vary the sound of the head IEM, and consequently opt for this cable if you want to move or modify the sound in a certain direction. It can therefore definitely change the perception of sound. If for the worse or for the better, it logically becomes a very subjective factor, but the Caviar 8 certainly has its own strong and preponderant character. The Vanilla 8 on the other hand, regardless of the iem, has a globally more reference sound. It is a cable that adapts to the sound of the IEM without changing it, but only affecting the musical parameters, typical of copper covered cables. It therefore gives a touch of warmth, body and harmony. But the particular thing about this cable is that it is always very articulated, detailed and never muddy. I would say that it is particularly suitable for those IEMs where sometimes it is really in perfect synergy. With Traillii and Aful 8 it performed admirably. I speak of course of my personal listening pleasure. Vanilla 8 is a cable that surely reserves fewer surprises than Caviar 8. It is more ductile and adaptable than Caviar 8 and I would say that it goes well with any IEM, as long as you like the "not typically silver" sound. It really has great quality. Caviar 8 is different: it changes the sound of the iem more clearly….it is therefore important to know beforehand which listening parameters you intend to modify with a cable. On voices and clarity it certainly has its own important characteristic. Sometimes it has the classic "WOW" effect with an excellent auditory impact in terms of body to be a silver cable, with excellent results.

I forgot the prices:
White Caviar 8 = $545
Vanilla 8 = $165

Good job Verus Audio…….

Before starting, I would like to publicly thank Andrew of MusicTeck always particularly kind and helpful, for giving me the opportunity to listen to the Noble Audio Viking Ragnar.
https://shop.musicteck.com/collections/noble.


A few words about the name....
Ragnar Lodbrok, according to legend, was recognized as a Viking hero and a Swedish and Danish king. According to the story, Ragnar was notable for many raids and innumerable raids on the British Isles and the Holy Roman Empire in the 9th century. According to a saga, Ragnar's father was a legendary Swedish king named Sigurd Ring

Let's move on to the technical data of the Noble Audio Viking Ragnar:

10 drivers (DD+BA+Electrostatic) divided into:

2 x Dynamic Drivers

2 x Midrange Balanced Armatures

2 x Treble Balanced Armatures

4 x Electrostatics

Frequency: 20Hz – 40KHz

Resistance: 17 ohms

Sensitivity: 1KHz 112dB

Crossovers: 4-way



Cable:

4.4mm Magnus cable constructed from Graphene, monocristalline silver, and copper silver alloy. Twisted conductors 1.064

The internal parts of the Viking Ragnar are the same as those of the Viking, thus giving the listener the opportunity to "experience" the sound of the Viking. Even the shape of the shell remains the same, even if the beautiful damask is missing (which also raises the price), but from an aesthetic point of view it is a great "observing". The cable is a 4-strand Magnus that includes monocristalline litz silver, copper-silver alloy, and graphene. Terminated with 4.4.mm Pentaconn.

Ragnar is presented in its "classic" black top case with NOBLE writing in white. Inside the case we find a small metal plate with the Viking Ragnar logo. A bag with various types of tips of different colors, sizes and construction of materials. Two black elastic bands with white “Noble” lettering and magnetic black leather case for storing the IEM and cable.

The Ragnar (unlike the Viking) does not have a completely damask metal body, so it is not as visually impactful, but overall, it is a little lighter. Very particular dark gray and black color design. Also nice to the touch. Inside we find a total of 10 housed drivers divided as already mentioned in the specifications. Personally, I found the fit good. I would say perfect, but this is a factor that remains purely subjective and linked to the conformation of the ear canal of each of us.

But I go straight to the sound: Ragnar's presentation is truly of immense aural impact. As soon as mass is literally "WOW" without ifs and buts. The synergy with LPGT seemed to me excellent even if I was afraid (initially) that such a neutral source with a slightly radiographic IEM might not be an optimal combination. But it was not so. Indeed, I must add that already after about fifty hours of listening, the sound became more full-bodied and the clarity gave way to a much more homogeneous context and, if I may venture, even more balanced. And in any case after almost 100 hours the sound continues to change, becoming slightly more mellow, more addicted. I've read somewhere that Ragnar has a bit of a colorful sound……I'd say Ragnar sounds like an exact copy of what you're hearing. Like a photograph. Whatever it may be. In the first listening session I must say that going from Ragnar to Fir Audio XE6 and vice versa, it took me a few minutes to RE-adapt to a certainly different musical typology. Then the pleasantness of Ragnar or XE6 logically remains a very subjective thing but the differences are quite marked. In Ragnar overall there is a truly record-breaking recovery of details and micro-details. In some passages that I know quite well, I have caught notes of the same instruments never heard with other iems. So much so that I went back and listened to it again to understand if what I was hearing was true or the result of psycho acoustics. The funny thing is that listening to the low range, I have to say that the two DDS do a great job, but as the song progresses, we tend to forget all this because the absolute star of the listening is the high and mid-high range. I am very sorry to have sold my LP6 Ti, because I have the clear impression that it could have been a perfect marriage with Ragnar.



TECHNIQUE and SOUND:

Ragnar goes a little out of the common ordinary. In common with Traillii (for example) it has a very large soundstage both in depth and width but the representation of this is different. Overall Ragnar plays many more technicalities and many more tools. The separation of the instruments in my opinion is at a very high-level level and sharpness. Then… unlike Traillii, he conveys everything in a less harmonious and persuasive way, because it's not in Ragnar's character. Even if he does everything with such quality. On some songs I heard notes and details never heard before.


TIMBRE:

Traillii, Isabellae and XE6 are 360° warmer almost everywhere in the sound spectrum, while Ragnar is light years ahead of these 3 iems in the high mids and highs. Even compared to Jewel it is abundantly sharper and with excellent separation between instruments. As well as on vocals, although I have to say that Jewel on vocals (both male and female) has more quality. It seems that Ragnar compared to anything else, sounds almost unnatural, but it's not like that. It's just and definitely different. There is an objective datum where one can quibble: it is the response of the treble that appears to be intensified compared to all the rest.

BASS:

I find the Ragnar bass to be very deep and very controlled. So much (sometimes) that it doesn't seem like a DD. He doesn't have any bleeding. It has space around it, but everything is always very well circumscribed. In metal tracks, where the bass speed is sometimes truly remarkable, Ragnar still manages to always maintain excellent separation and even more a great ability to maintain details. Compared to XE6 it has less thud (and I like it a lot for this too), and maintains that sense of airiness, breath and clarity that other iems lack with a deeper bass, articulated but never so sharp or clear. Although overall with metal music the choice between XE6 and Ragnar becomes a subjective thing, with electronic music that Ragnar is better than XE6 is quite evident. On the low range it is one of the most incisive sets I've heard. Perhaps for my taste one of the basses that combine depth, impact and very clear ends, without smudges.





MEDIUM:

Lean, dynamic, fast, open, qualitatively luxurious and detailed. Its midrange is neutral in the truest sense of the word. It never loses its sense of musicality (not like Traillii of course), but as detailed and lustrous as it is one would expect it to be even slightly above bearable, but it isn't at all. It often happens that even if you know a track well, you can pick up musical details whose existence was completely ignored before. In their entirety they have a fairly sweet texture. It seems that the voices (both male and female) are shifted slightly forward, making them more impactful, without ever transcending into digitality. However, they sound three-dimensional and every note of the stringed instruments can be perceived beyond all imagination and above the reproduction of any other IEM. Technically I think they are the best on the current market.



HIGH:

It is Ragnar's characteristic. In stringed instruments, you really can hear anything and everything. Perhaps slightly clear overall, but quality and body act as a counter altar. Technically I've never really heard anything like this. Everything seems to be perfect, maybe even too much. There is a lot of air and space overall and between the top notes. The high end is beyond any doubt the part that polarizes all of Ragnar's sound. In pieces of the pop or classic jazz genre, the notes, although very detailed, never lead to the most absolute brilliance. Also, in this Ragnar knows how to give an open and clear high range but also soft when the piece requires it. In metal songs it is never harsh, hard, or excessively present. Perhaps it is in the songs that are not perfectly recorded ... there it is a bit like a photograph and if necessary, it can be a bit shrill. I don't find (as someone mentioned) that it has a slightly cold tuning…but maybe it's just a matter of getting used to, because you have to get used to the sound of the Ragnar as I think it has a high range perhaps never heard in this mode, before this iem. A fusion of perfection, detail, technique but of the highest quality.



COMPARISON : Jewel/Ragnar and Traillii/Ragnar


JEWEL vs. RAGNAR:

I'm going from memory…having heard in the same session, Jewel, Ragnar and XE6. Jewel and Ragnar are two IEMs if we want to put it that way, with a neutral, technical, fast sound. I found the mid range of Jewel more melodious, compact, certainly more beautiful. Overall, bottom, top, and technically, I much preferred the Ragnar. The quality of 80% of Ragnar's 360° sound, but made her preferred, without the slightest doubt. Jewel (albeit neutral) has a more soulful sound than Ragnar which is however much more technical than Jewel. In the low range Jewel has a more powerful thud, but Ragnar has a bass that never overflows and is always very precise and restrained. Jewel in the high range certainly remains more intimate than the
slenderness, breadth and audacity of Ragnar. Ultimately, I believe there is no absolute best between Jewel and Ragnar. I believe that even in their similarities, the difference is made by the personal listening pleasure. And here I can go too far in saying that I like Ragnar infinitely more than Jewel.





TRAILLI vs RAGNAR:

Here in some ways, the differences are amplified. If Jewel and Ragnar have similarities, it's not exactly the same here. Overall Traillii is certainly a handyman compared to Ragnar, and has a much more relaxed, sweet, harmonious, persuasive sound. Traillii doesn't have Ragnar's technique or "wow", but has a more mellow, romantic sound. It is different precisely in the strict sense of sound setting. Ragnar with electronics is excellent. Traillii is like an armchair in front of a fireplace with a fire lit on a cold and overcast day. And you wouldn't trade it for anything or for any reason. Ragnar is an intense, sparkling, lively sunny day. Let's say that they compensate almost completely. And that's why I keep them both, I think for a long time yet. Even though……between Ragnar and Jewel as I said, I chose Ragnar without the slightest doubt, between Ragnar and Traillii, not only is it not easy to choose, but if I really had to stay with one, I would probably choose Traillii. You listen to it for hours and hours and it is always very pleasant. Ragnar is more beautiful and satisfying (in my very personal opinion) than Traillii, but it certainly implies a more demanding, more attentive, more quirky listening. Luckily, I don't have to choose and so I keep both. And, depending on what and how I want to listen to, I have a very valid alternation. I just have one doubt……I read somewhere that technically Storm is better than Ragnar. I haven't listened to Storm, but personally I find it hard to think of anything even more technical than Ragnar. I hate to think what could be better Storm than Ragnar in this respect. I hope to listen to Storm and clear my doubts.



For now (for me) Ragnar is number one.

My sincere thanks to Christian and Sebastien for their availability and the wonderful initiative of the Allegro Tour. And thanks at the same time for introducing me to the Plussound cables that I had only heard of but never listened to. Also other brands should follow the same initiative as Plussound……Thank you very much.

Technical specifications:
Drivers Used / Two 10mm Dynamic Drivers (for Low and Sub Low frequencies), Six Balanced Armatures (for Mid-Low, Mid, and Mid-High frequencies), Four Electrostatic Drivers (for High and Super High frequencies)
Crossovers / 6-Way Network
Impedance / 10 ohms @1kHz @1mW
Sensitivity / 112dB @1kHz

Allegro is presented (if I understand correctly) in the same black box that is attributed to the packaging of the Exo line cables. The real IEMs are instead contained in an elegant and comfortable light brown leather case. In the case itself we find a kind of circle a few centimeters thick, for winding the cable itself.
Allegro has 2 DD + 6 BA + 4 EST. Contrary to what I have read about the "difficult" fit, I must say that I personally found the fit very simple and excellent stability with the Symbio tips. Excellent stability even with Plussound tips. Which I find aesthetically very beautiful. Overall, the insulation is excellent. But I believe that, as often happens, it depends a lot on the shape and typicality of the single ear. I (again) have not had any problems….
The drivers as a whole work harmoniously with each other, and the most eloquent aspect is represented by the double DD. Allegro's sound would seem to come more from the front end. The image of the instrumentalists therefore appears to be in a space "in front" of you rather than 360°. Going forward in listening, Allegro turns out to be a fairly flexible IEM, in the sense that it behaves quite well and easily with all musical genres. This detail is by no means negligible. The sono " change in sound occurs when the cable varies.
I tested Allegro with LPGT Ti and LP6 Ti. So only with music on micro card.

The cables: All three (copper, hybrid and silver) I must say very well built and aesthetically attractive. Excellent workmanship and also pleasant to the touch. Not heavy or bulky like other cables, but above all really good sounding. Obviously I tried all 3 with Allegro and opted for the silver cable, both with LPGT Ti and LP6 Ti. But here the choice of cable becomes very, very subjective, and has many variables, such as Dap, genre of music listened to and (obviously) listening pleasure. Each of us has different tastes and therefore opts for different choices. However, the thing that I find very interesting is that Allegro with each of these 3 cables sounds different, basically maintaining its basic characteristics. But Allegro seems to be sensitive to Plussound cables. Perhaps (and I just say perhaps) the Allegro project was born precisely by virtue of the technical measurements of the Plussound designers. Rarely have I heard an iem change so pleasantly and always with different characteristics. I then tried the 3 Plussound cables on the Traillii, but I didn't get even half of the positive response I heard on the Allegro. Or perhaps it is Traillii that is particularly reluctant to change the sound, which corresponds to the change of cables.

PS Hybrid : The mid-bass seems to be quite powerful and detailed. The bass performs similar to the Copper, but with an extra edge of sheen. The highs are never intrusive and the medium high with the Hybrid cable is somewhat in the foreground compared to the medium high of the Copper, which in turn is however slightly sweeter.

PS Copper : Classic copper sound. Enveloping, full, with a particular reference to the low and sub-bass range. An influence is also perceived throughout the midrange band.

PS Silver : My favorite cable. Deep low end (a little less than Copper) but the mid range sounds louder and clearer. It seems to open up even a little bit more as a whole. Accurate and detailed.

Timbre: I have the precise perception that the Timbre of Allegro can change slightly, depending on the choice of cable and the tips to match. Overall I noticed a "light" musical weight of the notes on the mid/high and high range. Let me explain: For some, the body of the high range may not be sufficient, which overall is qualitative but with a body not on the same level as the low range and the same medium range. As I repeat, overall everything is very balanced. The high range at this point acquires panache and impact with the silver Plussound cable, which gives the sound that "jerk" on the highs, which otherwise some might find ineffective. A factor which instead turns out to be very expressive and appropriate on the low range, where the notes take on truly respectable weight and dimension.
Allegro (at least with LPGT Ti and LP6 Ti) can be driven easily and without much effort, having an impedance of 10 Ohm by itself. Both the double DD and the Est do not denote a particular energy absorption.



Bass: Excellent, perhaps to be a double DD I would have expected a not so louder thud (because the Allegro bass still has its weight), but in terms of depth I would have expected it to go lower. However, it should be added that the Allegro bass is very clean, clear-cut and qualitative. It never bleeds in the mid-low range and leaves enough room for pleasantness, even in pieces of music where the low range is more intense. In my opinion it doesn't differ much from XE6 (I did a very quick comparison). The low end of the XE6 feels deeper, but at the same time I find the low end to be more balanced across the sonic spectrum than the Allegro. A really clean low range, with a strong impact but not an absolute "bass head". Or at least with LPGT Ti (with a fairly neutral sound) I had this sensation, while with LP6 Ti the low range was more intense, harmonious, with more warmth. More intimate and perhaps even more pleasant than that found with the LPGT Ti. Like a winter evening in front of a fireplace at twilight. enveloping….



Medium: In my opinion, the medium range is the most attractive detail of the whole iem. Warm without ever losing character or detail and not even the right liveliness. Excellent body. Neither soft nor hard. Correct I would say. The weight of the notes is very pleasant. You can perceive very very realistic and unsweetened colors and shades. On a technical level, I find it well above the average for an IEM in that price sector. The synergy with the medium-low and medium-high range is excellent, with a slight wink towards the medium-high range. Which in any case never invades the high range, which I'll get to shortly.



High: And let's get to the point that cost half a star in my overall rating: As I have already written….I notice a very slight emphasis in the mid-high region, which, as I emphasize, does not affect the high range itself. Compared to the beauty and perfect (dare I say) balance of the midrange, the treble appears slightly brilliant in its complexity. With electronic music, and with modern jazz, this slight brilliance in the high range (which I would not define as "harshness") is even pleasant, giving a bit of verve to the sound, but overall it unbalances upwards that perfect balance which my humble opinion is the real strong point of Allegro.



Allegro was a real surprise for me. I didn't think that a brand specialized in making cables could succeed (and so damn well) in the development and engineering of an IEM. Balance, body, dynamics, musicality, there really is everything in this hybrid. The bass is also excellent, which I am unable to define in relation to other iem with a double DD as it is the first iem with this type of construction that I hear. But apart from that, I think Allegro can be included in that group of TOTL indeed in that small circle of TOTL which really seem to lack nothing or almost nothing……….

Thank you Plussound.

Specifications

System: Open Android 7.1, with AGLO
Screen: 4.2 inch, 1280 x 768
CPU: 8-Core Qualcomm Snapdragon 430
Memory: 2GB RAM + 32GB ROM
Expendable memory: MicroSD card slot
DAC / AMP: 2x ESS Saber ES9219C
Hi-Res Audio: Up to PCM 32/384 & DSD256
MQA Support: Full unfolding, 16X
Outputs: 3.5mm jack Single Ended & 4.4mm Balanced
Wi-Fi: 2.4G & 5G
Bluetooth transmitter: LDAC, LHDC, aptX HD, aptX, SBC
Bluetooth receiver: LDAC & SBC
USB: USB-C, with USB DAC and USB transport function
Battery: 3200mAh
Battery life: Up to 23 hours (SE, single DAC) / 20 hours (SE, dual DAC) / 19 hours (Bal)
Dimensions: 109 x 72 x 15.9 mm
Weight: 168g
Output power: Up to 240mW @ 32Ohm (Bal)
Output impedance: <1Ohm

LINK: https://en.shanling.com/article-M3XIntro.html
LINK: https://en.shanling.com/download/77

INTRODUCTION: I wrote the review after 150/200 hours of listening (more or less). The curiosity of listening to a Dac Saber (ES9219C) mounted on a Shanling was remarkable. I had listened to the Shanling M6 Pro (loaned by my friend Xinlisupreme) and I must say I enjoyed it greatly. M6 Pro is equipped with the AKM AK4497EQ Dac and therefore with M3X I was able to have a term of comparison from the point of view of the converter, because otherwise M6 Pro stands at a price range higher than M3X. Although M3X.
does not give the idea of being an entry level DAP, especially from a qualitative and multimedia point of view.
I also own an Astell & Kern Kann which in terms of "multimedia" offers much less even if it belongs to a much higher price range than M3X.

PACKAGING: Blue box, with asymmetrical closure (detail). Housing of the DAP in a black spongy tub. Below, we can find the guide booklet, warranty card and screensaver adhesive films. On the side a box with the USB cable.









DESIGN: M3X measures 109 x 72 x 15.9 mm for a weight of 170 grams approximately. Small, handy, non-slippery. Frontally it presents the screen for almost its entirety with a very small frame (4.2 inch, 1280 x 768). Above and below the frame is ½ mm, while on the sides (right and left) it is full screen. In the upper edge we have the two Outputs inputs: 3.5mm jack Single Ended & 4.4mm Balanced.
On the right side, the on / off button and the black wheel for adjusting the volume. On the lower side, starting from the left we have the trolley with the micro sd housing (which as mentioned I think it should be used with considerable care and attention to prevent the breakage of the plastic flap that closes the slot where the micro sd is stored moved more towards the center we have the input of the usb / dac cable.
On the left side of the dap, we have the 3 buttons for play, forward or rewind. On the back we have a glass-like side, with the small Shanling logo placed in the center at the top in a very refined silver color. All the details seem well studied and overall a sober but classic line at the same time.



INSIDE: System: Open Android 7.1.1, with AGLO, very fluid, smooth. Excellent brightness and visibility even in sunlight. CPU: 8-Core Qualcomm Snapdragon 430
Memory: 2GB RAM + 32GB ROM Expendable memory: MicroSD card slot
DAC / AMP: 2x ESS Saber ES9219C. Wi-Fi: 2.4G & 5G.
When turned on, the display starts up after about 10/12 seconds. The home screen we have (in order from the left side): Clock Icon, Shanling Player Icons, Settings Icons, and Firmware Icon. I forgot: Really good battery life (3200 maH)

SOUND: We then come to the main aspect of the Shanling M3X. Before dwelling on this aspect I must say that the Dap is sensitive to the various IEMs I have tried. In no particular order: Dunu SA6, Tansio Mirai TSMR5, Faerless S8P, BGMP DM8. All BA, but despite this M3X behaves differently depending on the IEM that is fed to it. While in general it behaves very well with MP3s (little highlighting the qualitative limits of these recordings) and obviously it behaves even better with Flac and DSF formats. I have tested the Shanlig M3X with numerous IEMs, such as Dunu SA6, Faerless S8P, BGVP DM8, Tansio Mirai TSMR 5, Vision Ears VE3. I noticed a remarkable sensitivity to the various impedances of the IEMs in question. For example, with the TSMR5 I was at just over half the volume to listen at sustained volume, while with the BGVP DM8 I reached the maximum volume of the M3X. The piloting of Faerless S8P and DUNU SA6 is also very easy.
M3X is a fairly balanced sounding dap, with a very good amount of body and three-dimensionality. The Saber DAC, gives a little more texture to the mid and mid-high range, without ever becoming excessive or invasive. The speed of execution and the recovery of details are also good, which at times leaves favorably
impressed if we remember the price range of this DAP. I also liked the focus, present but always pleasantly soft and tending to warm. The sound in general is however in its totality quite neutral with (as already mentioned) a tendency to warm always pleasant and never over the top.
The heat in question does not invade and does not invalidate either the clarity of the sound or its three-dimensionality which is not very large but far more than sufficient. M3X combined with very easy to drive IEMs (like the Faerless S8P) amplify this factor even more. But this obviously happens a little with all the IEMs I've tried, and logically with different results. Whether they like it or not becomes a subjective factor.
It is not a DAP for bass lovers beyond all things. In the sense that it has a full-bodied, present, warm bass, but always very correct, defined and circumscribed. And here the Dac Saber does its part. In the mid-range M3X plays with exemplary body and correctness, again in reference to its price range, of course. The amplification is really excellent, which always seems to work smoothly and always leaves the feeling of still wanting to turn up the volume. With the VE3, M3X amplifies its full potential as it seems to fit perfectly with the Vision Ears sound philosophy. Although I personally preferred (but here it comes down to subjectivism) Faerless S8P and Dunu SA6, where everything manifests itself in a faster, clearer, more open way to the detriment of the warmth of the mid-range, its body and its involvement. emotional. With the TSMR 5s, the MX3 sounds very similar to the VE3s but with a slight high-end brilliance. The opening of Prince's 1999 song (listened over and over again with all the IEMs listed) made me prefer the balance of the VE3 to the brilliance (but I'm on top) of the TSRM 5. For the rest the two IEMs behaved the same way. In terms of nuances, the quality of the VE 3 was preferred, but the TSMR 5 had an enormously wider and wider stage. And here it becomes a matter of preference.





Faerless S8P: Overall very three dimensional sound. Slightly lacking in body and warmth. Good details and separation of tools. Slightly fast well-defined low range.


Dunu SA6: Here too the sound impresses with its 360-degree perception. Medium and medium-low range, clearer than usual but with a record speed. At the expense of some details and a warm tone that some might lack


Tansio Mirai TSMR 5. Here it borders on perfection along with VE3 which I will describe below. Great body across the range. Good detail recovery and remarkable speed. The three-dimensionality in a slightly more intimate stage than SA6 is also excellent. Only in the high range there is a slight emphasis. Not annoying but noteworthy.



CONCLUSIONS:

In all cases, however, the M3X always maintains its own personality, consisting of a good body in terms of musicality in general. The warmth in its complexity is always kept in good evidence even in the presence of IEM with a “studio” character like Dunu SA6. Obviously (at least personally) I have always preferred the M3X sound with IEM in balanced. Even if the difference with 3.5 in unbalanced is not very noticeable. Sometimes in unbalanced M3X it sounds less open but more intimate and "cerebral". And here too it becomes a question of pleasantly subjective choices. Excellent construction, beautiful and classic design. Simple but for this reason sober and at least to my taste, very pleasant. "Grip" in the norm even if the dimensions of the dap make it easy to manage and very little slippery. With a small price difference you can also buy the cover for now available in two colors (at least at the time of my purchase). Shanling's really good job, in my opinion, lies in the implementation of all the port engineering solutions.

Construction and Insulation:

The presentation of the iem in terms of construction is presented (from what has been learned) with an acrylic resin made in Germany individually modeled by hand. Structure smooth to the touch and clear to the eye. The shells are hand-colored, giving the cap an exclusive color for each product. Although it would have been nice to be able to choose between the various colors depending on the personal aesthetic taste. But in the presence of the quality of the construction and above all of the sound, everything takes a back seat ... .. Using the Azla Sedna Xelastec, the isolation (at least for my auricle) is total, absolute, perfect. The fit of the SA6 is not very deep, while remaining comfortable and light. The AS Xelastec thanks to its fairly wide output construction conveys the music in a more complete and abundant way and mediates the measurement of the depth of the iem which, as stated, is not very deep. The supplied cable (also used for testing) has 8 high purity silver plated copper conductors, with 2 pin connector (0.78mm). The terminations included in the package include 3 connectors: one 4.4 mm balanced, one 3.5 mm TRS single ended and the last 2.5 mm TRRS balanced. Light weight and flexible cable, in silver color, aesthetically pleasing. The connector located in the lower part of the iem is easily accessible, if you want to change from on to off while listening, without having to remove it.

BALANCED ARMATURE DRIVER CONFIGURATION:

BASS [2]: Sonion AcuPass Vented Dual Woofer

MIDRANGE [2]: Knowles Custom Midrange Driver (×2)

TREBLE [2]: Knowles Custom Dual Tweeter

FREQUENCY RESPONSE: 5 Hz - 40 kHz
SENSITIVITY: 113 ± 1 dB at 1 kHz
IMPEDANCE: 60 Ω at 1 kHz
TOTAL HARMONIC DISTORTION: < 0.5% at 1 kHz



Introduction :

For some years I have been following the DUNU brand, only on a discursive level as I had never owned or listened to an iem of this brand before. I convinced myself to buy the DUNU SA6, practically without reading or acquiring first some consideration of other forumers or reviews for various reasons. This is because my interest has turned absolutely to SA6 as declared a studio iem or "professional" if you like more. Having previously read about the reliability of the DUNU Company and the quality of the objects (which may or may not be pleasant to listen to according to the listening standards of each of us) I decided to take this SA6 (even if I was intrigued by the MOON) . I prefer a sound that veers in the direction (at least constructive) of the SA6 and also studio headphones in general, meet my tastes in terms of listening. Even if I don't work on it, but only for the fact that I found a confirmation in my personal “listening satisfaction”. After about 120 hours of running in the sound has stabilized in a fairly noticeable way with respect to the changes, and even if I am unable to state whether the current level of sound evolution has stabilized, here I am describing this SA6. Maybe in the future I will write (if there are) general evolutions or involutions in musical restitution.



SOUND:

Long last……. So, I state that I ran the DUNU for 120 hours (more or less) without listening. I always do this with any headphones I have purchased. Listening to Genesis' "Throwing it alla way" I thought "Wow .... this is the era for me". The suspense gave way to the observation of the high quality of the musicality of the SA6, or at least of the direction in which the engineering of this iem is directed. The main factor that strikes is the clarity, transparency and speed which, however, does not go to the detriment of the general balance. All the parameters, all together, it seems that they are raised to a higher level than what "normally" can be heard. I immediately took the test by fire, passing from listening to the iBasso220max, to Astell & Kern KANN. Same song of course. The warm and enveloping sound of the Kann remained the same, but on the whole (audible without a doubt) an ideal "veil" was removed which stood between the listener and the performers of the piece. A "live" reconstruction in a clear, tangible way, albeit surrounded by total isolation from the external noises of the comfortable SA6 (but this remains a subjective parameter as much depends on the whole on the size and shape of your ear). Every single instrument is exactly identified both in the recording of the piece (if of high or very high quality) and in its positioning on the virtual stage of the performance. The quality of the mastering is audible, good and / or bad as it may be. Reproduction is very faithful to recording with all its pros and cons. I will talk about the use of the switch in the description of the low range, as it is in the low range that it exercises its function most tangibly. At 360 degrees (omitting reproduction of the low range, mid range and high range for the moment) I add that what literally comes at you is impressive resolution and accuracy. Enveloping and fascinating at the same time. The only negativity that I can objectively find (but at the same time exciting for my personal listening mode ...) is that this iem I don't think is suitable for lovers of the low range, of its extreme depth and fullness. Even if …… turning the connector to ON (which I have rarely turned on….) Things change significantly.



BASS:

Paradoxically, the low range is the only one in the totality of judgment that could lead to a positive or negative index. I immediately say that my opinion in this direction is decidedly positive, but for others it could be a factor of controversy. I'll explain; The Sonion dual ventilated woofer makes sure that the low range is incontrovertibly first and foremost very controlled and accurate. It is not a bass with a strong imprint and warm depth. This factor also remains unchanged in the reproduction of the medium-low range, however, giving on the other hand a decided gain in terms of control and a very very low distortion, even in tracks where the bass is predominant. The more the quality of the recording is perfect, the more all these parameters are very evident, the less good the recording is, the more the defects are highlighted above all in terms of restoring the goodness of the sound. The bass is still and always very fast and with a precision and a very high clean cut in terms of perfectibility Rarely on an iem have I heard such a crisp, clean, elegant low range. I give the idea better ... it's not a tiring listening even with metal or hardcore songs, but certainly the presence of the low range (as known and expressed in other iem) does not smooth out or mask the imperfections or limits of the recording. The SA6 reproduces and does not cover in any way the peculiarities of the song recording. Absolutely, there is a very high recovery of details. Audible (as I repeat) especially where the recording is of high quality. With the DSF all this is very enjoyable and very close to the real presence of the stage in front of us. The warmth expressed by the low range is present, but in its totality it always remains tight and fairly linear. This does not at all mean that it can be dry, on the contrary it remains enjoyable without ever crossing the hill and leading to the marked presence of the presence of the low range. Everything remains very clean, sharp, clear. It is as if it were a well-defined field from which sound practically never comes out. It never has that emphasis that some might expect. Perhaps for this reason the name STUDIO SA6. There remains an iem (at least for the reproduction of the low range) that is more studio-like than purely hifi (where the sound often turns out to be a little less analytical) to leave room for a reproduction several times to a listening less attentive to photography of the actual performance of the piece .
By placing the switch in the ON position, on the whole the sound does not turn generously towards the presence of the low range ... .. the sound, however, certainly acquires more heat, more body, without ever (fortunately) losing in terms of control and clarity. I could say that the change with respect to the OFF position is audible and certainly goes in the direction that the DUNU manufacturers had set themselves as a goal ... but I feel this "change" more in the low range than in the sub bass range. Overall, it remains a realistic sound with a pleasant note that I would define less analytical and a little more “pimp”, if you pass the term to me. In any case, I reiterate the concept. The click from ON to OFF changes the listening mode… ..but not as a whole in an overwhelming way. And this concept also applies to both mid-range and high-range reproduction. Everything is as if in front of a lit fireplace we approach or move away from the flames. The heat remains the same… ..change the way of perceiving it if obviously we approach or move away from it. While remaining unchanged the same.





MIDS:

The mid-range, as well as other parameters of the SA6, (excluding the low range) stands out as very enjoyable, as it is very clear, fast, clean. Here too I do not find there is emphasis, if not on the return of the voices (more feminine than masculine) aimed at a presence that seems to be a step forward compared to the instruments. But, as already mentioned, also
this parameter remains questionable as it varies mainly according to the quality of the recording. As I write this I am listening to Korn's “Right Now” with Astell & Kern KANN. It is an explosion of precision from any point of view you want to judge the SA6. There is an accuracy and a delimitation of any truly remarkable musical instrument. The width is good and proportionate both in depth and in width. Slightly move the voices forward while remaining in a context where everything remains well delimited in a space from which the sound remains imprisoned but only in terms of precision. The lower middle is in line with the philosophy of the low range. So it is not overwhelming but neither is it thin. Let's say it doesn't present itself as the dominant factor of sound as a whole. The upper mids tend to be heard effortlessly by reproducing their sound with great three-dimensionality and timbre correctness. Even the mid-range as a whole does not seem to me to be very influenced by the positioning of the connector set to ON, if not in their completeness they do not have a shade that I would define as amber, although always tending towards light. Beyond all this, however, I believe that the On / Off function can be useful especially when changing the sound source. On iBassoDX220, in fact, the positioning on On, gives a touch of warmth and does not exacerbate the speed factor to the maximum, where iBasso220max certainly does not lack. On Astell & Kern KANN, on the other hand, the switch set to Off tends to give that bite, that "nastiness" and that spaciousness, where the KANN is inclined to listening as a whole relaxing and with fairly amber colors. In the crux of snare drums, the definition, attacks and releases are exemplary in their execution regardless of the connector. However, everything is always surrounded by fullness and never by the thinning out of sound. This is where I think SA6 does a great job. Being a fast, detailed, bright, three-dimensional iem, but without ever verging on the thinning of the notes. The metallicity of the medium-high range, or the extreme anality at the expense of the correct reproduction of sound. All these factors seem to lead to a leveling up, without neglecting a bit of warmth, musicality, and body that suits iem with a different constructive construction. I think it is a great job.


TREBLE:

In line with what has been stated so far. Fast, detailed, crystal clear without losing fullness and / or musicality. I have always thought that the high range is a crucial point of headphones in general. Where it is not easy to combine brilliance without having a tiring listening in the long run. The SA6 succeeds in this instead. The detail is also good, also audible combined with the speed of execution. The constant I've noticed about the 3 ranges is that it never fails
air as a whole as the detail between the instruments is never lacking. In other IEMs I have noticed and appreciated this, but here in addition a really remarkable speed is added. In this price range I believe that the SA6 is hard to match. And I think it can beat it very happily even in a higher price range of 1-2 / 3. I noticed that in symphonic or post / rock music and in any case where the voices and the high range are overshadowed, there is a desire to change genre, precisely because of the pleasure of listening that instead brings the contribution of the voices and instruments that enhance the high range precisely because the sound in this case is appreciated for the absence of harshness or "cold" while remaining quite analytical and radiographic. However, this is to the detriment of the recording of files of not good / excellent quality, as in this case, the reproduction loses in terms of separation of the instruments and detail.



VERDICT:

To be fair, I state that giving a judgment to an iem in general remains a canon that should be mostly objective but inevitably our personal way of listening and the satisfaction of listening also play a non-marginal role. The DUNU SA6 reproduces everything with a lot of beauty and balance across the entire range. He plays without ever losing his character both with sources like A&K KANN and with iBasso220max. It has a little more bass presentation with the Kann and sounds clearer and faster with the MAX220. With the iBasso it really reaches a speed and an openness that is truly worthy of underlining. Al Kann instead gives that healthy bite that is needed with the harder musical genres and where a little more bite is required. On a very personal level, I must say that so far, regardless of its price range, the SA6 has met all my listening pleasure. You simply want to never take them off, regardless of the source, because in the end it never loses its personality and its setting. At the time of its purchase I hoped it sounded good, but honestly I never expected it to sound so good. A really pleasant and unexpected big surprise. I strongly hope that the DUNU “Studio” series can go on and on.

Congratulations DUNU.