Intro:
 
I’ve listened and owned many Universal and Custom IEMs made in the US (JH Audio, Westone, Aurisonics), Asia (Tralucent, FitEar), but I realized I don’t have many European IEMs (EarSonics) or even a CIEM, at least until the name Vision Ears came up in a PM thread with Mimouille (I slightly blame you for this bro) and I saw the Vision Ears/Rhines/Compact Monitors thread. But then my local CIEM (read: drug) dealer Polaris Audio (I fully blame you for this ) got the Rhines Audio line I knew I had to try it for myself. We originally heard the Stage 4 demo unit and I was very very impressed at how they could get that beautiful sound in a 4-driver. I ordered a Stage 5 for myself and since I mentioned that I’d try to review it as well, Polaris and Rhines gave me a nice discount on the Stage 4.
 
 

 
 
Ordering Process:
 
I ordered the Stage 5 (and 4) sometime early 2014 through my dealer Polaris Audio on a rush basis but the construction and delivery was delayed due to some very understandable circumstances around the Rhines office. My order arrived one week before my friends’ own Stage 5s arrived, sometime in August, so it wasn’t exactly a rush. I got mine later as well because I was out of the country, but managed to get it burned in thanks to soullinker20.
 
 
Build Quality and Accessories:
 
One thing to note with the Stage 5, it is very well made. One interesting design point that was pointed out to me by Polaris is the fact that the Stages’ stems are built in a way that would let the sound mix before hitting your ear. As can be seen in the photo, there’s a bit of a space in between where the sound tubes end and where the stem ends, thus making sure that the sounds produced by the drivers mixes well before hitting your eardrum. An interesting idea, by my humble opinion.
 

 
My Stage 5 came with a large Rhines Metal Case with a 3.5 to 1/4” adapter and earwax cleaner. The Stage 4 came with a small Rhines wooden case and an adapter and an earwax cleaner.
 
 

 
 
 
The Gear:
 
Listening is mostly done with a Tera Player, an AK240, and foobar2000 with a Chord Hugo, iFi iDSD, and even a Venturecraft Typhoon DSD.
 
 
Sound Quality:
 
First Impressions:
 
Bass. Wow. That thumpy bass was something I did expect with the Stage 5 but I didn’t really know how much to expect. It managed to have that powerfully punchy bass without sacrificing the highs. One thing I did notice with some tracks though was the fact that the mids were slightly more recessed than I would have wanted, coming from the Noble Audio Kaiser 10, but I looked past it and kept on.
 
Instrument Separation and Imaging:
 
One of the best things about the Stage 5 is the way it portrays the instruments and how it just sets them apart. Though the soundstage can be a little small compared to some other IEMs, the separation more than makes up for it. Listening to “chaotic” tracks like Dragonforce’s “The Game” and even Dream Theater’s “Honor Thy Father” the complex instrumentality is something to be marveled at. It manages to cleanly separate the drums, the bass, the guitars, the keyboards, and even the (many) vocals (at the expense of the vocals being slightly recessed, once again). I do have to admit, I don’t really judge the soundstage as much as I did before, instead focusing more on the separation and how everything comes together.
 
As I listen more to the Stage 5 I realize the speed of the monitors as well can be quite addicting. Quicker drums are rendered flawlessly, and I can honestly say the speed can even beat that of the Kaiser 10. Listening to instrumental tracks like Depapepe’s “Life Is A Journey” and The Piano Guys’ “Beethoven’s 5 Secrets” is one place where the Stage 5 really shines as well. Emotional Jazzy tracks like Jazz at the Pawnshop’s “Over The Rainbow” sax intro really deliver the emotion as well. Long story short, instruments are a joy with the Stage 5.
 
Vocals:
 
One thing I wish that could have been better executed (you really can’t have everything) is the quality of vocals. Though I also realize this may be what others are looking for with their monitors, listening to something that’s more vocals-focused like Norah Jones’ “Don’t Know Why” you can’t help but feel like the vocals should have been more at the forefront with greater emotion than making the acoustic guitars what seem to be the forefront of the song. Listening then otherwise to something that’s all vocals, take, for example, Pentatonix’ rendition of “Problem”, the entire spectrum really opens up and the play of the a cappella group’s vocal play really showcase a lot of the power of the Stage 5.
 
 

 
In Conclusion:
 
Fan of great bass with great highs? Go for the Stage 5. Fan of modern pop, bands, really great drums, speedy music, classical pieces? Go for the Stage 5. Fan of mids, vocal tracks, and a generally more balanced sound? Go for something else (maybe you’re looking for the Noble Kaiser 10?). In the end it all depends on your preference.
 
Hope this helps!
 
Any more questions, feel free to PM me, or talk to me and my buddies (They have Stage 5s too!) in our thread: http://www.head-fi.org/t/740936/tales-from-the-batcave-me-and-my-friends-review-stuff
 
VZ

Intro:
 
Its no secret that my favorite CIEM in my collection as I write this review is my Noble Audio Kaiser 10. From the moment I saw them to that first time I put them on and played Rage Against The Machine’s Remastered “Take The Power Back” I was hooked. I’ve had my Kaiser 10s for almost a year now and they still remain my favorite. I’ve had plenty of different CIEMs in the past year but the Kaiser 10 is what I always come back to.
Honestly in the beginning I didn’t really think that Noble’s new 10-driver would be anything as I don’t really care much for the “driver war”, but as my friend soullinker20 continuously badgered me to try it, I went ahead and contacted The Wizard over at Noble through head-fi.
 

 
 
Ordering Process:
 
The ordering process for the Kaiser 10s was pretty straightforward, with me messaging Wizard on head-fi and getting referred quickly to Brannan to smooth out the process. I ordered a Rush-order Wizard Design, with the only requests being my logo on the right IEM and to “make it Noble”. I received photos (mildly stifled a squeal at how amazing they looked) and the CIEMs themselves soon after and immediately listened to them with my then go-to DAP, the AK120.
 
 
The Build Quality and Accessories:
 
I’d proudly say that Wizard’s designs are the most beautiful in any CIEM ever. I have two Noble CIEMs (as of the writing of this article), the Kaiser 10 and a Wizard Design Noble 4S and they are both still the most stunning CIEMs in my collection. Build quality is very high, not FitEar-quality but high enough. The case that they come in are a long Noble hardcase containing the IEM, some Noble bands, an earwax cleaning tool and a Noble ownership card. There was also a sticker that came with it with Noble’s logo and webpage (which is now on my car).
 

 
 
The Gear:
 
I will be using mostly the Noble Kaiser 10’s stock cable and throw in some thoughts with it on the Linum Estron and the Null Audio Silver. Listening is mostly done on an AK240 and a Tera Player, though I have used other sources and DACs, like my 15” MacBook Pro and Surface Pro 3 with the Chord Hugo and others. I use different types of files, from PCM to DSD.
 
 
Sound Quality:
 
As someone whose only Wizard experience before the Kaiser 10 was listening to the Heir 5.ai, I didn’t know what to expect when I received my Kaiser 10. I certainly did not expect it to consider it the best IEM I had ever heard (Especially as I had also just received the then-brand new JH Audio Roxanne, and owned some of the considered best CIEMs [MH335DW and Hidition NT6-Pro]) but I was dumbstruck at how great they sounded. Not wanting to pass judgment too quickly I kept listening...
 
...for a year. And I’m still constantly surprised by how much I love the Kaiser 10s. Here’s why:
 
 
Listening to:
 
Vocals are one of the most amazing things to listen to with the Kaiser 10s. Going through tracks like Michael Jackson and Paul McCartney’s “The Girl Is Mine” and even with Barbra Streisand and Barry Gibb’s “Guilty” you can clearly distinguish the vocals from the instruments, and even feel the natural highs of the vocals being presented, without becoming piercing. Even particularly sibilant tracks like The Cab’s “Endlessly” and Rage Against the Machine’s “Take The Power Back” are listenable because the tuning of the high drivers are just right.
 
Instruments are also very well presented and well distanced from the vocals, nothing sounds “muddy” to my ears even when I listen to very fast metal like “Bullet Dance II” on the Blazblue Chronophantasma soundtrack. Each instrument is rendered in a different layer that is very lush and just a joy to listen to. Even with classical pieces the instruments are rendered in a very satisfying manner.
 
One thing to note with the K10s is how effortless it seems to take any genre. One recent discussion about the Kaiser 10 is its bass-reproduction capability and I can heartily say if you want bass you’ll get bass. I tried the K10 with a few bassy tracks and even some where the bass is not very apparent. On Daft Punk’s “Around the World” you can definitely feel the bass and sub-bass, but it is very controlled and not as thumpy as something like the Rhines Stage 5 or the MH335DW. I don’t really look for bass in my IEMs so I don’t have much to compare to. Switching to a track like “Treasure” by Bruno Mars, the bass guitar is very prominent and delivers the bass in a very satisfying way, in a way that does not cover up the vocals but successfully portrays each part of the music. Listening to the live Jazz recording of Jazz at the Pawnshop’s “Over The Rainbow” is another incredibly excellent example of how the Kaiser 10 shines as the smooth sax is rendered with much emotion, while the people talking in the background can still be heard and it really makes you feel like you’re in the Pawnshop as Arne Domnerus’ group plays.
 
I’d say that the Kaiser 10 is the most “balanced” in terms of how it can manage any genre of music and will greatly be enjoyed by anyone who just wants to relax and listen to their music. I would not recommend it for anyone who’s after clarity, for monitoring, as they are essentially crafted for the simple joy of listening to music. I don’t believe its the most honest out there as the king of clarity for me will always remain the Hidition NT6-Pro. If you’re aiming for clarity go for the NT6.
 
 
In Conclusion:
 
I’d pick the Kaiser 10 as my favorite CIEM any day. I own very many CIEMs of varying tastes and styles but the K10 is my clear favorite when I just want to listen to something on the road, or in the office, or anywhere really. I’ll heartily recommend it to anyone willing to have one of the best all-arounder CIEMs out there. The only difficulty with this is actually trying to listen to something else after you’ve heard the K10s. At least that’s how I see it. I still switch amongst my other IEMs but my K10 is always with me and I don’t see myself getting tired of them anytime soon.
 
May Noble continue to create more amazing IEMs and with those crazy wizard designs I really do think the Wizard is an actual Wizard (that came from the moon).
 

Months ago I believed the JH13Pro Freqphase to have the most clarity when it came to Custom In-Ear Monitors, but I was properly blown away by the Hidition NT-6 Pro with its death-defying clarity and resolution.
 
Introduction
After spending a lot of time with my JH13Pro I decided to seek another CIEM to possibly challenge or even defeat it. After browsing the ever-beloved head-fi.org, I became very interested in the Hidition NT-6 and the NT-6 Pro. I read reviews (notably by ljokerl and average_joe) and impressions, and eventually decided to purchase the NT-6 Pro. I contacted head-fiers Barra and average_joe for help, and they both helped me in contacting Hidition and making my purchase. Hidition was very very helpful and excited to help, and I only ran into problems ordering through their online system, but eventually got through. My impressions were taken closed-jaw (as I would only be using them for listening), and my order took around 1-2 months to complete.
 
I have had my NT-6s for a few months now, and I enjoy them immensely. For this review I am using the current hidition stock cable and these sources:
 
Bryston BDP-2 - Resonessence Invicta Mirus - Graham Slee Solo Ultra Linear Diamond Edition
MacBook Pro Retina - Fostex HP-3A
iriver AK120
Hifiman HM-901 with Balanced Amp Card
 
As usual, my review is based on my own experience and what I think about this product. It is up to YOU to decide whether or not this sound signature is for you! Especially something like the Hidition NT-6 Pro. This CIEM is NOT FOR EVERYONE.
 

 
 
Review
First Impressions:
The first thing I noticed with the NT-6 Pro was the brightness. And came my fear that the sibilance would kill me (sibilance is one thing that I really really hate with IEMs and headphones.) But surprisingly the tracks I first listened to with the NT-6 Pro weren't bad, in fact they were clearer than I'd ever listened to them, especially when they involved many instruments. Also noticeable was the "lack" of the bass "oomph" I'd gotten used to with the MH335DW and the JH13Pro FPs with Tralucent Gold/Silver cables. Also the fit was VERY FIT as I used a closed-jaw impression. Talking or even just the act of smiling while wearing them actually hurts a bit.
 
 
Song 1:
Around The World
Daft Punk
Musique Vol. 1 1993-2005 (2005)
 
 
Though there is an obvious lack of bass "oomph", after much burn-in the NT-6 has evolved. But the separation of the music and the vocals are clearly rendered by the NT-6 Pro, the bass doesn't feel as fatiguing as compared to another IEM where the bass would quickly tire one's ears.
 
Song 2:
Flying Whales
Gojira
From Mars to Sirius (2006)
 
Instrument separation is definitely one of the strong points of the Hidition NT-6 Pro, as each and every instrument is so clearly rendered even if they can be as "messy" as a track from a death metal band. From the speedy drumming of Mario Duplantier to each scratch on the guitar is set apart from each other. One thing I'd like to really note is how the highs are clearly presented, clearly being rendered above every other instrument in the track. The highs just seem to be right there, no matter what the mids or the lows are doing. Each hit on the cymbals are clearly rendered and so visceral that it sounds like you're really there as they perform/record their track. Even compared to the JH13Pro the highs of the NT-6 are on another level entirely.
 
Song 3 and 4:
Weak and Powerless and Pet
A Perfect Circle
Thirteenth Step (2003)
 
I can honestly say that after listening to a song like this on the NT-6 Pro I cannot believe I hadn't heard the separation before. The clarity of these beasts is unmatched by anything I'd heard in the IEM range. Each instrument is effortlessly placed in its "zone" and hardly do any overlap each other. In "Pet" the drums are so clearly set apart they feel so separate from the vocals and the guitars. It really is a great experience to listen to something like this, especially if you love listening to individual instruments like I do.
 
Song 5:
L'estate: Presto
Elizabeth Blumenstock, Nicholas McGegan, Philharmonia Baroque
Vivaldi: Four Seasons and Three Concerti (2011)
 
Simply beautiful. Classical music is wonderfully and masterfully woven into intricate details with the highs extension that is so ever present in the NT-6 Pro.
 
Song 6:
Take Five
The Dave Brubeck Quartet
Time Out (1959)
 
Another masterpiece, and listening to that saxophone by Paul Desmond with such clarity makes you just get goosebumps all over. Brubeck's timeless masterpiece truly shines with wonderful highs and mids that the Hidition delivers.
 
Song 7:
Roundabout
Yes
Fragile (1971)
 
Unfortunately, this is one of the worst parts with regards to the NT-6 Pro. With all that treble extension and brightness, some recordings can get VERY SIBILANT. I couldn't get past this song even though I love listening to it with the MH335DW. The sibilance was too much for me. Some recordings are just too much and are rendered unlistenable.
 
Final Thoughts:
I love the NT-6 Pro and I do not regret purchasing it. I'd happily recommend it to anyone who likes Rock, Classical, Jazz, and even Metal. I'd encourage anyone who loves instruments and incredible clarity to really listen to this beautiful CIEM. If you're after vocals I'd suggest the JH13 or the MH335, as the warmer signature is very much more for you, and the brightness of the NT-6 Pro may prove too "thin" in that aspect.
 
Hopefully my review was helpful to you and thanks for reading!

Here's a little review I decided to write up about my current CIEM of choice, the Jerry Harvey Audio JH13Pro. Though most reviews are based on comparisons with other models, I will try to base my review on what I can hear with a choice of music, along with the different gear used. I also refuse to quantify my findings by measly scores. As this is also a review of a custom, I will also explain the process of how I got the CIEMs in the first place.

Please note all listening is done subjectively and IT IS ULTIMATELY UP TO YOU if you plan on actually acquiring a piece of hardcore gear, and if it fits your style of listening.

A little about me:
Ever since starting high school, I've loved music. I began with typical pop, to typical pop-rock, eventually exploring metal. Going through college I eventually started going through more musical styles, from Progressive Rock and Metal to Death Metal, and started venturing into other genres. Also I began my headphone journey, unfortunately with a pair of Beats headphones and even earphones. Eventually sometime in the late 2000s I got a pair of Sennheiser IE8s and they became my constant companions up until 2012, when I began my hifi journey with the AKG K3003.

Today I collect headphones and earphones, eventually going for CIEMs in late 2012 with the FitEar MH335DW. My musical tastes have expanded to Jazz, Classical, Electronic, Hip-Hop, and more.
 
 
 
 
 

 

Gear used:

MacBook Pro 15" Retina (mid 2012)
Audirvana Pro
Wireworld Platinum Starlight 0.3 USB cable
Fostex HP-A3 DAC

Hifiman HM-901 (balanced card)

iriver + Red Wine Audio RWAK120

Tralucent Silver/Gold cables


Intro:
Go to any CIEM review or news site/forum/whatever and somewhere in there you will read about Jerry Harvey Audio. For those who don't know him, his name has been synonymous with high-end CIEMs for some time, wowing the industry with his work with Ultimate Ears and since then, Jerry Harvey Audio itself. JH Audio specializes in "Custom In-Ear Monitors for Rockstars" as their polo shirts read, and taking a quick look at their client list (http://www.jhaudio.com/about/client-list) its hard not to notice the names.

I never personally thought about customs for some time, thinking it would be difficult to actually get a good pair, considering how much shipping and customs would be, living in the beautiful country that I live in, but after a very good experience with my first CIEMs, I decided to try another CIEM brand, this time in another country. I began to email Ultimate Ears about their UE PRM (whose customization of sound interested me a lot), but after some convincing from a good friend (and fellow audiophile) I went over and emailed Jerry Harvey Audio about getting a JH13Pro. What interested me about this pair was the great feedback it had been getting, especially when it comes to its clarity and balance, especially thanks to the FreqPhase option introduced by Jerry Harvey for the JH16Pro (its big, bassier brother), the JH3A, and the JH13Pro. It was a breeze to work with Corbyn Grieco of JH Audio and after sending my impressions in, even after a few hiccups in the process, we were able to work it out. I was able to visit their offices in Orlando and pick up my JH13s from them directly.

But enough with the introduction, let's get down to business:
 
 

 
 
ALBUM 1
Random Access Memories
Daft Punk (2013)
Disco, Pop, Jazz
24/88.2

Easily one of the best albums of all time, Daft Punk's Random Access Memories shines brightly with the JH13Pro. The bass hits hard but the mids and highs shine, from the first to the last track. Listening to "Give Life Back To Music", the instruments are clearly rendered, when the bass drums hit, they punch and give that little oomph that just makes your heart beat just a little bit to feel that bass. When the hi-hats go, they have that little sparkle at the end that makes the cymbals shine. Vocals are rendered beautifully, especially on "Giorgio By Moroder", even just listening to the interview with disco legend Giorgio Moroder, you can get enthralled by the beautiful mids of the JH13Pro. Resolution is so crystal-clear you can even hear the plucking of the bass guitar, especially on a track like "Fragments of Time", even the left-to-right and vice-versa movement of the synthesizer. All in all, this album shows the versatility of these amazing CIEMs.

ALBUM 2
The Onslaught
Lazarus A.D. (2009)
Death Metal
16/44

One of the greatest challenges (at least one thing that I feel is a challenge) for earphones and headphones (and even some speakers!) is speed, in terms of if the earphones can catch up to instrument speed, and one of the finest tests is the insanely fast drumming of Lazarus A.D.'s drummer. I find that many earphones have difficulty rendering the speedy drumming of this album, which is why I use this record to test how "fast" the earphone can be. Amazingly enough, the drums (especially on the first track, "Last Breath") are well-rendered and the JH13 can actually catch up to the drums and guitars and even separate them well that they all sound like individual instruments, and even exist in a wide soundstage. When the drums start rolling, you can even feel like they are working in tandem, but are controlled by separate hands, thus giving a sense of intense realism in the psychoacoustic space the JH13Pros give.


ALBUM 3
Jazz At The Pawnshop
Arne Domnerus, Lars Erstrand, Bengt Hallberg, Egil Johansen, Georg Riedel (1977)
Jazz
24/88.2

Still one of the most amazing live recorded albums of all time, Jazz At The Pawnshop is well rendered on the JH13s. Even the applause by the audience and their conversations in the background are well-rendered and give this surreal realism, a feeling that you are actually in the space of the Jazz club this record was done in. A wonderful display of musicality and skill, as well as a great way to relax with great gear. I have nothing else to say that's already been said.
 
 

 
Final Thoughts:
I can't really say anything bad about the JH13Pro, especially when they sound as amazing as this. I know it seems like just a lot of praise but its well worth it. Of those friends whose ears magically fit my JH13s, I can say that all of them love the resolution and clarity these CIEMs bring. If you like clarity and resolution, with a touch of warmth, I'd gladly recommend these CIEMs to you. I can't wait for what else JH Audio will come up with, but I expect it to be amazing (I'm looking at you, Roxanne!)
 

FitEar has gained a great amount of respect these days, thanks to the venerable FitEar To Go! 334 UIEM. After having owned a TG! 334 I decided to take the plunge into my first custom, the FitEar MH335DW.
 
The first thing I have to mention is the whole process in obtaining these customs. FitEar is a very exclusive company, and apparently there are only two places where you can have impressions taken from a FitEar-authorized audiologist, their offices in Tokyo, Japan, and Jaben. I was lucky to have been able to get in touch with FitEar directly, months in advance, and secure a nice time to visit their office to get my impressions done. One week later and I drop by again to pick up my brand new FitEar MH335DW Custom In-Ear Monitors.
 
Of course you're not here for that story, so I'll cut that short and here's my review:
 
One of the things that you'll notice at first, using the FitEar MH335DWs, is the resolution of the CIEM. It isn't noticeable the first time using them, but after for some time it just dawns on me how much of a voyage I'm going through with my music because of them. Every time I use a FitEar IEM its always a journey of rediscovery of my music. I can't help but listen to the details presented in my music because of them. The soundstage it presents is enveloping, reminding me much of my Sennheiser HD800s (with none of the sibilance). The 3D-ness of the soundstage really brings you into this sense of losing yourself in your music. Listening to tracks like Mary Stalling's "Sunny", Amber Rubarth's "Strive", and even Rage Against the Machine's "Take The Power Back" really show how wide the soundstage of these CIEMs are, and how enveloping the sound is. The mids remain forward, but are more laid-back than the TG! 334s. All in all I can say that the MH335DWs are more transparent than the 334s, but still having a bit of "musical flavor" to make one very happy with one's music.
 
Another thing people would note is the fact that the "DW" in the name of the CIEM stands for "Double Woofer". Many people (at least of those whom I'd spoken to about these CIEMs) think that this means there's more bass response with aforementioned CIEMs, but that's not really the case. There's a little more bass bump on them than the TG! 334s but the bass is now more controlled on the 335s. One of my friends who owns a TG! 334 also noted that the 000 cables seemed to add a bit of bloat to the bass of the 334s, but with the control of the 335s this isn't the case, making the 000s a no-brainer (albeit expensive) upgrade from the 001 cables the 335s come with. While we're talking about bass, that same friend who has the TG! 334s made me try an "Silicon Sound System Bass Test" on his iBasso HDP-R10. On low gain and at a volume of 200, the MH335DW was able to image (without raising the volume further) bass response from 360 cycles to 10 cycles in one go.
 
Also as my first pair of CIEMs, the first time I put them in made me notice how "tight" they felt, but not the tight that made me uncomfortable (I was actually waiting for the discomfort, but found none). Isolation was very good, with only minimal noise actually bleeding out and going in. The build quality is very top-notch, as well. Though one thing that people will notice is, just like the TG! 334, the MH335DW is very very sensitive. I've used these with several DAPs and setups since after getting them and I've heard hiss on some of them (The RSA Intruder [almost none], The ALO International [minimal], The Altmann Tera Player [minimal], Continental V3 [heavy hiss]), but on others like the RWAK100 and the headphone out on my MacBook Pro, there's no hiss at all.
 
I guess my final say has to be this:
 
This is an endgame CIEM for me, not my last one but I think its a great "final point" in someone's audiophile journey. Its very hard to say if there will be anything that will challenge this, but I'm planning to pick up more CIEMs now, as I've finally entered this stage in my audiophile life, and compare them to this amazing CIEM. I'll say this isn't a "bang-for-buck" CIEM but if you can shell out the cash, time, and voyage to get them done, I don't think you'll be disappointed.
 
I love my FitEar MH335DWs, and I look forward to rediscovering more of my music with them.
 
VZero

 
Welcome, one and all, to the V-ZERO impressions extraordinaire! Today we have a heavyweight bout, and the card is as follows:
 
On the Blue Corner, in sleek black and rigid 000 cables, the FitEar To Go! 334!
On the Red Corner, in black with a nice and less rigid (+1 already!) Gold Cable, the Tralucent 1plus2!
 
No hitting below the belt! FIGHT!
 
 
Kidding aside, here are my impressions (this is with the Tralucent out-of-the-box and the FitEars with a lot of me time already, mind you all.)
 
Before the music:
I thought the FitEars were huge but the Tralucents just make them feel TINY as HECK. Even the cable is huge! Also on the cables, the Tralucents have a thicker but more supple cable, as compared to the incredibly rigid FitEar cables.
 
Source:
MBP Retina 15
AQ Dragonfly
Fidelia PRO
 
FitEar To Go! 334:
FitEar 000 Upgrade Cable
Stock double-flange tips
 
Tralucent 1plus2:
Tralucent Gold Upgrade Cables
Large stock tips
 
Note: Upon plugging in the 334s to the AQ Dragonfly you immediately hear a little bit of hiss, very very very tiny hiss. It isn't noticable (unless you really try to look for it) and doesn't bother me, but its there. In comparison the 1p2 doesn't have any, but the volume on the 334s is at one to two bars on the Apple volume control while the 1p2 is around 4 bars. These 334s are mad sensitive.
 
Round 1: "Be Still and Know", Machine Head - Death Metal (Instrument Separation)
334s: When I first put on this song with the 334s a few months ago, It completely blew me away. And it still does up to this day. The guitars sound great, the drums sound amazing, the vocals are clearer than ever, I love it. When the solo comes up, the instruments are clearly separated and well "imaged". The 000 cables really make you feel as if you were in a large room as the band performs all around you.
 
1p2: These babies feel and sound like headphones. That's the first thing that goes through my head as the song begins. Also the tips are incredibly comfortable, compared to the pain I felt after an hour wearing stock 334 tips (which is why I use the stock dual-flanges). As the song progresses I really feel its a more up-front and smaller soundstage (something akin to the FitEar ALO Cable) but this is like <1 hour of playback, so I'll have to get back to you guys on that.
 
It may be just me but the 1p2s actually make the instruments, I dunno, sound... better? They're more textured on these bad boys, which makes me cry. There's a bit of reverb in the 334s especially when some instruments go disappear but the 1p2 has a tight sound to the instruments. Right now, I'm reminded of how my PS1000 sounds, talking about the 1p2.
 
Round 2: "Something About Us", Balance and the Traveling Sounds - Jazz (Instrument Separation)
1p2: I love instrument separation. I love how different instruments just seem to synergize well together. Definitely a more up-front presentation of the song, but wow the instruments are rendered so smexily on these 'phones on this track that its hard to just listen to the song once and give impressions. I can really feel the bass in my chest as it punches ever so smoothly throughout the track.
 
334: This track on these 'phones are one of the reasons why I love the 334s. The music is nice and laid-back with the sound just washing over you and letting you relax. Noticeably, the bass is a bit weaker compared to the 1p2s as there is no "punch" but I don't necessarily look for that in my 'phones, but I know some of you guys out there do .
 
Round 3: "Angel With A Shotgun", The Cab - Rock/Pop (Vocal Sibilance Test)
334: No sibilance. Great job, FitEar!
 
1p2: Minor sibilance, noticeable on louder volumes. Good job, Tralucent!
 
Round 4: "Domination", Pantera - Thrash Metal (Cymbals Sibilance Test)
1p2: Same issue, minor sibilance but not noticeable on normal listening levels.
 
334: No sibilance.
 
Round 5: "Drama Queen", Family Force 5 - Rap Rock (Boom Boom Bass Test)
1p2: I love the different kinds of bass on this track, on great headphones you get the tinny punchy bass and the big boom boom bass in the backgrounds. Right now, as it is, I can't hear much of the tinny bass (though it is there) but the big boom boom is just whack. Love it.
 
334: The big boom boom is lessened on the 334s. I can't feel a punch on them. Though the tinny bass is a little bit more prominent, but not by a lot.
 
Round 6: "Take The Power Back", Rage Against The Machine - Rap Rock (Bass Guitar Test)
334: This bass guitar intro is so smexy you could die. The 334s render it amazingly and the track just sounds great, especially on higher volumes.
 
1p2: PUNCH. Just, wow, that punch. I really like it. The bass sounds just so much more controlled, I don't know why but that's what I can feel. Also I just noticed, the soundstage sounds a little bit taller on these 1p2s.
 
Round 7: "Some Nights", fun. - Pop (Group Vocals Test)
1p2: The 3D-ness of it all just sounds more complete on the 1p2. You can hear the heights (is that even a thing?) of the vocalists as they sing in chorus. It makes you feel as if you are in the action, with the performers, as they do their thing.
 
334: The vocalists sound like they're in a nice row, separated very well and the vocalists can all be picked out very well. It sounds as if the performers are in front of you, singing to you as you are in the crowd.
 
Round 8: "Terrified", Katherine McPhee ft. Zachary Levi - Pop (Male and Female Vocals Test)
334: The 334s are just BEAUTIFUL on vocals. Very intimate, very heartfelt. Katherine McPhee's vocals are jsut beautiful on this track. Zachary Levi's vocals are amazingly rendered as well. The emotions can truly be felt with these 'phones. True vocal synergy.
 
1p2: Though I use this track for vocal testing I should note that as soon as it begins one of the things I really notice is how nice the instruments sound in the background thanks to the 1p2. Vocals are very well controlled but there is a little less of the emotion, but that's not really noticeable unless you really love this song (which I do). It still sounds intimate and emotional, though, so never worry.
 
Round 9: "Beethoven's 5 Secrets", The Piano Guys - Classical (Classical Test, Strings)
1p2: "Sweeping" is how I'd like to describe how the 1p2s render classical music. It literally sweeps you off your feet. The strings sound very intimate and amazing on this track. I'm honestly discovering new things I haven't paid attention to listening to this track with the 1p2s.
 
334: Classical just sounds so grandiose on the 334s. It feels as if an orchestra is serenading you and lifting you up. Absolutely stunning.
 
Round 10: "Hotel California", The Eagles - Classic Rock (192/24 Test)
334: The track just sounds great on the 334s. Feels like listening to vinyl without the static Really smooth and calming. "Such a lovely place, such a lovely face."
 
1p2: No complaints, amazing track is all I can say. Though I'd like to note the 334s sound more "surrounding" with this track. Like they're all around you and performing for you. 1p2 feels like a concert setting with this track.
 
Round 11: "The Root of All Evil", Dream Theater - Progressive Metal (Just for kicks)
1p2: Though this isn't one of my test tracks, I thought it interesting to give it a spin on the 1p2s. I really love the way the instruments just come together on the track. I can also say with confidence that I can hear more of the drums with the track. The smaller cymbals are rendered a bit better on the 1p2.
 
Round 12: "Who I Really Am", Lazarus A.D. - Metal (Just for kicks)
1p2: One of my favorite tracks of all time. I can say for sure now that I like metal and rock more on the 1p2s than on the 334s. All the instruments are just more... textured, shall we say? It also further cements what I've been saying, that the 1p2s feel like headphones...
 
And so that's it. The impressions went the distance, but for me, I think I'm really liking these Tralucents. I may keep them on for a few more days and see what happens after then. Definitely I can say for certain in the bass department the 334s are stumped. But they're pretty evenly matched in all the right places. I guess its all up to your ears whichever is best for you guys.
 
Long live universal fit customs! May they continue to grow even more awesome
 
Again, sorry for your wallets, guys