- Thread Starter
- #61
Finally some HiFi voodoo that makes your organ seem bigger
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Most idiotic subjective review comments
- Thread starter CapMan
- Start date
"This xxxxxx color first comes off skewed, but quickly midrange and treble formations enable a double take. So the slight darkness is perceived along with sexy BA rendition of midrange and treble elements. Such characteristics are due to both the driver frequency response and individual (driver-tone) characteristics. Such profound joy is leaning there are many ways to do something, there are many ways to achieve a goal. And this balance has been imagined by xxxxxx as an artful tuning in relation to the continued reinforcement of the xxxxxx sound “tune”. This frequency response became incredibly easy for me to identify with and relate to...........hopefully your perception will be parallel? We are presented a fairly large soundstage encompassed by width, height and thickness. Such places are the canvas and essential to imaging. In the lower frequencies we delight in how the midrange and treble finds placement. Yet there is an overall stance of liquidity and smoothness, that forms the music in the most digestible of ways."
Double-take indeed. IEM and their associated cables seem to elicit the most BS-laden 'reviews' (i.e., shill marketing) on the site that shall not be named.
I think I need a digestive biscuit.
Double-take indeed. IEM and their associated cables seem to elicit the most BS-laden 'reviews' (i.e., shill marketing) on the site that shall not be named.
I think I need a digestive biscuit.
Maybe the sellers of Hg-filled cables are not nuts at all; they see an opportunity to make a fast buck in an industry (cables, wires) that relies heavily on snake oil (my pet boa hates that term!) to make sales. A lot of money is to be made simply because a cable is relatively cheap to manufacture, so the profit margin is higher than that of, say, a SET amplifier.
Hugo9000
Addicted to Fun and Learning
Reading this reminded me of the time when Bose sued over a Consumer Reports review of their 901 speaker system haha!
Bose won initially, the judgment was reversed on appeal, and the case made it's way to the Supreme Court, which finally ruled 6-3 in favor of Consumers Union.
It would have been amusing if the courts had actually demoed the speakers so they could experience the effects themselves. They did find that the bit about "wandering" instruments was a disparaging* statement. Apparently these audiophile judges only approve of stable imaging—where's the fun in that?
(*The comment about standard speaker systems allowing pinpoint imaging better than the Bose was noted as a criticism of the 901, and since the 'wandering' portion was preceded with the word 'worse,' it was clearly meant to be another, stronger criticism. The judge believed that it was a false statement to say that the sound could 'wander,' thus he held that it was a false and disparaging statement. Apparently, there had been some testimony about stereo playback commonly having perceptual shifts in location, so the judge either ignored that or thought that the wandering described in Consumer Reports went way beyond the norm, and had to be false. The appeals court found that Bose offered no proof of actual malice, so they reversed the judgment. The Supreme Court affirmed the finding of the Court of Appeals.)
More details here:
BOSE CORPORATION, Petitioner v. CONSUMERS UNION OF UNITED STATES, INC.
Bose Corp. v. Consumers Union of United States, Inc. - Wikipedia
Various headphone 'impressions' from CanJam London posted on a shill marketing forum that shall not be named:
"First impression was that despite the neutral balance of the sound, there is a surprising solidity to the bass, with a nice hint of sub bass warmth and a forward push on the mid bass. The voicing is definitely mid-forward, and I actually found it a little nasal or pinched sounding. Staging overall feels like it is pushed quite close to the listener, enveloping them in the music rather than zooming out and giving a widescreen image. There is plenty of sharpness and punch dynamically to the presentation – these are lively cans, and I suspect would get fatiguing for my ears over longer listening periods."
"Overall impression of bass is that it is fairly liquid but still good and tight, with plenty of texture. It renders the baritone in “We Shall not Be Moved” by Mavis Staples perfectly, blending smoothly with the creamy alto in the same chorus. Vocals err more towards dry than lush, but still retain a nice smoothness."
"Physical impact in the bass is high – the presentation is on the dryer side, but it oozes texture and resolution in among the quantity, and it slams hard. Similarly, there is plenty of bite to the tonality of the xxxxxx, with guitars sounding spiky and angular, and metal riffs coming through as chunky and aggressive. “World On Fire” by Slash fairly blisters out of the nozzles, the breakneck riffing resolving cleanly into the ears and carrying plenty of crunch."
BS artistry indeed. My nozzles are now fairly blistered.
"First impression was that despite the neutral balance of the sound, there is a surprising solidity to the bass, with a nice hint of sub bass warmth and a forward push on the mid bass. The voicing is definitely mid-forward, and I actually found it a little nasal or pinched sounding. Staging overall feels like it is pushed quite close to the listener, enveloping them in the music rather than zooming out and giving a widescreen image. There is plenty of sharpness and punch dynamically to the presentation – these are lively cans, and I suspect would get fatiguing for my ears over longer listening periods."
"Overall impression of bass is that it is fairly liquid but still good and tight, with plenty of texture. It renders the baritone in “We Shall not Be Moved” by Mavis Staples perfectly, blending smoothly with the creamy alto in the same chorus. Vocals err more towards dry than lush, but still retain a nice smoothness."
"Physical impact in the bass is high – the presentation is on the dryer side, but it oozes texture and resolution in among the quantity, and it slams hard. Similarly, there is plenty of bite to the tonality of the xxxxxx, with guitars sounding spiky and angular, and metal riffs coming through as chunky and aggressive. “World On Fire” by Slash fairly blisters out of the nozzles, the breakneck riffing resolving cleanly into the ears and carrying plenty of crunch."
BS artistry indeed. My nozzles are now fairly blistered.
DonR
Major Contributor
"The most bizarre finding was how the effect of different material from which the cable support was made, was entirely dependent on the musical material being reproduced. As might be expected, music of Caribbean origin particularly benefitted from the accompaniment of dominoes. Digital material and the use of dominoes under a digital signal coaxial cable (third from left) were obviously enhanced by the numerical dominoes, especially the ones and zeros."
... in case anyone was wondering and as an expression of just how powerful Poe's Law is, this was posted on April 1st.
... in case anyone was wondering and as an expression of just how powerful Poe's Law is, this was posted on April 1st.
- Thread Starter
- #68
The modus operadi is to gently ‘replump’ the xxxx and then plonk it down, slightly heavily on the speakers or electronic case to be damped. Sit back, relax and play music, engage! Simple and effective, and we like simple and effective quite a lot!
Settling down with a coffee and some favourite tracks, ones initial impressions were of a greater calm and quieter background, music seemed louder yet calmer and more composed, indicating a greater dynamic range. Switching with / without established that low level details were easier to follow too, and musical events were slightly better focused within the soundstage. When increasing the volume level the effect was even more marked – you’d expect this if cabinet resonance was being effectively cured or damped.
Further listening confirmed that many tracks now possessed an inner beauty, grace and richness which previously had been hinted at, yet not allowed to blossom. Removing and replacing the xxxx confirmed this, and without them the corresponding muddying and glare returned to the music.
Settling down with a coffee and some favourite tracks, ones initial impressions were of a greater calm and quieter background, music seemed louder yet calmer and more composed, indicating a greater dynamic range. Switching with / without established that low level details were easier to follow too, and musical events were slightly better focused within the soundstage. When increasing the volume level the effect was even more marked – you’d expect this if cabinet resonance was being effectively cured or damped.
Further listening confirmed that many tracks now possessed an inner beauty, grace and richness which previously had been hinted at, yet not allowed to blossom. Removing and replacing the xxxx confirmed this, and without them the corresponding muddying and glare returned to the music.
I did some critical listening with one of the CD players first, then connected it to the xxxx, and queued up the last track again… annnnnnnnnd there was no change. I listened again, and still couldn’t discern any change. I went back to my writing, and let the album play. It was during the fourth or fifth track of Only The Lonely (Capitol CDP 7484712) that I suddenly looked up from my work because Frank Sinatra’s voice had opened up, and gotten what sounded like an octave lower, his trademark croon emanating even deeper from his chest.
Ditto, the upright bass, and strings accompanying him. I went and sat down on the sofa to listen more closely, and got a weird sensation of vertigo: I felt like I was falling forward into the recording because it had opened up, and enveloped the room completely. Subtle nuances in string pressure on individual bows in Nelson Riddle’s orchestra were apparent to me for the first time ever on “Willow Weep For Me.” By the time “Blues In The Night” played my skepticism had been completely replaced with genuine disbelief. This was an order of magnitude in sonic improvement – not a change mind you – but a further absence of background noise that allowed more of the recording to be presented. The opening up of the sound stage, and the depth with which the recording could now be lensed was difficult to not be impressed by.
Ditto, the upright bass, and strings accompanying him. I went and sat down on the sofa to listen more closely, and got a weird sensation of vertigo: I felt like I was falling forward into the recording because it had opened up, and enveloped the room completely. Subtle nuances in string pressure on individual bows in Nelson Riddle’s orchestra were apparent to me for the first time ever on “Willow Weep For Me.” By the time “Blues In The Night” played my skepticism had been completely replaced with genuine disbelief. This was an order of magnitude in sonic improvement – not a change mind you – but a further absence of background noise that allowed more of the recording to be presented. The opening up of the sound stage, and the depth with which the recording could now be lensed was difficult to not be impressed by.
DonR
Major Contributor
Falling into Frank can be dangerous. Don't try that at home, kids.
That made my head hurt.
Vive la dissonance!
Member
This one is not as idiotic I admit as some others in the thread, but it made me slap my forehead especially in that it was quoted without irony:
Codswallop posted on everyone's favorite shill marketing platform:
"The actual sonic performance is to be rated as excellent with a linear and well balanced sound signature supported by top technicalities. The xxxx is transparent, broadly extended, crystal clear and detailed, as should be expected from a modern dual ESS DAC, while it sounds quite musical and engaging without being artificial or boring. Actually the timbre is on the natural side with minimum digital glare that doesn't add the usual metallic and bright hue. The xxxx feels at home with all kinds of music while it offers plenty of harmonic saturation and colorful overtones to sound convincing and realistic with classical music. The xxxxxx xxxxxx proved to be an excellent sonic match rewarding the senses with some great moments of musical pleasure. Like while listening to the following recording of Bach's violin concertos where the soloist was accurately centered and slightly stepped forward with the violin sounding tonally correct and saturated. The accompanying orchestra was accurately positioned in the horizontal axis, but not that deep, while all instruments sounded clear and articulated.
The bass gets deep and well extended while the xxxx sounds physically impactful and dynamic. Texture is not that visceral, it is on the leaner side but technicalities are great, the bass is fast, tight and well controlled with excellent definition and layering. The mid range is clearly present, precisely defined and sounds finely articulated, as for the treble is vivid, sparkling and very resolving, touching sharpness territory but in no way edgy or harsh. Detail retrieval is on surprisingly high level for the category, you could even call it analytical, as for the soundstage, it is widely extended and pinpoint accurate but maybe not that layered in the depth. Nonetheless, it can easily fill your headphones with music adding some great scale of presentation with a grand imprint."
"The actual sonic performance is to be rated as excellent with a linear and well balanced sound signature supported by top technicalities. The xxxx is transparent, broadly extended, crystal clear and detailed, as should be expected from a modern dual ESS DAC, while it sounds quite musical and engaging without being artificial or boring. Actually the timbre is on the natural side with minimum digital glare that doesn't add the usual metallic and bright hue. The xxxx feels at home with all kinds of music while it offers plenty of harmonic saturation and colorful overtones to sound convincing and realistic with classical music. The xxxxxx xxxxxx proved to be an excellent sonic match rewarding the senses with some great moments of musical pleasure. Like while listening to the following recording of Bach's violin concertos where the soloist was accurately centered and slightly stepped forward with the violin sounding tonally correct and saturated. The accompanying orchestra was accurately positioned in the horizontal axis, but not that deep, while all instruments sounded clear and articulated.
The bass gets deep and well extended while the xxxx sounds physically impactful and dynamic. Texture is not that visceral, it is on the leaner side but technicalities are great, the bass is fast, tight and well controlled with excellent definition and layering. The mid range is clearly present, precisely defined and sounds finely articulated, as for the treble is vivid, sparkling and very resolving, touching sharpness territory but in no way edgy or harsh. Detail retrieval is on surprisingly high level for the category, you could even call it analytical, as for the soundstage, it is widely extended and pinpoint accurate but maybe not that layered in the depth. Nonetheless, it can easily fill your headphones with music adding some great scale of presentation with a grand imprint."
Guilty as charged.
DonR
Major Contributor
It may sound boring that every new fuse is the greatest leap in performance of all new generations of XX fuses, but there's no arguing: it is true... several experienced beta-testers confirmed the leap in performance from O to P is far more significant than the - already great - upgrade from B to O. This tells a lot about the effect the new P Fuse will have in your system. The new P Fuse surpasses the O Fuse with technology initially developed for the state-of-the-art XXX Series cables. This couldn't be achieved without the new, last-moment double breakthrough at XX Research, where they developed a new three stage, long duration high voltage conditioning process, and on top of that, a new UEF compound featuring Graphene. Together, these new technologies create a larger soundstage with better image focus and higher resolution from a perceived lowering of the noise floor. Of all the fuse generations and refinements XX has pioneered over the past decade, the new P Fuses are by far the best sounding and indeed take the single greatest leap in performance over previous generations. All aspects of subjective sound quality get enhanced, including natural sound where instruments and vocals sound inherently right, dynamics, low-level detail, high-frequency extension, and smoothness all take a massive leap forward. P fuses offer a new level of dynamics and control, giving the impression of “effortless” reproduction of even the most demanding music.
When they first came out these fuses cost as much as two return tickets from Vancouver to London. Now they can be had for the price of a nice dinner for 2 (house wine).
When they first came out these fuses cost as much as two return tickets from Vancouver to London. Now they can be had for the price of a nice dinner for 2 (house wine).
Hilarious! Does this mean they were just about to put their new product into production and they had a eureka moment in the R&D phase as they were packing up?
DonR
Major Contributor
I am still waiting for their "breakthrough" research to be published in a leading peer-reviewed scientific journal and then listen for the calls for nomination for a Nobel prize.
