This escalated quickly. 😅
The bass chapter continues with the ThieAudio Origin and Punch Audio Martilo.
Origin will be opened first since that’s the one I’m really curious about right now. Martilo will probably stay sealed for a while and get its own time later.
PB6 Macaw also arrived, but I’ll listen to the Origin straight from the DX270 first before adding the amp into the chain.
Impressions soon once I get proper time with everything.
Some early thoughts on the Binary Acoustics EP321
I’ve been spending time with the EP321 over the past few days, first with the stock cable, then later with the Angelears Phoenix. Not going to make big cable claims yet, but the Phoenix definitely looks better on it. The stock cable is usable, just doesn’t feel that premium.
The EP321 surprised me most with how open and detailed it sounds without becoming uncomfortable so far.
Flea’s Honora album worked really well with this set. On “Willow Weep for Me,” the trumpet had presence and a bit of brass bite, but it didn’t become piercing. The bass also had more weight than I expected. Not huge, but definitely not lacking.
Dave Matthews Band’s “Ants Marching” was good for drums and cymbals. Snare hits, crashes, and the small rhythmic details were easy to follow without everything blurring together.
Polyphia’s “Playing God” showed the speed of the set. The fast guitar runs stayed clean, and the EP321 didn’t make the track sound too thin even when it got busy.
Vocals are where I noticed its character more.
With R.E.M., especially “Everybody Hurts” and “Shiny Happy People,” the vocals sounded clean and centered, but not especially warm or thick. The EP321 doesn’t really add extra vocal weight. If the recording is a bit lean, it lets you hear that.
But with Jeff Buckley, it worked really well. “Everybody Here Wants You,” “Last Goodbye,” and “Mojo Pin” all showed how nicely this set handles vocal texture and movement. His voice sounded clear and expressive, and when he pushed higher, it didn’t turn sharp or sibilant.
Sade’s “Smooth Operator” was probably one of my favorite moments. Her voice stayed smooth and intimate, the sax had presence, and the bass, drums, keys, guitar, and vocals all had their own place. I actually replayed the track.
Tom Waits’ “I Hope That I Don’t Fall in Love with You” also sounded good. His voice has that rough, worn-in character, a bit like Joe Cocker in that soulful way, and the EP321 kept the texture without making it harsh or too dry.
For heavier stuff, I tried Ozzy’s “No More Tears” and “Mama, I’m Coming Home.” “No More Tears” had good bassline texture and guitar crunch, while “Mama, I’m Coming Home” showed that the EP321 doesn’t give vocals the same depth and body as something warmer like the Noah. But the emotion was still there, just presented in a cleaner and more open way.
So far, I’d say the EP321 is not a warm or thick-sounding IEM. It’s more detailed, open, and clean, with good separation and better bass than I expected.
Not the set I’d choose for romantic, full-bodied vocals all the time, but for detail, space, cymbal texture, vocal clarity, and instrument placement, it’s doing a lot right.
Some early thoughts on the Binary Acoustics EP321
I’ve been spending time with the EP321 over the past few days, first with the stock cable, then later with the Angelears Phoenix. Not going to make big cable claims yet, but the Phoenix definitely looks better on it. The stock cable is usable, just doesn’t feel that premium.
The EP321 surprised me most with how open and detailed it sounds without becoming uncomfortable so far.
Flea’s Honora album worked really well with this set. On “Willow Weep for Me,” the trumpet had presence and a bit of brass bite, but it didn’t become piercing. The bass also had more weight than I expected. Not huge, but definitely not lacking.
Dave Matthews Band’s “Ants Marching” was good for drums and cymbals. Snare hits, crashes, and the small rhythmic details were easy to follow without everything blurring together.
Polyphia’s “Playing God” showed the speed of the set. The fast guitar runs stayed clean, and the EP321 didn’t make the track sound too thin even when it got busy.
Vocals are where I noticed its character more.
With R.E.M., especially “Everybody Hurts” and “Shiny Happy People,” the vocals sounded clean and centered, but not especially warm or thick. The EP321 doesn’t really add extra vocal weight. If the recording is a bit lean, it lets you hear that.
But with Jeff Buckley, it worked really well. “Everybody Here Wants You,” “Last Goodbye,” and “Mojo Pin” all showed how nicely this set handles vocal texture and movement. His voice sounded clear and expressive, and when he pushed higher, it didn’t turn sharp or sibilant.
Sade’s “Smooth Operator” was probably one of my favorite moments. Her voice stayed smooth and intimate, the sax had presence, and the bass, drums, keys, guitar, and vocals all had their own place. I actually replayed the track.
Tom Waits’ “I Hope That I Don’t Fall in Love with You” also sounded good. His voice has that rough, worn-in character, a bit like Joe Cocker in that soulful way, and the EP321 kept the texture without making it harsh or too dry.
For heavier stuff, I tried Ozzy’s “No More Tears” and “Mama, I’m Coming Home.” “No More Tears” had good bassline texture and guitar crunch, while “Mama, I’m Coming Home” showed that the EP321 doesn’t give vocals the same depth and body as something warmer like the Noah. But the emotion was still there, just presented in a cleaner and more open way.
So far, I’d say the EP321 is not a warm or thick-sounding IEM. It’s more detailed, open, and clean, with good separation and better bass than I expected.
Not the set I’d choose for romantic, full-bodied vocals all the time, but for detail, space, cymbal texture, vocal clarity, and instrument placement, it’s doing a lot right.
Some early thoughts on the Binary Acoustics EP321
I’ve been spending time with the EP321 over the past few days, first with the stock cable, then later with the Angelears Phoenix. Not going to make big cable claims yet, but the Phoenix definitely looks better on it. The stock cable is usable, just doesn’t feel that premium.
The EP321 surprised me most with how open and detailed it sounds without becoming uncomfortable so far.
Flea’s Honora album worked really well with this set. On “Willow Weep for Me,” the trumpet had presence and a bit of brass bite, but it didn’t become piercing. The bass also had more weight than I expected. Not huge, but definitely not lacking.
Dave Matthews Band’s “Ants Marching” was good for drums and cymbals. Snare hits, crashes, and the small rhythmic details were easy to follow without everything blurring together.
Polyphia’s “Playing God” showed the speed of the set. The fast guitar runs stayed clean, and the EP321 didn’t make the track sound too thin even when it got busy.
Vocals are where I noticed its character more.
With R.E.M., especially “Everybody Hurts” and “Shiny Happy People,” the vocals sounded clean and centered, but not especially warm or thick. The EP321 doesn’t really add extra vocal weight. If the recording is a bit lean, it lets you hear that.
But with Jeff Buckley, it worked really well. “Everybody Here Wants You,” “Last Goodbye,” and “Mojo Pin” all showed how nicely this set handles vocal texture and movement. His voice sounded clear and expressive, and when he pushed higher, it didn’t turn sharp or sibilant.
Sade’s “Smooth Operator” was probably one of my favorite moments. Her voice stayed smooth and intimate, the sax had presence, and the bass, drums, keys, guitar, and vocals all had their own place. I actually replayed the track.
Tom Waits’ “I Hope That I Don’t Fall in Love with You” also sounded good. His voice has that rough, worn-in character, a bit like Joe Cocker in that soulful way, and the EP321 kept the texture without making it harsh or too dry.
For heavier stuff, I tried Ozzy’s “No More Tears” and “Mama, I’m Coming Home.” “No More Tears” had good bassline texture and guitar crunch, while “Mama, I’m Coming Home” showed that the EP321 doesn’t give vocals the same depth and body as something warmer like the Noah. But the emotion was still there, just presented in a cleaner and more open way.
So far, I’d say the EP321 is not a warm or thick-sounding IEM. It’s more detailed, open, and clean, with good separation and better bass than I expected.
Not the set I’d choose for romantic, full-bodied vocals all the time, but for detail, space, cymbal texture, vocal clarity, and instrument placement, it’s doing a lot right.
Some early thoughts on the Binary Acoustics EP321
I’ve been spending time with the EP321 over the past few days, first with the stock cable, then later with the Angelears Phoenix. Not going to make big cable claims yet, but the Phoenix definitely looks better on it. The stock cable is usable, just doesn’t feel that premium.
The EP321 surprised me most with how open and detailed it sounds without becoming uncomfortable so far.
Flea’s Honora album worked really well with this set. On “Willow Weep for Me,” the trumpet had presence and a bit of brass bite, but it didn’t become piercing. The bass also had more weight than I expected. Not huge, but definitely not lacking.
Dave Matthews Band’s “Ants Marching” was good for drums and cymbals. Snare hits, crashes, and the small rhythmic details were easy to follow without everything blurring together.
Polyphia’s “Playing God” showed the speed of the set. The fast guitar runs stayed clean, and the EP321 didn’t make the track sound too thin even when it got busy.
Vocals are where I noticed its character more.
With R.E.M., especially “Everybody Hurts” and “Shiny Happy People,” the vocals sounded clean and centered, but not especially warm or thick. The EP321 doesn’t really add extra vocal weight. If the recording is a bit lean, it lets you hear that.
But with Jeff Buckley, it worked really well. “Everybody Here Wants You,” “Last Goodbye,” and “Mojo Pin” all showed how nicely this set handles vocal texture and movement. His voice sounded clear and expressive, and when he pushed higher, it didn’t turn sharp or sibilant.
Sade’s “Smooth Operator” was probably one of my favorite moments. Her voice stayed smooth and intimate, the sax had presence, and the bass, drums, keys, guitar, and vocals all had their own place. I actually replayed the track.
Tom Waits’ “I Hope That I Don’t Fall in Love with You” also sounded good. His voice has that rough, worn-in character, a bit like Joe Cocker in that soulful way, and the EP321 kept the texture without making it harsh or too dry.
For heavier stuff, I tried Ozzy’s “No More Tears” and “Mama, I’m Coming Home.” “No More Tears” had good bassline texture and guitar crunch, while “Mama, I’m Coming Home” showed that the EP321 doesn’t give vocals the same depth and body as something warmer like the Noah. But the emotion was still there, just presented in a cleaner and more open way.
So far, I’d say the EP321 is not a warm or thick-sounding IEM. It’s more detailed, open, and clean, with good separation and better bass than I expected.
Not the set I’d choose for romantic, full-bodied vocals all the time, but for detail, space, cymbal texture, vocal clarity, and instrument placement, it’s doing a lot right.
First night with the Binary Acoustics EP321.
Breaking it in with Flea’s Honora on the DX270. Curious to hear how this set handles bass texture, horns, cymbals, separation, and space.
Will spend more time with it before saying too much.
Final Audio A5000 with some light EQ through UAPP.
I’ve always liked the A5000 for its open and airy presentation. It’s not really a thick or bassy IEM, but it does space, clarity, and separation really well.
This time I used Toneboosters EQ in UAPP. Nothing extreme. Just a small low shelf, a little more presence, and some extra air up top. I didn’t want to turn the A5000 into something else. Just wanted a little more foundation while keeping what I already like about it.
I started a few days ago with Iron & Wine’s Beast Epic, especially “Call It Dreaming.” The A5000 works nicely with that kind of album. Acoustic guitars had a light shimmer, Sam Beam’s voice stayed gentle and clear, and the whole thing felt open and peaceful.
Beck’s “Lost Cause” was good for checking vocal tone and guitar texture. After the EQ, the plucking came through more clearly, but the set still kept that airy feel. Beck’s voice stayed centered and didn’t get pushed too hard.
Massive Attack’s “Angel” was the bass test. The small low shelf helped give the track more presence without making it muddy. The bass had more weight, but the dark spacious mood of the song was still there.
AC/DC’s “Thunderstruck” live version also worked better than I expected. The intro guitar was clean and not congested. When the kick drum came in, it had a nice hit. When Brian Johnson and the rhythm guitars entered, the track still stayed controlled. Bass was there, but it didn’t smear into the guitars.
Blues Traveler’s “Hook” was another good one. The guitars, harmonica, bass, and drums were easier to separate after the EQ. The harmonica had more bite, but it didn’t become painful. The track still kept its fun loose groove.
Then I played Björk’s “It’s Oh So Quiet.” Her voice still stood out clearly, but it blended well with the horns, brass hits, piano, drums, bass, and the sudden changes in the arrangement. Her voice sounded sweet and expressive, and the EQ helped bring out the details without making the track sharp.
For me, this EQ keeps the A5000’s identity intact. It’s still open, airy, and spacious, but now it has a bit more low-end support, better separation, and more bite where I wanted it.
Source:
- iBasso DX270
- UAPP
- Toneboosters EQ
- FLAC files
Photo lightly enhanced. Listening notes are my own.
Played Audioslave, Soundgarden, Tom Petty, Cry of Love, Faith No More, and Rush today. The Top Pro is one of the IEMs I brought with me on this healing retreat because I wanted at least one set with punch, drive, and good attack.
Tracks today included “Original Fire,” “Be Yourself,” “Gasoline,” “Rusty Cage,” “Free Fallin’,” “You Don’t Know How It Feels,” “Don’t Do Me Like That,” Faith No More’s “Separation Anxiety,” Rush’s “Xanadu,” and Cry of Love’s Brother.
The lows have good punch and control. Kick drums hit clean, and bass lines have enough weight without getting loose. On Cry of Love’s Brother, Jason Patterson’s drums have proper slam and timing, while Robert Kearns’ bass locks in nicely without taking over the mix.
The mids carry guitars well. There’s bite, texture, and enough density without making everything too thick. Tom Morello’s guitar on “Original Fire” has that gritty, raw edge right from the start, and the Top Pro keeps the riffs lively without making them messy.
Kim Thayil’s guitar work on “Rusty Cage” has that darker crunch, and the Top Pro gives it enough drive to keep the track moving.
Tom Petty is a different feel. More open, simpler, and more laid-back. “Don’t Do Me Like That” works great here because of the bounce and kick drum hit.
Cry of Love’s Brother is one of those albums I know really well, so I use it a lot when testing IEMs. Kelly Holland’s voice has that gritty blues-rock delivery, Audley Freed’s guitar has that classic tone and feel, and the Top Pro keeps the whole band together without anything overpowering the rest.
Faith No More’s “Separation Anxiety” shows the speed and attack of the set. It keeps the heavier parts tight and doesn’t blur the tension of the track.
Rush’s “Xanadu” also works well. The track has space, layers, cymbal work, bass movement, and those gradual builds. The Top Pro keeps things separated enough without killing the energy.
The highs have good snap and presence. Cymbals and guitar edges come through clearly, but it doesn’t feel like the top end is forcing itself into the music.
For me, the Top Pro works best when the music needs punch, dynamics, guitar bite, and drive.
Source:
- iBasso DX270
- FLAC files through Mango Player
Photo lightly enhanced. Listening notes are my own.
Dave Brubeck afternoon session
I’m currently on a month-long healing retreat, so I only brought a few IEMs with me. The Reference was one of them, and sessions like this remind me why I packed it.
With Dave Brubeck, this set makes a lot of sense.
The lows are clean and controlled. It doesn’t add extra weight just to make things sound bigger, but the bass lines still have enough presence to keep the rhythm grounded.
The mids are probably what I enjoy most here. Piano notes come through clearly, the sax has texture, and each instrument is easy to follow. Nothing feels covered or pushed too far back.
The highs have enough air without being too much. Cymbals have that light shimmer, and there’s enough detail to hear the space around the instruments.
That’s what I like about the Reference. It just sounds clean and honest, and with jazz, that works really well.
Saturday morning with the CrinEar Reference, mostly listening to female vocals.
This set works well for me because it doesn’t try too hard to make vocals prettier than they are. It’s more neutral, but voices still come through clearly.
Amy Winehouse on “Rehab” sounds like Amy should sound — smoky, soulful, a little rough, and full of attitude. The Reference doesn’t smooth out that character too much, which I like.
Eva Cassidy on “Fields of Gold” is almost the opposite. Gentle, emotional, and very controlled. You can hear the softness in her voice and the way she phrases each line.
For vocals, especially female vocals, I like that nothing feels hidden or covered. It just lets me hear the singer properly.
Source:
- Qobuz
- iBasso DX270
Saturday morning with the CrinEar Reference, mostly listening to female vocals.
This set works well for me because it doesn’t try too hard to make vocals prettier than they are. It’s more neutral, but voices still come through clearly.
Amy Winehouse on “Rehab” sounds like Amy should sound — smoky, soulful, a little rough, and full of attitude. The Reference doesn’t smooth out that character too much, which I like.
Eva Cassidy on “Fields of Gold” is almost the opposite. Gentle, emotional, and very controlled. You can hear the softness in her voice and the way she phrases each line.
For vocals, especially female vocals, I like that nothing feels hidden or covered. It just lets me hear the singer properly.
Source:
- Qobuz
- iBasso DX270
Saturday morning with the CrinEar Reference, mostly listening to female vocals.
This set works well for me because it doesn’t try too hard to make vocals prettier than they are. It’s more neutral, but voices still come through clearly.
Amy Winehouse on “Rehab” sounds like Amy should sound — smoky, soulful, a little rough, and full of attitude. The Reference doesn’t smooth out that character too much, which I like.
Eva Cassidy on “Fields of Gold” is almost the opposite. Gentle, emotional, and very controlled. You can hear the softness in her voice and the way she phrases each line.
For vocals, especially female vocals, I like that nothing feels hidden or covered. It just lets me hear the singer properly.
Source:
- Qobuz
- iBasso DX270
Saturday morning with the CrinEar Reference, mostly listening to female vocals.
This set works well for me because it doesn’t try too hard to make vocals prettier than they are. It’s more neutral, but voices still come through clearly.
Amy Winehouse on “Rehab” sounds like Amy should sound — smoky, soulful, a little rough, and full of attitude. The Reference doesn’t smooth out that character too much, which I like.
Eva Cassidy on “Fields of Gold” is almost the opposite. Gentle, emotional, and very controlled. You can hear the softness in her voice and the way she phrases each line.
For vocals, especially female vocals, I like that nothing feels hidden or covered. It just lets me hear the singer properly.
Source:
- Qobuz
- iBasso DX270
Saturday morning with the CrinEar Reference, mostly listening to female vocals.
This set works well for me because it doesn’t try too hard to make vocals prettier than they are. It’s more neutral, but voices still come through clearly.
Amy Winehouse on “Rehab” sounds like Amy should sound — smoky, soulful, a little rough, and full of attitude. The Reference doesn’t smooth out that character too much, which I like.
Eva Cassidy on “Fields of Gold” is almost the opposite. Gentle, emotional, and very controlled. You can hear the softness in her voice and the way she phrases each line.
For vocals, especially female vocals, I like that nothing feels hidden or covered. It just lets me hear the singer properly.
Source:
- Qobuz
- iBasso DX270
Got a custom case for my iBasso DX270 from AliExpress.
This one is goatskin in caramel, with matching stitching. The seller lets you choose the leather color and stitching color, which is pretty nice if you want something different from the stock case.
I’ve had it for a few weeks now and I’m happy with it. The top and bottom port cutouts are a little off-center, but honestly, it doesn’t bother me in daily use. The fit is good enough, the color looks great with the silver body, and it gives the DX270 a warmer vintage look.
The biggest improvement for me is the side button area. On the original case, I sometimes pressed the buttons by accident. With this one, the button cutouts are deeper and better protected, so accidental presses are less of an issue.
Not a perfect case, but definitely a good buy for me.
Friday night Steely Dan session.
Arya Organic + FiiO K17.
I get now why Steely Dan gets used for “listen to the instruments” sessions. Everything feels so cleanly placed. Bass lines are easy to follow, the keys sit nicely in the mix, guitars come in without fighting the vocals, and the drums have that snap and space around them.
“Do It Again” has that smooth groove, percussion, keys, and bass locked in together. “Black Cow” sounds clean and polished, with the horns and backing vocals sitting right where they should be.
But “Aja” is the one. That drum section is just crazy on the Arya. Big stage, great separation, and enough room to hear the band without it turning messy.
Diana Krall on the DX270 tonight.
Oysters, beer, and the new tan case getting its first night out. Not really in the mood to analyze anything, just enjoying the music and the Saturday night vibe.
I finally feel more confident using the Tab S11 Ultra with the Pro Keyboard now that I have the screen, back, and camera lens protected.
The screen film was installed at a local shop near where I live. The back cover and camera lens protector were from AliExpress. The Pro Keyboard feels much better to use now without worrying too much about scratches on the back or the exposed camera area.
FYI: the stickers are attached to the back cover, not directly on the tablet itself. Just wanted to personalize it a bit while still keeping the tablet protected
DX270 as transport tonight into the xDuoo DM-01, paired with the Arya Organic.
Playing Dire Straits — “Private Investigations” from Money for Nothing. This little hybrid tube robot does wonders with the Arya. The track already has that slow, dark, cinematic feel, and this setup gives it space without making it sound thin.
The Arya keeps the stage big, the DM-01 adds a bit of body and glow, and the DX270 just feeds it clean. Weird-looking setup, but it works.
HD650 + Feliks Audio Echo 2 tonight, playing Jeff Buckley’s Grace.
This combo is made for vocals. The HD650 already has that intimate midrange, then the Echo 2 adds just enough warmth and body. Jeff Buckley’s voice on this setup is something else. Almost angelic at times, especially on Grace, So Real, and Lover, You Should’ve Come Over.
No need to overthink this one. Just sit down and listen.