This review has been translated and adapted from a review by Bai He (白河). Mr. Bai He is an industrial designer, a founder of Zinc Audio in Hangzhou, as well as a key opinion leader in the Chinese market.
A small disclaimer, while we have omitted some of the infographics used in he original Chinese review, the original version can be found here for your perusal
Translated by Asher Yeo
The 1985 Winner of the Oscar’s Best film award, ‘Amadeus’, had a segment in which King of Austria, Leopold II introduces Mozart to the court Musician and director to the Italian opera, Antonio Salieri. Here's what he says:
“Here is our illustrious court Composers Maestrol Salieri"
“Maestro” is an Italian word that serves as the root of the English word “Master”. It represents the highest level of mastery and is widely used in artistic circles, especially within the realm of classical music.
As classical music aficionados will know, musicians in history that have been bestowed the title of ‘Maestro’ by time have been far and few between. A Maestro is not only good at his craft, he is influential and knowledgeable.
Even though Salieri is nowhere as popular as Mozart is in the modern world, but he was one of Mozart's most outstanding contemporaries, living up to his title of 'Maestro'.
Aside from traditional masters of classical music the likes of Beethoven and Tchaikovsky, among the ranks of Maestro, we can also find interpreters of music: Conductors and Composers like Celibidache, Karajan, Gould and Milstein. Only the most refined are suitable for the title "Maestro".
For the longest time, I have been searching for a pair of earphones with the same interpretive abilities as the maestros of yore. My search ended at the Shanghai International Audio Visual Show this April where I told final Audio's Kudo San "This is it! This is the sound I've been searching for!“.
The pair of earphones I am speaking of is final Audio's new flagship: B1 of final's new B Series.
My friends know my habits when it comes to testing gear. "If it's not good with classical music, it doesn't make the cut." is the oft-repeated mantra the people around me are familiar with,
If musical gear cannot achieve the precision, realism and natural presentation a live classical performance can achieve, it's probably still going to sound manufactured and unnatural (by my own standards) in other genres.
When I first heard the B1 at SIAV, I sat down at final Audio's booth and plugged the earphones into my WM1Z.
Being a creature of habit, I put on the EMI recording of Tchaikovsky 5 played by the Munich philharmonic and conducted by Celibidache. Despite how noisy the exhibition grounds were and despite me later knowing that the unit hadn't been burned in properly, I still heard elements in the music that blew me away. I followed up with Bruckner's Symphony No.8, Brahms, Wagner.
Piece after piece, section after section, the next I knew, I had been seated at the booth for a good half hour, I stood up and told final Audio's Gaku Kudo what I wrote above. "This is it! This is the sound I've been searching for!“.
Then I excitedly posted "BEST of SIAV DAY 1" on my Wechat timeline.
After a bit, I came to realise that B1' s reception among the enthusiast community was miles away from what I had envisioned.
"Average resolution", "Okay soundstage", "recessed bass" were some terms I heard being bandied about. That was when I realised that, during my 30-minute long listening session, I completely neglected to listen for these oft-mentioned rubrics. I was fixated on the music, and what came through the earphones was the music I wanted to hear.
I have only just received the final tuning of the B1, B2 and B3 in the past months. And I have gotten the opportunity to savour them properly (especially B1). When finally I put on my reviewer's hat, diving into B1's sound, I realised that these earphones truly had a maestro-like ability to interpret music. I found this to be a frightening realisation.
Geared for Classical Playback Across All Frequencies
Classical music is quite the tough mistress: Earphones that subscribe to modern tuning conventions will find it difficult to satisfy her demands.
High frequencies are the first benchmark in classical music playback. Friends know that I am in the habit of modifying the gear I love, adjusting the EQ so that the resulting sound isignature s better aligned to my preferences: These modifications are almost 100% centered on tweaking a earphone's highs.
The mainstream perception of high frequencies has shifted slightly, no thanks to the proliferation of mainstream music. 80% of earphones possess high frequencies that are a little too bright for classical music playback. While string instruments tend to sound lively and beautiful under these tuning circumstances, giving the listener a breathtaking listening experience, brass instruments can sound harsh and grating.
That certainly doesn't mean that a "dark or overly warm sound" is the sound that's more ideal for classical music. As much as darker treble can contribute to a more comfortable listening experience, it also causes the instruments to lose much of their texture and vibrance. When it comes to the playback of classical music, the main challenge is presenting the treble in a measured manner without subscribing to use an overly dark sound, or defaulting to an overly bright sound. B1's Treble is exceedingly appropriate in this sense.
The B1 also has an outstanding sense of space and harmonics, so much that it might just be the spiritual successor to the nuanced way the FITEAR ToGo 334 and UM Mason V2 handles their highs.
In classical music playback, the mids play as big of a part as the highs. After all, our ears have been primed to pick up mids.
Classical mids need to be full and rich in order to fulfill the requirements in the playback of most instruments. The B1's mids have that fullness, but without the necessary power to drive these monitors, the fullness originally apparent in the B1 can take quite a hit. When driven with the appropriate device, the B1 can present classical mids in the most amazing manner. (The cello and piano sound particularly good.
A lot of listeners feel like the B1's lows are it's biggest weakness, the general consensus is that a lot of bass is lost in the mix of the B1's other sounds.
The ideal presentation of bass frequencies in classical music is a little more nuanced.
For one the way the listener experiences bass in the concert hall goes beyond sound itself.
Readers who listen to classical music played live will know that during particularly dramatic, bassy segments, you can actually feel your body responding physiologically to the music, the same goes for high-end hi fi systems. (You almost feel like you're experiencing heart palpitations).
However, the playback of classical music demands that bass be presented in a way that acknowledges the spatial magic that happens in a concert hall while remaining relaxed and clean enough to manage the big, dramatic rises and falls of the sound in brass-focused moments.
These are the requirements classical music has towards the playback of low frequencies and these types of lows are extremely rare in the sound signatures of earphones.
The UM Mason V2 is one that gets close to this: Its bass is full but relaxed, but what’s sacrificed is that the lows become less atmospheric.
The B1’s lows are refined and actually manage to be more relaxed the lows found in the Mason V2, the lows extend nicely and are less artificial than the contrived bass found in traditional hi-fidelity earphones. There is a natural harmony to the bass, making these lows perfect for classical music, it’s not contrived or artificial. While there’s definitely room for improvement, it’s already great.
Perhaps you’d feel like the B1’s high aren’t as extravagant as you like, or that its mids aren’t smooth or rich enough or that the bass lacks punch. But all bands of the B1’s frequencies seem to be tailored specifically for classical playback.
Grounded but Spectacular
When we talk about classical playback, people tend to think of a wide soundstage and stunning, sweeping highs and lows, rich details, ecetera. But all these labels really don’t apply to the grounded nature of the B1.
That’s because, if you’re a classical enthusiast that’s often exposed to live classical music, all these labels with diminish in importance the moment you hear the final B1. That’s because, over the traditional review rubric, classical music playback tests the overall interpretative ability of the earphone. In a market saturated with high end earphones, there’s a glut of earphones that are competent at almost everything. That makes tuning a major differentiator, as manufacturers tweak and adjust aspects of the sound as a whole.
Almost every one of the ridiculously priced earphone offerings in the market can manage all frequency band well, have a great soundstages and dynamism. however, these earphones miss the mark on factors as basic as being natural. It’s like a person whose facial features are stunning individually, but these same features can look atrocious when combined, no matter how you throw them together.
Friends have recommended me 64 Audio’s U18T and the VE13 for listening to symphonies. But when you compare the playback on these earphones to live classical music, you realise that these expensive monitors don’t cut it for classical music playback. This is the reason why I rarely write earphone reviews: it’s exceedingly rare for the classical playback on a pair of earphones to appeal to me. The last one that did is the UM Mason v2 (not the v3), which is now officially out of production.
The B1’s soundstage isn’t top-tier, it’s also not small by any sense of the word, but it’s certainly stripped down compared to the Z1R and FW10000. But classical music isn’t a genre that tests an earphone’s soundstage in terms of width, but it’s coherence and dimensionality. The UTOPIA’s soundstage width may be panned by almost everyone, but is still loved by listeners of classical music, this is because the UTOPIA’s soundstage possesses a sort of dimensionality. The B1 handles its soundstage well, it’s natural and dimensional. The “live experience” is at the core of B1’s tuning, and what’s contributing to this effect isn’t only the B1’s soundstage, it’s also the way the B1 handles resolution. The B1’s soundstage and imaging is quite similar to FOCAL’s earphones, it’s a bit forward, allowing the listener to get a “live-experience”.
Sophie-Mutter’s “The Wanderers Song” is a Deutsche Grammophon 4D recording that’s a staple in the music libraries of classical music fans. I don’t listen to this recording much, because I don’t quite like the way Mutter interprets the music. The reason why this disc is so widely collected is because it was recorded in 1993, just when DG-Records overhauled their recording technology, making Mutter one of the first musicians to be recorded in 4D. Because of the stellar quality of the recording itself, it was the perfect recording on which to test and boast about the technical merits of a rig, making it a sought after recording by enthusiasts.
In my playback of this recording, on the last crescendo, the B1 displayed stunning resolution. In comparison with 2 other monitors that handle classical music beautifully, the Z1R and the Mason v2, the B1 is meticulous in its presentation of the violin, layered and detailed. The Z1R, at double the price of the B1, beats out the B1 in terms of soundstage and power, but loses to the B1 in terms of its presentation of layers and details. The Z1R’s resolution is comparatively fuzzier and more backwards sitting. (Please note that this is a Z1R I’ve tuned for a long time… adding damping and cable rolling TT)
Speaking of detail, the way the B1 presents detail is reminiscent of the D8000, it doesn’t overemphasize explosive details or the amount of data it presents at a time. If you’re not listening to a widely lauded classical track or a “publicly-lauded reference track” you might feel as if the details were slightly fuzzy. I once described the D8000 as high-end fuzz-fi. It’s a comfortable, fluid way a earphone presents its details.
The B1 is more or less similar. The B1’s sound isn’t as full as the D8000’s, it’s a little bit more direct in the delivery of its details as compared to the D8000, but it’s still layered. No matter how big the orchestral piece, the B1 delivers the detail in clear manner, it might to be superb in the sheer amount of detail, but you’re unlikely to feel cheated out of detail.
In fact, the details are all present, but they’re natural, not overly extravagant or messy. It’s almost perfect in it’s playback of most classical recording mainstays. The reason why it’s perfect is similar to how the D8000’s detail presentation was perfect: It’s not about the detail, or the explosiveness, but about the way these details are presented.
The B1’s speed and dynamism loses a little to the Z1R in terms of excitement, but this doesn’t come through when playing recordings of symphonies that are already grand and dynamic in and of themselves. If you’re extremely used to live and home hi-fi playback, though you’d certainly feel like the B1 is lacking. When playing speedy tracks like Paganini’s concertos, the B1 is competent in its speed, it’s fast without being jittery, it retains a great fluidity.
Transparency is also important in terms of classical playback. A properly transparent pair of earphones can bring out the layers in a classical piece. The B1 is really one of the best in terms of transparency, perhaps even leagues above its price. When listening to the Beethoven’s 7th, 2nd Movement,the B1 seems to bring to life details that went unnoticed in previous plays.
When driven properly, the B1 can indeed sound clean and rich.
B1 is as impressive in its standard as the rest of final Audio’s high-end products. Upon first listening, the B1 seems to be a little far from top tier, but upon further listening, you’d realise that it adheres to final’s previous standards, except that the B1 now sounds a lot more natural.
A Sonic Experience at the Peak of Classical Music
If you’re a hardcore audiophile, then you’d probably feel as if the B1 isn’t hi fi enough. However, I personally feel as if the meaning of Hi-Fi has been moving away from High Fidelity, “Hi-Fi” these days seem to mean the sensory excitement a listener derives from his gear and not the faithful replication of sound. I often tell audiophiles “If you listened to the sound of a cup shattering on a STAX SR-009, it’s going to be a great deal more exciting than listening to a cup shattering in real life.” Granted, that’s a semi satirical statement. But it’s reflective of the way Hi Fi has been defined in recent years. Listeners chase after sonic excitement more than reality. This is true even for modern listeners of classical music. People often use the word “grand” to describe a symphony, it’s widely agreed that how grand a piece sound depends largely on big bass fluctuations and the dynamism of a pair of earphones. However, after years and years of listening to classical music live, I’ve yet to have a run in with a piece of live classical music that’s “grand” in the way that’s described above.
In my consciousness, there’s something oppressive about this sense of manufactured grandeur. For instance, if your troops were grand, you could potentially crush the enemy with this sense of grandeur. Enemy troops would feel crushed by your troops grandeur, while your troops would celebrate this sense of grandeur.
Grandeur, when interpreted on my personal terms, will have nothing to do with big, sweeping changes in mood, punchy lows or explosiveness. What I look for in grandeur is the a sense of the sound remaining stable and pliant even with the huge ups and downs in classical music. This sort of grandeur is the sort of grandeur we can celebrate.
This is the sort of presentation one might expect from a competent pair of IEMs. Why are the recording levels for classical music so low? It’s to showcase the fluctuations in mood in a classical piece. In large symphonic pieces like those from Mahler and Bruckner, playback gear needs to flexible enough to flow with the fluctuations in a piece and not solely geared towards the grandiosity of the symphony, earphones that can achieve this effect are few and far between, and B1 han dles this aspect the best. The larger the symphony, the more the B1’s merits shine through.
The basic requirements of classical playback is that it’s relaxed, full and lively. The B1 is beyond reproach in all 3 of these aspects. On a friend’s recording of Kleiber’s Beethoven’s 7th Symphony, 2nd movement, you can truly feel how relaxed and charismatic the B1 sounds. Even when the B1 isn’t properly driven, it doesn’t take to sounding too peaky or sibilant.
mastery of the ultra-soft segments in each piece came through perfectly, rich and stable. The touchstone of classical playback is the clarinet, not the piano. It’s a breathy instrument with high expectations for both richness and fullness, the sound of the metal keys and breathing also puts the detail-playback for the B1 to the test. I’m personally also particularly sensitive to the Clarinet, particularly since I’ve played it since grade 4 and occasionally play it since.
In my experience, as long as the clarinet sounds good, other instruments won’t have too big of a problem as well. Mozart’s Clarinet Quintet in A, K.581 sounds realistic, natural and smooth with the B1. Listening to Brendel’s piano after allows it’s realism, detail and vibrance to shine through. Although I feel like the 334 still beats out the B1 in it’s piano playback (yes, you haven’t heard wrong, I think the 334 is great for instrumentals). B1 is outstanding in how meticulous it is less contoured, fans of strings might feel like the B1’s playback goes a little too soft on them and get disappointed. The lack of contours might be an attempt to make the B1 sound sweeter. It really isn’t a problem, though. I’ve once described good sound as being like water, flowing, flexible and natural. This is why like the sound of EAR Yoshino and Jadis. A lot of people aren’t quite sure why the HP4 commands the prices it does, but I personally feel like it’s expensive because of its smoothness.
Perhaps after reading all this you’d start to think that the B1 was bulletproof. It really isn’t. It’s indeed bulletproof, if we’re talking about the realm of classical music, but it may very well sound lacklustre when handling other genres. If you’re looking at pop music, I don’t recommend using the B1, the B1 lacks the ability to express the texture of pop music, possibly expressing it in a way that can seem grating. Also, due to it’s propensity to focus on the instrumentals within a track, the B1 can make vocals seem separated from its background. That really doesn’t mean that the B1 isn’t good at handling vocals: In Acappella tracks for instance, the B1 holds its own by recreating a live environment. In short, the B1 is better for natural sounds, not so much for sounds produced by digital mixing.
The B1 is frightening for one other reason, and that is its impedance. A sensitivity of 94dB makes these earphones hard to place. The B1 relies on a large amount of power to be driven well. In the DAPs I’ve used for testing, only the Cayin N8’s Vacuum Tube Mode can drive the B1 to a satisfactory level. The Lotoo Paw Gold Touch does well in driving the B1, but it’s reference tuning can often be at odds with the flow of the B1. With any other DAP, the B1 reveals a fraction of its true potential. But even without the necessary power needed to drive the B1, it remains one of the stunners in it’s mastery of classical music. (My experience with the B1 driven by the WM1Z at the SIAV was already verging on spiritual)
Unravelling just a bit of the B1’s true capability is enough to stun. I plugged the B1 into the Low Impedance jack of the EAR Yoshino’s HP4 and pitted it against the way it sounded paired with the full-blooded Ether 2 from MrSpeakers. The B1 still sounds great when paired with these unique amps, so much that it surprised everyone in the Zinc Audio studio. Until today, the B1 still delivers plenty of surprises, I’m still not quite sure of its full potential, just as well, really, a maestro should have unlimited, untapped potential.
The B1 is underrated, made by what some netizens might see as an unnecessarily luxe brand, using a 1 DD, 1 BA combination that’s eschewed by most enthusiasts and it retails at somewhere in the ballpark of 1000USD, you’d probably think I was mad for lauding it as much as I’m doing.
But what’s undeniable is that, final has always made use of a scientific process when designing its products. From the D8000 to the E5000, final Audio has delighted me with the amount of easter eggs and surprises in the sound of their products. Through B1, I’ve seen the care final Audio puts in the tuning of its products (unlike Takai San, Hosoo san is a perfectionist and a lover of classical music, which explains final’s new tuning). You could probably interpret final’s previous incarnation as “overly esoteric” and “borderline neurotic”, but final’s new sound is slowly taking a more musical, human touch.
*FINAL B1，A TRUE MAESTRO！
The BEST classical IEM available on the market?
Not you’ve read what I think perhaps, you’re thinking that I’m overexaggerating the B1’s strengths, I feel like I’ve already exercised a healthy amount of restraint. That being said, here’s a disclaimer, the Zinc Audio isn’t commercialised, and will never be. There’s never any exchange of interests between us and the manufacturers we review and most manufacturers don’t want us to talk about them anyway. We’re only keen to talk about the products we love .
Reading 1000 reviews isn’t as good as listening to the real thing just once. It’s easy to listen and enjoy, but it’s a little harder to listen to pair of monitors from the point of view of a reviewer. Everyone has their own pet subjects and pet peeves, myself included. A lot of earphones I’ve found mediocre have earned the love of a lot of audiophiles, and that’s okay. But our stand has always been that the gear serves the music, and our reviews aim to tell you how well it does that.
If you happen to be in Hangzhou, you’re more than welcome to pay a visit to Zinc Audio to give the B1 a spin.
Bonus: What about the B2 and B3?
I’m very very much into the B1, so I’ve talked about the B1 this whole time. So I’ll talk a bit about the B2 and B3 for the bonus section. The numbering is a little weird, with B3 being 2BA the sub-flagship and the B2 being the IBA entry level model. Is B2 and B3 as outstanding as the B1?
Final isn’t known for being particularly orthodox, but they’ve been slowly been compromising a little more to fit in better with the market. So having a series of earphones that are unorthodox in chasing the live experience does seem more in line with final’s typical modus operandi.
B3 is the sub-flagship of the B Series, it’s compatible with a wide array of genres and takes to both instrumentals or vocals beautifully. The B3 bass is a fair bit faster than the B1’s, its vocals are a great deal more detailed than the B1’s, it’s almost meticulous in its vocal presentation: All these things made the B3 the real attention grabber during the SIAV. B3 is similar to the make 1 in pricing, save for the fact the B3 is missing a BA driver. The B3 has more subdued sound than the make 1, so fans of anisong might feel like the make 1 is better. I have a great overall opinion about the B3 as well. I feel like the B3 sounds refined, gentle and balanced, overall a very meticulous sort of presentation.
The B2 is nowhere near as full as the B1 or B3, it sounds lean, contoured and raw. The B2 focuses on bringing out a visceral sort of emotional nuance, the vocals are incredibly intimate and the lows are relaxed. Expect less detail but more speed.
Between the B2 and B3, I personally prefer the B3, it’s the most balanced member of the B series. But it’s nowhere near B1 in the way it handles extreme frequencies in classical music. For a person like me who listens to classical music 95% of the time. I stan the Maestro B1, no questions asked.
A $599 Cable with Exceptional Cost-performance? The OSLO Cable isn’t Just About Convenience: A Phileweb Review
This OSLO review was sourced from phileweb and written by Atsushi Takuma.
Translated and adapted by Asher Yeo
See the original article here
Sound Preferences Aside, This is a Cable that’s Objectively Convenient:
The elements earphone uses look for in a replacement cable can roughly be divided into 3 categories
Whether a replacement cable is suitable for a pair of monitors largely depends on what kind of sound compliments monitor’s original tuning. This means that an individual listener’s favourite cable-IEM combinations are almost entirely dependent on their own preferences: These are just some reasons why a universally good cable does not exist.
One aspect of this element is the portion of the cable we know as the ear-hook. This bit of the cable may be enhanced by a mouldable metal wire, resin or even “free-form” non-moulded hook-types. The fit of this portion and the way it loops around the users’ ears also depends on what the user likes. This means that it's impossible for a universally fitting cable to exist, too.
However, when it comes to functionality, there’s a replacement cable on the scene with the sort of practicality most everyone will welcome.
That is DITA's latest OSLO Cable, and it’s presently retailing for $599 USD.
As of time of writing, a universal MMCX version and DITA Twins version is available.
The 2-pin and FitEar terminations are still awaiting release in Japan.
From 3.5mm to 4.4mm to 2.5mm: The Awesome Plug Supports (Almost) Everything!
What's this prattling on about ”functionality”?
I’m talking about DITA’s ultimate weapon “the Awesome Plug!”
As you can probably see, the images above contain multiple connector sizes:
All these plug options come included within the packaging of the OSLO cable.
This really is a universally convenient function for most everybody, especially for those who want the immersion that comes with using the balanced output on the DAP but also want the convenience of listening to their radio subscriptions on their smartphones.
This can also be a useful feature for those who have transitioned entirely to TWS earphones for their smartphone and only need, say, a 2.5mm plug for their DAPs. These users now have the convenience of an available 4.4mm plug should they choose to switch machines, letting them use the same OSLO cable on 2 entirely different setups. This system goes a long way in giving the end user a peace-of-mind.
Given that high-end cables really don’t come cheap, a cable that’s functional in multiple situations and that’s convenient to use on most machines is a huge boon that DITA wants to provide. The Awesome Plug gives the OSLO cable a high cost-performance factor that’s certainly going to be a big reason to own this one.
Moving Along from the Plug, The Cable Itself is Quite the Powerhouse
Despite what we’ve talked about above, a replacement cable of the OSLO’s price bracket isn't going to get by with simply being “convenient”.
I’d like to reassure my readers that the OSLO cable’s merits don’t just end at the convenience of the Awesome Plug.
In fact, even if you took away the Awesome Plug system entirely, the OSLO cable still has ample strength to stand on its own. It's a strong contender in the high-end cable category.
Let’s kick off by talking about the product’s specifications, we’ll move into talking about the sound a little later.
The conductors themselves are made from oil-soaked PC-Triple C Long Crystal Copper. While the nanoparticle oil the conductors are soaked in is made from squalane, an oily substance found in the bladders of deep-sea sharks. Gold and silver nanoparticles have been added in the mix.
Applying this mixture to the conductor’s surfaces will smooth and fill fine irregularities, making for smoother, more accurate, signal transmission.
Incidentally, it should be noted that squalane oil is widely used in cosmetic applications and is safe. It’s widely used as a lubricating agent. This writer personally uses squalane oil to facilitate the removal of the nuts and saddle on his guitar. Some audiophiles also use squalane oil to maintain highly complicated equipment with small moving parts.
The cable sheath is made of polyethene, its not too thick, it’s flexible and easy to handle. It’s easy to wind up and put away. While cables that are too thin and soft may get tangled easily.
The absence of a memory wire allows the cable to drape naturally around the ear making wearing experience smooth and comfortable
The splitter is made of what looks like aluminium with brand name emblazoned on the top. It’s appropriately weighty. While weight may sound like a negative, it’s beneficial in this case, helping to pull the cables snug around the ears, applying downward tension and stabilising the earphones.
The current OSLO lineup is as follows
Cables for the company’s Twins Series and a universal MMCX configuration is out. Universal 2-pin and MMCX will be released in the future. I’ve managed to borrow an MMCX prototype and a 2 Pin prototype for the purpose of this review. As far as I know, the 2 termination will be undergoing a revision very soon. As such, please note that what is written above may be subject to change!
There’s a little bit of a protrusion after the connector, this is to accommodate monitors with a sunken-in connector. However, on the flip side, there’s going to be a bit of the connector’s base showing when the cables are used with normal IEMs, the connector itself also becomes slightly longer.
One of the main boons of the OSLO cable seems to be its versatility regardless of the monitor its combined with: As such, the cable certainly works with most IEMs. This characteristic of the OSLO Cable, paired with the universal connector on the DAP-end of the cable makes the OSLO cable suitable for various configurations
Giving Reference Earphones Warmth and Nuance
The OSLO cable does make an impact on the sound of the earphones. But it generally enhances the earphones in terms of making them the sound more liquid and richer. These are also two of the major takeaways for the OSLO cable.
I paired it with my Shure SE846 thinking “This is going to be great!”, the SE846 is, after all the most reference offering in Shure’s lineup. It’s a relatively uncoloured sound.
Combining the SE846 with the OSLO Cable produced a sound that was richer and more fluid than the SE846's original sound. The OSLO cable took the edge off the stock tuning of the SE846 giving a smooth, liquid feel to the whole setup.
That said, there’s always the concern that making the overall tuning of a setup warmer and more fluid would sacrifice the resolution and sharpness of the earphones. Thankfully, I haven’t ran into this issue and the sharpness and detail remained the same as always.
A good example of which earphones are and aren't suitable to be paired with the OSLO cable are the E5000 and E4000, both members of final’s E Series.
The E4000, with it’s clean sound, was a great match with the OSLO cable, much like the SE846, the E4000 doesn’t possess a lot of its own colouration, allowing the cable to take the edge off the earphones and the allowing the E4000's monitors to tamp down the sweetness of the cable, resulting in a sound that can be described as “clear but rich”.
On the other hand, when pairing it with a pair of earphones that are already fluid, like the E5000, the effects of the cable rolling doesn’t come through too easily, there isn’t a particularly large need for a combination like that.
Giving Great Cost Performance to Fans of the Sound Signature
The OSLO cable is versatile and all-purpose, however, its sound profile does suit some users more than others.
That in addition with the fact that certain monitors may be better suited to the OSLO cable, makes the OSLO a product that should be purchased according to the listening profile of each user.
That being said, the OSLO cable is by no means flawed. It is cable that changes the character of a pair of earphones, while upping the resolution of the monitors in general.
If you’ve fallen in love with a cable, you’d want to use it for a long time, the OSLO cable comes with a plug change system. Thanks to this, even if you changed your DAP you could still use this cable for a long time to come. And as you use your cable for longer and longer periods of time, its cost-perfomance will increase.
For instance, if you used your OSLO cable for 5 years (60 months):
US$599/60=the cable would cost just $10 per month.
It’s really about the same price as a music subscription service, and a cable really is something you can use above and beyond that, so it’s performance at a non-intrusive price.
I personally liked the cable's functionality and sound very much. But I'm troubled that you can only choose one sort of termination on the earphone side.
The OSLO cable may be excellent for long-term cost performance. But your humble writer doesn’t have the short-term funds to buy all MMCX, Fitear and 2-Pin terminations.
My money troubles aside, the OSLO Cable might be the perfect thing for you if you're looking for a long-lasting replacement cable.
Guests at Project Perfection's Post-Lunch Launch and Listen got chance to catch the best of July's new audio gear releases at KOMYUNITI @ YOTEL, among friends and food.
Featuring the final Audio B Series and Lotoo PAW 6000. Last Saturday saw a unit of the B Series' B3 being given away to a lucky winner.
The Post-Lunch Launch and Listen also saw little nuggets of information regarding both the B Series and The PAW 6000 being revealed for the first time. This recap post is geared at letting you catch up on the latest in specs and listening notes for these products.
B Series Presentation Highlights
The B Series is final Audio's exploration of ideal sound: The B Series comes in 3 driver configurations featuring a crossover-less design for better coherence.
B1: 1 DD+1 BA
B2: 1 BA
B3: 2 BA
In the case of the B-Series' multi driver offerings, each driver picks up where the other one rolls off.
The B Series is already available for sale from our sales partners at Zeppelin and Co. and Music Sanctuary, purchase your unit before 3 August to pick up some little launch bonuses from them:
PAW 6000 Presentation Highlights
The PAW 6000 can be considered a younger brother of sorts to the LPGT. Compact and affordable, the PAW 6000 can be considered An Everyday Reference to the Lotoo Paw Gold Touch's Ultimate reference. The Lotoo PAW 6000 features:
Lotoo's newest player boasts a playback time of 16 hours on top of it's signature super-dark background and reference tuning. At about half of the price of the Lotoo Paw Gold Touch, the PAW 6000's size, playback time and non-fatiguing qualities might make it an ideal everyday-carry companion for the listener on the go.
Making Musical Memories
Here's a little gallery of shots we've put together over the weekend, you can see more of these shots on the Project Perfection Facebook Page or on our Instagram page!
Spring rolls, samosas and cupcakes courtesy make up our event's extremely well-patronised mini snackbar.
A lot of us at PP are also entirely guilty of filtering out of the event to spirit away a spring roll or four.
We'd like to thank each-and-every one of our guests who attended this event, as well as our sales partners at Zeppelin and Co and Music Sanctuary for their kind support before, during and after the event!
Project Perfection is set to make it's maiden voyage into Vietnam with the upcoming Headphile Show 2019!
PP curates and distributes audio products with the aim of making quality sound available and accessible to music enthusiasts and hobbyists in Southeast Asia. We carry wide selection of products from international brands, including final Audio Japan, DITA Audio, Lotoo, STAX and Furutech.
For the inaugural edition of the Headphile Show in Ho Chi Minh City, PP has prepared a veritable spread of audio products from final Audio, DITA Audio and Lotoo, allowing us to share our own little slice of good sound with you.
Established in 1974 by Kanemori Takai, final has had 45 years of experience doling out quality audio products within the Japanese market.
Good Sound for Everyone
Combining final’s desire to make audiophile-type detail and quality to accessible the everyman with its expertise in good sound, final Audio has found success with its recent foray into the budget audiophile market with its widely lauded E Series.
The E series is a line of audiophile-quality earphones starting from only $35 USD making them quite the pint-sized powerhouses in terms of size and pricing. The E-Series has been covered by publications like CNET and The Verge, hailing them as some of the best value-for-money earphones in the market today.
A Deep-Dive into “The Ideal Sound”
final Audio is also on the cusp of its newest release: The B-Series.
This new series consists of 3 intricately crafted, jewel-like earphones representing three iterations of final Audio’s ideal sound, listen to the B-Series in final Audio’s suggested order of B2, B3 and B1, for the full experience: There’s bound to be something for everyone.
The Headphile Show 2019 in Ho Chi Minh is the B Series’ 3rd stop in Asia outside of China and Japan.
Lotoo was founded in 1999 and is the professional audio brand of Beijing Infomedia electronic technology co. ltd . Over the years, Lotoo has been committed to providing the world's highest levels of professional recording and playback products.
It’s 2015 flagship, the Lotoo Paw Gold, made waves in the market for its stellar sound quality upon its release.
The New Gold Standard
The Lotoo Paw Gold Touch continues in this vein, boating a custom-built OS, ultra-silent noise floor, 2-second startup time and its ability to read SD cards instantaneously.
Each and every one of Lotoo’s flagship releases are aimed at pushing the boundaries of the existing market in one way or another, solidifying Lotoo’s reputation as a company with a heart for its consumers and a n unwavering focus on quality.
A Singaporean earphone manufacturer, DITA builds products embodying a quest for the sublime, based off the premise that a well-crafted product is an experience in itself.
Beyond the realm of audio, DITA looks to engage partners and clientele with a curiosity and passion for complete design integration and execution. Driving collaborative ventures in the fields of design, engineering and manufacturing to that end.
Established in 1971, DITA’s parent company, Packagers Pte. Ltd, possesses 47 years of research and experience in automation and engineering: treasured and translated into the uncompromising commitment to craft imbued within every DITA product.
The DITA Dream XLS
DITA’s previous flagship, the limited-edition DITA Dream, was a cult hit in Japan and China. Stemming from a desire to do even better, the Dream XLS is a culmination of everything DITA Audio has gleaned through years of experimentation in its quest for good sound, melding the lessons learnt from the development of the original Dream with new technologies and industrial know-how.
Slated for release in Summer 2019, the DITA Dream XLS will be available for listening during the Headphile Show 2019.
Project Perfection looks forward to bringing you the cream of the crop in audio circles in Japan, China and Singapore.
Swing by and come say "xin chào" to us at the Headphile Show 2019 at Trung tâm Hội nghị 272 on 29 and 30 June 2019!
2 years in the making, DITA Audio's upcoming flagship, the Dream XLS, is the spiritual successor to its 2016 cast-titanium cult-hit, the DITA Dream.
With its Summer 2019 just barely in sight, the XLS has been the subject of a fair bit of buzz and more than one accolade.
On top of earning a spot in The 2019 Summer VGP Award, the Dream XLS has also recently net Gold in Fujiya Avic’s Spring 2019 Headphone Festival award’s Grand Prix category.
This is in no small part thanks to the avid support of the Japanese audio enthusiasts and the steadfast efforts of DITA Audio's Japanese distributor S'NEXT.
In this interview. Fujiya Avic sits down with S'NEXT's Mr. Kudou Gaku to talk about DITA Audio’s upcoming product, the DREAM XLS. Mr. Kudou talks about his HpFes experience and the philosophy driving DITA's shiny new dream machine: The Dream XLS.
F: Fujiya Avic
F: Congratulations on Dream XLS winning the Gold Award for HPfes. We’ve been waiting for this since Autumn 2017
S: Thank you! We only started rolling out auditions of the XLS during the second day because we only had 1 sample to work with. There were a near-nonstop stream of customers queuing to listen so we’re sorry that we had to assign a limited listening time to each customer. We’ll be increasing the number of listening samples going forward so that we can collect more feedback.
F: That’s good news! Could you tell us more about the development of the Dream XLS?
S: As far as we know, DITA Audio’s basic approach to sound is to create products that can “Wow in 3 Seconds”. Among these products is the Dream Gen. 1, which garnered plenty of support among Japanese customers. Even though previous iteration of the Dream was a commercial success it wasn’t something the company was completely satisfied with, and so they endeavoured to create a model that could surpass the Dream Gen. 1.
F: The new product looks great to boot! Cable stiffness was an issue with the Dream Gen. 1, but it’s seems to have been resolved nicely in the XLS with the inclusion of the OSLO Cable.
S: The OSLO cable on the Dream XLS is still a prototype. The colour of the OSLO cable on the actual XLS is subject to change, but the pliability will certainly remain. The flexibility of the cable has been improved greatly over the Dream's Gen 1 edition.
F: I see, well then, may I give it a go?
S: Ah, you didn’t get to hear it during Hpfes did you? Please, go right ahead!
F: Ah, once the music started, I immediately thought, “whoa, that’s good sound right there”. It’s a sound that’s palatable, the way the mids and highs are placed is absolutely wonderful.
S: So it did in face grab you in 3 seconds, didn’t it? (Laughing)
F: Yes, in this sense it’s similar to the Gen 1 Dream. It’s quite unbelievable that a single dynamic driver can be responsible for such range and power. DITA has always had this aspect down pat. The bass is appropriate and the balance is good.
S: The dynamic driver fitted in the XLS has been designed and made specifically for the XLS. DITA Audio is really the sort of manufacturer that invests plenty of effort in everything it does even in a single dynamic driver
F: I see, that might just be the reason why the dynamic driver’s sound comes through in a natural, coherent manner. The XLS’ soundstage is also surprisingly wide for a pair of earphones.
S: Despite wanting to gun for a wider soundstage, DITA Audio didn’t want to create artificial divisions between instruments and bands and left the sound of the dynamic driver at its purest. That’s exactly why the XLS sounds so natural. That’s always been one of DITA’s characteristic strengths. The XLS’ soundstage is, indeed, as you say wider than that of the Dream Gen. 1.’s
F: The customer reaction to the Dream XLS during HpFes was overwhelmingly good. That said, were there a lot of audiophiles who knew of the previous Dream?
S: There were a number of customers who came up to us to show us their unit of the Dream Gen. 1, saying, “I’m using these even till today!”. They're mainly trying out the XLS with the intention of comparing the sound of the XLS that of the Gen 1 Dream.
F: So an official release date…
S: Summer 2019, they said, DITA seems to still be in the midst of firming that up!
F: I’ll be looking forward to it! There’s certainly going to be long queues at future product events too. Will the XLS be a limited edition release?
S: No, the XLS will not be limited edition. However, due to how intricately the XLS is designed, mass production is going to be a bit of a challenge. There might even be situations where demand far exceeds the supply! In any case, please wait for the official announcement!
"All We Know": DITA Audio
The culmination of lessons DITA Audio has learnt through its years of experimentation, the Dream XLS is made out of CNC-ed titanium for its lightweight, durable properties and it's knack for reproducing sound in dynamic detail.
Coming: Summer 2019.
Keep an eye on this space, or DITA Audio's social media outlets (Insta, FB) for more news to come.
Source: Fujiya Avic
About the Author
Eddie Hsueh is a hobbyist and reviewer from Taiwan who has been an active, prominent member in some Asian audio circles for over 10 years. In this review, he shares his thoughts on DITA Audio's new OSLO cable, delving into how it stands out from his own cable collection, talking a little bit about the Z1R x OSLO pairing and taking a dip into the nature of the OSLO contact enhancer.
Click here to see the original review (in traditional chinese)
Translated by Asher Yeo Xin-Yi
As earphone manufacturers go, DITA Audio is quite the outlier. In an industry ruled by colourful BA CIEMs with custom faceplates, DITA focuses on a single product type, the dynamic driver. All of DITA’s products are powered by dynamic drivers of different makes and materials, installed in different chassis. This fact is also quite apparent from their creatively built Canjam Singapore booths each year.
OSLO is short for Oil-Soaked Long-Crystal Oxygen-Free. Its conductors are made of oxygen-free copper (OFC) from Japan.
Comparing the sonic properties of OFC to OCC, the listener might notice that OFC sounds less detailed, slightly warmer and more fluid in nature.
Because of the way the copper is formed, OFC tends to have boundaries between its crystals, leading to flaws and impurities mixed in with the material. OCC on the other hand, tends not to have grain boundaries and possesses a higher level of purity.
Despite many Japanese manufacturers seizing on the OCC as the audiophile’s choice and using OCC in many of their products (Wagnus’ Silence Sheep, Brise Audio’s Yatono and Rozenkranz) many hobbyists still love Japan’s OFC for its warmer, gentler nature.
In the OFC vs OCC question, its often not about what’s right or wrong, but merely a question of preference.
Differences Between OCC and OFC
OSLO is made from a Long Crystal OFC known as PC Triple-C, this concept dates back to 1975 when
Hitachi created its own method to reduce grain boundaries.
Extruded copper is heated and cooled, caurisng the grains and crystals within the copper to become larger and longer, reducing impurities trapped between grain boundaries, making it a cut above normal OFC.
Another thing that differentiates OSLO from its competition is that the conductors have been soaked in a squalene oil containing gold and silver nanoparticles that fill in any tears and flaws that may have appeared on the cable on a micro-scale. The effect of this oil can be compared to Furutech’s contact enhancer.
The OSLO cables comes with the Awesome plug outfitted with a 3.5 single-ended connector. Also in the package are 4.4mm and 2.5mm balanced connectors with a bottle of DITA Audio’s own contact enhancer. The splitter is a round metal disk with no visible screws, the cable itself is also soft and pliable, formed of 4 copper wires of 30 AWG each.
I have quite a lot of cables myself and so I initially wanted to compare the OSLO cable with cables of other materials. Perhaps the Toxic Medusa 17 and the Crystal Cable Double Duet with their Gold and Silver alloys, the Toxic Gold Widow with its gold-plated alloy and the silver Crystal Cable Double Duet. Or perhaps the mixed Aegis 8 and NUNDU. But these cables are far too different in character from copper cables and so I felt that doing these comparisons wouldn’t be particularly meaningful.
So I’ve decided to use the copper cables in my collection, in the OCC corner we have the PWAudio 1960k and Toxic BW22 V2. In the OFC corner we have AG’s Black Panther.
Player: Lotoo Paw Gold Touch
Cables: DITA OSLO/ Toxic BW22 V2/ Audio Genetic Black Panther/ PWaudio 1960k
The DITA OSLO vs the Toxic BW22 V2
We begin with Toxic’s BW22 V2. This is a type 4 OCC Cryo 7N Copper Litz wire with a 22 circumference. It’s one of the best cables I’ve ever heard when it comes to resolution, detail and the extension of mids.
Listening to Fly Me to the Moon with the BW22 V2, the strumming in the introduction is clean and clear, with a large soundstage. The vocals are appropriately centred, despite being slightly recessed, with beautiful extended highs.
Switching to the OSLO cable, the instrumentals in the introduction become more fluid albeit with a smaller soundstage, Olivia’s vocals are moved forward, becoming gentler and sweeter with a bit of warmth. The resolution of the OSLO cable is on par with that of the BW22 V2. While the extension of the BW22’s highs are more extravagant, the OSLO cable’s highs stop at a point, but prove to be smoother than the BW22’s.
I’m a bit surprised at the OSLO’s performance here, when I pit other OFC cables, like the Wagnus Silence Sheep and Brise Audio’s Yatono against the OCC BW22 V2, I’m left feeling like their resolution is a bit on the low side, glossing over a lot of detail. The aforementioned two do have their own character, but the OSLO succeeds in maintaining its resolution and succeeds in holding its own against the BW22 without sounding weaker while, at the same time enhancing the mids and warming the vocals ever so slightly.
Switching to to Adele to look at the bass performance of the OSLO, it’s more spread out and is neither deep nor shallow. However, when the picks up pace, it seems apparent that the bass is slightly slowed, making Adele’s voice lose a bit of the explosiveness she’s known for. The BW22’s bass, while also spread out, extends down more naturally, and is slightly faster and brighter.
Having listened to this song countless times with different cables, the soundstage that the BW22 presents is also wider.
DITA OSLO vs Audio Genetic Panther Black
AG Panther Black’s character is typical of OFC cables, the vocals are airy but forward, the mids are warm and smooth but the sound is coherent and the extension of the highs is ideal. It’s more mid centric than the Brise Audio Yatono. The Yatono, however, has more character and more coherence.
Switching to OSLO, it becomes apparent that it performs better in terms of resolution while retaining its own unique character, its low-mids sit fat and forward with sweet gentle highs that make for a comfortable listening experience, with its only drawback being its slightly smaller soundstage.
DITA OSLO vs PWaudio 1960k
When pitting the OSLO against PWaudio’s 1960k, it’s hard to tell the difference between the two at first listen. Both cables belong to the more relaxed category, the 1960k loses out in the vocals department with the OSLO’s vocals being sweeter and more prominent. However the 1960k is more relaxed in general with a large soundstage where the OSLO is more focused.
The OSLO’s unique character becomes apparent after a few comparisons. It is a cable with great bass distribution, with sweet, prominent mids and natural highs, all while maintain a great sense of resolution. However it’s soundstage is smaller than the cables we’ve compared the OSLO cable. Perhaps owing to the effect of the OFC and the nanoparticle oil, the OSLO seems to fuse the merits of the BW22V2 and the 8-wireBlack Panther. The OSLO possesses vocals that are sweet, a sound that is easy on the ears and good resolution. However if you’re often listening to tracks with instrumentals with lightning-fast changes, symphonies which require a large soundstage or rock music with noisy instruments you might want to go for a cable made of a gold-silver alloy instead.
The OSLO goes well with high-resolution balanced armature earphones, these can help improve the hights and make the mids feel fuller. The OSLO cable goes well with SONY IER-Z1R: I’m posting the impressions I’ve previously posted on the group here.
The OSLO cable with the SONY IER-Z1R
My first impression of this pairing is that Olivia’s vocals seem sweeter, warmer and more forward. The sound is still characteristic of OFC cables, save for the fact that it seems to be more coherent with a more natural extension of the highs, the soundstage is natural and it maintains most of the details. I think I prefer it to the 3rd Wagnus Sheep cable, it’s no wonder its so popular. However CCDD is faster and Leonidas II is slightly more delicate in way it handles sound, with a bigger soundstage.
In conclusion The OSLO cables helps soften the harshness of the Z1R, warming and enhancing the vocals while keeping resolution intact.
DITA OSLO Contact Enhancer
The words “AG+AU Nanoparticle infused” and “made in Japan” are printed on the label.
Around 10 years ago, I shared my experience with the Furutech contact enhancer on Andaudio, back then we didn’t really have cables to try the enhancer on, everyone was using it on RCA Connectors, HiFi cable connectors as long as it’s a connector, the enhancer can be used.
I’m not quite sure how the DITA contact enhancer is different from the Furutech one, my Furutech contact enhancer is all dried up, perhaps I’ll buy another bottle when I have a chance.
DAP: Lotoo Paw Gold Touch 4.4 Balanced
Earphones: SONY IER-Z1R
Cables: SONY’s stock cable
I tried out the contact enhancer on the 4.4mm balanced connector, it leaves a coffee coloured film when you’re done. There’s no need to apply too much, and a little goes a long way. The contact enhancer doesn’t seem to dry easily,: I found this out when I left the liquid to set for for 5 minutes but it still comes off on my fingers when I touch it.
I couldn’t wait any longer and connected it straight to the LPGT.
The difference is substantial. The same Olivia Ong song on the SONY IER-Z1R now has markedly fuller vocals, the highs sound smoother and there seems to be slightly more detail, other elements remained largely unchanged. Plugging in is a breeze. If I have time in the future, I’d love to try the contact enhancer on other connectors. Other Z1R + OSLO owners can give this a try too!
The contact enhancer proved to be effective even after being dried overnight, this effect however will fade as the cable is connected and disconnected. With approximately 10 rounds of plugging and unplugging, the dried film begins to flake and the effect becomes greatly reduced.
Some hobbyists have suggested applying the contact enhancer on the earphone-end connectors instead, if you’re not into swapping cables regularly, the contact enhancer will stay on for longer. I've also found it quite ideal for home audio products, it can be used on the OPA and female connectors for better effect.
These are just some of my personal thoughts, feel free to take them as you will!
(B)Ready for the best of Japanese industrial design and sound design nestled in your ears as final Audio prepares to bring you another impeccably crafted and meticulously tuned series in the vein of their previous offerings.
The B-Series is a single series with 3 driver combinations:
B1: 1 Balanced Armature Driver + 1 Dynamic Driver
B2: 1 Balanced Armature Driver
B3: 2 Balanced Armature Drivers
Watch this space as we release more news on the B Series: final Audio's deep dive into the realm of ideal sound.
This edition of the PP Weekly is your go-to guide to brands and highlights of the Project Perfection booth at Canjam Singapore 2019.
We are taking a deep dive into the brands we carry, the tantalizing discounts, our big raffle and the mind-boggling variety of audio items we have up for grabs!
For lovers of portable audio, we'll be located at booths D2-D4 at the Pacific Ballroom where we're laying out products old and new from DITA audio, Final Japan and Lotoo.
Fans of tabletop audio might much prefer the spread on the second level at Ocean 8, where we will be showing off audio juggernauts like STAX and Furutech as well as Taiwanese cable newcomer Luminox.
Project Perfection Canjam 2019 Raffle: Win Cool Prizes
Project Perfection will be holding a raffle during Canjam 2019 to thank the people who make our community what it is today:
People like you.
The Project Perfection Canjam Singapore 2019 Raffle will be giving away gifts and prizes that run the gamut from ear-tips and aircraft adaptors all the way to the IEMs worth S$1299
Participation is simple:
Say hi to enter: We'll take it from there.
Be sure to swing by, say hi and win cool prizes while you're at it!
From its origins to the present-age movement, jazz has been inseparable from the concept of community. A precursor of jazz was African-American work songs, where slaves bonded over songs they conceived in the thick of working in chain gangs and plantations. Later, the age of the free man allowed them to bring these tunes to their communities in New Orleans, sparking the beginnings of the jazz movement as we know it today.
As Jazz travelled out of America to the rest of the world, communities drew on bits and pieces of local musical culture, giving rise to many jazz enclaves around the world.
In fact, if you looked closely enough at your own community, you would most certainly be able to find the colourful characters that make up your local jazz diaspora.
One such character is Nori Shiota, a forerunner of the modern indie jazz scene in Japan.
Shiota-san has been active in the Jazz scene for a whopping 27 years since 1992. He is a bassist and a producer, spending his time combing the jazz bars of Japan, performing and honing his craft while producing music.
Shiota-san is also an audiophile for the sake of his trade, constantly seeking out the best gear for his art, in 2016 he produced “DITA Live Session in New York”, mastering the jazz album with a pair of DITA The Answer earphones.
In this interview, PP chats with the Japanese Jazz artist Nori Shiota about his work, his travels, the importance of lifelong learning and his penchant for DITA earphones.
PP: Shiota san, you’ve been to places like New Orleans, New York and many more in the course of your career. Which part of your travels are you most inspired by?
NS: I was the most inspired by the people who I met at those places. All the good and bad experiences made me grow as musician, and I believe those experiences were created by the people I meet there.
PP: Is there one person you met during these experiences that impacted you the most greatly?
NS: Not a person. people, that's the key, I think. Much like music how music is made up of vocals, drums, bass, piano and guitar, people make the experience. Those experiences make me remember what it was and where I was.
PP: For the readers who don't know you well, how would you describe your style of music?
NS: My style of Music? Groove Entertainment.
PP: Sounds like fun. What made you decide to adapt this style of music?
NS: Groove makes people move, it’s a lot of fun on an emotional level. When I see people move or smile or even cry when I perform, I feel like I'm making Music.
PP: I saw on your profile that you be having a full-member performance with your Jazz Band SFKUaNK!! on 24 February 2019 What sort of vibes are SFKUaNK!! Looking to bring to the audience this time?
NS: The people I’m performing with are great musicians, or should I say great people.
PP: There's something I am a little curious about. In 2010, you entered the Berklee College of Music, majoring in Music Production and Engineering. Caused you to make the decision to return to school in 2010?
NS: Well, since I was working with a major label as producer, I was always struggling to get the “sounds” I want. It’s very tough to make recording engineer understand the kind of quality and taste we’re going for.
Also, the advent of digital recording these days changed everything about the production game, so I felt like I should study these recording technologies by myself.
PP: Now that you're doing so much music production, the course seems like it’s been very helpful!
NS: I mean new technology is always helpful if somebody understands exactly how much it can help in reaching the dream.
PP: As people who love earphones, the game seems to be changing at a breakneck speed. Is the music production scene also changing rapidly?
NS: Oh yes, I think so. Internationally we’re turning more towards streaming music and away from CDs, but vinyl records are coming back... there are so many different perspectives for music.
PP: In 2016 you produced DITA Session in New York: What inspired you to work with DITA audio and how did you decide on which pieces to include within the album?
NS: DITA earphones are amazing because they’re honest. Usually earphone or headphone companies do their best make their products sounds good, but they achieve this by "faking it" a little: a fake sounding low end, fake high definition etc.
These are "ok" as consumer product but not for professional audio engineers, we need accurate sound, we want to listen to what we are going to be recording, controlling or balancing as it is.
I’ve tried many different companies’ earphones for mixing and recording but so far DITA earphones are best. That's all I know from my own experience.
For the song selection, I’m always thinking the singers and audience there. So I picked songs where the singer is comfortable and sounds good in.
It's like a good movie. it's like good cooking. We need to know what the best thing is to do with the material, we need good devices, such as the best camera, the best knives... Well DITA earphones are best for music.
Pink Floyd's Atom Heart Mother is an album that runs forever; The drip-dripping of a kitchen tap at the end of the its last song, Alan's Psychedelic Breakfast, is cut into the run-off groove, making the record play indefinitely until the listener chooses removes the stylus from the vinyl, ending the song.
With the vinyl becoming a relic of past times, the run-on groove as we knew it was rendered obsolete and the effect was tragically lost on the CD. The joy of collecting and playing vinyl faded away in a culture that had no time for the kind of active, participatory listening that the record demands.
However, the End-September launch the Fiftysix® collection for Vacheron Constantin gave us the perfect opportunity to rekindle our passion and bring the joy of vinyl to a wonderfully classy location.
Hosted at the NCO's Club, the Fiftysix® collection pays tribute to the 1950’s, a time marked by easy to wear and elegantly designed watches, bringing back the best of the period while embracing the present time and modern expectations.
Few things can beat the warmth and clarity of listening to a record with a pair of headphones. With the resurgence in the popularity of records outstripping the growth of digital music in 2017, it seems as if present-day music lovers are unable to resist the call of the beauty of the physical artifact of music made manifest.
This set up uses
For more information on the turntables used, visit https://musichallaudio.com/
For more information on where how to purchase Final Audio's products, visit: https://www.pp-distribution.com/final.html