Super Best Audio Friends
The evolution of the original irreverent and irrelevant and non-authoritative site for headphone measurements, i.e. frequency response graphs, CSD waterfall plots, subjective gear reviews. Too objective for subjectivists; too subjective for objectivists
A lot of people are going to be happy that HiFiMan has brought these back from the dead. There's been a segment of hobbyists who have been itching to get that of that old school sound (HE-6, HE-5, HE-500). HiFiMan, while initially saying that bringing them back was out of the question, has been steadily releasing remasters of them in the past few years. Customer demand is hard to ignore. Looks like Drop went all in with HFM on the HE5XX, and that's a good thing because all of sudden, its super affordable. The appeal with the OG HFMs was their timbre and slam. The newer HFMs with their thinner membranes and wannabe STAX sensibilities didn't always appeal to the old schoolers. Despite sounding "faster", many models exhibited steely, splashy, or plasticky timbre, lacked slam, or exhibited bouncy-bouncy effect in the lows. Now I wouldn't say that these HFM remasters go totally back in time to the OG sound, but they do straddle the line between the OG and new HFM sound. It's a good compromise in my opinion.
I really won't get too much into how it sounds, other than maybe a few tidbits related on how this came to be. This amp came to be from a project Leviathan that never really took off, or at least took off in another direction. Basically one day, some guy bought some high-end Tango amorphous core interstage and output transformers and asked Craig to build a 2A3 amp out of it. The special thing about this amp was that an interstage transformer was used in lieu of a interstage coupling cap. There was an attempt to build this amp for Changstar folks, but it turned out that Tango went out of business (they are back in business again) and this project went kaput. The Studio amp came to be as a result of using Tribute nano-crystalline core interstages and Cinemag outputs with a tertiary winding (a McIntosh design from long ago).
I can't recall exactly, but I thought maybe the HD558 may have had very slightly angled drivers. Regardless, the HD560S takes the cake and pulls of a really impression of the HD800's headstage. Very impressive! From my limited experience so far, the headstage is closer to the HD800 end of the spectrum than the HD6xx end. Unfortunately, this is where the good news stops. The frequency response takes a hit. The HD558, the predecessor to the HD560S, had small an upper-mid peak. This wasn't particularly obtrusive and made a lot of music sound more energetic. @ultrabike owned the HD558 for years and was perfectly happy with it before finally upgrade to the HD600...
Liquid Gold X (LAuX) has been optimized for balanced operation. It provides great performance Single Ended but clearly best performance is attained in balanced mode. If contemplating this amplifier, balanced headphone cables will prove a wise choice. LAuX falls squarely in the transparent design camp. Attributes of low output impedance, low residual noise, low distortion, high bandwidth, fast transient response definitely contribute to extraordinarily clean performance.
Typical of Cavalli designs bandwidth is quite wide, DC to > 500KHz with 30R load and DC to > 600KHz with 300R load.
Dynamic Range is greater than 113 dB relative to 0 dBu in balanced mode.
Note particularly the exceptionally low IMD for all two tone tests, not just 19+20 KHz which is impressive.
Note too, the fast square wave response transitions times do not ring, also very impressive.
I don't really even hear the single full range driver imaging that I hear with my Fibhorn 2, which is a 3 inch driver back loaded "horn" (though diyaudio experts think it's technically a transmission line). Fibhorn 2 also extends farther in treble (around 10k) and has flatter midbass....
If that’s all you care to read, there you go; I saved you some good minutes reading what is going to be quite an excessively long post. If you do want to dive more in-depth as to how I think it sounds, the features, and its quirks (and downsides; yes it has those), then read on.
I’m getting this out of the way first, because let’s be real; this is the most important thing. All of the following evaluation, unless explicitly stated otherwise, is from using the linear phase filter, fed from Pi2AES through AES,no attenuation from the built-in preamp (I will get to the preamp and various filters later on), and XLR out.
STUFF WE NEED TO BUY: https://www.superbestaudiofriends.o...hrow-away-your-pc-or-laptop.8878/#post-288017 The exception to above that we want the acrylic case for the 7" display instead of the regular one, and of course the official Raspberry Pi 7" Touch Screen Display
I ordered a variety pack of AZLA SednaEarfit XELASTEC tips from Amazon to try them out. I had heard from someone here that they run large, and you might need to go a half-size smaller with the XELASTEC tips. That turned out to be correct. I'm a M with Spiral Dots and a MS with the XELASTEC tips.
The Starfield is what I would call a warm and smooth take on a neutral signature. While it’s more neutral than most stuff out there, it’s not exactly a reference type tuning. Bass is pleasantly boosted over neutral without sounding bassy. It’s got really satisfying punch and rumble. Mids are natural, with slight heft to my ears, and sit well in the pocket drawing your attention in. Treble is just a little under neutral for an ever so slightly laid back and forgiving presentation. Tonality is great; it’s very natural sounding. Staging and resolution on the other hand are just average, yet somehow this is a plus- the Starfield just lets the music wash over me without constantly analyzing everything. Instead I’m thinking, man that song was great, I wonder what’s next on the random rotation.
The Blessing 2 is a neutral sounding in-ear; it is a reference type signature. It has a very slight bass boost over diffuse field flat that is centered in deep bass. The result is a natural, yet neutral sounding bass with very good extension. It has impact and rumble when called for but is never over accentuated to my ears. While very nimble and quick sounding, it’s lacking a bit in texture compared to the best dynamic drivers, resulting in a slightly over damped sound.
The Hestia is a 60 stepped relay attenuator. The flagship Denafrips preamp, the Athena, has the same specs with lower distortion numbers. The Athena by the way looks to be two Hestias in one box - one Hestia per channel. The same way the Hattor Big preamp just doubles up on the stepped attenuators when you step up from the Hattor Mini. I only mention this because I was originally going to buy the Athena, thinking bigger was better until I studied the specs and pictures a bit more - mainly noticing that despite double the number of relays the number of volume steps remained unchanged. I seriously doubt the two preamps sound any different. Folks at ASR might be willing to pay for the lower distortion numbers though. New, it will cost you about $900.