Audiophilepure

Mimisbrunnr has a sound primarily characterised by a warm, heavy low end; a natural, full-bodied midrange; and a slightly energetic and detailed yet smooth treble.

The low end is clearly a highlight of this tuning. There is plenty of bass presence, giving the sound good weight and warmth.

All that strong low end does not drown out the rest of the spectrum. The emphasis towards the upper midrange, along with some added air and sparkle from the EST drivers, keeps the presentation from becoming overly thick or dark.

The midrange sits slightly behind the bass but does not feel overly recessed. Vocals and instruments have good presence. You will find them carrying good clarity and bite.

The treble carries a fair amount of energy, with enough presence to bring about sparkle and openness, complementing the heavy low end nicely.

https://www.stereophile.com/content/dirac-live-art-room-correction-software-pc-and-mac

Listening in stereo made explicit another benefit of Dirac ART. Many of us have had the experience that turning up the volume past a certain point can excite a certain room mode, by, for example, a single bass note, to a point beyond what’s pleasing. Sometimes it seems that all the bass blooms out of proportion when we exceed some level. That’s the room, not the music. We reflexively dial it back.With ART, that doesn’t happen anymore, as I can demonstrate with two very familiar tracks that are famous for their bass energy: “Yulunga” from Dead Can Dance’s Into the Labyrinth (DSD rip from SACD, 4AD SAD2711) and Béla Fleck and the Flecktones’ Flight of the Cosmic Hippo (CD rip, Warner Bros. Records 9 26562-2). In the former, focus on the whole span of the low-to-midbass percussion and plucked strings. In the latter, follow that Stygian bass melody. Previously, when I turned up the volume past a certain point, the bass became louder but also amorphous as it overloaded the room, the music, and my ears. Using ART, when I turned up the wick, none of that happened because its correction of modal behavior tracks with changing volume. Consequently it’s possible to play all your music louder than ever, limited only by your own tolerance or unhappy neighbors.In my random ramble through my library testing Dirac ART against my memory of favorite tracks, the cover art of Tracy Chapman’s 1995 album, New Beginning, caught my eye. Of course I had to play “Give Me One Reason” (CD rip, Elektra 61850-2). I had heard it before, many times, but not like this. It was as if the opening bass and guitar were in the room with me, close—except that it was not my room. When Chapman’s voice, warm and vital, appeared to their right, it confirmed our common presence in this other space. Percussion had snap. A quick bypass of Dirac was jarring, its restoration relief and pleasure. I had the feeling that, finally, everything was just right.

It’s a touch warm-sounding, typical of iFi gear, but it gained a natural character that is not as coarse-sounding as the previous model.

To me, the best part of the iFi audio GR 2 is the DAC section, I have to say. It’s not just the fact that you get K2HD plus all the other goodies like XBass and XSpace through that line out, but the DAC is very sweet-sounding, revealing, and produces lots of nuanced detail.

The DAC is highly neutral without any of the coloration tools, although I wouldn’t consider the K2HD feature a coloration feature. It tends to produce a higher level of realism and body, especially in the vocal range.

Combine that with an amplifier stage that is now more undressed, or should I say more unveiled, and combined with the DAC, it makes a fun-sounding combo that is musical-sounding and less inhibited than the previous model.

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The notes are thick and substantial, giving vocals and instruments a very satisfying physical presence. This is not a lean or clinical midrange. The Apex delivers a rich and organic presentation where instruments have weight and vocals have body.

The tonality is particularly impressive. Vocals sound natural and convincing, while acoustic instruments benefit from the Apex’s slightly warm and organic character. The delivery is smooth, making the mids easy to listen to for extended periods.

At the same time, I wouldn’t describe the Apex as an exceptionally transparent IEM. More transparent and technically advanced options exist, though many cost considerably more. The Apex instead prioritises tonal quality and musicality over absolute transparency.

This is where the Apex’s tuning philosophy really comes together. The elevated bass, rich note thickness and smooth treble could easily have resulted in an overly warm or congested presentation. Instead, the midrange remains very clear and well defined, which is very difficult to achieve.

https://www.soundstagehifi.com/index.php/equipment-reviews/2048-simaudio-moon-761-stereo-mono-amplifier

I also think the 761 is the amplifier most people should buy if they’re considering Simaudio’s North Collection. Although I haven’t heard the 861 in either of my rooms, I have little doubt it would be the better choice for loudspeakers that genuinely require more power than the 761 can deliver, or for buyers who simply want the flagship model regardless of price. For everyone else—including me—the 761 is no less compelling. Its output is more than sufficient for most loudspeakers, and it’s difficult to imagine meaningfully improving on its sound, whether at whisper-quiet or high listening levels. Throughout my extended evaluation, it remained transparent, authoritative, completely in control, and flawlessly reliable. Add Simaudio’s ten-year warranty, and the 761 becomes an amplifier I can confidently recommend to anyone seeking reference-quality sound for the long haul. It’s a great amp—and a keeper.

The sonic benefits conferred by the aR6-T4 were made more readily apparent with its removal from my system. With all components plugged directly into the wall, the soundstage shrunk, dynamics flattened, and there was a coarse grit that overlaid the overall presentation, leading to less verisimilitude, which, in turn, engendered less musical involvement. And, as good as the aR2p-T4 is, especially at its price point, the larger aR6-T4’s performance improved upon that of its sibling with greater transparency, enhanced soundstage recreation, and improved rendering of dynamic contrasts. These differences were subtle, but experienced over time in a system tweaked for resolution, they became difficult, impossible even, to live without. 

Musical enjoyment is a gestalt experience, where minute and disparate factors combine to create an end result that transcends the components involved in its creation. As a music-playback system becomes more resolving, even small improvements begin to have outsized impact. Audience’s aR6-T4 wrought such an impact to my system’s performance, proving that the subtle can be profound. Well done.