Audiophilepure

The bass is quite impressive for a BA setup. I know a lot of people do not always gel with BA bass, but this one has a few tricks up its sleeve to surprise you.

The midrange offers plenty of detail without turning into a razor-sharp delivery. The treble is tuned to tickle the trebleheads, with notes pushing out the tiniest detail and sparkles like it is scratching a long-standing itch for more top end.

A lot of the tuning simply depends on how much bass the track itself carries. On bass-heavy tracks, the low end swells in and pushes warmth into the midrange. On leaner tracks, the bass just folds its wings and stays out of the way.

https://www.hifichoice.com/content/bowers-wilkins-pi6

It’s an admirable performance at this price range, but B&W is right to acknowledge its weaker noise cancelling. To be fair, the Pi6 does a respectable job of blocking out the deep rumble of an aircraft engine – it’s not quite in the same league as some of its noise-cancelling rivals, but it’ll still come in handy on a long-haul flight. However, our second test reveals that it’s far less effective at dealing with the more varied sounds of a busy airport, with voices and higher frequencies leaking through quite noticeably. Frequent fliers who require really effective noise cancelling when they’re travelling should perhaps look elsewhere, but if you just want a high-quality set of earbuds at a competitive price then the Pi6 is good value for money

https://www.headfonia.com/fir-audio-project-k-review/

Of course, FIR also uses their ATOM Venting system for pressure relief and isolation control. Project K comes with the Gold (+2dB/-17dB) module preinstalled. There are no extra XS modules supplied. The Gold (+) module lowers isolation to -17 decibels. It has a rated impedance of 15 Ohms and a frequency response range of 20Hz to 20kHz. FIR uses premium silver internal wiring for the drivers and components.

The midrange has always been a special sauce for Softear’s IEMs, as they mostly get the timbre and tonality right every time.

Here, you get a rich and musical tonality that feels both natural and refined. The warmth from the low end naturally flows upward into the midrange, giving instruments like piano, cello, and vocals notes offering a thicker foundation.

The timbre is executed with precision, lending the instruments a natural and convincing sound, not synthetic or dry. String instruments carry a very satisfying note weight and palpable texture.

The lower midrange sits slightly back, neat and out of the way, so guitars, pianos, cellos, and vocals keep their natural weight without picking up much thickness.

A lean, tidy lower-mid keeps the mix from ever feeling bloated or congested. Male voices keep their natural heft but never tip into chesty thickness.

When you go up into the upper midrange, there’s a subtle lift that sneaks in that enhances the presence and clarity of female vocals and instruments.

https://www.headfonia.com/plussound-allegro-ii-review/

PlusSound’s recent track record showed us that it can produce great IEMs with excellent performance. So this is not a classic case of “cable company tries its luck in IEMs”. PlusSound is very serious about IEM manufacturing, and they proved it with the original Allegro already.

Considering they entered the tribrid flagship market immediately, it was a surprising unit that possessed all the flagship IEM sound qualities from the get-go. But the Allegro II takes things a bit further.

The Allegro II refined the original’s sound performance and ironed out some small issues, which I’ve pointed out in the Allegro article. However, the Allegro II is not only more refined, but it’s also different-sounding with a shift in tuning perspective. The new unit improves the sound but also alters it to a more full-bodied, intense, and dynamic territory.

The low-end on the TRUTHEAR PURE takes on a more neutral and restrained approach, never aiming for heavy slam or physical rumble. It still provides a steady presence, adding foundation without pulling focus.

Control is its strength, staying consistent across tracks without spilling over or sounding bloated. Rather than chasing power, it focuses on accuracy and balance, keeping basslines clean.

Quality outweighs quantity here, with drums and subbass notes coming through with enough body to be convincing. They don’t push for weight but instead keep a steady grip that makes them sound precise.

The biggest physical difference is the barrels and connectors. The Dreamy’s bulkier and curvier gold-finished barrels are consistent with the UM design language from their previous M1/M2 cables, with their clean cut lines and the easy grip form factor on the jack. 

The Jet Link has a bit more dazzle about it with smaller but denser barrels and off-centered 3-dimensional motifs. Of the two, the Jet Link stands out a bit more with its more intricate barrel designs.

That perception is reinforced with the more pliant handling from the Jet Link cable. The matte PVC jacket on the Dreamy feels a little stiffer, and its memory coating is a little thinner when placed around the ear.