Audiophilepure

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.

The braiding of the cable isn’t ideal, with some visible gaps, and it occasionally tangles. The cable has a minimal design with grey polished hardware, a small splitter, and a tiny cinch. You can change the adapters by unscrewing and pulling them out.

Overall, the cable feels functional, and you won’t feel the need to replace it, as it pairs well with the IEM. For a premium price tag, I expected a better build, but that’s just me nitpicking, as MOONDROP has done a decent job otherwise.

MOONDROP has built some decent cables recently, and for the Illustrious price, they could have included one of those.

The low end is the Top Pro’s most impressive trait. It reaches deep, has a satisfying amount of sub-bass elevation, and slams when called for. Thanks to the dual DD setup, there’s improved layering and authority compared to Tea Pro. This is not a neutral bass; it’s tuned for weight and energy, but it doesn’t go overboard and feels tight all around.

Midbass is tastefully restrained, preventing any bleed into the lower mids. Compared to Monarch MKII, the Top Pro has a slightly warmer, rounder low end. It may not hit as fast or clean, but it feels more natural and fun in tracks with rolling bass lines. I found myself gravitating toward electronic genres, and I suggest you give Islandman a listen with these. It’s great. The bass has good texture and dynamism to keep things moving, especially with well-mastered tracks.

PlusSound has a proven history and expertise with IEMs, demonstrating its knowledge of high-performance models. Therefore, it would be misguided to consider this merely another example of a cable manufacturer’s IEM. We examined Sonora’s performance and decided to give it a recommended buy award beforehand, so the Volta should not be a slouch either.

Overall, the PlusSound Volta takes a different approach to its Sonora counterpart. It offers a similar resolution, transparency, and layering qualities, but delivers them differently, which is less full-bodied and more neutral. The mid-range is the most different area (obviously), where it takes a lifted upper mid-range approach and less fullness in the lower mid-range.

The Axion has a balanced tuning that doesn’t place too much emphasis on any particular frequency range. It offers a spacious sound with a thick and warm bass and a natural midrange that prioritizes clean timbre.

The midrange exhibits a warm character with a lush and dense lower midrange. The treble has ample energy and extends well.

The Durandal aesthetics are very striking. This is a blend of blue and silver with a titanium nozzle tip, topped with an intricate blend of metals for the rim and faceplate.

At the center of the plate is a medieval longsword, which represents the historical Durandal (Excalibur in French), surrounded by a lattice-like weave and housed under a polished flat glass.

It is incredibly intricate and stylish, one of the more studied examples of good face plate work on an IEM, bested only by 3D-like creations I find favor with such as custom designs from the likes of JH Audio. 

Of course, Nostalgia Audio has a track record in producing unique plate designs with the Tesseract’s anodized aluminum plate and a 3-way angular grid pattern with UV reactive patterning underneath. So, should I be surprised they have not tried something cool with the Durandal? Probably not.