Audiophilepure

Users are given the option to choose between two stock ‘DUMMER’ cables (a derivative of DCA’s humourously named ‘Distinctly Unmagical Cable) at checkout – either a two-metre 4-pin XLR balanced cable or a two-metre 3.5mm single-ended cable with a 6.3mm adapter. A range of other connections, including 2.5mm and 4.4mm balanced terminations and shorter cable lengths are available but will add between $200 and $250 USD to the asking price of the Aeon 2 Noire, pushing it over the $1K USD mark. The Aeon 2 Noire uses Dan Clark Audio’s preferred and proprietary locking cable connections at the earcups. It’s an entirely secure option and gives a nice tactile ‘click’ when seated, but occasionally takes a bit of fiddling to get into place. I opted for a full-size 4-pin XLR to accompany my Aeon 2 Noire review unit – the fabric-sheather DUMMER cable isn’t as nice to the touch as their more premium (and expensive) VIVO options but it is made reasonably well and more than fit for purpose for desktop listening, albeit with some rubbing microphonics on the front of my shirt when moving about.  

https://www.hifichoice.com/content/dan-clark-audio-ether-2

The contemplative opening of Aaron Copland’s Appalachian Spring is deep and moving but leads into a sprightly and energetic section that heralds the start of the exciting middle, and the Ether 2 propels me through the music. The piece concludes with a complex movement that was written to reflect youthful aspiration in the American heartland, and although it is really well handled, overall the imaging and clarity occasionally feels a little blurred during the crescendos.

Tempo and timing show no signs of weakness, however, and the Oscar Peterson Trio playing You Look Good To Me really gets my feet tapping. The performance is quite three dimensional with well-defined instruments, while the tuneful double bass is clearly located on the right-hand side of the soundstage with drums placed on the left just behind the central piano.

Vocal performances are captivating and Cécile McLorin Salvant’s Mad About The Boy has a remarkably smooth and easy-going sound. Salvant and all the instruments have their own clearly defined position and the piano is believable and refined.

https://www.audiophilia.com/reviews/2020/11/30/hifiman

Now down to business. I found that the HE-R10P  offered an overall smooth and warm airy sound with superb clarity, deep bass, and the illusion of a soundstage much more spacious than I expected from closed-back headphones. There was an intimacy with (say) singers and small ensembles; singers were close up in front sometimes making you feel that they were sitting in your lap. Even after long listening sessions while lying on my back on a couch or the floor even (after all there is no `sweet spot’ with headphones), the comfort level of wearing them was enduring. And they made me appreciate lyrics more than I usually do.