Stokowski: Rhapsodies: Liszt: Hungarian Rhapsody No. 2; Enesco: Roumanian
Rhapsody No. 1, Classic/RCA LSC-2471, 180 gr. vinyl
Etymotic Digi-K CIC
all-digital
Very
muted sonic signature!!! Dynamics severely compressed – makes this music
sound plodding, dull and boring. However, this is the best digital sound I
have heard – blows away all the other digital aids except for the ReSound
Metrix.
There
was
smearing and a lack of air and separation between instruments/groups.
Background accompaniment was smeared and there was some congestion and
congealing of the sound on complex passages. Loud orchestra peaks were
severely compressed. I wonder if the smearing and congestion I heard is
distortion? Also, the Digi-K had difficulty handling soft delicate passages
that are complex – much missing information and congestion here.
Timbre
of violins was off, but, I noticed, not always off as much as other times –
there was a lack of richness, sound was very lean, thin, cold, and hard, but
not always consistently so. Sometimes the sound was better than other times,
must depend upon the combination of instruments, volume, etc. and the
algorithms called to process?
Highs
and lows were significantly rolled off, but they were present, unlike the other digital aids auditioned (except for he ReSound Metrix). I just heard
highs that didn't seem rolled off (the piccolos!), I wonder why? They were
surprisingly clean also.
Micro
and macro dynamics were poor, still better than the other all-digitals by a
wide margin (except Metrix). These hearing aids were surprisingly good (Digi-Ks),
just a few major faults – sometimes these sounded pretty good, other times,
mediocre – very inconsistent. The ReSound CC4s consistently and repeatedly
delivered transients much quicker, faster, and cleaner. The decay of notes
was
also excellent on the CC4.
Bartok: Concerto for Orchestra, Reiner, Chicago Symphony, Classic/RCA
LSC-1934, 180 gr. Vinyl
Etymotic K-Amp CIC (from General
Instrument Co.)
The same
comments above apply on the Bartok as on the Liszt and Prokofieff. In
addition, separation, and air between notes and groups was excellent (but CC4s
just slightly better in this area also). Bass and high extension and
definition were excellent. The K-Amp had a higher sound pressure level
capability than the CC4s.
This
sounded surprisingly good. The music was very simple. I could hear the
guitar string being plucked. However, the cymbals didn't sound right and the
piano didn't sound like a piano – there was a problem with timbre. Guitar
notes were slightly smeared. Note definition was only fair.
Rhythm
and pace are good – these hearing aids sounded quite musical on this recording,
however! Highs and lows were seriously rolled off. Dynamics (macro)
were
severely compressed. Micro dynamics were lacking, there was an absence of
nuance, emotion, and expression. There was good balance between instruments.
Dave
Brubeck Quartet: Time Out, Columbia (Classic) CS8192 180-gram vinyl
ReSound Metrix ITC all-digital
In
general, this sounded pretty good, rhythm and pace were good, the music
swings (although better with CC4). Timbre was very good, bass plucked
strings usually sounded plucked, cymbals good, Desmond's sax very good and
lyrical, etc.
When the
music got complex, there was some smearing and congestion. Brubeck's
(piano) high notes/treble sounded better, more realistic than the midrange.
Transient attack was less defined, more muted, and a little fuzzy.
The CC4
had better separation and more air, better micro and macro dynamics,
resulting in more expression and emotion. Drums had more snap – with Metrix,
percussion was a little dull and muted "more thud-like". CC4 balance of
instruments was more realistic.
Transient attack was softer, less defined – this was particularly noticeable
on percussion. There was some loss of brilliance, dynamics were
compressed. The CC4 sounded more open and transparent and natural – music
had more nuance and expression. With the CC4, the snare drum you could tell
it was a snare drum – with Metrix the timbre of the snare character was
greatly diminished.
Background and accompaniment with the Metrix were suppressed and distant with
some smearing. On delicate passages/phrases, the delicacy of the music was
diminished – there was a loss of detail and micro dynamics. Transients were
slower; the presentation had less energy.
Desmond's sax sometimes had a slightly hollow sound (this was subtle).
There was considerable dynamic compression on Brubeck's piano on
fortissimos. Balance between Brubeck's piano and Desmond's sax was very
good, however there was a problem with balance between the lead/solo(s) and
accompaniment when the volume increased with either the sax or piano; this
was particularly noticeable with the percussion.
Overall,
this recording sounded fairly good with the Metrix. At times, the piano
became very percussive on loud passages – I am guessing that the circuit
overloads, resulting in distortion.
Phonak
Savia CIC all-digital
There
was
a problem with balance between the instruments of this quartet. Brubeck's
piano on loud passages dominated Desmond's sax and accompanying bass and
percussion. There was also a balance problem when Brubeck's solos had
the
dominant theme being played with the left hand (midrange and lower). It obscured the right
hand (upper midrange and treble) passages, rendering them almost inaudible.
The piano highs were poorly rendered – they were percussion-like (but not
always).
The
dynamic range was somewhat compressed and slightly muted (but not a lot).
There was a loss of micro-dynamics, resulting in loss of nuance and
expression, making the presentation sound dull.
The solo
instruments, when very dominant, tended to obscure the accompaniment. This
was noticeable mostly with Brubeck's piano, and also between the left and
right hands. When the solo was less dominant, this was less of a problem and
the balance between instruments was much better.
Transient attack was somewhat harsh on loud notes, and decay had a loss of
reverberation. At moderate, even volume, the presentation was good – loud
and soft passages became undefined, with a loss of detail. Timbre was just
barely acceptable. Desmond's sax was much less lyrical and expressive
compared to the CC4s, there was much loss of musical information. In
addition, the bass and percussion were drowned out most of the time.
This
recording just didn't swing with the Savia.
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