"Ok Jack, you win . The Abyss is now my official favorite . I’ve spent hours comparing them to the Stax 009s and the HiFiMan He1000s. I think it is the super fast rise/decay time they are able to achieve which creates a more palpable sound and evokes, what ?, a more emotional response from the listener. With the JPS 2.5mm cable I get an extra 6db from my AK 380/plus amp - - more then sufficient to achieve whatever volume you can tolerate . So I’ve been taking these things on road trips ( actually to my favorite coffee shops ) and I don’t give a crap about how absurd they look ( and , of course , they do ). I don’t know how they’d do it but if they ever upgrade, sign me up. Thanks ."
"The lost sub-bass frequency was finally found
One of the reasons why I felt like headphone's with a price tag of 1 ~ 2 million KRW still needed an improvement is because AB-1266 revealed a sub-bass frequency that was unknown to me before. It definitely reveals hidden elements at high and mid frequencies but it stands out especially at lower frequencies. It is an even bass but to some listeners, it may be perceived as an emphasized bass. This is due to a perfectly controlled resonance and a high density caused by a super fast response speed. HE-6, LCD-2 and LCD-X all deliver highly densified bass but for some reason it feels stuffy and burdensome. AB-1266's highly densified bass, however, does not have either that stuffiness or burdensomeness to it. Can you believe it if I tell you that every reverb of the bass feels beautiful? This nature will definitely enthrone AB-1266 on top of the headphone world for a quite long time. At least in the world of dynamic and planar magnetic drivers."
"For two months, I am the proud owner of the Abyss and could test him in detail now. At this point I would like to post a little review about this unique headphones.
Believe it or not, but the Abyss is more convenient than the LCD3 times when you have adjusted him properly. Since then nothing more pressing as the Audeze. The Abyss depends more on when ranzupressen from the sides of the head. I think that JPS has ingeniously solved, because the strap can be pulled apart a few cm and even adjust the angle. The pads are fastened by means of the magnet and can be rotated in order to achieve the optimum postion. I was skeptical at first when I knew the Abyss from photos. But this part is amazingly comfortable for the weight! But to a HD800 it comes from the comfort of course not zoom!
The part is amazing well designed and seems to be built for a whole KH life. All metal, not plastic. Here wobbles or klackert absolutely nothing. Since sees even the LCD3 "puny" from a HE6 to mention. The ear cushions are made from the finest leather and very comfortable, if you have previously adjusted properly (so do not set too much pressure!). On the supplied headphone stand you can hang the Abyss comfortable. The included leather case is now such a "goodie" to which I had omitted. The KH cable is relatively stiff, but not difficult. You can move so still good. I would however me a 4 pin XLR XLR 2x3Pin desired place. So I need to operate the Abyss with the included adapter to 4-Pin XLR.
I have read a lot of opinions about the Abyss before buying and find it funny that he is often compared with the LCD3. Quasi a super Audeze LCD3. This is rubbish, the tonal have nothing in common. The LCD3 is still the "King Of Darkness" during the Abyss rather a mixture of 40% HD800, 40% HE-6 and 20% Audeze is. Purely tonal he plays similar to the HE-6 but with a little smoother highs. The Abyss has, however, compared to the other KH and KH all I've ever heard a "uniqueness" and that the spatiality. The stage is very broad and appears to be infinitely far according to the shooting. However, the genius is not the size, but the type of representation, which seems to vary depending on shooting build up around you. Especially in the first few hours as I am sometimes lost in a recording I did not hear the feeling with a headset, but the music is heard from a speaker. There is of course no real "Before locating head" like a Smyth Realiser but this "in head" effect is so well resolved than any other headphones I know.
The Abyss can simultaneously dissecting but sometimes "rock out" if need be. He owes a balanced across the frequency spectrum coordination similar to a HD800 and HE. 6 The intimate, warm and smoothe representation of a LCD3 is different, which is why the Audeze LCD3 remains with me. This Audeze sound is unique and was to be tried in any way by JPS Labs copied. Audeze would create a LCD4 with larger stage and more high frequency resolution would be destroyed in my opinion, the soul of the LCD3 vote. The LCD3 is good is just like him. The Abyss is technically just a bit further by CREATION of a reference headphones, the very suitable in my eyes for monitoring purposes.
The bass is the best I have ever received from a headset to hear about my ears. Abgrundtief like a LCD3 and precise as a HE. 6 This transducer of JPS produces a speed at the kick bass that one stays away the spit with AC / DC or Dream Theater. Already Tyll described the headphones already named "Man, thesis are the fastest sounding headphones I've heard". Now I know what he meant. For rock, metal and electrical Abyss is a dream.
The Abyss has a dynamic and resolution that leaves nothing to be desired. Some older classical recordings I have background noise perceived as scratching and crackling and at relatively quiet volume levels. After that I was able to identify these points with a HE-6, but not as nimble as the Abyss.
During my test listening I desperately tries to Treble problems that describes Tyll in his review and have prevented this otherwise superb headphones in his Wall Of Fame is to get on the track. However, I can perceive no distortion. Maybe I'm with my 34 years too old? Aside Ne fun. I have partially the Auralic and even the Moon at the stop operated for anything out here. The only thing I've found in the AC / DC concert "Live" was that the ears of the Abyss when the drums are actually a bit aloof and me with a level one does not long endure a distortion-free drums with cymbals served.
The way how to listen to the Abyss music is really "unique". I will not discuss technical improvements, etc., which provide for an even cleaner bass, more details, etc. here. This makes the experience "Headphones" is not necessarily better. But this space coupled with the corporeal representation of the instruments is just amazing. The Abyss can not produce a sound body, but you can feel the different instruments formally. The word "stage" gets a new meaning to the Abyss. A K1000 can present these seemingly infinite width. But not with the body and the abundance of a magneto-static system, such as the Abyss and the legendary Deep graduation.
Is it worth the money? Is a SR009 his money worth? Is there a better headset in the world? Yes, maybe Orpheus or SR009, which are able to produce due to the electrostatic principle even more high frequency resolution. But the body and bass, which is necessary for Pop, Rock & Metal can use the e-Staten just not as good as an M-Stat. The speed have also, as I have experienced myself in my former SR404LE. But the Abyss has speed, like drawn with an emergency brake can stop the bass and can be used like a race car at the same moment.
The Abyss is the best HP I've ever heard. However, a LCD3, HE-6, K812 and HD-800 continues great headphones that outdo each other's disciplines. The Abyss combines the attributes of multiple headphones and is the new reference for me is."
"My Abyss and Cavalli LAu setUp played in direct neighberhout to my 70 K € full aktiv 4 Way Honspeaker System from Martion Berlin/Germany. Its there top Modell named "Orgon" which was installed and tuned to my listening Room from Mr. Basil Martion. He did need two full days, to archive the best Sound and now the System did sound havently. What did this mean for my Abyss ? and specialy, what does this mean for my music taste of playing very powerfull Theatre Pipe Organ Music. The heavy pure Sinus Wave of a large Pipe ( 32 or 16 feet ) is a big challenge for all kind of loutspeakers and specialy for a headphone. The Orgon LSP System produce the deepest tone with a Corner Bass Speaker Cabinet , you feel all bass notes physical in your body and in the room. And now comes the amazing Abyss and brings me to a similar emotion when I did listen to TPO Music in my Bed. I have the feeling, that the bass power of the diaphragma pulse heavy pressure in my ears. The physical shaking of my head will transfer to my pillow and from this to the matress of my bed. The Abyss is for me a compact Hornspeakersystem to wear on the head ! The large Soundstage in combination with the dark, dry and powerfull Bass gives me the feeling of sitting in a 5000 Seat Theatre ! Absolute no " in Head localisation problem" the music did play far away from me in the front. The Abyss comes a good large speakersystem very near."
"I flew from Brisbane down to Melbourne for a beer festival, had some spare time and definitely had to check out Addicted To Audio. Called them earlier to see if they would mind me demo'ing a Conductor and the Audeze cans. They had no worries with me just listening, and they told me about all the things they had available and that I just had to come in and bring my music along. So my brother and I took a cab out there. He had no interest in audio really, but figured this was better than sitting around in our hotel room. Told him there would be cool shit, though he seemed to remain unconvinced. Got there and the staff member was happy, knowledgeable and helpful. Got me set up and listening. I tried an Audeze 2.2, 3, XC, HD800, Grado PS1000, Fostex TH900, Oppo PM1, and by their recommendation, the unsurpassable Abyss. They were awesome for just letting my try all this stuff without even making a purchase. I loved the LCD 2.2, XC and HD800. PM1 was a little underwhelming. But the Abyss. Holy shit. When I first saw them online I wasn't really enthused, they didn't look comfortable, and really, how much better than an Audeze could they be for the price. But they were incredible. Far exceeded my expectations for just how good a headphone could sound. The soundstage, positioning, bass, details, everything. I could barely believe what I was hearing. Even my brother was entranced, the Abyss was one of the highlights of the trip for him and now he wants one too. Before going to store, I was pretty certain I wanted a LCD 2.2 or a HD800. Excellent cans, but now they just pale in comparison to the Abyss. I'm just going to save for it instead."
"The kicker - The Abyss: It stared at me for 3 hours before I asked politely to try it. They agreed and recommended the Prateus since this thing needs copious amounts of power. I put it on, I looked totally ridiculous. I hit play on the laptop. The bass was unreal. It sounded like there was a sub behind me; the smile on my face was gone. The 2k LCD-3 sitting next to me had just turned into Beats. I was shocked, how could this sound so, so much better. I took it off and my curious girlfriend asked for a listen, we fitted the cups on and cranked it up, she had been trying every headphone I have mentioned here. And interestingly she knows these are all in the 1k+ ball park but had no idea the drivers in the abyss were worth more than the LCD-3s. That these things take 5 days to make the chassis, she took them off and said she liked them, that I could have them. Unaware they cost between 5.5 and 6.5k depending where you live. OK, why am I so impressed? Aesthetically they look terrible, when you wear them they kind of just hover over your ears, the build quality looks, in all honesty, rather dodgy. The leather head band has single stitching of the name, thin straps hold the band in place, nothing on this screams mortgage your house because you need this. Except the sound, these sound better than speakers. I was telling Veni how downright impressed I was and he argued that for the price you could get a great speaker set up. And he is right, but… These have the sub bass that headphones just can't accurately reproduce, they are forgiving , musical and somehow still perfectly accurate. They are not by anyways neutral but are without a doubt the best thing I have ever heard. I have heard 500k speaker sets ups in Japan, friends who have great gear and I can appreciate good quality speakers but they lack intimacy and the subtle details we hear on headphones. The Abyss lets you hear all these tiny details but at the same time delivers an impossibly wide sound stage for headphones whilst still sounding musical. These would be my ultimate headphones. They sounded sublime with modern music; they were crisp and detailed but still remained musical and lush. The bass, was just phenomenal, I put on some EDM and made my skin crawl, I put on female vocals (the track has heavy sibilance throughout) her voice was surreal, it sounded like she was standing 6 feet in front of me, the sibilance was somehow less noticeable and as soon as the guitar came through again it's all I could focus on. These were so much better than the Audeze, Hifiman, Fostex, Ultrasone and Grado offerings it was silly. Yes you are looking at least 6-7k with the Abyss + Lyr + DAC, but if you like musical headphones and are looking for the holy grail of musical enjoyment. This is it. They are not twice as good as the lcd-3, but they are significantly better, and that to me in the audiophile world speaks volumes. If you want the best, try these, I guarantee they will boggle your mind."
"Just finalised my order for a pair of Abyss and a Violectric V281 amp. Pretty excited!
The issue of cost and "is it worth it" is a tricky one, and it gets bought up repeatedly in this thread. The thing that put the Abyss over the line for me, from "there is no way in hell I'd ever buy that ridiculously priced thing" to "maybe one day I'd like to own a pair" to "here, take my deposit and put a pair aside for me" was mainly the fact that I think they're a long term solution to upgraditis - and upgraditis really gets at me something shocking once I get it, and I really don't like spending more time researching other products than just enjoying what I have. I think that once I finally have a pair of Abyss on my head, I'll have a certain sense of calm and contentment over the long term that is rare to find in the AV industry. I was talking to one of the salesmen at the Melbourne audio show about it on the weekend and he mentioned that one thing he has noticed about Abyss owners, is that when he tells them about such-n-such bringing out a new product, or they're really excited to be getting in the new whatever, they're just like "yeah, that's nice" in an almost indifferent sort of tone because they know it's not going to hold a candle to what they've already got...
Another thing is, I'm not a multiple flagship headphone collector. If I was, I would easily spend the price of the Abyss over a few separate purchases, but personally, I don't really have any desire to own 3 or 4 pairs of very good headphones over 1 excellent pair. And at the end of the day, if I decide in 3 years time that I'm over this hobby and want to get into woodworking or motorbikes or golf or whatever, I don't think I'd have any trouble at all getting half their retail price for them second hand which means for the 3 years of enjoyment I've got out of them, it has cost me $3000. That's $1000 a year, which is $20 a week. I don't know of many hobbies or interests that can provide the level of enjoyment that the Abyss will give me and cost less than that over that period of time. Weather you like golf or boating or remote control cars or whatever, it's not hard for anything at all to cost way more - heck I spend about $80 a week buying my lunch at work because I couldn't be bothered bringing it from home, but that doesn't seem as outrageous because you're not paying for it all in one lump sum.
I can also appreciate a product that has had a lot of research and development go into it, and something that has been engineered an manufactured to such a high standard over something like a big diamond or a louis vuitton handbag.
Anyway, I could think of a hundred less worthwhile ways you could spend $6000 (like a smoker spending that in a year or two on cigarettes) but I should stop rambling. Some head fi'ers can appreciate the value in the Abyss just like a cyclist can see $6000 in a good road bike, or a photographer can see $6000 in a good camera. Yes, there are perfectly acceptable options for a quarter of the cost, but if that's what you're into, then the choice to spend the extra is up to the individual and it is worth it to them.
...Anyways... just my point of view. Or rather, how I've managed to justify it to myself anyway..."
"I heard the Abyss this weekend at the Seattle Head-Fi meet. They were just amazing on my EC 2A3x4. The bass was better than the LCD-3. The sound stage is crazy. Much better than the HD-800 IMHO. I was listening to a 20 year old EDM track, which is normally muddy and pretty boring truthfully. It was just awesome on the Abyss. The mids are just so clear is kind of triply. I didn't listen near long enough. The combo got lots of wow's and holy ****s....from long time head-fiers. It takes a ton of power, I had the volume up near 1 o'clock. The HE-6 was only at 10 o'clock. I'll be getting an Abyss pronto."
"I am approaching the Abyss AB-1266 quite differently from Rudi.....For me, it has been trying to get the best sonic performance out of the Abyss, no compromises.. It has been an interesting week, as I am looking for new home speakers to replace my Magico Q5, the natural progressing is the Q7. I auditioned the Q7 on Tuesday, powered by the TOTL Constellation Pre and Power amplifiers and sourced by the 4 stack dCS Vivaldi. The sound emanating from this system is without a doubt, sublime. The accuracy, resolving and transparent nature is stellar. Everything was life size and true to proportion. It bettered the next best system I heard this year which was the Pluto turntable, Boulder phono, pre and power amps (3000 series) and Wilson Alexandria XLF. Back to the Abyss. After listening to the above system, it redefined/ reaffirmed my references, and I set about moving the sonic character of the Abyss towards what I heard. With the mids and highs, it gives me the improvement that I sought. More precision, liveliness and spaciousness with better nuances. The highs has more shimmer, sparkle, dynamics and weight. Impact on cymbals has improved significantaly along with the ethereal decay glow that surrounds the cymbals after it is struck. The transparent and revealing nature of the Abyss are first class along with incredible detail that it is able to portray! Again, I will reiterate that, in my opinion, in the current market place, no other pair of headphones comes close to the Abyss, and it is the only headphone that gives me a semblance to the above speaker system.
"I have both the Abyss and the HD800. I have listened to the SR09 a fair number of times. I do rotate my cans a fair bit. Though at the end of the day, I still find myself picking up the Abyss when I want to be blown away by the overall aural experience."
"Today I finally got to listen to the Abyss. (I listen to them in a quiet room at Oslo Hifi Center.) The setup was Auralic Taurus MKII amp and a Aurelic Vega Dac. My transport was Astell & Kern AK120 via optical output. I have a pair of Fostex TH900 and a Chord Hugo, so I wantet to check out other headphones for my Hupo. Particular headphones with a larger soundstage as I listen to a lot of jazz and classical music. I first tried every Audeze can, Hifiman, Oppo and Sennheiser before I tried the Abyss. It was really interesting to hear almost every big flagship headphone in one sitting. I'm not going to compare them all now, but I can say my TH900 hold their ground pretty good... until I heard the Abyss AB-1266. It was quite a revelation. In my opinion every other flagship headphone are playing more or less in the same league, just with different flavours. Abyss is certainly in a different league. I played a variety of jazz trios, big Mahler symphonies, string quartets and some Pink Floyd. The first thing that struck me was that I soon forgot that I was wearing enourmous headphones. The music came from way beyond my head. And with such clarity that I felt that the musicians was in the same room. It was like a live, acoustic music experience. I would characterize them as the first "bright" headphone I'v truly enjoyed. They was also surpicingly comfortable to wear. The Abyss are not as bass heavy as my TH900. So for Pink Floyds The Wall I actually prefered the sound of my TH900, but for jazz and classical Abyss was pure magic. I think that the extreme detailed highs made them feel a bit on the bright side. But for me that is just perfect. If I'm going to buy another headphone Abyss and TH900 is so different that it's great to own both. I tried Abyss directly from my Chord Hugo as well. Hugo was able to play them loud enough, but they sounded loose and much worse than from the Auralic Taurus. So I definatley have to buy a good amp for them as well. Abyss is on top of my wish list now."
"I bought an JPS Abyss 6 months ago. At the beginning I was not impressed about the sound quality. The confort was better than my expectations, I can wear it for hours even I wear glasses. This headphone need clean power although it can sounds rough on the medium and treble. I use an Balancing Act with stock tube and prefer it to my previous Woo WA5 maxed with EML 300b. The BA are smoother and liquid than the WA5. The Abyss is become one of my favorite headphone with the SR007MKI. IMO it outperforms on every aspect the HD800 even on the soundstage. The sound is more on the front of your head and cohesivness. Thought the soundstage is bigger as the HD800, instruments and voices have more physical presence. Instruments and voices are more palpable, natural and organic. Bass have more slam and can shake your head. Each notes have more weight and relief. It has an ability to carry into the music with his fleshed presentation and grand soundstage. IMO there is an huge gap between the HD800 and Abyss. Versus the SR009, Abyss sounds bigger with more slam bass. But I prefer the SR007MKI over the SR009. In fact I like so much the SR007. It is more intimate and thickening each note more than the Abyss. Moreover there is a cohesivness all accross the entire bandwith than I didn't listening on other headphone."
"Had the chance to tried the Abyss yesterday at the Montreal "Son & Image" audio show and me and my friend was blown away. We had listen to full side loudspeaker systems all day (some over $100k) and still at the end of the show the Abyss was just amazing."
"I think the Abyss is pretty comfy. There are no annoying pressure points, and it's not overly heavy either. It stays put on my head without clinging too much, and it adjusts in dimensions and angles not found on any other phones, so even a finicky person like me can get it right. With some phones, if the cups happen to rest the wrong way on your particular head anatomy, like your temple or upper jaw, there's not much you can do. But the Abyss has flexibility in just those areas, and it can be a blessing actually. It looks fine to me; I think it's impressive looking, like a serious classic car, very robust, but that's 100% subjective. (My wife always laughed at the R10s I used to have, saying they looked like weird-shaped wooden cupcakes, so there went my R10 ownership pride right out the window.) Last but not least, it sure sounds nice. So I wouldn't change a thing in the design."
Written in France...
C'est donc en compagnie de Loreena McKENNITT et de the visit que j'entame cette exploration de l'Abyss, et si l'extrait que je choisis en guise d'ouverture ne dure qu'une poignée de minutes, il ne me faudra pas davantage de temps pour appréhender et admettre que la perspective sonore que l'Abyss déploie dans l'espace remet « à plat » celle de tous les Casques que j'ai eu l'opportunité d'entendre par le passé, à l'exception du K1000 et à la condition de considérer l'AKG comme un Casque à part entière, ce qui n'est pas tout à fait mon cas. Quant à mon HA-DX1000, mieux vaudrait ne pas en parler, tant il me paraît subitement congestionné. HD 800, T 1, PS1000… Aussi talentueux soient-ils, aucun ne me paraît en capacité de m'offrir le champ sonore tel que l'Abyss le dessine présentement devant moi. Le chant de la diva s'élève, se déploie sans se voir réfréné dans ses envolées, sans dureté, ni distorsion, mais avec un éclat, une subtilité et une ferveur renouvelée. Les instruments qui l'entourent sont parfaitement détourés et s'expriment en s'affranchissant insolemment de la limite inhérente aux écouteurs. La transparence qu'il instaure permet de s'imprégner sans effort de la solennité ambiante et de goûter à la multitude des fluctuations vocales et instrumentales qui parsèment cette ballade d'influence multiculturelle. Alors, si je n'ai tout de même pas eu la bouche grande ouverte par la stupeur en reposant l'Abyss pour la première fois sur le comptoir, je ne vous cache pas qu'elle s'est tout même légèrement entre-ouverte d'étonnement.
Puis, c'est au tour de Mary GAUTHIER avec dixie kitchen d'entrer en scène et à l'Abyss de me faire comprendre pour la seconde fois que ce n'est par la coloration ou la rondeur qu'il aspire à se faire apprécier, mais par sa sobriété, son homogénéité et son énergie tellement communicative. Et si ce sera la première fois durant cette brève de comptoir que je me ferais cette remarque in petto "Il a beau la jouer sobre, on ne s'ennuie vraiment pas." Ce ne sera pas la dernière, croyez-moi.
Cette fois, je ne me contenterais pas de me régaler avec un seul morceau, mais bel et bien d'une bonne grosse part de l'album. D'accord, d'accord, je comprends tout à fait que prétendre à propos de l'Abyss qu'il insuffle forme et vie pourrait sembler excessif. Et pourtant, il y a une telle densité dans sa manière de restituer voix et instruments, de les incarner à ce point en distillant la fermeté qui convient. La représentation est ample, mais n'en est pas moins cohérente en termes de proportion. Les instruments ne se dispersent pas de façon erratique dans un espace à la dimension encore nouvelle pour moi, mais prennent chacun leur place et s'y tiennent. Je dodeline doucement de la tête, le pied droit suit le mouvement, le tempo est là et bien là. De nouveau, l'Abyss me fait plonger tête la première dans l'ambiance. Que faire d'autre, si ce n'est se laisser bercer au son de guitares langoureuses et d'histoires que la conteuse nous confie d'une voix habitée par tant de conviction. Atmosphère palpable, expressivité des instruments, émotivité de la voix, Il ne manquera rien à mon bonheur. La définition de la musicalité telle que Joe SKUBINSKI l'a conçue à travers l'Abyss me va, jusqu'à présent du moins, à ravir. Au point que ça tourne à la débâcle pour mon HA-DX1000, la fraîcheur et non la froideur de l'Abyss l'emportant sans coup férir sur la chaleur désormais étouffante émanant du JVC.
Les choses se gâteront tout de même un temps en compagnie du quatrième opus des DIRE STRAITS love over gold Révélatrices d'une certaine exigence de l'Abyss quant à la qualité des enregistrements, à l'instar du Stax SR-009, écouté pour la seconde fois l'été dernier et qui prend de plus en plus des allures d'alternative vis-à-vis de l'Abyss. Mais, pour l'heure, maintenons donc le cap vers ce dernier.
De facto, l'écoute sera suffisamment frustrante en regard de celles qui précèdent pour que je jette rapidement mon dévolu sur l'album qui s'ensuivit brothers in arms en l'occurrence, avec tout de même deux acquits. A savoir, la formidable vitalité que l'Abyss est susceptible de libérer, me rappelant au bon souvenir de l'Edition9 au gré de certains passages, et de sa capacité d'ouverture qui classe sans ambiguïtés l'Abyss parmi les meilleurs.
Si l'écoute de why worry me conforte, si besoin est, sur l'ampleur, la transparence et la sobriété des timbres dont l'Abyss sait faire preuve, il va m'en remontrer par ailleurs en me dévoilant sans fard le relief qu'il est en mesure d'édifier. Et cela, sans qu'il s'effectue au détriment de la présentation, car on jouit à la fois d'un certain recul et d'une belle profondeur. Seuls les Audeze LCD-2, LCD-3 et AKG K1000 pourraient, dans mon souvenir, être susceptibles d'offrir un relief plus ou moins approchant. Encore une fois, il est bien difficile de ne pas tomber rapidement sous le charme du modulé des guitares, de l'écho des notes et des paroles qui se perpétuent sans contrainte comme autant d'évidences, des impacts nets, sans sécheresse et sans bavures de la batterie, de la palette des timbres dont il fait un excellent usage, de son grand sens du détail et enfin de sa spatialisation.
Comme je l'écrivais à dub, il y a peu de temps :
Faut reconnaître que c'est un Casque d'hommes… Y'aurait pas de la pomme dedans ?… En tout cas, de la pêche, ça, y'en a !
Ce à quoi, l'ami dub me répondit fort à propos :
Tu as raison : il y a de la pomme dedans, d'ailleurs, on a arrêté d'en faire, les clients se plaignaient, y'en avait qui devenaient sourds !
Le Joe (ni celui de l'alambic, ni le papa de l'Abyss, mais le dénommé BONAMASSA) quand il pousse la manette des gaz à fond, je ne suis pas trop client. Mais il me fallait bien en passer par là, c'est-à-dire avec son live from nowhere in particular , histoire de jauger ce que l'Abyss avait sous le capot. On va la faire courte. Ceux qui sont en quête d'un Casque doté d'un registre grave faisant preuve tout autant d'extension, de texture que d'impact, tâtez donc de l'Abyss. Ça relève purement et simplement de l'inédit en ce qui me concerne. L'assise qu'il possède dans le bas du spectre est absolument impressionnante. Il va encaisser sans broncher, tout ce que Joe et ses musicos pourront lui asséner. Alimenté comme il se doit, vous pourrez rayer de votre dico les termes lourdeur, trainage et autres flou. Est-il utile de vous confirmer qu'aucune distorsion, aucune saturation hormis celles qui sont préméditées ne se manifesteront intempestivement, mes oreilles ayant demandé et obtenu grâce bien avant que l'Abyss ne soit amené accidentellement à en produire, si tant est qu'il le fasse. Autre tour de force, l'absence d'effet de masque. Ici encore, l'Abyss apportera une dimension physique peu commune tout en ne sacrifiant rien quant à la transparence et à l'équilibre.
J'ai pu lire régulièrement qu'un Casque d'architecture fermée était, par nature, plus à même de délivrer un grave possédant corps et impact. J'étais assez d'accord avec cette opinion jusqu'à ma rencontre avec les Audeze LCD-2 et 3 qui, malgré leur architecture ouverte, avaient sérieusement remis la chose en question. Avec l'Abyss, et en dépit de la conception ouverte de ses écouteurs, la question ne se pose plus en ce qui me concerne. Et ce n'est pas mon HA-DX1000 au grave plus écourté (?!!!) plus flouté, et plus comprimé qui contredira ce constat, malgré l'amélioration notable que Pierre avait apporté à mon exemplaire en changeant ses coques, ce qui avait amélioré la consistance et la précision de son registre grave.
Face à l'Abyss, je pense que seul le LCD-3, à ma connaissance, me paraît être susceptible de tenter, je dis bien tenter, de se maintenir sur le ring.
Je n'en ai pas fini pour autant avec Joe et ses hommes, car cet album live issu de nulle part en particulier, comporte quelques pépites, à l'instar de sloe gin avec lequel l'Abyss démontre qu'il sait faire autant preuve de sensibilité qu'il sait faire assaut de fureur. Tout commence par un clavier au pépiement sentencieux suivit d'une guitare aux accords sensuels, dont le monologue mélancolique errera ensuite vers des accents empreints d'une rageuse désespérance, appuyés par une batterie prodiguant sans confusion ses coups de boutoirs délicieusement tendus et définis, pour achever ce monologue par une ultime clameur résignée… Avec toute cette conviction qui transparait dans les intonations, les mots, les notes et les accords, l'Abyss ne se contentera pas de m'émouvoir pour cette fois, il me bouleversera.
A la question suivante : l'Abyss aurait-il remis encore une ou plusieurs de vos certitudes en question ? Je réponds oui, Votre Honneur !
En effet, l'Abyss s'avère être extrêmement spontané par la franchise de ses attaques et par sa maitrise face aux écarts de niveau, à fortiori pour un Casque affublé d'une pareille sensibilité. Il fait preuve d'une réactivité, d'une dynamique telle que ni l'AKG K340, ni le K1000, en bref, aucun des Casques de faible sensibilité que j'ai possédé ou rencontrés ne m'y avait préparé, en dépit d'une solide amplification. C'est bien simple, j'avais tout bonnement l'impression d'avoir récupéré un Grado RS-1 en écoutant l'intro de des vies du trio FREDERICKS & GOLDMAN & JONES. Il faut l'entendre pour le croire, ce Casque peut en un instant se transformer en un véritable foudre de guerre, en une formidable bête de scène.
Si l'Abyss ne saurait être considéré comme le Casque de tous les superlatifs, lequel pourrait s'en vanter d'ailleurs ? Il n'en demeure pas moins qu'il serait assuré de figurer en bonne place si un tel podium venait à surgir de terre. Il m'a amené également à réviser mon opinion quant à la moindre polyvalence que j'attribuais davantage envers les flagships, que vis-à-vis de certains Casques situés dans des gammes plus classiques. Alors, si je continue à considérer volontiers le K1000 et le HD 800 en tant que tels, l'Abyss m'a démontré avec maestria qu'il était le Casque (de l'expérience que j'en ai faite) de toutes les situations. Mais pas de tous les enregistrements, et ce même s'il se sera révélé un tantinet moins intransigeant, moins crispant que certains de ses pairs dans le haut-médium, une zone de fréquences vis-à-vis de laquelle je suis dorénavant plus sensible. Pour autant, dire de lui qu'il possède une signature en v majuscule me paraît excessif en dépit de ce que certaines courbes pourraient laisser supposer. Mais je laisse sans regrets ni remords cette question entre les mains et les oreilles des spécialistes, étant pour ma part peu friand de courbes, à l'exception notable de certaines qui n'ont définitivement rien en commun avec ce qui nous passionne ici.
Si l'Abyss se révèle extrêmement démonstratif, c'est par sa propre définition de la musicalité, son énergie, son ampleur, son assise et sa versatilité. Autrement exprimé, par le pan d'âme qu'il révèle, la conviction qu'il instille et la ferveur qu'il prodigue. Après tout, quoi de mieux que le reflet d'une absolue et bienheureuse subjectivité pour parachever ce nouveau chapitre de mon livre d'histoires ?...
J'en terminerais (enfin !!! S'exclamèrent-ils à l'unisson) avec une pensée émue (Il est bien vrai, ce mensonge ?) envers celles et ceux qui s'aventureront à explorer l'Abyss tant je suis intimement convaincu que bien peu d'entre eux, avec l'équipement adéquat, en reviendront sains et sauf.
"This is accompanied by Loreena McKennitt and the visit I began this exploration of the Abyss, and if I extract selected as an opening only lasts a few minutes, it will take me no more time to understand and accept that the sound perspective the Abyss unfolds in space gives "flat" that of all the helmets I've had the opportunity to hear in the past, with the exception K1000 and the condition of considering the AKG headphones as an integral part, which is not quite my case. As for my HA-DX1000, better not talk about it, as it seems suddenly congested. HD 800, T 1, PS1000 ... As talented as they are, no one seems to me to offer me the ability to sound field such as the Abyss now draws before me. Singing diva rises, unfolds without being restrained in his soaring, without harshness or distortion, but with a burst, a subtlety and a renewed fervor. Instruments that surround it are perfectly clipped and express themselves by freeing insolently the inherent limitation of headphones. It establishes transparency can soak effortless room solemnity and enjoy the multitude of vocal and instrumental fluctuations that dot this ballad multicultural influence. So if I have still not been opened up by the stupor resting the Abyss for the first time on the counter mouth, I will not deny that it is even slightly open to astonishment.
Then it was the turn of Mary Gauthier with dixie kitchen to take the stage and Abyss to help me understand for the second time this is by coloring or roundness that aspires to be appreciated but by its simplicity, its homogeneity and so communicative energy. And if this is the first time during this brief counter that I would remark in petto "He might play sober, we do not really get bored." It will not be the last, believe me.
This time I would not be satisfied to regale me with one piece, but rather a good bulk of the album. Okay, okay, I totally understand that the claim about the Abyss he brings form and life may seem excessive. And yet there is such a density in the way of restoring voice and instruments, embody at this point distilling firmness appropriate. Representation is ample, but is no less consistent in terms of proportion. Instruments do not disperse erratically in a space the size still new to me, but each take their place and held there. I gently nods of the head, right foot follows the movement, the tempo is here and there. Again, the Abyss makes me dive head first into the atmosphere. What else, if not be lulled to his languid guitars and stories that the narrator tells us of a house inhabited by such conviction voice. Atmosphere palpable, expressive instruments, emotional voice, He certainly nothing to my happiness. The definition of musicality as Joe SKUBINSKI was designed through the Abyss is me, at least so far, to delight. To the point that it turns the debacle for my HA-DX1000, freshness and not the coldness of the Abyss winning unopposed on the now sweltering heat from the JVC.
Things spoil still a time with the fourth installment of DIRE STRAITS love over gold Revealing a certain requirement of the Abyss on the quality of the recordings, like the Stax SR-009, listened to second time last summer and is becoming more of an alternative vis-à-vis appearance of the Abyss. But, for now, so stay the course towards the latter.
De facto, listening is sufficiently frustrating compared to those above that I quickly threw my heart on the album that followed brothers in arms in this case, although with two acknowledgments. Namely, the great vitality that is likely to release Abyss, remembering the good memories of Edition9 to suit some passages, and its opening class unambiguous Abyss among the best capacity.
If listening to me why worry confirms, if necessary, on the scale, transparency and simplicity stamps which show Abyss knows he will remonstrate me also revealing me undisguised relief that it is able to build. And, without it comes at the expense of the presentation, as it has both a step back and a nice depth. Only Audeze LCD-2, LCD-3 and AKG K1000 could, in my mind, be likely to provide a relief more or less approaching. Again, it is difficult not to fall under the spell of rapidly modulated guitars, echo notes and lyrics that are perpetuated without constraint as much evidence, net impacts, drought and without burr battery, the range of stamps which he makes excellent use of his great sense of detail and finally its spatialization.
As I wrote to dub, there is little time:
Admittedly, this is a helmet men ... Would there not apple in it? ... Anyway, fishing, it y'en!
What, friend dub replied aptly:
You're right there in the apple besides, we stopped doing, customers complained, y who had become deaf!
Joe (or one of the still or dad of the Abyss, but called BONAMASSA) when he pushes the throttle to the bottom, I'm not too customer. But I had to go through it well, that is to say with its live from nowhere in Particular, history to gauge what the Abyss was under the hood. We will make short. Those who are looking for a helmet with a low register showing as much extension, texture impact, so fumble the Abyss. It is purely and simply the unexpected with me. The seat he holds in the lower spectrum is absolutely impressive. He will cash without flinching, whatever Joe and musicos will give Klitschko. Fed as it should, you can scratch your dict the heavy words, and other trainage blur. Is it useful to confirm that no distortion, no saturation except those premeditated not manifest unexpectedly, my ears have requested and obtained through well before the Abyss is accidentally brought to produce, if indeed that he does. Another tour de force, the absence of masking effect. Again, the Abyss bring unusual physical dimension while sacrificing nothing about transparency and balance.
I read regularly a helmet closed architecture was inherently more capable of delivering a serious body and having impact. I quite agree with this opinion until I met the Audeze LCD-2 and 3, despite their open architecture, have seriously challenged the thing in question. With the Abyss, and despite its open design headphones, the question does not arise in me. And this is not my HA-DX1000 shortened to more serious (?!) More blurred, more compressed that contradict this finding, despite the significant improvement that Peter had brought my copy by changing its hulls, which improved the consistency and accuracy of its lower register.
Facing the Abyss, I think only the LCD-3, to my knowledge, seems to be likely to try, I say try, to keep the ring.
I have not done much for Joe and his men, as this live album coming from nowhere in particular, has some chips, like sloe gin with which the Abyss shows he can do much evidence sensitivity he can do rage assault. Everything starts with a keyboard chirping sententious followed by a guitar with sensual accords, whose melancholy monologue then wander towards accents marked by an angry despair, supported by a battery providing unmistakably his battering deliciously tight and defined, for complete this final monologue by a clamor resigned ... With all this conviction which transpires in intonation, words, notes and chords, the Abyss will not be content to move me this time, it will upset me.
A question: the Abyss would he have given one or more of your certainties in question? I answer yes, Your Honor!
Indeed, the Abyss proves to be extremely spontaneous frankness of his attacks and his mastery face level differences, let alone a helmet decked out in such a sensitivity. It shows a reactivity as a dynamic or AKG K340, K1000 nor, in short, no Helmets low sensitivity I encountered not owned or had prepared me there, despite a strong amplification. It's simple, I simply feel like a recovered Grado RS-1 listening intro lives of the trio & FREDERICKS GOLDMAN & JONES. It must be heard to be believed, this headset can be transformed in an instant into a real thunderbolt of war, a great showman.
If Abyss can not be regarded as the helmet of superlatives, which could boast anyway? There are nonetheless it would be assured of a prominent place if such a podium had to Sprouts. It also led me to revise my opinion on any versatility that I attributed more to the flagships, vis-à-vis certain Headphones located in more traditional ranges. So if I continue to consider willingly K1000 HD 800 and as such, the Abyss showed me that it was masterfully Headset (experience that I made) of all situations . But not all the records, even if it is revealed a less intransigent tad less clenching some of his peers in the upper midrange, a frequency region vis-à-vis which I am now more sensitive . However, say that he has a signature uppercase v seems excessive to me despite what some curves would suggest. But I leave without regret or remorse this matter in the hands and ears of specialists is to share my little fond of curves, with the notable exception of some who definitely have nothing in common with what interests us here.
If Abyss is extremely demonstrative, it is by his own definition of musicality, energy, magnitude, its foundation and versatility. Otherwise expressed by the pan soul that reveals the belief that instills and fervor he lavishes. After all, what better than a reflection of absolute subjectivity and blessed to complete this new chapter in my book of stories? ...
I would conclude (finally! Do they exclaimed in unison) with a thought (It is true, this lie?) To those who venture to explore the Abyss I am firmly convinced that very few of them, with the right equipment, will return safe and sound.
December 2013 "