DISCLAIMER: Satin Audio provided me with the 4-wire Athena and 8-wire Athena in return for my honest opinion. I am not personally affiliated with the company in any way, nor do I receive any monetary rewards for a positive evaluation. I’d like to thank Satin Audio for their kindness and support. The review is as follows.
Satin Audio is a Vietnamese cable brand, who I last saw with my reviews of the Griffin and Chimera; two of the strongest entry-level cables I’d heard yet. Since then, the company’s dived into rarer, more exotic materials for their pricier entries, and they’ve upped the quality on their hardware too. Ryan shows that off wonderfully on his review of the flagship Zeus. And, today I’ll be covering its partner in the Olympus line – the palladium-lined Athena in both 4-wire and 8-wire formats – to truly see just how far they’ve progressed in build quality, hardware, accessories and, most of all, sonic performance.
Both their 4-wire and 8-wire Athena’s arrive in identical packaging, which, interestingly, adopts this hand-drawn, almost-tropical aesthetic. It’s not something I’d associate with Greek mythology, necessarily. But, at the end of the day, the print quality and materials used are all admirable, so I can’t genuinely complain. I particularly like how the specs sheet on the back has been framed and written-out. It’s an area lots of brands tend to neglect, so it’s good to see it shown some love here. And, I adore the corner cut-out with the gold Satin Audio logo peering through as well, as it adds excellent contrast.
Taking the outer sleeve off, you’ll get the full, black, cardboard box that your cables come in. And, lifting the lid off, you’ll find the Athena’s leather case and a box containing the included accessories, both embedded nicely in foam. Inside that accessories box, you’ll see three Satin Audio stickers, a warranty card with a year-long guarantee for all parts (aside from MMCX connectors), a leather cable tie with an engraved Satin Audio logo and a satin pouch, which also came with Satin’s Griffin and Chimera cables. I believe, along with that leather case, this is about as complete as a cable’s accessories pack should be. I’d love to see more brands follow this example, especially with the branded cable tie. So, kudos to Satin here.
The Athena’s included leather case is a puck-style one, which’s similar to the ones you’d find with Effect Audio’s cables or FiR Audio’s IEMs. It doesn’t quite have that feel or the torched edges of, say, the case that comes with Effect’s Leonidas II. But, this is an admirable effort from Satin Audio nonetheless and one that feels quality all around; from the slight rise on the lid, to the debossed Satin Audio logo, to the strong seal on the lid, to the uniform stitching all around the case as well.
Aesthetics, Ergonomics and Everyday Use
Both the 4-wire and 8-wire Athena’s feel like they were designed with comfort and usability prevalently in mind. You can see that in the conductors’ slightly thinner insulation and looser braid, and it shows in their hardware as well. There isn’t that cork-sized metal Y-split you’d find on an Effect Audio cable, nor is there the sizable pendant that Han Sound Audio’s cables tend to sport. Both the Y-splits and the 4.4mm plugs are short and slight, which, while not as visually-arresting as those other examples, make both Athena cables vanishingly light, especially with, again, its small, loosely-braided wires. And, lastly, both cables emit very little microphonics as well, so they earn near-full marks when it comes to practical use.
The thinner insulation helps the cables move and flow a bit freer too. I feel this helps get them out on the way, especially when you’re on the move. And, it helps prevent them from developing any long-term bends or winds too. They’re two of few cables in my arsenal that haven’t developed any micro-kinks at all. So, that should be a relief to those worried about long-term durability. They don’t have any pre-shaped heat shrink or memory wire either, which, again, boosts comfort to me. And, in terms of connector quality, they aren’t far off from the top-shelf stuff I’ve seen from Eidolic. Their pins firmly, yet easily slide in and out on the majority of IEMs I’ve tried them on, so this proprietary hardware is certainly up to snuff.
Aesthetically, the cables sport a slightly off-white hue. So, they aren’t the ultra-white silver conductors you’d find from an Effect Audio or PLUSSOUND. But, they glimmer brilliantly all the same, and the insulation beams that through effectively. My 4-wire Athena also sports Satin Audio’s new gunmetal hardware, which’ll come stock with every Athena from now on. I personally think it’s a big step-up from their original hardware, which you can see on my 8-wire Athena. Again, they are slighter and less imposing than those you’d find on their competitors. But, ultimately, it’s a great aid to comfort, and they look stylish and sleek all the same. They’re also subtly engraved with the Satin Audio logo in a darker shade, which I love.
DISCLAIMER: My colleague Ryan Soo loaned me his PPH review unit for the purposes of this review. I am not personally affiliated with PLUSSOUND in any way, nor do I receive any monetary rewards for a positive evaluation. I’d like to thank PLUSSOUND and Ryan for their kindness and support. The review is as follows.
PLUSSOUND is an aftermarket-cable manufacturer based in the United States. Among the myriad of cable brands in the industry now, they were one of the first to really feature customisation in their products; alterable all the way from wire counts, to cable lengths, braiding styles, hardware colours, shielding, etc. Those options became even further varied as they grew their material repertoire too. Some of their greatest hits include three- or four-metal hybrids. This cable we’re looking at today has such a make-up: The Palladium-Plated Hybrid; a richer take on the clean sound with a dose of glow.
Since my last review of a PLUSSOUND cable years ago, they’ve altered and classed-up their packaging considerably. This PPH comes in a black, semi-gloss box topped with a gold, metallic print of the PLUSSOUND logo. Sandwiched between its top and bottom is a matching gold, metallic strip, which is a cool aesthetic touch. Lifting its lid off, you’ll see an engraved acrylic insert, which I feel is a very clever inclusion that echoes the design language of premium fragrances, for example.
Below that is the cable itself tucked inside an included leather pouch. Of the plethora of leather cases I’ve received with audio products, this one is probably up there with Eletech as one of the top dogs. It has that drier feel to it, which really highlights and accentuates the texture of the leather. Its wrinkles look ashy or aged, and that PLUSSOUND logo engraved on top just finishes the look perfectly. If they ever decide to sell it as a separate accessory, I can see it selling out rapidly.
Finally, underneath that case is a cardboard divider, which houses this PPH’s remaining extras. First up is a leather cable tie. Unfortunately, the quality of the leather doesn’t match that of the pouch. There isn’t any branding on it either, which feels like a missed opportunity. Still, though, I’m incredibly happy that PLUSSOUND has at least included one; more than I can say for a lot of cable brands out there. You also get a microfibre cloth with the company logo; again, an extra more brands should include. And, last is a warranty card you can send in if you need to return the cable because of any issues.
All in all, I feel PLUSSOUND have done a great job with their packaging. Although I’m partial towards matte textures, I do not mind the semi-gloss exterior. Besides, everything they’ve included within – from the classy acrylic insert, to the top-quality leather pouch, to all those accessories – easily make up for it. It is a great effort, and a revamp made worthwhile.
Aesthetics, Ergonomics and Everyday Use
Aesthetically, the PPH is a stunning-looking cable. The hybrid design immediately shows with alternating veins of copper and silver peering through; both metals shiny, lustrous and crisp. PLUSSOUND’s proprietary PS insulation does a superb job showing them off too; very transparent without any reflective gloss. Speaking of its outer jacket, it is probably one of the smoothest and silkiest ones I’ve experienced yet. It’s a tad heavier, I believe, than Effect Audio’s UltraFlexi or Eletech’s FlexiMax. But, what that bit of heft does is prevent the wires from ever feeling bouncy or springy. The cable simply drops when you hold it on one end, which indicates fantastic suppleness. And, this shows on the 2-wire sections as well, which, while twisted, hold their shape as if they were braided. Finally, there are zero signs of them loosening or unravelling too.
Moving onto the hardware, you can actually customise them quite extensively when you’re ordering the cable from their website. That includes the colour of each component, as well as the left and right indicators. This PPH came with a black 3.5mm TRS connector, a chrome Y-split, a chrome slider and mismatched 2-pin connectors; chrome on the left side, and rose-gold on the right. All in all, I think they all have a very sleek, clean look. I personally enjoy a bit of texture or contrast, and there isn’t too much of it here; just the hits of chrome and the gold logos scattered throughout. But, those who want a more minimalist look should find these stylings quite appealing. My one real complaint here is the positioning of the PS logos on the 2-pin plugs. They’re on the inside of the plug, rather than the outside. I think it’s odd visually, and I’ve seen it lead to confusion online as to which side was which as well. So, hopefully, PLUSSOUND can alter or clarify it in the future.
Ergonomically, again, I have zero complaints. It’s a very flexible, supple-feeling cable, and its hardware weighs nothing at all. And, this PPH has no microphonics as well, so you won’t hear any noises should it rub against your clothing or bump into you as you move. It’s worth noting that this cable doesn’t come with any pre-shaped heat shrink or memory wire by default. So, those who do want it should mention it on the Notes section when you’re ordering on PLUSSOUND’s website.
DISCLAIMER: Effect Audio provided the EVO 10 in return for my honest opinion. I am not personally affiliated with the company in any way, nor do I receive any monetary rewards for a positive evaluation. I’d like to thank Effect Audio for their kindness and support. The review is as follows.
Audiophiles will recognise Effect Audio among the planet’s most-popular cable brands. Based in the portable-audio hub of Singapore, they’ve gained recognition for their gorgeous, often-innovative aesthetics, their fancy, intricate accessories and – surely – the sonic lifts they bring to your IEMs. This year, they’ve bridged those concepts into an all-new line called the EVO Series, featuring copper-based conductors, brand-new hardware, brand-new insulation and an interchangeable faceplate system. We’re taking a look at the EVO 10: A cable with impact, vividness and punch coursing through its veins.
Packaging was a point of criticism in my most-recent Effect Audio review. But, that changes completely with the EVO 10. Upon seeing it, I was caught off-guard by how different it was from their usual output, and I truly applaud the effort. The EVO 10 comes in a tall, towering box veiled in a matte-black sleeve. The sleeve features metallic-silver embossings, along with a peculiar, shutter-like, cut-out design. I initially believed this was gonna be one of those optical illusions, where the image underneath would “come alive” as you moved it across the shutters. But, that didn’t turn out to be the case, to my slight disappointment. Still, though, I admire their shift in packaging nonetheless, as well as the air of mystery it provides.
Unveiling the sleeve, you’re treated to a hi-res render of the EVO cable. And, lifting the lid open, you get your first look at the cable’s innovative, interchangeable Y-split, which we’ll discuss later on in this review. This is also where you’ll find the cable’s mini-manual; tucked inside its interior, cardboard cover. It’ll tell you about cable-swapping and maintenance, but I should note the lack of images here, apart from the bit showing you how to change the E-Faces. I think it could’ve been a hair more thorough. Moving on, underneath the cardboard cover, you’ll find the EVO 10 cable gorgeously displayed in a felt interior. You’ll get a close-up of this cable’s new, streamlined hardware too. And, Effect have even capped the 2-pin plugs with their own custom covers. So, again, they have stepped presentation up a notch here, and I’m ecstatic to see it.
Accessories are the one place where I feel Effect could’ve done a tad better. I would love to have seen a cable tie of some kind to really complete the package. A carrying case would probably be generous, but I think something like a tiny pouch wouldn’t have been out of the question. The only accessory you do get with the EVO 10 is a very fancy-looking, premium-feeling warranty card, which, by the way, I wouldn’t blame you for completely missing on your first unboxing, because it is sneakily tucked away at the bottom of its windowed cardboard insert. In fact, at the time of writing, I think my review’s the only one that’s mentioned it, so it’s even eluded some of the pros. Still, despite its lack of extras, I won’t rail too hard, because it’s something Effect usually nail. I’d just like to remind them that stuff as small as cable ties could go a long way.
Aesthetics, Ergonomics and Everyday Use
I’ve always recognised Effect Audio by their bright, flashy-looking conductors, so this all-matte, all-black sheathing is a bit of a departure from their norm. But, they’ve done it for as good a reason as any; to spotlight their all-new, swappable Y-splits. As a base, the EVO line features a transparent Y-split; something I can definitively say I’ve never seen before and is arguably stunning already on its own. The four wires look almost like a window into an Iron Man suit. But, on top of that, Effect have added a mechanism that allows you to customise the Y-split’s faceplate as well. They call these plates E-Faces.
When you purchase the EVO 10, you’ll receive three E-Face colourways: Jet Black, Amethyst Purple and a random one out of a selection of five. This may be Fossil Grey, Space Grey, Marble White, Royal Gold or Sunset Hue, as seen on the photo below. I think this idea of turning the faceplates into something of a game or an easter egg hunt is a novel idea. Though, I hope they eventually become available to purchase separately for collectors’ sake. Swapping this faceplates’s as easy as carefully prying the attached one away – either from the top or the bottom – then slipping the new one in and lining it up with the Effect-Audio-logo-shaped protrusion on the Y-split. Again, it is great customisation and a rad idea on Effect’s part.
When it comes to changing out the E-Faces, I did encounter quite a bit of difficulty with the initial swap. After trying out a fair number of makeshift tools from plastic knives to credit cards, I eventually got the thing off with a fingernail and a lot of bravery. Subsequent swaps weren’t anywhere as tough, but it’s important to keep in mind that this process won’t ever be the smoothest in the world. For future iterations of the transparent Y-split, I’d recommend Effect add on a small notch or groove at the top and bottom, so there’ll always be a tiny gap between the Y-split and its E-Face. This way, it’d be much easier to slot a fingernail or a tool in. Still, though, it’s got the seeds of a stellar idea. All it needs is a tiny bit of fine-tuning.
The EVO cables have also switched their hardware up; now somewhat of a hybrid between Effect’s usual connectors and the ones from their Vogue line. Personally, I love how both the 2-pin and the source plugs have this anodised finish. And, the blockier shape makes them easier to grip as well; less slippy. I also adore the colour-blocking on the source plug; the contrast between the bright, silver top and the black body is strikingly gorgeous. I wish they would’ve employed a similar approach to the 2-pin plug. Perhaps, a silver finish on the area where the Effect logo is. So, you get more of that contrast up top, and you get stronger uniformity between the two connectors. That aside, though, the craftsmanship on this EVO 10’s hardware is stellar as usual, and this slimmer, more grip-friendly design should make handling quite a bit easier too.
When I first saw this EVO 10’s black jacket, I was initially concerned about what it could do to the suppleness and comfort that Effect’s cables were practically renowned for. But, once I did get a feel for them, I was relieved to find out that it was virtually identical to their previous cables. The only difference was they felt ever-so-slightly less slick to the touch. But, in day-to-day use, it’s a complete non-factor. They’re as flexible, memory-free and microphonics-free as their Leonidas II or Cleopatra. So, again, those worried about the EVO 10’s comfort should have no cause for concern. And, to top this all off, Effect have installed a very grippy, rubber cinch that’ll sit flush with the Y-split when all the way down; a beautiful touch.
DISCLAIMER: MusicTeck and PW Audio provided me with the Monile in-ear headphone cable in return for my honest opinion. I am not personally affiliated with the companies in any way, nor do I receive any monetary rewards for a positive evaluation. I’d like to thank MusicTeck and PW Audio for their kindness and support. The review is as follows.
PW Audio is an aftermarket cable maker run by its founder and namesake, Peter Wong. The Hong-Kong-based company, though of a more understated, less-publicised niche than your ALO Audio’s or PlusSound’s, have successfully attained an incredible following through raw quality and word-of-mouth. Their offerings often find themselves on the top-ten lists of enthusiasts and reviewers alike. And, they’ve also collaborated with a number of brands as the default cable provider for their flagship in-ears; most recently, the Oriolus Traillii from Japan, the Empire Ears Odin from the U.S. and the Lime Ears Pneuma from Europe. Today, we’re looking at a PW Audio release reminiscent of their classic, cotton-sheathed, high-end cables, but at a more affordable price. PW’s Monile is clean, zingy and vocal-first, with bite and finesse in equal measure.
PW Audio Monile
Wire composition: 26 AWG copper and 25.5 AWG silver
The Monile arrives in a black, cardboard box with the PW Audio logo printed atop a glossy-white inlay. This has been PW’s standard retail packaging for quite some time now, and I personally think it’s due for an update; for their mid- to higher-tier offerings, especially. Whether it’s a full-fledged update or tiny tweaks like embossing the logo in metallic-gold directly onto the box, for example, I think a premium product like this Monile deserves a more fitting garb. Plus, they’ll look great on store shelves too. Looks aside, I also would’ve liked to see a bit of padding on the box’s interior. But, since there aren’t any heavy or fragile components in there anyway, and the products are all somewhat cushioned by the plastic bags they each come in, it’s not too big an issue. So, again, while not the most elegant packaging in the world, it works nonetheless.
Inside, you’ll find the Monile itself, along with the included accessories. The first is a brick-red, leather cable tie that locks with a snap-button mechanism. It features white stitching around the outside; a nice, clean touch. Then, despite the tie’s overall more rugged, rustic motif, the leather itself is smooth to the touch too. As I’ve always expressed, the inclusion of cable ties with aftermarket cables is virtually mandatory in this day and age. So, kudos to PW Audio for their efforts here.
The second accessory PW have included is a carrying pouch, which, I must say, caught me by quite a surprise because of how premium it looks and feels. It’s constructed out of this black, velvet material, and I think it’s a brilliant callback to the cotton shielding that’s on the Monile’s conductors. It’s even got their PW Audio logo embossed onto the front, which is an incredibly sleek, classy touch. These are the stylings I’d love to see go to their retail packaging in the future. The inside of the pouch is lined with a soft, fabric mesh, which should cushion both the cable and any attached IEMs nicely. Lastly, the pouch can be pulled shut with the side straps. Again, it’s a clean accessory from PW, and a great inclusion for the Monile.
And, lastly, we get to the cable itself, which – as expected – is pretty-flawlessly made. It features PW’s classic, black-cotton shielding popularised by their flagship 1960’s. And, much like it, this gives the Monile a strikingly soft, silky feel, especially when compared to the more plasticky, PVC-based insulation that’s now the norm. Then, the cable’s coaxial design means it house all 4 of its cores within a 2-wire design for even more comfort. There is a difference, though, between the 1960’s and the Monile: Conductor size. The latter has a slightly thicker profile due to its larger wire gauge, and it’s made it a hair heftier and more robust too. I personally prefer this over the 2-wire 1960’s, which can, at times, seem a tad insubstantial. Hopefully, it’ll also stop tiny bends from forming on the IEM side of the Y-split, which I’ve often seen on the 2-wire 1960’s.
Hardware-wise, PW have gone for a really clean, minimalist aesthetic; dipped fully in chrome-silver. Both the 4.4mm plug and the Y-split sport this hexagonal profile to them, which both looks nice and shows great continuity. This extends even to its cable cinch, which does a good job staying in place; even with fervent head-banging. On the 2-pin connectors, you’ll see black and red stripes for Left and Right, respectively. And, you’ll also get PW Audio branding on the plug and Y-split, as well as Monile and a serial number engraved on the latter. Though I like how crisp this branding looks, I do think there’s a bit of a colour-clash on this Y-split between its black and silver texts. I would’ve liked the PW Audio and Monile logos sit on opposite sides, instead of beside one another. And, the serial number would’ve looked better much smaller too. Still, it’s, again, clean hardware that neither thrills nor harms, whose little weight also adds to the Monile’s comfort along the way.
One last thing I want to mention is the heat shrink applied to both the source and monitor sides of the cable. The former encases a bit of the wire and about half of the 4.4mm plug’s barrel, which, to me, doesn’t look the cleanest. It has a bit of a DIY feel to it as a result, which I think takes away from the Monile’s sleekness. I understand its purpose in aiding rigidity and longevity. I just wish it was better-executed. On the other side of the cable, as per usual with PW, the wires just prior to the 2-pin plugs have been pre-shaped to loop around the ear, and with a pretty sharp arc. In use, I haven’t found them cumbersome or painful, necessary. But, that may not be true for all ear shapes, and they still make in-ears more difficult to insert for me than usual. So, those are things to keep in mind, and aspects PW can hopefully improve on in the future.
Sound Impressions
PW Audio’s Monile is a cable that accentuates vibrancy, energy and air, mostly through midrange elevation and high-end extension. It doesn’t brighten the in-ear’s tone, per se, but it does introduce a peppiness – a zing or bite – that excites the monitor and discourages any sort of laidbacked-ness or lethargy. Transients leap out at you more, so you’ll get more pop from horns, more crackle from snare drums and livelier delivery from vocalists as well. Those sounds will come off bigger too; taking up more room in the soundscape, in exchange for that more musical delivery. Thankfully, though, this Monile is stellar at layering and separation, which ensures each element stays within bounds and have minimal overlap. When it comes to expansion, the Monile isn’t what I’d call grand or vast. It does have a more intimate stage, especially in terms of width. But, again, there’s more than enough tidiness and air there to not sound claustrophobic. So, all in all, this Monile’s general tone to me is open, well-separated and excited, emphasised on midrange bite, and intimate – but tidy – spatially.
To facilitate its clean, airy, yet intimate sound, the Monile’s been given a slightly tighter, less prevalent mid-bass. It’s not a low-end that’ll necessarily bellow, bloom or fill out the stage. I’d say the warmth of the mid-bass would sit just behind the mids on most pairings. But, it’s not a low-end that’s thin or anaemic either. One of the traits I find most impressive about the Monile is that, despite its supporting role, there’s still a great deal of character, body and texture to its mid-bass. You will still get a round tone to kick drums, toms and bass guitars. Then, because of the bass’s high transparency, you’ll hear better separation between them as well. Listening to Oytun Ersan’s Mysterious Maze on 64 Audio’s A18s, there’s a definite distinction between the kick, bass guitar and the rest of the band during the unison parts. Whereas, it was sort of a blend on its stock cable. Lastly, the Monile makes up for its relaxed mid-bass with some sub-bass physicality. Going back to the track, those toms strike with stunning oomph. So, while tight and clean, PW’s Monile isn’t one to lack character down low.
The midrange, I think, is where PW’s Monile performs the majority of its balancing acts, and it more-or-less nails them all on the head. As previously mentioned, it brings presence and bite to snare drums, keys and the like. But, what it lends at the same time is this roundedness to baritone saxophones and electric guitars too. So, whether it’s Snarky Puppy’s brass section or Joe Satriani’s multi-layered solo on Massive, they’ll all come through musically without seeming top- or bottom-heavy. Another quality that’s nearly unique to the Monile is how it manages to sound bigand well-separated at the same time. Despite this added saturation and size, instruments, again, rarely spill over into each other, and there’s a great deal of clean air between them too. With an artist like Jacob Collier, for example, you’ll still be able to discern each of his vocal parts, rather than have them all mix into a single wall of sound. Again, my only gripe here would be a slight lack of stereo spread. Brass and string sections aren’t as wide and expansive as I’d like them to be. But, that aside, I think the midrange truly is this Monile’s selling point: Vibrant and clear with heft, but with the tidiness and air to refine that presence as well.
Up high, the Monile doesn’t add as much colour to my ears, apart from providing a black backdrop, so those background details can come clearly through. Without having to sharpen transients or add brightness, nuances like cymbal trails and snare overtones are better-perceived. Then, louder hits like ride bells and hats are made to cut cleaner too. In extension, it doesn’t quite reach the heights of PW’s flagship 1960’s. But, it does exhibit the more coherent, silky and less aggressive tone to my ears, which can make it a better match with leaner-sounding in-ears or smoother-inclined listeners. It’s a top-end that tapers off towards the mid-treble for that natural, uncoloured timbre, but with enough higher-treble content to make space for the midrange as well. Once again, I would love for a touch more stereo spread here. Chime rings, cymbal washes and cymbal taps that echo around the cranium can do heaps for immersion, and I feel the Monile slightly misses out on this here. Otherwise, though, these are highs that nicely cap the Monile, while making space for its musicality too.
Suggested Pairings
The Monile’s intimacy and bite make it a shoo-in for certain demographics of listeners and IEMs. That vibrancy and mass it brings are what make its sound unique, and below are the three main qualities this Monile can add to your earphones:
Immediacy, forwardness and bite, especially along the upper registers: The Monile’s key draw is the zing it brings to the high-mids and treble. While it doesn’t lend crispness or articulation, necessarily, it does hand a certain punch to those regions, which is ideal of your monitors are coming across hazy, unexcited or lethargic. And, it’s all done without shouty-ness too.
Bigger, more radiant-seeming instruments: The Monile also adds size to instruments; lead guitars, keys and the like almost stretching to fill centre-stage. This is a quality I’d want if my in-ears were a tad too cold, analytical or precise. Adding that sort of warmth or glow could go a very long way in injecting musicality, but without too much of a technical compromise.
Looser, more intimate imaging: The quality above leads right into this one. Obviously, instruments being bigger and closer to you shall result in a more intimate, inviting, involving presentation. This is a change that’d work nicely with in-ears that tend to position instruments towards the periphery of their spaces, rather than the middle. Examples that come to mind are DITA Audio’s original Dream and FiR Audio’s universal M5, along with material like slow-jazz tunes or soaring ballads.
At the same time, the Monile’s coloured presentation does stray it away from certain preferences too. It’s definitely not a cable for the analyst, for example. If you hold any of the two aspects below in top regard, the Monile may not be for you:
Tight, precise and crisply-separated instruments: This directly opposes this Monile’s intended response. Large, intimate and slightly-warm instruments naturally discourage clinical precision and crisp separation. Though the Monile does layer and organise admirably, I’d be more inclined to propose PW’s 2-wire 1960s instead, if pin-point precision is what you’re after.
Flagship-class extension: Compared to pricier, flagship-class cables, the Monile can lack that final bit of reach, which limits the definition of its image, as well as the physicality of instruments that reside in the extremes. Sub-bass rumbles aren’t the most visceral in the world, and top-end transparency falls short of – say – PW’s 2-wire 1960s. So, despite the Monile’s capabilities within its price bracket, it’s not a cable I’d pair with an ultra-high-end in-ear, lest it gets slightly bottlenecked.
Select Comparisons
DITA Audio OSLO (USD 580)
The Monile and OSLO sport pretty similar, mostly uncoloured tonalities, but delivered in two different ways. The Monile’s a more direct, articulate-sounding cable, which propels notes with higher energy and punch, while the OSLO’s transients throughout the frequency range are a hair more relaxed; airy. Down low, for example, the OSLO has the warmer, bigger-sounding lows, but the Monile’s jab harder. Kick drums thwack with more force on the latter, and the same goes for bass plucks as well. Though the frequencies in question aren’t necessarily lifted on the Monile, they do hit harder. Now, where the Monile does inch a tad forward would be the high-mids and lower-treble. Trumpets and guitars, hi-hats and cymbals all come off slightly brighter, slightly crisper and slightly more vibrant too. This’ll fit your IEM more if you feel it’s lacking a bit of immediacy or bite. Conversely, the OSLO edges the Monile out in end-to-end extension. You’ll hear a more physical rumble and tighter spatial cues on this OSLO, as well as a slightly more stable, defined image. But, to me, those technical differences don’t outweigh the dynamic ones, so, as always, the choice would depend on what you’ll need for your in-ear.
Eletech Socrates (USD 699)
Eletech’s Socrates, like the Monile, is a conductor with energy, immediacy and punch packed within a compact, yet tidily-organised space. Where the two ultimately diverge is how they distribute that energy throughout their frequency charts. A lot of the Monile’s bigness lies further up the range, with a ton of body given to its high-mids and highs. On Nathan and Noah East’s rendition of Over the Rainbow, for example, the Monile will emphasise the rightmost keys of the piano, along with the higher registers of the string section. By comparison, the Socrates comes off more balanced. Those lower, more bass-y bellows and grunts of the piano have as much presence and weight as the higher notes, and the violas are as key in the orchestra as the violins. This Socrates’ upper registers are tighter than the Monile’s too; not as radiant or wet. This compactness grants more precise imaging, and it allows more air to flow throughout the image as well. But, PW’s Monile then delivers the more resonant, inviting profile as a result, so these will be the trade-offs you’ll have to decide between.
PW Audio 2-wire 1960s (USD 999)
Comparing this Monile to its spiritual sibling, let’s say, there’re immediately differences heard in presentation. The 2-wire 1960s has tighter, quicker-sounding notes cased within an airier, more defined stage, which hands it the more expansive and more precise sound of the two. Much of that has to do with its stronger upper-end extension, and it’s what gifts this cable a palpably deeper image as well. By comparison, the Monile is a more intimate-sounding cable, where instruments are not only positioned further upfront, but they’re looser as well; bigger in size with an aura of warmth around them. It’s especially true in the midrange, where the Monile’s guitars and snare drums come off more saturated. This 2-wire 1960s’ are far airier and more precise by comparison, but more distant-sounding as well. So, like the Socrates, I’d shout-out the Monile for intimacy and soul, while the 2-wire 1960s is great for precision, stereo separation and a more surround sound feel. Lastly, in terms of resolution and texture, you’d be able to hear the finer details on the 2-wire 1960s. The backdrop’s cleaner too. But, when highlighting individuals in simpler, more acoustic arrangements, I do prefer the Monile’s intimacy.
Verdict
PW Audio’s Monile is an upgrade cable that delivers vibrance, musicality and size without ever becoming brash or loud. It imbues instruments with bigness and bite; breathing life into monitors you may’ve found nonchalant or lethargic. It adds airiness and resolution where it can. And, it provides a fairly neutral, well-balanced tonality that’ll suit the vast majority of in-ears, as long as you won’t mind a midrange with bite. Now, against pricier options, this Monile may not quite reach the same heights in stage expansion, stereo separation or top-end extension. But, within the price range, and with its strong ergonomics and feel to boot, I feel it remains a unique option for its exuberance and intimacy, yet executed with finesse.
PW Audio’s Monile is available for purchase now on MusicTeck.com, and it’s currently a part of their Black Friday Sale. Click the following link for their promo price list.
Romanian audio manufacturer, Meze audio has stormed the market in recent years with their immensely impressive portable 99-series headphones and flagship Empyrean. They’ve also had numerous successful IEM launches, the Rai Penta being especially coveted for its superbly natural and balanced sound, we took a look at the latter here and came away very impressed.
Rai Penta Bundle
Starting this week, customers who purchase a Rai Penta IEM will receive a free balanced SPC upgrade cable worth $149 USD in their choice of 4.4mm or 2.5mm connector. As with the stock 3.5mm cable, the Meze balanced cable employs a high 160 strand count for an ergonomic and pure sonic experience, in addition to hard-wearing and corrosion-resistant Rhodium plugs.
The Rai Penta retails for $1099 USD. You can read more about Meze’s upgrade cable here and purchase the bundle with Rai Penta here (affiliate).
Limited Edition 99 Classics
Anyone interested in portable headphones would surely have heard of the 99 Classics. If you’ve been on the fence, now may be the time to buy as Meze have just released a new limited-edition Maple Silver model. These portable headphones were designed to balance all-day comfort with a portable and isolating design. Furthermore, it features gorgeous aesthetics with genuine wooden cups and a completely modular construction that makes them easy to maintain and repair. This is an impressive sounding headphone intended to last a life-time.
First LE units will ship on Dec 11th (may be subject to change). You can read our full review here and secure a unit for yourself on Apos Audio (affiliate).
