I used a Hugo2Go to perform my tests. It is certainly not the most nomadic thing but I recognize in this DAC/AMP qualities of neutrality, tonal balance, dynamics and realism that I have not found on the best dap to date, with the exception of the DX220 Max from Ibasso. The Hugo2 is equipped with one of the best DACs on the market that stands up to the best in sedentary rig.
Feedback is made with the Evolution Copper cable and the perfect fit / seal has been achieved using Spiral Dots.
Rather than talking to you about about treble, mids and bass, I want to share some feelings I had listening to various music with these earphones.
Franz Liszt: a campanella studies, Minoru Nojima
The firmness of the hammer’s attack on the strings, the lack of brightness or hardness, the full and crystalline aspect of each note, and above all a unique trimming allowing lightning attacks followed by deafening silences make this the most accomplished recording I know of these studies. Well I find with the Infinity Mk2 an identical and maybe even better reproduction than on these two headphones, the same pleasure, the same feeling that the piano is standing here, just in front, and that the notes fly away very high in the studio.
Ludwig van Beethoven : the Violin Sonatas, Perlman Ashkenasy
One of the summits of this sonata discography which counts dozens of interpretations, two of which stand out for me : Kempf Menuhin and this one.
A flamboyant interpretation with a rare complicity, the slightest subtleties, the micro details, the silences or extreme fortissimo, the changes of rhythm, the technical difficulties, nothing escapes these in-ears who walk throughout these 5 CDs with an agility and an ease that makes you smile.
Giacomo Puccini, Tosca, Collin Davis, Montserrat Caballé ( Tosca) José Carreras (Mario Cavaradossi), Orchestra of the Royal Opera House, Covent Garden
Exciting and passionate recording of this Tosca made in 1976.
One is here close to a listening with headphones in the spreading of the sound plans as well in width as in depth. One is also close to a listening with headphones in the tones restitution and the voice grain of the 2 main protagonists, in the fulgurance of the ascents (open air of Tosca), in the way orchestra and singers or singers between them interact. One is quickly overwhelmed by the beauty of the rendering of this recording with a strength, power, precision and determination never before heard on this type of transducer.
Sinatra at the Sands, Count Basie orchestra
This is not an exceptional recording because of its audio qualities but rather because of the symbiosis between this great crooner and Count Basie’s orchestra, on arrangements by Quincy Jones who also leads the band.
It’s hard not to stamp your feet on « Ive got you under my skin ». Once again both energy and dynamics are explosive. For those who have had the chance to hear Count Basie in concert, you can hear this swing with restraint, these explosive brass instruments that make you stamp your feet. We picture the musicians standing up one by one and then sitting down again, Basie’s brilliant eye playing small keys with his piano, and Sinatra playing with the orchestra. All this is perfectly reproduced, without any kind of aggressiveness, without difficulty and with great musicality.
Mikael Pletnev, live at Carnegie Hall
Dazzling concert of this major pianist from the Russian school.
Busoni’s transcription of the Chaconne from J.S.Bach’s violin partita BWV 1004 is a real jewel. Listening on the Infinity Mk2 is unique. Not the slightest noise in the room as the audience is captivated by this masterpiece. The piano sounds perfectly accurate, bewitching, hypnotic, powerful. I stayed with my eyes open watching Platnev perform this mythical 15 minutes Chaconne that I am more often used to hearing under Milstein’s bow.
Schubert, Piano music for four hands, Evgeny Kissin, James Levin , The Carnagie Hall Concert
The Infinity are truly at home on live recordings, whether it’s classical, jazz or variety. You have to listen to this recording to see for yourself.
Everything is absolutely noticeable, the atmosphere of the room, the beauty of the 2 pianos, Evgeny Kissin’s playing and the applause are absolutely realistic. You can really hear them from behind the scenes of the great philharmonic hall, a privileged place for piano recitals. The most surprising thing on the piano is the restitution of the right hand : where the Stax 009 becomes slightly shiny and too transparent, or the Empyrean is not fast enough and the D800 too dull, the Mk2 pass as if nothing had happened. Crystal in a velvet glove. You can perceive the full and dense note and its crystalline halo : I had never before perceived this semblance of realism on in-ears or headphones.
Simon et Garfunkel, The Concert in Central Park
Not much to say and even less to criticize. The sound stage is wide and deep, worthy of the best pairs of in-ears or headphones on the market. A smile appears when the two companions sing Mrs Robinson, the same blissful smile you can get in a concert hall when you see and hear your idols. You close your eyes and they are there, in front of you, rolling out their standards and it goes by much too quickly as the attention is captivated by what your ears hear.
Concerto or symphonic music
Still the same energy and accuracy.
On this type of music that requires turning up the volume to better perceive the different sound masses, the Infinity are asking for more, but up to a certain point. Beyond that we will perceive some troubles to hold the steering wheel well, which does not appear at similar levels on headphones like the D8000 or the Empyrean. On the other hand, this phenomenon is common to all the in-ears that I know, minus Lcdi4, and often appears for lower levels.
I could go on like this for ever but you’ll have understood that on the musical styles that I listen to, it appeared to me that these in-ear are a clear step up that I did not expect from this type of transducer.