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From the get-go, I found both amps to have a dead quiet black background, though for 475 with IEMs you do need to switch to low gain, regardless of the battery or the external USB power use. In high gain, 475 had some background noise with my iems. Also, they have excellent natural resolution, and among the best vertical micro/macro dynamics expansions I heard. And I hear a very precise layering and separation of the instruments and the vocals which gives every sound a multi-dimensional standalone presentation. Furthermore, they both enhance the quality of the bass with extra rumble, making the bass sound more articulate, regardless of if it is DD or BA driver (Jewel vs MM in this case). But to my ears their mids/treble coloring is not exactly the same.

Tsu has more transparency and less coloring with a clean and clear neutral detailed tonality of the mids and the treble, creating a more revealing sound presentation. Not necessarily bright, just very clean and more revealing. On the other hand, 475 adds more body to the sound which gives mids extra coloring density without affecting the resolution or the retrieval of details. As a result of the difference in how I hear the mids between these two amps, I find the treble in 475 to be a touch smoother, while the bass in Tsu (due to the contrast with its more neutral mids) to have a bit more impact. Also, the difference in mids affects the perception of the soundstage expansion, with Tsu spreading wider, more left-to-right, and having more holographic imaging. 475 soundstage expansion is wide as well, though Tsu is just a little wider. But 475 imaging, due to a fuller body mids, has a more mid-centric focus of sound placement.

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Both are great portable amps with an excellent technical performance and some difference in tonality of the mids. I enjoyed both amps with my IEMs, especially the expansion of the vertical sound dynamics. But on the go, I feel Tsu will make a better companion, and also will pair up better with warmer and neutral tuned IEMs. 475 was great for a desktop use, especially powered up directly through usb port. Plus, it had more headroom in high gain when driving more demanding headphones like R70x. With IEMs, I found 475 to pair up better with brighter or U-/V-shaped tuned monitors.

For all the laid-back retro sounds on Jumbie in the Jukebox, the lyrics come at you with the relentlessness of pent-up urban rap. The observations can be philosophical, edgy and humorous, but never harsh. The song "Joe the Paranoiac" pokes fun at a man who sits by his radio eagerly waiting for the world to end.

Hello all- I need help with an issue I have with a two-year-old but brand-new Kato Kobo Custom DD51 HO-scale loco, item #29-827. It is meant to have an ESU Loksound decoder, which is indeed installed, but there are no sound files loaded to the chip. I would like to either have Kobo send me the files so I can load them via my LokProgrammer (unlikely to happen because I assume the sounds are proprietary) or send the loco to Japan to have them loaded to the decoder. My issue is that I'm having a heck of a time finding any contact info online as to where to send the loco, or who to email to request the sound files or request service. Anyone have any ideas, contact info for Kato/Kobo, or know where one can obtain DD51 sound files for the Loksound decoder? The hobby shop I ordered the model from appears to no longer exist, as their website is no longer valid, so I am pretty much stuck with a silent loco until I get it serviced. Any advice and information will be gratefully received. Cheers!

That's been my experience too. However, if you tell them you're fine with that and don't fight them on it (really, there doesn't seem to be anything they can do about it), you can often get some good information from them. It's possible that Kato may not have had specific sound files for this loco. They may have used some fairly generic diesel sound files.

Imho it might be possible to get a new preprogrammed decoder with the right sounds without shipping the loco back to Japan and just swap them out. This depends on if Kato still supports this locomotive with spare decoders.

Hello all- I took Inobu's advice and downloaded the V90 file, swapped the link-coupler sound to a US Janney-style coupler sound, swapped the V90's horn for the Swiss steam whistle (while not being identical to the Japanese prototype, is somewhat close) and made a few minor tweaks such as deleting the German radio communication sound files. Until somebody releases the proper DD51 sounds for the ESU Loksound, that will likely be the closest one can get, and it's a huge improvement over a silent decoder. Thank you all once again for your assistance, it is very much appreciated. :-)

This seems to be a common issue for a couple of the batches of DCC sound Kato locos. It's not the first time I have heard of the problem with the sound files disappearing off both the EF510s and the DD51s; no one seems to have had any support from Kato on this.

I have seen a couple of retailers in Japan produce their own sound files for the ESU Loksound, but these are very expensive (although to be honest, sound technically better produced than the Kato one).

Imho resetting the decoders or using the sound programmer on them should be avoided. It's very easy to reset them. Also any corruption in the sound storage flash could also result in a self reset. Practically this means don't change anything on them except the locomotive address.

ps: Normal factory installed decoders reset back to the factory installed sound files, but these decoders seems to be custom installed using blank decoders. Also backing up the sound samples for later reinstall/nonlicensed duplication seems to not work and could also cause a decoder reset.

Thanks VJM and kvp for your input- very interesting indeed. I can't help but think that there must be someone in the sizable Japanese railfan community who has produced a DD51 Loksound sound project for sale. Of course there may well be and my inability to speak Japanese has hindered my online search, but so far I've come up with nothing at all. Oh well, no worries, I'm happy with what I have until I can obtain something better. Thanks again.

If your background audio files take up enough storage space to push yourtotal storage over your allotted amount (5GB for all free accounts), you canrequest additional space (for a cost) by reaching out toinfo@kobotoolbox.org. The payment is used tocover the additional costs associated with large data collection projectsand ensures that the server remains running well for our users.

The MASS-Kobo Model 394II is a full balanced amplifier designed to provide natural and real sounds throughout the entire audio chain, from input to output. It has been developed using a special circuitry to ensure that musical sources are reproduced without any significant noise interference. This development approach draws inspiration from the process of creating condenser microphones.

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Overall, Model 394 offers a comprehensive solution for audio amplification, delivering natural sound reproduction, versatile input options, global power compatibility, and compatibility with high-end headphones.

The Storm is an impressive IEM. It has resolution in spades, snappy transients and an immersive soundstage both in terms of depth and width. It was outstanding with audiophile genres such as jazz and classical but less so for rock and metal. Despite the BA bass, the Storm slams when powered right. However, it still did not match the best dynamic driver bass. I did perceive a relative lack of note weight and decay to the bass. Overall, though, this is easily one of the most impressive and technically proficient IEMs I have ever tried. And those seeking a reference-like tuning will be very impressed.

I had long wanted to get my hands on and ears to the Luxury & Precision P6 Pro DAP. I was excited to find it at Jaben. The DAP is much smaller than I had imagined. However, the presentation was surprisingly natural in timbre. It was also more cohesive and natural sounding than most delta-sigma DAPs. It is colored in all the right ways. The soundstage did appear to be smaller than my Sony WM1ZM2.

I tried the $1100 Symphonium Helios and I agree with other reviewers that they are incredible for the price. I have subsequently reviewed it here. Although a quad-BA IEM, the Helios has superb bass, better than most dynamic drivers, and a midrange that is clean without being septic, and a treble that is best-in-class for the price. Technically, the Helios is also great as it has resolution in spades, a soundstage that is wider than most IEMs, precise imaging, and wonderful macrodynamic slam and punch! The guys behind the Symphonium brand are also stellar and it was a lot of fun bantering with them. I am quite certain that their best is yet to come. ff782bc1db