Select Comparisons
Effect Audio Code 51 ($2399)
Many see Effect Audio’s Code 51 as the Iliad’s most direct competitor, and the two definitely occupy a common league of performance. Both cables aim for a great degree of clarity and neutrality as well, but with their own deviations along the way. For a detailed comparison between the Iliad and Code 51, you can head over to my review of the latter; linked here.
Effect Audio Janus D ($1399)
Compared to Effect Audio’s more neutral-natural Janus D, the Iliad will impart a more vibrant, lively and exuberant sound towards your IEMs. Courtesy of its upper-midrange, instruments are bigger and more forwardly-positioned, resulting in a more involving, more engaging listening experience. Conversely, the Janus D is more studio-like, with neutrally-sized and positioned notes occupying the farther reaches of the stage. This hands the Janus D the more organised stage with more precise imaging and stereo separation. The Iliad trades some of this off for greater looseness, soulfulness and musicality.
Tonally, this Janus will give you the more transparent, uncoloured response; presenting instruments equally and without any added energy. Up top, this means the Janus D isn’t as tizzy as the Iliad, though it’s just as clear to my ears. And, down low, it does not have the Iliad’s subtle fuzz either. But, in return, the Janus D exhibits stronger resolution here. So, if what you want for your in-ears are increases in dynamism and musicality, the Iliad would be more ideal. Conversely, the Janus D is for those who want utmost separation and imaging precision with as little tonal colourations introduced as possible.
PW Audio 2-wire 1960s (S$1499)
PW Audio’s 2-wire 1960s is a much fuller-sounding cable than the Iliad, and it isn’t as bright up top either. Going from the former to the latter will result in a much sparklier, much tizzy-er treble, along with a leaner lower-midrange. Instruments like cymbals and snare drums are snappier on the Iliad. However, the wrong pairing, as discussed above, may get glare-y at the same time. By the same token, the 1960s is better paired with leaner sounding IEMs to add heft without becoming too full. In terms of texture and resolution, I’m hearing more top-end data from the Iliad. Prominence aside, cymbals and hi-hats simply are more tactile and fully-formed. Then, superior extension hands Eletech the cleaner background as well.
The Iliad’s achievements up top translate to separation and imaging as well. Instruments are tighter than they are on the 1960s, where they’re allowed to bloom a bit more; down low, especially. The latter, then, will come across more intimate, while the Iliad is capable of conjuring a bit more air. But, again, at the end of the day, which of the two to get will depend on the in-ear you’re partnering it with. Although both are versatile enough to work with a myriad of IEMs, they each have their fortes. The 2-wire 1960s adds heft without congestion, and the Iliad lends zing with as little colouration as possible.
Verdict
In a market saturated with “freshman flagships” that, more often than not, are more extraneous than exceptional, it’s very refreshing to see a brand debut with this much experience, identity and skill already settled beneath their feet. Eletech’s Iliad is a striking display of all three, brimming quality across its personality-filled, precisely-milled hardware, exceptional ergonomics, superb sonics and accompanying accessories. Though their packaging and miscellaneous QC are in need of a few touch-ups, that only barely takes away from how well-conceived and well-made Eletech’s flagship is in about every essential regard. If what you want for your top-of-the-line in-ear is vibrance, volume, clarity and zing, and you’ve already maxed out the rest of your chain, Eletech’s Iliad is as strong a closer as any; pristinely clear, airy and soulful all the while.
