Nightjar Acoustics 4-wire Mira: Behind the Veil – A Cable Review

Select Comparisons

Effect Audio Code 51 (USD 2399)

Compared to Effect Audio’s Code 51, the 4-wire Mira gives IEMs a more direct, more upfront sound. I’m hearing more bite from the mid-treble and (albeit, less so) the upper-midrange, so you’re able to see more of each instruments’ face, if that makes sense; a clearer etch to them. The Code 51 is bolder in its lower-midrange as well, which gives its mids an earthier, more liquid sound overall. Whereas, the Mira’s is tighter, which creates a cleaner segregation between the mids and lows. Tonally, that means the Code 51 is slightly more relaxed and far-field, while the Mira has more immediacy and clarity to it. This is further reflected in imaging, where the Mira has less depth than the Code 51, because of how much further forward its instruments are. Though, it does span wider out-of-head than the Code 51 does as well, so that’s the trade-off you get. Ultimately, it depends on whether you want a bolder, more laidback flagship cable, or one that’s sharper, more direct and more clarity-focused.

Eletech Aeneid (USD 2499)

Eletech’s Aeneid is probably the most like the Mira among the cables here. It’s got a more neutral sound, despite Eletech’s signature sway, and it’s got that cleaner attack that the Mira specializes in as well. They deviate, though, in areas like the mid-bass and midrange. So, for the full comparison between these two, you can find it in my full Aeneid review linked here.

Eletech Ode to Laura (USD 2799)

Eletech’s new flagship Ode to Laura has a warmer, more analog, more effortless sound compared to the Mira. You can tell they’re pushing similar amounts of detail and space, but the Laura does it with a softer touch to my ears. This is because the cable has a darker background, which allows those smaller nuances to come through a bit easier, while the Mira gets a similar amount of data through with its crisper, brighter mid-treble. This also stems from the Laura’s more even mid-to-treble split; the Mira has more of the latter. The Laura also delivers a meatier, warmer mid-bass, while the Mira’s comes across much tighter and quicker, though not necessarily leaner. In imaging, I feel the Mira stretches just a bit wider, while the Laura has an edge in depth. At the same time, the latter’s stage comes across a bit more natural and life-like, while the Mira’s can come across a bit stretched. So, I’d say the Mira is more ideal if you want to sharpen up an in-ear that’s on the slower, fuller side, while the Laura is best paired with a naturally-vibrant IEM you want to tinge with a touch of groove.


The Nightjar Acoustics Mira is a massive show of ambition from the young Singaporean outfit, and it’s, in many ways, a perfect representation of the brand itself. It’s a cable with prominent audiophilic sensibilities (i.e. a focus on sound and only sound), deservedly-buzz-worthy technique and bags of potential. But, it’s also a product that’s rough around the edges in presentation, character and compromising practicality for performance. Like Einstein at his first science fair, it’s indicative of a brand clearly on the right path, but with a long way to go. Does that make their first flagship unfinished or unworthy? Absolutely not. If you can live with the shortcomings I’ve mentioned in its aesthetics and ergonomics, there are tons of sonic benefits to reap off of the 4-wire Mira. There’s nigh a more fitting cable to pair with your flagship IEMs if your ultimate goal is resolution and clarity, and it does so whilst deftly tiptoeing the tonal scale as well. So, all in all, the 4-wire Mira is a strong, audiophile-centric cable that’s had its niggles unfortunately magnified by an ambitious MSRP. But, that in no way whatsoever negates the massive highs it’s able to achieve, and it’s, again, a surefire sign of potential from – what could be – a budding giant.



Picture of Deezel


Church-boy by day and audio-obsessee by night, Daniel Lesmana’s world revolves around the rhythms and melodies we lovingly call: Music. When he’s not behind a console mixing live for a congregation of thousands, engineering records in a studio environment, or making noise behind a drum set, you’ll find him on his laptop analysing audio gear with fervor and glee. Now a specialist in custom IEMs, cables and full-sized headphones, he’s looking to bring his unique sensibilities - as both an enthusiast and a professional - into the reviewer’s space; a place where no man has gone before.


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