Continue to sound impressions…
Sound impressions
Before we get to sound, let me roll out my usual disclaimer: cables don’t have a ‘sound’. What they do have are certain physical characteristics that all combine to influence signal transmission from your source and determine what an IEM has to work with to convert that signal into music. So, what you’re hearing is the cable’s influence on the sound of the IEM, not the cable itself.
I’ve been putting Odyssey through its paces with numerous IEMs, notably my two current favourites: Campfire Audio and Alessandro Cortini’s brilliantly-tuned Clara (reviewed here), and Forte Ears’ sophomore effort, Mefisto (reviewed here). In each case, my impressions are based on how Odyssey sounds compared to these IEM’s stock cables, because that’s the baseline most people will be working from.
Paired with Campfire Audio’s Clara
Clara makes for a perfect example of why I opted for Eletech’s Versa system – those mmcx connectors mean I need to swap out Odyssey’s default 2-pin connectors, and thankfully it’s as simple as a quick twist and click.
Testing with the Eagles’ live performance of Hotel California (because it’s legally required that every review use this test track), the intro guitars immediately show their hand with better definition through Odyssey compared to Clara’s stock Time Stream Duet cable.
Guitar strums have more tangible texture and decay, while the kick drums in that iconic intro also hit with more authority, digging deeper into those physical sub-bass frequencies with added sustain and texture.
What’s particularly interesting is how some midrange instruments seem to step forward slightly with Odyssey, not in an aggressive way, but more like they’re announcing their presence. There’s a more holographic sense of stage with the crowd effects too – the virtual venue feels larger, more expansive. The bass guitar strums carry more note weight as well, giving them a more substantial, woody resonance.
Don Henley’s vocals gain notable detail and nuance with Odyssey, shedding some of the laid-back quality they have with the stock cable. It’s not that they become aggressive – this is still Clara we’re talking about – but they’re less reclined, more engaged with the performance.
Switching to Fleetwood Mac’s Dreams, the improvement with Odyssey becomes even more apparent. The resolution jumps up notably, and the instruments all gain more texture and grip. There’s also some extra ‘bite’ to the presentation, but it’s not harsh or fatiguing.
The soundstage expands significantly, especially in depth, making the stock cable sound comparatively flat. Imaging sharpens up considerably with Odyssey, and Stevie Nicks’ ethereal vocals are brought a touch forward in the mix. The sense of separation and layering improves across the board, making it easier to follow individual elements without losing the cohesive whole.
Clara sounds notably more dynamic with Odyssey. There’s also a sense that the background is darker, creating more contrast that allows small details to be better defined and more articulate within the soundstage.
Moving to something more contemporary, Lana Del Rey’s Yosemite showcases another side of the Odyssey upgrade. Detail and texture receive the most obvious boost. That darker background becomes even more apparent here, making individual notes stand out clearly.
Lana’s characteristically dreamy vocals become far more defined and less sedate, but they still maintain that sugary sweet quality that makes her voice so distinctive. The bass guitar tightens up significantly, with less bloom and more precise control. Lighter sounds decay further into the stage, creating a better sense of depth and dimensionality.
Imaging clearly improves, and the layering becomes more defined, with front-to-back positioning of sound elements becoming much more apparent. There’s definitely more treble extension with Odyssey, but it’s not bright or harsh – it just adds to the sense of realism and holography. The overall presentation carries far more nuance compared to the stock cable.
So is this an upgrade? Absolutely, and not a small one either. Resolution, clarity, stage dimensions, imaging, and layering all get meaningful improvements. The sound becomes less obtuse and less polite – more impactful – while still retaining Clara’s fundamentally laid-back nature.
Odyssey makes Clara less shoegaze and more toe-tap, though not enough to change its essential character. What Odyssey does accomplish is helping to mitigate what some consider Clara’s ‘weaknesses’ – namely, a lack of energy and merely average resolution. It demonstrates that Clara is capable of scaling up when given the right partner.
Paired with Forte Ears’ Mefisto
With Mefisto, ‘upgrading’ to Odyssey is interesting, considering Eletech also manufactures Mefisto’s very respectable multi-alloy stock cable. That stock cable happens to be exceptionally well-tuned and represents one of those rare instances where cable rolling isn’t really necessary. However, let’s see what happens anyway.
One of Mefisto’s standout features is its dual LCP dynamic bass drivers, housed in what Forte Ears calls the Diabolic Isolation System. Testing with Babatunde Olatunji’s Standing – a percussion masterpiece – the stock cable already extracts an impressive amount of texture and resonance from the various drum sets while conveying the deeper sub-bass hits with authority.
But switching to Odyssey, I’m immediately feeling more texture in those drums, and individual notes seem to pop out more clearly from what becomes an even darker stage backdrop. The sense of rhythm and speed also appears improved, though that could be attributed to the increase in overall detail retrieval. Smaller percussion elements seem better positioned in the three-dimensional space, and the stage expands both in width and depth.
Even the subtle sub-bass content in some of the larger drums feels weightier and more present, carrying a greater sense of dynamism that makes the performance feel more alive. The differences in timbre between various percussion instruments also become more distinct.
Changing pace entirely, I switched to Missy Higgins’ Shark Fin Blues. With the stock cable, there’s no sibilance to speak of, and the upper midrange maintains a nice evenness without any unpleasant shout. The timbre on pianos and strings sounds natural and convincing, though Missy’s vocals perhaps carry a touch more dryness than I’m accustomed to hearing.
With Odyssey, that darker background becomes immediately noticeable again, and what I initially perceived as ‘dryness’ in Missy’s voice was likely the result of a slightly noisier background with the stock cable. Her vocals gain a touch of warmth, possibly benefiting from the stronger bass presence that Odyssey seems to encourage. The pianos sound richer while maintaining their clarity and cleanliness.
String positioning becomes more forward and better defined within the soundstage, and when that bass rumble enters the mix, it feels more present and physical with Odyssey. Missy’s vocals definitely take on a sweeter character, and there’s a better sense of stage depth throughout the track.
Finally, Owl City’s The Saltwater Room provides an interesting electronic perspective on the pairing. With the stock cable, the electronic bass lacks a bit of rumble and impact. The stage presents as wide but relatively flat with this particular track. Treble elements are nicely contained without becoming too sharp.
With Odyssey in the chain, those opening guitar strums immediately jump out with more presence against a much blacker background. The opening bass synth gains lovely sustain that wasn’t as apparent before. The stage becomes more layered and holographic rather than simply wide, and the male vocals take on a slightly warmer tone while also revealing more detail.
Different instruments and effects feel more cohesive and three-dimensional rather than existing as separate elements. The female vocals also benefit from slightly warmer, fuller, and sweeter presentation. Small details become more apparent and are better imaged within the soundstage.
So, is Odyssey an upgrade here as well? Absolutely, though the decision becomes more nuanced than with Clara. The improvement is only worthwhile if you feel you need more stage depth, resolution, and warmth than Mefisto’s already excellent stock cable provides. The quality jump is less dramatic than with Clara’s stock cable, but it’s still more significant than I initially expected.
Odyssey’s sonic character
After extensive listening across these two very different IEMs, several consistent characteristics emerge that seem to define Odyssey’s personality. The most immediately apparent trait is its ability to create a dramatically darker, quieter background. This serves as the foundation for significantly improved resolution and microdetail retrieval.
Small sonic elements that might get lost in the mix with lesser cables become clearly audible and properly positioned. It’s not just about hearing more details, but about hearing them in their proper context within a more coherent soundstage.
Speaking of soundstage, Odyssey consistently expands stage dimensions, particularly depth. Where many cables might offer width, Odyssey seems more interested in creating a three-dimensional space that extends both forward and backward from the listener. This enhanced dimensionality works hand-in-hand with improved imaging precision.
Tonally, Odyssey tends to add a touch of warmth without sacrificing clarity, particularly noticeable in vocal presentations. Bass response becomes more controlled and textured, with better grip and less bloom, while treble extension improves without becoming harsh or fatiguing. The overall presentation gains energy and impact while maintaining refinement.
Perhaps most importantly, Odyssey seems to scale well with the capabilities of the IEM it’s paired with. Rather than imposing its own character, it appears to reveal more of what each earphone is actually capable of delivering, making it less of a tone-shaper and more of a performance enhancer.
Chatting about this with Eric, he confirmed that Odyssey’s tuning direction was to achieve a neutrally warm signature that doesn’t sacrifice detail:
“We wanted to keep the immersive, wide-stage experience of Iliad, but with more body, richness, and a darker background. The result is a cable that brings out both texture and spatial dynamics; it’s revealing, yet never fatiguing.”
In my opinion, he nailed it.
