Sound impressions
Unlike most reviews, where I have to try describe the sound of a DAP or IEM independently to each other, this time I get to jump right in and describe how I hear R3 II and Yvain together. I’ll add a few select comparisons later, but for now the focus is mainly on this pairing.
DAPs don’t have their own ‘sound’, per se, but I will comment on how I feel R3 II helps shape Yvain’s sound. All testing was done using my usual library of test tracks – primarily female vocal indie and pop (Lana Del Rey, Flower Face, quinnie), along with some classic rock (Jethro Tull, Pink Floyd, Dire Straits), cinematic (Two Steps From Hell, audiomachine), and modern pop (Olivia Rodrigo, Billie Eilish).
I set R3 II on low gain (Yvain is very easy to drive and doesn’t really need extra amping), using the balanced connector on the cable to maximise sound quality.
Tonality
With a warm/neutral tonal character that shapes more W than U, the combination of R3 II with Yvain delivers an expressive listening experience with a macro-dynamic focus that doesn’t skimp on details. The overall sound feels organic, maybe even slightly euphonic, with an engaging sound that’s not overly lively .
If you’ve read my reviews, you’ll know that I don’t put too much stock in BA bass drivers, and Yvain’s are no different. While bass quality is actually quite good, it lacks any sort of weight that I’d personally consider adequate. Instead, Yvain uses bass in support and subservience to the midrange, which in itself is not a bad thing if you prefer this type of tuning.
Where there is ample bass in a track, you’ll still be able to hear it, although BA bass drivers typically struggle at letting you feel the bass rumble. I wouldn’t say sub-bass is completely absent, but it’s not exactly prominent either, and so I wouldn’t really opt for Yvain if bass-driven music is you thing. Where Yvain’s bass works well, however, is keeping the musicality and organic nature of the midrange in focus, without sounding too thin or wispy.
Take a listen to Alanis Morissette’s Uninvited with Yvain, and you’ll immediately notice the lack of weight and decay in the opening deep drum notes. However, the vocals come through with tone and texture, very clear, and amply supported by the warmer tilt of the tuning.
Overall, while I appreciate Yvain’s bass quality, quantity will definitely leave bassheads wanting more, and the BA drivers can’t really match the timbre and physicality of a good dynamic bass driver. I do think R3 II gives the bass some extra punch, typical of ESS Sabre tuning, but I don’t think that’s going to sway those who enjoy this type of tuning, where the bass only comes in where it’s needed, and disappears when not.
Which sets up the midrange to take centre stage – literally and figuratively – with a forward and highlighted sound that renders outstanding vocal performances, specifically in this price range. Male vocals benefit from a lean-lush character, with both density and detail, while female vocals project a shimmery quality, occupying the forward-positioned upper-midrange.
Yvain’s is a clean sound, and that’s probably how I’d describe R3 II’s tendency too. There’s very little background noise to speak of, so hearing every nuance in a vocal or instrumental performance is easy. I hear some upper midrange elevation in a few tracks, mainly those with female vocals, but they don’t ever get to the point where I’m turning down the volume to compensate.
Brandi Carlile’s The Story is a fantastic track for testing both vocal and instrumental midrange quality and elevation. Yvain does well with the instruments here, rendering them realistically with a fair amount of detail. It’s Brandi’s vocals that truly shine, projected forward with a rich, earthy texture that’s never too thin or brittle. Bass, as expected, sits at or slightly below neutral, and so drums and bass guitars take a back seat to the strings and vocals.
Overall, Yvain’s is a mid-centric tuning, delivering a rich and vibrant midrange presentation that’s both detailed and musically engaging. I feel R3 II is transparent enough to give Yvain’s midrange room to breathe, and does so without any excess colour or emphasis.
So often this type of midrange tuning is spoiled by over-exuberant or strident treble, and thankfully Yvain’s is neither. Instead, I hear an airiness to the treble that doesn’t come off as wispy, with notes that have both body and bite behind them. I don’t find it overemphasised either, and while I wouldn’t call it forward, there’s a clarity to the treble that is in part likely due to the overall balance of the tuning.
I hazard to call the treble presentation relaxed, because it’s definitely got some bite to it when called for, but those wanting an infusion of high notes might be left wanting. Again, this is what I consider a mid-centric tuning, with both bass and treble tuned to support the fundamentals. For most listeners, Yvain’s treble is well-tuned, free from sharp peaks, glare, or sibilance.
Caroline Polachek’s Hey Big Eyes is full of tiny pings and sparkles that Yvain renders perfectly against the searing, sultry lead vocals. There are no sibilants, no harsh edges, and the treble doesn’t call attention to itself, while still injecting plenty of air in the mix. I even like the bass balance in this song, although listen out for the deep, skull-massaging sub-bass rumble at 1:13. Can you feel it? Me neither.
Overall, Yvain’s treble delivery and balance is really well done. It’s not strident or shy, and sits in what I consider the sweet spot for treble for this type of tuning. I also don’t hear any ‘Sabre glare’ that sometimes creeps in to the treble tilt of these DACs, so if anything, R3 II’s tuning works really well here.
Technical performance
If anything is going to hamstring an IEM at this price point, it’s usually technical performance. While I don’t think Yvain is going to win any technical awards, I don’t think it drops the ball on any metric either.
Starting with stage, Yvain’s is definitely on the more intimate side, though I wouldn’t call it small. Music feels closer thanks to the pronounced midrange, but there’s enough width and depth to prevent it from feeling congested. Think of it as if you’re listening in a studio or small venue as opposed to a large club or concert hall.
What sets Yvain apart, to my ears, is its ability to separate various elements on the stage, and then image them accurately. I like how different vocal and instrumental element are kept apart from each other, letting me easily hear distinct nuances in their character. This is a sign of well-made and implemented drivers and tuning. There’s hardly any smearing, even in complex, busy tracks, though watch the volume on guitar-driven rock, where upper-midrange energy combined with the lack of midbass balance can sometimes hide some of the other elements.
All of the above complement Yvain’s detail retrieval, and the excellent DAC in the R3 II certainly helps to boost overall resolution to my ears. Vocals in particular are not only detailed but also nuanced, and microdetails are also easy to discern with most music.
Due to its bass tuning, Yvain with R3 II might not be the most dynamic pairing, but there’s enough subtlety here to properly render music with a wide dynamic range.
Continue to select comparisons…
