Sound Impressions: Bass
As the title of the review suggests, I could summarize Synchronicity’s sound signature as “gentle viridity” – a linear sound signature gently touched with musicality and low-end dynamics. Low-end quantities are equivalent to those of slightly v-shaped IEMs or 25% elevated from flat. With a neutral-thick body, the sub-bass offers the dynamic driver growl and depth, an amount just enough to give low-end establishment but not take over the stage. You could tell R&W’s Magna Resonus DD is a quality driver, as the bass extends deeply towards the ultra lows with great resolution and expansion despite the gentle sub-bass quantity. The gentle rumbles and vibrations of the bass, and the thick-in-tone bass timbre, give Synchronicity sufficient depth and weight. The bass is agile and tight, but for the decay, Synchronicity allows enough time for a natural roll-off.
Sound Impressions: Vocals / Timbre
Synchronicity’s mids are very interesting; It has a neutral-bright timbre that isn’t scared of keeping the vocals lean in body and lightweight, yet still keeps the vocals significant in music’s presence. The vocals are gently stepped forward but not in an extruding manner. Synchronicity desires what I call “pleasant simplicity” – the rather simple, clean, and organised atmosphere, yet bold towards being resolving and revealing. You’d get the gist of it if you’ve tried IEMs with only 1-3BA drivers – or hybrids that involve fewer drivers. Vocals have a bright, cheerful, and lilting timbre. Vocals don’t slam hard with weight or thickness, though instead come in rays that are clean, lean, straightforward, and penetrating. This “pleasant simplicity” allows the vocals to be very refreshing in tone and texture, yet not overwhelming or easily fatiguing.
Due to the nature of the tuning, the vocals may not be your cup of tea, especially if you’re into thick, warm, and heavy mid-range. However, Synchronicity pairs well with female vocals or tracks that sound well with feminine timbre – those that sound sexier when presented slimmer or petite. Abundant airiness and the open-ended room offer a white background for the vocal field. Although I’ve mentioned full-BA IEMs with fewer drivers, I’d like to stress that Synchronicity’s vocals don’t have that typical full-BA timbre or texture; it’s actually more abundant with the dynamic driver timbre. Vocals are ‘neutral-driness’, an adequate dryness that makes the dynamic driver-like texture full-blown, and brings a uniquely analog timbre to the music.
Sound Impressions: Trebles, etc.
Highs take a small step back in position and play more as a supportive role than being the main character, like a garnish for the entrée. While it may be a garnish, its role is crucial. Synchronicity is about gentle clarity, and trebles offer clean, resolving claps and instrumental details that nicely adhere to the cheerful vocal tone. Trebles are slightly toned down, as well as a lesser quantity than the vocals, hence the overall sound doesn’t get shouty or deliberately bright. The “pleasant simplicity” I’ve mentioned during the mid-range impressions applies similarly – simple, clean, and prominent trebles. It may not be flashy or involve much finesse like multi-driver IEMs with bundles of ESTs or planars, though Synchronicity’s trebles stick to an easy-to-listen, organic presentation.
Headroom isn’t massive but roomy enough; Synchronicity creates a headroom that highlights the altitude/depth rather than sideways expansion. The bass is the major player for creating the holographic imaging, while mids and highs stay relatively linear. Music tracks that involve aggressive or complicated tangles of instruments may suffer a bit, such as heavy metal or rock. Instead, genres such as pop, vocals, and ballads are the best matches with Synchronicity.
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