I analyzed ODIN sound performance paired up with P6 and LPGT while playing a variety of test tracks, such as Agnes Obel “The curse”, Sandro Cavazza “So much better” (Avicii remix), C-Bool “Never go away”, Ed Sheeran “Shape of you”, Alan Walker “Darkside”, Galantis “Hunter”, Iggy Azalea “Black widow”, Indila “Boite en argent”, Dua Lipa “Love again”, Counting Crows “Big yellow taxi”, David Elias “Vision of her”, and Michael Jackson “Dirty Diana”. With two DD sub-woofers, I gave ODIN plenty of burn in time, and started analyzing the sound after about 100hrs of standalone playback. I used AZLA Sedna eartips in this analysis.
I hear ODIN to have a balanced signature with a natural reference tonality. The reference part of the tonality comes from a high level of clarity, resolution, and detail retrieval down to micro-detail nuances with a little more focus on mids. The sound is dynamic and layered with plenty of air between the layers, separating instruments and vocals to distinguish every small element in sound. The natural part of the tonality comes from a precise tuning of upper mids/lower treble peaks to avoid analytical harshness.
Basically, the naturalness of the sound doesn’t come from organic smoothness. ODIN mids are tuned to reveal details, not to smooth it out, but it is done in a very precise and controlled way without a single offensive peak. And on top of that, you have dynamic bass slam, tight and fast, well controlled and layered, noticeable but not overwhelming like in Legend X. It has a similar bass quality from the extended sub-bass rumble to a rounded mid-bass punch, but with a more linear tuning relative to mids and treble, making the overall sound signature more balanced and more coherent.
Soundstage is very spacious, reaching holographic level with a very wide left/right spread. Obviously, it will be source dependent on how wide the soundstage will spread, but the actual tuning of ODIN will not be a bottleneck when it comes to holographic soundstage expansion. And the same with the sound imaging, going along with holographic soundstage expansion, you will find a very accurate positioning of instruments and vocals in space. It is not just convincing, but actually very accurate in my opinion, allowing you to pin-point every element in 3D space.
Starting with bass, despite being “weaponized” with two Weapon IX+ (W9+) dynamic driver sub-woofers, the bass has impact and extension of dynamic driver, but surprisingly a tighter and more articulate control closer to BA performance. Sub-bass extends down to a deep rumble, elevated but not overwhelming. And the same with mid-bass impact, being strong, rounded but not overwhelming, definitely above neutral. This is not L-shaped tuning like in Legend X. The bass has power, but it is tuned for audiophile “bassheads” who want to hear and to feel the bass without losing the focus on microdetails of mids or sparkle of treble. Also, tip rolling had a noticeable impact, no pun intended, on scaling of the bass quantity.
Mids are revealing, layered, well separated, and micro-detailed. Lower mids are just a touch north of neutral, still contributing to the body of instruments and vocals, and making sure the transition from bass to mids is more linear. Upper mids are revealing and a little forward, but in a more natural way. As I already mentioned, don’t expect smooth warm mids/vocals. Instead, I find them to be more reference and colder, but they are not dry, quite micro-detailed and layered with a focus on every little nuance in sound, reminding me a lot of the original Zeus and how well mids were tuned in that IEM.
Treble is something I was worried about when I approached ODIN. With the same quad-EST config as Wraith, recently I rediscovered Wraith treble after pairing up with some powerful sources to make it shine (otherwise it was tamed down). In ODIN, treble comes alive without a need for a powerful source. You can enjoy the well-defined natural sparkle of extended moderately airy ODIN treble from any source. And I didn’t sense any sibilance or harshness no matter what tracks I threw at it. The tuning is not forgiving, and ODIN is not going to smooth out or mask imperfections, but I also found it didn’t accentuate any harshness or sibilance either.
The tuning of ODIN works well with every genre of the music, no matter what I tried to challenge it with – these IEMs were able to keep up with everything.
Regardless of ODIN being universal IEM design, the selection of eartips is crucial to any in-ear monitor and will affect the sound, especially the bass impact depending on the seal. Due to a large opening of my earcanals, I usually go for the largest size eartips to get a better seal. Also, please keep in mind, eartips impressions are subjective and based on anatomy of your ears. Plus, relaxing the seal has a tradeoff of lowering the bass impact while eliminating the driver flex.
And, one important thing with ODIN eartips selection, you have 5 sound tubes brought out to the tip of the nozzle, firing straight into your earcanal where the sound gets mixed. When you have eartips with a large bore opening, there is no obstruction. But if the bore opening is narrow, there will be some kind of a reflection which going to have the effect on the sound, could be subtle or more noticeable. Below, Sedna on the left and Type-E on the right.
Final Type-E – With LL size tips, I hear elevated sub-bass and mid-bass while the signature still remains relatively balanced, but you can really feel the sub-bass rumble coming off W9+ woofers. Mids are still clear and detailed but a little smoother, perhaps due to the effect of elevated bass. When I switch to L size tips, the seal is slightly relaxed and bass quantity goes down by a few dBs, though now I hear upper mids a little brighter.
SpinFit CP100 – Here, due to a softer material of the eartips cap, the seal is similar to being somewhere between Type-E LL and L, resulting in a more balanced bass quantity and also more natural mids/treble tonality. The sound with SpinFit CP100 really felt like being right in between of sound tuning of type-E LL and L.
Symbio F – with either L or M size of these latest foamies from Symbio, the sound tuning is very balanced, the bass impact is elevated, but not exaggerated. Even with a tighter seal of L size pair, the sub-bass rumble was more controlled, though mid-bass impact punched through stronger. With M size tips, the sub-bass and mid-bass sounded more linear. With either of the tips, mids were more natural, still layered and very detailed, but a little smoother and with a bit less air between the layers. Treble was natural and still with plenty of clarity and even some sparkle and airiness. I personally preferred M size here which gave me a more balanced natural revealing sound and less driver flex.
Symbio W – these Symbio hybrids shifted the sound more toward mid-forward presentation with bass punching through nicely, but not as hard and with a little less rumble. Mids were very clear and natural, less analytical. Treble was crisp and well controlled as well.
JVC Spiral Dots – these original “dots” turned the sound of ODIN to be even more mid-centric, with perception of bass quantity getting closer to neutral. Perhaps, this was due to a very large bore opening of these eartips. I wasn’t too crazy about this pair up.
AZLA Sedna – balanced sound signature with a deep and more elevated bass impact, more transparent layered mids, and crystal-clear treble. With Sedna having a wider bore opening of the inner eartips tube, nothing blocks the tip of ODIN nozzle and its sound bores, bringing more transparency to the sound. Switching to Light version of Sedna, which has a softer cap, attenuated bass impact, bringing it just a bit down so you can have more focus on mids/treble. With original Sedna, I was using L at first, but then stepped down to ML to improve comfort and to lower bass impact just a touch.