64 AUDIO U6T REVIEW 2021 By The10REVIEWS

64 Audio has a huge swath of custom IEMs intended for proficient use in front of an audience and in the studio. From among those custom choices, they’ve chosen IEMs with high hybrid potential for audiophiles to deliver in a general fit rendition. The A6t was among their most well known custom models ever, and presently the U6t carries that equivalent sound to a more extensive crowd.

BUILD AND DESIGN Of 64 Audio U6T:

U6t highlights a lightweight body, with a polished 64 Audio logo embellished on the faceplate. The general shape and configuration is very straightforward, and gives a simple, agreeable fit. U6t utilizes 64 Audio’s Apex innovation, so the measure of commotion separation and the points of interest of the bass reaction can be adjusted using Apex modules which control the measure of air that is vented.

The bundle incorporates a pleasant choice of ear tips, with froth, standard silicone, and Spin Fit tips. There’s likewise a calfskin wrapped case, wire cut, and a cleaning instrument. Maybe generally prominent to long-term 64 Audio fans is the new link. U6t utilizes an unexpected link plan in comparison to past models, and the materials most certainly feel like an overhaul. Gone is the solid memory wire and tangle inclined characteristics of the old link. The enhanced one is milder to the touch and has a more exceptional look befitting of IEMs in this class.

SOUND Of 64 Audio U6T :

The U6t is a totally faultlessly tuned IEM that sounded extraordinary with basically all that I tossed at it. It’s unmistakably propelled by the U12t – with perhaps a touch of the U18s in there too – and conveys a fair melodic sound. There’s a characteristic profundity and effect in the bass, great situating of instruments and vocals in the midrange, and a high pitch which is even with the remainder of the blend. The specialized perspectives can’t exactly match U12t levels, yet with just a large portion of the quantity of drivers, it makes you keep thinking about whether a portion of those drivers in the U12t aren’t buckling down.

The bass is basically the same as the U12t in its show. There’s a little accentuation in the midbass on down, that rolls off into the subbass, giving some punch and a fair of profundity, however not the profound thunder of a more underscored subbass. There’s solid soundness in the bass and lower mids, giving an extremely similar feeling of detail in percussion and bass instruments.


The mids are somewhat pulled back, however not recessed, while the upper mids have some lift to give incredible vocal execution, and great load for midrange centered instruments like guitars and pianos.

 

The high pitch gives you some air in female vocals just as a nice sentiment of sprinkle and sizzle from cymbals. It’s somewhere close to smooth and splendid, where you actually get that sound of fresh detail, however it’s not really vaporous or brilliant. The soundstage is reasonably measured with especially great profundity. The imaging has a holographic inclination with pinpoint situating and solid detachment.

The Black Keys’ “Thickfreakness” exists in an odd space as an intentionally low-fi sounding recording that really has strong creation in the background. All things considered, the U6t uncovers little subtleties and blemishes all around the recording from noisy fret clamor to cresting vocals, yet every one of those things exists as a feature of a tasteful, rather than being the issue of a terrible recording. U6t conveys the intentionally “awful” viewpoints off the recording, similar to the scratchiness in the over-twisted guitar, in dazzling point of interest. The nature of the drums uncovered by the U6t, with fresh cymbal crashes, smart catch hits, and point by point sounding toms, helps let you in on the way that this recording is quite great.

The U6t gives solid detachment and layering to translating the mind boggling harmonies in the opening to Michael Mantler’s “Indiscretion Suite.” Throughout, there is a straightforwardness to the instrument conveyance. The strings sound then again velvety and sharp while the trumpet slices through the blend in with a smooth yet solid presence. The strain among tune and disharmony are conveyed with the right equilibrium of a melodic and a logical nature to empower the audience to understand the piece’s symphonious intricacy while keeping the tone normal, and conveyance adjusted.

“Californian Soil” by London Grammar begins with sounds and vocals that show up from all headings, arranging the audience to the size of the soundstage and exhibiting the solid imaging capacities of the U6t. There’s a profound finished bass layered with a tight effect from the bass drum, alongside grouped percussion that bob from left to right. The lead vocal has great presence and weight as the artist is flanked by strings and synthesizers that make an expansive soundscape.

Cuban reggaeton fight melody “Patria y Vida” gives an illustration of how the U6t can furnish a profound fulfilling subbass combined with a strong low end punch that functions admirably in an assortment electronic classifications and hip bounce. As somebody who’s Spanish is a little corroded, the solid vocal show and detail gives a fresh enough conveyance of the rapped Spanish that I saw a lot of the verses too. The acoustic guitar that conveys the melodic snares has a pleasant smooth assault on the high notes, and a rich sound all through.

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