Page 3 - Subjective Audio Analysis
Reviewing audio devices require extensively trained ears, lots of experience, and sufficient technical knowledge. Even for the experienced auditioner, it may prove challenging at times to obtain an accurate evaluation of a product without a thoroughly familiar product to use as a simultaneous reference. Furthermore, many self-proclaimed audiophiles are susceptible to biased write-ups due to placebo effects from false advertising. While I am not going to even try to claim that I am the only trustworthy or best evaluator for sound, it is fact that most computer review sites have editors who are insufficiently trained in reviewing audio equipment. Give them practically anything and all you will read about goes along the line of "good bass, nice midrange, awesome treble, really clear sound, 10/10". While there are many knowledgeable audio reviewers at various respected online media outlets, they are by far the minority.
As I have mentioned in my past audio reviews, there are really no true objective measurements for sound quality. As the evaluator, however, I will put it through a series of subjective tests to try to come up with the most objective rating possible. Yes, it sounds like a paradox. For all tests, I connected the headphones to my Creative Sound Blaster X5 external sound card, which was connected to my computer over USB. After over 120 hours of break-in time -- well above typical required time -- I put the SIVGA Robin SV021 to the tests. All tracks are uncompressed or high bitrate audio files.
The overall sound of the SIVGA Robin SV021 was clearly designed to be a fun, V-shaped signature. This meant there was a noticeable emphasis on the low-end and highs, while the midrange was more recessed. As a result, these headphones are not intended for monitoring or critical listening.
Starting with the bass, the SIVGA Robin SV021 delivered decent performance. There was a good amount of sub-bass and low bass, providing a solid foundation for the rest of the frequency range. The bass was generally well-defined with a rounded shape. Bass drum kicks felt punchy and relatively precise, while bass guitar lines maintained their groove without becoming overly muddy. The midbass was a bit more boosted, adding energy that was particularly noticeable in electric bass lines and similar instruments.
In the midrange, the SIVGA Robin SV021 was a bit more nuanced. It did exhibit the expected recessed feel typical of a V-shaped sound signature. However, what was less common was the pronounced dip in the lower midrange. This made tenor instruments, like trombones, sound hollow and lacking. The upper bass overshadowed this area, further diminishing its presence in the music. As the frequency moved upward, there was a quick rise in the upper midrange, making vocalists more audible and present. They had a good amount of warmth. The timbre of various acoustic instruments, such as pianos and guitars, was mostly natural with a pleasant resonance. Thanks to the rise in the upper midrange, these instruments did not feel pushed back and had a lively character without being overly harsh. That said, I would not describe the midrange as clear, especially due to the relatively steep dip and rise in this region.
Finally, the trebles of the SIVGA Robin SV021 could be described as bright and sparkly, but almost to a fault. Staying true to the V-shaped signature, the treble region was lively and energetic. Hi-hat crashes and similar sounds came through easily, while violins and flutes were heard with crispness and immediacy. However, there were notable peaks in the treble region, which felt less natural. At times, the sharpness became harsh, with some sibilance present throughout. These factors made the Robin SV021 tiring to listen to after extended periods.
As for soundstaging, the SIVGA Robin SV021 performed well for a closed-back pair of headphones. There were some ventilation ports on the top of each ear, but the tuning of the headphones were primary contributors to the sense of width and depth. With a recessed low-midrange, prominent bass and trebles, and a forward vocal presence, the sound image felt as if we were sitting in a larger room than what might have been. This might not be the most accurate, but it created a larger stage than anticipated.
In terms of layering, the SIVGA Robin SV021 performed averagely, with the sound signature playing a significant role. As mentioned earlier, the prominent bass bled into the lower midrange, causing some details to be lost in the process. While all frequencies were still audible, the middle range was most affected. The multiple peaks in the upper frequencies also made some areas more prominent while overshadowing others. Transitions between frequencies were somewhat messy, particularly in the shift from bass to midrange. As a result, cohesion was acceptable but not exceptional. Overall, the cleanness of the sound was average, with the midrange falling short.
In terms of sound isolation, the SIVGA Robin SV021 performed well, as it generally kept sound in when worn and blocked out external noises. In louder environments, like public transport, it effectively kept outside sounds at bay, even if this was only achieved passively. There was some sound leakage, but it was not significant. As mentioned earlier, these headphones were made with comfortable materials, and their light 275g weight contributed to a comfortable fit. However, the lack of pivoting earcups negatively impacted both the listening and wearing experience, particularly during extended listening sessions.
Overall, the SIVGA Robin SV021 delivered a mixed experience. On one hand, it provided a fun, dynamic sound with sufficient bass and sparkly treble. Its V-shaped signature hit all the right notes for non-critical listening. Furthermore, this tuning resulted in a larger soundstage. On the other hand, the multiple peaks and dips made the headphones feel inaccurate and led to a loss of detail in both the midrange and treble. Additionally, the headphones became fatiguing to listen to after extended periods.
Page Index
1. Introduction, Packaging, Specifications
2. Physical Look - Hardware
3. Subjective Audio Analysis
4. Conclusion
