Letshuoer Cadenza 12 VS Canpur CP622B

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The 2024 Cadenza 12 makes a strong first impression with premium presentation, though the accessories aren’t flawless. The stock cable looks gorgeous and offers swappable terminations (4.4 / 3.5 / 2.5), but it’s stiff and tricky to coil into the compact case. The metal shell is well-contoured and comfortable with a sensible nozzle lip, yet certain tips can pop off too easily. Overall build feels upscale and weighty without being cumbersome—just expect some practical quirks.

Tonally it sits neutral with a gentle bass lift: clean sub-bass presence without thunder, crisp highs with smooth extension, and a relaxed upper-mid energy that keeps fatigue low. Resolution and imaging are technically adept, but the tuning plays things safe—polished and airy rather than punchy or electrifying. On graphs and by ear it evokes classic “reference” curves (think early Monarch-style balance), trading visceral slam for control and clarity; many audiophiles will find it classy and coherent, while thrill-seekers may wish for more bite.

Against peers, it recalls sets that graph beautifully yet feel a touch reserved in the bass and presence regions. Comparisons to options like Europa highlight how a bit more sub-bass and 4–6 kHz zest can add sparkle and engagement; a light EQ lift to bass and upper mids wakes the Cadenza 12 up nicely. As delivered, it’s a refined, wide, and airy listen that prioritizes neutrality and detail over spectacle—recommended for listeners chasing a mature, low-fatigue signature rather than a high-octane ride.

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Canpur CP622B makes a striking first impression with a premium case, tidy accessories, and a shimmering faceplate—but the shell is huge, bordering on chunky, and can push fit comfort limits over longer sessions. Sonically, it hits with authoritative sub-bass and impressive extension, yet the overall presentation skews dark; vocals sit a touch recessed, with a wish for more 1.5–3 kHz presence and a bit more upper-air sparkle. Out of the box it already thumps, but a light EQ lift to upper mids and bass can coax out more vibration and energy.

On graphs and in A/Bs, the CP622B comes off as a specialist: fantastic low-end texture (bass judged around 9.5 for level), solid resolution and stage, but imaging feels slightly constrained by the muted 3 kHz region. Compared with peers, FATfreq Grand Maestro reads like the safer “one-and-done” all-rounder with more flair up top; Aful Cantor delivers comparable presence at a fraction of the cost; Hisenior Mega5-EST Bass offers a friendlier fit and a tuning that can feel just a hair more balanced; and as a personal north star, Elysian Annihilator 2023 still sets the bar for extension and excitement. Net: a fantastically built, bass-thrilling CP622B that shines with hip-hop/R&B and cinematic lows, but reads as niche and pricey—a connoisseur’s piece for big collections rather than a first-pick endgame.

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Letshuoer Cadenza 12 goes full flagship spectacle: a 12-driver per side build (1 dynamic + 11 BA from Knowles/Sonion), six-way crossover, and heavy metal shells that feel like a prize out of a treasure chest. The unboxing is decadent—fabric-wrapped stock cable with interchangeable plugs, a big faux-leather case, tip sets (foam, Symbio, Xelastec-style), and even a quirky bulldog stand. Fit can be finicky, tip choice matters, and the shells beg for constant polishing; once seated, isolation and comfort are solid.

Sonically, this set is hyper-analytical yet immersive. It “3D-prints” instruments in space, letting a gentle kick drum’s air, pedal thumps on a piano, and micro-dynamics pop with almost studio-monitor precision. Detail retrieval is wild and imaging is pinpoint; mixes get deconstructed so clearly it’s easy to tell what’s acoustic, what’s processed, and where DSP tricks are hiding. The catch: it’s extremely chain-sensitive. Use the stock cable (impedance clearly matters), prefer single-ended over balanced on many amps, and pair with a clean, muscular amplifier—get the combo wrong and mids can go dull or staging collapses; get it right and it’s pure fireworks.

Verdict: an elite, picky flagship that demands careful setup but rewards with one of the most dissecting, vividly placed presentations available in IEMs. Not the most “natural” tuning on earth and far from cheap, yet when everything clicks, the Cadenza 12 delivers a peak listening experience that can ruin lesser gear for good.

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Canpur CP622B is positioned as a true apex set among today’s ultra-high-end IEMs—think Storm, Grand Maestro, Pearl, Multiverse, RN6—where differences are subtle and taste-dependent, not about basic quality. The message is simple: once at the Money Trees level, most flagships are excellent; the CP622B stands out by pushing resolution and authenticity to the top of that pile while keeping music the focus.

Evaluation leans on a tight suite of reference cues: bass definition via Black Sabbath “Sweet Leaf” (2:36–3:10), midrange texture with Soundgarden “Spoonman” (spoons/vocals) and Neil Young “The Needle and the Damage Done,” and treble control from Aerosmith “No More No More” (recurring cymbal strikes). Micro-details and spatial tells include Michael Jackson’s beep, Violent Femmes finger snaps, the crowd-side triangulation in Lynyrd Skynyrd’s “Freebird,” Pink Floyd’s gate announcement in “On the Run,” Randy Rhoads’ finger slide in “Dee,” and the famous cough in “Wish You Were Here.” These checkpoints spotlight the CP622B’s clarity, attack/decay, and rare sense of depth for an in-ear.

Two practical notes seal it: level-matched A/B at 77 dB @ 440 Hz versus Subtonic Storm to ensure fair comparison, and a low-frequency test around ~42 Hz that makes the shells physically vibrate, delivering that body-felt slam prized in hip-hop and recognized in orchestral power. With a library spanning ACDC, Alice in Chains, Bob Marley, Dre, Kendrick, Metallica, Pink Floyd and more, CP622B reads as a top-tier all-rounder—immense detail at low volumes, potentially intense when cranked, and an easy recommendation for those chasing the very best.