Night Oblivion Butastur VS Symphonium Audio Meteor

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Thick, meaty mid-bass steals the spotlight here: kick drums and bass guitars hit with authoritative punch, driving songs forward with head-bobbing momentum. Despite being BA, the low end doesn’t sound like BA—impact is heavy, rumble is extended, and separation/texturing are fantastic, especially on instrumental tracks and Western artists with rhythm-heavy mixes. The treble surprises too: airy cymbal strikes cut through the warmth, violins/flutes glow with a smooth, non-fatiguing shine, and overall dynamics/scale impress—turn it up and it gets better.

Trade-offs show up in the midrange. That generous mid-bass can mask vocals on busier tracks, pushing them a bit distant and making textures harder to pick out versus cleaner sets like OG Monarch or QKZ x HBB’s DSP-tuned rivals. Note weight is more natural (never thin), but the set is warm-tilted rather than neutral, so vocal-centric ballads and mid-forward mixes can feel too cozy. As a targeted recommendation: for poly-rhythmic, low-end-driven genres it can be a grand slam; for all-rounder use, consider a slight EQ dip to the mid-bass to unmask vocals and open the mids—doing so keeps the Meteor’s energy intact while restoring clarity.

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Warm-tilted and unapologetically bassy, Symphonium’s 4BA Meteor aims for a thick, relaxed presentation that still feels refined up top. The bass carries notable mid-bass weight—authoritative for BA, if not as tactile or tight as the best DD sets—while the overall picture favors cohesion over knife-edge separation. What elevates it is the treble: impressively extended, smooth, and free of glare, adding micro-contrast and vocal texture that keeps the warmth from turning soupy. Imaging is only so-so, headstage feels enveloping rather than wide, and tonal clarity takes a back seat to body—but the tuning “hits different” in an inviting way.

Build and ergonomics mark a clear step up from Helios: a smaller, medium-sized metal shell with comfortable ingress/egress and generally easy fit, though security is merely average and the faceplate print/finish can look a bit rough under certain light. Accessory details may vary, but the package shown included a nice pocketable case and a well-behaved cable (watch polarity on 2-pin). At $600, it positions itself as Symphonium’s most approachable entry, boutique quirks and all.

Against peers, Dunu’s SA6 reads cleaner and more neutral with crisper imaging (its bass can be hit-or-miss), while Shuoer EJ07M “Kind of Lava” feels the most technical here—superb DD bass and slightly tame treble with a narrower stage. The Meteor carves its own lane: a warm-neutral, meaty signature with standout treble quality and a cozy stage that’s easy to live with. Verdict: a confident 4/5—not for clarity chasers, but a uniquely satisfying alternative for those who want rich warmth done right.

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Packaging and accessories go hard: a wild Nightjar cable that actually behaves, a tiny waterproof case, foam and silicone tips, even a burlap sack. The shells are much smaller than other Symphoniums and easy to fit with the right tips (xElastic/SpinFit helped). Build and unboxing feel premium and the cable ergonomics are spot-on.

Tonally, this is a U-shaped, boombastic, in-your-face tuning—big bass, crisp treble, recessed mids—designed to shove the music right into the bubble. It’s energetic and aggressive, doesn’t change much with amplification, but can get prickly with some tips and then oddly dull up top with others. The treble lacks excitement, mid clarity feels veiled, and soundstage is limited; “bass-bass-bass” dominates while detail and air don’t keep up.

At $600, the value proposition is the sticking point. Back-to-back swaps against cheaper sets reveal clearer vocals, cleaner highs, and even better bass texture elsewhere, which makes this Meteor hard to justify. For those chasing slam, sparkle, and space, there are multiple sub-$200 options that do more with less. Verdict: stylish presentation and fun punch, but too pricey for the performance—many alternatives simply outshine it.