Canuck Audioholics Anonymous CAA Reviews & Fun Banter

I’m absolutely enjoying my early days with Elysian Pilgrim OG. Very well executed. Smooth operator. Unforgiving of ‘loudness’ tracks

Update: After some more hours of play time the treble character of the Pilgrim completely lost its magic. It’s become even more polite than out of the gate and now sounds meh to me. Bummer but the set I had went the wrong direction in my experience and back the set went. They didn’t sound broken rather settled and it wasn’t fun to listen to any longer. This remained consistent over 4 days to help reduce the ‘me’ factor influencing the sound. For reference the Himalaya continued to sound normal and consistent throughout my time with the changing Pilgrim.

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I agree that was one I am proud to own.

thanks for the ‘o-ring’ trick for the short nozzles. I actually used an o-ring :wink:

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That works on a bunch I tried with shorter nozzles always a good use of eartips you sacrifice LOL




iBasso DC Elite
An iPhone users experience….

DAC Chipset: ROHM BD34301EKV
4.4mm Balanced
Output Voltage: 4.6Vrms
Output Power: 280mW@32ohm,
70mW@300ohm
3.5mm Single-ended
Output Voltage: 2.28Vrms
Output Power: 162mW@32ohm

Preamble:
Recognition, and sincere thanks to iBasso for providing the DC Elite review sample. And to Tone Deaf Monk for sending it my way.

IBasso claims that the DC Elite, is a
“Mount Everest” Flagship Dongle.

** Direct quote from iBasso website.
“A flagship current output DAC chip is being used for the first time in a dongle. The DC-Elite achieves a historic milestone. The BD34301EKV DAC by ROHM, along with a meticulously engineered circuitry, improves the dynamic range, widens the soundstage, and boosts the high-fidelity
audio capabilities of the DC-Elite”.

My time with the DC Elite has revealed nothing that might refute that claim.
An incredibly competent DAC/Amp Dongle, and the best I have heard to date.

:tada: My review will focus primarily on pairing the DC Elite with an iPhone 16, streaming Qobuz.

:point_right:t2: Pros and Cons:
:blush: Impressive solid build with titanium case.
:blush: Lightweight with small footprint.
:blush: Volume wheel. Has a firm confident feel when making adjustments.
:pensive: On 4.4mm out there is a noticeable static pop at each gradient when adjusting volume. Not detected on. 3.5mm out.
:blush: Fully independent volume control. Especially welcome on iPhone.
** iPhone - 16 volume increments.
** DC Elite - 24 volume increments.
:pensive: On iPhone, can still experience “wanting a little more” to “wanting a little less” in a single volume increment increase.
Still a welcome improvement.
:blush: iBasso UAC app compatible (Android only)
:blush: ROHM BD34301EK high current DAC chip.
The same DAC used in iBasso’s previous flagship DAPs, DX320 and 320Max.
:blush: IMHO the DC Elite powers harder to drive IEMs better than the indicated 280mW into 32ohms on 4.4 balanced out suggests.

:point_right:t2: Sound:
Evaluation is done using Plunge Audio Unity IEM, iPhone 16, Qobuz.
I chose the Unity because it is the most neutral tuned IEM I have come across to date.

I did rotate through several IEM’s of which I’m intimately familiar with, and the DC Elite faithfully reproduced the tuning characteristics of each of them.

The DC Elite offers very close to a balanced/neutral presentation, with a mild to moderate mids/vocals lift.
Resolution, Dynamics, and Details are excellent.
Playback of individual tracks is accurate with little coloration added.
Background is dead silent, offering a clear and open soundstage with good width, depth, and height, as well as excellent imaging and layering. (Individual IEM’s will have some impact on overall presentation, but, if the IEM is capable, the DC Elite delivers)

:point_right:t2: Conclusion:
I spent the bulk of my time with DC Elite paired to the iPhone.

Out of curiosity I installed the iBasso UAC app on my Hiby R4 DAP to see what it had to offer for DC Elite.

  • Two digital filters; D1 and D2
  • PCM volume reduction; 0, 1, 2, and 3dB.
  • DSD filter; Low, Medium, High.
  • PCM DSD volume match: On/Off.
  • SPDIF; On/Off.
    *Settings are not hardware saved, and the app needs to be open on device when using DC Elite to be active.
    *Setting the Hiby R4 to OTG mode significantly improved the sound.
    (Settings/USB/Working Mode/OTG)

On iPhone DC Elite is plug and play with no option to configure.
The presets are:

  • Digital Filter: D1
  • Gain: Hi
  • Turbo Mode
  • Filter: D1
    *Note: I found the settings info on line, but wasn’t able to validate from additional sources.
    Take the accuracy of these default settings with a grain of salt.

The plus is ease of use on iPhone, and it sounds incredibly good doing it.
The downside, you miss out on some customization available on Android devices.

The DC Elite takes a toll on your phones battery charge longevity.
I did a quick check and recorded a 14% per hour average draw down.
Plunge Audio Unity IEM, volume at 25-30%, continuous screen on, while taking notes for the review.
Harder to drive ear gear, or reducing screen time, etc. would factor in, but the high current ROHM BD34301EK DAC chip needs to be fed so expect mid day charging if you are a heavy user on your daily commute.

At $450 usd, and considering the current availability of decent DAPs for less $$, a fair question to ask is, why pay that much for dongle DAC.
Sound quality.

I A/B compared the DC Elite with the iBasso DX320 with stock Amp11 mk2 card which has a pair of the same
ROHM BD34301EK DACs the Elite uses.
The DNA is immediately evident.
Vocals are a bit smoother on the DX320, while DC Elite has better clarity and detail in the upper frequencies.

As with any device one size won’t fit all, and the DC Elite won’t fit everyone’s wants and needs.
I respect iBasso’s courage to release a DAC Amp dongle that competes very closely toe to toe with a flagship DAP from a few years ago, at 1/3 of the original retail ask.

:headphones: My music sources:
Qobuz, and, FLAC and DSD files stored on the SD cards of my daps.
My music genre are primarily Rock, Blues, Jazz, Symphonic, Country, Rap, R&B, Pop, Electronic.
(For this evaluation only Qobuz used)

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ORIOLUS SZALAYI
Planar Hybrid IEM.

1 - BA Driver highs
1 - 14mm Plane Diaphragm Driver mids
1 - 10mm Dynamic Driver bass
Sensitivity - 110dB/mW
Frequency Response - 10Hz~40kHz
Impedance - 10Ω
Cable - High grade silver plated pure oxygen free copper.
Plug Type - 4.4mm Balanced

Preamble:
I am very fortunate to enjoy the opportunity to listen to, and review the Oriolus Szalayi.
Oriolus is a Japanese IEM and electronics company probably best known for their multi kilobuck IEM offerings.
Their flagship IEM Oriolus Traillii weighs in at $6K plus usd, and the Titanium Dragon shell version breaches the $10K barrier.
At a mere $890 usd, the Szalayi is their lowest cost IEM, making it their entry level “budget” offering.

A special thank you to my friend, and fellow Canuck Audioholic, Tone Deaf Monk for loaning me the Szalayi for enjoyment and review.

Pros:
:point_right:t2: Quality 3D printed photopolymer shells are medium sized with a nozzle length that seals and anchors in my ears around mid point.
These should fit most ears comfortably, but as always, ears are individually unique and some will be met with challenges.
:point_right:t2: Excellent driver coherence. Oriolus has done an incredible job tuning the crossovers on this set.
Planars are not my favourite drivers, but only seldom do I detect hints of planar shimmer. More on this below.
:point_right:t2: In a nutshell - Smooth and musical.
:point_right:t2: Stock 4.4mm SPC cable is commensurate with the price and pairs very well with the IEM. At no point did I even consider cable swaps.

Cons:
:point_right:t2: Price: $890 usd may be entry level for Oriolus, but that is still an ask many will consider out of reach.
:point_right:t2: Source fussy to some degree, and, a source with decent power is recommended to get the most out of Szalayi.

Source Devices:
:point_right:t2: I’m mids sensitive, and source device selection factored into the “planar shimmer” I mentioned in the pros and cons.
Szalayi has excellent bass, so that’s not the take away here.
On some sources (iBasso DX340) I found I wanted to push the volume louder to wake the bass up a little extra.
When doing so, the mids of course also elevated in kind, and that’s when I started to note a touch of planar shimmer in some tracks.
Not at irritating levels, but enough to detract from my listening enjoyment.
Those who are not mids sensitive may not experience any of this, but, those who are may, and source rolling is suggested.

After rolling DAPs, it came down to either the AK SP2000T set to OP amp, or, Hiby R8ii.
In the end I chose the R8ii for its warmer sound, and ability to easily drive the Szalayi to optimum performance at lower volume levels, with gain set to mid. (fyi SP2000T doesn’t have gain settings)

Equipment:
:headphones: Oriolus Szalayi IEM, aged “enough” hours.
:headphones: Hiby R8ii DAP, mid gain, 4.4mm out.
:headphones: Stock 4.4mm silver plated, oxygen free copper cable.
:headphones: Divinus velvet wide bore ear tips.

Sound:
Szalayi has excellent bass presence. Textured, tactile, and defined.
The FR graph would suggest a rolled off mid bass presence, but mid bass holds its own nicely on tracks that call for it.
It is well defined from sub bass, tight and impactful. Decay is quick, which makes me think the planar driver might be offering an assist.
It’s my understanding planars often don’t graph well, which would help explain the FR graph.

Mids and vocals are dynamic, crisp and detailed. Tonality and timbre are accurate and natural on both instruments and vocals.

The highs and ultra highs are not micro detail masters but they have enough air and sparkle to keep things lively up top without ever being harsh or sibilant.

Szalayi completely fills the head stage on all three axis for an excellent staging experience.
I find the stage to be more intimate than expansive, but the mids clarity allows for pinpoint staging and layering. I easily identify individual instrument placement, despite the perception of close quarters.

Conclusion:
Prior to doing this review, I spent several evenings engaged in lengthy listening sessions with Szalayi, simply listening for the sake of listening with no desire what so ever to critical listen.

I have thoroughly enjoyed my time with Szalayi and will miss them dearly when I send them off to fellow Canuck Audioholic Bennet this coming week.

Yes, they are expensive, but the technical competence and pure musicality of them validates the asking price IMO.

I never outright recommend gear because I know what I like, others may not. But, if Szalayi are within your budget, I have no problem saying give them serious consideration.

:headphones: My music sources:
Qobuz, and, FLAC and DSD files stored on the SD cards of my daps.
My music genre are primarily Rock, Blues, Jazz, Symphonic, Country, Rap, R&B, Pop, Electronic.

Enjoy your music :+1:t2:

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Very high praise indeed!

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Haha, I respect that! Design is definitely subjective, but I actually like the raw, unpolished look, it gives them a unique feel. But hey, as long as they sound great, that’s what really matters in the end!

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Great review! The Szalayi sounds like a beautifully tuned set. Given your experience with different sources, would you say it truly shines only with higher-end DAPs, or can it still perform well with something more mid-tier?

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I think many mid tier DAPs would likely drive them well enough, as long as they have reasonable output power.
I did prefer a DAP with warmer sound signature, not too mids forward, but, that is probably my mids sensitivity driving that.
Before reviewing them I was listening to them on the DC Elite dongle connected to an iPhone 16 and they were being driven just fine, and sounded great.
The DC Elite is a unique dongle though, featuring a high current ROHM DAC chip, so I’m not sure how well other dongles might fare.

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Good to know! Seems like the Szalayi isn’t too picky, but can still benefit from a well-matched source. The DC Elite sounds like a solid pairing, I might have to test it out myself. Appreciate the insight!

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My review for the BGVP PHANTOM SE

Quadbrid Endgame All-Rounder Material

Pros: - Fantastic All-rounder

  • Deep Textured Bass with amazing Attack/Decay and Texture
  • Great Balance across the entire frequency spectrum
  • Great note weight for instrumental in both lower octaves instrumental as well as strings
  • A vocal Lovers Wet Dream both for throaty male vocals and highly nuanced female vocals
  • Lush organic mids not to forward not recessed
  • Top end treble that Airy and light and well extended with Sonion EST’S adding in some special sauce to the trailing edges of notes.
  • The implementation of the Sonion BCD with the direct vent hole is not only a very ingenious approach to utilizing these driver but there is no dought that what’s its doing is enhancing the overall stage and reinforcing the fundamental core frequency response from bass to highs.
  • Easy to drive and non source dependant
  • Medium size shells will fit most
  • Unboxing and owners experience second to none
  • Cable that is sonic lyrics matched and themed so well done

Cons: - Might be out of reach for many with a +1K price tag.

Well all I wish to say is that this IEM has shook me emotionally.

Special Thanks for BGVP for the unit and. @MusicTeck for facilitating the contact.

I went in depth with lots of music in my full video review here:

When listening to genres from , Grunge, 90’s , Cello, Vocals, Reggae, Rock and I loved it all.

The Phantom has a deep and textured base, but more importantly, perfectly weighted, where piano sounds amazing. Drums have the correct harmonics to make drum skins. Resonate with the rich overtones of texture and depth, great attack and decay on the bottom end.

A rich and deeply complex mid-range, neither pushed forward or recessed, with amazing energy to really give the vocals that have the pitch-perfect tonality, whether you’re listening to Halsey or Sting.

The Phantom has just enough warmth and lushness. In the mids to give great depth and body to vocals and instrumental without feeling too thick or congested, musical with a technical chops to match.


This set takes me back to my love of the penon fan 2. And while listening to other sets, my brain goes, hmm, I wonder why this would song sound like on the Phantom already, knowing as soon as I put them in, I get a huge smile on my face.

When I was listening to " Thankyou" by Dido I wrote man. Do I love vocals on the Phantom, So fluid, so effortless, just the way the set reproduces the music in such a natural way while allowing you to pick up the nuances and the subtle reflections in the vocals.

The grunge in Miley Cyrus vocals and Melissa Etheridge.Come through with the correct edginess, you would expect.

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This is an amazing set, it’s a real gem.

A perfect balance of technical chops and musicality, that is rare.

Warm, where it needs to be in the lower mids. To add a full richness to music and more precise into the upper mids for amazing clarity and resolution…

Perfectly balanced with a very organic base presence to add in. Great note, weight and decay and an extended. And airy, top end to bring out some amazing holographic three d stage that enhances the phantom’s musical side, rather than pull you out of the experience, the phantom sucks you into an all engrossing, magical musical ride.

A true all-rounder, so tastefully done with a combination of well-chosen drivers and a very cohesive tuning. But while I think the outstanding use of the Sonion 2300 series BA used in the mids for such an organic mid-range.

The Knowles RAD BA for crisp and clean highs and the Sonion ESTs for the extended top end that adds in some special sauce.

The real star of the show has to be the Sonion bone conduction drivers and their implementation thereof.
It adds in more textured base, a Fuller mid-range and an extra dimension to the stage. I don’t think would be possible without those additional drivers in this wonderful Quadbrid.

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Queen Of Audio Mimosa – Musical is What Musical Does

Queen of Audio (QOA) is a sub-brand from the house of Kinera. Kinera itself is a storied company with many great iem releases under its belt spanning a wide range of pricing and brand names including Celeste.

The Mimosa comes from Queen of Audio whom have garnered much praise with a few of their past releases including the Adonis. The QOA Mimosa is their latest release and a good one at that. From a visual standpoint it is a gorgeous looking iem with quality of the accessories to match.

In terms of driver compliment per side the $99 USD Mimosa boasts a single 10mm customized dynamic driver paired with a 6mm planar driver for the higher frequencies. The blending of these two driver technologies is done exceedingly well. This is made apparent due to the cohesive sound that the Mimosa produces. On tap here is a balanced signature with some emphasis at opposite ends of the frequency spectrum. I would characterize the tuning as a balanced U if that makes any sense, with a warmth that adds to the musicality that the Mimosa blesses the ears and senses with. The Mimosa walks a fine line between being fun and technical very well.

The Mimosa is not the easiest iem to drive at least when comparing it to recent earphones I have listened to. That being said it is not a difficult load and most competent sources should be more than able to drive the Mimosa to louder than needed levels. The caveat being that the Mimosa can be a surprisingly resolving set and as such I recommend that a more capable source is used. Playback quality through the Mimosa was exceptional when paired with the Topping A50s, Hiby R4, and others but the slightly warmish and open signature of the XdUOO XA-02 offered a synergy that was incredibly musical.

SPECS:

  • Model: QOA Mimosa
  • Material: Wood+Resin
  • Driver Configuration: 1 dynamic driver (10mm) + 1 planar magnetic driver (6mm)
  • Impedance: 32Ω
  • Sensitivity: 102 dB
  • Frequency Response Range: 20Hz – 20kHz
  • Cable: Copper with Silver Plated
  • Cable Length: 1.2m
  • Connector Type: 0.78mm 2-pin
  • Plug Type: 3.5mm (standard)

BUILD AND FIT:

The QOA Mimosa is a beautiful iem. Two colours are available, brown and blue, of which I opted for the brown. It has an attractive smokey finish which is lovely. Build quality is top shelf with perfectly finished resin shells and a thicker than usual prominent nozzle.

The Mimosa is of light weight and on the small side of medium sized which I believe that most people with find achieving a good fit easy.

The included accessories are in keeping with the overall high quality of this QOA offering with the cable being a standout. The cable is beautifully made with good haptics. QOA does make available both 3.5mm SE and 4.4mm Balanced cable options at the time of order. I chose the 4.4mm balanced option. This cable is a keeper! I know of companies selling similar cables costing more than the asking price of the Mimosa itself. The included tips are also of the same quality and a carrying case is included as well.

One thing that I’ve noticed with manufacturers is that only a few consistently pay attention to their retail presentation and inclusions. Kinera and its house brands are one of those few. Well done.



SOUND:

Bass:

The bass is presented with satisfying authority while not negatively effecting the rest of the sound. From the start it was heard that the Mimosa is about achieving a balance. With the bass this balancing act was a between power and control, texture and dryness, ect. QOA have done an excellent job navigating the sonics of the Mimosa. Bass is pleasing with power when called for yet never overshadowing anything else. “Protection” by Massive Attack has an ever-present bass that was heard as a foundation to the track as opposed to the only driving element. “The same can be said of “Angel” by Massive Attack. This bassline is even more prominent than that of that on “Angel” but again was heard as an anchor, for lack of a better word, on this track complimenting the rest of the production.

The Mimosa is not a pure basshead iem, but I can’t see how all but the most hardened basshead lovers will find much fault. The bass here goes deep with enough rumble and impact to be most satisfying. It is a full sounding bass from the mid-bass on down to the sub-bass. Putting on another track “Stella” by Gerald Simpson the low end made me appreciate it even more with its meaty yet solid and controlled presentation.

Bass has good definition, snap, pacing and speed as well. Listening to “No Worries” by the Robert Glasper Trio the double bass was easy to pick out with great texturing. Switching to “Inside Job” by Wayman Tisdale I was pleased with the snap and vibrancy relayed by the bass guitar and drum on that lively track.

Midrange:

The midrange has a touch of warmth with a mix of macro and micro details. The midrange on offer here leans more towards being musical rather than being overly technical. That being said the Mimosa is capable of very good resolution. This was heard in “He’s a Caricoma” by Eden Atwood. The DSD file used and the quality of this recording is top shelf and the Mimosa stood tall on that challenge reproducing this piece with great clarity. The track playback had a level of organics that instantly was a hit to my ears and senses. Some would describe the midrange here as Lush, and while I will agree with that description this is not at the expense of resolution.

Male vocals have a warm richness to them sounding full bodied and expressive. Female vocals are slightly more forward in the mix with great clarity and presence without harshness. The Mimosoa offers a natural sounding vocal playback that heightens listener involvement by accurately relaying the emotional delivery of the vocalist. This of course goes hand in hand with good timbre. Lately this has been rare, even with some much more expensive sets. Call me jaded but when you have the opportunity listen to so many earphones this is something that will grab my attention every time, and it’s not as common as some may think.

I write this while listening to “love You to the Letter” by Anita Baker and getting distracted in a good way. I’m having this strong urge to just stop writing and just listen. This IMHO is high praise indeed.

The Mimosa does come with some emphasis or pinna gain but it is well controlled and never harsh or strained. Transients are relayed very well being firm with rapid attack and a natural decay. Layering and separation are also notable the Mimosa keeping all the elements of a busy track in their place even at moderately high-volume levels. This was heard on “Beautiful Lie” by Vick Lavander, a percussively heavy track. All the instruments were clearly heard in their own space and easily picked out from each other.

The QOA Mimosa has an engaging midrange that belies its asking price. There is a level of organic playback here that is just musical to these ears. Once again QOA has achieved with the Mimosa that delicate balance of detail versus musical and have walked that tightrope with great success. More than a few times I was pulled into the music and this by itself is again high praise indeed.

Treble:

The treble extended with ample quantities of sparkle and air. The level of detail retrieval is notable here while still staying true to that organic presentation heard with the midrange. Clean and open is how I would also describe the treble.

The treble of the Mimosa strikes a near perfect balance with the bass having also a pleasant crispness but never straying from natural. If anything, the Mimosa offers a vibrant treble that while some more treble-sensitive people may find an issue with, I for one do not and find overall that this high end really shines, pun intended.

IMAGING AND SOUNDSTAGE:

The Queen of Audio Mimosa is also above average in this price range for the soundstage that it offers. Here the listener is presented with a moderately large soundstage with ample room between instruments making their position easy to discern. When listening to “Stimela the Coal Train” an excellent live recording my Hugh Masekela, the dimensions of the venue was palpable. Each instrument was clearly defined in this space. The Mimosa excels at not just width but a good measure of height and depth as well. That in addition to its above average layering and separation add up to an unrestrained and engaging listen in particular when playing back well recorded live tracks.

CONCLUSION:

Queen Of Audio has a definite winner with the Mimosa. When looking at the price it would pain me to find even a small handful of competitors who could approach let alone match the allrounder chops of this standout iem. Here we have an iem that successfully walks that narrow boundary between being fun yet technical coming out a winner. This is what the Mimosa does so well. More often than not “fun” sets are usually not that musical in the true sense. The Mimosa has its foot in both camps and does so nicely.

Is the Mimosa for everyone? Well, no iem I have ever heard can say that. I will say this though. If you are listener that values natural and organic playback with an open and lush presentation, great technicalities and with that ability to relay the music in such a way as to easily engage the listener yet with a touch of fun thrown in, the Queen Of Audio Mimosa should be very high on your shortlist. At $99 USD I cannot give the Mimosa a high enough recommendation.

The review is over….I’m going to get back to getting lost in the music with the QOA Mimosa. Ciao!

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Great Review King Nubian , looking forward to getting ears on, sounds like I need to do a comparison to the Shell :shell: :grinning:

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What a croc of shit. I told FF to come out with a less Expensive IEM and offer a huge discount for those like me who were fucked over with the Deuce launch.

Not give a 30% discount to a way overpriced planar driver with $200-400 Cable .

FATFREQ you learned nothing - burn and crash you stupid fucks!

People bought the Duece because it offered a FF tuning at a reasonable price.

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Yup 100% just shows FF doesn’t give a shit about anything but profits!

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The mimosa might have some of the worst bass I have heard from any hybrid IEM. I wanted to like it because I sort of liked the overall tuning and the shells, as ever with Kinera, looked great. I wasn’t prepared for anything so untextured by this year in the world of IEMs.

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Well that is rude. I never got that offer. :rage:

Not like I would buy again but just saying

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Yeah The King was in love with the bass of this QOA

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