dalethorn

Today I listened to the Beethoven 9th with Abbado and Berlin Philharmonic on DG circa 2002. My copy is the 96k download from HDTracks. I played the entire thing with a nice $250 USD headphone, which I thought sounded pretty good except during climaxes of orchestra and chorus, which sounded congested and had a hardness like everything was merging into a single unpleasant tone. Not that bad in reality - just an impression. Then I switched to the 4th movement only beginning with the vocals, using the Sennheiser IE800. It was enough to make a person cry. The soundstage wasn't exactly wider, but there was a depth that was missing with the full size headphone. And that was just the beginning. The mass climaxes of orchestra and chorus were delineated clearly with the IE800, and voices and instruments sounded real and suspended somewhere in front of me. I haven't heard one of these symphonies live, so I can't judge the recording on how well it was mic'd, but it sounded utterly fantastic. The bassoons had real weight, the triangles' harmonics seemed to stretch out to infinity, the brass had color and bite, and everything had a palpable reality like I last heard on a direct-to-disk LP played through electrostatic headphones, only better. Highly, highly recommended. I also replayed the last movement with 4 other headphones ranging from $300 to $500 USD. None of those came close.

Here's my text and video analysis of the new Sennheiser IE800: http://www.hifiheadphones.co.uk/forum/head...eview-dale.html

IE800 IEM. Worth $1000 USD, really. But bright. Just as bright as the HP200.

I think they are going to make it $250 USD. That seems OK to me. But, the thing is, it's really bright, like a Shure 940 or like the new Senn IE800, and you don't see many bright headphones at that price level. I can't even guess how it will sell.

Best sound I have heard in a long time: http://www.hifiheadphones.co.uk/forum/head...eview-dale.html

Here's my review of a headphone equalizer for iPod/iPad/iPhone that could prove useful with some experimentation: http://www.hifiheadphones.co.uk/forum/head...headphones.html

I downloaded the Accudio by GoldenEars app for i-devices. They don't have settings for everything, and some of their settings are really questionable. The B&W P5 setting kills the bass and makes the P5 shrill - I don't understand that at all. But it's a professional EQ app, as witness the perfect job it does with the DT770-32LE. So I tried the P5 setting for the M100, and being slightly bright I pulled the top slider down 2 notches and the 2nd slider one notch: Nirvana! If you'd like to hear some real bass detail with the M100 try this app and setting and West End Girls by Pet Shop Boys - yummy!

Here's a look at the new XTZ Earphone-12 - my summary: It's the best quality sound I've heard yet. http://www.hifiheadphones.co.uk/forum/head...iem-review.html And here is the youtube review: http://youtu.be/ed6T5Dmb6cc

Here's a spot of good news for those who took the 32 ohm and portable music player notion seriously. I was initially very disappointed by the DT770-32LE's performance (i.e. sound) with iPod and iPhone, since the bass was too boomy and highs too crispy. Using Foobar2000 on the computer with the Audioengine D1 mini-DAC and a 4 db treble reduction centered at 7 khz, the sound there was ideal. Now I find that the Apple i-device 'Piano' EQ setting matches the desktop signature very closely, and that setting carries through to the usual analog headphone amps. Looking at the shape of that EQ setting in desktop iTunes, I can't imagine how it works the way it does with the DT770-32LE and iPods, but I do know that the actual sound of certain named settings in desktop iTunes doesn't even come close to the sound of the same named settings on the i-devices. So while the 'Piano' EQ setting on desktop iTunes is irrelevant here, that setting on iPod or iPhone does the trick.

It was created in 1937 in Germany, and you remember what the Germans were using tech gear for then? So that may have something to do with it.

It's much worse than failure to recognize. I put it in their face on their Facebook site. They are genuinely frightened of the DT48, and will go to any length to escape any discussion of it.

Beyer will not be happy with my video comments.

My full length text and video on the new Anniversary Edition DT770. http://www.hifiheadphones.co.uk/forum/head...eview-dale.html

I just ran some test tones and the 3 high frequency peaks are the same as the first day. The new/old music selections I added last night show that this ESW11-Ltd is OK for soft music, but not so good for techno and electronic.

The treble is so severely rolled off (actually, cut off above 11 khz or so) that boosting the treble doesn't bring back the missing upper harmonics from guitars, horns, etc. EDIT: Just updated the original review above.

The high treble is so shelved that even with a treble boost, the sibilants cut off sharply and all you hear is the lower-order tones. Basically, with the 20 tracks I tested, 8 of those had problems with hardness or glassy sound, ignoring other things. Typically in a review I get one or 2 tracks with problems, at most. The wooden cups are supposed to reduce resonances, yet this headphone seems to have more resonances than anything I've ever tested.

Here's my analysis (text and video) of the $700 USD limited edition ATH ESW11LTD, purchased directly from Japan: http://www.hifiheadphones.co.uk/forum/head...one-review.html ---------- ESW11Ltd REVIEW PART 2 ---------- When I reviewed the v-moda M100 recently, I started off with the music tracks I used in my previous reviews, then realized afterward that those tracks lacked the qualities that would make the darker-sounding M100 perform up to its full potential. So I put together a second series of music tracks that were oriented more toward modern music, and got much better results with the M100. Now with the ATH-ESW11Ltd, I started with the new music that I expected to be using from that point on, then realized after that review that the lighter-sounding ESW11 would do better with the original tracks. So here are the music tracks and comments from my older reviews as they sound with the ESW11. Note that these tracks were played using treble booster EQ. Bauhaus - Bela Lugosi's Dead (~1980): Strong midrange sound effects - this is a good worst-case test for resonant-type sounds in the most sensitive midrange area. Handled extremely well by the ESW11. Beethoven Symphony 9, Solti/CSO (1972): Excellent overall sound. Of special note for this headphone are the bass impacts beginning around 10:30 of the fourth movement. Those impacts won't overwhelm you since they're soft and well in the background, but you can really feel the weight they carry. Blues Project - Caress Me Baby (1966): Rarely mentioned, but one of the greatest white blues recordings ever. The loud piercing guitar sound at 0:41 into the track is a good test for distortion or other problems. Handled very well by the ESW11. Boz Scaggs - Lowdown (1976): Good sound quality - this is a great test for any nasality in the midrange. Handled well by the ESW11. Buffalo Springfield - Kind Woman (~1968): A Richie Furay song entirely, rarely mentioned, but one of the best sounding rock ballads ever. This will sound good on most headphones, but it's a special treat with the ESW11. Cat Stevens - Morning Has Broken (early 70's): A near-perfect test for overall sound - this track will separate the best sounding headphones from the lesser quality types. Nothing specific, except that almost any deviation from perfect reproduction will stand out with this track. Sounds pretty good with the ESW11, but the guitar string tone is a little dull. Catherine Wheel - Black Metallic (~1991): Goth with industrial overtones - I like this since it's a great music composition and the sound effects are smoothly integrated into the mix. This may sound distorted or mushy with some headphones, but the ESW11 renders the deliberate instrumental distortions clearly. Def Leppard - Bringin' On The Heartbreak (1981): MTV goth/pop/metal at its best - good ambience and high energy - the better headphones will separate the details and make for a good experience. Lesser quality and the details tend to mush together. The ESW11 plays this perfectly. J.S. Bach - E. Power Biggs Plays Bach in the Thomaskirche (~1970): Recorded on a tracker organ in East Germany, the tracks on this recording have the authentic baroque sound that Bach composed for, albeit the bellows are operated by motor today. The ESW11 plays the tones seamlessly through the upper limits of the organ, which cover nearly the full range of human hearing. Of special note are the pedal notes - tracker organs have low-pressure pipes and don't typically produce the kind of impact around 30-35 hz that modern organs do. A headphone that's lacking even a little in the low bass will sound especially bass-shy with this type of organ, but the ESW11 delivers the full experience of this music. Jamming With Edward - It Hurts Me Too (1969): Intended originally as a test to fill studio down time and set recording levels etc., this was released a few years later for hardcore Rolling Stones fans. Although not as good technically in every aspect as the Chess studio recordings of 1964, and in spite of the non-serious vocals by Mick Jagger, this rates very high on my list of white blues recordings, and sounds absolutely delicious with the ESW11. Jennifer Warnes - Rock You Gently (1992?): The strong deep bass percussion at the beginning of this track has been cited as a test for weakness or distortion in certain headphones. The ESW11 plays those notes with great impact and control. Having played this track many times now, I'm highly impressed with the ESW11's bass reproduction and detail throughout the track. Jimmy Smith - Basin Street Blues (early 60's): This track has some loud crescendos of brass and other instruments that don't sound clean and musical on some headphones. The ESW11 provides fairly good reproduction. Listen particularly to the second crescendo at 15 seconds in, for maximum detail effect. I'd like to emphasize that these crescendos are probably the worst-case test I have for instrumental separation and detail, and while ESW11 plays them reasonably well, the tone of the horns is a little dull. Ladytron - Destroy Everything You Touch (~2009): Featured in The September Issue, this song has heavy overdub and will sound a bit muddy on some headphones. Sounds great with the ESW11. Milt Jackson/Wes Montgomery - Delilah (Take 3) (1962): The vibraphone is heavily dependent on harmonics to sound right, and the ESW11 plays it well. Pink Floyd/Dark Side of the Moon - Speak To Me (1973): Strong deep bass impacts will be heard and felt here. Rolling Stones - Stray Cat Blues (1968): Dirty, gritty blues that very few white artists could match. On some headphones the vocals and guitar lack the edge and fall more-or-less flat. If you're a really good person, playing this song will probably make you feel nervous and uneasy. Tony Bennett - I Left My Heart In San Francisco (1962): Frank Sinatra's favorite singer. Highest recommendation. With some of the best headphones, the sibilants on this recording are very strong, but they're not too bad with the ESW11.

The ESW11LTD I got today is soft in highs like the ESW9a. The track by Chromatics - I'm On Fire -- the tambourine sounds dull(!) even when I have a treble boost on. The mids are emphasized toward the high end, whereas the darker headphones are emphasized toward the lower end of the mids, so some users might think the ESW11LTD is bright, but the highs are definitely recessed.

The music tracks listed in my original V-MODA M100 review were carried over from my oldest reviews, to provide a comparison between different headphones playing the same music. Starting with this review, I'm switching to a more modern selection that I think will fit better with modern headphones like the M100. Note that the following comments are based on using the M100 with bass reduction EQ, as noted in the original review. Animotion - Obsession (1980's New Wave/Techno): The upper bass synth should have good detail and tone, and both male and female vocals should sound natural, without favoring either. The M100 plays this perfectly. Ben Heit Quartet - Suite-Magnet and Iron (Jazz with a Bebop flavor): The piano that leads off should sound realistic, and the sax should sound soft. The M100 plays this music very well. Cath Carroll - Moves Like You (1980's New Wave/Techno): This track's percussion and voice should be crisp and well-balanced, and there should be a good sense of space or soundstage around the voices and instruments. The M100 reproduces the space and detail convincingly, although if this is played too loudly, the sharpness of the percussive sounds could verge on irritating. Chromatics - I'm On Fire (Synth-Pop, female lead): Another track with plenty of space around the voice and instruments. The voice and high-frequency percussion (tambourine?) should sound natural with no harshness. The M100 plays this music perfectly. Crystal Castles - Wrath of God (Electro-Pop): The moderate level of bass in this track should reproduce with good detail, and the ambient electronic effects should maintain their separation and never congeal into a glassy, hard, or "ringy" sound as some headphones might produce if they have uncorrected resonances. The M100 does this one just right. DJ Shadow - Building Steam With a Grain of Salt (Electronic/DJ): This track opens with what sounds like very high and very low piano notes, and those high notes particularly might ring a few resonances in lesser headphones. The M100 handles those notes well, and reproduces the ambient voices with good tone and balance. Franz Ferdinand - Ulysses (Pop-Rock): The moderate level of bass in this track should reproduce with good detail, and the percussion and voice should be crisp and well-balanced. The M100 makes this sound like what I imagine the original producers heard when they mixed it. Halie Loren - Sway (Jazz vocal): Bass instrument(s) here may sound boomy with some headphones, but the M100 handles this perfectly. The trumpet should sound natural but soft, and the voice should have the right presence without sounding recessed or too forward. The M100 does a great job in both respects. Hans Zimmer - Dark Knight-Aggressive Expansion (Soundtrack): The percussion hits hard here, and the M100 handles it well. The bass tones beginning around 0:45 into the track are the ultra-deep "shuddery" kind that require good deep bass response from a headphone, and the M100 delivers on those. Kaskade - 4am (Electro-House): The bass that kicks in around 1:01 into the track is subtle, but the M100 gets it right. The percussion and female voice should balance well with neither overwriting the other, and the M100 aces this. Katy B - Perfect Stranger (R&B-House-Garage): The heavy bass that begins at 0:27 into this track is played very well by the M100. The voice is slightly forward, but it doesn't overpower the instruments or get lost in the mix. The M100 balances the different elements in this music extremely well. Machine Gun Kelly - All We Have (Rap/Hip-Hop): The heavy bass beats that begin at 0:23 into the track should sound like drum impacts, although they're not sharp impacts. The male and female voices should have a good balance and not overpower the music or sound recessed. The M100 plays this as good as can be expected given the limited quality of the recording. Massive Attack - Angel (Trip-Hop): This track begins with a steady low-frequency sound and some solid deep-bass impacts. The voices should blend well with the music and have just the right presence, although the recorded quality of the instruments isn't great. The M100 plays this as good as can be expected given the limited quality of the recording. Morcheeba - Bullet Proof (Trip-Hop): Bright percussion and medium-strength bass impacts make up most of this, with some dance-club spoken intonations thrown in. The M100 renders the percussion treble correctly (not too bright, not harsh), and the voices sound just right. Peter Tosh - Get Up Stand Up (Reggae): The bass here has a decent but moderate impact, and the lead and backup voices have good separation that's not too narrow or wide. The M100 renders the bass with good detail and the voices sound very natural. Porcupine Tree - Trains (Pop-Rock): This track opens with some detailed string sounds and a forward-sounding male voice with a higher-than-average register. There are also some "clip-clop" effects starting at 3:19 that should sound like they were made with wooden blocks of some kind. The M100 reproduces all of these sounds faithfully. Rachmaninoff - Prelude in C-Sharp Minor Op3 No2 (Classical, Piano): Grand piano played mechanically from an original recording by the master himself. The bass is light here, but the piano tone is good quality, and the M100 plays these notes very well. Scarlatti-Kipnis - Sonata in E Major K381 (Classical, Harpsichord): The harpsichord here is fairly bright and highly detailed, and the M100 renders the tones and transients superbly. Trombone Shorty - Backatown (Jazz-Funk): The deep bass impacts here are unusually strong, and work very well with the horns and other instruments. The M100 delivers the impacts with proper weight, and makes the horns sound real. William Orbit - Optical Illusion (Billy Buttons Mix) (Electronic): This is about as close as I want to get to easy-listening music. The string(?) tones beginning at 0:18 are subtle, but clearly reproduced by the M100. The bass isn't very strong, but still adds a good underpinning to the music. The short poetic rap at 4:14, preceded by an etherial female voice, sounds so perfect that this track could easily have been mixed using the M100 headphone.

Here's the ones I'm familiar with. Any comparison of the ESW11 treble to any of these? Audio_Technica_Esw9a Audio_Technica_M50 B&W_P3 B&w_P5 Beyer_Dt1350 Beyer_Dt48a Beyer_Dtx501p Bose_Oe2i German_Maestro_835d Grado_Ps500 Harman_Kardon_Cl Logitech_Ue4000 Logitech_Ue6000 Marley_Exodus Martin_Logan_M90 Phiaton_Ms300 Phiaton_Ms400 Philips_Fidelio_L1 Philips_Stretch Sennheiser_Amperior Sennheiser_Hd280_Pro Sennheiser_Hd800 Sennheiser_Momentum Shure_Srh1440 Shure_Srh1840 Shure_Srh940 Soundmagic_Hp100 V-Moda_M80 Vmoda_M100

The main thing I need to know when investigating a headphone sound is how bright it is compared to known references. If only slightly brighter than ESW9a, could be good since ESW9a is rolled off somewhat. If it's as bright as a Shure 940, that could be trouble.

I always use treble boost with the ESW9a, so if only slightly brighter then it may still be a good treble.

Tell me more about the ESW11 because I ordered one for $740 USD and there is still time to cancel it. The ESW9a I have, the highs are soft I thought. Did you find the treble brighter with the ESW11 compared to ESW9?

In this list I sorted by sound quality, then by brand name. My rating of sound quality is a mixture of accuracy/neutrality and musicality - how it plays with different genres. For example the Earpods are at the top because they have a near perfect signature and good detail, even though not as much detail as the HD800. But even though my HD800 is gone now, I compared the Earpods/Dirac to the Shure 1840, and I can hear the artificial-sounding timbres on the 1840 compared to the more natural sound the Dirac player gives to the Earpods. http://dalethorn.com/Headphones_Top_30.txt

My review of the RHA MA-350 IEM (text and video) - a really good sound for the price: http://www.hifiheadphones.co.uk/forum/head...iem-review.html