Experience: Right off the bat I am going to say that I don't own any super high-end summit-fi level headphones or equipment. My experience has mostly been in the ᴍɪᴅ-ғɪ range and my testing ᴅᴀᴄ is a modest FireyeDA. I frequently visit Head-Fi, and have gained an abundance of knowledge about this hobby and sound quality in general. I will make it very clear that I am a lot of things; I am a prosumer, I am a technophile, I am a music lover, but I am not an audiophile*.
Packaging & Accessories: Unlike the older generation of the TH-series the newer models (TH-7BB, TH-5BB) come in a standard black card-board box with the average photograph of the headphone placed on it. Compared to the original series plastic casing and crazy Japanese artwork, by D[di:], the newer packaging can be seen as a little underwhelming. The only accessory packaged with the TH-7BB is an extension cable ending in a 6.5mm jack; I would have preferred a velvet carrying bag as the headphones did not come with any sort of carrying case.
Build Quality: My initial impressions of the headphone's build quality were bleak. I didn't believe that they could survive a year's worth of normal usage, let alone a week of my insane regiment. I'm not the most gentle of people when it comes to my technology and I am very pleased to say that even through the bends and head-bops the TH-7BB managed to impress me with it's overall stability. Fostex wrapped the set in a very durable black plastic with a nice solid piece of metal going through the frame to allow for size adjustments. The headband is a nicer leather (pleather?) piece with--what feels to be--memory foam stuffed inside that can comfortably rest on your head. The hinge mechanism to hold the ear-cups to the frame is, like the rest of the set, well designed. My only issue with build quality would have to come from the cable. The cable is prone to twists and can be a hassle when you just want to throw the TH-7BB on and go.
Reference Tracks:
Drake - Hold On, We're Going Home, Ed Sheeran - Give Me Love, Florence & The Machine - Shake It Out, Katy Perry - Dark Horse (Ft. Juicy J), Lorde - Still Sane, Michael Buble - Feeling Good and Stardust (Ft. Naturally 7), Counter Strike: GO
Equipment:
Nexus 5 > USB OTG > FireyeDA
Lenovo Y400 > FireyeDA
Sound Quality: The headphone's were given 60 hours of Burn-In or until no changes were noted.
The TH-7BB has the ability to produce a 3-dimensional image that rivals the best headsets I've auditioned; the Fostex sound-stage is wide and extremely deep thanks to its sᴇᴍɪ-ᴏᴘᴇɴ nature. While playing Counter-Strike: GO I felt enveloped in a world of gun-play and could distinctly make out which side an enemy's gun-fire was coming, while also accurately hearing footsteps from other players. When listening to Micheal Buble's Stardust I could separate the vocals of every member of the Naturally 7. Nothing ever felt to congested, everything was given proper space to develop on it's own.
Drake - Hold On, We're Going Home: Right off the bat we get hit with a nice kick & clap that sends shivers down my spine. The kick is so detailed and crisp that I felt like I was the one pressing the drum-machine's buttons. Around the twelve second mark the "oohs" start coming in from the back of the track. They take no time making their way to the center stage of this sound signature blending effortlessly with the the back-beat. When Drake's vocals and the nice sub-bass finally come into the picture we get hit we a perfect blend of sounds. Nothing is out of place, the drums are still kicking, the sub-bass rumbles, and Drake's vocals are buttery smooth, well, as smooth as his nasally voice could be. Ode to the instrument separation when at 0:35 you can hear the beginning of the drum-roll with pure accuracy. I always thought the drum-roll started at 0:36 and on my L1's it did.
Ed Sheeran - Give Me Love: One place I originally thought the TH-7BB was faulty was the lower mid-range spectrum. The mid-range does a great job being present but in comparison to female voices, male voices always sounded a little pushed back. After the 60 hours of burn-in I feel that the spectrum has balanced itself out a bit and when Ed voice comes in, after the impressive 36 second instrumental, it comes across as clear and pronounced; no longer is this voice stuck behind the guitar rifts and beautiful bass line. As we approach the chorus we start to hear the power and emotion of Ed's vocals as they come a wee-bit forward to give it that extra push.
Florence & The Machine - Shake It Out: This song takes no time to show off Florence Welch's beautiful singing voice and why should it. She can hit from the high mid-range all the way into the low-treble. Shake it out is actually one of the smoother songs in her arsenal and the second you hear the word "regrets" you'll understand that this sound signature works best with the smokiness of her vocals. Everything sounds smooth, smoother than I've ever heard this song sound, there is a bit of pitchiness when she she heightens the octave but it never verges into sibilance. Instead the treble sounds sparkly and detailed. It extends extremely well rolling off just before the 20khz mark. This song is where the TH-7BB reminds me of the T50RP the most because it showcases Fostex's signature treble sparkly. What is great is that even though the treble is sparkly it never feels out of line with the rest of the sound-stage; IE it never makes the mid-range or bass signature sound recessed.
Katy Perry - Dark Horse (Ft. Juicy J): Okay, after all that hype I am going to have to attack the TH-7BB's main weakness. Remember when I said the kick's were crisp and detailed on Drake's track? Completely the opposite here. The Mid-Bass lacks any sort of punch in Dark Horse. It feels absolutely absent from the track. During the main beat you'll get a nice stream of sub-bass and a crisp clap floating around in the background, but there isn't any hit with that sub-bass and it can come across as muddy without the right amplifier. On another note Katy Perry sounds great in this song and the reverb right before the chorus hits really works. You can hear the separation of her vocals as it bounces back. Ode to the sound-stage; due to the lack of mid-bass the song actually works to the advantage of the massive sound stage allowing you to have a more pronounced understanding of where each spectrum begins and ends. I also think this track might be poorly mastered because Juicy J doesn't sound muddy but he does sound a bit recessed like he was just placed onto the track. . During the chorus the mid-bass can be heard thumping in the background as Katy's vocals are pushed forward along with the main (dreamy) break-down. Still, Katy's voice, the sub-bass, and the brilliant imaging make this song a great head-bobbing listen.
Lorde - Still Sane: aka "that-cross-fade". The cross-fade is going to be my main point of interest with this song because with the TH-7BB's it just comes alive. I thought I knew what to epic coming from the L1's which also have a moderately large sound-stage, but I wasn't prepared for the amazing transition between left and right. Still sane is my second favorite song on Lorde's album, second only to Glory & Gore which has an amazing bass line in the third stretch of the song, and it is possibly the most engaging song on this list. We open with Lorde's voice circling your head slowly while a gentle beat starts to come forward from the background. 16 seconds into the track we start getting a nice slow clap that crawls forward until we hit the 22 second mark where BAM, like magic, everything balances itself out. Lorde's voice is still a bit forward but it's intentional to give the song that special 3D effect as her vocals keep swaying from side to side. She's not to far ahead that she seems out of place, but instead just far enough that she feels like a spirit astral projected on to the music. It's magical.
Michael Buble - Feeling Good: Entering with a subtle violin/viola mixture that is quickly followed by a very forward Michael Buble I wanted to include this track due to the wide-range of instruments used. While Michael is singing the intro to the song we can hear the bow scampering across the strings on the violin. I won't say these are the most detailed headphones, but they definitely have a nice clarity to them. Michael vocals are silky as they follow him up and down as he adjusts the tone before the big punch of brass and bass kick in at 0:48 and the song truly begins! Due to the combination of bass and brass the punch is a lot more pronounced on this track and the first time I heard it I actually had a hard time making out all the instruments used. Sure enough after a few times I could start to separate the saxophones and french horns from the large bass and viola combinations. Sure enough the spectrum remains balanced with nothing really popping out, with the exception of Buble's vocals in the intro, and even with such a large amount of instruments behind him at 2:02 to 2:07 you can hear the balance of the spectrum as the all collide with each other. This song is also another great example of the sound stages width. Nothing ever sounds to close to each other, nothing sounds claustrophobic. The pool of sounds just jive into each other. The final note for this song is Michael's deep note at 0:24 is just spectacular! Literal goosebumps.
Overall: I feel that while the headphones are lacking punch in the bass department they more than make up for it in a more neutral & smooth sound. If you're a basshead I would someplace else because the sub-bass extends deep but not as deeply as some of you may like. The Mid-range is neither forward, nor back, it just simply exists in the line of neutrality. The treble is sparkly without being to pitchy and doesn't have a problem with sibilance. Plus that instrument separation and sound-stage just make this pair a "must buy" from me. Is it a mini T50RP? No, It has it's own strengths and unlike the T50RP you don't need to spend the extra time modding it before you listen to them.
P.S. This headset has an impedance of 70 ohm and really comes alive with an amplifier. Without an amplifier the mid-bass will not only sound recessed but also muddy.
Packaging & Accessories: Unlike the older generation of the TH-series the newer models (TH-7BB, TH-5BB) come in a standard black card-board box with the average photograph of the headphone placed on it. Compared to the original series plastic casing and crazy Japanese artwork, by D[di:], the newer packaging can be seen as a little underwhelming. The only accessory packaged with the TH-7BB is an extension cable ending in a 6.5mm jack; I would have preferred a velvet carrying bag as the headphones did not come with any sort of carrying case.
Build Quality: My initial impressions of the headphone's build quality were bleak. I didn't believe that they could survive a year's worth of normal usage, let alone a week of my insane regiment. I'm not the most gentle of people when it comes to my technology and I am very pleased to say that even through the bends and head-bops the TH-7BB managed to impress me with it's overall stability. Fostex wrapped the set in a very durable black plastic with a nice solid piece of metal going through the frame to allow for size adjustments. The headband is a nicer leather (pleather?) piece with--what feels to be--memory foam stuffed inside that can comfortably rest on your head. The hinge mechanism to hold the ear-cups to the frame is, like the rest of the set, well designed. My only issue with build quality would have to come from the cable. The cable is prone to twists and can be a hassle when you just want to throw the TH-7BB on and go.
Reference Tracks:
Drake - Hold On, We're Going Home, Ed Sheeran - Give Me Love, Florence & The Machine - Shake It Out, Katy Perry - Dark Horse (Ft. Juicy J), Lorde - Still Sane, Michael Buble - Feeling Good and Stardust (Ft. Naturally 7), Counter Strike: GO
Equipment:
Nexus 5 > USB OTG > FireyeDA
Lenovo Y400 > FireyeDA
Sound Quality: The headphone's were given 60 hours of Burn-In or until no changes were noted.
The TH-7BB has the ability to produce a 3-dimensional image that rivals the best headsets I've auditioned; the Fostex sound-stage is wide and extremely deep thanks to its sᴇᴍɪ-ᴏᴘᴇɴ nature. While playing Counter-Strike: GO I felt enveloped in a world of gun-play and could distinctly make out which side an enemy's gun-fire was coming, while also accurately hearing footsteps from other players. When listening to Micheal Buble's Stardust I could separate the vocals of every member of the Naturally 7. Nothing ever felt to congested, everything was given proper space to develop on it's own.
Drake - Hold On, We're Going Home: Right off the bat we get hit with a nice kick & clap that sends shivers down my spine. The kick is so detailed and crisp that I felt like I was the one pressing the drum-machine's buttons. Around the twelve second mark the "oohs" start coming in from the back of the track. They take no time making their way to the center stage of this sound signature blending effortlessly with the the back-beat. When Drake's vocals and the nice sub-bass finally come into the picture we get hit we a perfect blend of sounds. Nothing is out of place, the drums are still kicking, the sub-bass rumbles, and Drake's vocals are buttery smooth, well, as smooth as his nasally voice could be. Ode to the instrument separation when at 0:35 you can hear the beginning of the drum-roll with pure accuracy. I always thought the drum-roll started at 0:36 and on my L1's it did.
Ed Sheeran - Give Me Love: One place I originally thought the TH-7BB was faulty was the lower mid-range spectrum. The mid-range does a great job being present but in comparison to female voices, male voices always sounded a little pushed back. After the 60 hours of burn-in I feel that the spectrum has balanced itself out a bit and when Ed voice comes in, after the impressive 36 second instrumental, it comes across as clear and pronounced; no longer is this voice stuck behind the guitar rifts and beautiful bass line. As we approach the chorus we start to hear the power and emotion of Ed's vocals as they come a wee-bit forward to give it that extra push.
Florence & The Machine - Shake It Out: This song takes no time to show off Florence Welch's beautiful singing voice and why should it. She can hit from the high mid-range all the way into the low-treble. Shake it out is actually one of the smoother songs in her arsenal and the second you hear the word "regrets" you'll understand that this sound signature works best with the smokiness of her vocals. Everything sounds smooth, smoother than I've ever heard this song sound, there is a bit of pitchiness when she she heightens the octave but it never verges into sibilance. Instead the treble sounds sparkly and detailed. It extends extremely well rolling off just before the 20khz mark. This song is where the TH-7BB reminds me of the T50RP the most because it showcases Fostex's signature treble sparkly. What is great is that even though the treble is sparkly it never feels out of line with the rest of the sound-stage; IE it never makes the mid-range or bass signature sound recessed.
Katy Perry - Dark Horse (Ft. Juicy J): Okay, after all that hype I am going to have to attack the TH-7BB's main weakness. Remember when I said the kick's were crisp and detailed on Drake's track? Completely the opposite here. The Mid-Bass lacks any sort of punch in Dark Horse. It feels absolutely absent from the track. During the main beat you'll get a nice stream of sub-bass and a crisp clap floating around in the background, but there isn't any hit with that sub-bass and it can come across as muddy without the right amplifier. On another note Katy Perry sounds great in this song and the reverb right before the chorus hits really works. You can hear the separation of her vocals as it bounces back. Ode to the sound-stage; due to the lack of mid-bass the song actually works to the advantage of the massive sound stage allowing you to have a more pronounced understanding of where each spectrum begins and ends. I also think this track might be poorly mastered because Juicy J doesn't sound muddy but he does sound a bit recessed like he was just placed onto the track. . During the chorus the mid-bass can be heard thumping in the background as Katy's vocals are pushed forward along with the main (dreamy) break-down. Still, Katy's voice, the sub-bass, and the brilliant imaging make this song a great head-bobbing listen.
Lorde - Still Sane: aka "that-cross-fade". The cross-fade is going to be my main point of interest with this song because with the TH-7BB's it just comes alive. I thought I knew what to epic coming from the L1's which also have a moderately large sound-stage, but I wasn't prepared for the amazing transition between left and right. Still sane is my second favorite song on Lorde's album, second only to Glory & Gore which has an amazing bass line in the third stretch of the song, and it is possibly the most engaging song on this list. We open with Lorde's voice circling your head slowly while a gentle beat starts to come forward from the background. 16 seconds into the track we start getting a nice slow clap that crawls forward until we hit the 22 second mark where BAM, like magic, everything balances itself out. Lorde's voice is still a bit forward but it's intentional to give the song that special 3D effect as her vocals keep swaying from side to side. She's not to far ahead that she seems out of place, but instead just far enough that she feels like a spirit astral projected on to the music. It's magical.
Michael Buble - Feeling Good: Entering with a subtle violin/viola mixture that is quickly followed by a very forward Michael Buble I wanted to include this track due to the wide-range of instruments used. While Michael is singing the intro to the song we can hear the bow scampering across the strings on the violin. I won't say these are the most detailed headphones, but they definitely have a nice clarity to them. Michael vocals are silky as they follow him up and down as he adjusts the tone before the big punch of brass and bass kick in at 0:48 and the song truly begins! Due to the combination of bass and brass the punch is a lot more pronounced on this track and the first time I heard it I actually had a hard time making out all the instruments used. Sure enough after a few times I could start to separate the saxophones and french horns from the large bass and viola combinations. Sure enough the spectrum remains balanced with nothing really popping out, with the exception of Buble's vocals in the intro, and even with such a large amount of instruments behind him at 2:02 to 2:07 you can hear the balance of the spectrum as the all collide with each other. This song is also another great example of the sound stages width. Nothing ever sounds to close to each other, nothing sounds claustrophobic. The pool of sounds just jive into each other. The final note for this song is Michael's deep note at 0:24 is just spectacular! Literal goosebumps.
Overall: I feel that while the headphones are lacking punch in the bass department they more than make up for it in a more neutral & smooth sound. If you're a basshead I would someplace else because the sub-bass extends deep but not as deeply as some of you may like. The Mid-range is neither forward, nor back, it just simply exists in the line of neutrality. The treble is sparkly without being to pitchy and doesn't have a problem with sibilance. Plus that instrument separation and sound-stage just make this pair a "must buy" from me. Is it a mini T50RP? No, It has it's own strengths and unlike the T50RP you don't need to spend the extra time modding it before you listen to them.
P.S. This headset has an impedance of 70 ohm and really comes alive with an amplifier. Without an amplifier the mid-bass will not only sound recessed but also muddy.
