I think you could do worse. Overall I love my HD650's & SE535s across the board, but there's magic in the TF10s for baroque, sonatas/solos, renaissance, and chamber ensemble. They're pretty magical for instrumental bluegrass too (mandolin/banjo especially), but the recessed mids lose me with bluegrass vocals. They're horrid for late-classical symphony, romantic orchestral and opera/oratorios. The recessed mids lose the power of the orchestras, and since the opera/oratorios are ONLY mids, it just sounds like it's coming from the end of a tunnel.
But specifically for baroque, chamber, and most sonatas where tinkly and detail is the body of the music, (full breadth instruments like piano notwithstanding) I'm convinced TF10 is one of the best. It's very fun and engaging and ultra detailed in those settings.
Some could say the TF10 is overly bright with overextended highs, but considering how music halls of that era were designed, and the room is part of the instrument, I don't think it's overextended at all.
Obviously for a variety of reasons I'd go for my HD650's in most settings since they're on the good amp and DAC as well...but for portable, and even otherwise, the only reason I don't get rid of the TF10s is because of how well they work for the very genres you are considering them for.
I don't have experience with AKG 701/702, so I can't comment on those.
Also, despite being highly efficient, it's shocking just how well the TF10's respond to amping purely due to output impedance. There was a MASSIVE soundstage and detail improvement when I added a Fiio E11 to the iPod chain with them. I have yet to try my 535's without the amp. They're much more sensitive and even pick up hiss from the E11, but I suspect the impedance increase without amp still wouldn't agree with them given the triple drivers in all these IEMs.
Edited by IEMCrazy - 2/9/12 at 11:57am
