[size=small]If you are reading this review, you are certainly familiar with the fascinating historical background of the DT48. The first headphone ever created to very high standards based on the 1937 Eugen Beyer “Berlin” design. They are officially launched to the public in 1950 and still manufactured after 60 years, giving the DT48 one of the longest life for a consumable good of our times. According to Beyerdynamic, the DT48 are primarily intended for professional use, be it sound engineers, broadcasting, studio use, research laboratories, audiometric studies, etc… [/size]
[size=small] [/size]
[size=small]The DT48 have been designed from the ground with sound fidelity in mind to achieve as close a perfect tonal balance as possible across the entire frequency range while minimizing cup colorations, and providing an excellent resolution and true dynamic range. They are primarily professional tools. With its unique design fully made of metal and aluminum, its sturdy construction build to very tight tolerances, the DT48 is a true heritage to the German engineering know-how. To emphasize the outstanding build quality, an individual FR chart is provided with each DT48A, where drivers FR are matched within 1dB over the entire audible range. It is also to the best of my knowledge the only headphone in production today to use aluminum drivers. [/size]
[size=small] [/size]
[size=small]I have owned a 25 ohms version of the DT48E (year 2009), a vintage 25ohms version of the DT48S (silver year 1968) and for more than one year now, a modern 5 ohms version of the DT48A (made to order) with E vinyl pads, the S model being by far the most deceiving one (maybe a damaged unit after some 43 years of use and abuse) and the A version being by a fair margin superior to the E version. The DT48 is pretty easy to power, given some care is given to match amplification, especially for the A version, since 5 ohms can prove to be too difficult a load for modern opamps based circuits. Since the A version is so sensitive (5 ohms and 110dB/mw, equivalent to 134 dB/V on par with the most sensitive IEM out there) you want a very quiet discrete amp with lowest possible gain or a higher impedance output to drive them.[/size]
[size=small]The original Eugen Beyer "Berlin" and my DT48A side by side:[/size]
[size=small]
[/size]
[size=small] [/size]
[size=small]
[/size]
[size=small]
[/size]
[size=small]My playback system is composed of the Lavry DA11 connected to a Macbook feeding the asynch USB/SPDIF converter Audiophilleo 2. EAC ripped files are stored on an external firewire drive and read using the Pure Music software. USB cable at the moment is top of the range Monster, very solidly build. The DT48A are powered by the cautivating Graham Slee Ultra Linear connected to the Lavry through a pair of Oyaide QAC-212 interconnects (Hitachi Long Cristal OFC). Power line is dedicated for audio, and a PS Audio Duet Center is used for power conditionning. Power cables are Furutech OCC DIY for the Graham Slee amp and the PS Audio Duet Center to the wall. The Lavry is powered by a Shunyata Research Sidewinder CX. I shall add that both amp and DAC are resting on small Ayre Myrtle wood blocks for vibration control.[/size]
[size=small] [/size]
[size=small]There is little doubt the DT48 will prove to be a difficult headphone for quite a lot of people. There are indeed several caveats that you seriously need to consider before getting started:[/size]
[size=small] [/size]
[size=small]Clamping & isolation: the DT48 clamp relatively strong on your head to achieve their high degree of isolation. This is not extraordinary by any mean, as I read that Edition 8 would also put some pressure on your head. According to Beyer, ambient noise are reduced by 12dB which certainly contribute to portray this characteristic black background, feeling at times like if music was played in an anechoic room. Remember your eardrums are not used to that unnatural level of silence and this sensation can be disturbing at the beginning, especially when you are already listening in a quiet environment. As a consequence of the moderate clamping force, comfort might become an issue for some people with larger heads, especially if you intend to wear them several hours straight. They certainly loosen up with time though, and clamping force has never really been an issue for me, in line with the HD650 clamping force for comparison.[/size]
[size=small] [/size]
[size=small]Heat & sweat: The vinyl pads utilized in the newer E versions are very soft and non-irritating to the skin. However, and provided you get a good seal, heat can become an issue like most of closed cans offering a high degree of isolation, especially if you are living in a humid and hot climate (or above 28ºC ambient temperature). Even when room temperature is adequate, some moisture can develop after 30 minutes of listening on the inside of the cup, next to the drivers. I usually take a small break every hour and then to wipe the sweat with absorbing clothes.[/size]
[size=small] [/size]
[size=small]Bass extension & quantity: probably the most criticized sound aspect of the DT48, bass is often said to be missing or severely rolled off below 100Hz. Here are a few recommendations worth to avoid major deceptions: [/size]
[size=small]·[/size] [size=small]A perfect seal is mandatory. Fiddle with the pads until good results are achieved. The vinyl pads will warm up after a couple of minutes and mold to your head shape better. [/size]
[size=small]·[/size] [size=small]For the E versions, a nominal output impedance of 120 ohms should be used for the amplifier as indicated by the manufacturer. It will increase the bass response compared to a low output impedance.[/size]
[size=small]·[/size] [size=small]I believe break-in plays an important role in the bass response behavior of the DT48. Note that the aluminum cone suspensions are also made of aluminum, hence very stiff. Bass need to be properly broken-in with specific track material at high SPL. There are plenty of break-in CD tracks available for that purpose. Really, just give it a try for 24 hours. Here is an example of download link to a track that should shake those aluminum suspension Helicopter. And don’t assume your DT48 bass is broken in because they are 2 or 3 years old.[/size]
[size=small]·[/size] [size=small]It is in my opinion mandatory to match the DT48 with an amplifier and source able to deliver powerful foundation to the music. That doesn’t mean you need a colored system at all, but one that is able to deliver full, deep and solid bass response, no matter the load. [/size]
[size=small]Despite all those care, you might still not be overwhelmed by the low frequency output of the DT48. That is because unless the immense majority of modern headphones, they are not tuned to increase the perceived lower frequencies (sub 50Hz) information that our body is not receiving when listening through headphones. Remember they are first design for research lab, etc… and accuracy is key. Don’t expect a speaker like experience, nor a HD650 bass response. However, when properly set up, the low frequency on the DT48 only starts rolling off below 50Hz. And 20Hz is still present, although much attenuated compared to what your body would expect. Think K501 bass response. I even remember my electrostat Lambda SR-303 to have a very similar bass response below 50Hz in quantity and extension. So unless those lower octaves fundamentals are very present and meaningfull in the music you listen, bass response with the DT48 can be worked out to a very satisfying degree.[/size]
[size=small] [/size]
[size=small]Treble: the consensus seems to indicate that the treble of the E version is somewhat slightly recessed, though having a good extension. I would definitely agree with this statement. On the other side, the A version improves on this aspect with no apparent roll off in the higher frequencies. Of course, you need to take into account individual HRTF that can affect significantly your perception of the treble response in any headphones. The DT48 E version treble energy would be for me more similar to an HD650 or Fostex T50Rp, and the A version would be more aligned with K501 or T1, while headphones like HD800, DT880 and especially K701 have a significantly higher energy in the treble response.[/size]
[size=small] [/size]
[size=small]High Fidelity: The DT48 are ruthlessly revealing. They are indeed much more revealing than the Tesla T1 as a matter of comparison, and to me, they are even more revealing than the HD800, which constantly imposes their own house sound to the music. The DT48 will let every recording speak for itself, along with our own playback system. And this can of course lead to completely misguided conclusions on the DT48 sound. We know recordings are all colored in some ways, but at the same time, we often forget that our own playback system becomes an inner part of the music we are listening to and imparts its own sonic character. So before accusing the DT48 for their horrible performance, take the opportunity to take a closer look at the sound of your system and ask yourself what aspect of it you do not like ...Jitter, noise, excessive colorations or analog signal degradation are quite common in our systems. Don’t be afraid to start a long journey, because the DT48 will always let you know when you are stepping out of your way. As an audiophile, this is probably to me the most exciting quest we should strive for.[/size]
[size=small] [/size]
[size=small]So now that you have been warned of the many pitfalls to avoid with the DT48, let’s take a closer look at what in my opinion make their sound so remarkable and unique in many ways.[/size]
[size=small] [/size]
[size=small]Texture & low level resolution: Thanks to their sense of transparency, high degree of isolation and low level resolution ability, the DT48 respect more than any other headphone I have tried until now the unique texture of each instruments, conveying consistently their complex harmonic richness as they were recorded. The T1 for me simply fails to do this with a rather metallic voicing and lack of low level information. The HD800 did not impress me neither, as higher harmonics were systematically over-dampened and decay lost, creating a uniform and house sound projected in all recordings. The DT48 let you see effortlessly into the complex vibration sound generated by a string instrument, brass or the slightest modulation of a voice, determining its texture and its own distinctive timbre. Each recording and instruments will have their own personality. Many listeners are first stroked by the incredible resolution of the DT48 in the mids, especially with voices, but as you spend more and more time with them, you realize this level of transparency is simply consistent across the entire audible frequency range. [/size]
[size=small] [/size]
[size=small]True sense of Depth: With their superior resolution ability, the DT48 will also let you perceive how much distance sound waves generated by instruments or voices have been travelling through the air, as higher harmonics get attenuated before reaching the microphones. This will contribute to generate a sense of true depth if present in the recording. I say true depth because the DT48 will never intend to play with depth or to trick the listener with added reverberations, giving the illusion of a bigger soundstage than what was actually recorded. The DT48 convey depth as it was recorded. Reverberations of the own acoustic room, studio or hall will be present if recorded and reflected sound will be perfectly conveyed to the listener, allowing him to mentally picture a very accurate dimension of the recording location. You can distinctively feel the free field openness of a live concert, or the atmosphere and acoustic of different studio rooms. Of course, listening to tracks recorded separately and mixed together on a console will not provide this true sense of depth, but can allow the listener to recreate an artificial impression of depth if intended by the sound engineer. In any case, the DT48 ability to reveal depth and authentic spatial cues present in each recording is for me one of the key feature that set it apart of other headphones.[/size]
[size=small] [/size]
[size=small]Instrument separation & power of imaging: the DT48, despite a relatively small soundstage (slightly smaller than DT880), shines at conveying spatial cues contained in the recordings providing a very stable three dimensional image. Its low level resolution and ability to differentiate distance and texture allow for an accurate and pinpointed instrument separation, no matter how complex the message is. It achieves a truly superior instrument separation than headphones like DT880, HD650 or K501. But it does achieve this while retaining the cohesion of the overall performance, as you perceive the air in motion between the performers. The HD800 as a matter of comparison is also extremely good at instrument separation, but it actually isolates them from each others by sucking the air around the instruments (lack of decay and higher harmonics), leading to a very unnatural musical experience. The T1 offers a much wider soundstage and provides a fantastic instrument separation (probably even sharper than the DT48) but fails on the coherence of the soundstage with what seems an artificial sense of depth and distances (angled drivers?). As a side note, and in my experience, the DT48 responds extremely well to crossfeed, to achieve an even more natural presentation of the soundstage, avoiding extreme stereo effects and slightly pushing the soundstage forward. As a matter of fact, with crossfeed enabled and when the recording calls for it, the DT48 simply disappears on my head and allow me to enjoy the raw performance without any extra brain consuming processes required to visualize the scene. This allows for a very relaxing and non fatiguing listening experience. [/size]
[size=small] [/size]
[size=small]Dynamic range: the DT48 offers outstanding dynamic ability, probably on par with HD800 or T1 which is truly exceptional considering the age of its design. The drivers respond always very quickly to attacks and transients, and are able to convey naturally a very wide dynamic swing even for the most demanding recordings, without sounding artificially fast (boosted highs). Unless many other lesser headphones (HD650, K501, etc..), the DT48 can play very loud without any hint of distortion while it can also play at the same time very low level signals thanks to the lower background noise floor achieved through isolation. This combination provides for a truly dynamic experience. I personally prefer listening to music with the DT48 close to realistic levels, where I feel the DT48 really shines. At higher volumes, Fletcher Munson curves suggest than our hearing is subjectively more linear, allowing for a better perception and integration of the lower and higher frequencies that can suit very well the slightly “n” shaped FR of the DT48. Reaching realistic or moderately loud levels never feels like if the DT48 is pushing too hard or introducing distortion. Of course, I you listen to an album dynamically compressed, victim of the volume war, such realistic levels can’t be reached, because then everything seems to be shouting at you. The DT48 is overly sensible to dynamic compression and many “digitally produced hot” albums will sound very artificial and fatiguing.[/size]
[size=small] [/size]
[size=small]Sense of Presence: someone called it the “true blue” sound, others just call it life like experience, but all agree the DT48 conveys a unique sense of presence and density to the notes. General consensus seems to agree that the main aspects of a sound are composed of its frequency, timbre, dynamic and duration. Those are all areas were the DT48 excels, which might explain what the ear perceives as a very realistic reproduction of sounds. With its accurate frequency response, the DT48 will not modify or color the pitch of an instrument. With its great low level resolution, the DT48 will let you hear perfectly the timbre and complex harmonic structure of different instruments, as well as their natural decay and duration. With its outstanding dynamic abilities, the DT48 will reproduce and follow accurately the intensity variations of a note. All those aural cues help the listener to recreate this true sense of presence, making for some really magical listening moments and an authentic feeling of being there. The DT48 is often said to be in a class of its own among dynamic headphones, and this may very well be one of the main reason for it.[/size]
[size=small] [/size]
[size=small]Musicality: Though the DT48 are very often described as an analytical tool for monitoring purposes and ultimately lacking musicality, I have to completely disagree with this statement. I do not believe the DT48 should be restricted to some specific genres of music as often said, but I would however agree they really shine with recordings produced with little and appropriate intervention from the mastering engineers, in opposition to computer assisted recordings heavily mixed and tweaked that will sound very unnatural to the ears. However, I think it is important at this point to remember the different aspects of musicality that different camp value in a headphone. While some are considering the headphone as an instrument, looking for musicality or colorations in its own sound, I believe in the headphone being merely an open window that would let the music flow through it. If you are looking for enjoyable colorations in the DT48, you will most likely be deceived. The DT48 are not musical per se, but will be faithful to the music being played through them, within the limitations of your own system. Probably more than many other headphones, the DT48 require some serious attention to the rest of your system - and in my experience, particularly the source where the fundamental conversion from digital to analog takes place - in order to achieve the most musical sound to your ears. Of course, a dedicated system is for me a must with the DT48, as you simply can not plug & play them and expect to be overwhelmed by the musical experience. This is why the DT48 can not be truly appreciated in meet conditions. We all have different background, experience and sensibilities, references and ways to listen to music. I believe your system should indeed reflect those preferences that will be clearly heard through the DT48.[/size]
[size=small] [/size]
[size=small]Finally, I sincerely hope this review gave you a deeper sense of what the DT48 are capable of achieving as well as their limitations and what in my opinion really sets them apart from other headphones. Remember, the DT48 is not a musical device per se, but it will serve respectfully the music being delivered through it, and as such, it is the rest of your system and the quality of the recordings that will matter the most. My dream at this moment is to upgrade my source to a NAGRA DAC, for the ultimate musical experience. NAGRA an the DT48 have had a long partnership history. For what it is worth, the DT48 have completely cured any remaining headphone upgraditis in me, although I would still be willing and curious of course to listen to some other serious references as Ed8, O2 or R10 if life is kind enough with me to give me this opportunity. But in the meantime, I’ll keep enjoying my DT48A…[/size]
[size=small] [/size]
[size=small]The DT48 have been designed from the ground with sound fidelity in mind to achieve as close a perfect tonal balance as possible across the entire frequency range while minimizing cup colorations, and providing an excellent resolution and true dynamic range. They are primarily professional tools. With its unique design fully made of metal and aluminum, its sturdy construction build to very tight tolerances, the DT48 is a true heritage to the German engineering know-how. To emphasize the outstanding build quality, an individual FR chart is provided with each DT48A, where drivers FR are matched within 1dB over the entire audible range. It is also to the best of my knowledge the only headphone in production today to use aluminum drivers. [/size]
[size=small] [/size]
[size=small]I have owned a 25 ohms version of the DT48E (year 2009), a vintage 25ohms version of the DT48S (silver year 1968) and for more than one year now, a modern 5 ohms version of the DT48A (made to order) with E vinyl pads, the S model being by far the most deceiving one (maybe a damaged unit after some 43 years of use and abuse) and the A version being by a fair margin superior to the E version. The DT48 is pretty easy to power, given some care is given to match amplification, especially for the A version, since 5 ohms can prove to be too difficult a load for modern opamps based circuits. Since the A version is so sensitive (5 ohms and 110dB/mw, equivalent to 134 dB/V on par with the most sensitive IEM out there) you want a very quiet discrete amp with lowest possible gain or a higher impedance output to drive them.[/size]
[size=small]The original Eugen Beyer "Berlin" and my DT48A side by side:[/size]
[size=small]
[/size][size=small] [/size]
[size=small]
[/size][size=small]
[/size][size=small]My playback system is composed of the Lavry DA11 connected to a Macbook feeding the asynch USB/SPDIF converter Audiophilleo 2. EAC ripped files are stored on an external firewire drive and read using the Pure Music software. USB cable at the moment is top of the range Monster, very solidly build. The DT48A are powered by the cautivating Graham Slee Ultra Linear connected to the Lavry through a pair of Oyaide QAC-212 interconnects (Hitachi Long Cristal OFC). Power line is dedicated for audio, and a PS Audio Duet Center is used for power conditionning. Power cables are Furutech OCC DIY for the Graham Slee amp and the PS Audio Duet Center to the wall. The Lavry is powered by a Shunyata Research Sidewinder CX. I shall add that both amp and DAC are resting on small Ayre Myrtle wood blocks for vibration control.[/size]
[size=small] [/size]
[size=small]There is little doubt the DT48 will prove to be a difficult headphone for quite a lot of people. There are indeed several caveats that you seriously need to consider before getting started:[/size]
[size=small] [/size]
[size=small]Clamping & isolation: the DT48 clamp relatively strong on your head to achieve their high degree of isolation. This is not extraordinary by any mean, as I read that Edition 8 would also put some pressure on your head. According to Beyer, ambient noise are reduced by 12dB which certainly contribute to portray this characteristic black background, feeling at times like if music was played in an anechoic room. Remember your eardrums are not used to that unnatural level of silence and this sensation can be disturbing at the beginning, especially when you are already listening in a quiet environment. As a consequence of the moderate clamping force, comfort might become an issue for some people with larger heads, especially if you intend to wear them several hours straight. They certainly loosen up with time though, and clamping force has never really been an issue for me, in line with the HD650 clamping force for comparison.[/size]
[size=small] [/size]
[size=small]Heat & sweat: The vinyl pads utilized in the newer E versions are very soft and non-irritating to the skin. However, and provided you get a good seal, heat can become an issue like most of closed cans offering a high degree of isolation, especially if you are living in a humid and hot climate (or above 28ºC ambient temperature). Even when room temperature is adequate, some moisture can develop after 30 minutes of listening on the inside of the cup, next to the drivers. I usually take a small break every hour and then to wipe the sweat with absorbing clothes.[/size]
[size=small] [/size]
[size=small]Bass extension & quantity: probably the most criticized sound aspect of the DT48, bass is often said to be missing or severely rolled off below 100Hz. Here are a few recommendations worth to avoid major deceptions: [/size]
[size=small]·[/size] [size=small]A perfect seal is mandatory. Fiddle with the pads until good results are achieved. The vinyl pads will warm up after a couple of minutes and mold to your head shape better. [/size]
[size=small]·[/size] [size=small]For the E versions, a nominal output impedance of 120 ohms should be used for the amplifier as indicated by the manufacturer. It will increase the bass response compared to a low output impedance.[/size]
[size=small]·[/size] [size=small]I believe break-in plays an important role in the bass response behavior of the DT48. Note that the aluminum cone suspensions are also made of aluminum, hence very stiff. Bass need to be properly broken-in with specific track material at high SPL. There are plenty of break-in CD tracks available for that purpose. Really, just give it a try for 24 hours. Here is an example of download link to a track that should shake those aluminum suspension Helicopter. And don’t assume your DT48 bass is broken in because they are 2 or 3 years old.[/size]
[size=small]·[/size] [size=small]It is in my opinion mandatory to match the DT48 with an amplifier and source able to deliver powerful foundation to the music. That doesn’t mean you need a colored system at all, but one that is able to deliver full, deep and solid bass response, no matter the load. [/size]
[size=small]Despite all those care, you might still not be overwhelmed by the low frequency output of the DT48. That is because unless the immense majority of modern headphones, they are not tuned to increase the perceived lower frequencies (sub 50Hz) information that our body is not receiving when listening through headphones. Remember they are first design for research lab, etc… and accuracy is key. Don’t expect a speaker like experience, nor a HD650 bass response. However, when properly set up, the low frequency on the DT48 only starts rolling off below 50Hz. And 20Hz is still present, although much attenuated compared to what your body would expect. Think K501 bass response. I even remember my electrostat Lambda SR-303 to have a very similar bass response below 50Hz in quantity and extension. So unless those lower octaves fundamentals are very present and meaningfull in the music you listen, bass response with the DT48 can be worked out to a very satisfying degree.[/size]
[size=small] [/size]
[size=small]Treble: the consensus seems to indicate that the treble of the E version is somewhat slightly recessed, though having a good extension. I would definitely agree with this statement. On the other side, the A version improves on this aspect with no apparent roll off in the higher frequencies. Of course, you need to take into account individual HRTF that can affect significantly your perception of the treble response in any headphones. The DT48 E version treble energy would be for me more similar to an HD650 or Fostex T50Rp, and the A version would be more aligned with K501 or T1, while headphones like HD800, DT880 and especially K701 have a significantly higher energy in the treble response.[/size]
[size=small] [/size]
[size=small]High Fidelity: The DT48 are ruthlessly revealing. They are indeed much more revealing than the Tesla T1 as a matter of comparison, and to me, they are even more revealing than the HD800, which constantly imposes their own house sound to the music. The DT48 will let every recording speak for itself, along with our own playback system. And this can of course lead to completely misguided conclusions on the DT48 sound. We know recordings are all colored in some ways, but at the same time, we often forget that our own playback system becomes an inner part of the music we are listening to and imparts its own sonic character. So before accusing the DT48 for their horrible performance, take the opportunity to take a closer look at the sound of your system and ask yourself what aspect of it you do not like ...Jitter, noise, excessive colorations or analog signal degradation are quite common in our systems. Don’t be afraid to start a long journey, because the DT48 will always let you know when you are stepping out of your way. As an audiophile, this is probably to me the most exciting quest we should strive for.[/size]
[size=small] [/size]
[size=small]So now that you have been warned of the many pitfalls to avoid with the DT48, let’s take a closer look at what in my opinion make their sound so remarkable and unique in many ways.[/size]
[size=small] [/size]
[size=small]Texture & low level resolution: Thanks to their sense of transparency, high degree of isolation and low level resolution ability, the DT48 respect more than any other headphone I have tried until now the unique texture of each instruments, conveying consistently their complex harmonic richness as they were recorded. The T1 for me simply fails to do this with a rather metallic voicing and lack of low level information. The HD800 did not impress me neither, as higher harmonics were systematically over-dampened and decay lost, creating a uniform and house sound projected in all recordings. The DT48 let you see effortlessly into the complex vibration sound generated by a string instrument, brass or the slightest modulation of a voice, determining its texture and its own distinctive timbre. Each recording and instruments will have their own personality. Many listeners are first stroked by the incredible resolution of the DT48 in the mids, especially with voices, but as you spend more and more time with them, you realize this level of transparency is simply consistent across the entire audible frequency range. [/size]
[size=small] [/size]
[size=small]True sense of Depth: With their superior resolution ability, the DT48 will also let you perceive how much distance sound waves generated by instruments or voices have been travelling through the air, as higher harmonics get attenuated before reaching the microphones. This will contribute to generate a sense of true depth if present in the recording. I say true depth because the DT48 will never intend to play with depth or to trick the listener with added reverberations, giving the illusion of a bigger soundstage than what was actually recorded. The DT48 convey depth as it was recorded. Reverberations of the own acoustic room, studio or hall will be present if recorded and reflected sound will be perfectly conveyed to the listener, allowing him to mentally picture a very accurate dimension of the recording location. You can distinctively feel the free field openness of a live concert, or the atmosphere and acoustic of different studio rooms. Of course, listening to tracks recorded separately and mixed together on a console will not provide this true sense of depth, but can allow the listener to recreate an artificial impression of depth if intended by the sound engineer. In any case, the DT48 ability to reveal depth and authentic spatial cues present in each recording is for me one of the key feature that set it apart of other headphones.[/size]
[size=small] [/size]
[size=small]Instrument separation & power of imaging: the DT48, despite a relatively small soundstage (slightly smaller than DT880), shines at conveying spatial cues contained in the recordings providing a very stable three dimensional image. Its low level resolution and ability to differentiate distance and texture allow for an accurate and pinpointed instrument separation, no matter how complex the message is. It achieves a truly superior instrument separation than headphones like DT880, HD650 or K501. But it does achieve this while retaining the cohesion of the overall performance, as you perceive the air in motion between the performers. The HD800 as a matter of comparison is also extremely good at instrument separation, but it actually isolates them from each others by sucking the air around the instruments (lack of decay and higher harmonics), leading to a very unnatural musical experience. The T1 offers a much wider soundstage and provides a fantastic instrument separation (probably even sharper than the DT48) but fails on the coherence of the soundstage with what seems an artificial sense of depth and distances (angled drivers?). As a side note, and in my experience, the DT48 responds extremely well to crossfeed, to achieve an even more natural presentation of the soundstage, avoiding extreme stereo effects and slightly pushing the soundstage forward. As a matter of fact, with crossfeed enabled and when the recording calls for it, the DT48 simply disappears on my head and allow me to enjoy the raw performance without any extra brain consuming processes required to visualize the scene. This allows for a very relaxing and non fatiguing listening experience. [/size]
[size=small] [/size]
[size=small]Dynamic range: the DT48 offers outstanding dynamic ability, probably on par with HD800 or T1 which is truly exceptional considering the age of its design. The drivers respond always very quickly to attacks and transients, and are able to convey naturally a very wide dynamic swing even for the most demanding recordings, without sounding artificially fast (boosted highs). Unless many other lesser headphones (HD650, K501, etc..), the DT48 can play very loud without any hint of distortion while it can also play at the same time very low level signals thanks to the lower background noise floor achieved through isolation. This combination provides for a truly dynamic experience. I personally prefer listening to music with the DT48 close to realistic levels, where I feel the DT48 really shines. At higher volumes, Fletcher Munson curves suggest than our hearing is subjectively more linear, allowing for a better perception and integration of the lower and higher frequencies that can suit very well the slightly “n” shaped FR of the DT48. Reaching realistic or moderately loud levels never feels like if the DT48 is pushing too hard or introducing distortion. Of course, I you listen to an album dynamically compressed, victim of the volume war, such realistic levels can’t be reached, because then everything seems to be shouting at you. The DT48 is overly sensible to dynamic compression and many “digitally produced hot” albums will sound very artificial and fatiguing.[/size]
[size=small] [/size]
[size=small]Sense of Presence: someone called it the “true blue” sound, others just call it life like experience, but all agree the DT48 conveys a unique sense of presence and density to the notes. General consensus seems to agree that the main aspects of a sound are composed of its frequency, timbre, dynamic and duration. Those are all areas were the DT48 excels, which might explain what the ear perceives as a very realistic reproduction of sounds. With its accurate frequency response, the DT48 will not modify or color the pitch of an instrument. With its great low level resolution, the DT48 will let you hear perfectly the timbre and complex harmonic structure of different instruments, as well as their natural decay and duration. With its outstanding dynamic abilities, the DT48 will reproduce and follow accurately the intensity variations of a note. All those aural cues help the listener to recreate this true sense of presence, making for some really magical listening moments and an authentic feeling of being there. The DT48 is often said to be in a class of its own among dynamic headphones, and this may very well be one of the main reason for it.[/size]
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[size=small]Musicality: Though the DT48 are very often described as an analytical tool for monitoring purposes and ultimately lacking musicality, I have to completely disagree with this statement. I do not believe the DT48 should be restricted to some specific genres of music as often said, but I would however agree they really shine with recordings produced with little and appropriate intervention from the mastering engineers, in opposition to computer assisted recordings heavily mixed and tweaked that will sound very unnatural to the ears. However, I think it is important at this point to remember the different aspects of musicality that different camp value in a headphone. While some are considering the headphone as an instrument, looking for musicality or colorations in its own sound, I believe in the headphone being merely an open window that would let the music flow through it. If you are looking for enjoyable colorations in the DT48, you will most likely be deceived. The DT48 are not musical per se, but will be faithful to the music being played through them, within the limitations of your own system. Probably more than many other headphones, the DT48 require some serious attention to the rest of your system - and in my experience, particularly the source where the fundamental conversion from digital to analog takes place - in order to achieve the most musical sound to your ears. Of course, a dedicated system is for me a must with the DT48, as you simply can not plug & play them and expect to be overwhelmed by the musical experience. This is why the DT48 can not be truly appreciated in meet conditions. We all have different background, experience and sensibilities, references and ways to listen to music. I believe your system should indeed reflect those preferences that will be clearly heard through the DT48.[/size]
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[size=small]Finally, I sincerely hope this review gave you a deeper sense of what the DT48 are capable of achieving as well as their limitations and what in my opinion really sets them apart from other headphones. Remember, the DT48 is not a musical device per se, but it will serve respectfully the music being delivered through it, and as such, it is the rest of your system and the quality of the recordings that will matter the most. My dream at this moment is to upgrade my source to a NAGRA DAC, for the ultimate musical experience. NAGRA an the DT48 have had a long partnership history. For what it is worth, the DT48 have completely cured any remaining headphone upgraditis in me, although I would still be willing and curious of course to listen to some other serious references as Ed8, O2 or R10 if life is kind enough with me to give me this opportunity. But in the meantime, I’ll keep enjoying my DT48A…[/size]
