[xdbvdbx]

The hd800??
That s funny

Yup, I listen to a lot of berlin techno and it gives a really good sense of space and texture, brings me back to warehouse and aircraft hanger raves.

 

[montanari]

when I listened to Techno from the HD800 I wanted to throw them against a wall!!

 

[bayfi]

Yup, I listen to a lot of berlin techno and it gives a really good sense of space and texture, brings me back to warehouse and aircraft hanger raves.

Exactly this! Transports me back to the auditorium/indoor stadium/warehouse rave sound, but for me, it's with the HD820 which adds more bass thump. I was surprised this became my go-to cans for EDM.

TH-610 (supposedly the more neutral cans from Fostex) with ZMF ORI pads was another great one. EQ'n the bass created violent levels of bass and could really feel the air being pushed on your ears, close to the level of HA-SZ2000 I used to own, but with much better clarity.

 

[koven]

Abyss Phi is the electronic music king for sure. Followed by LCD4. Need planar bass for a truly immersive EDM experience.

 

[squeakez]

Electronic music is the only genre I listen to through headphones. My favorite combo by far are my DT880/600 with a Moon Audio Blue Dragon cable, Emotiva BasX A-100 amp (jumpers installed), Topping D50 DAC, and the Schiit Loki to tweak for more bass. I don't think you can just say that certain headphones are the best because so much happens with the rest of the chain of gear. I also love my T1.2 with a balanced cable and the SMSL SP200 amp and the SMSL SU-8 DAC in balanced mode. So far this is the best I have heard and I have owned a lot of headphones over the past several years trying to find EDM nirvana.

 

[SilverEars]

when I listened to Techno from the HD800 I wanted to throw them against a wall!!

Hmmm, I guess some people has not heard HD800 or S out of ZDS (Zana Deux Super) tube amp? Although I can understand for the low-end performance of HD800 or S in regards to most solid-state amps.

I will say that ZDS brought out the bass of TH900 more than any other amps I've tried. I would rather go with HD800S due to the speed, and crispness which I find electronics really need. With the stage of HD800S, it's unbeatable for electronic music.

When you get HD800 or S's response really tight with good dynamics, with the wide sound stage, electronics music just comes alive with necessary speed.

Sure having high bass quantity is good, but speedy bass is important for electronic genre. I wouldn't want slow high quantity bass. I want something that hits at a quick speed. For hip-hop, sure. I wouldn't go with some thick sounding cans like ZMF for electronic.

 

[montanari]

If you are happy with them I m definitely happy

 

[Seannlifts]

I'm surprised the Klipsch HP-3s aren't on the list. In my opinion, they are a more refined version of the Th900s.

 

[NZtechfreak]

Abyss Phi TC. First time listening to Infected Mushroom on them I put on Becoming Insane and at the first bass drop broke into the silliest spontaneous grin I've sported for many a year.

 

[Kammerat Rebekka]

It rather depends on the individual methinks. Personally I could never quite understand fans of this genre who vehemently go out of their way in order to find a can with about as much bass energy as possible....yet when you really think about it most of this kind of music has already been mixed/produced with bass frequencies high in the mix. So on top of big bass we decide upfront that every producer inside electronic music basically doesn’t know what he’s doing and that we most definitely need more low-end.
Don’t get me wrong, I absolutely adore a hefty bass...but I prefer one that digs deep and remains detailed and clear over a simple whack over my head..YMMV of course....yet that still leaves the rest of the frequencies up for debate. Audezes for example should be my holy grail...and the bass is certainly brilliant for genres like this..but the house tuning in the mids have always made me look elsewhere.
When I listen to music, including stuff like electronic, funk and hip hop where the bass at times takes center stage, I still need my mids aka the presence region where 90% of all music takes place. Audezes to me are brilliant for poor recordings that need a little extra warmth to mask the production mistakes...not wellrecorded music that doesn’t need to hide away critical information in places where our ears are working at their best.

That leaves us with a few recs:
I would personally take something like a KRK KNS8400 over most other closedbacks for this type of music. It has a most wonderful bass whilst keeping a very balanced tuning for the rest of the frequencies.
If you want to throw a little more dough at a closedback I’d spring for a D7200 or one of Drop’s variations of the Foster-driver cans.
Openback rec? Easy, check out the K245
...aaand the X2 as well as Ollo’s openbacks.

Top rec? Get an HE500 off the used market and laugh like a madman when you realise the sheer genius of what some 300$ can provide you with, when you refrain from throwing it at the usual flavour of the month

 

[gazzington]

Fostex th900 are my current favourite for electronic music. Thinking of getting an audeze next. Either a lcd 2, lcd x or lcd xc. Not sure which would be best

 

[levap]

Fostex th900 are my current favourite for electronic music. Thinking of getting an audeze next. Either a lcd 2, lcd x or lcd xc. Not sure which would be best

I would consider Kennerton Thekk, for me they're like Fostex 900 in sound signature, but tecnically better and with planar magnetic character.


Kennerton Thekk

Traditionally, let's start with the general sound signature of the cans. And wel’ll go through the description of characters of the nearest neighbors - Thor and Odin v 2. Highs (unlike Thor and even more so from Odin) with a bright spark, not so intense that you squint at the brightness, but the spark definitely is present and noticeable. Mids are clean and smooth, reminiscent of Thror, but with a noticeable warm, or rather even sweet flavour. Odins, however, differ in a more "rough" (in a good sense) mids. The bass is also not like that of the neighbors – first of all, more prominent on the lower part of the bass and larger in volume. In general, it is closer to Thror-structured and detailed bass, without the fat and slightly unhurried character of Odin bass. But at the same time, the overall quality is probably simpler than that of Thror – it lacks the thoroughness and confidence of attacks. With a larger volume of impact mass, it seems that the density of this substance is less than that of Thror or Odin, so the result from the impact is less impressive (which, for example, on metal music, is quite noticeable). The scene width is superior to both Thror and Odin, in this aspect Thekk is the undisputed leader.

From the first hours of listening, I had the impression that I was dealing with the reincarnation of the Fostex 900, in an isodynamic version. A bit bright treble, sweet mids, provocatively big bass, the overall breadth and boldness of character – everything about them.

Let's see what's going on music genres.

Jazz. As with Fostex 900 - the tips of the fingers tickle the tips of the nerve endings. The “wow-factor” running at full speed and is quite appropriate. Female vocal purrs in a mermaid attraction manner. A piano - uncannily rolling. But I repeat – for a short distance, it is quite delicious and exciting. Roll the discography of Diana Krall 200 times in a circle and not get bored.

Electronica. Here cans surprised me - on the one hand it was predictable (prominent bass/subbass, convincing clean mids, clear treble and overall high speed - a serious guarantee of success). The other is still somewhat suddenly – very rare for this genre I like warm colored cans character. (Everything is beginning to feel very friendly. The cold, more detached approach to electronic music is much closer to me.) However, the practice of the last couple of weeks has shown that Thekk is really a great tool for this genre, an excellent guide both for energizing Infected Mushrooms, for example, and for motivating background thinking activities through Autechre.

Metal.

What’s impressive.

Power - way to the astral travel. Crazy genre and crazy headphones – 100% subject for synergistic resonance. Frodo and Gandalf dance lezginka with two-handed swords in their teeth to the rhythmic applause of the Nazgûl. The space, brightness and briskness of the bass are the basis of the resonance.

Alternative, Thrash – well, cool and perky, not too serious cans sound signature, sparkle and fervor for subgenres - the very needed things hitting the bull's-eye

Industrial – it turns out almost perfectly (see a more detailed review of Electronica).

Symphonic, Progressive - everything is not so clear. The scale of soundstage is certainly beneficial. And if on relatively frivolous albums, for example early Nightwish all looks well on mood (but here is the quality of these early albums alas…), then on something more thoughtful, say Opeth - relevance of headphones coloration already much less obviously. Well, due to the objectively high level and tear-knocking vocals, the overall impression remains far in the positive zone.

Heavy Metal - headphones perfectly play rock, colored aside from the neutrality of boring – quite delivers the opportunity to exhale and float on the waves of the genre. Well, the technical ability is enough with a reserve.

Not so impressive.
Black, Death, Grindcore – impressions remain generally in a positive zone. But this point clearly puts Thekk below both Thor and Odin – "with a larger volume of impact mass, it seems that the density of this substance is less than that of Thor or Odin, so the result from the impact is less impressive." On these subgenres, Thror is clearly dominates by greater technicality, and Odin - by more synergic character.

Doom, Sludge, Stoner – a quick ride with fog lights on through the subgenres isn't exactly what you expect. It is more correct to collect the fog thicker, tidying up the detail and brightness of the treble, making the meat on the bass fatter.

Goth - anti-synergic for sad genre, fan and joy flow miss to hit the aim.

In total, we have cans that can make the first vivid impression, “wow-factor”. And then hold it securely – due to the fact that the cans are certainly top level cans, the special effects embedded in them do not give the impression of cheap, there is something to look at for your own pleasure. Over a long distance, however, things may not work out so good for Thekk's benefit. For example, Fostex 900, I, after listening to their sweet voices, finally sold without much regret. And in this sense, the higher price of more balanced, neutral, calm and honest Thror looks understandable. Odin really look simpler than Thekk, at least the resolution of the highs and bass in the first place - clearly on the side of Thekk. And if Thekk and Odin are relatives, they are more likely cousins or even second cousins.

 

[gazzington]

I would consider Kennerton Thekk, for me they're like Fostex 900 in sound signature, but tecnically better and with planar magnetic character.


Kennerton Thekk

Traditionally, let's start with the general sound signature of the cans. And wel’ll go through the description of characters of the nearest neighbors - Thor and Odin v 2. Highs (unlike Thor and even more so from Odin) with a bright spark, not so intense that you squint at the brightness, but the spark definitely is present and noticeable. Mids are clean and smooth, reminiscent of Thror, but with a noticeable warm, or rather even sweet flavour. Odins, however, differ in a more "rough" (in a good sense) mids. The bass is also not like that of the neighbors – first of all, more prominent on the lower part of the bass and larger in volume. In general, it is closer to Thror-structured and detailed bass, without the fat and slightly unhurried character of Odin bass. But at the same time, the overall quality is probably simpler than that of Thror – it lacks the thoroughness and confidence of attacks. With a larger volume of impact mass, it seems that the density of this substance is less than that of Thror or Odin, so the result from the impact is less impressive (which, for example, on metal music, is quite noticeable). The scene width is superior to both Thror and Odin, in this aspect Thekk is the undisputed leader.

From the first hours of listening, I had the impression that I was dealing with the reincarnation of the Fostex 900, in an isodynamic version. A bit bright treble, sweet mids, provocatively big bass, the overall breadth and boldness of character – everything about them.

Let's see what's going on music genres.

Jazz. As with Fostex 900 - the tips of the fingers tickle the tips of the nerve endings. The “wow-factor” running at full speed and is quite appropriate. Female vocal purrs in a mermaid attraction manner. A piano - uncannily rolling. But I repeat – for a short distance, it is quite delicious and exciting. Roll the discography of Diana Krall 200 times in a circle and not get bored.

Electronica. Here cans surprised me - on the one hand it was predictable (prominent bass/subbass, convincing clean mids, clear treble and overall high speed - a serious guarantee of success). The other is still somewhat suddenly – very rare for this genre I like warm colored cans character. (Everything is beginning to feel very friendly. The cold, more detached approach to electronic music is much closer to me.) However, the practice of the last couple of weeks has shown that Thekk is really a great tool for this genre, an excellent guide both for energizing Infected Mushrooms, for example, and for motivating background thinking activities through Autechre.

Metal.

What’s impressive.

Power - way to the astral travel. Crazy genre and crazy headphones – 100% subject for synergistic resonance. Frodo and Gandalf dance lezginka with two-handed swords in their teeth to the rhythmic applause of the Nazgûl. The space, brightness and briskness of the bass are the basis of the resonance.

Alternative, Thrash – well, cool and perky, not too serious cans sound signature, sparkle and fervor for subgenres - the very needed things hitting the bull's-eye

Industrial – it turns out almost perfectly (see a more detailed review of Electronica).

Symphonic, Progressive - everything is not so clear. The scale of soundstage is certainly beneficial. And if on relatively frivolous albums, for example early Nightwish all looks well on mood (but here is the quality of these early albums alas…), then on something more thoughtful, say Opeth - relevance of headphones coloration already much less obviously. Well, due to the objectively high level and tear-knocking vocals, the overall impression remains far in the positive zone.

Heavy Metal - headphones perfectly play rock, colored aside from the neutrality of boring – quite delivers the opportunity to exhale and float on the waves of the genre. Well, the technical ability is enough with a reserve.

Not so impressive.
Black, Death, Grindcore – impressions remain generally in a positive zone. But this point clearly puts Thekk below both Thor and Odin – "with a larger volume of impact mass, it seems that the density of this substance is less than that of Thor or Odin, so the result from the impact is less impressive." On these subgenres, Thror is clearly dominates by greater technicality, and Odin - by more synergic character.

Doom, Sludge, Stoner – a quick ride with fog lights on through the subgenres isn't exactly what you expect. It is more correct to collect the fog thicker, tidying up the detail and brightness of the treble, making the meat on the bass fatter.

Goth - anti-synergic for sad genre, fan and joy flow miss to hit the aim.

In total, we have cans that can make the first vivid impression, “wow-factor”. And then hold it securely – due to the fact that the cans are certainly top level cans, the special effects embedded in them do not give the impression of cheap, there is something to look at for your own pleasure. Over a long distance, however, things may not work out so good for Thekk's benefit. For example, Fostex 900, I, after listening to their sweet voices, finally sold without much regret. And in this sense, the higher price of more balanced, neutral, calm and honest Thror looks understandable. Odin really look simpler than Thekk, at least the resolution of the highs and bass in the first place - clearly on the side of Thekk. And if Thekk and Odin are relatives, they are more likely cousins or even second cousins.

How are the odin and thror for electronic music. I love Black metal too!

 

[levap]

How are the odin and thror for electronic music.

Thror vs Thekk vs Odin for electronic music… Thror – would be my choice to stay for long. More cold/neutral (great for electronica!) and balanced. Thekk – more fun in bigger bang on lower bass, more spark on treble, so more bright first effect, but not sure in long term listening (I personally get tired by more prominent coloration). Odin – not so great compared to Thror and Thekk, not so fast and clear as rivals. But compared to most of lower end competition – of course they are good, really good.

 

[Dasaesthetics]

Bump. Will this be updated?