gardibolt
100+ Head-Fier
- Joined
- Sep 18, 2015
- Posts
- 429
- Likes
- 372
Last year I did a shootout of bang-for-the-buck headphones using classical music (which is the vast majority of what I listen to). Since then I've acquired a number of mid-level headphones that are generally well regarded for classical, so I thought I would update the shootout with these new acquisitions. I pitted five new contenders against the top three scorers from the first shootout to see if I can't arrive at a mid-fi classical music champion.
My methodology and my background are described in detail in the first shootout, so I won't repeat them here. I did make two significant changes: 1) instead of the portable amp I used in that shootout, I've used my O2 amp from Mayflower (except of course with the Koss electrostatic). It may not be the greatest amp, but it's very very neutral and it has plenty of power even for the hardest-to-drive headphones in this challenge, so it seemed like the appropriate platform for testing these headphones. 2) Because these headphones are all really good, and the differences between them are small, rather then ranking them 1 to 8, I instead broke them into up to four tiers, and allowed ties in those tiers. That leads to a warning ahead of time: really, a person could be happy with any of these headphones for classical music. The differences aren't huge. But there are differences, which I hope to describe for you in sufficient detail that you can make informed purchasing decisions for the music you like and your preferred sound.
The new contestants are:
1. Beyerdynamic DT880 (600 ohm version). These open dynamic headphones are quite comfortable. They have a kind of plastic feel and don't feel particularly substantial, but the earpads work well on my big ears. They come with a somewhat long, but workable, cable. By far the hardest contestants to drive, they list for $399 but are commonly available for around half of that.
2. Sennheiser HD600. These open dynamic headphones are well-regarded as one of the classics that everyone agrees on as a great headphone. They're reasonably comfortable and lightweight but seem solidly built. The cable connectors strike me as delicate but so far they've given me no trouble. Also listing at $399, the HD600 can frequently be found for under $300.
3. Sennheiser/Massdrop HD6XX. All indications are that this is the open dynamic HD650 with a new coat of paint. The "fun" version of the HD600, these are also considered one of the great headphones and a staple in most folks' collections. While the HD650 lists as $499, Massdrop sells the 6XX for the ridiculously low price of $199 on a pretty regular basis. Supposedly the HD650 is being discontinued, but there's no word that I'm aware of as to whether the 6XX will also be discontinued. Since it's one of Massdrop's most popular offerings, my guess is that it'll continue to be available if Massdrop has anything to say about it. The clamping force on these was so severe they actually bent the frames of my glasses, but there are YouTube videos describing how to lessen the head-crushing clamp. They also lack the handy color coding that the HD600 has for determining the left and right sides.
4. Focal Elear. These are a recent offering from the French speaker company Focal and they made a big impression when they hit the market in 2016. Some of the bloom is off the rose since a backlash has hit hard, but for a while these were the flavor of the month and were briefly resident on Tyll's Wall of Fame at innerfidelity.com. They're very solidly built and have a very luxe feel, though the insanely heavy cable is a drawback for many. Retails for $999 but recent specials have been in the $600-$700 range. Massdrop also offers a variant called the Elex from time to time.
5. Koss ESP-950. A very popular entry-level electrostatic headphone, these have been essentially unchanged since about 1991. They look it too; they're like a person from 1988's idea of a high-tech-looking headphone. They're very old school and feel flimsy, but one could also look at them as no-nonsense. They require their own "energizer" amp (though a lot of people like to jury-rig a cable to make it work with a Stax amplifier). For purposes of this shootout, the supplied stock amp was used. List price is $999, though occasional specials can be had for significantly lower. 2019 UPDATE: Massdrop now regularly offers its version of the ESP-950, the ESP/95X, at an astonishing $500. I haven't tested the Massdrop version personally but my understanding is that it's just a relabeling.
5A. HiFiMan HE-560. Apparently discontinued, these open planars have a glorious sound, especially for choral music. Unfortunately, the left driver on my first set acquired on closeout stopped working after ten hours; the the right driver on the replacement set stopped working after two hours. When I sent them in to HiFiMan for warranty repair they sent me only a headband. In addition, the HE-560 Impressions thread makes it clear that a low quality plastic was used on the frame in recent months, with a resulting rash of broken yokes and similarly useless headphones. Accordingly, with such atrocious QA, abysmal build quality and dismal customer service I can't recommend them in good conscience (but if you have a working pair, treasure them), and they are accordingly DISQUALIFIED like a Russian athlete. [UPDATE: HiFiMan seems to have resolved its QA issues on this headphone, which turns out NOT to have been discontinued, so I hope to add it, the Focal Clear and Beyer T1.2 to this shootout before long.]
The old contestants who took the top slots in the previous shootout are:
6. HiFiMan HE400S, an open planar magnetic listing for $299;
7. Oppo PM-3, a closed-back planar magnetic listing for $399 [UPDATE: Oppo is now sadly no longer making headphones, but if you can get a pair of the PM-3s used at a reasonable price, I'd jump on it,]; and
8. Beyerdynamic DT660, a closed-back dynamic listing for $259 but frequently available for under $100 (and at that price it's an insane bargain for classical music).
All headphones were tested stock and completely unmodified, all with their original stock cables. All have at least 30 hours of break in time, and in many cases substantially more than that. I tested all of the old contestants fresh against the new contestants; some of the descriptions may be the same as in the prior shootout, but as appropriate I've also noted different results that may be attributable to the amp (in particular, the PM-3 seems to scale with the better amp moreso than the HE400S and DT660, but they did also improve somewhat). I suppose I should note that none of these were freebies; I paid my own cash for them all so hopefully that will make for an honest assessment of these eight cans. On to the shootout!
1. János Starker, Bach Cello Suite #1, 1st movement, Prelude (Mercury Living Presence). A beautifully-recorded performance with great intimacy. Detail and subtle variations in sound abound in this recording, and we're looking for a headphone that renders that clearly and without shrillness or harshness.
The HD600 offers more bass oomph than either Beyer. It's a very smooth presentation, with some details of Starker's finger movement on the strings, but not quite so obvious as is the case on the Beyers. A very pleasant listen; the highest notes don't have an unpleasant edge. Harmonics and the sound of reverb are outstanding.
The Focal Elear is also very smooth and pleasant, with plenty of bass. There's a visceral sense of the bowing movement on the strings. The string noises and breathing are not so forward as on the Beyers.
The HE400S really makes the presence of the cello known. The bass bite is much better on these headphones through the O2 than was the case with the Fiio E11K; the low notes are particularly striking. They offer a very wide soundstage and the harmonics at the end ring clearly and beautifully.
The Oppo PM-3 is resonant, crisp and clean and does a fine job of resolving details while still providing a solid bass on the low notes. Background noises seem less noticeable. Slight crescendos are quite apparent, but on the whole they're lacking in impact as opposed to the top three.
The Koss offers excellent depth and bass, with lots of finger action and breathing audible. Very airy sound, with lots of space but at the same time they have a weird sensation of being very "in the head." Naturalistic with excellent harmonics.
The DT660 offer a throaty and lively tone. Where they really excel is in the little details of the rasp of the rosin against the string, the slight creak of the strings under the pressure of the bow, and the mild thumps and noises in the cello itself as well as Starker's breathing. There's a startling immediacy here beyond any others tested. It's like your face is right up against the cello. That may not be for everyone.
The big brother DT880 is also very detailed and the bass has good bite. Starker's vibrato comes across beautifully. The high notes are a shade shrill, even more so than on the DT660, but otherwise it's pretty similar to the DT660 sound.
The HD6XX were the only headphones that I found seriously disappointing in this test. They're even smoother than the HD600s, and in fact too smooth. I felt I was missing a lot of the fine details. They do have a very open feeling, but I couldn't get over the fact I was losing subtleties such as the harmonics on the final note. They don't sound bad, but they don't live up to the others tested. Their strong suit is the excellent low end depth.
Tier 1: HD600, Elear, HE400S
Tier 2: PM-3, ESP-950
Tier 3: DT660, DT880
Tier 4: HD6XX
2. Leonard Slatkin conducting the Lyons National Orchestra, Richard Strauss: Also sprach Zarathustra. This is my problem recording: it's a private recording of a stereo radio broadcast that was poorly miked, with a very noisy audience. Key points of attention are the massive low C on the organ in the introduction, and the tubular bells at the climax, as well as the various solo instruments having their proper timbre. It's vitally important that the orchestral sound not turn to mush.
The Focal Elear was by far the best at rendering this difficult recording. The depth of the sound is amazing and Strauss' masterful orchestration really gets a workout, with excellent instrument placement. The soundstage is a huge 240 degrees. The low C on the organ is just wow. The brass is very forward, with excellent presence. When the strings enter, it's just glorious. When the timpani hits, it's big but not overpowering. The solo violin and cello have great impact, and even the woodwinds have a natural timbre. I frankly never thought this lousy recording could possibly sound this good, which leads to a philosophical question about the test: is it better for a lousy recording to sound lousy (and hence accurate), or is it better to make the most of what's there? I opted for the latter. The main drawback is that the hiss on the recording is fairly prominent with the Elear, but otherwise they're everything I could ask for.
The Oppo PM-3 is the best of the second tier, with a sense of having a live orchestra in front of you. I continue to be amazed at how precisely the PM-3 can locate not only the instruments in front of you but the coughers on every side of you: you can tell exactly where they're sitting, which I find phenomenal although a little distracting.There's plenty of bass on the opening organ pedal, which is super clear and rattles your core. The timpani are appropriately raucous without overwhelming the rest of the orchestra. The sound is lush and rich without being sloppy. In particular, the woodwinds are well defined. It's a very solid rendition, but it just doesn't have the hair-raising impact of the Elear.
The HE400S has good definition as well. The section Of the Great Longing is beautifully balanced. The transition into Of Joys and Sorrows, with the fast triplets in the low strings, is exceptionally crisp and clear, and doesn't get lost in the mix as it does on many other headphones. The high strings are sweet and not shrill. The ethereal ending is quite wonderful. Instrument placement is excellent, as is the low C, though neither is quite as impressive as on the top two entries. If this weren't a head-to-head test, I'd say the piece sounds great on them. I warned you that the differences are subtle, and this is a case in point.
The Koss ESP-950 had a really big and natural sound. The pizzicato is very lifelike. The brass doesn't have the huge impact found on the Elear, but it's still pretty good. Trills and fast notes are a particular strength of these headphones. The tubular bell is hefty sounding.
The DT660 has a forward and brighter brass sound. It feels like you're in the second row in front of the orchestra. The pizzicati have fine detail, and there's plenty of low bass (especially that C on the organ), but as the violins get higher they have a tendency to get a little shrill. All of the solos come through with nice clarity. Tape hiss is prominent but annoying only in the quieter passages. One of the brightest headphones tested, they do have good instrument placement.
I felt the DT880 was also forward and bright, but at the same time the orchestra seemed somewhat distant. There seemed like an imbalance between the higher registers and the more subdued lows. Strings were occasionally shrill. Instrument placement is excellent. The Tanzlied with its solo violin is exceptionally nice, with a presence that lends great joyousness to the sound. The solo instruments did on occasion seem a bit harsh.
The HD600 was a bit disappointing on this recording, probably reflecting a greater accuracy of its many shortcomings. Is that a good thing? If you think it is, you'll rate them accordingly a good deal higher than I did. The low C of the organ is lacking oomph. The brass tone is overall good, but strings are a little muddy and amorphous in earlier sections, though they resolve somewhat better in later sections. The bells sound tinny rather than forceful.
While the HD6XX had a huge sound in the opening, and the timbre of the timpani is just about perfect, the strings are not terribly well rendered. The brass is lively and the woodwinds do have a nice presence as well. Overall a feeling of muddiness really drags down the scores of the 6XX.
Tier 1: Elear
Tier 2: PM-3, HE400S, ESP-950
Tier 3: DT660, DT880
Tier 4: HD600, HD6XX
3. Claudio Abbado conducting the Berlin Philharmonic live (2001); Ludwig van Beethoven Symphony No. 3, 'Eroica,' third movement Scherzo (Deutsch Grammophon). This is also a live performance but is exceedingly well recorded. The particular point of interest here is the definition between the soft but fast quarter notes at the beginning, and the attack of the horns in the Trio section. The Berlin horns just nail this performance unlike any I've ever heard, so I was especially looking for which headphone would convey the impact of that experience the best.
The DT880 hit their stride here. There's a real sensation of depth to the strings in the opening. The celli have solid impact but are still well controlled. So detailed, and really a lovely presentation. The Beyers thrive on differentiation and that's nowhere more apparent than on their rendering of the strings here as separate instruments rather than a mass of sound. The horn impact is excellent, and is very brassy. The coda is particularly strong. A really fine offering.
The PM-3 holds its own, with a spectacular dynamic range and impressive crescendi. The middle lines are clear and distinct, while the oboes and bassoons come across with great delicacy when called for. The horns have a solid and effective bite. The counterpoint is clear and easily followed. Subtleties are everywhere, but when need be, such as the tutti, they can give you huge as well. I have no complaints at all.
The HD600 scores well despite a somewhat forward-sounding opening. Detail and range are excellent. The sound is really immersive. The horns sound right and hold their own against the strings. They don't quite match the PM-3 for subtleties but overall quite satisfactory.
The DT660 also has another crisp and clear opening, with great delicacy. The placement of the strings is quite clear. The horns are solid, with good presence. The woodwinds are rather bright, but there's very good dynamic range.
The Elear has a realistic sounding opening, but it's not as subdued as the top scorers; it's just a BIG sound all the time--the Elear doesn't do subtlety very well. The celli have great oomph and the tutti is huge, but the sound is still crisp and airy without blurriness. The horns are luscious and buttery; I knew that the Elear is at its very best in rendering horns and in that respect they don't disappoint. The main drawback was the feeling of the loss of contrast between the soft opening and the big, brassy trio and the loud tutti.
On the other hand, the ESP-950 opens just barely within the range of audibility. The soundstage is big, wide and open. It's at its best in the quiet moments. Everything is super crisp and clear until it gets loud and then things become a little disappointing as it all turns to a slurry of sound. The horns have reasonably good bite, but there's not enough depth to the sound. A little disappointing.
The 400S doesn't do as well this time around as it did in the earlier shootout. It does have the advantage of an open and airy feeling and wide separation. Even though the string attacks and horns are crisp and weighty, it feels a bit veiled at times and lacking in excitement. It's hard to put my finger on what went wrong here but they didn't get the job done.
While the 6XX has good presence and soundstage, the impact one would hope for just isn't there. The tutti is nonetheless clear and well-defined. The timpani comes off rather a bit big. The horns are nice but they feel distant, and strings tend to cover them up a bit. Balance is lacking overall and detracts from the listening experience.
Tier 1: DT880, PM-3
Tier 2: HD600, DT660, Elear
Tier 3: ESP-950
Tier 4: HE400S, HD6XX
4. Sviatoslav Richter, Ludwig van Beethoven: piano sonata #32 op.111, 2nd movement Arietta (live recording, 17 Oct 1991 on Philips). One of the sublime achievements for the piano, achingly rendered by Richter, this is a great performance. The recording is quite good for a live performance as well, with about 30 seconds of applause and shouts of "Bravo!" at the end. What we're looking for here is recognizing the piano as a Yamaha (Richter played Yamahas exclusively towards the end of his career), and being able to clearly hear pedaling effects and variances in touch. The trills so lauded by Thomas Mann near the end need to come through with clarity and sensitivity while still being very soft in volume.
The Koss ESP-950 is in a class by itself on this recording. With clear, transparent sound, it gives a definite Yamaha tone. It's very open and airy, feeling like you're fairly close (but not weirdly so) in a large concert space. The lightness is perfect for this performance with the trills sounding elegant and ethereal. It's just about faultless. The applause is a little subdued, but that's a plus in my book; there are few listening experiences worse than having a quiet sensitive performance followed by raucous audience noise.
The Sennheiser HD600 also offers a very clear and crisp sound, but it's not terribly open. It's very close feeling and somewhat in the head. Harmonics come across well. The differentiation of touch is very striking. The louder variations are striking and solid without being noisy. The contrasts are absorbing, and the triplets are very nice. They HD600 also offers surprisingly good bass extension. The applause is very distinct. If there were a bit more distance to the soundstage they'd be in the ESP-950's class, but they otherwise do everything right.
The DT660 puts the piano about ten feet in front of the listener. There's plenty of detail; we hear a slightly disconcerting amount of Richter's breathing. The Beyer clarity works really well on this recording, with exceptionally clean notes, touch variations and pedaling. It might even sound a bit dry, but the Yamaha sound still comes across well. The audience sounds are crisp but not as well located as on the Oppo. It is a shade bright, with ringing harmonics. Crescendi are very crisp, and the triplets sound absolutely wonderful. If you don't mind the brightness, these would be a top performer.
The DT880 isn't as bright as the 660, but still has almost all of its virtues. Again, there's a front-row feeling of being close but not uncomfortably so. Richter's touch at times comes across with almost painful sensitivity. There's nuance galore, and accents are powerful. It's profoundly moving and a fine choice on this recording.
The Sennheiser HD6XX does quite well here, with good delicacy and a pretty open sound. It offers a very strong front-row perspective. Accents have a solid impact, and the louder variations have great immediacy. The trills have excellent clarity, but I was a bit disappointed by the lack of differentiation between episodes that were pedaled and those without pedal. Still very striking overall.
The PM-3 has a nice bass line and overall sounds very lifelike. Richter's pedaling comes across very clearly and accents are crisply defined. Again, it is very close and sounds almost as if you're sitting at the piano with Richter, with bass to the left and treble to your right. The high end sounds right and the audience sounds at the end are very directional; again you can pinpoint who is sitting where. Unfortunately, all of that goodness is spoiled somewhat by a rather compressed dynamic range: there's not a huge difference between the loud and the soft and what should be vanishingly quiet is instead pretty in your face.
That problem is shared by the Focal Elear. Even though there's an excellent low end, and Richter's varying touch comes across beautifully, the quiet notes just aren't quiet enough. Nevertheless, it has a natural sound and the trills are gorgeous and delicate. The applause is wide and natural sounding. It's too bad that the range is so compressed because they'd compete with the Koss otherwise.
I felt the HE400S was a bit more distant sounding, with the listener perhaps 20 feet away. The delicacy of the softer variations came across well but in spots it was a bit blurry and I missed the touch clarity and crispness of the triplets that came with the Beyers. Some of the trills were a shade tinkly. Nevertheless, it's an enjoyable listen. If I weren't comparing these all head to head this would still be a very satisfactory listening experience, which points up just how small the differences are between these headphones.
Tier 1: ESP-950
Tier 2: HD600, DT660, DT880, HD6XX
Tier 3: PM-3, Elear, HE400S
Tier 4: None
5. Sheridan Ensemble, Carl Czerny: String Quartet in A minor, III. Scherzo (Capriccio). This is a fairly recent and state of the art chamber music recording that has received stellar reviews for sound quality. Unsurprisingly, all of the tested headphones did pretty well with this source material. Key points: balance and clarity of the four voices, and the Trio of the Scherzo has a distinctive section with the cello playing pizzicato while the other three instruments bow.
The HE400S has excellent placement, and although the sound is close it's quite lovely. The cello pizzicato more than holds its own. These headphones gave the unmistakable impression of a curved soundstage, which would be appropriate for the usual placement of a quartet. There's solid impact and timbre is very natural. Accents are vibrant, and the variances in intensity come across clearly. Very little to complain about here.
The ESP-950 also does well, with a big and open soundstage. The opening accents seem a little subdued compared to the HE400S. The cello has excellent extension but is always under control. The location of instruments is quite solid. It is a very close sound that's a bit in the head at times. There is a sense of rosin on the strings that's quite visceral and really takes one into the performance. The pizzicato seems a little echoey, but it's well located and balance is excellent. The counterpoint moving through the voices is always easy to follow.
The HD600 also offers crisp and solid attacks without being overwhelming. There's very nice balance between the voices, and bass harmonics are quite clear; there's no murkiness at the bottom end. The cello timbre is especially good. The soundstage is decent with excellent instrument placement. The pizzicato feels very right, and while it's playing the cello is located to a pinpoint. It's really a delightful listen. The main drawback is that the middle voices of the 2nd violin and viola seem a little bit recessed at times. Harmonics are quite good.
The Elear also has a very open sound, with a huge 240-degree soundstage. Accents are surprisingly well controlled for a headphone that makes its bread and butter out of impact; they're not exaggerated but definitely there. Middle voices are clear and easy to follow. There's no shrillness at the top end, and overall it feels very lifelike. There is a slight sense of being surrounded by the quartet due to the massive soundstage. Harmonics are excellent. The pizzicato is well controlled. I was very pleasantly surprised since I didn't expect the Elear to fare all that well here, but they resolve beautifully.
The DT880 offers very well controlled attacks, and the cello doesn't dominate the other voices. There's overall a good balance. Very clean and detailed sound, with about a 180-degree soundstage. There are a few brightness issues, but far less than the DT600 had. A very front-row-seat feeling here. The pizzicati are very nice, and subtle crescendos are apparent throughout. The brightness is the main failing for an otherwise great-sounding pair of headphones.
The PM-3 offers a somewhat flatter soundstage, and the cello both pizzicato and arco feels out of whack; it's rather more prominent than it should be. The opening accents have good control. As always with the PM-3, location is superb. Lines are always clear and easy to follow. The balance issues, on the other hand, keep this out of the top tiers.
The DT660 is quite bright, but it's also very clear and the notes are distinct, giving the performance more of a classical than a romantic feeling. There's pretty good soundstage precision and directionality. The Trio sounds good, with a nice balance. The brightness is just too much, and the violins at the high end are a mite harsh, so it could be tiresome to listen to at length. On the other hand, the cello pizzicato on the DT660 is one of the best, with a gentler support character than the PM-3's overwhelming presence. They do so much else right that it's a shame the high end is such an issue.
Treble harshness is also an issue with the Sennheiser HD6XX. The accents are crisp but not overpowering, and an overall airiness is quite pleasant. There's a good sense of bowing movement present. Unfortunately, the lower voices are a bit mushy and hard to distinguish. Again, the cello tends to dominate more than it should.
Tier 1: HE400S, ESP-950, HD600, Elear
Tier 2: DT880
Tier 3: PM-3, DT660, HD6XX
Tier 4: None
6. Maria Callas, Tullio Serafin conducting La Scala Orchestra; Giuseppe Verdi, Rigoletto, Act I Aria of Gilda, Gualtier Maldé - Caro nome (Pristine Classical). This is Pristine's reworking of the classic EMI mono studio recording of Rigoletto, which corrects some distortion and adds its ambient stereo processing to open up the mono sound a bit. Callas' voice goes into the stratosphere, up to a breathtaking high C-sharp, which will be the primary challenge for our contestants to render without becoming shrill.
The 400S is open sounding and brings out the stereo processing best, offering a 180-degree soundstage. It is a shade distant, but the final trill was very well defined. The muted violin lines come across well, as do the woodwinds. Callas' high notes are thrilling.
There's also a big, big soundstage from the Elear, maybe even 240 degrees. There's a nice compromise with the flutes and low strings coming across equally well. The accents in Callas' vocals are clear and crisp. It's really lifelike and beautiful, big but still very controlled.
The PM-3 does its best with the lower ranges of Callas' voice, catching the qualities that make her unique beautifully. The high notes as well sound terrific. It's really a stirring rendition of 1955 sound. The high C and C-sharp sound smooth and warm. The soundstage is about 180 degrees, and it feels like a large orchestral hall. Phrasing comes across exceedingly well, with subtle changes in breath clear. The violins are delicately portrayed. Also a beautiful option.
The DT660 acquitted itself well. Although a little bright, it's quite acceptable, and Callas' vocal qualities, especially timbre, come across well, as does her velvety portamento. The high notes are striking without being unpleasant. A little hiss is more noticeably revealed here than on other headphones. The soundstage is a little narrower, perhaps 120 degrees. Woodwinds come across well but the violins are a shade on the shrill side.
The big brother DT880 has a big, open 180-degree sound. Like the HE400S, there's a feeling of some distance. Woodwinds sound natural, and they capture the breathiness of the flutes well. Violins are not so good, being a bit detached sounding. They do offer a big low end and an impressive dynamic range with lots of detail in the vocals. Her vibrato comes across well, and the coda is really nice, with a detailed final trill.
The HD600 offers a 140-degree soundstage, and the woodwinds are a bit bright. Again, there's a feeling of distance. Callas' lower register comes across really well, and from near the top to bottom the vocals are velvety; it's only at the very highest end that they feel a little piercing. The HD600 does pick up subtleties nicely. It's close to the top tier overall. The coda has an effective ghostly sound over the strings' tremolo.
The HD6XX by contrast has a quite narrow soundstage of perhaps 90 degrees. Flutes are harsh, as is the highest range of Callas' voice. There is good depth on the lowest strings. There is nevertheless a decent open feeling to the sound, and subtleties come across well. The pizzicato celli are more prominent than on the other headphones. The coda has a good sense of receding into the distance, but the final trill is a little mushy and unclear.
The electrostats offered the smallest soundstage, about 60 degrees, but an odd sense of verticality also came with it. Callas is very forward sounding, and the low strings have a good impact. There's a pleasant smoothness to the voice, with no wooliness. The final trill does come across in lovely fashion. The main complaint I have is the cramped feeling to the presentation.
Tier 1: HE400S, Elear, PM-3
Tier 2: DT660, DT880, HD600
Tier 3: ESP-950
Tier 4: HD6XX
7. Lorenzo Regazzo, bass; Rinaldo Alessandrini, Concerto Italiano. Vivaldi: Orlando Furioso RV 819, Act I, Scene 5, Aria Nel profondo, cieco mondo (Orlando). (Naive). This is a fairly recent and high quality recording of baroque opera. The best headphones will have good clarity and transparency of texture, while still giving proper weight to the bass vocals; the continuo accompaniment should be support, and not the focus. Unsurprisingly, none of the contenders fared very poorly.
The Beyerdynamic DT660 has plenty of detail. The harpsichord is well located, the vocal is properly forward, and the whole blends nicely. The bass vocal seems quite lifelike on these headphones. One can truly feel the differences in the character of Regazzo's voice as it travels through various registers. The middle section of the aria is particularly good, as his voice goes into the higher ranges. There's a nice clarity that makes his breathing and trills seem lifelike. They do a terrific job of conveying the sense of baroque opera in live performance, with excellent clarity of diction. It's downright spectacular.
The Koss has an open, airy feeling. The harpsichord is a shade recessed, and the upper strings are a bit dominant over the lower ones. There's a pretty solid balance overall, with a lifelike presence to the voice.
The Oppo provides a good sense of space, and the bass voice come across well enough. There's a bit of what seems like excessive reverberation that I found distracting. The continuo is effective and forward. Strings are bright, but there's also good bass extension. The PM-3 really benefited from the improved amplification on this test, indicating that they may scale well.
The HE400S has a good balance between the continuo and the voice, but they seem a little separated from each other. The vocal is still smooth, and the distinction of head and chest voice is very clear. The trills are clean and it overall feels quite lifelike, with a rich string sound and depth to the vocals. If I have any complaint it's that there may be a shade too much bass presence.
The HD6XX has a similarly big lower end, but there's good balance with the continuo. The vocal fills the soundstage and is a little weird sounding. The lowest note has good oomph. Again, there's a bit of excessive reverb present. It's still an involving and warm listen. The 6XX is outstanding on the lower range of the vocals.
The HD600 also has a lot of reverb, making the sound seem bigger than it is. Nevertheless, the details don't get lost. The harpsichord isn't too forward, but there's plenty of bass. One can tell clearly which notes the vocalist is straining at. Again a good contrast between head and chest voice.
The Elear has a big, reverberant sound. The vocals feel lifelike and the harpsichord feels meaty and substantial, rather than the plinky quality one might expect. Whether that's a sound that you find good is a matter of opinion. I didn't find it to be so.
The DT880 has a big continuo, and while the vocals are pleasing and large the balance feels off a shade. The harpsichord is a little sparkly. There are excellent harmonics and details are prominent throughout.
Tier 1: DT660, ESP-950
Tier 2: PM-3, HE400S, DT880, HD600, HD6XX, Elear.
8. Freddy Kempf, piano; Andrew Litton, Bergen Philharmonic Orchestra. Gershwin: Concerto in F, III. Allegro agitato (Bis). This is another state-of-the-art recording that has received excellent reviews. The headphones varied to a shocking extent, with some of them rendering the sound very dark, and others quite bright, to the point that it almost felt like two different recordings. Key points: balance of the piano and the orchestra, the gong at the climax, and the clarity of the coda, where there's a lot going on at once and it can easily collapse into incoherence.
The Oppo has a big, crisp sound with a clear sense of space. The muted brass sounds fun, and the piano stands out well. The strings, both arco and pizzicato, sound solid. The antiphonal passages of call and response are particularly effective. It's quite easy to pick out instruments, and the piano has a very clear sound of being a Steinway. The only issue is the timpani is a bit too forward. Overall very engaging with lots of low bass and a thrilling climax.
The HE400S has the widest soundstage of any of the headphones and offers a nice concert hall feeling, with excellent imaging and placement. The tone is very dark indeed, but the balance is good. The gong is satisfyingly huge, and the finale is big but not messy. The clarity is very good, and the timpani, as it recapitulates the opening of the concerto, sounds excellent. The Steinway sound is clear.
The Focal Elear is also dark, with a big, bold and striking sound. They're all about impact, and this is a great piece to show them off. The Steinway sound is excellent, with the piano a bit forward. There's precise imaging without sterility. Pizzicati are crisp and delicate, while the arco strings are lush but not out of line. The dynamic range and the subtleties are superb. Very energetic listening, and a near-perfect fit for this music in its rambunctiousness. The gong has excellent presence, and the finale is well-defined but not dry. I just love these headphones with this piece.
The piano is delicate on the Koss, with good balance against the orchestra. There's a feeling that you're listening with speakers. Imaging is decent, but not on the level of the best. The woodwinds have excellent realistic timbre. The percussion is crisp but not overwhelming, and the strings are lush. It's almost clinical in its dryness, but it nevertheless has a good immediacy. The gong reverb detail is good, but it just doesn't have the impact once might hope for. The timpani, on the other hand, has excellent depth. The piano is a shade on the bright side. It really sounds almost like a closed-back headphone here.
The HD6XX, like the HD600, has good cohesion, but it's surprisingly a bit more detailed than the HD600. There's clear Steinway sensation and reasonably good imaging. It's really an engaging sound. The muted trumpets feel ominous rather than playful. Unfortunately, the piano is a little overwhelmed by the full orchestra. The timpani has excellent depth. The variety of touch on the piano is quite clear. The gong is very good, but the coda is on the unclear and messy side.
The DT660s have a rather brighter sound, and less bass sensation. The piano feels a bit more distant and is a little plinky at the high end, and it's a shade less identifiable as a Steinway. It does better in quiet passages and struggles a little against the full orchestra. The woodwinds sound particularly good, as does the percussion. The sound is rather crisper than in the DT880s, which seem a bit muffled by comparison. The climactic gong reverberates nicely, but the big finish is lacking in detail and precision. There's a nice atmosphere and decent imaging overall, and until the end there is lots of good detail.
The HD600s were a bit cramped sounding. The piano avoids any plinkiness, with a clear Steinway sound, especially in the extreme registers. The strings are very dark sounding. Imaging and placement are not very clear at all, with different voices blending. On the other hand, this does give the piece a certain cohesion that is lacking in the more details headphones. At one spot, it was difficult to identify a clarinet by its sound. The gong feels a bit, yes, veiled. There's a sense of a gestalt that some may find appealing, but I missed the details.
The DT880 takes the bright side to another level. Woodwinds are harshly bright, and the piano is on the plinky side. On the other hand, location of the instruments is excellent. The call and response are very effective as a result of the clear imaging. The percussion is a bit forward but sounds great. Strings are syrupy when louder, and are better when playing softly. It's very clean and almost antiseptic. Bass was lacking, and the gong is again a little muffled.
Tier 1: PM-3, HE400S, Elear
Tier 2: DT660, ESP-950, HD6XX
Tier 3: HD600
Tier 4: DT880
9. L'Astrée. Vivaldi: Sonata for recorder and bassoon in A minor, IV. Allegro molto, RV 86 (Naive). This is another in Naive's excellent series of recordings of Vivaldi compositions. The goal here was to see which headphones conveyed the best sense of baroque chamber music. Almost all of them rendered the sonata well overall, and with one exception the differences are subtle.
If you want airy and sweet sound that's perfectly balanced, the ESP-950 is your choice. They convey the piece with great delicacy. The continuo levels feel right, and there's good bass penetration by the cello. It's precise from beginning to end, and everything you imagined baroque music to be. Splendid.
The DT880 also renders this sonata beautifully. The recorder is sweet, and the bassoon offers good depth and has a natural sound. Balance is superb as is the imaging. A very close second to the electrostats.
An equally close choice is the HD600, which has excellent timbre from all instruments, and delightful clarity and imagery. Balance is spot on, and it feels intimate. The quick triplets on the recorder are super crisp. Any of these three would be a very pleasing choice indeed.
The HE400S sounds very big, almost too large for an intimate recording. The bassoon sounds almost brassy, but the recorder sounds excellent (words that probably have seldom been spoken). There's a little bit of blurriness in the solo instruments, but excellent placement. The harpsichord is a bit too emphasized.
The Oppo PM-3 feels closer, cleaner and somewhat better defined than the HE400S. There a good balance and a more intimate feeling, with less of a sense of sitting in front of the ensemble. The quick solo bassoon notes are very clean, and the volume changes come across in an excellent manner. There's a heavy reverb quality, probably from being closed headphones, that some may not like.
The DT660s are very crisp and a shade bright, but it nevertheless feels like a chamber presentation. The recorder, due to the brightness, is a bit overemphasized over the bassoon, and it's a shade shrill. The harpsichord sound a little unnatural and tinny. All articulations are very clear and there's a sense of hearing a virtuoso performance.
Unlike the HD600, the HD6XX isn't quite up to the task. There's a somewhat muffled sound, but there's a likeable timbre to the recorder. The bassoon is a bit out of balance, and the continuo is oddly forward and too in your face. Nevertheless, imaging is excellent.
Remember when I said the Elear excels at impact? Well, that carries over here, and not in a good way. It's overwhelming, and the impact is far too great for such a delicate piece. The bassoon sounds terrific though and imaging is excellent. But the overall impression is of trying to change a lightbulb with a pair of hammers. The Elear just doesn't do subtle.
Tier 1: ESP-950, DT880, HD600
Tier 2: HE400S, PM-3
Tier 3: DT660, HD6XX
Tier 4: Elear
10. The final test is Peter Schreier conducting the Staatskapelle Dresden. Mozart: Ave verum corpus, K.618 (Philips). One of the most beautiful compositions ever, this piece is a challenging mix of a full choir, an organ and string sections, all recorded in a reverberant setting. It's not a new recording, but it's quite solid and typical of Philips' excellent quality. We will be paying particular attention to the clarity of the different voices and how the organ comes across.
There's an excellent sense of the space through the ESP-950, with soft vocals being precisely realized. Pianissimo moments are beautifully realized, soft but still confident. There's not much imaging, but the subtlety and beautiful softness makes up for a lot. Really a nice, engaging sound.
The sense of space is likewise immediate through the DT880. All four voices are clearly differentiated. The low organ bass is solid, and the counterpoint of the strings is well delineated. It's superb, and the balance is just right, with precise dynamics. It's reverentially gorgeous, the kind of presentation that this music deserves.
The soundstage on the PM-3 is very wide, but it's delicate and controlled, which serves Mozart's ethereal score well. The extreme low organ notes sound good, and balance is solid. While the male voices are clear, it's a bit difficult to distinguish the sopranos from the altos. It's missing a bit of the subtlety found in the ESP-950 and the DT880. Consonants are crisp and clear. There's a romantic feeling of lushness, which is not entirely appropriate but still pleasing.
The HD600 also is somewhat lacking in subtlety and it's hard to distinguish the soprano and alto lines without a score. It's very similar in sound to the PM-3. Crescendi are very effective in the big and open soundstage.
The HE400S offers a very large soundstage and clear articulation. The chorus is very much in the forefront. Parts are clear and easily distinguishable. Low bass is fine, but it's not quite up to the standard of the Oppo. There's not a lot of subtlety to the dynamics. There is a pleasing sense of presence, and the strings and the organ are clearly discernable.
The 6XX is similar in sound to the 400S. The bass extension is excellent, and articulations are good. There are some reasonably good dynamic subtleties present. There's a clear differentiation not only of the voices but the different string parts. It's surprisingly nice.
From my experience with the Vivaldi sonata I approached the Elear with some trepidation. Indeed, it's quite forward and lacking in dynamic variation. The Elear just doesn't do pianissimo. While it's way bigger than it should be, the vocals still have a chilling presence and immediacy, with a gorgeous lush sound. The organ is just buttery goodness. I felt a little out of place to have such hedonistic pleasure in a church, but there's still a pleasing sound even if the detail just isn't quite there.
The DT660 does pretty well overall, with a clear distinction of choral parts and clean articulation. However, the organ gets completely lost most of the time and is usually indistinguishable from the strings. The soundstage is on the shallow side, and I sorely missed the gut rumble of the low organ bass. Dynamic changes were still very effective. Male voices were more convincing than female. It does a better job through the more capable amp than the portable used for the previous test, so it may be that this headphone scales decently well.
Tier 1: ESP-950, DT880
Tier 2: PM-3, HD600
Tier 3: HE400S, HD6XX, Elear
Tier 4: DT660
CONCLUSIONS:
Unfortunately, my conclusions are all over the map. Other than the HD6XX, which scored in the bottom tier most often (but nevertheless outperformed the vaunted HD600 on the Gershwin), the rankings are pretty close. Low scores are better:
1. 17 points: Koss ESP-950
2. 19 points: (tie) Focal Elear and Oppo PM-3
4. 20 points: (tie) HiFiMan HE400S and Sennheiser HD600
6. 21 points: Beyerdynamic DT880
7. 25 points: Beyerdynamic DT660
8. 31 points: Sennheiser HD6XX
The two most expensive offerings, the ESP-950 and the Elear, scored in the top tier five out of ten times. The ESP-950 was never in the bottom tier (as opposed to three times for the Elear, which had a highly schizophrenic scoring), so it has my recommendation among the contestants for its consistently excellent performance. The PM-3 is the clear choice among the closed-back headphones. The Elear is unsurpassed for pieces with big impact, but they don't do so well at the other extreme. Interestingly, the PM-3 and the HE400S, which are designed for portable use, scored in the top half, so either one makes an excellent choice for classical music on the move.
At the other end of the scale, the HD6XX was in the bottom tier six times of ten, and never scored in the top tier. They're not the best choice if classical music is your focus. Nevertheless, they still did some things well, particularly where low bass was a significant part of the recording. The DT660, which I like very much, was a bit on the disappointing side, but considering my pair cost less than ten percent of the price of either the Elear or the ESP-950, they still acquitted themselves fairly well, only landing in the bottom tier twice. They're a good low-budget compromise: not the best but far from the worst. I was more surprised that the DT880 didn't end up doing that much better than the budget offering from the Beyerdynamic. They share a lot of the DT660's brightness issues without bringing enough more to the table. Nevertheless, they were outstanding on the softer pieces like the Vivaldi sonata also in bringing out the texture and details in the more raucous Beethoven symphony .
I was hoping I'd be able to come to some clearer conclusions with this shootout, but as I said in the preface, none of these is a bad headphone. The differences are indeed small and subtle. But my recommendations are the ESP-950 and the PM-3.
I'll be interested in your comments and thoughts. I probably will not be doing a hi-fi version of this shootout since those cans are pretty well out of my budget (but a few years ago I would have thought that about most of the headphones in this shootout, so who knows?) If HiFiMan ever gets its act together with the HE-560, I'd love to add it to this analysis as well, but alas that doesn't seem to be in the cards.
My methodology and my background are described in detail in the first shootout, so I won't repeat them here. I did make two significant changes: 1) instead of the portable amp I used in that shootout, I've used my O2 amp from Mayflower (except of course with the Koss electrostatic). It may not be the greatest amp, but it's very very neutral and it has plenty of power even for the hardest-to-drive headphones in this challenge, so it seemed like the appropriate platform for testing these headphones. 2) Because these headphones are all really good, and the differences between them are small, rather then ranking them 1 to 8, I instead broke them into up to four tiers, and allowed ties in those tiers. That leads to a warning ahead of time: really, a person could be happy with any of these headphones for classical music. The differences aren't huge. But there are differences, which I hope to describe for you in sufficient detail that you can make informed purchasing decisions for the music you like and your preferred sound.
The new contestants are:
1. Beyerdynamic DT880 (600 ohm version). These open dynamic headphones are quite comfortable. They have a kind of plastic feel and don't feel particularly substantial, but the earpads work well on my big ears. They come with a somewhat long, but workable, cable. By far the hardest contestants to drive, they list for $399 but are commonly available for around half of that.
2. Sennheiser HD600. These open dynamic headphones are well-regarded as one of the classics that everyone agrees on as a great headphone. They're reasonably comfortable and lightweight but seem solidly built. The cable connectors strike me as delicate but so far they've given me no trouble. Also listing at $399, the HD600 can frequently be found for under $300.
3. Sennheiser/Massdrop HD6XX. All indications are that this is the open dynamic HD650 with a new coat of paint. The "fun" version of the HD600, these are also considered one of the great headphones and a staple in most folks' collections. While the HD650 lists as $499, Massdrop sells the 6XX for the ridiculously low price of $199 on a pretty regular basis. Supposedly the HD650 is being discontinued, but there's no word that I'm aware of as to whether the 6XX will also be discontinued. Since it's one of Massdrop's most popular offerings, my guess is that it'll continue to be available if Massdrop has anything to say about it. The clamping force on these was so severe they actually bent the frames of my glasses, but there are YouTube videos describing how to lessen the head-crushing clamp. They also lack the handy color coding that the HD600 has for determining the left and right sides.
4. Focal Elear. These are a recent offering from the French speaker company Focal and they made a big impression when they hit the market in 2016. Some of the bloom is off the rose since a backlash has hit hard, but for a while these were the flavor of the month and were briefly resident on Tyll's Wall of Fame at innerfidelity.com. They're very solidly built and have a very luxe feel, though the insanely heavy cable is a drawback for many. Retails for $999 but recent specials have been in the $600-$700 range. Massdrop also offers a variant called the Elex from time to time.
5. Koss ESP-950. A very popular entry-level electrostatic headphone, these have been essentially unchanged since about 1991. They look it too; they're like a person from 1988's idea of a high-tech-looking headphone. They're very old school and feel flimsy, but one could also look at them as no-nonsense. They require their own "energizer" amp (though a lot of people like to jury-rig a cable to make it work with a Stax amplifier). For purposes of this shootout, the supplied stock amp was used. List price is $999, though occasional specials can be had for significantly lower. 2019 UPDATE: Massdrop now regularly offers its version of the ESP-950, the ESP/95X, at an astonishing $500. I haven't tested the Massdrop version personally but my understanding is that it's just a relabeling.
5A. HiFiMan HE-560. Apparently discontinued, these open planars have a glorious sound, especially for choral music. Unfortunately, the left driver on my first set acquired on closeout stopped working after ten hours; the the right driver on the replacement set stopped working after two hours. When I sent them in to HiFiMan for warranty repair they sent me only a headband. In addition, the HE-560 Impressions thread makes it clear that a low quality plastic was used on the frame in recent months, with a resulting rash of broken yokes and similarly useless headphones. Accordingly, with such atrocious QA, abysmal build quality and dismal customer service I can't recommend them in good conscience (but if you have a working pair, treasure them), and they are accordingly DISQUALIFIED like a Russian athlete. [UPDATE: HiFiMan seems to have resolved its QA issues on this headphone, which turns out NOT to have been discontinued, so I hope to add it, the Focal Clear and Beyer T1.2 to this shootout before long.]
The old contestants who took the top slots in the previous shootout are:
6. HiFiMan HE400S, an open planar magnetic listing for $299;
7. Oppo PM-3, a closed-back planar magnetic listing for $399 [UPDATE: Oppo is now sadly no longer making headphones, but if you can get a pair of the PM-3s used at a reasonable price, I'd jump on it,]; and
8. Beyerdynamic DT660, a closed-back dynamic listing for $259 but frequently available for under $100 (and at that price it's an insane bargain for classical music).
All headphones were tested stock and completely unmodified, all with their original stock cables. All have at least 30 hours of break in time, and in many cases substantially more than that. I tested all of the old contestants fresh against the new contestants; some of the descriptions may be the same as in the prior shootout, but as appropriate I've also noted different results that may be attributable to the amp (in particular, the PM-3 seems to scale with the better amp moreso than the HE400S and DT660, but they did also improve somewhat). I suppose I should note that none of these were freebies; I paid my own cash for them all so hopefully that will make for an honest assessment of these eight cans. On to the shootout!
1. János Starker, Bach Cello Suite #1, 1st movement, Prelude (Mercury Living Presence). A beautifully-recorded performance with great intimacy. Detail and subtle variations in sound abound in this recording, and we're looking for a headphone that renders that clearly and without shrillness or harshness.
The HD600 offers more bass oomph than either Beyer. It's a very smooth presentation, with some details of Starker's finger movement on the strings, but not quite so obvious as is the case on the Beyers. A very pleasant listen; the highest notes don't have an unpleasant edge. Harmonics and the sound of reverb are outstanding.
The Focal Elear is also very smooth and pleasant, with plenty of bass. There's a visceral sense of the bowing movement on the strings. The string noises and breathing are not so forward as on the Beyers.
The HE400S really makes the presence of the cello known. The bass bite is much better on these headphones through the O2 than was the case with the Fiio E11K; the low notes are particularly striking. They offer a very wide soundstage and the harmonics at the end ring clearly and beautifully.
The Oppo PM-3 is resonant, crisp and clean and does a fine job of resolving details while still providing a solid bass on the low notes. Background noises seem less noticeable. Slight crescendos are quite apparent, but on the whole they're lacking in impact as opposed to the top three.
The Koss offers excellent depth and bass, with lots of finger action and breathing audible. Very airy sound, with lots of space but at the same time they have a weird sensation of being very "in the head." Naturalistic with excellent harmonics.
The DT660 offer a throaty and lively tone. Where they really excel is in the little details of the rasp of the rosin against the string, the slight creak of the strings under the pressure of the bow, and the mild thumps and noises in the cello itself as well as Starker's breathing. There's a startling immediacy here beyond any others tested. It's like your face is right up against the cello. That may not be for everyone.
The big brother DT880 is also very detailed and the bass has good bite. Starker's vibrato comes across beautifully. The high notes are a shade shrill, even more so than on the DT660, but otherwise it's pretty similar to the DT660 sound.
The HD6XX were the only headphones that I found seriously disappointing in this test. They're even smoother than the HD600s, and in fact too smooth. I felt I was missing a lot of the fine details. They do have a very open feeling, but I couldn't get over the fact I was losing subtleties such as the harmonics on the final note. They don't sound bad, but they don't live up to the others tested. Their strong suit is the excellent low end depth.
Tier 1: HD600, Elear, HE400S
Tier 2: PM-3, ESP-950
Tier 3: DT660, DT880
Tier 4: HD6XX
2. Leonard Slatkin conducting the Lyons National Orchestra, Richard Strauss: Also sprach Zarathustra. This is my problem recording: it's a private recording of a stereo radio broadcast that was poorly miked, with a very noisy audience. Key points of attention are the massive low C on the organ in the introduction, and the tubular bells at the climax, as well as the various solo instruments having their proper timbre. It's vitally important that the orchestral sound not turn to mush.
The Focal Elear was by far the best at rendering this difficult recording. The depth of the sound is amazing and Strauss' masterful orchestration really gets a workout, with excellent instrument placement. The soundstage is a huge 240 degrees. The low C on the organ is just wow. The brass is very forward, with excellent presence. When the strings enter, it's just glorious. When the timpani hits, it's big but not overpowering. The solo violin and cello have great impact, and even the woodwinds have a natural timbre. I frankly never thought this lousy recording could possibly sound this good, which leads to a philosophical question about the test: is it better for a lousy recording to sound lousy (and hence accurate), or is it better to make the most of what's there? I opted for the latter. The main drawback is that the hiss on the recording is fairly prominent with the Elear, but otherwise they're everything I could ask for.
The Oppo PM-3 is the best of the second tier, with a sense of having a live orchestra in front of you. I continue to be amazed at how precisely the PM-3 can locate not only the instruments in front of you but the coughers on every side of you: you can tell exactly where they're sitting, which I find phenomenal although a little distracting.There's plenty of bass on the opening organ pedal, which is super clear and rattles your core. The timpani are appropriately raucous without overwhelming the rest of the orchestra. The sound is lush and rich without being sloppy. In particular, the woodwinds are well defined. It's a very solid rendition, but it just doesn't have the hair-raising impact of the Elear.
The HE400S has good definition as well. The section Of the Great Longing is beautifully balanced. The transition into Of Joys and Sorrows, with the fast triplets in the low strings, is exceptionally crisp and clear, and doesn't get lost in the mix as it does on many other headphones. The high strings are sweet and not shrill. The ethereal ending is quite wonderful. Instrument placement is excellent, as is the low C, though neither is quite as impressive as on the top two entries. If this weren't a head-to-head test, I'd say the piece sounds great on them. I warned you that the differences are subtle, and this is a case in point.
The Koss ESP-950 had a really big and natural sound. The pizzicato is very lifelike. The brass doesn't have the huge impact found on the Elear, but it's still pretty good. Trills and fast notes are a particular strength of these headphones. The tubular bell is hefty sounding.
The DT660 has a forward and brighter brass sound. It feels like you're in the second row in front of the orchestra. The pizzicati have fine detail, and there's plenty of low bass (especially that C on the organ), but as the violins get higher they have a tendency to get a little shrill. All of the solos come through with nice clarity. Tape hiss is prominent but annoying only in the quieter passages. One of the brightest headphones tested, they do have good instrument placement.
I felt the DT880 was also forward and bright, but at the same time the orchestra seemed somewhat distant. There seemed like an imbalance between the higher registers and the more subdued lows. Strings were occasionally shrill. Instrument placement is excellent. The Tanzlied with its solo violin is exceptionally nice, with a presence that lends great joyousness to the sound. The solo instruments did on occasion seem a bit harsh.
The HD600 was a bit disappointing on this recording, probably reflecting a greater accuracy of its many shortcomings. Is that a good thing? If you think it is, you'll rate them accordingly a good deal higher than I did. The low C of the organ is lacking oomph. The brass tone is overall good, but strings are a little muddy and amorphous in earlier sections, though they resolve somewhat better in later sections. The bells sound tinny rather than forceful.
While the HD6XX had a huge sound in the opening, and the timbre of the timpani is just about perfect, the strings are not terribly well rendered. The brass is lively and the woodwinds do have a nice presence as well. Overall a feeling of muddiness really drags down the scores of the 6XX.
Tier 1: Elear
Tier 2: PM-3, HE400S, ESP-950
Tier 3: DT660, DT880
Tier 4: HD600, HD6XX
3. Claudio Abbado conducting the Berlin Philharmonic live (2001); Ludwig van Beethoven Symphony No. 3, 'Eroica,' third movement Scherzo (Deutsch Grammophon). This is also a live performance but is exceedingly well recorded. The particular point of interest here is the definition between the soft but fast quarter notes at the beginning, and the attack of the horns in the Trio section. The Berlin horns just nail this performance unlike any I've ever heard, so I was especially looking for which headphone would convey the impact of that experience the best.
The DT880 hit their stride here. There's a real sensation of depth to the strings in the opening. The celli have solid impact but are still well controlled. So detailed, and really a lovely presentation. The Beyers thrive on differentiation and that's nowhere more apparent than on their rendering of the strings here as separate instruments rather than a mass of sound. The horn impact is excellent, and is very brassy. The coda is particularly strong. A really fine offering.
The PM-3 holds its own, with a spectacular dynamic range and impressive crescendi. The middle lines are clear and distinct, while the oboes and bassoons come across with great delicacy when called for. The horns have a solid and effective bite. The counterpoint is clear and easily followed. Subtleties are everywhere, but when need be, such as the tutti, they can give you huge as well. I have no complaints at all.
The HD600 scores well despite a somewhat forward-sounding opening. Detail and range are excellent. The sound is really immersive. The horns sound right and hold their own against the strings. They don't quite match the PM-3 for subtleties but overall quite satisfactory.
The DT660 also has another crisp and clear opening, with great delicacy. The placement of the strings is quite clear. The horns are solid, with good presence. The woodwinds are rather bright, but there's very good dynamic range.
The Elear has a realistic sounding opening, but it's not as subdued as the top scorers; it's just a BIG sound all the time--the Elear doesn't do subtlety very well. The celli have great oomph and the tutti is huge, but the sound is still crisp and airy without blurriness. The horns are luscious and buttery; I knew that the Elear is at its very best in rendering horns and in that respect they don't disappoint. The main drawback was the feeling of the loss of contrast between the soft opening and the big, brassy trio and the loud tutti.
On the other hand, the ESP-950 opens just barely within the range of audibility. The soundstage is big, wide and open. It's at its best in the quiet moments. Everything is super crisp and clear until it gets loud and then things become a little disappointing as it all turns to a slurry of sound. The horns have reasonably good bite, but there's not enough depth to the sound. A little disappointing.
The 400S doesn't do as well this time around as it did in the earlier shootout. It does have the advantage of an open and airy feeling and wide separation. Even though the string attacks and horns are crisp and weighty, it feels a bit veiled at times and lacking in excitement. It's hard to put my finger on what went wrong here but they didn't get the job done.
While the 6XX has good presence and soundstage, the impact one would hope for just isn't there. The tutti is nonetheless clear and well-defined. The timpani comes off rather a bit big. The horns are nice but they feel distant, and strings tend to cover them up a bit. Balance is lacking overall and detracts from the listening experience.
Tier 1: DT880, PM-3
Tier 2: HD600, DT660, Elear
Tier 3: ESP-950
Tier 4: HE400S, HD6XX
4. Sviatoslav Richter, Ludwig van Beethoven: piano sonata #32 op.111, 2nd movement Arietta (live recording, 17 Oct 1991 on Philips). One of the sublime achievements for the piano, achingly rendered by Richter, this is a great performance. The recording is quite good for a live performance as well, with about 30 seconds of applause and shouts of "Bravo!" at the end. What we're looking for here is recognizing the piano as a Yamaha (Richter played Yamahas exclusively towards the end of his career), and being able to clearly hear pedaling effects and variances in touch. The trills so lauded by Thomas Mann near the end need to come through with clarity and sensitivity while still being very soft in volume.
The Koss ESP-950 is in a class by itself on this recording. With clear, transparent sound, it gives a definite Yamaha tone. It's very open and airy, feeling like you're fairly close (but not weirdly so) in a large concert space. The lightness is perfect for this performance with the trills sounding elegant and ethereal. It's just about faultless. The applause is a little subdued, but that's a plus in my book; there are few listening experiences worse than having a quiet sensitive performance followed by raucous audience noise.
The Sennheiser HD600 also offers a very clear and crisp sound, but it's not terribly open. It's very close feeling and somewhat in the head. Harmonics come across well. The differentiation of touch is very striking. The louder variations are striking and solid without being noisy. The contrasts are absorbing, and the triplets are very nice. They HD600 also offers surprisingly good bass extension. The applause is very distinct. If there were a bit more distance to the soundstage they'd be in the ESP-950's class, but they otherwise do everything right.
The DT660 puts the piano about ten feet in front of the listener. There's plenty of detail; we hear a slightly disconcerting amount of Richter's breathing. The Beyer clarity works really well on this recording, with exceptionally clean notes, touch variations and pedaling. It might even sound a bit dry, but the Yamaha sound still comes across well. The audience sounds are crisp but not as well located as on the Oppo. It is a shade bright, with ringing harmonics. Crescendi are very crisp, and the triplets sound absolutely wonderful. If you don't mind the brightness, these would be a top performer.
The DT880 isn't as bright as the 660, but still has almost all of its virtues. Again, there's a front-row feeling of being close but not uncomfortably so. Richter's touch at times comes across with almost painful sensitivity. There's nuance galore, and accents are powerful. It's profoundly moving and a fine choice on this recording.
The Sennheiser HD6XX does quite well here, with good delicacy and a pretty open sound. It offers a very strong front-row perspective. Accents have a solid impact, and the louder variations have great immediacy. The trills have excellent clarity, but I was a bit disappointed by the lack of differentiation between episodes that were pedaled and those without pedal. Still very striking overall.
The PM-3 has a nice bass line and overall sounds very lifelike. Richter's pedaling comes across very clearly and accents are crisply defined. Again, it is very close and sounds almost as if you're sitting at the piano with Richter, with bass to the left and treble to your right. The high end sounds right and the audience sounds at the end are very directional; again you can pinpoint who is sitting where. Unfortunately, all of that goodness is spoiled somewhat by a rather compressed dynamic range: there's not a huge difference between the loud and the soft and what should be vanishingly quiet is instead pretty in your face.
That problem is shared by the Focal Elear. Even though there's an excellent low end, and Richter's varying touch comes across beautifully, the quiet notes just aren't quiet enough. Nevertheless, it has a natural sound and the trills are gorgeous and delicate. The applause is wide and natural sounding. It's too bad that the range is so compressed because they'd compete with the Koss otherwise.
I felt the HE400S was a bit more distant sounding, with the listener perhaps 20 feet away. The delicacy of the softer variations came across well but in spots it was a bit blurry and I missed the touch clarity and crispness of the triplets that came with the Beyers. Some of the trills were a shade tinkly. Nevertheless, it's an enjoyable listen. If I weren't comparing these all head to head this would still be a very satisfactory listening experience, which points up just how small the differences are between these headphones.
Tier 1: ESP-950
Tier 2: HD600, DT660, DT880, HD6XX
Tier 3: PM-3, Elear, HE400S
Tier 4: None
5. Sheridan Ensemble, Carl Czerny: String Quartet in A minor, III. Scherzo (Capriccio). This is a fairly recent and state of the art chamber music recording that has received stellar reviews for sound quality. Unsurprisingly, all of the tested headphones did pretty well with this source material. Key points: balance and clarity of the four voices, and the Trio of the Scherzo has a distinctive section with the cello playing pizzicato while the other three instruments bow.
The HE400S has excellent placement, and although the sound is close it's quite lovely. The cello pizzicato more than holds its own. These headphones gave the unmistakable impression of a curved soundstage, which would be appropriate for the usual placement of a quartet. There's solid impact and timbre is very natural. Accents are vibrant, and the variances in intensity come across clearly. Very little to complain about here.
The ESP-950 also does well, with a big and open soundstage. The opening accents seem a little subdued compared to the HE400S. The cello has excellent extension but is always under control. The location of instruments is quite solid. It is a very close sound that's a bit in the head at times. There is a sense of rosin on the strings that's quite visceral and really takes one into the performance. The pizzicato seems a little echoey, but it's well located and balance is excellent. The counterpoint moving through the voices is always easy to follow.
The HD600 also offers crisp and solid attacks without being overwhelming. There's very nice balance between the voices, and bass harmonics are quite clear; there's no murkiness at the bottom end. The cello timbre is especially good. The soundstage is decent with excellent instrument placement. The pizzicato feels very right, and while it's playing the cello is located to a pinpoint. It's really a delightful listen. The main drawback is that the middle voices of the 2nd violin and viola seem a little bit recessed at times. Harmonics are quite good.
The Elear also has a very open sound, with a huge 240-degree soundstage. Accents are surprisingly well controlled for a headphone that makes its bread and butter out of impact; they're not exaggerated but definitely there. Middle voices are clear and easy to follow. There's no shrillness at the top end, and overall it feels very lifelike. There is a slight sense of being surrounded by the quartet due to the massive soundstage. Harmonics are excellent. The pizzicato is well controlled. I was very pleasantly surprised since I didn't expect the Elear to fare all that well here, but they resolve beautifully.
The DT880 offers very well controlled attacks, and the cello doesn't dominate the other voices. There's overall a good balance. Very clean and detailed sound, with about a 180-degree soundstage. There are a few brightness issues, but far less than the DT600 had. A very front-row-seat feeling here. The pizzicati are very nice, and subtle crescendos are apparent throughout. The brightness is the main failing for an otherwise great-sounding pair of headphones.
The PM-3 offers a somewhat flatter soundstage, and the cello both pizzicato and arco feels out of whack; it's rather more prominent than it should be. The opening accents have good control. As always with the PM-3, location is superb. Lines are always clear and easy to follow. The balance issues, on the other hand, keep this out of the top tiers.
The DT660 is quite bright, but it's also very clear and the notes are distinct, giving the performance more of a classical than a romantic feeling. There's pretty good soundstage precision and directionality. The Trio sounds good, with a nice balance. The brightness is just too much, and the violins at the high end are a mite harsh, so it could be tiresome to listen to at length. On the other hand, the cello pizzicato on the DT660 is one of the best, with a gentler support character than the PM-3's overwhelming presence. They do so much else right that it's a shame the high end is such an issue.
Treble harshness is also an issue with the Sennheiser HD6XX. The accents are crisp but not overpowering, and an overall airiness is quite pleasant. There's a good sense of bowing movement present. Unfortunately, the lower voices are a bit mushy and hard to distinguish. Again, the cello tends to dominate more than it should.
Tier 1: HE400S, ESP-950, HD600, Elear
Tier 2: DT880
Tier 3: PM-3, DT660, HD6XX
Tier 4: None
6. Maria Callas, Tullio Serafin conducting La Scala Orchestra; Giuseppe Verdi, Rigoletto, Act I Aria of Gilda, Gualtier Maldé - Caro nome (Pristine Classical). This is Pristine's reworking of the classic EMI mono studio recording of Rigoletto, which corrects some distortion and adds its ambient stereo processing to open up the mono sound a bit. Callas' voice goes into the stratosphere, up to a breathtaking high C-sharp, which will be the primary challenge for our contestants to render without becoming shrill.
The 400S is open sounding and brings out the stereo processing best, offering a 180-degree soundstage. It is a shade distant, but the final trill was very well defined. The muted violin lines come across well, as do the woodwinds. Callas' high notes are thrilling.
There's also a big, big soundstage from the Elear, maybe even 240 degrees. There's a nice compromise with the flutes and low strings coming across equally well. The accents in Callas' vocals are clear and crisp. It's really lifelike and beautiful, big but still very controlled.
The PM-3 does its best with the lower ranges of Callas' voice, catching the qualities that make her unique beautifully. The high notes as well sound terrific. It's really a stirring rendition of 1955 sound. The high C and C-sharp sound smooth and warm. The soundstage is about 180 degrees, and it feels like a large orchestral hall. Phrasing comes across exceedingly well, with subtle changes in breath clear. The violins are delicately portrayed. Also a beautiful option.
The DT660 acquitted itself well. Although a little bright, it's quite acceptable, and Callas' vocal qualities, especially timbre, come across well, as does her velvety portamento. The high notes are striking without being unpleasant. A little hiss is more noticeably revealed here than on other headphones. The soundstage is a little narrower, perhaps 120 degrees. Woodwinds come across well but the violins are a shade on the shrill side.
The big brother DT880 has a big, open 180-degree sound. Like the HE400S, there's a feeling of some distance. Woodwinds sound natural, and they capture the breathiness of the flutes well. Violins are not so good, being a bit detached sounding. They do offer a big low end and an impressive dynamic range with lots of detail in the vocals. Her vibrato comes across well, and the coda is really nice, with a detailed final trill.
The HD600 offers a 140-degree soundstage, and the woodwinds are a bit bright. Again, there's a feeling of distance. Callas' lower register comes across really well, and from near the top to bottom the vocals are velvety; it's only at the very highest end that they feel a little piercing. The HD600 does pick up subtleties nicely. It's close to the top tier overall. The coda has an effective ghostly sound over the strings' tremolo.
The HD6XX by contrast has a quite narrow soundstage of perhaps 90 degrees. Flutes are harsh, as is the highest range of Callas' voice. There is good depth on the lowest strings. There is nevertheless a decent open feeling to the sound, and subtleties come across well. The pizzicato celli are more prominent than on the other headphones. The coda has a good sense of receding into the distance, but the final trill is a little mushy and unclear.
The electrostats offered the smallest soundstage, about 60 degrees, but an odd sense of verticality also came with it. Callas is very forward sounding, and the low strings have a good impact. There's a pleasant smoothness to the voice, with no wooliness. The final trill does come across in lovely fashion. The main complaint I have is the cramped feeling to the presentation.
Tier 1: HE400S, Elear, PM-3
Tier 2: DT660, DT880, HD600
Tier 3: ESP-950
Tier 4: HD6XX
7. Lorenzo Regazzo, bass; Rinaldo Alessandrini, Concerto Italiano. Vivaldi: Orlando Furioso RV 819, Act I, Scene 5, Aria Nel profondo, cieco mondo (Orlando). (Naive). This is a fairly recent and high quality recording of baroque opera. The best headphones will have good clarity and transparency of texture, while still giving proper weight to the bass vocals; the continuo accompaniment should be support, and not the focus. Unsurprisingly, none of the contenders fared very poorly.
The Beyerdynamic DT660 has plenty of detail. The harpsichord is well located, the vocal is properly forward, and the whole blends nicely. The bass vocal seems quite lifelike on these headphones. One can truly feel the differences in the character of Regazzo's voice as it travels through various registers. The middle section of the aria is particularly good, as his voice goes into the higher ranges. There's a nice clarity that makes his breathing and trills seem lifelike. They do a terrific job of conveying the sense of baroque opera in live performance, with excellent clarity of diction. It's downright spectacular.
The Koss has an open, airy feeling. The harpsichord is a shade recessed, and the upper strings are a bit dominant over the lower ones. There's a pretty solid balance overall, with a lifelike presence to the voice.
The Oppo provides a good sense of space, and the bass voice come across well enough. There's a bit of what seems like excessive reverberation that I found distracting. The continuo is effective and forward. Strings are bright, but there's also good bass extension. The PM-3 really benefited from the improved amplification on this test, indicating that they may scale well.
The HE400S has a good balance between the continuo and the voice, but they seem a little separated from each other. The vocal is still smooth, and the distinction of head and chest voice is very clear. The trills are clean and it overall feels quite lifelike, with a rich string sound and depth to the vocals. If I have any complaint it's that there may be a shade too much bass presence.
The HD6XX has a similarly big lower end, but there's good balance with the continuo. The vocal fills the soundstage and is a little weird sounding. The lowest note has good oomph. Again, there's a bit of excessive reverb present. It's still an involving and warm listen. The 6XX is outstanding on the lower range of the vocals.
The HD600 also has a lot of reverb, making the sound seem bigger than it is. Nevertheless, the details don't get lost. The harpsichord isn't too forward, but there's plenty of bass. One can tell clearly which notes the vocalist is straining at. Again a good contrast between head and chest voice.
The Elear has a big, reverberant sound. The vocals feel lifelike and the harpsichord feels meaty and substantial, rather than the plinky quality one might expect. Whether that's a sound that you find good is a matter of opinion. I didn't find it to be so.
The DT880 has a big continuo, and while the vocals are pleasing and large the balance feels off a shade. The harpsichord is a little sparkly. There are excellent harmonics and details are prominent throughout.
Tier 1: DT660, ESP-950
Tier 2: PM-3, HE400S, DT880, HD600, HD6XX, Elear.
8. Freddy Kempf, piano; Andrew Litton, Bergen Philharmonic Orchestra. Gershwin: Concerto in F, III. Allegro agitato (Bis). This is another state-of-the-art recording that has received excellent reviews. The headphones varied to a shocking extent, with some of them rendering the sound very dark, and others quite bright, to the point that it almost felt like two different recordings. Key points: balance of the piano and the orchestra, the gong at the climax, and the clarity of the coda, where there's a lot going on at once and it can easily collapse into incoherence.
The Oppo has a big, crisp sound with a clear sense of space. The muted brass sounds fun, and the piano stands out well. The strings, both arco and pizzicato, sound solid. The antiphonal passages of call and response are particularly effective. It's quite easy to pick out instruments, and the piano has a very clear sound of being a Steinway. The only issue is the timpani is a bit too forward. Overall very engaging with lots of low bass and a thrilling climax.
The HE400S has the widest soundstage of any of the headphones and offers a nice concert hall feeling, with excellent imaging and placement. The tone is very dark indeed, but the balance is good. The gong is satisfyingly huge, and the finale is big but not messy. The clarity is very good, and the timpani, as it recapitulates the opening of the concerto, sounds excellent. The Steinway sound is clear.
The Focal Elear is also dark, with a big, bold and striking sound. They're all about impact, and this is a great piece to show them off. The Steinway sound is excellent, with the piano a bit forward. There's precise imaging without sterility. Pizzicati are crisp and delicate, while the arco strings are lush but not out of line. The dynamic range and the subtleties are superb. Very energetic listening, and a near-perfect fit for this music in its rambunctiousness. The gong has excellent presence, and the finale is well-defined but not dry. I just love these headphones with this piece.
The piano is delicate on the Koss, with good balance against the orchestra. There's a feeling that you're listening with speakers. Imaging is decent, but not on the level of the best. The woodwinds have excellent realistic timbre. The percussion is crisp but not overwhelming, and the strings are lush. It's almost clinical in its dryness, but it nevertheless has a good immediacy. The gong reverb detail is good, but it just doesn't have the impact once might hope for. The timpani, on the other hand, has excellent depth. The piano is a shade on the bright side. It really sounds almost like a closed-back headphone here.
The HD6XX, like the HD600, has good cohesion, but it's surprisingly a bit more detailed than the HD600. There's clear Steinway sensation and reasonably good imaging. It's really an engaging sound. The muted trumpets feel ominous rather than playful. Unfortunately, the piano is a little overwhelmed by the full orchestra. The timpani has excellent depth. The variety of touch on the piano is quite clear. The gong is very good, but the coda is on the unclear and messy side.
The DT660s have a rather brighter sound, and less bass sensation. The piano feels a bit more distant and is a little plinky at the high end, and it's a shade less identifiable as a Steinway. It does better in quiet passages and struggles a little against the full orchestra. The woodwinds sound particularly good, as does the percussion. The sound is rather crisper than in the DT880s, which seem a bit muffled by comparison. The climactic gong reverberates nicely, but the big finish is lacking in detail and precision. There's a nice atmosphere and decent imaging overall, and until the end there is lots of good detail.
The HD600s were a bit cramped sounding. The piano avoids any plinkiness, with a clear Steinway sound, especially in the extreme registers. The strings are very dark sounding. Imaging and placement are not very clear at all, with different voices blending. On the other hand, this does give the piece a certain cohesion that is lacking in the more details headphones. At one spot, it was difficult to identify a clarinet by its sound. The gong feels a bit, yes, veiled. There's a sense of a gestalt that some may find appealing, but I missed the details.
The DT880 takes the bright side to another level. Woodwinds are harshly bright, and the piano is on the plinky side. On the other hand, location of the instruments is excellent. The call and response are very effective as a result of the clear imaging. The percussion is a bit forward but sounds great. Strings are syrupy when louder, and are better when playing softly. It's very clean and almost antiseptic. Bass was lacking, and the gong is again a little muffled.
Tier 1: PM-3, HE400S, Elear
Tier 2: DT660, ESP-950, HD6XX
Tier 3: HD600
Tier 4: DT880
9. L'Astrée. Vivaldi: Sonata for recorder and bassoon in A minor, IV. Allegro molto, RV 86 (Naive). This is another in Naive's excellent series of recordings of Vivaldi compositions. The goal here was to see which headphones conveyed the best sense of baroque chamber music. Almost all of them rendered the sonata well overall, and with one exception the differences are subtle.
If you want airy and sweet sound that's perfectly balanced, the ESP-950 is your choice. They convey the piece with great delicacy. The continuo levels feel right, and there's good bass penetration by the cello. It's precise from beginning to end, and everything you imagined baroque music to be. Splendid.
The DT880 also renders this sonata beautifully. The recorder is sweet, and the bassoon offers good depth and has a natural sound. Balance is superb as is the imaging. A very close second to the electrostats.
An equally close choice is the HD600, which has excellent timbre from all instruments, and delightful clarity and imagery. Balance is spot on, and it feels intimate. The quick triplets on the recorder are super crisp. Any of these three would be a very pleasing choice indeed.
The HE400S sounds very big, almost too large for an intimate recording. The bassoon sounds almost brassy, but the recorder sounds excellent (words that probably have seldom been spoken). There's a little bit of blurriness in the solo instruments, but excellent placement. The harpsichord is a bit too emphasized.
The Oppo PM-3 feels closer, cleaner and somewhat better defined than the HE400S. There a good balance and a more intimate feeling, with less of a sense of sitting in front of the ensemble. The quick solo bassoon notes are very clean, and the volume changes come across in an excellent manner. There's a heavy reverb quality, probably from being closed headphones, that some may not like.
The DT660s are very crisp and a shade bright, but it nevertheless feels like a chamber presentation. The recorder, due to the brightness, is a bit overemphasized over the bassoon, and it's a shade shrill. The harpsichord sound a little unnatural and tinny. All articulations are very clear and there's a sense of hearing a virtuoso performance.
Unlike the HD600, the HD6XX isn't quite up to the task. There's a somewhat muffled sound, but there's a likeable timbre to the recorder. The bassoon is a bit out of balance, and the continuo is oddly forward and too in your face. Nevertheless, imaging is excellent.
Remember when I said the Elear excels at impact? Well, that carries over here, and not in a good way. It's overwhelming, and the impact is far too great for such a delicate piece. The bassoon sounds terrific though and imaging is excellent. But the overall impression is of trying to change a lightbulb with a pair of hammers. The Elear just doesn't do subtle.
Tier 1: ESP-950, DT880, HD600
Tier 2: HE400S, PM-3
Tier 3: DT660, HD6XX
Tier 4: Elear
10. The final test is Peter Schreier conducting the Staatskapelle Dresden. Mozart: Ave verum corpus, K.618 (Philips). One of the most beautiful compositions ever, this piece is a challenging mix of a full choir, an organ and string sections, all recorded in a reverberant setting. It's not a new recording, but it's quite solid and typical of Philips' excellent quality. We will be paying particular attention to the clarity of the different voices and how the organ comes across.
There's an excellent sense of the space through the ESP-950, with soft vocals being precisely realized. Pianissimo moments are beautifully realized, soft but still confident. There's not much imaging, but the subtlety and beautiful softness makes up for a lot. Really a nice, engaging sound.
The sense of space is likewise immediate through the DT880. All four voices are clearly differentiated. The low organ bass is solid, and the counterpoint of the strings is well delineated. It's superb, and the balance is just right, with precise dynamics. It's reverentially gorgeous, the kind of presentation that this music deserves.
The soundstage on the PM-3 is very wide, but it's delicate and controlled, which serves Mozart's ethereal score well. The extreme low organ notes sound good, and balance is solid. While the male voices are clear, it's a bit difficult to distinguish the sopranos from the altos. It's missing a bit of the subtlety found in the ESP-950 and the DT880. Consonants are crisp and clear. There's a romantic feeling of lushness, which is not entirely appropriate but still pleasing.
The HD600 also is somewhat lacking in subtlety and it's hard to distinguish the soprano and alto lines without a score. It's very similar in sound to the PM-3. Crescendi are very effective in the big and open soundstage.
The HE400S offers a very large soundstage and clear articulation. The chorus is very much in the forefront. Parts are clear and easily distinguishable. Low bass is fine, but it's not quite up to the standard of the Oppo. There's not a lot of subtlety to the dynamics. There is a pleasing sense of presence, and the strings and the organ are clearly discernable.
The 6XX is similar in sound to the 400S. The bass extension is excellent, and articulations are good. There are some reasonably good dynamic subtleties present. There's a clear differentiation not only of the voices but the different string parts. It's surprisingly nice.
From my experience with the Vivaldi sonata I approached the Elear with some trepidation. Indeed, it's quite forward and lacking in dynamic variation. The Elear just doesn't do pianissimo. While it's way bigger than it should be, the vocals still have a chilling presence and immediacy, with a gorgeous lush sound. The organ is just buttery goodness. I felt a little out of place to have such hedonistic pleasure in a church, but there's still a pleasing sound even if the detail just isn't quite there.
The DT660 does pretty well overall, with a clear distinction of choral parts and clean articulation. However, the organ gets completely lost most of the time and is usually indistinguishable from the strings. The soundstage is on the shallow side, and I sorely missed the gut rumble of the low organ bass. Dynamic changes were still very effective. Male voices were more convincing than female. It does a better job through the more capable amp than the portable used for the previous test, so it may be that this headphone scales decently well.
Tier 1: ESP-950, DT880
Tier 2: PM-3, HD600
Tier 3: HE400S, HD6XX, Elear
Tier 4: DT660
CONCLUSIONS:
Unfortunately, my conclusions are all over the map. Other than the HD6XX, which scored in the bottom tier most often (but nevertheless outperformed the vaunted HD600 on the Gershwin), the rankings are pretty close. Low scores are better:
1. 17 points: Koss ESP-950
2. 19 points: (tie) Focal Elear and Oppo PM-3
4. 20 points: (tie) HiFiMan HE400S and Sennheiser HD600
6. 21 points: Beyerdynamic DT880
7. 25 points: Beyerdynamic DT660
8. 31 points: Sennheiser HD6XX
The two most expensive offerings, the ESP-950 and the Elear, scored in the top tier five out of ten times. The ESP-950 was never in the bottom tier (as opposed to three times for the Elear, which had a highly schizophrenic scoring), so it has my recommendation among the contestants for its consistently excellent performance. The PM-3 is the clear choice among the closed-back headphones. The Elear is unsurpassed for pieces with big impact, but they don't do so well at the other extreme. Interestingly, the PM-3 and the HE400S, which are designed for portable use, scored in the top half, so either one makes an excellent choice for classical music on the move.
At the other end of the scale, the HD6XX was in the bottom tier six times of ten, and never scored in the top tier. They're not the best choice if classical music is your focus. Nevertheless, they still did some things well, particularly where low bass was a significant part of the recording. The DT660, which I like very much, was a bit on the disappointing side, but considering my pair cost less than ten percent of the price of either the Elear or the ESP-950, they still acquitted themselves fairly well, only landing in the bottom tier twice. They're a good low-budget compromise: not the best but far from the worst. I was more surprised that the DT880 didn't end up doing that much better than the budget offering from the Beyerdynamic. They share a lot of the DT660's brightness issues without bringing enough more to the table. Nevertheless, they were outstanding on the softer pieces like the Vivaldi sonata also in bringing out the texture and details in the more raucous Beethoven symphony .
I was hoping I'd be able to come to some clearer conclusions with this shootout, but as I said in the preface, none of these is a bad headphone. The differences are indeed small and subtle. But my recommendations are the ESP-950 and the PM-3.
I'll be interested in your comments and thoughts. I probably will not be doing a hi-fi version of this shootout since those cans are pretty well out of my budget (but a few years ago I would have thought that about most of the headphones in this shootout, so who knows?) If HiFiMan ever gets its act together with the HE-560, I'd love to add it to this analysis as well, but alas that doesn't seem to be in the cards.
Last edited:
