you generally want good bass extensions with maybe some roll-off at the treble (to avoid harshness at the top). A big soundstage would be a bonus, but I reckon imaging and separation would be much more important.
that's my 2 cents, at least, someone here might know better.
@crinacle I have not seen the signatures you ascribe to the different IEMs explained. Could you explain which signature is suited for what genre? And is there a signature which is particularly well suited for classical music?
Well I occasionally listen to classical music and I would prefer a neutral signature (flat) for it, so as not to emphasize any frequencies.
As @Zerohour88 said, imaging, soundstage and instrument separation are important in classical.
But I think a very important aspect is also that of instrument timbre, though not everyone is particular about timbre. Some of the BA IEMs may give a slightly artificial timbre for woodwind, string and brass instruments. I find in general the dedicated DD IEMs give better timbre, but they tend to lose out in instrument separation and clarity.
Well that's just my 2 cents, I hope others can advise too.
Good article.
Like in home audio, there is saying : if the first watt sucks, why would we need another 99 (I live by this : my tube amp has whooping 1.75 watts)
I certainly support the main idea. I went crazy too many times when facing guys who think that everything gets improved with
I propose a rule of thumb, it goes like this: when someone has so little understanding about electricity that he can't even handle applying Ohm's law to an oversimplified circuit with the headphone as load in series, he should **** on matters of current, voltage and power.
a pretty simple rule of thumb, real easy to follow and pretty reasonable IMO.
you should replace 'impedance matching' by impedance bridging as that's what you're discussing. I'm a little tempted to nitpick here and there, but I'll leave you alone(this time).
@crinacle what single DD iem can you recommend for good vocals and clarity that aren't recessed? I felt the Kanas Pro and kxxs were good but the mids sounded slightly recessed especially when I compare it to my current favourites the ath ckr100.
Is the normal Andromeda also an S- or just the Andromeda S?
I'm trying to save up for Andromedas. It'll be a huge jump for me because the best I've heard are the Brainwavz B400 and iBasso IT01. Would it be worth it?
Is the normal Andromeda also an S- or just the Andromeda S?
I'm trying to save up for Andromedas. It'll be a huge jump for me because the best I've heard are the Brainwavz B400 and iBasso IT01. Would it be worth it?
After receiving the BIE and comparing it with MH755, I think I have now noticed where Crin and HBB differs. HBB mostly cares and obsess about how resolving an iem is (eg. Rolands and the BIE) and tonality just comes after detail OCD, while Crin has a more "professional" standards, if I may call it, Crin considers both tonality and details hand in hand.
After receiving the BIE and comparing it with MH755, I think I have now noticed where Crin and HBB differs. HBB mostly cares and obsess about how resolving an iem is (eg. Rolands and the BIE) and tonality just comes after detail OCD, while Crin has a more "professional" standards, if I may call it, Crin considers both tonality and details hand in hand.
Crin is a self confessed (sub) basshead. HBB hypes stuff up way too much, hard to guage what is really going on with his reviews, when his opinion swings as often and as dramatically as it does.
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