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Right back atcha!
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I tried beats by dre a few months ago, only for a moment though. They are not utterly horrible. Not plesant, but not bad. But at a price that could get you a pair of Senheiser 650s? It is a gimmic. They put a huge price tag on it and to every little teenager in the world who can't take the time to research thinks they are amazing because of the tag.
Maybe that's the draw. Maybe it's not about the sound at all, but a personal status statement. I'll bet there are more than a few people out there that walk around thinking "yeah I can afford $300+ headphones that do nothing but make me look good because I'm better than you." If that's the mentality, then I just gotta say "if you don't think you're enough without a pair, you'll never be enough with with a pair."
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Never tried a pair of souls but they look like they are just a latch on to beats because they saw how successful beats where and wanted to profit off of their style.
Admittedly, I do find Souls noticeably cleaner than Beats. Not nearly enough that I'd consider owning a pair mind you. But I can definitely tell that some attention was paid to the bigger picture. And Ludacris has got to make the paper too so I'll cut him a little slack,
Let's all be honest here, there's a little basshead in all of us. It's fun and there's nothing wrong with that. There's an older track (before the compression wars started getting WAY out of control) that I like by Aphex Twin called Ageispolis, and I often use it to test LF response. I'm not talking about the obvious bass hits in the beginning, but rather the ambient melodic bass line that drifts in around 1:20 or so. Heck, a lot of people can't tell, but even the bass drum starts pitching around - with notes drifting as much as half an octave or more - prominently around 2:50. Anyway, my point is that Ageispolis can be very revealing of a cans' ability to properly handle LF (imho). When I listen to that track through Beats (and their ilk), they blend it all up into a distorted soup and vomit it back at me, seemingly with some inner-city angst. I mean damn, u mad Beats?
And for anyone that thinks Beats is good for Dubstep, here's a thought for you... you could very well be missing out on a subtle but big part of the art there. Yes, I know the beat brings the energy and drives it forward, but the highs are there to punctuate and accentuate it all. And the mids (including vocals if/when there are any) are the lifeforce that binds the two, keeping everything beautifully paired . . . like gravity . . . like the invisible shoestring in cwalk. If you think it's all about bass, you're depriving yourself of some incredible sounding s***.
Beats lovers, let's be real here. Beats are all about hip hop and rap - the lazy, continuous (and sometimes contiguous) bass. There's absolutely nothing wrong with that, and more power to you if that's what you're all about. But let's not pretend they're great cans (or even good cans) for other genres . . . because it just ain't true.
