[matthewtng]

Quote:

Surprisingly no one mentioned anything about Ortofon e-Q7

Yes budget wise this top 350 but if to look closely one can find it for under 300
a cheaper  alternative is e-Q5 for under 250us
This babies were designed in mind for Classical music...  Check it out

Ortofon e-Q7 was designed for classical music? I didn't realise. I will go back to Jaben, Melbourne tmr and check them out again.
 
 

 

[matthewtng]

Quote:

HF5, I believe that this will be my choice for my budget.

another question: I have portable headphones, such as: senn.HD25, Bayer dt 1350,and V80,
the question is: in a hypothetical classification, which are placed the IEMS as HF5 between these?
I mean the sound quality and power.
Sry for my bad language ,i'm Italian
 
 
EDIT: I own a couple of "Sennheiser CX400 II", the sound is great, but I want something more powerful.
You think the € 155 that will spend the HF5, justify the purchase?

Difficult question for me to answer. The frequency response of HD25 and Beyer DT1350 are both 'V' shaped. So increased bass and highs. Beyer DT1350 is pretty good value and I think they do quite well in classical music. But the lower strings don't sound as rich as they should be.
 
I'm assuming you love opera because you're Italian. I reckon the best way to see how well the iems and headphones handle classical music is to play 'O soave fanciulla' from La Boheme and wait for the build up. If you can hear the timpani roll + rising french horns + strings octaving the voices, you've probably found the right pair. My favourite is Placido Domingo and Montserrat Caballe's recording of it. Bellissimo!!
 
HF5 isn't a powerful sounding pair. It's very truthful to the recording but quite gentle. I typically have two pairs of iems with me so that I can change iems when the music calls for it.
 
 

 

[Specialone]

I think  understand what you mean.
 I also understood I will have to spend more than € 150 

 

 

[Kunlun]

Triple fi and jh16 are both poor for symphonic music due to poor coherency--each part of the orchestra sounds a bit artificially pasted in. Cymbal crashes don't sound real, either. That's actually the strength of dynamic driver iems, which often do timbre very well, as well as having excellent coherency. Timbre is how well an earphone can reproduce the subtle resonances that really make a violin or piano sound real.
 
The Future Sonics Atrio is quite nice, and the Sony EX1000 is another very nice choice. The eq-7 is nice, but lacking in bass for timpani, I found. Otherwise, it's a good choice.
 
I listen to mostly classical, from renaissance polyphony, to Bach, to classical composing period, to romantic and post-romantic. From string quartets to cantatas and opera to symphonies.
 
A good harpsichord sounds like a big harp, by the way. It's very nice. If it sounds weird and metallic, that's probably the issue. A lot of great harpsichords didn't survive and so recordings are done with little crappy ones. When you hear a nice one, you'll see the difference.

 

[lostid]

How about IE 80?
 
Quote:

Triple fi and jh16 are both poor for symphonic music due to poor coherency--each part of the orchestra sounds a bit artificially pasted in. Cymbal crashes don't sound real, either. That's actually the strength of dynamic driver iems, which often do timbre very well, as well as having excellent coherency. Timbre is how well an earphone can reproduce the subtle resonances that really make a violin or piano sound real.
 
The Future Sonics Atrio is quite nice, and the Sony EX1000 is another very nice choice. The eq-7 is nice, but lacking in bass for timpani, I found. Otherwise, it's a good choice.
 
I listen to mostly classical, from renaissance polyphony, to Bach, to classical composing period, to romantic and post-romantic. From string quartets to cantatas and opera to symphonies.
 
A good harpsichord sounds like a big harp, by the way. It's very nice. If it sounds weird and metallic, that's probably the issue. A lot of great harpsichords didn't survive and so recordings are done with little crappy ones. When you hear a nice one, you'll see the difference.

 
 

 

[Kunlun]

Quote:

How about IE 80?
 

I haven't heard it, but based on reviews it should be very good for classical.
 

 

[jaqueh]

Quote:

Difficult question for me to answer. The frequency response of HD25 and Beyer DT1350 are both 'V' shaped. So increased bass and highs. Beyer DT1350 is pretty good value and I think they do quite well in classical music. But the lower strings don't sound as rich as they should be.
 
I'm assuming you love opera because you're Italian. I reckon the best way to see how well the iems and headphones handle classical music is to play 'O soave fanciulla' from La Boheme and wait for the build up. If you can hear the timpani roll + rising french horns + strings octaving the voices, you've probably found the right pair. My favourite is Placido Domingo and Montserrat Caballe's recording of it. Bellissimo!!
 
HF5 isn't a powerful sounding pair. It's very truthful to the recording but quite gentle. I typically have two pairs of iems with me so that I can change iems when the music calls for it.
 
 

actually if you go back to his first post on this thread he says that he listens to rock and drum and bass, so i don't know if he is primarily going to use his headphones to listen to classical music, also when i went to italy, everyone there was extremely obsessed with symphonic metal and iron maiden
 

 

[matthewtng]

Quote:

Triple fi and jh16 are both poor for symphonic music due to poor coherency--each part of the orchestra sounds a bit artificially pasted in. Cymbal crashes don't sound real, either. That's actually the strength of dynamic driver iems, which often do timbre very well, as well as having excellent coherency. Timbre is how well an earphone can reproduce the subtle resonances that really make a violin or piano sound real.
 
The Future Sonics Atrio is quite nice, and the Sony EX1000 is another very nice choice. The eq-7 is nice, but lacking in bass for timpani, I found. Otherwise, it's a good choice.
 
I listen to mostly classical, from renaissance polyphony, to Bach, to classical composing period, to romantic and post-romantic. From string quartets to cantatas and opera to symphonies.
 
A good harpsichord sounds like a big harp, by the way. It's very nice. If it sounds weird and metallic, that's probably the issue. A lot of great harpsichords didn't survive and so recordings are done with little crappy ones. When you hear a nice one, you'll see the difference.

Dynamic IEMs never seem to give me the separation I need. The multi driver BAs do well in spacing out the sound and I can do my transcriptions and other work from it. Having said that,I've never tried the atrios on my recordings. Will definitely look into it.
 
I agree with you on the harpsichord sound. I wouldn't say "a big harp" though. More like a big lute or a big guitar. 
 
what are your favourite pieces for auditioning IEMs and headphones?
 
 
 

 

[jaqueh]

Quote:

Dynamic IEMs never seem to give me the separation I need. The multi driver BAs do well in spacing out the sound and I can do my transcriptions and other work from it. Having said that,I've never tried the atrios on my recordings. Will definitely look into it.
 
I agree with you on the harpsichord sound. I wouldn't say "a big harp" though. More like a big lute or a big guitar. 
 
what are your favourite pieces for auditioning IEMs and headphones?
 
 
 

the harpsichord gives me a chilly feeling iono i feel like it never adds to music but takes away from it, but a lot of baroque music isn't too invested on the mood

 

[Kunlun]

Quote:

Dynamic IEMs never seem to give me the separation I need. The multi driver BAs do well in spacing out the sound and I can do my transcriptions and other work from it. Having said that,I've never tried the atrios on my recordings. Will definitely look into it.
 
I agree with you on the harpsichord sound. I wouldn't say "a big harp" though. More like a big lute or a big guitar. 
 
what are your favourite pieces for auditioning IEMs and headphones?
 
 

Good question, I use Hovhaness symphony no.50 Mount St. Helens conducted by Gerald Schwarz as the ultimate test--the 3rd movement has rolling timpani, string and brass fugues with cymbals crashing and ending in a stately processional with chimes shimmering above and the timpani sounding below with strings in the middle. It's a great test of timbre (cymbals, etc.) as well as coherency, balance and bass capability. The ortofons don't do the timpani fully, putting them in the background, while the jh16 didn't do the cymbals well or coherency well. Although, I can see artificial separation (lack of coherency) being great for transcriptions--a perfect case of being perfect for some people while a flaw for others.
 
I also use Bach cantatas for vocal/instrumental timbre tests (I have most of Ton Koopman's Bach Cantata cycle).
For balance, I use Tallis Scholar's renaissance polyphony (Palestrina and Lassus are great) and also some Beethoven late string quartets performed by the Tokyo string quartet.
 
I also use some Indian classical music (north Indian Hindustani) as there is a lot of microtones used and subtle resonance of sympathetic strings, as well as variable pitch bass in the percussion which is a test to reproduce realistically.
 
For pop music, I use some Gorillaz as there's been a wealth of genre's covered by them and it's been well-produced.
 
How about you?
 

 

[matthewtng]

Quote:

the harpsichord gives me a chilly feeling iono i feel like it never adds to music but takes away from it, but a lot of baroque music isn't too invested on the mood

Interesting. I feel that a continuo section is never complete without a harpsichord, chamber organ or lute/theorbo
 
 

 

[matthewtng]

Quote:

Good question, I use Hovhaness symphony no.50 Mount St. Helens conducted by Gerald Schwarz as the ultimate test--the 3rd movement has rolling timpani, string and brass fugues with cymbals crashing and ending in a stately processional with chimes shimmering above and the timpani sounding below with strings in the middle. It's a great test of timbre (cymbals, etc.) as well as coherency, balance and bass capability. The ortofons don't do the timpani fully, putting them in the background, while the jh16 didn't do the cymbals well or coherency well. Although, I can see artificial separation (lack of coherency) being great for transcriptions--a perfect case of being perfect for some people while a flaw for others.
 
I also use Bach cantatas for vocal/instrumental timbre tests (I have most of Ton Koopman's Bach Cantata cycle).
For balance, I use Tallis Scholar's renaissance polyphony (Palestrina and Lassus are great) and also some Beethoven late string quartets performed by the Tokyo string quartet.
 
I also use some Indian classical music (north Indian Hindustani) as there is a lot of microtones used and subtle resonance of sympathetic strings, as well as variable pitch bass in the percussion which is a test to reproduce realistically.
 
For pop music, I use some Gorillaz as there's been a wealth of genre's covered by them and it's been well-produced.
 
How about you?
 

I use finales of Mahler 2 and Mahler 8 to listen out for detail and separation in soundstage, the presence of a chorus behind the orchestra plus soloists really stretches the limit of most iems and headphones. In the fourth movement of Mahler 6, I definitely can hear the sparkle of the cymbals on the JH16. Every other earphone just seem to dull it. But I agree that dynamic drivers produce more timbre for the cymbal, rather than just the crashing high frequencies. Georg Solti with Chicago Symphony Orchestra for Mahler 2, Simon Rattle with City of Birmingham Symphony Orchestra for Mahler 8.
 
Bach cantatas/passions and mass(s) are good for showing how quick the sound decays from his counterpoint writing, and also THE HARPSICHORD!!!! I should hear it tinkling in the corner but in many cases, they hardly exist. John Butt and Dunedin Consort for Mass in B minor, John Eliot Gardiner + English Baroque Soloists + Monteverdi Choir for everything else.
 
I have too many opera recordings to list my favourite here. I generally use live recordings to determine if the soundstage is realistic (i.e. when a singer walks across the stage while singing).
 
I have some jazz classics and RnB vocals but I don't pay much attention to them

 

[Kunlun]

Quote:

I use finales of Mahler 2 and Mahler 8 to listen out for detail and separation in soundstage, the presence of a chorus behind the orchestra plus soloists really stretches the limit of most iems and headphones. In the fourth movement of Mahler 6, I definitely can hear the sparkle of the cymbals on the JH16. Every other earphone just seem to dull it. But I agree that dynamic drivers produce more timbre for the cymbal, rather than just the crashing high frequencies. Georg Solti with Chicago Symphony Orchestra for Mahler 2, Simon Rattle with City of Birmingham Symphony Orchestra for Mahler 8.
 
Bach cantatas/passions and mass(s) are good for showing how quick the sound decays from his counterpoint writing, and also THE HARPSICHORD!!!! I should hear it tinkling in the corner but in many cases, they hardly exist. John Butt and Dunedin Consort for Mass in B minor, John Eliot Gardiner + English Baroque Soloists + Monteverdi Choir for everything else.
 
I have too many opera recordings to list my favourite here. I generally use live recordings to determine if the soundstage is realistic (i.e. when a singer walks across the stage while singing).
 
I have some jazz classics and RnB vocals but I don't pay much attention to them

Mahler is awesome. I like Rattle.  Oh man do I think Sir John Barbirolli did amazing things with Mahler's 6th. The funeral march really sounds like someone dear has died rather than a weird super-quick thing that people often like to do. It's well worth getting. Also, that old Klemperer Mahler 2nd remastered on cd is great.
 
 

 

[matthewtng]

Quote:

Mahler is awesome. I like Rattle.  Oh man do I think Sir John Barbirolli did amazing things with Mahler's 6th. The funeral march really sounds like someone dear has died rather than a weird super-quick thing that people often like to do. It's well worth getting. Also, that old Klemperer Mahler 2nd remastered on cd is great.
 
 

OHH.. The things I'd do to get my hand on the Klemperer CD....
 

 

[Kunlun]

Quote:

OHH.. The things I'd do to get my hand on the Klemperer CD....
 

Well, for only a million dollars I'll let you click on this link
 
http://www.amazon.com/Mahler-Symphony-No-2-Gustav/dp/B00004HYS1/ref=sr_1_3?ie=UTF8&qid=1329104092&sr=8-3