AJan
New Head-Fier
- Joined
- Dec 5, 2008
- Posts
- 27
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IMHO, this is where most warm IEMs fail. In acoustic and jazz music, one test I always use to see how detailed and clear a set of cans are, is being able to clearly discern how the metal brushes hit the snare drums (mostly in the background of quiet passages). With the W3, seems like this isn’t as clear as I want them to sound. Probably because of the way the midbass overpowers this timbre detail (?). Has anybody ever heard of a pair of IEMs that does well in this department? I’m guessing only the ER4s? Too bad the Ety is known to be quite constricted in soundstaging, has microphonics problems and lack visceral slam and decay in the bass.
The W3 is almost perfect. It handled the bass passages of Gladiator, The Battle track with ease and slam. It is fun to listen to when your music relies a lot on cello and bass. The bass decay is quite addictive. Despite some reports of mids not as forward as they would have wished, I don't have a problem on this department. Joni Mitchel and Diana Krall are just where I want them to sound: right in front of me. If details and clarity would have been tuned a little more 'airier' and discernable, it would have placed this IEM closer to how big cans sound.
The W3 is almost perfect. It handled the bass passages of Gladiator, The Battle track with ease and slam. It is fun to listen to when your music relies a lot on cello and bass. The bass decay is quite addictive. Despite some reports of mids not as forward as they would have wished, I don't have a problem on this department. Joni Mitchel and Diana Krall are just where I want them to sound: right in front of me. If details and clarity would have been tuned a little more 'airier' and discernable, it would have placed this IEM closer to how big cans sound.