jrosenth
Headphoneus Supremus
- Joined
- Nov 27, 2004
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My Fitz-recabled sextett just arrived.
You'll have to forgive me for gushing but I'm blown away by the sextett - the hype is true.
Previously, the Fitz-recabled 500 with 701 pads destroyed everything I had ever heard. Personally, I think it slaughtered my stock 501 and Fitz recabled 501.
First, a word on the 500. Personally I preferred the 501 to the 601 and 701 so I hold it in pretty high regard. That said, I preferred the 500 to the 501. (Note, Although I'm not the only one who prefers the 501 to the 6/701 and the 500 to the 501, the 500 was one of the best kept secrets around here
). The 500 simply has better midrange - yes seriously - better than the 501. The bass is lighter than the bass-heavy version of the 501 but heavier than the bass-light version of the 501. While both benefit from the 701 pads (if for comfort if nothing else), the 500's bass is slightly more controlled and nimble than the 501. The highs are slightly rolled off compared to th new 501 but much smoother to my ears. Back to the mids. They are more resolving than the 501 - simply more natural. The head-stage on the 500 even out-shines the 501, it is simply broader and deeper with instruments more firmly placed - space between notes, etc. Frankly, I prefer this little set up (with recabling and 701 pads) to a recabled Beyer 880, any Senn and to the RS-1.
Now on to the sextett. I believe this is from the middle of the production runs. It is recabled with the same Fitz Black clover cable and velour 271 pads have been ordered and are on the way.
In short, the sextett is probably the only can I'll be listening to from now on (I've made it a firm rule only to have one full size can and one portable can). The 500-vs-sextett is more a matter of preference. For jazz and classical the 500 probably wins. It has better headstage and soundstage than the sextett. That's not to say the sextett is lacking, but just that the 500 is in a different league than everything else I've ever hear (note: I've never heard the AKG 1000). The 500's mids are smoother than the sextett as well.
So why will I (probably) be sticking with the sextett? It has more impact-full bass and a more forward midrange and sharper instrument placement. The 500 has a wider headstage but the sextett places sounds within its more limited stage with razer-sharpness. The sextett does require more power. I could run the 500 off a portable amp nicely while the sextett really needs a home amp (PPA or better) to shine. My set up is pretty warm so that might help in keeping the sextett from getting anything near grating - whereas the 500 ran ultra luscious on the warm set-up but nicely balanced on a thinner more-digital sounding set up.
The sextett is basically a touch of Grado mixed into the smoother (non-701) AKGs. It conveys emotion but in a different way than the 500. The sextett focuses on the individual sounds within the music (a voice, and instrument, an effect) while the 500 focuses on the broader music keeping individuals sounds well-grounded within their context. The sextett is like a jazz singer while the 500 is like an orchestra, or the sextett sounds like a recording studio while the 500 sounds like a concert hall.
That said, nothing I've ever heard has been able to convey the musical power of a voice, or a note as the sextett.
You'll have to forgive me for gushing but I'm blown away by the sextett - the hype is true.
Previously, the Fitz-recabled 500 with 701 pads destroyed everything I had ever heard. Personally, I think it slaughtered my stock 501 and Fitz recabled 501.
First, a word on the 500. Personally I preferred the 501 to the 601 and 701 so I hold it in pretty high regard. That said, I preferred the 500 to the 501. (Note, Although I'm not the only one who prefers the 501 to the 6/701 and the 500 to the 501, the 500 was one of the best kept secrets around here
Now on to the sextett. I believe this is from the middle of the production runs. It is recabled with the same Fitz Black clover cable and velour 271 pads have been ordered and are on the way.
In short, the sextett is probably the only can I'll be listening to from now on (I've made it a firm rule only to have one full size can and one portable can). The 500-vs-sextett is more a matter of preference. For jazz and classical the 500 probably wins. It has better headstage and soundstage than the sextett. That's not to say the sextett is lacking, but just that the 500 is in a different league than everything else I've ever hear (note: I've never heard the AKG 1000). The 500's mids are smoother than the sextett as well.
So why will I (probably) be sticking with the sextett? It has more impact-full bass and a more forward midrange and sharper instrument placement. The 500 has a wider headstage but the sextett places sounds within its more limited stage with razer-sharpness. The sextett does require more power. I could run the 500 off a portable amp nicely while the sextett really needs a home amp (PPA or better) to shine. My set up is pretty warm so that might help in keeping the sextett from getting anything near grating - whereas the 500 ran ultra luscious on the warm set-up but nicely balanced on a thinner more-digital sounding set up.
The sextett is basically a touch of Grado mixed into the smoother (non-701) AKGs. It conveys emotion but in a different way than the 500. The sextett focuses on the individual sounds within the music (a voice, and instrument, an effect) while the 500 focuses on the broader music keeping individuals sounds well-grounded within their context. The sextett is like a jazz singer while the 500 is like an orchestra, or the sextett sounds like a recording studio while the 500 sounds like a concert hall.
That said, nothing I've ever heard has been able to convey the musical power of a voice, or a note as the sextett.
