Equalizing those headphones!

Q: Is it a good idea to use an equalizer to change the way headphones sound?

A: While you can make some tweaks to a headphone's sound profile with EQ, some fundamental characteristics are impossible to alter.

For example, no amount of EQ can make a Grado SR60e sound like a bass monster, similarly no amount of EQ can make a Sony XB500 sound like a Grado.

Neutral headphones are somewhat like tofu -- they can take on a little of the flavor of the amp that drives them, or the DAC that feeds their signal, or EQ in the audio chain, either by using software or hardware. They still taste like tofu, mind you, but flavored.

While you can buy a relatively neutral pair of headphones like the Sennheiser HD600 and tweak the sound with an equalizer, I'm one of those folks who think that if you want a warm fun sound, it's better to get a Philips Fidelio X1 instead of using EQ to tweak a HD600 to make it sound warmer.

And if you want a bright-sounding pair of headphones, check out the Grado SR60e before throwing down money on a HD600 and trying to boost the treble with an equalizer (and you will save a ton of $!)

And while you can use EQ to dial in some of the frequency response you want, you cannot use EQ to dial in your desired level of smoothness, or soundstage, or detail. Plus the more you flog that equalizer, the more the sound gets away from what the artist and recording engineers originally envisaged. That's the main reason why I am so meh to the idea of equalizers.

But to be fair, it's easy to say "I am anti-EQ" if you own a bunch of headphones and can easily pick and choose a pair with the profile you want. But what if you can only afford (or desire) one pair of headphones?

Well in that case, if you are sure you know what kind of sound profile you dig, then the choice is easy (e.g. you want a smooth + forgiving? Then go with the Sennheiser HD650!). But what if you don't know what you want?

Then walk into a B&M store and audition some headphones. But what if you can't?

Then get a relatively neutral pair of headphones like the HD600 or the Beyerdynamic DT880 and experiment with EQ.

Because they are like, you know, tofu.

My favorite sub-$1000 setup

Q: What's your personal all-time favorite setup under $1000?

This one.

From a price-performance perspective, the  combination of the Pro-ject Box DAC S FL -> Little Dot Mk 3 with NOS Mullard M8100s -> Sennheiser HD650 really shines. This setup projects an analog-ey gooey tube sound and affords a maximally euphoric listening experience for under $900. It makes every genre I am into sound good, and that is saying something. The best aspect of this combination is that almost anyone can afford this setup, and the only folks who will hate it are those who worship the gods of transparency.

To break the components down:

The Box dac DAC S FL is, in my opinion, the best price-performance NOS dac you can buy. It has a very different sound than typical sigma delta DACs. Its analog-ey distortion makes digital files sound like vinyl. Having said that, I would suggest NOT buying an NOS DAC as your very first DAC, though.

The Little Dot Mk 3 is probably the best price-performance OTL tube amp you can buy, especially ebcause your choice for the tube amp selection is determined to a considerable extent by the degree of synergy between amp + headphones.  I would suggest that you NOT get an OTL tube amp (or any tube amp, for that matter) as your first amp.

Mullard NOS M8100 tubes have a super warm profile with gooey tube distortion, and if I had to describe Mullard sound in one word I would say "treacle", to borrow a word from my friends across the pond. They are a wonderful representation of what tube sound is all about. I would suggest NOT getting reissue Mullards, they are not the same as the real deal.

The Sennheiser HD650 has a wonderfully dark and comfortable sound. They are not neutral, sure, but their forgiving nature sets them apart. They excel at representing instruments realistically, add intimacy to vocals, and work for every genre from EDM to classical. Some have described them as "laid back", but they are certainly not boring. Their pairing with OTL tube amps is magical. I would suggest that you NOT get them if you want a neutral or bright sound profile, or if you plan to run them off portable devices.

And did I mention, the best part of this combination is the sub $1k budget? That leaves plenty of change left over to subscribe to Spotify or Tidal.

 And that should make you smile for a long time.

Again, I do want to emphasize, a NOS DAC + tube amp combo probably isn't the best idea if you are new to the world of personal audio and just getting your toes wet with the hobby. You will probably be better off in the long run easing into tube sound / vintage DACs gradually rather than starting with them.

Are certain headphones better for different genres of music?

Q: Are certain headphones better for different genres of music?

A: In general, yes, absolutely. Some headphone sound profiles particularly complement specific genres (for example the Sony XB700 and DnB, or Grados and rock). The general nature of the sound can affect music substantially, for example "fun" headphones color the sound in a way that is very different than "balanced" headphones.

Neutral or analytical headphones like the Sennheiser HD600 or HD800 may be useful for critical listening.

And finally, some headphones just bring out the natural splendor of specific instruments, for example the Sennheiser HD650 really makes stringed instruments shine.

Some thoughts about the Little Dot Mk IV SE, and how it compares to the Mk III

How does the Little Dot Mk IV SE differ from the Little Dot Mk III? 

Well, both are OTL (output transformer-less) tube amps, made by Little Dot in China. The Mk IV SE is supposed to be an upgraded version of the Mk III, with a premium price. So what are the differences?

[1] upgraded tubes - instead of stock GE5654s, you get a pair of Mullard M8100s, and also updated 6H30P-i power tubes. It should be noted that my LD Mk III came with stock RCA EF95 tubes (which was a pleasant surprise, because they were 70s vintage. I might have lucked out).

[2] The 1/4 plug on the SE is a Neutrik

[3] The SE has "upgraded" RCA connectors

[4] The SE has pretty gold tube protectors

[5] The SE has a different volume knob

In theory the Mk IV SE is supposed to have a different ALPS pot than the Mk III, but every internal shot I have seen of the SE has the same pot as my Mk III.

David ZheZhe (Little Dot seller) claims the SE has "premium circuit component upgrades in key signal path locations". As to what these upgrades actually are (apart from the ones I noted above), your guess is as good as mine.

So are the differences worth the extra money?

As you start going up the Little Dot product ladder, you begin to slowly start losing the price-performance advantage you have with the Mk III.

You can get M8100s in abundance on ebay for $20-40 for the pair. The upgrade to the Elektro-harmonix 6H30P-i isn't really a deal unless you get a NOS Elektro-harmonix, since the new "reissued" EH 6H30P from the Reflektor plant are, well, reissues.

If you are upgrading power tubes you might as well get a couple of Novosibirsk Gold Grid 6N6P-i from the 70s/80s (before the Wall came down!) for $10-15 for a pair (keep in mind that driver tubes typically last longer than power tubes, and the Gold Grids with the "OTK" quality symbol were engineered to last a while).

Who should get this? 

Those that want to experience OTL tube sound, and don't have the money to get a Woo Audio WA3, a Woo Audio WA2 or an Eddie Current Zana Deux.

Also those who own a Sennheiser HD600 or HD650, the pairing is excellent.

Keep in mind that the Little Dot Mk III is a better bang for your buck than the Mk IV SE. Also keep some money aside for tube rolling.

Who should not get this? 

Folks getting their first amp (get a solid state amp!) or those who run orthodynamic headphones as their primary headphone (bad pairing, as are the Beyerdynamic T90 and T1).

Also folks whose budget will not extend to tube rolling.

And this certainly isn't "endgame" material, if that is your goal.

Folks wanting the ultimate price performance ratio should probably look at the Little Dot Mk III. And those who want a transparent amp without coloration or distortion should not touch this with a 10 foot pole.

Who are the competitors? 

The Bottlehead Crack, of course, although the Crack is a DIY OTL tube amp. And the Valhalla 2 is a serious competitor (gain switch, preamp out) especially if you are looking for a more transparent sound, as is the Woo Audio WA3 (although that costs about 2x the cose of the Mk IV SE).

The best headphones for $500 or less?

Q: What would you consider to be the best headphones for $500 or less?

A: HD600/650 depending on your preferences
HD600 from a pure price-performance perspective.
HD650 if you don't want a neutral pair of headphones (most folks don't)

What is a "sound signature"?

Q: What do you mean when you say "headphones have specific sound signatures"?

A: Different headphones have different signatures. For example the Beyer DT880 or Senn HD600 are more "neutral" sound profile, i.e. they are free from coloration,

Coloration refers to deviations from neutrality, for example the Philips Fidelio X1 is very colored. Coloration also often adds a "fun" element to listening.

Some headphones are intrinsically dark -- the term signifies a warm + rich sound profile. Technically, dark headphones have a frequency response which is skewed clockwise across the entire range, so that as the frequency increases, the output diminishes. A good example of this would be the HD650.

Other headphones are very bright, their frequency response is skewed counter-clockwise across the entire range, so that as the frequency increases, the output increases. A good example of this would be the Grado SR60i or e (or pretty much any Grado).

What you need to know about the Sennheiser HD600

If you are in the market for a relatively neutral pair of headphones, then yes the Sennheiser HD600 is a great choice. It excels for critical listening and some genres like classical. Keep in mind that you need an amp to get the most out of it.

If you don't want to play the upgrade game all the way to summit-fi for whatever reason, then the HD600 could conceivably be endgame for you, if you know what you are getting yourself into.

If you listen to a lot of bass-heavy music like EDM or hip hop, you may find the 600 to be surprisingly bass-light. The 600 isn't known for its sub bass, I can assure you. For the price, something like the VModa M100 may be a better bet for you.

If you are a detail whore, you may want to hold out for something like a Sennheiser HD800, a Beyerdynamic T90, or, at this price point, a Beyerdynamic DT880.

If you want a very bright listening experience, you may find the 600 treble to be disappointing. Instead, consider a Grado and some gauze pads (to apply to your ears when they start bleeding, ba dum tish!)

If you are looking for isolation or don't want folks around you to hear the fact that you secretly listen to Barry Manilow while proudly wearing that My Chemical Romance t-shirt, then don't get the HD600, it leaks sound like a sieve, and is as open as it gets.

if you want to listen to music off your phone, don't get the HD600. It has a 300 ohm impedcance and just won't sound as good as it would through, say an OTL amp. Sure, you will get sound through your iPhone, but the bass sounds just too flabby and meh.

And finally, if you are looking for a warm and smooth sound, consider the 600s younger sibling, the HD650.

What makes really expensive headphones so expensive?

Q: What makes really expensive headphones so expensive?

A: Essentially there are 4 aspects to the cost of any product [1] R&D [2] materials [3] manufacturing and [4] marketing. These costs may be either fixed (eg payroll) or variable (eg sourcing raw materials).

R&D is variable, so calculating the cost of R&D for an individual headphone model is difficult. Newer models still haven't seen a return on ROI costs, while older models (for example HD600) have probably recouped their R&D costs, and then some. R&D costs may be hard to figure out accurately because one technology may be used in multiple products, or may be responsible for the development of other innovations, for example the design of the HD580 enclosure and drivers directly influenced the design of the HD600 and 650 enclosures and drivers. Another great example is the Q701 -- it is in essence a K701 with modest changes. Most of the R&D cost was for the K701, and the Q701 reaped much of the benefit.

Material costs vary over time, often wildly, and are subject to supply and demand constraints. For example the price of copper, used in headphone voice coils and wires, has changed dramatically over the last few decades, and copper futures are still often volatile.

Production costs also vary, for example Q701s were made in Austria, but AKG wanted to save costs and moved production to China. But moving production to China does not necessarily make things cheaper, for example some Audio Gd amps probably cost more to make than equivalent Schiit amps, even though Schiit makes its stuff in the US and Audio Gd in China.

Many companies OEM some or all of production, which again affects costs depending on who they OEM to. And it's not just a case of folks using cheap Chinese OEMs -- some Denons for example were OEMd by Fostex, for example. And keep in mind that OEM companies typically conduct their own R&D, have their own design costs, have to retool equipment for specific products, etc, which changes cost calculations.

And finally marketing: some companies spend more on marketing (e.g. Apple, Nike, Beats) and make huge profits, while others spend very little on traditional marketing and still manage to do very well for themselves. One way to get around substantial marketing costs is to engage in direct marketing (eg Emotiva, Schiit) or to depend on word of mouth (like HiFiMan depends on HeadFi).

But eventually, keep in mind that companies will try to make as much profit as they can, so the price may be determined by what the market can support. For audiophile products, there may be a substantial markup in price just because companies know they can get away with it. A classical example of this is the Grado RA1, which has been substantially marked up when you take into account its design and materials/manufacturing cost.