The vocals (especially female vocals) won't be as forward, however, because the Titan 1 has a very forward
upper midrange while RHA sets (and most other enhanced - bass earphones) follow a v - shaped sound with slightly recessed mids.
Not exact matches
As we traversed Montana highways and crossed the Continental Divide in an ML350 Bluetec, acceleration proved most urgent in the
midrange stretch of the power band, where torque peaks between 1600 and 2400 rpm; passing slower traffic requires careful management of shift patterns
while avoiding the engine's wheezy
upper rev ranges, where oomph tapers off.
Acceleration feels most urgent in the
midrange stretch of the power band, where torque peaks between 1600 and 2400 rpm; passing slower traffic requires careful management of shift patterns
while avoiding the engine's wheezy
upper registers, where oomph tapers off.
Beneath the metallic front screen are two 40 mm drivers which handle the
midrange and
upper register and a small LED that flashes white
while the unit is connected.
There's also an unexpected silvery brush of brilliance in the
upper midrange that helps bring some extra presence to dialog and effects like gravelly footsteps,
while adding some definition to the attack of instruments like brushes scraping on a snare drum, or the sharp cut of an acoustic guitar.
While the T1 could never be described as slow, its dynamic agility is less obvious, the boost to the
upper midrange balanced against a lift in the lower bass to give subjectively a slightly slower sound.
The countertenor would want to make sure there was enough
upper midrange, but not too much
while the baritone would want to make sure there was warmth, but not too much thickness.
While the
upper midrange and treble are rendered with a steely finish, there's certainly no lack of detail or nuance there.
While the Yamaha lacks the Pioneer's creamy
midrange, it has a sharper cut to the
upper register that offers a tinge more precision, separating the two like fire and ice.