Top 45 Songs to Test Your Headphones With, Across Every Frequency Range

Here are our go-to tracks to test how headphones handle each music characteristic.

While technical specs can give you an idea of what to expect, the real test comes when you listen to your favorite tracks.

Sure, it’s always best to use your favorite songs to test your headphones as you’d probably listen to them the most anyway.

But if you want more options, here’s a huge list that covers different songs to test each aspect of audio playback.

Sub-bass

Sub-bass frequencies, usually below 60 Hz, are responsible for the deep, rumbling feelings that you feel in your chest when listening to music. These low frequencies add depth, power, and make you feel like you’re inside the music.

To test your headphones’ sub-bass capabilities, look for tracks with big, long low-frequency content.

Here are our top picks:

• “Why So Serious?” – Hans Zimmer (The Dark Knight)
• “Limit to Your Love” – James Blake (James Blake)
• “Royals” – Lorde (Pure Heroine)
• “Paper Trails” – Darkside (Psychic)
• “Angels” – The xx (Coexist)

“Why So Serious?” – Hans Zimmer (The Dark Knight)

This intense composition from “The Dark Knight” soundtrack is an excellent test for sub-bass reproduction. Around the 3-minute mark, the sub-bass gets louder and louder, making you feel like something bad is about to happen.

What to listen for:

The headphones should capture the deep growl that gives the overall feels of the song.

Pay attention to how your headphones handle the deep, rumbling frequencies. The sub-bass should be smooth and impactful. It should be able to fill the soundstage without overpowering the other frequencies.

“Limit to Your Love” – James Blake (James Blake)

James Blake’s haunting cover of Feist’s “Limit to Your Love” has big sub-bass drops that cut through the simple arrangement.

What to listen for:

The drops, especially the one around the 1-minute mark, give a great test for your headphones’ ability to play sudden, deep bass hits.

The clarity of the sub-bass is important. It should be felt as a deep, resonant thump that adds to the emotional weight of the song without overpowering the delicate upper frequencies.

“Royals” – Lorde (Pure Heroine)

“Royals” by Lorde is a perfect example of a minimalist production that relies heavily on a strong sub-bass presence.

This song’s deep and resonant bassline can be used to test a headphone’s ability to play bass without messing up the vocal clarity and the simple instrumentation.

What to listen for:

The headphones should play the bass line with depth and definition so it complements Lorde’s voice and the simple beat well.

It should be clean and impactful, with a presence that grounds the track and adds to its hypnotic quality.

“Paper Trails” – Darkside (Psychic)

Darkside’s “Paper Trails” mixes rock and electronic elements, and has a deep, resonant sub-bass throughout the track.

The sub-bass is especially noticeable during the parts without singing, providing a lush, enveloping base.

What to listen for:

Listen for how well the sub-bass mixes with the midrange and treble. Your headphones should keep a consistent and powerful sub-bass presence without distortion, especially during the more complex middle section of the track.

“Angels” – The xx (Coexist)

“Angels” by The xx has a subtle yet powerful sub-bass that goes well with the track’s minimalist arrangement. Its sub-bass provides a gentle, warm base that supports the delicate vocals and simple instrumentation.

What to listen for:

Think about how the sub-bass mixes with the higher frequencies. It should add body and depth to the mix without overpowering the vocals or sounding separate from the other elements.

Bass

Bass frequencies, ranging from around 60 Hz to 250 Hz, are responsible for the punch, warmth, and fullness in music.

Here are tracks with big, well-defined bass lines that demand both power and precision:

• “Billie Jean” – Michael Jackson (Thriller)
• “Bad Guy” – Billie Eilish (When We All Fall Asleep, Where Do We Go?)
• “Acid Rain” – Lorn (The Maze to Nowhere)
• “What’s Going On” – Marvin Gaye (What’s Going On)
• “Can’t Hold Us” – Macklemore & Ryan Lewis feat. Ray Dalton (The Heist)

“Billie Jean” – Michael Jackson (Thriller)

“Billie Jean” has one of the most famous bass lines in pop music history. The bass in this track is tight, punchy, and instantly recognizable.

What to listen for:

Listen for the articulation of each note and how it plays along with the kick drum. The bass should be big and well-controlled, providing a solid base for Michael Jackson’s vocals and the groove of the song.

“Bad Guy” – Billie Eilish (When We All Fall Asleep, Where Do We Go?)

Billie Eilish’s “Bad Guy” is characterized by a minimalist production that puts the bass front and center. The bass in this song is deep and punchy, which is a big contrast to Eilish’s whispery vocals.

What to listen for:

The headphones should deliver the bass with precision and depth, making sure it stays tight and controlled. The bass should be powerful and well-defined, keeping its presence without overpowering Eilish’s delicate vocals.

“Acid Rain” – Lorn (The Maze to Nowhere)

Lorn’s “Acid Rain” has a heavy, atmospheric bass that sets a dark and immersive tone. Its bass is deep, resonant, and plays a big role in creating the overall atmosphere.

What to listen for:

Good headphones should play the bass with a smooth, continuous depth that supports the track’s haunting melody.

Pay attention to the weight and texture of the bass. It should be strong enough to keep the intensity of the track but not too much that it drowns out the other frequencies.

“What’s Going On” – Marvin Gaye (What’s Going On)

Marvin Gaye’s classic track “What’s Going On” features a warm, melodic bass line that underpins the entire arrangement. Its smooth and groovy bass is essential to the song’s overall laid-back vibe.

What to listen for:

Your headphones should show off the warmth, smoothness, and clarity of the bass line. It should complement Gaye’s soulful vocals. And, it should blend seamlessly with the other instruments for a cohesive and harmonious sound.

“Can’t Hold Us” – Macklemore & Ryan Lewis feat. Ray Dalton (The Heist)

“Can’t Hold Us” has a dynamic, energetic bass line that drives the track forward and is crucial to the overall groove.

What to listen for:

Good headphones should deliver the bass with impact and clarity. Plus, they should be able to handle the fast-paced, rhythmic bass line to keep the song’s energetic feel.

Midrange

The midrange, spanning from around 250 Hz to 2 kHz, is where most instruments and vocals are. Good midrange playback is important for a natural, engaging listening experience.

Here are tracks with big vocals, guitars, or other midrange-focused elements that require clarity, detail, and balance:

• “Hotel California (Live)” – Eagles (Hell Freezes Over)
• “Tears Dry on Their Own” – Amy Winehouse (Back to Black)
• “Baba O’Riley” – The Who (Who’s Next)
• “Hello” – Adele (25)
• “Stairway to Heaven” – Led Zeppelin (Led Zeppelin IV)

“Hotel California (Live)” – Eagles (Hell Freezes Over)

The live version of “Hotel California” from the Eagles’ “Hell Freezes Over” album has intricate acoustic guitar work and powerful vocals that sit squarely in the midrange.

What to listen for:

Listen to the intro for the strumming and the clarity of the vocals throughout the track. Your headphones should play these elements with warmth and detail without muddling them together.

“Tears Dry on Their Own” – Amy Winehouse (Back to Black)

Amy Winehouse’s “Tears Dry on Their Own” shows off her soulful, powerful vocals, which are the centerpiece of the midrange in this track.

What to listen for:

Listen to the texture and detail in Winehouse’s voice. The vocals should sound raw, emotional, and well-balanced with the instrumental backdrop. It should allow you to appreciate the little details of her performance.

“Baba O’Riley” – The Who (Who’s Next)

The opening synth loop in “Baba O’Riley” by The Who is a great test for midrange resolution. The song’s structure, with its dynamic changes and powerful vocals by Roger Daltrey, demands a clear separation of midrange frequencies.

What to listen for:

Pay attention to how your headphones handle the interaction between the vocals, synthesizer, and piano. The midrange should stay clear and well-defined throughout the song despite the dynamic changes.

“Hello” – Adele (25)

Adele’s “Hello” is a great test for midrange playback due to her powerful, emotional vocals. Her voice is strong and emotional, requiring headphones to handle both power and subtlety.

What to listen for:

The depth and clarity of Adele’s voice, especially during the choruses, should be given justice by your headphones.

The vocals should stay clear, detailed, and well-balanced with the instrumental arrangement while maintaining her emotions.

“Stairway to Heaven” – Led Zeppelin (Led Zeppelin IV)

“Stairway to Heaven” by Led Zeppelin features a gradual build-up that shows off a range of midrange elements. The acoustic guitar intro, followed by Robert Plant’s vocals and the eventual full-band crescendo, provides a comprehensive test for midrange accuracy.

What to listen for:

During the intro, zero in on the clarity and detail of the guitar picking. Then, as the song progresses, observe the balance between the vocals and instrumentation, making sure that the midrange stays clear and well-defined throughout the dynamic shifts.

Good headphones will handle this complexity with ease while maintaining detail and separation.

Treble

Treble frequencies, ranging from around 2 kHz to 20 kHz, are responsible for the brightness, clarity, and detail in music.

Accurate treble reproduction is important for a natural, engaging listening experience. This helps recreate the high-frequency harmonics and overtones that give instruments and vocals their unique character.

To test this, here are tracks with prominent high-frequency elements like cymbals, hi-hats, or detailed vocal performances:

• “Don’t Stop Me Now” – Queen (Jazz)
• “Take Five” – The Dave Brubeck Quartet (Time Out)
• “Little Wing” – Jimi Hendrix (Axis: Bold as Love)
• “Time” – Pink Floyd (The Dark Side of the Moon)
• “Red Light Zone” – Colonia (Feniks)

“Don’t Stop Me Now” – Queen (Jazz)

Queen’s “Don’t Stop Me Now” has a lively mix of vocals, piano, and percussion that shows off the treble range.

What to listen for:

Focus on how Freddie Mercury’s energetic vocals sound, especially during the higher notes in the chorus. His vocals should stay clear and detailed without sounding harsh or strained.

The piano’s crispness, especially in the treble keys, should also sound bright and clear without any muddiness. And, the cymbals and hi-hats should have a distinct shimmer and decay, providing a sense of airiness.

“Take Five” – The Dave Brubeck Quartet (Time Out)

“Take Five” by The Dave Brubeck Quartet is a jazz standard that has intricate cymbal work and a big alto saxophone performance – both of which sit in the treble range.

What to listen for:

The cymbal hits especially during Joe Morello’s drum solo, should be clear and detailed without being overly bright or harsh. Paul Desmond’s alto saxophone should also sound smooth and detailed, with your headphones accurately playing the little details of his playing.

“Little Wing” – Jimi Hendrix (Axis: Bold as Love)

Jimi Hendrix’s “Little Wing” shows off his intricate guitar work, which has many high-frequency details and harmonics. The shimmering sound of the guitar strings and the high harmonics throughout the track are great for testing the treble range effectively.

What to listen for:

Think about how your headphones handle the shimmering, ethereal quality of Hendrix’s guitar tone. The high notes should sound clear and well-defined, with a sense of air and space around each note.

Your headphones should be able to play the subtle details of Hendrix’s playing without sounding too thin.

“Time” – Pink Floyd (The Dark Side of the Moon)

Pink Floyd’s “Time” has a complex array of high-frequency elements, including clocks, chimes, and detailed vocal performances.

What to listen for:

The opening sequence has a variety of ticking clocks and chimes. Each element should sound distinct and well-defined, with a natural sense of decay and space.

Then, at the latter part of the song, listen to the clarity and detail of David Gilmour’s vocals, especially during the higher notes. Make sure that they stay smooth and well-resolved throughout the whole track.

“Red Light Zone” – Colonia (Feniks)

Colonia’s “Red Light Zone” features a range of high-frequency synthesizers and percussion elements that are ideal for testing treble clarity and detail.

What to listen for:

You should hear the crisp, cutting quality of the electronic sounds and the clear playback of the high-pitched vocals. Good headphones will deliver these elements with precision. There shouldn’t be any sibilance or harshness while the track remains energetic and bright.

Balance

Balance refers to the relative levels of different frequency ranges in a track, making sure that no single element overpowers the others.

Well-balanced headphones will play the bass, midrange, and treble frequencies in a cohesive, natural way, allowing you to hear each aspect of the music as the artist intended.

Here are tracks that have a wide range of instruments and frequencies so you can pay attention to how well each element is represented in the mix.

• “Bohemian Rhapsody” – Queen (A Night at the Opera)
• “Africa” – Toto (Toto IV)
• “Bangarang” – Skrillex (Bangarang)
• “Smooth Operator” – Sade (Diamond Life)
• “Wilderness” – Explosions In The Sky (The Wilderness)

“Bohemian Rhapsody” – Queen (A Night at the Opera)

Queen’s “Bohemian Rhapsody” is a masterclass in balance. It has a complex arrangement of vocals and instruments that spans the entire frequency spectrum.

What to listen for:

Observe how your headphones handle the transitions between the different sections of the song, from the intimate vocals and piano of the intro to the grand, operatic middle section and the hard-rocking finale.

Each element should be well-represented, with no single frequency range overshadowing the others.

“Africa” – Toto (Toto IV)

Toto’s “Africa” has a multi-layer arrangement that includes a wide range of instruments and vocal harmonies.

What to listen for:

Listen to how well your headphones handle the balance between the different elements, such as the big bass line, the midrange-focused vocals and keyboard parts, and the high-frequency percussion and synth elements.

Each aspect of the mix should be clearly audible, with no single element dominating the others.

“Bangarang” – Skrillex (Bangarang)

Skrillex’s “Bangarang” is a complex, dynamic electronic track. It has a wide range of sonic elements, from deep, rumbling bass to sharp, percussive treble hits that are great for testing your headphones’ balance.

What to listen for:

You should notice the balance between the different frequency ranges. Make sure that the bass, midrange, and treble elements are all well-represented and cohesive.

No single aspect of the mix should overpower the others, allowing you to fully appreciate the intricate production.

“Smooth Operator” – Sade (Diamond Life)

Sade’s “Smooth Operator” has a balanced mix of smooth vocals, jazzy instrumentation, and a groovy bass line.

What to listen for:

Sade’s silky vocals, the midrange-focused saxophone and piano parts, and the big bass line should be handled with delicate care by your headphones.

The bass line should provide a solid base without muddying the midrange. The saxophone’s higher notes should be clear and resonant without being piercing. And, Sade’s voice should not be overpowered by the many movements of the instruments.

“Wilderness” – Explosions In The Sky (The Wilderness)

“Wilderness” by Explosions In The Sky is an instrumental post-rock track that has a wide range of guitar tones and dynamics. It features both delicate, ambient passages and soaring, distorted crescendos.

The track builds gradually. You’ll have plenty of low-end heft in the percussive pulse, while some guitar harmonics will reach high into the treble frequencies.

What to listen for:

Pay attention to how well the headphones handle the balance between the different frequency ranges, making sure that the low-end guitar and bass parts are well-represented without overpowering the midrange and treble elements.

The track should keep a sense of clarity and separation throughout its dynamic shifts.

Detail and Imaging

Detail refers to a headphone’s ability to play the subtle details and textures in a recording, while imaging refers to its ability to create a believable soundstage, placing each instrument and vocal in a distinct, three-dimensional space.

Here are tracks with complex, layered arrangements and a wide range of sonic elements:

• “Hide and Seek” – Imogen Heap (Speak for Yourself)
• “Flight of the Cosmic Hippo” – Béla Fleck and the Flecktones (Flight of the Cosmic Hippo)
• “Bubbles” – Yosi Horikawa (Wandering)
• “Strobe” – Deadmau5 (For Lack of a Better Name)
• “Tea for Two” – Art Tatum (The Tatum Group Masterpieces, Vol. 2)

“Hide and Seek” – Imogen Heap (Speak for Yourself)

Imogen Heap’s “Hide and Seek” is an a cappella track with complex vocal layering and effects that make a complicated, dreamy soundscape.

What to listen for:

You should hear the small details and textures of Heap’s vocals clearly, from the breathy closeness of the lead vocal to the complex harmonies and electronic changes.

Each layer should be easy to pick out, with a clear sense of space and separation.

“Flight of the Cosmic Hippo” – Béla Fleck and the Flecktones (Flight of the Cosmic Hippo)

“Flight of the Cosmic Hippo” by Béla Fleck and the Flecktones is a complex, dynamic instrumental track with many acoustic and electronic elements.

What to listen for:

Each pluck and slap of the bass should be clear, letting you hear the texture of the strings and the sound of the bass body.

The placement of the different instruments, like the banjo and harmonica, should be precise and give a sense of depth and space that stays throughout.

“Bubbles” – Yosi Horikawa (Wandering)

Yosi Horikawa’s “Bubbles” is an experimental electronic track with many unique, percussive sounds and textures, lots of which are panned and placed in different spots on the soundstage.

The unique sound of bouncing balls moving across the stereo field is a great test for spatial accuracy.

What to listen for:

Pay attention to how well your headphones handle the detail and imaging of each sound, from the distinct pops and clicks to the subtle background textures and atmosphere.

Each bounce should be heard clearly as it moves from one side of the soundstage to the other, making a strong sense of movement.

“Strobe” – Deadmau5 (For Lack of a Better Name)

Deadmau5’s “Strobe” is a progressive house track with a complex, layered arrangement of electronic parts, from deep, pulsing bass to detailed, shimmering synth textures.

The song’s slow build-up brings in different parts one by one, needing headphones to keep clarity and separation throughout.

What to listen for:

Focus on how well your headphones handle the small details and differences of each layer, making sure the different parts are clearly separate and easy to pick out.

The soundstage should feel big and immersive, with each sound placed precisely and moving within the mix.

“Tea for Two” – Art Tatum (The Tatum Group Masterpieces, Vol. 2)

Art Tatum’s “Tea for Two” is a solo piano performance that shows off Tatum’s impressive playing and complex improvisations.

What to listen for:

The rapid, precise keystroke should be clearly audible. You should hear the attack, sustain, and decay of each note.

The spatial placement of the piano notes should also be clear, giving a sense of the piano’s physical presence and the space it was recorded in.

Soundstage

Soundstage means how well the headphones can create a realistic, three-dimensional space for the music. It should let you sense the positions of instruments and vocals like you were listening in the room with the artists.

To test your headphones’ soundstage, find well-mastered tracks with lots of different instruments and vocals. Pay attention to how well each part is placed and separated in the mix.

Here are what we recommend:

• “Roundabout” – Yes (Fragile)
• “Money for Nothing” – Dire Straits (Brothers in Arms)
• “Riders on the Storm” – The Doors (L.A. Woman)
• “Hoppípolla” – Sigur Rós (Takk…)
• “1812 Overture” – Pyotr Ilyich Tchaikovsky (Various recordings)

“Roundabout” – Yes (Fragile)

Yes’s “Roundabout” is a progressive rock track with many instruments and dynamic changes that make a complex, immersive soundstage.

What to listen for:

The opening acoustic guitar riff should sound big, and as the whole band comes in, the layers of instruments should surround you.

Notice the spaciousness of the drums, the wide panning of the guitars, and the depth of the bass.

Good headphones will make you feel like you’re in the middle of the band, with each instrument in its own space.

“Money for Nothing” – Dire Straits (Brothers in Arms)

Dire Straits’ “Money for Nothing” has a well-known guitar riff and many instruments and vocals that create a detailed, immersive soundstage.

What to listen for:

Listen for the reverb and echo effects that make the spatial feel bigger, like you’re in a large, open space.

The soundstage should feel wide, with the guitar and synths going to the far edges of the stereo field. And the vocals and drums should have depth, giving a sense of distance and placement.

“Riders on the Storm” – The Doors (L.A. Woman)

“Riders on the Storm” by The Doors has a moody, atmospheric soundstage. It features different elements like rain and thunder effects, electric piano, and Jim Morrison’s vocals all placed and moving in the mix.

What to listen for:

For this track, the goal is to make it sound as realistic as possible.

The spatial cues from the rain and thunder sound effects and reverb should give you a sense of being in the middle of the storm.

Plus, Jim Morrison’s vocals and the electric piano should seem to float in a huge space, with the instruments placed at different depths.

“Hoppípolla” – Sigur Rós (Takk…)

Sigur Rós’s “Hoppípolla” has a lush, expansive soundstage, with many orchestral and electronic parts creating a dreamy, immersive atmosphere.

What to listen for:

The opening piano notes should sound far away but clear, slowly pulling you into the track. As the song builds, the layers of strings, drums, and vocals should make the soundstage bigger, creating an immersive and almost otherworldly listening experience.

“1812 Overture” – Pyotr Ilyich Tchaikovsky (Various recordings)

Tchaikovsky’s “1812 Overture” is a dynamic, large-scale orchestral piece with many instruments and a dramatic, immersive soundstage.

The complexity and size of this piece are perfect for testing how well headphones can make a realistic and engaging soundstage. And, since they recorded this with real cannons, your headphones should make you feel their impact.

What to listen for:

The opening strings and woodwinds should feel big, with the cannon fire and church bells making a sense of huge space and grandeur.

Listen for the placement and separation of the different parts of the orchestra, from the delicate violins to the booming cannons.

Rhythm and Timing

Rhythm and timing mean how well headphones play the time-based parts of music accuratelt so the different rhythms of a track are tight and work together.

To test your headphones’ rhythm and timing, find tracks with complex, syncopated rhythms and detailed percussion parts. Pay attention to how well each part locks together and keeps a steady, precise groove.

• “Strange Déjà Vu” – Dream Theater (Metropolis Pt. 2: Scenes from a Memory)
• “Superstition” – Stevie Wonder (Talking Book)
• “Boulevard of Broken Dreams” – Green Day (American Idiot)
• “Bitanga i Princeza” – Bijelo Dugme (Bitanga i Princeza)
• “Idioteque” – Radiohead (Kid A)

“Strange Déjà Vu” – Dream Theater (Metropolis Pt. 2: Scenes from a Memory)

Dream Theater’s “Strange Déjà Vu” is a progressive metal track with complex, shifting time signatures and detailed, syncopated rhythms. The off-beat guitar riffs and keyboard hits add layers of complexity that need exact timing to stay together.

What to listen for:

There should be a tight and precise interplay between the different rhythmic parts, from the complex drum parts to the intricate guitar and keyboard layers.

Each part should feel locked in and perfectly timed, with no sense of rhythmic smearing or confusion.

“Superstition” – Stevie Wonder (Talking Book)

Stevie Wonder’s “Superstition” has a tight, funky groove that shows off Wonder’s clavinet playing and complex drum work.

What to listen for:

Listen for the sharp attack and quick decay of each clavinet note, the punch and precision of the bassline, and the crispness of the drum hits.

The rhythm should feel energetic and precise, with each part keeping its place in the mix without overshadowing the others.

“Boulevard of Broken Dreams” – Green Day (American Idiot)

Green Day’s “Boulevard of Broken Dreams” has a strong, driving rhythm with prominent drums and bass. The rhythmic interplay between the instruments makes a dynamic and engaging beat that drives the song forward.

What to listen for:

Listen for the tightness of the drum hits, the punch of the bass, and how well the guitar rhythms sync with the percussion. Good headphones will reproduce the energy and timing of the track, making sure each beat feels precise and impactful.

“Bitanga i Princeza” – Bijelo Dugme (Bitanga i Princeza)

“Bitanga i Princeza” is a high-energy rock track with energetic guitar riffs and dynamic drumming that drive the song’s rhythm. The interaction between the guitar and drums makes a powerful, rhythmic pulse that needs accurate timing.

What to listen for:

Listen for the clarity and punch of the drum beats, the tightness of the guitar rhythms, and how the bassline supports the whole track. Good headphones will capture the energy and drive of the song. Make sure each rhythmic part is sharp and works together well to form a cohesive track.

“Idioteque” – Radiohead (Kid A)

Radiohead’s “Idioteque” is an experimental electronic track with complex, glitchy rhythms and detailed, layered percussion parts.

What to listen for:

The electronic beats and the layering of rhythmic parts should be exact. And, your headphones should be able to handle the tempo changes and complex timing.

Each beat should be sharp and clear, with the rhythmic parts staying separate and well-defined, letting the track keep its tight and engaging energy.

Dynamic Range

Dynamic range means how well headphones play the full range of volume levels in a recording accurately, from the softest, most delicate sounds to the loudest, most explosive moments.

To test your headphones’ dynamic range, find tracks with a wide range of volume levels and dynamic shifts. Pay attention to how well they handle the subtle, quiet moments as well as the loud, powerful crescendos.

• “Symphony No. 5, 1st Movement” – Ludwig van Beethoven (Various recordings)
• “Heartsigh” – Purity Ring (Another Eternity)
• “Adagio for Strings” – Samuel Barber (Various performances)
• “Rhapsody in Blue” – George Gershwin (Various performances)
• “The Last Day of Our Acquaintance” – Sinéad O’Connor (I Do Not Want What I Haven’t Got)

“Symphony No. 5, 1st Movement” – Ludwig van Beethoven (Various recordings)

Beethoven’s “Symphony No. 5, 1st Movement” is a dynamic orchestral piece with a wide range of volume levels and dramatic shifts.

As the movement goes on, it has quieter, more detailed string parts where the headphones need to keep clarity and detail.

What to listen for:

The powerful opening theme, played by the full orchestra, needs headphones to deliver intense volume without distortion.

Transitions from the softer parts to the thunderous crescendos should also have a smooth gradation and precision to capture the full emotional range of the piece.

“Heartsigh” – Purity Ring (Another Eternity)

Purity Ring’s “Heartsigh” is an electronic track with a wide range of dynamic shifts and contrasts, from delicate, dreamy vocals to deep, powerful bass drops.

The track starts with delicate synths and soft vocals, making an intimate atmosphere. But, as the song builds to its chorus, it brings in powerful, bass-heavy beats and big synth layers.

What to listen for:

The headphones must manage these transitions smoothly, keeping the softness and clarity of the verses while delivering the impact and depth of the choruses.

The interplay between the fragile vocals and the strong electronic parts shows the headphones’ ability to handle both ends of the dynamic spectrum well.

“Adagio for Strings” – Samuel Barber (Various performances)

Samuel Barber’s “Adagio for Strings” is a hauntingly beautiful orchestral work with a wide range of dynamic shifts and emotional crescendos.

The piece begins with gentle, sustained string notes that slowly build in volume and intensity. This gradual crescendo tests the headphones’ ability to deliver a smooth and controlled increase in dynamics.

What to listen for:

As the music swells to its emotional peak, the headphones must handle the powerful, rich string tones without getting harsh or losing clarity. The contrast between the calm opening and the dramatic climax gives a thorough test of the headphones’ dynamic range capabilities.

“Rhapsody in Blue” – George Gershwin (Various performances)

George Gershwin’s “Rhapsody in Blue” is a dynamic, jazz-influenced orchestral piece with a wide range of volume levels and instrumental textures.

The opening clarinet glissando needs precision in the quieter moments, while the energetic piano solos and full orchestra sections test the headphones’ ability to reproduce dynamic contrasts.

What to listen for:

The piece’s varied instruments, from delicate woodwinds to booming brass, demand that the headphones portray each instrument’s unique timbre and dynamic level accurately.

Pay attention to how well your headphones can handle this without any sense of compression or distortion.

“The Last Day of Our Acquaintance” – Sinéad O’Connor (I Do Not Want What I Haven’t Got)

Sinéad O’Connor’s “The Last Day of Our Acquaintance” is an emotionally charged track with a wide range of dynamic shifts and contrasts, from delicate, introspective verses to powerful, raw choruses.

The initial quiet guitar accompaniment needs the headphones to capture the subtlety and intimacy of her voice. As the song progresses, the dynamic intensity increases, leading to a powerful, raw climax.

What to listen for:

The headphones must handle this dynamic shift smoothly, keeping clarity and detail throughout.

O’Connor’s vocals should stay clear and emotionally resonant throughout, with the quiet parts feeling intimate and the loud moments feeling raw and impactful.