Test Tracks
These are the tracks I use to test audio products, mostly IEMs. They are organised by the rating dimension each track primarily exercises. Each entry lists the track, a YouTube link, and a short note on what to listen for.
If you are listening to an IEM and want to run a comparable test yourself, the same tracks on YouTube should be enough to surface whether the IEM is doing what it should on that dimension.
Timbre and Tonality
These tracks stress the tonal balance of the IEM: how it colours voices and instruments, whether it makes them sound thin or boomy, and whether the upper midrange and treble are harsh or comfortable.
Shivers by Ed Sheeran: for checking the harshness and sibilance of an IEM, and its balance across the midrange frequencies. An IEM with ideal tonal balance controls the harshness (e.g., starting from the chorus section) and gives Ed’s voice an emotive “warmth” without making it muted or muffled.
Kiwi wa Boku ni Niteiru by See-Saw: tests the IEM’s ability to handle female vocals in “weeb musics.” An IEM with ideal tonal balance makes the voice of Chiaki Ishikawa bright and clear, while maintaining enough energy in the lower midrange to avoid making the voice thin and harsh, a common problem with IEMs that over-emphasise the upper midrange.
Now We Are Free by 2CELLOS: assesses the IEM’s ability to render lower-midrange, particularly cellos. An IEM with ideal tonal balance renders cellos with a thick and authoritative tone, and reproduces the low pitch resonance and “rumble” of the cello body. At the same time, it must avoid cutting the upper midrange and treble so much that the cellos sound muffled or muddy.
Playing God by Polyphia: focuses on the tonal quality and the level of energy conveyed by the guitars. This track also helps assess the balance of bass against midrange, shown by the relative loudness between the bass guitar and the rest of the music.
Bach’s Goldberg Variations, recorded by Lang Lang: I use this to assess the overall tonal balance of the IEM. If the piano does not sound even across the frequencies, the midrange is imbalanced.
Ciaccona from Bach’s Violin Partita No. 2 in D Minor, performed by Kavakos: tests two aspects, the rendition of violin and the reproduction of upper treble energy, shown by the quality and detail of the reverberation and micro details at the decay end of violin notes.
Synchro BOM-BA-YE by Tokyo Kosei Wind Orchestra: tests the tonal balance and timbre of the upper midrange and treble region. Two cues I focus on: the hand claps at the beginning, and the tonal quality of all brass instruments throughout the track.
Bass and Dynamic
These tracks stress the quality of bass and the IEM’s ability to convey dynamic swings without losing composure. Tempo-driven, with a focus on transients and rhythm.
A Reckoning in Blood from The Ghost of Tsushima OST: focus on the crescendo at 01:10, which an ideal dynamic IEM should communicate clearly. The beats from 02:50 need to be strong, snappy, and precise, requiring excellent control across the entire frequency range.
Strength of a Thousand Men (Live) by Two Steps from Hell: pay attention to the quality bass accompanying each beat. An IEM with perfect bass handling conveys a sense of “grippiness” and texture in the bass region, making the bass line growl rather than low-pitched hum. Every beat must also be snappy and incisive to capture the marching energy of the track.
Resolution
These tracks stress the IEM’s ability to keep elements of a mix distinct, and to render fine details in decays and textures.
Ciaccona from Bach’s Violin Partita No. 2 in D Minor, performed by Kavakos: focus on micro details such as the bow catching the strings, and on the quality and nuances of the reverberation and decays of the notes.
ABC feat. Sophia Black by Polyphia: focus on the IEM’s ability to not crumble under the complexity of overlapping layers in the mix. An IEM with ideal resolution makes it easy to hear everything, down to the very faint overdub by Sophia Black on the side channels from the opening of the track.
Soundstage and Imaging
These tracks stress the IEM’s ability to project sound elements in space, with depth and precision.
Original Sound Effect Track - Memory from Gundam Seed Destiny OST album: checks whether the IEM can use the spatial information in the track to create a diverse soundstage, with sound elements appearing in all three dimensions, and contrast between near and distant sounds. Many elements on the left and right channels should seem to originate outside the ears.
Shadow of Baar Dau: tests the IEM’s ability to convincingly convey the sense of distance of background elements, such as the string section at 00:20 on the front left, and the vocal chants on the front right at 00:40. An IEM with ideal soundstage and imaging makes this track feel spacious, with background elements appearing to originate outside the head.