The truth is, neutral is never actually neutral.
Whether you’re talking about in-ear monitors (IEMs) or headphones, “neutrality” isn’t as straightforward as it seems.
On one side, we have studio reference gear, prized for its flat response and designed to reveal every flaw in a recording. On the other, we have audiophile headphones, which tilt toward personal listening pleasure and more engaging sound.
The real question is, why do these two camps define neutrality so differently?
Studio Neutral vs. Audiophile Neutral: What’s the Difference?
The meaning of “neutral” differs depending on who you ask.
In studios, neutral means accuracy above all else.
These reference headphones and IEMs are built to reproduce accurate sound without adding anything extra. With that, engineers and producers can hear every detail and flaw in a recording.
On the flip side, neutrality for audiophiles is more about making music enjoyable than being strictly accurate.
That’s why many audiophile headphones and IEMs often have a slight boost in the bass or treble regions. But, it’s done in a very minimal way so the tuning can still be called ‘neutral’.
For example, the Moondrop KATO follows the Harman curve and is often called “neutral” by audiophiles.
However, compared to studio reference headphones, they’re not flat or uncolored, as sound professionals require for mixing and mastering. Instead, they sound richer, more lively, and more immersive.
The Role of Pinna Gain, Room Gain, and Tuning Targets
Unlike what most people think, ‘neutral’ doesn’t mean a flat frequency response graph. If you look at the graphs even for studio reference headphones, you’ll see that there are still some bumps and dips here and there.
The reasons for these different tuning approaches boil down to how our ears hear sound.
One key idea is pinna gain, which is how the shape of the outer ear naturally boosts certain frequencies, especially around 3kHz.
When we listen to speakers, our pinnae plays an important role in shaping the sound we hear. However, headphones and IEMs bypass this natural effect.
To compensate, their tuning needs to recreate this boost, or else the sound might feel less clear and engaging. That’s why, you’ll usually see a slight boost around the 3 kHz in Hi-Fi headphones.
Yet, listeners perceive pinna gain differently.
Our unique ear shapes mean that an IEM might sound perfectly balanced to one person but overly bright to another. This variance makes it difficult to achieve a “one-size-fits-all” approach to neutrality, leading manufacturers to target different levels of pinna compensation.
Another factor to consider is room gain.
In a typical listening environment, a room’s acoustics naturally amplify lower frequencies, particularly in the bass and lower midrange. This effect is more noticeable with speakers, as low-frequency waves travel further and reflect more, resulting in a fuller bass sound.
For example, the popular Harman target curve is a great example of this compensation in action.
It aims to replicate the sound of speakers in a well-treated room, with an emphasis on a more engaging bass response. This approach makes up for the absence of natural room gain and ear resonances typically present in headphone listening.
However, the Harman target curve is not without criticism or contention within the audiophile community.
Since it’s based on broad listener preferences, not everyone may agree with its particular balance. Some argue that it may overemphasize the bass or fail to capture the natural variation in listener preferences across genres and individual listening habits.
That’s why some audiophiles seek out alternative target curves or personalized tunings that better suit their tastes.
Why the Divergence? Preferences, Perception, and Purpose
The divide in tuning philosophy comes down to purpose.
Studio reference gear is built for critical work. In professional settings, the focus is on accuracy, and long sessions require a flatter, less fatiguing sound. If the headphones don’t reveal every frequency as they are, a mixer might miss something crucial in the final mix.
Take the Beyerdynamic DT 1990 Pro, for example. These headphones are known for their analytical sound and boosted treble.
But, while this boost can make it easier to identify details in recordings, it can also lead to more listening fatigue over time.
These trade-offs are a part of why studio neutrality is often less about enjoyment and more about hearing every flaw over pleasure.
On the other hand, audiophile preferences lean towards enjoyment and engagement.
Yes, it might sacrifice some accuracy. But, it results in a more emotionally satisfying listening experience for many of us.
Plus, the notion of neutrality is deeply subjective.
What’s neutral to one may feel lacking in warmth or treble to another. Some may find studio headphones, like the OLLO Audio S4X 1.2, too flat or sterile. Others might see them as the purest way to hear music.
Meanwhile, audiophile gear might tweak the sound in a way that makes the music feel fuller or richer, even though it deviates from strict neutrality.
Should Audiophiles Go for Neutral Tuning Instead?
Many audiophiles wonder if they should choose studio reference neutrality to hear music “as the artist intended.”
And that’s surprising since doing so has benefits.
For one, it offers more accurate sound, better clarity, and deeper insight into a recording.
Neutral tuning can bring out small details like background instruments or studio effects that might get lost in more colored tunings. It can also improve clarity by preventing frequencies from competing with each other, making it easier to distinguish individual instruments and vocals.
Thanks to this, listeners can understand how a track is put together, its balance, layering, and even flaws that other tunings might hide.
But, this precision can feel analytical or “dry” for casual listening.
If your goal is to experience music exactly as it was mixed, then this tuning can be valuable.
If not, you may enjoy a more tailored experience, where sound is enhanced for warmth, immersion, or emotional impact.
The thing is, you’re not less of an audiophile if you enjoy bass-heavy EQs. Conversely, sticking to flat responses doesn’t make you a “better audiophile.”
The beauty of this hobby lies in finding what resonates best with you personally.
Sure, the idea of “hearing it as the artist intended” is appealing. But, it’s worth considering that even artists and mixing engineers often take into account how their music will sound on various consumer-grade headphones or speakers
Some tracks are actually mixed to sound better on bass-boosted headphones. Meaning, strict neutrality may not always represent the artist’s true intention.
In the end, the best approach is to experiment with both studio reference and audiophile tunings.