20 Songs That Can Brutally Expose Your Headphones’ Midrange Problems

These tracks can rip the mask off any headphones’ muddy midrange.

Your headphones are lying to you! Well, at least if they have muddy midrange, A.K.A. that critical frequency range (250Hz-2000Hz) where vocals and instruments live.

When midrange fails, vocals get buried, guitars turn to mush, and detail vanishes.

But how can you tell if your headphones are hiding the good stuff? These 20 revealing tracks will instantly expose the truth.

1. Bohemian Rhapsody – Queen

The magic of this Queen masterpiece lies in its complex vocal layers that quickly expose midrange problems.

When Freddie Mercury’s vocals layer up during the operatic section (around 2:40), cheap headphones simply can’t handle it.

Many voices overlap squarely in the midrange here, creating the perfect stress test for your audio gear.

You should be able to hear each voice as a separate harmony, not just a blob of sound. For example, when they all sing “Galileo.” Good headphones let you pick out each separate harmony, while poor ones turn it into one messy choir.

The piano should sound crisp and clear, too, and not buried under everything else.

If your headphones have muddy midrange, all those beautiful Queen harmonies will smear together like watercolors in the rain. So, if this song sounds like a jumbled mess, it’s not Queen’s fault!

2. The Chain – Fleetwood Mac

This Rumours classic is a sneaky test for your headphones because it starts simple but gets complex fast. Many people focus only on the bass section, missing how revealing the vocal harmonies are.

To start, check out the choruses where Lindsey and Stevie’s voices blend. Good headphones let you hear both singers clearly, not just a vague duet.

Also pay attention to what happens around 2:50 when multiple guitars start playing together. Can you still tell them apart?

However, the true midrange challenge happens during the chorus.

With quality headphones, you can almost point to where each band member seems to be standing. But poor headphones squash everything together, making the band sound like they’re playing from inside a box.

3. Shine On You Crazy Diamond – Pink Floyd

Pink Floyd wasn’t messing around when they recorded this epic tribute to Syd Barrett. This sprawling epic covers a wide spectrum of sounds with many midrange-rich instruments that easily expose headphone quality.

The opening four notes from Gilmour’s guitar should float in space with a crystal-clear tone. As keyboards join in, they should add depth without making things sound crowded. Bad headphones turn this spacious masterpiece into audio clutter.

The band spent so much time perfecting this recording that they nearly drove their engineer crazy! All that effort pays off if you have headphones good enough to reveal it.

When the song builds to its climax around Part VII, notice how many instruments are playing at once. Still hear them all clearly? Or has everything turned to mush? Your answer tells you a lot about your headphones’ quality!

4. Forty Six & 2 – Tool

Tool’s complex layering of instruments in lower and middle frequencies makes this track a brutal midrange test.

The killer feature here is how Justin Chancellor’s bass guitar and Adam Jones’s electric guitar occupy similar frequency ranges but play different parts.

On good headphones, you’ll hear two distinct instruments. On bad ones? Just a fuzzy, indistinct rumble.

During the instrumental bridge (around 3:30), you should clearly follow both the bass line and guitar parts separately. If they’re blurring together, your headphones are failing the midrange test.

I’ve heard this song sound completely different on various headphones. On great ones, Maynard’s vocals cut through perfectly even when the band is going full throttle. On muddy ones, his voice gets swallowed up by the instruments. Big difference!

5. Paranoid Android – Radiohead

Abrupt transitions between mellow acoustic sections and chaotic electric segments make this mini-epic perfect for exposing midrange deficiencies.

The song jumps from quiet acoustic parts to chaotic electric freakouts. That huge contrast reveals a lot about how your headphones handle different intensities of midrange.

During the loud guitar section around 2:40, quality headphones let you pick out individual elements while cheap ones turn everything into messy noise. The “rain down” section presents another challenge—those vocal harmonies should sound like separate voices, not just one blob of sound.

Thom Yorke’s voice remains the constant thread throughout these dramatic changes. It should stay clear regardless of what’s happening in the background. When his voice suddenly sounds muffled as the guitars kick in, that’s a clear sign your headphones are struggling.

Even pricey headphones sometimes fail this test if they’re not properly tuned.

6. Hysteria – Muse

That distorted bass riff! It’s the first thing that grabs you, and it’s also where midrange problems instantly show up.

When the full band kicks in after the bass intro, your headphones face a serious challenge. You can blame it on Chris Wolstenholme’s aggressive bass technique! Matthew Bellamy’s voice, crunchy guitars, and that already-powerful bass all compete for the same sonic space.

Quality headphones keep everything organized. Poor ones? You’ll hear a jumbled mess where the vocals get buried.

The rhythm guitar parts should have texture and bite.

7. A Day in the Life – The Beatles

This Beatles classic contains both sparse, vocal-focused segments and dense orchestral swells that thoroughly test midrange clarity.

For instance, as the orchestra swells from quiet to chaotic, try to listen for individual instruments.

Can you pick out strings from horns? Or does it just sound like random noise getting louder? The answer tells you everything about your headphones’ midrange clarity.

John Lennon’s opening also has a dreamy, intimate quality with subtle echo. His voice should sound natural and present. Then Paul’s middle section brings a completely different vocal tone. This contrast often disappears on lesser headphones.

Plus, the alarm clock, honky-tonk piano, and orchestral hits during Paul’s section create midrange challenges. Each element needs its own space in the mix.

And that final sustained E-major chord? It’s actually several pianos hit simultaneously. Quality headphones reveal the complex harmonics of those strings resonating together.

8. Stairway to Heaven – Led Zeppelin

The first minute of “Stairway” might seem simple, but it’s anything but. Those recorders (the Renaissance-style flutes) floating above multiple acoustic guitars create a midrange-rich art that immediately exposes headphone quality.

Most listeners focus on the famous guitar solo, but the transitions between sections tell you more about your headphones. When the drums enter and the song builds, does clarity remain? Or does everything start to sound congested?

In the quiet beginning, you should hear the nuances of Jimmy Page’s finger-picking with each string’s note remaining discernible. The multiple guitar tracks shouldn’t blur together, and the recorder melodies should float clearly above the mix.

By the final section, even great headphones get challenged. If Plant’s powerful vocals, Page’s guitar, and John Bonham’s drums all remain clear and separated during “And as we wind on down the road,” your headphones are exceptional.

9. When the Levee Breaks – Led Zeppelin

Famous for its huge, cavernous drum echo and harmonica, this track tests midrange and mid-bass handling beautifully.

From the beginning, the opening drum beat, followed by the dirty slide guitar riff and harmonica, creates a challenging mix of sounds.

The harmonica should have a raspy, rich tone that stands out over the drum beat. And, even when the harmonica plays simultaneously with vocals, both should remain individually audible.

With proper headphones, you’ll also hear both Bonham’s initial drum hits and the room’s natural reverberation as separate elements. The echo should add atmosphere without turning the drums into a muddy, indistinct boom.

If mids are clear, you’ll sense the spaciousness while still hearing the distinct thwack of the snare and kick.

Plant’s vocals also float within this dense atmospheric mix. But, they should sound clear while still maintaining the spacious quality that makes this track special.

10. Brothers in Arms – Dire Straits

Mark Knopfler’s voice has a unique intimacy in this track. You should feel like he’s singing directly to you. But, the subtle gravel in his baritone disappears on headphones with midrange problems.

The production here is deliberately spacious. When the guitar solo begins, listen for both the notes and the reverb around them. Each bend should sound expressive and clear. This emotional quality gets lost when the midrange isn’t reproduced accurately.

As the song slowly builds gradually with keyboards and percussion joining, the added elements should enhance the atmosphere. All these should add depth without obscuring the lead vocal and guitar.

Muddy midrange will make this track sound veiled or distant. For example, Knopfler’s voice will lack its usual intimacy and the guitar solo will sound too honky or boomy.

11. Bachelorette – Björk

Björk’s vocal power alone will put your headphones through their paces. This dramatic track brings together her unique voice, orchestral strings, and electronic beats in a midrange battleground.

The chorus hits like a tidal wave when Björk belts “I’m a fountain of blood…” with strings and drums swelling behind her. Your headphones need serious midrange chops to keep everything clear here.

The string section deserves special attention too.

Quality headphones let you hear the texture of bow against strings, maybe even distinguishing cellos from violins. Poor midrange turns those beautiful strings into a fuzzy backdrop without definition.

12. Billie Jean – Michael Jackson

Don’t be fooled by how easy this track sounds. Quincy Jones’ production is a masterclass in midrange clarity that quickly separates great headphones from average ones.

The first verse lays down the challenge with that iconic bass line, MJ’s vocals, and the often-overlooked rhythm guitar ticking away in the background. Each element occupies its own space in well-tuned headphones.

Michael’s voice reveals everything about midrange quality. You should hear every little vocal detail, like those signature hiccups, the breathy moments, even his subtle mouth sounds.

Muddy headphones strip away these intimate details, making his performance sound flat and ordinary.

Finally, during the bridge (“People always told me…”), listen to how the backing vocals enter. They should sound like actual people harmonizing, not just a vague wash of sound.

13. Superstition – Stevie Wonder

Driven by a funky clavinet riff (essentially an electric clavichord keyboard occupying midrange frequencies) this track instantly exposes muddy midrange.

The intro and main groove provide immediate feedback. Each note should have a sharp attack and quick decay, almost like a guitar. Bad headphones turn this wonderfully articulate instrument into a muddy mess.

What’s great about this, though, is how it builds brilliantly for testing.

It starts with just the clavinet, then adds drums and bass, and finally brings in those punchy horns. This gradual layering lets you hear exactly when your headphones start to struggle.

Quality headphones maintain the funk factor throughout. The clavinet stays crisp, Stevie’s vocals remain clear, and those horn stabs sound brassy and distinct. When everything blends into an indistinct soup, that’s midrange muddiness in action.

14. Superstar – The Carpenters

Karen Carpenter’s legendary voice provides the ultimate test for midrange tonal accuracy and separation.

The opening verse provides an immediate test with just Karen’s voice and soft electric piano. This simple arrangement has nowhere to hide. It’s just either her voice sounds naturally warm and intimate, or your headphones are failing.

As the strings and backing vocals enter, your headphones face a tougher challenge. Each new element should add to the richness without clouding Karen’s lead vocal. For one, the string arrangement should sound like a separate layer behind her rather than bleeding into her voice.

15. Someone Like You (Live) – Adele

Live performances cut through headphone marketing hype fast, and this stripped-down Adele performance is audio truth serum.

With just piano and voice, there’s nothing to distract from midrange problems. When Adele belts out “Never mind, I’ll find someone like you…” your headphones need to deliver power without distortion or compression.

Her voice should dominate the space while the piano clearly accompanies without overwhelming.

You’re not just listening for the big moments though.

Notice the breath sounds, the slight catch in her voice on emotional lines, even the subtle room acoustics. These details create the “you are there” feeling that only quality midrange reproduction can deliver.

Of course, the piano deserves close attention too. Each chord should sound clear and warm with audible hammer strikes and string resonance. Poor midrange makes the lower piano notes sound muddy and indistinct, especially during the more powerful vocal sections.

16. Freedom – Beyoncé ft. Kendrick Lamar

This powerful anthem hits your midrange with a one-two punch of Beyoncé’s raw vocals and Kendrick’s rapid-fire verses.

The chorus hits like a sledgehammer when Beyoncé belts “Freedom! Freedom! I can’t move!” over those pounding drums. This is where lesser headphones fall apart completely.

Behind her lead vocals, those gospel-inspired background singers add another layer of midrange complexity. Then Kendrick steps in with his verse, demanding crisp articulation while that heavy beat continues underneath.

Beyoncé’s voice should sound raw and emotional with all its natural grit intact. The backing vocals shouldn’t disappear when she’s singing—they should remain clearly audible as a separate layer.

Those stomps and claps? They should hit hard without blurring together. When everything sounds like one continuous roar instead of distinct percussion hits, that’s midrange mud in action!

17. Don’t Know Why – Norah Jones

Sometimes the simplest recordings reveal the most about your headphones. This gentle jazz-pop track is deceptively challenging for midrange reproduction.

The opening verse presents the perfect test—just Norah’s intimate vocals with delicate guitar and piano accompaniment. Nothing to hide behind!

The piano solo and those held vocal notes on “when I saw the break of day” expose every midrange flaw your headphones might have.

With quality headphones, you’ll hear subtle details that bring Norah’s performance to life: the soft breath in her voice, gentle vibrato, and even the tiny changes in tone as she forms different words.

The “d” in “don’t know why” should be clear without sounding harsh or popping.

The acoustic guitar should have a warm, wooden character with audible string plucks and finger movements. The piano notes need to sound distinct with natural resonance and decay, especially in its upper register.

Poor headphones flatten all these beautiful details, making Norah sound like she’s singing through a blanket.

18. Take Five – Dave Brubeck Quartet

This jazz classic features a strong alto saxophone lead backed by piano chords, upright bass, and drums, A.K.A. a perfect midrange transparency test.

Paul Desmond’s alto saxophone takes center stage here with its smooth, silky tone.

On quality headphones, you’ll hear the saxophone’s reedy texture and subtle breath through the instrument. The piano “comping” (those rhythmic chord accompaniments) should remain clear even when the sax is playing its melody.

Joe Morello’s drum solo offers another midrange challenge. Each tap on the snare and toms should have a distinct attack and tone, not just a vague thudding sound.

Meanwhile, the upright bass provides the groove with a presence you can feel. Listen for the occasional string buzz and pluck noise that gives it character.

The song’s famous 5/4 time signature creates a distinctive rhythmic pattern that should never sound blurred or confused. And those piano chords marking time? They need to stay precisely defined throughout.

19. The Rite of Spring – Igor Stravinsky

Stravinsky’s revolutionary ballet music might be over 100 years old, but it’s still a midrange torture test for modern headphones!

The “Augurs of Spring” section (that famous pounding rhythm) is where things get brutal. Multiple instrument sections play aggressive, dissonant chords with complex rhythms.

Quality headphones let you hear the distinct bite of trumpets, the rasp of horns, the attack of string bows, and those wild woodwind trills. All as separate elements.

Also, the chaotic “Sacrificial Dance” at the end pushes midrange reproduction to its limits. When the full orchestra erupts, you should still track individual instrument groups rather than hearing an undifferentiated wall of sound.

20. O Fortuna – Carl Orff

This famous choral/orchestral piece with massive chorus singing over full orchestra challenges midrange resolution with extreme density.

Those dramatic “O Fortuna!” moments at the beginning and end will immediately expose midrange weaknesses. The choir shouts Latin lyrics while the orchestra punches accents—maximum midrange density!

On the other hand, the quieter middle section provides contrast, showing whether clarity issues come from your headphones or just the music’s complexity.

Despite having dozens of voices singing together, you should still hear the collective shape and pronunciation of the Latin words. The voices should sound like actual human singers, not an anonymous blur.

Not to mention, the brass instruments often double what the choir sings, creating a potential midrange nightmare. Good headphones keep these elements separate and defined. And, those dramatic timpani and bass drum hits need to remain powerful without drowning out the midrange details.