30 Songs That Expose Whether Your In-Ear Monitors Have Terrible Treble

Each track includes specific timestamps and listening notes to identify common treble issues in IEMs.

A track can be mastered perfectly, but a bad treble peak in your IEM will still make it sound harsh. On the flip side, a bright recording might not sound painful, if your gear is tuned right. That’s where this playlist comes in.

These 30 tracks will tell you if your IEM handles treble properly.

1. Patricia Barber – Code Cool (2013)

Why it’s on the list: This audiophile-quality jazz recording famously exposes sibilance. Barber’s intimate vocals are crystal clear, with pronounced S consonants and crisp drumkit work that test treble control.

How to use: Play at normal volume and focus from the 1:30 mark onward, especially when Patricia sings lines with S sounds (like “so cool”).

On neutral IEMs, you’ll hear natural S sounds that stay tolerable. If your IEM has a treble peak, the sibilance jumps out aggressively, and hi-hats sound piercing. The track should have only mild sibilance on good gear. If it’s unbearable, your IEM is likely too bright.

2. Trifonic – Lies (2008)

Why it’s on the list: This ambient electronic track features female vocals with airy highs that ride the line of treble intensity. The wispy vocals and delicate high-frequency content reveal harshness if present.

How to use: Listen to the vocals and synth from 0:50–1:20, plus the bright percussive elements throughout.

On good IEMs, it sounds ethereal and detailed without stridency. If your IEM has harsh treble, the airiness tips into piercing hiss – those high synth notes become grating instead of smooth. The wide-panned hand drums also check left-right symmetry.

3. Pink Floyd – Time (1973)

Why it’s on the list: The intro’s alarm clock chimes and bells creates a famous treble test. These transient high-frequency sounds must be clear but not stabbing.

How to use: Play the opening 0:00–0:30. Clock chimes should ring with natural clarity on neutral IEMs – crisp but not painful. If your IEM has treble issues, the clocks sound shrill, piercing, or distorted.

After the intro, check Nick Mason’s ride cymbal patterns and David Gilmour’s vocals on lines like “Tired of lying in the sunshine.” They should have detail without sibilance.

4. Electric Light Orchestra – Mr. Blue Sky (1977)

Why it’s on the list: This cheerful track has layered harmonies, strings, and bright vocals testing the 5–8 kHz region. It quickly indicates overly elevated upper mid/lower treble. Under neutral tuning, it sounds exciting and smooth, but any boost turns it into a box of 6 kHz razors.

How to use: Focus on the chorus (1:05–1:30) when the full band and harmonized “Mr. Blue Sky” vocals kick in. On balanced IEMs, vocal peaks and crashing cymbals stay enjoyable. If too bright, these sections feel overly edgy or screechy.

Also, check the vocoder voice and high strings in the bridge (around 2:50). They should sound sweet, not like broken glass.

5. Hilary Hahn – Sibelius Violin Concerto (2008)

Why it’s on the list: High violins notoriously reveal treble character. Hahn’s brilliantly recorded performance captures her violin tone in full range, from sweet highs to intense passages.

How to use: Listen for the highest sustained notes – try the cadenza in the 1st movement around 4:30 or the 3rd movement’s soaring climax.

On accurate IEMs, the violin sounds sweet and clear with audible rosin and vibrato, never strident. If your IEM has a treble spike, the upper register turns sharp, steely, or screechy. Check orchestral cymbal crashes and triangle hits in the finale for natural shimmer.

6. Stacey Kent – How Insensitive (2013)

Why it’s on the list: Stacey’s soft, close-miked voice on this bossa nova tune is naturally sibilant. In other words, perfect for checking if IEMs exaggerate female vocals. The title itself contains multiple S sounds that repeat throughout.

How to use: Listen to the opening verse (0:15–0:45) when Stacey sings “How insensitive I must have seemed…”

On neutral IEMs, the S in “insensitive” stays present but gentle, blending with her breathy style. If your IEM has sibilance problems, those letters jump out sharply and unpleasantly. Note the delicate percussion (hi-hat and brushes), which should stay subtle.

7. Nils Lofgren – Keith Don’t Go (Live) (1997)

Why it’s on the list: This famous audiophile track features solo steel-string acoustic guitar with incredible energy. Every pluck, strum, and slide produces high-frequency content that torture tests treble response.

How to use: Focus on the intro (0:00–0:30), where initial strums have lots of high-end zing from steel strings.

Neutral IEMs render these attacks as crisp but natural, with shiny yet painless string tone. If your IEM has harsh treble, the guitar’s brilliance turns into an unpleasant metallic edge. Listen for fretboard slides – the string squeaks should be clear but not alarming.

8. Rodrigo y Gabriela – Tamacun (2006)

Why it’s on the list: This dynamic duo’s stunningly clean recording features extremely percussive acoustic guitars with rapid strums and body taps creating lots of high-frequency transients.

How to use: Play the intro (0:00–1:00), where Gabriela’s rapid strumming produces a rush of treble energy. Great IEMs reproduce micro-transients with clarity and no smearing, without turning aggressive strums painful.

Also, focus on high-pitched snaps when they slap strings or the guitar body (around 2:00). These should startle but not linger as harsh ringing.

9. Hans Zimmer – 2049 (2017)

Why it’s on the list: This modern soundtrack combines deep sub-bass with piercing high components. Zimmer intentionally pushed some upper-mid/low-treble elements that can become uncomfortably intense on certain systems.

How to use: Start around 1:45 as the music swells – listen for high, almost choral synth tones and percussive metallic hits. On neutral gear, these highs are present but not painful.

Pay attention around 2:20–3:00 when wordless vocals and bright drones climax. They should remain cinematic, not hurt. If you’re turning the volume down due to treble (not bass), your IEM likely has an imbalance.

10. Christian Scott – New New Orleans (King Adjuah Stomp) (2012)

Why it’s on the list: This aggressive jazz piece led by trumpet is infamous for pushing gear to the edge of harshness. The trumpet is recorded very forward with a biting tone, as if the bell is right next to you, especially on the original CD-quality master.

How to use: Listen to trumpet blasts in the main motif (first hit around 0:10). On well-tuned IEMs, the trumpet sounds bright and bold but just tolerable.

If your IEM has undue elevation in upper mids or treble, this becomes intolerable – trumpet notes feel centimeters from your ears. Note the raw cymbals and snare, which can also turn shouty or piercing.

11. Jennifer Warnes – Bird on a Wire (1986)

Why it’s on the list: This Leonard Cohen cover is an audiophile reference for tonal balance and treble smoothness. Jennifer’s rich voice and the recording’s detailed but gentle high-frequency content test finesse.

How to use: Evaluate treble smoothness versus grain. At 0:00–0:45, Jennifer sings softly – her voice should sound clear but silky, without strain or sibilance. The backing instruments (especially cymbal brushes and high synthesizer after 3:00) should have finesse.

This track isn’t meant to sound bright at all. If Jennifer’s sibilants stand out or cymbals feel edgy, your IEM is adding coloration.

12. Fleetwood Mac – Go Your Own Way (1977)

Why it’s on the list: This brilliant production is punchy and clear but has lots of high-frequency energy. The drum cymbals and Lindsey Buckingham’s backing vocals can become unpleasantly sharp if upper mids are too boosted.

How to use: The opening (0:00–0:20) features bright hi-hat hits on every beat – these should drive rhythm without dominating.

During the chorus (0:40 onward), listen to stacked backing vocals on “go your own way” – they have naturally bright, S-heavy harmony. On neutral IEMs, they blend musically; on harsh ones, they’ll accentuate sibilance obviously.

By the final chorus (2:45–3:15), cumulative brightness causing fatigue indicates an issue.

13. Paul Simon – Something So Right (1973)

Why it’s on the list: Paul Simon’s gentle voice and meticulous production usually pose no issues, but this song is cited as a sibilance test. His enunciation and the bright string arrangement reveal the S sounds clearly.

How to use: Pay attention to S sounds in lines like “When something goes wrong, I’m the first to admit it…“.

On good IEMs, Simon’s voice is smooth with soft S sounds in “something” and “first.” On sibilant-prone IEMs, you’ll hear noticeable hiss each time. The delicate drums and strings should sound naturally warm for a 1970s recording, not metallic or forward.

14. Van Morrison – Moondance (1970)

Why it’s on the list: This well-recorded classic can surprisingly reveal treble issues. Van’s rich voice and the warm production include many consonants and cymbal touches that can hiss on unforgiving IEMs.

How to use: This track should sound smooth and mellow. Check cymbal rides (0:10–0:40 behind the piano). If they’re harsh or if Van’s vocals have a slight lisp on words like “stars” and “eyes” in the first verse, your IEM might overemphasize treble.

Additionally, the flute solo (around 2:50) should remain sweet. Any gritty or edgy treble indicates your IEM’s character since the recording is analog and smooth.

15. Rodriguez – Sugar Man (1970)

Why it’s on the list: This lo-fi psychedelic folk track excellently tests real-world male vocal sibilance in a sparse mix. Rodriguez’s front-and-center voice has prominent diction with natural sibilants.

How to use: When Rodriguez sings “Sugar Man, won’t you hurry…” in the opening, the S of “Sugar” contains natural air. Does your IEM render this with natural softness, or do consonants jump out?

If “Sugar” comes across as a bright hissy burst, that’s the IEM emphasizing it. The high-frequency tinkling effect in the background should be subtle and sweet on good IEMs, not forward or tinny.

16. Cher – Believe (1998)

Why it’s on the list: This smash hit is notoriously known as a sibilance test track. Cher’s heavily processed vocals (early Auto-Tune) are quite bright, with crisp synths and hi-hats typical of late-90s pop.

How to use: Focus on the chorus (“Do you believe in life after love?“). The word “believe” has a strong B attack and a V sound with high-frequency energy bursts. Listen to “life after love” – the “love” has a fricative end that can hiss.

On well-behaved IEMs, you’ll hear some natural sibilance without cringing. On harsh IEMs, the chorus sounds annoyingly intense – S sounds jump out and feel screechy.

17. Madonna – American Life (2003)

Why it’s on the list: This modern pop track has forward vocals and edgy production, often cited for sibilance testing. Madonna’s close-miked verses and layered chorus harmonies contain plenty of S and SH sounds.

How to use: Play the first verse and chorus (0:00–1:00). In “Do I have to change my name?“, notice the CH in “change.” As she continues with lines like “do I have to lose my mind?” check the “lose” sound.

On forgiving IEMs, consonants stay present but are not distracting. On bright IEMs, you get lots of hiss, making Madonna sound lispy. The sharp hi-hat and snare in the chorus test control.

18. Diana King – Shy Guy (1995)

Why it’s on the list: This upbeat reggae-pop track has mid-90s top-end sheen. Diana King’s powerful vocals have natural sibilance from her accent and bright mix, with stacked backing vocals featuring pronounced “shy” sibilants.

How to use: Focus on “no shy guy” in the chorus – “no” and “shy” together create quick sibilant bursts. On neutral IEMs, it’s noticeable but adds attitude. On harsh IEMs, it becomes bursts of harsh “shh” that draw attention badly.

Moreover, check the programmed hi-hat loops – they should add sparkle, not sound gritty.

19. LP – Lost On You (2016)

Why it’s on the list: LP’s distinctive, powerful voice often belts high notes bordering on whistle tone. This track tests vocal sibilance and treble composure with high-frequency content and sharp percussion.

How to use: In the chorus (“Let’s raise a glass or two… to all the things I’ve lost on you“), LP’s pronunciation of “lost on you” and “glass or two” has strong S sounds.

Listen around 0:50–1:20 for the first chorus – does “lost” have a clean ending or exaggerated “sst” sound? The bright snare and handclaps test treble peaks. If these hits sound too piercing, that signals trouble.

20. Blink-182 – All The Small Things (1999)

Why it’s on the list: Late-90s pop-punk is often compressed and treble-forward. But, this track stands out even more with its bright upper-midrange guitars and stacked vocals that can sound screechy on peaky IEMs.

While cymbals are present, the guitars are the primary driver of treble stress here.

How to use: The intro (0:00–0:30) features distorted guitar living around the 3–5 kHz region that can sound piercing if overemphasized.

Also, focus on cymbals during the chorus (0:50–1:00) – Travis Barker’s hi-hat and crashes are bright. On balanced IEMs, cymbals stay clear without dominating; on bright ones, crashes swamp the mix with hiss.

The real test, however, is how your IEM handles the wall of sound created by the “Na na, na na” chant paired with bright guitars and snares.

21. Slayer – Live Undead (1988)

Why it’s on the list: Extreme metal’s rapid cymbal hits and sizzling hi-hats can become overwhelming. Here, the cymbals will tell you if something’s off.

How to use: Do the cymbals sizzle or sting? Do high notes or screams cut like glass or sit naturally in the mix? Does the overall sound feel intense yet controlled, or piercing and fatiguing?

If your IEMs are too bright or lack proper treble damping, Live Undead will expose it fast. Play at a moderate volume — if you wince at each crash or the treble lingers uncomfortably after you pause, your IEM likely has a spike.

22. μ’s – No Brand Girls (2013)

Why it’s on the list: Many anime/J-pop tracks are mastered with prominent highs and minimal de-essing. This fast, uptempo song with multiple voices singing in unison can compound sibilance issues.

How to use: Focus on choruses and lines with “su” or “sa” syllables. Japanese lyrics with words ending in “-su” or “-shi” create strong sibilants. Listen around 0:50–1:30 (verse into chorus). When they hit S sounds, does it produce a sharp hiss?

Also, the sparkly backing instrumentation (high synths, cymbals) adds to potential fatigue. On well-tuned IEMs, brightness stays somewhat tolerable; on bright ones, it becomes excessively fatiguing within seconds.

23. Aya Uchida – Sign (2019)

Why it’s on the list: This anime ending theme continues the J-pop pattern of high-pitched production with quite a bit of sibilance. Aya’s pure, bright voice and sparkling production emphasize high-frequency content.

How to use: As mentioned, Japanese lyrics frequently hit “sa”, “shi”, “su” syllables that produce S sounds. On neutral IEMs, they’re bright but quick. On sibilant IEMs, each one comes with accumulating spikes, making the song tiring.

Plus, the treble instrumentation (synth sparkle, bells) reveals any peaks. Listen to the chorus – if multiple backing vocals join with lines ending in “-sai” or “-sei”, that final S could bite.

24. Selena Gomez & Marshmello – Wolves (2017)

Why it’s on the list: This EDM-influenced pop track combines deep bass drops with Selena’s breathy vocals that can reveal sibilance, plus shimmery electronic elements.

How to use: In the opening verse, Selena sings, “In your eyes, there’s a heavy blue… One to love and one to lose.” The “there’s” and “lose” have soft sibilants. On good IEMs, her vocal sounds intimate and smooth with slight brightness. On bad ones, S sounds become pronounced hisses.

After the chorus, the synth drop has a high-pitched riff dancing over bass – check if it or the claps hurt. Listen at 2:20–2:40 during the bridge where any hissing on S or SH becomes obvious.

25. Sarah Brightman – So Many Things (1998)

Why it’s on the list: Sarah’s soprano recordings often feature close-miked, reverberant vocals that highlight upper treble and can test an IEM’s control over airiness and brightness.

While this particular track is more subtle than some others on the album, it still provides a useful test for cumulative treble fatigue and reverb-enhanced sibilance.

How to use: Listen for words with prominent S sounds. On well-controlled IEMs, sibilants remain spacious and refined. On problematic ones, they splatter or become piercing.

The chorus swell can also sound shrill if your IEM has poor upper-treble damping. For a more intense test, you may also try “Anytime, Anywhere” or “Who Wants to Live Forever” from the same album.

26. Sia – Chandelier (2014)

Why it’s on the list: This loudly mastered pop anthem features Sia belting with a raspy timbre containing tons of high-frequency energy. The chorus’s harsh EE vowels and sibilants challenge lesser gear.

How to use: The chorus is key – “I’m gonna swing from the chandelier, from the chandeliEEEEER” – the word “chandelier” repeats with “-lier” carrying energy around 3–5 kHz and above.

On neutral IEMs, it sounds powerful and maybe aggressive, but controlled. On bright IEMs, that “EEER” likely hurts like a distorted scream. If you must turn down volume because her voice is too shrill, that’s a fail.

27. Taylor Swift – We Are Never Ever Getting Back Together (2012)

Why it’s on the list: This Max Martin production has a pop-rock sheen with heavy loudness-war limiting, making the chorus notoriously sparkly around 3–8 kHz. The repeated “WE-ee are never ever…” stretches the EE vowel right in the lower-treble danger zone.

How to use: During the pre-chorus, Taylor breathes “ooh, we called it off again last night” — listen for the sharp hiss on “called” and the s sound in “last.”

Between 0:50 and 1:20 (first chorus), the “WE-ee are…” hook lands — if your IEMs have spikes around 5 or 8 kHz, you’ll feel the sting. Cymbal and tambourine hits should stay crisp, not smear into sizzle.

The final double chorus reaches the dynamic ceiling. On good gear, it sounds crowded but tolerable.

28. fripSide – only my railgun (2009)

Why it’s on the list: fripSide’s catalog is known for being bright and somewhat un-dessed. This famous anime opening exhibits these traits.

How to use: Yoshino Nanjo’s high-pitched vocals layer with fast electronic hi-hats and sparkly synth arpeggios. Japanese consonants “sa”, “shi”, “su” are delivered rapidly and can really hiss.

The chorus around 1:00–1:30 has clapping sounds and bright piano/synth stabs with vocals. Can your IEM keep it together, or does it mush into treble chaos?

29. Jean Michel Jarre – Oxygène (Part IV) (1976)

Why it’s on the list: This instrumental synth classic has a lead melody extremely rich in upper harmonics, making it ideal for testing high-treble behavior. The analog synth timbre has a natural brightness that can become edgy on gear with upper-treble emphasis.

How to use: At 1:30, the main theme kicks in with a whistling lead synth that should sound smooth and airy, not buzzy or screechy.

Some peaks may emerge in the high-treble region (8 kHz and beyond), depending on your IEM’s tuning. On bright IEMs, notes can become overly sharp.

Also listen to the spacey intro effects (0:00–0:30) as they should feel like delicate whispers, not hissy or forward.

30. Rihanna – S&M (2010)

Why it’s on the list: One of the most aggressively compressed Top-40 mixes of the 2010s, S&M features brick-wall limiting, bright synth leads, and clap/snare layers concentrated around 4–6 kHz. Rihanna’s dry, upfront vocal is filled with prominent sibilance.

How to use: In the first verse, “Feels so good being bad” ends with sharp S. On balanced IEMs, it’s crisp but tolerable; on harsh one,s you hear searing hiss.

Later in the song, Rihanna chants “S, S, S & M-M-M…” while snare-claps fire every beat. Check if consonants slice through louder than the vocal body and if claps leave a white-noise after-ring.

The final chorus/bridge piles on extra doubles – good IEMs remain just shy of painful.