Quote:
Originally Posted by Sanderman 
I find this an interesting collection of observations and assertions. I am not, by any means, a "rear hall" guy. Quite the opposite. Nor am I a "basshead" as those who defend this phone seem to like to like to label folks. In my rig (Crimson and Moth, both retubed with Cunningham globes) this phone is hardly analytic or relentless and I own phones that are hotter and less forgiving on top - but I find those alternatives more musically believable since they also reproduce the lower mids and upper bass with a sense of realism that this phone lacks in spite of their flaws. I find the notion that the midrange is its unchallenged area of performance questionable at best.
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Hi Joe. I wouldn't label anyone a "basshead", but some have labeled
themselves that and, without EQ, I don't think they would like that aspect of the HD-800 performance. I think the bass on the HD-800 is quite good, but I can see how some could feel they are lean. There is certainly not much extra here, sometimes I think a little extra would make the sound more universally loved.

And I certainly don't think that the midrange is "unchallanged", in fact I listed two phones that I do think are better here. I just said there would be less controversy in the midrange than with the treble. Which, judging by the comments on the various HD-800 threads, would seem to be true, as relatively few have complained about this. None of which invalidates your observations, BTW.
Quote:
Originally Posted by Sanderman 
Its frequency balance is too exaggerated in the upper midrange vs the lower and as a result it seems to do quite a disservice to voices. It does do a remarkably good job with low level detail and texture on vocals and does not sound explicitly mechanical, but it persistently strikes me as weak in terms of body. In that regard it reminds me an awful lot of the original Avantgarde Duos.
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I found the midrange quite even in my listening, lacking the upper midrange trough sometimes employed to make vocals "more beautiful". To me, this comes at the cost of openness and clearity but does serve to tame "too hot" vocal recordings.
If only recording engineers were more consistant in how they mic'ed/recorded vocalists. It is a bit like trying to hit a moving target...