I'm not sure that I agree that the objective is to have sound as free from colorations as possible either. I think the objective is to recreate a musical event inside your head. Your ears are interpreting a wave of sonic information, and your brain is filling in the blanks. So much of what happens is idiosyncratic to the individual. You are building an illusion, but the "reality" of that illusion can be enhanced by absence of noise, reduced distortion, a broader set of frequencies at their correct respective levels, and full harmonic dimensionality delivered on time.
I do know that I feel the LCD-2 gets cello's right. I listen to a lot of cello music. Frankly, I've never heard HD-800's deliver as convincing illusion of a cello concerto as I have with the LCD-2. But that's based on how my brain processes the aural signals I get through my recording chain. Perhaps my brain could be re-trained to do the same thing with a different set of cans. But the LCD-2's get it right for me, and give me terrific enjoyment. It doesn't mean they are perfect, by any means. But NOTHING is perfect. Fiddling with cables, parametric equalizers or balancing the sound signature with complementary products might improve your ability to be drawn into the music, and give you more enjoyment. But if you can't use the resulting sound to build the illusion of the event in your head, it's not worth doing any of this stuff. It's like re-arranging deck chairs on the Titanic.
I'm not at all sure whether neutral helps or hurts the ability to create the illusion of real music. I know it's very hard to achieve, and many people spend wild sums to do so. But for me, it's all about the music, so when I get that working I lose interest in fussing around with equipment.
Just my $.02
That's the age old difference in taste.
I believe the role of reproducing the music as faithfully as possible to the way it sounds in the concert hall, for classical music, belongs to the recording engineer.
In a perfect world, the source (analog or digital), the amplification and the transducers (speakers, headphones) should, or dare I say MUST be a neutral or transparent chain in the music reproduction,adding or substracting a little as possible to or from the recorded music.
Reality is of course far from ideality. Each link of the chain (source, amplification, transducer) adds colorations to the music or subtract some crucial information from it.
So as a listener of music, I feel my role is to try the best I can to RESTORE the sound of the music the way that the recording engineer intent for me to hear it. My best guide is my remembrance of the way music sound in the concert hall. I attempt to faithfully the recorded music by judiciously selecting my source, the amplifier and the headphone (plus cable) i use. I think this is a valid attempt to deliver the kind of sound that is closest to the live music in the concert hall. With headphones, this is of course nearly impossible but that should not stop me from trying.
I achieve this by carefully matching the link of the chain to minimize their sonic colorations, which may be additive or substractive. That is what I meant by "neutral" sound but perhaps the word "transparent" may have been a better choice. Your choice might be to CHANGE the sound to suit your taste. That's a legitimate approach as well.
Finally, I would not put the use of parametric equalizer in the same bucket as matching components in the sonic chain (different amps and cables for a pair of headphones). This is a more brutal--sledge-hammer-- assault on the reproduced sound that introduced their own colorations which are far worse, in my opinion, than the colorations they are attempting to correct.