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Audeze LCD-2 Impressions Thread - Page 12

post #166 of 9724

I'm loving my LCD-2's and I have a cable from Whiplash Audio on the way, but the microphonics of the plastic sheathing (from the Y to the headphones) bothered me for the last time just now. In an inspirational moment, I was able to pull the sheathing out from under the headshrinking and then carefully cut it with some scissors. It might not be the most beautiful cable, but it doesn't bother me any time I turn my head a centimeter anymore!

 

Fixed stock LCD-2 cable

post #167 of 9724

Ah the candy cane cable :D

post #168 of 9724

Yeah, not the most flattering.

 

But trust me, it was very worth it.

 

Very much looking forward to Craig's Sapphire Pro:

 

Whiplash Audio Sapphire Pro LCD-2 Cable

post #169 of 9724
Thread Starter 

Audeze_LCD2.jpg

 

I'm currently enjoying the 9th Beethoven Symphony by Vänskä '07.

It's a great performance rendered through the LCD-2 :-) It makes me think the $1K I spent on the LCD-2/LCD-1 combo was well worth it. (It's quite a lot more money than I ever planned on spending on headphones....)


Edited by DefectiveAudioComponent - 9/23/10 at 6:28am
post #170 of 9724

Do you have any idea on price?
 

Quote:
Originally Posted by thread View Post

Yeah, not the most flattering.

 

But trust me, it was very worth it.

 

Very much looking forward to Craig's Sapphire Pro:

post #171 of 9724

Roughly, how long is the wait time to get a pair of these? I just sent the 'pre-order' email.


Edited by GMF2010 - 9/23/10 at 6:25am
post #172 of 9724

Expect around 2 months but then again there is a high probability of it being sooner
 

Quote:
Originally Posted by GMF2010 View Post

Roughly, how long is the wait time to get a pair of these? I just sent the 'pre-order' email.

post #173 of 9724

Ordered June 22, got my pair Sept 13.

post #174 of 9724

2 days without my LCD2s and I suffering from severe withdrawal symptoms - luckily I have my Fostex T20s to give me some of the magic the LCD2s do with vocals.  Must be an orthodynamic thing.

 

Naturally, missing the LCD2s, I resort to EQ'ing both the T1s and HD800s to simulate the LCD2 signature, without any true success.  However I discovered that the HD800s can handle enormous amounts of bass without any hint of distortion in midrange or treble - the HD800 has very little cup resonance and makes it very responsive to EQ - the basic blue print, platform and driver of the HD800 is incredibly flexible and gives a preview of what Senheisser will do in the future - Senheisser will stick to this basic design for years to come.  What I do find - even eithout EQ - is that overall, the HD800s driver is noticeably not as quick as the LCD2, in my setups.  I enjoyed the HD800s enormously on some recordings for this reason along with its treble emphasis - and in some instances, yes, even more than the LCD2s.

 

The LCD2s I find more detailed and analytical - it can dig deeper into a recording for better or worse - in my case for worse, 90 percent of my recordings sound bad - with low level listening these material can and do, sometimes, come up much better with the HD800.  The HD800 is not as resolving or as detailed in my setup.  The slower drivers in the HD800 - seem to make the treble smoother and can be interpreted as more "refined" than in the LCD2 - the LCD2 baring the ugly truth - that most recordings are bad.

 

Regarding the issue of "air" it seems that my interpretation of "air" seem to differ vastly from what most members perceive as "air".  Most members perceive more treble with more air.  But for me "air" improves with driver speed and not treble response.  I personally, and in my setup, find the LCD2s have more "air", the HD800s come second and the T1s last.  The LCD2s driver speed separates instrument decisively and cleanly from other instruments - giving them more "space" between notes - hence more "space" - always gives me a sensation of more air.  To most it seems, air exists only in treble - But I personally look for air in treble, midrange and bass.  Even bass gives me a sensation of air when the bass is tight and low enough.  I have always sensed an "etched" outline quality to every note played by the LCD2s - and having auditioned both T1s and HD800s - neither exhibit the same trait.

 

Yes the HD800s have a big soundstage, but it doesn't separate instruments as well as the LCD2s - the notes are a little gelled together compare to the LCD2s - and I find this taking away the space and "air".  For me, I prefer the HD800s for a lot of material at low listening volumes - with a bit of EQ to control the treble tilt when necessary.  On flawless recordings, the LCD2s is always preferred, but that is rare.  I have always complained about the LCD2s razor transients, which cut into my attention and I want to turn the volume up to rockout.  The HD800s can play in the backround without the transients cutting into my attention.  On my system, the LCD2 has the tightest sub bass by a large margin - especially when I EQ the HD800 from 60HZ all the way down to expose the subbass - the HD800 doesn't nearly have the presence or iron fist control of the LCD2 in the bass.  Very evident when I want to simulate the midrange "fullness" and "body" of the LCD2s.

 

On a whole, on my system, all three cans are definitely on a league of their own compared to my other cans - even the mighty D7000s.  With a special mention to both the LCD2s and HD800s - which, due to both having very little cup resonance respond remarkably well with EQ.  At this stage I will purchase the HD800 to compliment the LCD2s...but I am intrigued by the K1000 and hope to audition those at my leisure in the future, a 10 second sampling had me wowed with its spatial qualities - if the K1000 do well, it will be a shootoout between the K1000 and HD800 as complimentary cans to the LCD2s.

 

As with all things in this hobby, those impressions are mine and mine alone, as observed on my system.  On someone else's system - my findings are not valid.  So please take these impressions with a grain of salt. 
 


Edited by SP Wild - 9/23/10 at 10:56am
post #175 of 9724

Thanks for the impressions, SP Wild! I enjoyed that read.

 

Quote:
Originally Posted by tisb0b View Post

Do you have any idea on price?
 

 


TWag 10ft is $390 - any termination
Sapphire Pro is $300 - any termination
post #176 of 9724

Looks like I will be picking up a sapphire pro cable then, provided he can have the left mini xlr connection facing inwards to solve one of the minor issues I have with my pair. Because I think I can justify $300 on a cosmetic improvement. 
 

Quote:
Originally Posted by thread View Post

Thanks for the impressions, SP Wild! I enjoyed that read.

 

 


TWag 10ft is $390 - any termination
Sapphire Pro is $300 - any termination
post #177 of 9724

Is the Woo WA6-se a good amp match for the Audeze.

post #178 of 9724

I think Skylab did say he preferred his WA6 just barely over the concerto which is pretty much as good as amp recommendation as you are going to get =)
 

Quote:
Originally Posted by Jwm48324 View Post

Is the Woo WA6-se a good amp match for the Audeze.

post #179 of 9724

 

Quote from SP Wild

The LCD2s I find more detailed and analytical - it can dig deeper into a recording for better or worse - in my case for worse, 90 percent of my recordings sound bad....

 

The slower drivers in the HD800 - seem to make the treble smoother and can be interpreted as more "refined" than in the LCD2 - the LCD2 baring the ugly truth - that most recordings are bad....

 

Regarding the issue of "air" it seems that my interpretation of "air" seem to differ vastly from what most members perceive as "air".  Most members perceive more treble with more air.  But for me "air" improves with driver speed and not treble response.  ...

 

I have always sensed an "etched" outline quality to every note played by the LCD2s - and having auditioned both T1s and HD800s - neither exhibit the same trait....

 

Yes the HD800s have a big soundstage, but it doesn't separate instruments as well as the LCD2s - the notes are a little gelled together compare to the LCD2s - and I find this taking away the space and "air".  For me, I prefer the HD800s for a lot of material at low listening volumes - with a bit of EQ to control the treble tilt when necessary.  On flawless recordings, the LCD2s is always preferred, but that is rare.  I have always complained about the LCD2s razor transients...

 

I appreciate your expressive and varied way to articulate what you hear.  

 

Perhaps you can comment more on the few clips I've excised above.... It can be fun but challenging to read into someone's language to imagine the sound itself.  And useful, given that we order without hearing, usually.

 

I've found that people (sometimes me) can get several concepts mixed together.  "Speed" is a word that I usually distrust, because some people mean "bright" or "peaky" or "emphasises transients" (as in transient distortion).  Others mean "the other headphones are muddy or inarticulate sounding."  "Speed" isn't something one can hear directly (like "treble" or "trumpet" or "body") because it is a characterization of a transducer, not of music.  It's an "engineering" term not a musical one.  So, there is quite a diversity of what people might mean.  

 

You are describing a different sense of air than I use, but a useful one.  (I usually think of the way the triangle hovers over the orchestra and makes you feel you can "hear the air" over the orchestra rather than being black or smeared and indistinct.)  I like the idea of space around instruments being reproduced well, something that takes good accuracy or transparency to do, an illusion based on low-level details and thus easily destroyed.  

 

Yet, I've too often found components praised for "detail," to pick a different example, when in fact what is happening is a peakiness that spotlights a band of frequencies that trigger the idea of "detail."  

 

You used the word "etched," which I hear in two ways.  The way it can be used that I don't like the sound of is detail emphasis over body and integration into a liquid total soundfield.  Treble dominating midrange, sometimes. 

 

But I think you mean a distinction of boundaries around instrumental images.  

 

I was also curious that you mentioned the LCD-2 sounding more "analytical" than the HD800.  I find the latter enthralling intellectually, given the soundstage size and better detail than my HD650, but also unmusical due to the treble emphasis band, such that it saps the joy out of listening.  So, I'm looking to understand your use of the word "analytical" in this situation.

 

In any case, you are helping me get a sonic picture of something I am interested in perhaps buying.  Tx. 


Edited by Stoney - 9/24/10 at 12:54am
post #180 of 9724

air IMO refers to the extension of the treble. When I listen to my T1 it is airy. The treble is fully extended and there is more space between instruments. The sound stage had depth and id deep and wide. But it is the air which makes trumpets and Sax and most instruments sound bigger more like I would hear live. This is the one of the area's where the T1 excels IMO. If the LCD2 did this as well this would be the best headphone better than any I ever heard. I still like everything it does well and it a keeper for me.


Edited by Frank I - 9/24/10 at 7:03am
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