gelocks
Headphoneus Supremus
- Joined
- Jun 6, 2011
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Perhaps, but if these are more like the TH900, then this is a deal! Plus, if I'm to be honest, these look a good deal more - um - modern. Not bagging the lacquer guys (and gal), not at all. But it lacks hipster cred (you know I'm right).
Yeah... that kinda sounds familiar. Okay then, initial impressions below...
Too late... but I made sure to pull out before it was too late.
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[COLOR=696969]Perfect Sound dido d901 Initial Impressions[/COLOR]
Sub-bass response digs deep for a good sense of impact down at the bottom, though it's not as tight and clean as I would personally prefer (Doin' It Right by Daft Punk).
There is definitely a bass emphasis to these cans, a warm and reverberating bass with a helluva lot of punch (Cruel Summer by Bananarama; pretty much anything by EBTG). The bass does tend to bloom and boom on extra bassy tracks (Wishin' and Hopin' by Ani DiFranco; Le Monde by The Thievery Corporation). In typical tracks, the bass response adds a welcome sense of weight and presence without overdoing it (Watch What Happens by Bob Acri).
Lower mids are lacking a bit in definition due to a little bass bleed (Blue Savannah by Erasure), but are not shelved or recessed, just tonally different (City Boy by Donkeyboy).
Mids are lush and full-bodied (People Get Ready by The Impressions), with gobs of depth and textural detail (If I Only Had A Brain by Livingston Taylor; Sexual Healing by Marvin Gaye). Great vocal presence for both male and female vocals (Bring It On Home To Me from The Commitments Soundtrack, Vol. 2; The Prayer by Jonathan & Charlotte).
Upper mids are clean and crisp with a reasonable sense of snap (On The Wing by Owl City). Does seem to get a little thin transitioning to the highs, but I think this is a good thing as it keeps sibilance to a minimum (Honey and The Bee by Owl City).
Highs are just short of a gossamer airyness (Sonic Fairy Dust) at the top end (Yoda's Theme by John Williams); also not prematurely rolled-off (Crash Into Me by The Dave Matthews Band). Reminiscent of a mid-point between the DT770 and DT880 (Philter by Fantastic Plastic Machine).
Detail retreival and separation - particularly in the mids - is fantastically good. I mean REALLY GOOD. (Annabelle Lee by Sarah Jarosz; I Don't Know Why You Don't Want Me by Rosanne Cash. Elements are rarely lost in congestion, and remain distinctly coherent without getting grainy or overly-textured (Carolyn's Fingers by Cocteau Twins).
Staging is balanced along both axes (width and depth)... and lies just on the cusp of being in/out of head for most tracks (Wild Mountainside by The Trash Can Sinatras), which is good for a pair of closed cans. There's even a hint of vertical-axis fidelity (What You Don't Know [Live] by Sara K.).
Equipment used: Centrance DACport LX, Objective 2 amplifier.
Having said all that, I AM HAVING SO MUCH FUN WITH THESE YOU DON'T EVEN KNOW. For the past hour, I've been geeking out to pop from my youth (Bananarama, Human League, Cyndi Lauper, Eighth Wonder, etc.). Heck, I even got all nostalgic with the slow jams thinking about puppy love (The Jets, The Deele, Breathe, Chicago, etc). Then I went for some Baxter Robinson... His song Feel The Night is the song from The Karate Kid where Daniel and Ali are on their first date at Golf 'N Stuff. Right now, I'm being silly as hell lip synching Hold On by Wilson Philips.
I'm supposed to start a 120-hour burn-in cycle right now. But I kinda don't wanna take them off.
Soooo... I have to say that I loooove how they look. How is the comfort level? Have you heard the Denon d5000 or Ultrasone Signature DJs? If so, how similar are they?
I see that Moon Audio has it... Interesting
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