Running my mac/Pure Music/MFace/Burson 160D/LCD-2 and I have to say "revelation." As an audio engineer, a (crappy) musician, and hyper-analytical about music and sound reproduction I have a set of material that I've used as design enjoyment, reference and testing for years, I can say that this rig truly plays details I've not heard on any other gear; the JH-16, the HD-650 or my tweaked T50rp.
They clearly serve a totally different function than the JH-16, and when isolation and size are a priority, I've not heard better yet, but the LCD-2 rig just has a feel of tonal rightness, coupled with a presentation of effortless continuous extension yet integration of various frequencies, that I am experiencing some of my most interesting and demanding discs in a genuinely new light.
One listen to Nicola Hitchcock's "Passive Aggressive" was enough to convince me, I had no idea of the depth of production and nuance is in her work, and I literally have heard the album a hundred or more times. When I switched to some 24/96 Keith Jarrett, I knew I'd come home. The sense of "dark space" between the notes is realistic and natural, without any of that "What a great sound system" feel.
Interestingly, the more I listen, the more I continue to hear as my ears adjust to the near-complete absence of grain. It was rather hard for my ears (and brain) to get around just how low the distortion in these cans truly is. The waterfall displays of time-domain response are really the most accurate representation of the sound; extremely flat, and blindly fast.
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They clearly serve a totally different function than the JH-16, and when isolation and size are a priority, I've not heard better yet, but the LCD-2 rig just has a feel of tonal rightness, coupled with a presentation of effortless continuous extension yet integration of various frequencies, that I am experiencing some of my most interesting and demanding discs in a genuinely new light.
One listen to Nicola Hitchcock's "Passive Aggressive" was enough to convince me, I had no idea of the depth of production and nuance is in her work, and I literally have heard the album a hundred or more times. When I switched to some 24/96 Keith Jarrett, I knew I'd come home. The sense of "dark space" between the notes is realistic and natural, without any of that "What a great sound system" feel.
Interestingly, the more I listen, the more I continue to hear as my ears adjust to the near-complete absence of grain. It was rather hard for my ears (and brain) to get around just how low the distortion in these cans truly is. The waterfall displays of time-domain response are really the most accurate representation of the sound; extremely flat, and blindly fast.
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