I'd noticed this phenomenon before with Jan Meier's Crossfeed too. I wouldn't have called it reverb per se, but just strange artifacts seemed to result when pop/rock recordings had unusual mixes to begin with. This is why I typically use the gentlest version of the Meier Crossfeed on my Corda when listening to pop or rock. With classical and jazz the artifacts are less frequent and the soundstage appears more correct with the stronger crossfeed setting. I, personally, never use the last setting at all as I feel it actually corrupts the soundstage.
The Headroom amps are slightly disadvantaged in that the crossfeed is either on or off so if it doesn't work out for you, you just have to turn it off. From what I gather, the Headroom crossfeed circuit is more complex than the Meier one too and may offer some additional opportunities for things to go wrong with strange recordings. Of course, since Headroom already stands accused of providing too many options, they're probably not likely to add additional settings. Oh well.
I'm really looking forward to the MOH loan. Many reviewers, including Jude and Stereophile, really tout the crossfeed as the true selling point versus other similarly priced amps. If I end up liking it more than the Meier version and end up somehow not preferring to own a Headroom amp, I can see myself biting off the expense for the Headroom Static and yet another set of interconnects.
What this thread and Vertigo's most recent post particularly alludes to is that the Headroom crossfeed is by no means transparent. With the Meier crossfeed, in many recordings, you'd not even detect its presence or absense. The change with the Meier really only has impact with recordings that have too much channel seperation (and especially those old 50s recordings with the experimental stereo effects). The Headroom processor is a different animal entirely and I'll have to give it some time.
