LEAR LCM-BD4.2

 
 
Sound:
 
Lear LCM-BD4.2 is on a bit warm side of the neutral; and sounds a bit laid back, quite natural and very spacious. With a bass tuning opportunity, listener can change the bass presentation. However, we have to take that the bass presentation changes the note recreation and color of the entire spectrum into consideration.
 
Low Frequency:
 
In general, LCM’s lows sound with a sweet-emotional tone, which comes from the nature of dynamic drivers. Overall, sub-bass has a smooth punch with enough rumble and dynamic drivers creates a feel of air. The depth of the bass presentation is good and it utilizes the low frequency dimensions on the stage very well.
 
There is a headphone-like presentation when the bass setting is minimum. The stage is airiest and the most spacious here. At the half and first quarter bass settings, already a bit warmish note neutrality doesn’t change much and there is an acceptable quantity increase in both sub and mid-bass region; but the stage is still spacious.
 
Beyond the half bass setting, especially at the 3^rd quarter, the midrange presentation becomes a bit colored due to the tone of the mid bass. Also, increased mid bass quantity makes lower midrange’s note recreation a bit thicker than the LCM’s average.
 
At the 3^rd quarter setting, the mid bass becomes quite prominent and sub bass’ punch becomes a bit more powerful. Even with the 3^rd quarter setting, the stage stays quite spacious, surely not as it is below the halfway. Until that setting, mid bass is also controlled and doesn’t tighten the stage; and including 3^rd quarter, the resolution and the texturing of both mid and sub bass are very good.
 
At the max setting, there is an unbelievable much bass quantity, and it is almost impossible to listen to it more than 15 minutes. In my opinion, this kind of quantity is too much for even bass-heads and the spaciousness gets lost.
 
At 3^rd setting, the low frequency speed is not much with fast tracks and it may miss some notes. However, below the halfway the speed is good, especially at min setting. Honestly, turning the bass knob to min, in order to listen to fast tracks, is a must. 
 
Mid Frequency:
 
In general, midrange has a bit laid back and very resolving presentation. I wouldn’t call it bright, but we can say that it is ‘’open’’. Depending on bass setting, midrange becomes a bit colored, but nothing major about to complain. Thanks to the sweet tone of the lows, lower mids have exceptional timbre with very natural and realistic touches.
 
The midrange does have neither thick nor very thin note recreation. Honestly, it may closer to a bit thinner side for some listeners, but I call it a bit less weighty rather than thin and would say that it has a very natural tone with a non-piercing sound. Even if the overall mid presentation isn’t so weighty, it is very clear, clean and quite transparent with a true tone overall.
 
Upper mids are quite controlled. LCM doesn’t over brighten upper mids, but gives an extra openness to them. However, upper mids are not smooth enough to completely eliminate sibilance due to the extra openness. Of course, it isn’t piercing. Additionally, with coloration, increasing bass quantity gives a smoothness to upper-mids, but not much.
 
I wouldn’t say LCM’s mids too laid back. It has a U shape presentation rather than having V shape. The listener is not very intimate with musicians, but there is a very enveloping sound. LCM locates the stage a bit far from the musicians, and listener sits away from the stage. Even if the stage isn’t located close to musicians, the transparency and resolution is top notch; and the presentation is not veiled.
 

 
 
High Frequency
 
Even if they aren’t full bodied much, the highs have one of the most natural and alive presentation that I have ever heard. They are forgiving but also open and airy. The treble extension is very good and detail level is quite high; transparency and resolution is great. The treble is neither piercing nor bright; and there is no hormonal effect like coloration. The treble quantity is a bit more than the midrange quantity.
 
The highs are not so fast. Some notes may be missed in fast tracks. It is good with Dream Theater-like speed, but it isn’t enough for very fast metal tracks.
 
Soundstage and Instrument Separation:
 
LCM has a very spacious and airy soundstage with fairly effectual distances. The instruments are not located too far away from each other, but there is enough space between them to create a very spacious presentation. However, to make stage spacious, LCM reduces the instruments’ area on the stage. This, unfortunately, sometimes makes the notes recreation a bit thinner than realistic. The depth and the width of the stage are also very good and help recreation of a good and enveloping 3D presentation. 
 
Until the halfway of the bass setting, there is a neutral air between instruments; but beyond this setting, the air becomes a bit warm. The instrument positioning and coherence is fairly good, since there aren’t too long distances between musicians. The instrument separation is quite good, but the blackness isn’t the blacker one.   
 
Final Words:
 
Lear LCM-BD4.2 seems to be the top performer among my CIEMs in many categories.  Spaciousness, naturalness, transparency and resolution are the top abilities of LCM. Surely the note recreation isn’t the best, and some would find it a bit thin. However, LCM outperforms all other hybrid earphones that I’ve tried including Tralucent 1p2. Thus, I think that custom version would be dramatically better than universal version of BD4.2.  With LCM-BD4.2, we can get both ‘’AKG’’ and ‘’Hifiman’’ like sounding in the same earphone.