AKG Pro Audio K872 Master Reference Closed-Back Headphone

The physical appearance of the K872 looks like the same as K812, but with little differences.
Contact pressure of the K872 a trace less, but I can not measure and confirm this.
The external damping is very good. I hardly hear the opening and closing the CD loading next to me.
The holder of the ear pads and the cover of the converter is changed compared to the K812.
The ear pads can be removed only by means of a small enclosed tool - the reason is the required tightness.
The K872 is so I was assured, fit with injected cable in the case, had this not been tried but.
Bass - very deep and dry, very good resolution, with a bit more pressure as K812, but not load or pushing.
Mid's - clear, very good resolution, nearly looks like the same as K812 but a bit warmer.
Heights - clear, very good resolution, a bit softer as K812, no sharpness.
Spaciousness, stage - wide-ranging, enough deep (for an headphone), space between musicians.
The K872 can be heard effortlessly long.
.....
I had heared a lot of CD/SACD's
Meyer Records Vol1 (no. 140); Meyer Records Vol2 (no. 160); Ester Fellner Via del Campo (Meyer Records no. 156); Allan Taylor, Leaving at Dawn (Stockfish); Jan Erik Lundqvist, Leonard Cohen auf Schwedisch #2 (Meyer Records no. 148); Hans Theessink, homecooking;
Grieg: Peer Gynt Suites, Holberg Suite, Sibelius: Finnlandia - Herbert von Karajan, Berliner Philharmoniker, DG;
Gustav Mahler, Symphonie No.1, Blumine, Tonhalle Orchestra Zurich, David Zinman, SACD;
Singer: Clearly, the respective pitch accordingly, especially with Ester Fellner and Jan-Erik Lundquist very expressive playing.
Orchestra: Broad staggered; good detectability; Heights not intrusive, well resolved; Mid's no negative anomalies; Bass punchy, dry, non-intrusive, cymbals and drums can develop a brute force with Gustav Mahler's Symphony No.1 already, cellos and double basses plump but not bloated.
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Dimitri Schostakowitsch, Symphonie Nr.8, Royal Concertgebouw Orchestra, Bernard Haitink, DECCA 
Track 3 „Allegro non troppo“
Transitions and detectability - violins, violas, cellos, contrabass are very well reproduced.
Good depth staggered arrangement - drums, timpani, cymbals.
In the fortissimo passages, the brute force of the orchestra is very well noticeable.
Bass punchy and reaches deep down, but is not intrusive or drawing.
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Camille Saint-Saëns, Orgel-Symphonie No.3, Berliner Philharmoniker, James Levine, Orgel: Simon Preston, Deutsche Grammophon
Track 3: 2. Allegro moderato - Presto - Allegro Moderato
Track 4: 2. Maestoso - Allegro - Molto allegro - Pesante
Detectability of individual orchestral groups very good, enough space between them, the width of the stage corresponds to a good place in the Konzerthaus, depth for headphones good.
Organ Passage good coloration, punchy, massive.
In the horns I could not fault it, punchy but in balance with the rest of instruments.
Drumbeats punchy, dry.
What I wrote above in Schostakovitsch, Symphony No. 8, applies here.
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Paul Dukas, Der Zauberlehrling, Berliner Philharmoniker, James Levine, Deutsche Grammophon (from the CD above)
Track 5: Der Zauberlehrling
This piece fully confirmed my impressions above.
Bass is reproduced dry and not oversubscribed.
 
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http://www.head-fi.org/t/803263/akgs-new-k872