The appearance of the L2 champagne-colored version is really, really nice. The brushed metal-looking backing on the IEMs themselves is understated, refined, sophisticated...not at all "blingy" but not dingy by any means. Looks very NICE. Classy. The cable is...well, it's shiny. Hahaha...not much to say about that. They are nice looking as well. Slightly microphonic worn cable-down as I do, but nothing noticeable, especially with the clip in use and...you know...SOUND coming throught them (oh yeah, that little thing!).
Yes, engaging...yes, forward presentation. They are colored, to be sure, but one thing I love about them is the clarity and detail of the mids and separation that exists alongside the colorful, musical signature. Soundstage was cramped at best out of the box, but they are really burning in nicely and opening up. It's not wide. Average width (jury is still out, as they seem to be improving still). The depth is great though.
The sub-bass extension is really a lot better than I expected...coming from Atrios, that's saying a lot. I've got this sweep sine-wave file that just goes from 0Hz to something like 30k and the RUMBLE on the lowest end is phenomenal...it actually shakes my brain! Awesome. Musically, the bass has good punch although it's not SUPER tight and quick and articulate like the Atrios were...however, that's a bit unfair since they are one of them there bass kings. The FXT90s handle bass superbly, don't get me wrong. I will say this: the articulation has improved with the burn in time I've given it so far (I'd estimate ~100 hours maybe?).
The mids...well, it's not unfair to call these mid-centric, and this is where much of the magic and music of the sound comes from. Mids are up front, but not overpowering...they are just....PRESENT. What I love about this presentation is the detail and texture the mids have. I believe the punch and insistence of the mids, along with that texture, is what gives these IEMs a great 3D element to the soundstage. This is also where some of the separation is done and it makes an ensemble orchestral recording (Howard Shore, Nobuo Uematsu) a joy.
Highs are placed very well within the overall signature and shimmer. I wouldn't say it has that real treble sparkle...but they are not recessed. I expect they will open up a bit more with time, and actually I think my tips have a lot to do with the treble I'm hearing. No sibiliance, even with stuff like "What's the Use of Wondrin'" from Carousel or "Wishing You Were Somehow Here Again" from Phantom of the Opera, which would kill someone who is treble sensitive with the way those ladies hit their esses. Bright, sharp, but not cutting into your brain.
Anyways, that's my impressions. Gonna look around for tips now ^_^