Thank you to both of you for the feedback regarding dynamic range, clarity, musical genre and soundstage; it is really useful. I couldn't resist to do a couple of more test before I put them to rest for a while/to play music non stop inside a drawer in my office. I bought another disk: Elgar Cello Concerto with Weilerstein/Barenboim. I want to test the lower range further. Again two obvious traits: you are with your nose at barely 15 cm from the cello, I'm not joking. It is VERY loud. But the tone, the drama, it loves drama, the timbre, the clarity are there. And it can go low without a rumble... for a while. What happens is you add more instruments in the lower range, in a busy passage, and it start to fall apart in a instant. It can play clear with the tone colour of a cello, a fabulous skill, while going down in the scale, again fabulous. But at certain point, and I'm starting to think it is frequency dependent, a resonance problem arises when more and more sound is added in the same low frequency: fuzziness, rumble, confusion. Something is not working very well there. Nevertheless the music has a couple of passages where a sudden tutti happens and you can hear the most close render of a thunder in your head: scary, impressive, thrilling, superfun. The narrow venue, the closed small room is there all the time. Then the second test: Hahn/Salonen Schoenberg Violin Concerto. Something great happened here that I want to share: openess, clarity, more space around, not too much, but better. Transparency, drama, you can follow the soloist violin doing crazy things and the company of the orchestra strings doing a wonderful job, right and left and around, some air between them even. I enjoyed it a lot. Did you notice something? Strings... Violin. The narrowness of the soundstage is not that much this time, no resonances as well, same clarity, super good tone, lot of emotion. If you play high-mids and treble sounds it works as an open-ish headphone, very very neutral, transparent, fast. No sibilance at all, no pain, no fears of pain, not even close. It is not lean or thin, it can be thick and saturated with tone, if it is in the recording, of course. But it seems if you go down in the scale many things remains, critical good things, neutrality, transparency, drama, emotion, but it started to behave as a closed headphone with no control of the resonances in a certain low frequency range or bad spot. And I'm afraid that won't change with burn in. The two level dynamic range was there all the time albeit Hahn violin was a bit better merged with the background team this time and a bit less loud. I have more new records to test vocals (Hannigan/ De Leeuw/ Satie: Socrate) and also Bach/Organ (Simon Preston) to test the rumble. But this will be later.