I just got more tubes for my Liquid Platinum -- 3 sets in rotation now, stock EH, Gold Lions and Amperex. I've been reading widely varying opinions about E2 and have revisited them. I like them with my solid-state Bryston, but they didn't really stand out vs HEKv2 or even EFO. None of my cans tempted me to stay with the EHs, and since the GLs were in hand ... LOVED them with Utopia and Auteur. E2 not so much. Powerful bass, but un-engaging, distant even. And there we sat while I was lost in my infatuation with LP/GL/Utopia -- first time I ever really loved Utopia.
But then I got my Amperex yesterday, and suddenly I get this headphone, and I think I know what causes the schism. E2 imposes a 3-d headspace and that really interacts with material. I got this first when I was listening to a Loreena McKennitt mix and her music filled that space beautifully. Different, but equally as satisfying space as that displayed by Utopia. Actually probably better depth, but not quite as precise.
But then I listened to some Led Zeppelin, and there it was. Flat and lifeless. On some tracks. On others, they're great. In fact, it even went from 3-d to 2-d and back within the same track. The flat effect is as if they are playing up against a wall 50 feet away. I want to have '...Way down inside, Honey, You NEED me...' screeched at me, not mentioned from across the room.
What seems to be happening is that
some mixing effect is flattening the image. It's readily apparent when it happens, but don't ask me to even speculate on what or how. To quote Reese:
But you combine this flatness and distance with Ether's neutral presentation and a bit of rolled off treble vs Utopia, I can hear some of the negative descriptions as well.
It also hurts the bass presentation as the distance reduces bass impact. But on music which doesn't get flattened, the bass is well extended and resolved, even and controlled, and surprisingly textured and 3 dimensional from sub- through mid-bass. An interesting example is 'Albatross' by Fleetwood Mac. There's this weird thump-thump that persists through the whole track. It's almost like an echo or aftertone. The thump on the right is clearly some thing like a tom-tom while the one on the left is ambiguous on Utopia. Could be a drum, or electric bass, or an electric keyboard maybe. On E2, it's clearly a drum, maybe another tom-tom, but pitched a bit differently. So I guess you could say this is one aspect where E2 out-resolves Utopia. To be fair, there's some missing cymbal in Whole Lotta Love and Living Loving Maid from E2.
I guess the distance is the real issue both with the bass and overall presentation. Listening to the same flat tracks from Utopia I heard ... flat. Difference was, it was flat RIGHT IN YOUR FACE.
Anyway, enough of the negatives. E2 feels like a bit of a chameleon. It can seem dramatic or neutral or flat or even a bit fun -- Drops of Jupiter. With the right material, E2 can be a captivating and transparent window right into the heart and soul of the music. I can lay here and be literally transported Beneath a Phrygian Sky
BTW, LP/Amperex/E2 can make female vocalists (Sarah McLachlan, Emmy Lou Harris, Gretchen Peters, Lana Del Ray) sound gorgeous, lyrical, up-lifting, heart-breaking. Or flat ... it depends ... you know ... my ears, your ears ... it's personal