I haven't been able to stop listening to the chain mentioned a few posts back. For those not willing to go back a few pages, it is:
Roon Core [MacBook Pro (2014)] USB -> Bifrost 2 XLR -> HeadAmp GS-X mini RCA pre-amp outs -> GLMk2 -> Verite C (Suede Universe Pads)
And I'm using a Furman PST-8 power conditioner for all my audio gear.
It's incredible how this PSU has really opened up the highs. I'm listening to Nine Inch Nails' The Fragile right now and always kind of dread it because I usually have to turn the volume down a bit after "Somewhat Damaged" as the extreme distortion on the guitar in "The Day the World Went Away" and, honestly, just about every song with guitar on the album. The sound would get almost static-like and become extremely harsh and grating almost immediately.
Listening now, the distorted guitars are as beautifully obnoxious as ever but it doesn't hurt and I can hear details in the distortion. It's insane. There's so much layering and texture going on in there that was previously being lost due to...inferior power I guess? But when I listen straight from the GS-X mini on balanced, high-gain, it's that same harshness. I tested on a few songs and high vs low gain makes no difference through this stack. Unsure how it is without high gain just through the GS-X mini.
Anyway, during the extremely loud chorus of "We're in This Together" I can hear a tambourine for the first time. I knew it was in the verse but had no idea it was being played during the chorus due to the aforementioned hellacious static/harshness. Music is so much clearer and three-dimensional than I can ever remember hearing it. I feel the GLMk2 and the GS-X mini complement each other extremely well, adding up to something I would say is far more than the sum of its parts. The fantastic punchy weight of the GS-X mini's lows are tightened up a bit more, giving a surprising boost in slam. I actually had to do a double-take and see if I was wearing the Atticus given how much slam I'm feeling. The sound is further accentuated by the extremely detailed yet smooth, refined, and open, airy highs of the GLMk2. I can't get over how enveloping the sound is and how amazing the highs sound now. There is no harshness to be found, just detail, detail, detail. I feel like the Verite C are finally shining. I was lukewarm about them, I just could not seem to find a way to enjoy their sound like I felt I should based on the general acclaim they've received. The Atticus are fantastic and have great synergy but for some reason, the VC just weren't clicking.
Well, they've definitely clicked now. They are extremely detailed and have impressive dynamics--something I felt I was on the cusp of with them straight out the GS-X mini but never quite reaching. These headphones and this stack is thoroughly enjoyable. I'm hearing things I honestly do not recall hearing through the SR1a and I'm now very excited to compare this stack to the same but using the Jot R as the amp instead of the GLMk2.
Anyway, the word "explosive" is thrown around a lot but there's no other word to describe how these can be. The quiet part of "The Mark Has Been Made" (which, for any non-NIN fans, is the main song throughout the movie Man on Fire) that starts at about 1:51 that culminates in a percussive blast as the other instruments come back at about 2:07 startled me--even when I was expecting it. My heart rate increased noticeably as I was effectively jump scared by the percussive explosion of sound. Speaking of explosions, snare hits have a sharp but pleasant crack to them that borders on being painful but never crosses that line.
Separation is incredible and easily the best I've heard. This album is dense and complex with so many layers to each song and I feel like I'm really hearing it for the first time--again, even after the SR1a which is mind-blowing in its own way--there is no jumbling or overlap and unlike the SR1a, treble isn't overpowering everything. Everything is distinctly separated and able to be focused on. Stereo imaging is surround-like with sounds really feeling like they moving around me either in front or back. One of my favorite test songs is "Starf*ckers, Inc." due to the slamming main bass synth riff, the loud, angry, distorted guitars, the many vocal tricks and layers, and finally, the full-on assault at the end of the song where somehow Trent fit drums, at least four distinct guitar parts, bass synth, numerous other random synth noises (I count at least four of these that pop in and out throughout the final few minutes), additional programmed percussion, additional programmed high hats, main vocals, and gang vocals. The SR1a handles this passage amazingly and now, finally, so do the Verite C. This was another song section that caused pain and major fatigue due to extremely harsh highs and was always dense and muddled just through the GS-X mini. I knew these parts were there and could find them if I focused (and gritted my teeth) but it's effortless with the GLMk2 in the chain now.
Nine Inch Nails' "The Perfect Drug" is a sonic adventure. There is so much going on in this song as it is and then serious panning manipulation takes it to another level. The second chorus sounds so full and rich. The underlying bass synth following the same chords as the soaring guitars sounds so fat and sinister, especially on the lower chords. The song actually got my heart rate going faster during the drum solo due to the it feeling legitimately frantic.