My 325e came with L cush and my original 325 had the flat pad. They both sound at their best like that.
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Harry Manback
500+ Head-Fier
Ok, did that. You’re still wrong. The pads you choose are the biggest way to influence the sound.
elmoe
Formerly known as JashuganHeadphoneus Supremus
Clearly, you did not read slowly enough.
Cruelhand Luke
Headphoneus Supremus
I think he is saying the pads affect the character of the sound not the quality
I'd advise you don't throw your money away on pads linked above.
hmmm as a owner of GS2000e and the only grados i have, i am very interested in GS3000e, anyone has any listening impressions and comparisons?
@Gippy can't wait for your review!
@Gippy can't wait for your review!
mortcola
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Hey there, I’ve shared a few impressions. I have had in my possession and listened in-depth to theRS2e, all the Statements, and all the Professionals except the 500. I liked the GS2000 very much, but it was a clear second to the PS 2000e in terms of the harmonic richness, depth and precision of soundstage, and what was to me a certain authoritative and gripping listening experience. Entirely relative and of course, my personal aesthetic response.
The GS 2000 was clearly a more refined set of cans compared to both of the 1000s, though as many people pointed out, it seems the maple and or the tuning of the driver with the maple, presented forward upper mid range and highs up to what I would guess is 8K hz. Nothing harsh at all… Textures are pleasing, instruments have that remarkable presence and the feeling of accuracy that a player of uamplified instruments (me in particular, piano, woodwind, cello, perc, and guitar) can really appreciate, especially at close range.
But ultimately I did most of my listening on the PS 2000e
After more than a month of heavy listening, I am listening to the GS3000e far more then the PS 2000e. They give me musical cravings.
The new Statement 3000e has a similar frequency signature to the 2000, but there’s something, I expect in the microdynamics, which conveys the sense of the emotional investment of the players and singers in an uncanny way which some of the most absurdly high end systems I have heard simply don’t… The latter often mind blowing in their resonance with the listeners body, detail and space, etc.....One of the first times I have given credence to the suppose it distinction between analytical and euphonic. The 3000 is immensely analytical, if that means revealing, but the sheer pleasure of the sound of good musical instruments played together or solo fits the definition of euphonic. I guess they are not mutually exclusive.
The virtues emphasized by the Linn/Naim aficionados of yore extolled somewhat capture the gripping, emotionally present and strongly rhythmic qualities of the GS 3000e. But there is a degree of inner detail and the small instrumental textures – calloused finger on acoustic bass, idiosyncrasies of the saxophone reed, Plus a quickness and frequency extension on bass instruments - Which invite the listener – me, and anyone who has similar ears and listening bias- to listen more and more, so that my wife is yelling at me at night to shut off the damn music and come to bed. No, these headphones are not like that formerly synergistic pair of brands in any overall sense. They had especially a unique way of bringing out the best of analogue. This is just a different ball game. I’m referring to a quality of engagement which was characteristic of those.
With good digital recordings, Schiit Gungnir/Mjolnir2 pairing, and both the LISST “solid-state tubes“, and a range of modest to rare and hyped NOS vacuum tubes, I crave music even more with these than my recent flagships, PS 2000e. These superlative qualities make them quite distinct from the previous statement models. They are both visceral and refined.
Reading and writing about these very particular qualities remind me just how inadequate and unreliable language can be to describe aesthetic matters. But I’m told by fellow musicians and those for whom I have assisted with recording, mixing, and mastering, that I have very good years. For what it’s worth. I don’t think I’ll be alone in most of these impressions. But I welcome different listening experiences by my fellow cultists.
At the very least, these should prove to offer a fascinating listening experience and evaluation, regardless of what conclusions you draw. For those loyal to the brand, and anyone interested in high-resolution audio, and truly high-end speakers and cans in particular.
The GS 2000 was clearly a more refined set of cans compared to both of the 1000s, though as many people pointed out, it seems the maple and or the tuning of the driver with the maple, presented forward upper mid range and highs up to what I would guess is 8K hz. Nothing harsh at all… Textures are pleasing, instruments have that remarkable presence and the feeling of accuracy that a player of uamplified instruments (me in particular, piano, woodwind, cello, perc, and guitar) can really appreciate, especially at close range.
But ultimately I did most of my listening on the PS 2000e
After more than a month of heavy listening, I am listening to the GS3000e far more then the PS 2000e. They give me musical cravings.
The new Statement 3000e has a similar frequency signature to the 2000, but there’s something, I expect in the microdynamics, which conveys the sense of the emotional investment of the players and singers in an uncanny way which some of the most absurdly high end systems I have heard simply don’t… The latter often mind blowing in their resonance with the listeners body, detail and space, etc.....One of the first times I have given credence to the suppose it distinction between analytical and euphonic. The 3000 is immensely analytical, if that means revealing, but the sheer pleasure of the sound of good musical instruments played together or solo fits the definition of euphonic. I guess they are not mutually exclusive.
The virtues emphasized by the Linn/Naim aficionados of yore extolled somewhat capture the gripping, emotionally present and strongly rhythmic qualities of the GS 3000e. But there is a degree of inner detail and the small instrumental textures – calloused finger on acoustic bass, idiosyncrasies of the saxophone reed, Plus a quickness and frequency extension on bass instruments - Which invite the listener – me, and anyone who has similar ears and listening bias- to listen more and more, so that my wife is yelling at me at night to shut off the damn music and come to bed. No, these headphones are not like that formerly synergistic pair of brands in any overall sense. They had especially a unique way of bringing out the best of analogue. This is just a different ball game. I’m referring to a quality of engagement which was characteristic of those.
With good digital recordings, Schiit Gungnir/Mjolnir2 pairing, and both the LISST “solid-state tubes“, and a range of modest to rare and hyped NOS vacuum tubes, I crave music even more with these than my recent flagships, PS 2000e. These superlative qualities make them quite distinct from the previous statement models. They are both visceral and refined.
Reading and writing about these very particular qualities remind me just how inadequate and unreliable language can be to describe aesthetic matters. But I’m told by fellow musicians and those for whom I have assisted with recording, mixing, and mastering, that I have very good years. For what it’s worth. I don’t think I’ll be alone in most of these impressions. But I welcome different listening experiences by my fellow cultists.
At the very least, these should prove to offer a fascinating listening experience and evaluation, regardless of what conclusions you draw. For those loyal to the brand, and anyone interested in high-resolution audio, and truly high-end speakers and cans in particular.
ruthieandjohn
Stumbling towards enlightenment
(Formerly known as kayandjohn.)
It is interesting that the hybrid earcups (metal and wood for the PS1000 and PS2000e, maple and mahogany for the GS2000e) do not sound as good to you as the single-material (cocobolo) of the GS3000e. Great comparisons!
NoxNoctum
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Is playing my Grado SR325i HPs through my Schiit Lyr 1 (the original, without the low gain switch) risky? Can I blow them out? Or will I blow my ears out before the HPs?
Just keep the volume low. The main problem you can encounter is channel imbalance at low volumes. Nothing bad will happen as long as you use the volume knob carefully.
Shane D
Headphoneus Supremus
CAM update. There is a dealer in Quebec that has some Grado's on sale (I think it's GW100, GH3 and GH4).
Just an FYI. Canuck Audio Mart.
Shane D
Just an FYI. Canuck Audio Mart.
Shane D
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I own the Grado GH2 and the SR325e.
I‘m thinking about to buy a used GS1000, GS1000e or PS500.
I‘m not shure if it make sense because the GH2 is maybe the best of all?!
What do you think?
Could someone explain me the differences from sound of the five headphones?
I‘m thinking about to buy a used GS1000, GS1000e or PS500.
I‘m not shure if it make sense because the GH2 is maybe the best of all?!
What do you think?
Could someone explain me the differences from sound of the five headphones?
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Thank you for your detailed review. That almost answers the question I asked in the last post.
Im sure that this sounds absurd, but trust me on this one;
Get your self cheap chinese Grado pads, and put them on those GH2:s They do something magical to the tonal balance, that one have to experience them self. And hey, if you dont like it, you did not loose nothing but few bucks. Works with other models too, but results various from model to model.
https://www.aliexpress.com/item/GRA...lgo_pvid=e0bbbdaa-25bd-416d-bf53-b37ab73def84
Shane D
Headphoneus Supremus
I am using some knock off G-cush's on my GH2's that I got off Amazon.ca. Sounds great and are SUPER comfortable.
Shane D
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