The Geekria G cushions are about the same diameter but noticeably shallower. They "pull" the cups closer to your ears, for a little more of that RAHHHHHHH FRONT ROW! feeling that comes with the on-ears.
In general these are very forward cans, no question. As noted, you can affect that slightly with the cups. But still forward.
I enjoyed them with the warmer sound of the MHA50 which does surprisingly have a classic McIntosh sound to it. Recessed the sound stage a touch, but still nothing like, say, an HD6xx can would which is more recessed.
But the high-end rendering is exceptional. Subtleties in amp/ DAC and combos are really well rendered. For example, an EF-400 R2R DAC + Lyr+ w/ a Tung Sol tube renders a color, texture, and life to the bassline on Last Train to London (ELO) that I can't replicate with any other combination. When I use the Lyr+ as a preamp to a Soloist 3XP, it warms up a little though I swap out tubes and staging changes. Subtle issues with recordings can be annoying actually, because the balanced drivers do a superb job of rendering those source flaws - to the point some things sound crooked in a way that I simply can't listen to.
I would say if you don't want or like a forward stage, this may not be the way to go. Depth is there for sure, but for example w/ the EF-400/ Lyr+ combo, there isn't much at all. The Bifrost/ Burson combo, entirely different story. They have their character, but also do what they're told within that starting point.
Vocals, acoustic jazz such as Cafe Blue for example, are outstanding - front row seats, but still depth. Maybe even closer than that. Big symphony halls render big - both wide and deep, so it's there...and can sound a bit more recessed. In fact, some symphonic recordings are too recessed, w/ too much hall/ reverb mixed into the masters. The GS1000e makes those sound just outstanding to me, because the result is spacious wide and has lots of characters. You can hear that the EF400 R2R renders string vibrato inside the violin section, individually whereas I put that through the Bifrost and I get a little more depth so that vibrato doesn't stand out as much.
If you have different setups and can switch around based on preferences - I love them w/ EDM, for example - you might enjoy them. If that sort of thing is more annoying, and you find you want a single can to sound pretty good on wildly diverse things, you may have trouble finding a combo that works. My McIntosh did a better of job forgiveness with such things, but the Lyr+...there are some things that just render too well and come out completley off, and require reverse RIAA compensation for example (Toto The Seventh one, great recording, but I have to change everything to really enjoy it when coming from something like the latest TOOL release).
Speaking of which, guitars can be quite enjoyable here - w/ the Lyr+ and right tube, they bite and claw and scratch - that's the Lyr+ rendering - but the Grado is right there to show you what the Lyr+ is doing.
Bass is there, can be boxy without some adjustment, and won't be overpowering. Serious power required if you want kick. Some tubes + Burson will do that, but it's the only combo I've personally owned where they sounded dynamic. They aren't going to slam like others.
Hope that helps - and I hope if you venture down that path, you find it to be the same. This is obviously my take, and my hearing and listening is I think a bit different. I grew up in pursuit of concert piano, and had that opportunity in my 20s so I'm a little obsessed with timbre...not everyone is, or cares.