First you say you don't listen to other headphones and don't really care (cool, good attitude). Now you're straight up saying its better than another flagship without comparing them directly. I'm saying I will compare them, purely because I ALREADY OWN THE LCD-5.
Are you ok Aleksandar? You've gone from super cool and helpful to straight up hormonal teenager.
No, I haven't assumed your cable is bad. I make cables, I like doing it. I make them the exact length I need, and use the connectors I like. It has nothing, and I mean absolutely nothing, to do with the quality of your cable.
And pitting. Read above. Someone reported oxidisation between aluminium stand and your steel headband. If that is true, this means the steel headband is susceptible to this given the right conditions, since it means it isn't coated and isn't some stainless variant. Again, if the report of oxidisation is correct.
It is either a case of two separate people using the same Head-Fi account, or you've gone and gotten drunk and decided to go on Head-Fi and skim read posts and respond poorly.
Chill. The. ****. Out.
I'm OK, thank you. I just get agitated with assumptions, sometimes. Sorry about dropping a teenage rant on you.
The headspring is made of spring stainless steel 301. See here about applications and corrosion resistance. :
https://www.azom.com/article.aspx?ArticleID=6807
So, that should be good enough for corrosion resistance in coastal areas.
I don't think if anyone in their right mind, having any level of technical prowess, would use a regular steel without any paint, on any product, but still, you assumed I did, so that triggered me off. It felt like you're considering me an idiot. I know that what i felt is wrong, so sorry about that, too.
As for the claim of white powder on leather in relationship with that stand, I would first assume dandruff, then mechanical scratching of primer paint, or Zinc oxide from plating, but the last thing would be corrosion by contact of two dissimilar metals, especially in room conditions without presence of dew.
Even if that would be the case, I would not paint over a perfectly good looking bead blasted S-S. I'd rather recommend using wooden stand. Don't like wood? Perfectly fine. In the same way, I don't like painting non corrosive metals.
I really don't listen to anything else when in development phase. I finished that before Munich High-End, so got free of that rule and got to listen a lot of stuff and form the opinion about it.
It's not correct on my part to post here what I've found to be the deficiencies in sound of other manufacturer's flagship products, so it's best for me to say "I don't know" or "Mine will fare better". That kinda' conveys my confidence in my product, but doesn't sound dismissive to other people's products, because it really isn't what I feel about those products. I actually admire certain solutions in certain products very much.
So, without disclosing what I have listened to in Munich, I'll stick to explaining technical differences.
I just happen to know certain advantages of the working regime of a True Ribbon -the way we make it, compared to working regimes of Planars that are clamped over their whole circumference. It's about the necessary acoustical resistance you must use, and that defines dynamic compression in bass.
Another thing is that smooth leather pads are bad for midrange. It's an acoustical fact. There are some workarounds, but it's not enough to remove the problem. the bigger question is if the workaround is good and costs equally to make, why it hasn't been implemented in cheaper products, but just on a flagship?