Sub-bass response digs deep for a good sense of impact down at the bottom, though it's not as tight and clean as I would personally prefer (Doin' It Right by Daft Punk).
There is definitely a bass emphasis to these cans, a warm and reverberating bass with a helluva lot of punch (Cruel Summer by Bananarama; pretty much anything by EBTG). The bass does tend to bloom and boom on extra bassy tracks (Wishin' and Hopin' by Ani DiFranco; Le Monde by The Thievery Corporation). In typical tracks, the bass response adds a welcome sense of weight and presence without overdoing it (Watch What Happens by Bob Acri).
Lower mids are lacking a bit in definition due to a little bass bleed (Blue Savannah by Erasure), but are not shelved or recessed, just tonally different (City Boy by Donkeyboy).
Mids are lush and full-bodied (People Get Ready by The Impressions), with gobs of depth and textural detail (If I Only Had A Brain by Livingston Taylor; Sexual Healing by Marvin Gaye). Great vocal presence for both male and female vocals (Bring It On Home To Me from The Commitments Soundtrack, Vol. 2; The Prayer by Jonathan & Charlotte).
Upper mids are clean and crisp with a reasonable sense of snap (On The Wing by Owl City). Does seem to get a little thin transitioning to the highs, but I think this is a good thing as it keeps sibilance to a minimum (Honey and The Bee by Owl City).
Highs are just short of a gossamer airyness (Sonic Fairy Dust) at the top end (Yoda's Theme by John Williams); also not prematurely rolled-off (Crash Into Me by The Dave Matthews Band). Reminiscent of a mid-point between the DT770 and DT880 (Philter by Fantastic Plastic Machine).
Detail retreival and separation - particularly in the mids - is fantastically good. I mean REALLY GOOD. (Annabelle Lee by Sarah Jarosz; I Don't Know Why You Don't Want Me by Rosanne Cash
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. Elements are rarely lost in congestion, and remain distinctly coherent without getting grainy or overly-textured (Carolyn's Fingers by Cocteau Twins).
Staging is balanced along both axes (width and depth)... and lies just on the cusp of being in/out of head for most tracks (Wild Mountainside by The Trash Can Sinatras), which is good for a pair of closed cans. There's even a hint of vertical-axis fidelity (What You Don't Know [Live] by Sara K.).
Equipment used: Centrance DACport LX, Objective 2 amplifier.