Audiophilepure

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“The soundstage was cleanly defined from edge to edge or, uh, ear to ear. A good example was Dean Martin’s “I’m Confessin’ (That I Love You)” from Dream with Dean, where the spread of the soundstage places the bass and lightly brushed drumkit at opposite sides of the stage but acoustically linked together in purpose by the wealth of ambient cues. Generally speaking, the Grado soundstage wasn’t the narrower, more vertically oriented representation of my resident HiFiMan Edition X ’phones, but rather a truer horizontal, reasonably dimensional stage that supplies relevant cues to the acoustic weight and breadth of an orchestra in full song. There’s a whole-cloth continuousness about the soundstage with the Grado.”

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