Audiophilepure

Read Here

“However, the warm tilt is very consequent, making it easy for the brain to adjust, so I can’t say that it works better for male or female vocals. It is a coloration that can easily be compensated and among the warmth, there are no apparent peaks that add further distortion to timbre. Vocals stand freely and well-contrasted.”

Read Here

“First and foremost, the Lola’s sound is defined by its wonderfully nuanced, well-balanced, and smooth yet highly articulate midrange response—response that I attribute to the Lola’s new dual dynamic midrange driver array. There’s a certain je ne sais quoi about these midrange drivers that allows them to sound vibrant, alive, engaging, and highly expressive, yet at the same time to sound neutrally balanced with almost complete freedom from overt colourations.

Read Here

“The more I listened to these, the more they grew on me. They don’t have overblown bass, but have speed and accuracy on their side. They are not a smooth and laid back sounding IEM, they offer up an exceptionally detailed and complete sound for the price and amount of drivers. I really like this tuning, and believe Clear Tune have done a superb job getting a lot out of these 2 drivers. If you like a slightly mid forward, highly detailed and accurate sound, these should be high on your list.”

Read Here

“With their lack of edge or brightness, the Audeze LCDi4s excelled with electric guitar. José Neto’s electric guitar on the Winwood album sounded clean when necessary and overdriven when musically appropriate, as in his solo in “The Low Spark of High Heeled Boys.” And if I’m mentioning recordings of electric guitar, I must play something by that master of the instrument, Bill Frisell. Listening to “That Was Then,” from Live in Tokyo, Japan: July 21, 2000 (16/44.1 FLAC, Bill Frisell Downloads), again I was struck by how the LCDi4s’ lack of mid-treble aggression allowed me to appreciate both Frisell’s artistry and his artful use of effects. Perhaps some might feel that the Audeze ‘phones were taking away some of the instrument’s attack, but I didn’t feel musically shortchanged.”