Audiophilepure

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“However, when it comes to soundstage width and, especially, depth, the HD6XX handily bests the Alara. The Alara pulls Lenny Zakatek charmingly histrionic vocals on the aforementioned “I Wouldn’t Want to Be Like You” to the front, whereas they stage deeper on the HD6XX, making what sounds like a light chorus effect slightly more apparent. Likewise, on Miles Davis’s Live-Evil’s “Funky Tonk,” Jack DeJohnette’s masterful drums, which transition between scattershot madness and tight grooves and back again throughout the opening to a 23-minute track, have more front-to-back depth on the HD6XX than the Alara, leaving more room in the center of the sound field for Davis’s wah-inflected trumpet.

Given this soundstage versus extension tradeoff, is the Alara an all-around better headphone than the HD6XX? In a word, no. However, for listeners put off by the HD6XX’s somewhat polite sound or those who wish for the brighter signature and up-front detail found in the Clear or Sennheiser’s own HD800S, the Alara offers a sound signature that edges toward those pricier cans at a fraction of the cost.”

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“The LCD-GX is no different, it offers a great sense of equal width, air, height and separation qualities, all without one trait in the soundstaging element to appear larger, or lacking over the rest of the elements you can pick up on.

The headphone isn’t the best for pinpoint accuracy, but it is certainly one of the better I’ve had for single-player enjoyment or team-based video gaming where the location of sounds in a battlezone is not vital to your objective. Ultra-wide is bad when you play online FPS games, or really, anything tactical with a focus on pinpointing sounds around you”

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“To be honest with you, I was never a fan of Bluetooth earphones/headphones. This Hifiman Ananda BT however, changed my perception about wireless sound. This easily is the best wireless headphone I’ve ever listened to and it’s not even close. Together with the sound, the general user experience is very pleasing and simple.”

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“The life-like bass has translated over very strongly to the Phi TC versions, but what I hear is even more definition and clarity, but I think the biggest area of improvement is the increased transparency in the mids and treble regions. I had to remind myself that these were a pair of orthodynamics and not a pair of electrostatic headphones. The sound staging was truly epic. The whirl of the vending machines around my head from “Money” placed me in a large room well beyond my personal head-space and very much mimicked a 5.1 speaker presentation. Again, this was something that no other pair of headphones could reproduce with such transparency and openness.”

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“I could listen to this for hours in much the same way as I class the D8000. It is one of those headphones that is just a pure blast of fun and technical competence to make anything that rocks, well rock that bit harder. If you are a fan of the Black Crowes or that analog Les Paul tube amp infused guitar work out session then the Rad-0 is perfect. Southern-infused rock and old school modern sleazy rock like Vains Of Jenna sound tailor-made for the Rad-0 vibe.

I wish I could tell you that it is a lightweight experience like the Empyrean or the MrSpeaker’s Ether 2 for listening to all that for many hours. It’s balanced and design does a wonderful balancing job for its 650g weight on your head but it’s going to makes its presence felt more than those two competing headphones. It is secure, however, much more so than larger headphones like the awkward D8000 and I did find the RAD-0 much easier on the head than Final’s flagship.”

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“Do not expect planar levels of low-end rumble and physically but do expect better than expected punch and body for an electrostatic headphone. In fact, outside of the VOCE and 007 MKII, I find the SR-L300 Limited bass response to be one of the better tunings out there. ON the FR there is a slight bump from around 80-100Hz and extends to about 200-250hz before it gently drops to the start of the lower-mids.”

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“Here is an example, Hugo 2 has a max voltage output of about 3 VRMS, so the current draw at 15 ohms will be 0.2A and the power output will be 0.6W. This enough to cause serious damage to ears with LCD-4Z whose sensitivity is 98db/mW, even if the listening at half the volume (1.5V), LCD-4Z would be very loud with a lot of headroom to spare. Now compare that with With LCD-4 with 200 ohm impedance, the current draw would be 0.015A and a max power draw of about 0.045W. Yes the LCD-4 would draw less current (an order of magnitude less), but it would not be anywhere as loud even at the maximum volume as the power into LCD-4 would also be an order of magnitude less. Though no one would listen even at maximum volumes, at normal listening levels the extra headroom is needed to accommodate the transients and dynamic range of music.”

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“Through the ERA-1 the album was laid bare with the recorded space around the two bassists creating a huge sound stage in every axis while the two uprights alternated in their crazily-tilted responses to one another (from what you think a bass should sound like to something from a science-fiction horror film soundtrack – and everything in between) and I was held rapt by how well the ERA-1 was able to delineate between each player’s left, pitch-producing hands and their right hands manipulating tone. Weight, heft and air pressure from arm and body movements were conveyed with realism critical to believability in its midrange emphasis.”