UNORGANIZED NOTES FOR REVIEW OF AUDEZE LCD-2, HIFIMAN HE-6, ET AL

These notes include specific details not documented in the published review
Disclaimer: Not all listening data was documented either
[ OII/BHSE vs LCD-2/GS-X ]
(balanced XLR input on both amps) (LCD-2 w/ Silver Dragon XLR)
- Julia Fischer - Bach Concertos - "Concerto for 2 Violins in D minor - 1st movement / 3rd
movement" (tracks #1, #3)

LCD-2 is bold, rich in mid-range while OII is thinner, not very bold/rich. OII maintains
more dynamic range (volume modulation) on violins. OII separates the violins further
than LCD-2, better able to hear multiple violins in the sections as opposed to a unified
section body. Soloists more forward & center on LCD-2, more displaced on OII, but OII
is also more exact on their positions. LCD-2 makes them sound "high" (height) while OII
brings them down to floor-level. Better able to hear bow-direction reversal on OII.
Soundstage seems wider on OII, with a better sense of the acoustic space (sound
waves reflecting - or not reflecting - inside the "recording area").

OII has a more relaxing/at-ease type of sound, LCD-2 sounds like it's trying too hard to
sound like something. OII makes the orchestra/soloists sound confident/self-assured/incontrol, and highly-trained. LCD-2 makes them sound like they're nervous or tense, not
at ease.

LCD-2 doesn't sound quite as "clear" as OII. String inflections partially lost on LCD-2 ("E"
string tinting, for example). LCD-2 definitely "smoother" than OII, OII coarser. OII can get
more of that "hard-string" sound. OII better captures the speed of fast bow strokes too.

- Julia Fischer - Bach Concertos - "Violin Concerto in E major - 2nd movement" (track #8)

OII is clearer, especially on opening harpsichord notes, which are precise on OII but
semi-indistinct on LCD-2. OII separates all the orchestral sections cleanly but in a way
that doesn't subtract any musicality - 1st violins, cello, etc, all come in at discrete angles.
OII also properly tracks differing volume levels between different instruments, not
everything is at similar volume. LCD-2 makes every section sound like they're all at
same or similar volume. The "carrier-wave" of Julia Fischer's violin is perfectly clear &
radiating on OII. Listening to her violin is like listening into it, almost like the mic is inside
it! Can hear the wooden-resonance texture, the subtle volume modulations, the
rolling/rise & fall intensity, the bow sinking into a string and coming off it, the slow
intention/speed, all while maintaining a beautiful pure, radiating tone. Her violin is multifaceted on the OII. LCD-2 captures only a few facets at most. VERY intense on OII when
she slows down. LCD-2 sounds one-note - full, rich, bodied, etc, but not modulating or
intense. Her violin is hair-raising on OII! OII better maintains delicacy of low volume and
the expressiveness in the bowing and the clear modulations that the vibrato inflects.
String-crossing very clean & precise on OII, not very clear on LCD-2. Orchestra more
tactile & physical on LCD-2 though. LCD-2 loses the vibrato modulations that really add
to the performance. LCD-2 almost husky on the violin compared to OII, which is more
clear/pure.

1 of 15

- Eva Cassidy - Live at Blues Alley - "Autumn Leaves"

Dynamic range on Eva's voice limited on LCD-2 compared to OII - subtle vocal
modulations more apparent on OII (lost on LCD-2) and also considerably more
"intensity/power" on her voice when she increases her volume suddenly. In fact, her
vocal power nearly approaches "shouting" levels on OII, while LCD-2 is more restrained.
As a result, her voice sounds more expressive on OII. OII also more "open"-sounding,
more air and space with wider lateral positioning of left to right. LCD-2 has a tonality that
sounds like cupped hands or sound radiating in a tunnel (like sound waves reflecting
back, so upper mids a bit forward), OII without the reflection-like nasal/bronzy effect.

- Porcupine Tree - In Absentia - "Gravity Eyelids"

OII more "laidback" than LCD-2 but cleaner and more spatial. Opening "choir" effect
more diverged into each channel on OII, more towards center & front on LCD-2. More
illusion of dimension/space on OII. LCD-2 sounds like it traps the acoustics, almost
stuffy. LCD-2 more physical though with a deeper/fuller mid-range/mid-bass that adds to
the male vocals and guitars. Smaller-scale, more direct sound on LCD-2 with a good
deep bass, and not diffuse either (OII sort of diffuse). LCD-2 integrated, OII diffuse.
Thicker, fuller, lower guitars on LCD-2, with more "growl" and drive (OII makes them
weaker).

- Radiohead - OK Computer - "Let Down"

LCD-2 has thicker, "deeper" bass that provides a solid foundation for this track. More
heavy/low presence. Also more upfront and center than OII. Far left/right better spread
out on OII, LCD-2 tends to form a center-based image while OII is uniformly spread out.
Thom Yorke's vocals "purer" on OII. LCD-2 is less pure, more rounded and harder.

- Tool - Lateralus - "Schism"

Heavier, more grinding/hard bass on LCD-2 makes it more filling/thick. Combined with
less spatials, more direct/assertive that works to add "mood" and oppressiveness.
Atmospherics of track better separated on OII though, easier to hear everything going
on, sorta blurred on LCD-2.

- Carlos Kleiber & VPO - Beethoven #5 & #7 - "I. Allegro con brio", "III. Allegro", "IV. Allegro"
(tracks #1, #3, #4)

LCD-2 captures more of the Beethoven "fire/passion" with its mid-range depth and moreforward sound. Sections not as diverged/discrete on OII though. Rolling timpani cleaner
on OII and the orchestra more laterally spread out too. Strings more trebly on OII but still
realistic and not bright. LCD-2 delivers more Beethoven-style bombast/fury while OII
delivers more scale (size, dimension) and dynamic range - quieter and more intense
loud. LCD-2 also gets loud but doesn't contrast as much against quieter levels. Multiple
"shades of grey" in the volume levels of OII. Violins more distant/laidback on OII but
matched equally against other sections (also proper treble), LCD-2 seems more unequal.

2 of 15

Pizz substantially cleaner with more "pick/pop" on OII. More "acoustic reverb" on OII.
Horns on LCD-2 very filling & sonorous, but OII "radiates" their sound towards the
listener position with more sense of dimension/space between listener and horns.

- Steve Kuhn - Mostly Coltrane - "Song of Praise"

Tenor sax especially reedy (more palpable texture) & full on LCD-2. Cymbal work not
very clean, not at level of OII, nor does it span "everywhere" in the left/right channels like
on OII. LCD-2 is like putting you right in the front of the jazz group, like right along with
them as they play. Double-bass heavier on LCD-2, more audible.

- Lee Morgan - Tom Cat [AudioWave XRCD] - "Twice Around"

Blakey's drumming more incisive on OII, sharper rat-a-tats and cleaner separation
between notes (LCD-2 a bit blurry). Brass instruments very direct on LCD-2.

- Massive Attack - Mezzanine - "Inertia Creeps"

Belly drum has tighter, faster hit on OII - more distinct "slap" across a drum surface with
more of the membrane decay. This detail lost on LCD-2, sounds more like an indistinct
impact. Mid-East type woodwind instruments in background also clearer on OII, very
indistinct on LCD-2. More of the background revealed on OII.

- Dave Brubeck - Time Out [LE] - "Blue Rondo a la Turk"

Closer presentation of LCD-2 seems unnatural. Expected differences in cymbal work.

Alto sax closer and more "full", more presence on LCD-2. Piano keys sound heavier
than natural on LCD-2 - also some sense that the keys are pressed harder than they
should be. The pounding A sounds heavier than it should as it's not a very low pitch
(A440).

- LZ - LZ II - "Whole Lotta Love"

Bass line on LCD-2 has good drive and energy. Bass guitars deep, direct, full for an
appropriately heavy "rock" sound.

- In Flames - The Jester Race - "Moonshield", "Artifacts of the Black Rain"

Bass guitar more prominent on LCD-2 and less treble on the opening steel guitar. LCD-2
not exactly "forward" like a Grado, but smaller soundstage and more focus towards midbass makes it more direct/assertive-sounding than OII, which leans toward
neutral/passive. Direct/assertive sound good for this type of music.

- Helloween - 7 Sinners - "Where The Sinners Go", "Who is Mr. Madman?"

More "bounce" on opening drums on "Where The Sinners Go" on OII, high sense of
drum-impact vibrations. Bass guitar thrashing really "shears" on OII while it's more of a
standard heavy/oppressive riff on LCD-2. More shear-type thrashing on OII while LCD-2
is heavier/deeper.

3 of 15

Accelerated drumming in "Who is Mr. Madman?" better handled by OII - clear, fast,
precise, and not shoved to background. Harder to hear on LCD-2 due to being shoved to
background, and not as fast/precise. OII's clearer sound makes it easy to hear the
drumming & guitars, these two lose distinction on LCD-2.

- Eric Clapton - Unplugged - "Layla"

Steel guitar picking appropriately conveyed on OII, not as "sharp" on LCD-2. More
"steel" metallic texture on OII.

- Tord Gustavsen - Changing Places - "Graceful Touch"

Differing pressure-action on piano keys conveyed properly on OII - lost on LCD-2. More
sense of space - piano in a chamber-like venue, acoustics partially lost on LCD-2. More
spread-out instruments on OII feel like being in a large studio with the players, sorta
mashed in on LCD-2. "Soft" piano notes sound softer on OII, better sense of quietness.

- AKUS - New Favorite - "Let Me Touch You For Awhile"

Finger sliding over the opening steel guitar easily heard on OII - completely absent on
LCD-2 (can also hear it on Qualia though). Alternating notes of double-bass audible on
both headphones but pitch not completely distinct on LCD-2, moreso on OII. Also hard to
hear the exact pitch of the two notes. Decay & reverb of voices/guitars more apparent on
OII. AK's voice very slightly higher-tuned on OII vs LCD-2, seems more accurate.

- The Crystal Method - Vegas [Deluxe Edition] - "High Roller"

Solid, deep bass on LCD-2 especially when it goes extra-low into the bass phase. More
solid/deep than OII, but not as distinct/clear as OII - very firm handle on the bass
otherwise, but not overloaded to sound too thick.

[ LCD-2 vs HP1000/HP2 ]
(GS-X, balanced) (Silver Dragon XLR on LCD-2, APS V3 XLR on HP2)
- Julia Fischer - Bach Concertos - "Concerto for 2 Violins in D minor - 1st movement / 3rd
movement" (tracks #1, #3)

Violins out in front on LCD-2, more 3D. Cello has deeper tone on HP2 though. Entire
orchestra more intimate on HP2, like you're right in with them - LCD-2 more like sitting
away from them. Slightly more treble angle on HP2 on violins - more "flashing" than
LCD-2. Flaring/brilliance of violins on HP2, absent on LCD-2 - HP2 more realistic. HP2
seems more authentic in tone.

HP2 more intense on track #8 of CD, more "power" and swell on the solo violin. Too
close though. If LCD-2 is passive, HP2 is assertive and "blushes" more. More sense of
feeling intensity from the violin (like feeling heat from a fire).

4 of 15

- Eva Cassidy - Live at Blues Alley - "Autumn Leaves"

Eva's voice "deeper" on HP2, slightly less so on LCD-2 (but still deep in tone). "Mmmm"
sound on HP2 very resonant. HP2 marginally more "forward" on Eva's voice than LCD-2.
Overall soundstage a bit more compacted.

- Carlos Kleiber & VPO - Beethoven #5 & #7 - "I. Allegro con brio", "III. Allegro", "IV. Allegro"
(tracks #1, #3, #4)

Brass, woodwinds, & cello sound more realistic/natural on HP2, hard to explain why
(more natural resonance?). Positions not as 3D as on LCD-2 though. Music has more
"Beethoven" energy on HP2, semi-boring on LCD-2 (partially because the orchestra is
closer on HP2). "Bong" drum towards the end is more powerful/deeper on HP2.

All sections very fleshed out on HP2. Instruments "jump out" on HP2, LCD-2 is more
distant. Flutes "ring" more on HP2. HP2's integrated imaging very realistic. Music also
"breathes" more on HP2, more sense of the orchestra with a soul (more similar to OII in
this aspect).

- Steve Kuhn - Mostly Coltrane - "Song of Praise"

HP2's smaller soundstage makes it sound like you're in with the jazz group, practically
right next to them. Very close positioning. Very full, soulful tenor sax - lots of body, and
very close. Fast piano notes in beginning blurry on HP2 (mess of notes), significantly
faster/clearer on LCD-2. Tenor sax still quite prominent on LCD-2 but not as
forward/close. Harder pressure-action on piano keys on LCD-2, more blunted on HP2.
Both headphones seem to live in the mid-range - HP2 tuned a bit lower toward the midbass. LCD-2 also has clearer, more distinct bass.

- Lee Morgan - Tom Cat [AudioWave XRCD] - "Twice Around"

LCD-2 makes it easier to hear the left-channel alto sax following the trumpet. Improved
distinction/clarity over HP2, easier to hear all the instruments and some "air" span
between them (barely any air between instruments on HP2). Instruments more spread
out from each other on LCD-2, more sense of "space" between everyone.

- Dave Brubeck - Time Out [Legacy Edition] - "Blue Rondo a la Turk", "Take Five"

"Take Five": Snare drum heavier on HP2, if a bit "smudgier" than LCD-2, as well as
acoustic bass. Acoustic bass has more solid "kick" on HP2 also. HP2 not very reactive to
snare drum's volume outbursts though, LCD-2 gives them more suddenness. (Less
intensity?) Instruments sound nicely "low" on HP2 while maintaining realistic tone (like
on sax).

- Tord Gustavsen - Changing Places - "Graceful Touch"

HP2 more murky/muddy than LCD-2 - piano not clear enough on HP2, but acceptable
on LCD-2. Wider soundstage on LCD-2 (drum kit more off to the left), also more open.
HP2 more efficient (needs less adjusting to reach same volume).

5 of 15

- Radiohead - OK Computer - "Let Down", "No Surprises"

LCD-2 has more solid, deeper bass line. Both headphones very smooth/fluid throughout
mids. Slightly deeper male vocals on HP2. More decay trails on LCD-2 that are also
more audible (left-channel guitar on "No Surprises"). HP2 sounds stuffy & flat, LCD-2
more expansive. LCD-2 more extended in bass & treble (bass line & bell-like effect,
guitar strings). HP2 does more "hard panning" than LCD-2, very pronounced left/right
channels. HP2 soundstage sounds more "diverged" as a result and loses the
"front/center" part of the image, which is why it sounds flat.

[ LCD-2 vs AD2000 ]
(GS-X, unbalanced) (2010 stock cable on LCD-2, APS V3 on AD2K)
Gain/volume: with AD2K on Med gain, +3 steps & High gain on LCD-2 to achieve approximately
same volume
- Orbital - Snivilisation - "I Wish I Had Duck Feet", "Are We Here?"

Impulse response/speed between headphones approximately the same - not worth

dissecting even. Percussion effects complete & right on time with both headphones.
LCD-2 not as insistent/forward-moving as AD2K though.

- The Crystal Method - Tweekend - "Murder", "Tough Guy"

LCD-2 approximately matches AD2K's bass depth on the bass phase - low, deep. AD2K
seems to push it lower though, if a bit leaner; LCD-2 slightly heavier. Bass line on
"Tough Guy" more audible on LCD-2 (clearer than AD2K) and goes very low, vibrating
the headphones.

- The Crystal Method - Vegas - "Busy Child", "Vapor Trail", "She's My Pusher"

AD2K has more upfront & non-diffuse presentation than LCD-2. Bass not "heavy" like
LCD-2 but both headphones are fast. LCD-2 has more "presence" on bass (fatter too)
that makes it a bit more satisfying. AD2K bass is leaner. Wider, deeper soundstage of
LCD-2 too - AD2K on narrow, shallow side ("She's My Pusher" has better atmospherics
on LCD-2).

- The Prodigy - The Fat of the Land - "Smack My Bitch Up", "Diesel Power", "Mindfields",
"Narayan"

More apparent bass extension on LCD-2 - headphones are actually about the same but
LCD-2 tips up the signal strength at the bottom so it sounds lower (AD2K flattens at its
lowest points). Significantly heavier bass on "Diesel Power" - very deep & filled out.
AD2K provides a better sense of objects being hit though (like the right-channel "clack").
X-factor: AD2K still sounds more tactile/physical than LCD-2 though, if not as visceral.
Also provides a better sense of insistence/forward-movement. AD2K has tighter bass,
gives impression of faster recovery (and hence faster speed). AD2K runs into the
percussive hits at the end of "Narayan" with a better sense of swiftness - higher sense of
sudden impact.

6 of 15

"Mindfields": longer decay/reverb on LCD-2 (obvious on opening "clang" effects).

- In Flames - The Jester Race - "Moonshield", "Artifacts of the Black Rain"

"Moonshield": AD2K has more treble emphasis on the steel guitar. Not as "deep" into the
mids/mid-bass as LCD-2 but still conveys the oppressiveness/heavy side of metal.
Smaller soundstage is like being on the stage with the band (or in the studio) while LCD2 has a definite "mini-concert venue" type soundstage.

- Helloween - 7 Sinners - "Where The Sinners Go", "Who is Mr. Madman?"

"Where The Sinners Go": LCD-2 tone definitely skewed more towards bass than AD2K.
(Lower pitch tuning across the board.) Guitars fuller, heavier on LCD-2 - also clearer and
positioned further away. AD2K is a harder hitter (better slap) on the drums though, LCD2 better conveys the low vibrations.

"Who is Mr Madman": LCD-2 speed matches AD2K on just about every layer while
sounding heavier/fuller at the same time (most notably on the bass guitar, very heavy).
Drum more at forefront on AD2K though, LCD-2 pushes it back. AD2K doesn't have the
solid-foundation bass/mid-bass/low-mids of LCD-2, almost sounds light-weight in
comparison. Accelerated drumming seems more incisive & harder-hit on AD2K (also
closer).

[ LCD-2 vs K701 ]
(GS-X, balanced) (Silver Dragon XLR on LCD-2, SAA Equinox XLR on K701)
Gain/volume: High gain, +3 steps over LCD-2 for K701 to achieve approximately same volume
- Pierre Boulez & VPO - Mahler #6 - "I. Allegro energico"

K701 tone quite nasal/reedy compared to LCD-2 - LCD-2 seems more balanced. LCD-2
cleaner on pizz & rolling timpani but K701 "blasts" into them more and also brings them
more to forefront. K701 shallower than LCD-2, but wider. (LCD-2 narrower but deeper.)
LCD-2 has deeper, lower mids/mid-bass; K701 resides more in the upper mids and
treble. Violins sound very nasal on K701 compared to LCD-2. Violins not as "separated"
on K701 either, very unified. LCD-2 more "triumphant" on the large drum's bass
component. K701 brings the brass forward more (almost right in front), but they
"screech" more.

- Carlos Kleiber & VPO - Beethoven #5 & #7 - "IV. Allegro" (track #4)

LCD-2 more diffuse than K701, at least as far as spreading out the orchestral sections brass more distinct from cellos, etc. Sections stuffed-up on K701. Brass more sonorous
on LCD-2.

Between 2 classical CDs (Mahler & Beethoven), LCD-2 probably better for classical more natural/realistic violin sound (though it lacks treble to an extent), more diffuse
(properly separates out the sections instead of jumbling them together as the K701
tends to do), more mids/mid-bass/bass. More powerful sound.

7 of 15

- Priscilla Ahn - A Good Day - "Dream"

Voice unnaturally close on K701, better handled on LCD-2. Neither K701 nor LCD-2
seem especially clear though - left-channel guitar seems blurred over.

- Zero 7 - When It Falls - "Home"

Vocals smoother on LCD-2, coarse quality on K701 (also more forward on K701). Dualharmonizing vocals mid-song better separated/delineated on LCD-2. LCD-2 more
resistant to sounding too loud (K701 gets louder and more forward at the track's peak).

[ LCD-2 balanced on GS-X vs unbalanced on B22 ]

(Silver Dragon XLR w/ GS-X, 2010 stock cable w/ B22)
- Trifonic - Emergence - "Lies"

Harder, more impactful bass on GS-X, but deeper and slightly "thinner" on B22. Female
vocal element more out & away on B22, very close on GS-X - more 3D overall on B22.
Could be said to be "congested" (only slightly) on GS-X. GS-X has "hard" impacts on the
lower notes.

- Carlos Kleiber & VPO - Beethoven #5 & #7 - "III. Allegro", "IV. Allegro" (tracks #3, #4)

B22 "de-congests" the orchestra a bit compared to GS-X and spreads it out more. Pizz
also seems cleaner on B22. Background gray-ified on B22, as if not completely "black" GS-X is blacker. B22 seems more correct though - doesn't seem like the background
should have the blackness of the GS-X. Horns on 4th movement more laterally spread
out, more concentrated on GS-X.

- Sierra Hull - Daybreak - "Best Buy"

GS-X has wider, more laterally spread-out soundstage - instruments very far left/right.
B22 just a little bit less, but more sense of air. Sierra's voice sorta boxy/laterally
compressed on GS-X, more open/wider on B22. Her voice also smoother on B22,
almost more lyrical.

- Helloween - 7 Sinners - "Where The Sinners Go", "Are You Metal?", "Who is Mr. Madman?"

"Where The Sinners Go": Opening drums & bass guitar heavier on B22, slightly more
light-weight on GS-X. More "drive" and aggression (through mid-bass/low mids) on B22.

"Are You Metal?": Heavier, more assaulting bass guitar riffs in opening on B22 - deeper,
more oppressive.

"Who is Mr. Madman": Also heavier, deeper, more filling bass region on B22, which
makes it sound more aggressive & lower. No loss in speed vs GS-X. B22 has bass tilt
while GS-X has treble tilt. GS-X sounds "lean" in comparison.

8 of 15

[ HE-6 vs HD800 (B22) ]

- Sierra Hull - Daybreak - "Best Buy"

More treble quantity on HE-6 but not totally bright. Seems closer to Qualia level than any
other headphone. More depth to soundstage on HE-6 - Sierra's voice further away on
HE-6, closer on HD800. HE-6 also shows some slight "reverb" around her voice,
provides marginally more of the room acoustics. HE-6 has more clarity overall - cleaner
"picking" on the mandolin for example, more discrete - not that HD800 is fuzzy, but HE-6
is simply clearer. HE-6 might be more accurate at least for this track. HE-6 thinner
overall than HD800.

- Zero One - Ozone - "Nano"

Wider & deeper soundstage on HE-6 obvious on ambient electronica - more sense of
ambient space in between the layers. HE-6 also higher-tuned on the crystal-like bells in
the beginning, and more ringing/decay on them too. More sense of "suspension/float" on
HE-6, also more diffuse.

- Orbital - Middle of Nowhere - "Spare Parts Express"

Trebly effects substantially clearer and more discrete on HE-6, while HD800 "buries"
them more. Easier to hear subtle frequency sweeps & modulations on the various
opposing layers with HE-6. More diffusion makes it easier to hear everything. HE-6
better captures the "hanging on air" sense of the persistent rhythmic treble pulse (the
"neutrino"-like effect at the top).

- Trifonic - Emergence - "Lies"

HE-6 clearer than HD800, similar to above track. More separation/diffusion between
various layers too. Both headphones treble-tilted and the trebly effects are nicely
highlighted on both headphones; HE-6 simply has a greater degree of tilt. HD800 bass
has more "apparent" depth than HE-6 but they seem similar. HE-6 seems to have better
"grip" over the bass and pushes it low, HD800's bass semi-indistinct. Less bass quantity
overall than HD800 though. HE-6 has more of an "out & away" soundstage compared to
HD800, which is almost closed-in in comparison. HE-6's approach helps you track every
layer by ear easier. HD800 is almost like a lower-tuned version of HE-6 - more mids &
mid-bass in general. HE-6 almost "shears" treble compared to HD800, but not
completely (not as good as Qualia). HE-6 also has blacker background and provides
more sense that layers are emerging out from nothingness and sinking back into the
void - key for ambient electronica.

[ HE-6/B22 vs OII/BHSE ]
HE-6 treble similar to Qualia but with more bass, with merge of some OII qualities. Treble not as
razor-like as Qualia though (not as claw-raking or metallic), and not as much quantity as Qualia.
Also very diffuse, more than HD800 but less than Qualia.

9 of 15

- Julia Fischer - Bach Concertos - "Violin Concerto in E major - 2nd movement" (track #8)

HE-6 could sorta be called trebly version of OII, a lot of overall similarities but brighter.
HE-6 has slightly wider/deeper soundstage, OII more closed-in. OII comes across as
more realistic though, less "air" in the soundstage. Both headphones very clearsounding. OII has more sense of the orchestra "breathing". OII also radiates the violin
more, more pure-sounding. More natural-sounding too, HE-6 too trebly on violin.

Highly modulating volume level of violin only on OII - mostly subtle modulations, but very
accurate in conveying controlled volume gradations of a very skilled/talented player. OII
also has extremely high "presence" factor without soundstage or mid-range tricks "blushing" on every instrument (including solo violin) like heat radiating from a fire - sorta
like the HP2 mentioned before, but on a higher level. OII is like being right in front of the
fireplace - intimate, warm (as in being able to feel the heat of the fire), etc.

Thinner sound overall on HE-6, with more air in the stage and displacement vs OII, that
makes the orchestra sound more distant, plus smaller-scale - loss of chamber-like
acoustics on HE-6. HE-6 loses completely the tactile intimacy of OII and just makes the
orchestra sound like a group of musicians, whereas OII makes the orchestra sound like
a living organism - breathing, pulsating, etc. HE-6 also loses Fischer's intensity and
volume gradation - it just sounds like a violin playing, not a violin right next to you and
"singing" at you. Much easier to imagine being the violinist on OII - too distant on HE-6
and too thin, which makes it sound weak. HE-6 also loses the "slow intention" of the OII
which takes away from the dynamic "excitement" of the track.

Violins overall too bright & screechy on HE-6, not realistic. OII and HP1000 are realistic.

- Carlos Kleiber & VPO - Beethoven #5 & #7 - "III. Allegro", "IV. Allegro" (tracks #3, #4)

Soundstage positioning of instruments very weird on HE-6 - not real-sounding and

where the sections should be. Horns for example sound too far off to right, and strings
too far off to left. Diffusion overdone? Horns don't "radiate" outwards (towards listener
position) as they do on OII. Dynamic intensity of HE-6 lacking compared to OII - opening
of 4th movement not very intense/loud and powerful. OII is like tear-off-the-ceiling
intensely loud. Strings overall too trebly, not very realistic, improper balance.

- Dave Brubeck - Time Out [Legacy Edition] - "Blue Rondo a la Turk"

Completely unrealistic sounding piano on HE-6, almost no weight or heavy presence to

it. Almost plinky-sounding. The pounding "A" (A440) barely registers any sense of
"pounding" on HE-6. The jazz group sounds very thin & recessed, barely present in the
virtual room. The dynamic swells of the jazz group also barely present on HE-6. Alto sax
almost ghostly-sounding.

- Lee Morgan - Tom Cat [AudioWave XRCD] - "Twice Around"

Harder to differentiate trumpet & trombone on HE-6, but still relatively easy. More texture
on OII which makes it easier to identify them.

10 of 15

- Tord Gustavsen - Changing Places - "Graceful Touch"

HE-6's very diffuse sound spreads out the group too much, not realistic at all. False
sense of almost auditorium-like size of soundstage when it should be chamber-size.
Made worse by the sparse instrumentation too - way too much "air" between the few
instruments. Left-right span between drums and piano unnaturally wide. Like the LCD-2,
the HE-6 also misses the differing pressure-action on piano keys.

- Alison Krauss & Union Station - New Favorite - "Let Me Touch You For Awhile"

Can hear finger sliding over the opening steel guitar on HE-6. Alternating notes of
double-bass audible but pitch not completely distinct on HE-6 (like LCD-2). Also sounds
a bit "buried" in the mix. Decay & reverb of voices/guitars eclipsed by OII, small margin
only. AK's voice too highly tuned on HE-6, seems inaccurate. HE-6's treble good at
highlighting banjo, dobro, steel guitar, etc, in general - sorta similar to Qualia in this
aspect. Both headphones' high quantity of treble nicely accentuates steel/metallic
overtones.

- Sierra Hull - Daybreak - "Best Buy"

OII provides significantly more presence to Sierra's voice - almost disembodied on HE-6.
It's just a voice sound on HE-6 while OII makes it sound like there's an actual singer in
front of you. Other instruments also more vivid and tactile on OII, with string vibrations
and instrument resonance. OII also catches the "reverb" around her voice (mentioned
above), can actually hear more easily her sound waves reflecting off the walls with OII.
HE-6 thinner than OII as well (it was thinner than HD800, mentioned above). Bass
(instrument) has more depth & force on OII, reduced on HE-6. More pitch definition of
bass notes on OII also, notes a bit indistinct on HE-6. HE-6 does have abrasive treble
though, which is a good thing for type of music (bluegrass).

- Trifonic - Emergence - "Transgenic" / Global Communication - 76:14 - "9:39"

HE-6 very good for ambient electronica with its high amount of treble - clean, clear, just
enough "spark" to it, but without the ultra-clarity of Qualia. Backgrounds also properly
black, so layers fade in/out from nothingness well. Airy soundstage also provides high
sense of suspension/float.

- The Crystal Method - Vegas [DX] - "High Roller"

HE-6 bass nowhere near deep enough to properly convey this track - sounds like half of
the bass is completely missing.

- Massive Attack - Mezzanine - "Teardrop", "Inertia Creeps"

"Teardrop": HE-6 partially misses the bass heartbeat rhythm, so track lacks some
foundation. Not enough audible extension on the bass heartbeat pulse, let alone the 2nd
half of 3rd note (when it drops). No audible lack of extension with OII. Percussive strike
also snappier on OII. Kick drum also not very tactile-sounding.

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"Inertia Creeps": HE-6 misses the membrane decay on belly drums, which makes the
drums sound ploppy. Oppressiveness of track also reduced on HE-6, not very much
lower mids or mid-bass in general (where the oppression resides). Partial reduction of
low bass line takes away some of the "menacing" factor.

- Tool - Lateralus - "Parabola" / Porcupine Tree - In Absentia - "Gravity Eyelids" / In Flames The Jester Race - "Architects of the Black Rain" / Megadeth - Countdown To Extinction [MFSL]
- "Sweating Bullets" / Symphony X - Paradise Lost - "The Walls of Babylon" / Nightwish - Once "Wish I Had An Angel" / Emperor - Anthems to the Welkin at Dusk - "Ye Entrancemperium"

HE-6 not ideal for music types at all (metal & heavy/prog rock). Doesn't "growl" a mean
bass guitar in general and has laidback presentation. OII's more fill in lower mids and
less superfluous soundstage "air" makes it seem more personal & assertive while HE-6
is more distant & passive. OII can exude a lower, more powerful bass than HE-6. Drums
also have substantially more physical impact effect on OII. Bass guitar riffing on In
Flames track completely lacks a heavy, weighted sound to fill it out for oppressiveness.
Most of the track is treble-dominated without a fair sense of balance in mids/bass. HE-6
does "attack/shear" the treble in guitars but doesn't really balance against it very well in
the bass direction. HE-6 overall lacks bassy snarl & viciousness. HE-6 also loses its
clarity of lowest frequencies - bass tends to haze and go "out-of-focus" (possibly amp
dependent?). Leads to loss of distinction, very noticeable in metal music.

"Speed" riffing in Emperor track barely registers on HE-6, way too lost in mix. OII keeps
it audible. Guitars also lack body on HE-6, too much treble; better balance on OII.

[ HE-6/B22 vs HD800/B22 vs SR-507/BHSE ]

None of the 3 headphones ideal for electronica or metal due to general lack of heavy bass. All 3
are ambient-electronica and bluegrass headphones. Tonality also not right for either classical or
jazz.
- Trifonic - Emergence - "Lies"

HE-6 soundstage very open and airy - air between layers, very diffuse. Good depth &
width. Good sense of virtual "space". SR-507 soundstage lacking depth in comparison,
almost flat, but very wide, wider than HE-6 - almost extreme separation of channels. HE6 soundstage is more of a surrounding bubble, as is HD800. Clarity between HE-6 and
SR-507 about the same, and both relatively treble-tilted, with a high amount of treble.
SR-507 also seems to have faster impulse response. Both headphones have very good
suspension/float of the layers and high level of blackness to background (layers coming
in and back to nothingness). Bass in general more audible on HE-6. HD800 too has very
good clarity and properly diffuse for music type - just a bit less soundstage width and
depth that makes it seem slightly more closed-in than HE-6. Neither HE-6 or HD800
seem totally "clean/precise" on the treble though, SR-507 is the most clean/precise. HE6 and HD800 more similar to each other than either is to the SR-507. HE-6 has a greater
"purity of tone" than HD800 though. All 3 headphones sort of similar on this music
though with minor differences - all have diffuse signatures, with a relative treble tilt, with
very good overall clarity. SR-507 soundstage has the least depth and "open-air"
signature - almost no open-air in comparison to HE-6/HD800. Or in other words, layers

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not very distant on SR-507, everything is fairly close. Another way to put it, SR-507 has
the least extraneous soundstage tricks between the 3.

HE-6 creates the biggest "vast empty space" canvas - total feeling of huge amount of
literal space in which the layers come out of. However, layers also feel the most distant
(far away) on HE-6 and don't really fill up the empty-space void. HD800 also creates a
big "empty space" canvas that doesn't really feel "vast", a bit smaller than HE-6, but the
layers are closer and fill up the "empty-space void" almost completely so it's more of a
wall-of-sound than HE-6. SR-507 barely creates "empty space" and the layers feel like
they're pressed right up against the listener. SR-507 does have most precision but
possibly not really ideal for music type due to limited empty-space type soundstage.
Qualia was king here due to extremely-vast empty-space and total precision, with
supreme clarity.

- Alison Krauss & Union Station - New Favorite - "Let Me Touch You For Awhile", "Bright Sunny
South"

More treble quantity on SR-507 vs HD800 - more metallic tinting/sheening, and better
"picking" at the string-based actions (SR-507's precision comes into play here). HD800
has deeper bass though and follows the alternating double-bass notes more audibly sort of buried/missing on SR-507, especially the 2nd lower note. Bass quantity scale:
HD800 (most), SR-507, HE-6 (least). HD800 also renders "reverb" off the instruments
more, while the SR-507 has mostly no reverb at all. HE-6 renders reverb too, slightly
more than HD800. HE-6 also buries/misses the 2nd lower note of double-bass partially more audible than SR-507 though, less than HD800. Finger-sliding movement on
opening guitar gets buried on SR-507 and not very audible - but is easily heard on HE-6
and HD800.

HD800 has more mid mids than HE-6, while HE-6 has more upper mids. Specifically,
AK's voice (and backing vocals) sound "huskier" on HD800, but semi-shrill on HE-6.
HD800 also has more mid mids than SR-507. Mids scale from most to least: HD800,
SR-507, HE-6. HD800 has most presence on Sierra Hull's voice in "Best Buy" for
example.

"Bright Sunny South": HE-6 almost nasal on male vocals compared to HD800. HE-6 also
not as forward/brash on right-channel banjo. Band overall sounds too thin & far away on
HE-6, takes away from music enjoyment - bluegrass should sound up-close &
kinetic/energetic, but doesn't. HE-6 treble overall not as prominent as on HD800 - strings
don't "pop" or "zing" very much. HD800 doesn't pop/zing that much either, but moreso
than HE-6. Most accuracy probably from Qualia, which did. SR-507 delivers the most
"twang" on banjo & dobro and most direct/assertive sound - band closest-sounding on
SR-507. Not as much treble quantity, but very clean & precise regardless. No loss in
speed, obviously faster impulse response than HD800.

- Alison Krauss & Union Station - Lonely Runs Both Ways - "My Poor Old Heart", "This Sad
Song"

HE-6 doesn't actually "shear" treble of the banjo/dobro/fiddle, least treble quantity
between 3 headphones. HE-6 also has most laid-back, passive signature of the 3 HD800 more upfront and SR-507 moreso. HD800 has a better raking/clawing effect on

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the opening fiddle of "This Sad Song" (but not as good as Qualia). HD800 "attacks" the
treble on "This Sad Song" the most and "splits" the fiddle notes across strings the most
too (and has the most treble-shearing, which makes it the most similar to Qualia in that
aspect) but is not the most precise, HE-6 and SR-507 are more precise. Treble note:
SR-507 and HE-6 obviously treble-tilted only relatively, neither are actually completely
"bright". HD800 is the most "bright" of the 3 - squeaky, abrasive, etc. SR-507 has least
treble emphasis of 3. Treble scale from most to least: HD800, HE-6, SR-507. SR-507
has fastest, most precise treble though - picks out fast sequences of notes the most
effortlessly.
[ LCD-2/B22 (ADZ-5 cable) vs OII/BHSE ]
- Julia Fischer - Bach Concertos - "Violin Concerto in E major - 2nd movement" (track #8)

ADZ-5 cable and B22 do not provide enough difference to make the LCD-2 any better
than before on GS-X versus OII. Still lacks in almost every aspect that was cited as
inferior to OII.

- Carlos Kleiber & VPO - Beethoven #5 & #7 - "III. Allegro", "IV. Allegro" (tracks #3, #4)

Same as Julia Fischer track. Difference not large enough to make the LCD-2/B22 any
closer to achieving the level of OII - i.e., the outward-radiating horn, scale, dynamic
range, etc.

- Sierra Hull - Daybreak - "Best Buy"

LCD-2 by far has the most full, forward, & up-front signature of any other headphones
that were compared vs the OII. Sierra's voice very close & forward. Acoustic doublebass also has good weight & depth, almost like it's right in front of you. Nothing remotely
"disembodied" about LCD-2 - every instrument is closely positioned, and very tactile.
LCD-2 adds more "presence" factor to instruments & Sierra's voice vs OII, but not that
OII is lacking though.

- The Crystal Method - Vegas [Deluxe Edition] - "High Roller"

As opposed to HE-6, LCD-2 opens up the bass depth & force in comparison. Deep &
heavy, and pounding on the 3-step bass descent. The "growly" acid synth line has terrific
snarl.

- Massive Attack - Mezzanine - "Teardrop", "Inertia Creeps"

"Teardrop": OII clearer on bass heartbeat rhythm, but LCD-2 is ok, if substantially
heavier-sounding. LCD-2 seems like it loses control over the 3rd note of the heartbeat
rhythm and blurs it over when multiple other layers are playing. LCD-2 is "full" and "semiforward", almost thick on track overall.

"Inertia Creeps": LCD-2 gets most of the membrane decay on belly drums, but not as
much as OII. Harder impact overall into the belly drums than OII. LCD-2 appropriately
oppressive and menacing. Low bass line (bass phasing) audible on LCD-2 too.

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- Tool - Lateralus - "Parabola" / Porcupine Tree - In Absentia - "Gravity Eyelids" / In Flames The Jester Race - "Architects of the Black Rain" / Megadeth - Countdown To Extinction [MFSL]
- "Sweating Bullets" / Symphony X - Paradise Lost - "The Walls of Babylon" / Nightwish - Once "Wish I Had An Angel" / Emperor - Anthems to the Welkin at Dusk - "Ye Entrancemperium"

LCD-2 has strong overall bass/mids tilt that works nicely for music type. Along with
reduction in air and soundstage size with a more assertive sound, this may make it more
ideal for music type than OII - bands sound closer and more personal (but not as
forward, in-your-face, & assaulting as AD2K). LCD-2 enhances bass guitars - deeper,
fuller than OII, more of that "growl" or "snarl" aspect.

"Speed" riffing in Emperor track not very audible on LCD-2 either but for different reason
than HE-6 - relative loss in clarity makes it more difficult to pick out from mix by ear. OII's
greater clarity makes it easier to pick out from the lower mids.

[ LCD-2 w/ ADZ-5 cable vs JH13 (GS-X) ]

Gain/volume: Low to High gain, +1 step, for LCD-2 over JH13.
- Sierra Hull - Secrets - "The Hard Way"

LCD-2 and JH13 very similar, almost exact same frequency balance. LCD-2 with just a
bit more treble quantity, JH13 with more lower bass. Biggest difference - JH13 less
open, more closed-in, not as much air. Sierra's voice has more "reverb/reflection" around
it on LCD-2. Sierra's voice closer on LCD-2 though, more distant on JH13. So JH13
might have less "air" but projects layers out & away more. LCD-2 more diffuse instruments spread out from each other more. Volume modulations more obvious on
JH13.

- Zero One - Ozone - "Nano"

Bass line deeper and more forceful on JH13. Also easier to hear, as JH13 is clearer than
LCD-2. LCD-2 is a bit smudgy in comparison, noticeable on bass notes. JH13 definitely
has the wider soundstage - more left/right span than LCD-2 with the left/right layers.
JH13 could definitely benefit from more air for this type of music, but not bad regardless.

- The Prodigy - The Fat of the Land - "Funky Shit", "Mindfields"

JH13 has a more active, heavier, bigger, and more powerful low-bass. More low-bass
presence overall than LCD-2 (<50Hz). It also has a more focused & tight sound, with
some of the insistent/forward-moving quality of AD2K. LCD-2 not focused. JH13's
substantially heavier & lower bass (like the double-pounding floor-rolling pass on "Funky
Shit") on GS-X probably due in part to being a far easier load.

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