THE HEADAMP GILMORE LITE MK2: A VENERABLE CLASSIC RETURNS!
http://headphone.guru/?bsa_pro_id=9&bsa_pro_url=1



I’ve been a huge fan of HeadAmp’s products. Simply put, they make some of the best headphone amplifiers around. I find their products to be incredibly transparent and revealing through their upmost attention to maintaining a high degree of transparency. I’ve owned many of their products through the years, from the (now discontinued) GS-1, Pico, GS-X and their current flagship dynamic headphone amplifier the GS-X Mk2 ($2999 – $3199) has sat in my audio system for several years now. Throw in their world famous Blue Hawaii Special Edition electrostatic headphone amplifier ($6799USD), HeadAmp truly has some of the very best options for powering your favourite headphones. For those of you on a budget and don’t want to spend several thousands of dollars, the newly updated Gilmore Lite Mk2 is just what you’ve been looking for! Based on many similar design elements that Dr. Kevin Gilmore has used previously in the GS-1 and GS-X MK2, the Gilmore Lite Mk2 brings you a much more affordable, but still incredibly powerful and transparent product to drive pretty much anything you can throw at it!



A lot of attention to detail went into this iteration of the Gilmore Lite, everything from the silky smooth volume control to the beautiful gold lettering on the black background really looks great! The transparency that you’d expect from a Kevin Gilmore design is all there, and with the Mk2 version you get an impressive 1.5 W of power to drive almost anything you can throw at it. If you’re looking at driving power hungry orthodynamic headphones like the Audeze LCD-4, JPS Labs Abyss-Phi or Hifiman Susvara, I would suggest you seriously consider looking at HeadAmp’s balanced GS-X Mk2. With more than 5W on tap, you should literally have all of your bases covered. Otherwise, the Gilmore Lite Mk2 could drive every other headphone that I threw at it without breaking a sweat. The small size will fit into even the smallest of spaces; so if your desktop real estate is limited, you shouldn’t have any issues with the Gilmore Lite Mk2.

The full specifications for the Gilmore Lite Mk2 are:

Electrical

Type Low noise JFET input; Pure Class A bipolar transistor output
Frequency Response 10Hz-90KHz +/-0.2dB
THD+N <0.006%
Total Drive Power Max 1.5W
Gain 7.5X (16.5dB)
Input Impedance 50K ohm
Output Impedance <1 ohm
Line Voltage 100V, 115/120V, 230/240V
Power Consumption 10W


Mechanical

Volume Control Alps Blue Potentiometer
Inputs 2 sets RCA jacks
Outputs 1 6.5mm headphone jack, 1 set RCA active-preamplifier jacks
Dimensions – Amplifier 5.75in [146mm] W x 6.75in [171mm] D x 2in [51mm] H
Shipping Weight 4lb [1.8Kg]
My prime sources to feed the Gilmore Lite Mk2 were the Chord Hugo 2 (via RCA) and Chord DAVE (also via RCA). I threw all of the headphones and in-ear monitors I had on hand, but quickly settled on a few that particularly mated well with this amplifier: the Sennheiser HD800S, Hifiman HE1000 V2 full sized open-backed headphones and Audeze LCDi4 in-ear headphone.



After approximately 75 hours of burn-in with various sources and headphones, I settled on the Sennheiser HD800S headphones and the Chord Electronics DAVE. My source was my 2016 iMac and Audirvana. “Pictures at an Exhibition” by Modest Mussorgsky has been a classical music favourite of mine since I was introduced to it in high school by an overly zealous music teacher looking to expand our musical horizons. This particular DSD version by Pierre Hétu and The Orchestre Mondial des Jeunesses Musicales is a fantastic rendering of this epic work. Now I am very familiar with this work and the HD800S + Chord DAVE / GS-X Mk2 combination, but I was very curious to see how the Gilmore Lite Mk2 would fare in comparison. Costing 6 times more, the GS-X Mk2 is one of the very the best solid state amplifiers that I’ve heard and is my gold standard for testing both headphones and upstream gear due to its extreme level of transparency. Well, I am extremely happy to report that the Gilmore Lite Mk2 continues in the same tradition! The level of clarity really struck me right from the offset. Sound staging and detail retrieval were simply magnificent. Sure, the GS-X Mk2 is able to extract just about everything thing there is on this recording, the Gilmore Lite Mk2 offers a very similar approach. I’ve used the phrase “wire with gain” when it comes to Gilmore designed amplifiers and this new small wonder continues in that tradition. The bass notes hit and then decay with near perfect timing; never lingering more than called for. If you’re looking for a warmer sounding amplifier with a romantic bloom, I’d suggest you look elsewhere and possible a tube based setup. However, if fidelity is what you’re after and you’re on a budget, I can’t think of a better solution.



Along with the excellent detail retrieval of the string instruments and outstanding tonality, the Gilmore Lite Mk2 offers an almost holographic experience when it comes to sound staging. This little amplifier sounds B-I-G and deep. I was floored on the level of performance from this amplifier and throw in the very affordable price point, the value proposition was simply a no-brainer for me. I never once felt that the Sennheiser HD800S headphones were held back with this amplifier. If you really want to hear what these headphones are about, the Gilmore Lite Mk2 will let you hear just that. It won’t introduce its own colouration or character into the mix, but instead let you open a window into your music!

“Quiet Nights” is one of my favourite albums by Diana Krall. This recording offers Diana’s unique take on many bossa nova classics from years gone by and really stands out for me for its great music and sound quality. As soon as I plugged in my LCDi4 in-ear headphones by Audeze, again I was almost immediately welcomed with the holographic sound staging that the Gilmore Lite Mk2 portrayed. These have to be the biggest sounding in-ear headphones I’ve heard and as soon as I plugged them into this amplifier, they really hit their stride. When listening to Diana’s rendition of “The Boy from Ipanena” it transported me to the recording studio and the instrumental separation and imaging really took these world class in-ear headphones to another level! In fact, I was so impressed with this level of transparency that I was very much reminded of the Gilmore Lite’s bigger (and significantly more expensive) brother, the GS-X Mk2. While there is an almost 6X price difference between these two impressive amplifiers, the performance differences were certainly not as vast. But if you’re looking for the last word on amplification, the GS-X Mk2 is definitely one of the very best out there, but for a fraction of that cost, you can get yourself a truly world class experience with these IEMs! Diana’s vocals were upfront and incredibly clear. The smallest nuances and vibrato within her singing were all laid bare with this magnificent combination! The Gilmore Lite Mk2 is one nimble amplifier that was able to mine the recording for even the smallest details and bests many amplifiers I’ve experienced costing over $1000. It is simply that good! I never once felt that I wasn’t getting all that I could from the LCDi4 with this amplifier.



Finally, I wanted to throw a pair of orthodynamic headphones at the Gilmore Lite Mk2. I find orthodynamic headphones benefit quite a bit from a good amount of power behind them in order to fully hit their stride. The Audeze LCD-4 and Abyss Phi headphones seemed a bit too demanding for the 1.5W of the Gilmore Lite Mk2, but the more efficient Hifiman HE1000 V2 headphones seemed to fit the bill almost perfectly! Arcade Fire’s Grammy award winning album “The Suburbs” was my selection with these headphones. With a lot of different instrumentation (from drums, to guitars and fiddles), Arcade Fire’s music really has a lot going on and without a proper setup, this recording can come off as a bit smeared together. My source was the Chord Hugo 2 using RCA outputs to feed the Gilmore Lite Mk2 amplifier. Well, the words “crystal clear” popped into my head right from the title track: “The Suburbs”. Everything from the tonality of the piano to the vocals and percussion were perfectly rendered with the upmost in transparency. For more complex works like “Empty Room”, this combination hit all the right notes and I felt that the Gilmore Lite Mk2 was certainly able to keep up with this very demanding and revealing $4000 pair of headphones; certainly high praise for a $499 amplifier! The dead flat frequency response of the GS-X Mk2 was all there; as was a holographic soundstage. Now if you’re looking for the absolute best in these characteristics, then the GS-X Mk2 would be at the top of my list to procure. But if you’re on a tighter budget and want to hear what your headphones are truly all about, you need to try the Gilmore Lite Mk2!



I loved my time with this incredibly transparent and neutral amplifier. Those looking for a tube-like sound with warm over-tones, should look elsewhere. But if you’re in the market for a revealing amplifier that will just “add gain” to your source and drive pretty much any in-ear monitor or full sized headphones (except for maybe the most power hungry like the Hifiman Susvara or the other 2 mentioned in this review), I wholeheartedly recommend you check out HeadAmp’s return of a classic – The Gilmore Lite Mk2! You will not be disappointed as the price-to-performance ratio is among the very best I’ve come across. While small, this unit sounds quite big and offers incredible detail retrieval, imaging and overall clarity. It is like a microscope into your favourite recordings and will have you re-listening to some of your standards just to hear what you’ve previously missed. I am really glad that HeadAmp has brought back this venerable classic; it’s definitely one of my favourite amplifiers in the sub $1000 market space!

Having finding myself in need of a lower cost portable digital-to-analog player, I began my search for a reasonable solution. If you've been around Head-Fi, you are most certainly going to stumble upon FiiO's recent upgrade to their venerable X5 DAP, the X5 Mark III. Priced at only $399, don't let the incredibly reasonable price tag through you off; you are getting some serious technology and audiophile level sound quality in this little wonder.



At the heart of the FiiO X5 Mark III are dual AKM AK4490EN DACs using their "Velvet Sound" low distortion architecture with digital filtering and 32 bit processing. Quite impressive technology as I've been a big fan of AKM DACs and really loved their implementation in the full sized $2500 desktop Bryston BDA-2 digital to analog converter. So I was happy to see that FiiO selected AKM to make up the guts of their famous player.

Also included is a very much welcomed dual micro-SD support. This allows you to insert up to 2 micro-SD cards into the FiiO X5 MkIII and really load up all of your favourite albums (regardless of file sizes). You can add a whopping 512 Gb of additional storage room on this player; this was even more than many uber-expensive DAPs costing $2000 or more. Also included is the ability to drive your in-ear monitors or headphones in balanced mode through the 2.5mm headphone jack. Again, I was thoroughly impressed with the options available here that are typically reserved for digital-to-analog players costing several thousands of dollars!

The full list of specifications are:


Build quality is excellent and unlike my previous player; the FiiO X5 MkIII comes in at a very light 187 grams. So it's very portable and easy to carry with you while you travel. Also included is a very handsome leather case that will protect the player and enhance its visual appeal at the same time! Another big feature to note is that this player supports Tidal Lossless Streaming. Just download the App from the FiiO Store and log into Tidal and you're off to the races. Again, for a player costing only $399 US, I am thoroughly impressed with what the folks at FiiO have been able to stuff into this small wonder and keep their price very competitive!

For this review, I used both in-ear monitors and full sized headphones that I had on hand that I typically use for portable use. I played lossless music from Tidal, to some of my favourite DSD test tracks. And with everything, the X5 MkIII really outperformed my initial expectations.

I absolutely love my custom Empire Ears Zeus ADEL XR in-ear monitors. These in-ear monitors allow the user to switch between the -R or warmer XIV versions. I find these IEMs about as transparent as I've ever come across and often use them in reviews for portable equipment. Now some might think pairing a pair of $2700+ in-ear monitors with a $399 DAP might really hold them back, but based on what I heard when playing my DSD recording of "Jazz at the Pawnshop" was as exciting and fulfilling as it ever was with these top notch in-ear monitors. I found the sound staging, detail retrieval and overall sonic enjoyment to be right there with many DAPs I've heard/owned costing north of $2000! Now how's that for value! The noise floor was incredibly low and the transparency incredibly high. You can have your cake and eat it too! Everything from the small nuances of the background chatter to the decay on the cymbals were perfectly laid bare with this combination.



Next up, I decided to use my full sized AKG flagship headphones, the K812. I absolutely love these headphones and was curious how the FiiO X5 MkIII drove full sized headphones. For this test, I decided to go on to WiFi and use the downloaded Tidal App from the FiiO Store. I noticed that the classic 80's Bryan Adam's album "Reckless" had recently been updated with a new anniversary remaster. Going from the incredibly efficient Empire Ears Zeus ADEL IEMs to the AKG K812s did require me to certainly crack up the volume setting on the FiiO X5 MkIII player, but I have to say that this player was able to drive both very well and without the need of me having to put my Chord Hugo 2 in between the X5 MkIII and my K812s. The overall sound was full and energetic and the ability of the X5 MkIII to control the drivers on the K812 headphones was readily apparent! This combination took me back to high school when this amazing album was first released and for a quick on the go setup, the FiiO X5 MkIII certainly fit the bill!



I did also include my recently acquired Chord Hugo 2 in between the FiiO X5 MkIII DAP and my headphones/IEMs and for the most part things went off without a hitch. However, when I tried to play high resolution music (anything north of 96kHz) the player would not output sound. I've read that the engineers at FiiO are looking into remedying this in a future firmware upgrade and I certainly hope that they do as this one issue I felt held the player from hitting every nail on the head. Fingers crossed this is released soon. That said, the GUI (graphical user interface) is quite easy to navigate and figure out...even for me, a sworn Apple user!



Overall I was thoroughly impressed with the Fiio X5 MkIII DAP! The value proposition is simply off the charts. If you consider the outstanding build quality, dual AKM DAC chips, balanced operation, Tidal Support, dual micro-SD card inputs and incredibly impressive sound quality, this product is a no brainer to recommend! This player has certainly passed the "put your money where your mouth is" test as I will most definitely be purchasing the review unit. I strongly suggest you check this player out...you won't be disappointed!

I've been a fan of NuForce's products for quite some time and have reviewed many through the past few years. All punched well above their price points respectively and offered outstanding value.


Well, the good folks from both NuForce and Massdrop have got together and released a new in-ear monitor: the Massdrop x Nuforce EDC. As soon as it arrived, I was very much impressed with the packaging and provided accessories. This very much resembled IEMs costing $400+. Everything you will need to get a great fit and use with a portable amplifier or your smart phone.

Included Accessories:

• 2 cables (one braided, one with remote/mic)
• 3 sets of silicone ear tips (S, M, L)
• 2 sets of foam ear tips (M, L)
• Zippered carrying case

The build quality is truly exceptional and very much reminds me of the much more expensive NuForce flagship IEMs: the HEM8. And all for a low, low $60!

Sound quality is very good overall. I would classify these IEMs as a more "fun" listening experience with outstanding bass quantity and quality, very liquid and smooth mids and nicely portrayed treble. I had to continually remind myself that these IEMs were only sixty dollars as I often found myself completely floored by what I was hearing.


KD Lang's "Ingenue" is a legendary album and the recent 25 year remaster is a worthy update to a classic! Listening to it in Apple Lossless through my iPhone 7 and the EDC IEMs was a pure joy. I never once had the feeling that I was listening to an "affordable" pair of IEMs, but rather audiophile quality earphones that typically cost 3-5X more! The value proposition is truly astounding. KD's vocals came through loud and clear and the EDCs captured the smallest nuances of her brilliant voice. The bass was certainly enough to satisfy even the pickiest of bassheads. While powerful and energetic, I did not find that there was much bleed into the mids of the lowest octaves and overall this allowed for a very pleasurable experience. The treble was equally satisfying. While it was slightly pushed back, the detail of the shimmer on the cymbals was still very much apparent and didn't leave me wanting for more.


The soundstaging was equally quite good and satisfying. You won't feel closed into a small space with these IEMs. Instead, they offer a believable soundscape that will leave with you a very coherent mental image of what you're listening to!


Overall, I was thoroughly impressed with the EDCs by Massdrop x NuForce. For only $59 US, you get a brilliantly construction pair of in-ear monitors that offer all the fixings (and accessories) that you'll need. Sound quality is indeed very good and easy to use for extended periods of time. If you're just starting out in this hobby and are looking for an upgrade to your Apple Earbuds or are a seasoned veteran who has an eye out for value, I strongly consider you check these IEMs out...you will not be disappointed!

With the very recent announcement of the headphone jack-less iPhone 7, many folks will be scrambling to find portable headphone or in-ear monitor solutions that won’t require the traditional headphone TRS plug. No wonder the sales of Bluetooth headphones has been steadily increasing over the past few years and it appears that the designers at NuForce have just released a product that has stepped up to fit the bill perfectly. The new NuForce BE6i in-ear monitors are my wireless IEMs. Yes, I’ve used Bluetooth headphones like the Bose QC35i or PuroSound Labs BT5200 (reviewed here: http://headphone.guru/puro-sound-labs-bt5200-bluetooth-headphones-incredible-audio-bang-for-your-buck/), but in-ear monitors are totally new for me. I suppose their extremely small form factor has made shrinking the amplifier/DSP to a point where they would work for a pair of in-ear monitors has been a challenge. With full sized headphones, designers took advantage of the larger earcups to place this technology; but no such advantages existed with IEMs. That’s certainly not the case anymore as the engineers at NuForce have been able to reduce the size of the IEM amplifier/DSP to a point where it not only works for IEMs, but is so small that it really is quite impressive and never becomes cumbersome as the small addition to the cable for the electronics really stays out of your way and works brilliantly.  Previously reviewed NuForce’s impresseive NE800M in-ear monitors (http://headphone.guru/the-nuforce-ne800m-in-ear-monitors-the-tradition-continues/) and was quite impressed with their build quality, noise isolation and overall sonic capabilities. Thankfully the BE6i IEMs continue in that tradition without having to be physically tied down to your player. Throw in a more neutral presentation and I was hooked.

Upon opening the box, I could tell that a lot of thought went around not just the in-ear monitors and supplied case, but the packaging as well. For $129.99 US, the value proposition of the BE6i’s is quite impressive. Outstanding crafted aluminum casing for the IEM shells is not only very handsome, but offers a good amount of robustness with regards to the wear and tear that portable headphones and IEMs often go through. The headphone cable that links the left to the right monitor is very well constructed and thick enough to withstand your daily grind no matter what you throw at it (save for a pair of scissors that is). NuForce also mentions that these IEMs are IPX5 certified for greater protection from moisture. Be it rain or sweat, you won’t have to worry about the BE6i’s as they can keep up with your very active lifestyle. The carrying case as well is small and protective. I’m a big fan of this case (that is also included with their flagship HEM8 quad-balanced driver in-ear monitors). Overall I was quite happy with the entire package and was happy to see all of the thought and care that went into developing this product.
The full specifications for the BE6is are:
 
I primarily put the BE6i IEMs through their paces while I was on-the-go and away from home. I literally wore them everywhere. From my workplace, to grocery shopping and while I took some long walks around the neighbourhood. My main source was my iPhone 6 as it’s pretty much with me at all times. Setups of the wireless BE6i IEMs and my iDevices all went smoothly and only took a minute or so.

The Tragically Hip is one of the truly quintessential Canadian rock bands. Unlike Rush, they’re international success has been limited, but here in The Great White North, they have provided us with a brilliant soundtrack to our nation for the past 20+ years. Being a bit nostalgic due to the recent brain cancer diagnosis of lead singer Gord Downie, I’ve been re-discovering some of the band’s greatest albums and tracks. If I could recommend just one album to recommend from this classic rock band, it would be Fully Completely. This album was released at the band’s zenith back in 1993; I was in my third year of Engineering and when this thing dropped, it blew my mind! The BE6i paired brilliantly with this album. These IEMs where able to convey this album’s raw energy fully and completely. Listening to “Wheat Kings” the initial loon call and background sounds of nature were eerily portrayed and regardless of being IEMs, the sound staging that they were able to portray was quite impressive and competed with IEMs costing 2-3 times more. Gord’s vocals were upfront, clear and filled with energy.
His ability to belt out energetic vocals as in “Fifty Mission Cap” was so very satisfying. The tragic story of Bill Barilko’s untimely death at 24 after scoring the game winner to win the Toronto Maple Leafs the Stanley Cup in the 1951 Cup Finals was all laid bare with these lyrics. And the BE6i certainly did this song’s vocals wonderful justice. See what I mean about The Hip being a truly Canadian band? The bass performance of these IEMs is definitely a strong suit. While a bit north of neutral, the bass is very enjoyable and never overblown. Instead it goes down deep and sounds very controlled and textured. The treble as well seemed a bit more energetic that neutral and yielded a very fun listen. I never thought it came off as bright or strident. Overall, I was very impressed with how these IEMs handled this classic rock album and considering their very affordable price point, the value proposition of these IEMs is quite impressive!

In order to test a headphone’s or IEM’s ability to portray an accurate and real sound stage, I often turn to Jazz at the Pawnshop recorded way back in 1976. While I was only starting kindergarten when this album was released, the sound quality is still legendary and this album is still immensely popular for both audiophiles and jazz fans alike! Well, the value proposition of the BE6i’s certainly shown through. All too often with affordably priced in-ear monitors, the imaging sounds closed-in and more “inside your head”. The BE6i IEMs conveyed a more open and natural sound scape that portrayed the players and audience members as more around me than in my head. This type of sound staging is possible with IEMs, but they typically cost over $300. The minute details of the recording were very well preserved and the overall enjoyment factor was quite high.

Overall, these IEMs have hit all the right notes. They offer a very strong performing wireless experience without dropouts, or difficulty of setting up. They are comfortable and can be used for hours without a hint of fatigue. They offer outstanding noise isolation and are built like little tanks and sound really, really good! And best yet, the come in at only $129.99. If you’re picked up a new iPhone 7 (or are on the waiting list for one like I am), then I strongly suggest you check these in-ear monitors out…you won’t be disappointed! Very highly recommended!

I’ve been a big fan of NuForce and its products for many years. I’ve owned several of their headphones, IEMs (in-ear monitors) and their well renowned u-Dac 3 portable headphone amplifier and DAC. So I was a bit dismayed when I learned that Optoma had purchased NuForce as I wasn’t sure what direction the new ownership would take this well respected audio company. Thankfully, NuForce is back and with a bang! It is releasing some great new products for the portable audio enthusiast.

I was recently contacted by NuForce to try out their new NE800M IEMs and I leapt at the opportunity to give them a try. I’ve always felt that NuForce’s products have offered outstanding value and often punched well above their price points to compete with much more expensive options. I was curious to see if the NE800Ms would continue in that tradition.

The IEMs arrived quickly and upon first inspection, their build quality reminded me of IEMs in the $300+ price range. The shells are manufactured with carbon-fiber (one of the highest strength to weight ratios of any known material and something usually used for considerably more expensive audio products) and the sound nozzle is machined from solid brass. The inherent damping properties of carbon fiber help to provide one of the most acoustically inert materials known. As a result, the NE800Ms are free from micro-dynamic vibrations that can increase sound distortions.

An added benefit of using carbon fiber is that the NE800Ms can last you a very long time and withstand even the most taxing daily use you can throw at them, while still remaining very light and comfortable. NuForce selected solid brass for the nozzle as it is often used for its balanced acoustical transmission and damping properties. I’ve played trumpet (also a solid brass instrument) for over 35 years and can definitely attest to this. Brass is also very difficult to corrode and should last you many years with absolutely no issues.

The NE800Ms utilize a single large 8.6mm titanium-coated diaphragm, a N45 neodymium magnet and an innovative lightweight copper-clad aluminum voice coil. This design; along with the acoustic enclose of the carbon-fiber body and solid brass nozzles, yields extremely low distortion product with a powerful sound and an extended frequency range. Throw in the handsome black/gold package they come in; their extreme light weight and comfort, my hopes were quite high for these new earphones!

For this review, I used several different sources to put the NE800Ms through their paces so to speak. I used everything I had on hand; from my pedestrian iPhone 6 to my high end Astell & Kern AK240SS DAP and finally to the ultra-high end Chord Hugo TT desktop amplifier/DAC.

​

Right off the bat, I went with my iPhone 6. This is usually my first source when trying out portable earphones or headphones as I am of the opinion that portable listening devices need to sound close to their very best with a minimal setup to be truly useful as portable components. I was lucky with the fit as the pre-installed Comply foam eartips worked just perfectly with my ears and the comfort was very good, just as they were as advertised: light as a feather.

The noise isolation was above average. I would say that the much more expensive Shure SE535s ($499US) were one of the very best pair of IEMs I’ve used in terms of noise isolation, but the NE800Ms weren’t too far behind with the Comply eartips. I quickly selected a favourite recording of mine: Andrea Bocelli’s “Passione”.

As I’ve come to expect from NuForce, the sound quality was again excellent and competed with IEMs that I’ve heard costing 2-3x as much. Andrea’s voice was forceful and upfront. The male vocals as portrayed through the NE800Ms were simply magical. The passion of Andrea’s voice flowed through the NE800Ms and really impressed me.

The bass performance was definitely both powerful and visceral. I might classify the bass as a bit on the more “fun” side of things when compared to what I would deem as strictly neutral, but it was indeed very satisfying. It certainly wasn’t bloated, nor bled into the mid-frequencies like some IEMs can that are made for the “average consumer” in mind, but if you like some thunder down low with your music, the NE800Ms certainly will keep you happy.

The sound staging of the NE800Ms again, punched well above their weight class. I was expecting a more “closed-in” experience, but after about 75 hours of burn-in, they really opened up and sounded incredibly spacious; so much so, that I was shocked that they were only retailing for $149 on Amazon. This type of performance is usually reserved for the $300 and up crowd.

The treble was very nicely portrayed. Cymbals and flutes were never strident or etched and the overall presentation was incredibly musical. One small critique is that I would have liked a little bit more presence in this frequency range. I certainly am glad I’m not hearing any treble that comes off as grating, but a little more energy would help in the portrayal of both detail and continue to improve the sound staging even further in my opinion.

The overall enjoyment factor with “Passione” was truly outstanding. In fact, the NE800Ms have become my prime defacto pair of IEMs that I keep at my desk at work. They isolate out the daily grind of the workplace and sound just great straight out of my iPhone.

Next up I selected a DSD recording of “The Cole Porter Mix” by Patricia Barber and played it through my Astell & Kern AK240SS portable DAP. As soon as I plugged in the NE800Ms, I knew that I was no longer listening to 320kps music on my iPhone!  As enjoying as the NE800M IEMs were through my iPhone 6, they just really seemed to open up when using my AK240SS DAP and DSD quality music.

It seems like you can have your cake and eat it too with the NE800Ms. You get a pair of great sounding IEMs that sound incredibly well out of your smart phone, but will scale up as the upstream gear and music quality improves! The imaging was that much more holographic, the bass quality improved by a few notches and the detail retrieval hit on all cylinders. Again, I found myself surprised just how good these lower priced IEMs sounded. Some of the issues I had with the subdued treble presentation from my iPhone 6 were definitely allayed when switched over to this setup.

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Finally I moved over to the Chord Electronics Hugo TT desktop amplifier/DAC. My source music came from my iMac via USB and included 192kps PCM files, DSD audio and lossless music played over Tidal. Again, the NE800Ms continued to impress. I hate to bring up their price point, but the quality of construction and sound never ceased to impress me. I would definitely classify them as slightly bass tilted and treble subdued (with outstanding mid frequencies), but as soon as Metallica’s “Enter Sandman” kicked in, I really appreciated that extra “thump” down low. It was deep and visceral bass with incredible texture and detail. When I listened to “2112” by Rush, I completely was sucked into the recording and really enjoyed the presentation that the NE800Ms put forth!

So while the NE800Ms do improve with upstream gear and music, I didn’t feel that I was giving up too much when using MP3s played through my smart phone. They seem to work with all sources I used them with. Coming in at only 16 ohms impedance and 120S.P.L. any player you have can make them sound quite good and quite loud! But surprisingly, they have the ability to capture improvements in recordings, amplification and the sources you through at them — very transparent!

If you are in the market for a great pair of IEMs and don’t want to have to spend a fortune on them, I strongly recommend you give the NE800Ms a try. They definitely punch well above their $149 price point and compete with products costing 2X or more. While not “strictly neutral” sounding IEMs, they can still satisfy with a wide variety of musical genres. And if you’re into strong and visceral bass and don’t want to have to drop an arm and a leg, I strongly recommend you give them some serious consideration. I’m glad to see that Optoma’s purchase of NuForce has not changed the great products that have been previously released by NuForce. Highly recommended!

A few years back, my family and I underwent a rather large home renovation (including not having a kitchen for 10 weeks; suffice it to say I was sick of take-out food after the summer of 2014). As a result of this renovation, I was forced to box up my main headphone setups (both dynamic and electrostatic) and put them away. What I was left with, was just my portable rig; which in all honesty was neglected for a number of years. So I needed a portable solution to tide me over the summer. That set me off on a journey to find a great pair of closed-back headphones that sounded great and didn’t require a large expensive front-end to reach their potential. You can find several of the headphones that I purchased and tried here on my Head-Fi.org thread:
 
http://www.head-fi.org/t/672743/comparisons-25-of-the-top-closed-portable-headphones-around
 
This thread is definitely a work in progress and has set me on a journey that has really opened my perspective that one can still achieve wonderful audiophile quality sound without spending thousands of dollars on top-of-the-line headphones, headphone amplifiers, and upstream DACs/sources.
 
Two of the most recent headphones that I got to try were the next generation Sennheiser Momentum Version 2 over-ear and on-ear headphones. I was a big fan of the originals, but I felt that there were some issues (especially on the over-ear models) that held them back from true greatness. Sennheiser was gracious enough to send me both pair to try out and review. The Momentum V2 on-ear and over-ear headphones are part of Sennheiser’s new line of closed-back headphones for those “on the go”. Along with the Urbanites, Sennheiser has made a big jump into the portable headphone marketspace with some truly outstanding products. Both Momentum V2 headphones come in several different flavours: standard wired headphones (like the ones used for this review) and wireless headphones (that also include noise cancellation).
 
Sennheiser is one of the most well-known and respected headphone manufacturers around. They have been around since 1945 and have built some of the most respected and cherished headphones through the years. Their current flagship HD800s are still among the very best headphones I’ve heard. I’ve owned my pair for more than 5 years now and they still hold a very special place in my heart. The Momentum V2’s were released early this year and the over-ear versions have rocketed to the top of my Head-Fi listing. As mentioned, this review will be for both the wired on-ear and over-ear versions and as I consider them “portable headphones for on-the-go”. My sources were exclusively portable. From my iPhone 6 to my iPad Air and finally to my Astell and Kern AK100II, I made sure that my listening sessions ran these two headphones through their paces without a substantial investment in an upstream setup. I am of the opinion that headphones in this space need to sound at their best (or very close to) with simply portable options upstream. The over-ear versions are rated at a very efficient 113 dB/1Vrms and the on-ear versions at 112 dB/1Vrms; both are incredibly efficient and match many inner-ear monitors in efficiency (IEMs) when I come to think of it.
 
Both headphones are very handsomely built and the quality of the workmanship is readily apparent as soon as you take them out of the box. Add in the extremely light weight and
incredible comfort, and its win-win. Both the on-ear and over-ear headphones are extremely comfortable and light on my noggin’ and can be used for hours on end without any issues whatsoever. The on-ears were particularly surprising as making an on-ear headphone comfortable is a real task. And along with the beyerdynamic T51p, the on-ear version of the Momentum V2s are the most comfortable on-ear headphones I’ve had on my head.
 
Sennheiser Momentum Version 2 – Over-Ear Wired Headphones:
 
There certainly was some deja-vu with the Momentum Version 2 over-ear headphones. They look quite similar to their predecessors, but with some really notable improvements. Right off the bat, you see that they finally are truly “over-ear” headphones! The previous versions were closer to “over-sized on-ear headphones”. Thankfully Sennheiser has listened to the issues their customers had with the original Momentum ear-pads and came through in spades with this new version. The new ear-pads are made with memory foam that completely conformed to my ears and offered a true “over-ear” experience with an effective seal to keep out unwanted ambient noise. As well, due to the new ear-pads, the drivers were moved further from my ears and in turn opened up the sound staging to a level that really impressed me. The original over-ears performed adequately when compared to the other 24 headphones on my comparative list. However, the new design has really kicked things up a few notches in this regard. Listening to Jazz at the Pawnshop with these headphones and my AK100II just left me smiling every time. The other added bonus of the new ear-pads is that the isolation has also drastically improved. I can now easily say that only my Bose QC25i headphones with active NC circuitry engaged offers better isolation (but not by much). Talk about win-win!

​

Next up on the list of improvements, these new headphones have hinges that finally allows them to fold up. This is a very welcomed feature for portable headphones! The on-ear Momentum V2s take up quite a bit less space than before as they can be folded. With the previous version, I had a hard time fitting them into the pouch in front of me on an airplane. No longer do I have to stuff these into my carry on and have to limit what else I can pack with me on a flight. The overall construction is very reminiscent of the original Momentums with some nice improvements to the ear-pads and leather on the headband. The only downside I can critique these headphones is that the in-line control on the headphone cable doesn’t have the same quality/finish that it previously did. It’s more in line with the previous on-ear Momentums. Not a biggie for me; just thought I’d note that.
 
Now on to the sound (beyond the sound staging improvements)…
 
According to Sennheiser the drivers were not changed, but Sennheiser did tune them with new damping to better take advantage of the improved ear-pad design/seal. They sound very much in line with their previous iteration with some very welcomed improvements to my ears. The bass sounds tighter and better controlled; not night and day, but still discernable and worthwhile. With Tool’s “Lateralus”, the bass notes hit just as hard, but offer more details with greater tactility. The bass bloom doesn’t linger as long as with the original version and gives the impression of faster sounding headphones with incredibly taught bass for this category of headphones. With the previous version I felt that the wonderfully rich and powerful bass impinged a bit too much on the mid-frequencies. The mids thankfully have been unchanged as I was thoroughly satisfied with the original version! The other major improvement with the 2015 version comes in the treble region. At times, I found it too subdued and too “pushed back” with the previous Momentums. But yet again, it appears that Sennheiser has also improved upon this area. No longer is Chris Botti playing behind the drummer on his album “Impressions”…he is now front and center. The high notes on his trumpet and clean and clear and in proper proportion to the rest of the music. As well, this improved treble response I think contributes to the improved sound staging and imagine of these headphones.
 
 
Sennheiser Momentum Version 2 – On-Ear Wired Headphones:
 
While the Over-Ear Momentum version 2 headphones are what I would classify as a “revolution” in terms of improvements, the on-ears are more of an “evolution” to their predecessors. Their construction is very similar to the originals, but as with their over-ear brethren, the headphones now thankfully fold inwards. This again serves to reduce the size of the headphones and their corresponding case to make them even more portable. As well, the ear-cups have been slightly changed to include a gold ring around the white ear-cups (I have the ivory ones on hand) and they just look that much more classy. The ear-pads are relatively the same, but tuning wise, I found the treble a little more even and clear. The bass is now more in-line with the mid-range and a better tonal balance is quickly noticed on first listen. Comfort overall is quite similar to the originals; which is to say really category leading comfort; as is noise isolation and leakage to the environment. They are right up there with the best on-ears in this listing for isolation. Styling wise, I think they are incredibly great looking on-ear headphones. Sennheiser has really stepped up to the plate here and I can’t think of a better looking on-ear headphone. So if styling is important to you for a pair of headphones for when you’re on the go, these would get my vote for #1.
 
Back to the sound, I find the frequency response a bit more balanced/refined than the original version and thus in the end: more transparent overall. You really don’t have to give up on sound quality for smaller and more portable headphones. If you liked the original on-ear Momentums, then you will definitely like these and they should certainly get your consideration if you’re in the market for a great pair of portable headphones that look amazing and sound just as good! Well done Sennheiser, you’re 2 for 2! While I do prefer the bigger and slightly more even sound of the over-ear Momentum version 2s, I find the sacrifice you’re making for an even smaller and more portable pair in the on-ear versions is not that big and I strongly recommend listening to both before you make your choice (especially if portability is very high on your list of priorities).

​

As you can tell from my Head-Fi.org rankings, I thought very highly of the new Sennheiser Momentum version 2 over-ear headphones. In fact, I liked them enough to rank them as my new favourite portable headphones (at the time of this review’s completion). The on-ear versions are that much more portable, and while you do give up a bit in sound staging and transparency, the differences are not that wide. Regardless of your choice in headphones between the two, I think there is no wrong answer. Sennheiser has really knocked it out of the park with both versions and if you asked me 5 years ago if headphones designed for “on the go”, with this level of styling and sound quality was possible, I’d say “you want too much”. However, it looks like wanting too much can be a good thing.

When Blue Microphones (started in California in 1995) announced the Mo-Fi, I was immediately intrigued. Here was a well-respected and highly regarded microphone manufacturer with outstanding industrial designs venturing into the world of personal audio. And just one look at the Mo-Fi was all I needed. They have a 1950’s sci-fi look and incorporate newly designed drivers and a built-in headphone amplifier. The Mo-Fi’s are most reminiscent of Blue’s highly regarded microphones in their construction and offer a design motif that is certainly unique to headphones, thus far.

Gone are the slider headbands that extend for those of us with larger heads. They are replaced with arms that hold the ear cups that simply move up or down. Surprisingly, this new mechanism works quite well and instead of adjusting them prior to putting them on one’s head, the Mo-Fi’s can be placed and adjusted in one simple motion to the proper level as needed by the user. The design looks outstanding and it certainly offers a fresh take on fit. I have always been a big fan of the Blue microphone aesthetic and the Mo-Fi’s continue in the same tradition. These headphones are like none other you’ve seen before.



The headphones incorporate large 50mm drivers (a size usually reserved for much higher priced headphones) and are incredibly efficient at 105dB/mW and 46 ohms impedance. As an added feature, these headphones come with a built in headphone amplifier. That’s right! You won’t need to wield a separate headphone amp to power them. The internal amplifier can be charged over USB and provides up to 12 hours of playtime between charges. It can output up to 240mW into the Mo-Fi’s and I can literally drive them with any portable device or high-resolution music. As a result, the engineers at Blue could utilize larger audiophile drivers and still offer a product that didn’t require a dedicated headphone amplifier to sound its best. So for those of us who demand the best of a product, we don’t need to lug around a dedicated portable amplifier and associated cabling with these headphones. Instead, simply charge them up and plug them in to your source.



Included with the headphones are cables that are easily attached or unplugged: One shorter cable (1.2m) with iDevice controls (and microphone) and a longer 3m cable for home/studio use. As well, Blue includes a 1/8” to ¼” stereo adapter, a standard airplane adapter and a USB charging cable and AC power adapter. Throw in the carrying bag and you have all the standard accessories that one needs for an on-the-go pair of headphones.

The construction quality is among the best I’ve seen and it seriously exceeds all of my expectations for headphones in this price range. These headphones are built like tanks and you would never describe them as “flimsy”. The look and feel is more similar to headphones that cost significantly more ($500+) and the design features make these headphones stand out. I am in love with the design of these cans. One added feature I enjoy is the automatic “off mode”: Simply remove the headphones from your head and the music stops. This comes in handy when I used them at work and someone would come into my office for a discussion. I didn’t have to fumble for the “off” or “mute” button on my iPhone, all I had to do is just take the Mo-Fi’s off. That’s all.



They are not, however, perfect. With the addition of the internal headphone amplifier, the weight of the headphones comes in at a hefty 466 grams. And while the headphones offer such a unique headphone band, the comfort is only adequate with my head. Don’t get me wrong, these are not uncomfortable, as I can listen to them for a few hours at a time, but next to other headphones in this range, I find them “middle-of-the-pack” when it comes to comfort. The ear pads are plush and thick and go a long way in helping with the comfort, as does the plush headband padding. But, headphones like the Beyerdynamic T51p and BeoPlay H6 both offer a lighter alternative that can be worn for hours on end without any discomfort. The other drawback is the size of these headphones. While I applaud Blue’s bold re-design of the traditional headphone headband, the one drawback is that they cannot lay flat and sit in an upright position. This makes the portability factor a bit difficult when you want to pack them into your carrying bag or knapsack.

Sonically however is where these headphones deliver. Not only do they look sexy, their sound is seductive and definitely punches in a higher weight class. I would describe their overall tonality as pretty darn natural with a warm tendency that is simply inviting. I’ve listened to them for a few hours at a time and never did I find myself fatigued – something that can occur if the balance is off (like the treble tilted Shure SRH940s). When turning on the internal headphone amplifier, you have the choice for the standard ON position that delivers a balanced and neutral sound, the ON+ setting engages the amplifier’s analog low-frequency enhancement circuit, which delivers an added bass boost. For those times when your source material could use some extra low-end support, it does an outstanding job and in the end was my preferred setting for most of my listening. Even with classical music the bass was never overbearing, nor did it “leak” into the mid-range. A fantastic option is the ability to set the bass level to one’s personal preferences.



Listening to Avenged Sevenfold’s “Hail to the King” offers wonderfully rich and detailed bass, right down to the lowest registers. Not only do the Mo-Fi’s satisfy with bass quantity, the quality is there! Small micro details are easily heard with the taught bass presentation. This song has a lot of great stuff going on down low and the Mo-Fi’s are able to convey the power and authority of the bass in the recording without glossing over the details, nor bleeding into the other frequencies. I find that most headphones can usually do one or the other; they can offer tight and taught bass like the BeoPlay H6’s, but lack any real visceral ability, or they offer thumping bass that misses much of what’s going on and bleeds into the mid-frequency range. Thankfully that is not the case with the Mo-Fi’s.

Vocals are equally outstanding and their balance to the bass and treble should be commended. I felt the Bowers & Wilkins P7s had wonderful bass and treble, but the midrange was pushed back slightly and I felt that the vocals could be a little more fleshed out. Again, here is another example of having your cake and eating it too: You get wonderful bass and extended treble and the vocals are upfront, natural, and center stage (as they should). Listening to Diana Krall’s “Glad Rag Doll” is truly an experience with these headphones. The midrange performance was some of the best I’ve heard in a sub-$1k headphone. The timbre of Diana’s voice is pretty much perfect and her seductive overtones are purely a joy. Next up was “Winter” by Patricia Barber (from the album Modern Cool) and again, I was left with goose bumps listening to her deep and sensuous voice; the Mo-Fi’s allowed her singing to simply flow through the recording and capture the ability to portray the image as if you were in the jazz club with Patricia. I would definitely say that the mid-range on the Blue Mo-Fi’s is one of the very best of any headphone I’ve heard in this price range and, as mentioned before, it competes with products costing much more.



I find that the treble presentation has a lot to do with a headphone’s sense of “air and space” and the Blue Mo-Fi’s do an admirable job with both. The treble isn’t rolled off to a point where say Chris Botti sounds like he’s playing behind the drummer like say on the Sennheiser Momentum Over-Ear headphones, nor is it overly bright or strident as it can be with the Grado 325is headphones. It manages to stay within these two extremes (with a tendency to be a bit closer to the Momentum’s presentation). As a result, the sense of air and space is quite good; though not head of the pack. I found the BeoPlay H6’s ability to portray this simply magnificent and offered a cost effective take on the amazing Sennheiser HD800s in this regard. In comparison, the Mo-Fi’s still offered quite good and clean treble, but the sense of space was more on par with the NAD HP50s or B&W P7s. The sound stage and instrumental separation offers a realistic portrayal when listening to Mussorgsky’s “Pictures at an Exhibition” with each player easily detectible in the soundscape. Closed headphones aren’t well known for having this ability to properly portray image and location when compared to open headphones, but I really have to say that the Mo-Fi’s buck this trend and do an admirable job.



For their first foray into the headphone market, Blue has brought a fantastic offering forth in the Mo-Fi’s. Throw in the out-of-the-box design of the headband and the eclectic look of the ear cups (in line with Blue’s microphone line up), and an excellent quality built-in headphone amplifier, the Mo-Fi’s offer an outstanding value proposition. They have a natural sound that is fairly well balanced and thus work with many different genres and types of music, from jazz to classic rock, to metal, to classical music – they hit on all cylinders. And you don’t have to worry about procuring a separate headphone amplifier to get the most out of the drivers, nor do you have to worry that with bass centric music you will crave for more from the lower octaves (just turn it up with the built-in bass boost).

I think the Mo-Fi’s are perfect for a work setup or someone looking for an all-in-one headphone solution in a non-mobile setting, especially if you don’t want to spend an arm and a leg on a dedicated headphone amplifier. Just plug and play (and charge occasionally via USB). The biggest drawback is the lack of portability however. They are big and on the heftier side of things and based on their design, they sit upright. The comfort level ranges from adequate to good, but if you’re looking for headphones to listen to for several hours; I’d recommend you try them first to make sure they work for you.

 

- See more at: http://headphone.guru/blue-mo-fi-headphones-self-powered-hi-fi-headphones

Astell & Kern AK100 II: Portable Pleasure
 
So I have a confession to make: I’m a DAP “noob”. I’ve basically been old school with my on-the-go Hi-Fi, using iDevices and a third party amp (HeadAmp Pico, RSA Audio Hornet, et cetera…) or even an Amp/DAC combo like the Beyerdynamic A200p. Then I tried the Astell & Kern AK100 II. While I’ve heard some lower priced DAPs, I’ve never felt the need to reach outside my iDevice/external amp setup. That is of course until I got to review the AK100 II.
Astell & Kern is a division of iRiver and based out of South Korea. The company offers three high end Digital Audio Players (DAP): the AK100 II, AK120 II and their flagship, the AK240. These are all serious “high-end” products. The AK100 II is the successor to the already popular and highly respected AK100. The updated verision utilizes a DAC chipset (CS4398) by Cirrus and a dedicated amplifier that outputs 2V in balanced mode and 1.7V in unbalanced mode. Though I would have liked to see a balanced adapter included with the player, one can still purchase the adapter separately.

I’ve run IEMs (Shure SE535s), portable headphones (beyerdynamic T51p and Sennheiser Momentum On-Ears), and full sized headphones (like the Fostex TH900s, Audeze LCD-Xs and Grado PS1000e’s) with the AK100 II. All cans were certainly driven with authority by this little unit. The AK100 II is also WiFi capable, so you can use the supplied MQS Streaming software to stream music off your home music server. This is a fantastic aspect of the player and it allows you to stream your entire the music from your main server to your Astell & Kern DAP – giving you access to your entire digital library. The setup is simple and the convenience is much appreciated. Another added bonus is the ability to update the firmware wirelessly.
In order to increase your storage space from the supplied 64Gb, the AK100 II has a microSD expansion port for an additional 128Gb of storage bringing the grand total to 192GB. That is plenty of music to take with you and should suit your portable needs nicely. The AK100 II also can be used as a USB DAC and take the music off your computer and feed it to your DAP directly. 
 
The overall construction is solid! It’s made of a hairline and diamond cut finish for the aluminum body. While it’s not cheap, coming in at an MSRP of $899 USD, it does step up to the plate with fantastic build quality. The volume control knob is a stepped attenuator (something I really haven’t come across on portable DAPs) and each step is an impressive 0.5dB. So you will have the benefits of precise left and right SPL levels that a stepped attenuator offers with the added bonus of 0.5dB steps to get the listening levels exactly where you want them (as with an analog attenuator). It also comes with a handsome carrying case to protect the unit.
The touch screen and GUI (graphical user interface) is quite intuitive and easy to navigate through. It offers a clean and simple presentation and accessing the quick menu is as easy on my iPhone (just drag downwards from the top and you can access Wi-Fi, Bluetooth, EQ, SD card safety removal, among other things).
Navigation is also well executed as the layout is simple and straightforward so you can easily find your favorite artist, album or song. And going back to the home screen is as simple as pressing the “Home” button on the bottom of the unit. Astell & Kern has obviously put a lot of thought and care into this fantastic operating system and GUI that is not only intuitive, but provides you all the functionality you may need while never being difficult to operate.
The battery life on this little guy is impressive. I’ve used it continually at work with my Shure SE535 IEMs for a solid week and only needed to charge it at the end of the week. This is on par with my iPod Classic (160Gb) and is certainly more than enough to keep me happy. It is rated for up to 12 hours of playback before needing to be recharged.
 

I’ve literally thrown every codec that I have at the AK100 II: Lossy MP3s, lossless music, high resolution 96 and 192kbps files, FLAC and DSD have all worked flawlessly. I didn’t even need to setup separate folders for each file as it was just copy and paste onto the AK100 II and then just press play. It was literally that easy. I definitely appreciated this simplicity of operation.
Sonically, I would classify the AK100 II as a clean and spacious sounding DAP with excellent detail retrieval. I wouldn’t call this a warm sounding unit. Don’t get me wrong, the bass is certainly there, but if you’re looking for a slower bloom, (a coloration in my opinion) then you might want to look elsewhere. But listening to Metallica’s “Enter Sandman” from the Black Album, the rumble down low is more than satisfying with my Shure SE535s or Beyerdynamic T51p’s. They reach down to the lowest depths and offer a taught and quick bass that never lingers more than the recording calls out. However, I know some prefer a boomier bass with more bloom and if that’s what you’re after; then, I’d suggest you play with the EQ, which also works quite well and didn’t introduce distortions or artifacts during my trials. Accessing EQ was simple, just use the pull down feature to activate it and set the equalization to your preferences.
The one thing that initially struck me with the sound of this DAP is just how clean and open it sounds. The ability to render detail (and finer micro detail) is simply jaw dropping. I was mistakenly under the impression that one needed a desktop sized DAC / Amp to achieve this impressive level of detail rendering and sound staging ability, but it appears that the AK100 II is up to the task. There are always sacrifices one has to make with portability, that’s obvious due to plain physics, but with the AK100 II, I feel those sacrifices don’t have to be as large as I initially thought. Plus the ability to save up to a whopping 192Gb worth of data can mean you can also carry a good portion of your music with you and not have to only select the “Greatest Hits” albums in your collection as a compromise.
The treble extension of the AK100 II offers an airy and open presentation with outstanding shimmer and detail of the upper registers. As mentioned before, this is not a warm sounding DAP, but rather neutral and as such, the treble is not rolled off; however, it is neither strident, nor “bright”. When listening to Gustav Mahler’s Symphony No. 4, the flutes and sleigh bells sounded sublime with incredible detail that could compete with an impressive full sized rig. I couldn’t believe just how good both my SE535 IEMs and Audeze LCD-X full sized headphones sounded. The AK100 II was able to locate each instrument precisely in my mind’s eye with outstanding instrumental separation. The cast sound stage was both wide and deep. If I had to list the top item I was most impressed with this unit, it would be its ability to sound open, clean and offer top-notch imaging. I threw several other albums at it from Rush’s Moving Pictures, to Frank Sinatra’s Duets, to The Black Key’s El Camino, and it never once sounded closed-in or congested.

And the vocals are sublime. K.D. Lang’s Hymns of the 49th Parallel reminded me why she is one of my favorite female vocalists of all time. Listening to her sing Leonard Cohen’s “Hallelujah” or Ron Sexsmith’s “Fallen” was awe inspiring. The AK100 II kept up with this demanding recording and I can easily say that Lang has never sounded this good when on the go. Her voice was neither withdrawn nor pushed up front, but in almost perfect proportionality to the rest of the music. And thanks to the AK100 II’s ability to render an incredibly high amount of inner details, I was left imagining myself in the recording studio sitting right in front of her. I can only imagine how good the AK240 would portray this album considering how amazing it sounded with the AK100 II.
Overall, while not cheap by any means, I think the AK100 II offers outstanding value as it rivals some of the better and more costly desktop rigs (with a standalone DAC and amplifier) that I’ve heard. Throw in the fact that you can carry up to 192Gb of your high-resolution music with you and you can use this DAP as a standalone USB DAC with your PC, it’s a real winner for those who are looking for great sound on the go. The neutral and open sound signature of the AK100 II will grab your attention and never let go while you’re on the go.

I've had the pleasure of listening to many NuForce products through the years and I've always found them to offer outstanding price-to-performance ratios. Their products perform quite well and punch higher than their weight class. This time around I'm reviewing the really small uDAC-3 and all I can say is that trend certainly continues with this outstanding little product. Don't let the small size fool you, the sound that you get from the uDAC-3 is B-I-G! 
 
My setup was simply from my Toshiba notebook (using Audirvana w/ iTunes) and my various portable headphones (mostly NAD HP50s, B&O H6s, and beyer T51p's). Right off the bat, the more open and spacious sound hit me when compared to going right out of my iMac directly. For only $125, this little unit is certainly a great pick up if you're looking for a small unit that you can couple with your notebook for when you're on the go. The presentation is fairly neutral with no area (bass/mids/treble) that really has more precedence than the other. Just a natural presentation that doesn't get in the way of the music...just how I like it!
 
When listening to k.d. Lang's Recollection, the music just flows effortlessly through the uDAC-3 and my NAD HP-50s have never sounded better while at work. The openness of the sound stage and great clarity is a welcome change to what I'm used to at my desk (normally I just plug my headphones into my computer while in the office). And the small size really helps me keep it out of the way among the clutter.
 

The construction of this little beauty (as you can see) is very clean and solid. With solid metal casework and simple setup, it's a real joy to have by one's side. Just plug in your headphones and hear what you've been missing. Deep taught bass that goes down deep, but doesn't bleed into the mids. Mids that are fully flushed out and clear and treble that extends, but never strident. Throw in the improved soundstaging and decreased noise floor when compared to a headphone out of a laptop/desktop...I would say at this price, the uDAC-3 is a no brainer.
 
If you are like I was, just plugging in your headphones into your computer, you really should look seriously into the uDAC-3 as a great little option to kick things up a notch (or several)!

Audeze LCD-XC
 
When I first put the LCD-XC’s on my head I thought to myself: “Wow, finally I no longer have to sacrifice sound quality or a natural/neutral presentation when listening to closed headphones.”
 
The first group of closed headphones that I’ve previously owned were ones that isolated well enough but really made you constantly feel that you were giving up a bit too much in the sound quality department. Some were not very expensive like the beyerdynamics DT770/600s; while some very expensive like the Ultrasone Ed. 8LE. 
 
The second group of closed headphones actually sounded pretty darn good to amazing, but offered a very coloured presentation. I would put the D7000, W3000ANV and TH-900s in this group. While I still own the TH-900s and really enjoy the heck out of them, I was left wanting something more natural/neutral (and with better isolation too). That’s where I feel the LCD-XC headphones come in and fit that bill to a “T". 
 
Construction/Comfort:

First off, let me say that these headphones are real beauties. Simply gorgeous looking headphones. As you can see in the photo below, the Bubinga wood finish really helps set them off.  Everything you’ve come to expect from Audeze in terms of solid and professional constructions have been continued with these headphones and they’ve continued to push the envelope in that regard. 
 

 
 
They utilize the same new fazor technology with the LCD-X open headphones. With both of these headphones I've found that the imaging has been improved upon with excellent instrumental separation and location in the sound stage.
 
You can find my LCD-X Review here:
http://www.head-fi.org/products/audeze-lcd-x/reviews/9976
 
Are they heavy? Well yes they are... they come in at 650 grams (only 50g more than the LCD-X and 100g more than the LCD-3s). But once on my head, I really forget about the weight as it’s very well distributed across my head and hardly a factor that I would consider. Overall I would say that the comfort levels are satisfactory with my noggin’. I would however like to see Audeze move toward looking into lightening the weight of future headphones if possible (and not affect the sound quality) as some may find them a bit too heavy. I know...I want it all. Isolation wise, they are a good step up from the W3000ANV/TH-900s and D7000s. A very good feature for a pair of closed headphones.  
 
Music Used:

I put these headphones through their paces with some of my favourite test tracks like my HDCD series of Patrica Barber, Diana Krall, some of high rez Chesky downloads (both binaural and stereo), Miles Davis Bitches Brew Remaster, Miles Davis Kind of Blue Legacy Edition, Tool, Pink Floyd, Rush and some various HDCD classical albums that I have on hand.
 

 
 
Sound Quality:

As I prefaced earlier, I would classify these as among the most natural sounding closed headphones I’ve heard. And yes, they have definitely retained that magical Audeze sound that has really continued to impress me over the years. So if you’re a fan of the LCD-2/3/X, then you should be quite happy with these headphones. If you’re looking for a more “fun” and coloured headphone with lots of bass and sparkling treble and a slight “U” FR response, then I’d suggest you look elsewhere. But if you want a reference level pair of headphones, I can think of none better than the LCD-XC.
 
The bass is what you’d expect from Audeze: deep, textured, very well defined, and very clean sounding. While I find these the bassiest of the Audeze headphones, they certainly do not give you bass-head thumping bass, but still oh so satisfying. When listening to Tool’s Lateralus I can feel the bass energy and the detail and texturing is simply outstanding. Just flat response bass down to 20Hz (though a bit more bass than either the LCD-3/X.
 
The mids are equally outstanding. While these headphones do have a bit more bass, I never felt that it impinged on the mids; while this certainly did occur on the D7000s and to a lesser extent on the TH-900s. Again, the mids are very much what we've come to expect from Audeze...pure, clean and very well detailed. The slight difference however is that I've found the upper mids a bit more forward than either the LCD-3/X especially when listening to Miles Davis' Bitches Brew, I could hear the higher extreme notes a little more forward than either the LCD-3/X. While never etched like it can sometimes sound on the HE-6s or HD800s, it was indeed less as laid back as the other Audeze headphones.
 
The treble extends very well. On my frequency sweeps I was able to take these headphones to the extremity of my hearing ability 18kHz (ish) and while the treble remains "pushed back", it did offer the most forward treble of any of the Audeze headphones. Triangles have a brilliant shimmer, cymbals really come to life while never overbearing with my test music. 
 
Imaging was closer (from memory) to the LCD-2s than the more open sounding LCD-3 or LCD-X. But that's to be expected as these are closed headphones. To compare them to other closed headphones that I've owned through the years, I would say that the fazor technology on the LCD-XC has actually equipped them with very good imaging. The TH-900s offer a more expansive soundscape to my ears, but the LCD-XCs offer pinpoint locations of the individual players/instruments. They do image better than the Ed.8 or D7000s to my ears and most best equated to the wonderful W3000ANVs in this regard (but with a good improvement on the location of each instrument and player within that sound stage for the Audeze headphones).
 
Conclusions:

I feel that Audeze has brought to market a wonderful pair of closed headphones that no longer has me having to sacrifice either sound quality or a natural sound for a more coloured one. They isolate pretty well (and leak very little), yes, they're heavy and pencil neck geeks be warned, but seriously on my head, they feel very close to the LCD-X (which I find quite good for long listening sessions). While these are among the least coloured closed headphones I've heard, you can colour me impressed. Yet another winner by Audeze. A striking feat considering that they released both the LCD-X and LCD-XC at the same time.

The Audez’e LCD-X:
 
Well after a few weeks with these great headphones, I think I’m ready to post my review of them. I was an original owner of the LCD-2 R1 when they were released many moons ago…so suffice it to say that I’ve been a big fan of Audeze and their products ever since.
 
Gear used for my evaluations:
 
Desktop Rig:
Cambridge Audio CDP via SPDIF or iMac Apple Lossless via USB --> Byrston Audio BDA-2 DAC --> HeadAmp GS-X MK2  [Fully balanced front to back]
 
Portable Rig:
iPad - FiiO E11 (a minimalistic approach to my portable rig) 
 
Music Used:
Some of my favourite reference CDs like Jazz at the Pawnshop, Patricia Barber’s Companion and Modern Cool, Rush’s Moving Pictures and Fly By Night, Pink Floyd’s Dark Side of the Moon, Tool’s Lateralus, Mahler’s 3rd Symphony..
 
How do they perform?
With each Audeze headphone, I’ve found a good progression in sound quality improvements. From the LCD-2 R1 to R2 and then subsequently to the LCD-3s (you can read my thoughts in the wikis I wrote here on Head-Fi). After my time with them, I feel that the LCD-X offers a very solid improvement over the LCD-2 R2 (as was the LCD-3). However when comparing the LCD-3s to the LCD-X, I feel that there are certainly areas that the LCD-X have improved things even further. 
 

 
 
The new LCD-X has a brand new transducer (with the Fazor: a wave-guide that sits on top and is part of the transducer) that offers an improved phase response by helping better control the sound wave flow in the headphones and in turn, this gives an improved sense of clarity, separation and imaging over previous Audeze headphones. To clarify, the new transducer has a thinner diaphragm over the LCD-2s, but the LCD-3’s Lotus transducer is the thinnest currently offered. 
 
I’ve heard some describe the LCD-X as “brighter” headphones or the HD600s next to the HD650s of the LCD-3s. I generally do not agree with this as the contrast between the two Sennheiser headphones are quite a bit more with regards to “brighter” vs. “laid back”.  But, one area of improvement that the LCD-X offer is in the treble region. Their portrayal of the upper mids/treble seems more “true to life” and closer to reference than even the LCD-3s; while never being bright or fatiguing and never without any hint of sibilance. Maybe this gives them the impression of being brighter, but if I compare the frequency charts from Audeze and even innerfidelity.com, the LCD-X certainly do not measure as having more forward treble.
 
Along with this improved and cleaner sounding treble, the instrumental separation has also improved. This in turn gives the LCD-X a very fast sound where details are very well portrayed and make them come alive. In turn, due to this improved separation and clarity, the sound staging has also kicked up a notch. I found one of the best area’s of improvements of the LCD-3s over the LCD-2s was with regards to sound staging (width, depth and separation). Well, it looks like the LCD-X has continued trend. Of all the dynamic headphones that I’ve owned/heard, these are now one of the best in that regard. No, they are not the HD800s with regards to super expansive imaging, but they are now even better than the beyer T1s, HE-6s, and TH-900s (headphones that I hold in high regard in this aspect).
 
Back to the LCD-3s, I still feel that their mids are amongst the very best I’ve heard and while the LCD-X perform very strongly here, the LCD-3s come out on top to my ears. With regards to bass presentation, depth, impact, detail and layering, without a doubt, the LCD-3 and LCD-X are the two best dynamic headphones that I’ve heard that can offer bass so true to life, so clean and quick that they leave me smiling every time I put them on. I find that the LCD-3s are the slightly “more musical” headphones with bass that lingers a bit longer, mids that are lush and inviting and an overall laid back presentation that just feel like putting on a favourite pair of slippers; while the LCD-Xs offer a closer to reference presentation with slightly taughter bass and treble and imaging that is better defined. A real tough call between these two fantastic headphones no doubt.
 

 
 
 
With regards to comfort, I find the LCD-X quite good. They are slightly heavier (although only by 50g) than the LCD-3s, but on my head, I’d be very hard pressed to tell them apart. Both offer the softer, more plush ear pads and I can use them for hours comfortably. Don’t get me wrong, they are not as comfortable as my HD800s or SR009s, but I have no complaints here.
 
Unlike the LCD-2s which played very nicely with many different amps that I had on hand, I found that the LCD-3s were quite a bit pickier and both headphones really responded well to at least 1.5-2W of power from a full sized desktop amp. The advantage with the LCD-X is that they sound surprisingly good out of my FiiO Kilamanjaro portable headphone amp. Now, they (LCD-X) still sound best through my main rig, but I find their outstanding efficiency really appealing as one can really take them on the go and not have to carry a 10lbs headphone amplifier.  They certainly aren't portable headphones like my KEF M500s due to their size and heft, but like the M500s sound great right out of my iPad or portable headphone amp.
 
So I know the final question that many people will ask, which is the better headphone? And I’m not sure I can flat out answer that in a simple statment. All I can say is that it depends. First off, musical preferences play a big part in terms of which I’d recommend. If someone already owns a pair of HD800s or T1s and wants a complimentary pair of headphones and listens to mostly rock, jazz, and metal; then I’d say go with the LCD-3s. But if someone is looking for a better “all round” performer that also includes acoustic and classical music, then I’d recommend the LCD-X. Both are in my top five headphones of all time and don’t think there is a wrong choice here between the two. But if I had to pick my personal preference for what I valued most, I would have to agree with my friend Jude and go with the LCD-X (by a hair). 

Here's a link to a wiki I wrote about the differences between the LCD-2r.2 and LCD-3s that pretty much sum up my thoughts quite well.
 
http://www.head-fi.org/a/comparisons-of-the-lcd-3-and-the-lcd-2-rev-2
 
I've had them now for more than 3 months and they still get 80% of my head time. My HD800s/T1s/Ed.8s/HF-2s are sadly not getting the time they rightly deserve since the LCD-3s arrived. I was also able to sell my HE-6s as the improvements in soundstaging and air in the LCD-3s have made the HE-6s redundant in my collection.
 
Just a few more points, they (LCD-3s) are in fact much pickier of upstream gear than the LCD-2s (as both Skylab and Currawong have pointed out). A good case in point was the LCD-2/Lyr combination. I really liked the pairing very much, but the LCD-3s were quite a bit less synergistic. If I only had the Lyr, I would have been disappointed. But luckily I did have a WA22 (with the right tube combination) fed by my W4S DAC-2 on hand as well and WOW...what a pairing! I can also vouch for the GS-1 as well with the LCD-3s as they are a great match (for a SS option). Funny, I'm finding the LCD-3s as difficult to drive synergisticly as the HD800s.
 
As well, some of my older rock and jazz recordings that sounded "nice" on my LCD-2 (r.1 and r.2), where significantly worse on my LCD-3s. I don't blame the LCD-3s for showing me what crappy music I was feeding them, but if your collection is substantially populated with poorer recordings and you want a headphone to make them sound better, I'd suggest you look elsewhere. The LCD-3s or HD800s will serve to reveal their flaws and take away from your enjoyment IMO.
 
Overall though, the LCD-3s are my favourite "go to" headphone three months later, long after the "new toy" luster has passed.

HeadAmp GS-1 – A Forgotten Treasure
 
So after hemming and hawing for several months about picking up a solid state amp to compliment my Woo Audio WA22, I finally made the jump. I was looking for a solid stage amp in the $700-$1200 price range. Amps I considered were the Violectric V200, Corda Classic, Audio gd Phoenix, SPL Auditor, Burson HA160, and HeadAmp GS-1.
 
Having a great sounding euphonic tube amp already, I was looking for a contrast that would be complimentary to that sound. I was looking for a neutral, transparent amp that was very true to the input signal from my DAC/Source (CDs played through my Cambridge Audio Azur 650C transport feeding my W4S DAC-2). All of the amps noted above seemed to fit the bill for transparency with a neutral sound signature.
 
Long story short, I decided to go with the GS-1 (w/ DACT Stepped Attenuator) in silver (not dust…err...I mean black) based on the Kevin Gilmore Dynalo. It’s been a staple around here for 6 or more years and has kinda fallen out of the headlines on Head-Fi. I was however intrigued by the discrete design behind the amp. No opamps or capacitors in the signal path. It’s a Class A (a must for me) solid state amp (JFET, Bi-polar transistors) with a 1 W maximum; a good amount of power for the headphones I have on hand (I no longer own the very hard to drive Hifiman HE-6s).
 
Upon first opening up the box, I can easily say that the construction is top notch. It is very well built, professional looking and solid. Justin has very commendable workmanship skills and product design. It’s got a very nice and sleek look about it and I like how it looks in my rack:
 

 
It’s got some versatility as well. It allows up to 2 separate inputs and can function as a pre-amp. Two headphone outputs are available (both are equivalent) and a two gain settings (1x and 8.5x).
 
Now, how does it sound?
 
Test Tracks:
Jazz at the Pawnshop
Copland: Third Symphony, etc. Eiji Que: Minnesota Orchestra: HDCD
Patricia Barber: The Premonition Years
Porcupine Tree: The Sky Moves Sideways
Metallica: The Black Album
The Sheepdogs: Learn and Burn
The Grateful Dead: The Very Best of (HDCD)
Miles Davis: Kind of Blue and Sketches of Spain
Louis Armstrong: What a Wonderful World
Rush: Fly by Night (2011 Remaster from Sectors I)
 
Headphones/IEMs used:
Full sized headphones: LCD-3, HD800, T1, Ed.8LE
IEMs: Westone 4, NuForce NX700, Hifiman RE0
 
Initial out of the box impressions were very good. First thing that got me with this amp is the absolute “blackness” of the background. If black is the canvass for an HDTV’s picture, then complete silence is the canvas for audio gear. And the GS-1 does this better than any other amp (desktop or portable) I’ve heard. I’ve owned some really good amps in this regard like the Meier Concerto or RSA Hornet, but none have come close to this level. I was able to plug in my Ed.8LEs (the most sensitive headphones I own) and heard nothing. Even my IEMs were completely silent on the Low Gain setting. Initially I thought the amp must be defective as I thought only the LED was ON. Then I pushed PLAY on my CD player and was amazed to find that the amp was indeed fully ON.
 
I would definitely describe the amp as very transparent and neutral. If you’re looking for an amp to “tune” your system (either for your headphones, upstream gear, or personal preferences) I would look elsewhere. I feel that the music just flows through the GS-1 like an open window of what the recording has to offer. Very little of the GS-1 is imparted to the sound.
 
First off, I am not a believer in burn in for amps/DACs/cables. But after some initial burn in, I found that the sound staging improved, the treble became smoother and the bass impact/detail tightened up. So I guess we’ll leave that to an Act of God. If you’ve heard the GLite (one of my favourite sub $500 solid state amps), the GS-1 has a similar clean tone, but from memory, the bass impact and definition is quite a bit better on the larger sibling. As well, the highs on the GLite could be a bit too tizzy for my liking (as could the Corda Concerto). The GS-1, in my rig, has very extended and detailed treble; without any sizzle on my HD800s or T1s. I think the best improvement (along with a bit more power) has to be the imaging over the GLite.
 
A few long term Head-Fiers have described a holographic sound stage and after some burn-in, I can definitely attest to that effect. While the imaging on my WA22 is slightly wider and deeper, I find it slightly more precise with the GS-1. Every instrument in Jazz at the Pawnshop was exactly placed in my mind’s eye, every clank of a dish or quiet background discussion by the audience was accurately placed in the pawn shop.
 
The bass on this amp is tight, deep and fast. The organic and earthy bass of my WA22 is outstanding and I do enjoy it very much. But the GS-1 plays Enter Sandman’s initial rumble very tight and fast without the tube bloom that I’m used to. It’s still impactful (though less than my WA22), fast and tight. A great counter presentation to my tube amp. Yet, it still comes off as very musical.
 
The mids are presented in the proper proportion to my ears, nice and very clean. My WA22 presents very organic/upfront mids. Some might say a bit too much or a bit too lush, but then others might say that the GS-1 has mids that aren’t organic/full enough. It’s really personal preferences here and both are very enjoyable and complimentary.
 
Amazingly it drove all of the headphones that I threw at it very well with plenty of head room; from my LCD-3s to my very efficient Ed.8s. Amazingly, being as quiet as it is, on Low gain, it was fantastic with my IEMs. It had a lower bass floor than my portable iBasso D4 Mamba or FiiO E5. I haven’t come across such a versatile amp that could drive so many different full sized headphones and IEMs.
 
Overall, this amp is one amazing choice for those looking for a clean and transparent amp that doesn’t add anything to the music; just amplifies the signal from your DAC0 to your headphones…period. If you’re looking to “tune” your system with a warm or bass-heavier amp, you’d better look elsewhere. But you’d be missing out on a true audiophile experience of very transparent fidelity and one heck of a headphone amplifier.

So, my Edition 8 LE headphones have had about 48 hours of burn in and here are my thoughts (i.e. mini review).
 
First off construction:
Absolutely stunning! These are the most beautiful closed headphones I've ever had the pleasure of owning. Everything from their outstanding leather box, to the headphones themselves. I understand why the cable is NOT more "industrial" as these are supposed to be also portable, but another foot or two in length on the main cable would have been more ideal for me.
 
They feel very well built (or should I say crafted) and exude luxury. They are also incredibly light to hold and even lighter on my head. Not as comfortable as the Denons...but still quite comfortable.
 
Noise isolation/leakage:
Previous to the Edition 8s, the best closed headphones for noise isolation where the Shure SR840s and closely followed by the DT770/600s. But neither can isolation outside noise as well as these. They are on par with my Shure IEMs in that regard. As well, they leak very little (my wife appreciates this attribute).
 
Unfortunately the Denon D7000s where almost like an open headphone in this regard and the only reason I ended up selling them off.
 
How do they sound?:
Pretty good. They are not what I would classify as balanced/neutral, but they do sound very good to my ears. I would still classify them as more balanced than the D7000s, but they are still more "fun" headphones overall.
 
Their bass is subwoofer like (though not every deep), similar to the Denon's (with the J$ pads), but with slightly more control and definition. I think the Denon's might go a bit deeper though.  If you like your bass, then you'll love these.
 
The mids are very liquid (listening to Patricia Barber - The Cole Porter Mix as I write this) and the vocals are front and center...more so than the Denons (mids were slightly recessed). Very nice and organic mids that sound like they should...real life. The best mids I've heard still go to the LCD-2s and T1s, but these are almost on par with the HD800s in that regard.
 
The treble is very extended with no roll off that I can detect. Initially cymbal smashes were just too much for me, but thankfully after 24-48 hours of burn in, they now sound as they should. Very nice.
 
Sound stage wise they have among the best imaging of any closed headphone I've heard. Not sure if it's the S-Logic, but it seems that the sound is all around me and as good as the D7000s and DT770/600s where (especially with the J$ pads), these are a cut above. The sound stage champs for me are still the HD800s, but that's an unfair comparison for closed headphones.
 
I've tried them on my Concerto and they sound really, really good. But I do find them more fluid with my MAD tube amp. Simply breath taking combination!
 
They are expensive and certainly not the greatest at bang for your buck at $2000 MSRP, but I was able to sell of some surplus gear that wasn't getting the attention that it deserved to take a bite out of my final bill.

So I've had my pair for around a month and they have very quickly shown themselves to be deserving to be amongst some of the very best headphones I've ever heard.
 
Bass:
Absolutely the best bass of any headphone I've ever heard. Deeper, more defined and controlled than anything out there. The amazing thing is just how scary good it is and with ZERO bleeding into the mids.
 
Mids:
Along with the T1s, I consider the LCD-2's mids to be the best I've ever heard as well. Both male and female vocals excel exceptionally well with them. Incredibly organic and upfront with outstanding detail, presence and still very musical.
 
Treble:
Very nice treble, but with some of my recordings, they can seem a bit recessed and set the cymbals too far back in the sound stage. But definitely not a show stopper in any way. With other recordings, the treble is full of life and energy. So it could simply be the great transparency of these headphones showing what is on the recording.
 
Sound stage:
I would rank the sound stage capabilities of the LCD-2s right after my two current favourites (HD800 and T1...in that order). They do portray the sound stage in a very life like way and in proper proportion left to right and front to back. But when compared to the HD800s and T1s they are slightly behind.
 
Comfort:
This area is not a concern to me in anyway, but as I find the HD800s very comfortable and the T1s/D7000s comfortable, I find the LCD-2s adequate...but still heavy. The one kink in their chain.
 
Value:
What can I say, they are 30% and 40% less than the T1s and HD800s respectively, but in quality they are on par (and in many areas even better). Great value IMHO. Their build and construction is simply outstanding and exude $1000+ quality!!!
 
Amazing job by a 2 year old company to come out with a product that competes with the "big boys" in the industry...beyerdynamics, Sennheiser, Grado, Ultrasone, etc... that have all been around much, much longer. Congratulations to Audeze!

My comments echo Skylab's. These are simply the best dynamic headphones I've ever heard. While the may not be technically equal to the Sennheiser HD800s, they certainly make up in the fact that their overall presentation simply works better than every headphone I've heard to date.
 
I love the HD800s, but I limit listening to them to jazz, classical, and some prog rock. The T1s on the other hand are incredible all rounders and work with everything that I've ever thrown at them. They even rival my all time favourite rock cans the Grado RS1s.
 
These are simply amazing cans and my personal favourites! Well done beyerdynamics!