to have gone missing. In addition, the vocal sibilants are clearly resolved without stridency. There is a triangle in the latter half of the track whose fundamental and overtones are well reproduced, though I sense a bit more mid-treble resonance than initial tone relative to how the triangle would sound live.
On Jack Johnson’s “Dreams Be Dreams” [On and On, UMVD], the opening bass line is clear, with a richness you don’t get on some headphones (which can sound well defined, but unnaturally tight). Overall the balance here might be a tad warm, but this allows the bass line to propel the music along. On this track and others on this disc the lower and mid treble is alive and well balanced—certainly not reticent. At times, however, my impression was that very high frequencies were slightly rolled off.
On Shelby Lynne’s “Just A Little Lovin’” from the disc of the same name [Lost Highway], the introductory drums and bass come across more powerfully than on many headphones, giving a more dynamic sense than most headphones are capable of providing. At the same time, compared to live music, the bass balance here is a little too rich. This is a perfect demonstration of the psychoacoustic