Really listening

Baby Wharfedale behind a Schiit DAC/Amp next to PC38X headset

My current setup at the office is a Mac Mini running macOS Monterey, connected via 3.5 mm / RCA to a PreSonus Eris Sub8 and through that, to Wharfedale DS-2 speakers, and now via a Schiit Fulla E to a Sennheiser PC38X headset.

Now, the PC38X is aimed at the gaming market, I use ’em for interminable Zoom and Microsoft Teams remote appearances, depositions, etc. The mic works great and flipping it up is a zero-ambiguity way of quickly muting my audio, which I really appreciate. They’re not half-bad to listen to, either; Josh Valour compares them relatively favorably against the Sennheiser HD560S and HD58X (which I have at home).

Anyway, I played Tori Amos’ Cornflake Girl for my law partner through the PC38X / Fulla E combo and he was blown away. Had never heard anything “so clear and detailed.”

I decided to spin that track for myself, it had been a while since I’ve listened to Tori, and I’m not sure I’ve ever really closed my eyes and really, deeply, listened.

Holy shit.

What an amazing recording. (Even moreso when you consider it was her sophomore album and recorded ~30 years ago.)

I’ve probably heard this track a thousand times, but I’ve never really listened to it before. The soundstage is incredible. You’re literally sitting on the piano bench with her. The detail and clarity are revelatory.

And then, unexpectedly, in the middle of Tool’s Flood, there’s a bit about 6:10 in where Maynard sings “Running away / Running away now / Running away / Running away now / Running away / Running away” and as he does, the vocals shift from side to side and disappear further and further into the mix, as if he’s literally running away from the listener. I never noticed that before. (Listening on the SPH9600s.)

(Also, the teenager in me loves the “I’m Fulla Schiit” identifier, and the fact that Schiit’s retail location is the Schiitr.)