Audeze released the original LCD-5. It was a precise studio mastering tool. The new Audeze LCD-5Sis here. Did it trade its soul? Did it lose the warmth? What about the legendary bass slam? Many fans wonder if it has returned to form.
Well, Audeze listened. This is the new forty-five-hundred-dollar Audeze LCD-5S.
It sports gorgeous new copper accents. Newly sculpted pads are also present. A revised driver architecture is under the hood. This isn’t a simple facelift. Audeze introduced SLAM technology. This new mechanical airflow system was engineered. It restores physical, hard-hitting low-end punch. It does so without sacrificing other qualities. These made the OG LCD-5 great.
I’m Marcello with TSAV. Today, we compare the original LCD-5. We also look at the new 5S. Is this a true return to form? Or is it a compromise? Does it try to please everyone? Let's get into it.
Let’s first talk about Audeze’s SLAM technology and what it does. Simply put, it is an internal airflow and acoustic control management system integrated directly into the driver housing. It acts as a mechanical pressure optimizer.
It sharpens spatial placement. The planar diaphragm delivers major enhancement. Low-frequency impact and sub-bass rumble increase. Overall distortion is reduced. This is tough to achieve. Especially with open-back headphones, it's a feat.
Audeze updated the driver from the LCD-5. The original used Uniforce traces. The 5S uses nano-scale Parallel Uniforce Diaphragms. The etched copper circuit traces are altered. The chassis structure is also revised. This was to smooth frequency response. It allows for natural midrange tuning. This is mostly true. We will discuss an exception. That comes in the sound impressions part.
Audeze shifted the 5S to thirty-five ohms. The OG LCD-5 was fourteen ohms. Tube-amp listeners will prefer this. Both headphones need clean power. The original LCD-5 is a current hog. It is notoriously picky with amplifiers. The 5S is thirty-five ohms. This makes it electrically stable. It's friendlier for voltage swings. We love tube setups. If you spend forty-five hundred dollars, you’re building a worthy audio chain.
At thirty-five ohms, the LCD-5S is less finicky. Amplifier pairings are much easier. It runs well off basic desktop amps. It scales cleanly with high-voltage stacks. We use Ferrum Audio WANDLA for videos. It also scales with HYPSOS two and ORR.
SLAM acoustic damping is added. Premium copper accents also contribute. So, the weight increased. The original LCD-5 was 420 grams. The new 5S is 475 grams. I find the new 5S more comfortable. Especially regarding clamp force and ear pads.
The earpad geometry is smoothly curved. It improves the acoustic seal. It reduces clamping hotspots. This is during long listening sessions. The headphones look gorgeous. They use quality materials. Carbon fiber, magnesium, and leather are used. Polished polymer acetate is also present.
Nano-Scale Parallel Uniforce Diaphragms are used. The transducer size is ninety-millimeter. Frequency response is five hertz to fifty kilohertz. Total harmonic distortion is under 0.1%. This is at one hundred decibels SPL. Audeze recommends over five hundred milliwatts. The new headphones scale with power supplied.
A high-quality Aluminum Travel Case is included. White Gloves are also provided. A four-pin XLR balanced cable is there. A four-pin XLR-to-6.3-millimeter TRS adapter is included.
So let’s discuss the sound of the new LCD-5S and compare them to the OG LCD-5 headphones.
The original LCD-5 has fast, articulate bass. It is also quite flat. It offers precise, neutral sound. Some listeners find it anemic. It lacks physical grunt and sub-bass rumble. To casual listeners, it can feel cold and sterile.
The new LCD-5S has SLAM acoustic ports. Thanks to these, the bass hits back. It offers engaging, deep sub-bass extension. This delivers an authentic physical punch. You can really feel it. Kick drums have distinct, tactile impact. Basslines possess organic weight. The OG LCD-5 sounds thin by comparison.
The original LCD-5 midrange is pushed heavily forward. It emphasizes the upper mids. This yields unbelievable vocal resolution. But it can cross the line. It sometimes sounds too forward. It can be shouty or dry. It might even be dynamically harsh. This exposes every recording flaw. That's great for mastering engineers. But not for enjoying music fully.
The new LCD-5S is a refreshing direction from Audeze, who deliberately dialed back those peak upper-midrange frequencies. Vocals are presented more effortlessly in a more natural, liquid, and full-bodied space. Vocal timbre shifts from a more clinical, exacting presentation to a more emotionally resonant one.
The midrange isn't perfect, however. Audeze dialed back upper-midrange glare. The original LCD-5 had more. The new sound is warmer, darker. This creates a distinct emphasis. It is heard around 1.5 kilohertz. On a standard solid-state amp, it can present nasally. It might sound like a forward honk. This depends on the track and vocals.
This can be addressed easily. You can use Roon's parametric EQ. Pull back a few decibels. Adjust around the 1.5 kHz range. My preferred way uses tube magic. Analog tube magic works wonders.
Pairing the LCD-5S with tube amps helps. I have the Woo Audio WA22. I also own the McIntosh MHA200. These introduce organic, even-order harmonics. They fill out the texture. This is around the 1.5-kilohertz region. It cushions that nasal edge. A dry vocal becomes rich and full-bodied.
Tube topologies excel at rendering depth. They pull the soundstage backward. This adds spatial distance. It pushes the 1.5 kHz projection away. Music breathes in a spacious environment. It creates a more balanced sound.
The MHA200 has lower power output. It has a more forward upper-midrange. This is due to its design. Its tube complement contributes. The Woo Audio presents the LCD-5S differently. It has less upper-midrange presence. It offers more air and treble. It has physically more powerful slam. That slam is fantastic for rock and metal. Electronic music bass lines also shine.
I enjoy both presentations really. The LCD-5S thrives with tube amps. If you own these headphones, consider tubes. If you're buying them, look into tubes. It improves them greatly. From very good to great. They become a great-sounding flagship.
Let’s discuss the soundstage presentation, treble, and timbre before getting into my final thoughts on these headphones.
The original LCD-5 focuses on sharp transients. Its soundstage is precise for imaging. Yet it feels intimate. It is tightly confined around your head. The LCD-5 treble isn’t bright. But upper midrange and lower treble are emphasized.
The new LCD-5S presents treble beautifully. Some may find it darker. I prefer its smoother presentation. It's less prone to sibilance. It also has less peaky fatigue.
The driver breathes differently now. This is thanks to the new housing. The soundstage expands dramatically. At least, that's my perception. It feels more holographic. It is wider and three-dimensional. This effect is stronger with tubes. Instruments decay organically into black space.
The OG LCD-5 has forward energy. This is in the upper-midrange presence. Vocals cut through busy mixes powerfully. Every micro-detail is laid bare. A singer's mouth movements are clear. Even breathing is audible. This can cross the line. It can sound dry or lean. Sometimes it is shouty and clinical.
Instruments on the OG LCD-5 have sharp attack. Acoustic guitars, brass, and percussion shine. Strings sound fast and defined. But they lack lower-harmonic body. The LCD-5 dissects recordings well. This benefits mixing engineers. It helps mastering engineers too. But less so for music lovers.
The New LCD-5S timbre is fuller. It is smoother overall. Vocals have a rounder, more natural tone. Upper midrange glare is smoothed. Vocals sound more enjoyable now. They sit farther back on stage. They are not pushed into your face. That was common on the LCD-5.
Timbre can sound off at 1.5 kHz. This is easily solved with EQ. Parametric EQ works well. Or, better yet, use a tube amp. A synergistic tube amplifier helps.
Instrument timbre on the 5S has more body. Pianos sound rich with natural resonance. Kick drums have organic, fulsome weight. Electric guitars lose harsh metallic edge. This was present on the LCD-5.
So, if you are trying to decide whether the LCD-5S is more your speed, here is a quick guide.
Choose the original LCD-5 if you want lean sound. It offers fast, precise windows into tracks. Instruments and vocals cut through mixes. They act like a surgical scalpel.
Choose the new LCD-5S for comfort. It offers realistic acoustic weight. You get a smoother top end. Vocals are rich and fluid. It favors musical enjoyment. It's less about clinical inspection.
The OG LCD-5 is an elite tool. It's for audio professionals. They demand acoustic microscopic vision. The new LCD-5S is Audeze’s love letter. It's for high-end audiophiles. It preserves flagship planar resolution. It injects soul and bass impact. Seamless musicality returns to the LCD series.
Don’t just take my word. Come to our showroom in Southern California. It's ten-thousand-square-feet large. Listen for yourself. See which one you prefer. Let us know in the comments.
Exciting videos are coming this year. We have new product announcements. Please subscribe to our channel today. Drop a comment below. What do you value more? The precise LCD-5 sound? Or the fuller-bodied LCD-5S emotion?
Until next time, friends, remember—let the music be your guide!
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