KMan sorry it has taken so long to respond, but I’ve been listening and listening trying to understand the differences.
First my equipment again, Audeze LCD-XC headphones connected via custom balanced cables into Mytek Brooklyn DAC.
I listened to both filter types - Audeze Low Latency and Audeze Linear. I played with the Dry-Wet settings A LOT. First impression, the range of differences on the Linear filter between 0 and 100% is far greater than the difference I heard when comparing 0 and 100% on the Low Latency. In my opinion the Audeze Linear at 0% sounds like the Audeze filter is disabled while with the Low Latency I feel I’m still hearing a slight difference between the filter enabled and disabled.
For this exercise I focused on differences between 0 and 100%. Although I did play with the filters at 50% I thought for the purposes here it just muddies the waters here.
With the filters engaged at 0% the location of the voices are located inside my head slightly behind my ears. At 100% the voices move to just in front of the top of my forehead. I felt that was the same for both filters, possibly the Low Latency slightly more forward than the Linear - though it is close. The bass guitars seemed to follow the voices there too but more still in my head rather than in front of my forehead. Overall I prefer that forward presentation than behind my ears. I found the rest of the instruments pretty much remained where they were without the filters.
With the filters engaged there is a vail placed on the music. The air around the instruments is gone. The snap of a bass string and the stick hitting a snare drum is gone. It feels as though the top and bottom frequencies have been rolled off slightly. In some recordings this actually worked out in a positive manner. For example Avett Brothers “I and Love and You” benefited because the recording had a lot of harshness on the top, the filter removed it in a very positive way. Beck’s Morning Phase benefited too in my opinion.
I listened to many recordings, back and forth, trying both filters, trying them at 0 and 100 (also at 50). Overall in my humble opinion I prefer the filters at zero (i.e. off) than at 100 except for recordings that were harsh at the highs. I do like the relocation of the voices but really miss the air around the instruments, the raspiness of Norah Jone’s voice, the snap as the bass string is plucked, the tapping of the drum stick.
I think it needs to be listened at the 50% settings to see if there is a happy middle. That’s for another week.
Music listened to over and over for this:
Norah Jones - Come Away with Me (192/24)
Muddy Waters - Folk Singer (192/24)
Buddy Guy & Junior Wells - Alone & Acoustic (44/16)
The Avett Bros - I and Love and You (96/24)
Grateful Dead - Cornell May 1977 (192/24)
Beck - Morning Phase (96/24)
Rolling Stones - Beggars Banquet (DSD 64)
Miles Davis - Kind of Blue (DSD 64)
Santana - Abraxax (DSD 64)
There were lots of others, but a track here and there on each.