If you increase the stereo width on these, they become a whole other level of fidelity and spaciousness when paired with some simple EQ filters.
Here is what worked for me on a mac
SoundSource for Mac - allows me to insert Effects into any output on my mac. What a piece of software!
140% stereo width, -2db on the output gain. I used a mastering EQ plugin called Amek 200 because it let me mono the bass below 70hz to make sure I wasn't widening bass accidentally. But you could try something like this for free, which I think does the same thing (except it's fixed and automatic):
https://polyversemusic.com/products/wider/
Here's my Amek Settings.
Notes: I started at 150% stereo width, and found that to be good on some tracks, but terrible on others. Overall it made FX too present, so I dialed it down to compromise until I could hear a clear phantom centre and FX weren't overbearing. Vocals now sit directly between my ears and I can judge reverb decay almost as if I am listening in a room.
I used Pro-Q to dial in EQ Settings. For a transparent free EQ,
ReaEQ is a great option but you'd need to guestimate a curve since ReaEQ has different labelling (bandwidth instead of Q). Thankfully, the curve is quite simple, so it shouldn't be too difficult to dial in whatever you use.
Sub Bass
Low Shelf: 14hz @ -0.5dB, Q = 0.3
Low Shelf: 106hz @ +05dB, Q = 9
Notes: the sub-bass doesn't really need much, but there is a 2.5dB sudden drop at around 100hz that slowly rises toward the bottom of human hearing, so "fixing" that to taste is what I am going for. Combined with the top-end treatment, I liked this result. a lot!
Midrange
Nothing. it's pretty much perfect, although a bell with a Q of 1 to reduce some "shout" in the upper midrange might be preferred by some listeners. Start with -0.5db centred at 3.5khz and see how that sounds.
Top end
Narrow Bell Shape: 12.7khz @ -5dB, Q = 10
High Shelf (seems to help little deficieny in the air): 20khz @ +1db Q = 0.3
Turn the Gain down on the EQ the same amount as your highest point of boosting to make sure nothing clips.
Here is the shape of the EQ.
My honest-to-goodness response when I started listening to all kinds of music with these tweaks was "Holy Sh***!!". I've never heard such fidelity in a pair of headphones before. The top end is smooth and airy, and the bottom end cranks deep and distortion-free. I can now locate panned FX and instruments with surprising precision, Reverbs and delays sing and dance all over the sound stage, and clarity is positively wonderful.