Yes the idea of an active preamp, or in the case of The Truth preamp, a buffered passive, the idea is to control the ICs. However, in unbalanced designs its my understanding that while this might provide some benefit to using longer runs (ex. you can use 30 ft. ICs with the Truth with no sonic degradation), it doesn't mean that the coloration/artifacts of the cable itself can't be heard.
I've convinced my tech here to design a passive balanced preamp that supports the 600 ohm standard. If I use this with my Atma-Sphere S-30 I should be able to eliminate the cable coloration/artifact from the equation. |
George, maybe you can help me figure something out. I was using the Lightspeed with a pair of monoblocks that supposedly had a 10k input. Theoretically this would not be an ideal match for the Lightspeed, but I heard nothing out of the ordinary. Any explanation for this? The link shows a schematic for the circuit. http://electra-print.com/singleended_a2.php |
You know how I feel.
Even with the Atma-Sphere S-30 I own where the sensitivity rating is nearly 3V this unit performs exceptionally well. I have used it with VAC Auricle Musicblocs and a Music Reference RM-10 as well. In each case its performance is consistent. I don't even have my Slagle Autoformer box in the system anymore.
The sound from the Lightspeed flies in the face of all the negative attributes that you hear people comment on regarding passive preamps. I am convinced anyone predisposed to active preamps that hears the Lightspeed in their system (and assuming proper system matching) will experience a reality check. At its price point there is not much to lose in trying one. I've dumped $450 (and much more) on interconnect cables that never came close to the price to performance value the Lightspeed provides.
Okay, back to our regularly scheduled program. |
I hope this unit is used by someone at RMAF so everyone can actually hear it and decide for themselves if it provides the type of sound they can be happy with. I'm bringing mine there this year and hope to convince a few people to plug it into their systems for some A/B comparisons. That's if they're brave enough. I too have had what I consider to be some fine preamps by Cary, TRL, Joule, and Berning. The Lightspeed bested them all. Although there is no trial period I can't believe anyone who owns a $5000+ preamp can't spring for this unit to give it a listen. Even if you had to take a loss on resale you could still recoup at least 50%. While I too am disappointed a balanced version is not available, some people have built them and George will provide you a schematic upon request. You could also email me and I'll send you a copy. |
georgehifi@optusnet.com.au
This is the email I use to contact George. Between the Stereophile article and a few recent threads I'm sure his time has been a little more consumed than normal. Also, you might be going into a spam filter. Hopefully he'll see your note here. |
Bill - Go to the Arthur Salvatore site and read the instructions for the test (see link). There are test instructions for LP and CDP. Ravel's Bolero is a good track to use because it has low passages at the start that will not cause damage. You're right though, loud passages or even an unexpected loud passage might cause damage. With no volume control on the CDP you wouldn't be able to mitigate damage unless you were to hit the pause or stop button very quickly. If you are still using the TRL Samsom amps IIRC they have an input impedance of around 67k ohm. The sensitivity is just under 1V. Any CDP with 2V or greater output should be able to drive it. The question is will there be enough volume and will you like the sound. Also, perhaps not with the test but if using any passive preamp the output impedance of the CDP will come into play. Typically this should be under 200 ohms, but under 100 ohms is even better. http://www.high-endaudio.com/RC-Linestages.html |
Bill,
While the 3V output of the CDP is quite sufficient, the output impedance is 220 ohms single ended. George may need to weigh in here on how that might affect the matching between CDP and Lightspeed. It should work as typically you want a ratio greater thant 10:1 between the input impedance of the passive preamp and the output impedance of the source. The greater the ratio the better. Same is true for the ratio between the input impedance of the amp to the output impedance of the passive preamp. What complicates matters is that the output impedance of passive preamps vary by volume setting.
The 67k ohm input impedance of the Samson amps is lowish (maybe best to check with Paul on that spec, I'm going by memory here) but workable (under 50k ohm would definitely pose some issues). I prefer at least 100k ohm. However, I did use a passive preamp with my D-225 for quite some time with no problem whatsoever. |
Paul,
To me, if 2V plays loud enough then go with the lower of the two voltages. Why use a jackhammer to drive a nail. 2V was plenty for the RM-10, Auricle Music Blocs, and S-30, and the S-30 had nearly 3 times the sensitivity rating as the other two amps.
I was under the impression the output impedance did vary on the Lightspeed. If it doesn't, that is another significant benefit versus other passive designs.
George? |
Interesting point, I'd be interested in someone confirming that. |
George, what don't you like about that 1uf coupling cap? Any suggestions for modifying the circuit?
I will try the 82k ohm resistor. Thanks for the suggestion.
BTW - the amps I have in house are full range only. |
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Maybe you have even better amp/speaker synergy. That's where the real magic in sound reproduction lies. |
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Sorry, itchy trigger finger. For some time I had been a big proponent of transformer based passive designs. The Lightspeed changed all of that and the idea of the thread was to really extol the virtues of resistive designs - done right IMO. Yes they do require more finesse in system matching than a TVC or AVC, but overall I think a well designed resistive passive is truer to the sound. Makes me want to go back and listen to a Placette again, I may have dismissed it to soon. What I find with the LS is that the issue of soundstaging, dimesionality, apparent bass and highs, etc. is dependent on the recording, and for my approach to building as system, this is the way it should be... To Pubul57's point, I've been hanging around a recording engineer of late. His system uses SET amps, a passive, preamp, and some pretty good source equipment and speakers. The speakers were placed against the back wall. One would think sound stage depth would suffer, but it didn't. It was however recording dependent and to his point, much (if not all) of the sound staging comes from the recording itself. I tried this at home with my own speakers and found it to be true. Amazing how much space I've created for stuff other than listening now that my speakers are nearly in the corners of the room. I think equipment that is true to the source will provide the proper sound staging - regardless of whether they are active or passive designs (in the case of preamps). It really does come down to preference, but I know I'm not going back to an active preamp anytime too soon. |
In the Lightspeed design taking the switch out of the equation further simplifies an already simple design. The Pot in the Box is also a very simple design, but the Noble pots, as good as Roger feels they are, will impart a sonic signature. Transformers and autoformers are wound with lots of wire. I've been watching the transformer winding process and will be learning to do it myself. All that wire has to have some effect on the sound rendering the TVC or AVC less transparent and neutral (silver or copper windings would also have some effect). I can think of two reasons why TVCs and AVCs are popular. One they are more forgiving of impedance mismatches and two, in the case of transformers, they offer some isolation.
I'm considering building a PITB for the fun of it and to compare against the Lightspeed. Also, many people like the Luminous Axiom passive devices. I'd be curious as to any opinions on these from owners. Come to think of it I've got a pair of EVS attenuators lying around I should throw in the system for the fun of it. |
The best sound you will get is to put your (CD DAC or Phono) directly into your power amps with a VERY quite CD track first, this is the most perfect "true to the source" sound you will get... This is the actual test recommended by Arthur Salvatore to determine if your system is passive friendly and if so whether or not you will like the sound. He recommends Ravel's Bolero as the test track since it starts off with very low volume passages. You need to be careful when conducting a test like this because if you use a track that has a loud volume passage, or even an unexpected loud drum kick, you could blow out your speakers. |
Active preamps are for the most part tone controls (a good case could be made that all components are tone controls as well). A good example to reference is the Audio Horizons thread. A number of people chose to take the very well received stock unit further through modification (whether through the factory options or their own doing). The idea was that they wanted more or something different from the sound of the original unit. Fair game, in a way that is part of the hobby and can be very enjoyable, whether you're swapping tubes, caps, wiring, or whatever else can alter the sound.
What is somewhat amusing to me is that some people want tone controls (bass, treble, etc.) on the tone control itself. I guess a little is not enough in those cases. |
With Ralph's assistance I'm tweaking the S-30 so that it will be even further optimized with the Lightspeed for single ended use and my Otari reel-to-reel running direct for balanced use.
Pubul57, sorry to see you sold the Joule, I know how much you liked it. If the Lightspeed is that good that you could let the Joule go, then that is saying something. |
Clio9, could you share what those Atma sphere tweaks are?
Tompoodie No. Please contact Ralph directly. The tweaks may not be applicable to you and your system. Only Ralph can tell you that. As for a switch box, Decware makes a nice one. I just unplug my cables. Guess I'm a barbarian. The price you pay for the best (IMO) sound. Are you, or could you, consider making a fully balanced version with some sort of remote volume function?
Koestner LOL. Been down that road with George, except the remote part. It's hard enough matching LDRs for the single ended version let alone what it would take to match them for a balanced version. Not too mention according to George it might not sound as good or be as reliable as the single ended version. Let's bear in mind that the reason the Lightspeed is so good is its simplicity. Adding inputs, remote, balanced design, etc. just complicates things. George addresses all this in detail on the DIY.com site where he has been gracious enough to share loads of information. If anyone wants a balanced version I mentioned in a previous post on this thread that George (or I if you email me) will send you a schematic. You could build one or have one built. There is a site (forgot the name but I think its mentioned in this thread) where you can get matched LDRs, and possibly a completed board, leaving you with just the hardware to sort out. |
Tompoodie,
Music Reference RM-10 + Lightspeed Attenutor = Depends
Don't forget to get a box of those as well before listening to this combination. This is one of the most enjoyable amp/preamp combos I have ever experienced.
BTW - Roger has a few RM-10 MkII amps left at the $1450 price. A great deal only bettered by being able to find one used in near new condition. |
Will it work well on speakers that are 87 db efficient like Soundlab speakers and other ESL's? I say this assuming the amps are very powerful and the spec criteria mentioned by the poster are meet by the source unit and amps.
Grannyring I don't see why not, but I'll let George address this. I thought I recalled a conversation where the Lightspeed was being used in a system with Maggies. However, my own personal opinion would be that the amp driving the speakers and the synergy between the two would be the more appropriate matching criteria when determining this since the spec criteria (source output voltage and output impedance/amp input impedance and sensitivity) is met. Last, this LS volume pot has no sound of it's own so I assume you hear the amp speaker combo and it's particular sonic signature and synergy? If so, an active preamp may well act like the hub or heart of a system bringing everything together the way the owner likes. Perhaps the speaker/amp synergy is just a little shy of perfect to the owners ears, thus the active pre is the crowning jewel or the cherry on top.
Grannyring As I said previously, an active preamp is a tone control, or in some systems a band aid. |
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I also feel the need to share this story, because it offers a bit of a different use case for the Lightspeed.
My speakers are Audiokinesis Jazz Modules. They are a 92db efficient 12 ohm design with a smooth impedance curve. Very easy speakers to drive. I've used a 225 rated TRL D-225 amp (tests out closer to 300 watts as you know Bill) with it, as well as some lower powered amps. The designer, Duke LeJeune, voiced the speakers to an extent with the Atma-Sphere S-30 amp. While the amps input impedance is 100k (single ended) or 200k (balanced) ohms, the input sensitivity is only 2.83V. This figure is not usually what one, including myself, would consider passive friendly. Since I wanted to hear this combo for its synergy I asked Ralph Karsten, the amps designer (who has heard the Lightspeed), if the single ended Lightspeed and another balanced passive unit I'm going to test out would work well with the amp.
Ralph responded that I was making too much out of the volume control issue. My CD players output was more than enough on its own to drive the amp, basically validating a comment George just made (I was able to run my Otari MX-5050 BII reel-to-reel into the S-30 amps using the decks volume control and there was plenty of drive). In fact Ralph feels the further around the volume control you can get on a passive (closest to wide open) and achieve your optimal listening SPL, the better. With my very sensitive amps I get anywhere from 10 o'clock to 12 o'clock. With the S-30, I can push it a bit further, 1 o'clock or so. I can say it sounded wonderful.
Ralph recommends using an active preamp with his amps but it is important to note that his designs support the 600 ohm balanced standard (pro audio). Not all balanced active preamps support this standard. Of course Atma-Sphere preamps do. The benefit of the 600 ohm standard is that it takes the balanced cable out of the equation. Otherwise, based on my experience, when using appropriate cable lengths, there should be no reason why a passive preamp wouldn't work with less sensitive amps, assuming the other spec criteria are met. |
Pubul57, what is the active preamp "conditioning"? Are you referring to the preamp being some type of noise filter? |
And don't forget all interconnects and speaker cabling have some resistance this should be added to the input impedance of the load, this is why one should not use hair thin cabling as it has more resistance and adds the load resistance.
Georgelofi What type of cabling should one use (or do you use) in terms of gauge? Is there a preference over stranded versus solid core. Would cabling like Mogami or Belden suffice? These typically have low LCR specs. |
Zendent7,
He's been posting here of late so I doubt he is on vacation. I suspect your email may be getting caught in a spam filter. George usually responds to emails within a day or two.
I bought mine from George using PayPal. I don't think he takes credit cards. Let's hope he sees your posts here and can contact you through the Audiogon system.
Be patient, it's worth the wait. |
I heard a Redgum integrated recently, it sounded quite good and was well built. |
Hopefully will have it in a few weeks. Ed Schilling at the Horn Shoppe builds them one by one and he has a bit of a back log right now. I'll probably start a new thread at some point in the future to provide some feedback and comparisons. |
Clipsal, what were the other components in the system in which you heard the shoot out?
The B1 is an excellent product. Nelson Pass also has published schematics for his own version of the Lightspeed. My take on his development of the B1 is that through the use of an active buffer stage the preamp matches up much better to the low input impedance First Watt amps he designs. |
Why doesn't this link show up in the forum section any longer? I had to do a search to find it. |
We're back, thanks Audiogon support. |
What I am most curious about is how well The Truth preamp will drive the S-30. The LSA does drive it well, but I'd like to hear if The Truth will improve upon dynamics. The bandwidth measurements are off the charts with the Truth and the output impedance is a constant 2 ohms. Apparently the input impedance is too high to measure.
No risk to try it so we'll see. |
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I just started running the Lightspeed off a battery power supply. It is the same batter power supply used by Galibier Designs to power their turntable motors (Sears Diehard Portable Power 750), 12V DC and 12aH. Thom Mackris made me the appropriate adapter cable (mine needed to be center pin negative). I've been listening for a bit now and so far I like what I hear. |
Mine was made center pin negative because the wall wart George recommended was set up this way. For the battery power supply you can find it here: http://www.sears.com/shc/s/p_10153_12605_02871486000PThis will allow the Lightspeed to run much longer than the Lithium Ion George recommended. You will need an adapter cable that plugs into the 12V DC outlet on the unit. Here is an example of one (although they are sold elsewhere too): http://www.minute-man.com/acatalog/Online_Catalog_Cigarette_Ligher_Plugs_and_Sockets_272.htmlYou need to scroll down the page and look for: Power Plug with 2.1mm X 5.5 mm Coaxial Plug with 18 AWG 8' Cord Item: CA205MCIGF8FT18AWG The cost is $5.95 Just make sure it is center pin positive. This battery power supply and the adapter cable are used to power the motor pods of Galibier Design turntables. These aren't inexpensive tables so I trust Thom's choice in parts. Thom procured my cable and wired it for center pin negative. |
If you buy this off the shelf, is it center pin positive by default? If you buy what off the shelf? |
Marqmike: The amp should have greater than 50k input impedance, more is better. Input sensitivity isn't as critical. Typically 1V or so would suffice, but I've run my LSA with an Atma-Sphere S-30 that is nearly 3V sensitive and it works fine. I even tried it by altering the amp to be even less sensitive (nearly 6V) and it was still fine, although I was running out of room to advance the volume control. It is also important that your source output impedance be low, 100 ohms or so, and have enough output voltage to drive the LSA, 2V or more.
As mentioned, you need to worry more about the amp/speaker combo when deciding what components to use with the LSA. Given that the above requirements are met, the LSA is benign in the scheme of things. |
The battery is plug and play. The link to the connectors show several. The one I indicated is the one you want. It is center pin positive. Most are default that way, but you need to be certain as reversing the polarity on yours with a center pin negative connector will damage it. The information for the one I referenced says it is "inside positive" which means center pin positive. Buy this one with the battery and all is plug and play. |
Yes, the sound stage and imaging manipulation that active components and even some cables add to the equation is very evident after listening to a passive preamp in the system. I would agree that the LSA does not have the spatial capabilities of some other active preamps, but I'm fine with that as it does reproduce the music in a truer form.
Hanging out with a recording engineer of late, I have learned that most of what we perceive to be the sound stage created by our systems comes straight from the recording. Room acoustics play another part, as does speaker placement. I myself dislike hearing a drummer whose arms appear to be 8 feet long, or a piano that appears to be 12 feet wide, or a vocalist whose mouth appears to be a 3 foot round oval. Too much for me. I'm not sure who it was that said this, it was a reviewer I think, but the point was that the sound stage should not extend beyond the speakers. I think I might agree with this thinking. Depth and height, as well as space between the performers are another matter though.
I have a couple of compilation discs from Ridge Street Audio that offer excellent recordings where the sound stage is well reproduced. I made some copies for a friend and he commented on the improved depth of the sound stage he heard with these recordings. He seldom hears the same level of depth with other recordings. Goes to show what can happen when the recording engineer is paying attention.
The Truth awaits us... |
I have used the Lightspeed with both MC and MM cartridges. No issues whatsoever. With MC I use 68db gain on my phono stage and the Lightspeed is at about 2 o'clock or so on the dial. With MM I use 42db gain and the Lightspeed is at 11 o'clock or so on the dial.
I have even used the Ligtspeed with an amp whose input sensitivity is nearly 3V. I even doubled the sensitivity to nearly 6V and in both cases the Lightspeed worked fine. at 6V I was pretty far around the dial, but that is what the amp manufacturer recommended having tested a Lightspeed on his own. |
Great sound does not have to cost a lot. Great looks are nice to have, but it doesn't necessarily equate to great sound. Convenience seems to be something many audiophiles want, but a remote or multiple inputs can do more harm than good. Tubes are fun to play with, but can inject noise or colorations.
We get to make our choices and we get to live with the results, for better or worse. |
What was the output of your low MC's? (maybe I screwed something up, I'm a vinyl newbie) Dynavector 20XL low output version rated 0.25mV. However, mine was going into amps whose sensitivity was rated 1V and 0.7V respectively. As for being a vinyl newbie, maybe I'm mistaking you for someone else, or maybe the vinyl set-up listed in your system is a mirage. However, I've been to that pictured location in San Pedro listed on your system page (I think you've moved since then) and bought one of your two Scheu turntables at the time. Having two of those tables, me thinks you're probably not a vinyl newbie, but hey, when it comes to vinyl set-up we all make mistakes. Try again and see. |
I would though argue that a neutral preamp can be mixed with the widest range of sources and amps, which are then left to present their own sonic signatures. That's exactly why I'll only have tubes in the amp and nowhere else in the chain. Too many tubes, too much coloration/artifact (granted other non-tube components such as transistors and op amps can add coloration/artifact, but IMO tubes can be the worst culprits). Not to mention we haven't even discussed cables and as Ralph Karsten so often states, the coloration/artifact added by cables also has to be taken into account. Too bad the Lightspeed couldn't be developed as a balanced version that supported the 600 ohm pro audio standard. Then we could eliminate the cable from the equation as well. |
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I like the idea of blind listening sessions, why are so many audiophiles and reviewers against it, or at least to believe in it as a effective method for assessment? That always seemed odd to me. Yes, it would be a good idea to do such a test absent the knowledge of when one is listening to a particular piece, especially when they have invested themselves in a piece financially and/or emotionally. Most of these tests as conducted today are flawed to some extent. Unfortunately you can't create an accurate enough control environment. That being said I think they are fun and a method by which opinions can be shared and discussed. Not that we're going to get any definitive answers, more likely the usual subjective opinions. One thing that would be nice in the LSA, and most modern preamps, though it might "ruinous" or a least "deleterious", is a scheme for balance control to account for recording mixes, room geometry, and human frailty as we age - not sure how many ears are balanced L/R- perhaps than we would like. Mine technically has a balance control by virtue of it's dual volume controls. I like this feature for all the reasons mentioned above. |
I did not realize that the Concert Fidelity pre was a "passive with balls" also. Not sure what you mean. The CF-080 preamp has a gain stage so technically it can't be a passive. The Si2 preamp which I own and uses the same volume control as the CF-080 is a zero gain device using an active buffer. That could be classified as a passive with balls IMO. IIRC I believe the VRE-1 engages a gain stage when the volume control reaches a certain level. So it too has passive attributes. Quite a nice preamp to boot. For some light reading on the Si2 lineup look here: http://db.audioasylum.com/cgi/m.mpl?forum=hug&n=150154&highlight=Silicon+Arts+Design+clio09&r=I was pleasantly surprised to receive an email from my friend Hajime Sato regarding RMAF and the use of Concert Fidelity gear by Dale Pitcher. It will be interesting to hear with his speakers. |
Straight wire no gain? LSA the watercourse way (sic)? Lead, follow, or get out of the way? Sounds likes the LSA fits the bill;) However, it doesn't fit everyone's preference.
In any event, with the LSA we're not only left with the source-amp-speaker interface, we're left with the recording engineers/musicians preference. I have never heard a preamp that exposed that extra variable into the mix like the LSA.
True to the source? Perhaps... |
The LSA plays the instruments more up front and forward - and I mean all of them! The instruments play on the same plane at the front of the speaker. Some may like this. However, to others it is a lack of 3D perspective or depth. Bill, was this true of every recording or was it recording dependent? I do find with the LSA in my system it exposes the recordings for what they are. Meaning some have a more 3-D sound stage than others. Some are also more immediate in their presentation than others. However, I can't recall one where all instruments are in a flat plane at the front of the speaker. What specific recordings were you listening to? If the recording offers only a forward perspective for all the players, then the Dude reveals that. If the recording is more layered, then the Dude gives that deeper layered presentation. Exactly how it should be with any preamp, active or passive. |
That was Paul's prototype of a battery-powered, solid state pre right? Not a Dude. Out of curiosity, did you ever hear the LSA side to side with that entity? Are you speaking from sonic memory? It was the Pre-1.5 battery powered preamp and no, I never compared it with the LSA. My comment was a blanket comment on all the active preamps that I have heard since I have been exposed to what well designed passive preamps can do in ones system. To me they are all additive (some more so than others), not necessarily in a bad way, as I do enjoy listening to some active preamps. Again, it's my opinion and anyone can feel free to agree or disagree. Perhaps the Dude is different and maybe some day I'll get to hear it for myself and come to my own conclusion. After all I lent my LSA to Bill so he could do exactly that. |
I should know today, but I hope to be going to RMAF. If I attend I will be doing so as an assistant to Hajime Sato in the Concert Fidelity/Silicon Arts Design room. So I will definitely have time to stop by Dale's room as well. Last time I was at RMAF Dale canceled his visit at the last minute, so I never had a chance to meet him. It's something I hope to check off my to do list.
I agree the thread over at the DIY site is a bit winded, but there is a lot of great information about the history and uses of the opto coupler. Nelson Pass even partakes for a bit. In comparison, The Truth preamp I have uses photo cells, but not opto couplers. The idea is basically the same though as attenuation is controlled by an LED that shines light on the resistors. Looks pretty cool in action. |
Either Mogami or Intuitive Design depending on the amp I am using. |
From elsewhere in this thread are some of George's comments: Regarding using the LSA with low sensitive speakers, a question/answer: Grannyring: I have a question for you owners of this exciting volume pot. Will it work well on speakers that are 87 db efficient like Soundlab speakers and other ESL's? I say this assuming the amps are very powerful and the spec criteria mentioned by the poster are meet by the source unit and amps. George: My Martin Logan Monoliths ESL's are around 86db, I am never more than 11 o'clock for very very loud listening. I make it a point of asking customers with low efficiency speaker where the position of the volume control is for good loud level listening, and the worst was 82db speakers and he was still only at 1 to 2 o'clock for loud listening sessions. Regarding system requirements George states: If your source output impedance is less than 200ohm and your poweramp input impedance is more than 47Kohm then the Lightspeed Attenuator is a shoe in, no buffer will sound better. I have read where short interconnects are best suited to the LSA, less than 2m. Grannyring has my LSA right now and is using it with his Sound Lab speakers and Atma-Sphere amps. He's given me positive preliminary thoughts on the sound so perhaps he'll weigh in on this later. I personally have tried the LSA with scenarios that are not as ideal as previously mentioned. For example, an amp with less than 47k ohm input and a digital source with more than 200 ohm output impedance. One thing that never happened in my usage was a change to a 2D sound stage, However, I will add that in my system imaging and sound stage are recording dependent. I also now use battery power for the LSA. There is a difference versus using the stock wall wart, but I can't identify it. However, I will say I prefer the battery power method. Just something about it that sits better with me. |
I have used the LSA with the VAC Auricle Musicblocs, Music Reference RM-10 MkII, and Atma-Sphere S-30. The Atma-Sphere/Audiokinesis combo was the last configuration it was used with. In all three it worked fine. In some weird sort of way I might like it with the S-30 best. It allows me the most use of the volume control. Something Ralph Karsten recommends with most passive designs.
All in all, given the proper matching criteria I think the LSA would feel at home with just about any amp/speaker combo. I don't often pay much mind to what Stereophile says but the fact the LSA even got on their radar is enough of a testimonial IMO. The fact they liked it, well its just hard to ignore the truth sometimes.
Speaking of The Truth, more to come... |
Wonder what Arthur Salvatore would think of it and if it might make his Class A recommended list. He's known to favor a passive approach with the right system and doesn't give a hoot about what something costs when he associates it with a specific class. |
