Lightspeed Attenuator - Best Preamp Ever?

Teajay, I get the problem now. You aren't carefully reading the posts here .

I didn't say you were being nefarious. Re-read my post. "Nefarious" was related to George's "defense".

And you are still implying that George is marketing his wares, "difference between someone like Nelson Pass who gives things away to the DIY community but does not use Audiogon threads to market his wares..."

As I said before, you haven't given one example of George, "marketing his wares". You just keep twisting words to try to defend your position.

And when did I ever imply you were an SOB? More twisting of words.

And talk about being silly. You clearly know that when I said, "that George has given it all away", that I was talking about his IP. I even used "IP" and "design" in my posts. I think it is clear who is being disingenuous here.

"Gee whiz, guys lighten up."

Take a little of your own advice. Had you not accused George of "selling" here in the first place (once again, without one example to back the charge up) we wouldn't be having this conversation.

And BTW, George isn't a friend or hero. I've never met the man, seen the man or even talked to the man. I simply don't like to see people falsely accused without one speck of evidence being provided to back up the claim.

And I agree it is unfortunate that this thread got sidetracked from the OP's question which was offered with a lot of caveats:

"So is this the best preamp ever? It might be if you have a single source (though you could use a switch box), your source is 2v or higher, your IC from pre-amp to amp is less than 2m to keep capaitance low, your amp is 5kohm input or higher (most any tube amp), and your amp is relatively sensitive (1v input sensitivity or lower v would be just right). In other words, within a passive friendly system (you do have to give this some thought), this is the finest passive preamp I have ever heard, and I have has many ranging form resistor-based to TVCs and AVCs."

Knowing Terry as I do, I suspect it was not his intention to falsely accuse anyone, though it may have come off that way a bit, one could also feel George comes on strong in support of his product, because he does - he is a true believer, but I don't get the sense he's motivated by "making a killing".

It is also frustrating to have the "impedance mismatch" thrown out as reason why you might prefer a $$$$ line stage, but some times that is true, and some times it is just a preference for a certain kind of sound. Terry is certainly open to passives, he (and Roger Modjeski and Anthony - Clio9) is the one who took me in this direction, so I don't think he has any bias towards passives, though he had a TVC and Buffered passive which would have addressed impedance matching. He then moved on to a series of tubed linestages that he preferred, and he listens to a lot of good gear.

Now, in my system I happen to prefer the passive to the actives I have owned (I won't list them:)) - but I suspect, but don't know, that the fact I use a tube amp is one of the reasons. When it comes down to it we like what we like, and we all hear a bit differently and listen for different things. But, I still like the "theory" behind a passive that minimally alters what was recorded (even though the recording itself is an artifact of the microphones used, and the electronics used in the recording chain - that "manipulation" is at least in the recording engineers hands and part of the creative process) - none of this is live or "absolute" afterall.

On the subject of shilling, I never mind a manufacturer promoting his ideas as long as it is clear he is the manufacturer. We know where they are coming from and they are subjecting their view to public examination and comment (and criticism) - nothing is hidden. I do mind dealers for a product not identifying themselves. Relatives or friends of the designer not revealing that relationship. Or even folks that defend a product they happen to own and make claims for that product that they don't quite believe but knowing one day they will have to sell that product on AGON - wouldn't be prudent to say anything negative about the product till it is out of their hands. I am none of the above, I simply think the LSA in the right system is awfully good, and a great value.

Nelson Pass does not need to come on AGON, he has 10,000s of very satisfied customers with some of the best gear on the ever made to speak for him. He saves himself for the DIY community, as did George. My feeling is George believes in his product and is excited to see that some folks have discovered his product and like it as much as he does - hard not to find some satisfaction in that.

"best gear on the planet..." I meant to say.

Ok, please don’t yell at me Fiddler. Please read George’s post below. Seems pretty clear he is saying it is the most accurate means to hearing recorded music. He implies this on his LSA vs all other attempts at a preamp. He has said this same thing in several other posts here. I have no problem with him thinking this or saying it, I just don’t agree and want to voice my opinion.

“the Lightspeed Attenuator (LSA) as you guys have nick named it, is the closest you will get to playing music that's truest to the source (cdp, phono ect), and the truest way to hear the way the recording engineers wanted you to hear how they have recorded the music.

12-31-10: Georgelofi
You are right guys the Lightspeed Attenuator (LSA) as you guys have nick named it, is the closest you will get to playing music that's truest to the source (cdp, phono ect), and the truest way to hear the way the recording engineers wanted you to hear how they have recorded the music.
As it adds nothing and subtracts nothing, like I say it is like you have plugged the (cdp or phono ect) directly into the poweramps input, no preamps at all in the signal path, yet still maintain control over the level (volume).
I accept that for some listeners it's preferable to have the added ambience, echo (if you have microphonic tubes). Also the tonal changes, because all active components have their own signature, even different brand potentiometers (Alps, Bournes, Penny&Giles ect)) sound different, compared to a direct (source to poweramp connection) gives, maybe to their ears this is preferable.
But the Lightspeed Attenuator is all about listening to the source nothing added nothing subtracted warts and all.

. . . now that that school yard bickering is finished ;) let's get back to the topic of the Lightspeed and its performance . . .

I took posession of my Lightspeed last week and have only about 5hours on it thus far. Last night I was listening to Bobby McFerrin's latest CD which is a spectacular vocal potpori of harmonies, complex arrangements and some rather interesting African tribal chants and rythmns. I got goose bumps listening to it and for the first time those goose bumps migrated down my body to my legs - wow, what a sonic affect and physical sensation.

Now considering that I am using an old Sony 5 disc carosel CD player and that my room treatments were in disaray due to some current reno's I'm doing, I would hazard to guess that these sub-optimal conditions that didn't exist when I used to use my Audio Aero Capitole MKII SE CD/Pre speak volumes to the excellent quality of the Lightspeed.

Of course you could argue that with so many different variables that it's next to impossible to isolate the sonic goose bumps to the Lightspeed alone, and of course you'd be correct. However, I'm pretty sure the Sony's sonic quality isn't as good as the Capitole so what I heard was an improvement, plain and simple.

Congrats George!

Kevin