Eminent Technology LFT-8b in Harry's system


I recently signed up for the V.P.I. Industries newsletter, and today received my first such. In it, Harry Weisfeld reviews a Grado phono cartridge, but this post concerns one of the speakers he listed as being those he uses to listen to music and evaluate recordings through. All but one are traditional dynamic cones/domes in a box designs, only one being a planar/dipole. That planar is the Eminent Technology LFT-8b. I'm pretty sure Harry could, if he so chose, have instead as his sole planar a pair of $6000 Magneplanar MG 3.7i's, or even $14,000 20.7's. But nope, he instead chose the $2500 ET LFT-8b, imo the greatest value in a loudspeaker on the market. I compared it to the 1.7i, and the difference was dramatic.
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Well not to hijack the thread but this has me thinking. Anyone have experience pairing the LFT-8b with low power SET amps like my Art Audio Jota? The Jota is famous for being able to power relatively inefficient speakers (something to do with its big output trannies), and the LFT-8b's appear to work well with lower watt amps (my HC Jota puts out 24 tops I believe). But maybe this is asking too much? As it happens the same 2.5k could buy me upgraded wiring in my speakers (Devore Silverbacks), or a new set of LFT-8b's. 
I really don't want to rain on anyone's parade but like every speaker I have tried, the LFT-8B have a few flaws and they can be quite intrusive.  I had them paired to my Belles 150a amp.  The bass from the woofer was never quite right in my room.  Way to under-damped and boomy.  The other issue was the panel itself.  They are supposed to be crossed over at 180 Hz but I wished that wasn't the case because at moderate volume, with bass heavy stuff (think Patricia Barber), the panel would distort, panel slap is what I have heard it called.  So, they are nice, very nice for classical but not up to the reference quality some people here claim.  I liked my Martin Logans I got after that a little more.
  
What? The LFT-8b’s aren’t perfect?! I like my Quads (original 57's) and Magneplanar Tympani-IV's more than the LFT's in some ways, but that's not the point of the post.
As I understand it, Roger Modjeski was definitely "around" Harold Beveridge, and if anything he may have had a hand in the design of the amplifiers or maybe just building them.  But Beveridge was the guiding genius behind the whole ensemble, and I do think his work merits the appellation, "genius".  Like the work of many other geniuses, his work had a few minor flaws, like a weak bass amplifier and under-specified woofers, for the 2SW model that I own.  His first loves were the models 1 and 2.  There apparently very few Model 1s ever made, and less than 200 pairs of Model 2s and 2SWs.  The 1s and 2s were full-range.  The 2SW goes down to 100 Hz, and below that you have to supply the woofer.  I use a pair of KEF B139 woofers in transmission lines that I built myself 40 years ago, externally powered by a Threshold 50W class A amp.  There were Models 3 and up, also, but all those speakers are conventional ESLs that require external amplification.

Nice Lew! I'm a fan of the B139 (Dave Wilson is too, using a pair in each WAMM, for mid-bass), and I have a pair of ESS TranStatic I's that use it in a quarter-wave (I think it's called) transmissionline. The  midrange is covered by a KEF B110 5" Bextrene cone, the highs by a trio of those great RTR ESL tweeters, the same ones Bob Fulton used in his Model J. I had a pair of those in '74, for about six months.

I'm dying to hear Modjeski's current Direct-Drive ESL speakers, powered by tube amps of his with no output transformers---the amps driving the ESL's directly (hence their name ;-).