Disclaimer / Financial Interests

None. I must admit though, I tried cajoling a discount out of Alex, but to no avail. That guy’s tough. Must be my bashing of the Christmas tree lighting on the LF, I reckon. Anyway, no discount, so I begrudgingly forked over full retail.
 
 
Preface

Reviewing the LL started off as a somewhat difficult proposition, given that its arrival more or less coincided with that of another component – the Stax SR-009 – and hence I’d have two new unknowns (to these ears, as it were) to evaluate. Add the fact that this would be my first foray into the electrostatic world and you can understand my concerns about properly attributing characteristics to not only each component in part, but the system as a whole. The only helping aspect was that also had a Woo Audio WEE, fed by my Resolution Audio C50 speaker amp, to provide context and help identify traits pertaining to the headphone itself, in an effort to remove such from the amp evaluation.

I had been a happy LF user for about 6 months, having arrived to it through a string of amps that included, in order, Elekit TU-882, SPL Phonitor, Woo Audio WA22, Red Wine Audio Audez’e Edition, Leben CS-300X. None of these amps struck the most pleasing balance to my ears, except the LF, when properly tubed. You can read my LF review here for in-depth notes and why it ended up as my dynamic amp of choice. Headphone wise, I started off with HD 800, then proceeded through the Audez’e chain beginning with LCD-2 rev.1, rev.2 and finally LCD-3 (pre and post RMA)
 
 
Unboxing / Build / Physical

Packaging is top-notch, with foam inserts securely holding the LL in place with generous padding. A much improved job over the LF. The LL arrived without the slightest hint of shipping trauma.

The LL is considerably larger and heftier than the LF. So much so, that I had trouble placing it on the intended shelf in my rack because of its depth – 14”. Since the power connector is centrally located on its rear panel and I have a 3-pole audio rack, the cord interfered with the rear pole and I had to rearrange components so that I could place the LL on the top shelf.

Unlike the LF, which is powder coated, the LL is anodized. I did read Alex’s explanation on the fit and finish of the LF, and, while I had no problem with its respective coating, the LL has a more traditional finish, one that would presumably fit the look and feel of more components. Much to my delight, there are only 2 LEDs on the LL. Much to my chagrin, their colors are mismatched. While both are blue, the power LED has a purplish hue, but the operation indicator below the volume knob is a deeper blue. Nevertheless, they’re only 2, compared to the 11 on the LF. Whew!
 


The casework of the LL also feels sturdier, more mature if you will. It shows it’s no longer a first commercial offering. Likewise for its overall presentation – refreshingly clean and discreet, LED hues notwithstanding – it can comfortably fit with the best. There are a couple issues though, one of them being the rattling of the volume shaft (which disappears once the amp is all warmed up). Alex says this one’s on purpose, given that the actual volume pot is closer to the inputs and the shaft has to cross a forest of heat sinks. Once hot on the inside, due to metal expansion said rattling is no longer an issue. The other issue I found was a rattling of the top of the case against the front panel. However, if your head-fi user name is not Solude and aren’t inclined to use it as a percussion instrument, it likely won’t be an issue for you, just as it isn’t for me. Still, a narrow strip of felt or rubber lining the inside of the top cover where it meets the front panel mount should mitigate this.
 

 
 
Set-up

Source: Resolution Audio Cantata Music Center (USB via Pont Neuf from a Mac Mini, running BitPerfect and iTunes, playing back Apple Lossless files.)
Headphone: Stax SR-009
Cables: Q Audio interconnects, Shunyata Research Venom 3 power cables.
Power: Furman IT Reference 7i Discrete Symmetrical AC Power Isolation
 
In the rack:
 


 
Material used:
 
Patricia Barber / Café Blue, Modern Cool
Bombay Dub Orchestra / eponymous album
Kraftwerk / Techno Pop (remaster from “Der Katalog” german box set)
Peter Gabriel / Secret World Live
Arne Domnerus Group / Jazz at the Pawnshop (K2 HD, 24kt gold disc source)
Emiliana Torrini / Me and Armini
Frank Sinatra / Only the Lonely (The Capitol Years 21-CD UK box set)
 
 
First impression

The LL came with 100 hours, according to Alex. While the sound was rather decent out of the box, it lacked the wow factor I had experienced with the LF, and ultimately came to expect from the LL. The sound stage felt a bit cramped, and vocals a tad warm and pushed forward when compared to the WEE setup. What I did appreciate though was excellent dynamics at all volume levels – since I generally listen to relatively low volume, this aspect was very important to me. In rest, there were no complaints, so I let it burn in over the next few days.
 
 
130 hours

I hadn’t listened to the LL since my first session, so gradual brain adaptation can be ruled out. The LL had underwent a significant leap quality wise, with everything falling exactly into their intended places. The bass is extended and plenty (even for an electrostat), detailed time-domain envelope presentation is unlike I’ve heard before – of note is the opening of “Company” from Patricia Barber’s “Modern Cool”, where the bass drum has very discernible attack on the kick and highly resolved reverb and decay. This opening sequence sounded very tactile on my LF/LCD-3, but never with such degree of reveal, whereas on the WEE combo the bass, while still detailed to a point, didn’t have the extension and quantity of the LL. To reuse the word “tactile,” such is how I perceive vocals through the LL/SR-009 – the most life-like I’ve ever heard short of actually being there. There’s every bit of vibrance, resonance, breath and air that I’d expect from a live performance. On Sinatra's "What's New" from "Only the Lonely", the ending of the second verse ("you haven't changed a bit") conveys tremendous emotion, and the exhaust on the "t" almost makes me picture him breathing it out into the microphone. I haven't heard it rendered this eloquent on any setup hitherto. Highs are very fast and detailed, but not harsh – the rallentando on Bombay Dub Orchestra’s “The Berber of Seville” renders the most detailed cymbal riding I’ve heard of that recording. 
 
 
200 hours
 
The LL is currently burning in. Once it has reached 200 hours, I will update this segment of my review. I would expect it to settle in some more, but in my opinion it has already reached a very high sound quality. 
 

The 200 hour follow-up is part of a larger comparison post, here:

http://www.head-fi.org/t/617082/pairing-notes-cavalli-ll-woo-wa-5-w-wee-first-watt-f1-he6-jade-stax-sr-007-mk-i-sr-009-sr-507-lambda-nova-sig

[size=medium]DISCLAIMERS/FINANCIAL INTERESTS[/size]
 
[size=medium]Unit was purchased at retail price from a dealer. Resolution Audio provided technical information for the purpose of this review, but I only used it where relevant while noting it as such. [/size]
 
 
[size=medium]PREFACE[/size]
 
[size=medium]I wasn’t looking for a new DAC. In fact, I’ve been perfectly happy with my Wyred 4 Sound DAC-2, and loved its performance. It was when I visited my local Leben dealer that I heard the Cantata; he had set it up as a source for the CS-300XS audition. Having brought along material with which I was familiar, I immediately noticed quite a difference in the way it sounded – deeper, wider, more organic, quite analog-like. Intrigued, I asked more about the unit, and took it home for a longer term audition and to put it head-to-head with my DAC-2. It didn’t take long, not even a few hours, to make it clear to me that there was absolutely no way I was going to let this one go. I contacted my dealer, and he ordered me a unit, while being kind enough to let me keep his demo until mine would come in.[/size]
 
 
[size=medium]UNBOXING[/size]
 
[size=medium]I felt a bit deflated when I received the Cantata – I was greeted by a lovely wood crate which to my instincts could only contain some fine Bordeaux, sent to me as a surprise.  Unscrewing the hinged top revealed not some gently dusted bottles, but rather foam inserts swaddling the Cantata itself. At the bottom lay a cardboard box with the manual, cables and remote control. All the contents seem to have endured the shipping process with no apparent issues.[/size]
 
 
[size=medium]BUILD/PHYSICAL/GENERAL[/size]
 
[size=medium]The Cantata is one massive slab of precision-machined aluminum on top, on which all the boards and components are affixed, and a bottom cover made of sheet metal. The aluminum is also acting as a heat sink, and the unit will sound best once it gets uniformly warm. [/size]
 

 
[size=medium]The supplied remote is a cheap plastic number, forgettable but functional. I didn’t even put the batteries in, as I am using the Cantata iOS app to remotely control over WiFi (prerequisite, of course, being that the Cantata is connected to the home network). [/size]
 
[size=medium]In real use it looks visually appealing, with the large dot-matrix display easily readable from across the room at the default medium brightness. There are 3 brightness levels, plus one completely off.[/size]
 
[size=medium][/size]
 
[size=medium]One issue, right out the box, involved the CD transport. The slot-loading transport struggled to properly catch the CD, requiring manual push-in almost to the point of complete insertion (despite the servo actuating much sooner). Resolution Audio was very responsive, and has sent a replacement CD transport for in-field replacement. They also offered to repair the defective one and return to me as a spare (which I declined).  It is reassuring knowing that the company fully stands behind their products.[/size]
 
 
[size=medium]CONNECTIVITY[/size]
 
[size=medium]The Cantata accepts USB (async, 24/192), USB-over-Ethernet (async, 24/96 as of the time of the review), AES, coax and toslink. It also has connectivity to their C50 amplifier, in which case the Cantata will act as the controlling unit.[/size]
 
[size=medium]Outputs are offered both single-ended (RCA) and balanced (XLR). More on these outputs later in this review. [/size]
 
[size=medium]Power is via a 15-amp power cord, with a mains switch also present on the back. Unit standby can be controlled from the front panel.[/size]
 
[size=medium][/size]
 
 
 
[size=medium]NETWORKING[/size]
 
[size=medium]Resolution Audio specifies that the Cantata can be used on a wired network or in a setup involving wireless bridges. My initial configuration included 2 wireless bridges: from the NAS to the router, and from the router to the music playing computer (all wireless-N). From there it was wired Ethernet to the Cantata. This is similar to a diagram published on their site, so I was within design specs. [/size]
 
[size=medium]However, in real life, I experienced a lot of drop-outs and intermittent distortion to the sound. Stopping the playback and then restarting it would generally solve the issue, albeit temporarily. It was so bad, at one point we even considered exchanging the Pont Neuf USB to Ethernet adapter. Being familiar with networking due to my profession, I opted instead to change from wifi bridges to wired LAN in the entire house. Once this was completed, all the issues disappeared. Gone were the dropouts, the distortions. I could go back to actually enjoying the music.[/size]
 
 
[size=medium]ON THE INSIDE[/size]
 
[size=medium]Once the bottom panel is removed, a well-machined shell holds all the components nicely separated, both physically and electrically. Each major module has its own power supply, and the DAC is fully floated.[/size]
 
[size=medium][/size]
 
 
[size=medium]Legend to layout (Steve Huntley of Resolution Audio contributed to the list below):[/size]
 

• [size=medium]SATA connector for transport (modified Pioneer slot load drive)[/size]
• [size=medium]High speed input board (24/192k capable)[/size]
• [size=medium]Digital Signal Processing (DSP) section (computer audio input signals from high speed board are completely isolated with special magnetic isolators)[/size]
• [size=medium]DAC (floated) and analog output section[/size]
• [size=medium]Standby circuit[/size]
• [size=medium]Digital supply transformer[/size]
• [size=medium]Main logic board[/size]
• [size=medium]High speed input board transformer[/size]
• [size=medium]DSP section transformer[/size]
• [size=medium]Analog stage transformer[/size]
• [size=medium]Display module[/size]

 
 
[size=medium]The DAC and output implementation in more detail[/size]
 
[size=medium]When talking with Steve regarding the DAC design, he mentioned their belief that a Burr-Brown 1704 configuration of two per channel, in full differential mode, offered the best sound currently available. By locating the clock in close proximity to the DAC chips, jitter is extremely low and noise is kept off timing lines by careful circuit board design.[/size]
 
[size=medium]The output stage is SMD with a Burr-Brown instrumentation amplifier for current-to-voltage. I would like to point out that instrumentation amplifiers (not to be confused with operational amplifiers) are differential amplifiers with buffered inputs; some of the inherent benefits include low noise and drift, as well as excellent accuracy – another common implementation for instrumentation amplifiers is in testing equipment. Volume control is performed by a Burr-Brown analog control IC (with relay bypass at 100% level), and discrete transistors drivers feed balanced output drivers.[/size]
 
[size=medium]One noteworthy item is that the Cantata has both balanced (XLR) and single-ended outputs (RCA), which are independently buffered and hence can be used at the same time without degrading overall output quality. In my particular case this came in rather handy, as I have my headphone amplifier connected to the RCAs and a speaker amp to the XLRs.[/size]
 
 
[size=medium]SET-UP[/size]
 
[size=medium]NAS > Mac Mini (BitPerfect and/or Amarra, 16/44 Apple Lossless) > Resolution Audio Pont Neuf USB to Ethernet adapter > Wired Cat 5e LAN > Resolution Audio Cantata Music Center > Wireworld Eclipse 6 RCA Interconnects (1 meter) > Cavalli Audio Liquid Fire (Siemens E88CC gold pin) > Q Audio headphone cable (9 ft.) > Audez’e LCD-2 Rev. 2. (and for the last impressions section, LCD-3)[/size]
 
[size=medium]All applicable power cables were Shunyata Research Venom 3 (1.5 meters), plugged into a Furman IT-Reference discrete symmetrical AC power isolation. I’m not a big believer in aftermarket power cables, but I listed them in case they help provide further context.[/size]
 
[size=medium]Albums used:[/size]
 
[size=medium]Domnerus Group / Jazz at the Pawnshop – K2 HD Mastering, 24k gold Ultimate Disc Collector’s Edition[/size]
[size=medium]Diana Krall / All for You[/size]
[size=medium]Pink Floyd  / Delicate Sound of Thunder[/size]
[size=medium]Emiliana Torrini / Me And Armini[/size]
[size=medium]Gino Vannelli / Powerful People[/size]
[size=medium]Diana Krall / Stepping Out[/size]
[size=medium]Patricia Barber / Modern Cool[/size]
 
 
[size=medium]FIRST IMPRESSION[/size]
 
[size=medium]This is no regular CD transport; the drive is connected via SATA and the CD is buffered into memory as needed. The memory data is then error-checked, clocked, and passed on to the DAC. This means that once a CD is inserted, playback doesn’t start as quickly or silently as on a regular player. However, once the initial buffer is loaded, playback is very quiet and responsive. [/size]
 
[size=medium]The immediate reaction to the sound quality, to whomever I showed the Cantata, was that it was smooth, analog-like in a big way. Bass was deeper and tighter than on the Wyred DAC-2, and the overall sound envelope had a very detailed presentation.[/size]
 
 
[size=medium]36-HOUR FOLLOW-UP[/size]
 
[size=medium]The Cantata is not a device with a noticeable burn-in progress. In fact, the most noticeable change is from cold to uniformly warm to the touch at the top, which generally occurs within 30 minutes. Once I became aware of this aspect, I did all critical listening after about 1 hour of warm-up. Don’t get me wrong, it sounds excellent right off standby, but it gets that special character after it becomes ever so slightly warm. The immediate thing that comes to mind is a swirling glass nicely cupped in one’s hands holding some fine cognac. Akin to the spirit releasing aroma once warmed up, the Cantata rendered some of the finest mids I’ve ever heard. Matched with the Liquid Fire amp and the LCD-2, attack had an unmistakable punch, cymbals were crisp and clean, while vocals were textured yet lush in the finest way. [/size]
 
[size=medium]Of note: Emiliana Torrini’s “Birds” from “Me and Armini” had an inaudible but vibrant thump, some of the deppest vibrations I’ve heard on a recording. The Wyred DAC-2 rendered it just as plenty, but by a hair perhaps the Cantata beat it in terms of timing. Patricia Barber’s “Constantinople” from “Modern Cool” had very good transient response, rich and fast rendering of upright bass bowing. “Light my Fire” from the same album showcased her lower register singing in a velvety-smooth way, with just the right amount of grit. Think Mollydooker’s Carnival of Love Shiraz, 2005 vintage, if you’ve had it, but in terms of vocals. Lovely.[/size]
 
 
[size=medium]48-HOUR FOLLOW-UP[/size]
 
[size=medium]Not very much has changed, so I’m passing this step with a note to give it some more time.[/size]
 
 
[size=medium]150-HOUR FOLLOW-UP[/size]
 
[size=medium]The sound has settled in by now, though the difference is nowhere near how the Wyred DAC-2 sounded after 150 hours – its improvement was dramatic. Everything is a bit clearer, wider and deeper.[/size]
 
[size=medium]Having received my Audez’e LCD-3 phones, subsequent notes reflect this particular model. [/size]
[size=medium]The presentation has a three-dimensionality to it that has to be heard. Mere words don’t do it justice, and I struggle to find the proper way to convey the feeling without sounding like a marketing machine for Resolution. The instrument separation and placement are simply outstanding, and the timing of the sound envelope is about as fast as I’ve heard. Attacks are crisp and textured, not at all merged acoustically, and decay fades into a very black background. Of note in this regard is the ending of Gino Vannelli’s “Lady” from “Powerful People”.[/size]
 
[size=medium]One very positive aspect of the Cantata is the ability to combine surgical precision with a fluid, organic sound. Yes, it does present details quickly and accurately, but never at the expense of losing sight of the musical whole. On Pink Floyd’s “Shine on You Crazy Diamond” (opening song from “Delicate Sound of Thunder”), the cascade of chimes was about the most detailed and with the greatest separation that I’ve ever heard. Adding weight is the fact that their level is rather low and yet they were resolved properly against the rest of the material. The song is much layered and I’ve clearly heard detail that was at best obfuscated and at worst not noticeable when playing on my previous setup. On the same album, the beginning of “Learning to Fly” had very tight and precise rumble and bottom, despite the whole album not being what I consider a recording of great quality. [/size]
[size=medium]Diana Krall’s “Jimmie” from “Stepping out” has my reference bowed cello sound, and the Cantata didn’t disappoint in presenting it with life-like detail. The drum entrance had crisp attack and a delicious body.[/size]
 
 
[size=medium]DIRECT COMPARISON WITH WYRED 4 SOUND DAC-2[/size]
 
[size=medium]I realize this is a bit apples-to-oranges, given the significant price difference, but in my opinion the DAC-2 is just a fantastic DAC and can easily play in a league above its price point. Besides, I’ve owned it for quite a while and am thus very familiar with it. The Cantata improves over the DAC-2 by a very noticeable but not dramatic margin; the law of diminishing returns is in full force sound-wise, and as far as features are concerned, it’s a toss-up as outlined below:[/size]
 
[size=medium]Feature advantage of the DAC-2 over the Cantata[/size]
 

• [size=medium]More inputs[/size]
• [size=medium]Configurable DAC parameters[/size]
• [size=medium]Small footprint[/size]
• [size=medium]Can stack other components on top of the unit[/size]
• [size=medium]Price[/size]

 
[size=medium]Feature advantage of the Cantata over the DAC-2[/size]
 

• [size=medium]Can act as a USB DAC regardless of distance (still within Ethernet cable run specs), as long as it’s on the same network as the USB-to-Ethernet adapter. [/size]
• [size=medium]Has a built-in CD transport[/size]
• [size=medium]Can use both RCA and XLR outputs at the same time without sound quality degradation[/size]
• [size=medium]Has a remote control iOS app[/size]

 
 
[size=medium]WRAP-UP[/size]
 
[size=medium]The Cantata Music Center offers a very elegant file-based music solution, as the USB-over-Ethernet implementation allows the computer playing music to be located in another room (in my case, it’s on another floor altogether). Thus, the listening environment can be entirely devoid of computer-related noise (fans, or, in case a hard drive is used as opposed to SSD, disk access clicks). If said computer happens to be an apple product, iTunes can be controlled from an iPad acting as not only a remote, but also to display album art and track progress. Add to this a sleuth of Internet Radio stations and one has a limitless music library in a minimalist and visually elegant set up in the listening room.[/size]
 
[size=medium]Is the Cantata system worth its asking price of around $6.5k? There certainly are other well-respected DACs that can be had in this range, such as Weiss, Berkeley Alpha et al. I haven’t heard the Berkeley, but have auditioned a Weiss DAC202 and while its output was superb, to my ears the Cantata offered a more organic presentation. Again, we’re talking about minute differences in the direction of presentation; none of these DACs can be said to sound worse than the other. It’s one’s Pauillac to another one’s Margaux.[/size]

[size=medium]DISCLAIMERS/FINANCIAL INTERESTS[/size]
 
[size=medium]None. Unit was purchased at close to full retail price from a dealer.[/size]
 
 
[size=medium]PREFACE[/size]
 
[size=medium]I am not a reviewer per se. Many a member on these forums is able to articulate the substance of a device much better than I. I don’t even enjoy testing equipment, taking notes, making sense of it all. All I want is the best sound within my budget, and then move on actually enjoying the music. My target amps were Woo Audio WA22, Red Wine Audio Audez’e Edition, Cavalli Audio Liquid Fire and Leben CS-300XS. Since there weren’t too many direct comparisons between these, I realized the only way for me to put this issue to rest was to get two of each at a time, dispose of the lesser and proceed with the next until all of them have been auditioned.[/size]
 
[size=medium]For all the amps tested, premium tubes were used for critical listening.[/size]
 
 
[size=medium]UNBOXING[/size]
 
[size=medium]The amp came single-boxed with decent, but not the best padding known to this member. I have no reason to believe it to be deficient, as the amp arrived unscathed. But then again, the box did not appear to have been dropped by UPS like others before it, in order to objectively ascertain the shock absorbency of the packaging. [/size]
 
 
[size=medium]BUILD/PHYSICAL[/size]
 
[size=medium]I knew, based on the specs I had read, to expect a unit of diminutive proportions. However, in real life it sizes just right; not too large and not too small. Venting is plenty, and, seeing how this amp runs rather hot, is certainly needed. Cavalli Audio recommends at least 6 inches of clearance. A very thoughtful aspect was the inclusion of a fitted dust cover, in light of said venting of the top plate, and a dummy ¼” load for burning in the amplifier.[/size]
 
 
[size=medium]SET-UP[/size]
 
[size=medium]Olive O4HD music server (16/44 FLAC) > Wireworld Supernova 6 TOSLINK (1 meter) > Wyred 4 Sound DAC-2 > Wireworld Eclipse 6 RCA Interconnects (1 meter) > Cavalli Audio Liquid Fire > Q Audio headphone cable (9 ft.) > Audez’e LCD-2 Rev. 2.[/size]
 
[size=medium]All applicable power cables were Shunyata Research Venom 3 (1.5 meters), plugged into a 1,000 VA CyberPower Pure Sine UPS. I’m not a big believer in aftermarket power cables, but I listed them in case they help provide further context.[/size]
 
[size=medium]Tubes used in the LF for this review are a matched quad NOS Siemens gold pin (W. Germany)[/size]
 
[size=medium]Albums used:[/size]

• [size=medium]Domnerus Group / Jazz at the Pawnshop – K2 HD Mastering, 24k gold Ultimate Disc Collector’s Edition[/size]
• [size=medium]Diana Krall / All for You [/size]
• [size=medium]Kraftwerk / Techno Pop – remaster from “Der Katalog” german box set[/size]
• [size=medium]Emiliana Torrini / Me And Armini [/size]
• [size=medium]Gino Vannelli / Powerful People[/size]

 
 
[size=medium]FIRST IMPRESSION[/size]
 
[size=medium]At first sight I wasn’t overly attracted to the way it looked; even less so once I turned it on and counted eleven (11) LEDs on the unit – 8 internal, and three external. I can certainly appreciate the role of visual feedback for function confirmation, etc., but I found 11 to be a bit overkill. Ghastly was a word that came to mind at that time. The external LEDs came across as offensive in their brightness as they had transcended their intended functionality as visual feedback devices and started acting as miniature light projectors. I have less bright nightlights, let put it this way.[/size]
 
[size=medium]Then I recalled how this amp is the first commercial venture of a well-respected DIY architect, and all started to make sense, given my background in programming – debug. The internal LEDs serve as indicators for things such as triode matching, the front panel LEDs annunciate the status of the output circuitry, etc. Again, valuable debug information to a tinkerer. Seeing how I’m not one, I came to understand why it was done this way and to try and live with it. [/size]
 
[size=medium]With 6 Phillips screws at the bottom of the unit to remove in order to gain access to the tubes, the Liquid Fire is not the easiest for tube rolling; that distinction would have to go to Woo Audio’s WA22. Since I do not yet have the Leben, I cannot comment on that one for now. [/size]
 
[size=medium]Let me emphasize the location of the screws on the Liquid Fire: at the bottom of the unit - while the Red Wine Audio Audez’e Edition also requires the removal of 6 screws for tube access, they are located on the sides, thus increasing the risk of cosmetic blemishes should the screwdriver slip. With the Liquid Fire, this risk is somewhat mitigated from a strictly visual point.[/size]
 
[size=medium]Aurally, the amp sounded competent right off the box. After all, it had already been burned in for 50 hours at the factory. I placed it more or less in the neighborhood of the Red Wine Audio Audez’e Edition, which is to say good, if a bit on the clinical side.[/size]
 
[size=medium]There was nothing offensive in the sound output; bass was present but still left me wanting for more, mids were smooth, nevertheless veiled to a degree, whereas the highs, while not harsh, could have used a bit of refinement. This wine needed to breathe a little more, pondered I.[/size]
 
 
[size=medium]36-HOUR FOLLOW-UP[/size]
 
[size=medium]By now the Siemens tubes have benefited from some burn-in time as well, and everything started to come into a very promising synergy – the soundstage became discernibly wider and deeper, the bass shipment had just arrived but still needed to clear customs – I could hear it coming but wasn’t here quite yet. Highs, on the other hand, had graduated and cymbals started to sound like they should.[/size]
 
[size=medium]48-HOUR FOLLOW-UP[/size]
 
[size=medium]This amp has definitely grown on me.[/size]
 
[size=medium]Visually, all the complaints have vanished. Just like a rash one tries to not scratch and eventually goes away, I am no longer bothered by the LEDs. Either this, or my retinas developed dead pixels where the LEDs had shone.[/size]
 
[size=medium]The aural presentation is constantly evolving, maturing slowly in an utterly positive direction. Everything is becoming clearer, tighter and better sounding.[/size]
 
[size=medium]96-HOUR FOLLOW-UP[/size]
 
[size=medium]The velvety presentation of the tube input stage is nothing short of dramatic, the solid state stage outputting it with mathematical precision. All of the sudden, the meaning of Cavalli’s logo (Yin-Yang of tube and solid state) became all-too-evident.[/size]
 
[size=medium]On Emiliana Torrini’s “Birds” the LCD-2 rendered sub-sonic vibrations. At least these ears couldn’t “hear”, only “feel” vibrations. I’ve never experienced this before, and at first I thought there was something wrong.[/size]
 
[size=medium]“Jazz at the Pawnshop” sounded stellar, as expected. Of note is that it sounded very similar to the Red Wine Audio Audez’e Edition, with only a touch less highs. If anything, it had a more euphonic rendition of the material.[/size]
 
[size=medium]Kraftwerk’s “Musique Non Stop” was rendered with an effortless transition from punchy percussion to minute background detail. Nothing was lost in the process, and nothing was relegated to the background by virtue of levels difference.[/size]
 
[size=medium]Diana Krall’s “Boulevard of Broken Dreams” retained all the intricate aspects of her voice, just like a tube amp should, the piano was superbly rendered, and the minute amount of overdrive on the guitar was faithfully reproduced.[/size]
 
[size=medium]The organ sound on Gino Vannelli’s “Lady” retained its signature sound, a subdued creaminess I could only hear on tube amps.[/size]
 
 
[size=medium]CONCLUSION[/size]
 
[size=medium]My enthrallment with the Liquid Fire is a bit ironic, actually. While I do maintain an open mind before listening to anything, in the back of my mind getting the Liquid Fire was mostly for the purpose of ruling it out. Yet, it came out on top, compared to the amps tested thus far: Woo Audio’s WA22 and Red Wine Audio Audez’e Edition.[/size]
 
[size=medium]My WA22 was used in a balanced configuration, with top-notch tubes (think TS BGRP et al) and was bested by the Liquid Fire hands-down in the speed, precision and extension departments. The WA22 excels at smoothing over shortcomings in the recording material – its lush sound will make it a pleasure to listen to almost anything through it.[/size]
 
[size=medium]The RWA AE, for which I had high hopes, ended up last on my preference list not because it lacks quality, but mostly because it pulls no punches in regards to exposing weaknesses in the source material. The RWA AE has fabulous dynamics, great bass, clean and crisp mids, some of the best highs I’ve heard on the LCD-2…. as long as your source material is up for that. With average material it just sounds average.[/size]
 
[size=medium]The Liquid Fire does everything just right – though a bit, and I mean a tiny, barely-there sliver of difference less stellar than the RWA AE on exceptional source material, it is the better of it with everything else. The sound has just the proper amount of tube lushness, just the right amount of solid state precision and detail, and just the right amount of glossing over sonic blemishes.[/size]
 
 
[size=medium]120 HOURS FOLLOW-UP[/size]
 
[size=medium]The LF seems to have stabilized; that is to say the rate of change in substance has slowed down beyond my ability to reasonably detect one. It had been about time, too, having been served quite a curve ball almost one week to date. Let me explain - as you may or may not recall, I was on an obsessively compulsive trip to find the best sound for my LCD-2, and have identified the following candidates within my financial reach: Woo Audio WA22, Red Wine Audio Audez'e Edition, Cavalli Audio Liquid Fire, and last but not least the Leben CS-300XS.[/size]
 
[size=medium]As luck would have it, my Leben dealer was quite local, so I went in person to pick it up. While at the dealer, he demoed the Leben using a player previously unknown to me - the Resolution Audio Cantata. I was instantly smitten by the way it sounded; to my ears it was the closest to analog that I've ever heard digital sound. Confused and further annoyed, I took his demo unit home to audition it using my own setup. That is to say, A/B-ing with the Wyred 4 Sound DAC-2, with which I was absolutely enthralled. The DAC-2 was hitherto a perfect match to my Liquid Fire; it had a fluid, organic sound, yet detailed, that it was an astounding pleasure to listen to it. That is to say, until I connected the Cantata. It was an amazing revelation to pair it with the Liquid Fire. The sound took on a whole different dimension. I knew the Liquid Fire was a great amplifier, having won out of the 4 models I had tested; nothing, however, prepared me for the sound it pushed through my phones as converted by the Cantata. The accuracy and impeccable timing of transients were the best these ears had heard. The bass was further extended from where the DAC-2 had left off, while somehow presenting it fuller and clearer at the same time. This is not intended to be a review of the Cantata; that one is in the works and will be posted within a week or so.[/size]
 
[size=medium]I wanted to chime back in this thread once the LF had stabilized. Even with the DAC-2 right before the changeover to the Cantata, the sound became holographic in a sense; I could easily distinguish minute details in the farthest depths of the soundstage. Speaking of soundstage, it is about the widest I've heard on the LCD-2. The bass was the deepest and best defined of all the 4 amps I had auditioned; mids remained a bit flat compared to the WA22, but very natural nonetheless. Highs are plenty, accurate and not in the least harsh. All in all, it retains the best performance to my preference - deep, natural bass, neutral mids, pleasant highs, without losing any bit of detail. It is one very fast amplifier that somehow still manages to capture the euphonic tonality of vacuum tubes. On Diana Krall's "Jimmy" from "Stepping Out", I had the closest-to-being-there experience of my life. Beginning with the most accurate rendition of a violoncello, where I could hear the sound of the rosin traveling across the strings as it was bowed, the sound of the bow as it stopped and reversed travel direction, the secondary vibration of the strings along the fingerboard, all the way to the visceral kick of the drum, the plucks of the bass, it was surreal. The piano had a surgical precision to its attack... I could go on and on.[/size]