Well, it's only been a week since I got my LL but I'm really enjoying it so far. Don't see myself ever selling it or the 009, though I also thought that about the LCD-3/LF for quite some time. The only way I'd sell is if I moved to speakers full-time (and with a small kid who needs silence to sleep, that won't be for a while) or if I was traveling so much that I only needed a portable rig.
The brightness/fatigue is still there to some extent, especially with recordings that have a wide dynamic range. I find myself wanting to turn it up during the soft passages, only to be struck by the sharp visceral crack of a snare drum or something similar. But obviously, keeping the volume down and avoiding poorly-mastered recordings help with this problem.
I've been going through my collection trying to hear the subtle distinctions between different masters of the same recording. Over the years, I somehow managed to accumulate 5 versions of Sonny Rollins' "Way Out West" (1988 OJC, 2010 OJC, Analogue Productions, XRCD, and MFSL) and 4 versions of Bill Evans' "Waltz for Debby" (redbook and SACD masters by Analogue Productions, the original Riverside, and the HDtracks Paul Stubblebine 192kHz version). It's fun--and fairly easy--to pick out the different approaches each engineer took, like how what tonality to give to each instrument, and where to place the musicians spatially. The differences between the best recordings tend to be very subtle things like how much dynamic range was captured, or how much bite and texture was given to Sonny's sax, or how much body to Bill Evan's piano.
I suppose I could've heard many of these differences with my LCD-3 setup, but I think it says a lot that I just never felt the urge to see if I could. The LCD-3, as great as it was when I hit the right recording and frame of mind, never quite gave me the same kind of realistic and emotional listening experiences I've had so far with the 009 and LL. The LCD-3 was always a bit too laid-back, polite, unoffensive...which works great for casual listening, but not when I wanted to kick back and only focus on the music.
Of course, the drawback to the extra bit of transparency I get from the 009 is that it's hard to listen to an even greater portion of my music collection. The 009 excels with very well-recorded acoustic, jazz, folk, and classical, and also sounds good with quality hard rock masters (the MFSL master of The Who's "Live at Leeds" is a rockin' fun listen). But it makes average or poorly-mastered recordings sound almost unlistenable, since they either sound flat and compressed or excessively bright. Low-resolution recordings also sounded dull and lifeless on the LCD-3, but I didn't find as many recordings to sound shrill or harsh as I do with the 009.
Of course, I don't have any frame of reference for the LL, since it's the only amp I've heard the 009 on. Does anyone who has heard the LL and at least 1 other amp want to chime in with impressions?