Any impressions from speaker owners? I'm more of a speaker user.
Very interested in placing an order for the LKS soon.
I use speakers as well. One caveat: I have a modified LKS, as I had the DAC shipped to Ric Schultz (EVS Audio) for his modifications before receiving it myself. I recall Ric specifically commenting to me about how much better the bass was post-mod.
I have used the LKS with a Sonore ultraRendu attached, and now use the SOtM 200ultra Neo "trifecta." Yesterday my Sonore ultraDigital arrived and I now have it in the chain as well. Also, last weekend I took it to an acquaintance's house and heard it in a custom theater with a SOtM 200ultra (non-neo version) feeding it and then running through a Marantz AVR. I also got to hear the owner's setup, which features a PS Audio DirectStream DAC instead of the LKS.
I use Roon for playback.
The LKS uses dual ESS Sabre 9038PRO chips. ESS's Sabre chips are often accused of being bright by DIY DAC builders. I would not describe the LKS as "bright" by any means, but it has a significant emphasis on the leading edge of notes, giving it both a "fast" and "hard" feel to it with some recordings. Uncorrected, it causes the timbre of guitars and pianos to tilt up a bit, and uncorrected in the wrong system this could cause listener fatigue in time. Listener fatigue is usually associated with brightness, but that is not the case with the LKS. It's the aggressive attack of the leading edge of notes that may cause fatigue. I have all but eliminated this problem in my system by using Roon's DSP and adding a 1dB bump at 250Hz. For male vocals, I often use a 1dB bump at 125Hz as well. Because of the aggressive leading edge I found the ultraRendu to be an inferior match with the LKS. I read a professional reviewer refer to it as a "hardness in the midrange" when reviewing the ultraRendu. The SOtM is a better match for the LKS, as are Bluesound products.
When I listened at my fellow audio society member's house last weekend the LKS's upward timber tilt was more apparent than with my own system. Piano did not sound nearly as natural in his system than in mine, but again, this was in his custom HT system rather than his reference two-channel system. The PS Audio DirectStream sounded much more natural in his system. Once he placed the ultraDigital in the chain, piano in particular improved immensely without any degradation in any other sonic characteristic, so I purchased an ultraDigital. The benefit is less pronounced in my system, but the ultraDigital does further reduce the aggressive leading edge attack while somehow improving the transparency of recordings, so for its relatively modest price I'll keep it. It bears noting that my findings in this regard are consistent with other users in this thread: LKS fed via I2S is superior to USB even with the Amanero board. Consequently, resale value aside, I recommend those purchasing new get the non-Amanero LKS and invest that money in a USB-I2S converter.
So far I've given you the weakness of the LKS. Frankly, it's the only weakness of the LKS if you want accurate, transparent, detailed reproduction of music. To my knowledge, there are two contenders in this general price range to the LKS: the Benchmark DAC 3 and the Kitsune-tuned Holo DAC. I have not heard the latter, so my assertion that it is a competitor is hearsay. I have heard the Benchmark twice and enjoyed it tremendously both times. It uses a single Sabre 9028 chip. The rep I spoke with from Benchmark said they tried the 9038PRO in R&D and could not get it to sound as natural as the 9028. Indeed, the Benchmark sounds slightly more natural with piano and has a slightly warmer timbre with acoustic guitar than the LKS. However, it isn't quite as transparent or detailed. I think of it as a step toward the sound described by Holo DAC owners, offering a middle ground between the two presentation styles.
The single greatest strength of the LKS is the soundstage. It is simply stunning. Last night, for example, I listened to a live recording in which the lead singer's voice was a full three feet higher than my tweeters. On recordings that somehow throw sound outside the width of the speakers I hear that, too. When I listen to duets, trios, and so forth I can hear exactly where each voice is, and I can hear when a singer moves in relation to the microphone. Each instrument has its own space, in both width and depth. I should note I had to work harder to get my speaker placement right with the LKS than any other piece of equipment I've ever owned. Getting the vocal/instrumental balance right was somewhat of a challenge, but then there was this odd situation in which the stage was so huge that it sounded disjointed. That was more difficult to solve, but once I got the speakers in the right place I was rewarded with a presentation that literally brings tears with many tracks.
Otherwise, the thing I would say about the LKS is its presentation is honest. I often read about DACs such as the Holo DAC having an "organic" presentation. I used to own a set of STEALTH Hybrid MLT speaker cables that gave this presentation. It's appealing, to be sure, much in the way most tubes provide a seductive, comfortable presentation. Sometimes I really enjoy that presentation. The vast majority of the time I want what the recording engineer gave me - no more, no less (see:
https://www.innerfidelity.com/conte...NCgQ2V-a6rquUpd1sOtBeo0mRFhrgrcH8CtIvcgzBYz9E). The LKS give me that.
Despite my acknowledgement that the DirectSream DAC is probably superior to my LKS at least in terms of tonality, I have no inclination to swap the LKS for the DirectStream. The presentation is so immersive and so transparent I simply have no desire to replace the LKS.
My complete digital chain looks like this:
SOtM 200ultra Neo "trifecta"
Sonore ultraDigital
LKS MH-D004
SMc Audio VRE-1C
Fully modded McCormack DNA-125 (mods by SMc Audio)
Ridge Street Audio Designs Sason Ltd loudspeakers
Pair of Rytmik F12 subs
I hope this is helpful to you. Best of luck with your purchase decision!