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Question:
I've seen that you have the new LFD integrated, good news! I've a Silver Signature. I wanted to know what has changed in the new version, apart from the new chassis that seems better to avoid vibrations.
Answer:
Part of the answer you seek can be found in the comments by Dr. Bews in the Q&A directly after (below) this one
My listening impressions so far, using a range of speakers including the Harbeth Super HL5 is that the NCSE is considerably more powerful despite the fact that the specifications don't indicate this. The bass control is far tighter than on the Zero LE Mk3 but not quite as extended. In this respect, the bass quality of the NCSE is in line with the very latest LFD PA2M SE twin mono (one chassis) power amp which, in turn, is the finest power amp under £9000 I have used.
The midrange is on most material, in most rooms, via all the speakers I have tried just slightly less 'lively' or engaging (and I do mean slightly less) than the Zero LE III.
In terms of imaging, both height-wise and latterly, there is very little (so far) to compare, by which I mean in this respect they are both superb.
In terms of the top end, the Zero is a little 'sweeter' and more forgiving that the NCSE and the NCSE is more analytical and slightly less 'up-front'.
At realistic sound pressure levels, the NCSE delivers the music in a very compelling way that is neither harsh nor fatiguing. It is effortless smooth, like a well-tuned V12 car engine.
For me, in terms of ultimate performance, the NCSE is my reference standard.
In terms of sheer value when judged against performance, the zero LE Mk3 remains in its price band, unbeatable.
Question:
What are the important things for me to consider between the LFD Zero Le MK3 with the onboard phone stage and without please?
Answer:
1. The main board for both versions is slightly different. Not sonically different, but in terms of construction. This means that the LFD on-board phono stage is not a retro-fit. This means if you want it with the phono stage you have to order it with the phono stage.
2. When comparing both versions using the line level inputs i can hear no sonic difference whatsoever – however hard i try. Thus you should not believe that one version is superior to the other. The only difference is that one has a phono stage and the other does not.
3. The onboard phono stage is both MM and MC. All that is required is to make or break one small solder link on the board. This is very easy. A degree in advanced electronics is not required for this task. Dr Bews feels that a soldered link is sonically more acceptable than the silver plated switch he uses (or used) on some of his stand-alone phono stages.
4. Although Dr. Bews is a little dismissive of the quality of his on-board phono stage, it really is a fine unit. Certainly up to the standards of any stand alone unit I have heard up to say £500. Not quite as good as say the PS Audio GGPH phono stage, but terrific value as you are only paying around £250 for the on-board.
5. It's worth mentioning that Dr. Bews built the unique battery-driven phonostage for the R&D department of SME. That unit (not available to the public) is a cost-no-object device that, as far as I understand, remains SME's reference standard. Against this achievement I suppose that sonically he might feel that the onboard phono stage of the Zero Le III is only adequate. However when looked at in isolation, the on-board phono stage is a minor miracle of dynamics, compact size, simplicity and value.
6. Finally delivery on the version with the phono stage is usually 50% longer than the non phono stage version.
Question:
What can you tell us about the NCSE Integrated amplifier?
Answer (by Dr. Richard Bews)
The NCSE is a LE(III) on steroids, bigger PSU, the absolute best parts (normally only seen on amp costing 5 to 10 times as much) and silver/PC_OCC wiring and new casework.
The use of Shinko tantalum resistors, Vishay bulk foil resistors and custom made Japanese carbon film resistors are very important parts in the design. What ever was required for better sound, it was done. I even tried replacing the ribbon cable (input wires) with other cables with no real improvement (only changes), so ribbon cable is still used.
The multiple diameter silver wiring from the switching to pot gives more freedom to the sound and less grain and better bass weight. For even better bass, changes were made to the input biasing (LED removed and voltage reference employed).
As a generalisation the NCSE has less grain, more bass and purer sound compared to LE(III), but similar technical specs to LE(III), i.e. not a power house, but a quality performer. Only the Power output could be larger (65W per channel) since the PSU capacitance is much larger in the NCSE. A very nicely formed stereo integrated amplifier.
As with the MCT, I am trying to tell customers that IMPLEMENTATION is the most important criteria, different topologies are secondary until you want the real high end, i.e. custom made audio. Even standard circuits are not fully exploited, so how are we going to get the best out of very elegant circuits. There is very little true high end product, but a lot of tarted up product of indifferent quality.
Remember there is a warm up period of about 6 to 8 hours after switch on.
Question
What is the difference between the MCT phono stage and the very rare MCT 'transformer coupled' version?
Answer (by Dr Richard Bews)
All MCT are transformer coupled ("T" in MCT). There is a (SE) version where the MAINS transformer is much larger (it retails for about £4k), also there is a slight change to a passive component. This gives more bass weight and better silences. SE version only worth the money, if money no object (value for money against standard MCT becomes more questionable, since we are in the law of diminishing returns)
Question
What's the story re the LFD interconnect range?
Answer (by Dr Richard Bews)
Thank you for the question. Here is information on two of my range, the Spirolink II and the Reference Silver. When time permis, I will supply comments on my Grainless Interconnect, my Silver Horizon, my Silver Scorpion, my Black Widow and, my Diamond Viper.
Spirolink II
This is a very high quality analogue interconnect consisting of grain orientated large crystal copper conductors sleeved in the best available PTFE insulation. This cable is unscreened, but the twisted pair construction does provide good noise immunity. The resulting sonic performance can be most easily characterised as fast, open and transparent.
Reference Silver
This is almost the most open, transparent and natural sounding cable we have so far produced. Ultra high purity large crystal annealed silver conductors are employed, sleeved in a custom silicon rubber dialectric. The cable can be compared with the very best, regardless of price and is a real improvement in high resolution systems.
Question
What is the sonic hierarchy of LFD loudspeaker cables? Could you give a few comments that would help clarify the situation please?
Answer (by Dr Richard Bews)
The cost of raw materials, particularly silver and copper has pushed up the pricing of all my cables. Some rises are zero, but other rises being closer to 17.5%, particularly high content silver cables.
LFD Spiroflex I is . . .
In between DNM and Nordost cables, i.e. a very good solid core loudspeaker cable, that is open and not particularly bright by which I mean a good honest cable that very good value for money and can be put under carpets, i.e. it's about 6-7 mm in diameter. It's a dynamic version of DNM, but does not sound as coarse and forward as Nordost.
(Guideline price for a terminated 3m pair is £150.00 inc vat)
LFD Grainfree biwire is . . .
a biwire cable only, since it uses different conductors for bass and tweeter, i.e. multi-strand Grainfree copper for bass and solid core Grainfree conductor for tweeter. This is the most popular LFD loudspeaker cable since it has a full bass with a warm mid and controlled top. This cable is very good and the Signature version uses a Grainfree silver conductor instead of copper for the tweeter conductor. The Signature version is reference standard regarding sound quality despite being relatively cheap. The Grainfree biwire cables are VERY good choice for solid-state equipment.
(Guideline price for a terminated 3m pair is £350.00 inc vat)
LFD Spiroflex III is . . .
really a sophisticated version of the Grainfree signature cables, with slightly different technical properties – but very similar conductors and sound but at a higher price and with a superior visual appearance. Probably the ultimate choice for copper/silver hybrid for expensive solid state equipment.
(Guideline price for a terminated 3m pair is £1,500.00 inc vat)
LFD Silver reference is . . .
a very good SINGLE wire cable, particularly for tube equipment. Its more open that the copper cables – but can highlight solid state equipment weaknesses by which I mean solid state can be a little clinical and lack a little warmth compared to tubes. I sell a lot of silver reference for tube equipment and the better solid state owners.
(Guideline price for a terminated 3m pair is £1,000.00 inc vat)
LFD Ultima Silver is . . .
a superior version of silver reference, since it uses slightly different diameter silver but most importantly uses silicon rubber dielectric. You achieve more bass weight and a sweeter mid and top – which means that it helps the sound of most solid state equipment while still allowing tube equipment to sound very good (i.e. allows resolution for tubes and helps with the clinical sound of solid state).
(Guideline price for a terminated 3m pair is £2,000.00 inc vat)
Question
It is pretty clear that we are both impressed by the products that Richard at LFD has produced. I have auditioned may items which do not seem to match up with LFD within & beyond their price ranges . . . here is my question. Do you have or have you had the chance to listen to the LFD MMC phono-stage? And if so, what Cartridges would you recommend which would work well as i am currently looking to upgrade my phonostage / cartridge.
Answer
My system comprises of LFD pre & Power (updated by Richard) LFD Cables, Transparent Audio cables, Michell Orbe/ SME IV (complete VDH 501 silver cabled), Magnaplanar 1.4's.
Answer (by Howard Popeck)
Yes, I have heard the MMC at a friend's home. It is a first-rate phono stage. However, whereas LFD amplifiers don't in my view have many rivals, the recently released PS Audio Phono stage (I'm going to be getting one within the next fortnight) at around £780 (roughly half the price of the LFD MMC) puts the value aspect of that LFD into some question.
As you go up the LFD range though, it's a different matter entirely.
On balance, I suspect the LFD will be marginally more natural. My good friend Christopher Breunig (writes for Hi-Fi News) wrote that the PS Audio retrieved more detail than he'd heard previously. But then again, he'd not experienced LFD.
Re cartridges, given that I have used most of it, and even though I don't sell cartridges, my preference would be for anything from the Dynavector range, possible Benz and possibly the newly released Audio Technica AT OC9.
Of interest to you might be my previously owned LFD MM0 phono stage in very good condition. This model is no longer made, but can easily be serviced if needs be. I will be advertising this for £488 inc vat and carriage. Moreover, anyone purchasing it from me will receive a 100% trade in allowance against any LFD or PS Audio product for 12 months after the initially purchase. Such is the quality, popularity and rarity of LFD phono stages these days. The unit is availble for 21 days sale or return.
Question
I am interested in LFD products for:
(1- Definitely): integrated amp with phono stage for 2nd system to convert LPs to DVD-A. My son has had an LFD integrated zero for 15+ years and he has not found anything better to replace it. Reading the recent review of the updated Mistral has led to this missive.
(2 - Possibly): power amp to drive newly acquired Harbeth Super HL5s. Their transparency has caused me to re-examine the capability of the remainder of the system. I currently use the Alner-Hamblin SA400 amp which is very good. This is driven by a Bel Canto DAC3 which is superb.
Answer (By Howard Popeck)
First, thank you for your interest. I have attached a PDF of the February 2008 Stereophile review of the LFD Integrated. It is one of the most positive reviews of any product I've read in recent years.
Currently the Integrated (Integrated Zero LE Mk3) is on 3-4 weeks back order, with or without the on-board phono stage.
The most popular front panels to date are Stainless Steel, then black.
If you would like to join the waiting list, then all I will require is a holding deposit of £100.
The RRP is £1,500 without the phono stage and with phono stage is £1,700 inc vat. Carriage is free.
Congratulations on acquiring the wonderful Super HL5s. I love them. The ideal LFD power amp for you would be the Powerstage PA1 Mk2 at £1,500 Although the least expensive of the LFD power amps, it is more than adequate. Certainly the Powerstage PA2M (SE) which is 2 mono power amps in one case would be noticeably better, as you might expect at £3,000, the PA3 mono-blocks at £4,000 per pair would be overkill in the context of your system.
Home demonstrations, by which I mean I would visit you, are happily offered and entirely without obligation, coercion or pressure. I could, one afternoon (excluding Fridays) bring along the latest Integrated, and both of the power amps for you to audition. I'm solidly booked next week, but could certainly visit you the week after, if that was your wish.
Question
Putting to one side for a moment your quest for absolute neutrality re your interconnects, would it be fair to say that your interconnects are to some extent a subtle 'tone control"? If so, what would you recommend to tighten the bass between a solid state pre amp and valve power amp. Also between a older type slightly hard-on-female vocals CD player and a solid state amp. Serious buyer. Thanks.
Answer (by Dr Richard Bews)
No cable is neutral, you have a range of neutrality, i.e what most equipment will accomodate and customers consider to be correct. Then you match a particular cable strength to the equipment and the customer preference, i.e a very fine tone control.
For tight bass control (slightly lean) with good mid/top you go for Spirolink IV or Silver Horizon (Horizon is similar tonally to spirolink IV but has less grain), these are often used with tube equipment. The grainless is good, but sometimes is a little bass heavy for tube pre/power, often a good choice for solid state pre/power.
I assume you are talking about an old philips type CD player (good bass, but not subtle) needs a "nice" sounding cable with no defects and subtle sound. This is starting to dictate the Silver Scorpion, which is good everywhere (the Black Widow, is Silver Scorpion with more air at the top and deeper bass).
Question
Comments: Hello Mr. Popeck. Have you any details of the isolation products mentioned on the LFD web page, please. Still loving the amp, just looking to get even more from it !!
Answer
I have been auditioning the three systems that LFD produce.
Stage #1 is a set of 4 very well machined stainless steel cups into which fit a machined block of Sorbothane. On the face of it, nothing unusual. However if you look on the official Sorbothane site, http://www.sorbothane.com/ you'll see this is a more complex material and a far more complex process than you would initially imagine. Frankly I found it so complicated that I just couldn't make head nor tail of it. However, Dr Bews did.
In short, he produces a series of options which are structured to reflect the weight of an LFD item Various models of LFD have different weights and he supplies the correct set for any given LFD item.
We should point that of course his absorption / isolation cups can be used with anyone else's equipment. All that is needed is the weight of the item and then the appropriate ones can be supplied on request.
They are around £200 for 4. They are for me the most successful isolation systems I have ever used. And until these, I had two of the massive and very expensive Townshend VSSS tower systems at about £2,000 each. Now obviously those towers had 4 or 5 shelves and offered isolation to 4 or 5 items at time, for the £2,000. However in every respect the LFD Sorbothane cups offer much better value in my view.
Stage #2 is the LFD Isolation Platform B at £529 and the SE version is £729. This is a table-top platform for one single item. It is a design masterpiece in 30mm (approx) clear acrylic and stainless steel. The SE version has a sheet of Sorbothane plus a solid granite sheet on top of that.
I have found this very effective for turntables and CD players /transports. There is an advantage over the £200 (or so) cups I mentioned earlier. For amps though, I have found it no more effective that the cups.
Stage #3 This is the full height (4 or 5 shelves) tower using the same construction as the isolation platform above. Stainless steel tubes separate the shelves. My one must weigh, without equipment but with the granite, at least 60Kg. Possibly more. The attention to detail is outstanding for a British audio product. Prices range from £1,599 to £2,999 inc VAT depending on the Sorbothane and Granite options.
They are without doubt the most beautifully designed, constructed and effective isolation system I have ever encountered. And yes, even this high level of isolation can be further enhanced by the 'cups' under each item on each shelf.
On Thursday, I will send you the LFD leaflet. Dr Bews is leaving it to me to take decent photos! I'll do that this weekend if I can and I'll post them on my Stereonow and StereoWOW sites shortly after that.
Question
I am not able to come to the UK, but was intrigued by your comments. I am currently thinking of an integrated with a phono stage, and wondered if you might know if the LFD integrated might be a good match for my system. I have an Rega apollo as transport into an MF Trivista DAC 21, which will play into my future amp. (first option was the Cyrus 8vs2 with a PSX-R). My speakers are Dynaudio Confidence C1's, the interconnects are Cardas Neutral/golden Reference, and the speaker cables are Chord Signature. Ought I be bold enough to purchase the LFD's sight unseen(and unheard) from the UK ? Or should I try to arrange a listen ? thanks for your time.
Answer
Even with stiff competition from my newly purchased Manley Stingray, the LFD integrated still remains for me the finest amplification I stock or indeed have heard under £3000. I still remain puzzled as to why Dr. Bews is so dismissive of the onboard phono stage. Maybe he has the sound of his frankly staggering MCT in his head. That sells in the UK for £3000. The point being that the on-board phone stage gives the PS Audio at £799 a very close run for the money. The onboard LF MM/MC is UK just £200.
Re the Musical Fidelity TriVista DAC, even though I no longer represent them I have to say that that specific product is one of the finest they ever produced and one of the best DACs in that price band – ever. From personal experience, a superb match for the LFD.
The Rega Apollo I only know by reputation. Terrific value. A wise choice on your part!
I've used the LFD with bigger Dynaudio speakers than the ones you own. Assuming the tonal balance doesn't vary too much throughout their range, then again the LFD should be an outstanding match. The terrific bass control of the LFD with it's great attack and very will be a distinct asset.
I don't know the Cardas personally, but I do know and recommend the Chord – even though I am not a retailer for them.
Re export, the price to Australia including uninsured carriage is £1617 which at today's exchange rate is 3,299 AUD.
Question
Nice to see any thing LFD new on internet. Having component specifications on each item would be better yet. Any chance?
Answer
Very unlikely we'll ever see this. Dr Bews' view is that there are far too many audiophile units that measure very well and yet lack musical credibility. He is of the opinion, as indeed are many, that as yet the appropriate parameters that define musical credibility have yet to be identified. Once they are (and that’s a very optimistic assumption) then a measurement methodology will need to be established. He’s into manufacturing rather than fundamental research (despite having a PhD in loudspeaker design) and so that’s why we’ll not see anything other than the most sketchy of specifications. My view is in line with his.
Question
I do not see the Hybrid RM speaker cable at all on the new site. Why?
Answer
It’s a rare product currently and very time consuming to construct. LFD don’t want to stimulate sales of this until they can ramp up production. For now, they are content with word-of-mouth generated orders.
Question
Re the LFD Zero Le 3.1 with phono stage, Looks like i should have waited for the mm / mc phono stage. i could have played both turntables.
Answer
It's an interesting point you raise regarding the switchable MM/MC facility in the integrated amplifier. However, if you recall when we discussed this, the internal switching on the integrated amplifier between MM and MC requires you to make or break the soldered link, and you took the view, as indeed I do, that it was just too much hassle in situations such as yours.
The reason for the soldered link is that because Dr Bews feels that it offers more sonic purity than even the highest level silver switches which he had previously used.
It's also worth remembering, that there is only one pair of phone inputs, so not only would you have to remove the case and change the link, but you would also have had to have changed the phono plugs into the inputs on the back of the amp. An altogether more useful and sensible solution would be to purchase an external switchable MM/MC phono stage, if indeed that is your desire.
Question
I am interested in your LFD digital cable Digilink tube but please tell me a bit more about the cable, I assume it is a solid core silver, but is it shielded and exactly 75ohm and please let me know why this cable is special comparing to others esoteric brands of digital cable?
Answer
Thank you for your enquiry regarding the LFD digital cable. Unfortunately, Dr Bews does not provide much information on the construction of his devices. However, I can help you a little bit by giving you the link to two interviews I carried out with him, one of which discusses at some length his theories and practices regarding interconnect cables.
http://www.stereo-now.co.uk/interviews.html
I've no idea what the core of the cable is, but I suspect given his strict instructions about not to over-flex the cable, that it might well be silver. I've no idea if it is shielded, but in answer to your question regarding what makes it so special, there are two aspects. First there is the sonic aspect in that a degree of unveiling is achieved with this cable, that I have not heard with any other digital cable. The effect is slight and generally only occurs with material which you are familiar with and therefore you’d be looking for specific enhancements such as a dramatic reduction background noise and increasing detail.
By far the most interesting aspect however, is how the cable performs in areas where there is high levels of RF interference from domestic appliances including dimmer switches. I have a customer in North London who has been using a Cambridge Audio DAC Magic. He was trying a number of cables from other companies which unfortunately, when his refrigerator switched on or somebody used the dimmer switch in the adjacent room, caused the DAC magic to switch off. This was a mystery for all concerned, or rather everyone I discussed it with other than Dr Bews.
To cut a long story short, the DigiLink tube was supplied to the customer and solved the problem completely. A point of interest however, is that at the same time we supplied on loan the other LFD digital cable which is not the tube, and this too suffered from the problem of low rejection of the particular interference that was occurring in the home. Only the DigiTube solved the problem
Question
Howard. I have bought two preamps at almost bargain prices from e-Bay. An LFD Linestage 1 and an Audio Research SP11. In a number of respects the LFD unit betters the SP11, more dynamic, faster and suits my Bosendorfer speakers better than the SP11. Downside is the comparative steeliness in the mid and the restricted image both width and depth. Says a lot for the LFD given the price and the fact that the SP11 is considered one of the two best pre-amps by ARC. So what do I do?
Answer
You are a perceptive listener. In fact you have readily identified one of the defining characteristics between the various LFD linestages. I use a Linestage 3. It has all of the positive characteristics you mention, and a greater sense of spaciousness. In all honesty though, the SP11 was and possibly remains peerless in terms of image width and depth.
Not only is this a ‘fingerprint’ of the very best valve preamps (I sold loads of AR preamps at Subjective Audio, but very few of their power amps) but the SP11 might well be up with the very best of today’s designs. Conrad Johnson was and possibly still is outstanding in this respect too.
Like you though, I feel valve preamps do seem to substitute bass ‘weight’ for bass ‘tautness‘.
I am far from surprised that the Bosendorfers should reveal this. In years gone by, the characteristic bloom of a valve preamp was to my ears certainly exaggerated when partnered with all but the finest valve power amps. This bloom was charmingly if somewhat unhelpfully described as ‘weight‘ and ‘authority‘. This was usually countered by the argument that while this was true, they simultaneously lacked ‘slam‘ (a slightly nebulous term) and ‘attack - which was readily understood by even novice listeners.
I’m talking here in general terms of course. There are exceptions. I have always been impressed by EAR valve amplification. I don’t stock it - but I do admire it.
I have an idea for you which perhaps might offer you all you want with the minimum (comparatively speaking) expense. In superficial terms, as I understand it from Dr. Bews, the actual circuits used in all his Linestages is not unduly sophisticated and are generally speaking identical to each other.
His belief, and this seems to be borne out in my experience is that the quality of the components, the quality of the solder, the quality of connectors, etc are what create the real and very noticeable superiority. If I have understood him correctly, then it seems entirely feasible that if he has the inclination (he is over run with orders for the Integrated LE currently and might not have the time / might not be interested) he could upgrade those parts of the Linestage 1 to give you the aspects you seek.
My guess is that this would not require a wholesale change – which in return might be a most efficacious investment. Might be worth emailing him?
Question
Perhaps you could quote me for a suitable LAT interconnect please, do you have some in stock? My interconnect otherwise would be a Black Rhodium Harmony, which is a good value £50 interconnect but perhaps not in the same league as the LAT.
Answer
Can I suggest that before I do so, you let me know what you think of the sound when using your Rhodium? The reason being that I know the tonal characteristic of all these interconnects and depending on what you might say e.g. “tighter bass please” or “smoother top” or “‘more detail” I can recommend the right thing. In more cases than not, the recommendation I make is usually the cheapest interconnects I stock. Odd, but true.