Is this really the last amp I’ll ever need?

I’m talking here about the latest LFD NCSE integrated amplifier. The answer is uncomplicated. Quite possibly, yes, it is. Naturally I’ve not heard every fantastic integrated amplifier from all the upmarket makers worldwide – but I’ve heard many.

I say this having owned, used and sold (MORE) the LFD Linestages (line-level preamps) 3 and the magnificent PA3 monos monoblocs over some years. I’m convinced that in a well organised A/B comparative demonstration between the latest LFD NCSE and the LFD Linestage (line-level preamp) 3 / PA3 monos combination it would be very difficult to point to anything significant that the LFD NCSE can’t do – or that the other combination can do that would justify the considerable price differential.

Possibly, just possible the PA3s through my Eminent Technology ribbon speakers might be a tad more neutral in the mid range. Frankly I’m far for certain that this is nothing more than a slight change in perspective or if you prefer, a difference rather than improvement. It’s too close to call, for my ears at least.

The LFD NCSE has for me the get-up-and-go of the Zero LE range plus nearly all the speed, grunt, slam and heft of the PA2M SE twin mono (in one chassis) power amp.

Currently (and the LFD Anniversary stage notwithstanding) this may well be Dr. Bews’ masterpiece.

The sheer compelling nature of the reproduction is beyond my powers of description.

Once again and without collaboration with Harbeth it seems that the good doctor has produced the ultimate driving machine for all Harbeth models. To me it’s the first amp of any make that can control the (to me) wobbly and wayward bass performance of the Harbeth 40.1 monitors without compromising the outstanding midrange and magnificent treble of these otherwise flawed yet popular speakers.

For the first time, and only via the LFD NCSE have I heard the Harbeth 40.1 producing convincing rock music with the aplomb that they do with jazz and classical music. I’m not a Harbeth retailer through choice (MORE) but I do recognise the outstanding results that can be achieved by proper partnering. I’d go as far as to say the following. First, the LFD NCSE makes the 40.1 superior to the magnificent SHL 5’s and secondly I’d go as far as to suggest that quite possibly that no owner of 40.1s who lack the benefit of the LFD NCSE truly know what those expensive speakers can rarely do.

As for me, in my home with my benchmark DAC, a variety of old transports, my Trio (Kenwood) KT-917 FM tuner, my Nakamichi 680 cassette deck and my Eminent Technology LFT-8 ribbon speakers, the latest LFD NCSE is quite probably my final amplifier. I’ll never say never but … I’ve put my beloved Accuphase E-405 up for sale. For those that know me, there’s no greater accolade.

Finally, if you can’t afford or choose not to get the LFD NCSE then buy the latest LFD Zero LE integrated. In its price band, it’s unbeatable. But it’s not the LFD NCSE in disguise.

HP

Your questions Howard have been playing on my mind and if I am to answer your first question in a word then it is “excitement” or rather the lack of it (with my Harbeth 40.1 speakers). Dont get me wrong, I am not looking for sheer attack and slam in my system but looking to be captivated by the music.

I have various amps and Cd players which I tend to rotate. There is the Naim Chrome Bumper 135 blocs, Leben CS600, an Exposure 2010S, a Tubeguru 211 SET, a LFD Mk3, I acquired over the weekend. I had the Audio Research VT100 mk III and the Reference 3 pre amp whcih I tried with the 40.1 but sold as the sound was too analytical.

Cd players – Audio Research CD7, Esoteric sa10, Quad 66 and a few Marantz, Philips and Revox vintage players.

I listen in my living room which opens out into various other areas. At best, I have a front and back wall in the living room which supports the speakers at one end and my listening couch at the other. There are a few large glass sliding doors without curtains ( but I sit at least 10 feet away from them). Floors of timber but laid on cement and carpets between the speakers and the listening couch. It is L shaped and does provide quite a fair amount of absorbent material.

The main living room is 22′ x 15′ x 9′ ceilings. I have a 4′ x 7′ bookshelf against the wall, 3′ behind my listening position and paintings as well. The speakers are about 11′ away and about 65″ tweeter to tweeter. 56″ front baffle to the rear wall.

The Exposure 2010S has given me the most pleasure as it is a bit more forward in its sound, excellent timing and the music does sound more exciting. It lacks refinement and I was hoping to get the refinement part from the LFD with all the other bits of the Exposure I like, thrown in.

Please forgive me for being blunt. The failing of the LFD ( to my ears)  is it lacks weight in the sound which the Exposure has. It is a very transparent amp and I have no complaints over its ability to convey rhythm, timing etc nor do I have any complaints over the bass which is tight and tuneful though it doesnt go a low as the Exposure. It is refined. All in all it is a good amp but it doesnt still deliver what I am looking for as it lacks weight in the sound.

I was listening to some old Cds earlier and female voices came across thin and nasal ( which didnt convey the emotions) and that kicked off a session of cable swapping. Quad speaker and interconnects, Straightwire speaker cables, Auditorium 23 speaker cables, DIY thin guage interconnects.

I eventually I ended up with the ARCD7 plugged in, Quad interconnects and the Straightwire which did improve vocals some but guitar strings seem light/thin and did not appear to convey the correct tone.

Not sure what is wrong.

I look forward to your views.

HP’s response

I was the first UK retailer to use the 40.1 speakers in public. I launched them at the UK High-End show at Heathrow. Signal sources were (a) Funk Sapphire with Funk-Modified Ittok arm and (b) top of the line NorthStar 192 transport and DAC with i2s interface. Amplification was LFD Linestage3 and 2 x PA3 monos. Speaker cables were LAT. Interconnects were Stereovox. I had forgotten to bring LFD interconnects and speaker cables and the LAT & Stereovox were spares, which was fortunate.

Final tuning was by Alan Shaw in the room during the setup period

I had two consecutive days of 9 hours of continual listening of all types of music and varying SPLs with that system.

After the first hour of the first day it became apparent, due to me watching the ebb and flow of visitors, that these 40.1s needed very careful selection of music – in that room on that day with that equipment – in order to retain an audience in the room. It’s a bad sign when people stay only for a track or two! By lunchtime on day#1 I knew what those speakers couldn’t do. And so I applied various coping strategies. They worked.

Rock was a complete no-no. Curiously Jazz performed best. It subsequently turned out that Mr. Shaw regularly attends live acoustic Jazz gigs. This must of course influencing his voicing of them. Classical was meticulously conveyed, but not particularly involving. In every respect they reminded me of studio monitors I have owned and have heard in action in studio control rooms. Terrifically revealing, detailed and credible. And yet without any encouragement to linger and listen for hours on end.

Was it all down to that room on those days though? Surely not for £8k + ?

Now then, at that point I had the entire Harbeth range in my demo room at home. When the show was over (and despite what I said earlier I still  won best sound at the show from HiFi World magazine) I returned with all the equipment and tried again. Same complete lack of involvement.

Somewhat dismayed I then returned to the Harbeth SHL5 speakers with the identical equipment and played the same exhibition music at an identical SPL as measured via a sound pressure meter.  A complete transformation. Utterly glorious. Extreme bass was missing of course. However when I patched in the outstanding Eclipse subwoofer, the missing bass returned. In short the SHL5s + a carefully integrated external subwoofer delivered everything the 40.1 promised and failed to achieve for me.

I’m not a fan of the 40.1. To me (in its original version, and it might now have evolved) it had a flabby un-damped bass which detracted from (a) excitement and (b) worse yet, diverted attention away from the finest integration between mid and top in any cabinet speaker I’ve ever heard. Yes, in that respect the 40.1 is a masterpiece!

Maybe your retailer will lend you SHL5s plus a decent woofer? I do believe you’ll be both amazed and relieved. I certainly was!

HP