stuartypoorty
10-13-2010, 05:14 AM
Firstly, I don't think there is a thing as a perfect amplifier, it's the ones with less noticeable shortcomings that I'll happily spend my time with. The following comments are a much extended review from a PM sent to Dazen1 recently.
Writing about hi-fi is a bit like dancing about architecture - at best a simalcrum. Music has to be experienced first hand, is physical and have an emotional resonance. This review is personal and, I hope, free from musical replay equipment platitudes - more streams of consciousness if you will.
I last used an integrated many years ago, from memory an Audiolab 8000A via Epos ES 14 speakers and the LFD NCSE is a different beast altogether.
Some early impressions: the Low Fuzzy Distortion New Chassis Special Edition (no kidding) integrated amplifier is beautifully constructed: the meticulous care taken with component selection is both rare and commendable. All the electronics are carefully chosen, QC graded and hand made in house prior to final assessment, being matched at each and every stage of the design process. There's no way a small company can guarantee that sort of exemplary detail if they were to outsource, and this bespoke/dedicated approach partially offers an explanation as to why there's such a buzz concerning the NCSE. The amplifier case is constucted of graphite coloured extruded aluminium panels, the fascia a chunky 12.5mm, the rear panel is 3mm stainless steel laser cut and laser engraved. Speaker output posts are WBT standard or similar.
Uniquely and unusually, the pod like feet of the amp are not fixed but, forgive the terrible pun here, free-standing and positioning of them can alter the sound a wee bit. I'm experimenting with placement.
Four stainless steel cups with soft rubber inserts are supplied.
These are available to purchase separately from LFD.
The amp is very understated and unobtrusive, albeit satisfyingly weighty, the greyish finish a pleasant contrast to the uniform black of the other elements on my rack. The controls are a 5 stage input selector, mute/tape monitor, on/off toggle and finally volume. Output is rated at 70 watts per channel, amplifier dimensions are 430mm (W) x 100 mm(H) x 410 mm(D)
The LFD CEO and amplifier designer, Dr. Richard Bews, taking a break from manual assembly, spoke with me for about 45 minutes before I got the amp. I told him that I was buying the amp "blind". He was very open and candid about the NCSE, reckoning it might be a mite polite in the context of my system, whereas the audio dealer stated that it'd drive the speaker load with ease (no surprises there then).
At no point did Richard make any superflous claims regarding the performance of the NCSE.
That said the sound via my Sonus Faber Electa Amator IIs may be on the cusp of stretching the amp, the speakers being demandingly power hungry - even for the Chord SPM 1200E which previously drove them. I'm guessing the LFD amplifier is happier with speakers that have relatively easy loads to address. Nonetheless, a compromise I can live with.
In a somewhat unfair comparison I ran a pair of NHT Absolute Zero bookshelf loudspeakers through the amp and this answered what I'd reckoned regarding loads.
Also, I'm running in a new pair of Kimber Crystal 24 loudspeaker cables - I had Kimber 8TC and Art Audio cables bi wiring the Amators before - with Kimber 4TC jumpers on the terminals, this too is another factor to consider.
So trade offs and concessions for now, the telling phase when I've become accustomed to the sound and everything has bedded down.
As the turntable is presently "on leave", my current sources are the Revox B 215-S and Nakamichi CR-7A cassette decks, a Magnum Dynalab MD-102 tuner and the LFD is proving highly capable. The better recordings I have remain just that, superb to listen to, informative/engaging and well balanced.
Poor quality recordings tend to be truthfully portrayed, in some cases ruthlessly so. Even so some tracks are better for sounding rough and ready, having an immediacy and clout that studio polishing can erase.
One of the tracks I enjoy listening to is "Uncle Salty" by Aerosmith from "Toys In The Attic" where Tom Hamilton's tuneful bass playing does more than underpin the recording - it accrues atmosphere, notably in the song's coda.
Whilst I can hear this via most systems the LFD NCSE allows for real presence.
Similarly on "Abbey Road" McCartney's bass propels as well as providing a foundation, notably on "Come Together" and "Something"
JJ Cale has many fine albums, my preferences are "Naturally" and "Troubadour" the playing very tight, nothing flashy happening just a cohesive groove - everyone pulling together to good effect.
Tom Waits' "Mule Variations, Blue Valentine, Swordfishtrombones and The Asylum Years" are long time favourite albums and these have a freshness and vitality, so something different is occurring (not an enhancement per se but a more profound resolution)
Rhythmically, at least, the NCSE delivers if the music is well engineered. Don't expect it to pull any punches if the source material isn't good enough.
Acoustic guitar is very sweetly delivered although not cloyingly so, the timbre of the instrument sounds correct, having listened to Nick Drake, Ali Farka Toure and Eric Bibb.
N.B. I haven't delved into classical, apart from Classic FM on the beeb, but will update as and when I have time. As I will solo piano - a longtime favourite and tricky to get right. Some Jazz too.
Female vocals are well presented, from Aretha Franklin, Alison Goldfrapp, Ella Fitzgerald, Stevie Nicks/Christine McVie, Suzanne Vega, Kate 'n' Cindy from the B52s to mention a few.
There are other amplifiers that will be better suited to certain types of music, such as rock or classical. The LFD will not plumb the depths, but then bass definition being brought to the fore isn't what it is about for me.
To have too much of an obsession with the lower register is in many ways an adolescent fantasy. I find high frequency, at the opposite end of the spectrum, equally difficult to accept if given undue emphasis.
The NCSE provides a clear, detailed, relaxed but always in control portrayal, balanced and rewarding insight into whats happening in the music you listen to, something you can return to again and again, year after year, with repeated enjoyment.
My tastes span many musical genres and in the LFD I think I've found a component which will fulfill my aspirations.
Minor quibbles would be the spacing between the rear panel input terminals, the sockets being very close which may prevent some cables being used. A tight, if acheivable fit for my XLO interconnects. For others the lack of a remote at this price range will be puzzling, though not an issue for me.
04/02/2011 - I've lived with the NCSE for a long enough (the other half christened it the fuzzy duck) period now to realise that it achieves what I want in musical representation. There is a liquidity and continuity which repays extended listening.
I had doubts to be honest given my previous equipment, the fact that I hadn't heard the amp prior to purchase. Very keen to hear an LFD phono stage, perhaps the MCT or MCT SE, the next piece of the jigsaw when funds permit.
I am using various XLO Electric cables with the NCSE and these are working very well, I also hear good things about LFDs own cables and imagine they'd be highly complementary when used in tandem.
http://www.lfd-audio.co.uk/
Stuart
Writing about hi-fi is a bit like dancing about architecture - at best a simalcrum. Music has to be experienced first hand, is physical and have an emotional resonance. This review is personal and, I hope, free from musical replay equipment platitudes - more streams of consciousness if you will.
I last used an integrated many years ago, from memory an Audiolab 8000A via Epos ES 14 speakers and the LFD NCSE is a different beast altogether.
Some early impressions: the Low Fuzzy Distortion New Chassis Special Edition (no kidding) integrated amplifier is beautifully constructed: the meticulous care taken with component selection is both rare and commendable. All the electronics are carefully chosen, QC graded and hand made in house prior to final assessment, being matched at each and every stage of the design process. There's no way a small company can guarantee that sort of exemplary detail if they were to outsource, and this bespoke/dedicated approach partially offers an explanation as to why there's such a buzz concerning the NCSE. The amplifier case is constucted of graphite coloured extruded aluminium panels, the fascia a chunky 12.5mm, the rear panel is 3mm stainless steel laser cut and laser engraved. Speaker output posts are WBT standard or similar.
Uniquely and unusually, the pod like feet of the amp are not fixed but, forgive the terrible pun here, free-standing and positioning of them can alter the sound a wee bit. I'm experimenting with placement.
Four stainless steel cups with soft rubber inserts are supplied.
These are available to purchase separately from LFD.
The amp is very understated and unobtrusive, albeit satisfyingly weighty, the greyish finish a pleasant contrast to the uniform black of the other elements on my rack. The controls are a 5 stage input selector, mute/tape monitor, on/off toggle and finally volume. Output is rated at 70 watts per channel, amplifier dimensions are 430mm (W) x 100 mm(H) x 410 mm(D)
The LFD CEO and amplifier designer, Dr. Richard Bews, taking a break from manual assembly, spoke with me for about 45 minutes before I got the amp. I told him that I was buying the amp "blind". He was very open and candid about the NCSE, reckoning it might be a mite polite in the context of my system, whereas the audio dealer stated that it'd drive the speaker load with ease (no surprises there then).
At no point did Richard make any superflous claims regarding the performance of the NCSE.
That said the sound via my Sonus Faber Electa Amator IIs may be on the cusp of stretching the amp, the speakers being demandingly power hungry - even for the Chord SPM 1200E which previously drove them. I'm guessing the LFD amplifier is happier with speakers that have relatively easy loads to address. Nonetheless, a compromise I can live with.
In a somewhat unfair comparison I ran a pair of NHT Absolute Zero bookshelf loudspeakers through the amp and this answered what I'd reckoned regarding loads.
Also, I'm running in a new pair of Kimber Crystal 24 loudspeaker cables - I had Kimber 8TC and Art Audio cables bi wiring the Amators before - with Kimber 4TC jumpers on the terminals, this too is another factor to consider.
So trade offs and concessions for now, the telling phase when I've become accustomed to the sound and everything has bedded down.
As the turntable is presently "on leave", my current sources are the Revox B 215-S and Nakamichi CR-7A cassette decks, a Magnum Dynalab MD-102 tuner and the LFD is proving highly capable. The better recordings I have remain just that, superb to listen to, informative/engaging and well balanced.
Poor quality recordings tend to be truthfully portrayed, in some cases ruthlessly so. Even so some tracks are better for sounding rough and ready, having an immediacy and clout that studio polishing can erase.
One of the tracks I enjoy listening to is "Uncle Salty" by Aerosmith from "Toys In The Attic" where Tom Hamilton's tuneful bass playing does more than underpin the recording - it accrues atmosphere, notably in the song's coda.
Whilst I can hear this via most systems the LFD NCSE allows for real presence.
Similarly on "Abbey Road" McCartney's bass propels as well as providing a foundation, notably on "Come Together" and "Something"
JJ Cale has many fine albums, my preferences are "Naturally" and "Troubadour" the playing very tight, nothing flashy happening just a cohesive groove - everyone pulling together to good effect.
Tom Waits' "Mule Variations, Blue Valentine, Swordfishtrombones and The Asylum Years" are long time favourite albums and these have a freshness and vitality, so something different is occurring (not an enhancement per se but a more profound resolution)
Rhythmically, at least, the NCSE delivers if the music is well engineered. Don't expect it to pull any punches if the source material isn't good enough.
Acoustic guitar is very sweetly delivered although not cloyingly so, the timbre of the instrument sounds correct, having listened to Nick Drake, Ali Farka Toure and Eric Bibb.
N.B. I haven't delved into classical, apart from Classic FM on the beeb, but will update as and when I have time. As I will solo piano - a longtime favourite and tricky to get right. Some Jazz too.
Female vocals are well presented, from Aretha Franklin, Alison Goldfrapp, Ella Fitzgerald, Stevie Nicks/Christine McVie, Suzanne Vega, Kate 'n' Cindy from the B52s to mention a few.
There are other amplifiers that will be better suited to certain types of music, such as rock or classical. The LFD will not plumb the depths, but then bass definition being brought to the fore isn't what it is about for me.
To have too much of an obsession with the lower register is in many ways an adolescent fantasy. I find high frequency, at the opposite end of the spectrum, equally difficult to accept if given undue emphasis.
The NCSE provides a clear, detailed, relaxed but always in control portrayal, balanced and rewarding insight into whats happening in the music you listen to, something you can return to again and again, year after year, with repeated enjoyment.
My tastes span many musical genres and in the LFD I think I've found a component which will fulfill my aspirations.
Minor quibbles would be the spacing between the rear panel input terminals, the sockets being very close which may prevent some cables being used. A tight, if acheivable fit for my XLO interconnects. For others the lack of a remote at this price range will be puzzling, though not an issue for me.
04/02/2011 - I've lived with the NCSE for a long enough (the other half christened it the fuzzy duck) period now to realise that it achieves what I want in musical representation. There is a liquidity and continuity which repays extended listening.
I had doubts to be honest given my previous equipment, the fact that I hadn't heard the amp prior to purchase. Very keen to hear an LFD phono stage, perhaps the MCT or MCT SE, the next piece of the jigsaw when funds permit.
I am using various XLO Electric cables with the NCSE and these are working very well, I also hear good things about LFDs own cables and imagine they'd be highly complementary when used in tandem.
http://www.lfd-audio.co.uk/
Stuart