[LM]

Soraya CB105 Impressions

I took the opportunity to arrange to pop over and see Hugh immediately upon his return from the Rocky Mountain Festival and how fortuitous my timing.  He seemed itching to get back into harness and lo and behold, as well as a long and philosophical chat session, my production LF100 Mkll is now at Soraya CB105 specification.  Yes I’m somewhat poorer financially but much richer sound wise.

I'm a bit lost for words to describe the actual detail of the specification improvement as I don't have a clue as to what the new module boards or the low impedance voltage amp actually do, but the result was excellent.  The sonic changes seemed rather subtle at first but became more profound and magic the more one listened.  I have been hugely impressed by, and perfectly happy with, the LifeForce in my system and couldn’t imagine how it could be readily topped.  But it has.

The difference is essentially a clarity thing.  The first impressions are not of the many individual small improvements that are certainly there, it’s the increased absence of distortion or something over the LF100 Mkll that makes it even more lifelike.  'Clean, clear, effortless, natural and refined' are terms that keep bubbling up in my mind.  But even that can't quite describe the increased level of 'presence' or ‘musical reality’ the new amp configuration brings.  If I wander through all the normal descriptors such as punch, detail, separation, imaging, soundstage etc., etc., etc., it's hard to find more than a few percent improvement over my original configuration in each individual measure except perhaps resolution and soundstage depth which are both clearly better.  But even resolution is somehow an inadequate term in describing how the Soraya as a whole is in a different league for ‘presence’ or ‘having you there'.  I reckon it's a 10 to 20% jump at least for well-engineered recordings.

At first, the treble and the mids seemed to benefit most from the improved clarity and the base seemed a little light on but after a while I realised how tight and musical the base really was.  Miles Davis, Leonard Cohen, Kane Alexander, Sam Brown and a host of others really felt like they were present and the first night my wife sat up much later than usual and simply said at the end about the Soraya "it's wonderful".

Last night, Theo (Gerado) came around and whilst he hadn’t heard my system before and much of the discussion centered on speakers (Theo hadn’t heard my brand before), I think he was very pleased with the overall imaging and sound.  After he left, my wife reminded me that as good as they are, the same speakers did not sound quite as good previous to the upgrade so “wouldn’t that be the amp?”

With the recent ‘Platinum’ upgrade to my GK1 and now the fabulous Soraya, I must wonder if the Soraya could be the long sought after cure to at least amplifier upgraditis?  What can I say; the Soraya design sounds amazing and I simply want to listen to the music.  Well done Hugh.

[VYnuhl.Addict]

Great review Lyn,


   You seem to hear all the aspects that I found to creep out from the woodwork in this amplifier. Its true at first when compared to the Lifeforce they are subtle at first listen but instantly you are left with the feeling that this is something different, better and intuitively "right" or natural sounding. Im sure Hugh could tell you about my exstatic jumping for joy email I sent him when I first completed this beast with his design,guidance and a couple tweaks it was surreal and a crash course that I will never forget!:). One compelling aspect with this amplifier is its harmonic richness and purity to the sound that allows  myself to really become involved with listening to the music. I have to admit, I have always been a sort of high energy soul but with at times a limited attention span, putting on a CD, skipping through tracks and never really truly enjoying the motions of the musical piece as a whole entity, nowadays there have been many times I have put on a CD and 
ending up at track 10 without touching that skip button after literally becoming lost in the music. Being a musician, well if you can call a drummer one , and guitar player i find this aspect the most important after all its what its all about. all of these subtleties in resolution, imaging really help enhance the experience in bringing out the realism that makes music to  us as audio enthusiasts and music lovers so enjoyable. I have built a few DIY amps in the past and a month would go by when I would find many faults and be longing for more, after 4 months with the Soraya i find that every time I fire it up and listen i am stopped dead in my tracks and just sit down to listen and cant get enough of it, this has often led to finally going to sleep at pretty crazy times in the morning . For me to lyrically wax too much about this amplifier could make it sound like an issue of Stereophile and the way many amps could be talked about but it is truly something that needs to be heard to fully understand how good it is.   

A very happy
Colin

[DSK]

Thanks largely to increased work commitments, I have successfully managed to avoid visiting Hugh recently. This has enabled me to escape  being spellbound by the Soraya and consequently thrusting money into Hugh's hands while all the time pleading for instant gratification.

And now Lyn has to go and post this under my nose.      I am only human after all. Resistance is futile.

Several times in the past, comparison of Aspen gear to more expensive competitors has led me to believe that future models could only be marginally better. Each time, I have walked away shaking my head in disbelief at just how much improvement Hugh had extracted from the new version. Though, like Lyn, I struggle to believe that Hugh has handily surpassed the LifeForce, I now know better than to bet against him. The LifeForce was the first solid state amp to totally kill off my long held, subconscious feeling that I would ultimately end up with a tube amp. If the Soraya is even 10% better than the LifeForce it is a staggering achievement. Hmmmm ....how many more pay days before Christmas? 

[LM]

Colin, I’m so glad we appear to be hearing the same things.  It’s amazing really how the change is both subtle and profound at the same time.  You are right.  I spend about a track revelling in the detail and next thing I know, the CD is over.  We may need to invent a new reviewers term such as ‘involvement quotient’ that describes how quickly one forgets about the review and simply finds oneself listening to the music.

Darren, I can offer no hope.  It’s already a lost cause (smiles mischievously aa).  To think that I was once of the old school that said that about 98% of differences are due to the speakers and room and that one (quality) electronic component such as an amp sounds much the same as another.  I’ve sure had to rethink that old chestnut as my speakers have never sounded so good.   I can't wait to see a professional review though it is personally of little consequence.  I am very happy.

[AKSA]

Darren,

It is marvellous to see you resurface after the vagaries of a busy IT life!!

We are in fact more AC than DC at Aspen........

Accordingly, impedance is futile, and susceptance is mandatory......

I am presently building up a couple of Sorayas as stock, so you should be in a position to actually try one out soon!!

Cheers,

Hugh

[gerado]

I thank Lyn and  his wife for their welcoming hospitality, and opportunity for a thoroughly enjoyable evening.

I have no idea what was really listening to other than the whole package sounded right. Did not really talk much to Lyn, listened instead and only left before midnight out of politeness, could have stayed till the early hours immersed in musical joy:drums:. Always a sure sign of a great and well sorted combination. In fact most of the time I was not actually listening to the Vandersteens or the AKSA stuff, I was just enjoying the music. I don't know if this was due to the speakers the Soraya or the GK or the CD player, but I suspect the speakers just needed a good signal to reproduce  and they got a damn good one.  I heard a few of Hugh's LF versions on the way to the Soraya and each one sounded just that much better. The latest one sounds more mature and refined to me. Its not just a better amp in a tangible way, it also manages to infuse that other magic that makes you enjoy the music not the equipment playing it. Yep the detail is there, the power is there but its something else I don't understand but can certainly hear and appreciate that makes this one stand out.

Maybe I should try that little trick of mine at home again boys and girls but this time make really sure of it  , what can I do I will then be forced to get another working amp  aa

or should I wait for the sibling to arrive

Ahhh its all great fun and I'm glad I can sample so much of it.

[LM]

It was a pleasure Theo, glad you had fun.

Your comment about a well sorted system got me thinking though.  We all like to take credit for our ‘perfect’ choices and I felt good that you liked ‘my’ system.  But in reality, Richard Vandersteen, an unknown Arcam designer and a chap called Hugh Dean were responsible for the sound we heard.  And Hugh could have replaced Richard if the Vsonics had been available earlier.  Admittedly, these people had little to do with my perfect speaker positioning and uncanny wire connecting ability and I am certainly smarter than many in selecting Aspen kit in the first place so I guess it’s my system after all.

Don't wait for the sibling to arrive, sell the car or hock the house.  You know you need to.

[AKSA]

I'd love to say that I would prefer not to hear all this flattering stuff, but that would not be true.  However, ahem, all those genuinely committed should merely send money to my Rosanna address, listed on my website.     I promise I shall spend it all on high living, none of this R&D stuff, much too difficult, and I know it all anyway......

My Toyota engine has AGAIN blown its head gasket, second time in six months.  This time, the motor is trash, it will have to be replaced.  I'm mulling over whether I should be a complete lunatic and put in a Lexus V8 - I know it fits just fine - but it's a lot of work.     Maybe just the 2JZ, a very good in line six.  Hmmm, what to do......

Gaetan, please go ahead and post!  There is no such thing as bad publicity, and who knows, in a year I could be utterly irrelevant!

Could I posit a pet belief about amp design?  I think it is merely detective work, this is the inspiration, and the engineering comes after the vision.  And I think the engineering is pretty straightforward;  it's obscured with high falutin' maths over and over on some forums by highly educated people, but all this debate doesn't seem to produce a better amp, although some are good, like Edmond Stuart and Syn08's latest Error Correction amp, which I suspect is very good indeed.  You can design a good amp with a good understanding of Ohms and Kirschoff's laws, the reactance formulae, a good CRO and meter, and a lot of careful iteration and listening.

When you read NP's articles on amp design, it is clear he sees characteristics and phenomena first, not maths.  His explanations are fairly simple, he cuts straight to the chase, he makes subjective comments from time to time about the sound, and he never gets carried away with how clever he is.  The answer lies in the topology, not the math, and they are very different, and he really has it sorted out in his mind.  I know this because I've followed his work closely for years, now I've met him, and I see someone who goes straight to the nub of the problem without being sidetracked by peripheral, highly academic issues which are more about showing off than producing better amps.

I honestly think that amps could improve a long way yet.  There's much more sonic quality to be extracted, and this is really great because I'm only 56 and I'll see a good deal of it before I get to know John Linsley Hood in the sky......

Some time ago when switching amps came on the scene I bought a Hypex UCD180 and gave it a good listen.  I concluded it would be a long time before they rose to the standard of a Class A, conventional design;  meanwhile, the Class AB designs are also getting better, and in my opinion the quality of the switching amps, while improving, is not supplanting the analog designs, at least for high end.  I like the efficiency of these amps, they are an engineering masterpiece, but they generally don't do music very well as they don't engage with the ear.

Lastly, in this gratuitous audio gossip column, the main threat to high end audio has been, and remains, the very low standards we've all become accustomed to with the digital age.  The main culprits are iPods and MP3.  After a NYC buying spree (thank you Paul!) my two daughters are now each proud owners of an iPod Nano and one remarked to me, 'Dad, I love it, it's changed my life!' - I was deeply shocked to hear this      MP3 and crappy sound cards and switching amps in auto radios and cheap handset players have really dumbed down audio;  we've all forgotten how good it can sound.  I will never forget the sound of our neighbour Fred Bryant's Williamson amp which I first heard in 1958, it was wonderful.  Fred was a wonderful man, a farmer intellectual who loved classical music, but he died young of leukaemia.  Then my Pa had built a very nice Mullard EL84 PP player for my Mom, and I spent a lot of time listening to it over the years.  That was when an OC44N germanium transistor cost an arm and a leg, and a kidney, eye and pancreas thrown in....

One thing RMAF showed me conclusively is that when listening to a system, 95% of people think the sound quality comes from the speaker, not the amp.  The truth is, in my view, that about 60% comes from the amp, with the source and speaker making up the difference.  The distortions of an amp can sound truly horrible, no question.  I've always been able to pick a great amp with even a lousy, el cheapo speaker.  It really stands out.

Pardon my rave, it's about to pour with rain and I'm feeling chirpy....... 

Cheers,

Hugh

[David Ellis]

I'm a bit lost for words to describe the actual detail of the specification improvement as I don't have a clue as to what the new module boards or the low impedance voltage amp actually do, but the result was excellent.  The sonic changes seemed rather subtle at first but became more profound and magic the more one listened.  I have been hugely impressed by, and perfectly happy with, the LifeForce in my system and couldn't’t imagine how it could be readily topped.  But it has. 

I fully concur with this commentary.  Hugh's latest iteration of amplifier is strikingly good. I truly can't imagine that any amplifier could sound better.  I truly believe that any other amplifier would fall into the realm of "different".

One thing RMAF showed me conclusively is that when listening to a system, 95% of people think the sound quality comes from the speaker, not the amp.

And, the back of the speaker is very important too .  Everyone seems to look at the back of the speaker  .

I think the reason for the high relative importance of the loudspeaker is rooted in untrained ears, visual familiarity AND the relative distortion of amps versus speakers.  I will explain.

I believe it is necessary to have solid exposure to live unamplified music to evaluate hifi gear.  This is most commonly referred to as the symphony.  This exposure will eventually train the listener to understand what is right, and what isn't.  Sure, there are differences in the sound of symphony rooms and the distance from the conductor will also have an impact.  However, any exposure to unamplified music is the very best exposure for training the listener.  Without this, listeners can only evaluate one form of amplification against another form of amplification.  I believe most folks have completely forgot the actual sound of live unamplified music - even many hifi enthusiasts.  And, the rest of society is quite impressed with how "real" the dinosaur sounds in the movie Jurassic Park.  Following the really bad ears in the community, folks are very happy to use their eyes to discern differences in hifi equipment.

Among consumer grade electronics folks are able to SEE differences in speakers but they can't see differences in amplifiers. Consumers believe that since they can SEE the differences that they actually understand what's happening.  Consumers can SEE the 3-way speaker. They can SEE the big woofer.  They can SEE the roundover on the cabinet. They can SEE the "golf ball" dimples in the flared port.  They can SEE the material of the cone. etc. etc.  The eyes can easily discern the differences in hifi speakers.  However, they can't SEE the inside of an amplifier.  And, even if they could, their eyes would attribute good sound quality to a nice red colored PCB.  The only thing visually striking in an amplifier is the case, but most folks understand that the amplifiers external appearance is not related to sound quality. 

I do believe the one very real disparity between amps and speakers is the flavors of distortion among them.  As a speaker guy, I am VERY in-touch with the differences in loudspeaker components.  I am quite confident with the many aspects that speakers will influence sound.  I also think there is a considerable difference in the quality of average hifi speakers versus great hifi speakers.  I am completely unwilling to use a soft-cone speaker in my primary system for any period of time.  And, I also believe there is a significant variation in distortion among loudspeakers.  I am far less familiar with the differences in sound quality among hifi amplifiers. 

I could easily live with the sound of many hifi amplifiers for an extended period of time.  Any of Hugh's Nirvana + (or better) amplifiers, a modified Jolida 302b, my a very modified Golden Tube SE40SE, the Ultimate 70 etc. etc.  Surely there are differences among these amplifiers.  There are also better and worse amplifiers among them.  While I do prefer the sound of Hugh's latest amplifier the best,    they are all good amplifiers. 

It's difficult for me to attribute what percentage of sound quality is rooted in each stereo component.  Certainly it's all important - right down to the "silly" bypass capacitors.  I just wish those Sonicap Platinum's didn't sound so friggin good.  I continue to have a love-hate relationship with them .  I love how they sound  , but hate how expensive they are  .  I believe Hugh shares this same sentiment.

Oh, I know how good the Soyara amplifier really is.  Very soon the amplifier will spend quality time with some actual reviewers.  One this happens, I fully believe there will be a very high level of attention given to this amplfier.  Hugh Love will continue expanding aa.

Anyhooo, I am rambling. 

Dave

[Daygloworange]

I believe it is necessary to have solid exposure to live unamplified music to evaluate hifi gear.  This is most commonly referred to as the symphony.  This exposure will eventually train the listener to understand what is right, and what isn't.  Sure, there are differences in the sound of symphony rooms and the distance from the conductor will also have an impact.  However, any exposure to unamplified music is the very best exposure for training the listener.  Without this, listeners can only evaluate one form of amplification against another form of amplification.  I believe most folks have completely forgot the actual sound of live unamplified music - even many hifi enthusiasts.  And, the rest of society is quite impressed with how "real" the dinosaur sounds in the movie Jurassic Park.  Following the really bad ears in the community, folks are very happy to use their eyes to discern differences in hifi equipment.

Absolutely.

"Live" music doesn't count if it's amplified through a PA.

It's only when you've been exposed to the sound of unamplified instruments, and really know what they sound like in real life, that you can really judge which audio components really, truly come closest to true transparency and faithfullness.

Cheers

[LM]

David,

An extremely interesting post.  I take your point about the nature of the distortions being different.  Problem is you’ll have me thinking about improving or replacing speakers next.  I think you and Hugh are tarred with the same brush, building great sounding kit that we mere mortals have to find money to pay for.

In my own unprofessional way, the main evaluation/judgement point I have used for my system, including of course the Soraya, has been mainly against orchestral music. I go to live performances of the MSO at least a couple of times a year and if I can feel anywhere close to the same in my lounge room as I do in the hall, my quest is going well.  Last night was a London Philharmonic Orchestra CD and it was so close to being there, it was enough to suspend disbelief for the majority of the recording.  So I totally agree with you about ‘unplugged’ sound.

As to speakers, clearly the variability possible due to drivers, arrays and crossovers is far greater than with any other component and the end ‘house sound’ seemingly varies greatly between manufacturers.  My earlier comment about speakers was not to deny this but note that with a particular speaker fixed (can’t afford to change it at present though I can’t say I want to) as in my case, I have been surprised twice now by just how much Hugh’s amp improvements have improved my overall sound.  A few years ago I would not have thought this possible through changing amps and was really only thinking of speakers alone to improve my system.  Now I realise how important both are. aa

[AKSA]

David,

Thanks for your post.  Let me say a few words about the 1801b.

It's difficult to imagine how anyone could get a better sound from the SEAS 6.5" driver than David has done.  It sounded just sensational with the Soraya.  People kept looking behind the speaker, trying no doubt to find a subwoofer, it was so strong on bass!  I quizzed David on its design, and he revealed he was using a fourth order crossover.  I have NEVER heard anyone make a fourth order work in passive mode, but David has.  That's a huge achievement, and because the crossover slope is 24dB/octave, the drivers can be optimally driven, and it shows.  The downside is that transient response usually suffers, the sound is compressed, BUT NOT ON THE 1801.  I consider this a seminal achievement, and knowing the quality of the caps and the obvious time put into the design, I can see why it all works so well.

For myself, in the transmission line VSonics designed by Tline (on this forum) for Aspen, we went no further than third order.  Perhaps we should have gone fourth!!

I look forward to the Soraya reviews, too, I really do.

Lyn, thanks for your valued comments.  I really liked 'suspend disbelief'!!

Cheers,

Hugh

[lonewolfny42]

Hugh....

Lastly, in this gratuitous audio gossip column, the main threat to high end audio has been, and remains, the very low standards we've all become accustomed to with the digital age.  The main culprits are iPods and MP3.  After a NYC buying spree (thank you Paul!) my two daughters are now each proud owners of an iPod Nano and one remarked to me, 'Dad, I love it, it's changed my life!' - I was deeply shocked to hear this  MP3 and crappy sound cards and switching amps in auto radios and cheap handset players have really dumbed down audio;  we've all forgotten how good it can sound.

Right on target with that post Hugh....."dumbed down audio".......

                               Chris

[VYnuhl.Addict]

Lyn,


    Being both human and obviously both very into the nuances of what makes good audio reproduction so sacred to our aural senses its not surprising we hear the same thing with the Soraya  . Just earlier tonight I had been listening to some cds and was absolutely immersed in the music very quickly once again losing track of time and with the urgency to play some more once the disc was over. This being possible with a humble system I can only imagine the benefits with the V-sonics or any other HI-END speakers.

David,

  I can see your point and agree with the sense that better may be better, or just different but im positive if it can be bettered Hugh would be able to accomplish that in time. The live un-amplified music comparison is very valid, there are harmonics, attacks and nuances to music and its notes and rythyms that have to be heard without amplification to get a true sense of their nature without the masking or enforcement. I always got a kick out of some others when they spoke about a pianos leading edge attack, well unless the piano had thumbtacks installed in all mallets(ala honty tonk)its pretty darn soft and full bodies with loads of harmonics and overtones(realistically captured) unless its a half programmed keyboard. To myself some of the best sounding audio hasnt instantly grabbed me and pinned me to the wall but rather something that takes a few moments to perceive as very naturally accurate that doesnt highlight nor obstruct musically and leaves you with all the overtones and low level detail intact.


Best Wishes
Colin

[LM]

Colin,

Sorry, a bit slack in responding.  I've been very busy both at work and then around the house for a few days and had little chance to listen much since the OP, but yesterday managed to sit down to listen for about 4 or 5 hours.  Simply wonderful!  Have probably only run up about 10 to 12 hours total so far, so still rather in the discovery phase.  I don’t know whether the Soraya is settling in or if my ears are simply becoming acclimatised but it seems to have gotten even sweeter and more refined over this last week or so.

I have to say first up that I am now rather in awe of this amp.  Last night I really came to grips with just how truly 3D the soundstage is, even conveying an element of height.  What also seemed to be standing out more and more were the nuances of echoes, reverberations and other fine detail such as decay from the performance and the recording venue.   Really loving the intense sense of reality it provides.  My wife describes it as ‘enveloping’ and ‘sublime’ and who am I to argue, particularly as she OK’d the extra cost over the LF kit in the first place.   I must admit I’m pretty chuffed with the balance in my whole system now.

I really hope that Hugh, by building a couple of demo items as he has announced, will allow others, at least in SE Australia, to hear just how good this amp is.  I can’t wait to hear their impressions or even full reviews as there is no way I’m imagining all this.

[LM]

Well, I’ve now had the Soraya in place for a few weeks with perhaps 30 or so hours up so thought I’d post my updated impressions.  I’m very, very happy with it and I must say I usually find myself smiling in anticipation of switching it on, while I listen and I’m even smiling now whilst remembering the last session last night.  To me, it really is astonishingly good and an absolute keeper.

In the first post I summarized the main qualities as clarity and detail with a resultant reality and truth of presentation that was excellent.  That impression has become even stronger now with the Soraya having a really special quality about it that is hard to quantify descriptively in any other way than a sense of ‘effortless reality’.  In a conventional manner of description, the drive, detail and grip, particularly in the base, are all so good that the amp just seems to take complex and loud passages in its stride.  It always seems to be idling and is as relaxing to listen to at quite high levels as it is at low levels.  Base is really crisp; both tight and deep.  The amount of detail at low volume level is huge and a lot better than even the excellent LifeForce.  After these few weeks or so, the already refined performance has settled down even more.  It is very smooth but not in the syrupy sense, just a highly impressive lack of harshness or distortion.  Again, it is much better in this regard than the LifeForce in avoiding the traditional downsides of an SS topology and is truly neutral.  I have also found the overall tonal balance, as well as the control, to be superb.

As to the musicality of the sound, the timbre of the individual instruments is wonderful.  Piano, brass, strings and vocals in particular are palpable and different instruments are readily identifiable.  The fine details of movement, breathing, fingering, plucking and striking are all there in abundance.  Attack, body and decay all have real timing and weight, and in between there is a clean, clear absence of noise or distortions that separates the instruments beautifully, even in complex passages.  Perhaps it’s this that just seems to make the speakers disappear and the sounds sit so firmly in space before you.

I know that Vandy’s are widely considered to need a fair bit of ‘Welly’ as they are not that efficient.  However it seems like Hugh has accidentally delivered me a CB205, such is the grunt.  Along the same line, one odd thing that has become quite noticeable to me is that I now run the GK1 volume control at some 10deg less (lower or acw) setting than I used to for the same perceived loudness on a known CD.  I cannot prove this scientifically as I have missed any chance to take SPL measurements before the change to standardise with levels after.  Nor do I have any clue as to why this may be so as I don’t believe that there have been any gain changes as such.  Hugh, am I simply listening to it softer, am I imagining things or is there something else at work here - help…..

Yes I know it is a normal human failing to have to justify our purchases to ourselves by telling all and sundry just how good our decision was.  But bear with me this time as my message is simple.  If you are reading this because you love stereo, do not under any circumstances fail to have a listen to this wonderful amp as I am sure you will come to the same conclusion I have.  Then, you might be able to add your opinion to mine on this thread - that it’s a corker.

[AKSA]

Thank you Lyn,

A very comprehensive report, most appreciative - both you, and me!

The loudness thang is interesting.  I see it this way.  With the deficiencies of most systems, we tend to turn up the wick to establish a comfortable listening level, where we perceive we are maximising detail and comfort.  If resolution is superior at low levels, then the need to turn up the volume is not so great, as one can appreciate all the detail at a lower, more comfortable setting.

A similar argument prevails with automobiles.  We tend to drive cars with high performance engines that bit faster, because at low speeds they are rough, even a little harsh.  This particularly applies to motor cycles, where the characteristics of the engine, being lighter, are more pronounced.  I think the superior resolution of the Soraya, along with a greater dynamic range, means that high volume settings are just not required.

Except on rock, of course!!   

Thanks for a great review!

Cheers,

Hugh

[gerado]

Pretty much agree.

I was fortunate to listen to Lyn's set up with the Soraya having a few hours behind it then again after it had some more burn in.
There was certainly an improvement.
What was most noticeable to me was the improved endless rush and build up of louder passages which caught me by surprise every time it occurred. Its a lovely sensation when you your pulse starts to race and you are left with the impression there is more in reserve should the music call for it. The base is more musical, not dominating but there like solid foundations , controlled and swinging along. I could focus on its rhythm and be swept away by it alone. Thirdly the midrange had evolved further , more detail, slightly more forward when the intensity of the music called for it and then liquid and sweet during softer passages.
Overall the sound is fuller, more meat but somehow retains its delicacy.

What great FUN 

If you have no intention of purchasing a new amp, you probably should not listen to this one. If you love your music you will likely find yourself saving up for one against your will. 

[AKSA]

You know, Theo, I'm presently listening to my LF100 straight off the Onkyo Integra with the new speakers, the VSonics, on Chris Becker's present to me - the reference recordings of the NY Audio Society.  THANK YOU CHRIS!!  WONDERFUL MUSIC BEAUTIFULLY RECORDED!!

It's hard to imagine it gets much better than this, yet I concur, the Soraya is better, but heck this LF is good too!

Theo, Lyn, Andy is here tomorrow at 10:30am to pick up a bunch of LF modules, if you'd like to come over - it's just a couple of miles - we could TAKE KAFE TOGETHER MY SHOUT!!

Cheers,

Hugh

[kyrill]

hi Hugh

does the Soraya has yr "potted" FF correction circuit too
if no will a future version have one suited for its power?