The issue of "accuracy" comes in many ways. If we are talking about tonality, tonal coherency, and such, I would agree that the LS2 is more tonally coherent than the SP8 and SP-10 line stages. I owned the SP-10 and realized how compromised its line stage was 10 years later when I went on a quest to upgrade this.
If we investigate other sonic attributes to determine accuracy, the LS2 is so far away from accurate it is not even funny. Listen to a piano, saxaphone, even human voice with the LS2 and take notice of how quickly tones terminate in space. This is not accurate nor natural at all. Notes with the LS2 occupy little to no space; the presentation is very one-dimensional. It only takes me one trip upstairs to hit a piano key and to know a piano does not sound like this.
As much as I wanted the LS2 to work for me, it was such a huge disappointment. Staying with the SP-10, with all of its tonality colorations and such, was easy as it at least conveyed the dimensionality of the performance that the LS2 failed miserably. Fortunately the LS5 came alone and retained the SP-10's strengths and brought on a huge refinement in tonal coherency, frequency extreme coverage, lower noise and thus greater resolution over the SP-10.
We all tend to speak in our own absolute terms. But our comments are relative to what we have owned or heard elsewhere. Had I not owned the SP-10 for many years, and had also not been so impressed with the LS5 vs. LS2 audition at the ARC dealer, the LS2 may have survived less scrutiny. But I also heard the magic in the MFA and CJ preamps and line stages; I knew how flawed the LS2 truly was.
Concerning some comments above, the LS2 uses one tube, not two. The LS1 and LS2 are hybrid designs, the LS3 is all solid state and the LS7 is all tubed.
I have no experience with the ML models as mentioned by Greg, but I did hear the ML38s directly against the LS5, and the ML sound was way way way too analytical for me. The Klyne was much more to my liking and was much less than the ML. The Krell KRC at the time was as dreadful as the ML38s.
For me, a component's tonal coherency only has relevance once it passes through the dimensionality, harmonic structure and decays in a believeable manner. And unfortunately, it is darn tough to find such a product in Marty's price range. The "modify" route would be the way to go here. Marty: you have a tough job ahead of you.