Conrad Johnson Act 2 series 2 First Impressions

Thanks guys but this is a very initial impression . I know from past experience that it dramatically improves once the teflon caps break in thus my truncated initial review. I will report on each 100 hours and a final analysis at or near 400 hours. Thanks for the comments however.

Continuing :

The system I am evaluating this component in is in my 2 channel as well as my theatre - mulltichannel systems. Aerial Acoustic 20 T and Nearfield Pipedream 21 systems respectively. Associated components are listed in my systems open to public viewing.

I don't know if I am obsessive or just fanatically interested in audio. I do however live for this hobby and am dedicated to being a positive part of its success. I love meeting new audio buddies , sharing stories and supporting the various interests in any way possible. When I find a component that knocks me out I want to share the experience . Its positive feedback and interesting interpersonal interaction that drives and motivates me . I have been searching for the one company that "does it " for me and as you can read in my past comments on this site , I sincerely believe in the new direction that CJ is on . I have spoken about my love for the Premier 350 and my intense passion for the Lp 140 monoblocs that I cant stop talking about. I never did a "review ' of the original Act 2 . I didn't know until now why.

The Act 2 is a great preamp . The Act 2 Series 2 however is in another league altogether . I have passed 140 hours of break in . Changes are more dramatic than with the Act 2 series one break in period. I am confident in my statement that even after 140 hours , this unit has passed the performance of the Act 2 in many ways.

First and foremost , I am more involved in listening rather than evaluation. Evaluation is what I am trying to do . It was if the string between the system and my heart was not tight enough before. I never "felt" the emotional connection with my cds like I do now. An example : a snare drum . From a real drum recorded in real space , it breathes as the head expands and contracts. You hear its volume and its associated harmonic textural variance. An artificial recording of a snare drum has a consistent " sameness " to its sound that is flat and one dimensional. Its is but one way you " connect " to a recording . The Act 2.2 captures these variances better and with a greater sense of focus than the Act 2 did. Its now very easy to "peek into " the recording and feel you are a part of it rather than being locked on the outside looking in the way a mechanical event can often be transcribed from an unnatural" Hi Fi " system . I am also seeing or rather hearing a clearer top end extension that is emerging as a new sonic strength. As much as I liked the Act 2 s top end , there was not the crystal open window I expected. Though it still is evolving , it is opening up every day .

Low level detail is another area I see dramatic strides. I now am listening to the same recordings at a level much lower than before. This may be an illusion for a reason I am not aware of but nonetheless, I am doing so with an involvement that's alluring .

Timbre is a tricky subject as it is somewhat subjective in each listening environment. So many acoustical variances can color the perception that not only does the lack of recording studio perspective affect your point of view , but the room itself obscures the timbres "truth". We however do value our timbre and expect it to be rife with color shadings and nuances we can delineate at will. We tube lovers understand this. This preamp fleshes out timbre better than any preamp I have ever used in any system I have owned. This is a huge relief to me as I love the way older CJ gear did this . I am in no way saying that the new direction of the company with its new topologies and use of Teflon caps left their forte in the wind but the huge advancements and strides in bringing transparency and clarity to the Act 2 made the balance seem timid. I feel an authoritative grip on the Act 2 Series 2 . I sense a complete design .

I cant wait for 200 hours

No , i am not a dealer. I have a company called Rainwater Audio . My lines are Apl Hi Fi , Elrod , Sound Application , Shatki and am in the process of picking up the Modwright 9.0 preamp. I know people that sell CJ gear but I am not a dealer.

I also am a dealer for Critical Mass Isolation platforms as well.

No problem whatsoever Tvad. You are one of the most respected members of the entire audio community and I value your comments. I look forward to all of your posts when they pop up on the various forums.

The CT 5 was close to the Act 2 in performance and the Act 2 series 2 was born from the lessons learned from the CT 5 from my understanding .

Its 3 am . Last night I got 2.5 hours sleep. Something snapped last night and all hell broke loose. It was beyond the 100 hour mark that is so infamously etched in stone that CJ claims must be passed before even listening seriously. It was closer to 170 hours and the flood gate lifted . Not subtle but rather overwhelming to be frank.
Dimensionality exploded from the system as if I had something connected improperly before. Spiritchaser from Dead Can Dance opened up in every direction from deepest bass through the midrange right out the top window. Decay improved tremendously . This is not something you have to listen for. Its clear , unobstructed and free from restraint in my room .
I always felt the Act 2 was a masterpiece . Like a great Painting you acquire and hang on the wall. You admire it , show it off and even indulge in its beauty and sophistication while never recognizing this strange detached sense of connection you know you should be experiencing . You take it for granted you are experiencing it correctly. However , if you meet the artist and watch him paint you may feel differently about the work . You feel the emotion and fire he breathes into the strokes of the paintbrush. You come away with a fresh perspective of the work and understand and connect with your painting on a newly formed intrinsic level that is satisfying in so many new and exciting ways. What I am getting at is that though I have not been inside the minds of Bill and Lew, what is coming out of the Act 2 series 2 paints an astonishingly clear picture of what went into this preamp. I " feel " the passion and purpose .
I cannot stop moving when I listen to music. I find myself tapping my foot , hammering my heel, swaying uncontrollably and generally grooving to virtually everything I am listening to. I cannot sit and analyze the sonic characteristics the way I normally do when I evaluate a piece of gear. You have got to experience something like this to be able to convey it in words I now understand

It is upgradable , ask you dealer for information .

Conclusion. Nearly 300 hours of break in is now a reality.
I got an e mail from a friend who is well respected in the industry that has been following the thread. He simply said " you really put it out there in the wind didn't you " ? I had no earthly idea what he meant. I e mailed him and his response was that its unusual for a non professional reviewer to review a benchmark product that absolutely no one had heard yet much less reviewed. The theory was that most who did reviews had at least a few professional comments to base their conclusions on . The danger was that if the product was widely panned in the critic press , my comments and my reputation would go swirling down the toilet quicker than you know what through a goose. I commented to him that I trust one thing... my own ears.
There is not a single area that the Act 2 Series 2 does not improve upon over the Act 2. As good as the Act 2 is , the 2.2 has better dynamics { both micro as well as macro } , better accuracy in timbre reproduction , plumbs deeper in the bass region , has more richness in the midrange and is more open and clear on top with out sacrificing decay and ambience retrieval.
It plays a wider variety of musical genres better as well. The polite , sophisticated Act 2 was not a rock and roll preamp. The 2.2 s attributes make Rock , Electronica and World music come alive with weight and slam . The improved top end and its ability to capture nuances of the recording space made Ambient recordings like Hearts Of Space positively enriching . Especially late at night when the wife was asleep.
Classical aficionados will sink into the massive soundfield and layered tapestry of the recording with a sense of ease that allows the listener to relax and concentrate on the performance and forget about the sonics. This is also a medium that benefits from the improved micro and macro dynamics and the 2.2 will not disappoint!I am simply addicted to two aspects of musical reproduction . The human voice and capturing the entire recording atmosphere in a given song. Lose the first and you lose touch with the humanity of the recording , lose the second and the suspension of disbelief you are experiencing a mechanical event is lost. Here are two critical areas that the Act 2.2 has significant advantages over the Act 2. I assume its a combination of attributes but it seems to me that the improvement in the midrange is directly attributable to the former and the later is something I can only describe without explaining.
I am an audio cannibal. I am addicted to the flesh and bones of the recording. Its what drives me into the Conrad Johnson camp. The Act 2 was not something I could readily sink my teeth into. The 2.2 is bloody tasty. Rhythm , vocal immediacy , space ; its all here in spades. Connecting to the music is the holy grail in my view. I am as close as I have ever been.
I am not a reviewer and this is not a formal review. I am a passionate lover of many genres of music and I need gear that will allow each to showcase its strengths.
Finally , I must admit that it is gorgeous to look at night with its Lucite rings and soft glowing tubes . The modern design is somewhat of a departure for the company but the look is retro at the same time oddly enough.
The magic in audio is all about the midrange and it is the cornerstone of Conrad Johnson designs. If you believe this then you will crave what the 2.2 does .
Brent Rainwater

You are welcome and thank You for the kind words . To hear this new gear from the company { and that includes the Premier 350 and Lp 140 monoblocs } is to crave it. Some lament the new direction as the bloomy midrange has been recessed somewhat for a clearer view into the recording but I find just the opposite ; involving midrange palpability with the added bonus of cleaner lines and focus. Its the best of both worlds for me and the 2.2 addressed the shortcomings inherent in the Act 2. Again , thank you for taking the time to read my thoughts and to respond.

Baranyi, the cost is 5500.00 to upgrade an existing Act 2 to a series 2. Well , and I mean well worth it.

Audioblazer. I am in awe of what CJ is doing with each new preamp introduction . The Act 2.2 walked all over the Act 2 . Obtaining an Art 3 was a dream come true !! I was able to make it happen and went for it . Live once , live hard.

Audioblazer, see my Art 3 mini review .

The upgrade will replicate the performance of the 2.2 I am told.