Lightspeed Attenuator - Best Preamp Ever?

Pubul57, I like the concept of blinded sessions to remove bias. It is quasi-scientific. I think a lot of manufacturers are sensitive to the whole shootout model (blinded or not) since a poorly executed setup can talk the results and hurt their business. I am aware that most hi end audio companies in the US are mom & pop outfits, and the last thing I want to do is damage their livelihood. That being said, my pre-amp maker (TRL Dude) was stoked about the idea.

I think a second issue is pride. A lot of philes are wedded to their gear and get tribal on you fast (myself included) when challenged. At this point, I don't care about looking like a rube. If something is better, its better. The truth sets you free at the end of the day.

Prior to owning a Dude, I experimented at the level of the pre-amp quite a bit. My Wifi front end has enough juice to easily drive amps directly. I liked the sense of clarity, but the soundstage was always too flat for me. It did not sound right. In my previous rig, I used a Granite Audio 657 tubed CDP without a pre-amp. It had an enormous amount of gain in the output stage, and my system always sounded more dynamic and alive without a pre-amp. This was an experience shared by a majority of 657 owners. Conceptually, it harkened back to the 80s/90s when a straight wire with gain was thought to be optimal (by some).

Bringing things into the present tense, I discovered the TRL Dude (thanks Bill/Grannyring). It had the dynamics and sense of control of the 657 with with so much more. That being said, I am always open to hearing "more." TVAD mentioned his new VRE-1 as being a passive "with balls" and how much he is in love with that device. I did not realize that the Concert Fidelity pre was a "passive with balls" also. Dale Pitcher from Intuitive Design is using that pre at RMAF this year. I own some of his equipment and respect his ears. That being said, a buddy of mine who owns a highly modded but vintage TRL GT3 pre-amp (15 years + I believe) recently demoed both the Concert Fidelity and Lightspeed and still preferred the TRL pre. In particular, he said the LS lacked "dynamics and control."

Pubul57, out of curiosity, what pre-amps have you compared this device to? Atma-sphere per chance? Have you ever hear it with solid state amps? What is your source? It does seem as if you need fairly specific conditions for the LS to thrive.

As an FYI, I used to be a Merlin owner. Loved those speakers. Was about to purchase the ARS Filharmonia and got sucked down another rabbit hole audiophile style....

Owned the Ars Sonum (twice:)) Most recently I have owned CAT SL1 Ultimate, Lamm LL2, ARC LS25, Dodd Battery, Joule LA 150MKII Signature Edition, Placette Active Linestage and RVC, K&K TVC, and the BENT TAP AVC. Of that batch, the Joule was my favourite, but sold it after a month or so with the LSA, just did not make sense to me to keep it, in my system with an EMM Labs front end (switchable 2v and 3.6v output), the LSA played on par or better to those, though I only had the Joule at the same time. I never compared it with the Atma preamp I own becuase I use it exclusively with the Atma-amps. The LSA is used with my single ended Music Reference amps. If I were to make a sane recommendation for Merlin owners, it would be to get the Ars Sonum, and "stop worrying about it":) Not that is was the best, but it is good enough to get off the equipment merry-go-round.

I like the idea of blind listening sessions, why are so many audiophiles and reviewers against it, or at least to believe in it as a effective method for assessment? That always seemed odd to me. Yes, it would be a good idea to do such a test absent the knowledge of when one is listening to a particular piece, especially when they have invested themselves in a piece financially and/or emotionally.

Most of these tests as conducted today are flawed to some extent. Unfortunately you can't create an accurate enough control environment. That being said I think they are fun and a method by which opinions can be shared and discussed. Not that we're going to get any definitive answers, more likely the usual subjective opinions.

One thing that would be nice in the LSA, and most modern preamps, though it might "ruinous" or a least "deleterious", is a scheme for balance control to account for recording mixes, room geometry, and human frailty as we age - not sure how many ears are balanced L/R- perhaps than we would like.

Mine technically has a balance control by virtue of it's dual volume controls. I like this feature for all the reasons mentioned above.

I should have thought about that, take that over remote cotrol any day.

I did not realize that the Concert Fidelity pre was a "passive with balls" also.

Not sure what you mean. The CF-080 preamp has a gain stage so technically it can't be a passive. The Si2 preamp which I own and uses the same volume control as the CF-080 is a zero gain device using an active buffer. That could be classified as a passive with balls IMO. IIRC I believe the VRE-1 engages a gain stage when the volume control reaches a certain level. So it too has passive attributes. Quite a nice preamp to boot.

For some light reading on the Si2 lineup look here:

http://db.audioasylum.com/cgi/m.mpl?forum=hug&n=150154&highlight=Silicon+Arts+Design+clio09&r=

I was pleasantly surprised to receive an email from my friend Hajime Sato regarding RMAF and the use of Concert Fidelity gear by Dale Pitcher. It will be interesting to hear with his speakers.