LP125m SE review after break-in

[ronenash]

With 500 hours on the LP125m SE I thought it would be a good time for a short review of the amplifiers. I have listened to many recording both so called Audiophile recordings and 60 year old jazz recordings. I have used both an analog source (VPI Classic 1) and digital sources (J.RiverMeridian 800 Lyngdorf DPA-1).

The first thing that you hear with these amps is the level of harmonic richness far beyond anything I have experienced before. This is most noticeable on piano recording which sound so right with such presence that I am fooled to thinking the piano is in the room with me. The second thing that you notice is the tremendous size of the soundstage. Both soundstage width as well as height is far beyond other amps I had in the past. To this helps the fact that the SF Amati Anniversario is very good that reproducing the natural soundstage cues in the recording. The LP125 also sound more powerful and dynamic than my motif SS amp which is almost twice the power of the LP125. Full orchestra swings sound so natural and real it’s frightening. This can be clearly heard on Count Basie’s “Basie Plays Hefti”. I can “see” every player in the band with a position so clear and so focused. Try Harry Connick’s “Some Day You’ll Be Sorry” from his “Chanson Du Vieux Carre” album (a highly recommended album for Dixieland lovers). The dynamics in these piece caused me to miss a heartbeat. The orchestra enters in full scale in an instant and the LP125 follows like a champ.
Moving to my vocals tests, try Ella Fitzgerald singing Black Coffee on her Intimate Ella album. I can just feel her breath as she sings through the tune. Again the piano is as visceral as it gets. On Diana Krall in “All or nothing at all” from her “Love Scenes” album, the bass in the beginning of the number is full bodied and you can just hear and feel the resonance of the wooden instrument. Then Diana comes… Closing my eyes I could just walk across the room and join her at the piano seat. It is that real!

I know the LP125 should still be improving until the 1000 hour mark but I have to say that the changes at this point at small and difficult to stop. This is definitely the best amp I have had so far bettering the CA200 which I plan to get back since I cannot think of parting with it. The CA200 might have the edge in the lowest registers and is still one of the best at any price that I have heard.

All in all I am one happy dude!

[Puma Cat]

Great revew, Ron, thank you.

Your comments don't surprise me as I find many of the qualities you describe to be present in my LP70S.

I think you're in store for more good things however, if my experience this last week with my CT-5 is any guide.

Best,
PC

[joeinid]

Hi Ron

This is great to read and a fine testament to your amps. I am happy for you.

Joe

[ronenash]

Originally Posted by Puma Cat

Great revew, Ron, thank you.

Your comments don't surprise me as I find many of the qualities you describe to be present in my LP70S.

I think you're in store for more good things however, if my experience this last week with my CT-5 is any guide.

Best,
PC

Thanks Stephen, I am sure in a few month things will get even better. The changes are smaller and slower now. I trust your ears and knowhow.

Originally Posted by ronenash

With 500 hours on the LP125m SE I thought it would be a good time for a short review of the amplifiers. I have listened to many recording both so called Audiophile recordings and 60 year old jazz recordings. I have used both an analog source (VPI Classic 1) and digital sources (J.RiverMeridian 800 Lyngdorf DPA-1).

The first thing that you hear with these amps is the level of harmonic richness far beyond anything I have experienced before. This is most noticeable on piano recording which sound so right with such presence that I am fooled to thinking the piano is in the room with me. The second thing that you notice is the tremendous size of the soundstage. Both soundstage width as well as height is far beyond other amps I had in the past. To this helps the fact that the SF Amati Anniversario is very good that reproducing the natural soundstage cues in the recording. The LP125 also sound more powerful and dynamic than my motif SS amp which is almost twice the power of the LP125. Full orchestra swings sound so natural and real it’s frightening. This can be clearly heard on Count Basie’s “Basie Plays Hefti”. I can “see” every player in the band with a position so clear and so focused. Try Harry Connick’s “Some Day You’ll Be Sorry” from his “Chanson Du Vieux Carre” album (a highly recommended album for Dixieland lovers). The dynamics in these piece caused me to miss a heartbeat. The orchestra enters in full scale in an instant and the LP125 follows like a champ.
Moving to my vocals tests, try Ella Fitzgerald singing Black Coffee on her Intimate Ella album. I can just feel her breath as she sings through the tune. Again the piano is as visceral as it gets. On Diana Krall in “All or nothing at all” from her “Love Scenes” album, the bass in the beginning of the number is full bodied and you can just hear and feel the resonance of the wooden instrument. Then Diana comes… Closing my eyes I could just walk across the room and join her at the piano seat. It is that real!

I know the LP125 should still be improving until the 1000 hour mark but I have to say that the changes at this point at small and difficult to stop. This is definitely the best amp I have had so far bettering the CA200 which I plan to get back since I cannot think of parting with it. The CA200 might have the edge in the lowest registers and is still one of the best at any price that I have heard.

All in all I am one happy dude!

Tubes are awesome. Great sound (richness and space) and beautiful glow. Congrats on having 2 great CJ pieces!

[joeinid]

Originally Posted by dpod4

Tubes are awesome. Great sound (richness and space) and beautiful glow. Congrats on having 2 great CJ pieces!

+1