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pf (Positive-Feedback) magazine reviews the Blackbody and DFPC

June, 2013, author: Jeremy Kipnis
"The following depicts my personal experience with the Blackbodies over the course of one year. I did not want to rush publishing my observations because of the novel nature of the matter, and my initial cautious skepticism."

"Virtually grain-free presentation."

"Expanded and explosive dynamics with intricate low level details."

"Much more spacious sound staging with more stable and seemingly larger presentation size."

"Increased focus and weight of imaging featuring correct tembral presentation."

"Quieter background leading to a blacker black–perceivably longer reverb tails."

"More visceral and palpable (sound "freed from the confines" of the electronics)."

"The harmonic structure of instruments and the acoustic space itself all show a new (inter)related connection amongst themselves along with a wholeness of sonic presentation within the hall which was simply not audible before."

"The sense of strain that was present above a certain volume level during playback of known materials is no longer as present."

"Inner details of the recorded acoustic venue and the placement of individual instruments within that space has become vastly more solid and life-like, tangible and palpable."

"In spite of hearing this performance many hundreds of times, I now find myself hearing YET NEW things I have never heard, before."

"Inner harmonies are now clear during both the most massive and the most silent moments. And the degree to which the soundstage hangs free from the speakers is now palpable and visceral, very much the way the best analog discs and tapes sound!"

"There is a new level of detail present in the playback, which has been completely obscured until now."

"The tonal quality of the instruments (and even voices) became fuller in the bass registers, while the treble became both smoother and more open and extended."

"The presentation exhibited a much greater degree of bloom with much tighter dynamics."

"This made everything I played sound more realistic and less like listening to a recording."

"I hear much more space being delineated along with great textural information about the individual instruments and the people playing them."

"More explosive dynamics with wider soundstage dimensions and clearer anchoring of the individual acoustic elements within it. I would call the difference substantial!"

"If your audio system has teeth and nails, then the DFPC power cords will deliver all the power and music, but remove the artificial bite and scratch that affect most every playback system."

"Find some seriously hidden wonders that have been lurking behind the HF noise and distortion. It will wake up your entire system and make your music library sound new; they are that caliber of an investment."

"Together, the Blackbody and DFPC power cord provide a reliable method of absorbing and deflecting both wire-bound and airborne electronic garbage from getting into your sound (and video) system; much for the better, as you will soon hear."

"DFPCs and Blackbody units confer a progressively more focused, holographic, and dynamic sound."

"Makes almost any priced system sound more like listening past the recording technology and feeling like you are listening to the real thing!"

"The DFPC power cords strip away further grit, grain, hash, and haze from the sound, resulting in a far less electronic sounding stereophonic reproduction."

"These two different approaches to EM field management and containment offer one of the few scientifically based audio (and video) tweaks to have crossed my path in my four plus decades as a professional audio engineer."

"Highly recommended!"
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Tone Audio Magazine introduces the Blackbody

January, 2013, author: Jeff Dorgay
"...I couldn't resist. I wanted to hate them and I wanted to tell the world that they are useless. However, after trying them with a number of different components, there is definitely something going on here."

"So, I turn you over to our host Matej [of Mono and Stereo]. And I must say I concur with his findings."
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Mono and Stereo publishes a review of the LessLoss Blackbody

August, 2012, author: Matej Isak
"As with my prior experience with the LessLoss Firewall, I felt that the change upon introducing the Blackbody was in the same league."

"The real change that the Blackbody brought forth was evident within a few moments. It was an instant reminder of LessLoss's recognizable clarity and focus."

"Somehow the LessLoss Blackbody brings about so-called "blacker than black" backgrounds. The sense and pace and of atmosphere surrounding the music adopted an even more coherent believability at moments."

"I'm finally seeing a flame flickering with hope when it comes to digital audio and the Blackbody contribution here is a positive revelation. None of the tweaks I made so far managed to bring out the music from the DAC as did the LessLoss Blackbody."

"It should have dawned upon me earlier to try the Blackbody with my Tom Evans phono stage and pickup. I loved the change almost as much as I did with my Lampizator DAC!"

"More music happened in what I recall now as correct pace and rhythm."

"This is a device which carries out an inherently important task that is often overlooked or not even acknowledged to exist."

"The Blackbody can help in dealing with near-field EM interaction and elevate the performance to levels way above the expected. And with an already refined chassis, you can always add the Blackbody to achieve realms of quality unimaginable before."
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Stereo Times publishes three-reviewer investigation on the Blackbody

March, 2012, author: Clement Perry, Dan Secula, Mitch Moreno
After an entire year of investigation in various systems, three independent reviewers at Stereo Times publish their long-term findings in a three-part review titled "Life with the LessLoss Blackbodys."

"Via the Blackbodys, the music just came through with a new sense of harmonic wholesomeness I had not experienced from any other tweak."

"I sat in amazement for hours listening into the wee hours of the morning."

"The music was at once purer: totally devoid of grain or strain."

"I noticed Kaplan expected to hear something positive. What he didn't expect was anything this powerful and resoundingly obvious. The look on his face within seconds of playing a familiar track was all I needed to know about the Blackbodys' effectiveness here in this highly tweaked setup. "...what the f*%@ is going on?"

"Bass sounded quicker and lower than it had any right to be via this old pair of Apogees."

"The music took on greater contrast and appeared more lively."

"The Blackbodys impart purer tones and harmonics: qualities the single-ended lovers and vinyl enthusiasts claim their wares are most prolific at, while hitherto was near impossible to yield from solid-state and digital devices."

"You do not have to own the best of everything in order to achieve state of the art performance. The LessLoss Blackbodys are a testimony to that. Though not cheap they do as advertised and have taken my listening pleasure to a level I could not have believed prior to their installation."

"Once you get a grasp of its power, it will challenge everything you thought you previously knew regarding noises and other contaminations in and around components."

"I'm now convinced beyond a shadow of a doubt that capturing the ultimate sound may be in our grasp by virtue of tweaks and not that shiny new $80k amplifier or loudspeaker."
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Stereo Times grants 2010 Publisher's Choice Award

January, 2011, author: Clement Perry
The LessLoss Blackbody is granted the 2010 Most Wanted Component Award from Stereo Times (Russell Lichter, Clement Perry, Moreno Mitchell).
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6moons second review of LessLoss Blackbody

November, 2010, author: Marja & Henk
"In hindsight it is quite shocking to fully appreciate how most if not all of our audio gear can be enhanced by addressing (minimizing or eliminating) its EMI radiation."
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Stereotimes on the LessLoss Blackbody

November, 2010, author: Clement Perry
"The results are a surprisingly lower noise floor. Increased resolution and three-dimensionality while overtones appear more authentic and natural."

"Highly recommended."
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Dagogo Reviews the LessLoss Blackbody

August, 2010, author: Ed Momkus
"Soundstage depth improved and performers became more palpable, creating a greater sense of realism. A very natural sense of weight and body appeared where none previously existed."

"After a lot of listening and thought, there are three things that the Blackbody does. First, it adds a significant amount of spatial cues. Second, it somehow allows you to clearly hear every instrument in detail without sounding analytical and ruining the "wholeness" of the overall performance or changing the balance of the musical presentation. Third, it adds a natural sense of body and weight to instruments without affecting pace or timing. These things may not sound like much, but once I dialed in the best positioning of the Blackbodies the effect was quite pronounced, and repeatedly confirmed by several different listeners in my main listening room."

"I heard: (a) more nuance from the instruments, (b) more clarification of the performance venue, and (c) clearer performer placement on the soundstage."

"I will tell you right now that LessLoss's claims about the audible effects of the Blackbody are absolutely true."
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Stereo Times review of the LessLoss Blackbody

July, 2010, author: Russell Lichter
"...when I look for a snappy description of the changes I heard when the Blackbodies were put in place, I'm apt to say something like, It's as if I have a new pair of loudspeakers."

"I continually find myself stopping in my tracks, noticing nuances and details and ambiance I don't recall, basking in a sense of presence and spaciousness that is delightful and surprising. There is a crystalline clarity about the highs, and bass feels more accurate and substantial. Listening is relaxed and easy, never fatiguing, and very satisfying. Clarity, clarity, clarity. Transient attacks to die for."

"Listen to the hammers strike the piano strings, felt covered wood hammers hitting metal strings, clear as a bell. Listen to the tactility ofrosin-covered horse hair drawing across the 'cello strings. Listen to the rich, clear layering of overtones in a singer's voice. It's enough to give one goose bumps at times."

"As a reviewer I spend time listening to equipment, but when equipment does its job this well, it transcends itself, it becomes a clear vessel for the music, a doorway to the heart and soul of the composer and performer. I have always considered the real purpose of all art to be delight, and I think never before has this stereo so fulfilled that purpose."
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6moons Blackbody review (Part II)

April, 2010, author: Srajan Ebaen
"The type of change these devices accrued is very audible in transient peaks particularly on percussive noises whose startle factor—the degree by which they shoot out of the surrounding sound carpet and trick you into small adrenaline rushes—gets very pronounced."

"The soundstage is sorted better and transient acuity is higher. Subliminal blur gets steadied, fuzziness wiped away."

"Besides being able to hear more deeply into tone modulations, I enjoyed a greater penetration into the far reaches of the soundstage. Greater clarity farther back."

"Relatedly, the overall sense of purity enhanced. This I related to a lowering of inner noise."

"Unlike certain powerline devices which can inject negative silence by overdamping, this type of silence—less etheric activity is perhaps more accurate— felt perfectly benign and easy. It neither choked nor conveyed an absence as some noise killer devices can."
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