"The extended dynamics, the lowered noisefloor, the musicality and the ability to bring the musicians into the room."

"LessLoss cables lifted the musical interpretation for me made me better get into the music and I dare to say Bach's Mattheus Passion never brought me to tears in such a way as on that evening with La Petite Bande and the LessLoss DFPC."

"In a good high res system, this is definitely the cable to go for. It will almost literally blow your mind."

Original Dutch version here.

"LessLoss attacks environmental noise riding on power cables in a very special way."

"Bass was sumptuous, the midrange delicate and the treble airy and fast. There was absolutely nothing wrong with their performance in our system."

"...pulls you deeper into the performance and only lets go when the CD is stopped or the needle hits the final groove."

"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."

"...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."

"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."

"One or more Blackbodies strategically placed around our audio equipment alter the sound and help bring out more of the encoded ambient information into the playback venue. The Blackbody does not add anything to the sound or system. It effectively removes something that's intrinsically connected to electronic sound reproduction (the cleaned-up TV image is a nice bonus)."

"Having at least one Blackbody placed at the right spot makes a big difference in how we experience the music. The added spatial information—or better, finally revealed data purged from the former EM clutter—pulls the listener much deeper into the music. Bliss is in the details so to speak."

"After swapping of footers and repositioning of the Blackbodies on the PWD and the one behind the CD transport, we came to the only plausible conclusion. Electromagnetic fields can and will interfere with mechanical resonances. When a part of the enveloping EM field induced by either the equipment itself and/or other gear in proximity is eliminated, resonances earlier defeated by resonance controllers or tuning devices are neutralized as well."

"What happened was not minor. With three Blackbodies at work, the speakers fully detached from the music. With the fourth Blackbody, the room extended well behind the speakers. Though we think soundstaging is not the most important feature of a home system compared to imaging, when it is present and this realistic, it's a thing of beauty. We again used the computer building block as placebo and again had to conclude that it wasn't the weight or proximity of an object that was accountable for the perceived change in sound. "

"It proposes to address electro smog effects in a way that's never been attempted before."

"Electro smog? I won't do your homework for you. If you don't believe in the existence of electro smog [...] neither must you fret over [...] how a computer's Wifi module in your hifi might negatively impact other components. Why your system's performance keeps fluctuating despite no apparent changes. Why things in proximity to your gear impact it beyond acoustic reflection or absorption effects. And so forth. I applaud anyone investigative enough to pursue these matters in the hopes of coming up with something that makes a dent."

"Having spent a dinner with Louis Motek, Dan Wright and Jacob George during a Munich hifi show, I'd witnessed Louis recount anecdotes of his many unusual audio experiments. I was impressed by his obvious enthusiasm for the subject and his willingness to spend a lot of time chasing the devil that's in the details."

"It isn't just superb in doing one or two things – it does everything well, whether detail, extension, transparency, performer placement, soundstage depth and width, PRAT, etc."

"I was able to easily demonstrate the DFPC Signature's superiority to visiting non-audiophiles, all of whom preferred the DFPC Signature without hesitation. In fact, the only cables that came close were the original DFPCs."

"...would typically fit in the $2,000 to $3,000 range but which sells for $1,150 on the LessLoss website, including shipping."

"Without the Firewall, there was a stream of somewhat disconnected tones masquerading as musical performance. With the Firewall, there was musical performance built upon coherent interplay filled with spatial cues, proper timing and dynamic accents."

"...an absolutely unprecedented level of natural realism in every aspect of the musical presentation."

"...so much more expressive and three-dimensional."