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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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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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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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