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DFPC Series [Reference]

Date Added: 01/22/2020 by Matjaz Kaltnekar, Slovenia
I admit being a little late to the party. The DFPC Series power cables have been in the meantime replaced by the C-MARC power cables. But better late than never.

While I could never dream to own such an expensive power cable as the DFPC Reference at an original price of 1.824 USD, since my whole system consists of components in the 2.500 EUR range (Marantz SA14S1 SE and PM14S1 SE by the late famous audio guru Ken Ishiwata and B&W 805S speakers connected by Siltech Classic Anniversary 330L loudspeaker cables), I am very pleased that by the price reduction I could upgrade from the Original to the Reference range.

Since I listen mostly to female vocal jazz like Patricia Barber, Jacintha and Melody Gardot, I prefer a certain sound – let's call it a seductive midrange. I abhor shrill highs and don’t really need an extra deep bass, since the B&W 805S don’t go below 46 Hz. I prefer stand mounted loudspeakers like the 805S over floor standers since they “disappear” better in the room. A precise stereo image is also very important to me.

So much for the introduction. Now to the first impressions. Thank God I have been informed of the long burn-in time by Mr. Motek as the first sound was one of very shrill highs. I usually use Patricia Barber's song The Thrill is Gone from Cafe Blue for checking cymbals and the double bass. The cymbals were very zingy or should I say glassy. While listening to the double bass I had the impression of listening to a bass guitar like Santana’s. The imaging that before was very directional, came out from just the speakers. I said: “OMG, what have I done. Buying something without prior auditioning.” The fact about getting 70% of the final sound during initial listening referred to by an article about burn-in by Mr. Motek seemed very far-fetched. Thankfully that is why a 30-day money-back guarantee exists.

But I knew I had to persist. I let it run through the whole night and another day and on the third day the image nicely opened up. The same song with the title The Thrill is gone should be renamed to The Thrill has returned since Patricia Barber's voice now gave me goosebumps. The instruments were settling down nicely an octave or two, my wife even commented that maybe the piano sound was even a little bit too dark. But for me the sound was just perfect and I was in seventh heaven.

A perfect example was A Taste of Honey from the same CD. It starts with the guitar. I have never heard the fingering of the strings as clearly as that evening. When Patricia started to sing, it was really a taste of honey. After that the drums joined the guitar and as I have already said I really don't need a super deep bass. What has gotten to me, was the uncanny rhythm of the bongo drums. I couldn't help myself to start tapping with my foot to the rhythm of the drums.

Another singer that always gives me goosebumps is Jacintha. Moon River from her CD Autumn Leaves is a perfect example of her seductive voice. It is supposed to be a cappella singing. Only if you listen very closely you can hear a piano in the back of the hall during the first 2:20 minutes. The LessLoss DFPC Reference power cables with its quiet background have produced these details as no power cables before.

Jacintha's bonus track from the same CD Here's to Life is a brilliant performance by Jacintha and the famous jazz pianist Kei Akagi. By the sound of it I could swear it was a Steinway. Only the best power cables bring out the texture of the piano like this. I am not sure if I can describe this correctly, but the note from the hammer strike on the piano string takes much longer to decay than with previous power cables giving the music a much more powerful presentation. There is some theory involved with this - you can google it under "Modelling the Decay of Piano Sounds". I am more and more amazed how many more details I get out of the same recordings that I have thought I knew so well.

Now for my final impressions after two weeks of burn-in. I have a sampler CD Ballads in Blue from Enja Records where for testing purposes I usually listen to the first two songs by Melissa Walker (A Time for Love) for the piano and Dusko Goykovich (No Love Without Tears) for the trumpet. I usually jump over the next songs to the last song by Chet Baker (I Fall in Love Too Easily) for his unusual voice where I never know if it is really a man singing or is it a mezzo-soprano voice like Ella Fitzgerald. Also the trumpet and string instruments (orchestra) are very nicely recorded. As it is a live recording it starts with applause. You can always hear a cables time coherence by listening to hands clapping or fingers snapping. With lesser cables the image is very diffuse, it seems to come more from the loudspeakers as from a central audience. Here you can really feel like you are sitting in the audience

Now for the piece de resistance. Before that last song there is a piano recording by Abdullah Ibrahim (Eleventh Hour) which I usually jump over during testing as there has been nothing special to the recording until now. Now for the first time I could really appreciate why Enja Music have put this song on the sampler. There are some cymbals which until now were all seeming to come from the same space in the recording. Now for the first time I could hear that there were actually 3 distinct directions (very close but nevertheless in separate space). I have read something like that in one review but I always take such reviews with a grain of salt. Now I can really understand what the reviewer was trying to convey. There are some authors that swear they can identify a brand of cymbals like for example the Zildjians from other cymbals. I am not nearly that far but the same as with piano notes I can distinctly hear the longer reverb/decay of the cymbal strike. Also in the piano you can hear the pedals being pressed, the very details that have been missing until now.

Also all the shrillness that I have heard on the first day has gone out of the recordings. The cymbals have now the right sound, the brushes don’t sound like sandpaper any more. The trumpet still has the brassy sound that I love so much and the piano has a very lifelike appearance.

Let me say at the end that I am very thrilled by the improvement the power cables have made to my system. I have spent a lot of money on my system already but this was one of the best investments I have made until now.
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LessLoss History From the Very Beginnings

LessLoss started its business on Audiogon in late 2007. Within the first couple of month, word about LessLoss spread like wildfire among Audiogon members. Here is the feedback received from our clients during our first year of operation. This is from even before we had our own website.

Louis is one of the best in the business, truly professional and very fast production and delivery. I am very satisfied by your superb service. Many thanks.

Positive by Buyer Sebastian (135) on 07-29-2008

Excellent transaction with Lessloss on dynamic filtering power cord. Good communications & fast shipping. A+++++

Positive by Buyer Sennett (45) on 07-03-08

Bought 3 pc's from Liudas in Jan/08. Outstanding product as advertised. Performance is everything and more than I expected. Kudos to Lessloss cable for a great product. Very highly recommended...A+++

Positive by Buyer Phillykid (33) on 06-19-08

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