Continuing :
The system I am evaluating this component in is in my 2 channel as well as my theatre - mulltichannel systems. Aerial Acoustic 20 T and Nearfield Pipedream 21 systems respectively. Associated components are listed in my systems open to public viewing.
I don't know if I am obsessive or just fanatically interested in audio. I do however live for this hobby and am dedicated to being a positive part of its success. I love meeting new audio buddies , sharing stories and supporting the various interests in any way possible. When I find a component that knocks me out I want to share the experience . Its positive feedback and interesting interpersonal interaction that drives and motivates me . I have been searching for the one company that "does it " for me and as you can read in my past comments on this site , I sincerely believe in the new direction that CJ is on . I have spoken about my love for the Premier 350 and my intense passion for the Lp 140 monoblocs that I cant stop talking about. I never did a "review ' of the original Act 2 . I didn't know until now why.
The Act 2 is a great preamp . The Act 2 Series 2 however is in another league altogether . I have passed 140 hours of break in . Changes are more dramatic than with the Act 2 series one break in period. I am confident in my statement that even after 140 hours , this unit has passed the performance of the Act 2 in many ways.
First and foremost , I am more involved in listening rather than evaluation. Evaluation is what I am trying to do . It was if the string between the system and my heart was not tight enough before. I never "felt" the emotional connection with my cds like I do now. An example : a snare drum . From a real drum recorded in real space , it breathes as the head expands and contracts. You hear its volume and its associated harmonic textural variance. An artificial recording of a snare drum has a consistent " sameness " to its sound that is flat and one dimensional. Its is but one way you " connect " to a recording . The Act 2.2 captures these variances better and with a greater sense of focus than the Act 2 did. Its now very easy to "peek into " the recording and feel you are a part of it rather than being locked on the outside looking in the way a mechanical event can often be transcribed from an unnatural" Hi Fi " system . I am also seeing or rather hearing a clearer top end extension that is emerging as a new sonic strength. As much as I liked the Act 2 s top end , there was not the crystal open window I expected. Though it still is evolving , it is opening up every day .
Low level detail is another area I see dramatic strides. I now am listening to the same recordings at a level much lower than before. This may be an illusion for a reason I am not aware of but nonetheless, I am doing so with an involvement that's alluring .
Timbre is a tricky subject as it is somewhat subjective in each listening environment. So many acoustical variances can color the perception that not only does the lack of recording studio perspective affect your point of view , but the room itself obscures the timbres "truth". We however do value our timbre and expect it to be rife with color shadings and nuances we can delineate at will. We tube lovers understand this. This preamp fleshes out timbre better than any preamp I have ever used in any system I have owned. This is a huge relief to me as I love the way older CJ gear did this . I am in no way saying that the new direction of the company with its new topologies and use of Teflon caps left their forte in the wind but the huge advancements and strides in bringing transparency and clarity to the Act 2 made the balance seem timid. I feel an authoritative grip on the Act 2 Series 2 . I sense a complete design .
I cant wait for 200 hours
