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Conrad Johnson Lp 140 monoblocs review.

The system the new Lp 140 Monoblocs was tested in was as follows: Nearfield Pipedream 21 system with 2 depthcharge subs . The Pipedream towers are powered by the LP 140 amps. The subs are passive and are fed through the Conrad Johnson Premier 350 solid state amp. The Conrad Johnson Act 2 is the preamp . All cables are Kubala Sosna Emotion , all Line conditioning is Sound Application Reference Line Stages . The CD source is the Fully upgraded APL from Alex Peychev with 6 dacs per channel . Isolation and stands are Sistrum , Symposium and Vibraplane. Frank Changs Resonators in Silver and Gold for Tweaks . Dedicated , isolated 10 gauge romex into a seperate subpanel and grounding rod into 6 Sound Application outlets provided power to the seperate Sound Application Reference Line Stage Conditioners. Musical evaluation discs include the SACD versions of both Modern Cool and Cafe Blue from Pat Barber , as well as various Diana Krall , Chris Rea , Telarc , Chesky and FIM discs. Axis dvd - a was used as well. This is a first impression based on 0-120 hours of listening and follow-up remarks will come later to complete the evaluation. I encourage questions . ... The Lp 140 Vacuum Tube amps are the latest from CJ. As many know , the company took a fresh direction with the introduction of Teflon caps and new topologies with the Premier LS 17 2 preamp , Premier 350 ss amp and Act 2 preamp. In my opinion , it blazed a new path for the company and I was sold on the direction some time ago. I have always respected the company . The humble attitudes , the conservative buisness model and reliable forward progression has been admirable. Many have loved their past gear for its heart and soul sound that was at once rich and multi layered with a bloodstained midrange that simply drew you into the music. Many on the other side of the fence saw the sound as having too much bloom and gravitated to gear like ARC. The new gear from CJ has bridged the gap in so many ways in my opinion . Its still captivating in the midrange with a luxuriousness that will not aleniate CJ fanatics but now aims both barrels at lifting "veils" at an astonishing pace. That said about the direction of the company and its latest products I will begin the review . {Without naming names and embarrassing the competion I can only state that I have had some well respected solid state and tube amps come and go. I know many of the owners of these fine companies and think highly of them . I will not go into what each amp failed on in comparison as my respect for them and their contributions to our industry are enormous .} ... Zero to 4 hours was an initial burn in as I left the home and started the grill .A great evening begs a great start . Coriander scented Muscovy duck breast fanned on an Asian inspired Mescalun salad with charcoal fruits and a port - balsamic reduction topped with seared thick slices of grade A fresh Sonoma Foie Gras sprinkled with a drop or two of rich honey and Fleur de Sel from the salt marshes of France began what I sensed as a special evening with the LP 140 Monoblocs. An Opus 1 , 96 slid down the rim of the crystal . I was expecting something special if my experience with the Act 2 and 350 was any indication . To quote someone , I think it was Michael Fremer , without descending into Hyperbole Hell, I will attempt to refrain from exaggeration . For me , capturing the recording space with all its nuances is a prime objective of mine. Gear changes and upgrades which often cost a fortune often yeild noticable albeit incremental improvements. You strain into improbability to discern these micro changes exclaiming " I KNOW you must hear that honey" as she rolls her eyes in frustration as she sinks effortlessly into " audio debt hell " . What I can say without hesitation is that what I used to kill myself to capture now exploded into my listening room . You would have to be deaf not to hear it. It was errie actually. The stage was alive in the room . You can very easily see into the soundstage as if it was all lighted in different colors. The seperation from front to back extended dramatically and this made it easy to hear each note in its complete form as it slipped into black. I guess I could say that it eleminated all congestion and was faithful to the recording in a respectful way. A friend came by who I went to high school with . He doesnt even know what an I Pod is so when he asked me to play Led Zeppelin "Presence" I almost cringed.It was an original copy from "the day " . Not the crummy but slightly better remestered version . I love every Zep disc but the mere thought made me sick .I obliged and sure enough , it sounded like I was microwaving metal. What goes in comes out with this gear. Magnificent recordings breathe with an organic presence that is romantic { in a good way of course } , full of air and detail and have a top end liquidity that makes cymbals shimmer unlike any single audio component I have ever experienced. Percussive instruments are attractive to me and the weight and snap is something I need . This amp is the Grand Master Champion in this regard. The decay of the notes were so obvious I was in shock . Vocals , male and female are unveiled and full of body and impact without a hint of strain . Chris Rea was having dinner with me it seemed and Eva Cassidy opened the wine God rest her sweet soul. Deep bass is extraordinary for a tube amp , nearly matching the control of the Premier 350.I put on Blue Man Group s The Complex and it blew through it with ease . This is all for now as I have another 200 hours to go. If it gets any better , I will marry it in a ceremony at the CJ factory . I say this because it was an agonizing break in pocess for both the Premier 350 as well as the Act 2. Right out of the box ,this work of art { oh , btw ,the pictures no NOT do this hunk of metal justice. Its gorgeous with its T bar shape, exposed tubes , lucite rings and killer curved metal gold face. The Premier 350 certainly is to be bought for its performance , not looks.No offense guys at CJ . Here , you are rewarded this time with something that is also a work of art !! }I will report back after 200 plus hours . I hope this enthisiastic review can be seen for what it is . It is an honest passionate non technical view from a rabid lover of audio. Thanks
brainwater
downunder
1,329 posts
 
Brainwater, could you please elaborate a little more on the differences tonally and dynamically between the prem 350 and LPM 140's.

I own the 350 and have extensively tried both the ACT2 and CT5. I am afraid I like neither pre amp. cj has gone too far in its neutrality and IMO has lost its signature warmth and bloom. This has made far too many recordings unenjoyable to me.
I also tried the discontinued prem 140's and they were hardly warm sounding tube amps, but they were only tried with the ACT2 and CT5.

Me personally get a little concerned when I hear quotes like "it sounded like I was microwaving metal". Admittedly Led Zep is not audiophile, but neither does it sound like microwaved metal. Pat Barber, Eva Cassidy, Dianna Krall will sound great on alomst any system, so it is hardly surprising it sounds good here.
Don't get me wrong I am not trying dampen your enthusiasm for the LPM 140's, hence asking for more information re the sound.

cheers
owl's avatar
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owl
139 posts
 
Downunder, LOL, I'd look elsewhere in your system, NOT the ACT2, which to me is a stunning, beautiful masterpiece that threads the needle of musicality and resolution like no other preamp I've heard,period, and I've heard or owned almost all of 'em. Try a Lamm L2 if you want DEAD neutrality.. The ACT2 most certainly is not a preamp band aid that's going to fix problems in other areas if you're looking for added sweetness, fatness etc. you're not going to find it here. but in a neutral system it's going to be a true musical instrument and tell you what's going on but with only a hint of what previously was the CJ hallmark sound-a stunning and unparalleled achievement IMO. I tried the 350 in my system and found it to be IME perhaps an echo of your comments above. If you have another component that in too sterile and SS on the analytical side of things then you're going to have to (try to) fix that upstream and down IMO. Going into transparent spkr cables, tubey sounding preamps and perhaps you strike a balance, however THAT creates a totally separate set of issues, LOL.
brainwater OP
520 posts
 
Allright , microwaving metal was too harsh . It sounded more like what a person might utter if subjected to chewing a wad of tin foil while shaving his head with a cheese grader. Does that sound better ? I grew up on Zeppelin and think they are untouchable . Sonics on their cds are atrocious . Downunder , Owl is correct . The Act 2 and Ct 5 are more transparent and accurate than many of their earlier models but the tradeoff is one of delicate , harmonious balance that does not sacrifice musicality at its expense . Have you ever heard the saying .. " garbage in , garbage out" ? This should answer the Zep question without elaborating. Yes indeed Pat , Diana and the many audiophile discs do indeed sound good in many systems but you are missing the point. Its a relative difference I am speaking of. As the system you are creating and improving becomes more resolving and accurate , the information on these fabulous recordings is slowly unearthed that was hidden or lost in congestion . These discs are tools to gauge your work if you allow them to be. Its not just Jazz masters that sound good either . Try Tour De France by Kraftwerk or Chemical Brothers or anything from say Crystal Method and the floor will split and your pulse will pound. These are excellent recordings from dedicated engineers. It doesnt HAVE to be a David Chesky , disc to sound good but it certainly helps if the aim is to create a resolving , musical system .{On another note , these engineers that spend enormous time money and effort in making great recordings for all of us are the unsung heroes of our passion . } I did say musical and I find the Act 2 in combination with the 1 Lp 140 extraordinarily musical. Downunder , I know where you are coming from however with your criticism of the CT 5 and Act 2 in relation to their past gear. The earlier CJ products were warmer , tubier sounding that was a very attractive sound for many . The midrange was so deep and lush that it was " bloodstained " as I wrote earlier . I was a fan of it too and in a bedroom system , I still am . It came however at a cost . This cost was one of slight sluggishness and congestion .There is a lack of palpability , a veiled presentation was not natural sounding to me. Listen to a Halcro amp and preamp combination or the ARC Ref 3 and one of their top of the line tube amps for example. Conrad Johnson is meeting the competetion head on with this new gear . Personally , in my opinion , the gap made by the Act 2 and Lp 140 is perfect....... as it addresses the deficiencies of earlier gear but retains musicality as its foremost goal. Rest assured Mr Conrad and Mr Johnson will never let go of what has etched their nanes in audio stone : making involving audio gear for music lovers that need the connection with the "music ". This new gear is in no way a sellout to meet and greet the competetion as you may be suggesting but an attempt to make the perfect combination . I for one feel they succeded , thus the over the top sensationalistic review.
brainwater OP
520 posts
 
I wanted to answer your question seperately Downunder concerning the sonic differences between the 350 and Lp 140 . The 350 is a most extraordinary solid state amp . It too is a gap bridger as it retains an unusual balance of midrange warmth and micro dynamics yet has a rather sweet top end that is unlike so many beefy solid state designs. It sounds somewhat like Olde Lund of Gamut had his innovative hands on the design and voicing . I was struck by the 350 s ability to convey minute details in decay first and foremost . Capturing " air " surrounding an individual instrumental note in recording space is the domain of tubes right ? Well the 350 cut a wide path in getting its foot in the door here. I also was struck by the 350 s lack of congestion at high levels as the instrumental soundspace seemed to expand and breathe in the room so effortlessly. Remember now , it was used with the Premier ls 17 2 and then the Act 2 when comparisons were made. {Also remember that the teflon caps take forever to burn in . They say 100 hours and I say 300 hours of real playing time burn in so some of your dissatisfaction may possibly be due to this factor.}Control of low bass notes was excellent with the 350 . Try Blue Man " Audio " or Tweekend by Crystal Method . Remember that it is a solid state amp . To ask it to behave like a tube amp is asking alot . Thus the LP 140 and LP 70 monoblocs. Ok , the differences are not subtle. The Lp series is back doing what these guys do best . Midrange. Its so "there " you can taste it. Rick Rubins engineering of System of a Down is awesome for example. {I assume by your thread you like rock maybe ? } . The DVD A Emerson Lake and Palmer will have you rething the DVD A format as it is expansive , dynamic and has tons of atmosphere. Retrieving atmosphere is another facet of the LP 140 s strenghts . It captures the recording space so effortlessly that you find yourself pulling out recordings that have molted. No it will not make crap sound like goose liver but in reality , thats not going to happen . You must resolve yourself to either strive for a musically resolving system or not . To do so can be extraordinarly rewarding. You just have to get a cd visor and put all those mud sounding , highly compressed discs in your car.... like i do. Downunder , you sound like you really love music . This field survives on people just like you . Ones with the passion for simply listening to their music rather than fussing over which tube sounds better . I applaude you . You have chosen CJ for their reputation for getting you into the music which is obviously what you love . You are aiming high too : the 350 and ACT 2 or CT 5. Make SURE the units have burned in completely before making a firm decision on its sonic merits. I found the ls 17 2 , Act 2 as well as the 350 sounded thin and uninvolving well past 100 hours but be patient . It all comes together at 300 and it settles in . You will have your musicality , and your passion .
downunder
1,329 posts
 
OWL, I didn't say the ACT2 was bright or etched, just a little too neutral for my tastes. I prefer the older warmer cj pre amps.

Brainwater, thanks for your further thoughts. The ACT2 and CT5 each had at least 600 hours on them, so burn in was not an issue.
Good to see you like and play rock'n roll, electronica and alternative music. yes a lot of it can sound bad, however plenty of it sounds awesome. Rick Rubin does know how to get great sound.

Personally, taking on ARC or Halcro head on is not what I consider enhancing the SOTA musically. But others will differ.

cheers
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