Quintet [Decca CS 6090].
The selectable gain control was an interesting and flexible feature. It also made nailing down the preamp's character
tricky as I could alter it with a mere twist of the gain control. Initially I set the gain at -18dB which offered warmer, softer
more relaxed sonics. By cranking it up to -6dB, I achieved a tighter and gutsier presentation. As with selectable
feedback and UL/triode settings on some tube power amps like my Mahis, this can be a source of endless knob
twiddling frustration for some or sheer joy for others. Personally, I relish the option of tuning my system to whatever
strikes my fancy.
For those fans that've missed the piss and vinegar of Nick Cave circa The Birthday Party
era, you will love Grinderman [Anti 86861-1], a raucous return to the glorious noise of old.
On this recording, some of the sharp edges where slightly rounded off in favor of a fuller,
more weighty and even dirtier quality. But then I could alter it simply by increasing gain.
Either way it kept the neighbors away.
Other recordings I listened to during the review period included a lovely mastered reissue of
Jamaican vocalist Horace Andy's classic In The Light album [Blood & Fire SVLP-367] on
one LP plus a dub mix on the second disc; a terrific 4 CD set of the weird, entertaining and
frequently humorous music of the late György Ligeti [DG 477 6443]; and an amazingly clean
and lifelike recording of a 1971 Neil Young live solo performance at Toronto's Massey Hall
[Reprise CDW 4332]). I've seen tons of performers at Massey Hall over the years and it's
uncanny how much of that building's unique acoustic is captured here. Recommended by
my dealer pal Robert Doughty at Applause Audio, I've been listening heavily to Big M, Kalil
El-Zabar's tribute to bassist Malachi Favors. Also seeing lots of time was an old favorite CD
by pianist Vladimir Horowitz [Sony SK 45818]. His reading of Liszt's transcription of the
"Liebestod" from Wagner's Tristan und Isolde is transcendent.
During the review I experimented with Herbie's HAL-O Tube
Dampers which turned out to be extremely effective with the Line-
2. I've had mixed results with tube dampers in the past.
Occasionally there was little difference or sonics took a step
backwards. Part of the allure of tubes is their sparkling vibrant top
end. Sometimes the various tube dampers I have tried shut down
the dynamics and unique openness of tubes. On my Manley gear,
I prefer no dampers of any sort particularly while situated on the
Grand Prix Audio Monaco rack. However with the Line-2, Herbie's
HAL-O products
had a significant and wholly positive effect. I noted less glare not that there was much to
start with, and dynamics were also improved. Playback was more focused with a little more
detail retrieval. I can only surmise that the open top-mounted layout of the Line -2 with its
exposed tubes was more susceptible to airborne vibration. Oddly, I don't notice the same
with my Manley Labs Mahi which also has exposed tubes. As with any tweak, there are no
fast and hard rules. Experimentation is the key. Your mileage may simply vary.
Page 4 of 76moons audio reviews: Audio Space Line-2
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