Lush^2 - Share your configuration experiences

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8 hours ago, Jud said:

As you know, I'm going into this DIY thing (not with Lush,  so apologies for the slight OT).  It may be because of stiffness that I managed to break something (don't know what, nothing visible) in the prior cable.  So @PeterSt, I am very interested in any thoughts you might have on construction/materials  that allow the resulting cable to be flexible.

 

This could help, but I believe is available only in Europe:

 

 

Please check is the ANTI version and not the regular one !

 

Roch

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18 hours ago, Superdad said:

 

In this application don't you want the aural jelly and not oral jelly? 

 

It depends on the alignment of your Chakras, but the same with the Lush ^ 2 if you get the appropriate shield setup combination !

 

 

Roch

 

PS/ Kamagra is more topical than oral...

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20 hours ago, Jud said:

 

 

Thank you, Roch, very good advice from a friend.  ?️

 

Believe it or not, I use something similar for my Bonsai trees. Less "tortuous" than the Copper-Clad Aluminum Wire and other torture instruments.

 

Roch

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On 8/19/2018 at 4:02 AM, PeterSt said:

Yesterday, for a first time (after 6 days or so) I changed my own config. Just because I knew I could change things it came to me that I wanted the highs a bit less pronounced (they were not harsh or anything, but could be overwhelming).

I changed from the normal JSSG 360 config (which is black to white and yellow to red at both ends) to a disconnected yellow and red at the B side. Thus :

 

- Normal (inner) shield is active from A connector to B connector;

- Middle and outer shield connect at the A connector;

- Middle and outer shield do not connect at the B connector.

 

The first thing that I noticed was a more liquid bass. I'd call it even musical. This also doesn't make it a placebo appliance because I wasn't expecting that.

Later into the session it became more and more clear that the behavior of the highs exhibited the same liquid. For my situation it will mean that less of the "electric butterflies" will fly with certain music, and although that is spooky in itself, at this moment I think I don't care about that really.

The liquid bass (say "singing") is what I kept noticing throughout (2 hours or so of time).

 

As always, this does not imply it will stick, because maybe I will start to see annoyances later. Point is, that I have these kind of contributions in my mind for this thread, so later we can use it as a reference or plain guidance in general.

To be useful, this of course this needs confirmation by others, with at this moment no idea whether anything will work out the same for people.

 

Peter

 

Hi Peter,

 

I just started the tests ... So excited that I did not have lunch, I canceled the appointment with my girlfriend and I have not had dinner yet. Of course I only worked a little in the morning and even disconnected phones ...

 

I started listening as for three hours JSSG 360 config and now as four with the suggested, which is black to white and yellow to red at both ends) to a disconnected yellow and red at the B side ...

 

For now I like much more the second option mentioned by you, Peter, and because I find not only the mentioned by you, but the background is more silent, there is no noise at all ...

 

Soon there will be a lot of noise, I see lightning from the window about 10 kilometers away and maybe the power goes out for a while ...  El Niño is hitting our Caribbean coast, drying the Pacific one and I'm in the middle (of a very small country).

 

As for the rigidity of the cable, I ordered it in 1 meter length, I do not like to force it with very sharp curves. And as always, it rests in 3 blocks of 2 "X 2" of my favorite wood from the Rainforest. Placed away from possible RF sources, shielding or not.

 

Best, 

 

Roch

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5 hours ago, RickyV said:

 

Did you start listening to the cable right away or did you burn it in first?

When first started listening to the lush^1 i was a bit shocked it sounded all messed up. After about 40 hours or so it was better but still climbing. It was really a night and day cable, amazing really. 

Soon i will know if lush^2 has the samething or @PeterSt cooks the cables first before sending them off.

 

5 hours ago, PeterSt said:

 

I already had my text regarding this in for Roch, but I took it out before posting ...

 

Roch, and everybody, please be careful with changing configurations too quickly, because I have the idea that mine, now just over a week old, changes quite drastically each day still. Best is to have one config which may suite you, and leave that be for a week or so. Otherwise you may get mad and, for example, will not revisit a rejected earlier config while you actually should. 

 

 I know what burn-in is ... It's more tragic in NOS vacuum tubes that have been hibernating for 50 years. Completely unlistenable!

 

There was a good change in the Lush 1 after the burn-in, but it was very listenable from new.  Much more than my previous USB cable (already burned -in).

 

Peter, do not expect me to try all the possibilities of shielding in the Lush^2, this could make me even more manic than I already am ?. In the same way that I hated the Preamps of yesteryear with tone control, or music players with almost infinite filters capabilities...

 

I can say with certainty that the Lush cable grows gracefully and improves every day, in the same way as the Bonsai trees ...

 

I forgot to mention the bass? Where the foundation of music is given ... Simply incredible.

 

What am I waiting for after the burn-in? Cleaner upper highs.

 

Best,

 

Roch

 

PS/ In my humble opinion...

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3 hours ago, PeterSt said:

 

OK, justified ...

 

 

This (above) is the standard JSSG configuration. What I recall of it, is that this sounds "better" than the Lush^1.

The nomenclature of this would be : 

 

A: B-W & Y-R, B: B-W & Y-R

Connector A : Black connected to White (Connector connected to Inner shield) and Yellow connected to Red (Middle shield connected to Outer shield, both not connected to connector).

Connector B : Black connected to White (Connector connected to Inner shield) and Yellow connected to Red (Middle shield connected to Outer shield, both not connected to connector).

 

 

 

This (above) is the one I went for, for a week or so. It is way better and super special (in my system !). I call it the Electric Butterfly configuration (it sounds like that over here). Dynamic Range is enormous.

 

A: A-B & Y-R, B: B-W

Connector A : Black connected to White (Connector connected to Inner shield) and Yellow connected to Red (Middle shield connected to Outer shield, both not connected to connector).

Connector B: Black connected to White (Connector connected to Inner shield), Middle and Outer shield open at this end.

 

 

 

This (above) I am using for 4 days now, and it is so much different from whatever I ever heard, that I am contemplating almost continuously to change it, ... which I can't because it is too intriguing. 

 

A: B-W-Y-R, B: B-W

Connector A: Black Connected to White Connected to Yellow connected to Red (all shields connect to the connector)

Connector B: Black connected to White (Connector connected to Inner shield), Middle and Outer shield open at this end.

 

What I wrote about this config on the Phasure forum :

 

Well ... This is the fourth day that I am listening to this, always thinking it is wrong somewhere. But is it ? My initial impression is that it makes all too low on volume. Second thinking learns that again more dynamic range is at play. But it is not about this ... I have a continuous feeling that things play inside out for phase, or whatever it is exactly. And talking about a version of spooky ... this is now Twin Peaks sound in most of the tracks which lend themselves to that somewhat. I just played Roger Waters - Is this the Life we really want, from of track 06. All Twin Peaks stuff. And was it that before ? not that I recall. What I recognize with this config as well, is that the tone/frequency has a musicality. It is not as stable as I know it from familiar tracks. As if vibrato is added (not flanger). Very strange because I wouldn't know how that would work. Albums which, again, lend themselves for it, sound like 20 minute Edgar Froese tracks from ancient history. I never play them any more because it is always the same. So how come that a. such tracks now start to sound like that and b. it only intrigues ? Yesterday I played Neil Young's Zuma and Cortez The Killer never sounded so emotional (of Young) like this time. It was the very very best version of it I heard ever, and I play this for something like more than 45 years, maybe once per 2-3 months. I am serious. So why is it wrong ? I don't know ! But is seems to me and my ears that at times all fades away to too few of most (only leaving one profound sound of melody). Help ? Why is this the 4th day with this without the slightest idea of wanting to try the next config ?

And in a later post :

 

I forgot to mention something from the Zuma album and Cortez The Killer (or Danger Bird because I played that too) : talking guitars. I came at this right after I posted yesterday because I heard it again in an other song and we discussed it over here. So a guitar can talk to you (intentionally through its player) mostly via the wah-wah pedal; without it it can also be done to some extent. So all the "wah" ever so much comes forward suddenly. Try The Yes Album - Yours is No Disgrace and you have it almost throughout (if the lead guitar plays). The wah is a (fairly fast) change of pitch but also a change of clarity, mostly from dark to light (so to speak). Wait ... : https://en.wikipedia.org/wiki/Wah-wah_pedal Maybe someone can make something of this. I will read it myself, later. I so much recall that the Neil Young track(s) suddenly were addressed to me and were loaded with an other dimension of data towards me, only because the play of the guitar was this other/new messenger. What I was also listening for yesterday, after posting, was whether this now again was another level of "analogue". Thus, more into that again. I didn't want to listen for that, but at some stage it happened that I heard it and from then on I started watching it. Right now (during this typing) I come to that again because of recalling distinctly that guitar speaking (to you) from a way long time ago. Thus, a fairly normal thing but it just has disappeared from my music playback. So, was that LP perhaps ? (and I am not talking about one with the hole not in the middle, that also changing pitch ... hmm ... ).

PS: What I also intended to write yesterday, with the Roger Waters album, is that it now suddenly was "ultimate psychedelic". Thus, while I find Roger Waters too much playing the sounds from the past (and for that it not being really new music) the added sauce now suddenly was Obscured By Clouds psychedelia in Twin Peaks format. Really a whole new level of presentation but so much of it, that I can't imagine that the shield of a cable is doing this. Let's not forget, this "wah" presentation is only since the latest configuration of the Lush^2. It has a directly connected inner shield and a middle and outer shield that connect at the source (PC) to the inner shield, while these two are left open at the other end. Hmm ...

 

 

I hope this helps and not confuses. I really can't tell at this moment (yet) whether anything of this will appear at random different systems. Please also see this in the context of me talking to mainly XXHighEnd users over there, that piece of software for various reasons sounding different to begin with. But with the Lush^1 it worked too, so maybe ...

Anyway, if possible, please confirm or debunk my description(s). If understandable at all, of course.

 

Peter

 

 

Hi Peter et all,

 

I'm now on >120 of burn-in (the Lush^2 not me !).

 

I still like more your second choice.  There is no boundaries in the soundstage, limited only by the recording itself.  The bass is correct as never, the mids are natural and lovely and HF clean as it should be. The level of silence (absence of noise) is as my place ambience noise is: Nothing, zero...  

Here is attached picture (form your post) to avoid errors:

 

 

 

 

Regarding your third suggestion I found it intriguing too, but closer to a binural recording, that I don't totally like  because I don't use headphones...

 

I like to add that in the burn-in processes (continuously playing music) I need to stop, more or less each 40 hours, shutting down the computer and disconnecting the USB cable for 2 hours or so, in order to establish the previous SQ.  I don't know is some kind of static built up (or capacitance "disorder") form the USB cable, or the USB chain: PC -> Lush -> DAC ???

 

For your information, my digital chain: Mac Pro Desktop 2013 (Out of thread but I find it much less noisier than the Mini) -> Lush^2 -> Holo Audio Spring DAC v3.x

Playing all PCM to DSD256 by Audirvana + 3.x

Playing DSD as the original music track is.  I mention this because A+ do not upsample DSD and if I play a 64fs track it will be played in 64 (not 256). The initial not clean enough HF (on DSD64) I noticed in my previous post went out after the Lush^2 burn-in.

 

My humble opinion, based on taste and gear,

 

Roch

 

 

[elcorso]

6 minutes ago, austinpop said:

Hey gang,

 

Kind of losing the plot here with this nomenclature of A, B, R, Y, W. Is this correct as a "key?"

• A, B = corresponding grounds of the USB A and B connector?
• W = original Lush shield?
• R, Y = 2 new shields in Lush^2?

So is original Lush simply A-W-B?

 

And is the JSSG 360 Lush as done by Larry and me then: A-W-B, R-Y?

 

If I'm way off base, please (gently) correct me!

 

Hi Rajiv,

 

A = USB connector to the computer

B = USB connector to the DAC

W, B, R, Y = White, Black, Red, Yellow external mini-pin connectors in each A & B connector.

 

For a complete explanation please read previous post or:

http://www.phasure.com/index.php?topic=4071.0

 

Best, 

 

Roch

[elcorso]

8 minutes ago, AudioDoctor said:

What kind of gang are we, the kind that snaps their fingers to catchy tunes and dances around, or a more menacing kind?

 

 

 

? ? ?

 

Roch

[elcorso]

Hi Peter et al,

 

Please check if the photo corresponds to the last configuration suggested by Peter

A: A: B-Y & W-R, B: B-Y & W-R

 

 

I have astigmatism, osteoarthritis and I am a bit colorblind (in addition to a bad photographer) ?

 

Thanks,

 

Roch

 

PS/ Just beginning test with George music.

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10 minutes ago, austinpop said:

 

Thanks, Roch, I had seen that, just wanted to get the shorthand straight!

 

And part of that is relating to the 2configs I’m familiar with - the original Lush, and the JSSG 360 mod.

 

so my question still stands: 

 

 

 

I'm sorry Rajiv,

 

I'm not as proficient in English as I'd like, so I leave the answer to Peter or another who wants to answer it.

 

The only thing I know is that it can be configured as the original Lush or yours (JSSG 360).

 

I also think that the composition of the shields is different (material and weight).

 

Best, 

 

Roch

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3 minutes ago, PeterSt said:

 

Haha

 

Best is to remember the colors like this :

 

Black, the most close to "ground" for its color, is the wire connected to the connector, A, or B.

A is the connector for the source ((towards) the computer side) and B is the connector for the target ((towards) the DAC side).

 

White is the first lightest color and it resembles the shield the most close to the core of the cable. It is also the same shield as in the original Lush. The Inner shield.

 

Yellow is the next more profound color. It is connected to the middle shield.

 

Red is the most profound color. It is connected to the Outer shield.

 

 

Yes Roch, perfect. So the Middle shield (yellow) connects here to the connector (both A and B the same).

The Inner shield and Outer shield (white and R) connect to each other and not to the connector (both A and B the same).

 

Peter

 

Great,

 

First listening impressions? Great too ...!

 

Could I describe it as more bloom, in another pile of things?

 

Best,

 

Roch

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15 minutes ago, PeterSt said:

 

Yes. My wife said that too. Actually see is enthusiastic all over and I had to force here into "negatives". I must add that she hates the disco boom-boom and the A: A: B-Y & W-R, B: B-Y & W-R config is all but that. But too few of it, IMHHO. Possibly we enter the personal areas (even of boys and girls).

 

Last night we ended with ZZ-Top and I pointed out the lack of bass. Well, relative to what we were used to. She literally said "but I don't know whether they use these real basses ever". I didn't sort it out, but she could be right ...

 

Fun is (is it ?) that the different configs so easily point out to you that you don't know reality at all (of the song, the voice etc.). This is because the base nature (though deep down) of your DAC and further rig remains present, but the presentation in frequency (un)balance to-tal-ly changes the whole song, up to "did I ever play that ?".

If you have it, try ZZ-Top's Hummbucking (from Rythmeen), see how the voice of the lead singer is so squared that to me it seems my speakers (or whatever it is) just can't deal with it. I said "if this is right than something is wrong". This, while my speakers are the fastest, so I may wonder how - when representing the voice as is - this ever can be intentional. But I also can't see how to improve on it. Yes, put a thick (snake) oil over it to smooth it out. Or use an other Lush^2 config ...

 

That I also try to envision how on earth this all is electrically / digitally / etc. possible through a stupid USB-actually-same-cable is something else. If the differences were marginal ... but they are not at all.

 

The problem can also be given is that when a USB cable, a DAC, speakers or whatever, is more revealing one finds artifacts in the recording that one did not notice before. For example, last night I listened to a music from an African jazz band, with a singer in the center who sounded 'normal' (before Lush ^ 2), and now I notice that he is artificially in the center thanks to the recording console and he even sounds a lot wrong, maybe because of a bad microphone choice?

 

That is the high resolution price in reproduction ...!

 

Roch

[elcorso]

4 hours ago, PeterSt said:

 

Yes, that was a typo. But it was my own typo and Roch copy-pasted it. I just did the same and ran into it ...

The double A:A: must be A:.

 

 

This !

 

Roch

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6 hours ago, tims said:

What helped me figure it out is referring to this diagram:

How the pins are connected are at the bottom left of the diagram above: 4 pins (positions 1,2,3,4) are connected together; with the other 2 pins (5 & 6) also connected together (but not to 1,2,3,4). 

Then its just a matter of figuring out what wires need to be joined together by using the above connector.

For A: B-Y & W-R; B: B-Y & W-R is:

A: pins 1-2 (for B-Y) & 5-6 (for W-R)

B: pins 1-2 (for B-Y) & 5-6 (for W-R)

 

For another configuration say;

A: B-Y & W-R; B: B-Y 

A: pins 1-2 (for B-Y) & 5-6 (for W-R)

B: pins 1-2 (for B-Y) with wires W&R are left hanging; not connected to anything.

 

 

Very good graphic explanation !

 

That's why I think it's better to publish a photo of the cable, showing the A & B connectors of the Lush ^ 2,  every time a new alternative of the pin-out It is applied ...

 

Roch

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32 minutes ago, zettelsm said:

I’ve had my Lush^2 for eight days, so I’ve (barely) had time to get enough hours on it to break it in and try a couple of configurations. But I figure I’ll do my bit to throw in my two cents and maybe participate in some consensus-building — or at least offer some additional data points.

 

I’m coming from using an original Lush between a Innuos Zenith MKII STD running Roon and a Chord DAVE DAC.

 

Since I was familiar with and really liked the original Lush, and I had been reading about the JSSG adventures on another CA thread, when I received the Lush^2 I set it up in the JSSG360 configuration: A: B-W & Y-R B: B-W & Y-R

 

I generally only have time to sit down and listen to music with my undivided attention for an hour or two later in the evenings. Since I leave everything energized except my amplifier when not listening, I get snap-shots of a new piece of kit as it breaks in in 24 hour increments. But break-in goes fairly quickly — four evenings and I’m close to 100 hours, a week and a day and I’m approaching 200 hours. Still, I may need to go back and re-visit this first configuration because I heard some really dramatic tonality and presentation shifts over this first 100 hours.

 

Initially, fresh out of the shipping envelope, my impression was of a large, expansive soundstage, deep bass and somewhat recessed high frequencies, lacking transient snap or PRAT. Still, it sounded promising and I thought the soundstage and imaging already surpassed my original Lush. Since it took well over 100 hours for the high frequencies and transient energy to really fill in with my first Lush, I was content to let the break-in process continue and hear where it went with this configuration.

 

24 hours in and I thought things actually got worse — not only were the highs still missing in action, things sounded billowy and diffuse and very slow and muddled. 

 

50 hours and the sound stage was back to being more precise and expansive, images re-gained weight and definition, and the highs were beginning to catch up to the rest of the frequency spectrum. Rhythm and musical momentum also improved. So, back to sounding promising.

 

At 75 hours, the metamorphosis was quite nice — I thought the Lush^2 in JSSG360 configuration was very balanced top to bottom with a very wide soundstage featuring moderate depth, good energy, and clear highs with only a tiny bit of edge on the highest frequencies, which I chalked up to the inherent sound of less favored digital mastering — I hear this same bit of edge with the original Lush cable as well. On the whole, I thought the Lush^2 an improvement over the already good Lush.

 

For the next listening session I started up listening to a few selections with the cable still in the JSSG360 configuration, and then switched to: A: B-W & Y-R B: B-W

 

My impression of this configuration was that it has everything the previous JSSG360 configuration had — big soundstage, solid images, deep bass, present midrange and decent energy and added the most realistic sounding vocals I’d heard to date from digitally sourced music on my system. Really quite lovely to listen to music, particularly anything featuring the human voice. And, the high frequency edge that sometimes intruded was completely gone, unless the recording itself was a really egregious specimen of digital-sounding engineering.

 

I was very content to listen to this configuration for the rest of the evening and the next. However I started thinking that the reason the midrange and voices were so beautiful, and the high frequencies so edge-free was because there was some essential upper range energy missing. On some music it didn’t really matter, but for other pieces it seemed a little lacking. So, moving along I tried this one next: A: B-Y & W-R B: B-Y & W-R

 

This really is quite a stunning configuration. To my ears it has it all — deep articulate bass, extended grain-free highs, spooky realistic midrange, wide and deep soundstage, strong dynamics with lots of transient pop and rhythmic swing. It also had that elusive, quivery, energize the room presence that real live music has. It was very hard to tear myself away from the stereo last night and I didn’t get to bed before midnight. I’m very much looking forward to sitting down tonight and enjoying more music.

 

If this keeps getting better and better — wow.

 

Steve Z

 

 

  

I agree with you, Steve.  This is my favorite configuration for several days !

 

But... I will try tonight A: B-Y & W-R, B: B-Y , the last one suggested by @PeterSt that disappeared since then ?

 

Roch

[elcorso]

Just trying now:  A: B-Y & W-R, B: B-Y

 

 

Best 'immediacy' of all the settings tested !

 

Sneak preview (I'm very tired tonight):

 

Extraordinary bass punch, depth and after-tone echo (don't know the exact English description).

 

Extraordinary midrange & upper highs, best noticed in guitar & bass guitar, and human voice. Extraordinary over-tones!

 

Lower highs (or upper midrange?), some doubts in human voice.  Singer to close to microphone or cruel microphone?  Must check a lot of human voice recordings ...

 

More time listening necessary ...

 

Good night,

 

Roch

 

PS/ Admired for all the possibilities allowed by this cable, making it fine tuned for each system and taste !

[elcorso]

10 hours ago, PeterSt said:

So many USB cables in one ...

 

Thank you again for your contribution, Steve.

Peter

 

Bold is mine,

 

A music lover friend told me he wants the Lush^2 , but maybe he will wait for Lush^3...

 

I believe the Lush^2 must be renamed as Lush^∞ !!!

 

Roch

 

[elcorso]

14 minutes ago, Lobbster said:

@PeterSt @zettelsm In this configuration (B: B-W) are you using a jumper on pin 5 & 6 or are they open?

(Presuming jumper is on pins 3 & 4 on both ends)

 

Pins 1, 2 ,3 & 4 are connected to each other.

 

Pins 5 & 6 are separated form the above, but connected between them.

 

Then, in the B connector B-W means connected together the two cables, or B+W.

So you can connect this two cables to pin 1 & 2, or, to 5 & 6 jumper pins.  

 

The remaining two cables Y & R not connected to nothing.

 

Roch

[elcorso]

53 minutes ago, manisandher said:

 

My Lush^2 just arrived. All I can say for now is that it is crazily good. I would say that it's like I have a new system, but I realise some would construe this as hyperbole. More to follow when I can better articulate what I'm hearing.

 

Mani.

 

Well, in my case and after last night very long listening session is like:

 

- Switching from Metformin to Berberine...

 

- Switching from 10 R shoe size to 10.5 W (44 W UK?)...

 

- Switching from wife to new fiancé...? ?

 

- Etc , etc...

 

But, after switching listening format from DSD to PCM... (please don't ask me about this, it would derail the thread) !!!

 

Roch

 

PS/ Transparency, immediacy, e al... it reminds me, many moons ago, the 'presence' button in the receivers of those days (but not false presence).

[elcorso]

43 minutes ago, PeterSt said:

 

Alan, all I tried to make clear is that the configurations matter more than you seem to (!) think. At least that is what I derive from your posts, or else I just misunderstood.

Anyway, please, don't tire yourself with something you don't like to do because it is difficult enough already. But the few bad configs I listed (because I ran into them and liked to archive them) just sound like a drag. So if you wondered whether all makes a difference to begin with, my suggestion was to try such a bad configuration. And yes, try that with both Lush^2es would be the best for the greatest effect.

 

Peter

 

Regarding mixing the original Lush with Lush^2 in the USB chain I have my doubts...

 

Last night I tried original Lush from PC to Intona, and Lush^2 from Intona to DAC, and I got several "can get 'Exclusive access' " from Audirvana + on the software screen.

 

This didn't happen with two original Lush in the same chain...

 

I don't care about this since I abandoned Intona use after I got the original Lush, and believe my DAC has enough 'galvanic isolation' to need it.

 

I'm sorry but I refuse to call the original Lush as Lush^2, is a very different SQ USB cable even with same yellow color ... !

 

Best, 

 

Roch

[elcorso]

6 minutes ago, fas42 said:

The way to look at it is that this cable takes away a significant layer of factors that cause the playback to distort - your rig has the inherent ability to operate a "whole new level of performance", and what the lush^2 does is to "get out of the way" - it's "better", because it does absolutely nothing to disturb the functioning elsewhere "better" than other cables ... .

 

BTW, do you own a Lush^2 ?

 

Simple speculation does not help anything to others !!!

 

Roch

[elcorso]

We have a saying here, "ya éramos muchos y parió la abuela...”,  which means translated into English, ”we were already many and the grandmother gave birth..."

 

I mean Frank's arrival to Computer Audiophile ?

 

Continue Reading ...

 

Roch

[elcorso]

22 minutes ago, PeterSt said:

All right. I went back to this one :

A: B-Y & W-R, B: B-Y & W-R

 

Indeed this does more than the A: B-Y & W-R, B: B-Y and the major thing I readily notice again is :

The enthusiasm on the snare drums. This may come across as strange, but think that suddenly the drummers isn't sitting on his stool, but now stands and jumps in order to get his whole weight behind the drumming stick before it lands on the snare drum. It really gives drive.

But then again it is also not the most realistic because drummers tend to sit on their stool. Well, most do. 

There's also a hint of buzzing in the room, which to me tells that standing waves try to surface - but it is doable.

 

So this one could work out for the better because we may subjectively like it better, but I don't think it *is* better. Anyway it is more lively - it energizes the room more.

 

This is my third week with the Lush ^ 2. I still prefer the configuration A: B-Y & W-R, B: B-Y. I find it more natural and revealing of each recording, even with instruments as difficult to be captured as the piano.

 

Thanks to the burn-in any roughness has been removed, of course those that are integral to certain recordings remain, since this cable does not hide anything.

 

The dynamic contrast is impressive and even surprising.

 

For the first time I achieve a complete integration of the bass to the rest of the frequencies. And it is not that I also have lower, but a better modulation in extension and depth with punch without any other modification in my listening room.

 

Best,

 

Roch

[elcorso]

On 9/21/2018 at 12:35 AM, PeterSt said:

This is now my best by far :

 

A: B-W-Y-R, B: B-W-R

 

It adheres the analogy that the middle shield is captured between the other two and really actively does something; and the source (A) it is connected to the connector and at the target (B) it is not. And now I envision something like this happening (pick your most speaking picture) :

 

 

This thinking is based on nothing really, but since I did some work in the field of antennas and radiation patterns, for me it is workable. Anyway, such a thing would (might) happen with the middle shield (and the others) connected at one end, but not connected at the other end (the shields surrounding it, connected again). In this case the radiation pattern will be "even" like you see in any of the pictures above.

 

Sound

 

In short : I never heard such a palpable sound which at the same time is razor sharp, which has an outrageous umpf and together with that is not disco. Mind all the contradictions in that one sentence - this is a most notable thing on its own.

Btw, our son asked whether I was sure I had arranged for a House License, referring to the somehow for him working out (House Party) sound of music he just should be used to, while he now suddenly had to make that remark.

 

Bass is as firm as I never heard it, with thus the strange property that it does not bloat or color at all. The other strange "property" for the combination, is that the highs excel in such a palpable fashion. Partly this will be because of the bass itself, but how it combines with the superb highs - no idea yet. I think I notice a somewhat "shorter cymbal" which is not a negative in my book; a too long cymbal for my system usually comes along with overly detailed sounds like spitting in the microphone and tongue clacking sounds. However, I did not test for that really, yet.

The whole picture is one of drive - drive - drive (and is the house party thing). I can't recall a better evening, ever.

 

 

With a great thanks to Steve for his superb description in his last post, I will say that this configuration as of now allows for this just the same. The difference should be the sustaining presence of the highs. I think I also can tell what the real difference is : somewhat less higher mid. And yes, if I am correct I recall my own expression about the emphasis to the "lower highs" of the configuration Steve refers to - maybe my memory serves me wrong.

 

There hasn't been a single stroke of which I thought "is this real ?" or "is this correct ?", which is of quite some value to myself.

 

Maybe important : This was the 3rd day with this configuration with the clear (to self) notice that I hardly really listened the days prior to that. The caution now is : what if this requires a bit of burn-in. So my judgment was after three days only, and nothing prior to that. Might you (with burned-in Lush^2's) readily think "this is nothing !" then please try to hold on for two more days.

And of course we still like to reach consensus whether the configs work out the same for everybody ... 

 

A: B-W-Y-R, B: B-W-R

 

 

Hi Peter et al,

 

Very happy with  A: B-W-Y-R, B: B-W-R  pinout.

 

Needs a lot of additional burn-in (about 100 hours).  At the very first hours I was frustrated, too boomy and aggressive !

 

Musicians in my listening room ? Really sure !

 

Musical and sweet in human voices and even with crazy violin solos ? Absolutely !

 

Also a very good filter to loudness war recordings = just unlistenable.

 

Carpe Diem,

 

Roch