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Looking back, it was September 11 2009 when I visited my old Audio Asylum haunt and posted a query on the DIY HiFi Forum asking for opinions on their then top dog, the Lady Day Mk2 SET kit - and specifically how it might square up against my highly regarded Border Patrol 300B. The input from Brian Cherry was a reassuringly honest appraisal of the Border Patrol's quality rather than an attempt to land a new customer by bigging up the Lady Days. He did however manage to dangle a potentially juicy worm before my nose before signing off: "If you are not in a rush, we have something coming which may suit your objectives".


Hmm. A few of Brian's customers had already emailed me off forum commenting on very favorable comparisons they'd made to other high-end SETs with the Lady Days, making the potential for something even better surely worth the wait. Being the first Lux 91s to leave the factory, the packaging on mine was rather Heath Robinson in nature but certainly did the job. Both monos and a separately packaged valve kit arrived undamaged. Even if unpacked I'd half expected nothing more than minor surface scratches to occur during transit, build quality in general appears bullet-proof.  Aesthetics are minimalist industrial and to my eye very attractive. Thankfully the monos are mirror imaged and won't look mismatched on a single shelf.   

Lux 91 Mono Max vs Border Patrol WE 300B: In order to achieve matched levels, the attenuator on the Silver Music First TVC was set to 24 for the Lux 91s, 37 for the Border Patrol. Attenuation starts at 52 and decreases clockwise all the way round to zero attenuation or unity gain. So the Lux 91 sat at 2 minutes to 12.00, the Border Patrol at 17 minutes to 12.00. With yours truly on cable swapping duty, the ears for hire belonged to Richard Sinton—proud owner of my Border Patrol for the last few weeks—and Bob amongst whose sins is being a drum instructor which I'm sure his neighbors are very appreciative of. As tempting as it would be to refer to them as R&B, Richard and Bob will henceforth be referred to as The Panel.


Twelve tracks had been selected. Only a few were known to them to eliminate preconceived bias as to what they should sound like. The methodology called for track one being played on the first amp, then on the second amp, then track two on the second amp, then the first and so on.  This ensured that should the listeners notice extra detail during the second round and mistake it for added detail rather than previously missed, it wouldn’t skew results towards the same second amp.


The Swell Season, Glen Hansard and Marketa Irglova, "When Your Mind's Made Up". This is a good recording though without the audiophile quality of specialist labels. Hansard's vocals start out quite tender as does his strumming which is then joined by Irglova's delicate piano before her own vocals. The tempo gradually increases along with Hansard's frustration and bitterness. The song itself is the emotional equivalent of a slowly brewing storm which grows to rage, then subsides suddenly. Musically a very good track, The Panel was struggling to hear any significant differences. Vague comments about the Border Patrol having slightly fuller bass and being a tad warmer were quickly qualified with "...but I'm not really sure". I thought the comments were in line with what I heard. Because I had more experience with the monos, the room and the recording, I knew their suspicions weren't unfounded. The next hour would surely bring more definitive comments.   


Live - From Nowhere In Particular, Joe Bonamassa, "One Of These Days". Joe Bonamassa is in fine form throughout this twofer and the tracks range from good to very good depending on venue. A very good live take of a talent like Joe's can be a subjectively superb experience. Both CDs in this set are in danger of being worn out after cycling between my car, van and home systems. Cranking the volume to my own preferred levels really does create a quite visceral experience. The speakers disappear completely and energize the room with a high-octane full-blooded assault on the auditory nerve plexus. With all Blues songs being to my mind variations on just one theme—albeit an almost infinitely variable theme— suffice it to say that "One Of These Days" doesn't exactly break the mold yet is my favorite track. By now The Panel's earlier ambiguity had left the building and there was instant recognition and agreement of a 'grungier guitar', a 'more immediate, more live' presentation of Joe center stage with the Lux 91s. This is what I heard also. Without getting too flowery, the performance in general was simply more detailed, hence more realistic. The Border Patrol sounded very good in its own right yet the 91s edged it out quite convincingly.

Stay Awake single, Bonnie Raitt, "Baby Mine". This is an excellent recording and a lovely song.  The Panel commented on the 'fuller bass’ and ‘slightly darker’ presentation of the Border Patrol and were unsure of which amp's rendition they preferred whilst leaning towards the Border Patrol. I'd suggest that the song, arrangement and artist all seemed to benefit from that little extra warmth and more traditional 300B sound of the BP and would concede that the majority of casual listeners would probably concur with The Panel's preference. As someone who'd lived with the Border Patrol for a few years, I was aware of now hearing into this recording more than I had previously to make the experience more revelatory. Hence I found the 91s more involving though both designs sounded fantastic.


This Side, Nickel Creek,"Smoothie Song". Allison Krauss was employed to produce this 2002 Grammy Award winning album as an eclectic mix of Bluegrass, Indie and Folk Rock. Recording quality is excellent and this first track is a real feast for the ears, with instruments layered and placed all around the soundstage at varying depths. Between them the members of Nickel Creek play mandolin, bouzouki, guitar, strings, fiddle, ukulele and arranger and most of those seem to get an airing in the "Smoothie Song". ‘More defined’, ‘better separation of instruments’ and ‘more dynamic’ was the verdict on the 91s. The Border Patrol by comparison slightly blunted leading edges, muddied definition and instruments didn't have as much of an individual character. The 91s had the edge when it came to differentiating between respective tonal qualities and defining the space between the musicians. I'd stress at this point that just like in previous comparisons of high quality components, differences with most recordings are usually very subtle though not on some.  The Border Patrol is a world class amplifier by any standards and in this context, stating that its definition was slightly 'muddied' compared to the 91s is like saying that white wine is slightly muddy when compared to vodka. 


Classical America, various artists, Porgy and Bess, "Summertime", sung by soprano Harolyn Blackwell. The 91s were up first and Harolyn's voice came across as extremely natural – perhaps just a bit too much so for The Panel as some sopranos do tend to border on stridency without actually being so. The voice hung dead center between the speakers and perhaps a little forward of the drivers but not by much. Hooking up the Border Patrol introduced an obvious veiling which pushed the voice 6 feet back while the soundstage narrowed. A spoonful of cream had been added to the mix to soothe the beast, resulting in a clear preference for the Border Patrol by The Panel. This I found interesting. While my opinion was that both amps gave excellent readings, for me the 91s were definitely more realistic and convincing. Yet the Border Patrol was easier on the ears and although both Richard and Bob knew this to be a result of veiling, they still preferred it. Again I think they'd be in the majority. Later in the evening I increased the volume on this track to see if the threat of stridency materialized with the 91s but it simply came across as being a very vivid natural reproduction.


A few years back I remember reading a Ken Kessler review where he admitted to being troubled by his preference for some added warmth during playback. It’s not something I've had any trouble with although it's something I can understand completely, especially when so many recordings are hard edged due to less than desirable recording/mastering quality.

Akkelis Audio, 2008 Test CD, "Schack Matt", Riltons Vanner. Riltons Vanner are a Swedish acapella group. Google this track and find a link enabling a preview. As you'd expect of a test CD to showcase audio components, recording quality is top notch. On a whole this CD combines great sound with a choice of interesting diverse music. It’s why the rest of our listening session concluded with this track and five others from the same album. For "Schack Matt" which translates as Check Mate, Riltons Vanner employ all manner of vocal techniques to give an impression of bass, harmony and even what Bob later referred to as a 'shaker of some sort' which on closer listen was a tsssss created vocally. It all sounded wonderful on the Border Patrol yet The Panel had no trouble identifying the increased separation afforded by the 91s, the crisper voices and more 3D soundstage. This is when Bob commented on the ’shaker standing out more’.

"Soon As I Get Paid", Keb Mo. Not long ago it was virtually impossible to attend any hifi show without the rich dulcet tones of Keb Mo and Diana Krall intermingling on the corridors. This track reminds us why Keb was and still is such an audiophile favorite. The principal difference between the two amps was that the 91s added ’more clarity’. My view was that, simply put, the guitar was more vivid and realistic and the vocals more immediate. The Border Patrol presented a great recording, the Lux91s were more of an in-the-room live experience.


"Fragile", Nils Landgren. This is a beautiful track. Landgren puts his trombone to one side and duets with Rigmor Gustaffson for a classy, silky smooth performance. To me, the arrangement compliments the song perfectly. 


Double bass is predominant, accompanied by some very delicate brush work on drums and high hat along with piano. The 91s added further clarity over the Border Patrol. Where the high hats were considered slightly 'mushy' with the Border Patrol, with the 91s they were more defined and recognizable.

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