The audible result of all this unique never-before-seen tech was utterly convincing. The Leedh E2 Glass delivered outstanding clarity and first-in-class soundstaging with high dynamics and stunning linearity. The most impressive improvement over the previous carbon diaphragms or even the Munich prototype hybrid was even higher transparency. The E2 Glass delivered such a flow of tones and harmonics that I had the uncanny sensation of having suddenly added complete very sophisticated tube amplification. They provided a supremely liquid result in the same style of my best experience with Kondo electronics associated with ultra-expensive speakers like the Living Voice Vox Olympian. The main difference with that cost-no-object system, in my opinion, was the superior soundstage of the Leedh which was more stable, defined and focused. The level of dynamics too was enhanced over the earlier versions though they still cannot compete with big guns like Vivid Audio G1 or Wilson Audio Maxx 3 on slam or acoustic pressurization. But, they now achieve more than decent results compared to the majority of speakers in their price range. Considering their low sensitivity, that's quite an achievement!

The Leedh E2 Glass made me feel present in the recording studio rather than witness the musicians transported into my room. During my the time with them, I never had the sensation of being slapped in the face as could be the case for too intrusive or explicit an ultra-resolution system. The Leedh behaviour was far more sophisticated. With two subwoofers of course, my playback chain was also closer to the U.S.S. Enterprise's transporter platform than any other loudspeaker I'd ever hosted before. Just so, with regards to spatial organization, the Leedh E2 Glass equipped with two subwoofers have no real competitors I know of. I never encountered a sonic proposal where the speakers so completely disappeared and filled the entire listening room with a fully holographic bubble. Listening to Jack DeJohnette's In Movement album, the drums in "Alabama" had the kind of virtual depth and the cymbals the subtle harmonics and metallic density which one hears live only in the first row. That had not been within reach of the prototype to now send the Leedh E2 Glass into the most elite circle of loudspeakers with the most refined of trebles.

At the same time, the Leedh E2 Glass had this amazing control of tone thanks to the absence of any apparent audible distortion. Then it added enormous spatial scale and very attractive speed and vividness. It didn't provide the authority of my Vivid Giya G1 or a Wilson Maxx 3 but tonal accuracy was so impressive that this small lack of visceral impact was more anecdotal limitation than realistic downside. Furthermore, the addition of one or two subwoofers went a long way towards addressing this issue especially after Gilles Milot sent me the additional filters for the main speakers. So yes, this Leedh system can play it loud and slamming. My loaners also provided me with impressive midrange energy, with a lot of modulation from the top to the second octave. The energy of wind instruments was particularly convincing and Ravi Coltrane's tenor sax on "Alabama" had that loud saturated sound which was at once liquid and warm. It's rather difficult for any speaker designer to achieve very low levels of distortion and soundstage stability plus deliver full energy across the bandwidth. In most cases, high energy means a forward sound. Only a few great loudspeakers can achieve this level of energy and density without any apparent downsides. That's arguably what every designer looks for and Gilles Milot seems to be quite close to that ideal.

On Sergio Tiempo's Liszt and Tchaikovsky [Avanticlassic], the Leedh E2 Glass demonstrated impressive versatility. This DSD is well engineered and a lively take with very accurate balance between soloist and orchestra. It's particularly on this kind of material that one fully witnesses the impressive performance of the Leedh because they make you appreciate just how good a recording it really is. Due to perfect acoustic phase, soundstaging was enormous and unconditionally stable. Separation of instruments was obviously good but not only between piano and orchestra. Amongst the whole orchestra of ca. 40 musicians, each instrument was easily distinguished with its own tonal identity. To conclude, it was mandatory to first relate my thoughts about less demanding music in terms of imaging and tone since material requiring more slam and punch was never the main target for the Leedh speakers since their early beginnings. But the latest Leedh E2 Glass in fact are quite perfect speakers for classical and acoustic music. Of course electronica and rock need the addition of one or two subwoofers to have the necessary reinforcement for realistic levels. Hence I didn't comment on electronica without the subs. Plainly put, to equal the slam of my Giya G1s did require two. Again, the addition of external filters at the main amp's output relieved the main speakers of LF stress for an extra benefit. Using two subs allowed for even better acoustic phase but relied on very precise placement. Milot provided me with theoretical distances between mains, subs and seat. Then I had to adjust by ear. Even so his very precise distances were rather efficient to observe rare convergence of theory and listening.

On the last Tears for Fears album Elemental, the sophisticated studio recording became quite a live event similar to what I can get from the big Vivid speakers. So yes again, the Leedh can slam and behave like high-end fullrange weapons. The ticket to such scale is simply higher that the already elevated price for a single pair of Leedh E2 Glass (add €6'000 per subwoofer) but still less than my Giyas. Given their performance and the price for a Magico M Project, the cost seems actually still reasonable within the madness high-end audio has become. Listening to Pop/Rock like "Crazy little thing called love" on the remastered Greatest Hits album by Queen was very dynamic and life-like. Contrary to the artificial three-D bubble of Tears for Fears, I once more had the sense of being physically involved during the recording session, very close to the band but at the same time separated by what I assume was the recording booth. Using the Audiomat Maestro 3 DAC/network player, I obtained the best three-dimensional image possible from a loudspeaker, keeping the clarity and level of detail of the very best electrostatic headphones. Incroyable!

Conclusion. If there was a pantheon or other celestial gathering place for all-time greats of loudspeaker designs, the Leedh E2 Glass would naturally have a privileged seat next to the MBL 101 Extreme, Apogee Full Range, Magico M Project, Living Voice Vox Olympian and Vivid Audio G1. But it is not simply an amazing feat of engineering. It is also a fantastically emotional and dazzling vehicle. For a long time I was actually convinced that Leedh had veered too far off the main street and too deep into purely academic pursuits to be relevant and matter. I was wrong. Perhaps their road less traveled brings one closer to audio reality than the consensus highway of traditional speaker design. Here I happily (and sadly) confess that the last moments passed with the Leedh E2 Glass + two 20.1 subs were an utterly addictive experience.

Like other giant performers, these require more than just healthy partners in the amplification domain. Don't expect to get the best of the 83dB inefficient Leedh E2 Glass without the minimum power and current fitness mandatory for such a speaker. The subwoofers are not completely mandatory but definitely the gateway to full excellence. A pair of them provides a holographic soundstage that I don't think other ambitious loudspeakers can equal. They are in fact unique. As you will appreciate, I became more deeply involved in this review than I perhaps anticipated. But, I am also very proud to be the first witness amongst audio reviewers anywhere to share with you such a fantastic if exclusive experience. Our Blue Moon award is the only logical conclusion to this long-term effort into advanced loudspeaker research and development. Vive la France!

Leedh website