In the key of 'lovely'. I could fully agree with his 'organic' and 'natural' descriptives. After getting familiar, this part of his glossary was spot on, 'transparency' far less so. That's because to me this word means clarity, precise insight into hardware and repertoire and a given product's own character. I'm far from saying that Gris didn't showcase what speakers or amplifiers accompanied it. But such a dissective approach wasn't on the pedestal. It played a mere supporting role. The Canadian cable turned out to be very audible though what surprised me most was its dignified character.


This trait I found utterly impressive in the context of its affordable ask. For a number of reasons Luna Gris sounded quite exquisite at my place. This Canadian leash didn't play it frisky but ultra smooth, with not a hint of harshness or grain. Its roundness took the edge off and the treble felt slightly trimmed. My usual Audiomica Laboratory was more lit up, had shorter decays and in general was hotter on the very top. After several hours of back and forth, not once did the Canadian scream. Its gentler more suave attitude impressed me very much. The Gris treble was darker, denser, longer and prettier, that of its rival shinier, more pronounced and informative.


Moving on, Luna Gris didn't penetrate as deeply into a recording or its details. On those counts it was perfectly in check but my attention was focused on the music and at that, its most beautiful aspect. My reference leash tackled this different. The Celes Excellence sketched contours thicker and sound sources a bit larger, the Gris had me at attention with its crayon-like texturing across the board, its calmness and soft touch without dilution. The Canadian proved itself not to be bluntly warm but exceptionally pleasant, with no temperature-induced alterations but a generously vivid and organic reading. The slightly subdued treble shifted the tonal centre downwards a bit but remained ductile, breathing, present, distinctive and sensationally smooth and liquid. This voicing quickly reminded me of Burr-Brown PCM1704-based converters. The Gris was similarly resonant and moist without a hint of showiness but high class all the way. It simply focused on the music and was very much natural. All things considered, it didn't go unnoticed that on this count in particular, Danny scored a bull's-eye with his own descriptions. Bravo.


Luna Gris also did a fantastic soundstaging job. It didn't limit events to just in front of me and after many hours of experiments, I can confirm that it instead painted a very open clean picture. Again, it sounded sweet, polite and mannerly to where on-stage coherence was the upshot. The sound was always served up as a whole without dilution, vivisection or fuzz. If I wanted, I could isolate single instruments or voices with ease as my hardware is quite informative in this regard. Mostly however, my attention locked to this huge wall of sound which delivered a uniformly drawn coherent outcome. This netted a fantastically beautiful result especially for the money. It's what PCM1704 D/A converters did for me many times in the past. With them, the virtual space morphed into one metaphorically living breathing organism with enormous lungs and exactly this Luna Gris did too. It developed musical tissue and my pleasure boosted in the process.