When it came to audition time, I found the Levinson Reference system to be rather remarkable. Three things impressed me from the get go: the frequency response was nice and linear; the soundstage was actually above the dash, not around my ankles; and, even though it only has 450 watts on tap, the system boogied to a substantial volume with respectable integrity. It did all this while maintaining good dynamics and a coherency between speakers - quite a feat in and of itself. By and large, I found CD sound to be very pleasant, yet there was a bit of inconsistency with the surround "On" or "Off." For example, Sting's vocals in "Fragil" were hard to place in 2-ch. operation, but became focused with the surround "On," while the setting for Monte Alexander's "Sweet Georgia Brown" had better depth and instrument placement in the "Off" position. Select the right setting and instruments and vocalists lined up in their appropriate position with a good, stable focus.
Bass output was strong on all tracks but, as my notes constantly read, was "not defined" or it simply "lacked realism." In other words, the bass was just there and didn't contribute well to the musical experience. I also noted several nuances missing in other areas such as the skin tones of the drums in "Keep My Faith" by Ziggy Marley, and the distinction of the shaker in Rebecca Pidgeon's "Spanish Harlem." It's subtle details like these that separate a great system from a good system.
DVD-Audio was inherently better sounding. The ambiance built into each track was enveloping and established lifelike concert effects to live recorded performances. System dynamics were improved too, but yet there was one constant I noted: lower vocals and string bass instruments were stuffy at times. This was actually damaging to the likes of Diana Krall's "Live in Paris" performance where the standup bass overpowered the session. Aside from these minor irritations, performance was excellent.
Just as impressive as the Levinson system is the electronics' interface. Its command center is a large touchscreen monitor at the top of the center stack that's adorned by big, legible buttons for quick access to main audio/navigation/climate menus as well as Bluetooth functions. Many of the main functions are duplicated on the steering wheel. They are well laid out and intuitive to learn. To simplify things even more, Lexus allows several functions (mostly navigation) to be managed through voice command - a system that actually worked impressively. Controls for navigation are straightforward, but screen menus are plentiful and often overwhelming. Fortunately, the large screen makes for easy viewing, especially when driving. Well-timed voice prompts help you to your destination while our so equipped LS with NavTraffic helped reroute us miles before we were stuck in downtown Phoenix traffic.
Aside from its primary use as a control center and nav screen, the monitor also serves other purposes. As a backup assist, a small camera in the trunk lid provides overriding visuals to the monitor once the "reverse" gear select is chosen. This same camera is also instrumental with the Advanced Parking Guidance System. It shows the spot where you will be backing into and allows you to adjust accordingly. Cool? Yes, but it can take just as long to get right as it does to park the car yourself.
Lexus did a praiseworthy job in regards to the ergonomics of this car, especially considering the amount of technology involved. With everything in easy reach and of a large format, concentration can be focused on the road. And then there's the audio system. It's the best performing OEM offering I've heard to date and is worth much more than its asking price. One thing's for sure, with Mark Levinson in your Lexus, you won't mind being stuck in traffic.