My system has continued to evolve over the past 5 years with the one constant being the Rockport Arrakis 2 bi-amplified speakers. They have continued to amaze me that as my electronics have changed and continued to improve, the Arrakis have continued to grow with the electronics as well. Every time I thought I had reached their sonic limit, I have been proven wrong and I am very happy about that.
I have now completely eliminated all tube based components in my system. I have always felt that if I could get the sound that I wanted without tubes, that would be wonderful but I never thought that would be possible. The combination of the TotalDAC digital front end and the Steve Dobbins Beat SE turntable and LT tonearm paired with the CH Precision P1 phono stage, the CH Precision L10 line stage and the CH Precision M10 amplifiers (run in active bi-amplification mode) have achieved this for me.
I have upgraded to the CH C10 replacing the CH C1.2 DAC with X1 power supply.
Roon Nucleus Plus
Nordost QNET
Nordost QNET Switch powered by the Nordost QSOURCE LPS.
Nordost Odin Gold power cord
I am using a Nordost Odin Gold power cord for Nordost QSOURCE LPS that powers the Nordost QNET Switch and several Nordost QPOINT resonators.
Nordost Valhalla 2 Ethernet Cables (2)
I am using 2 of the Nordost Valhalla 2 ethernet cables. The first one connects between the QNET Switch and the Roon Nucleus Plus. The second is from the QNET switch to the CH Precision C10 DAC.
Nordost Odin 2 XLR IC
Nordost Odin 2 Balanced IC's from the CH Precision C10 DAC to the CH Precision L10 true monaural preamp.
Shunyata Research Everest 8000 Power Distributor
I am now using the Shunyata Everest 8000 power distributor which has replaced the Shunyata Triton V3 in my system for my front end electronics. I use a Nordost Odin Gold power cord for the Everest.
Shunyata Research Hydra DPC 6 V3 power conditioner
I have the Shunyata DPC 6 V3 power conditioner for my computer based audio gear. I have my Nordost Qsource LPS plugged into the DPC 6 V3.
The DPC 6 V3 is powered by an Echole Omnia power cord from a wall outlet.
Steve Dobbins The Beat SE
I have recently replaced my wonderful Steve Dobbins The Beat turntable with Steve's latest turntable, The Beat SE. The Beat SE is a complete and thorough re-design of the original Beat turntable with about 99% of the table different from the original Beat. I have had the original Beat in my system for 8 years and it has undergone several upgrades during this timeframe that always further improved the sonics, but nothing prepared me for the improvement that the Beat SE has made in my analog playback.
June 29 2021 Update: I just replaced the umbilical power cord connection between the Beat SE power supply and the Beat SE turntable with a new umbilical power cord that Steve worked on with Nordost. The results are simply amazing.
October 1 2021 Update: Steve has now done further modifications to the Beat SE external power supply with internal wire upgrades with wiring from Nordost as well as adding an external grounding connection that enables me to ground the Beat SE power supply to my CAD GCR reference ground box.
Nordost Odin 2 Power Cord
This Odin 2 power cord is used on the outboard power supply for The Beat SE turntable. This is plugged into the Shunyata Everest 8000 power conditioner.
Schroeder LT Tonearm with Magnesium arm tube
I had my previous Schroeder LT tonearm with wood arm tube modified to the even better LT tonearm with Magnesium arm tube. It has the Lyra Olympus SL cartridge mounted on it and it is truly amazing to hear this combination. This arm has replaced the Reed 2A tonearm on my "Beat" turntable. The Olympus SL has never sounded anything like this.
June 29 2021 Update: I have upgraded the LT arm cartridge mounting plate for my Lyra Atlas SL Lambda to a new one that consists of a carbon fiber top and bottom plate with a copper plate in the middle between the 2 carbon fiber layers.
Schroeder LT tone arm with Magenisum arm tube
This is a new LT tonearm but now with an arm tube made from Magnesium instead of wood. It is a very significant upgrade in sonics. I plan to have my existing LT arm modified to have the Magnesium arm tube as well.
Lyra Atlas SL Lambda cartridge
I have now replaced my wonderful Lyra Etna SL cartridge with the new Lyra Atlas SL Lambda cartridge. My previous experience was that the original Etna SL cartridge was the best sounding of all of the Lyra cartridges. But not any longer. I was fortunate enough to be able to compare the new Lambda versions of the Etna SL and the Atlas SL in my system and the Atlas SL Lambda is simply stunning to hear in my system. The new Lambda Etna SL is also wonderful and better than the original Etna SL, but the Lambda Atlas SL is superior in every way.
CH Precision True Dual Monaural P10 phono stage
I have now upgraded my 4 box true mono CH P1/X1 phono stage to the CH Precision P10 4 box True Dual Monaural phono stage.
Nordost Odin Gold Power Cords
I am now using two of the Nordost Odin Gold Power Cords to power the two power supplies for the CH Precision P10 true dual monaural phono stage.
Nordost Odin 2 XLR IC
I am now using Nordost Odin 2 balanced IC's between the CH Precision P10 true dual monaural phono stage and the CH Precision L10 true dual monaural preamp.
Computer Audio Design (CAD) GC3 Ground Controls
I am using 2 of the CAD GC3 Ground Controls. One GC3 is used for signal ground with each of my CH Precision M10 amplifiers and the second GC3 is used for Earth Ground with my Rockport Arrakis external active crossover.
Computer Audio Design (CAD) Ground Control GCR
I am using the CAD Ground Control Reference (GCR) in my system. This is used for signal grounds for my front end components and the earth ground for my Shunyata Everest 8000 power distributor.
CH Precision L10 True Dual Monaural LInestage
The new CH Precision L10 True Dual Monaural linestage has replaced my long time reference, the CH Precision L1 true dual monaural linestage. As good as the 4 box version of the CH L1 linestage is, The CH Precision L10 True Dual Monaural (4 box) linestage surpasses it in every audio parameter.
Nordost Odin Gold Power Cords
I am using two of the Nordost Odin Gold Power Cords to power the two CH Precision L10 external power supplies for my CH Precision L10 true dual monaural preamp.
CH Precision M10 amplifiers
I now am using the CH Precision M10 mono block amplifiers. I have 2 of these and I run them in their active bi-amplification mode. These have just replaced (11/30/2021) my wonderful CH Precision M1.1 mono block amplifiers.
Nordost Odin Gold Power Cords (4)
I am using 4 of the Nordost Odin Gold power cords on my CH Precision M10 amps. Each CH M10 amp outboard power supply requires 2 power cords each with 20 amp IEC connectors.
Nordost Odin 2 XLR IC
I use a 9 meter run of Nordost Odin 2 XLR IC's from the CH Precision L10 true dual monaural preamp to the Rockport Arrakis 2 external crossover.
This is the active external crossover for the Rockport Arrakis 2 speaker. It takes the feed from the preamplifier and then splits the signal for the bass drivers and all of the upper frequency drivers.
Nordost Odin Gold Power Cord
I am now using a Nordost Odin Gold power cord on my Rockport Arrakis external crossover. This replaced the already great Nordost Odin 2 power cord.
Nordost Odin 2 XLR IC
I am now using 2 pairs of Nordost Odin 2 XLR IC's to connect the Rockport external crossover to the CH Precision M10 amplifiers.
Nordost Odin Gold Speaker Cables
I am using 2 pairs of Nordost Odin Gold speaker cables to bi-amplify the Rockport Arrakis 2 speakers.
Rockport Arrakis 2
My speakers are the bi ampified version of the Rockport Arrakis 2 with the active external crossover. I am driving the speakers with a pair of CH Precision M10 amplifiers run in active bi amplification mode.
Furutech GTX/NCF outlets
I have 13 of the Furutech GTX/NCF outlets with the GTX outlet Frames and the 105D NCF Carbon Fiber outlet covers.
HRS SXR
I have 3 of the HRS SXR audio racks. Each rack is a 4 shelf version and I am using M3X2 isolation bases with G7 footers. These racks and bases hold the majority of my front end components. For the SXR base that holds my Beat SE turntable, I have added the SXR solid brace insert.
HRS SRX with M3X2 isolation base
I have 4 of the HRS SRX amp stands with the M3X2 isolation bases with G7 footers, These are for the power supplies and my CH Precision M10 amps.
Nordost Sort Kones
I am now using Nordost Sort Kones under many of my components. I am using a combination of both the BC and TC sort kones. I am using them under all of my TotalDAC digital components - both DACs, the Outboard Reclocker, the Streamer, the Live Power supply, the D1 player and the NAS. I also use them under my Beat SE turntable outboard power supply (not the turntable itself) and my Rockport Arrakis external crossover.
Isonic Ultrasonic RCM
I have added the Isonic ultrasonic RCM. This is a wonderful RCM. I can do up to 10 LP's at once. It doesn't dry the records - but that is simple to do on my Loricraft.
Custom LP Record Cabinets
There are now 3 of these beautiful LP record cabinets that I commissioned a friend to build for me. Its so much easier to find the LP that I am looking for and to put it back than it was with more traditional shelves that I was using before.
Congrats, Arnie!!! Beautiful!!! Quick question - are you still using your Subs? I saw the link to your subs as working from 9hz to 22hz with your M5s...so clearly some time ago.
If you do, then i would appreciate any insight as to how you merge the subs with the mighty Arrakis...and what the subs do for the bass relative to Arrakis by itself. Thanks!!! (and congrats again.)
Great reading!!! You've clearly been busy. Regarding your Ultra 5s...I had a very very long series of days/nights trying to maintain the tone of my system with them...while trying to hold onto every bit of huge detail, clarity and improved timing that the Ultra 5s delivered.
Eventually, I figured out that if I place an HRS Nimubs/ Coupler on top of each Ultra 5 and THEN place the component on top...I literally got the best of both worlds. I have spoken with 1 other audiophile who has tried this and I think he also decided to combine HRS with Ultra 5s.
YMMV but thought I would share what worked for me in case you're curious
I have never had the pleasure of listening to Arnie's system...and every small nuance can make a remarkable difference. But I HAVE heard Arrakis IIs driven by 2 sets of Siegfried II monos, VTL 7.5 Series III, and a Clearaudio Statement turntable...so a 'parallel' system at the dealer in Hong Kong.
I have to agree with Albert's description of Arnie's system insofar as I can say that, imho, the system I heard in HK is 1 of 2 of the best I have ever heard in my life and by some distance. Utterly effortless, utterly detailed, utterly fatigue free...so easy to listen to, you almost forget how impossibly full-scale the music is. It seems so easy, you almost wonder why everybody cannot make a system like this. It is really that good. By comparison, it made my system at home (Wilson X1/Grand Slamms + Velodyne DD18) and other X2 systems I have heard feel like Alexias or big Sashas, where at the scale-level we were listening, it was as effortless as when I listen to my X1s at 70db-80db.
Let me know if you ever do...but bear in mind it is one finicky piece of equipment...great tonality in general...but super sensitive to vibration. It has taken me a long time to get it to work where I feel the signal is 'totally solid' without leakage from vibration, weaker tubes, power cables, etc. Once done, the purity of the Zanden tone comes thru...it probably has not been the last word in detail for some time now. Yours, Vivaldi, Scarlatti, Stahl-Tek...have likely all surpassed it. But its purity of tone without artificial artefact is still my favourite part of the Zanden sound.
But there is always another mountain to climb...Mt. Arrakis!
Hah! I promised myself I would NEVER go there...and dedicate all my resources to the best digital front end i could find. With my Zanden front-end fully isolated, tweaked out with NOS tubes, powercords, etc)...i think that is me done on investing in sources! Plus, all my music is on silver disc...approaching 2000 and counting.
I actually crave for your speakers, truth be told. Now that i have heard them with music i know...i understand better just how remarkable they are. they make reproduction seem so easy, at such dynamic levels, you wonder 'how come other speakers cannot do this?'...
Mullards came in from Brent Jessee! Stunning. He also had 3 Copper Stoppers...very thick copper tubes which have Teflon insides. They slip over the tube to damp them and help cool them.
I used to have 2 Mullard 1950s and 1 RCA/Sylvania. Now with all 3 Mullards 1950 Square Getters...it is stunningly good. Bass tight and powerful, propsulive. And dynamic attack in mids is there...which you miss somehow if the tube just isn't delivering that last ounce.
don't understand the science, but am thoroughly enjoying the results!
Thanks, Arnie. They should arrive this coming week via FedEx Economy just in time for a nice week before Christmas! Hope the EAT tube dampers arrive as well, so can retube and put on the dampers all at once!
Just ordered a set of Mullard 1950s Square Getter Rectifiers myself for my Zanden DAC. I am using a set now from brent jessee which I love. They simply have gotten a touch old...slightly weaker bass, less slam, dynamics across the board. I also decided while I was getting ready to change them out...I would order 2 EAT tube dampers for them as well...very excited hopefully have them all next week for re-tube.
I am no techie...I am told that both devices try to create a common earthing for the components and use materials inside to simulate a high quality ground earthing. All I know is...it works. Very impressed by Entreq and investigating Tripoint next.
This will be very interesting!! I am also going to try to listen again to Troy. The good news is I have heard both and know they both work...really well...which is better is another matter for the moment.
From theaudiobeat.com, it looks like Stillpoints distributes Entreq in the US now...so you should have no problems getting an audition. Good luck. Definitely go for their top of line: Silver Tellus and Apollo grounding cables...Entreq distributor here recommends Preamp and Source...and not to 'over ground' the system. 2-3 grounding cables is what they find is best.
Yes, I think it has been very carefully and thoughtfully manufactured...and clearly by someone who focuses on the purpose and on value. The box is super heavy, dense but basic-looking. The cables have been thoughtfully created...as per a cable manufacturer/colleague I know who does some similar things with his cables...but using real-world materials and high quality where it matters apparently.
I like it a lot. Since execution matters in these cases, I cannot say for sure if the totally Over the Top build of the Troy makes for better sound (I am told it is even better)...but I can say that the Entreq has opened my eyes in my own system to what both technologies are doing as a basic principal, and it seems sound to me. (pardon the pun!)
Note: I have always shied away in my system from large-scale orchestral (until now) for 2 primary reasons...my older system could not deliver sufficient dynamics to generate a scale that seemed acceptable to me; it also could not keep the instruments separate and things mushed together. I have been listening pre-Entreq to a lot more orchestral as the system has improved its resolution and dynamics.
But now, for the first, time, when massed strings play, I can still feel the roisin and the bow/string tension as opposed to that long single high note of a bunch of violins that you sometimes get when music has a lot of dynamics going on and too complexity for the strings to come out right. That is really wonderful to enjoy.
To be fair, I cannot say how much of this is the 3 Stillpoint Ultra 5s I put under my power conditioner and how much is the Entreq...when I remove the Entreq, we shall see...but I feel confident it is both and the Entreq is definitely contributing a strong fair share of this added new musical benefit.
I connected to the CJ GAT and the Zanden DAC. Entreq have several cables for various connections. The one I used was spade (to the back of the Entreq) with a special RCA on the other which has no pin but simply fits around the outside of the RCA. The design is based on the fact that nearly all RCA jacks end up being full ground to the chassis...thus using this custom RCA end works perfectly and very easily. No messing around with grounding or chassis screws.
You read my mind...and this goes for Jfrech as well given his observations about your system. The Entreq grounding unit is the real deal...Silver Tellus version plus 2 Apollo cables. It gets at noise floor in a way that intuitively feels very different from traditional power conditioning. Hard to explain. Here goes:
- the noise floor has dropped but more in the sense that the background has stilled when there is no signal playing. - its almost as if electronic hash (though technically silent) creates a waver in the air...and when the waver in the air gone...you see more clearly than you expected. - As a result, on Dark Knight, the piano is not simply further back, or the notes more clear...its that you stop thinking about piano notes...and actually realize without even thinking about it at first...that is a PIANIST who played an actual piano RIGHT THERE. - Your brain does not register 'only piano notes'...it registers 'live piano'.
Along that same vein, all instruments thus begin to take up a life of their own...not just notes but a ensemble of true instruments
The coolest was on Track 1, Sotho Blue, Ibrahim...there is some piano playing...you don't just hear the pianist stop playing...you clearly, clearly, clearly realize he actually hesitates and then immediately plunks down on the key staccato-like on purpose. That is very unusual for a piece of equipment to reveal. But it is now there every time I play the track, clear and undeniable.
Entreq is the real deal and easily worth 3x its cost.
I have been speaking with people who own Tripoint to get a sense of their Troy which is similar but much more expensive. So far, very very similar comments and universally over the top praise. Will investigate further as well.
Ranks up there at the very tip top of 'definitely try it'. I note that most of the guys who own the Tripoint already have dedicated lines, ridiculous power conditioning, balanced power, etc...and all of them find this does something different and spectacular along the way I've tried to describe. All for now. will post again.
I am going to throw one out there without any experience with your system...you may wish to try some Stillpoints Ultra 5s. They do a LOT for micro detail, hearing the soundstage way in the back...and bass tightness. You hopefully will be pleasantly surprised. Clearly, Arnie has tons of firepower so that is simply a mass of physics there working for his system. But yours aint no slouch so interms of hearing in the back...or tightness within the scope of your system...and the fact that you've got one killer source as well...I'd love to learn your impressions of Stillpoints (again go for the Ultra 5s) in your system.
Perhaps Arnie has some thoughts there having heard your system particularly since he uses Ultra 5s.
big news! Congrats! looking forward to reading more about your adventures in VTL!
I am scheduled to hear the Altairs in two weeks and am looking forward to it. They know my system, and are trying to assemble something similar. Will be very interesting. stay tuned...meanwhile, enjoy the break-in! like the damping settings...quite cool particularly given that the Arrakis is actively crossed over.
Look forward to reading all about them! I am hearing the Altairs hopefully in a few weeks which will give me a taste of the latest generation Rockport sound which I am really looking forward to, having heard earlier generation stuff and loved. As you may recall, I run Gryphon and Transparent Audio with a fairly vinyl-like front end (Zanden 4-box), so if you believe Andy Payor has a good ear (I do), Rockport should be a good place to look for someone like me.
They are quite big and presumably solid (not bendable)...can you provide some guidance as to what happens with/without them in place? Thanks!! Also good to know about your friend & Wilsons.
OK! Nice one! Now...on a scale of 1-100, if you scored the 16/44 redbook version of the above albums on your MSB digital, vs the TT, vs the Tape Project versions...how would you score each medium? Presumably you have at least Saxaphone Colossus and Waltz for Debby?
Arnie - you're probably right...but having just bought second hand HRS M3 and nimbus/couplers for Zanden...i am sticking with them. the Ultra 5s are for the Wilson X1s and Velodyne DD18...though i admit i did get Ultra 5 for the CJ and LP Isolator for Transport...that's enough for now!
FWIW, I just did that with my Wilson X1s...stunning changes. I posted on whatsbestforum. Ultra V and X1s thread. Stillpoints makes adaptor threads for nearly every screw type...mine are screwed in and they are not coming out. Good luck.
Thanks, Arnie. Yes, Zanden provide all umbilical cables for the connections between PSU and main DAC or Transport (4-box) and also the i2s cable. I know they created a new i2s cable...and there is generally a debate about which people prefer...and a few who say both are good and about the same. I will let you know how it goes later this week. thanks again.
Nice discovery it seems. Martin Colloms wrote a review in Hifi Critic on various USB cables i think...not ethernet...but he included Audioquest and several others (at least 7-8)...quite an interesting read. As usual, Martin is not afraid to call it like he sees it and his ranking is not at all correlated to price. If you can, i dont know if its worth checking out for you given that you are looking at ethernet cables...perhaps you can email him if you're interested?
Wow! Thanks for the quick reply, Babybear! Great stuff! I realized i use HRS nimbus couplers and dampers, Artesania dampers and Auralex subwoofer isolation platform on: Transport, DAC, DAC PSU, CJ GAT and the Velodyne. Basically the Wilsons and the Gryphon Colosseum have no 3rd party isolation. The Colosseum has enormous 3" thick feet with a 2" thick methacrylate base of some sort.
And Wilson appears to use the same spikes since 1994...good ones...just wondering if Stillpoints will make the same material difference you seem to have found with your components. (I was very impressed by what Ultra SS did with Esoteric Transport...in fact, i would use the very same description you gave about what i heard with the Ultra SS and the Esoteric transport.)
And the Ultra SS/5s were primarily designed for heavy speakers...fingers crossed and thanks again!
Just the man to talk to!!! Babybear - i have just asked to audition Ultra 5s for my Wilson X1s...any thoughts on this? I cannot imagine you would wish to try under the Arrakis, given the base that Rockport has built under the speaker. However in my case, with the Velodyne DD18 being so dramatically changed by the Auralex subwoofer isolation platform (recalibrating after installing it meant going from volume 9 to 32!!!)...means the floorboards are singing. so i am going to try them under the trusty old Wilsons.
Any thoughts on Ultra 5s...what they do...did you compare to anything else? thanks!
Sounds great! It is a big move for me...but one worth considering seriously given that MSB supports its older products with all the upgrades, and it has seemingly every technology/input/hi-res option available.
Wow...sounds like a great trip and a pretty great experience! I am impressed on the MSB! That has risen up my list, particularly given that Andy Payor apparently also uses it...and the fact that it is regularly upgradeable by MSB.
Just curious...which do you prefer: - Playing the SACD layer thru the UMT - Playing the CD layer of the same disc thru the CD IV Transport?
Or does it depend on the particular hybrid SACD? I imagine some SACDs are not as well remastered as others...so the differences might not be as great btwn the CD layer and SACD layer?
FWIW, i think your approach makes a lot of sense. Get the best DAC...add the clock later. Enjoy and pls post your observations here or on WBF when you get a chance. LIke to see you've updated your pictures...but your description still says Wilson 8s! ;)
You have the MM7s on the way, i think i read somewhere...and you dream of the Arrakis actives?
Here's a question...if they were the same price, which speakers would you take? (Ignoring your existing equipment which has a magic synergy with Evolutions). You've got quite a lot of experience, and i've always thought about Arrakis (original...second hand)...my equipment on the other hand actually apparently goes well with Arrakis. (Gryphon, Transparent Audio, CJ)
Thank you!!! Well, someday, if i ever find it...passive it is! I saw that the owner of one of the pairs had his upgraded to Arrakis 2 with the active crossover...so that can be done a future date.
But in any event, looks like i will keep my eye out for passive. Enjoy your incredible system!!!!!!!!!!!!
Absolutely incredible. As JFrech says, if i ever upgrade from my Wilsons, this is probably the only way to go. i too have heard other Rockports and been impressed.
I own a Gryphon Colosseum dual-mono. I have seen only 2 setups with the Arrakis...both had 2 sets of monos...4 amps! Am i going to be able to run the Arrakis 1 (original) with 1 dual mono Gryphon Colosseum??? Thanks for any advice!!!
