Description

Despite falling short of a true "dream" system, I've put my audio system in the "All Out Assault" category for the following reasons: (i) It does make very good sound, in some ways and to some degree even better than I hoped it would; (ii) It does represent pretty much an all out effort on my part over several years to achieve the best sound possible given the acoustic limitations and aesthetic considertions that come with having to use my living room as my listening room; and (iii) I have continued to test and try the best components and additions I can get my hands on (not that easy in Hawaii). Of course, efforts to improve the sound of my system are ever ongoing, and in the last year and a half or so, I have made two very fundametal changes to my system: I have completely changed my analog set-up to the wonderful Kuzma Stabi Reference table and Airline Tonearm, and even to my surprise, my speakers. Basically, I have now settled on a low power SET amplified/high efficiency open baffle speaker system that is geared to produce big, lively, immediate sound with more lifelike dynamics and a generally more "close up" perspective than that portrayed by most other audio systems.

I do very much admire and enjoy "big room/big system" sound which has tremendous soundstage depth and breadth and which generally presents music from a broader, perhaps more accurately distant perspective. But after trying long and hard to get that kind of sound, it finally dawned on me that the limitations imposed by my living room would never let me get close enough to the "big space" ideal to make me happy.

So . . . , I changed course, and redoubled my efforts to get to where I am now. It's not that my current system does not produce a soundfield with pretty amazing depth and breadth, as well as precise and stable images, but openness and uncanny scaling ability which create a heightened sense of being in the presence of real performers (not large speakers) are my system's real strengths, and in these particular respects, it is top notch - at least so I think.

April 3, 2004 - Obviously, I have made a very big revision to my system by replacing the Linn-Graham-Lyra Helikon analog set-up with a dramatically more substantial (and more expensive) analog rig consisting of the Kuzma Stabi Reference turntable, Kuzma Air Line Arm (which debuted in the US at the recent "S.H.O.W. in Las Vegas) coupled with a ZYX UNIverse cartridge. There is no doubt that this new set-up is dramatically superior in performance and sound to my previous one, and I am more than delighted with the change. Might there be better turntable/tonearm combos out ther? - Probably yes, but none that I am likely to try - or care to. Of all the components I have, this one is most likely to be a "lifer."

There have been some other much smaller changes in my system, - most notably the replacement of two power cords leading to my linestage power supplies and the cryogenic treatment of most of my power cords and and all of my interconnects. I must say, the cryogenic treatment especially produced unexpectedly good results. The other really significant (and quite expensive) change was the replacement of the Shunyata Hydra line conditioner first with a Balanced Power Technology 3.5 Signature and then a Sound Application Reference Line Stage conditioner. There will inevitably be other changes in the future, but most likely these will be "tweaker" type changes, not really big ones.

Early 2005. I made my own speakers, and although I did not think they would beat out my beloved Beauhorn Virtuosos, they did, so my belief that big changes were not likely in the cards for me went out the window.

Significant power cable changes have also been made along with a number of tweaks. I must say that the most significant tweaks were the addition of Z-Sleeves to my interconnects and the curious JSMR Ultrasonic tweeters.
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Components Toggle details

    • Burmester 948 line conditioner
    This Harry Pearson favorite has a captive power cord and provides switchhable (on or off) active voltage regulation for 8 separate outlets, 4 of which also have switchable (on or off) active high frequency noise filtration. Power to the entire system runs through this unit, as, in addition to my digital player and the power regulator for my turntable, a second line conditioner (providing additional noise reduction) is plugged into it and accomodates all of my other electronic components.
    • Electraglide Epiphany
    For a short while, the best power cord in the Electraglide line and, indeed, a superb one. Seems to work its best when supplying power to a line conditioner or other power distribution device. Lately, it has been supplanted by the "Epiphany X", but I am happy with this ex-best.
    • Sound Application Reference Line Stage
    Top passive noise reduction conditioner I have found for use in my system. Does not limit current and really "adds" considerably to the dynamic capabilities of my system. Takes a 20 amp IEC and provides 12 outlets. I have this unit "daisy chained" to the Burmester line conditioner, and then my amplier, line stage, phone stage and both powered subwoofers are plugged into it.
    • Bybee Technologies Golden Goddess
    This power cord is Jack Bybee's latest and greatest power conditioning product. I will go out on a limb and say that this is the very best power cord for use on digital devices (transports, DACs, digital video scalers and processors, etc.) on the market today. Connects my digital player to the Burmester line conditioner. Replaces Bybee's prototype reference power cord which over and over again proved itself clearly better on digital than any other power cord I tried.
    • Ayre DVD-1x
    Original Ayre DVD-1 with factory installed "x" designation upgrade to the unit's power supply; further self-tweeked by the application internally of Marigo dots, Cromolin VC damping strips and "ers" EMI/RFI absorbing material.
    • Ric Cummins Pursang Plus
    Superb reference interconnect made by Ric Cummins of Rosinante Audio/Argent Room Lens. 30" standard length connecting digital player to linestage. Upgraded from the original "Pursang".
    • Kuzma Stabi Reference
    Solidly built, beautifully engineered suspension table constructed primarily of aluminum/acrylic. Incredibly easy to set-up and performs in a way that inspires confidence.
    • Kuzma Air Line Air Bearing Tonearm
    Air bearing, linear tracking arm w/ silver phono leads wired direct from cartridge to phono stage. Beautifully and solidly engineered and extremely user-friendly and confidence inspiring. There have been several extremely positive professional reviews on this arm, and I am in accord with all of them. What is not discussed in any of the reviews, however, is just how easy this arm is to use and what a reliable performer it is. I truly love it.
    • ZYX UNIverse S Moving Coil
    Superb top of the line ZYX cartridge with silver windings. The best I have heard.
    • Nordost Valhalla
    This 7'+ power cord transfers power from the Sound Application line conditioner to my phono amplifier. This cord promotes brilliantly live, dynamic sound with no loss musicality, which is what I like. It is "up front" in perspective, though, and may not be to everyone's taste.
    • Tom Evans The Groove Phono
    Remarkably compact, no frills phono preamplifier with very high gain. I have tweeked this unit by internally applying Marigo dots and "ers" EMI/RFI absorbing material.
    • Ric Cummins Pursang Plus
    Another run of Ric Cummins' (Rosinante Audio/Argent Room Lens) marvelous reference level interconnect upgraded from the original "Pursang". 42 inch length connects my phono stage to my linestage.
    • Electraglide Mini Kahn Plus
    Two of these wonderful, easy to use power cords provide power to the dual power supplies of my linestage via the Sound Application line conditioner. For price and ease of use, this cord is about my favorite (though not the best) in the Electraglide line.
    • First Sound Paramount line level
    This is actually a "Paramount Deluxe" version with two beefed-up external power supplies. I have tweeked the unit by applying Marigo dots and Cromolin VC damping strips to the inside of the control chassis.
    • Nordost Quattro Fil - 16 ft
    This long run of Quattro Fil has performed the difficult task of carrying delicate audio signals over the relatively long distance from my linestage to my main amplifier. At Jack Bybee's suggestion, a pair of his new "SlipStream" line level filters are inserted at both ends (linestage output/amplifier input) of this pair of interconnects. Cables have been subsequently cryogenically treated with good results.
    • Ric Cummins Brujo HC
    This is the highest level and most expensive of Ric Cummins' (Rosinante Audio/Argent Room Lens) new power cords. It is designed to be a high current version of the regular "Brujo" power cord that I used to use to power my phono preamplifier. However, there are differences in the design of the two cords that apparently go much beyond just more and/or bigger wire. This 7' cord provides power to my main power amplifer via the Sound Application line conditioner and was subsequently cryogenically treated with surprisingly good results.
    • Art Audio PX-25 stereo
    This particular amplifier has the volume attenuator and has been modified slightly by the internal installation of Bybee filters just before the output tubes and the application of Marigo dots and Cromolin VC damping strips. The tubes have also been "rolled" to achieve the sound I prefer, and Shun Mook and other "tweaks" added to produce other subtle changes in sound.
    • Nordost Valhalla
    This speaker cables are 15' in length because they were originally intended to connect my amplifier directly to the Lowther drivers of my former speakers (Beauhorn Virtuosos). However, I changed speakers before undertaking the direct wiring project. People have differing opinions of this cable, but I find it to be fast, detailed and unfailingly neutral - a true reference cable that simply lets me hear what everything else in my system is doing.
    • Self Made Single Driver Open Baffle Design
    These speakers were born out of my curiousity over the drivers -a pair of PHY KM 30 SAG coaxials. In designing the speakers, I applied virtually no knowledge or theory of speaker design other than a friend's suggestion that the drivers were suited for an open baffle type of speaker and an educated guess as to how high to mount the drivers. Everything else was about aesthetics. Clear plexiglas was used because I felt that using an opague material (like wood) would make the speakers look far too massive in the "open" position. The side panels were hinged and a top was added so that when not being played, the speakers could be "closed" and look at least somewhat like "normal" speakers. Wood inlays were made on the front strictly for decorative purposes. The workmanship will not stand close scrutiny, but from afar, they just barely pass the WAF test.
    • JSMR Ultrasonic Tweeters (emitters)
    These tweeters are more a tweak than speakers because when added to the main speakers (wired to speaker terminals), you cannot hear any sound from the units themselves, but you can hear rather startling changes in the overall sound of your system. Oddly enough, the biggest change you will hear is in the bass. Another weird thing - you can hide these small units completely out of sight, but experimenting with placement is worthwhile because placement can make a difference in your system's image and soundstage presentation. There are two versions, one $400 and the other $800. Both are spectacular. I think the more expensive models impart a slightly richer, better tone, but that is just a rough opinion.
    • Bybee Level 1 Prototypes
    A pair of these cords provide power to my twin subwoofers via the Sound Application line conditioner. They are no longer available.
    • REL Acoustics Stadium mkII
    A pair of these of these subwoofers has been integral part of my audio system since long before the system reached its current form. They are connected in the preferred REL manner to the speaker output terminals of my amplifier.
    • Bybee Technologies Quantum filters (various types)
    I have Bybee filters in various forms throughout my system and will probably to add more as I continue my efforts to improve my system.
    • Z-Cable Z-Sleeves
    Tubular noise control devices through which you thread interconnects and speaker wires and power cables (if you can). I have them over my interconnects at the inputs to my phono stage, line stage, amplifier and powered subwoofers, and their addition has helped me to hear and understand the deleterious effects of EMI. They are pretty expensive but worthwhile additions.
    • Marigo Audio Lab VTS Tuning Dots
    Various types and sizes of these unimposing and seemingly overpriced dots are used to good effect on almost every component of my system.
    • Stillpoints ers material
    Having a supplier who can and will sell me "cut to order" size sheets of this EMI/RFI absorbing material has enabled me to use it to good effect in many different ways throughout my system both installed inside various components or externally as "blocker/absorbers"
    • Stillpoints Universal Resonance Dampers
    I use these "feet" under my turntable, Burmester line conditioner and amplifier and have found them to be versatile, effective and easy to use. Have subsequently added the "risers" (now sold as a package with the original Stillpoints) under all of the devices, which noticeably improves their performance.
    • Self made custom wall mount shelves
    Mainly for space and aesthetic reasons I have made and mounted my own shelving to hold my turntable set-up and virtually all of my other components except for my main amplifier which sits on one of the shelves of a freestanding wall system in the front of my living room. I am sure my system would benefit from stands designed for good acoustic performance, and I do use various aftermarket resonance control shelves and/or "feet" on top of my home made shelves under most of my components. However, the self-made, custom shelving is an unavoidable concession to the decor of the room
    • EchoBusters Bass Busters
    Two of these 4' high quarter round traps are used in the front wall corners of my room. They are the only room treatment devices that are more or less "permanently situated"
    • EchoBuster and Self-made Acoustic Panels and Other Treatment
    I have and continue to explore various ways of treating my room to control unwanted vibrations and reflections. The most notable are (i) a large (6' x 2') self-made, framed, portable acoustic foam panel to treat the first reflection point on the right side wall of my room, (ii) a self-made 42 inch x 45 inch fabric covered foam panel to dampen reflections off the wall and pictures adjacent to the left speaker; and (iii) a pair of 2' x 5' EchoBuster panels, one of which is placed on top of the REL subwoofer directly behind each speaker. It takes no more than 2-3 minutes to set-up these acoustic treatments and take them down, and they make a tremendous difference in the imaging and staging of the system.
    • Auralex Diffusion Acoustic Panels
    At the suggestion of a fellow AudiogoNer (whose name I have regretfully forgotten), I tried these 2 x 2 styrofoam molded panels on my ceiling in an attempt to make my room sound "taller". There is no substitute for high ceilings, but these panels have done a pretty remarkable job of doing just that. My wife does not like the look, but we do not entertain that much anymore, and a lot the guests are my audiobuff buddies anyway.
    • Various Resonance Control Devices
    A mishmash of pucks, cones, weights, wooden disks, crystals, damping compounds and other things that I have accumulated over the years are used throughout my system to some but unquantifiable effect. There are so many different types, I cannot describe them all, nor do I think the "difference" any particular one of them makes is dramatic and/or definitive enough to make a detailed description worthwhile.

Comments 15

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I think this is a very nice system with an interesting approach.

Congratulations on what must be a very rewarding listening experience.

twl