this room and system is the result of 10 years in High End audio. my
system has been stable for a couple of years (except for transport and
amplifier upgrades within the same brand). the room has been in the
planning stage for about 18 months and i actually moved in a little over
a month ago.
my audio philosphy is to have the system get out
of the way of the event. i like as pure and simple a signal path as
possible and, at this point, prefer passive to active gain stages. i
love all the formats and enjoy having lot's of music.....vinyl is my
favorite but i listen to at least 60% digital. the new room really
reveals the benefits of SACD over redbook.
the system and room
truely allow the event to be recreated before me. i love the way the
speakers disappear and i am transported to another place/time.
i have choosen my cables, sources, amps, speakers to have as little of their own sound as possible.
recently, i upgraded my digtial transport from the modified Philips
SACD 1000 to the new emmlabs CDSD.....this was a significant step upward
in performance.
i have written an article in Positive Feedback regarding my room building experience.....here is a link;
new version of these cables, a big step over the amazing TRSC model i have used for 10 years. fantastic performance.
WADAX SA Reference DAC
Wadax Reference Dac----state of the art dac with 2 separate power supplies. the best dac i have heard by a good margin. below is a link to a thread about my Wadax experience.
Arya RevOpod isolation footer (32 used under the 5 Wadax Chassis).
height and tension adjustable. the Wadax dac, server, and server power supply chassis all use 8 footers, so it's critical to be able to adjust height and tension to have an even support for optimal performance. RevOpod's are unique in those attributes making them ideal for this use.
https://www.arya-audio.com/revopod
CS Port LFT1 turntable w/arm
air bearing platter and air bearing linear tracking arm; string drive with zero feedback dc motor, low pressure, low flow air system with zero noise air box.
world class musical flow, nuance and delicacy, combined with authority and ease. serves the music completely.
Esoteric T1 Turntable
magnetic drive/rim drive idler turntable with torque adjustment.
with the deletion of my NVS turntable, i was able to move the Taiko Tana active isolation shelf to under the Esoteric T1. this has upgraded the performance of the T1 significantly. objectively small changes, but musically quite profound up tics in realism and immersion. more nuance, greater music focus, better bass articulation.
https://www.esoteric.jp/en/product/t1/top
Esoteric G1X Master Clock
Master Clock Generator for speed improvement for the T1 turntable. significant improvement in music realism.
https://www.esoteric.jp/en/product/g1x/top
Durand --Tosca tonearm.
gimbal bearing design. Tosca is on the Esoteric T1 turntable
Primary Control 12" FCL tone arm
Field Coil Loaded uni-pivot tone arm. with power supply. mounted on the Esoteric T1 turntable. amazing natural and very high resolution tone arm. link below.
12 inch tonearm, stainless steel. used for the Sumile mono cartridge.
https://glanz.tech/e/collection/mh1200s1000s900s/
Experience Music/Intact Audio phono corrector + silver wound MC Trio SUT combo for three different tonearms.
bespoke tubed phono preamplifier. silver wound, with custom dual power supplies.
https://myemia.com/LR.html
LFD -3- Phono Cables DIN to RCA
3 sets of very high performance phono cables. amazing performance. built by Dr. Richard Bews in the UK.
one cable uses a DIN to RCA short Dongle + an RCA to RCA interconnect. the Dongle improves the performance of the DIN connection. details at the link below.
two Etsuro Golds, ---a pair of Reference MC Phono Cartridges.
duraluminim (A7075) body, 24 carat 'Kinpaku' Gold Leaf finish, diamond cantiliver. .3mv output, 4 ohms. these are both special versions of the Etsuro Gold.
one is mounted on the CS Port linear tracker.
one is mounted on the Primary Control FCL arm.
finest cartridge i have heard by a significant margin. WOW!
Audio Technica MC-2022 60th Anniversary cartridge
uses the unified stylus cantilever design. which results in extreme lack of distortion and linearity. remarkable neutrality and ability to dig out detail and keep it natural and musical.
https://www.audio-technica.com/en-us/at-mc2022
Murasakino Sumile Mono phono cartridge
MC cartridge for mono records, .04mv output. tracking force 3gms. finest monaural cartridge i have heard. competes on musical refinement with the top stereo cartridges.
Ampex twin ATR-102----one 1/4" and one 1/2" reel to reel master recorder
hot rodded by ATR Service Inc----Andrew Kosobutsky. significant upgrades over stock. each interfacing with hot rodded Ampex MR-70 preamps. the new tape deck performance standard in my opinion.
active isolation under 5 separate components: (1) the NVS turntable, (2) the MSB dac, (3) the darTZeel preamp, (4 + 5) both darTZeel mono block amplifiers. custom modifications by Taiko Audio add a linear power supply plus panzerholtz top layer + Daiza platform to provide full frequency resonance attenuation to each platform.
Taiko Audio Daiza isolation platform--22 used in the system
Panzerholtz Platform with spiral cutouts reducing mid and high frequency resonance while retaining life and energy and not changing tonality.
22 Daiza platforms in the system of various sizes under every piece of the signal path.
Evolution Acoustics 'system' power cables
a new version of the TRPC model i used on my darTZeel 468 mono blocks for the last 10 years. a big step up.
Sablon Audio King power cord
used on the Wadax Reference Server power supply.
https://www.sablonaudio.com/power
Absolute Fidelity power interfaces
power cords specifically designed for either motors (tt and tape decks), amplifiers, and components. 11 in the system.
Tripoint Audio Troy Signature
Grounding box for chassis grounding the darTZeel 458 mono block amplifiers + grounding the passive main towers of the Evolution Acoustics MM7 speaker system.
Tripoint Audio Elite
Tripoint Elite grounding box. this does chassis grounding for my sources. it uses a a pair of Tripoint Thor SE Master Reference ground cables for my dart preamp and the MSB Select II dac. there are also 4 Signature Silver ground cables to the two arm boards of the NVS tt, the power supply of the NVS tt, and the SGM server.
Equi=tech 10WQ
10kva balanced Isoltion transformer and distribution panel.
Furutech GTX-D NCF Rhodium duplex outlets
10 in the system. used with 10 Furutech covers and frames. uses NCF (nano crystal formula) material to reduce noise by emitting negative ions.
Wave Kinetics A10 U8 decoupling footers
8 sets-of-4 in the system for individual tuning of each piece of gear.
Auralex T-Fusor diffusers
i use 20 of these. 6 each on the front side walls, and 4 each front ceiling and rear ceiling.
Klaudio Record Cleaning System
automatic record cleaner
Acoustic Revive RL-30 mKIII CD-LP demagnatizer
for demaging any disc.
Furutech DF-2 LP disc flattner
will remove warps from Lps
Audiodharma Cable Cooker, Anniversary Ed.
will cook any cables
Winds ALM-01 Stylus Force Gauge
easy accurate, repeatable, measurments.
i-Tower by Koncept LED floor lamp
(3) are used. best audio light ever. 2 'warm', 1 'cool'.
Quietrock THX 545 drywall
specialized drywall with a 1/4" metal layer. used in my front sidewalls to establish proper room boundaries.
Anything further to report re: the new Found Music Amp. As mentioned elsewhere are you using the Stillpoints Ultra SS or the footers from Jtinn beneath it. Utterly amazing system !!!
sorry for the delay in response...it's been a busy week.
i don't have any of the special plugs yet to connect the Nagra IV-S to any other gear. so i've not yet listened to it. i'm planning on finding some, but so far.....
i'm told that the transport is quite good, so it depends whether you use the stock analog outputs (and the stock heads). i expect it to perform like my Nagra 'T' in stock form. which is pretty good, but room for improved sonics with better electronics.
from what i remember about your stable of tape decks, you would not buy a Nagra IV-S to improve performance either. it would be a 'guilty pleasure'.
i'm re-posting the Nagra IV-S pics from above (yesterday) after photoshoping them. i posted them quickly and had not taken the time to correct them. i deleted the links to the other pics.
all three DD tt's will do a wonderful job playing music and based on my experience you can't make a wrong decision. my final paragraph puts my view in perspective.....as does my personal choice.
i've been watching ebay auctions for Nagra IV-S tape decks for awile. knowing i could not really rationalize spending money on one, since what would i really do with it? but they continued to attract me like a moth to a flame and a few weeks ago a particualrly pristene one came up for sale and i jumped on it. this one is the NQS-LSP non pilot configuration (no time-code head) featuring a track width of 2.75mm (wider than the time code version for a slightly better sound). there is not a nick or scratch on it.
the plastic cover is almost new looking, the heads show very little wear, and this IV-S has the ruby tape guides.
i suppose i've finally resigned myself to the fact that at least regarding tape decks; i'm a collector. but i'll never be in Ki territory, and my wife says i'm done. :^)
Peter, you are most welcome. the Beat is an excellent turntable and only the NVS kept me from likely owning it a very long time. you can't go wrong with it.
and yes; i'm a DD guy (and idler too, i suppose). i'm not anti-belt drive at all, there are plenty of excellent belt driven tt's. only that they would all be a little better with a properly executed dd system.
i would say that i've not been exposed to 'thread drive-high mass platter' type drive; so i must clarify that i can't say whether i feel the same about that approach that i do about belts.
Thank you Mike. I find your explanations very helpful. These matters of degreee and relative ranking gives me a good idea of what you are describing. I did hear the Beat at RMAF 2010 and kept returning to Steve's room as I found it to sound very good. I am considering an upgrade to my SME 10 and find that to be some expensive territory. Most of us have a hard time auditioning perspective tables in our systems. I certainly envy your ability to do so.
I also notice that you seem particularly devoted to direct drive. A friend just bought an SP 10 IIa in a Porter Panzerholtz plinth. I look forward to directly comparing that to my SME 10.
Are you aware of any plans by Wave Kinetics to develop a lower cost DD table?
yes; i did have the Talea 2/A90 on both The Beat and the NVS. and the last few months with The Beat i was using the darTZeel phono stage which i have used with the NVS/Talea 2 too.
comparing the 2 tt's; my initial comment would be that when i describe differences, it's in degrees of good. the NVS is better, but The Beat is a wonderful tt. and i do think that for around $20k it's the tt i prefer. i continue to recommend it to people.
last November, when the prototype NVS appeared in my room for the second time, was the only occasion when both tt's were there together. during that session, it was interesting that playing music The Beat speed sounded excellent. then you'd play the NVS and it was simply more solid and continuous sounding. then we played the grooves between cuts and it was quieter (less groove noise) on the NVS. the NVS projected a larger soundstage. was this speed? the platter? can't say exactly.
since last November the prototype was said to be improved by CES. and then more improvements prior to the production version i recieved in July.
my perceptions since then are that compared to my recollection of The Beat the NVS has a better foundation, it nails the solidity and footing of the music better, and it has this ease on busy passages that is uncanny. The Beat is not 'wrong' in those areas, just not nearly as right. i'd also say that the production model of the NVS has this rightness to tonality and musical flow that is intoxicating. the visitors to my room that have experienced both tt's remark consistently that the NVS is better.....but all of them liked The Beat too. again; the differences are in degrees of good, but it's not a subtle difference.
over the last year i had various versions of what eventually became the Durand Telos 12" tonearm on first The Beat and then the NVS, and now i have the production Telos. i remember the comments in the room when we went from one session with the Beat to the next session with the NVS. the Telos prototypes told you everything that was happening; and revealed deeper differences than the Talea 2....in favor of the NVS.
another way to put this might be that The Beat is closer to the Dobbins SP-10 Mk3 that i owned than it is to the NVS in performance. it's better than the Mk3, but not by a ton. i do hold the Dobbins SP-10 Mk3 in high regard.
Mike, Could you describe the NVS relative to the Dobbins "The Beat"? This seems to be a fair comparison in so far as each is a pretty compact design without the elaborate air suspension of the Rockport, or the linear arm. I also think you had the Talea II and A90 on each table for a while. If you have already done so in this thread, could you just tell me what date to look up? Thank you.
I don`t see where any harm is done, opinions are what they are, one person`s subjective impression.You had the Rockport for quite a long time(pressumably because you enjoyed it). If component A. is excellent and component B. comes along and is superb, that`s no put down of the excellent component A. Preferences being what they are some will reverse the ranking of the two components in question anyway.It`s not as if you trashed the Rockport after the sale.
sometimes (maybe more than sometimes :>)) I get pretty caught up in the excitement of a new addition to my system. that's why we do this stuff; right? And when that happens I might write or say something that later I wish I had not.
Earlier this year I sold my Rockport Sirius III turntable to a fellow Audiogon member Alan Farris (Unoear). After that sale, and the sale of my other 2 turntables; I received my new turntable, the NVS. I was asked a few times about how the NVS compared to the Rockport. I had never actually had the final version of the NVS in my room at the same time as the Rockport. I should have declined to compare the 2 tts. Not only since I never compared them directly; but also in respect to the spirit of the sale to Alan. Yet; in my excitement I did rationalize my own view of how they compared. Which was wrong of me, as well as disrespectful to Alan after his purchase. Further; its possible that my set-up with the Rockport and the Olympos cartridge (sold to Alan along with the Rockport) might not have been as optimal as it might have been did I hear the best the Rockport-Olympos combo could offer?
Of course; its impossible to un-ring the bell.
In any case; my apologies to Alan for going where I should not have.
it's always great having you and Gary over, both for the fun and the unrestrained feedback feedback. you're my 'reference' listeners. and last night the music was really, really special.
i agree that once the 2a3 monoblocks get another 50 hours or so they will be even better.