Speakers are Focal Grande Utopia EM in black finish
Analog music sources,
Technics SP10 MK3 with two Kuzma 4 Point 14" arms. Koetsu Blue Lace on one and Air Tight Opus One in the other. Studer A820 half track tape machine with three sets of cards, each rebuilt by Studer electronics experts so I can compare upgrade performance.
Digital
music source is Aurender W20 Special Edition into Soulution 760 LEEDH. THe best input for music so far is Purist new USB cable and AES/EBU close second place.
Soulution 725 preamp, Soulution 755 phono stage Soulution 760 LEEDH and Soulution 701 mono block amps for electronics. See image posted Nov 18, 2022 to see how it looks.
Cable is 100% top tier Purist Audio design. All latest 35th Anniversary, all ten AC cords are the new Purist 35th Anniversary AC.
My space is 18 X 31 and
acoustically treated with RPG panels, tube traps and fiberglass acoustic treatment
over triple reinforced walls and ceiling. The floor is lamination beams
over steel plates to concrete pier and beam. Two sheets of 5/8 epoxy
lamination sheets make up the floor with two inches of
concrete topped with India multi color slate.
Whisper Wall
rail system and fine textured acoustic cloth covers the work, making everything appear as a normal room of
painted sheet rock or decorative cloth covering.
The room acoustics were conceived by RBDG
and the entire space was torn out to bare dirt under the foundation and
bare studs in the walls. The combo of all new electrical and acoustical treatment resulting in best sound I’ve ever had.
The best offering from Focal, shown with Stillpoints Ultra 5. Ultra 5 was an amazing upgrade for the speakers !
RPG Acoustics QRD 734 (variation)
On front wall, now obscured by acoustically transparent cloth, is floor to ceiling RPG (similar to QRD® 734) in foam, so it's partially absorptive.
Studer Studer A820
Found a near mint A820 at a production studio in Illinois. I was so excited about it's condition I had it driven here in the back of an SUV, covered with moving blankets.
Head block sent to John French and all cards at Soren Wittrup who worked for Studer. This is the machine I spent more than a decade searching for.
Technics SP10 MK3 Rosewood with Stillpoints Ultra 5
Technics SP10 MK3 Panzerholz with African Ebony lumber (no Veneer). This is the original design by John Semrad and myself, copied to death now.
TTM Stainless Mat and Oil Damp Weight
Japan, TTM Stainless mat (6.61 pounds) plus TTM oil filled record weight.
TTM record stabilizer TTM three piece set
Very hard to find, grateful I was able to purchase this last week. Three piece TTM record stabilizer replaces my previous single piece unit.
Air Tight Opus
Air Tight top of the line phono cartridge
Mutech Hayabusa
Excellent MC cartridge, retail about $4500.00
Koetsu Blue Lace Platinum
Top tier stone body Koetsu, perfect alternate to Air Tight Opus One
Soulution 725 preamp
725, Soulution best preamp, shown in system
Soulution 755 phono
Soulution best phono stage, unbelievable amount of adjustment for cartridge including channel balance to 1 DB
Soulution Soulution 760 LEEDH
Soulution top tier DAC, really pleased with performance of this DAC.
I still prefer analog but many recordings that were digital to begin with (and vinyl cut from CD master) are better on Soulution than on turntable.
Soulution 701 Mono Block Amplifiers
Soulution top tier 2KW solid state amps from Switzerland
ORB-DF03 USA version DF03
Excellent LP flattener, simple to use and so far perfect result
Aurender W20 Special Edition
Aurender music server, model W20 SE with 16TB solid state storage on board.
Vibraplane 2212-01
Under my Technics MK3, powered by Silentaire DR-150
Degritter MK2 Ultrasonic LP cleaning machine
From Estonia, very powerful ultrasonic LP cleaning machine. The MK2 version is better than the original which was already the best I’ve heard
Degritter and ORB LP flattner Degritter and ORB LP flattner
View of two important pieces to maintain LP collection
Milbank Transocket three phase 750 amp
750 amp meter base. Pass through design, three phase power is a huge benefit in conjunction with our dedicated transformer.
Porter Port Cryo outlets 20 Amp
14 of these in my system, each to a dedicated breaker in copper based electrical box
Furutech NCF Booster
New NCF Booster added to majority of AC cords in system. Easy to see against light colored wall, arrow points to NCF Booster to my (previous) owned Allnic M-5000 amp.
Purist Audio Design Focal EM Supply cable
New four conductor cord, replaces stock Focal supply cord from EM drive box to back of speaker. Amazing upgrade
(1) Soulution 725 preamp to Soulution 701 mono blocks
(1) Soulution 760 LEEDH DAC to Soulution 725 preamp
(1) Studer A820 to Soulution 725 preamp
Purist Audio Design 35th Anniversary Bi-Wire
1.5 meter Bi-Wire, Soulution 701 mono blocks to Focal Grande EM
Purist Audio Design 35th Anniversary AC Cables
New STUNNING cable from Purist Audio, silver and seven stage network box. This cable brought so much dynamics, resolution and transparency to my system it qualifies as a main component.
Leica Disto D2
Super laser measuring tool. Indispensable for setting distance and alignment of your speakers
i have a tubed CS Port phono i like alot, and have acquired a used Aesthetix Io Eclipse phono which is at Aesthetix for some updates on it's way to me.
so a few tubes here and there can also be a choice. but maybe if i had the Soulution 755 phono i might not have bothered with those phono's. but it's a spendy unit.
as a tube loving solid state user i can relate. i view my swiss solid state darTZeel as sounding like music, not tubes........or solid state. i do think musical reproduction bliss can be fully found with the right solid state. and an appreciation of tubes does help.
congrats on the Soulution gear, it's is at the very top level.
just a point of clarification. a Vibraplane is passive, but could have active leveling. active would mean it has sensors and actuators and can stop and start. a vibraplane is like a spring, and floats and settles. it's a very good passive device. my Rockport had an active leveling air suspension quite similar to the vibraplane.
i'm not passing judgement on whether active or passive is better, or any particular result. i'm simply clarifying what separates active vibration control and passive. the ability to stop and start. active is 500 times stiffer than passive. active is more effective in low frequencies, but needs a passive component to be effective at higher frequencies.
JRiver remote will also allow you to switch drivers and be able to use 2 separate dacs (assuming your server has 2 USB outputs). you would still need to switch inputs on your preamp.
I have a windows server and also upgraded to JRiver 21. but I changed more than just that issue so I can't comment on the degree of improvement from just that; but it was major overall. and also i switched from JRiver 18 to 21.
I have the original pressing. it is a great recording for demo purposes as far as soundstage and acoustic precision. as far as the music, I have to be in the right mood to get into it, but when I am I really enjoy it.
I've not yet heard the reissue, i'm sure it's very good.
a comment on your power cord 'effect' for the bass drivers.
on both my MM3's and MM7's the power cord choice made a considerable difference thru the whole spectrum. particularly and surprisingly clarifying the high frequencies. I think it's simply the overtones in the bass not muddying up the upper frequencies, more linearity in the bass is noticed everywhere.
another surprise; the degree of effect from upgraded fuses in my internal bass amplifier. a similar and surprising effect.
it seems anything we do to get the bass more linear helps everywhere. it's always the 'hard part' to get right especially the more of it we have in a system.
btw; it was fun having dinner with you and the group at Newport.
the Audio Desk spins the Lp and on one side there is a squeegy that has a fixed gap. this squeegy wipes the water from both sides of the Lp as it spins. all during the process the squeegy eliminates excess water and soap suds from dripping down on the label, and then prior to the blow dry it removes excess water to make the blow dry more efficient. if the Lp is very thin (such as a later DG pressing) then there is more water on the Lp than the blow dry process can eliminate. there are degrees of this happening as the pressings get thinner. a small amount of touch up of a few drips happens here and there. the thinnest pressings need major hand drying. typically one side is quite dry but the other is wet.
the fixed gap of the squeegy is a compromise. in a perfect world Audio Desk would offer a different squeegy for thinner Lps. it's a quick thing to remove or install the squeegy
having a separate RCM without this handicap seems to me to be the ideal solution. again; if you don't listen to much classical then this is a very small issue as that is where i see most of the problem. and you have almost zero issues with any of the re-issues which are always at least 150 gram. i'm sure many Audio Desk users don't have much problem with this depending on what pressings they have.
and i agree whatever allows me to listen more to clean Lps is best.
you and i have discussed this issue before. as you know, i took your feedback to heart and purchased the Loricraft PRC4 Dlx recently. your point to me at the time was that the 3 or 4 step cleaning process on the Loricraft was superior to the one step Audio Desk with it's cleaning fluid, and i agree with you.
and yes; when using one machine then the other.....the second machine pretty much has to make the Lp sound better (or at worst the same) than only one pass thru one machine....when doing it in a short time frame. clean->play->clean->play one after the other. it's possible the second machine could make it sound worse, but highly unlikely with this level of RCM's.
to really get to the bottom of this issue you would need to do the swap of sequence, then also two passes thru each machine individually. although you'd also then need to find a reference to play against. and maybe even a one-step clean thru the Lori and a 3-step thru the Lori compared to the Audio Desk. where does the Lori get better than the Audio desk?
my feelings about this until i actually take the time for some research, is that the Audio Desk is the best machine when wanting maximum music play time, whereas the Lori is better for doing more involved cleaning and, of course, many of my thinner classical Lps where the Audio Desk struggles.
i respect that you don't claim your brief experiment is scientific; but i would point out that whichever RCM cleans the record a second time has a big advantage. maybe if you went back and forth each way; once the Audio Desk first, next the Lori first....then your conclusion would be more valid.
as you know; i own both the Lori you own and the Audio Desk. i've not done any comparisons yet myself.
with the Audio Desk you do need to 'spot' hand dry very thin pressings....many classical pressings for instance. since the squeegy that wipes that water prior to the blow dry is set up for thicker pressings. if you don't do much classical then it's not a big deal.
what's important is not to use too much of the cleaner or it will foam excessively. instead a 'whole' bottle i use about 1/3rd at a time. i've not tried other cleaning fluids. i would tend to not experiment with other cleaning fluids.
sorry if my choice of 'pistols at dawn' caused any panties to get in a bunch. these days i suppose it's understandable that web masters have low tolerances for non-PC sayings, particularly dealing with guns or violence. what's funny is that me, as an anti-gun zealot who has never even fired a gun, would go down that road and cause the problem.
and yes, Albert and i do enjoy pulling each other's legs in good fun....as friends.
and Albert, i think it's about time to get you back up here to the Northwest again. let's figure something out about that. i think all of us up here would sure enjoy it.
regarding Jazdoc's beautiful Experience Music phono and preamp in my room, and why it did not quite gel.
first of all, it's a work of art to look at and i love the sound of it in Jazdoc's room. i had been over there a few nights previous to it's appearance in my room, and that was my first exposure to the preamp in Jazdoc's room. it is a wonderful compliment both to Jazdoc's musical compass and to his room and speakers. it was the best i'd yet heard his system sound and had this overall grip and i could hear way into the music. a big jump over his BAT pre.
the dart pre and amp in my room are particularly synergistic, even their cable interface is propriatary, and my very adjustable speakers are dialed fully into the dart gear. the dart pre is also dialed into my A90 cartridge. everything is complimentary to the very neutral darts. you could even make the case that my room development has brought out the best in the darts in terms of specific treatment.
the Experience Music gear had to accomodate this environment. and it does have a bit more 'character' than the dart gear. in my system that turns out to be a bit restrictive to the flow as i have things set up.
maybe if i ever have higher power tubes in my system then the Experience Music gear would be more likely to fit in.
that's just my perspective.
oh and btw Albert.....it's pistols at dawn for your A90 comments. i'm not sure how i'll ever recover from it. :)
truely; there is no one correct cartridge for everyone. just like there are many different valid system preferences. can i argue why i like the A90 and why i think it's 'the best'? you bet i can. but so can others justify their perspectives too.
great feedback on the arms, and look forward to more as you go along.
looking at pics of the SME and Talea 2 on the Mk3, i predict that your perception of bass energy and articulation (as well as mid and high frequency focus) from the Talea 2 will change significantly when you plant it on the stainless arm board of the NVS. i know how it changed when i went from the wood arm board of the NVS to a stainless arm board (with the original small halo).....as well as how it changed when i moved the Talea 2 from the wood arm board of The Beat to an aluminum one. of course, the SME might get the same relative boost.
i know that not all wood is created equal, so maybe my assumptions about your wood arm boards are not spot on. in any case, it should be interesting.
sorry if i was not more clear about what i'm using under the power supply of the NVS.
the power supply sits on the floor on the shag carpet. i'm using some small generic brass cones (tip-toes?) and then the Walker lead-filled pucks on top to ground it thru the carpet. i do have those large Walker cones but they are too big for the power supply.
with your use of the Stillpoints i'm thinking that if i put a shelf underneath the power supply and then ground that shelf, i can then try the A10 U8 isolation footers underneath the power supply on top of the shelf.
the problem with small light boxes is that it's hard to get them to synergize with isolation because most isolation needs some weight to get the action to work.
i know that almost any power supply can sound better with the proper shelf interface.
glad to see you have the NVS up and running, congrats.
i've really enjoyed both the stainless arm board, and the isolation base. i'm particularly interested in your comments on the isolation base verses the Vibraplane, as the Vibraplane and the air suspension on the Rockport are very similar. i know what my perception of the differences was. the isolation base resulted in the most thunderous bass slam and control i've yet heard from any sort of source.
i've got my NVS power supply on spikes with Walker pucks loading it. maybe i'll try the A10 U8 footers following your stillpoint example.
thank you for making time for me to visit you and your room and system Tuesday afternoon. sorry it was so last minute; but i did not know whether i'd have any time on my business trip to see you until the day before. i especially felt bad that i missed your Tuesday evening get-together; it would have been fun meeting such an illustrious group (and hear the 'inside scoop' on you).
from our discussions over the years and from your comments when you visited me a couple of years ago; i had a pretty good idea of how your system might sound.....which is to say....very high expectations. and it did not disappoint.
it was a fun couple of hours of listening to music. really; your system does it all and really sucks you in and envelops you with musical flow and substance. yes; it's a bit softer and more forgiving than some systems; but it still has that bite and growl when called for. and great energy and life.
i think you have you Dali's set up perfectly. it's really a 'walk-in-and-around' kinda presentation; which is what you are aiming for and seems perfect for your listening culture. congrats!
that deep bass riff on 'Amused to Death' did catch me by surprise, and i need to play it on my system. i thought the big pair of JL Audio f212 subs did a great job of addition without subtraction. your system had that effortless ease which caused you to take a deep breath and just enjoy. i wish i could have stayed longer.
that 'Cowboy' tape was a hoot; we all need more music like that.
and Albert; you are a great guy to listen with. thanks.
2 weeks ago we had the Lyra Olympus (with 40 hours on it) on the Rockport and the Verity Z (with zero hours) on the Garrard/Triplaner. both thru the Allnic H3000.
you could hear that the Verity Z was raw, but also that it sounded special here and there. the Olympus was on another level or two entirely....as it should for a $9k cartridge compared to a $2800 cartridge. some cuts sounded amazing on the Verity Z even with less than 10 hours on it.
fast-forward to today (Steve's Olympus is replaced by my Colibri on the Rockport) and the Verity Z has settled down some and sounds quite nice as it gets more hours on it. no doubt it does most things very right and really does nothing wrong. big bass, smooth, excellent mid range transparency, balanced, big soundstage. it only lacks that last degree or two of refinement and nuance that the Colibri and Olympus can deliver (the Olympus better than the Colibri).
i don't know if the Verity Z will ever enter the Olympus catagory fully. but i think it might be above the Dynavector XV-1s catagory (to my ears) at much less money.
Regarding the Verity Z and the Triplaner, i have that combination mounted on my Garrard 301 into the Allnic H3000 set up by Steve Dobbins. so far it has 25-30 hours. i've heard some wonderful synergistic music on it and some lack of refinement due to lack of breakin. i really like the combination so far. we are running about 1.9 grams of VTF.
i've had the Allnic H3000 and the Verity Z (on the Garrard) in my system for the last few days and so far hear nothing to dispute your perspective on the H3000. it is very special.
Albert, i hope someday to hear your system. i'm sure the best thing about your system is not the outstanding individual pieces or great room.....but how everything works in harmony to let the music happen.
Great System, Congratulations!
i look forward to seeing the pictures of your new room.
albertporter on All Out Assault
