Description

Well, this is an audio/music life/love work. Many fallens and failures to reach this quality level. My audio system is ( still ) build around what are my references/priorities about music/sound reproduction...

My reference is: near field live MUSIC, I use at least 12 hours ( each month ) hearing live MUSIC, mostly classical and jazz/blues.

I attend to hear live music not only because I'm a music lover ( first than all. ) but because in this way I don't loose my references, this way I try to have my foots on earth an my ears equalized.

My audio/sound reproduction priorities are in this order: neutral and natural tonal balance, accuracy ( low distortion, low noise, no colorations, no cliping, grain free, liniarity, no compression, etc...), transient response, timbre, dynamics, focus and soundstage . That permits that appears a critical MUSIC characteristic: RHYTHM.

My whole audio system target is to be nearest to the recording adding the less and loosing the less of the audio signal through each audio system link.

The system belongs to my living room at one side of the dining room ( I live in a apartment ).

The room is an inverted L that measure: 8.5m ( inverted L base ) x 10.00m long and 2.4m high. The system is across the inverted L base ( around 4.4m ).

I'm very luckily and don't have ( I fix it ) many room problems related: till now I use 4" Sonex in the left lateral wall and at the center ( behind and between the system where is a window. ) of the system ( floor to ceiling ).

Well, my two original RPG Skylines that I want to try in my room ceiling but I couldn't do it yet, so what to do with these two Skylines sheets?, I decide to put both in the rear wall/window seated in the floor and behind each speaker and guess what?: impressive improvement all over the frequency range, impressive!!!!!

LOUDSPEAKERS.

ADS L 2030: This is a Full Range Professional Monitor that I own for many years.

These L 2030 was designed by Mike Kelly ( Aerial speakers ) and till today it match all my priorities.

It is " heavy " tweaked to do that: first it has " three hands " ( internally ) of a insulation/antivibrational treatment ( like a white paint. I can't remember the ingredients. ) from Acoustical Magic Company ( it works marvelous ) inside all the box ( a big one box: 58-5/8" ( H ) x 27-1/4" (W) x 13-1/8" (D) ).

It is internally hard wired with Silver Oval by Analysis Plus cable and KCAG by Kimber Kable. 

I take out the crossover ( now is external ) and change all the parts: resistors ( Powertron by Vishay. ), all silver air core solid ribbon ( 5.5 cms. of pure silver. Almost 2kg. of silver in the bigest one. ) Alpha-Core inductors , WIMA FKP 1 and KEMET caps  in the crossover, the speakers cables goes soldered directly to the crossover parts. This speaker crossover is tri-hard-wired from the  amps output to the 3-way crossover parts and speaker drivers. 

In reality are three separate/stand alone crossovers: one for the tweeter, one for the midrange and the other for the woofer, all these hard-wired directly to the amps ( no connectors. )

I'm only not biamp my system ( with the subs. ) but these ADS main/satellite speakers are true tri-wired in hard-wire directly from the amps to each crossover parts in the three way speaker design all the way down to the amplifier output.

I change the internal damping glass fiber by 10kg ( each one ) of long hair 100% virgin wool and change the fabric cloth of the grille for a " transparent one ".

Both speakers have at the rear-center the Antiresonant Vibration System by MICROSCAN model TM-8 that works from 20hz to 1.5Khz.

These L 2030 have: One acoustic suspension 1" silk dome tweeter, one main acoustic suspension 2" silk dome midrange, three auxiliar acoustic suspension 2" silk dome midranges ( similar to the main midrange but with a less powerful magnet. ) and two long-excursion acoustic suspension ( sealed. ) paper 14" woofers.

These are exceptional drivers especially the tweeter/main midrange ones.

These L2030 midrange design permit to " run " the speakers on " point source " mode ( tweeter and main midrange ) or through a " weighted " line source mode ( tweeter plus the 4 midranges. ), in this last " fashion " is how I have it ( hard-wired too. )

These are some manufacturer specs:

- Frecuency response: 22-20K +.- 3 db ; 18-28K +.- 5db.

-Efficiency: 95 db SPL.

- Power rating: 300 watts nominal; 1,200 peak.

Weight: 95kg.

These L 2030 are the " speaker satelite " in my subwoofer/speaker satelite configuration and works from around 80Hz and up. Main reason to take this " road " was and is to lower the  room system IMD and THD. 

In the past I try many configurations: single amp, bi-amp, tri-amp, with sub, with out sub, only SS amps, SS and Tube amps, with passive crossover, with electronic crossover, hybrid crossovers, etc...

Finally I'm here.

Back external tweeters:

These ones was a spare tweeters from a Dalquihst DQM-9 that I owned and already sold.

These tweeters are 1" silk dome ( same efficiency that the front ones ) and are connected in phase with the front ones and works with his own crossover at around 5k and up and have, too, an off/on switch. 

http://sportsbil.com/ads/l-2030-brochure.pdf


VELODYNE HGS-15:

These two self powered subwoofers are in front of the main speakers and in side firing position.

It crossover at 78Hz. I do some tweaks in the circuit for a better quality sound reproduction and I changed the internal wiring that connects the woofer to the internal amplifier ( 50-60cm ), the original is a very bad zip cord one that I changed with Kimber Kable KCAG that I soldered directly to the woofers and directly to the amplifiers: with no connectors in between.

The power cord comes from Analysis Plus and is soldered directly to the inside subwoofer switch on/off with out no single connector kind ( at both sides/ends of the power cord ) and the IC cable is the Silver Oval by Analysis Plus too.

I change too the internal electrical power wires that goes from the subwoofer switch on/off to the Subs amplifier, I'm using KCAG by Kimber Kable.

Both subwoofers are " seated " over three Van Slike footers/isolators along with inverted Tip Toes ( position ) over these Van Slike isolators. Both subs have a dead-weight ( on top ) of 30kgs.

NOTE: I'm not using the subwoofer internal crossover or an external electronic crossover to send the signal to the ADS L 2030.

The crossover function happens inside the two modified Levinson 20.6 mono-blocks at its input through a WIMA FKP1 cap and a single nude 0.001%  Vishay 2575 resistor.

In this way the signal from the preamp goes normally ( pure and clean ) to the 20.6s and to the loudspeaker with out any additional electronic stage or cables/connectors and the signal was taken directly from the Essential 3160 by the Velodynes.

ELECTRONICS:

MARK LEVINSON REFERENCE 20.6: IMHO these monoblocks are truly Reference status.

It is a great industrial design, military specs, bullet proof, great performance.

It is a fully regulated input to output design and have " only " 100 watts of pure class A at 8 ohms, and double that figure at 4,2,1 and 0.5 ohm with an output impedance of 0.012 ohms!

Btw, in the way my ADS's are internaly wired the impedance goes lower than 2 ohms, this means that this ML monobloks are " running " at 400+ watts of power, so the system has a great  " headroom ".

The power supply is supported for two " big " toroidal transformers ( 600VA each ): one for each polarity in each monoblock.

I modified the original Levinson circuitry where the signal at the input only " see " one tiny value WIMA FKP1 cap ( crossover. ).

I made it other amps internal modifications.  In this manner these 20.6 amps are IMHO able to compare with any of today's top designs  and I think will do for years to come. 

The amplifiers power cords are hard wired KCAG silver wires by Kimber Kable all down the amplifiers circuit boards with no single connector of any kind between both ends of the power cords.

I change too some internal critical place cabling using now KCAG by Kimber Kable. 


ESSENTIAL 3180 PHONOLINEPREAMP: This is a phono/line preamplifier . Btw, IMHO this fully analog audio stage is the most extremely critical link for the quality/accuracy of the music/sound reproduction in any analog room/system.

I would like to explain some of the critical issues on any phonoline-preamp:

First: it has to mimic the RIAA equalization with what the LP recording was build.

As a fact this mimic RIAA equalization is an inverse mimic RIAA equalization to be achieved a " flat " frequency response.

Any deviation from this RIAA eq. do severe degradations to the quality sound reproduction due that is a curve and affect almost 2.5 octaves. So we need here: ACCURACY.

For a phonopreamp really do its job that RIAA eq. deviation IMHO must be at least ( no more ): +,- 0.05 db between 20Hz and 20kHz.

Second: it has to have enough " gain " for it can reproduce the very low signal that comes from the phono cartridge, specially MC ones.

Third: That " gain " must be with out noise/distortions/colorations.

The Essential 3180 not only achieve those desired targets but surpass in some ways.

This, our self design, Essential 3180 is an evolution of our first desgin the Essential 3150 and the 3160 and  use bipolar transistors in two gain stages for MC phono stage and FETs for MM phono stage ( to satisfy both kind of cartridge motor needs. ) in the same two gain stages, the Essential 3180 is not only a phono stage that you must to connect to a line preamp ( where you need an additional interconnect cable, input/output connectors and joints solder that do a severe degradation to the delicated/sensible carrtridge audio signal ).

No, the Essential 3180 is an active high gain integral one unit (with out step-up transformers ).

This is very important because we need synergy between phono and line level. 

In reality this phonolinepreamp have three preamps instead of only one: it has a MC phono stage, it has a MM phono stage and a line level stage preamp. All this three stages are totally independent from each other.

Where there is no compromise, the MC and MM stages are very critical and needs to be independent. Each phono stage ( MC and MM. ) is designed for its self precise and specific needs.

Our design is fully discrete, Non-feedback, direct coupled, pure class A , current drive line stage, true balanced  input to output, dual mono design and regulated input to output and with very high overload margins levels.

The dual mono design only share the chasis but both channels are totally independent from each other even in the dual mono external power supply, it has separate channels stepped ( 47 steps. ) attenuator volume controls and separate phono/line switch..

Inside parts: first rate capacitors, " naked " Vishay resistors,matched transistors , no internal wires ( every part is soldered directly to the four layers circuit boards and to input/output connectors. ), etc....., only the best neutral non-sound parts ( no step-up transformers, no head amps, op-amps, etc.. ) and in the critical stages with tolerances at 0.001%.

The RIAA equalization is a critical issue. RIAA accuracy of better than 0.1 dB is highly desirable, because as i said it even a 0.1 dB error will be audible due to the RIAA poles spanning as much as 2.5 octaves of the audio bandwidth, resulting in a permanent coloration that will be present in every phono record, veiling the character of the recording and resulting in a monochromatic, predictable sound.

A developed proprietary technique guarantee an accurate RIAA de-emphasis. This technique assures an initial RIAA accuracy of +/- 0.011 dB from 20 Hz to 20 kHz ( Both channels ), resulting in a neutral phono stage that reproduces exactly what the cartridge stylus movements/groove modulastions pick up from the LP recordings..  

The result is a preamplifier combining the purity and transparency of a passive preamplifier with the speed, dynamics and drive of an active preamplifier. This means : truer to the recording.

To round off the preamplifier's RIAA capabilities, its has a switchable 3.18 us turnover point Neumann pole. ) to compensate for the cutting head machine recording preemphasis roll-off.



Some specs:

- RIAA eq. deviation from 20 Hz to 20 Khz: 0.011 db ( both channels )

Frequency range to: DC to 1,5 MHz. ( both channels. ) (-3db )

Clean gain: Adjustable to 90 db

Signal to noise ratio: better than 85dbA in MC stage refered to 0.5mv. and according the standard/norm/rule: EIA/CEA-490-A , the same spec for MM but reffered to 5.0mv and 110db at 1 V ( unity gain ) in line stage. ( Both channels .)

Slew rate: 350 V/mseg.

Common mode rej.: 150db. ( Both channels. )

Distortion: 0.002% ( Both channels. )

Dynamic range: 130db.

Crosstalk: better than 140db.

Input overload: MC: 20 mVrms @ 1 kHz (High-gain), 40mVrms @ 1 kHz (Low-gain)

MM: 550 mVrms @ 1 kHz.

Total weight: 65 lbs.  

 

THE ANALOG RIG.

ACOUSTIC SIGNATURE ANALOG ONE MK II: the system have two of these TT's, each one with three differents tonearms/cartridges.

In the picture Turntable 1 the cartridges are, from left to right starting at the Audiocraft tonearm: Audioquest AQ 7000 Fe5, Ikeda REX9 and Shelther 90X.

Turntable 3: Goldbug Brier, Accuphase AC-2 and Dynavector XV-1.

Both TT's seats over three Audio Technica AT-616 neumatic suspension isolators with inverted Tip Toes ( position ) on top of these AT isolators.

The Acoustic Signature separate motors " seat " over an AT-666 neumatic isolator too.

MICRO SEIKI RX-5000: This " old " japanese design is a great performer, we do some tweaks inside the power supply that are very important to the performance of this particular TT.

The cartridges here starting with the MDC-800 are: Van denHul Colibri, Koetsu RSP, Ortofon MC 7500 and Allaerts MC2 Finish.

This TT/motor/powersupply seats over a neumatic suspension Audio Technica AT-616 audio insulators and the platter is internally dampening with sorbothane.

I don't use any TT clamp and the TT mat is a self design propietary blend build material: stunning!!!

I own other 6 TT's: Denon DP-75, Denon DP-80, three Technics SP-10MK2 and Luxman PD-310.

Others cartridges that I own and that are not on the pictures are:

Sumiko Celebration, Denon DL-S1, Denon DL 1000, Denon 103 and 103D, Audio Technica: Art 1, OC-30, ART 2000, At 1000, At 37E, Victor L1000, Allaerts F1, Fulton High Performance, Highphonic MC-A6, Supex Ruby, Fidelity Research MC 702, Benz Micro Ruby 2 and LP, Dynavector Karat 23R, Sao Win SMC 10, Clearaudio Discovery and Insider Gold, Lyra Helikon, Transfiguration, Koetsu Onyx, Van denHul Frog, Ortofon MC 2000, Ortofon MC X-5, Technics P-305MC MK2, Sumiko Blue Point Special, Dynavector Karat Nova 13D, Ortofon MC3000MK2, Sony XL44L, Sumiko Talisman, Audiocraft AC-01, Lux LMC-1, Empire MC-5, GAS Sleping Beauty, Monster Cable Genesis 1000, Crown Jewel, Signet MK220E, Azden GM-P5L, SIGNET MK111E, Micro Seiki Lc-80W, Denon DL-H5LC, Lyra Clavis Da Capo, Apature MC-150, Coral MC-81, Goldring Electro II LZ, Audio Technica AT-36E, Mayware MC-3L, ADC MC-1.5, Audio Technica AT-32E, Sumiko Premier LMX, Carnegie 1, Sony XL55, Carnegie 2, SUPEX SDX-2000, Fidelity Research MCX-5, Van den Hul Colibri Wood XGW, Entre- EC1, Linn Akiva, Clearaudio Goldmund, Wilson Benesch Carbon One, EMT TSD 15 SFL, Pioneer PC50MC, Transfiguration Phoenix,

Sumiko Talisman Alchemist IIIs Sapphire, Satin M21-B, Shinon Red Boron, Accuphase AC-3, Lyra Kleos, Goldbug Clement II, Yamaha MC-1s, Victor DT-100E, Azden GM-1E, Adcom XC/MRII, Audioquest AQ 404iL Ortofon Jubilee, Fulton RSD and Exel  ES-10.

Those are MC cartridges and the MM/MI type cartridges are:

ADC Astrion, Technics U205CMK4, Empire EDR.9, Stanton LZS 981, Audio Technica ATML 170 OCC, Audio Technica 180 OCC, Micro Acoustics MA 630, AKG P25MD, Empire 600LAC, Grace F9E, Elac 896 H24SP, Sonus Gold Blue, Empire 750 LTD, Bang&Olufsen MC20EN, B&O MMC20CL Bang&Olufsen MMC 6000, Empire 900GT/1000GT, Reson Reca, AKG P8ES Super NovaII, Empire 500ID, Sonus Dimension 5, Audio Technica AT20SS, Philips GP 412 II, Audio Technica AT 20SLa and 7V, Nagaoka MP-50 Super, Empire 4000D/III, Garrot P77, Bang & Olufsen MMC 2, Grace F-9 Ruby, Grado " The Amber Tribute ", Supex SM-100 MK2 , Astatic MF-300, Astatic MF-200H, Ortofon OM20 Super, Audio Technica AT-ML160-LC/OCC, Ortofon VMS-520MK2, Shelter 201, Rega Super Elys, Acutex LPM 315III STR, Audio Technica AT-95SA, Shure Ultra400, Acutex 320 III STR IMproved, Astatic MF-100, Andante P-38, Ortofon M20E Super, Nagatron 350E, Sumiko Pearl, Mission Solitaire, Clearaudio Virtuoso, Ortofon VMS30 MKII, Ortofon VMS 3e, Shure M97 Xe ( Jico SAS stylus ), Ortofon M20FL Super, ADC TRX-1 , Micro Acoustics MA 2002e, ADC XLM MK3, Signet TK10ML-II, AKG P8E, Empire 1000 Z/xe, Audio Technica AT-24, Andante P-76, Technics epc-p100c mk4, Ortofon M20E Super , Empire 1080LT , AKG P-100LE , Audio Technica AT155LC, Grado RSII, Piezo YM-121, Azden YM-P50VL, Victor Z-1EB, ADC 25, 26 and 27, Shure ML140HE, Audio Technica 331LP, Excel ES-70EX4, Nagatron 9600, Acutex LPM320IIISTR, Signet Tk7E, Micro Seiki LF-7, Shure V15-III, Signet TK7SU, Philips GP 412 MK3, Acutex LPM420IIISTR Goldring G800, Pionner PC-400, Fidelity Research FR-6SE, Goldring G-820, Goldring 900IGC, Azden YM-P50E, Pickering XVS 5000II, MicroAcoustics 530MP, JVX 4MD-20X, Van den Hul MM-3, Sony VL-32G, Stanton 981HZSII, Grado TLZ, Audio Technica Precept PC440, Glanz MFG-71L, ACUTEX M315 III STR, JVC X-1, Pickering TL-4S, Precept PC220 and XE, Astatic MF-2500, Precept PC550ML, Pioneer PC550E, Precept 440LC, JVC X-1MK2, Osawa OM-300MP, Grado G-1+ and Microacoustics QDC-1.

SUT for LOMC cartridges:

Denon-AU340, 2-Entr 100 in mono-fashion, AudioCraft T-26 and Denon AU-1000, all modified by me.

Other tonearms: Moerch DP-6, Audio Technica 1503-III, Technics EPA-100, Epa 100MK2 and 501, Ortofon RS-212, Fidelity Research FR-64, Koetsu SA1100 MK II, SAEC 506-30, Stax UA-9N, Dynavector DV505, Grace G-945, Audio Technica AT-1010, Sony PUA-237, JVC UA-7045 and Grace G-840FB.

I'm in a universal tonearm design that through our first prototype is very promising, we will see at the end.

Well, I know that for many people the visual beauty of an audio item is really important, for me: it is ok but what I really care is about QUALITY PERFORMANCE if it has " beauty " great, but if not: I don't care at all.

I know I have to much work/fun in the near future.

GENERAL INFO: I use two independent 30amp dedicated electrical line and the power cords go conected directly to the electrical box ( no power connector/plugs ). 
These electrical power lines has ( each one ) two 3.6Kw full regulators to mantain 120v. with RFI/EMI supresors and surge protection with additional 90db of noise supresor.

All these power cord goes directly soldered inside the electronics audio items ( amps, preamps, subs, etc, etc. ) with no male/female connectors in between.  All system power cords are pure silver KCAG by Kimber Kable ( no cooper wire down there and anywhere. )

The electrical power " signal " goes straight from the electrical power source " box " to the audio item power supply with out any single " obstacle " that can " disturb " it.

I by-passed all the internal fuses in the electronics that comes with any single audio item/device in the system .  The best fuse is NO fuse at all. 

The audio signal that goes from the Essential 3160 to the Levinson amplifiers goes directly soldered to the Levinson input boards, so there is no RCA or XLR connector in the audio signal here that can degrade in anyway the audio signal integrity..

All the cables: interconect,speakers and power have at the input/output ferrita noise stoppers.

All the interconnects/speaker cables are Silver Oval by Analysis Plus, except the phono interconnects where I use: Silver Analysis Plus and Silver Harmonic Thecnologies and Silver Audio Note.

I'm are very intolerant and very critical with what I heard trough my system. I love the music, nothing less.  Yes, I'm way demanding on overall quality performance levels.

Part of my philosophy is that : " less is more " trying to add and lost the less.

I'm not a " specs lover ". I analyse the " numbers " where really count, examples: RIAA frecuency response deviation, speed accuracy/stability ( TT's ), output impedance on amplifiers, signal to noise ratio.

Well that's more than enough about.

Now : How it sounds ? What can I say ?

¡¡¡¡¡¡ LIKE REAL MUSIC !!!!!! ( far from there but still on the quest: )

Neutral/ Natural, accurate ( with both frequency extremes spot-on. ), Articulate, Transparent, Fast, Dynamic, Great Timing and Rhythm and with extremely low noise floor.

 Full of Emotions.

Well, am I nearest to the recording?, that's what I'm trying and working around my audio system and yes today I'm nearest than before but still trying to be " there " through Fine Tunning the system.

Mainly I'm a MUSIC lover and I listen to all kind of MUSIC. I own around 7K+ LPs and a few hundreds CDs.

I listen both alternatives: analog and digital sources/mediums.
Read more...

Components Toggle details

    • ADS L 2030
    Full Range Monitor Studio speakers.
    • Velodyne HGS-15
    A pair of these sub's.
    • Tannoy ST 200
    Front external supertweeters.
    • Magnat ----
    Back external 1" silk dome tweeters.
    • Levinson No 20.6
    A pair of these monoblocks.
    • -- Essential 3160 Phonolinepreamp.
    Fully balanced, dual mono,pure class A, fully regulated, direct coupled, external power supply. Old/previous design boxes/chassis.
    • DENON DCD-600NE
     32/192. This extremely humble  Denon CD player is a surprise because its quality performance is a lot better that we can imagine. Recomended.
    • Acoustic Signature Analog One MK II
    Two of these TT with three tonearms installed in each one.
    • Microseiki RX-5000
    With four tonearms installed.
    • Many. ---
    More than 15 tonearms. I will describe on the system description.
    • Many ---
    More than 100+ cartridges: LOMC/MM/MI.
    • Analysis Plus Silver Oval
    RCA to RCA.
    • Kimber Kable KCAg
    Unshielded
    • Harmonic Technologies Silver
    Phono interconnect.
    • Analysis Plus Silver Oval
    Speakers and sub's.
    • Custom made Silver Kimber Kable.
    I use the KCAg. Great.
    • Tice Audio Micro Block
    For CD player and TT's only.
    • Michael Green. ---
    Three of these.
    • VPI 16.5
    Record cleaner.
    • Custom made room treatment and 2 RPG diffusors. RPG diffusors.
    In lateral wall and at the center/back of the system and behind the other speaker one of the difussors.
    • Many More
    Any.
    • Eumig T 1000
    FM only.
    • Nakamichi 700zxl
    With external Dolby C.
    • Eichmann RCA connector Silver
    Male connectors
    • WBT RCA connectors Silver Next Gen
    Female.

Comments 204

Owner
Doug: You were one of the peoples that push me ( again and again ) to get here, to finally post my system: tks for that.

I celebrate that you found to " José ". I only want to remember that José first than all is my friend: a very close one.

Tks for your words, I know that you really appreciate my system post.

Regards and enjoy the music.
Raul.

rauliruegas

Owner
Dear Carlos: Tks for your delicate sens words.

+++ " just posted my modest system. " ++++

Carlos congratulations, you have what I haven't: a dedicated room!!!!

Regards and enjoy the music.
Raul.

rauliruegas

Raul,

Many, many thanks for posting such a thorough system page. It must have taken you many hours of work. We have all benefitted from your broad experience. To actually see and read about so many components in one place is enormously helpful, not to mention impressive.

Even more impressive is your wholehearted dedication to great sound, which as you say means "as close to live as possible". That and your, "less is more" philosophy are lessons we all should try to understand.

You are lucky to have a friend like Jose, someone with great ears and electronics-building skills. I also have recently found such a person. Their ability to leave mainstream components behind and modify or build custom, using only the highest quality parts, can indeed produce magical results - often for less money than "reference quality" components from major manufacturers. I'm sure your phono/preamp and CDP are both of that rare kind: neutral, musical and unobtainable except for a few friends of the maker.

It will take me quite a while to go through everything you posted, but you have created a wonderful resource.

Regards,
Doug

dougdeacon

What are your music preferences, Raul? Can you share / describe your vinyl collection? Thank you.
scott

skushino

Raul: All i can say is congratulations, its indeed a "unique" system. This is the kind of system that you can tell that is not made only with "deep pockets" but rather with knoledge,care and love for music.
Saludos, Carlos Villarreal
pd: i,ve just posted my modest system.

cardani

Owner
Dear Frank: The SX 111 FVG is a very good TT very well made and beautiful look, sorry that broke down.

The Micro Seiki 5000/8000 were at the very top Micro Seiki TT's . Great build, great specs and great performers. I agree with you: hard to beat at any price and hands down many top TT's out there for a fraction of the price that you have to pay for those TT's.

My RX-5000 is not an air bearing/vacuum suction design, but I use an external vacuum suction unit by Audio Technica. I can't remember who invented the vacuum suction use on TT's: Micro Seiki, Luxman, Audio Technica etc....?, but what I know is that you can't live with out this device: when any one hear LP's through a vacuum device the quality of the analog music/sound reproduction takes other level of performance that you can't duplicate in other way: amazing!!!!!!

Now, My Analogue One MK2 by Acoustic Signature are very good too: German build/design quality. I like especially the non-oil bearing and their extraordinary external power suply design.
This model in particular have a problem: their foot support, if you use this TT with out any external tweak about their performance in only good. I try different footers from different manufacturers and finally I find the ones from VanSlyke that put the Analog One MK2 performance at a top level.

First that I use the AT vacuum suction system, the Micro and the AS were using the metal mat from SAEC: this one kills the ringing/vibration of these heavy metal platters, it does wonders in any metal platter TT.
The AT vacuum suction unit had the additional advantage that is made from metal , too. This one is what I'm using in all my TT's plus Basis/ Callas clamp.

Both TT's are extraordinary but they have different music presentation: the Micro is a little laid back than the AS, but the pitch/control and definition of the Micro low bass performance beats the AS ( that is excellent, too ) and any TT that I heard. I think these are the must important differences. I can live with either TT.
Some friends like the AS over the Micro and others like the Micro over the AS. I like both units, not because I own it, but because they are truly great TT's. Sure I would like to try the Walker on my system but I think that this is far away to happen, soon.

If you can find a RX 5000: buy it!!

Regards and enjoy the music.

Raul.

rauliruegas

Owner
Dear Ca2284: Tks. All those make sense when you hear it.

Regards and enjoy the music.
Raul.

rauliruegas

Owner
Hi Silvio: You are welcome.
+++++ " Thank you for sharing your passion with audiophiles and music lovers alike. " ++++

I'm glad that you think in this way.

Regards and enjoy the music.
Raul.

rauliruegas

Raul, that's by far the most bizarre analog hardware collection I've seen....quite impressive indeed.

ca2284

Hi. Very nice analog setup. I´d like to hear some comments about the Micro Seiki. Until two years ago I was a proud owner of a very very nice Micro Seiki SX 111 FVG turntable with air-bearing and vacuum sucction (broke down due to age) and a Dynavector DV 507 & Shelter 901 combo. The sound was far superior to all VPI, Clearaudio, Audiolabor, Transrotor and Acoustic Signature designs. Wonder how you like the sound of the RX-5000 against the Acoustic signature although both are non air-bearing / vacuum sucction units units?

frankpiet

Raul,

Impressive indeed. Your collection of analog gear is unique
and accommodating of every nuance of the musical spectrum.

Thank you for sharing your passion with audiophiles and music lovers alike.

Regards,

SILVIO

aolsala

Owner
Dear Scott: Tks for your words.

About the PS mods: were do at the regulation stage, internal rewiring and change of the dedicated power cord for 4TC Kimber kable wire.

Improvement: dead steady rpm.

Regards and enjoy the music.
Raul.

rauliruegas

Owner
Tks, Ray.

Regards and enjoy the music.
Raul.

rauliruegas

Raul - this is a really interesting system! It looks like you dedicated tremendous time, energy and economic resources to assemble a system with attitude and reflects your personality. Awesome!!!

Question: Can you share a little about the PS mods to your Micro Seiki? I am curious what you were trying to improve, and about the results.

Thanks for sharing.
scott

skushino

Raul,i enjoyed your system pics and description,,def. unique!!!

raytheprinter

Owner
Rushton: I clearly understand. Tks.

Regards and enjoy the music.
Raul.

rauliruegas

Raul, I'm sorry there is no system description for me on Audiogon. Six or seven years ago I made a promise to my wife to ease her concerns after a friend's complete system was stolen: I'd continue participating in discussions on the Internet, but I would not post in any single place a complete listing of our system. I've honored that commitment, but I'm happy to share this information in private emails and I do so whenever asked by folks who are Audiogon regulars, such as yourself.
.

rushton

Owner
Dear Slipknot1: Tks, you are welcome.

Regards and enjoy the music.
Raul.

rauliruegas

Owner
Hi Kehut: Tks, you are welcome. Yes, you are right is: Mike Kelly.

Regards and enjoy the music.
Raul.

rauliruegas

Very nice indeed Raul..Thanks again for taking the time and effort to present your audio life works here! Congrats!..BTW..I think that is Mike Kelly of Aerial..formerely of ADS. Jim was an NFL quarterback! :)

kehut

Owner
David: Tks in advance for your effort and your advise. I'm sure that all of us really appreciate that.

Tks again, you are welcome.

Regards and enjoy the music.
Raul.

rauliruegas

Owner
Dear Gregadd: I'm sure you do. Btw, nothing wrong with direct drive TT: four of my others five TT's are direct drive.
Tks you are welcome.

Regards and enjoy the music.
Raul.

rauliruegas

Owner
Albert: Well, I love your system too.
Tks you are welcome.

Regards and enjoy the music.
Raul.

rauliruegas

Owner
Dear Rushton: Tks you are welcome. Now is your turn, don't you think?

Regards and enjoy the music.
Raul.

rauliruegas

Raul,
Very nice selection of tonearms, tables and cartridges. Thank you for taking the time to put it together and sharing with us.

slipknot1

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