I played piano, alto sax and clarinet, subscribe to the symphony, and enjoy the jazz and blues scenes in Seattle. I'm familiar with live music. My music interests span from classical to jazz, blues, and other stuff (rock, folk, funk, electronica, etc). Favorites include Michelangeli, Argerich, Furtwangler, Montoya, Piazzolla, Melvin Taylor, Junior Wells, Lionel Hampton, Jimmy Smith, Brubeck, Jeff Beck, Stanley Turrentine, Jeff Buckley, (early) Chicago, Zeppelin, Cream, Groove Armada, Massive Attack, Nightmares on Wax, Daft Punk, etc., depending on mood.
I've been interested in hifi since I was a kid. Pioneer in the 70s, Counterpoint in the 80s, Audio Research in the 90s... I grew cynical of the direction the hobby took in the 2000s. For this system, I wanted to express my personal sonic priorities beyond what is available in the commercial market. My goal is to communicate music's impact, soul, emotion, and nuance. I want my system to play with alacrity, gravitas, affection, protest, or just funkin' good times. If it can't conjure a wide range of emotional reactions, than it simply won't satisfy. After years of effort, this system plays small-scale music with softness and delicacy, while large-scale music like Rachmaninoff, Mahler and Zepplin is sublime, projected with bone-crushing power like a big Steinway D or Audi RS6.
Creating a memorable sound system is like cooking a delicious meal. In the beginning, I bought great ingredients, all the components and parts that comprise my playback. I quickly learned that ingredients without experience and talent aren't enough to create a memorable sound system. It took many years, failed experiments, and a few successes to get here.
Experiencing thoughtfully-implemented multi-way horns was an epiphany. My high points are Josh's wonderful Electronluv system at VSAC 2003, and Romy's Macondo in Boston.
The speakers are the heart and soul of my system. I named them Shibusa, a Japanese word describing an aesthetic of simple, natural beauty. Shibusa refers to things that exhibit: Elegant simplicity. Effortless effectiveness. Understated excellence. Beautiful imperfection. They began as Edgarhorns, purchased new in 2005. After years of learning, stupid mistakes, and epiphanies, I could write a book on horn speaker design and still barely scratch the surface. Horns are like F1 race cars - silly high performance under skilled hands, while unforgiving of fools (I made my share of foolish mistakes). My Edgarhorns evolved with the addition of stereo sub-bass channels (Danley Sound Labs horn subs, used in IMAX theaters), upper bass (full-size 142 hz tractrix horns from John Hasquin loaded with Fane Studio 8M drivers), mid-range (Coral M-100 drivers in 400 Hz tractrix horns), and HF (magnesium Fostex T500A Mk II), and crossovers and amps to support them. There is literally nothing leftover from the original Edgarhorns, but they were a great education.
There are a total of 10 drivers and channels (5 per side). All filters except sub-bass are first order, with both speaker-level and line-level filters. First order filters are beneficial to minimize phase spinning and other time domain pollution, but require better performing drivers due to more overlap between the drivers. Integrating all the horns, drivers, amps, and crossovers in my room was challenging, more difficult than I ever anticipated, and a required a very long learning curve. I use both measurements and subjective listening to balance speaker placement and individual channels. Listening room is 16' x 18'. The effortless and deep-bass, startling dynamics, and full-range clarity distinguish Shibusa from conventional speaker designs. There is NO harshness or 'horn' sound in Shibusa, according to visitors - even those with anti-horn bias.
Without the kind and generous support of horn thought-leaders like Dr. Bruce Edgar, John Hasquin, Steve Schell and Rich Drysdale, Romy, Jeffrey Jackson, and ESO, it would have been very difficult for me to achieve as much as I have. Thanks to all who shared in this journey!
Lower Mid Range: 120 - 800 Hz Fanse Studio 8M loading 142 Hz tractrix horns, built by John Hasquin. The horns are 30 inches in diameter, 27" deep, with 6" backchamber. They weigh around 140 pounds each. Sub-Bass: <100Hz Danley TH-SPUD tapped horn subs Crossover: 1st order Caps - Duelund and Mundorf SO Coils - Erse Copper foil (2005)
Lamm Industries ML-2 SET (modified)
Dedicated 18 W SET for [greaterthansign] 100 Hz channels.
Replaced unreliable, failure-prone stock 6C33C tube sockets with Johnson sockets. 6/2013 Added a HP PLLXO filter to the input stage to remove large value caps from speaker level crossover and dump excess bass from the upper bass horn. Phil Marchand kindly and generously provided support with advice on how to best implement. Settled on a Rike 0.047uf for a first order filter at 77hz. 10/4/2013 - added -15dB voltage divider at input stage to match gain structure with high sensitivity system. The silence is absolute - can not tell if the system is powered on, even adjacent to speakers. - the divider network increased input impedance from 41k to 46k Ohms - increased cathode resistor value to 168k Ohms to improve V1 voltage regulator bias stability (2009)
Danley Sound Labs TH SPUD Subwoofers (x2)
Two tapped horn subs. Crossed to main speakers via Dahlquist DQ-LP1 bass filter @3rd order, 85 Hz. Powered with Crown K2 power amplifier (2012)
500w/ch in to 8 ohms, damping factor [greaterthansign] 3,000 from 10 - 400 Hz. Bone crushing bass! (2013)
Dahlquist DQ LP-1 Sub Bass Filter (modified)
Analog 3rd order low-pass filter for integrating subwoofers with main speakers.
Modified with quieter, high capacity, outboard PSU, replaced plastic PC mount RCA sockets with sturdier chassis mount sockets, replaced signal caps with modern film caps
Replaced Velodyne SMS-1 digital crossover (11/2013)
Lamm Industries L-1 Preamp (modified)
Lamm's original linestage. Tube regulated and rectified power supply and solid-state signal path. I owned the two-box L2 at the same time and kept the L1 based on it's slightly warmer tone.
Modified by replacing volume pot with a Goldpoint stepped attenuator.
(2007)
Micro Seiki SX-8000 Turntable
200 lb. turntable with 45 lb air-suspended platter and HS-80 high speed flywheel. The bass digs deep and punches as hard as granite. Supported on Vibraplane air suspension platform. (2009)
SUT, loaded @ 100R with SPU 85th Anniversary cartridge
Wright Sound WPP-100 Phono Stage (modified)
Tube phono amp, separate tube regulated and rectified power supply, copper signal chassis, hand-assembled point to point construction.
Dead quiet. Not super extended or transparent, but the midrange is beautiful. Very engaging and a joy to listen
6/8/2014 further parts upgrades: 1) replaced tiny generic 0.1uf mica caps with Mundorf SIO 2) replaced tiny generic electrolytics with Elna Silmics. 5/17/2014 replaced tube rectifier with ss soft recovery diodes. Contrary to expectations, this resulted in very audible improvements in clarity, air, and bass. Will not be going back to the rectifier tube. 10/22/2013 upgraded input with nude Vishay TX2575 47k resistor and copper foil polystyrene 100pf cap Modified with Mundorf S/O output caps (2013)
Peerless 4611-8 / WE 618B SUT
Rare, vintage, sublime-sounding line input transformers.
EAR 834PT (Thorsten-ized) Phono Stage (modified)
Circuit mods and parts suggestions courtesy Thorsten Loesch: http://www.audioasylum.com/cgi/t.mpl?f=vinyl&m=108318 Implemented all of Thorsten's mods and replaced or removed around 75% of the stock parts. RIAA eq caps: Evox Rifa PFR and Nissei polystyrene Cu film, after living with silver mica. Coupling and output caps: V-Cap CuTF and Mundorf SO PS Caps: Nippon Chemi Con VX and Elna Silmic Resistors: Caddock Mk132 Highs are sweet and shimmery over a floor of bass. I like the balance of warmth, resolution and deep bass (post-mod), with a dash of raucousness the EAR brings. (2008)
Museatex BiDat Plus DAC (modified)
Ed Meitner design DAC, upgraded by John Wright.
10/20/2013 - removed 16 green ceramic bypass caps from PS.
(2005)
Sonos Digital playback network
Feeds DACs in both systems. Convenient. Not especially musical
Oppo BDP-83 Video
Plays movies
PurePower APS 2000+
Supplies regenerated power from dedicated 20A circuit to all compenents except Lamm ML-2s
(2013)
Purist Audio Design Dominus (ICs and speaker wires)
Pain to use due to ridiculous size, weight, and stiffness. Wonderful colorful tone and extended sound, effortless dynamics, with weight and texture. Anti-hifi.
Purist Audio Design Dominus Power Cable
Wonderful - so natural and quiet.
Pranawire Satori Power Cables
05-29-14 Terminated with Acrolink carbon fiber plugs. For Lamm ML2 power amps.
Klaudio Ultra-Sonic Record Cleaning Machine
Contact-less record cleaner using ultra sound technology. No brushes or special fluids. Simply insert an LP, and the machine automatically cleans and vacuum drys. Feels sturdy as a brick.
This is the most effective and easiest to use RCM in my experience.
(2013)
Audio Control SA-3050A Real Time Analyzer Measurement Tool
essential!
Holm Acoustics Holm Impulse Measurement Tool
Windows-based measurement software for visualizing loudspeaker and room response
SMUG Fuzzmeaure Pro Measurement Tool
Mac OS- based RTA software tool for visualizing loudspeakers and room response
Dedicated Power Circuits (analog, digital, power amps)
added 3 new circuits to listening room
SRA Silent Running Audio VR Series isoBase
Isolation platforms supporting Lamm ML-2s power amps, Lamm L-1 preamp, Yamaha B2 power amp, and Oppo DVD player
Various Equipment Stands SolidSteel, Zoethecus, Target, SRA
Equipment racks: Zoethecus for digital gear SolidSteel for analog Target for PurePower regenerator
System edited: I added a HP PLLXO filter to the input stage to remove the large value caps from the speaker-level crossover and dump excess bass from the upper bass horn. Phil Marchand generously provided support with advice on how to best implement. Settled on a Rike 0.047uf for a first order filter at 77hz. Not much to say other than it works as intended. Conceptually, I like the effect when simplifying speaker-level crossovers by removing parts (within reason of course). Sound is clearer, and the power amplifier is closer to a direct connection with the drivers, enhancing damping and control.
@Kevin - You forgot to describe your experience, training, system, and the music instruments you play. You have strong opinions but need to better explain why your opinion matters. Consider posting your system here on Audiogon - that way the rest of us can benefit from your expertise.
Dear Kevinkwann, I made an effort to understand the meaning of your comment. It looks like you have a long history of leaving one-line comments like this around the forums.
I play piano, alto sax and clarinet. I'm a season subscriber to the symphony and also enjoy performing arts like theater and ballet. I have adequate experience and training to assess live and reproduced sound.
Would you kindly share your credentials (if any) for your opinion? Perhaps you sincerely meant to contribute and instead your comment was misinterpreted as drivel.
@ Halcro - Thanks, I find your system inspiring too! It's been awhile since I last read your system. I checked again - you seem to have a deep interest in vinyl, to say the least. You asked how long it took me to get here. I would say this system is built around the horn speakers. I bought Edgarhorns back in 2005. There's nothing left of Bruce's speakers in the present version. Bruce was a wonderful gentleman who shared his expertise graciously. But it's taken me 10 years to get here. I was too young and naive to understand how difficult horns are compared with conventional speakers. For a long time my other system (Tannoy Autographs) clearly sounded better than this system. It was very frustrating! This is no longer the case, and while I'm far from satisfied, I do get glimpses of exceptional music on this system. My experience with cartridges is limited compared with yours. Let's see, Shelter 901 and 501, Ortofon SPUs (various models), Denon 103. I auditioned a Universe in my system last week. Big mistake. Now I want to hear the Uni 2.
System edited: Had an active week: 1) my friend Andrew brought his ZYX Universe over for an audition. we mounted it on the SME 3012R, where my SPU 85th Anniversary normally resides. I hadn't read any reviews of this cartridge ahead of time, although I was aware of the 'buzz' surrounding zyx. from the midrange up, the Universe was very enchanting, striking a wonderful balance of beauty coupled with the ability to dig deep and reproduce more information. My personal bias is music over information. In the case of the Universe, I heard both. If not for the bass sounding inferior to the mids and up, this would be on my short list. I've since read about the Uni 2, and it seems the new model addresses this. I must hear it! The little George Wright phono stage is becoming like a charming and trust-worthy old friend. It sounds so musical out of the box - I promised myself that it would remain untouched by my soldering iron. I've failed miserably. The weakness of this unit is less clarity and extension compared with some other phono stages. Sadly, those phono stages lack the midrange magic of the Wright. In an effort to address these shortcomings, I've done extensive modifications. Some more effective than others, but all are so very clearly audible and move the Wright in the proper direction - more clarity and resolution, more extension in the bass and hf, while actually enhancing the toe tapping factor. Most of the mods are listed in the component description. Some changes to the PSU circuit and parts (replaced electrolytics with banks of PIOs, chokes replaced grid resistors, and believe it or not converted from tube rectification to ss), and upgraded precision parts inside the copper signal chassis (Vishay VAR TX-2575 input resistors, Mundorf caps, Elna Silmic, etc). I love the way this little phono stage plays music. I had to pull the Velodyne SMS-1 subwoofer crossover out of storage to cover filter duties while doing some work on the Dahlqist DQ-LP1. The Velodyne just sounds broken compared with the DQ-LP1. I threw in a pair of spare Mundorf Supremes inside the Dahlquist while it was on the bench, and it's making music again in my system.
System edited: The Wright phono stage is a wonderful and natural sounding unit, but it lacks some extension and clarity. Seeking more of both, I replaced the electrolytics in the PSU with outboard banks of physically larger PIOs (values remained similar), and replaced resistors with filter chokes (x2). The bass is much improved - warm and round, while the unit is noticeably quieter with the added chokes. Based on a tip from an experienced friend, I tried substituting soft recovery diodes for the 6X-4 tube rectifier. Contrary to my expectations, this was a real step in the right direction. Everything cleared up, air and top end extension are better, without sounding edgy, harsh, or unnatural. It reminded me of the sound of a ribbon tweeter. Surprisingly, the PSU will remain this way, and the 6X-4 won't be returning.
The steel tubes of the SolidSteel rack are hollow, and ring when tapped. I moved the Micro 8000 to the top shelf of the rack, and wanted to reduce the ringing and increase the load strength, so I filled the six vertical tubes full with sand. Any audible benefits are subtle, but the rack ought to be stronger now, and that is beneficial for my peace of mind.
Recently I tested the waters of computer audio. I've been using a Sony SCD-1 transport / Museatex Bidat DAC combo for digital playback. It has been a source of enjoyment for years. My goals for trying network-based music files were:
- reduce physical CD clutter by ripping discs to network storage - gain access to Internet radio and music services like Pandora, Spotify, etc - gain personal experience with network audio sound quality
First, I turned my attention to my home network, upgrading with faster broadband service, added an 802.11n wifi router, and a Synology NAS. After using and verifying that the upgraded network operated properly (this took a few days), I connected my 'everyday' system to the Internet using a Sonos Connect.
I expected to trade sound quality for convenience wrt to Sonos. The question was whether the sound quality would suffer too much. First impression was sufficiently positive to install a second Sonos on the main system. The Sonos connects to the router, modem, and WAN via a wireless Sonos Bridge. On the LAN side, Sonos feeds a SPIDF digital output to the Bidat. The NAS is connected to the wifi router.
As expected, the convenience is easily addicting. The ability to control music on both systems independently and create playlists for different events, times of day, and moods, is a joy. Streaming radio sounds 'good enough', lacking the analog signature of a classic tuner. But, I was surprised by my preference for playback via the network compared with the Sony SCD-1! Music simply sounds less artificial and more natural via the network. The difference is easy to distinguish, and contrary to my expectations. This may be a case of having cake and eating it, too.
But the greatest benefit was unanticipated: I love having the ability to listen to radio stations from around the world. I've traveled extensively, and listening to music from foreign cities is almost like making a partial visit. For instance, my favorite classical performances are often Russian - it's pretty cool listening to the Moscow, London, and Geneva, Switzerland classical stations, among others. For jazz, I go to New Orleans, Chicago, NYC, SF, and also Geneva, Switzerland. Electronica and chill? London, UK. I can listen in to local radio up in Whistler, BC, where I visit to ski. News? BBC, CBC, and NPR. This access is great for exposure - not just to recorded music (there are many options for this), but exposure to the cultural context and language from abroad.
I haven't started using online music services - yet. I feel like I have access to the largest repository of recorded music in the universe by going online. My sole regret is not having done this sooner.
Hi Islandmandan, my other system has Tannoy Autograph speakers with 15" Gold DC drivers. It would be great to compare notes! Where are you located? Perhaps we can take the conversation private. Don't know if possible on Agon, but will try to connect via PM.
System edited: Replaced Velodyne SMS-1 digital crossover with an analog Dahlquist DQ LP-1. The Velodyne always sounded too 'synthetic', like the sound I hear at the movie theater. The Dahlquist unit is all analog. It sacrifices some precision in the frequency domain compared with the Velodyne, but pulls well ahead in terms of natural presentation and tone. The Dahlquist will stay in the system, and I have plans for a more robust PS and parts. Also auditioned larger horns on the midrange. 400 hz tractrix are twice the size of the 600 hz horns they replaced. I won't be going back. The larger horns are better in terms of clarity and more lower midrange presence.
System edited: Museatex Bidat mods - I removed the 16 green ceramic filter caps in the PS. Removing those caps cleaned everything up nicely. More clarity and transparency, a touch more presence, a bit less muddy, without added harshness or digititis. Sonically, this change is easy to recommend.
System edited: Added description of mods to Lamm power amps: 1) added -15dB voltage divider to input stage to match gain stage for high sensitivity horns and improve signal to noise. There is absolutely zero audible noise from the system now. 2) increased cathode resistor value to improve stability of bias voltage on V1 voltage regulator
System edited: I'm of the opinion that the bass is one of the most critical and most challenging parts of playback. Not talking about quantity, but rather the quality of bass reproduction. My approach has been to split the bass in two parts - Low and mid bass covered by Danley's SPUD tapped horn (< 90 Hz), and upper bass / lower mid served by a 140 Hz tractrix horn (between 100 Hz - 800 Hz). This approach is satisfactory, but I believe there's room for improvement by adding a dedicated mid bass channel to cover ~ 50 Hz - 250 Hz. I'm finally preparing for my next project, a pair of mid bass horns. Why tackle the effort of building a huge pair of horns rather than a different solution? I chose horn loading to match the sensitivity of the other channels. But most significantly, bass reproduced by an 'adequately large' horn is unique compared to other solutions. Listen to cellos, standup bass, tenor / barry sax, or piano on a big horn like Tannoy Autographs or Klipschorns horns and you might agree. One of many challenges is making a horn work in an average-sized residential listening room. A straight horn is not an option due to size considerations. BLHs can sound fine but have freq response irregularities. I've decided to build a folded horn based on the University Dean. The drivers are C-15W dual-impedance woofers with huge alnico motors. I hope to have them finished in time for the holidays.
System edited: Added Peerless 4611 / Western Electric 618-B SUTs to system. Wonderful sound. In comparison with the Bent Audio / S&B TX-103 silver coppper, these are equally warm and clear, with a touch of 'vintage' feel.
System edited: Have been experiencing a vinyl / LP frenzy this summer. Spending more time in record stores, in the jazz, blues, and classical bins. Also hit the lottery when a friend in the pro sound industry very generously gifted me a pair of Peerless 4611-8 transformers from an old mixing console. Found very little information online, other than they seem to be WE 618B equivalents. They're serving duty as SUTs now, between the Ortofon SPU 85th Anniversary and.... Also added a Wright Sound WPP-100 vacuum tube phono amp. Separate PS with a respectable PS transformer, separate Cu chassis / farady cage for signal circuit. I've had a long-time fascination with this unit, so bought one as an experiment. It lacks the frequency extension of my modified EAR, but it is more engaging to my ears (pun intended).
@Babybear - A local audiophile friend owns the Audio Desk RCM. I think he may also be auditioning the KL Audio, so would expect some feedback in the near future. Check under Mike Lavign's system thread.
Things I like about the KL Audio RCM:
1) cleans records effectively, with no contact. they look new after cleaning. even the used record store finds
2) ease of operation. simply insert the LP in the top of the machine. that's all. no special cleaning solutions needed, other than distilled water. 6 minute cycle to both clean and vacuum dry the LP. the machine even softly 'beeps' every couple minutes if an LP is left in the machine after cleaning, as a reminder.
3) construction. the machine appears to be very sturdy, with thick metal plates forming the chassis. only time will tell, but this machine appears over-built for the task.
4) industrial design. a subjective matter, but it works well for me. I would describe the style as tasteful contemporary industrial. it should fly by the WAF test.
5) size. the footprint is minimal. I'm traveling away from home this week, otherwise I would measure the dimensions and post.
Things I like less about this RCM:
1) drying cycle noise. the machine uses an internal vacuum to dry the record. it is much quieter than my old VPI, but it is still a vacuum machine. I would describe the noise level as quieter than most RCMs, but not quiet enough to clean records in the same room while listening to music.
2) price. I don't remember the price of the Audio Desk, but I believe this machine is less expensive. Still, several thousand dollars to clean records is an investment.
Have been using a KL Audio ultrasound record cleaning machine for the past month and a half. It is one of the most pleasant pieces of audio gear I own. No contact and fully automatic, insert the LP in the top, like bread in to a toaster, and that's all. The machine automatically turns on, cleans, and drys. Built like a tank. It's actually fun (well almost) to clean LPs now. I believe this is a best in class machine. I've owned or been exposed to VPI, Nitty Gritty, Loricraft, Audio Desk, etc. Records appear new after cleaning.
Sony SCD-1 repair: The sliding tray door was making grinding noises, and Redbook CDs were not reading properly. Replaced two motors and lubed the transport rails. The unit is 100% functional again! Used as a transport feeding my Lavry and Bidat DACs, it sounds like coming home after using the Oppo for transport duty. Much better, refined, deeper and rounder bass, with subtle cues overlooked on the Oppo
Lavry DA-10 mod: The Lavry shows extraordinary resolution, but also sounds too noisy and clinical. The power supply is a cheaply executed switching supply. My tech is building an outboard PS. Hope to retain the Lavry's resolution and gain a quieter, more polished sound.
After tracing and banishing some noise problems, the PurePower APS is filtering power for all my components other than the Crown K2. Besides the utility value of providing some electrical isolation and protection, the unit imparts a micro-texture / silkiness to the sound. I find this very welcome and endearing.
On a hunch I auditioned a Crown K2 amp in place of the Yamaha B-2 on my tapped horns. This was a staggering success! The uprated power (500 w/ch) and damping factor (>3,000) of the Crown paired with the big Danley sub horns lay down a carpet of solid bass. For subwoofer application, the Crown is a winner.
Have also been listening to some Peerless mic transformers wired for step-up duty. Very silky and sexy, I like these. Paired with the wrong phono amp, the sound could be too smooth. Paired with my 834P the sound is just right.
Bmwmcab - My Avantgarde audition in Vancouver was many years ago. It would be a surprise if the dealer hasn't learned how to make his Avantgardes sing since my visit. I have a friend with the Uno, and he's very happy with them, although I haven't had the opportunity to hear them myself because he's in LA. I looked at your system pictures and you seem to have enough room to place your speakers well away from the front and side walls. I'm always surprised how much horns benefit by being away from the room boundaries.
On a different topic, I was researching power amps for my subs, and remember seeing your name in some discussions about the Crown K2. I don't see that amp in your system description. Wondering if you used the Crowns in the past, and if so, would be interested in your experience?
If you're in the Seattle region, you're welcome to come visit. You can PM or leave a message here.
System edited: Visited Pete Riggle and Stephaen Harrell to audition the Po Boys horns: http://www.6moons.com/audioreviews/hornographic3/1.html Pete explained the gains he made recently moving to a multi-amp set-up, with dedicated amps for each driver. I decided to try a simpler version for my system, using a Brenneman Cavalier Plus SE amp for the mids and HF, the Lamm ML-2 for the upper bass and lower mids, and Yamaha B2 for the Danley subs. bty, the Po Boys are wonderful...
System edited: Auditioning a Yamaha B2 VFET amp on the ULF channels. Some dated ergonomics offset (potentially) by unique amp design: DC coupled (no cap in signal path), high-bias operation, and VFET output devices.
Hi T_bone: Since it would be a far stretch describing the speakers as Edgarhorns after several significant updates, and I hate referring to them as 'diy', I was searching for a new name. I'm Japanese / American, and wanted something that captured my passion for good sound. 'A Majestic Theme' is a description a Japanese hifi enthusiast used to describe the sound of another system. I liked it, and it stuck.
System edited: Auditioning multi-amp setup with the addition of my Marantz 8B 35s pp amp to drive the upper bass channels. Crossovers are unchanged, still passive high level first order. Time now for listening, measuring, and (hopefully) enjoying the new configuration
Thanks, Jeff. I recently added a pair of Danley tapped horn subs to replace the Edgar Seismic. I was very happy with Bruce's sub, but wanted a pair of ULF sources, and simply couldn't find room for another refrigerator-sized cabinet.
System edited: Installing 4 dedicated circuits. Work will be completed later this week. The room was wired with a single circuit prior, powering everything including dimmer-switched lights and high-consumption heaters.
System edited: Sold Edgar's horn-loaded Seismic subwoofer last week. There were no major shortcomings about this sub and I miss the contribution it made to my sound. My sole issue was the refrigerator-like scale and size of the box. It was a tight fit using one. A stereo pair would take too much space in my 16' x 18' room. What will replace the Seismic? I'm having midbass horns and sealed 18" subs fabricated for each channel. And this is the thing with horns - they are large compared to other speakers, and shortcuts lead to disappointment.
Received today my 18" Aurasound 1808 sub woofer driver. This is the same massive driver Wilson used in the XS and WOW subwoofers. It has a 4" underhung voice coil, 2" travel, sensitivity of 98dB, and a paper cone. I have an idea for a new sub bass enclosure for coverage of infrabass and the lowest audible octave, from < 20hz to 40hz.
System edited: Today I replaced the problematic pair of horrible 6c33c 7 pin sockets with real Johnson sockets on one of my ML2s. There were clear signs of damage caused by arcing (burns, brittle and dull wire) and there was zero spring tension in the pin clamps resulting in little to no contact on the pins. I believe these were the cause of burning through a couple V2s and wildly swinging plate voltage readings. This is shameful on a $30k retail amp!
System edited: I found some new (old) drivers for the horns. There's a pair of Altec 515-16G 16" woofers that would be used for a new mid-bass horn. And I found an Aura 1808 18" driver for a new sub-bass channel. This is the massive driver used in the original Wilson XS subwoofer. It will be nice when I find another, for a stereo pair.
System edited: Slowly and patiently working with new speakers, listening and observing. Integrated Fostex tweeters yesterday, connecting to the system with a single 1uf cap. First impression is positive.
System edited: Added pics of new upper bass / lower mid horns. They replaced the Edgar 80 hz horns. These 142 hz Tractrix horns were fabricated by John Hasquin on a giant lathe and weigh a couple hundred pounds each. They are 31" x 34" x 4" (mouth x length x throat) and I'm using a 5" Faital M5N12-80 driver. These are a new addition to the system and all crossover and integration details are still under evaluation and yet to be finalized.
System edited: I changed the crossover design and implementation to fix a shortcoming in the loudspeakers. New, modern caps replace the vintage GE oil caps, new Electraprint custom massive chokes, new silver teflon wiring, revised layout, and most significantly, adjustable L-pads on the midrange circuit. Midrange output reduced, compared to the upper bass and HF. Initial results are promising. The sound is more "voice forward". Male vocals are less throaty originating more from the chest. Classical music is weightier and more grounded. Jazz bass lines are subtly more present. I do like having user-adjustable capability to compensate for different recordings, room position and furnishings, and mood. So far, there is no downside from adding the L-pad to the circuit.
Luigi22's real identity was revealed last week. He is actually a yak herder from Uzbekistan now working on a chicken ranch in Eastern Washington. After hurling figurative grenades and insults at our forum for a couple of days last week, his account was quickly cancelled by the Audiogon moderators. He was last seen peering in the Magnolia HiFi store in Bellevue, muttering something about "aesthetics" and chasing after Porsches driven by retired Microsoft people to ask for directions to Mike Lavigne's. If you see Luigi22 somewhere, please alert the authorities, pronto.
Luigi22, thanks (yet again) for your interest and curiosity. My horns are fine for me, as they are.
I also stay busy climbing and skiing in the mountains. And meeting friends, finishing my deck, traveling abroad, playing piano, working out, etc. Audio is simply one of my priorities / interests. But keep checking in, I may get around to it. Thanks again.
Yep, I agree it's time to finish them. I'll get to that project when I complete evaluating my preamps, lubricating the bearing on my Micro Seiki, restoring my Garrard 301, optimizing my second system, ceiling mounting my HT projector, mounting a HT screen, selling some of my unused gear, and a few other projects. For audio being a supposedly passive activity, I seem to stay way too busy. The speakers do operate, and it's been easy to procrastinate completing the cabinets.
System edited: Cavalier Plus modified: KT-88 substitution for KT-100 output tubes enabled by tapping lower voltage supply from transformer. Output power reduced from 15w to 10w. Mod work by Cy Brenneman.
System edited: Well, I need a preamp to accomodate switching between my source components. I went through this last year, and definitely prefer running sources direct. But switching cables is ultimately proving an inconvenience. I hate the idea of inserting another component in my system, but that is the price of convenience. I purchased two preamps, one line level only and the other full-function. I'll audition both when they arrive and choose one.
System edited: Since returning from vacation in SE Asia, I reassembled my system in the front of the room, on a better designed shelf unit. This setup is more practical and integrates better with the rest of the room. Acoustic space and imaging take a big step forward from removing the large TV that was between the speakers. The SRA platform beneath the amp is essential here, and the system is pretty much unlistenable otherwise. Without the SRA, music takes on a harsh and edgy character. I'm modifying the EAR 834P according to Thorsten Loesch's guide. So far, the power supply mods are complete, and the new capacitors are enroute from suppliers. The unit took a significant step forward with Thorsten's circuit mods (direct coupling the tubes and reducing the supply voltage). This is really not subtle at all. It is simple to do these mods, and even without completing the upgrades to the signal path components, the results are real and tangible.
It's been over a month since I posted. Since then, several changes were made. Most significant is a very long spell of withdrawal fever caused by the amp being out of the system for some work and upgrades. I knew I should have kept the old amps as back-ups! The amp was returned to Cy Brenneman for repair of an intermittent short caused during shipping. Even though I am not the original owner of the amp, Cy is repairing it at no charge under warranty. Also, the Noble volume pot on the Cavalier Plus is being upgraded to a 24 position Goldpoint stepped attenuator with 0.1% tolerance smd resistors. I have reservations about having only 24 steps... But a volume control is a necessary evil and the low noise resistors should in theory be a significant upgrade in performance from the carbon film Noble pot. The short circuit happened the same day my Bidat returned from John Wright, after it was "lost" for 3 months in Canada Customs!!! I ordered John's usual upgrades, plus other non-standard mods I requested. John was pleased with the results from these changes, and he said he may offer them as part of his standard upgrades for the public.
The big screen Pioneer Elite RPTV that was positioned between the main speakers is gone, sold on Craig's List. I moved the almost-as-large Edgarhorn sub from the right side wall to the middle of the front wall where the TV was located. It is a common myth that sub-woofers are omni directional. This is absolutely false. I tested mine with a 24dB/oct 4th order network crossovered at 80Hz. It is still (slightly) audible above 200Hz!!! It is definitely directional. I want the new sub position to address any balance issues.
Since the system is down, I also had the digital interconnect reterminated from SPIDF to AES/EBU. I don't need the additional gain or noise rejection. Mostly, I just want a more secure physical connection because Dominus is so heavy and a pain to manage. If Dominus didn't work so darn well, I would wonder why anyone would put up with it.
I'm finally getting around to modifying the EAR 834P. I decided to do this myself, in 3 phases, to gauge the efficacy of each upgrade. Phase 1 will be upgrading the power supply (storage capacity and diodes), phase 2 will upgrade caps and resistors in the signal path, and phase 3 is direct coupling the circuit per Thorsten's mods. Phase 1 and 2 parts are ordered.
I'm also taking time to buy more music. I added more Kyung Wha Chung, Ashkenazy, Julie London, John Lee Hooker, Bobby Darin, Gene Ammons and Albert King to my LP collection.
Finally, I'm leaving next week, travelling abroad for 3 weeks to Thailand, Cambodia and Viet Nam. Looking forward to a great vacation, but also already looking forward to putting my system together when I return and listening to music.
System edited: Replaced Venustas speaker cables with Dominus fluid. The system is now fully wired with Dominus, including ICs, digital, speakers, and the amp power cord.
Jeff - In addition to Edgarhorn, I listened to Avantgarde Trios, Duos, and the single driver model (forgot the name). I also listened to Exemplar horns and Klipsch. For some reason, the Avantgardes never clicked with me. My demos were at dealer stores in Vancouver, BC and Tokyo, rather than in a home, so it may have been poor set-up. In any case, to my ears, they all had a lean and thin sound that did not work for me. I could easily live with the Exemplars. They are wonderful. And the large Klipsch are nice, too.
T7279 - Yes, the T-350s were from Ebay. I don't know if the seller has others. If you like, contact me offline and I'll forward the seller's contact info.
Mjw55 - Yes, this is the Slot Coulior on the the North side of Mt Snoqualmie. It's an exciting ride, and that day the conditions were pretty spot on with plenty of powder, except for some ice at the entrance. Are you a skier in the area?
Mike - How are your Edgarhorns coming along? And did you end up with Cy's Cavalier? I began with the Fane ST-5022 that Bruce specs for his horns. To my ears, the leading edge of notes was too edgy, rather than the smooth and graceful rise I prefer. The Fostex T900A replaced the Fane, and was a move in the right direction for me - a rounder and more graceful sound reproduction. On rock / pop music, one might prefer the Fane to the Fostex. But on the music I listen to, the Fostex was a better fit. My reservation with the Fostex is subtle. I wasn't satisfied with the way acoustic stringed instruments are reproduced. Also, sound should fill the room occupy the space. The EV T350 works for me. Strings are silky smooth, with their own distinguishing texture and vivid colors. And they are wider dispersion than any bullet driver, and fill the room better.
Restock - I did try a PP amp last month. In my case, it simply had too much gain for my high-sensitivity system, and noise was an issue. Naturally, this doesn't mean a PP amp can't work with horns. But in this instance, it wasn't the right move. Thanks for the invite. If you realized how much I enjoy skiing, you might not be surprised to find me at your door! I had a great time the last time in Banff. Next time I want to explore further beyond the resorts. You are welcome at my place the next time you come to Seattle.
System edited: It's been more than a month since listening to music on the big system, mostly due to other interests (like skiing and climbing). I missed my listening sessions, and this past week spent time with music and updating my system. I always believed my horns did ok, but there is still untapped potential in them. I replaced the Fostex tweeters with a pair of NOS EV T350 horn tweeters. The T350 is making a good first impression: silky smooth HF, sensitive enough to keep up with the MF horns, and much better dispersion pattern compared to bullet tweeters. I also made another change, replacing my venerable little Micro Seiki TT, with a bigger one, the SX-8000. It's a beast, a pain to move due to extremely heavy weight, and basically immune to any external disturbances (even the 1500 is a champ in this regard). The 8000 is more involving to operate compared to the 1500 it replaced due to the massive 50lb platter floating on air. Operating it reminds me of a ride on a big Cat D9 bulldozer. It's big and powerful, with huge inertia. Compared to the 1500, the bigger table imparts elegance and nobility to vinyl beyond anything I have experienced, except the Forsell turntable. The playback is extremely stable and dynamic. I like it alot.
System edited: Updated pics including photo from our skiing / climbing trip to the Slot Couloir, Snoqualmie Pass, Washington. This is a sporty route, with consequences, and a highlight of the region. Awesome.
System edited: No audio system update, but... My other passion is ski mountaineering. Last week I had a chance to ski a little prize about 1 hour outside of Seattle at Snoqualmie Pass, called the Slot Couloir. It's a narrow and sustained chute with about 1,200' vertical. The top half was a little icy, but the lower part was powder heaven! The pic is not from my trip, but conditions were similar with sunny skies. My gear decided to fold that day, with worn out climbing skins, a delaminated ski edge, and icing problems. Those skis earned a one way ticket to the next bon fire, and today I picked up a new rig to replace them. Aside from the sun, spectacular scenery, scary fun steeps, and powder, it was a terrible day. Highly recommended other Seattlea-area skiers stay at Alpental across the canyon.
System edited: Added 9m Dominus after moving the equipment rack from the front wall to my listening position. I was using some old ICs since the move. With Dominus back in the system, the sound is like a fresh breath of air on the beach, after driving for 5 hours behind a metro bus in stop and go urban traffic.
Hi Thomas - thanks for the kind words. Interesting, I always found your system to be one of those I really enjoy reading about. My Lamm L2 experience is buried in one of the earlier posts. Bottom line - the L2 performed adequately in my system, but there were 3 issues for me: 1) I expected more dynamic sound, 2) sound was too thin/lean for me, and 3) I prefer a one chassis solution rather than a two chassis solution for space efficiency. On the plus side, the L2 has a very good rendering of acoustic space, and the most natural tone, especially on difficult human voice and solo piano. The L1 addressed 2 of the 3 issues I had with the L2. Specifically, it is a one chassis design. And the sound is slightly richer than L2. With the rest of my system, this works better for me.
Nutella: One other thing - to give an idea of the differences between modded Bitstream and Bidat, the recent change in transports from the Sony to the Forsell was a bigger improvement (significant) compared to the difference in the two DACs (nuanced).
Nutella: Regret the very late reply. Bitstream (modified) and Bidat are both very nice. They both render music properly, with roundness and tenderness. They are different flavors of good, with the modded Bitstream being a little "softer" and analog-like, and the Bidat having more resolution. The differences are subtle, not dramatic. Glad to hear the L1 works for you!
Restock / Howard: the amplifiers are on hold for the moment due to another project taking precedence. There is simply too much happening at once. In December, I obtained several items, and now I'm reconfiguring the entire system, including layout, racks, wires, etc. The listening room looks like a tornado hit, and the mess takes some pleasure away from listening to music. This confirms that listening to music is an aesthetic process, and that one's environment has a direct influence on the experience.
I decided I need a new rack to fit everything in a neat, organized manner. Since the equipment rack was relocated nearer my listening seat, I had to use two short ICs connected together to connect to the amps. This is a short-term fix, and I have a 9m IC on the way. Today a new turntable arrived, and it's sitting on the floor until I can get a rack sturdy enough to support the weight. It weighs nearly 200#, and if I add a Vibraplane later, that is another 120# or so. So everything is a mess. The good news is that after everything comes together, the critical front ends and speakers will be stable, and then I can listen to amps with a critical ear.
Since I am more into music than gear, I am really looking forward to getting everything together and listening soon. And, I will get to the power amps, and report back, I promise!
Kuzibri, the Forsell Air arrived yesterday. I have reservations rendering a judgement so soon, before living with the unit awhile. But first impressions are positive. I am very pleased. CD playback is more satisfying, in a natural and human manner - just what I wanted. Instruments are clearly separated in space, horizontally and front to back. Resolution and nuance is enhanced, but without the annoying laboratory sound most call "high-reslution". The Forsell also works well with the Museatex DACs, which have a similar flavor, to my ears. Thanks for sharing your experience and consultation as I considered upgrading to the Forsell. It was invaluable.
System edited: Added mono LP playback with Ortofon SPU GM mounted on MS Max 282. As I write, I'm listening to BSO performing Tchaikovsky's Fifth recorded in 1958, played as it was recorded - in mono! :-)
System edited: Added Sansui TU-9900 tuner. It is an amazing FM source that opens up a whole new world of almost unlimited free music. The sound quality is really nice.
System edited: My tuner is not as reliable as it once was, and I want to listen to FM on the big rig, so I decided to get another tuner. There is too much great music on the airwaves to go without. We have a nice classical station in Seattle, KING FM, and some public radio with nice jazz, as well as a great alternative station (KEXP). Expecting a mint Mcintosh MR-74 that was aligned last year to arrive soon, and looking forward to plugging it in. I guess that this tuner choice is consistent with my theme of combining interesting contemporary and vintage gear together for results that please me.
System edited: Sold Lamm L2 and replaced with Lamm L1 preamp. L2 has some (sound and mechanical) issues that I've discussed before. Overall, the sound is agreeable, but I wanted a one-chassis product. Lamm (the man) told me the L1/ L2 circuits are virtually identical, so I am giving the L1 a chance. The circuits may be identical, but there are many implementation differences - 1 vs 2 chassis, controls, etc. The sound is similar, with the L1 being very slightly warmer, and probably a little less transparent. So far so good.
Kleonard- Well, you may be right. The transport is the only part of the system that I haven't experimented with. I'll have to get smarter on this. Thanks for your input.
System edited: Added Lamm L1 preamp to system. The L2 does wonderful things to playback. The sense of acoustic space, instrument scale and location, humanizing voice and "anti-electronic" signature is a treat. But there are some idiosyncracies about L2 playback that bother me. Specifically, the L2 has an upward tonal balance and a slight but noticable compression of dynamic range. Also, two full-size chassis is impractical. I want to evaluate the L1 in the hopes of retaining the L2 goodness, while addressing its problems.
Sirspeedy - thanks for your nice comment, although sometimes I do have a BAD attitude ;-) Contact me when you come to Seattle, and we can arrange that listening session. I am sure we would have a blast... scott
Howard, first impressions posted. Having fun and always learning. This is like an advanced course in speaker design and room acoustics. It takes some effort to get everything together.
How's the K-horns? Are you listening to them yet???
System edited: Added Edgarhorns to system. Position is limited by available space. Not even close to proper set-up. They are located outside of the Circes, almost at the sidewalls and 5 feet to the front wall, 10 feet to listening position. Exposed crossovers, wires everywhere, wooden horns temporarily supported by anything available, until furniture casing is built. My concern was not to lose the endearing strengths of the Circe, while gaining a sense of effortless agility and improving dynamic range. After getting past the kluged set-up and clutter, the first impression is promising. I'll keep it brief. Startling, effortless sound pressure gives a sense of aliveness and agility. The enitre room is pressurized with music information. This is not about loud, it's about loading the room in its entirety, even at low listening volume. Notes are separate, individual and organized. Still nice, round and warm rather than choppy and etched. Spatial information is about 80 - 90% of Circe - still very good. Room placement and optimization will take more lots of effort, based on size and weight. Much fun work yet to do!
System edited: The Seismic Sub is in the system. This is my first experience using a sub-woofer. First, the tension bracing inside the back chamber had to be shaved for the 18" driver to fit properly. The amp arrived today, but w/o proper bass eq. Without eq, the sub system is not full-range, down to 20Hz. But does it really matter for music? Since the midrange drivers and horn haven't arrived yet, I am using the sub with my Circe speakers. My quick and dirty impression - small crossover and level adjustments have a large affect on sound. This will take some effort to optimize. Also, the mis-matched Welborne DRDs amps and Alon Circe speakers work better with sub reinforcement. It is 2:00am now, so it's time to get some sleep!
System edited: Bruce Edgar called today. Finally, he is testing the Vitavox S2 driver integration with the rest of the system. Initial results are looking good. He described the S2 as sounding very different from the stock JBL 2441 drivers, being sweeter and smoother. This is just what I wanted! I asked him to continue evaluation, testing the limits of performance on large-scale symphony music, and other demanding material. After many months, there is light at the end of the tunnel!
System edited: The Seismic Sub shell arrived yesterday. It ships in three separate pieces, so moving is easier than expected. Bruce is sweeping the 18" JBL driver, and plans to ship driver and Hsu plate amp this week. Also, I removed a free standing wood-burning fireplace from the listening room to make room for the sub. Bruce explained the tiled floor beneath the fireplace will provide an excellent boundary for the LF exhaust to enter the room.
System edited: The Edgar Seismic sub is scheduled to be delivered later this week. I decided to remove a wood burning stove to make room for this huge sub-woofer. The floor beneath the stove is ceramic tile, which will provide a boundary and reinforcement for the downward firing low freqs. The 80 Hz straight horns arrived a couple of weeks ago. Bruce is working on throat adapters for the Vitavox S2 midrange drivers. Fane ST5022 HF tweeters are purchased. My girlfriend thinks I'm nuts, but I know that she will be pleased after she listens to these horns.
Artg, Thanks for your comments! The Lamm works well for me. It has some issues - mostly some dynamic compression, upwards tonal balance, and two big chassis. These issues are balanced by super-precise spatial benefits. Positioning and sense of space are awesome! The Circes are my second Alon speakers. My first were Alon IIs purchased new in 1993. And I never feel the need to upgrade my little Meitner after listening to the Big Boys (DCS, EMM Labs, Lavry, Audio Aero, etc). It may not be the SOTA, but it's not embarrased either - it's a keeper...
System edited: My Museatex Bitstream returned today after servicing by John Wright. The data connection was randomly dropping signal due to a loose connection, so I sent the unit to John for repair. While it was in the shop, John replaced some of the caps with Black Gates. My Bitstream was already modified to Data II status, and for my ears, it was essential for digital playback. It really "vinalyzed" music. I really missed it! Just put it back into my system this afternoon, so I will withhold judgement until after break-in. My main concern is the BG caps do not screw-up the beautiful "rightness" of the DAC.
I'm spending alot of time on the phone with Bruce Edgar. Super guy to work with. Yesterday, I reevaluated using the sealed-box sub, and am now leaning more towards the horn loaded Seismic Sub. Haven't quite figuerd out how to fit it into my room. Minor detail... This hobby is going to be the end of me!
System edited: With the addition of the Welborne SETs, the system is in-between where it once was and where it's going. It was a high-power, conventional speaker set-up. Only now, the 8w Welborne amps have replaced the former amplifier. The result is a very nice midrange and HF, with wonderful harmonic texture and contrast. Surprisingly, the SETs are also much quieter in terms of hiss, hum and other extraneous noise. On the other hand, bass suffers, with loss of definition and power. There is simply insufficient power to driver the Circes. Over the past months, I have been gathering the components to build Edgarhorns. The project is now a priority, to regain system matching with the low-powered amps. So far, I have a pair of EV-M15L 15" upper-bass drivers, a pair of Vitavox S2 midrange compression drivers, and last week took delivery of the 80Hz bass horns. Practicality is forcing me to go with the sealed-box sub-woofer solution, rather than the amazing Seismic Sub. I just can't find the space for a refrigerator-sized sub-horn in my room... This is a compromise that I'm making very reluctantly. But Bruce assures me that the smaller sealed-box sub will perform satisfactorily, if not to the same level as the huge Seismic. The Vitavox drivers were sent to Bruce for evaluation and fitting to custom 350Hz horns, as the drivers are different from the JBL 2441s he specs. Also, my German cabinetmaker just left for a one month vacation back home, so I have to exercise patience until he returns. My expectations for the project are fun and learning, and I've decide to post my progress here, sort-of as project documentation, or diary.
Owen, just checked in and saw your comments. Would love to speak with you further about your phono stage. I'll need another for my second tonearm/cartridge. Other than the Lamm, have you listened to other units? I'll phone you to learn more. Thanks for the input.
System edited: Another experiment - Added a pair of 8w/ch 300B SET amps to the system this weekend. This is part one of my move to a low-power high-efficiency system. Since I do not have high-efficiency speakers (yet), I am using my current low-sensitivty (87db/w/1 m). Still forming impressions on this change. Most obviously, this amp / speaker combination should NOT work whatsoever. The speakers are low sensitivty with complex crossovers - definitely not a good match for a SET cricuit. My expectations were low to none. But surprise... The combo produces sound, even some music. The biggest surprise is the pretty loud SPLs produced. Not surprisingly, the freq extremes are rolled off. But the midrange that remains is really pleasing. Especially on stringed instruments and vocals, there is so much harmonic texture and resolution. Piano lacks the lower fundamental tones. All in all, better results than expected. Now, I just need to get cracking on the horn speakers!
Thanks for your input, Randy. Our listening rooms have similar dimensions. I agree that speaker positioning is critical with Circes. More so than any speakers I owned before, and there were a few: Alon Model II, Apogee Duettas, Vandersteen 2C and Klipsch Heresy. But, I am also a more critical listener now than before.
In any case, the current set-up is the best I have attained in my room for soundstage width and image depth. They were positioned all around the room, at one time or another. Using Cardas as a guide, the distance of the speakers from the front wall also is very close to a third of the length of my listening room. There was a pronounced mid-base resonance before, that was tamed with this lates position. I think they will remain here for awhile. As you know, the Circes are pretty hefty...
The Counterpoint is almost 20 years old, and was used to drive all my speakers, even the Apogees, with grace. It's still breezing along, no problem...
System edited: Last week I changed speaker positions, based upon Cardas' method. Now they are located 6'10" from the front wall and 4' from each side wall in my roughly 15' X 18' listening room. Listening position is equidistant from the speakers, forming an equilateral triangle for nearfield listening. Compared to the old positions (speakers not as far into the room), a resonant base node is better controlled and imaging depth has substantially improved. Next, I want to measure room response with ETF or another suitable tool, for final calibration.
Nice to hear from you. The Venustas is a cable that I am becoming vey familiar with the past year. I like it. It seems to do the job of transferring signals w/o too much damage, in a natural manner.
When you have a moment, I would like to learn more about your "special" phono stage.
Mike, glad to hear from you, and it was a pleasure being a guest at your home. No, I can't take comfort in your misfortune, but I'm not surprised to learn that this happened to others. Analog is a very delicate hobby!
System edited: Last night I was listening to music and enjoying a glass or three of wine. Feeling good, I had the brilliant idea of calibrating my TT. In the process, I accidently brushed the tonearm while the cartridge was on the Shure scale, and severely bent the cantilever. The cartridge is toast... Moral of the story: adjusting TTs and enjoying a glass of wine mix like Michael Moore and the GWB. At least it was the Denon and not the Shelter.
Thank you, Mike. I try to remember that our hobby is often more about the journey rather than arriving at the destination, although your case may be an exception!
It has been fun gaining exposure to new gear, but the greatest pleasure has been discovering new music on a system that allows me and my friends to enjoy it.
I'm looking forward to visiting your "barn" soon. Also looking forward to hosting you.
