For the enjoyment of music. Lot's of changes over the years. I typically won't buy something unless I can listen to it in my system. Spending a lot of time recently searching out well recorded and interesting music via hi res downloads. I have a really nice vinyl collection mostly Jazz and pop. Digital I'm filling out my classical titles and more modern recordings. Jan '16
A seriously great preamp...one of the best...if you're reading this...contact me...this is that good..
DCS Vivaldi DAC, Transport, Clock & Upsampler
dCS Vivaldi DAC, Trans and Clock
Transparent Opus Gen 5 & Magnum Opus
replaced mm2 version
Transparent Audio Opus Power and Opus Power Source Gen 5
Transparent Opus Gen 5 Speaker Cable
Speaker cable
Grand Prix Silverstone F1
stand
Spiral Groove Centroid
Uni Pivot arm
Grand Prix Audio Monaco
Direct Drive Turntable s/n 40
Nagra Classic Amp
Stereo amp
Nagra VPS/MPS and VFS
Just added the Nagra MPS power supply. Really more sublime now...the Nagra VPS/VFS combo was already great, however the MPS lowers the noise...sound stage opens up and transparency increases
Grand Prix Audio Apex - Threaded footer
very finely threaded very of Apex for minute level adjustments
Keith Monks Ruby
Killer record cleaner. I've always wanted a Monks.
Shunyata Hydra Triton v2/Typhon/DPC-6 v2
Sigma HC feeding Triton & Anaconda Zitron Feeding Typhon. All front end (dCS, Nagra, and TT motor controller...
Transparent Audio Reference XL Digital
Clock cables for dCS (2) bnc to bnc and Dual AES trans to dac
Thanks John. I'm sure Gen 5 is very nice. I have to find ways to justify the cost. Your system (and room) has undergone quite a few changes in the past couple of years. It all sounds very rewarding. It must sound great.
Hi Peter, in my Vinyl side...the Opus MM2 from the phono stage to pre hasn't changed yet, just the Ref MM MM2 from pre to amp changed to Opus Gen 5. This is a pretty big improvement...feels like a new phono stage or cartridge. It is not subtle. Much more density on the notes, better portrayal in space...better resolution and better at the extremes.
On Digital 2 cables have changes. The Opus MM2 from Dac to pre went to Gen 5 and then the above pre to amp cable. It's a similar change to the above.
If you ever get a chance to try Opus MM2 or Gen 5, I think you'll be impressed vs your Ref XL.
Spirit thanks. I need to find a buddy close by with a strain gauge to check out one day soon...I have to admit I am pretty happy with my Lyra and Allaerts
I did think a Koda phono stage would be ideal for your system, if one was ever produced, it seems logical he would manufacture one. I have no experience of the Koda gear, hi-end dealers are far and few between over here, it is a mission to get to hear exotic items and very difficult to compare different brands, especially at home.
Yes the Nagra must be performing well to compete with your Vivaldi ensemble. I have not heard the VPS unfortunately, it is almost a "reasonably" priced item in the uk compared to a lot of gear that has appeared in recent years. It shows you don't always have to spent vast amounts to get high performance.
I am taking stock at the moment, the move has been quite expensive and the sound in the new room is very good. I do hope to get a second phono stage module for the Dart in the new year.
before you consider a new phono stage J, you really owe it to y'self to check out a Soundsmith Straingauge cart. I run it w/the Red Wine Audio batt psu that was in no small part to you backing me up when considering an audition. i freely admit i haven't heard many of the current SOTA carts out there, and even fewer top phonos, but the SG really talks to me, and importantly forms a great synergy w/my rim drive tt/linear tracking arm, and since your analog rig is similarly non conventional (non belt drive/non pivoted arm), you may get the joy I'm getting. After 18 months i still marvel at the balance of resolution, speed,dynamics and natural warmth, analog nicely counterbalanced against my quite frankly stupendous eera cdp.
Hi good to hear from you. You've made some BIG changes also. I've always heard great things about the Dart pre...especially it's phono stage. I kinda wish they'd make a separate phono stage...
I have not heard the Ref 2SE at home. I have heard it in a system that I was familiar with and side by side with the smaller Boulder phono. Honestly, I liked the Boulder a touch better.
I think you're right on the Nagra...although it's hung in there a VERY long time...and I've yet to hear something in my system that beats it. I do suspect the Allnic H5000 DHT will beat it. And some others...I've been patiently waiting to see if Robert Koda will ship a phono stage...to match my pre...
Hi John congratulations, you have certainly moved a long way forward since I contacted you about the BAT PH10se phono stages we both owned a few years ago. Your system and room look amazing.
i moved few months ago and having more space around the system has been an upgrade in its self.
I noticed you were looking at changing the Nagra phono. I upgraded to the ARC Ref2 phono and used it with my BAT 52se pre - I had the Allnic H3000v at home at the same time. Initially I preferred the Allnic but once the Arc warmed up (takes almost 2hrs) the Arc sounded better, tighter more precise. The Allnic sounded slightly soft in comparison.
I have now gone in a different direction to yourself, I just had the desire to reduce the box count and simplify the set up.
I now have a Dartzeel pre with built in phono it is more transparent and open than the Arc + Bat
I also had the Dcs 2 box Paganini and 3 box Puccini to try - fortunately I preferred my one box Playback MPS5 - I did not relish an increase in boxes. The Vivaldi I am sure must be in another league and more than rivals your vinyl.
The great thing about the Dartzeel, it has an optimised 50 ohm input for the MPS5 which has transformed the digital playback.
I am guessing, as I have not used the Nagra, but the phono stage must be your weakest link now? Have you considered the Arc ref 2 se? I only had the standard one and it was better than the Allnic.
John Quick from dCS came by my home today along with my dCS dealer, Casey from Ne Plus Ultra. Lot's of listening, mostly digital and some vinyl. We had a fascinating discussion on digital filters, how dCS develops them (they write their own code here). I also mentioned how the dCS Vivaldi DAC and Trans clearly improved the system...but the clock was very profound for me and a bit unexpected. dCS is using a new clocking architecture, better power supplies and better vibration/chassis.
We then listened to filters. DSD F1 and F3. I had been using F1 but now prefer F3 for DSD. A touch less hardness, a touch more resolution comes through. Maybe a slightly warming to the sound.
For redbook, we went back and forth from up sampling to DSD and DXD. I decided DXD provided more air, a bit more focus, and slightly more cohesive sound. Then we tried F4, F5, F6 on DXD. F5 gave a quicker dynamic things started and stopped faster. F4 and F6 a slightly wider stage but slightly more reserved. In the end all the filters sound good...system matching, recording quality, and listener preference really dictates what's best.
We then moved to vinyl, playing kenny burrel midnight blue on Music Matters 33 and the Analog Productions 45 version. The 33 was better...the 45 sounded a step slower in comparison and a bit less dynamic. Go figure.
Net net, I am sticking to my prior posts about digital vs vinyl. The software now really dictates ultimate sound quality...both formats are enjoyable.
I also recently tweaked a few settings on my vinyl (leveled...cold weather must have settled something) and very slight tweak to VTF. Again assuming the cold weather effects...
My Vinyl is sounding better then ever...but the move to DSD F3 stepped the digital up a notch to.
Peter, I think they do sound different. However the two sacds I used as a test, both came from master tapes. And I suspect tube preamps given that time period. I am not sure how that is biasing what I hear ...
Guys, I thought one of the evergreen arguments in audio is the never ending analog v digital debate. Up until my purchase of the Eera Tentation cdp, I always considered the best of digital trying to catch up w/the best of analog, hence my comment on it trying to imitate the SOTA lp sounds out there. I do feel I've got a lot more parity btwn analog and digital recently, as has J w/his Vivaldi acquisition.
Spirit, did anyone ever consider digital "a mere imitation of SOTA analog"? I don't understand what you mean. Sorry, I guess I'm dense. I agree though that digital seems to have improved lately, but I still think they sound quite different.
As a long term analog man, I've been struggling to find a digital rig to approach being on a par w/lp, and I think I've found it. Up to 3 years ago, I was finding my digital (Emm labs CDSA SE) BEAT lp replay (Michell Orbe/SME V/Transfiguration orpheus/Tom Evans Groove Plus SRX) by a big margin. Grrr!!! Then I switched to a direct rim drive Trans Fi Audio Salvation tt/air bearing linear tracking Terminator arm/Soundsmith Straingauge cart w/Red Wine Audio batt psu, and guess what? analog smoked my Emm Labs. Now in the last few months, I've switched my digital to the Eera Tentation cdp and there's a real balance btwn the two mediums, my ability to relax to both fairly equal, and I get real pleasure from both. It seems like this is the situation you, me and a lot of audiophiles are finally happy with, some parity w/digital despite having been so invested in analog for so long - Vivaldi, Zanden, Trinity, Lampizator etc making the leap in digital that we're finally not considering it a mere imitation of SOTA analog.
That makes a lot of sense actually. In my own little way, the improvements of the Zanden have NOT been about voice...which i love...its been about speed, decay, and rhythm. With deep house, there can be multiple (7?) or more syncopated and/or contrapuntal rhythms all going on at once...and its only with absolute resolution AND ability to start/stop and deliver it spot on time...that you realize how many such musical beats are going on at the same time.
I can only imagine that the Vivaldi truly excels (and effortlessly) at delivering this level of detail, dynamics, and ability to keep all the multi-layered musical lines going at the same time...allowing you to marvel at each, one at a time...or as a cohesive whole.
In my experience, it is this latter part that some digital lost in trying to get the first part. You got loads of detail and no sense of cohesion...your brain could not re-assimilate the notes back into a musical tapestry...you just got lots of interesting threads.
Zanden went the other way and brought cohesion to a whole new level...but their detail/propulsive bass was perhaps not up there. It has only been after 5 years of constant experimenting, mass damping, isolating, rmi/efi shielding, cables, NOS tubes...i have finally managed to get the 'detail' element of the DAC up to snuff.
With the arrival of your Vivaldi, i think we got a digital system that is plug and play...and right on both the levels of cohesiveness and incredible detail beyond detail. Rare indeed! And wonderful to experience. Congrats!
Jfrech, I'm very familiar with those two recordings and listen to them on a regular basis, they are very good choices for comparing formats. I agree with you, I don't find one of these formats inherently superior to the other. Depending on component, system development and other variables there's much overlap in sound quality. You have an excellent system comprised of superb components so your listening impressions aren't surprising to me. Congratulations and continue to enjoy the beauty of music with both sources. Charles,
Lloyd, that's a good question. What the Vivaldi is doing differently is how it places things in space...much more 3d like than the Scarlatti.
Also how it's presenting more information..but more naturally..this resolution isn't just a little better vs Scarlatti..it's a lot...and again...it's less aggressive which appears to me a contradiction. But I've notice the best components seem to pull this trick off vs what you're comparing it to.
And finally the sense of timing..the ebb and flow of the music is better than the Scarlatti...Hope this paints the differences I am hearing...
The Vivaldi is more expensive than my vinyl front end. And notice I didn't say bettered it...just that digital had caught up.
The clock brought a sense of power...but more delicate, unraveling things better. And more resolution and better placement in space. I also think the dac and trans has fully broken in over the last month or so...
Keep in mind, on this test we only used 2 recordings. Both were Acoustic Sounds reissues on Riverside label. Chet Baker "Chet" the SACD and the 33. The other was a 45 vs SACD Wes Mongomery Trio "a dynamic new sound." Both recordings were from a master tape.
I think on these 2 recordings the digital has better resolution and placement in space (like the brushes on the drum head). The Vinyl the reverb on the guitar strings as well as the warmth of tone of the stings vibrating. Honestly it's more a difference than one is better. But just that last statement is saying something for digital.
