The Final Cut

by halcro on

Description

After 40 years in HiFi.....this is the distillation of where I'm 'at'. And I'm tempted to say finally!
For a glimpse of how I arrived here please see my System Page 'Something Old Something New'.
Unsurprisingly this is not the 'best' system I've ever heard.....
THIS is the best system I have heard and it happened at the 2017 Munich High End Show.
Avantegarde Trios with triple-stacked Basshorns.....
For the first time in my life.....I heard the closest reproduction to 'live' sound by a long way!
The effortless dynamics, air, transparency, force and majesty of a 'live' event, I heard created by an assemblage of electronics, magnets and horns.
Had I the room to accomodate them.....I would have written the cheque there and then!😎

Compared to this event....I can only pathetically offer MY system (described here) as being at least equal to the best non-horn systems I (personally) have heard.

Read more...

Room Details

Dimensions: 17’ × 12’  Medium
Ceiling: 20’

Components Toggle details

    • Victor TT-101 DD Turntable
    The top-of-the-line DD motor unit introduced by Victor/JVC in 1977, only for the Japanese and German markets.
    Coreless DC servo motor featuring quartz-locked positive and negative servo control.
    Wow and Flutter within 0.02% WRMS
    S/N 75dB
    Starting torque 1.2kg/cm
    Starting time within 0.6sec
    Speed deviation 0.002%
    Load characteristics 0% (with a 120g total tracking force)
    Drift 0.0004%
    Watch this video of the impressive speed consistency under three simultaneous cartridge loads
    https://www.youtube.com/watch?v=d3WeNPtfLBc&t=6s
    To follow the journey of 'The Nude Turntable Project' started in 2010
    https://forum.audiogon.com/discussions/nude-turntable-project
    To follow the thinking behind the massive independent bronze armpods described in 'A Copernican View of the Turntable System'
    https://forum.audiogon.com/discussions/a-copernican-view-of-the-turntable-system
    • Herzan TS-140 Active Isolation Stand

    The TS series is ideal for precision research instruments that require a low operating noise floor and absolute stability. The vibration isolation performance of every TS table allow research instruments to maximize their resolution by removing the ambient vibration noise from affecting their data. Essentially, any instrument sensitive to vibration noise less than 5 Hz can greatly benefit from the unique technology found within a TS Series table.

    With isolated armpods, the effects of vibrations in the turntable supporting stand or platform (from Structure-Borne and Air-Borne transmission) is magnified.

    When you realise the extent of these 'vibrations' (via the LCD display on the TS-140) and hear what the removal of them 'sounds' like.....it is a revelation. 

    • Victor Pigskin Platter Mat
    All the Victor DD turntables came with a thick, solid 'ribbed' rubber platter mat for damping (like most of the Japanese decks).
    Unfortunately, it supplied too much damping and the sound became 'heavy' and coloured.
    I tried a vast variety of alternate mats made from glass to acrylic to carbon-fibre to leather to copper.
    The best for the Victor I found to be the Micro Seiki Cu-180 copper platter mat, but it weighs 1.8Kg and I was concerned at the effects on the spindle-bearing and motor (particularly under the 'brake' function.
    Luckily I found the thin Victor Pigskin mat to sound almost identical to the Cu-180.
    No 'life' sucked out of the music and no 'heaviness' in the presentation.  
    • Custom Polished Granite Cradle
    After years of experimenting with the support of the TT-101 motor unit ('nude' on spikes, 'nude' in a skeletal steel cradle)....see my System 'Something Old Something New'...two things finally dawned on me:-
    1. The TT-101 needs its perforated metal shroud to act as a Faraday Cage against EMI/RFI which then needs its Ground Wire connected to the Preamp
    2. The motor unit needs to be firmly supported in a plinth (or cradle) with sufficient 'mass' to counteract the 'turning forces' of a revolving platter

    My design for a polished granite 'cradle' large enough to accommodate the motor-unit with its shroud, plus a lining of cork (to absorb any stray electro-magnetic waves) was cut from a single solid granite block in China.
    Equiped with three embedded dowels in the bottom for adjustable stainless steel spikes and having three rubber discs fixed on top for the friction-support of the 10Kg motor-unit....this 8.1Kg (18 pound) granite cradle finally solved all the problems with micro/macro movements in the previous support solutions.

    With the introduction of the Herzan Active Isolation Base.....there was 'slippage' of the spikes on the smooth aluminium top-plate of the Herzan as well as a ground-loop hum caused by the Herzan electronics reacting to the mass of metal in the armpods and motor-unit.
    This was solved by 'isolating' the armpods and cradle spikes with plastic poker chips which were superglued to the Herzan top-plate to prevent even the slightest possibility of movement.
    • Custom Solid Bronze Cast Armpod
    I formulated this design after studying the support requirements of dozens of tonearms (both vintage and modern) to allow for height adjustment, cable entry/exit, removable top-plate and VTA tower accomodation.
    A local foundry then cast three pods in bronze. 
    • Custom Solid Bronze Cast Armpod-Finished
    The finished armpods which I had painted by an automotive shop with 2-pack gloss-black polyurethane.
    The 10mm thick aluminium top plates were then manufactured by a metal shop and I fitted the adjusting/levelling screws into the bases.
    • TW Acustic Raven AC-2
    Actually a Raven AC-3 with one motor removed for better speed consistency and balancing of stresses on the spindle, bearing and platter.
    This is a really fine belt-drive turntable which has superior speed consistency and accuracy to most other belt-drive decks.
    The carbon-fibre platter mat supplied with it was bettered by running the turntable without any mat at all.
    The copper top-plate sandwiched to the Delrin platter provides an ideal base for the support of vinyl records which, together with the right record weight, removes the slight warm colouration which many associate with Raven turntables.
    • Yamaha YDS-3 Disc Stabiliser
    With a combination of solid brass casting and bonded hardwood, this is the finest sounding record weight I have heard.
    It damps to the perfect level without removing any high-frequencies whilst the bass performance remains solid and stable.

    A vintage product that is in high demand and extremely hard to find, you will have pay for the privilege of owning one of these.
    I finally found a second one to complete my 'set'....
    • Acoustical Systems Uni-Protractor
    Possibly the best and most accurate tool for correctly setting 'overhang' on any arm/cartridge combination
    • SAEC WE-8000/ST Tonearm
    The top-of-the-line tonearm from a great Japanese Company produced in the Golden Age of analogue audio.
    This is a 12"double knife-edge design (like SME) with a straight arm and special off-set ceramic headshell.
    There are few niceties with this arm.....
    No VTA adjustment on-the-fly and limited practical manual range of adjustment 
    No dynamic VTF
    Pedestrian ant-skate adjustment
    Despite these shortcomings....this arm is good (if not quite in the class of my other arms) but the ceramic headshell is hard to 'marry' with many cartridges.
    Using other 'straight' headshells and 'twisting' the cartridges to correct their alignments provides greater flexibility and sound.
    Better matched with the heavier low-compliance LOMCs than with the MMs, this arm is just beautiful to look at.
    • Fidelity Research FR-64s Tonearm
    The legendary arm from this legendary Japanese manufacturer. 
    Made from tubular stainless steel with a very high effective mass (only exceeded by its bigger brother, the FR-66s)...this arm is a consummate performer extracting the best from not only low-compliance LOMC cartridges, but also all the high-compliance MMs I have ever tried in it.
    • Dynavector DV-507 mkII Tonearm
    Starting with the DV-505 in 1977 and developing the DV-501 in the 80s, the DV-507 mkII is still in production and with its radical bi-axial design, provides a stable platform for both MM and LOMC cartridges.

    The bi-Axis inertia control tonearm is in effect two arms in one - the main arm beam has an effective-mass that is 3 or 4 times higher compared with conventional tone- arm but moves only horizontally. On the other hand, the sub-arm has a lower effective-mass than any conventional tonearm but moves only in the vertical direction.

     This combination means that the high effective-mass in the horizontal direction holds the cartridge steady at audio frequencies, especially at low frequencies and high groove excursions, whilst the low vertical effective-mass allows unmatched warp-riding performance.

     The only weaknesses appear to be the inaccuracy of the VTF scale (or rather the difficulty in co-ordinating it with the real Force) and the inexplicable lack of quality control in the flimsy headshell leads and the supplied phono cable.

    The headshell itself is nothing to write home about and can be readily improved upon.

    But this arm is archi-tectonically designed to impress.... 

    • Continuum Audio Labs Copperhead Tonearm
    From the innovative Australian makers of the Caliburn and Criterion turntables, comes the Cobra and Copperhead tonearms.
    They are both two of the finest arms ever built albeit real PITA arms to fit and balance cartridges.

    "Our engineers again applied the complete suite of advanced software available to Continuum Audio Laboratories towards the modelling of the Copperhead arm. Beginning with Finite Element Analysis using NASTRAN, PATRAN, and DYTRAN  finalizing in the complex process of Gradient Shape Optimisation using Reshape™ The final Copperhead shape emerged from this process as a refined sleek shape which maintained the “signature” free sound of the Cobra design. The wand is eggshell thin with special contours and compound curves to “shape” the resonant behaviour of the arm. These behaviours are only visible with specialized software tools but clearly audible to experienced listeners. Designing with these tools allows us to bring arm design into the 21st century. 

    This breakthrough in arm engineering ensures the shape of the wand improves the sound of the arm beyond that which is possible using conventional tube designs."

    Equally matched with either low-compliance LOMCs and high-compliance MMs...this is possibly the finest tonearm I have heard, but the FR-66s is almost as good yet is more flexible and easier to live with......
    • Fidelity Research FR-66s Tonearm
    The 12" version of the FR-64s....this massive tonearm has held its value amongst the cognoscenti since its release in the 80s.
    Designed primarily for the heavy low-compliance LOMC cartridges like the SPUs....it is amazingly compatible with a wide variety of lightweight high-compliance MM cartridges.
    If I had to take only one arm with me....this would be it!
    • Victor X-1IIE MM Cartridge
    An elliptical stylus on a beryllium cantilever (as opposed to the Shibata on the X-1), this cartridge has a lowish output voltage of only 2.7mV and lowish compliance (for a MM) of 12x10-6cm/Dyne.
    It has superb top-to-bottom frequency response, good imaging and fine sound-staging.
    But what I demand from my top-line cartridges, is that elusive 'magic' which is able to suspend belief, and render a musical performance that is transcendent.....
    The X-1IIE delivers...
    .
    • Victor Z1/SAS MM Cartridge
    Possessing a more normal output voltage (for a MM cartridge) of 4mV, the much cheaper brother of the X-1 (also with beryllium cantilever) is not quite as 'magical'....
    Not until one replaces its original stylus assembly with a Jico SAS stylus....
    It then transcends its bigger brother by producing sound that is indistinguishable from the very best LOMC cartridges available....
    • Garrott Bros P77/SAS MM cartridge
    I had two of these original P77 cartridges when Brian and John Garrott would re-tip them for you at their shared house in various outer Sydney suburbs.
    They were special then, and they still are despite suffering in the 'detail' stakes when compared with current high-end cartridges.
    Implant a new Jico SAS however (Micro-Line stylus on either Boron, Sapphire or Ruby cantilever).....and the Garrott P77 becomes one of the greatest cartridges I've ever heard.
    • Signet TK-7LCa MM Cartridge
    Armed with a Line Contact stylus on beryllium cantilever, this Signet is even better than all the other TK Series cartridges which include the TK-3, TK-5 and TK-7.
    This one just 'pips' the TK-7SU which sports a nude square-shank miniaturised Shibata on a micro-mass tapered tube.
    Long held in my collection as 'The One to Beat'......it still reigns supreme.
    • Decca London Reference Moving Iron/Positive Scan Cartridge
    Moving-iron/positive scan phono cartridge which effectively removes the 'cantilever' from the equation.
    Fussy with tonearm matching and apt to pick up crud from the grooves and/or skip over certain groove modulations.....this cartridge can sound simply 'magical'.
    'Can' is the operative word here as the sound of the cartridge can be manipulated by former Decca engineer John Wright.
    Depending on how 'stiff' he sets it or ties the 'string' (and numerable other tweeks)....your particular specimen may sound etherial or mundane.
    If you like lotteries......read this Review
    http://www.theabsolutesound.com/articles/london-reference-phono-cartridge/
    The above description is a fairly common one amongst Decca owners/reviewers...but its churlish reputation I have found to be mainly caused by a misunderstanding.
    Most audiophiles are used to running their MM or MC cartridges either with a 'level'  or slightly 'positive' VTA.
    With the stylus on the end of a cantilever....there is a fairly 'happy' window within the correct VTA range.
    With the 'cantilever-less' Decca, there is NOT.....
    The Decca HATES a 'positive VTA and will skip and buck and pick up crud to try to make its point.
    Give it a slightly 'negative' VTA however...and it will reward you with joyous performance almost unmatched by other cartridges. But its sensitivity to VTA is alarming....
    Adjust by microns whilst NEVER straying over the 'level' and you will be rewarded. When you are experienced at these adjustments...the cartridge will tell you instantly.
    Whilst never possessing the ultimate shimmering highs of other great cartridges....its midrange is translucent whilst its bass is deep, controlled and bettered by few other cartridges.
    Some users claim it needs loading at 20K-30K Ohms with high capacitance added.
    That CAN work to even out the frequency response albeit at the loss of ultimate transparency.
    With the impedance loaded at 60K Ohms and just a modicum of added capacitance....I find the best balance of highs, lows and transparency is provided.
    As usual....YMMV.
    Deal-Breaker....?
    Restricted stage width and depth.
    • Fidelity Research FR-7f LOMC Cartridge
    With its standard spherical 0.65mm stylus, this is not the classic vintage 'holy grail' I was expecting.
    Have its stylus replaced by a Line Contact (making it possibly into an FR-7fZ) however .....and you can imagine you are in the Holy Land.
    Detail, depth, width, transparency and with a 'soul'....this cartridge has few peers.
    • Coral JMAS MIT-1 LOMC Cartridge
    A re-badged Coral MC-81 by John Marovskis (J.M.A.S of New York) with a true VdH stylus (instead of Shibata) on a beryllium cantilever.
    With an output voltage of 0.25mV, frequency response of 10Hz-50Hz and Dynamic Compliance of 10x10-6cm/Dyne....this cartridge (bought for $250 in a fire sale) is truly a surprise.
    Delivering top to bottom frequency extension of the finest quality...this cartridge is unsurpassed in my system by even the costliest LOMC cartridges on the market.
    • Ortofon SPU Meister Silver GM mkII LOMC Cartridge
    A second generation current production Ortofon SPU.....the Silver Meister is more neutral and detailed than some of the vintage SPUs.
    Equiped with a nude elliptical stylus and an output voltage of 0.3mV, the Silver Meister delivers opulent and stunning performance qualities despite the rather 'dated' frequency response of 20-20kHz.
    Designed to be used in heavy, high-quality arms like the Fidelity Research FR-64s and FR-66s.....its market share is severely limited, but those with the right arm (who don't mind tracking at 4Gm) can hear 'cutting-edge' sound without paying an arm and leg. 
    • Ortofon SPU AE-Gold LOMC Cartridge
    In 1957 Ortofon introduced a moving coil stereo cutter head and followed this in 1958 with the introduction of the "Stereo Pick-Up" or SPU, designed by Robert Gudmandsen. Initially Ortofon supplied these new cartridges in the Type A headshell, designed to be used in their own RMA pickup arm, to broadcast turntable manufacturers including EMT. Being a two-channel device, an extra set of contacts was necessary, these being arranged at right angles, or vertically to those used for monophonic heads. This configuration followed that employed by Neumann in their DST 62 head.
    SPU generators mounted in Ortofon's Type A headshell were denoted SPU-A, and if fitted with an elliptical stylus SPU-AE.
    The 'Gold' is a deluxe version of this cartridge incorporating:
    * A new True Elliptical diamond stylus
    * Silver wire for the coil windings and the entire arrangement of leads
    * More secured method of mounting of the headshell
    * Plug and finger lift plated with 24 carat gold
    This 'vintage' model produces all the sumptuous romantic qualities for which the SPU has become famous and renowned.
    No...it is not uncoloured or super-analytical.
    But neither is it tiring, edgy or unrealistic.
    For the pure enjoyment of one's vinyl (regardless of its vintage)...the SPU-AE-Gold is a delight.
    • Sony XL-55 LOMC Cartridge
    Superlative cart with an innovative coil..... wound like an 8 and with a beryllium, aluminium and carbon cantilever.
    With a 0.2mV output and a 10-50Khz frequency response, the XL-55 is very like the SPU-AE-Gold in its vintage warmth and boldness (the claimed frequency response may be slightly optimistic).
    The elliptical stylus and low recommended VTF of 1.7Gm strangely mimics the elliptical AE's running at 4.0Gm VTF.
    Again....a cartridge to relax to, when the detail 'bug' becomes a bore!
    • Sony XL-88 LOMC Cartridge
    If you think the XL-88 continues the 'house sound' of the Sony XL-55......you'd be mistaken.
    With a healthy output voltage of 0.4mV and a highish compliance of 20x10-6cm/dyne, the specified response of 10-50KHz is this time very believable.....
    To dash any further illusions of XL-55 DNA.....the XL-88 is half the size and weighs just 6.8Gm to its bigger sibling's 10Gm.
    The sound is explosive, dynamic and detailed whilst at the same time, transparent, emotional and luxurious.
    From the deepest bass to highest shimmering cymbals....this cartridge is a revelation.
    Unequaled by most of the current uber-priced MC cartridges, I can find no discernible weaknesses to this gem.
    • Acoustical Systems Palladian LOMC Cartridge
    An expensive, current-production TOTL LOMC cartridge....the Palladian just happens to be the best I've heard.
    After the disappointment of the Lyra Atlas in my system, and a whole slew of 'modern' MCs which preceded my current references, faith has been restored by Dietrich Brakemeier's achievement.
    Dressed in a spectacular 'bashed' titanium body, the Palladian sports a Q4 Shibata EVO stylus on a specialised aluminium cantilever with pure silver coils and a 0.33mV output.
    With a frequency response of 15-32KHz and a hefty weight of 11.8Gm, this cartridge looks as well as it sounds.
    The only current-production cartridge I have heard that rivals the very best of the vintage MMs and LOMCs in my collection......says it all.
    Read further...
    http://positive-feedback.com/reviews/hardware-reviews/acoustical-systems-palladian/
    • Cardas Audio Golden Reference Phono Cable
    To stretch the 2.0 metres (61/2Ft) from the armpods to my phonostage.....I needed balanced phono cables with minimum capacitance.
    With 7 pf/ft capacitance in balanced configuration...the Golden Reference is one of the lowest capacitance cables on the market.
    Sounding well, is an added bonus....
    • Eaton DSF Dual-Stage Surge Power Filter
    When I installed this at the switchboard to protect the dedicated power line to my audio equipment....I didn't think there'd be a change to the sound quality. After all....it was just a safeguard against a power surge or lightning strike (although I doubt the efficacy for the latter).
    To install the device, the electrician cut the existing wiring to the relevant circuit and added new wiring from the mains into the unit and thence from the unit into the circuit.
    The effect on my sound quality was instantaneously audible with a drop in the 'noise floor' and an added depth and transparency across the entire frequency spectrum.
    I doubt that this 'change' was due to the 'internals' of the Power Filter itself and assume that it may be the result of the 'new' added bits of wiring into and out of the Power Filter instead.....?
    If so.....this was my first revelation of the changes able to be affected by different power wiring.
    Unfortunately.....despite trying many different power cables for preamp and amps in the proceeding months.....none was able to deliver anything other than sonic degradation.
    • PS Audio PerfectWave Power Plant 3
    A Power Regenerator (not conditioner)..
    The P3 takes in the old AC and outputs new, rebuilt power with 3 separate regenerated zones and a 4th, high current filtered zone. 
    Ideal for lower-powered items, I have both turntables, the Halcro DM-10 Preamp and the NAD C545BEE CD Player connected and it never shows more than 70% power output.
    I can't say that I hear any differences....but it certainly does no harm and it's fun to be able to read the constantly changing incoming voltage from the mains.....
    • Kondo AudioNote Japan KSL-SFZ SUT
    Kondo products are Japanese high-end, superbly designed and lovingly hand-built audio items almost always utilising pure silver wiring.
    This SUT uses a pure silver KSL wound transformer.
    The skilful winding technique ensures wide bandwidth with flat frequency response.
    Low distortion and wide bandwidth are guaranteed by using a large-size core made of ultra-thin and high-quality permalloy plate.
    This design minimises both eddy currents and hysteresis-loss which commonly exist in traditional core design.
    There are three Primary Winding Impedances 1Ω, 3Ω, 40Ω and three Step-up Ratios 36dB(1Ω), 30dB(3Ω), 20dB(40Ω).

    Whilst the MC phono-stage of the Halcro DM10 is amongst the finest I've heard....the Kondo has just a smidgen more transparency with certain cartridges.
    • Halcro Amplifiers DM-10 Preamplifier
    Halcro burst onto the international audio scene in 2000 and their amplifiers (notably the DM-58 mono-blocks) shook the establishment to its core.
    Not only was this fledgling Australian minnow producing amplifiers that were the size of speakers.....but they were audacious enough to charge prices that matched their size.
    Their preamps (DM-8 and DM-10) followed shortly after with the DM-10 including a fine inbuilt phono-stage with infinitely adjustable loading and capacitance for MM cartridges and a fixed loading of 220 Ohms for MCs.
    Whilst sounding just as beautiful in my system as the beloved valve Kebschull pre-amp.... It's the adjustability of the MM phono-stage which keeps it there.
    That, and the fully balanced differential inputs and outputs (as well as single-ended) make the Halcro design well ahead of its time.
    Read more here:-
    https://www.stereophile.com/solidpreamps/404halcro/index.html
    And here I found a 'punter' who independently measured the DM-10 against other well-know high-performance preamps:-
    http://www.htguide.com/forum/showthread.php?43472-Halcro-DM10-a-back-breaking-Preamp!
    Interesting.....
    • Halcro Amplifiers DM-58 Monoblocks
    When I tested these mono-blocks in my system I was astonished at the extra bass and control over my previous Perreaux PMF1850.
    How these behemoth amps mated with my custom 3-way sealed box speakers, ensured that they had to stay.....
    Read more:-
    https://www.stereophile.com/solidpoweramps/683/index.html

    http://hometheaterreview.com/halcro-dm58-monoblock-amp-reviewed/

    http://www.soundstage.com/ultraaudio/ultra200206.htm

    The differences in running these amps 'Balanced' in lieu of 'Single Ended' are not subtle....
    • Cardas Audio Clear Interconnect Cable
    I've never been disappointed with any Cardas cables in my system.
    With Quadlink, Hexlink, Golden Reference and Clear......there is always an integrity to the overall sound.
    Warmth, delicacy and honesty.
    • Cardas Audio Clear Speaker Cable
    To tell the truth.....I can't hear much difference between these and the Hexlink.
    • Isotek Evo 3 Titan Power Conditioners (2)

    The new EVO3 Titan is a progression of IsoTek’s original multi-award winning design. Whilst utilising the unique Direct-Coupled© technology, the circuit has been radically updated. EVO3 Titan offers the ultimate high current/ power conditioner in the smallest form factor.

    • Removes both Common Mode and Differential Mode mains noise.
    • RFI reduction 82dB (50 ohms standard), down to 5Hz frequency range.
    • Unique nine-stage conditioning network in a series parallel configuration, that delivers extremely low-impedance and high-current power. An increase of 20% Differential Mode and 600% Common Mode filtering compared to the original GII Titan. 50% of the 40A Super Titan circuit reconfigured to 20A. 
    • KERP© (Kirchoff’s Equal Resistance Path) ensures equal resistance and equal power delivery across all outlets.
    • 112,500A of instantaneous protection, featuring IsoTek’s unique sequential protection system with earth fault protector.
    • Internal wiring; solid core silver plated PCOCC with FEP virtually an air dielectric.
    • Two independent outlets deliver 4,600W continuous power with 25,000W transient ability (supply permitting).
    • Isotek Evo 3 Titan Power Conditioner on each sub-woofer
    I basically have one Halcro DM-58 Monoblock and one Vandersteen 2Wq Subwoofer plugged into their own Evo 3 Titan.
    • The Listening Room
    No matter how much is spent on equipment and the 'synergy' of mating amps to speakers etc.....the listening room is the final arbiter of the quality of sound possible.
    As I don't have the luxury of a 'dedicated' Listening Room....my Living Room has to double as a 'multi-purpose' space. 
    I cannot pretend that this is an ideal listening space or that my 'sound' might not be improved by acoustical treatments....but they aint gonna happen!!
    Perhaps an increase in sound-stage depth is really the only 'wish' I would have.....
    I have heard hundreds of systems and even million-dollar systems in dedicated listening rooms so I know what is possible.....
    What saves my room is the high two-story mezzanine volume.
    I have found that a room's 'volume' is more important than its 'area' in allowing the sound to blossom and in this case, most listeners to my system tend to agree.
    • Custom designed and fabricated 3-Way Sealed-Box Dynamic Speakers
    Custom designed in 1978 as part of a production run of only 12 in Sydney, these speakers were the first items of HiFi equipment I purchased for my system.
    When I heard them demonstrated against other speakers in the Dealer's rooms....I thought it was a 'trick' as he switched between them. I kept asking him to repeat it as I could simply not believe my ears at the total decimation of the other 'commercial' brands.
    Originally designed with all Hokutone drivers including 12" Hokutone undoped paper woofers run full-range wired directly to the speaker terminals, and ceramic mids and tweeters (each with only one capacitor)...the tweeters were the first to 'blow' followed by one of the mids after nearly 25 years. 
    In 2008, new 5 " Scanspeak paper Mid/Woofers and 1" Scanspeak Revelator silk dome tweeters replaced the Hokutones together with massive Duelund VSF Copper Capacitors (40uF for the Mids and 5.6uF for the Tweeters). New internal wiring was also added. No coils, inductors or resistors are used anywhere.

    This simplicity of crossover design together with the 105dB efficiency, I believe to be the secret of these speaker's uniquely effortless, airy and transparent presentation.

    Nearly 40 years later.....these speakers are the only survivors in my 'current' System. 
    • Duelund Coherent Audio Copper VSF Capacitors
    When I was forced to re-build my speakers due to the blown drivers in 2008.....I resolved to replace the original tiny cheap capacitors with the 'best' I could find.
    Much research on the Internet uncovered the consensus of 'Duelund' as the 'King'.....the Cast Capacitors had only just been released and their prices were even more horrifying than the Copper VSF which I ordered directly from Duelund and, after a lengthy wait for the bespoke values of the capacitors I needed to be hand built, picked up from my hotel in Frankfurt whilst I was travelling.
    From the moment I heard the sound of my 'new' speakers.....I realised how important the 'sound' of capacitors in the audio chain really was.
    Especially in speakers....
     
    • Vandersteen 2Wq Subwoofers
    I has a REL Stadium II Subwoofer for many years until my Halcro DM58 Monoblocks were able to demonstrate that my existing 3-way speakers could actually go lower than the REL could.
    I then read an illuminating article on the Vandersteen 2Wq Subwoofer by Richard Hardesty which stunned me into ordering a pair.
    Scroll down to 'Subwoofers'
    http://vandersteen.com/media/files/APJ%20Files/APJ_2_rl.pdf

    Vandersteen 2W series subwoofers use three active eight-inch drivers rather than a single large woofer. The three eight inch drivers equal the cone area of a fourteen-inch woofer, but with much higher motor-to-cone-area ratio. The high ratio improves pitch definition and insures stable frequency and phase responses throughout and beyond the drivers ’ operating range. This allows more crossover design flexibility since a steep-slope, high-order crossover is not necessary when the drivers perform well several octaves past the crossover frequency.

    The drivers are downward firing in a front slot-loaded configuration to provide superb bass detail, impact and dynamics while minimizing any potential midrange interference.

    Each of the drivers uses a heavy duty 1 1/2 inch, four-layer voice coil engineered to withstand high temperatures. Each voice coil is within a massive 40 oz, high gauss magnet structure for increased control and efficiency. Critically damped, long fiber cones with environmentally stable butyl rubber surrounds are used for excellent rigidity and linearity.

    The drivers are connected to a built-in 300-watt amplifier with advanced feed-forward error correction. This powerful amplifier provides the benefits of bi-amplification to the system without the additional expense and complexity of an additional separate amplifier.

    The cabinets of the 2W series subwoofers are constructed of MDF (Medium DensityFiberboard), a wood product far more dense and acoustically inert than particle board. FFT analysis and listening tests refined both the shape of the enclosure and the placement of the internal braces. The entire structure is carefully designed to minimize cabinet resonances that could affect the system ’s performance.

    Feed-Forward Error Correction

    Many subwoofers use a negative feedback or servo control type of error correction that samples the output of the subwoofer amplifier or the movement of the driver and makes comparisons to the original input. When a deviation is detected, a correction signal is generated to counter the error. A shortcoming of these systems is that an error must actually occur before the correction process can begin. The negative feedback and the non-linearities of the correction create their own audible distortions that compromise the performance of the subwoofer.

    The 2W series uses Feed-Forward Error Correction (FFEC), which eliminates the errors before they begin. Extensive spectrum, FFT and dynamic analysis of the 2W detected the errors that would occur during normal use. The inverse of these errors was then designed into the integral amplifier to eliminate the errors before they could occur. Errors resulting from coupling, loading, driver phase and frequency non-linearities and thermodynamic box loss are eliminated by FFEC.

    The 2Wq’s Unique Adjustable Q

    In Subwoofer engineering terms, system Q is the product of a complex mathematical equation derived from driver, electrical and enclosure parameters. In practical terms, it relates to the character of the bass response. A low Q subwoofer sounds highly damped and very tight. A high Q subwoofer produces a warm loose bass with more energy in the most audible bass range. The trick has always been to try to find the subwoofer with the Q that best matched your listening room and personal tastes.

    The 2Wq is the first subwoofer to feature adjustable Q.A bass contour control on the rear panel allows you to set the system Q anywhere from .5 (Slightly overdamped, i.e.., tight jazz sound) to 1.2 (Significantly underdamped, i.e., typical mass-market home theater sound). Somewhere in this wide range, you will find the perfect sonic complement for your room and taste.

    Conventional powered subwoofers receive their input signal directly from their crossover before the main amplifier. The sonic signature of the main amplifier that is an important part of the sound you hear from the full-range speakers is missing from the subwoofer.

    This causes blending and integration problems as the sonic characteristics of the system are different above and below the subwoofer crossover point. This deterioration of system coherence is why conventional subwoofers have never been totally accepted as part of ultra high-performance audio systems.

    The 2Wq uses a unique, innovative connection method that reduces the current demands on the main amplifier, but leaves the main amplifier in the signal path to the subwoofer. The system realizes the benefits of bi-amplification with absolute sonic continuity as the main amplifier ’s characteristics that are evident through the full-range speakers are maintained to the deepest bass, but with the power and control of the 2Wq ’s internal 300-watt amplifier.

    The crossover of the 2Wq is divided into separate low-pass and high-pass sections. Like conventional subwoofers, the high-pass portion of the 2Wq ’s crossover is inserted into the signal path just before the main power amplifier to roll-off the low-frequency response of the main amplifier and speakers. The critical difference is that the 2Wq does not take its input from its crossover, but samples the output from the main amplifier that is driving the main speakers. To compensate for the low-frequency roll-off induced by the crossover, the response of the 2Wq’s amplifier is contoured to restore the low frequencies to the proper level. The 2Wq ’s input impedance is high enough that it has no effect on the output of the main amplifier.

    Since the high-pass portion of the crossover is inserted between the preamplifier and power amplifier, you must be able to separate the preamplifier and power amplifier sections of a receiver or integrated amp for it to be compatible with the 2Wq. In all systems, the input impedance of the main amplifier must be known in order to properly set the 2Wq ’s high-pass crossover. The low pass crossover is integrated with the 2Wq ’s amplifier and does not require adjustment. Both sections of the crossover are transient perfect, 6dB per octave designs. A variable single-ended crossover is included with each 2Wq subwoofer. Optional fixed value crossovers are available both in single-ended and balanced configurations to match any main amplifier.

    The output level of the 2Wq can be adjusted to match speakers with an efficiency rating of between 82dB and 100dB. Wires and banana plugs to connect the output of your full-range amplifier to the input of the 2Wq are included with each subwoofer.

    Mono or Stereo Bass

    There are significant advantages to using two subwoofers. Modern sources such as CDs, DVDs, digital high-resolution music files, and Blu-ray Discs maintain full stereo separation to below 20Hz. Summing the channels into a single subwoofer reduces or cancels all the low-frequency information containing phase differences between the channels. Stereo subwoofers reproduce all of the bass information complete with the phase differences that help provide the imaging and location cues we use to place people and things at distinct points in the sound field. Stereo subwoofers also improve linearity on mono as well as stereo sources by coupling the bass to the room at two points and lend themselves to natural placement near the corners where low frequency room gain is often desirable.

    Because of the inherent design of the 2Wq subwoofer.....they work optimally with 'full-range' speakers rather than as 'satellites'.


    • Vandersteen M5 Active High-Pass filter
    These really do offer slightly more transparency than the dedicated in-line filters (which can only be inserted in single-ended mode).
    • Voodoo Audio Isopod Isolation System
    A recent revelation on the Audio Forums has been the fact that 'spikes' (under speakers, electronics and sources) may not 'decouple' as original thought.....but actually may 'couple'.....!
    So after nearly 40 years of using spikes under my speakers.....I replaced them with the magnetic decoupling Isopods.
    So impressed was I with the improvement....I did likewise under the Vandersteen Subs.
    • Marantz ST-17 Tuner
    Adequate for my purposes.
    • Nakamichi BX-100 Cassette Deck
    Also adequate for my purposes....
    • Audeze LCD-2 Magnetic Planar Headphones
    I bought these directly from Audeze when they first hit the market and there was a 3 month waiting list.
    As good as the 'vibe' was at the time about these.....headphone listening for me, is such an unsatisfactory experience compared to the multi-dimensional involvement with my speakers, that I rarely listen.
    • Schiit Audio Lyr Valve Headphone Amp
    Bought a little later than the Audeze headphones (because the inbuilt Halcro headphone amp couldn't adequately drive them).....I'm happy with its performance.
    • Hannl Mera EL RCM
    Bought from TW Acustic at the same time as the Raven AC-3 turntable....this is an excellent German-made unit.
    Used with my hand-held steam cleaner (rather than using fluids)....the results are as good as the latest $6000 ultrasonic cavitation machines.

Comments 28

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awesome ! consider joining us on the vandy owners forum. your extensive analog experience would be a super valuable contribution. what’s your read on the Signet 7 ? we were a dealer back in the day ;-) best to you 
Jim

tomic601

Owner
Hi Lohanimal,
Sorry I just saw your Post now.....
A'Gon don't send notifications when someone comments 😡
The standard JVC rubber mat is poor....
It damps the sound far too much. Slows it down, muddies it and kills the high-frequency delicacies and transparencies.
Yes....tried quite a few cork mats.
Didn't like them as much as some leather and suede ones and certainly the Victor Pigskin trumps them all.....

halcro

Hey halcro - whats's the standard jvc tt101 mat like - did you need a rubber rejuvenator  on it?
Have you tried a cork mat

lohanimal

Owner
I have many favourite cartridges (like all those described above).
Add to that list the Victor X-1 and X-1II, Grace Level II (beryllium), Grace Level II (ruby), Shure Ultra 500.
Each cartridge is matched to a particular arm and each arm is matched to a turntable.
So to pick a favourite combination is not particularly fair.
My favourite turntable is the Victor TT-101 DD.
My favourite arm is the Fidelity Research FR-66S.
My favourite cartridge is the AS Palladian.

halcro

what's ur favourite tt arm cart combo?

parrotbee

I’m sure Taiko could do 240V no problem. And all the work to convert for the new PSU is trivial, simply taking off the base plate and unscrewing the old PSU, a half hour at max, so no need for you to ship off the Herzan. 

Swapping out the top plate if you want that as well is somewhat more involved as it involves a complete disassembly of the Herzan but they provide good instructions and I was able to manage it despite initially losing a key screw. 

Taiko price and sell In Euros so if it’s at all interesting do drop them a line!

folkfreak

Owner
I'm really envious Folkfreak as everything I've read confirms your statements.
It's just not practical for me to send such a heavy article back to the States and then pay to have it shipped back.....
And the AUS$ to US$ exchange rate is crippling at the moment 🤯

My Herzan is made with 240V power supply so I don't know if the Taiko people have a unit for that...?

halcro

Henry. Not sure if you’ve had a chance to check out the Taiko Audio Power Supply upgrade for the Herzan? Really high quality work and great people to work with plus the improvement in sound is very impactful.

folkfreak

Henry, the 320 LPM STR makes a much clearer, and better presentation than the 415. For what it's worth, the CD player has had very little use since the 320 has been in service, which says a lot, as I'm a bit lazy, and listen to my Esoteric DV 60 most of the time, which is good, 'cause anything that gets me off my butt is a fine thing! 

Regards,
Dan

islandmandan

Owner
Hi Dan,

Thanks for that update on the LPM 320 STR.
I must admit that I found the LPM 420STR an improvement over the 415....but all reports echo that the 320 is even better...?

I suspect that perhaps the improvements you are hearing are in the better presentation of the high-compliance MM cartridges over the low-compliance MCs in the DV-501 tonearm...?
I have heard this phenomenon with all the MMs in this arm....

Are there significant differences you can hear between the 415 and the 320....?

Regards
Henry

halcro

Hello Henry, 

I'm ready to report my findings regarding any difference between the LPM 415 cartridge and the LPM 320 STR Acutex carts.
I finally got around to setting up the Acutex LPM 320 STR cartridge today, and it proved its reputation, and in much better fashion than it ever had. The LPM 415 STR was in use last night, and I ended that session with side one of Chopin's Grand Fantasy on Polish Airs, Andante spinato and Polonaise Brilliant, and Variations on 'La ci darem la mano' Krakowski, by pianist Alexis Weissenberg.

This is a superb recording-I listened to side two with the LPM 320 STR this afternoon (using my SET 300B amp, and kit-built Transcendent Sounds GG preamp). I've never heard this LP sound as good before, and I thought I have two good MC carts, but this was something special. Next came Liszt's Mountain Symphony, a long time favorite which also was treated to the same quality of playback.

I'm not exactly sure why things improved so much with the two Acutex carts, I wasn't impressed too much by them before, must be better set up. I'll have to reassess my small  list of cartridges in their order of performance. I never would have expected this. Perhaps my six week rebuild of my plinth made a small difference? 

Regards,
Dan

islandmandan

Henry, I appreciate so much your positive comments re my system. I get nearly as much enjoyment from my own limited DIY efforts as I do listening to them.

Your speakers appear to be one-off too, I haven't seen any others like them. My Tannoys, besides the outboard crossovers, were built to my specifications by Frank Wyatt in Pennsylvania. The drivers were converted to hard edge surrounds, to get rid of the floppy self-destructive foam surrounds, which would disintegrate after 15 years or so. This helped the bottom end, and the mid-range as well.

So, I'm set for as long as I can hold out (TBD). May you live long and prosper too!

Regards,
Dan

islandmandan

The mod will be done in person here in Oregon when one of their reps is in the US, the same guy that worked on Mike Lavigne’s system. The alternative approach if you are not able to arrange a visit is to ship the Herzan to them for the work, I think turn around is just a few weeks.

I’m actually thinking that the main benefit comes from the power supply upgrade (which is where the $$ are) rather than the top plate. They can make the top plates to any size you need so if you wanted one to fit your custom setup that shouldn’t be an issue

folkfreak

Owner
Thank you for your (too) kind words Dan.....🤪
Looking through the careful choices you have made in building YOUR system......it has EVERY right to sound wonderful.
I'm particularly impressed with your outboard specifically designed speaker cross-overs. The differences high-quality capacitors and simple first-order cross-overs can make to the sound of a speaker, is largely underestimated I feel.
The intriguing thing I have found with the DV-507 MkII (which is essentially the same as your DV-501) is how wonderful it sounds with all my high-compliance MM cartridges.
Even better than with the heavy LOMC cartridges which you would think it was purposefully designed for....? 🤯
Contrary to common audiophile belief......I have found many highly esteemed modern arms to simply 'fall apart' (sonically) when faced with the task of supporting high-compliance MM cartridges.
It probably indicates the low priority these types of cartridges held in the actual design of these arms.
I have rid myself rapidly of all the arms that revealed their inabilities under the MM tests....🤬

The 320 LPM STR has a starry-eyed reputation even better than the 420 LPM STR which sounds wonderful in my system.
Your system I'm sure, will reveal its achievements over the 415...Please keep us informed 😃

Once again, thanks for your kind words and....being the same age as I am.....I hope we both continue to enjoy our respective systems for some years to come...👍

Regards
Henry

halcro

Owner
Folkfreak,
Yes...I've been reading about the Taiko Tana mods on WTB Forum and I can see how the wood base on top of the standard aluminium would be an improvement.
Unfortunately i have a custom sized aluminium top-plate (you can see the overhanging two sides) and being in Australia....I don't know how Taiko Tana can perform the mods?
How are they doing it for your existing TS-150?

halcro

Halcro, after perusing your incredible system, it make me think my system has no right to sound good, yet it does, consistently, day after day, year after year. Got to hand it to you though, you have one of the finest systems in all the world of audio.

I felt some sense of verification when I read what you have to say about the Dynavector 507 MK II. I use the Dynavector 501, and love it. The other day, I decided it had been too long since I'd heard any of my Acutex carts. After swapping in the Acutex 415 STR LPM, I was enjoying it, but I realized something was wrong. It dawned on me that I had changed my pivot to spindle distance to make wiring cartridge leads easier, and hadn't got around to setting either of my Acutex's up for that change. 

After that was done, I couldn't believe what I was hearing from the 415 LPM STR. I don't remember it ever sounding this good before. Now, I'll have to set up the 320 III LPM STR, and give it a listen. You wouldn't think such slight cartridges would perform so well on such a massive arm,  yet they do.

I know you are enjoying your system, you have made it so you almost never run out of choices in how you are going to enjoy it on any given day

Well done, regards,
Dan

islandmandan

Halcro - not sure if you’re aware of the Taiko Tana Herzan mods, I’ve got some on order having already experienced how upgrading the power cord on my TS-150 improved things despite my not expectations no it to 🤔. As well as the PSU upgrade the new top plate is supposed to deal with higher frequency vibrations above the effective range of the Herzan

folkfreak

Halcro,
I actually found a TK-7CLa our of Canada, lucky me! In my system, the journey's still out if I like the TK-7SU or the TK-7CLa better. But...they are both absolutely amazing.  I'll buy another Yamamoto HS-4.

You're always costing me money.....

jeff1225

Owner
Sorry Jeff,
A'Gon doesn't notify when someone posts on a Virtual System Page.....
Big oversight for this Forum.

Are you telling me Jeff....that you actually found a TK-7LCa 👅❓
If you have.....congrats 👏

I have my TK-7LCa mounted in my best arm...the Copperhead 
Which doesn't have a removable headshell.....but as I've discovered with most of my other cartridges......the Yamamoto HS-4 Carbon Fiber shell, seems to maximise the performance potential of any cartridge I've tried in it 👍

halcro

@halcro what is your favorite headshell with the Signet TK-7Cla?

jeff1225

Haha! For almost ten years I've been following your system, I never thought your records were behind the cabinet. 

 

jeff1225

Owner
https://i.imgur.com/gZ7zLvJ.jpg
Thank you for the kind words Jeff,
I'm so pleased you like the TK-7SU. It's amongst the best.

It seems you have enjoyed the 'revelation' of the headshells.....
I'd be interested in your opinions on them and especially how you find the Yamamoto HS-4 Carbon-Fiber sounding?

Oh...and at the top is a Link to my most played 700 records.
The rest are in various cupboards and shelves scattered around the house.....

Regards
Henry

halcro

Oh....and where's my pic of the record collection!?!?

jeff1225

Thank you Halcro, you've given me some great advice over the years regarding MM cartridges. I just purchased a Signet TK-7SU and it is among my favorite cartridge, I'm still looking for the coveted TK-7CLa. 

I also have both Yamamoto's, NOS SME and the heavy Audio Technica LTLH-18. The Signet TK-7SU sounds best in the Audio Technica headshell, much better than the light metal SME headshells.

It's a wonderful hobby and you personally have added to my enjoyment, thank you from California!

jeff1225

Owner
Thanks Jeff,

I think headshells (and headshell materials) have the most significant affects on the sound of any cartridge......even more than the choice of arm.
It is truly a pity that the vast majority of audiophiles will never appreciate this fact due to the 'brain-washing' propaganda  of the 'High-End Mafia' who insist that detachable headshells are a fatal flaw in rigidity and electrical connectivity.
I've had many tonearms with integral headshells (and still have the Copperhead).....and the only differences that can be heard are due to the quality of the arms themselves and the headshells employed.

Having said that.....it is also a pity that the majority of 'detachable-headshell users' just stick with the plain old metal shell that came with their particular tonearm.
There are vast differences in rigidity, structural integrity and performance levels between all the metal headshells I've listened to.
But until you listen to all the other headshell materials like wood (all different densities and properties), ceramic, titanium, plastic (or plastic/metal composite) and carbon-fibre.....you won't discover that 'metal' headshells are rarely the best sounding for most cartridges.
And yet almost every tonearm manufacturer (with fixed headshells) resorts to metal as the default solution....
The Yamamoto HS-1A Ebony and the Ortofon LH-8000 are amongst my favourite of the wood shells but have been surpassed recently by my discovery of the astounding Yamamoto HS-4 Carbon-Fiber shell.
There really isn't a cartridge I own that doesn't sound significantly better in this headshell.

And then there's the much maligned Fidelity Research S-3 (plastic and metal composite) designed specifically for the heavy FR-64s and FR-66s series of tonearms.
The synergy of this shell and arm combination is never beaten in my system...even by the Yamamoto HS-4 Carbon-Fiber.
And it doesn't matter whether you use a light-weight high-compliance MM cartridge or a heavy low-compliance LOMC....this amazing shell will have it sounding its best.

Thanks once again for taking the time to comment....

halcro

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