Zero Distortion: Tango Time

dcc

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Great write up. Very informative as always.

Now that you are acquiring more and more vinyl, I reckon it is about time getting a turntable and a system that goes with it;)
 

bonzo75

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Great write up. Very informative as always.

Now that you are acquiring more and more vinyl, I reckon it is about time getting a turntable and a system that goes with it;)

Too much outflow at the same time. Cost of records keeps going up. Cost of gear comes down, at least used or due to the learning curve
 

spiritofmusic

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Ked, you're on course to be the very first audiophile, analoghead indeed, who will build up a very decent lp collection ahead of having a tt.

One could make an argument that this will be a Hell of an investment, better than any pension, especially in the unpredictable post-Brexit stormclouds.
 
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rockitman

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Time this is a very difficult question. Some are in the tang report. Unlike SME 3012r LP prices can reach a few thousand if published on WBF. You will have to sell your Sasha and Monaco, no jokes, to get some good LPs. The question then is whether you use those funds to focus on 10, 100, or a thousand LPs. You can follow auctions on vinyl_house_uk. I have never been able to win one there yet. It is not just knowing the LP, but the edition, matrix, and the credibility of the source. If you buy an ed1 and I buy an ed1, the two can sound very different.


yes..I have a few from them and also...sonnenbergrecords (out of UK)
 

Ron Resnick

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Lucky for me (and embarrassing for me as well since it reveals my shallow and limited musical taste) I like best only about a dozen classical pieces and about half-a dozen jazz pieces and about three dozen rock or pop albums. So I am happy to collect multiple copies of different performances and of different recordings and in different formats and in different versions of the same exact symphonies and jazz sessions. My goal is to get the very best recordings of the very best performances in the very best format regardless of cost because I have to (ah, want to) do this only for only about 50 titles.

This also is why the valid expense argument against getting into tape (e.g., "I do not want to have to spend $400 per tape X 500 or 1,000 of the performances I have on classical and jazz LPs") does not apply to me.

With respect to LPs Kedar and the General and others have persuaded me of the primary importance of the quality of the LP pressing (I am assuming that we are talking only about the most highly-regarded musical performances to start with). We are very fortunate to have on WBF the General who can guide us through the minefield of purchasing original pressings to maximize the vinyl replay sound quality of our systems.
 
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bonzo75

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I don't think originals will work in many systems. Some systems are not set up to play originals and will do better with digital or reissues. Of course people wanting volume should stick to reissues.
 

morricab

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I never do jazz. The Mark Murphy we heard there was awesome though.

I should have taken along a led zep LP. Didn't. And tang did not have any rock.

The bass seemed fine, had zero issues, or lack of thinness (like associated with CLX for example). If it is better with the subs I do not know since they have been moved and we could not play them, but after spending 4 days with Tang I trust his judgement
But without the subs the lower horn cuts off at what? 100hz...how were you getting any bass at all?
 

bonzo75

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But without the subs the lower horn cuts off at what? 100hz...how were you getting any bass at all?

David and Tang have heard with the bass driver on and off. They can explain better. The speakers are sufficient for tympani, cello, double bass etc. The crossover point to the bass driver might be at 100 but the speakers definitely go down below that. In fact David thinks they go down to 40. I know the CLX point is 55 and I find that not sufficient, thin sounding. I have been happy with speakers at 40

Point is they were sufficient to be enjoyable, not sound thin, and achieve the compare I came for. It is always good to know there is the option to alter / extend the bass in the right room or for the preference of the user. I suspect their bass horns will make them sound like the trios do with theirs, though for trios it will be more integral.
 
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DaveyF

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Lucky for me (and embarrassing for me as well since it reveals my shallow and limited musical taste) I like best only about a dozen classical pieces and about half-a dozen jazz pieces and about three dozen rock or pop albums. So I am happy to collect multiple copies of different performances and of different recordings and in different formats and in different versions of the same exact symphonies and jazz sessions. My goal is to get the very best recordings of the very best performances in the very best format regardless of cost because I have to (ah, want to) do this only for only about 50 titles.

This also is why the valid expense argument against getting into tape (e.g., "I do not want to have to spend $400 per tape X 500 or 1,000 of the performances I have on classical and jazz LPs") does not apply to me.

With respect to LPs Kedar and the General and others have persuaded me of the primary importance of the quality of the LP pressing (I am assuming that we are talking only about the most highly-regarded musical performances to start with). We are very fortunate to have on WBF the General who can guide us through the minefield of purchasing original pressings to maximize the vinyl replay sound quality of our systems.



Ron, with all due respect, I find it hard to believe that you just posted what you stated...

There are so many incredible albums of the various genres of music, that I personally think it could take a lifetime to hear all of this superb music. To narrow it down to just a few pieces, is IMO just absolutely nuts.

While there certainly can be a case made for the fact that there aren’t huge numbers of superbly well recorded pieces, although even those would number into the hundreds and possibly thousands, to minimize your exposure to all kinds of awesome music....well I just don’t comprehend that at all.
 
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asiufy

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To each their own. I sold all my Classic Records Genesis, though I might have one or two left. I thought it was too quiet and dull, like a bad MoFi. I might have an LP or two, but I clearly remember "The lamb" being terrible, my beat up old US reissue was livelier and more exciting to listen to. But enough digression for now :)
 

Tango

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I don't get tape. Tape sounds either not good enough or too good. Recordings made by Yarlung, Pong, Jonathan etc sound fantastic. I also do not like a lot of the music there. Sometimes classical sounds like jazz, too much in the room. But listen to Beethoven symphony tapes, and the ones I heard have been later generation, and quite poor in SQ.

Now, I did manage to compare some tapes of the exact same performances of the LPs. Did I have conclusions? No, except that the tape was quite better. I remember Steve played Oistrakh Scottish Fantasia on tape and I had the Speaker's Corner. While tape was better, I was quite happy with the LP (played on Techdas Zyx Lamm). Myles' Yarlung Janecki trio was just utterly fantastic (compared to other music on VPI, Atlas/Ortofon A95, Doshi). Both Myles and Steve, like Tang, have the Doshi tape pre.

I heard other Studers without tape preamps. I had mixed results. Some too analytical. Some not enough drive. Put the right tape on, which would usually be excellent sonics accompanied by poor quality music/performance, and the system would come to life.

Dcc played some tapes on his Studer, no tape pre, next to his Brinkmann Balance/Proteus/Allnic. Some were identical performances. The tape was just much more dynamic, better attack, higher dynamic range, better everything

What did we conclude except that when tape sounds better, it sounds better, irrespective of the analog set up, and when it doesn't it doesn't. I have never heard the two sounding very close, though people write about one of their cart sounds closest to tape. One veteran dealer in the UK claims the Proteus sounds closest to his Studer, and he also likes SPUs. DCC uses Studer and Proteus. Steve has Zyx next to his tape. Myles has Atlas and vdh. Tang reported that Atlas sounds closest to his tape. But then he told me that while playing Opus on one of the General's LPs, it sounded like Ed Pong's tapes.

Even at Mike's I was left a bit cold with his tapes, probably due to the music played on it, possibly due to lack of a Doshi pre, I cannot say. I enjoyed his analog so much more.

And the General's music is far far superior to anything on tape. So I am just not interested in tape. I have heard extremely few tape performances that can compete with good recordings from Heifetz, Oistrakh, Michael Rabin, Heimo Haitto, Rosty, Starker, Maria Yudina, Clara Haskil, etc and especially any of the big orchestras (never heard a good tape with their performance). There are so many other performers in Eastern Europe etc not covered by main labels. I am not interested in listening to cafe classical and cafe jazz tapes whose only objective is to make one's system sound impressive to visitors. So I like using these LPs for compare, and I like comparing carts to each other. Comparing them to tape makes them all sound sh*t or all sound better, depending on the tape.

Yes, if one can source masters or first generation of the great LP performances, that would be interesting. Or if someone could copy these LPs on to tape, and play that back through tape, that would be interesting. Maybe to do your compares you are using same sourced material, which I do not have.

I can guess that Lyra and VDH will have the closest dynamic and leading edge attack compared to tape, relative to the other carts.

Same here. My interest in tape is not that great because the musicians I like to listen to are not available on tapes. And ones that are available on tape that I have also have inferior sound to vinyls. I am even thinking that my tape front eventhough was helped set by Nick Doshi is not at its optimum. This is in my to do list to get the most out of my gears. The difference I hear now is not attracting me to buy more tapes at all. You didnt have time to compare my tape to vinyl. Given that now I know how you hear and listen after four days of listening together, I am quite sure you will say the same that listening Scheherazade through the Techdas vs A820, you will find the Techdas sounds even more exciting on this given piece. And if I throw the Piccolos into my system, I can even impress you make you stand up and dance on Scheherazade even more. No kidding.

Kind regards,
Tang
 

Steve Williams

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Same here. My interest in tape is not that great because the musicians I like to listen to are not available on tapes. And ones that are available on tape that I have also have inferior sound to vinyls. I am even thinking that my tape front eventhough was helped set by Nick Doshi is not at its optimum. This is in my to do list to get the most out of my gears. The difference I hear now is not attracting me to buy more tapes at all. You didnt have time to compare my tape to vinyl. Given that now I know how you hear and listen after four days of listening together, I am quite sure you will say the same that listening Scheherazade through the Techdas vs A820, you will find the Techdas sounds even more exciting on this given piece. And if I throw the Piccolos into my system, I can even impress you make you stand up and dance on Scheherazade even more. No kidding.

Kind regards,
Tang

something's wrong there Tang
 

Tango

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Ron Resnick

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Ron, with all due respect, I find it hard to believe that you just posted what you stated...

There are so many incredible albums of the various genres of music, that I personally think it could take a lifetime to hear all of this superb music. To narrow it down to just a few pieces, is IMO just absolutely nuts.

While there certainly can be a case made for the fact that there aren’t huge numbers of superbly well recorded pieces, although even those would number into the hundreds and possibly thousands, to minimize your exposure to all kinds of awesome music....well I just don’t comprehend that at all.

The fact that you have difficulty believing another person could have a view different than yours is a little scary to me.
 

DaveyF

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The fact that you have difficulty believing another person could have a view different than yours is a little scary to me.

When it comes to the appreciation of music, when i hear that someone has such an immensely limited scope in that regard, i have a difficult time believing it. Probably because I come from a musician's perspective. All musicians that I know appreciate ALL kinds of music...along with getting tremendous joy from being able to produce and hear all kinds of music. Where you come from clearly isn't that place....which is why I guess I have a hard time comprehending your point. Sorry if that is scary to you, it's not that I don't believe you, it's just your scope is so very very far from my perspective.
i guess it's all good....and like Alex stated above: 'To each their own'.
 
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Ron Resnick

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I hate all rap, all house and all hip-hop; all as in 100%. I do not like one single song in any of these three genres.
 
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DaveyF

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I hate all rap, all house and all hip-hop; all as in 100%. I do not like one single song in any of these three genres.

Ron, have you heard all of the many many RAP artists out there..?
For instance, the band Linkin Park comes to mind, they have an element of RAP and an element of pure rock...and I think they are a superb band. Have you heard all of their albums? I ask, as they have a fairly wide divergence of styles, based around RAP...and other musical styles....depending on what album you listen to. LInkin Park is just one example in the RAP genre, there are many more. Like I said, to me they are all good. Hip hop, for just one example...Drake...is very much to my liking, have you heard much/any of his music?
 

Ron Resnick

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Davey, you make a fair point. My prior statement was overbroad.

I should have written: “I hate every rap, house and hip-hop song I have ever heard.”
 
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DaveyF

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Ron, what you just stated is perfectly understandable. However, as I posted before, there is a huge library of music in this world...and if I were you ( which of course I am not) I might consider availing myself of it. You may be very surprised at the many nuggets you will be able to dig up. IMHO.:cool:
 

kodomo

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But without the subs the lower horn cuts off at what? 100hz...how were you getting any bass at all?

Well this is very interesting for me, actually it is more interesting than any comparisons done! I have the same driver and the same midbass horn which has the same profile and cutoff with Tang's Cessaro. Furthermore, my midbass driver has also been modded by hornfabrik Germany to work even better than the Gamma, and it does. I heard the comparison.

The Cessaro Gamma system without any drivers operating below the midbass horn would work down to 110hz and that is with the reactance annuled backchamber (again both Cessaro and my system has this chamber). This is a very high point to listen to most of the music. Even if they were corner loaded by the room, -6db point is around 70-90hz. Is there something else going on here? I would really like to know.
 
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