Tidal La Assoluta system
- Thread starter Audiocrack
- Start date
Last Sunday I picked up my audio components (of in total nearly 120 kg) in Germany after their cryogenic treatment: the cryogenic process of the first batch lasted 24 hours while the second batch (with more and heavier pieces) received a cryogenic treatment of 26-27 hours.
After my journey to and from Germany (all in all around 6 hours of driving) I added the first part of these newly treated items to the Tidal Audio LA system on Sunday and the second part yesterday.
So what did this combination of adding 18 new pure copper slabs and the cryogenic treatment of various audio components yield as final sonic result? Well, yesterday I particularly experimented with mass loading my Wadax reference server and Wadax reference dac and the results varied with (i) inserting more pure copper slabs and (ii) removing these pieces.
All in all the sonic differences for the better are very interesting and really profound: actually the sonic end results exceed my expectations and learned me - again - that are audio components are prone to so much more distorsion than we think (or at least what I thought initially). And - but that is not new of course - solid mechanical isolation is utterly important.
As was to be expected I experience better dynamics, more command and not only a deeper but also a more articulate bass / low end. The dynamics I am able to achieve with a tube amplifier of ‘only’ 20 (push pull) watts in combination with my Tidal Audio LA’s are stunning.
In addition the sound is more open than ever before while the various musicians / instruments are also better separated in space than I have ever heard in my life. Furthermore the music presentation has become more (i) transparent and (ii) fluid with added (iii) refinement, (iv) smoothness, (v) focussing and (vi) serinity. And due to the deeper and more articulate bass / low end the midrange has become fuller.
All this implies a big (sonic) leap forward. There remains only one area that in my view can and also needs to be bettered: the rendering of the high frequencies, that is I would like to experience somewhat more ‘fullness’ on top. But I know how this can be achieved: the high frequencies will be addressed in step 2 and step 3 of the final phase of optimizing my Tidal Audio LA system.
After my journey to and from Germany (all in all around 6 hours of driving) I added the first part of these newly treated items to the Tidal Audio LA system on Sunday and the second part yesterday.
So what did this combination of adding 18 new pure copper slabs and the cryogenic treatment of various audio components yield as final sonic result? Well, yesterday I particularly experimented with mass loading my Wadax reference server and Wadax reference dac and the results varied with (i) inserting more pure copper slabs and (ii) removing these pieces.
All in all the sonic differences for the better are very interesting and really profound: actually the sonic end results exceed my expectations and learned me - again - that are audio components are prone to so much more distorsion than we think (or at least what I thought initially). And - but that is not new of course - solid mechanical isolation is utterly important.
As was to be expected I experience better dynamics, more command and not only a deeper but also a more articulate bass / low end. The dynamics I am able to achieve with a tube amplifier of ‘only’ 20 (push pull) watts in combination with my Tidal Audio LA’s are stunning.
In addition the sound is more open than ever before while the various musicians / instruments are also better separated in space than I have ever heard in my life. Furthermore the music presentation has become more (i) transparent and (ii) fluid with added (iii) refinement, (iv) smoothness, (v) focussing and (vi) serinity. And due to the deeper and more articulate bass / low end the midrange has become fuller.
All this implies a big (sonic) leap forward. There remains only one area that in my view can and also needs to be bettered: the rendering of the high frequencies, that is I would like to experience somewhat more ‘fullness’ on top. But I know how this can be achieved: the high frequencies will be addressed in step 2 and step 3 of the final phase of optimizing my Tidal Audio LA system.
Last edited:
So yes, adding 18 additional pure copper slabs to my audio set up and cryoying quite a number of my audio components was a big sonic step forward. This was the first step in the last phase of upgrading the Tidal LA system.
In the second step I will add four of Tripoint Audio’s new signal filters. These filters can be ordered in two versions: a silver and a gold signal filter. Although I have not yet heard them ‘live’ I did experience a few a/b comparisons over the phone. The gold version sounded ‘fuller’ and more transparent than the silver version with - inter alia - more (i) command and (ii) serinity. So I opted for four gold signal filters.
Two of these new gold signal filters will be connected to my Tidal LA loudspeakers while the other two filters are ‘reserved’ for my Kondo g-1000i linestage and the Wadax reference dac (the main unit). To maximise their performance Miguel will built two new grounding cables for the Tidal LA’s as well as a short cable for the Wadax reference dac.
I will try to combine the gold signal filter for my preamp with one of the three Tripoint Audio’s statement grounding cables I am currently using.
Not sure yet when all these items will be ready but the delivery will take at least one month.
In the second step I will add four of Tripoint Audio’s new signal filters. These filters can be ordered in two versions: a silver and a gold signal filter. Although I have not yet heard them ‘live’ I did experience a few a/b comparisons over the phone. The gold version sounded ‘fuller’ and more transparent than the silver version with - inter alia - more (i) command and (ii) serinity. So I opted for four gold signal filters.
Two of these new gold signal filters will be connected to my Tidal LA loudspeakers while the other two filters are ‘reserved’ for my Kondo g-1000i linestage and the Wadax reference dac (the main unit). To maximise their performance Miguel will built two new grounding cables for the Tidal LA’s as well as a short cable for the Wadax reference dac.
I will try to combine the gold signal filter for my preamp with one of the three Tripoint Audio’s statement grounding cables I am currently using.
Not sure yet when all these items will be ready but the delivery will take at least one month.
If everything goes according to plan, I hope to receive three gold - se - signal filters from Tripoint Audio somewhere in the week after the Munich high end show (so in about two weeks). These are special - and as a consequence more expensive - versions of the Tripoint signal filter and therefore I will start with three (in stead of the four ‘regular’ gold signal filters I mentioned in my previous post). Two of these filters will be connected to my Tidal LA loudspeakers and the third one - a rca version - to my Wadax reference dac.
In addition I expect to welcome a completely new and special Tripoint Audio ground cable: this cable will be used for grounding the Wadax reference dac and will on one side be connected to the Tripoint Elite NG ‘grounding’ station and on the other side to the new rca signal filter.
Due to my very positive experiences with the - prototype - silver signal filter I expect a big sonic leap forward with these (four) additions. Will keep you posted.
In addition I expect to welcome a completely new and special Tripoint Audio ground cable: this cable will be used for grounding the Wadax reference dac and will on one side be connected to the Tripoint Elite NG ‘grounding’ station and on the other side to the new rca signal filter.
Due to my very positive experiences with the - prototype - silver signal filter I expect a big sonic leap forward with these (four) additions. Will keep you posted.
Last edited:
And this is the rather short but very special Tripoint Audio grounding cable that I will add to my Tidal LA system:
Audiocrack, I am in awe of your system. I try my best in my meager way to emulate some of what you are doing. recently i added a streaming system to my system. To say that I am pleased with my result is an understatement. My sonics are an order of magnitude better than my laptop/Jrivers to the USB input of my MCD12000. Please note that my power cord and AES/EBU cost more than the Rose 130RS itself. That's my meager effort for signal purity compared to what you are doing.
You mentioned vibration. I have discovered that although the sockets grab my EL509S output tubes quite tightly, because of my massive bass and overall sound, the output tubes can work slightly loose. As a result I have disposable vinyl gloves, and ever other listening session, I check the seating of my output tubes. This has resulted in 50% less tube failures and improved sonics. My 3500's set on 4 Heavy Pedestals each from Wilson and a granite slab. This is the best I can do with my funds.
But you are 100% correct. What good does it do to have a 100k piece of gear without ensuring to the best of your funding that the signal path is as distortion free and vibration free as possible.
All the Best
Charles
Charles Updated System: Wilson McIntosh Audioquest
Amps: McIntosh: MC3500MKII (2); MC1.25KW (2); MC2.1KW Anniversary
Preamp: C-12000 Anniversary
Sources: MCD12000 Anniversary; MVP881; MVP851; MR87; Marantz 510LV; Lenovo Yoga laptop
Speakers: Wilson Chronosonic XVX
Sub-Woofer: Wilson Thor’s Hammer; Wilson ActivXO Stereo Electronic Crossover
Cables Main System AQ: WEL Signature speaker cables; 24’ balanced IC; balanced 1-meter Dragon IC ; WEL Signature digital, Coffee digital coaxial cables; Diamond optical (2); Diamond USB; Dragon (5 HC, 3 source cords); Thunder & Monsoon power cords
Cables Subwoofer System AQ: Redwood speaker cable; Wolf balanced subwoofer IC; Wind balanced IC to ActivXO; Hurricane HC; Firebird HC; Firebird Source; Dragon HC, power cords
Power Conditioners: AQ Niagara 7000; Niagara 5000 (3); (4) dedicated 20-amp lines.
Streaming System: Hi Fi Rose 130RS Network Transport; Samsung internal SSD; Audioquest Wel Signature digital balanced 1-meter IC; Audioquest Diamond 1.5-meter USB cable; Audioquest Dragon 2-meter source power cord; HDMI cable 24’ for music videos
Isolation: Wilson Pedestals; Bassocontinuo McIntosh Ultra Feet; X-material plinth
Cabinet: Double Custom Woodwork & Design (CWD)
Acoustic Treatments: Room and Echo Tunes
You mentioned vibration. I have discovered that although the sockets grab my EL509S output tubes quite tightly, because of my massive bass and overall sound, the output tubes can work slightly loose. As a result I have disposable vinyl gloves, and ever other listening session, I check the seating of my output tubes. This has resulted in 50% less tube failures and improved sonics. My 3500's set on 4 Heavy Pedestals each from Wilson and a granite slab. This is the best I can do with my funds.
But you are 100% correct. What good does it do to have a 100k piece of gear without ensuring to the best of your funding that the signal path is as distortion free and vibration free as possible.
All the Best
Charles
Charles Updated System: Wilson McIntosh Audioquest
Amps: McIntosh: MC3500MKII (2); MC1.25KW (2); MC2.1KW Anniversary
Preamp: C-12000 Anniversary
Sources: MCD12000 Anniversary; MVP881; MVP851; MR87; Marantz 510LV; Lenovo Yoga laptop
Speakers: Wilson Chronosonic XVX
Sub-Woofer: Wilson Thor’s Hammer; Wilson ActivXO Stereo Electronic Crossover
Cables Main System AQ: WEL Signature speaker cables; 24’ balanced IC; balanced 1-meter Dragon IC ; WEL Signature digital, Coffee digital coaxial cables; Diamond optical (2); Diamond USB; Dragon (5 HC, 3 source cords); Thunder & Monsoon power cords
Cables Subwoofer System AQ: Redwood speaker cable; Wolf balanced subwoofer IC; Wind balanced IC to ActivXO; Hurricane HC; Firebird HC; Firebird Source; Dragon HC, power cords
Power Conditioners: AQ Niagara 7000; Niagara 5000 (3); (4) dedicated 20-amp lines.
Streaming System: Hi Fi Rose 130RS Network Transport; Samsung internal SSD; Audioquest Wel Signature digital balanced 1-meter IC; Audioquest Diamond 1.5-meter USB cable; Audioquest Dragon 2-meter source power cord; HDMI cable 24’ for music videos
Isolation: Wilson Pedestals; Bassocontinuo McIntosh Ultra Feet; X-material plinth
Cabinet: Double Custom Woodwork & Design (CWD)
Acoustic Treatments: Room and Echo Tunes
Last edited:
Hello Charles, thanks again for your very kind words. Looking at the impressive list of your components and the pictures you shared with us in another thread of WBF I think you are way too modest. I have no doubts whatsoever that you have assembled a mighty fine audio system!
And although I can fully understand that WBF members - who have never experienced the sonic impact of the thick / high quality copper slabs I am using as platforms as well as for massloading - might be somewhat sceptical, their positive sonic impact is (indeed) really profound.
That said - and of course all the members of our audiophile community know this - much more is needed to built an impressive or realistic sounding audio system. For example the (three) Tripoint Audio gold se signal filters - which I hope to receive at the end of next week - will be important as well because they will remove even more noise / distorsion than I have so far been able to accomplish.
And lastly I am still experimenting with and listening to various ultra high end cables (pc’s and ic’s) but that is something for another day to disclose.
Here's a couple of pic of my new streaming system. Seriously, nothing like your efforts at vibration isolation and noise reduction, but nevertheless somewhat effective, because I have no audible noise at 100% volume. Last night I was listening to a Planxty concert, Live at Vicar Street, on Rose Tube. To achieve the sound level that was pleasing I had to have the volume control at 100%. It made no difference at all. I stopped the concert several times, to see if I could hear any noise of any kind. I was listening at about 35 watts or a little more at 100% volume. I've never had to do this before. It was a bit scary.
Attachments
Last edited:
Audiocrack I appreciate your "like" very much. I view my system as a blue collar high end system. Yours is white collar. If I had the money I'd be following you . But I have a beautiful relaxed highly resolved immensely powerful sound that I never tire of. However, I know that if I heard your LA's, I'd be blown away, seriously.
All the Best and with Admiration,
Charles
All the Best and with Admiration,
Charles
As you all know the last high end show in Munich (as from next year the high end show will be organized in Vienna) ended last weekend. A lot of high end professionals from all over the world gathered in Munich and two of these professionals were so kind to pay me a visit after this high end show ended. Brandon Lauer of Wadax visited me yesterday, while Miguel of Tripoint Audio arrived last Monday at my hometown; Miguel and his wife stayed for two days in the Netherlands while Brandon arrived on Tuesday morning and left late in the afternoon.
I will later share my experiences with Miguel. As regards Brandon’s visit: it was very interesting to see his - step by step - method to optimize the settings of my Wadax reference dac and Wadax reference server. Brandon started with the dac and after he was satisfied with the dac settings he went over to the server. The (i) output gain, (ii) speed and (iii) input gain of the Wadax reference server can be dialled in separately. And that is exactly what Brandon did. While I understood from Roy Gregory’s review of the reference server that these three setting can / should be changed simultaneously (but possibly I am (completely) wrong in this regard and misunderstood Roy’s approach) Brandon worked with the various settings separately. Once he was done with one setting he started with another one and finally with the last one. Seeing Brandon’s approach provided me with a much better understanding of the importance of the various dac and server settings as well as their - significant - impact on the musical presentation.
See also posts 10 and 11 in the thread ‘Calibrating the Atlantis reference dac and server’, a thread started by Brandon. Thank you very much Brandon!
I will later share my experiences with Miguel. As regards Brandon’s visit: it was very interesting to see his - step by step - method to optimize the settings of my Wadax reference dac and Wadax reference server. Brandon started with the dac and after he was satisfied with the dac settings he went over to the server. The (i) output gain, (ii) speed and (iii) input gain of the Wadax reference server can be dialled in separately. And that is exactly what Brandon did. While I understood from Roy Gregory’s review of the reference server that these three setting can / should be changed simultaneously (but possibly I am (completely) wrong in this regard and misunderstood Roy’s approach) Brandon worked with the various settings separately. Once he was done with one setting he started with another one and finally with the last one. Seeing Brandon’s approach provided me with a much better understanding of the importance of the various dac and server settings as well as their - significant - impact on the musical presentation.
See also posts 10 and 11 in the thread ‘Calibrating the Atlantis reference dac and server’, a thread started by Brandon. Thank you very much Brandon!
Last edited:
Thank you very much, you are very friendly Charles. However, like all WBF members I am merely trying to assemble a good sounding audio system. So in my view I am doing nothing ‘special’. That said I really appreciate your kind words.
Not only Brandon Lauer of Wadax was so kind to pay me a personal visit but Miguel Alvarez of Tripoint Audio and his wife did as well. Miguel and his wife stayed for two nights in the Netherlands after traveling from Munich to my home. What did we do as regards - the Tripoint Audio - grounding my Tidal LA Assoluta system?
Well, as I have mentioned before in this thread I acquired three of the new signal filters after experimenting with a prototype rca silver version of this filter in combination with the Wadax reference dac. During my listening tests with this silver prototype version of the signal filter Miguel developed (i) a ‘regular’ gold version of the signal filter and (ii) a ‘special edition’ gold version of the signal filter. The latter employs higher quality internal wiring. Over the phone I heard the sonic differences between the silver and gold versions: the latter sounded clearly superior to the former so I decided to order three se gold signal filters.
During Miguel’s visit he initially connected two se gold signal filters to my Tidal LA Assoluta loudspeakers and one rca se gold signal filter to my Wadax reference dac. The two se gold signal filters for my Tidal LA loudspeakers are - each - grounded with pure silver Tripoint Audio grounding cables, while on the other hand the se gold signal filter for the Wadax reference dac is grounded with a much shorter but very special Tripoint Audio ground cable (I refer the WBF members who are interested to a picture of this ground wire in post 486 of this thread). After some intensive listening to these new three signal filters Miguel added a fourth se gold signal filter to the head unit of my Kondo G-1000i linestage and we grounded this fourth se gold signal filter with the same special Tripoint Audio grounding cable, albeit now with a length of one meter (Miguel had made this one meter grounding cable for the 2025 Munich high end show). After adding this fourth signal filter to the system I played a dxd (stereo) file of the second part (‘adagio un poco mosso’) of piano concerto no. 5 of Ludwig von Beethoven - performed by the Dutch pianist Hannes Minnaar and superbly recorded by Bert van der Wolf for Challenge Classics. Playing this piano concerto of Beethoven brought - literally - tears to Miguel’s eyes: he commented that he had never heard a (reproduced) piano sound so impressive, beautiful and realistic through an audio system.
Well, as I have mentioned before in this thread I acquired three of the new signal filters after experimenting with a prototype rca silver version of this filter in combination with the Wadax reference dac. During my listening tests with this silver prototype version of the signal filter Miguel developed (i) a ‘regular’ gold version of the signal filter and (ii) a ‘special edition’ gold version of the signal filter. The latter employs higher quality internal wiring. Over the phone I heard the sonic differences between the silver and gold versions: the latter sounded clearly superior to the former so I decided to order three se gold signal filters.
During Miguel’s visit he initially connected two se gold signal filters to my Tidal LA Assoluta loudspeakers and one rca se gold signal filter to my Wadax reference dac. The two se gold signal filters for my Tidal LA loudspeakers are - each - grounded with pure silver Tripoint Audio grounding cables, while on the other hand the se gold signal filter for the Wadax reference dac is grounded with a much shorter but very special Tripoint Audio ground cable (I refer the WBF members who are interested to a picture of this ground wire in post 486 of this thread). After some intensive listening to these new three signal filters Miguel added a fourth se gold signal filter to the head unit of my Kondo G-1000i linestage and we grounded this fourth se gold signal filter with the same special Tripoint Audio grounding cable, albeit now with a length of one meter (Miguel had made this one meter grounding cable for the 2025 Munich high end show). After adding this fourth signal filter to the system I played a dxd (stereo) file of the second part (‘adagio un poco mosso’) of piano concerto no. 5 of Ludwig von Beethoven - performed by the Dutch pianist Hannes Minnaar and superbly recorded by Bert van der Wolf for Challenge Classics. Playing this piano concerto of Beethoven brought - literally - tears to Miguel’s eyes: he commented that he had never heard a (reproduced) piano sound so impressive, beautiful and realistic through an audio system.
Last edited:
Likely some of our WBF members consider me a Tripoint Audio ‘fanboy’ and additionally will consider Miguel as being biassed. Therefore I take the liberty to quote Brandon Lauer of Wadax because when Brandon visited me Miguel demonstrated (the sonic impact of) his grounding technique by performing two a/b comparisons: firstly he disconnected the se gold signal filter from my Kondo g-1000i linestage and after a while reconnected it and secondly he disconnected the silver grounding wire from the two se gold signal filters on my Tidal LA Assoluta loudspeakers and put them back in place after a few minutes. These two ‘tests’ were done separately.
I asked Brandon how he experienced these a/b comparisons and he answered me (after his departure) as follows (quote): “The Tripoint was interesting for me to hear as well. It definately created a more organic presentation and quieter background. I felt the system produced a more effortless dynamic presentation as well. It was definately a benefit.” (end quote)
I asked Brandon how he experienced these a/b comparisons and he answered me (after his departure) as follows (quote): “The Tripoint was interesting for me to hear as well. It definately created a more organic presentation and quieter background. I felt the system produced a more effortless dynamic presentation as well. It was definately a benefit.” (end quote)
Last edited:
Here is a picture of the Tripoint Audio se gold signal filter on the back of one of my Tidal LA loudspeakers
Because of its positive sonic impact I decided in the end to add a fourth se gold signal filter to the Tidal LA system: so I am currently employing two for the LA loudspeakers, one for the Wadax reference dac and one for my Kondo g-1000i linestage.
Hi Audiocrack,
In the picture it looks like you removed the EMPRESS speaker grounding boxes when connecting the gold signal filter, and only the Tara Labs cables are connected to the speaker connection pins. Am I seeing this correctly?
You have razor sharp eyes: indeed I am currently only using the new Tripoint Audio gold se signal filters and I disconnected the Empress filters. Each signal filter is being grounded with a new Tripoint Audio double run silver ground wire, while I am employing a Tripoint Audio (special) triple run grounding cable for grounding the se gold signal rca filter that is connected to the Wadax reference dac. The se gold signal filter is together with one of my Taralabs Grandmaster loudspeaker cables connected to the - negative / minus - binding post on the back of my LA’s.
Last edited:
Similar threads
 | Steve Williams Site Founder | Site Owner | Administrator |  | Ron Resnick Site Owner | Administrator |  | Julian (The Fixer) Website Build | Marketing Managersing |