Great pictures and congratulations again. Thanks for the listening notes. As you do get to the critical listening stage, let us know what recordings your listening to and what you are hearing / feeling. I'm very excited for you! All the best.
A Visit to AudioArts - NYC to hear CH Precision - FM Acoustics - Zellaton
- Thread starter rsorren1
- Start date
Great pictures and congratulations again. Thanks for the listening notes. As you do get to the critical listening stage, let us know what recordings your listening to and what you are hearing / feeling. I'm very excited for you! All the best.
Nice pics Sterling!
For the FM fans, Steve from CNET had a short piece about the FM setup at Audioarts.
https://www.cnet.com/news/we-listen-to-an-audio-system-costs-as-much-as-a-ferrari/
For the FM fans, Steve from CNET had a short piece about the FM setup at Audioarts.
https://www.cnet.com/news/we-listen-to-an-audio-system-costs-as-much-as-a-ferrari/
Next Visit to AudioArts Planned
All, I will be in NYC in early February and I've made an appointment for my next listening session at AudioArts. Have a look at what I will audition here:
http://www.monoandstereo.com/2017/01/zellaton-statement-speakers-at.html
Gideon told me I would be hearing the Zellaton Statement, FM Acoustics electronics, CH Precision digital, Brinkman TT, Fuuga cartridge, Schnerzinger cables. This should be interesting and I will report back. I'm really eager to hear the Statements and to understand the Schnerzinger technology that is embedded in the speaker. Stay tuned!
All, I will be in NYC in early February and I've made an appointment for my next listening session at AudioArts. Have a look at what I will audition here:
http://www.monoandstereo.com/2017/01/zellaton-statement-speakers-at.html
Gideon told me I would be hearing the Zellaton Statement, FM Acoustics electronics, CH Precision digital, Brinkman TT, Fuuga cartridge, Schnerzinger cables. This should be interesting and I will report back. I'm really eager to hear the Statements and to understand the Schnerzinger technology that is embedded in the speaker. Stay tuned!
Rsorren1, Do you only visit AA's when in NYC? Would love for you to stop by as I am only a few blocks from Gideon. Not to buy anything, just for a listen.
If you do visit other shops then you are cordially invited.
Thanks Bob. I actually visited your shop a few years ago with a friend. Thanks for the invite.
Interesting and sorry, I did not make the connection. Come back for another visit if your schedule allows. Have you heard MQA being fully HW decoded? All the best.
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Nack has a new review out of the CH P1
http://positive-feedback.com/reviews/hardware-reviews/ch-precision-p1-phono-stage/
I have not yet tried or even seen the new CH support discs that are mentioned near the end of the review. Any other CH owners tried or heard these?
Chris
http://positive-feedback.com/reviews/hardware-reviews/ch-precision-p1-phono-stage/
I have not yet tried or even seen the new CH support discs that are mentioned near the end of the review. Any other CH owners tried or heard these?
Chris
Chris, I saw the Marshall Nack P1 review. I found it interesting the way that Marshall Nack compared several excellent phono stages. My Sperling L3, arm, Fuuga cartridge, Swiss Cable interconnect, HRS stand AND the CH Precision P1/X1 are in! AudioArts is sending Mike Trei to install everything later this week. I'll add some pictures and listening notes. I have the black CH support discs that Marshall described. They came with my P1/X1. I can't tell if they made a difference yet because I have only one set in use now under the P1/X1.
My analog journey begins...again. I've not had a turntable in 21 years. Big mistake when we built the house. Our music room is over the garage and the floor is not nearly solid enough to put any turntable on any stand. I tried several times in the past unsuccessfully and just gave up. Last year when I began visiting AudioArts, NYC, I heard the Sperling L3, TA-1 arm, and Fuuga cartridge. I really enjoyed what I was hearing through the L3/Fuuga/FM Acoustics 122 phono stage. The sound was very dynamic, natural, open, rich. I would love to have this type of presentation in my room. I discussed the problem of the floor with Gideon. He suggested that when I was ready to move forward with an analog front-end, the problem could be overcome by a wall shelf of proper dimensions and sturdiness to hold the L3. The Sperling weighs over 80 lbs. When the CH Precision P1 was introduced the dream of a turntable in the room became even stronger. That's when I turned to our home builder and still good friend, Mike Kirlin, Kirlin Custom Homes. Mike dropped by and we discussed what I was attempting to do and what was needed. The result is the wall shelf in the picture above. It's made of maple and bolted to two studs with 5" stainless steel lag bolts. On the back of the shelf, Mike had his carpenter glue a rubbery material that is used when installing air conditioners that he swears will outlive me, helps to dampen vibrations and takes up the space between the shelf, supports, and the unevenness of the wall. It is painted "Kirlin Beige" to match all of the trim in our home, a custom color Mike used when he built our home in 1995. Now all we need is the table and a phono pre-amp.
As documented earlier in this thread, AudioArts arranged for a P1 to be auditioned at a good friend's house here in TX. When I heard what was possible with analog, I was really hooked again. I spoke with Gideon and ordered the P1/X1, Sperling L3 tt, TA-1 arm, Fuuga cartridge, Swisscable interconnect, and an HRS to support the P1/X1. The arrangement he offered was similar to the original arrangement we had: if I don't like the Sperling / Fuuga, I would have to pay for the shipping back to NYC AND pay of the travel and set-up fee since Gideon was sending Mike Trei from NYC to Dallas for the installation. I agreed to the terms which included payment due on acceptance but no later than a certain date. Nice. We both had an investment in the success of the project but Gideon was certain. He told me when the table is set up properly, it will "rock your world of what you thought was possible in your room".
It took what felt like forever to get everything here from Germany, Switzerland, and upstate NY. Mike Trei showed up this past Thursday for the install. When he finished, he listened to a few of his reference tracks on LPs he brought with him, made several adjustments and declared the set-up ready for my final tuning. What will I play first?
I have about 250 LPs that I've kept through the years in a closet in the back of the music room. First up was the original DG, Pollini, Chopin Preludes, Etudes, Polonaise four LP set. I selected Preludes Op. 28, #1. Mike asked me what I thought after listening to the first two Preludes. I couldn't answer. It's been 21 years since I played that album in our music room and the differences between it and the countless number of digital versions I've heard was so large I didn't know where to start or what to say. Next up was an original A&M Cat Stevens "Teaser and the Firecat". The album is in pretty rough shape but certain cuts are good. "The Wind" was so open, rich, present, musical, real, again not able to really help Mike with what he was asking me; do you want a little more of this a little less that? No response. Third was an original three LP set of the Linda Ronstadt sessions with Nelson Riddle. It's totally stunning. Overload. We decided to break for dinner. I took Mike to a wonderful TX BBQ place called Smoke. If you're ever in Dallas, try it. Over dinner we discussed how Mike could slightly change what we were hearing with adjustments to different parameters of the turntable/arm/cartridge. After dinner we used the Ronstadt cut Bewitched, Beguilded and Bewildered to test the changes. We settled on the set-up I now have.
I'm starting to understand what those of you who own turntables have written here on WBF related to the differences between your analog set-up and digital. The CH Precision D1/C1/X1 is truly one of the best digital from-ends I've ever heard anywhere and definitely the best I've ever had in my room. But the turntable is so different. Just played an original ABC Records Steely Dan Aja in mint shape. Still having trouble describing what I'm hearing. All I can say is "That's it!" Many thanks to AudioArts, Mike Trei, Kirlin custom homes. Gideon is right. My audio world is now officially rocked!
congrats Ralph, on your re-connection with vinyl. you have some beautiful gear there. and nice elegant solution to your floor issue.
enjoy!
Congrats Ralph!
That Sperling armboard looks like some serious precision in terms of dialing-in / adjustability.
Enjoy for many years to come.
Chris
That Sperling armboard looks like some serious precision in terms of dialing-in / adjustability.
Enjoy for many years to come.
Chris
Congratulations Ralph! The table looks stunning. And, based on your reaction, it must sound fabulous.
Like you, I recently purchased a turntable (VPI Avenger). It had been 18 years since I sold my Linn LP-12. Unlike you, I sold all of my albums so I've been buying a lot of LPs.
Next time I'm in Dallas I'll give you a call. Carmen and I would love to see you guys again.
Enjoy the music!
Mike
Like you, I recently purchased a turntable (VPI Avenger). It had been 18 years since I sold my Linn LP-12. Unlike you, I sold all of my albums so I've been buying a lot of LPs.
Next time I'm in Dallas I'll give you a call. Carmen and I would love to see you guys again.
Enjoy the music!
Mike
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Hey Ralph, big congrats.... that table looks great and from what you describe it sounds great too.
Great solution sorren, congrats! Nothing like these (too infrequent) gear epiphanies. What made you choose the Fuuga over other mc's, is your analog now as fast as at AA? I'm considering the P1 to add to my chain but truthiness is: my time is presently too limited for the ritual that good vinyl requires. For now I am focusing on digital, which through the C1/L1/X1/, is divine. Considering a Schnerzinger digital xlr to keep rest of the powder dry until an analog upgrade like yours.
Thanks, Mike Lavigne, Tunes, MJB, GShelly, jfrech.
Kinch, thanks. To answer your questions: I started to become interested in the Fuuga after hearing it at AudioArts. The other cartridges in my consideration were both Lyra; Etna SL and Atlas. I've heard the Lyra cartridges at a good friends house many times and at a local Dallas dealer - Audio Concepts. They are excellent and have exceptional dynamics (speed). The Fuuga also has exceptional dynamics; so yes, I hear the same "speed" in my system at home as I heard at AudioArts. What interested me most was the way the Fuuga integrated well with the Sperling L3/TA1 and the FM Acoustics electronics. Great bass, extraordinary detail, it produced smooth high frequencies with no grain. I heard a performance of Ikuyo Kamiya playing Beethoven's Apassionata sonata at AudioArts that really made me take notice of the total system. Best dynamics on piano reproduction I've ever heard and the piano sounded beautiful. Johnny Hartman vocals were "fool you real". I figured if I was going to try the Sperling I might as well try it with the Fuuga since this was the analog system that impressed me. The total system works so well with the CH Precision P1/X1/L1. I understand your point about vinyl not being convenient. True, but so far it is worth it! I can't recommend the CH Precision P1 enough. Exceptional piece. As far as digital front end - we both enjoy the C1/L1/X1 digital chain. You are right again, DIVINE. Let us know your thoughts on the Schnerzinger cable.
Kinch, thanks. To answer your questions: I started to become interested in the Fuuga after hearing it at AudioArts. The other cartridges in my consideration were both Lyra; Etna SL and Atlas. I've heard the Lyra cartridges at a good friends house many times and at a local Dallas dealer - Audio Concepts. They are excellent and have exceptional dynamics (speed). The Fuuga also has exceptional dynamics; so yes, I hear the same "speed" in my system at home as I heard at AudioArts. What interested me most was the way the Fuuga integrated well with the Sperling L3/TA1 and the FM Acoustics electronics. Great bass, extraordinary detail, it produced smooth high frequencies with no grain. I heard a performance of Ikuyo Kamiya playing Beethoven's Apassionata sonata at AudioArts that really made me take notice of the total system. Best dynamics on piano reproduction I've ever heard and the piano sounded beautiful. Johnny Hartman vocals were "fool you real". I figured if I was going to try the Sperling I might as well try it with the Fuuga since this was the analog system that impressed me. The total system works so well with the CH Precision P1/X1/L1. I understand your point about vinyl not being convenient. True, but so far it is worth it! I can't recommend the CH Precision P1 enough. Exceptional piece. As far as digital front end - we both enjoy the C1/L1/X1 digital chain. You are right again, DIVINE. Let us know your thoughts on the Schnerzinger cable.
Sunday visit
On Sunday I had a chance to get in to visit Gideon at AudioArts for most of the day. First off let me express how gracious and generous Gideon was with his time, especially considering it was a Sunday.
My previous visit to AArts was in Fall of 2014 and there have been a number of changes to the studio since then, most notably, new floors. It is a beautiful and uncluttered space, and the view out the window onto 5th Ave and the Flatiron building are not so bad either
Had a quick scan of the assortment of spectacular gear on static display (thoress phono enhancer, le son DAC, thorens mk1 and mk2 idlers, zellaton stages, etc) and then settled in for an extended demo of the new Stenheim Five speakers. System consisted of fm acoustics amp, pre, phono, with brinkmann table for vinyl and CH D1/C1 for digital.
The Stenheim's are heavy but not large nor imposing. They have a dual front ported design and are apparently very room friendly. They sounded fantastic, and excelled at vocal tonality, great tight bass, and superb soundstage depth. When i last visited, i listened to the Stenheim alumine 3 and was very impressed with them in the smaller listening room at AArts. The Fives have the advantage of easily pressurizing Gideon's larger listening space and are more dynamic on flamenco for eg., and reach considerably lower and present more fully on electronic music.
They also happen to be gorgeous, finished beautifully with no visible hardware except on the rear. One of the reasons i have been interested in hearing these since their introduction at the Munich show last spring is their ability to be run well with any amps. Rated at 94, so low power SET or high current SS are no prob. We did not have time to swap in the thoress tube amps on this visit but listened with the FMA 711.
The Fives are understated but incredible.
Gideon then shifted the Fives out of position so we could listen to AArts recent arrival, the Zellaton Statements.
I had seen the photos of these from shows but in the flesh they are absolutely stunning. Really impeccably finished, right down to the fine precision, heavy duty outrigger adjustable feet and internal proprietary schnerzinger system. These are serious beasts though, about 6' and heavy, though i can't exactly recall how many pounds.
I've heard the smaller emotion and grand Zellaton models before and they are very good but they did not prepare me for this. The Statements sounded truly awesome. Super fast, detailed but not etched or fatiguing, the sense of scale was mind-blowing, upright bass presented as really the full height of a bass, flute and piano sounded as if they were real instruments in the room. The sound was fully immersive and airy, but not falsely holographic immersive - absolutely spooky real.
On a couple of my electronic demo tracks, the layers of soundstage depth were astounding. Maybe not as deep a soundstage as presented by the Fives but the nuances were amazing and the Statements presented a far wider soundstage. I have several pics and a video clip that I'll try to figure out how to upload to the thread shortly.
While the Statement is not within any stretch of my budget, nor would i be able to fit it in my space, it was a truly magical experience to hear it with top-flight electronics in a beautiful listening room.
If you are in NYC or have a chance to connect with Gideon to arrange a visit before these Statements and Fives are gone, I would highly recommend it.
Chris
On Sunday I had a chance to get in to visit Gideon at AudioArts for most of the day. First off let me express how gracious and generous Gideon was with his time, especially considering it was a Sunday.
My previous visit to AArts was in Fall of 2014 and there have been a number of changes to the studio since then, most notably, new floors. It is a beautiful and uncluttered space, and the view out the window onto 5th Ave and the Flatiron building are not so bad either
Had a quick scan of the assortment of spectacular gear on static display (thoress phono enhancer, le son DAC, thorens mk1 and mk2 idlers, zellaton stages, etc) and then settled in for an extended demo of the new Stenheim Five speakers. System consisted of fm acoustics amp, pre, phono, with brinkmann table for vinyl and CH D1/C1 for digital.
The Stenheim's are heavy but not large nor imposing. They have a dual front ported design and are apparently very room friendly. They sounded fantastic, and excelled at vocal tonality, great tight bass, and superb soundstage depth. When i last visited, i listened to the Stenheim alumine 3 and was very impressed with them in the smaller listening room at AArts. The Fives have the advantage of easily pressurizing Gideon's larger listening space and are more dynamic on flamenco for eg., and reach considerably lower and present more fully on electronic music.
They also happen to be gorgeous, finished beautifully with no visible hardware except on the rear. One of the reasons i have been interested in hearing these since their introduction at the Munich show last spring is their ability to be run well with any amps. Rated at 94, so low power SET or high current SS are no prob. We did not have time to swap in the thoress tube amps on this visit but listened with the FMA 711.
The Fives are understated but incredible.
Gideon then shifted the Fives out of position so we could listen to AArts recent arrival, the Zellaton Statements.
I had seen the photos of these from shows but in the flesh they are absolutely stunning. Really impeccably finished, right down to the fine precision, heavy duty outrigger adjustable feet and internal proprietary schnerzinger system. These are serious beasts though, about 6' and heavy, though i can't exactly recall how many pounds.
I've heard the smaller emotion and grand Zellaton models before and they are very good but they did not prepare me for this. The Statements sounded truly awesome. Super fast, detailed but not etched or fatiguing, the sense of scale was mind-blowing, upright bass presented as really the full height of a bass, flute and piano sounded as if they were real instruments in the room. The sound was fully immersive and airy, but not falsely holographic immersive - absolutely spooky real.
On a couple of my electronic demo tracks, the layers of soundstage depth were astounding. Maybe not as deep a soundstage as presented by the Fives but the nuances were amazing and the Statements presented a far wider soundstage. I have several pics and a video clip that I'll try to figure out how to upload to the thread shortly.
While the Statement is not within any stretch of my budget, nor would i be able to fit it in my space, it was a truly magical experience to hear it with top-flight electronics in a beautiful listening room.
If you are in NYC or have a chance to connect with Gideon to arrange a visit before these Statements and Fives are gone, I would highly recommend it.
Chris
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