Aesthetix Io Users Group

OGH

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Oct 9, 2020
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Maybe you'll find that the Breathe deep...voice is anyway quite deep and chesty, and the treble is not so intruding, in this section? I haven't tried this cut wide open on 47 kohm, and now the Io is back in the rack - no more experiments for some week.
But I did try L Cohen First we take Manhattan on 47K, and in my system, with Atlas and Io, it sounded wrong. Lyra suggests that the Atlas should be run with some loading, in the region 1k to 300 or something, in the table in the manual. I think they are right. Come to think of it, it is a long time since I've run a cart on standard 47K. But who knows, maybe Audiquest4life or others get other results?
 
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audioquest4life

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Sep 23, 2020
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Come to think of it, it is a long time since I've run a cart on standard 47K. But who knows, maybe Audiquest4life or others get other results?
Yes, I do have different results with loading, and 47K seemed to work best for me with Benz LP, LPS, Sussaro MK2 and Hyperion. Although, I remember also going back and forth with the Hyperion for a while of 1K, 4.75K, 10K, and 47K until I settled on 47K. With the Air Tight Opus 1, it seems very happy at 10K or 47K. I am still experimenting with this, but for now, I am at 10K and it sounds great. I use these phono cables: Analysis Analysis Plus Silver Apex Phono Cable Plus Silver Apex: Silver APEX Phono Cable - Analysis Plus
 

oldvinyl

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Jun 3, 2017
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Specific Northwest - Seattle area
OGH
Trying to keep up, are you running your loading experiments with the Io straight or with a pre?

I don’t believe the Io is particularly immune to RF - you must take all precautions with it -up to and including moving the Io or other interfering equipment cell phones near by are a no-no

I hot jump the loads -volume down ,alternative input-they are shunts so no big deal- I also do this with tubes to quickly isolate noisey ones if they occur-same precautions

After my Eclipse mod all my loading is done internally on loading boards the external pin board on rear is disabled -still a pain but a lot easier than the rear apron - this is an upgrade to current production

Jim white really could do with an upgrade for creature comforts- a relay based loading switch that is remote controlled - it really wouldn’t take much to do lots of room in there and you could use the plate for the remote VC option to outboard it if necessary-you could add source switching with relays close to the input too for those of us that have it


I really believe custom umbilicals would be a big upgrade- I have bits of info on the umbilical config -even ordered the multi pin connectors. It would be a huge undertaking even with the schematic. I may poke around and get the blanks filled in —maybe someone out there has complete info- or. I may reach out to Aesthetix if I feel super ambitious
Kcin,

Yes - the custom umbilicals can add to the performance. I have a set made by Audience. Improved wire materials help. Also, the shielding of the wire pairs and the whole bundle can be done.

I would share the info - subject to permission from Aesthetix. I do need to respect their copyrights and patents.
 
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ScottB

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Feb 11, 2013
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918
Cincinnati, OH
I change my loading jumpers with the system on, just not when actively playing music.
I have an Etna and have tried loading starting at 450 and progressed upward from there. I think I tried all the steps between 500 & 1000 (750,800 & 900) and peaked above 1k to see what that is like. If I remember correctly, I settled at 1k. Naturally, this vary for each system and personal preference but is worth the hassle getting behind the IO to change jumpers. I do wish those pins where in groups of two or three with a space between them to make it easier to count.
 

audioquest4life

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Sep 23, 2020
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Naturally, this vary for each system and personal preference but is worth the hassle getting behind the IO to change jumpers. I do wish those pins where in groups of two or three with a space between them to make it easier to count.
I absolutely agree. I have a couple of circuit jumpers sitting underneath the Io because they slipped out of my fingers while I was fumbling around changing loading values. When I need to take the Io off the shelf for whatever reason, i will recover the jumpers that slid beneath the Io onto the shelf. I have used this method which helps some….know the pins start from 10 in the left and go down to 1. If I start with 10 by touching the pin, I can go over a few pins to the right and get to the next value without actually seeing the actual pin and insert the jumper. I can do this for about 3-4 pins to the right…the center becomes more difficult. You can do the same starting from the right and you can manually start from 1 and move left to the next values as needed as long as you don’t fumble and drop the jumper. Otherwise, slide out the Io or push the rack out at an angle to allow you to squeeze behind it. Because of recent back surgery, I am very careful about any movements.
 
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dan31

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Jul 22, 2010
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SF Bay
To change the loading jumpers on the back of my Io I use hemostats. Takes away the fumble factor for me. Obviously you need the space behind the rack but jumpers could be held at 90 degrees if it’s tight.
 

Tirebiter

Well-Known Member
Jan 10, 2018
117
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Golden CO
Thanks gents, this thread has been a treasure trove of information and once again, to the detriment of my bank account...I keep telling my wife that my audio addiction is cheaper than hookers and crack but suspect that she may not be all that certain any longer.

To the point, it took only nine pages here to sell the virtues of an Io and jumped on a Signature dual power w/o volume control I found for sale. The units have already been outfitted with Telefunken NOS and the previous owner claimed it has very low noise floor.

While others have balked at the complex nature of the beast, I will look forward to challenges that await after arrival, hopefully next week. Looking forward to the sonic adventure!
 

audioquest4life

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Sep 23, 2020
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To the point, it took only nine pages here to sell the virtues of an Io and jumped on a Signature dual power w/o volume control I found for sale. The units have already been outfitted with Telefunken NOS and the previous owner claimed it has very low noise floor.

While others have balked at the complex nature of the beast, I will look forward to challenges that await after arrival, hopefully next week. Looking forward to the sonic adventure!
Congratulations on your acquisition of the Io. My first iteration was a single power supply Signature back in 2006. Last year, I did the partial Eclipse upgrade with dual power supplies. I did not have to do the Eclipse route to enjoy what I already knew was good, but when I sent it in for a check up and conversion to dual power supply, I decided might as well do it. I had the Io in its original Signature form for 16 years and enjoyed it thoroughly the entire time. Take your time to understand all of what it can offer you…it is worth the little effort to achieve great results. Many Io owners have also owned theirs for quite some time.
 

Tirebiter

Well-Known Member
Jan 10, 2018
117
74
135
Golden CO
Congratulations on your acquisition of the Io. My first iteration was a single power supply Signature back in 2006. Last year, I did the partial Eclipse upgrade with dual power supplies. I did not have to do the Eclipse route to enjoy what I already knew was good, but when I sent it in for a check up and conversion to dual power supply, I decided might as well do it. I had the Io in its original Signature form for 16 years and enjoyed it thoroughly the entire time. Take your time to understand all of what it can offer you…it is worth the little effort to achieve great results. Many Io owners have also owned theirs for quite some time.
Thanks! As of late I have been engaged in a lot of OTJ learning about the finer points of cartridge alignment and old and slow as I now often am, it finally dawned on me that there are certain sonic shortcomings that simply cannot be substantially improved upon through cart settings alone…it was time to take a look for weak points elsewhere and landed on the phono pre. My Amazon B-Lab has served me well for a number of years but as a SS unit, felt it may not be giving me the full potential that may be possible with the Micro Seiki/FR. I also wanted a second input to make it easier to play with a Graham Phantom III side by side with the FR. Lots of boxes now checked off…

So thanks to one and all, hope hope I have found the next step change in my system…

Brock
 

thekong

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May 10, 2012
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Just want to share an easier way (at least to me) to load the Io. Instead of playing around with the small dip switch at the back of the unit, I have been using the XLR input terminals for loading. As the Io has both RCA and XLR input terminals without any selector switch, the 2 inputs are basically connected in parallel inside. First, I selected 47K at the dip switch; as I am using the RCA input for the tonearm cable, I plug an XLR plug, with loading resistors of appropriate value soldered in, at the XLR input. Alternatively, you can also use the RCA terminal for loading if you use XLR tonearm cable.

I have confirmed this method with Mr Jim White when I got my Io 6-7 years ago, but you may want to reconfirmed with him again if you decide to try it.

BTW, as I am going to retube my Io and Callisto, I have asked Jim just this week about replacing the EL34 with KT66 in the power supplies. He recommended against it, saying the appropriate substitution should be the KT77.

Best
 
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Tirebiter

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Jan 10, 2018
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Golden CO
My Io Signature IMG_1397.jpeg IMG_1398.jpeg arrived today and have been busy unpacking, inspecting and setting it up for initial listening tests. It appears to be an older model that perhaps was upgraded from single to dual power supplies because the PS serial numbers are quite far apart. It also is without volume control and has single RCA and XLR inputs.

And to what I am sure would be to the approval of @oldvinyl the power supplies have been modified to run M&O KT66's. However to get the KT66's to fit, someone cut holes in the covers...not sure what to think of that right now, at least the cuts were well done and don't look like a horrible hack job. See attached pics...

The rest of the tube compliment include a bunch of Tele ribbed plate 12ax7's though there is one mismatch as I did find one Siemens ECC83 in a V1 position. Add in a couple of RCA 7308's and and a couple of US made Amperex's as well. The 6SN7's are Sylvania.

Other than that, the units appear to be in great shape and will have a listen in an hour or so...
 

oldvinyl

Well-Known Member
Jun 3, 2017
316
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Specific Northwest - Seattle area
My Io Signature View attachment 89435 View attachment 89436 arrived today and have been busy unpacking, inspecting and setting it up for initial listening tests. It appears to be an older model that perhaps was upgraded from single to dual power supplies because the PS serial numbers are quite far apart. It also is without volume control and has single RCA and XLR inputs.

And to what I am sure would be to the approval of @oldvinyl the power supplies have been modified to run M&O KT66's. However to get the KT66's to fit, someone cut holes in the covers...not sure what to think of that right now, at least the cuts were well done and don't look like a horrible hack job. See attached pics...

The rest of the tube compliment include a bunch of Tele ribbed plate 12ax7's though there is one mismatch as I did find one Siemens ECC83 in a V1 position. Add in a couple of RCA 7308's and and a couple of US made Amperex's as well. The 6SN7's are Sylvania.

Other than that, the units appear to be in great shape and will have a listen in an hour or so...
Keep us posted on your listening impressions!!
Also note that if you ever wanted to switch back to EL34 or KT77, you could probably purchase replacement tops for the power supplies from Aesthetix.
Years ago, there were quite a few Io users sharing info on how to cut those holes in the top of the power supply for KT66 clearance. I elected to use a spacer and longer screws so that I did not need to cut the holes.
 
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Kcin

VIP/Donor
Mar 27, 2016
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The two chokes that are in front of the PS look like they are bent over- you can pull them back to be at 90deg with the chassis. Their sheet metal brackets may deform from rough shipping/ handling .

Might I suggest cleaning all the tube pins before you begin. ? Good luck with your Io!
 
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Tirebiter

Well-Known Member
Jan 10, 2018
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Golden CO
Kcin, thanks for the recommendation concerning the chokes. I am sure that shipping and "handling" encouraged the movement. Anything marked as fragile surely deserves an extra bounce or two. :rolleyes: Yeah, I was literally standing by the door of the UPS truck and heard one of my boxes hit the floor with a thud. That particular driver is now off of my Christmas list..

I R&R'd all of the tubes to inspect and they deserve a cleaning. I am fresh out of Deoxit and have it as well as other cleaning supplies recommended in this thread ordered and on the way. I will dedicate a lazy day to a master cleaning effort here in the near future.
 
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Tirebiter

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Jan 10, 2018
117
74
135
Golden CO
Silly me...I was starting to think that there was little more to be extracted from the the two grooves pressed into each vinyl disk. I say this because photography is also a passion of mine and have been a part of the medium's evolution from film to digital over the past three decades. Many will argue that film is dead because today's digital images offer greater dynamic range and finer detail that film could ever offer...sound familiar?

Then the Io arrived and was quickly reminded of the reason why I still occasionally shoot film. When performed with proper knowledge of equipment, forethought and anticipation, film photography can still produce stunning images. Indeed, some of my favorite prints have been from film. Yet film has limitations that digital equipment has far surpassed; ISO and film reciprocity factors quickly come to mind but in the realm of "normal" use I find that there is a certain natural smoothness associated with film that digital has not quite achieved though I will admit that there are stunning results from digital that early on in the technology, I never would have dreamed possible.

Last night I spent nearly five hours cycling through albums that I know well. The Io presented this music as though I had never heard it before. Incredibly taught and well defined. I have always felt that my Avantgarde Duo Grosso's were capable of much more that they were giving me and now know that they were simply translating exactly what they were being provided. Jimi Hendrix is one who gave us some very special music and find myself gravitating to the album, "Electric Lady Land" specifically to listen to "Voodoo Chile". It is a track that one might assume was recorded live at a club somewhere but in reality was in a studio packed with friends and hangers on. Listening to this track I suddenly was drawn instead to Mitch Mitchell's drum performance. My previous component combinations have never extracted the nuances of his talent quite like I heard late in my listening session. Extraordinary. The same applies to bass lines from concert hall music, jazz and blues that were on the menu last night.

My reflections here lead me to admissions that pertain to both photography and audio, digital has made me lazy and a slave to the instant gratification culture. My digital system is great for more casual, impromptu listening but if I really want to experience the music then the ritual required to queue up vinyl is not only a must but a a pleasure...and the Io has been a key, that until now, missing in my analog system.

Brock
 

Kcin

VIP/Donor
Mar 27, 2016
655
826
275
Canada
Silly me...I was starting to think that there was little more to be extracted from the the two grooves pressed into each vinyl disk. I say this because photography is also a passion of mine and have been a part of the medium's evolution from film to digital over the past three decades. Many will argue that film is dead because today's digital images offer greater dynamic range and finer detail that film could ever offer...sound familiar?

Then the Io arrived and was quickly reminded of the reason why I still occasionally shoot film. When performed with proper knowledge of equipment, forethought and anticipation, film photography can still produce stunning images. Indeed, some of my favorite prints have been from film. Yet film has limitations that digital equipment has far surpassed; ISO and film reciprocity factors quickly come to mind but in the realm of "normal" use I find that there is a certain natural smoothness associated with film that digital has not quite achieved though I will admit that there are stunning results from digital that early on in the technology, I never would have dreamed possible.

Last night I spent nearly five hours cycling through albums that I know well. The Io presented this music as though I had never heard it before. Incredibly taught and well defined. I have always felt that my Avantgarde Duo Grosso's were capable of much more that they were giving me and now know that they were simply translating exactly what they were being provided. Jimi Hendrix is one who gave us some very special music and find myself gravitating to the album, "Electric Lady Land" specifically to listen to "Voodoo Chile". It is a track that one might assume was recorded live at a club somewhere but in reality was in a studio packed with friends and hangers on. Listening to this track I suddenly was drawn instead to Mitch Mitchell's drum performance. My previous component combinations have never extracted the nuances of his talent quite like I heard late in my listening session. Extraordinary. The same applies to bass lines from concert hall music, jazz and blues that were on the menu last night.

My reflections here lead me to admissions that pertain to both photography and audio, digital has made me lazy and a slave to the instant gratification culture. My digital system is great for more casual, impromptu listening but if I really want to experience the music then the ritual required to queue up vinyl is not only a must but a a pleasure...and the Io has been a key, that until now, missing in my analog system.

Brock


Love the analogy

I feel the same way about film as I do record albums, I gave up photography in any serious way years ago. However, flipping through albums or photographs is a total blast that I don't get from digital files of either format.

The Io will continue to give when it is optimized - good luck on your journey. I think member @redcars has a sophisticated Avantgarde system as well with the Io. You may want to trade notes.

Congratulations.
 

audioquest4life

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Sep 23, 2020
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@Tirebiter ,

Glad your getting into the groove with your Io, both, literally and figuratively. I totally get the film versus digital transition period…might be still going on:). I worked for a governament agency in the 90s and we were the first to obtain digital cameras from Kodak. These were pro cameras and Kodak sent a team to our agency as part of the fielding. We had all of the analog tools, accessories, and chemicals for wet film and were embracing the digital revolution, the horror of it all. We were already 22 megapixels back then with these specially built cameras.

I read an article from Robert Harley, The Absolute Sound, from the Feb/2022 edition and he mentions how we as humans are used to analog feeling based on our interaction with mechanical devices, of switches, dials, knobs, cartridges, car shifting, etc., and how the digital evolution is changing our experiences from being tactile humans to less tactile when using digital and streaming devices. He cites a few books which I think are worth a read because I feel that as he Stated, we gain some things, but we lose some things, and at what cost? Makes me realize and understand why I love my manually operated sports car, even if it hurts my knees and back When shifting too much, LOL.

“The advent of digital audio has without question been a boon for music lovers, but its rise has also rendered audio less of a hands-on hobby than it once was. Selecting music from an app is a very different experience than getting an LP out of jacket, put- ting it on the turntable, starting the platter rotating, and dropping the stylus in the groove. Don’t get me wrong; I love the conve- nience of sitting in my listening seat with a Roon-enabled tablet, but as with so many technological advances, there’s a price to be paid for that convenience. The new technology’s virtues are so compelling that we forget what’s been lost.

As Jonathan notes, the connection between man and machine extends to a wide range of products, passions, and hobbies be- yond audio. In his book The Revenge of Analog: Real Things and Why They Matter, author David Sax documents and explores the re- surgence of film cameras, board games, printed books, and vinyl records, particularly among young people who have not previ- ously known the analog equivalents of digital cameras, computer games, ebooks, and music streaming. For some reason, the older generation who made the transition from the analog version of a thing to the digital are more accepting of the digital. Other books trumpet the same message—Analog Church: Why We Need Real People, Places, and Things in the Digital World and The New Analog: Listening and Connecting in a Digital World, to name two.

But the allure and romance of hands-on connection with mechanical objects is most powerfully expressed in Matthew B. Crawford’s Why We Drive: Toward a Philosophy of the Open Road. Crawford asserts that modern automobiles are designed to isolate the driver not just from the outside environment, but also from the automobile itself. The increasing inclusion of features such as lane-departure warning, automatic braking, and adaptive cruise control progressively diminish the driver’s role in operating the vehicle. Navigation systems obviate our need to orient ourselves in space and plot a course of our own making; instead, we mind- lessly follow instructions from a computer. The driver becomes disengaged from the machine and the act of driving, and con- sequently is robbed of the powerful human need for a sense of agency. A large portion of Why We Drive is a jeremiad against fully autonomous vehicles, the ultimate realization of the automobile
industry’s (and Big Tech’s) push to isolate humans from the act of attentive driving.


But some of us want to feel the connection to the road, sensing through the steering wheel the chassis and tire behavior. We become acutely attuned to the engine’s sound and respond through precise- ly timed shifts of a manual transmission, left foot and right hand moving in per- fectly coordinated synchrony with the machine. It’s a thing of beauty. The car becomes an extension of the driver, heightening the senses rather than dulling them. Piloting a driver-focused car creates a feeling of self-direction, in which the machine is at your service rather than the other way around.

Setting up a turntable and tonearm, adjusting VTA, cleaning and playing an LP, swapping tubes and biasing them, threading tape through the exquisitely machined parts of a tape deck’s transport— these are the audio equiva- lents of piloting a driver-fo- cused automobile. They put you in intimate physical con- tact with the machines that bring you music. They foster a mindful awareness of those machines, as well as a great- er appreciation for them and how they work.”
Harley, H. (2022, Feb). The price of progress. The Absolute Sound. Issue 324, page 12.
 

Tirebiter

Well-Known Member
Jan 10, 2018
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135
Golden CO
@audioquest4life

I couldn't agree more...fine mechanical machines are marvelous to behold. I have driven the Tesla S and while it is fast, I found it to be soulless and boring after just a few miles behind the wheel. Never would I own one. Give me a screaming Italian V8 behind my ears or the grunt of a turbocharged German flat six and I am in aural and driver heaven. The exhaust note from a finely tuned motorcycle falls in the same league.

Tuning a turntable system or tuning an engine is a tactile process that serves a yearning desire within the souls of a lot of us to explore what can be accomplished in terms of pushing the limits. It is a means to an end...

Thanks for the reading info!

Brock
 

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