Entreq Tellus grounding

I switched my wall outlet from a GTX-D to the Maestro.

Having the GTX-D in the Powerus and wall outlet made the sound thin.

The Maestro has more bloom and tonal density, although it probably gives up some speed to the GTX-D.

So far the Powerus Challenger sounds wonderfully natural and effortless. So much more insight into the music and notes just magically arise to the surface.
 
Thanks for the update Vert.
Another example of the challenge getting the requisite synergy in a system.
I was struck by your comment about the Powerus sounding "wonderfully natural and effortless."
That for me has been the hallmark of the Entreq range including their range of cables and i/cs.
Enjoy!
 
I switched my wall outlet from a GTX-D to the Maestro.

Having the GTX-D in the Powerus and wall outlet made the sound thin.

The Maestro has more bloom and tonal density, although it probably gives up some speed to the GTX-D.

So far the Powerus Challenger sounds wonderfully natural and effortless. So much more insight into the music and notes just magically arise to the surface.

Vert,

thank you for the feedback on your experience.

a question; are those GTX-D outlets you found 'thin' the older ones, or the newest 'NCF' versions? and if they were the older GTX-D outlets, were they the (R) Rhodium or the (G) Gold ones?

some clarity on this would assist others reading your comments. and a brief list of your related gear might be helpful.
 
Hi Mike,

They're the older GTX-D rhodium outlets.

I had a similar experience with another power conditioner with GTX-D outlets. I just didn't like the sound with the GTX-D in the power conditioner and at the wall outlet.

I have a headphone setup with:

Bakoon HPA-21 amp
Audeze LCD-3
Exemplar eXception DAC (grounded with an Olympus minimus and Atlantis cable)
Vertex AQ JSA headphone conditioner
Entreq Powerus Challenger 3V

Everything sits on a Stillpoints ESS rack.
 
I was struck by your comment about the Powerus sounding "wonderfully natural and effortless."
That for me has been the hallmark of the Entreq range including their range of cables and i/cs.
Enjoy!

Yes, the texturing and three dimensional spacing is so natural and organic with Entreq gear. And the insight into the music that the Powerus reveals is just wonderful.

Interestingly, I didn't get a "wow, the background is so black" reaction like I did with the Ansuz Mainz D8, but the noise floor is definitely lowered with the Powerus.

It's just done in such a natural way that you don't notice it at first until you spend time with it.
 
Hi Mike,

They're the older GTX-D rhodium outlets.

I had a similar experience with another power conditioner with GTX-D outlets. I just didn't like the sound with the GTX-D in the power conditioner and at the wall outlet.

I have a headphone setup with:

Bakoon HPA-21 amp
Audeze LCD-3
Exemplar eXception DAC (grounded with an Olympus minimus and Atlantis cable)
Vertex AQ JSA headphone conditioner
Entreq Powerus Challenger 3V

Everything sits on a Stillpoints ESS rack.

thank you for the contexts Vert. that does help to connect the dots.
 

Wilma Rack!! My dream come true. Glad I did not get the Athena. And with so many excellent components these days being "half size", this may be quite popular (assuming there is a cost saving over the Athena). And of course the Everest is going to be a no-brainer. I'll take three of those please.

But what exactly are the differences between the K2 and Everest? Is it just the physical form, since the principal to both seems identical. Looks like the Everest just has a longer metal post, otherwise are they the same? And I guess those posts are threaded. Can't seem to find much info on them even though as I said, I will get them anyway.

Additionally, the K2 and Everest look likely to solve an ongoing problem I have had with my Entreq boxes - cables coming lose on occasion. Twice now I have gone to listen to my system and wondered why it was sub-par. It happened soon after I bought my gear last year and again only a few weeks ago. Then I discovered one of the cables has simply fallen off the binding post. The problem is that the wood retainer "screw" is "soft" (being the nature of the wood material used) and there is only so much torque you can apply tightening the cable to the binding post. I have found that sometimes that torque just isn't enough and furthermore, over time the wood compresses, making the connection more likely to fail (you can see how the wood on the retaining screw "polishes" itself). So if this solution is metal - metal - metal instead of wood - metal - metal it will solve the problems I have been having (which have really been my only significant criticism of Entreq products).
 
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Is wood a better conductor for the ground?

* My doors have to be readjusted because they can't close anymore; they're made of wood. In South America, and in parts of Los Angeles, they use metal doors. Better isolation/protection? ...And they don't require repairs, so they save money?
 
Is wood a better conductor for the ground?

wood is 'non-conducting'.

OTOH wood seems to be a friendly material for casework and in cases where a neutral buffer product is desired or mass loading. wood does have a natural resonance.....it has it's own characteristic sound which varies by the type of wood. it is used as a tuning material in many situations.

sometimes wood or glass is used to allow for EMI/RF to escape the casework.

for the Entreq products the oak casework is heavy and solid. you would expect that Per experimented with various wood types and settled on oak as best for his purposes.
 
Hi Mike,

Why they don't use wood casings for DACs, amplifiers, preamps, and turntable's isolating platforms?
Most speakers have wood enclosures, and even some drivers use pulp derivatives as the material of preferred choice.

The greatest halls with the best acoustics in the world; most of them use wood. /// A guitar, a piano, a violin, a cello, an acoustic bass, a clarinet, a wood flute, a sound stage, a room...
 
Hi Mike,

Why they don't use wood casings for DACs, amplifiers, preamps, and turntable's isolating platforms?
Most speakers have wood enclosures, and even some drivers use pulp derivatives as the material of preferred choice.

some of the best sounding gear I've heard uses wood casework. or some sort of engineered wood composite.

each tower of my speakers use approximately 2000 layers of Baltic Birch.
 
We've seen audio components with wood side panels, and sometime even the front face. ...But heat from amplifiers that I understand...aluminum dissipates heat and cannot get on fire.

* 2,000 layers! You got links on how they are built? ...This is the very first time today that I am hearing of that many wood layers that went into your speaker's fabrication! It almost sounds like over achievement.
 
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Single-ended-Tube-Amplifier-Class-A-2X4-8W-6J1-Drive-6P6P-6Z4-Rectifier-Retro-style-Bamboo.jpg


Single-ended-Tube-Amplifier-Class-A-2X4-8W-6J1-Drive-6P6P-6Z4-Rectifier-Retro-style-Bamboo.jpg

_________

It would be interesting to measure the same units from a wood enclave to one of metal...solid machined aluminum.
 
We've seen audio components with wood side panels, and sometime even the front face. ...But heat from amplifiers that I understand...aluminum dissipates heat and cannot get on fire.

* 2,000 layers! You got links on how they are built? ...This is the very first time today that I am hearing of that many wood layers that went into your speaker's fabrication! It almost sounds like over achievement.

my recollection was short, it's not 2000 layers....it's 'about' 4000 layers.

from the Evolution Acoustics website....

Each channel of the MMSeven contains over four thousand sections of computer routed Baltic Birch wood that are stacked and then laminated together with a six ton press. We did not want to use veneers, or skins, as most companies choose to do. The end grain of the wood was so beautiful the decision was made to finely sand the cabinets and finish them with a violin stain similar to fine musical instruments. The process is very tedious and entails many steps. It is truly an art form.

Internally the cabinets are quite special as well. Most loudspeaker manufacturers use wool or some man made material to attempt to dampen the internal chambers of their loudspeakers. At Evolution Acoustics we recognized that much more needed to be done. The idea was to create an anechoic chamber inside our cabinets that would greatly reduce or eliminate internal standing waves. This is done by creating random irregular shapes visible only from the inside of the loudspeaker. The thickness of each slice or section also plays a role in creating a more rigid and less resonant cabinet. The cabinet randomly varies in thickness from a minimum of three inches to a maximum of six inches. No expense was spared on the interior or exterior of the Evolution Acoustics loudspeakers.
 
You can say that Barry. ...I'm on it...research mode.

But, I feel we "entreq" slightly on this thread's topic. ..."slightly" because wood is after all used for their enclosures and racks and cable terminations, etc.
So wood is still very prominent to the topic. ...It's properties and various characteristics, and types and construction designs.

* Mike, 4,000 layers...per pair or per individual speaker? I would love to see how they are made, and how they look inside (anechoic chamber enclosure).

** The Entreq grounding boxes remind me of speaker's enclosures that you can fill with premium metal lead or fine sand from the best world's beaches.
And, wood audio racks make more sense to me than metal ones. ...Sound property/quality transfer wise. But only fine golden set of ears and accurate measurements expertly done by the best audio scientists using only the finest and latest technology advanced measuring electrical/computerized audio machines/tools would be able to reveal the 'subtlelties', I would think.
 
You can say that Barry. ...I'm on it...research mode.

But, I feel we "entreq" slightly on this thread's topic. ..."slightly" because wood is after all used for their enclosures and racks and cable terminations, etc.
So wood is still very prominent to the topic. ...It's properties and various characteristics, and types and construction designs.

* Mike, 4,000 layers...per pair or per individual speaker? I would love to see how they are made, and how they look inside (anechoic chamber enclosure).

not sure I have any pictures of the unfinished cabinet or insides I can access.

when I heard the original prototype of the MM3's (same exact cabinet design as the MM7) in 2006 at the designer's home in San Diego he was playing bare unfinished cabinets and had an empty cabinet I looked at and saw inside. the design of layering gives the designer almost unlimited ability to make the inside shape anything he can think of. if you can draw it on paper you can cut out the layers. so there are all these bumps and voids that the software created for ideal internal natural dampening. and the wall thickness can be anything he wants it to be. and wood always seems to be the most ideal material for a speaker cabinet to my ears. but wood must be 'engineered' properly to eliminate the limitations of wood.

** The Entreq grounding boxes remind me of speaker's enclosures that you can fill with premium metal lead or fine sand from the best world's beaches.
And, wood audio racks make more sense to me than metal ones. ...Sound property/quality transfer wise. But only fine golden set of ears and accurate measurements expertly done by the best audio scientists using only the finest and latest technology advanced measuring electrical/computerized audio machines/tools would be able to reveal the 'subtlelties', I would think.
 
Wilma Rack!! My dream come true. Glad I did not get the Athena. And with so many excellent components these days being "half size", this may be quite popular (assuming there is a cost saving over the Athena). And of course the Everest is going to be a no-brainer. I'll take three of those please.

But what exactly are the differences between the K2 and Everest? Is it just the physical form, since the principal to both seems identical. Looks like the Everest just has a longer metal post, otherwise are they the same? And I guess those posts are threaded. Can't seem to find much info on them even though as I said, I will get them anyway.

Additionally, the K2 and Everest look likely to solve an ongoing problem I have had with my Entreq boxes - cables coming lose on occasion. Twice now I have gone to listen to my system and wondered why it was sub-par. It happened soon after I bought my gear last year and again only a few weeks ago. Then I discovered one of the cables has simply fallen off the binding post. The problem is that the wood retainer "screw" is "soft" (being the nature of the wood material used) and there is only so much torque you can apply tightening the cable to the binding post. I have found that sometimes that torque just isn't enough and furthermore, over time the wood compresses, making the connection more likely to fail (you can see how the wood on the retaining screw "polishes" itself). So if this solution is metal - metal - metal instead of wood - metal - metal it will solve the problems I have been having (which have really been my only significant criticism of Entreq products).

Hi FF.
The Wilma is obviously ideal for your needs and I look forward to hearing how you get on.
It's good that Entreq have considered the needs of those with smaller systems and come up with a product that is likely to satisfy them.
K2 and Everest look very interesting and I will be keen to try them when I get the opportunity. It's not clear if they are in any hierarchy as with the ground cables or simply designed to suit different systems. I will try and get some more information to pass on. As you say they should provide a more durable connection and that can only benefit sound quality. PO makes some big claims for them which I presume he has not done lightly and if they are as effective as he claims and are sensibly priced they would seem to be a must buy for existing Entreq box owners.
I am sure we will all look forward to learning more about them!
 
The first part was easy: http://www.evolutionacoustics.com/loudspeakers/mmseven/

"Each channel of the MMSeven contains over four thousand sections of computer routed Baltic Birch wood that are stacked and then laminated together with a six ton press. We did not want to use veneers, or skins, as most companies choose to do. The end grain of the wood was so beautiful the decision was made to finely sand the cabinets and finish them with a violin stain similar to fine musical instruments. The process is very tedious and entails many steps. It is truly an art form.

Internally the cabinets are quite special as well. Most loudspeaker manufacturers use wool or some man made material to attempt to dampen the internal chambers of their loudspeakers. At Evolution Acoustics we recognized that much more needed to be done. The idea was to create an anechoic chamber inside our cabinets that would greatly reduce or eliminate internal standing waves. This is done by creating random irregular shapes visible only from the inside of the loudspeaker. The thickness of each slice or section also plays a role in creating a more rigid and less resonant cabinet. The cabinet randomly varies in thickness from a minimum of three inches to a maximum of six inches. No expense was spared on the interior or exterior of the Evolution Acoustics loudspeakers."

_________

The second part would be a video (time lapse) showing their full process build segments, with the machinery and computerized optimization. ...In and out.
That part I'm still searching ... wish me good luck. :b

It reminds me of the movie The Imitation Game
Did you see that flick? ...And the machine that he (Alan Turing, the brilliant mathematician and computer scientist) built to decode the German Enigma code.
The Enigma machine (in a wooden ? box)

EnigmaMachineLabeled.jpg


...The decoding ? machine (the bombe):

Bletchley_Park_Bombe4.jpg


The working rebuilt bombe at Bletchley Park museum. Each of the rotating drums simulates the action of an Enigma rotor. There are 36 Enigma-equivalents and, on the right-hand end of the middle row, three indicator drums. John Harper led the "Phoenix" team that built this.[1] It was officially switched on by the Duke of Kent, patron of the British Computer Society on 17 July 2008.
__________

I am still searching on the making of the Evolution Acoustics MM7... Even the name (code number agent double M7) is reminiscent to the MI6 British Secret Intelligence Service (special spy agency in the UK's headquarters). ...Bond, James Bond.

216712-3x2-940x627.jpg

__________

Alright, Entreq wooden products with possible videos in the making of, next. If avail of course, same as the EA MM7s.
 

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