My Little Barn
- Thread starter dcc
- Start date
Many thanks for the compliment.
Not really. We have several buildings from the Middle Ages in the historic center of the municipality (from the 13th to the 16th century). They were all built with bricks and they are still standing. My late 19th century little farmhouse is a very young lady compared to these buildings.
I just read the top post again where you said in the future you might look at a SAT arm. Of course that was over a year ago. That said if you wanted to listen to a brinkmann balance also through the Allnic phono with a variety of carts on the FR 66s arm, the set up is close to kings cross were the eurostar pulls in to. Quite outstanding
Hi Ked,
Many thanks for the heads up. I have not made my mind yet. My focus over the last 12 months was to get the Studer tape deck fully upgraded which is finally behind me. I also purchased a lot of tapes and LPs hence my rather low contribution to the forum. A new arm is still on my agenda as well as a new cartridge but there is no hurry. As I have a single tonearm setup, I want to be sure that I am making the right choice and get a good arm/cartridge combo.
Kind regards,
Denis
Hi Mat,
I really like the Tenor 175s. Small scale orchestra is just reflecting my musical tastes. I don't listen often to large scale orchestral music (2nd of Mahler etc.) as I am more into baroque music.
If I want to listen to large scale orchestral or rock music, I would tend to fire up the Krell though the Tenor 175s is a highly capable amp as well.
Some of my audio buddies prefer the Tenor over the Krell whereas some others prefer the Krell. I just like both.
Kind regards,
Denis
Thank you Denis. I am trying to decide between the lines CAT, Tenor and Aesthetix.
JL5LE Limited edition, 175S and Eclipse mono blocks are the considerations....
Mat
JL5LE Limited edition, 175S and Eclipse mono blocks are the considerations....
Mat
Tough choice. I have listened to the CAT but not in my system. The challenge with the Tenor line is that the 175s is the least expensive component of all but it is everything but cheap. If you want to associate the 175s with a Tenor preamp and a Tenor phono stage, it becomes a very pricey proposition.
The upgrade path for my Studer A80 RC has finally come to an end.
The capstan motors and the two spooling motors were sent to Audio House for a full refurbishment. My technician took the opportunity to install a new optical tape end sensor, new brake drums as well. The capstan control board got also overhauled with some tighter specs components and the capacitor for the capstan motor was replaced. The capstan motor showed a perfect 800 Hz figure and the Wow & Flutter was measured at 0,029% which is actually lower than the 0,04% of the Studer spec sheets.
The tape path is smoother than ever and so is the spooling as well.
Though I have a dedicated line, my tech recommended that I installed a small power conditioner and ideally one that could reduce the voltage from 240V to less than 230V. A Torus TOT AVR got added.
Three years ago, I did not realise that if I wanted to bring a master recorder to its full original specs or even better, this would require a significant pile of money. Just the cost of all the parts was north of € K15 and my tech charged the parts at cost without a margin. The 13 pages long breakdown of my tech’s work indicates that he has spent 364 hours on the machine. I reckon that the design of bespoke boards took a lot of time. I have no regrets. My tape library has already cost me more than the Studer.
The capstan motors and the two spooling motors were sent to Audio House for a full refurbishment. My technician took the opportunity to install a new optical tape end sensor, new brake drums as well. The capstan control board got also overhauled with some tighter specs components and the capacitor for the capstan motor was replaced. The capstan motor showed a perfect 800 Hz figure and the Wow & Flutter was measured at 0,029% which is actually lower than the 0,04% of the Studer spec sheets.
The tape path is smoother than ever and so is the spooling as well.
Though I have a dedicated line, my tech recommended that I installed a small power conditioner and ideally one that could reduce the voltage from 240V to less than 230V. A Torus TOT AVR got added.
Three years ago, I did not realise that if I wanted to bring a master recorder to its full original specs or even better, this would require a significant pile of money. Just the cost of all the parts was north of € K15 and my tech charged the parts at cost without a margin. The 13 pages long breakdown of my tech’s work indicates that he has spent 364 hours on the machine. I reckon that the design of bespoke boards took a lot of time. I have no regrets. My tape library has already cost me more than the Studer.
A New Tonearm
After 21 years of service in the main system, the venerable SME V has been retired.
A SAT LM-09 has taken over the main stage. My brick and mortar dealer had a smooth interaction with Marc Gomez (SAT) and Brinkmann. Within a few weeks both the tonearm with the bespoke base plate were professionally installed.
The match with the Brinkmann Balance and the Transfiguration Proteus is perfect. The gap between tape and vinyl has substantially shrunk.
But the SME is not fully retired. It gets a second chance to continue shining on a heavily modded Thorens TD 124 II. It is fitted with a Lyra Skala. This is for a small secondary system I am currently building.
After 21 years of service in the main system, the venerable SME V has been retired.
A SAT LM-09 has taken over the main stage. My brick and mortar dealer had a smooth interaction with Marc Gomez (SAT) and Brinkmann. Within a few weeks both the tonearm with the bespoke base plate were professionally installed.
The match with the Brinkmann Balance and the Transfiguration Proteus is perfect. The gap between tape and vinyl has substantially shrunk.
But the SME is not fully retired. It gets a second chance to continue shining on a heavily modded Thorens TD 124 II. It is fitted with a Lyra Skala. This is for a small secondary system I am currently building.
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Congrats. You tape guys are to be totally commended, it takes a lot of cash, and even more fortitude, to really nail that part of the hobby. The really crazy end of an already crazy pursuit.
Have to say the SAT really visually complements the Brinkmann. Some tt/arm combos look a little "off" eg chunky 4Point on svelte Monaco. But yr choices look absolutely heaven sent.
I ran an SME V for 13 years, and loved my time w it, but it had certain sonic shortcomings noticeable over time. I'm assuming yr SAT is an uptick across the board?
Have to say the SAT really visually complements the Brinkmann. Some tt/arm combos look a little "off" eg chunky 4Point on svelte Monaco. But yr choices look absolutely heaven sent.
I ran an SME V for 13 years, and loved my time w it, but it had certain sonic shortcomings noticeable over time. I'm assuming yr SAT is an uptick across the board?
Congratulations
Your SME V looks to be in remarkable conditin for its age and set to give you many more hurs of enjoyment.
My SME V and SME 20/3 are but a few months old but mated with the Etsuro Cobalt they sound so good.
Will be interested to read of your experience with the new arm
Your SME V looks to be in remarkable conditin for its age and set to give you many more hurs of enjoyment.
My SME V and SME 20/3 are but a few months old but mated with the Etsuro Cobalt they sound so good.
Will be interested to read of your experience with the new arm
Many thanks for the compliment.
The SAT is vastly superior to the SME V. Don't get me wrong. The SME is still a very good tonearm but the SAT is just in another league. The SME had been improved with better head shell leads and the dreadful VDH phono cable had been replaced by a much better Ikeda cable.
The SAT was the only element I changed as I kept the same cartridge, a Transfiguration Proteus. I therefore have a good reference point.
This tonearm is not only highly dynamic but also extracts all the details from the record. The soundstage is superb with a holographic pinpoint image without being too analytic. This is my ultimate tonearm for my ultimate turntable.
My benchmark has been my fully overhauled and improved Studer tape deck and clearly, the SAT has brought the vinyl experience very close to tape. This combo is going to stay in my system until I get six under.
Indeed
It was fun though the system has significantly evolved since Ked's visit:
- A new rack from Stacore
- A second power amp
- The tape deck has gone through serious enhancements
- A new SAT tonearm which has brought the turntable to another level
I also found a way to improve the Allnic phono stage. I will bypass the internal SUT with a custom made SUT from Consolidated Audio that I ordered from Ana Mighty Sound. The picture was taken when, François, the owner of Ana Mighty Sound came over to my place. The SUT has been ordered and François will come over to deliver it a few weeks from now.
I've also built a second system around another Ked's favorite TT : a heavily modified Thorens TD 124/II with mods from Schopper, HAT, Audio Silente, Retrotone and Woodsong. I used to have a TD 124 and always regretted having to part with it. This second system is for a little audio den upstairs when I want to relax. It is an analog only system with a TT and a tape deck (a Nagra IV-S with a QGB module). I am still waiting for the audio racks and some furniture. I will post some pictures once the setup is finalized.
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Indeed
It was fun though the system has significantly evolved since Ked's visit:
- A new rack from Stacore
- A second power amp
- The tape deck has gone through serious enhancements
- A new SAT tonearm which has brought the turntable to another level
I also found a way to improve the Allnic phono stage. I will bypass the internal SUT with a custom made SUT from Consolidated Audio that I ordered from Ana Mighty Sound. The picture was taken when, François, the owner of Ana Mighty Sound came over to my place. The SUT has been ordered and François will come over to deliver it a few weeks from now.
I've also built a second system around another Ked's favorite TT : a heavily modified Thorens TD 124/II with mods from Schopper, HAT, Audio Silente, Retrotone and Woodsong. I used to have a TD 124 and always regretted having to part with it. This second system is for a little audio den upstairs when I want to relax. It is an analog only system with a TT and a tape deck (a Nagra IV-S with a QGB module). I am still waiting for the audio racks and some furniture. I will post some pictures once the setup is finalized.
Is this the silver version of the Consolidated, or the copper version?
This is the silver version. I tested both versions and the silver was superior in my setup. I tested a combination of phono cables between the SUT and the phono stage. With the copper version, a copper cable worked best and with the silver version, a silver cable was a better match.
I had to find a new destination for my old and faithful SME V. I therefore decided to build a small full analogue system in a tiny den upstairs. My work schedule does not give me a lot of time for listening to music during the week. Firing up the main system requires several hours of warm up and leaving the big Krells or the Tenor Audio on is not an option. The main system works mainly during the weekend. I therefore wanted having a system that could reach its optimal performance in a matter of minutes. Single ended triode was definitely the path to follow.
I wanted to fundamentally depart from the sound from the main system. I was therefore looking for relatively high efficiency loudspeakers that would be suitable for a near field listening experience in a tiny listening room. I chose the Cube Audio Bliss C. It has a single full range driver that provides an astonishing single point source sound. I hooked to each loudspeaker an Entreq Olympus Ten grounding box.
The integrated amplifier is a Line Magnetic LM-805IA. I swapped all the stock tubes against high quality ones: a NOS RCA Western Electric 6SL7GT/VT 229 from the US Signal Corps, a pair of Psvane CV181/6SN7, a pair of 300B RK Anniversary Edition from KR Audio and a pair of Psvane 805A Acme.
The turntable is a heavily upgraded Thorens TD 124/II with mods from Schopper, HAT, Audio Silente, Retrotone and Woodsong. I has a separate power supply. I mounted a Lyra Skala cartridge which works very well with the SME V. As the listening room has a suspended floor, I opted for a wall mount console. The phono stage is the tiny Octave EQ2. This is a fantastic little Swiss Army knife that works perfectly with the Lyra Skala.
The second source had to be a compact tape deck. The obvious choice was a Nagra IVS with its QGB extension module. I found one in pristine condition. It had been been fully checked and calibrated by Giorgio Foschi and my local tech had also had a look at it.
The acoustic treatment is limited to three thick tatami mats on the floor and three Crystal diffusers from SMT.
Just pure pleasure and fun.
I wanted to fundamentally depart from the sound from the main system. I was therefore looking for relatively high efficiency loudspeakers that would be suitable for a near field listening experience in a tiny listening room. I chose the Cube Audio Bliss C. It has a single full range driver that provides an astonishing single point source sound. I hooked to each loudspeaker an Entreq Olympus Ten grounding box.
The integrated amplifier is a Line Magnetic LM-805IA. I swapped all the stock tubes against high quality ones: a NOS RCA Western Electric 6SL7GT/VT 229 from the US Signal Corps, a pair of Psvane CV181/6SN7, a pair of 300B RK Anniversary Edition from KR Audio and a pair of Psvane 805A Acme.
The turntable is a heavily upgraded Thorens TD 124/II with mods from Schopper, HAT, Audio Silente, Retrotone and Woodsong. I has a separate power supply. I mounted a Lyra Skala cartridge which works very well with the SME V. As the listening room has a suspended floor, I opted for a wall mount console. The phono stage is the tiny Octave EQ2. This is a fantastic little Swiss Army knife that works perfectly with the Lyra Skala.
The second source had to be a compact tape deck. The obvious choice was a Nagra IVS with its QGB extension module. I found one in pristine condition. It had been been fully checked and calibrated by Giorgio Foschi and my local tech had also had a look at it.
The acoustic treatment is limited to three thick tatami mats on the floor and three Crystal diffusers from SMT.
Just pure pleasure and fun.
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