Yes. And we can use our experience to judge whether or not one approaches the other.

Truly , once you established your systems sounds like the recording being played back and that said recording captures the live performance ..!

This is why recording space , time and dynamics captured by the mic along with imaging is important in HiFi and not so when live ..!



Regards
 
Ron,
your correct, it’s about picking up noise Not voltage reduction.
I just remember a friend that use to say single ended are good for about 50 feet, but from what I read on the net, it’s seems to be fine till 100 feet.

my mistake :)

All signal cables are best the shortest you can make them ..!
 
After hearing Ron's system for several hours, all on my own source material, I feel he's around 75% of the way there. The system is big, and grand sounding and the room wasn't too quiet for my taste despite a rather good amount of treatment. Images didn't have the 8' tall problem that some panels do which surprised me. Vocals definitely sound very pure, and very 3d in his well thought out room. There is so much potential of this system, and knowing Ron's tastes (big, scale, and vocals to die for), he's certainly on a successful path!

While there is a lot of woofage here with the active bass towers, getting the bass to match the panels isn't there yet, and I found myself continuously reducing the output level over the session. There is a very large node at 50-60hz (I'm guessing +10db) that was distracting on electronica and I believe since my visit he's tried to ameliorate this with room treatment devices. I really think the best "upgrade" for Ron is a visit from Gary Kuo who will spend the time to configure the complicated system better (in the room itself as well as the crossover settings) and get the bass towers as close to the panels as possible. Gary also owns the BG ribbon IP iirc so intimately knows the main panel. This would cost less than a fancy cable, so it should be the first priority.

I listened to mainly digital, with a bit of tape thrown in later in the session. Tape, naturally of course, was much better. I suggested some different tubes in the Lampi as the RCAs he's using sound soft on top and aren't articulate in the bass. They are smearing piano arpeggios as well. A more objective tube like a Sylvania will be beneficial. I also feel that Ron's ultimate amps are different - the VTL is more of a hifi tube sound that combined with the BG panel, loses some of the rich harmonics, nuance, and decay that is possible. Some of that "suspension of disbelief" that Ron enjoyed when I had Jadis tubes (or even FirstWatt SIT) in my system isn't there. But candidly, I don't know how much power these speakers really require so cracking a few eggs may be necessary. I've suggested a Jadis 100 watt tube amp to start with, and if that doesn't work no SET or anything similar is even an option.

To conclude, Ron has made a lot of progress over the past few months and I look forward to hearing the system in another 6 months after he further optimizes it (and introduces a high end analog rig) - it's a SOTA system so the bar is very high, but i have utmost confidence that it matches Ron's sonic preferences very well and he will enjoy it for years to come. Cheers

Hello ,

Its a linesource not an ESL panel , so wont suffer from the usual giant size image and big mouth sound most large ESL panels suffer from ..!
 
For me it means no loss of information no hyper detailed "definition" either. Breathy , neutral , harmonically coherent and not congealed or "warm" like Cardas of the past.

An excellent sense of space and ambience is retrieved.

In the recent past I used Nordost Vahalla 2, Shunyata and Kimber.

They do need break in despite what others say- 2 or 3 days on the audiodharma cooker lets them reach their dynamic contrast potential and opens things up.

Sorry Ron, I'm not really good at putting pen to paper on how things sound. The good news is that most dealers will let you take home a set to try. I have 3 pair in the system now.

Good Luck,

Thank you, Nick!

Are your Clear Beyond interconnects balanced or single-ended?
 
This is my first mono record ever. It's quite a different presentation!

I thought the recording quality was pretty bad. :(

Most of the early Stones’ recordings aren’t great (Andrew Loog Oldham and the band had no idea what they were doing). A clean Decca unboxed “Aftermath” is worth checking out, especially for “Under My Thumb”.
IMG_1841.jpeg

I bought a mono Decca “Beggar’s Banquet” for a true mono of SFTD which was revelatory, but the rest is a fold down
 
Thank you.

Actually, I'm not really a The Rolling Stones fan. I like only "Satisfaction" and "Paint It Black."
 
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I just played "Satisfaction" on the overhead. What I thought was my 60Hz room mode on the big stereo is actually on the track (that one-note rhythm boomy instrument).
 
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I just rearranged the tapes into better alphabetical order. I count 180 reels of tape.

the count should be the same regardless of the alphabetical order.
 
Truly , once you established your systems sounds like the recording being played back and that said recording captures the live performance ..!

This is why recording space , time and dynamics captured by the mic along with imaging is important in HiFi and not so when live ..!



Regards

Sorry, I don't understand any of this.

How do you establish system playback sounds like a recording?
How do you know if a recording captures the live performance?
In your second sentence to what does 'This' refer?
 
Sorry, I don't understand any of this.

How do you establish system playback sounds like a recording?
How do you know if a recording captures the live performance?
In your second sentence to what does 'This' refer?

To the first question, if i did not make the recording myself , i would listen to the recording with headphones usually 2-3 different ones for references, then compare to playback system ..!
 
To the first question, if i did not make the recording myself , i would listen to the recording with headphones usually 2-3 different ones for references, then compare to playback system ..!

Okay, if that is your method using two different audio systems and comparing with the headphone system as your reference. My point was we can never know what is on a recording apart from listening to it through a system.
 
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I think that everybody who has visited my listening room hears the improvement in the room modes occasioned by the AVAA active bass absorbers.

A couple of days ago I got around to doing a formal test to see the observable measurable difference in room boom peaks at 45Hz and at 60Hz with the three AVAAs on versus the three AVAAs off.

Using my pro audio Earthworks QTC-4 on a stand at exactly the ears' listening position, broadband pink noise and a test tone at 63Hz to the real time analyzer on my iPad, there was no observable, measurable difference in attenuation of room modes whether the AVAAs were on or off. This is a anomalous result I do not understand.

I have a lot of trouble believing approximately 15 people psychosomatically subjectively heard mitigation of the room boom, and we all were deluding ourselves.

I think I am using the same frequency response measurement protocol I have always used. I can't figure out why I'm not seeing a measureable difference.
 
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Trust the measurements. Make sure that these are burst or step response measurements and not steady state pink noise measurements.
 

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