The audiophile rosewood cupboard

microstrip

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May 30, 2010
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Some of the most interesting high-end experiences happen outside the usual audiophile scenario. A good friend asked my help to choose an audio system with one particular requirement – the speakers should look gorgeous and have the approval of his wife, but he also had a long time desire of having a good sound. After long months of I suggested one speaker I own in my collection, the vintage B&W Silver Signature SS25. It got immediate approval, as it perfectly matched their decoration. I was able to locate a pair in excellent condition in the used market and as I had very good experience driving mine with the Krell entry system (S300i integrated amplifier and S350a CD player), today I helped them installing this system in their large living room. As the SS25 have their own silver speaker wires, the only addition was a 2 feet Nordost Frey XLR cable.

The room is irregular, as when they recently merged two large apartments, some walls were removed and three divisions were joined to built a larger living room. The system is placed in the middle section, 17 x 15 feet, against a wall with a magnificent rosewood low cupboard between the speakers. They are separated by 12 feet , and the listening sofa is 14 feet from the speakers plane.

The result was one of the most musical systems I have listened to. After the disastrous start from cold (at those painful moments the best comment was that the speakers were so nice and matched the decoration perfectly), once the warm-up time (one hour) was over, it sounded too good recording after recording, gradually improving most of the attributes hardcore audiophiles praise (although the bass did not have the extension some audiophiles feel indispensable).

It was CD, it was solid state, it was Krell, but the system played beyond my expectations – and the proud owners (non-audiophiles) were really full of enthusiasm. Buena Vista Social Club was full of emotion and overtones, but the last track of Sgt. Pepper's Lonely Hearts Club Band was an experience. Another couple who also did not have experience of audio joined us, and you can imagine my surprise when the lady told us at the final “I read the news today oh boy” – that the song was giving her goose bumps… Coming from some one who never read John Gordon Holt, owns a compact rack system and is a regular concert jazz frequenter, was the best reward for my help.

I am now again home, but the rosewood cupboard is hunting me down. Was he responsible for the exceptional sound? Are the people who put strange resonators, hard wood voodoo and magic bells between the speakers correct? Please look at the attached picture of this suspicious furniture (just taken from the vendor site before is was restored).

Happily my friends borrowed my CD copy of Sgt. Pepper's. Listening to it in my system today would be stressing, even worst, the antique shop who sells the rosewood cupboards is closed for holiday until the end of next week.
 

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Hi Microstrip,

Great story. Having heard all of these components before, i actually think it might also be the room and your placement...including the construction & treatment of the room (only a part of this is the cabinet). Wood floor? Solid walls? Carpets? Curtains? What you assembled was essentially a very clean signal, very clean. The room and dimensions & treatment may well have taken the very clean (but not sterile) signal and perfectly interacted with it.

Put another way, the British monitor has historically had a reptuation for delivery of sweet, warm but detailed sound...the B&W SS was B&W's all-out attempt to upgrade that to SOTA with silver, higher quality construction/materials...and delivere a cleaner, more precise controlled version...the ultimate British monitor sound. Maybe the room got it right and allowed the monitor to show off exactly what its original designers truly intended for it to do.

Having finally got my own front end right...i realized (accidentally when borrowing a loaner amp while my Gryphon is in for repair)...that i may be looking now for a perfectly transparent amplifier. I was shocked at how this little 20-year old Goldmund (thin/bare mids/bass)...sound so good in the treble...because the signal coming thru it is exactly where i wish it to be.

I think you have assembled a transparent system to your friends which worked perfectly in their living room...well done!!!!!!
 
great story.

i also know that gear, and have much respect for those B&W Silver Signatures as one of the all time 'great' speakers (not perfect, but so listenable, and drop dead gorgeous). likely my favorite B&W speakers ever except the true Nautilus.

i suspect that the Rosewood Cupboard simply worked as an effective diffusor with ideal surface effect. and......the room is so large and there are no sidewalls near the speakers so the bass is likely very linear if a bit lightweight. so the normal muddy mid-bass in almost any system was cleaned up, the music was released. also; for speakers that size the separation was extreme, so you have interactions at play which is hard to predict in such a large space. you would need to listen with and without the cupboard to really have any idea what exactly it contributed. then who knows how it sounds today? you may have captured magic in a bottle on just that day.

were there windows above the cupboard or was it a flat wall? and were the tweeters on the Silver Sig's above the top of the cupboard or below? how far in front of the cupboard was the speaker plane?

is the ceiling flat? and how high is the ceiling?
 
great story.

i also know that gear, and have much respect for those B&W Silver Signatures as one of the all time 'great' speakers (not perfect, but so listenable, and drop dead gorgeous). likely my favorite B&W speakers ever except the true Nautilus.

i suspect that the Rosewood Cupboard simply worked as an effective diffusor with ideal surface effect. and......the room is so large and there are no sidewalls near the speakers so the bass is likely very linear if a bit lightweight. so the normal muddy mid-bass in almost any system was cleaned up, the music was released. also; for speakers that size the separation was extreme, so you have interactions at play which is hard to predict in such a large space. you would need to listen with and without the cupboard to really have any idea what exactly it contributed. then who knows how it sounds today? you may have captured magic in a bottle on just that day.

were there windows above the cupboard or was it a flat wall? and were the tweeters on the Silver Sig's above the top of the cupboard or below? how far in front of the cupboard was the speaker plane?

is the ceiling flat? and how high is the ceiling?

I also love the Nautilus. I heard them first time in Switzerland - more precisely in Montreux , the place of the Jazz Festival - in a very large room in an old hotel with high ceilings. They were driven by four pairs of Krell amplifiers with a Krell custom crososver and the sound was life like. They played Haendel Music for the Royal Fireworks / Trevor Pinock and I could believe I was king George II assisting to the performance. The impact and speed of the percussion and horns was thrilling, as the sound was also effortless and 3D. Unhappily the second time I listened to the Nautilus, in a poor room with all Classe electronics was a complete disaster. It is why I do not rely on sound demonstrations in shows.

Back to the lovely SS25. The cupboard was against a wall - the tweeters are 5 inches above the top and the speakers plane is at the front of the cupboard. The room is 9 feet high, but as you say there are no lateral boundaries and the floor is hard wood.

I have to go there again with the Music for the Royal Fireworks CD. :)
 

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They played Haendel Music for the Royal Fireworks / Trevor Pinock and I could believe I was king George II assisting to the performance. The impact and speed of the percussion and horns was thrilling, as the sound was also effortless and 3D. Unhappily the second time I listened to the Nautilus, in a poor room with all Classe electronics was a complete disaster. It is why I do not rely on sound demonstrations in shows.
And this is the disaster for the audio industry: the better the potential of the gear the more of a shocker it is when it doesn't perform. The word transparency is used here, a synonym for low distortion, and many times when a system is first assembled that is its best chance for having minimal distortion. I wonder whether it would be so impressive if you went back and had another listen in a couple of month's time ...

Frank
 

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