One day i am going to sit down and count the many, many, many improvement steps your system has gone trough Marc, you are running out of words that can properly describe it !24 hrs charge/warm up/install of Farad Super3 24V LPS on my SOTA Eclipse/Condor/Roadrunner motor, Sablon Elite pwr cord to it, awaiting addition of Sablon DC cbl.
Interestingly, while the motor install using SMPS wall wart was the proverbial iron fist re wholesale change in presentation to a way more resolute view on the music, gauze cleared, imaging clarified, bass clearer...the Farad LPS is the velvet glove.
By that I mean after some minutes of nothing too drastic being noticed, a greater delicacy and natural warmth has become apparent. Musical lines easier to follow, especially rhythmn guitar, bass harmonics, percussion flourishes etc.
On Steve Morse/Stand Up lp, an album not noteworthy before for being hugely evocative in my system, whole strands are revealed, but critically holistically placed in the soundstage ie not sticking out or hyper detailed, but part of the framework of the music, yet easier to follow.
The classic "you can wallow in the whole song, or listen deeper thru".
Critically the sound is also warmer and more enveloping while still benefitting from the layer of hash already removed by the new motor.
Dear Marc,Any contributions to this please. I'm without doubt going thru the most dramatic evolution in my LP playback. Mainly hugely positive. My previous steps of Stacore isolation, attention to detail on tt/arm/cart setup, and install of improved version of my LT arm, all in the last 4 years, have been really fruitful, in terms of timbral accuracy in particular, leading to a dramatic increase in realism and consequent enjoyment of my jazz LPs.
However the combined changes of new speed stable SOTA tt motor plus Farad LPS, latter on Symposium Rollerblocks and utilising a Sablon DC lead, and topping this with a Symposium Svelte pad as isolation under the SOTA motor pod, has expanded the sound in three dimensions.
Suddenly my classical and acoustic guitar LP collection is re energised, indeed dozens of albums have a new lease of life, freed from a grey congestion that I was aware of previously, but actually thought was more a function of maybe less than fully transparent Zus. My Khatchaturian Gayneh Ballet boxset is absolutely full of zest and heart stopping dramatic as opposed to a bit closed in and hazy as was the case previously. For me, this is a late stage evolutionary jump in my sound I was absolutely not expecting to achieve, especially after experiencing such sublime and superior sound in setups like Audiophile Bill's Mayers tubes/bespoke horns, Blue58's bespoke 45 tubes/AG Duos and UK Paul's Concert Fidelity hybrids/modded ML stats.
All good, and all a massive bonus and step up for future appreciation of classical/jazz vinyl appreciation and enjoyment.
However, there is one caveat. And that is, that a fair number of my more genre faves, old reliable LPs, are suddenly challenging in lots of weird ways. Early Jethro Tull vinyl, a few Rush albums, mid 70s King Crimson, to name a few, are just not as fully engaging.
I'm way more aware of shortcomings in sonics, a certain extra "boxiness" and flatter dynamics in the sound that I'm hard pressed to recall from my previous poorer speed stability stock tt motor days. It's as if their sonic shortcomings are being more clearly revealed.
It can be quite jarring, going from exemplary super transparent Adrian Legg "Technopicker" acoustic guitar to distant and cloudy Rush "Snakes And Arrows" brickwalled prog, almost feeling like my tt may be out of adjustment.
Now, I know so much prog and fusion doesnt aspire to audiophile quality, is my recent massive boost to other music rendering that contrast absolutely unequivocally? Because it's quite the learning curve atm.
Transparency on most of my classical and jazz LPs is dramatically improved. Timbral accuracy ditto. Imaging is way more solid and palpable. Instrumental texture and air is off the scale on lots of classical and jazz albums.Marc, you have given any reports about how the sound has improved with all your various changes and additions. It’s not clear to me how the sound has improved. You just described it as much better. Better how?
Now you are saying that your favorite genre of music has somehow become less involving and enjoyable. This should be the most important thing for you.
If it were me, I would start by removing your various tweaks and accessories and try to expand your listening window so that you can enjoy more of the music you so much love. I have trouble imagining what more you can add to your system. It is possible you’ve gone too far. Perhaps it is time to try simplifying your system.
Start removing fancy footers and power cords and conditioners and isolation devices and see where that gets you. You can always to go back to the way things are if you don’t like it. The best thing is it’s free. Just a thought.
If you had a second arm, you could have a voluptuous cartridge to play the challenged albums. I do that with pop and badly sounding albums.This is one crazy hobby. I just recalled I removed all the IsoDamp strips from my tt motor pod upon install of Farad LPS to power it. And because I went on a bit of a classical LP marathon with only upsides sonically, I clean forgot to try refixing some IsoDamp inside again.
So, here I am listening with a couple of small pieces affixed inside the pod.
And quite the uptick, a good degree more high frequency detail/information revealed. It's not fundamentally changing how my now significantly higher resolution analog front end is presenting challenging sonic LPs other than introducing a welcome degree of extra musicality. But these albums are still showing themselves to be somewhat flawed gems from the mastering/pressings POV.
This is without doubt, other than the paradigm shift of acoustics upgrade upon moving to this room, to be the most significant evolution of my sound from homogenous to way greater fidelity.
The learning curve just has some sharp bumps along the way.
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