We'll stay tuned for some more fun as this Amigo is headed for the Hong Kong Audio show next month followed by a visit to Manila to hear some of the greatest audio systems in the world
Tres Amigos Meet Again-A Brief But Wonderful Interlude In New Jersey
- Thread starter steve williams
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After your Hong Kong and Philippine trip, it will be hard to know if you or Ked will have the most audio frequent flyer miles. Antartica anyone? Surely there's a system there somewhere worth hearing. That could be the tie-breaker!
Maybe it's the audiophiles there that are causing the melting icecaps with all their valves?
Marty, Mullard has an excellent recommendation of connecting two pre amps in series with the spectral amps to massively increase soundstage.
You should try it sometime. Simply borrow someone's pre...any pre...and connect it's outputs to the input of the VTL, with the CD going into that pre.
Or Mullard, is that only when the main pre connected to the power amp is a spectral?
You should try it sometime. Simply borrow someone's pre...any pre...and connect it's outputs to the input of the VTL, with the CD going into that pre.
Or Mullard, is that only when the main pre connected to the power amp is a spectral?
Not Marty but .......????? How does that help , be more pitfalls than gains I feel . Could try it though , tube line into SS line ?
Hi bonzo75 and Jazzhead,
It seems like marty has already experienced linking two preamps in series before feeding the signal to a power amp. There is more effect aside from massively increasing the size of the soundstage.
I have done this for years. This is not specific only to Spectral amps.
The three components in such a chain can be all different brands. The connection is source to input of the first preamp/line stage, then main out from the first preamp/line stage to an input of the second preamp/line stage, then main out of the second preamp/line stage into the power amp.
Volume control and flavor can be adjusted using the volume controls of both preamps/line stages volume control.
In some cases, the entire soundstage can be moved back and forth allowing the listener to pick whether he/she wants to seat in the front rows, the middle rows, or the back of the venue.
Then, there is the resolution of extra information that can not be exposed with just one preamp/line stage. In one particular cd recording of the live concert of Kelly Chan, a canto pop singer, I was even able to hear what was going on under the stage.
Furthermore, the quantity of detail that is illuminated within the soundstage is significantly increased. This will really gives me the sense that I have been transported into the venue. This sense is reinforced when the entire soundstage blooms into and behind my listening chair enveloping me into the performance. In my own vocabulary, I call this being physically involved and present in the performance.
You really should experiment on this. All you need is another preamp/line stage and pair of interconnects. I investigated this chain when I was told a Japanese gentleman has six Spectral DMC 30SL in series and a Chinese gentleman has two FM Acoustic 268 in series.
It seems like marty has already experienced linking two preamps in series before feeding the signal to a power amp. There is more effect aside from massively increasing the size of the soundstage.
I have done this for years. This is not specific only to Spectral amps.
The three components in such a chain can be all different brands. The connection is source to input of the first preamp/line stage, then main out from the first preamp/line stage to an input of the second preamp/line stage, then main out of the second preamp/line stage into the power amp.
Volume control and flavor can be adjusted using the volume controls of both preamps/line stages volume control.
In some cases, the entire soundstage can be moved back and forth allowing the listener to pick whether he/she wants to seat in the front rows, the middle rows, or the back of the venue.
Then, there is the resolution of extra information that can not be exposed with just one preamp/line stage. In one particular cd recording of the live concert of Kelly Chan, a canto pop singer, I was even able to hear what was going on under the stage.
Furthermore, the quantity of detail that is illuminated within the soundstage is significantly increased. This will really gives me the sense that I have been transported into the venue. This sense is reinforced when the entire soundstage blooms into and behind my listening chair enveloping me into the performance. In my own vocabulary, I call this being physically involved and present in the performance.
You really should experiment on this. All you need is another preamp/line stage and pair of interconnects. I investigated this chain when I was told a Japanese gentleman has six Spectral DMC 30SL in series and a Chinese gentleman has two FM Acoustic 268 in series.
Thanks Mullard , will give it a go . Other than an increase in gain , what do you contribute this to ? One would have thought that passing a line signal , thru an extra pass thru would adulterate the signal further . Any body with technical insights , as to why this should work ?
Steve, what a fabulous thread about the audio journey to the East coast.
A wonderful read about the three amigo's meeting up again and sharing wonderful moments together. You just can't beat these memories of sharing time together.
Best,
Neville
A wonderful read about the three amigo's meeting up again and sharing wonderful moments together. You just can't beat these memories of sharing time together.
Best,
Neville
You know the fun and enjoyment that comes with it Neville as you and Zair took an around the world hop stopping for a weekend to me then up to Mike Bruce and Ki in Seattle and then to Munich and IIRC you went to an audio show in Asia followed by several visits to acquaintances in Japan to listen some unbelievable systems before you finally headed home to Australia.
Very interesting. This is the experience I call convincing sound, which occurs when the level of certain types of distortion are sufficiently low; what appears to be happening here is that the chaining of the audio amplification units, which nominally should degrade the sound, not enhance it, is reducing the interaction of the circuitry in the different boxes to a point that some of the key distortion artifacts are lowered. So, the underlying 'problem' with just the normal preamp and amplifier being used, and effectively interfering with each other is being bypassed - this is another method of optimising system performance, but not really a sound, engineering way of doing it.
You said it! The experience, learning and friendship you make is what makes the hobby even more fun to cherish.
Goldmund Studio to ASR Phono: Shunyata Venom cables, custom terminated RCA to XLR
ASR phono to VTL 7.5 III: Cardas Clear XLR Balanced
Meitner DX2 to VTL 7.5 III MIT SHD rev 2 XLR balanced
VTL 7.5 III to JL CR-1 MIT Oracle MA-X rev 2 XLR balanced
JL CR-1 to Spectral RMA 400, MIT SHD rev 2 XLR balanced
JL CR-1 to Gotham v2: Nordost Valhalla XLR balanced
Spectral RMA 400 to Pipedreams Towers, MIT Matrix 90 Rev 1
Holy Moly. I'lll tell you what I would need to take on that project. Valium, prozac, and 20 fewer years. To be honest, as interesting as that might be to try, I am trying to simplify as I get older, not make things more complex. I already have enough to keep me busy just rolling two simple preamp tubes! I want to listen to more music, and listen less to equipment. Although I applaud others who may reach for those stars in the name of the hobby, it is simply not on my list.
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