I told you to use the Audionote silver cartridge tags!
Why introduce gold to Kondo silver and Bocchino Silver?
I give up.
Visit to Marc C.'s (SpiritOfMusic's) House in England
- Thread starter Ron Resnick
- Start date
Why introduce gold to Kondo silver and Bocchino Silver?
I give up.
Subs are speaker level surely and as for carrying the power tube profile then it may not be what you really want as I never thought 211s were great in the bass.
Edit: I’ll concede that reducing the volume and lowering the crossover has removed much of the 211 bass so the end result is positive but not due to the reasons you may think.
Barry, Johnnie of Audio Origami who made up this tonearm wire for me (Audiophile Bill to install the Bocchinos) advised me to stick to gold tags since my Straingauge cart pins are gold.
Re your comments on subs bass, I think I know what you're getting at. Actually what I believe is that the cumulative effects of tonal purity and saturation w my additive results of Sablon Bocchino cbl loom, esp recent Bocchino RCAs and spkr spades, New Terminator slam and speed in low end, and greater low end control removing hampering effects of Panzerholz/Symposium under Zus and liberating full effects of Revopods supporting my Zus, has filled out my lower mids in the 40-60Hz region, meaning that the meat on the bones in that band is juicy, tender Argentinian steak, and not stringy, tough, cheap cuts of stewing steak Lol.
With that area way more toneful, tuneful, naturally warm, textured and agile, the subs contribution is way less critical and intrusive. And if the quality from my main drivers is better quality, then the feed to the subs is better quality, leading to all 'round more seamless integration of lower mids to subs bass.
Re your comments on subs bass, I think I know what you're getting at. Actually what I believe is that the cumulative effects of tonal purity and saturation w my additive results of Sablon Bocchino cbl loom, esp recent Bocchino RCAs and spkr spades, New Terminator slam and speed in low end, and greater low end control removing hampering effects of Panzerholz/Symposium under Zus and liberating full effects of Revopods supporting my Zus, has filled out my lower mids in the 40-60Hz region, meaning that the meat on the bones in that band is juicy, tender Argentinian steak, and not stringy, tough, cheap cuts of stewing steak Lol.
With that area way more toneful, tuneful, naturally warm, textured and agile, the subs contribution is way less critical and intrusive. And if the quality from my main drivers is better quality, then the feed to the subs is better quality, leading to all 'round more seamless integration of lower mids to subs bass.
I read w great interest PeterA's de-tweaking regime as he beds in his newly-installed SME 3012, and his drive to go au naturel on his system ahead of deciding whether to reintroduce ancilliaries.
I'm kinda 50/50 on this. Recent A/B in removing Entreq showed that it's existence still is a positive in my system, indeed after a period of being pretty non commital on it, I'm warming to it's benefits again. This was when a 24 hour period of flatter, fuzzier SQ was shown to be remedied by tightening two ground leads that had loosened.
I've also transferred my Symposium Sveltes from Zu duties, one to under my Airlink balanced transformer to New Terminator air arm pump, and one under the pump itself, both w simple footers. I've also gone on to reduce air pump pressure to the minimum I can get away with.
Each of these phases has brought a nice uptick to my sound, esp remedying my Entreq misadventure.
Just acquired a bit of a Holy Grail lp, Yes "The Yes Album", near mint US original pressing. Cost me a small fortune, but if any album proves Yes were the reincarnation of The Beatles in full-on prog clothes, this album is it, a worthy successor to Sgt. Pepper.
"Starship Troopers" is a total revelation on my new upped ante sound. It's crazy multi tracked harmonies and melodic guitar and keyboard counterpoints, plus cavernous super-elastic bass, and amazing vocal harmonies, has never sounded this good. The amount of micro detail and soulful verve on this track, and the whole album is a revelation, I'm getting that rediscovery combined w enhanced familiarity vibe that only really great audio can provide.
I go into 2020 happy across the board w my sound, just fine tuning some remaining changes, and putting all my thoughts twds the streaming option I'm going to commit to.
I'm kinda 50/50 on this. Recent A/B in removing Entreq showed that it's existence still is a positive in my system, indeed after a period of being pretty non commital on it, I'm warming to it's benefits again. This was when a 24 hour period of flatter, fuzzier SQ was shown to be remedied by tightening two ground leads that had loosened.
I've also transferred my Symposium Sveltes from Zu duties, one to under my Airlink balanced transformer to New Terminator air arm pump, and one under the pump itself, both w simple footers. I've also gone on to reduce air pump pressure to the minimum I can get away with.
Each of these phases has brought a nice uptick to my sound, esp remedying my Entreq misadventure.
Just acquired a bit of a Holy Grail lp, Yes "The Yes Album", near mint US original pressing. Cost me a small fortune, but if any album proves Yes were the reincarnation of The Beatles in full-on prog clothes, this album is it, a worthy successor to Sgt. Pepper.
"Starship Troopers" is a total revelation on my new upped ante sound. It's crazy multi tracked harmonies and melodic guitar and keyboard counterpoints, plus cavernous super-elastic bass, and amazing vocal harmonies, has never sounded this good. The amount of micro detail and soulful verve on this track, and the whole album is a revelation, I'm getting that rediscovery combined w enhanced familiarity vibe that only really great audio can provide.
I go into 2020 happy across the board w my sound, just fine tuning some remaining changes, and putting all my thoughts twds the streaming option I'm going to commit to.
Hi Marc,
That all sounds like good progress!
Are you planning to audition the new Zu Definition VI when it comes out?
That all sounds like good progress!
Are you planning to audition the new Zu Definition VI when it comes out?
I would love them, Ron. All the noises re the Mk VI generation are good, re greater neutrality and transparency and timbral/tonal accuracy.
However, I'm achieving such good results w my 4s that I'm gonna see them out for 2-3 years at least. Still more juice to squeeze out of the lemon.
However, I'm achieving such good results w my 4s that I'm gonna see them out for 2-3 years at least. Still more juice to squeeze out of the lemon.
An area I never paid attention to in the past. But always told was a major measure of success in a proper high end sound. Yet never believed it. Because I never heard it here. But now do. And totally get it. For the first time.
Believable, realistic voice/vocals. As a prog and fusion fan, it's never been a priority at all. However, I'm getting a quantum leap in tonal and timbral accuracy, imaging, micro detail and air. And all of this is making me totally reappraise my appreciation of vocals.
The uptick is totally kicking the ground out from under my feet, I'm really emotional on voices for the first time. Kate Bush and Peter Gabriel are proper living, breathing artists in my room, not just a facsimile.
The jump my system has made on Stacore install/attention to detail on analog setup/Sablon Bocchinos upgrades/sorting subs/getting Zus correct on Revopods/New Terminator LT arm install/isolation of air pump and it's transformer: is the steepest uptick in all my rounds of upgrading over 22 years, save for the room itself.
At this point, all insecurities I've had coming back from other well sorted systems have melted away, and I'm in a very good place for pure musical enjoyment here, my faith in the Zus/SETs based tone dense/dynamic shove approach to 100% musical immersion is really vindicated.
Listening now to Jimi Hendrix "The Cry Of Love" US Reprise Records pressing, is a soulful, toneful, textured emotional rollercoaster. It doesn't get much better than this.
Believable, realistic voice/vocals. As a prog and fusion fan, it's never been a priority at all. However, I'm getting a quantum leap in tonal and timbral accuracy, imaging, micro detail and air. And all of this is making me totally reappraise my appreciation of vocals.
The uptick is totally kicking the ground out from under my feet, I'm really emotional on voices for the first time. Kate Bush and Peter Gabriel are proper living, breathing artists in my room, not just a facsimile.
The jump my system has made on Stacore install/attention to detail on analog setup/Sablon Bocchinos upgrades/sorting subs/getting Zus correct on Revopods/New Terminator LT arm install/isolation of air pump and it's transformer: is the steepest uptick in all my rounds of upgrading over 22 years, save for the room itself.
At this point, all insecurities I've had coming back from other well sorted systems have melted away, and I'm in a very good place for pure musical enjoyment here, my faith in the Zus/SETs based tone dense/dynamic shove approach to 100% musical immersion is really vindicated.
Listening now to Jimi Hendrix "The Cry Of Love" US Reprise Records pressing, is a soulful, toneful, textured emotional rollercoaster. It doesn't get much better than this.
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I just KNEW there had to be a loophole.
For me, that means remaining Bocchino upgrades, investigating HRS Damping Plates on gear, and judicious use of GIK or Thomann diffusers.
My main source of investigation and spending is gonna be on a good streaming/dac solution.
But the basis for my ongoing sound is set now.
For me, that means remaining Bocchino upgrades, investigating HRS Damping Plates on gear, and judicious use of GIK or Thomann diffusers.
My main source of investigation and spending is gonna be on a good streaming/dac solution.
But the basis for my ongoing sound is set now.
Just awaiting assembly of my new tonearm cable to New Terminator LT air arm. Age annealed silver Kondo wire w gold Cardas tags and Bocchino RCA connectors. Wire courtesy of Hollandlink.eu, tags assembled by Audio Origami, but the hard work of putting it all together incl mounting the heavy bulky Bocchinos is down to Audiophile Bill here. Thanks Bill!
The new arm is performing at such a great level, I can only imagine how the new wire will improve things.
My final tt adventure beyond this will be commissioning a bespoke tt speed controller and ultra quiet/ultra smooth audiophile quality air pump combo to my rig. These remain the only areas that are off the shelf and less than ideal. Each step up in my tt evolution has been worthwhile, from magnetic bearing and feet, to dedicated motor LPS, to Stacore isolation, that speed controller and pump are totally logical directions to go in.
Have two possible approaches, one a high quality version of what I have already ie all-analog zero feedback system, but using ulta high quality components. The other likely to use a digital feedback loop and likely new rim drive wheel pod. Former system being created by a guy running a tt similarly w no feedback loop, latter system designed by someone running my tt who is an amp designer himself.
Will be quite the choice to contemplate.
The new arm is performing at such a great level, I can only imagine how the new wire will improve things.
My final tt adventure beyond this will be commissioning a bespoke tt speed controller and ultra quiet/ultra smooth audiophile quality air pump combo to my rig. These remain the only areas that are off the shelf and less than ideal. Each step up in my tt evolution has been worthwhile, from magnetic bearing and feet, to dedicated motor LPS, to Stacore isolation, that speed controller and pump are totally logical directions to go in.
Have two possible approaches, one a high quality version of what I have already ie all-analog zero feedback system, but using ulta high quality components. The other likely to use a digital feedback loop and likely new rim drive wheel pod. Former system being created by a guy running a tt similarly w no feedback loop, latter system designed by someone running my tt who is an amp designer himself.
Will be quite the choice to contemplate.
So, a couple of weeks into 2020, and my music consumption has gone up for the first time since I reinstalled my system in the new room, 3 years ago. Way better acoustics, properly set up analog, and correctly sited/adjusted spkrs.
And for the first time since I went down the Zus/SETs route from 2008/12, and struggled to get my analog as "dialled in" as my digital, I've finally got to the point where so much music is communicating and is free of artifacts, that I'm just putting on one disc after another and not micro analysing. In the past, if it wasn't cd sounding harsh, or vinyl not as open as my digital, or my Zus/room imposing veils on my sound, it was something else. All esp highlighted by visits to better sorted systems.
Now I'm maintaining the things I always loved about my sound...fleshed out mids, tonal density, and dynamic shove, and now augmented by more audiophile transparency and neutrality, and critically, timbral accuracy.
A whole bunch of sonic thumbprints are gone, making the Zus almost totally disappear esp on stellar recordings, yet not at the expense of a really soulful sound.
This invisibility and new appreciation of timbral accuracy is transforming my appreciation of acoustic music, vocals etc.
Now its taken a real effort to get here, from expense and time to construct the room, finally sorting footers on Zus plus their positioning and breaking the addiction to too much bass on subs settings, to for the first time properly sweat the details on analog setup, chance on the magic of Stacore isolation and get the boost of a way impvd tonearm.
Throw in the tonal superiority of my Sablon cable loom, and low frequencies solidity of balanced power and dedicated lines.
Mix in 1001 diversions, sideways moves, up and over mood swings and critical input from Blue58/Barry and Audiophile Bill, and good natured advice from assorted WBF nuts (you know who you are), and the result is re engaging w my music collection, and a real pride I've got an interesting take on a communicative, transparent sound, without any slavish copying of any one approach.
And for the first time since I went down the Zus/SETs route from 2008/12, and struggled to get my analog as "dialled in" as my digital, I've finally got to the point where so much music is communicating and is free of artifacts, that I'm just putting on one disc after another and not micro analysing. In the past, if it wasn't cd sounding harsh, or vinyl not as open as my digital, or my Zus/room imposing veils on my sound, it was something else. All esp highlighted by visits to better sorted systems.
Now I'm maintaining the things I always loved about my sound...fleshed out mids, tonal density, and dynamic shove, and now augmented by more audiophile transparency and neutrality, and critically, timbral accuracy.
A whole bunch of sonic thumbprints are gone, making the Zus almost totally disappear esp on stellar recordings, yet not at the expense of a really soulful sound.
This invisibility and new appreciation of timbral accuracy is transforming my appreciation of acoustic music, vocals etc.
Now its taken a real effort to get here, from expense and time to construct the room, finally sorting footers on Zus plus their positioning and breaking the addiction to too much bass on subs settings, to for the first time properly sweat the details on analog setup, chance on the magic of Stacore isolation and get the boost of a way impvd tonearm.
Throw in the tonal superiority of my Sablon cable loom, and low frequencies solidity of balanced power and dedicated lines.
Mix in 1001 diversions, sideways moves, up and over mood swings and critical input from Blue58/Barry and Audiophile Bill, and good natured advice from assorted WBF nuts (you know who you are), and the result is re engaging w my music collection, and a real pride I've got an interesting take on a communicative, transparent sound, without any slavish copying of any one approach.
Does it get to the spirit of music, Marc?
Sometimes when I've been listening critically to components and the character of my system i can find i don't hear the music.
But the best solution is usually to buy a bunch of new music that i have no other reference for, and just boogie on down
Sometimes when I've been listening critically to components and the character of my system i can find i don't hear the music.
But the best solution is usually to buy a bunch of new music that i have no other reference for, and just boogie on down
It really does, Gavin. I don't know if you're old enough, but if you remember those highly communicative Linn LP12/Naim 4-pack/Linn Isobarik DMS active systems in to 70s and 80s, thence the LP12 w Naim 6-pack and Naim DBL actives, you'll know what I mean. They were not the last word in linearity or uber detail. But absolutely rocked, w superior PRaT, and were verve machines.Does it get to the spirit of music, Marc?
Sometimes when I've been listening critically to components and the character of my system i can find i don't hear the music.
But the best solution is usually to buy a bunch of new music that i have no other reference for, and just boogie on down
I joke that my Zus based system is the mutant variation of this core DNA sound but allowing the greater tonal pallette of SETs.
So, my system will never be bought by anyone w 100% classical and jazz collection. But for those who's collection runs from Mussorgsky and Shostakovich, to free Coltrane, 70s electric Miles, 70s fusion and prog, to 90s onwards Darkroom and early Stephen Wilson electronica. And get the most from challeging dark mixes like Coltrane "Interstellar Space", Miles Davis "Agharta" and "Pangea", Magma "Kontarkosz". And be very pure and open on Kate Bush, Peter Gabriel, lots of Blue Note (Ornette Coleman "NY Is Now" is a fine example of my Zus new-found timbral expression) etc, Zus could be an ideal choice. I've just gone the extra mile for a greater all round neutrality and transparency.
Hey, you know who this is, yes? Lol
There's always room for impvt.
Don't confuse that for not being delighted. However the "heavy lifting" has now been done.
There's always room for impvt.
Don't confuse that for not being delighted. However the "heavy lifting" has now been done.
Remaining Bocchino connectors upgrades to Sablon Elite pwr cords, opportunity of bespoke tt speed controller/silent air pump to LT arm, possible application of top chassis resonance management via HRS Damping Plates or Herbie's Audio Labs Supersonic Stabilisers, potential Thomann De or GIK diffusers on walls, service/mods to Eera Tentation cdp.
Hey, the hobby is the hobby. I didn't set the rules Lol.
Hey, the hobby is the hobby. I didn't set the rules Lol.
I do. Linn in their heyday. I never felt that Linn system you mention was ever given the credit it deserved. For PRaT there was very little out there that came close. And way less that even matched it.
Good post and respect for mentioning it.
