That's ok Carl. You hand me £50-60k, and I'll buy the Vyger, Saskia or CS Port like a flash. Until then...
Visit to Marc C.'s (SpiritOfMusic's) House in England
- Thread starter Ron Resnick
- Start date
Picked up a comment on Kingrex thread re possibility of altering phase btwn R and L subs. Well, did that earlier this morning, going from 0° both Zus, to 0° on L sub and 90° on R sub. The idea is to keep them 90° apart, so I have tried reversing this btwn the subs. And also trying half a dozen combinations since phase on my Zu subs can be set at anywhere between 0° and 180°.
I'm also playing around on my PEQ Frequency and Level adjustments, and since my crossover to subs is now down from 50Hz to 39Hz, I've taken PEQ down from 47Hz to 35Hz.
A little trickier to detect what's best here. But 35Hz sounds an improvement, and so I'll take this sound in for a while before maybe experimenting further.
I've also dialled up my Townshend supertweeters up a notch.
And so, after sorting a much more subtle lower subs setting in the last few weeks, these changes are putting the cherry on things. Now I'm becoming more aware of spatial cues, solidity of imaging, way less grey diffuseness.
So, as always the caveat...Zus will never be imaging or micro resolution kings. But they are kings of tonal density and dynamic shove. Meaning they sound great on all that non-cognescenti prog rock, fusion, electric jazz and electronica. Now they are revealing whole layers of subtlety that even a Zu Fanboy like me didn't think them ever adept at.
For me to decide to listen to two days straight of Dvorak String Quartets and Brahms Symphonies vinyl box sets, and feel that the music here is finally being well served by my Zus, is again something that was not happening back in London w my challenging hard acoustic and enforced high output on subs. Now I can get warmth and texture w minimal subs intervention, and am way more able to dial in greater transparency and micro resolution of cues leading to a much more holistic listening experience, my attention way less distracted by previous Zu bottlenecks in SQ.
I certainly won't mention the word "epiphany". Although I could.
I'm also playing around on my PEQ Frequency and Level adjustments, and since my crossover to subs is now down from 50Hz to 39Hz, I've taken PEQ down from 47Hz to 35Hz.
A little trickier to detect what's best here. But 35Hz sounds an improvement, and so I'll take this sound in for a while before maybe experimenting further.
I've also dialled up my Townshend supertweeters up a notch.
And so, after sorting a much more subtle lower subs setting in the last few weeks, these changes are putting the cherry on things. Now I'm becoming more aware of spatial cues, solidity of imaging, way less grey diffuseness.
So, as always the caveat...Zus will never be imaging or micro resolution kings. But they are kings of tonal density and dynamic shove. Meaning they sound great on all that non-cognescenti prog rock, fusion, electric jazz and electronica. Now they are revealing whole layers of subtlety that even a Zu Fanboy like me didn't think them ever adept at.
For me to decide to listen to two days straight of Dvorak String Quartets and Brahms Symphonies vinyl box sets, and feel that the music here is finally being well served by my Zus, is again something that was not happening back in London w my challenging hard acoustic and enforced high output on subs. Now I can get warmth and texture w minimal subs intervention, and am way more able to dial in greater transparency and micro resolution of cues leading to a much more holistic listening experience, my attention way less distracted by previous Zu bottlenecks in SQ.
I certainly won't mention the word "epiphany". Although I could.
A big call out to thank PJWD aka Phil, who reached out to me on my recent thread on Absorption Versus Diffusion.
He suggested a commercial acoustics product that I'm gonna specifically apply to my descending eaves at reflection points.
It's not a product I at all would ever have come across, and even if it doesn't fully work, I'm still grateful for the input and the work he's put in from my measurements to hopefully maximise any potential benefit.
It's good to see humans can still cooperate and help each other out in such a pressurised time.
He suggested a commercial acoustics product that I'm gonna specifically apply to my descending eaves at reflection points.
It's not a product I at all would ever have come across, and even if it doesn't fully work, I'm still grateful for the input and the work he's put in from my measurements to hopefully maximise any potential benefit.
It's good to see humans can still cooperate and help each other out in such a pressurised time.
It was a total joy catching up with Bill and hearing the fruits of his artisan horns project. First, he's such a great guy, and is overflowing with ideas. Second, his ideas absolutely make sense and his product really communicates. So many speakers and systems seem to have the pieces, but the picture is strangely incomplete or disappointing. Not so Bill's sound. This is one holistic panorama.
A few other positives came out of my trip. First, some very refreshing draft Goose IPA. All long drives should terminate with a pint of beer as good as that. If I wasn't driving back I would have supped some more.
More practically, a proposal to sort out various noise and hum issues in my system. From DC blocker install before my balanced transformer, to separating amps and woofers in my Zu subs, to surgery on my Nat amps re tube noise, we worked on a strategy to try and ameliorate these.
Also talked about a proposal on super accurate tt motor and super smooth/silent air compressor to my air bearing LT arm.
I'm more and more convinced that noise issues are my final frontier re system improvements, and super accurate tt speed could be pivotal. And these solutions won't just help my system, they will really take it up a proper level.
Because compared to 6 years ago when I returned from Blue58, hearing his Duos for the first time, I wanted to literally throw my Zus out of the window, so despondent was I with my poorly comparing sound.
6 years later, I've critically switched to this majestic acoustic, and less adulterated mains, w Bill's help I've sweated getting my analog setup correctly for the first time and ditched a poor footers decision on the Zus, Blue58 has helped me with acoustics treatments and speakers setup/seating position and subs setup, and my decisions on optimising have paid off handsomely.
I've claimed that many times, boring the WBF collective to sleep. But now I have a really good reference...Bill's system and horns. Bergmann Red Sparrow Mayers bespoke horns, in a very nice room...and I'm loving the sound.
Two days later, whereas I'd never ever say my system is near Bill's for tonal purity, dynamic prowess and air, it actually scores very highly. That for me is confirmation my journey has absolutely been the right one for me, and the feelings of inferiority I had six years ago are well behind me.
Proof? Have been listening all day to Franck/Organ Works/CBS box set. That was never the case back in the day.
Bill, my visit to you has been so much fun and meaningful on so many levels.
A few other positives came out of my trip. First, some very refreshing draft Goose IPA. All long drives should terminate with a pint of beer as good as that. If I wasn't driving back I would have supped some more.
More practically, a proposal to sort out various noise and hum issues in my system. From DC blocker install before my balanced transformer, to separating amps and woofers in my Zu subs, to surgery on my Nat amps re tube noise, we worked on a strategy to try and ameliorate these.
Also talked about a proposal on super accurate tt motor and super smooth/silent air compressor to my air bearing LT arm.
I'm more and more convinced that noise issues are my final frontier re system improvements, and super accurate tt speed could be pivotal. And these solutions won't just help my system, they will really take it up a proper level.
Because compared to 6 years ago when I returned from Blue58, hearing his Duos for the first time, I wanted to literally throw my Zus out of the window, so despondent was I with my poorly comparing sound.
6 years later, I've critically switched to this majestic acoustic, and less adulterated mains, w Bill's help I've sweated getting my analog setup correctly for the first time and ditched a poor footers decision on the Zus, Blue58 has helped me with acoustics treatments and speakers setup/seating position and subs setup, and my decisions on optimising have paid off handsomely.
I've claimed that many times, boring the WBF collective to sleep. But now I have a really good reference...Bill's system and horns. Bergmann Red Sparrow Mayers bespoke horns, in a very nice room...and I'm loving the sound.
Two days later, whereas I'd never ever say my system is near Bill's for tonal purity, dynamic prowess and air, it actually scores very highly. That for me is confirmation my journey has absolutely been the right one for me, and the feelings of inferiority I had six years ago are well behind me.
Proof? Have been listening all day to Franck/Organ Works/CBS box set. That was never the case back in the day.
Bill, my visit to you has been so much fun and meaningful on so many levels.
Likely to order the SOTA Condor motor to replace my stock version. It seems this new unit is locking speed at 33.33 +/- 0.01 with feedback from RoadRunner speed tach. My mate in US is reporting in an all-round, and not subtle, uptick across the board, primarily bass articulation, and lower noise.
After mag lev upgrades to bearing/platter and feet, Stacore passive isolation, upgraded arm and tonearm wiring, and pricey LPS to Straingauge, this motor is kinda a final destination upgrade to the tt.
Anything that improves neutrality and transparency can only further aid classical music appreciation.
After mag lev upgrades to bearing/platter and feet, Stacore passive isolation, upgraded arm and tonearm wiring, and pricey LPS to Straingauge, this motor is kinda a final destination upgrade to the tt.
Anything that improves neutrality and transparency can only further aid classical music appreciation.
Decided to try and experiment a little bit with cartridge azimuth today. After some hit and miss, I've now hit more than I've missed, and settled on a slightly different setting.
Played a whole bunch of LPs that are great for natural acoustic and channel separation.
Incl Adrian Legg, Eduardo Gismonti, Pat Metheny, Brahms, Bach organ/harpsichord, Ornette Coleman with Dewey Redman and Don Cherry.
Music is literally leaping into the room, a combination of way greater transparency and natural dynamics, warmth and immediacy in proportion. Just way more vibrant and essential than before.
My six year journey settling on an outlier analog front end of high torque rim drive, air LT arm and Straingauge, has proved to be a really astute choice. Its responded to every change I've made, whether minor like Reso Pods LP support, or major like Stacore isolation, revised design tonearm and bespoke dual mono LPS to Straingauge cart energiser.
I truly believe I'd have to spend no less than twice the budget I've done already to go Brinkmann Balance, Bergmann, CS Port, Saskia, to out pace my sound.
More importantly, what attracted me to this outlier approach still does daily, now with the added sophistication I hear in more extravagant setups.
I'm getting way more insight into the music, a really natural balance of deep resolution and tonal warmth.
And have really learnt how to get the most out of my system. Audiophile Bill's insistence I set up my cart properly was the spur. Now I'm also an azimuth and VTA junkie.
And most critically, I have much deeper insight and thus enjoyment of LPs that I never paid much attention to before. Classical and jazz LPs land on my platter ahead of my beloved prog.
More good news...potential massive uptick coming in the form of Condor/SOTA motor to replace stock, Kondo/Bocchinos/AN tonearm wire, and Audio Machina V8 vibration isolation pad at cart/armwand junction.
Played a whole bunch of LPs that are great for natural acoustic and channel separation.
Incl Adrian Legg, Eduardo Gismonti, Pat Metheny, Brahms, Bach organ/harpsichord, Ornette Coleman with Dewey Redman and Don Cherry.
Music is literally leaping into the room, a combination of way greater transparency and natural dynamics, warmth and immediacy in proportion. Just way more vibrant and essential than before.
My six year journey settling on an outlier analog front end of high torque rim drive, air LT arm and Straingauge, has proved to be a really astute choice. Its responded to every change I've made, whether minor like Reso Pods LP support, or major like Stacore isolation, revised design tonearm and bespoke dual mono LPS to Straingauge cart energiser.
I truly believe I'd have to spend no less than twice the budget I've done already to go Brinkmann Balance, Bergmann, CS Port, Saskia, to out pace my sound.
More importantly, what attracted me to this outlier approach still does daily, now with the added sophistication I hear in more extravagant setups.
I'm getting way more insight into the music, a really natural balance of deep resolution and tonal warmth.
And have really learnt how to get the most out of my system. Audiophile Bill's insistence I set up my cart properly was the spur. Now I'm also an azimuth and VTA junkie.
And most critically, I have much deeper insight and thus enjoyment of LPs that I never paid much attention to before. Classical and jazz LPs land on my platter ahead of my beloved prog.
More good news...potential massive uptick coming in the form of Condor/SOTA motor to replace stock, Kondo/Bocchinos/AN tonearm wire, and Audio Machina V8 vibration isolation pad at cart/armwand junction.
The boy that cried “wolf” strikes again !
We should all know more about proper set up. It would save us a lot of money and gear switching. It might also allow us to form more accurate impressions of gear and systems.
Hey, if Peter can evolve his sound, so can I.The boy that cried “wolf” strikes again !
And my recent changes are all zero spend fine adjustments...from room acoustics, to Peter A style getting "inside" my analog rig.
Proper progress.
Indeed, I've never spent so little on my system as I have this year.
£50 on Rockwool to plug a bass suck out, £250 on eaves acoustic treatments, £400 on RoadRunner tt speed tach.
As a result of my audio thrifty ways, my GF loves me more than ever (as if that was possible Lol).
£50 on Rockwool to plug a bass suck out, £250 on eaves acoustic treatments, £400 on RoadRunner tt speed tach.
As a result of my audio thrifty ways, my GF loves me more than ever (as if that was possible Lol).
For me, the Zu DNA still comes thru very strongly despite my overall sound being way more sophisticated than 5 years ago, prior to my move.
That previous tone dense presentation with real dynamic snap is still there, but the tendency to "wall of sound" is way more delicate and varied. I had a couple of hundred classical albums I never played more than once. They're all go-to vinyl now.
And I've now visited at least a dozen high quality systems, members here, top analog, top digital, excellent tubes and horns. Great perspective on what can be achieved. And I do feel I've genuinely highlighted shortcomings in my sound on these comparisons, and taken on board the criticisms of those who have visited. And improved these shortcomings to a sound I didn't honestly think I'd ever get to.
I can genuinely say I wouldn't switch anything out. I love the fantastic horns presentations I've heard, Blue58 over many years evolution, but Zu suits my listener biases still. My tt escapades mean that a true advance here would break the bank. The Extreme server is too demanding of a less than optimised setup or poor remasterings to be practical for me.
Yes, my choice on Zus remains the right one for me, and they have surprised even this uber fanboy in how sophisticated and audiophile I've managed to make them perform.
That previous tone dense presentation with real dynamic snap is still there, but the tendency to "wall of sound" is way more delicate and varied. I had a couple of hundred classical albums I never played more than once. They're all go-to vinyl now.
And I've now visited at least a dozen high quality systems, members here, top analog, top digital, excellent tubes and horns. Great perspective on what can be achieved. And I do feel I've genuinely highlighted shortcomings in my sound on these comparisons, and taken on board the criticisms of those who have visited. And improved these shortcomings to a sound I didn't honestly think I'd ever get to.
I can genuinely say I wouldn't switch anything out. I love the fantastic horns presentations I've heard, Blue58 over many years evolution, but Zu suits my listener biases still. My tt escapades mean that a true advance here would break the bank. The Extreme server is too demanding of a less than optimised setup or poor remasterings to be practical for me.
Yes, my choice on Zus remains the right one for me, and they have surprised even this uber fanboy in how sophisticated and audiophile I've managed to make them perform.
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Marc, have you considered constructing an altar of worship to Zu?
Or indeed establishing a 'cult of Zu' from which one can never leave?
Rituals need include inscribing all over body tattoos with various Zu artwork designs. Breaking into audiophile homes and replacing their speakers with Zus. And the painting of Zus in the blood of their owners.
All members must of course be buried in Zu cabinets at life end, with drivers pointing at the sky and the volume left on 11 24/7.
Or indeed establishing a 'cult of Zu' from which one can never leave?
Rituals need include inscribing all over body tattoos with various Zu artwork designs. Breaking into audiophile homes and replacing their speakers with Zus. And the painting of Zus in the blood of their owners.
All members must of course be buried in Zu cabinets at life end, with drivers pointing at the sky and the volume left on 11 24/7.
Not really Justin. I'm too busy self isolating and self gratifying. The point of my post was that I'm criticised often for throwing cash at endless tweaks. Well currently I'm on a near zero spend and optimising in ways the anti tweaks brigade would support.
So we can conclude the criticism has nothing to do with your level of expenditure
It's where I would have gone anyhow. I'm still gonna be finishing out my Sablon cable loom with Bocchinos mods to Elites pwr cords, and a cheaper variation on HRS Damping Plates. Other than some Herbies Tube Dampers, that's pretty much it for tweaks.
I think one of the best ways to really move forward is a test mic. That will tell you more than anything about setup issues in the about 5 seconds it takes to run an FR check at your ear position.
Seriously worthwhile.
Aren't we similar creature dear Marc. Fortunately, Ddk taught me to spend money on what is essential. Kedar taught me to just be stingy like him. Here is my latest tweak ddk sent me all the way from Utah. Actually it is not a tweak it is more like a bandage. Best to choose things right the first time.
