Visit to Marc C.'s (SpiritOfMusic's) House in England
- Thread starter Ron Resnick
- Start date
This insane level of tagging will make him rich.
No question.
And what better a promotion than this thread?
I'm sure he'll realise it and send us many Bitcoins.
Nah Peter, I feel quite at home here. I know of a handful of guys converted to the Zu cause partially as a result of my words. More rewarding than any kickback.
it was a reference to the millennials driving up the demand for the gaming stock two unprecedented levels until the authorities came in to shut it down. In other words it was a joke.
Well, 7+ years on from going the Entreq route, I may be doing a 180 and taking it out. Certainly there were benefits to be had running it in my previous setup...my mains supply fluctuated +/- 10V on a moment by moment basis, I resided in a live/work apartment building with dozens of internet systems/broadband setups on seemingly 24/7, light industrial generators/internet booster stations/aerials nearby. I was also running my system mainly from the wall, having dispensed with the conditioner I had been using. Also my brand of cables loom and likely wire metallurgy was very different 7 years ago. As Entreq sold itself to me, I went from Silver Tellus and an Apollo to preamp to a further 8 Apollos to all my gear, plus a Silver Cleanus plugged into spare socket on distribution strip, grounded itself w Tellus Mini.
Now I'm in a much quieter semi-rural location, minimal housing density, no local industrial. I also have a much more bulletproof mains setup
Isolated feed split before domestic supply, to audio room > bespoke CU > Oyaide line to Westwick 8kVA balanced transformer > Oyaide line back to CU > 6 Oyaide lines > 6 Furutech duplexes.
The changes that Entreq wrought in London were seriously impressive, as highlighted in opening comments on the thread I launched in 2013. And even upon initial listening here when I just set up my system non optimally in late 2016, Entreq was still a plus, if maybe not as slam dunk.
Upon installing my mains setup subsequently, and umpteen levels of system optimisation, I never really returned to re evaluate my Entreq setup.
However, some nagging issues with hardness in certain poorly mastered LPs has pushed me to reconsider some areas.
One was tubes in my preamp to reduce some layer of grunge, Bocchino connectors to the Sablon Elites into my tube amps, another was ameliorating eaves reflections which I've successfully done with PET absorber panels.
And then I thought this might be an ideal time to see if the Entreq is doing what it once did. Initially in 2013, very easy to gauge its influence, detach ground leads and hear/feel the soundstage shrink.
On this occasion, this is not what happened. Stage has remained solid, but a certain sweetness and tonal fullness or bloom has increased. I'm very careful now to listen "thru" changes to ensure anything that sounds positive is not a euphony imposed on proceedings. And I'm pretty sure what I'm hearing in removing Entreq is a universal improvement, not a "new" coloration.
Critically, bass seems fuller but totally agile, and highs are sweeter but no less incisive. This is absolutely benefitting my more challenging sonics LPs, currently the only area in my sound that is more questionable than 2 months ago when my most recent swathe of critical upgrades/changes were made (SOTA motor to tt/Farad LPS).
My take? My EMF miasma in London plus violent swings in mains voltage was a massive impediment to smoother SQ, the Entreq was a major help here. My cable loom has changed twice since I installed the Entreq. I now run dedicated lines and overspecced balanced power. My system is more optimised, accurate and tuneful right now.
Entreq seems surplus to requirements as things stand.
Now I'm in a much quieter semi-rural location, minimal housing density, no local industrial. I also have a much more bulletproof mains setup
Isolated feed split before domestic supply, to audio room > bespoke CU > Oyaide line to Westwick 8kVA balanced transformer > Oyaide line back to CU > 6 Oyaide lines > 6 Furutech duplexes.
The changes that Entreq wrought in London were seriously impressive, as highlighted in opening comments on the thread I launched in 2013. And even upon initial listening here when I just set up my system non optimally in late 2016, Entreq was still a plus, if maybe not as slam dunk.
Upon installing my mains setup subsequently, and umpteen levels of system optimisation, I never really returned to re evaluate my Entreq setup.
However, some nagging issues with hardness in certain poorly mastered LPs has pushed me to reconsider some areas.
One was tubes in my preamp to reduce some layer of grunge, Bocchino connectors to the Sablon Elites into my tube amps, another was ameliorating eaves reflections which I've successfully done with PET absorber panels.
And then I thought this might be an ideal time to see if the Entreq is doing what it once did. Initially in 2013, very easy to gauge its influence, detach ground leads and hear/feel the soundstage shrink.
On this occasion, this is not what happened. Stage has remained solid, but a certain sweetness and tonal fullness or bloom has increased. I'm very careful now to listen "thru" changes to ensure anything that sounds positive is not a euphony imposed on proceedings. And I'm pretty sure what I'm hearing in removing Entreq is a universal improvement, not a "new" coloration.
Critically, bass seems fuller but totally agile, and highs are sweeter but no less incisive. This is absolutely benefitting my more challenging sonics LPs, currently the only area in my sound that is more questionable than 2 months ago when my most recent swathe of critical upgrades/changes were made (SOTA motor to tt/Farad LPS).
My take? My EMF miasma in London plus violent swings in mains voltage was a massive impediment to smoother SQ, the Entreq was a major help here. My cable loom has changed twice since I installed the Entreq. I now run dedicated lines and overspecced balanced power. My system is more optimised, accurate and tuneful right now.
Entreq seems surplus to requirements as things stand.
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PeterA's thread going a little off topic as a result of people in a little bit of a spin about his impressions at DDK.
All I can say is that there are many reasons to go horns, primarily the "breath of life" thing that the best horns do in conjunction w low power SETs. For me, I've heard it brilliantly implemented, and despite a sneaking fascination w Apogees, it's the only thing that would drag me away from Zus.
But the area is clouded by a few issues. One is the shortage of really good horns that cut the mustard. Another is the spotlight they put on the quality of source and amps (although they're way more room friendly than many box spkrs).
For me, in a slightly parallel universe, horns are what I would be investigating now. At the same time, the stellar horns I've heard in the last 7 years have pushed me to get as much out of my current Zus, and in lots of ways, I've succeeded more than I've failed.
So, Bill's horns do magic more than any other spkrs I've heard, so impressed and seduced was I by my two demos of them. For me to even consider my Zu playback can compete is massive for me personally.
That certainly wasn't the case in 2015 when I heard Blue58's AG Duos for the first time, and was literally despondent when I listened to my Zus on returning home from him.
All I can say is that there are many reasons to go horns, primarily the "breath of life" thing that the best horns do in conjunction w low power SETs. For me, I've heard it brilliantly implemented, and despite a sneaking fascination w Apogees, it's the only thing that would drag me away from Zus.
But the area is clouded by a few issues. One is the shortage of really good horns that cut the mustard. Another is the spotlight they put on the quality of source and amps (although they're way more room friendly than many box spkrs).
For me, in a slightly parallel universe, horns are what I would be investigating now. At the same time, the stellar horns I've heard in the last 7 years have pushed me to get as much out of my current Zus, and in lots of ways, I've succeeded more than I've failed.
So, Bill's horns do magic more than any other spkrs I've heard, so impressed and seduced was I by my two demos of them. For me to even consider my Zu playback can compete is massive for me personally.
That certainly wasn't the case in 2015 when I heard Blue58's AG Duos for the first time, and was literally despondent when I listened to my Zus on returning home from him.
If this lockdown ever ends and you are in the West again Marc you must hear this latest Apogee revision plus recent DAC mods.
It really is a better setup by a good degree than you heard at my old place. The new clamps mass damp the bass driver so well that the feeling of relaxed ease in reproducing anything is enhanced markedly. The speaker sounds seriously coherent in a way they didn't before.
I'd love to put them in the same room as a pair of Botticelli's and see how it played out.
And the DAC is much improved, too.
But what would be cool is you getting a pair of Bill's horns. I'd have to up your cred factor a point or two.
It really is a better setup by a good degree than you heard at my old place. The new clamps mass damp the bass driver so well that the feeling of relaxed ease in reproducing anything is enhanced markedly. The speaker sounds seriously coherent in a way they didn't before.
I'd love to put them in the same room as a pair of Botticelli's and see how it played out.
And the DAC is much improved, too.
But what would be cool is you getting a pair of Bill's horns. I'd have to up your cred factor a point or two.
I would love to have heard the pair that Jon is just finishing for my mate in Cali. I was going to be his British Agent had lockdown not happened, and keep him appraised. Unfortunately they'll be in the air or Stateside before I'm permitted to travel to Jon.
BillHorns remain my only real remaining temptation in this hobby, so consistently stellar are they across whatever checklist you can come up with. Unfortunately, the Game Of Life is intervening to keep us apart.
Nope, Covid repercussions on my business and essential financial priorities at the chapel means that I'm on a drive to secure some extreme VFM system optimizations.
£1k on a whole room acoustic treatments system comprising PETs panels, 10 on eaves already installed, 14 on side walls, 8 on front wall, 6 in corner bass traps to incorporate polyester absorption filling.
A mere fraction of the quote I got for Acustica Applicata DaaDs treatments.
And less than £500 on my DIY IsoDamp/jewellers steel bench blocks alternative to 5x pricier HRS Damping Plates on my gear.
The system is hugely immersive, just looking for some cost effective final directions to go.
£1k on a whole room acoustic treatments system comprising PETs panels, 10 on eaves already installed, 14 on side walls, 8 on front wall, 6 in corner bass traps to incorporate polyester absorption filling.
A mere fraction of the quote I got for Acustica Applicata DaaDs treatments.
And less than £500 on my DIY IsoDamp/jewellers steel bench blocks alternative to 5x pricier HRS Damping Plates on my gear.
The system is hugely immersive, just looking for some cost effective final directions to go.
Nah just buy a few alt coins no one has heard of that are bound to go intersellar.
Then BillHorns. In every room!
Hm. BillHorn. Somehow that actually sounds pretty cool
He owes me big style. As does Kim.
Why? For pressuring Jon NOT to use MDF for bass clamps.
Granted Jon got it sorted, of course.
The thing is they will never really know what it does, as they never owned MDF bass clamps. Actually hold on Kim will notice.
Jon says Kim's Scintllas are sounding phenomenal.
Been reading Peter's Natural Sound thread narrative with great interest. Horns would be the most obvious destination for me as well, but for various reasons the stars won't align on this move.
And in the great tradition in high end audio where many roads lead to Rome, unlike Peter I'm still wedded to the concept of system optimisation thru tweaks etc.
So, as I wait for my Straingauge energizer upgrade and two new stylii to be completed, I'm taking time to sort what is likely to be my final room acoustics optimisation.
I've been getting great results with 10 PET panels as eaves diffusers, 5 Left side of midline apex, 5 Right, so much so I'm gonna order 22 more to situate on front and side walls, and create custom corner bass traps, to replace my existing GIKs.
These panels will be set up louvre style at 45° to each other, front wall: 4 on Left and 4 on Right, either side of midline. Side walls at reflection points zone: 5 on Left wall and 5 on Right.
I'll then source some ultra absorbative natural fibre mass to stuff corner bass traps faced with these PETs.
A total of 32 panels, each one 48" x 12" x 1", and acoustic stuffing for less than £1k. Way cheaper than the Acustica Applicata DaaDs install I had contemplated, and somewhat less pricey than using the GIK Gotham Quadratic Diffuser panels that were also a likely option.
Additionally I've reinstalled my Entreq grounding after a long period with it out of my system. This time around, after hearing so many reports that digital introduces most noise into a system, I've grounded my Eera CDP to it's own Olympus Minimus box, and the "analog" rest of system to my Silver Mimimus. Silver Cleanus now loses it's own ground box, but still plugs into a spare outlet on my distribution strip.
As things stand, I'm pleasantly surprised by the uptick putting it back in.
Covid repercussions on my business and the fact that final, endless, and not inexpensive, chapel renovations are now my priority in spending, not so much gear, and my renewal in buying way more music, s/h classical LPs, quality jazz reissue LPs like the current Blue Note and Verve/Impulse series', and notable CD boxset releases like King Crimson and Jethro Tull, mean the days of big ticket audio purchases are behind me. I'm in the fortunate position that I've wrangled what I consider a hugely musical end result, despite that being some way off back in the day when I lived in London. Reignited a passion for jazz and classical, listening to these genres way more. A bonus I couldn't have contemplated with my previous sound.
And in the great tradition in high end audio where many roads lead to Rome, unlike Peter I'm still wedded to the concept of system optimisation thru tweaks etc.
So, as I wait for my Straingauge energizer upgrade and two new stylii to be completed, I'm taking time to sort what is likely to be my final room acoustics optimisation.
I've been getting great results with 10 PET panels as eaves diffusers, 5 Left side of midline apex, 5 Right, so much so I'm gonna order 22 more to situate on front and side walls, and create custom corner bass traps, to replace my existing GIKs.
These panels will be set up louvre style at 45° to each other, front wall: 4 on Left and 4 on Right, either side of midline. Side walls at reflection points zone: 5 on Left wall and 5 on Right.
I'll then source some ultra absorbative natural fibre mass to stuff corner bass traps faced with these PETs.
A total of 32 panels, each one 48" x 12" x 1", and acoustic stuffing for less than £1k. Way cheaper than the Acustica Applicata DaaDs install I had contemplated, and somewhat less pricey than using the GIK Gotham Quadratic Diffuser panels that were also a likely option.
Additionally I've reinstalled my Entreq grounding after a long period with it out of my system. This time around, after hearing so many reports that digital introduces most noise into a system, I've grounded my Eera CDP to it's own Olympus Minimus box, and the "analog" rest of system to my Silver Mimimus. Silver Cleanus now loses it's own ground box, but still plugs into a spare outlet on my distribution strip.
As things stand, I'm pleasantly surprised by the uptick putting it back in.
Covid repercussions on my business and the fact that final, endless, and not inexpensive, chapel renovations are now my priority in spending, not so much gear, and my renewal in buying way more music, s/h classical LPs, quality jazz reissue LPs like the current Blue Note and Verve/Impulse series', and notable CD boxset releases like King Crimson and Jethro Tull, mean the days of big ticket audio purchases are behind me. I'm in the fortunate position that I've wrangled what I consider a hugely musical end result, despite that being some way off back in the day when I lived in London. Reignited a passion for jazz and classical, listening to these genres way more. A bonus I couldn't have contemplated with my previous sound.
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