Hey Justin, in this hobby, many roads lead to Rome. Indeed, natural sound is a range of destinations. For me the ability to use SETs on box spkrs in a room 4x volume of the average British lounge, and sound extended, saturated, and effortless, was a prime motive to go Zu. The decade-plus realisation of that goal is coming thru loud and clear now.
Visit to Marc C.'s (SpiritOfMusic's) House in England
- Thread starter Ron Resnick
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Ked i think you are somewhat of a purist, even when it comes to rock recordings, a lot of rock recordings do not fare well in a system transparent enough for good classical. They sound best on a PA type system.
At least you fess up afterwards !I've just bought this place and told Graz to build me 30 pairs of Giga Range.
I appear to be turning into a compulsive liar
Ked i think you are somewhat of a purist, even when it comes to rock recordings, a lot of rock recordings do not fare well in a system transparent enough for good classical. They sound best on a PA type system.
Sorry I posted on the wrong thread lol.
Well, Sean Casey chief Zu designer, cut his teeth on PA spkrs, setting up sound systems for gigs, both horns based and cones based before he founded Zu. He grew up w horns, and wrangled PA. Indeed he still consults on sound system setups and regularly (in non Covid times) DJ's, setting up the sound in smaller venues as well.He's got a great insight into what makes an attractive all-round spkr sound, and this has been distilled thru multiple generations of various models of Zu. What I'm hearing right now is a fantastic synthesis of great open and transparent SQ on classical, jazz and vocals, and supremely immersive SQ on rock, prog, fusion, electric jazz, electronica and ambient, with great mids tone density and flow.
For me I'm realising all the reservations I had w my Zus on acoustic music were a function of a poor TT setup, and stupidly challenging room acoustics.
For me I'm realising all the reservations I had w my Zus on acoustic music were a function of a poor TT setup, and stupidly challenging room acoustics.
Don't worry, Marc appreciates the traffic !
And he would be the last one to demand sticking to the subject !Once you come to terms with the fact that some recordings just sound like shit, and are supposed to sound like that, life becomes easier !
Al Di Meola/Tiramisu does NOT sound like shit Lol.Once you come to terms with the fact that some recordings just sound like shit, and are supposed to sound like that, life becomes easier !
The only things I object to here are Justin's tedious Porsche posts. The tedium is overwhelming.Don't worry, Marc appreciates the traffic !
I might have exaggerated to make a point in the case of Tiramisu
But it does have that signature of early digital. 10 years later Al was very relaxed about some of his recordings, i once had the pleasure of hearing him play around with a primitive setup in his Miami condo, using the bathroom as recording booth, he liked the sound in there. And then we went to a strip club !My very large bathroom, has a very nice sauna made in all natural wood, with diffusion pattern built in, the door handle is even natural wood !
The room finishes and intended function may have been very natural. It's the final use you put it to that is up for debate Lol.
Ouch!
Happy to remind you with an Apogee to the side of the head.
It sounds like an obvious thing to say, but some upgrades/changes just feel "right", and remind you of the fact when the first bars of music emerge from the spkrs.
Well, this is how I feel today after coming back to my system after a couple of hard days at work, to take in the system with the new mega corner bass traps installed.
So, minus any conscious imagining of changes, the big uptick I heard on day one of install is fully evident, imbueing music with a real energy and momentum.
It seems that going this extra mile to tame bass issues has wrought improvements across the board, from more solid bass that is also faster and more articulate, to way greater transparency in mids, and a real efferevescence in the treble.
This is not some "hifi" exercise of more pyrotechnics or checklist ticking. This is is a real boost in tangible gains of natural and realistic music reproduction in the home.
And for me, where my core system (I'm using ostensibly the same analog/digital/amps/spkrs today that I did in 2015) was so grey, harsh and one-trick pony just a few years ago, literally transformed thru my efforts on various levels of optimising and setup, and liberated first by new room acoustics and now maxxing those acoustics w the PETs setup on walls, eaves and corner traps, is the equivalent for me of the lottery win upgrade opportunity.
If anything is demonstrating the fundamental change I've managed to achieve, it's that I head to jazz and classical first in my listening choices, as the openness and transparency I'm getting is finally allowing my Zus to be wholly enjoyable on these genres.
Well, this is how I feel today after coming back to my system after a couple of hard days at work, to take in the system with the new mega corner bass traps installed.
So, minus any conscious imagining of changes, the big uptick I heard on day one of install is fully evident, imbueing music with a real energy and momentum.
It seems that going this extra mile to tame bass issues has wrought improvements across the board, from more solid bass that is also faster and more articulate, to way greater transparency in mids, and a real efferevescence in the treble.
This is not some "hifi" exercise of more pyrotechnics or checklist ticking. This is is a real boost in tangible gains of natural and realistic music reproduction in the home.
And for me, where my core system (I'm using ostensibly the same analog/digital/amps/spkrs today that I did in 2015) was so grey, harsh and one-trick pony just a few years ago, literally transformed thru my efforts on various levels of optimising and setup, and liberated first by new room acoustics and now maxxing those acoustics w the PETs setup on walls, eaves and corner traps, is the equivalent for me of the lottery win upgrade opportunity.
If anything is demonstrating the fundamental change I've managed to achieve, it's that I head to jazz and classical first in my listening choices, as the openness and transparency I'm getting is finally allowing my Zus to be wholly enjoyable on these genres.
Well, me and Ra just about to go in to our first concert since Covid kicked off, solo piano Chopin/Barcarolle, Nocturne, Polonaise, Waltz and Scherzo, and Musorgsky/Pictures At An Exhibition.
Not before time, and of course a good reference for the system at home and the ones I'm hoping to visit.
Not before time, and of course a good reference for the system at home and the ones I'm hoping to visit.
What a joy. Firstly you could tell everyone attending the concert was so happy it was simply happening, from the oldies who have been stuck away for 15 months, to relative whippersnappers like me and Ra who have survived ok.
And so my thoughts on 90 mins of solo piano sublime Chopin and dramatic Mussorgsky?
Firstly, what a talent this Tyler Hay is. No fancy flourishes or pyrotechnics, just an amazing control of dynamics and tempo, and no sheet music to boot.
He had spent 3 years helping nurse his terminally ill grandmother who sadly died 6 months ago, and he dedicated the Chopin programme to her.
Secondly, being within 10' of the piano meant a real connection to his playing. My mind sporadically took in all the arguments we play out on the forum as to what we're trying to achieve with our systems at home. And my conclusions are as they ever were.
There is no highlighting or spotlighting of anything in such a setting. My abiding impression if I am going to describe one character, is total density at the heart of the note. Whether it's glissandos in the higher keys, or hammer blows on the lower keys, that solidity at the centre of the sound prevails. Indeed, I'm not picking up bass, treble, imaging etc. Just the organic, holistic gestalt. Music is just "there"...or do I mean "here"? Lol
And so my thoughts on 90 mins of solo piano sublime Chopin and dramatic Mussorgsky?
Firstly, what a talent this Tyler Hay is. No fancy flourishes or pyrotechnics, just an amazing control of dynamics and tempo, and no sheet music to boot.
He had spent 3 years helping nurse his terminally ill grandmother who sadly died 6 months ago, and he dedicated the Chopin programme to her.
Secondly, being within 10' of the piano meant a real connection to his playing. My mind sporadically took in all the arguments we play out on the forum as to what we're trying to achieve with our systems at home. And my conclusions are as they ever were.
There is no highlighting or spotlighting of anything in such a setting. My abiding impression if I am going to describe one character, is total density at the heart of the note. Whether it's glissandos in the higher keys, or hammer blows on the lower keys, that solidity at the centre of the sound prevails. Indeed, I'm not picking up bass, treble, imaging etc. Just the organic, holistic gestalt. Music is just "there"...or do I mean "here"? Lol
