When do you stop upgrading?

[gadawg58]

Just saw this thread also … I am totally done upgrading for a while. The astronomical prices for new gear over the past few years have really gotten me turned off the upgrade path and buying and selling used gear isn’t as easy as it once was. I had big plans for my next step but have put them all of pause about 2 years ago and have zero plans of upgrading anything in the near term. I’ll certainly replace equipment as it dies but will most likely look for used gear as I’m just not willing to pay MSRP for new gear. I know I’m in the minority here but the high prices really has me turned off for now … Maybe longer and I’ve been at this since the early 80’s.

 

[AMR / iFi audio]

Does a sidegrade fulfil your upgrade needs? For me, sometimes it does.

 

[Gregadd]

I hate this, hobby.

 

[Don Reid]

I assume I will cease upgrading when I either die or become so senile that I don't know Schitt from Shinola audio. At the moment I am very impatiently waiting for DEQX to release its new product line so I can replace my DEQX HDP 3 with their new Pre 8 preamp/DSP. They first promised the new line would be available third quarter 2022, then that was put off until fourth quarter 2022, then late fourth quarter 2022 now DEQX is no longer making any promises. If I thought anyone else's DSP would be as good I would just tell them to urinate away, but I don't believe anyone else can match them.

 

[Kenc]

What are the Luxman pieces that you are so fond of? I’ve been listening to some of their 80s gear and like them (M2000, M4000, R1070, R115).

Hi Doodle, my Luxman pieces are quite as old as yours. They are in my signature below.

 

[Amir]

I can not answer to this hard question but I am sure I will stop upgrading when I left this beautiful world

 

[PYP]

tomorrow....always tomorrow.

 

[Gregadd]

I don't have a problem. it's just a hobby. I can quit anytime I want to.

 

[MarkusBarkus]

...and Sweetie knows, if anything happens to me, call my buddy Carl. He'll help her sell it!

 

[audioguy]

Interesting question. To SIGNIFICANTLY improve the audio in my room (i.e. replace my speakers) would cost the equivalent of a new starter home. Won't be doing that. I've long since passed the phase of being willing to buy anything to get a minuscule (IMO) improvement in audio. That road is never ending and infinitely expensive.

 

[AMR / iFi audio]

I assume I will cease upgrading when I either die or become so senile that I don't know Schitt from Shinola audio. At the moment I am very impatiently waiting for DEQX to release its new product line so I can replace my DEQX HDP 3 with their new Pre 8 preamp/DSP. They first promised the new line would be available third quarter 2022, then that was put off until fourth quarter 2022, then late fourth quarter 2022 now DEQX is no longer making any promises. If I thought anyone else's DSP would be as good I would just tell them to urinate away, but I don't believe anyone else can match them.

What I favor the most with the Pre 8 preamp/DSP. is that it has eight analog outputs which is the perfect live solution with digital recording.

 

[PYP]

Well, famous last words, but maybe I'm done. Just replaced some faulty diffusers (MDF splitting) with Vicoustic diffuser/absorber panels. No surprise that any time we can reduce the room's influence, we start to hear more of what the speakers are capable of (and all the other gear too).

The intention of adding the panels was to reduce the slightly unnatural highs (without the old diffusers), but the new clarity noticeably affects vocals and extends lower in frequency as well. The real surprise for me was the additional rhythmic response, which was already very good.

I was hoping to keep the overall lively sound but reduce all the bouncing frequencies. And since the listening room is the living room, aesthetics and limited placement options were relevant too. Luckily, these panels worked to achieve all of these goals.

 

[AMR / iFi audio]

Well, famous last words, but maybe I'm done. Just replaced some faulty diffusers (MDF splitting) with Vicoustic diffuser/absorber panels. No surprise that any time we can reduce the room's influence, we start to hear more of what the speakers are capable of (and all the other gear too).

The intention of adding the panels was to reduce the slightly unnatural highs (without the old diffusers), but the new clarity noticeably affects vocals and extends lower in frequency as well. The real surprise for me was the additional rhythmic response, which was already very good.

I was hoping to keep the overall lively sound but reduce all the bouncing frequencies. And since the listening room is the living room, aesthetics and limited placement options were relevant too. Luckily, these panels worked to achieve all of these goals.

That's great to hear. I think that acoustic treatment is still not talked about enough. How would you rate the change that acoustic treatment did? As much as getting new equipment?

 

[PYP]

That's great to hear. I think that acoustic treatment is still not talked about enough. How would you rate the change that acoustic treatment did? As much as getting new equipment?

Thank you. An interesting question but one I find hard to answer. I tend to associate qualities with new gear and the effects are additive.

With the Mola Mola gear, it was hearing the transparency and liveliness that low distortion brings. The Grimm MU1 seemingly lowered the noise further and what emerged was music that was hard to ignore. The Shunyata power distributor added more realism to tone and timbre. The diffuser/absorber panels has me listening to more horns (trombone, sax, flugelhorn, trumpet), more albums by drummers, and lots of vocals (mostly Jazz in all cases).

But, to answer your question in another way: The acoustics are all-important. You cannot hear (or perhaps not hear is a better description) your gear without eliminating some of the effects of sound bouncing around the room. For me, it was important to remember that everything in the room both reflects and absorbs sound (including the walls). I assume that measuring the room would be helpful, but in the end I also assume the fine tuning must be done by ear.

 

[Thomas 911]

That's great to hear. I think that acoustic treatment is still not talked about enough. How would you rate the change that acoustic treatment did? As much as getting new equipment?

fully agree !, its underrated ,
i have consulted an acoustic engineer, to execute measurments in my room , pics were used in a basic expose about influence of room acoustics, and publsihed in german magazin , link see below
https://www.hifistatement.net/grundlagen/item/376-raumakustik-teil-2

before treatment



after treatment on walls , corners, ceiling..

ig



None single "über high end " component could achieve the acoustic improvment, in total i spend around 10 000 euro, incl. measurments .
.. every single penny worth..!!!!!

i dont like listening in a , let me describe it, as studio atmoshpere, its always compromise between feel good factor, aestetic demand and acoustic/sonic perfection.

 

[PYP]

@Thomas 911 thank you for the link. That is a great article.

This part (translated by the browser) shows the sensible approach and touches on your point about not turning the listening room into a room for professional mixing:

The temporal range "after" the initial time (the notch in the recommended envelope) is available for the "creative" acoustic design of a listening room. Creative is meant in the true sense of the word, because these acoustic properties do not refer to an absolute degree. To be clear: there is no reference listening room! Rather, the acoustic properties meant in a positive sense are based on the physical requirements of the listening room and its individual use. A control room, in which intensive work has to be done all day, certainly looks acoustically different from a demo room for short audio samples. As a result, you must first become clear about what you actually want. How long is heard, which average listening levels are realized, which material should be intercepted and so on. Of course, subjective listening habits and personal preferences also play a major role. The specific use of space can also play a decisive role. Is it about pure fun in music, is sound material processed or does the room serve to assess the sonic properties of devices? All these factors go into the "creative" acoustics of an eavesdropping room. In order to simplify the matter a little at this point, we are now referring to the situation in which the fun of listening should be in the foreground.

It seems you are using the Vicoustics diffuser/absober panels (in addition to diffusers). I think they are a great all-purpose panel and look nice in the listening environment.

 

[Fishfood]

I'll stop upgrading when every LP I own, whether jazz, blues, rap, reggae, apocalyptic folk, trip hop, classical or the occasional punk album sounds great. Getting close now.

 

[Thomas 911]

@Thomas 911 thank you for the link. That is a great article.

This part (translated by the browser) shows the sensible approach and touches on your point about not turning the listening room into a room for professional mixing:

The temporal range "after" the initial time (the notch in the recommended envelope) is available for the "creative" acoustic design of a listening room. Creative is meant in the true sense of the word, because these acoustic properties do not refer to an absolute degree. To be clear: there is no reference listening room! Rather, the acoustic properties meant in a positive sense are based on the physical requirements of the listening room and its individual use. A control room, in which intensive work has to be done all day, certainly looks acoustically different from a demo room for short audio samples. As a result, you must first become clear about what you actually want. How long is heard, which average listening levels are realized, which material should be intercepted and so on. Of course, subjective listening habits and personal preferences also play a major role. The specific use of space can also play a decisive role. Is it about pure fun in music, is sound material processed or does the room serve to assess the sonic properties of devices? All these factors go into the "creative" acoustics of an eavesdropping room. In order to simplify the matter a little at this point, we are now referring to the situation in which the fun of listening should be in the foreground.

It seems you are using the Vicoustics diffuser/absober panels (in addition to diffusers). I think they are a great all-purpose panel and look nice in the listening environment.

Yes the supplier is vicoustic, you are right. Listen classic or Jazz, is very emotional ..and Studio Environment Look would not keep me long on the Sofa..
..

 

[andromedaaudio]

@ thomas nice you have the Octave Jubilee pre as welll.
Thats a nice combo , i think thats one of the best tubeamplification combos money can buy.

 

[Thomas 911]

@ thomas nice you have the Octave Jubilee pre as welll.
Thats a nice combo , i think thats one of the best tubeamplification combos money can buy.

Yes ,particulary the pre amp is the Model which was tested by the World press. I had all octave pre amp and mono amp before, from bottom to top line., not without reason.
Like in an other thread discussed about burn in time, i must confess, the mono amplifier require minimum 150 h, after unpacking, but then you get rewarded110 %.