REFERENCE COMPONENTS THE SUPREME RECORDINGS MY AUDIO SYSTEM REVIEWING THE 'REVIEWERS' MISCELLANEOUS NEW LINKS USED COMPONENTS NOW ON SALE INTERNAL LINKS
THE SUPREME RECORDINGS
MY AUDIO SYSTEM
REVIEWING THE 'REVIEWERS'
USED COMPONENTS NOW ON SALE
This section contains ALL of the newest material before it is posted to the dedicated files. It will remain here for around 12 months. So readers can now find the latest observations, news, opinions and thoughts in the fastest time.
Caveat 1- Readers should always keep in mind that the material which is most recently posted is also, generally speaking, the least reliable. It is usually, though not always, my (or our) "first impressions". Sometimes it will be an a simple update, which of course is usually more reliable. In any event, I may further edit, quite liberally and without any notice or warning, anything you may read here.
Caveat 2- A good number of the posts below are by Anonymous Readers of this website. They are separated from my own posts (*******), and should never be considered my own personal evaluation, belief or recommendation. In many cases, I will add a "Personal Reply" to the reader's letter. If so, my contribution will be the only editorial part of that post that I take personal responsibility for.
I have made these letters public because I feel they may be interesting and informative to some readers. I also like an exchange of observations, evaluations and ideas, even when I disagree with some of them. However, readers >must always consider the extent of the previous experiences of the anonymous writer. Serious thought should also be focused on the writer's actual objectivity and their sonic priorities. All of this background and perspective is obviously relevant and critical, and can be extremely difficult to evaluate within a short anecdotal observation. A continual skepticism in our audio world is a perspective that is difficult to argue with.
1. Awful Weather - The atrocious summer weather, the worst I ever experienced in Florida, is now history. Accordingly, I have been able to substantially break-in the new PRE II speakers (see below), plus fully break-in the Statement speaker cables.
2. "The Truth" T4 - The T4 is currently (November 2018) being broken-in by the manufacturer, Ed Schilling. I will receive the T4 sometime in early December. My associate, who actually owns the T4, will also arrive in Florida sometime in December. We will thoroughly audition and test the T4 at that time. The report on the T4 should come out in late December or early January 2019.
3. Coincident Pure Reference Extreme (PRE) Mk. II - I now have more than 300 hours of play time on the PRE II monitors. I will shortly begin my most challenging auditioning and testing, and will report the results, observations and related thoughts and advice, in late December and/or January 2019. I will also have three other experienced and objective listeners available to assist me.
This important article will be reposted & updated annually...
This article is a summary of the cumulative observations and recommendations included within this website as concisely as possible. Below is the best advice I can provide as this is written and it will be updated if and when necessary. This summary will be relevant if the ultimate goal of the reader is to maximize the natural, accurate and complete musical communication that is possible with modern audio components. It is designed to work with the largest variety of musical software available to us today, and particularly if it is acoustical in nature.
I obviously realize that there are other serious alternatives, and with easily noticeable advantages to my approach. However, in my experience, they all have a larger number of serious compromises with a greater variety of music. Further, none of the recommendations I make below have to cost a huge amount of money, and all the steps can be made over a period of time.
1. The Analogue source should be an Idler-Drive turntable (or a Reel-To-Reel Tape Deck)
Explanation- Idler-drives have a fundamental sonic advantage over belt-drive turntables; speed stability, which is grossly under appreciated by most audiophiles. Idlers' inherent disadvantage, noise transference, has now been reduced to insignificance by using modern plinths, bearings and improved motor isolation. In short, idler-drives overcame their original problem economically, while belt-drives have not and (apparently) can not. (Direct-drives are still an unanswered question.) Reel-to-reel tapes have even more sonic potential, but they're a serious hassle to use for most audiophiles and good software is also extremely limited.
2. A Moving-Coil (or Strain-gauge or Optical?) cartridge
Explanation- Moving-coils have several technical advantages due to their low-mass and low inductance combined with higher overall energy output, making them worth the extra expense under most circumstances. Strain-gauge and/or Optical cartridges may have even greater technical advantages, but I haven't heard a modern version of one of them in a controlled environment.
3. The Digital source should use the highest quality (OEM) Esoteric Transport that is affordable
Explanation- Every outstanding digital player we have heard has used an Esoteric transport. Until computer audio is finally mature, an actual digital disc player is still the best and safest approach, which means an Esoteric transport should be part of the equation. There are usually many used Esoteric players for sale at large discounts. They are also incredibly well built and reliable, which is another important factor. Esoteric (OEM) transports are also used in non-Esoteric players as well. The DAC, after it inevitably becomes obsolete, can always be updated.
4. The Electronics should be Separates, and using Tubes, with the one possible exception of the bass amplifiers
Explanation- Tube electronics still have noticeable and important sonic advantages over even the finest transistor models. Separate components offer both the greatest potential performance and flexibility, including mono amplifiers.
5. The Speakers must be HIGH-EFFICIENCY AND BOTH Bi-ampable AND SET-Friendly
Explanation- All the finest systems I've ever heard were bi-amplified (with subwoofers). This is not a coincidence. When the amplifier driving the midrange and tweeters is not effected by the (sub)woofers (which would have their own dedicated amps), there are important (if not fundamental) sonic advantages that any audiophile can hear. Even if the bi-ampable speaker can not be bi-amped when first purchased (for whatever reason), that option is still available in the future.
SET amplifiers have important sonic advantages in the midrange and highs over any other amplifier design in my experience, especially with acoustical music. They have the lowest sound-floor and are the best "organized" (and music is simply "organized sound"). Even if a SET amplifier is not used at first, the SET-friendly speaker will provide that option in the future.
1. The SET amplifier, in a bi-amplified system, must use NO FeedBack, allowing it to become "Dedicated" with a simple capacitor modification
Explanation- Some audiophiles may consider this as more of a refinement, but I don't feel that way. The cumulative sonic improvements, discussed in the article linked to below, are easily observed and much too important to ignore.
2. Audiophiles should experiment with a Passive transformer, or a LDR, line stage/volume pot BEFORE utilizing a serious active line stage
Explanation- Most systems require an active line stage for optimum performance, but a passive line stage, or volume pot, can be used if the source has the required energy to directly drive the amplifier(s). If successful, there will be both improved performance and money saved, so an experiment is always in order. See the Link below.
3. Audiophiles should experiment with high-quality Super Tweeters
Explanation- Most systems require a good super tweeter for optimum performance. Proper set-up and implementation are critical for success, so time, effort and patience are required. See the Link below
4. Dedicated Digital Systems should always have the signal remain in the "Digital Domain" for as long as possible
Explanation- Digital's most noticeable sonic weaknesses occur during the unavoidable conversions: A/D + D/A. Thus the most rational strategy is to reduce these conversions to the bare minimum; only one A/D and one D/A if possible, by remaining strictly in the digital domain from the first conversion (software) until the second and final conversion. This strategy also minimizes the length of the analogue chain as well, which is another sonic benefit.
Individually, most of these refinements will be subtle in effect, but collectively they will almost always be significant in their effect. They are usually the difference between the "Excellent" and the truly "Great" Systems.
1. All Signal and Power Cables- As short as possible
2. Capacitors - Teflon in the direct signal path and all film (metallized) in the high voltage power supply
3. Exact speaker set-up and Room treatments
4. Acoustical Isolation of both the Sources and the Electronics
5. AC filtering and even AC regeneration if necessary
6. All records should be cleaned first with an Ultra Sonic Record Cleaning Machine
These are the articles and essays which describe and explain, sometime in great detail, the respective experiences and reasons why I specifically chose each of the "Structures" and "Bonus Suggestions" mentioned above:
"Reference" Lenco L 75 Idler-Drive Turntable (#1 "Structure")
DIGITAL SOURCES (#3 Structure)
Coincident Frankenstein 300B SET Amplifier (#4 & #5 Structures)
Coincident Pure Reference Extreme Speakers (#5 SET-Friendly & Bi-Amping Structures)
Dedicated SET Amplifier Capacitor Modification (#1 Bonus Suggestions)
LINE STAGES (Active or Passive? #2 Bonus Suggestions)
Acapella Ion TW 1S Super Tweeter (#3 Bonus Suggestions)
A related article that will also be reposted & updated annually...
I decided to both expand upon, and yet still simplify, my earlier article, seen above, titled: Building a Great Audio System. This time I will argue that there is a single most important choice an audiophile can make when creating a great audio system or, at the least, creating the finest audio system for the least amount of money invested. That critical choice is unambiguously simple:
There are several practical reasons why this is the best choice a serious audiophile can ever make, as well as actual science to support it. First we'll focus on the practical reasons, which almost all involve maximizing the flexibility and the unlimited options resulting from this initial choice:
1. This choice provides the flexibility to choose any amplifier you prefer and can afford; low power/high power, tube/transistor, feedback/non-feedback, SET/non-SET or Class A or A/B or D. All these amplifier types are compatible with this choice of speaker. The amplifier choice thus becomes strictly one of audio quality, not quantity, which eliminates the frustrating compromises that other audiophiles must accept and live with.
2. With a high-efficiency speaker, other formerly impractical options now become possible. The system may no longer require the extra gain of an active line stage, which means a passive line stage, or a hybrid model like "The Truth", is now an option. Low output (analogue or digital) sources, which may sound "dead" with normal/average efficiency speakers, are now also options.
3. Bi-amping the speaker is also an option; now, later or never, with the added benefit that the speaker can utilize any combination of amplifiers, based on your own musical preferences and budget. Remember- Bi-amping is a "Structure of a Great Audio System".
4. Lower power, everything else being equal, also means lower cost, so there is even a monetary advantage to this important choice. (Passive line stages are also less expensive than equivalent active line stages, obviously.)
I have now lived with high-efficiency speakers for 25 years and I have never looked back. It is the most positively consequential choice I have ever made in my audio life. Countless other audiophiles have done the same, both before and after me, and it is unusual to learn of anyone who later reversed themselves. There are good reasons why these audiophiles remain "faithful": The advantages when using high-efficiency speakers are far too important in sonics, component flexibility and savings, to ever give up. Then there's the Science. It's all about Energy...
I am NOT a "scientist", though I do have a basic understanding of the science underlaying audio. Many other audiophiles can make the same claim as I, while others know far more about (audio) science than I ever will, but what I am about to theorize is something anyone can understand. My theory is based on an indisputable reality. Further, I believe it is rational, logical and thus irrefutable. Once again, it is founded on a simple truth and fact: High-Efficiency speakers require less energy to perform at the same level as "normal" speakers. Further, serious Audio is just about recreating, as closely as possible, the original energy, of the original performance, in your listening room.
High-Efficiency (HF) is the most important and critical advantage in audio. Why? HF speakers require less energy from outside sources to achieve the same level of performance. The energy from those "outside sources" is always imperfect and compromised. Accordingly, the less energy from "outside sources" included in the total energy created by the system, the less compromised the sound will be. And, to be clear, "outside sources" specifically mean electronic phono stages, DACs, active line stages and power amplifiers.
All of these electronic components are imperfect and "enemies" of music, though all of them are also unfortunately necessary for the reproduction of music using modern technology. In short, the less energy (or "influence") required from "outside sources" (electronic components), the higher the quality of total energy created by the system, everything else being equal. It's the classic "quantity versus quality" compromise and quandary.
To make my point as clear as I can, I need to use a highly unlikely scenario: Imagine a speaker with an unbelievable high-efficiency specification; let's say 130 dB/1 watt and, further, an ultra-low current requirement (while ignoring noise and other issues). Such a theoretical speaker could be driven by the preamplifier alone (or even the source*)! This scenario would actually eliminate power amplification all together. This is just a fantasy for now, but I'm arguing that even minor steps taken in this direction will have positive results.
*The ultimate scenario would be the phono cartridge directly driving the speakers, with the no electronics in between them. Only an attenuator would separate the two components. Anything else is a (necessary for now) compromise.
The less energy an audio system uses from "outside sources", the better chance that system has to be natural and faithful to the original musical source. So, the goal for serious audiophiles is simple: Reduce the energy required from your compromised outside power sources (AC), to the greatest degree possible. High-Efficiency speakers, more so than any other audio choice, achieve that goal.
Further- Almost all of the Readers Letters that are removed from this file, after the standard 12 Month posting (such as the October/November 2017 Readers Letters), are subsequently posted in their respective Reference Component Files: Amplifiers, Cartridges, Speakers etc. They can be found under "Readers Letters". If the reader's letter discussed more than one type of audio component, I will place that letter in the file of the component that was the most discussed.
1. "The Truth" T4 - The T4 is now currently (January 2019) in my possession and has been fully broken-in. My associate, who actually owns the T4, has also now arrived in Florida, and we will thoroughly audition and test the T4 in late January. The report on the T4 will be posted in March 2019. I would like to post the T4 report earlier, and while this may still happen, the review of the component below (PRE MK. II) has precedence (and will be extremely time-consuming as well).
2. Coincident Pure Reference Extreme (PRE) Mk. II - The PRE II monitors were finally broken-in with over 370+ hours of play time. I have also now conducted all of my most challenging auditioning and testing on them. I am currently in the process of writing my report, with all the various results, observations and related thoughts and advice. This report will be posted in sections, beginning in early February 2019.
2. Coincident Statement Speaker Cable - The Statement speaker cables now have over 500 hours of play time. We will shortly make a direct comparison of the Statement with the Polk speaker cable and report back sometime in February 2019, along with a final summary of our Cable Survey, which began back in 2016.
The Weakest Link...
A few months ago, while casually listening to my system, going from CD to LP and back again, I slowly began to get the feeling that the records no longer had the sonic advantages I was accustomed to, despite the fact that no change had been recently made to either source. Was this my imagination or was it something else, rooted in reality? (I must first stress that I was not listening critically at that time, and definitely not directly comparing digital to analogue.) After some thought, I decided to conduct a minor experiment of sorts...
With the system shut down, I first removed the four cartridge pin connections and then immediately replaced them (without even cleaning the pins). I then turned the system back on and listened again to the same records I had most recently played. The Results - There was definitely a difference, and all for the better. The sound was a little cleaner, more immediate and with greater dynamic force. It wasn't a "big deal", but the improvement was still noticeable enough to replicate the sonic differences I had remembered and grown used to in the recent past.
After thinking about it a while, I realized that I hadn't touched (or "broken") the cartridge pin connections in something like 5 years. That's a long time, but not to be too hard on myself (or anyone else), it's very easy to overlook even the most critical connections when you are almost obsessively focused on other parts of your audio system, let alone the music itself.
So, if any reader is going through the same feeling I had; that their phono source is "falling behind" or sounding "stale", I would suggest looking at the cartridge pins connections, though always make certain that the system, or at least the amplifier, is shut down while doing so.
Virtually all audio connections can oxidize over time, which will obviously compromise them, so they must be "broken" first, and then re-attached, on a regular basis. Cleaning the connection is also sometimes necessary. The cartridge pins are usually the most difficult connection to maintain, and also the most vulnerable to damage (loosening) because of their tiny size, tight fit and delicacy, but they still require attention, as per my personal anecdote above. Just be ultra-careful, like a brain surgeon.
Finally, breaking and making a connection creates an unusually large electrical impulse, which is potentially catastrophic to the speakers, so the amplifiers should always be shut off (and discharged) during the entire process.
Further- Almost all of the Readers Letters that are removed from this file, after the standard 12 Month posting (such as the December 2017 Readers Letters), are subsequently posted in their respective Reference Component Files: Amplifiers, Cartridges, Speakers etc. They can be found under "Readers Letters". If the reader's letter discussed more than one type of audio component, I will place that letter in the file of the component that was the most discussed.
An Important Development...
The (2017) Mk. II update of the Coincident Pure Reference Extreme (PRE) speakers is a serious and important improvement over the original model (which I've owned for almost a decade). In fact, the overall extent, scale and scope of the sonic improvements, provided by the Mk. II, are unusually large, and hence requires more than just a simple and cursory description.
Accordingly, the review/essay of the PRE MK. II below is my best attempt to provide a thorough, useful and relevant perspective of these new models for both an original PRE owner, and for all current loudspeaker enthusiasts as well.
The "original" Pure Reference (a single enclosure, now long discontinued) joined my system in late 2007. The "Extreme" (two enclosure) version of the Pure Reference, which I had incessantly lobbied for, replaced the original model in late 2009.
Later on, in Spring 2010, I "doubled up" the Extremes, by stacking a second pair of the PRE on top of the first pair. Finally, in Spring 2017, I added a pair of Acapella ION Super Tweeters. Each of these three changes, all of which provided serious sonic benefits, are well documented, described and discussed in my PRE essay linked below.
All during the 8 years of the PRE's existance (2009-17), a number of minor changes were made to the speakers. However, none of these changes were truly significant enough, even cumulatively, to actually cause a change to the model designation. Finally though, in Fall 2017, it happened. Coincident made an announcement that a new version of the (two-enclosure) Extreme was now available. It was designated by the manufacturer as the PRE "MK. II". For all the important details of my history with the PRE...
Here is a direct link to My Comprehensive Essay/Review of the Coincident Pure Reference Extreme Speakers. I highly advise reading at least part of this earlier essay to fully understand and appreciate this current review, which is (or will be), in reality, just an (important) "Addendum" to the original essay/review. (Example; The original PRE review discusses my entire personal loudspeaker history, going back to 1972, amongst many other subjects and issues addressed about speakers etc.)
According to a phone conversation I had with Israel Blume, owner and designer of Coincident, and later confirmed on the Coincident website, there are several changes to the original PRE (which he feels are of "significant proportions").
1. The new Coincident Statement cabling will be used internally.
2. The Accuton ceramic midrange and tweeter are the latest improved versions.
3. The crossover components are also improved, along with some slight adjustments for further improvements.
The subwoofer also has a new inductor and the new internal Statement cabling. The selling price of the new Mk. II is $ 29,995 for a pair, which is $ 3,000 more than the final $ 27,000 price of the original Extreme. Blume claims that his costs for all of the various Mk. II updates are "substantial".
It must also be disclosed that the PRE II, both the subwoofers and the monitors, were compromised in route by the shipper (UPS). I was able to repair (and even improve) the subwoofers on my own (with the assistance of a neighbor), but the PRE II monitors had to be shipped back to the manufacturer, since the work required greater skill and I also wanted to be absolutely certain that they would be performing at their highest potential level. Thankfully, the monitors arrived back quickly, and even improved as well, so it's another satisfying "lemons into lemonade" audio experience.
I received the PRE II in February 2018. During the first listening period, between February and March 2018, I was only able to play the PRE II for less than 100 hours before I sent them back to the manufacturer. However, even then, we were still very impressed with them. When they returned, a long stretch of bad weather severely reduced my playing time, so it ended up taking more than 6 months for the PRE II to fully break-in.
I performed my most challenging listening tests and experiments when they reached 370+ hours. That number is the total hours of play from the time they were built. It even includes the hours they were initially used as demos by the manufacturer. While they were breaking-in, I could hear the PRE II improve over time, though most (and all) of the (significant) improvements were experienced in the first 200 hours. I felt the PRE II generally "plateaued" in performance once they were over 300 hours, and any changes I have observed after that were definitely subtle.
My very first sonic impression of the PRE II, of any type, was that it was "more immediate". Further, in an interesting confirmation, an "associate" visited me around two weeks later, and that was also his first impression, at least verbally. As per my usual auditioning protocol, his statement was purely spontaneous, and conveyed without any prior request or description from me.
However, this was just the beginning, because the PRE II has many other important sonic improvements when compared to the original PRE...
Transparency, Precision, Speed and Detail - The PRE II has greater transparency, enabling much more musical information to be heard, and discerned, in the back of the recording space (which now sounds, by comparison, "illuminated"). It is also faster, more precise and more detailed than the original PRE, and the improvements in these general areas were actually large enough, in at least in one instance, to be observed in another room.
Homogeneity and Separation - The PRE II is less homogeneous than the original PRE, which was aleady excellent in this regard. Using different, though directly related, audiophile terms; the PRE II is superior in separating the instruments and vocalists, both in the front and the back of the soundstage/recording venue.
Sound-Floor - The PRE II also has a lower sound-floor than the outstanding PRE, so more of the numerous subtle sounds of the recording, which expose and reproduce the "individuality" of the musicians, instruments and recording space, are now audible. This is so important because, with a higher sound-floor, this information would be otherwise forever lost. To be clear, the PRE II has the lowest sound-floor I've ever experienced (with the original PRE now in second place).
Dynamic Acceleration and Shifts - In a related area to the above, the PRE II is also a little more "dynamic", with more convincing "shifts" and an even less "mechanical" sound than before. It is important to note that this was another attribute in which the original PRE was already exceptional to begin with.
Bass and Cohesion - Maybe the single most important sonic improvement was in bass/midrange cohesion, which I (and especially my associates) have long felt was the original PRE's most easily noticeable "weakness". This particular improvement requires a detailed explanation...
The bass of the PRE II is significantly more detailed, tight and controlled than the original model. The new subwoofer is also a better sonic match with the PRE II's new midrange driver. This occurs despite the fact that the new midrange driver is itself now faster than before. This could only mean that the subwoofer improvement is even larger, or at least more noticeable, than the corresponding improvement in the midrange, because the critical sonic/performance gap between them has been greatly diminished.
In fact, the bass/midrange transition (and/or "cohesion") of the PRE II is at least as good, and maybe even superior, to any other speaker I've ever heard using dynamic drivers. Further, though not nearly as easily noticeable, the PRE II's midrange/tweeter cohesion is also improved, which is a surprising sonic bonus, since the original PRE was already the best I had ever heard in that regard.
To summarize and clarify this critically important subject: The PRE II is, by far, and without a doubt, the most cohesive multi-driver dynamic speaker I've ever heard or, in other words, the PRE II is the multi-driver system which comes the closest to sounding like a single-driver system.
Finally, I recently went back to my original review of the PRE, and I would say that while it still holds up very well, despite all the system changes and experiences since then, the one prior evaluation I now regret is that I over emphasized the strength and accuracy of the subwoofer/midrange transition. The PRE's bass/midrange transition was, and is still, excellent, but it was not as good as I described back then.
Soundstage and Focus - The PRE II's soundstage is slightly larger than the original PRE, though it's not as large, nor does it have the "scale", as the original PRE when it was "Doubled-Up". (I would estimate that the PRE II has around 20% of the PRE's "Doubled-Up" soundstage enhancement.) Much more important; the PRE II has substantially improved focus, and its "sense of space" is also noticeably improved. The end result = The various musical recordings reproduced with the PRE II are more intelligible and organized.
Purity and Cleanness - The PRE was already noted for its purity, but the PRE II is slightly improved even in this regard. I can now only compare the PRE II's cleanness to electrostatic speakers, and even then only at their finest.
Naturalness - The overall tonal balance of the two models is nearly identical but, even so, the PRE II still sounds more natural. I believe this is because of the combination, and the accumulation, of its greater purity, a lower sound-floor and even fewer micro-deviations in its frequency response.
The most obvious similarity between the two models is their appearance; they are virtually identical, though I will attempt to find a subtle difference which would make it easy (if not definitive) to distinguish them from each other. Also, as I mentioned above, the "overall tonal balance" is basically identical and, if there is a difference, too subtle for me to describe, at least for now.
The frequency range of the two speakers is also very similar, though I feel that the PRE II is slightly more extended, and open, in the extreme highs. Also critically important from a practical viewpoint; the PRE II is just as sensitive and easy to drive as the original PRE, which means that no technical compromise has been made to achieve the superior sonic results.
Finally, to be clear as possible, the PRE II does not have even one disadvantage, even insignificant, when it's compared to the original PRE; in sonics, aesthetics or drive capability. (Though, of course, the selling price has risen.)
I listen to the PRE/PRE II using the monitors "solo" (with the subs off) most of the time, and it's possible that other PRE owners share this proclivity to some degree, so it may be important for those listeners to learn that the PRE II monitors go a little lower in the bass. Accordingly, the PRE II monitors now sound more "full-range" on their own, though this is, obviously, a relatively minor advantage when compared to all of their other sonic improvements.
Further, it required around 300 hours of play before the PRE II monitors broke-in sufficiently to observe the improved bass extension. In fact, they actually sounded leaner in the first 100 hours or so of play.
In my initial review of a decade ago (links above and below), I compared the original PRE to the best speakers I had heard in the (generally accepted) most important sonic categories. Those performance evaluations will now be updated for obvious reasons, but my previous sonic "References" will not be changed, due to the fact that I haven't had the opportunity to hear, with my own ears, any improved standards during this period.
I have already sufficiently discussed several sonic categories above, so I will try to avoid repeating myself, but others require greater detail and perspective:
Immediacy and Purity - The PRE II is superior to any dynamic system I've heard in both of these categories, and it's extremely close to the finest electrostatics ever made (Martin-Logan, Audiostatics, Stax etc).
Soundstage and Focus - The PRE II is now "competitive" with, and only slightly bettered by, the finest omni-directional speakers in focus, such as the Morrison and MBL. In other words, the PRE II no longer has a noticeable disadvantage in this category, as did the original PRE. Further, its soundstage is as good as the finest I've heard. Bottom Line - With the exception of slightly inferior focus compared to the finest omnis, the PRE II is at least equal, and almost always superior, to any speaker I've heard.
High-Frequency Reproduction - The PRE II is improved in this area; in purity, speed and extension, but it's obviously not in the league of the best tweeter ever available; the Acapella Ion Super Tweeter. The PRE II has the finest dome tweeter I've yet heard, but I don't believe it is the very best available of its type either. However, none of the superior dome tweeters I'm aware of possess the core strength of the PRE II's tweeter, which is its unprecedented ability to provide a near perfect cohesive match with its corresponding midrange driver. This capability is much more important, in its effect on overall sonic performance, than just simply improved speed and extension.
Bass Reproduction - As I explained above, I overestimated the quality of the bass of the original PRE in my initial review. However, my evaluation error was relatively small, so it took a number of changes (improvements) in my system, over a 10 year period, to finally expose it. So, how does the PRE II's (improved) bass reproduction compare to the best I've heard, with my perspective of today? Actually, it ends up being in almost the exact same position as was the original PRE: The best, overall, I've heard. Why?
Further Explanation: The Original Apogee Speaker, now almost 40 years old, is still my ultimate bass frequency "Reference", since it is unsurpassed in all these important areas: Impact, definition, immediacy, control and linearity. The Apogee's only weakness is that it doesn't extend down to a useful 20 Hz. If it did, it would be "the best" period, even after all these decades, and without any qualification (except it is extremely difficult to drive). Of all the speakers I've yet heard, the PRE II comes the closest to the Apogee in its strengths, while simultaneously still extending down to a solid 20 Hz.
Tonal Consistency, Naturalness, Inner Detail, Transparency - The PRE was already equal to anything I've heard in all these areas, and the PRE II has even improved on those high standards.
Dynamic Response or Scale (Soft and Loud) - The best horns (Avantgarde Duo/Trio) still have an advantage in dynamic acceleration in the midrange and highs. However, the PRE II is dynamically consistent in the full-frequency spectrum, unlike horns, which almost always have dynamic response problems at lower frequencies. The PRE II is the most "dynamic" speaker I've heard full-range. I further believe that only the top Avantgarde models, and even then only with their "Basshorns", will outperform them in this category.
Sound-floor, "Completeness" and Low-level Information - The PRE II is the finest speaker I've heard in these related categories, period. (The original PRE was the best.)
"Individuation" - Is the vitally important (and rarest to achieve) ability to individualize each and every musical instrument, voice, recording space, LP/CD, and even each separate cut of a LP/CD. It is actually the end result of the cumulative ability to excel in each of the other categories already discussed above. The PRE was already the finest I've heard in this category and the PRE II is even better.
For some readers, it may be possible that a "numbers only" experiment will further clarify my sonic assessment of the PRE II. Why? Numbers are the most precise descriptive method possible if the goal is to objectively evaluate the performance of the PRE II in relation to all the other speaker I've heard. However, there must be a prior understanding that the numbers will also be completely consistent with my subjective (word) descriptions and evaluations, previously posted above.
First, the (completely arbitrary) parameters: Imagine 10 individual "Performance Categories" and a scale of "1 to 100" in each Performance Category, with "1" being "Atrocious" (or the worst performer imaginable) and "100" being "The Best Possible Performance" (at our current level of technology). This would mean that the highest total score possible (in theory, but not in reality) would be "1,000" (10 X 100).
Some Examples: Using this system, while also being consistent with my previous posts, the Morrison speakers would score the highest possible "100" in an "Imaging and Focus" category, and the original Apogee would also score a 100 in a "Mid-Bass Impact" category. So, using these categories and scales, where does the PRE II stand in comparison with all the speakers I've heard?
I have no idea what the PRE II's actual exact final score would be out of a possible 1,000, and I don't want to even take a guess at it. However, the combination of my experience with the PRE II, along with intellectual consistency, inevitably leads me to two strong convictions:
1. The PRE II will have the highest total score of any speaker I've ever heard (it will be the closest to 1,000), and from a more subtle (and contrarian) perspective, though maybe even more important to some ultra-critical listeners...
2. The PRE II's lowest individual score, of the 10 categories, will be higher than any other speaker's corresponding lowest score.
This is an important achievement, and much more than just a back-handed compliment. It means that the PRE II's most noticeable "Weakest-Sonic-Link" (whatever it is) will be less "noticeable" than any other speaker's "Weakest-Sonic-Link". In actual practice then, the PRE II is the speaker that is the least likely I know of to be "annoying" to an ultra-critical listener.
There are three (major) upgrade options for the current owners of the original PRE. I have been fortunate to have experienced all three options in my own system over the last decade.
Here they are in the exact chronological order they were implemented by me:
Option 1. "Doubling-Up" the PRE by purchasing a second pair and then placing that pair on top of the original pair (both monitors and subwoofers).
Option 2. Adding the Acapella Ion Super Tweeters to the PRE (while rolling off the PRE's own tweeters at the same crossover frequency).
Option 3. Upgrading the PRE to the PRE II by sending them back to the manufacturer.
I have had extensive experience with all 3 options. Further, I can confidently state that each of the 3 options has large and, importantly, unique sonic attributes and advantages, which are not matched, or addressed, by the others. Accordingly, there can never be one "right choice" for everyone.
To simplify the three Options' respective sonic advantages, and the resulting audiophile dilemma:
Option #1 has an unmatched and thrilling sense of scale, size and weight, plus a deeply satisfying quality of "effortlessness", and even (3 db) greater sensitivity.
Option #2 is unmatched in openness and high-frequency purity, speed and extension.
Option #3 has the most midrange immediacy, best focus, superior reproduction of the bass frequencies and the most cohesive bass/midrange and midrange/tweeter transitions.
In short, no one option of the three will sound superior, overall, to other two options with all the vastly different types and genres of musical recordings, let alone their varying quality. This means that each of these three options, along with their sonic benefits, will also have inherent sonic compromises, which all serious audiophiles loathe.
So, if this will help, I will now answer "the big question": What would I do myself, if I was (theoretically) forced* to make only a single choice of the three available options?
After considerable thought, and even discussion, I would choose Option #3; upgrading to the PRE II. Why? In the end, it was actually simple for me: For most of the wide variety of music I play, and for the vast majority of time within these recordings, the PRE II will outperform the other two options. In fact, I actually slighlty prefer, overall, the PRE II (Option #3) to Option #1 and Option #2 combined.
What about Option #2? Not a chance. At best, the sonic advantages of the Ion Super Tweeters (with the PRE) would only be showcased and thus preferable, overall, to the PRE II, with some relatively rare recordings.
What about Option #1? This will be the really excruciatingly tough choice for many audiophiles. There is no doubt in my mind that on many recordings (Mahler, large symphonic works, rock concerts, some electronic music etc), the PRE "Doubles" will be more thrilling and satisfying overall than the (single pair) PRE II. Further, the "Doubles" have the extremely rare ability to "overwhelm" you, and this can be an exhilarating experience for many audiophiles. In fact, once experienced, being overwhelmed can be almost (literally) addicting.
However, for me (and I suspect a majority of serious music listeners), only a small minority of my large collection of recordings can take specific advantage of "The Doubles" sonic strengths in size, weight and scale. And further, I believe even those special recordings will still sound superior with the PRE II most of the time. It will usually only be in those "big moments" of the recording when "The Doubles" will really shine.
Still, I realize that Option #1 ("Doubling-Up") will be the best choice for those audiophiles who place the highest sonic priority on size, weight and scale, and/or whose dominant musical tastes (and corresponding music collections) favor the recordings that can take advantage of the unique strengths of "The Doubles". For these audiophiles, "The Doubles" will be their no-brainer first choice and their only logical and satisfying option.
*I, very fortunately, do not have to make this awful (and even cruel) choice. I already own the Acapella Ion Super Tweeters and I also plan to eventually purchase a second pair of the PRE II, allowing me to then double them up. (Yes, it is actually "cruel" after you have heard all three options in your own system!)
The Coincident Pure Reference Extreme Mk. II is an significant improvement over the original PRE model. This review explains the critically important "why" and "how" details of the PRE II sonic improvements. Further...
The PRE II is the least compromised commercial speaker system I have yet experienced, of any type and at any price. To be clear, with the majority of my recordings (both analogue and digital), and during the majority of the time, I prefer the PRE II to my previous "Ultimate Reference": The "Double PRE", even with the Acapella Ion Super Tweeters. Also important, the PRE II is just as easy to drive (SET friendly) as the original PRE.
Finally, I always make an effort to avoid repeating myself, but I am not able to improve on the conclusion of my original PRE review (links above and below), so here it is, with some minor updates and edits:
"...I feel it is possible, and necessary, to condense the entirety of this review into two simple sentences, which are both personal observations and opinions:
1. The Pure Reference Extreme Mk. II does more things 'right' than any other speaker I've heard (it's the most 'complete' or 'natural').
2. The Pure Reference Extreme Mk. II also does less things 'wrong' than any other speaker I've heard (it's the most 'accurate')."
As outstanding performers as they are "stock", and as dominating as I feel they are at their current price range, it is still important to note that the PRE II is also not a "dead-end" purchase. This is a significant factor for those serious (and even obsessed) audiophiles, like myself, who are always looking for further improvements, or the "next step", in the near and/or far future, no matter how currently satisfied they are with their system. The details...
The PRE II can still be noticeably improved with the Acapella Ion Super Tweeters. I already know this for a fact, from my direct experience (see below), and I've further had four veteran listeners observe these specific super tweeter improvements for confirmation. It's true that these particular ion super tweeters will be expensive, and they will also be a hassle to optimize, but when any system, such as the PRE II, is already at the highest level of audio reproduction, further serious improvements are rarely easy and economical.
Then there's another improvement, which I have not heard yet. This improvement will most likely be even more easily noticeable than the super tweeters, and even more important in the reproduction of music. Unfortunately, it will also be much more expensive to implement. Of course, I'm referring to a second pair of the PRE II, which will be stacked on top of the first pair (as I did with the original PRE).
A "Double PRE II Super-System", as I have just described, already exists. It is currently being enjoyed by Israel Blume, the owner of Coincident, and also the fortunate guests (and customers) who have the opportunity to visit him. To relay our relevant conversations: Blume is convinced that "doubling" the PRE II makes an even larger and consequential sonic difference/improvement than doubling the original PRE and, of course, he has heard both respective "doublings" extensively, since he has actually lived with them. Accordingly, then...
My Obvious PRE II Future - I will eventually join Blume's (presently) exclusive "PRE II Doubles Club", though I don't know when this will occur. I do promise that when (not if) this happens, I will report back with all the pertinent details.
I installed the Acapella super tweeters two times; first at around 100 hours of play and later at around 400 hours of play, when I felt the PRE II was basically fully broken-in. I used the same 5K crossover point as before, and once again positioned the super tweeters on the top of the subwoofers, with similar isolation platforms.
In both instances, the sonic improvements were heard immediately, and the ion tweeters were an even better cohesive match than before. However, the degree of improvement was not quite as large, or as easily noticeable, as it was with the original PRE. I assume this is because the new PRE II tweeter has superior high-frequency performance, which thus slightly reduces the previous sonic performance gap between them. This then inevitably brings us to...
"The Big Question": Are the Acapella Ion Super Tweeters still worth it with the PRE II? Yes!
I used numerous records and CDs, over many months, to make my sonic evaluation of the PRE II. I also kept some detailed notes on a few of my most critically important reference LPs, which were evaluated only after the PRE II was completely broken-in. I always keep my listening notes completely private, since they are my initial, unfiltered and spontaneous "gut feelings and thoughts".
However, I have decided to experiment in this review and share my private notes with the public for the first time. Why? I believe it's possible that some readers may gain further insight into my evaluation and thinking process, as well as enhance their interpretation of this PRE II review.
The notes were all written down during the actual auditions, and without any edits. I realize that these notes may be confusing and/or difficult to understand for some readers, since they are without any context and/or perspective, with atrocious grammar, and also written in figurative "shorthand", but they should all be consistent with the edited descriptions of the PRE II posted above. So, the readers of this section can now decide whether an act of self-indulgence, and being actually helpful, are mutually exclusive, or not...
Medieval Xmas Music/Nonesuch - echoes and decays are incredible! - separation of chorus!
Sing We Noel/Nonesuch - 1st Cut- "Continuousness" analogue strength
Lucia Hwong/House Sleeping Beauties/Private - "sense of space", In general - like (ZYX) UNI 1 Vs. UNI II - Greater Precision and focus and Immediacy - Less diffuse than "doubles"
Arabo-Andalusia/Harmonia Mundi - always an improvement, sometimes top to bottom, sometimes just focus - bass! - Lower, softer listening levels never so realistic and satisfying
Thibaut/Harmonia Mundi - difference between lps/cuts easier than ever to hear
China/Vangelis/Polydor - focus during movement - 1st cut!
Pfitzner/Songs with Orchestra/EMI Germany - still missing size and scale and weight compared to "doubles"
Other Random Listening Notes - Without Specific LPs - Most cohesive 3-way I've heard - bass decays ultra-defined, with impact and power - "illumination", like a light turned on in the back - both "big picture" and tiny details are "there" and obvious - the more "legato", the greater the sonic differences between analogue and digital - never felt more "transported to LIVE" - Analogue vs Digital: analogue still has advantage in "continuous presence", PRE II makes this more obvious.
Bonus! - Direct Quotes from my (most Ultra-Critical) "Associate" - "amazing change"; "a major achievement"; "Better in every way"; "Faster and more open"; "largest improvement in midrange, plus bass transition"; "tweeter improvement is much smaller, and not as important".
These are the current prices, direct from the manufacturer, in United States Dollars, as of April 2019.
Price Brand New- Pure Reference Extreme Mk. II - $ 29,999 - includes freight.
Pure Reference Extreme - Mint Condition - $ 16,500 - plus all freight.
PRE to PRE MK. II- $ 11,999 /pr - plus all freight.
Monitors Only - $ 7,500 /pr - plus freight.
Subwoofers Only - $ 6,000 /pr - plus freight.
Coincident Speaker Website with Further Information
My Comprehensive Review of the Coincident Pure Reference Extreme Speakers
My Audio System
Further- Almost all of the Readers Letters that are removed from this file, after the standard 12 Month posting (such as the January 2018 Readers Letters), are subsequently posted in their respective Reference Component Files: Amplifiers, Cartridges, Speakers etc. They can be found under "Readers Letters". If the reader's letter discussed more than one type of audio component, I will place that letter in the file of the component that was the most discussed.
An Important Update...
I recently received this letter from Doge Audio, which concerns the latest news on their well-known and outstanding preamplifier, the Doge 8. There's some minor editing and my bold:
"Below are some updates for the Doge 8 that you might like to include on your website, the main one being:
The new link (the old one is defunct) for the Doge 8 is: Doge 8 Preamplifier
The 2019 version has the following improvements which address some of your criticisms:
-UK Clarity Cap ESA model coupling capacitors.
-Adjustable sensitivity, impedance and capacitance for the phono stage.
-A fixed level output in addition to the two variable level outputs.
-A factory fitted tube upgrade option to Psvane TII tubes at a competitive cost.
On a personal note, I use the latest version of the Genalex Golden Lion 12AX7 in the phono stage of my Doge 8 to very good effect and at an affordable price. Its performance certainly surpasses the performance of my erstwhile BAT VK-P5 phono stage in every respect, but especially in that of reducing the noise floor.
Also, I have recent reports that the latest Electro-Harmonix Gold 12AU7 EH (available in limited quantities) approaches the sound of some NOS tubes at a fraction of their price. Maybe one to mention to your associates to look out for?"
I devised "The Bolero Test", in the early 1990s, as a safe and definitive method to discover, in your own system, if the volume of the source(s) is able on its own, without any gain from a line stage, to reach a satisfying level. The test's main advantage is that it can be conducted without (and BEFORE) making a purchase, or any change in the system. The Bolero test requires only tape outputs on a preamplifier (or a mute on a phono stage) and a minimum of audio experience. The reader below has some further information, which was new to me. There's minor editing, and my bold...
"I read the Bolero test and would like to suggest an alternative. There are many basic passives out now that are less than $50 and you can DIY a basic unit for about $20. My first passive cost me $2 for a basic Alps pot. I got 4 RCAs from my junk box. Here is the $49 Schiit Sys, which is a usable introduction to the passive sound.
Replace the current volume control or preamp with the basic passive. One at a time connect your sources and see whether you can reach your preferred volume or not with each device. Once you have that knowledge, you can decide if any of your sources need to be replaced and evaluate your cost of going passive. This way nobody will be taking a chance on missing a step in your Bolero procedure.
My two main sources have 15 ohm (phono) and 200 ohm (DAC) outputs going into 100K Consonance Cyber 211 monoblocks, so I am definitely in the passive camp."
Personal Reply - The reader's suggestions are alternatives only. Why? They do not replace "The Bolero Test", because they require some (minor) expenditure, extra cables and, in once instance, DIY skills. However, his alternatives are still of value since, as he points out, they are now economical and also much more easily available than they were 25+ years ago.
REFERENCE LINE STAGES (includes "The Bolero Test")
Decades ago, I was a Counterpoint dealer. I felt at the time, and still do, that they were a highly innovative and value-priced company. I was very sad when they closed down, and I've been on a "mission" since then to ensure that they will never be forgotten. Recently, a long-time reader sent me an email with information that may prove useful for the owners of some of their excellent amplifier models. Here it is, with some minor editing and my bold:
"...My current system consists of a Rega Planar 3 into an Aragon 47k; A Theta Data into an Aragon D2A; those feed the Perreaux SM6 preamp which feeds the pair of Counterpoint SA-220s (as detailed later). Speakers are Thiel CS 2.2s.
Back in the late 80's/early 90's, I bought (new) one of the Counterpoint SA-220 amps. It was from a retailer in CT (I can't remember their name) in a converted old house. So they had several listening rooms, set up in a real house. That was a cool concept that worked well.
Anyway, I went there to audition a pair of B&K monoblocks, which they had modified. At the time, that was the 'hot set-up' as reviewed by Stereophile, whom I was subscribing to at the time. They had them warmed up and ready to go for me, in a small room. It was wide, but the system was across from a couch on the long wall, so distance to speakers was small-ish. (I recall it twice as long as wide)
I brought my (still) reference CD of Robbie Robertson's first record (1987) and listened. It sounded good- certainly better than the Hafler amp I was using at the time. But there was a big, black amp on the rack, sitting cold and idle. So I asked about it. 'That's a Counterpoint. Very nice amps but they require us to sell so many units per month to retain dealer status, an we don't operate like that.' Long story short; I auditioned it, ice cold (only allowing the requisite warm-up mute period) and W O W was I blown away. Yes, it was a bit more (they did discount is slightly to move it), but it was another plane of existence. Same system and room otherwise- just the amp changed, Night and day.
Fast forward a few years and after a move, it wasn't working. So it went back to Mike Elliot for repair. It was an inexpensive repair (broken wire connection) and came back STILL not working- same connection from the transformer was a hair short, and would break during transport vibrations. I fixed it myself with his guidance, and it has been fine (including a couple moves) since. I added some silicone o-rings on the tubes because I got them free from work, and I had the top open anyway. Did it do anything? Who knows...
As you probably know, these can be bridged to monoblocks as well. Something ridiculous like 600W into 8 ohms or something. Borderline welding power supply. Anyway, I happened across a slightly newer (than mine) second SA-220 and contacted Michael to see about possibly upgrading them both or other options which might be available to me. He let me in on a secret- I don't know if this applies to all power amplifiers, or just his design*...
I am using a Perreaux SM6 preamp (which I thought I learned about from your site years ago, but I don't see it there now**) and all the inputs are single-ended; however, it has a set of balanced outputs. From these, I had some Mogami cables made which terminate with un-grounded (shield is floated at the amplifier end) RCA connectors. Per Michael's direction, I connect the "+" to the R+ input and the "-" to the L+ input. Speakers are connected to the "red" output posts respecting similar polarity as input.
This essentially creates a 440w monoblock, rather than bridging, which as I understand bridged amps, also doubles the noise and distortion of the amp. Using this method, the noise and distortion stays where it was/is and the available output power is increased.
A little background: I'm a drummer. Have been since age six in all sorts of bands marching, concert, jazz, progressive rock etc. I have a very good understanding of how a bass drum SHOULD sound. They have a whole lot more 'life' to them than one would be led to believe. Subtle harmonics across the sonic spectrum. Point: This is the first time I have heard bass drum reproduced convincingly. I think, if one has this amp, and can find another (in good shape) wiring them this way is well worth the price of admission."
*Caution - Make certain that the circuit of any Counterpoint amplifier is similar to the SA-220 before attempting the reader's wiring experiment.
**I was also a Perreaux dealer in the 1980s. I was impressed with how natural they sounded, especially compared to other transistor designs of their day. Even today, their power amplifiers and preamplifiers (as phono stages) are still listed as "References".
The speaker cable comparisons of the Coincident Statement with my long-time reference, the Polk, have finally been completed. There were three veteran listeners involved with the A/B tests (including myself), and the Statement cables had over 600 hours of play time on them, though I heard no further sonic improvements, even subtle, after around 500 hours or so. So, what were the results?
There was no definitive "winner". Both speaker cables were outstanding overall, and both had advantages/disadvantages when compared to the other. What a serious listener would prefer will depend on a number of factors, so the choice between them is complex. Here are the details that the three of us agree on:
The Statement cables are a little more "natural", harmonically rich and full-bodied (more "complete"), while the Polk is, to a slightly greater degree, faster, more precise and with greater detail (more "accurate"). However, it must be stressed that both cables are still excellent even in those areas where they are at a disadvantage, so there is no obvious sonic "weak-link" for either cable. This means a final preference will come down to several critical factors, with at least one (though probably two or more) of the factors relevant, depending on the listener and the system:
1. System Interaction - The requirements of the existing system, either to enhance, or hide, a sonic paramater(s), may be the deciding factor.
2. Musical Preferences - Some forms of music may be subjectively enhanced by one cable to a greater degree than the other.
3. Personal Sonic Preferences (or Priorities) - Which is obviously always critically important, and even...
4. Specific Recordings (and even cuts) - Even after a final choice is made, it's still possible, if not probable, that this preference can change depending on the specific recording being played, and even the different cuts of that recording.
It's not surprising that, based on the above observations, my personal choice was extremely difficult. In fact, out of curiosity, and admittedly some frustration, I actually played both the Polk and Statement cables simultaneously (meaning in parallel), to discover if I could combine their strengths, and mitigate their "weaknesses", at the same time. Unfortunately, this (admittedly desperate) experiment did NOT work. The actual outcome of the Polk/Statement Combo was sonic "confusion", like two people talking over each other at the same time.
This failure meant that I was now forced to choose between them. Fortunately, I could console myself with the realization that the sonic differences, in the end, were so minor, that I could either choose the Statement, and not miss the Polk or, alternatively, choose the Polk, and not miss the Statement (though only after a short period "to forget", in either instance). So, after all that, what speaker cable am I using, for now?
I am using the Coincident Statement, but I'm keeping the Polk! I feel, for now, that the Statement is the slightly better choice for most of my music, most of the time*, and for my current tri-amped system (where the ion super tweeters obviate the Polk's advantage in the extreme high frequencies). Finally, for the record, one of the other "veteran listeners" also preferred the Statement, while the other veteran listener preferred the Polk, so it was a "split decision" in favor of the Statement.
*I listen to the Pure Reference Extreme monitors solo most of the time (with the subwoofers off). The Statement cables extend lower in the bass than the Polk, so the monitors sound more full-range with them.
I promised when I started this cable survey, back in 2016, that I would make an attempt at identifying "the most important cable", if that was possible. Well, after numerous comparisons, I have come to a conclusion that I have confidence in.
Assuming these important conditions are met:
1. A high-resolution system, which exposes a maximum of differences;
2. No disqualifying impedance, or other system, mismatches between the cable contenders;
3. Short cables used for every connection, 1 meter (or less) and a maximum of 2 meters.
By following these three conditions, no cable has an advantage/disadvantage, or is inherently more important, prior to the comparison, and any sonic differences should be noticeable. So, which cable is it?
Interconnects. Why? They are the only audio cable we have experienced, signal or power, that can provide a "dramatic" sonic improvement, though this is rare. Further, in general, the sonic differences between various interconnects are the most easily noticeable, and thus the most consequential in the long run.
I still have the Statement phono cables, from the tonearm to the MC SUT, to test. I already made an attempt after I broke-in the phono cables on a CD player, but I soon realized that I would have to change the loading of my MC SUT to optimize the Statement's performance, and I haven't had the time and/or opportunity to do so as of yet, due to other commitments. I have no firm schedule at this time for the next test, but I will get to them when my other commitments are finished.
Coincident Website with Further Information
Reference Speaker Cable File
My Audio System
Further- Almost all of the Readers Letters that are removed from this file, after the standard 12 Month posting (such as the February/March 2018 Readers Letters), are subsequently posted in their respective Reference Component Files: Amplifiers, Cartridges, Speakers etc. They can be found under "Readers Letters". If the reader's letter discussed more than one type of audio component, I will place that letter in the file of the component that was the most discussed.
An Unprecedented Achievement...
"The Truth" T4 Line Stage fully equals the outstanding (and previously unparalleled) performance of the earlier "T3". This is not surprising, since their respective circuits and parts are exactly the same. However, there is still a major difference between the two models: The T4 also has a dedicated input, utilizing a step-up transformer (SUT), which provides 6 dB of gain. Further, to my (and my associates) utter and literal amazement, this SUT input is virtually indistinguishable when it is directly compared to the T4's other direct inputs. In short, the T4 has achieved something I never thought I would experience in my lifetime; near perfect gain, with almost absolutely nothing added or lost. This is why I describe this particular achievement as "unprecedented".
Now, how did we get here...
Our entire history with "The Truth" line stage, going back to 2015 (with the "T1"), can be read in this file: The Reference Line Stages.
To condense the recent history with "The Truth" line stage; the T4 is the updated version of the earlier "T2", which also had an input with a step-up transformer that provided gain (the T2 and T4 were purchased by an "associate", while I personally own a T3, which has no input with gain).
The T2, a two-chassis design, was a truly outstanding performer. It was as good a line stage, with gain, as we've ever heard (if not even superior), and at any price. However, its gain stage, even as superb as it was, still had various sonic problems, which were easily noticeable to us when it was directly compared to the T2's "direct" inputs. What was our reaction and response to this disappointment? Try using a different transformer! It took some time, but the T4 was eventually re-designed, built (in only one chassis!) and then broken-in.
I received the T4 in early January 2019. The T4 has 3 inputs; #1 SUT/Silver*; #2 Silver/Direct; #3 Copper/Direct. It also has 3 outputs; one silver and two copper (my T3 is slightly different: It has 4 inputs, one of them silver, and 2 outputs, one of them silver). The T4 was already well played, for more than 6 weeks, by Ed Schilling before it was shipped to me, but I decided to make absolutely certain that the SUT input (#1) was fully broken-in, so I added a few hundred more hours of play time on it by using a CD player on "Repeat".
*Details - The signal goes from the RCA input to an input buffer first, then to the SUT and then finally to the selector switch (which provides access to the main signal circuit). The SUT's input buffer has its own dedicated power supply.
We conducted countless listening comparisons, all in pursuit of the goal to observe and accurately describe any sonic consequences of the T4's SUT being in the direct signal path. Four highly experienced listeners made the comparisons. Our observations, and ultimate evaluations, are unanimous. We used an ultra-high resolution system throughout all the experiments, which remained constant. Below are the descriptions of our two most important experiments, in chronological order:
Experiment One - January 20 - My associate (who owns the T4) and I spent an entire evening making comparisons between Input #1 (SUT/Silver) and Input #2 (Silver/Direct), but we were never able to even once definitively distinguish them, no matter which LP was played. As an example, whenever we thought we might be hearing an actual sonic difference, I would make a slight volume adjustment and the difference(s) would disappear. We were both in shock at this (obviously) great achievement, but we were also of the opinion that these amazing results had to be "too good to be true", and so we decided to search for some oversight, and/or error, on our part which allowed such an unexpected outcome to occur (an outcome that we both had believed was technically impossible). I literally slept on the question and came up with a possible reason for the unexpected results the next day. I realized there could be a problem with the break-in process, which was not as thorough and complete as I had originally, and incorrectly, assumed.
Detailed Explanation - I was confident that Input #1 was fully broken-in (as was Input #3, Copper/Direct). However, I (and Ed Schilling before me) had put very few hours on Input #2 (Silver/Direct), which was the "Reference" that Input #1 (SUT/Silver) had been compared to in Experiment One. The reason why I had chosen Input #2, instead of Input #3, was because Input #2 also used silver wire, just like Input #1, thus automatically isolating the specific sonic effects of the SUT alone. If I had used (the fully broken-in) Input # 3 instead of #2, there would have been two material and sonic variables instead of only one (the SUT versus direct, as well as Silver wire versus Copper wire).
Accordingly, I spent the next three weeks breaking in Input #2 in the same manner, and with the same CDs, as I had earlier with Input #1. This then brings us to the next experiment, and this time there could be no excuses, qualifications or compromises, when it came to the results.
Experiment Two - February 18 - My same friend visited me again 4 weeks later, and while the SUT input was still almost indistinguishable from Input #2 Direct, this time we could hear some consistent sonic differences between them. The SUT very slightly veiled, and also softened and thickened* some (mainly percussive) notes, on high-quality recordings, in a manner very similar to good tube electronics when directly compared to good transistor electronics. The lowest bass notes were also slightly attenuated, maybe around 1/2 dB. That was it though, and I must also report that for most of the time, and with a majority of musical genres, the two inputs could still not be reliably identified.
Bottom Line - The sonic deterioration caused by the SUT input can only be described, at the very worst, as insignificant. Further, the T4's subtle sonic imperfections could only be heard with excellent recordings, while average/mediocre recordings sounded exactly the same on both inputs. Based on these results, I assume that the typical flaws of most recordings are so easily noticeable, and obtrusive, that they easily mask the relatively tiny flaws of the T4's SUT.
*My associate also felt that the T4's SUT Input could actually sound more natural than the "Direct Input" in certain instances, because it added "body" to some otherwise thin and lean recordings.
The T4 is, by an easily noticeable margin, the finest line stage, with gain, we have ever heard. In the end...
The T4 "project" was a greater success than we could have ever imagined when it began back in 2016. I want to be clear here. The specific term I used above to describe, overall, the T4's sonic flaws, "insignificant", does not do the T4 justice. In fact, despite being normally innocuous, or even flattering, in many audio contexts, using the word "insignificant", in this instance, actually exaggerates the T4's subtle flaws. Let me explain:
I have already had experiences, since 2010, with other line stages, both passive and active, which also had "insignificant" sonic flaws. The T4 is different from all of them, since its flaws are so subtle, if they're even noticed in the first place, that if they were further reduced, in even the slightest degree, it's possible, if not probable, that they would then be completely inaudible, under ALL current conditions. In short - In most serious audio systems, for most of the time, most listeners will not observe any sonic signature, artifacts or presence, let alone any actual sonic problems, with the T4's gain stage.
Finally, it may also be possible to create a 12 db gain version of the T4 (with a simple, reversible, wiring change with the same SUT). There will probably be a sonic price for this, but it should be quite tiny, since the T4 SUT has already proven to be an outstanding design.
Since the T4 was an experiment, financed by my associate, it is not yet a standard model available for sale by the manufacturer. In fact, there isn't even a projected price for the T4 at this time since, as far as I know, "The Truth" manufacturer, and the SUT manufacturer, haven't yet been in contact with each other. This unusual situation will be rectified sometime in Spring 2019. As soon as my associate facilitates the contact between the two manufacturers, and a firm price is set for the T4, it will be posted in this review. (Important - My associate has informed me that the T4's SUT is expensive, despite its small size, because it requires high quality wire and skilled labor to build.)
The Horn Shoppe (Home of "The Truth" Line Stage, plus high-efficiency speakers)
Ed Schilling's email address: firstname.lastname@example.org
Reference Line Stages
My Audio System
Because of its literally unprecedented achievement, gain with no sonic pain, the T4, and its no-gain sister model, the T3, must be considered in a class of their own. Accordingly, I have now updated and adjusted my list of Reference Line Stages to reflect their present unique status.
Class A (Upper)
"THE TRUTH" T4 & T3
Class A (Lower)
EMIA VOLUME CONTROL
"THE TRUTH" T1
PASS LABS ALEPH L
*There is now a Mk. II version of the Coincident Statement. We have not heard it.
Further- Almost all of the Readers Letters that are removed from this file, after the standard 12 Month posting (such as the March/April 2018 Readers Letters), are subsequently posted in their respective Reference Component Files: Amplifiers, Cartridges, Speakers etc. They can be found under "Readers Letters". If the reader's letter discussed more than one type of audio component, I will place that letter in the file of the component that was the most discussed.
Until I find a list which is more definitive, and objective, here are some speakers that I, and mainly the Readers of this websire, have found to work very well with low-powered Single Ended Triode (SET) amplifiers;
AcuHorn rosso superiore175
Affirm (formerly Maxxhorn) Lumination & Immersion
Apogee Acoustics Definitive Ribbon Speaker (very expensive)
Aspara Acoustics HL1 Horn Speaker
Audio Note ANE SEC Signature
Avantgarde Duo and Trio (All Versions)
BD-Design Oris and Orphean Models
Bottlehead Straight 8s (Discontinued)
Brentworth Sound Lab
Cain & Cain BEN ES (and other models)
Cardersound Madison (Single-Drive Back Loaded Horns)
Coincident (Total) Victory II & Pure Reference Extreme (and most of their other models)
Decware (Various Models)
(DIY Hi-Fi Supply) Crescendo Ribbon Horn Speaker System
Fab Audio Model 1 (Toronto, Canada)
FAL Supreme-C90 EXW or EXII
Goodmans of England 5 or 612s
Hawthorne Solo and Duet
Horn Shoppe (Two Models)
Horning Hybrids (Various models)
Klipschorn and La Scala (All Versions)
Living Voice OBX-R2 (UK)
Musical Affairs Grand Crescendo
Omega Speaker Systems
Pi Speakers (Various Models)
ProAc Response Two*
Reference 3A MM de Capo i
RL Acoustique Lamhorn 1.8 (Montreal, Canada)
Sonist Concerto 2
Sunlight Engineering 308
Supravox Open Baffle
Teresonic (Various Models)
Tonian Acoustics (Various Models)
WLM (Various Models)
*Recommended by a reader and Gordon Rankin (Wavelength Audio), a veteran expert SET designer, despite its 86 dB sensitivity.
I would appreciate finding out about any other models, that readers have actually heard for themselves, to add to this list. This list is not a temporary project. It will be kept permanently in the Speaker Files. Further, don't expect to see the speaker models posted here a day or so after your e-mail is sent to me. Please remember that I'm usually behind in ALL my correspondence, including even the brief and helpful information letters. I will keep my own "SET friendly list" because at least one list should have no commercial foundation, temptations or considerations**.
Important- I would like to know if any of the above models can be bi-amped. This is critical, because I am convinced, based on decades of experience, that speakers with the capability of being bi-amped have far superior potential, assuming everything else is equal.
**For example, another website placed the Merlin speakers on their list, which, despite all their enviable qualities, still did not work well with low-powered SET amplifiers. I know this with certainty, because I tried them, more than once. The sensitivity was just too low. Merlin, themselves, used the excellent CAT amplifiers, which are pentode based and push-pull, at their audio show demonstrations. Merlin was a company that any serious audiophile should trust to know how to optimize their own speaker designs.
Coincident Speaker Technology has recently announced two new amplifier models, one of which is an updated version of an existing model. Below are some of the basic details, plus my future plans concerning them...
1. Frankenstein Mk. III - The "III" is an updated version of the "II", which itself replaced the (2007) "original model" back in 2010. According to Coincident's website, the Mk. III has incorporated a generous number of improvements:
-Larger power supply, with improved voltage regulation
-Better quality resistors and capacitors
-Coincident "Statement" internal wiring
-Upgraded output transformers
My Current Plans - I should receive a Mk. III pair sometime in the Fall (2019). I will directly compare them to my current (Reference) Mk. II, with all of the amplifiers completely "stock". I will also later compare the two models a second time, but this time using .01 uf coupling capacitors, which optimizes them for bi-amping. (See the link to the Frankenstein File below for the relevant details.)
2. Turbo 845SE Mono Amplifiers - The Turbo is a brand new design from Coincident. It is almost 3 times the weight (98 lbs each mono amp), and has around 4 times the power (28 watts), of the (300B) Frankenstein. According to the Coincident website, the Turbo is built to "no holds barred" standards, and only 25 pairs will ever be built.
My Current Plans - I have also ordered a pair of the Turbos, which will also arrive sometime this Fall. I will audition the Turbos only after I have first fully completed my evaluation of the Frankenstein Mk. III.
Coincident Website with Further Information
Coincident Frankenstein Amplifier File
My Audio System
From my long-term observations, the primary distinction between myself and all other audio journalists, writers and reviewers, past or present, is the strong and unprecedented emphasis I have placed on the reproduction of (very) soft and subtle sounds. There are many other differences between myself and the others, which is normal and to be expected, but none of them are as evident and important. In fact, I even coined a new expression for the concept of accurately reproducing "soft sounds", after I realized that the default generic term, popular with most audiophiles, was both ill-defined and misleading: Here's the relevant article and direct link: THE "SOUND-FLOOR"-THE ULTIMATE KEY
Music requires soft sounds to be complete and, just as important, an audio system, if it is to be honesty judged as "outstanding", must have the ability to play at (very) soft volume levels without "dying" and still sound real and alive. My 50 years of experience with tube electronics, along with the countless positive results I've had modifying these same electronics, taught me the critical importance of this highly neglected sonic virtue. However, the various experiences I had with literally thousands of fellow audiophiles are the real foundation for my conviction concerning this issue. It has been my consistent observation, for decades, that the more sensitive and experienced the listener, the more they appreciate hearing all the subtleties of soft sounds. This is the indisputable confirmation that provides the confidence for my conviction.
I also highly value (or highly prioritize) the organization of sounds because, at its most fundamental definition, music is simply organized sound. I share this value of organization with (too) few contemporary audio journalists. Both are equally necessary, because soft sound information is mainly useless unless it is properly organized and there isn't as much value to proper organization when much of the information that is supposed to be organized is missing. Three components, the Morrison speaker, the Golden Tube SET amplifier, and the Reference Lenco, specifically and jointly, taught me the importance of this value.
However, I also realize that most audio writers, and audio enthusiasts in general, have very different sonic priorities than mine. The most common sonic priorities, by far, are "the basics" as I define them; the ability of an audio system to play loud, deep and high.
In actuality, when you think about it, it's relatively easy to create an audio system that has the ability to play loud, sound "big" and also go both deep and high. You simply have to use a large assortment of speaker drivers, utilize both large speaker cabinets and woofers, and have a large amplifier output stage, either transistor or tube. It's much more difficult, and expensive, to accomplish the next logical step: Have that same type of audio system also play consistently clean and smooth. Those important upgrades require improved drivers and passive crossover parts, deader cabinets and better power supplies. In recent times, two of the most well-known audio reviewers, (the now late) Harry Pearson and Michael Fremer, had/have a strong preference for systems with those strengths (which also cost a fortune), but I don't share their highest sonic priorities.
In contrast, it's my long-time experience that the most difficult audio accomplishment is for an audio system to accurately play both softly and organized simultaneously, which takes real thought, numerous experiments, research, along with really high quality (and expensive) parts. This is why the vast majority of audio designers simply ignore and/or avoid the attempt to reach, let alone to master, this particular goal. Why is this goal so difficult to achieve? Simple: There is no room for any error; one mistake, anywhere in the long audio chain, means failure.
Example 1: It's wonderful to have deep bass and extended highs in an audio system, as I have and enjoy them myself, but not only are these frequency extremes virtually useless unless they are time coordinated to everything else, specifically the midrange, they actually become an audible distraction if they are out of place and bring attention to themselves as "alien" to the remaining complete sound.
Example 2: Most audio systems, regardless of cost, have to play louder than life to capture the details and excitement in the original recording, and they subsequently "die" when the music volume is soft. This is because they are missing sonic information due the complexity and problems with the signal path, in the speakers and in the electronics, and this missing information is never completely recaptured when playing loud, though it may be less obscured. Meanwhile, a superior system can play at realistic levels and still not sound dead when the music inevitably becomes soft in volume.
In my experience, the most evolved audio systems in theory, which are also the rarest in actuality, can play at an even lower volume than the musicians normally play in real life and still sound alive. This is the goal I have achieved over several decades and which other serious audiophiles can also replicate, though everything in the system has to be just right, with not even one weak link, for this reality to occur.
My article, "Building a Great Audio System", is the best advice I can provide at this time to reach this goal in any system, and it does NOT require huge expenditures. Instead, if the various structures are followed, the sonic results will also inevitably follow, in general, even if they don't quite equal what the (theoretical) very best can do at any one time.
Almost as important as the above, a truly outstanding audio system requires the ability to reproduce instantaneous and uninhibited dynamic shifts, which can induce involuntary "goose bumps" and the complete attention and involvement of the listener. Finally, this same outstanding system requires a consistent neutrality. Thus there is no unnatural emphasis, or de-emphasis, of a specific frequency and/or a frequency range ("consistent" because it doesn't alter with either the frequency and/or volume levels). These final priorities of "uncompressed sound" and "level sound" basically completes the fundamental sonic picture.
So for now, it may be considered as my personal, three leg "Sonic Stool" - Complete sound, Organized sound, Uncompressed sound and Level Sound*.
*Though I strongly believe that "Audio" is far too complex a subject for any simple equation, no matter how thoughtful, precise and true, to ever fully encompass and define it.
Further- Almost all of the Readers Letters that are removed from this file, after the standard 12 Month posting (such as the May/June 2018 Readers Letters), are subsequently posted in their respective Reference Component Files: Amplifiers, Cartridges, Speakers etc. They can be found under "Readers Letters". If the reader's letter discussed more than one type of audio component, I will place that letter in the file of the component that was the most discussed.
There's nothing new to report this month, but to partially make up for this lack of new content, I have posted an interesting series of "Readers Letters", see below.
Further- Almost all of the Readers Letters that are removed from this file, after the standard 12 Month posting (such as the July 2018 Readers Letters), are subsequently posted in their respective Reference Component Files: Amplifiers, Cartridges, Speakers etc. They can be found under "Readers Letters". If the reader's letter discussed more than one type of audio component, I will place that letter in the file of the component that was the most discussed.
A long-time reader, who lives in Australia, sent me a letter concerning the latest version of the Doge 8 Preamplifier, which has long been one of this website's "References". I have still not heard any version of the Doge 8 myself, but some of my associates have been owners, and all of them feel it is one of the best values in audio history, both for its sonics and its build quality. Other components are also discussed as well by this reader.
With my urgings, prompts and questions, this generous reader ended up sending me 7 letters, some of which are quite lengthy. They are posted below in chronological order. I found these letters both interesting and informative. I am presently doing my best to convert (to html), organize and edit the various sections, but I don't have the time these days to meticulously edit them. I will also attempt to add some relevant links after all of the letters have been posted. Here they are, with my bold:
Thought I'd let you know what has happened in my system since I contacted you in 2015 about my Doge 8 purchase. I sold it a few days ago and ordered the newly released Doge 8 Clarity (2019 Edition). Mr Liu, who owns the Doge designs and operates the factory out of China, has made major design improvements in the MM/MC phono section (including fully adjustable cartridge capacitance and impedance settings), minor improvements in the line preamp design, and substantially improved component quality across the board. The result is apparently a substantially better sounding preamp than any of the previous Doge 8 offerings by a large margin. Mine will be arriving next Wednesday, and I'll immediately be swapping 2 NOS GE JAN 12AT7WCs and 2 NOS Mullard 12AT7s into the line sockets and making similar 12AX7 swaps into the phono.
I shall give you my impressions.
My already radically modified switchable power/integrated amp, seated in a Yaqin MC-100B chassis, has just been totally rebuilt by Joe Rasmussen (see link below), to incorporate his latest thinking on providing current-compatible (i.e. non-reactive) speaker loads. Here's a photo, but note that the 12AT7s and 6550s are just left in for show! The entire first and 2nd stage amplification uses transformers and a Darlington Pair transistor array in a unique combination (first time he has used transistors in an amplifier for well over a decade). The power tube stage uses 4 "fat bottle" 6CA7 tubes. This is a sub-$3000 power/integrated amp which, for musicality and sheer musical impact, blows away vastly more expensive power amps I've heard. I don't think I have heard a better sounding amp.
At the same time, Joe modified my Oppo 105D to his ultimate performance version (JLTi level 4.2 ACD "Signature"). It's hard to characterize this digital player except to say that I've never heard a dedicated CD player or digital server which comes close. I do hope you get to experience one of these - it may not reach the heights of your Upper Class A APL, but it costs about US $2,500 in upgrades to an Oppo UDP-205 or Oppo BDP-105x, so, even if you are paying the current crazy price for an Oppo 205, it's still going to cost a fraction of a 2nd hand Esoteric K-1. And with BDP-105s going for US $500, it's a truly wonderful digital player for under $3K.
I spent an hour this morning comparing my German CBS pressing of Robert Casadesus playing the Mozart 24th Piano Concerto (George Szell/Chicago) on my turntable system, with the CBS Masterworks CD on the modified Oppo. The vinyl still trounces the CD, but, if I did not compare, I could have mistaken the CD reproduction for vinyl.
I then listened to the 3rd movement of the wonderful David Zinman performance of Mahler's 2nd Symphony on RCA SACD (one of the best digital recordings I've ever heard), and was overwhelmed by it. The combination of new changes to the amp and to the Oppo 105D allowed the recording to recreate the Tonhalle concert hall for me.
A few words about Joe Rasmussen: If you ever heard the Allen Wright Electronics valve amps of about 2 decades ago and more, (AJ Van Del Hul described his AWE Realtime power amps as the most realistic amps on earth), Joe Rasmussen was responsible for many of Allen Wright's electronic designs. Joe's reference speakers are the 'current-driven' DIY Elsinore Mk 6 speakers that he designed and are lauded by many to be the best sounding DIY speakers in the world.
Here is a quote from someone who built a pair of Joe Rasmussen's DIY Elsinores: 'What I’ve long loved about the Egglestonworks Andras is their effortlessness. The Andras are never fatiguing; they always sound like they’re comfortably striding along, easily making music. They have a very natural mid-range and over the past 18 years or so I’ve come to really love them. But the Elsinores are better: the low end is a little more coherent, they seem to be an easier load on my amplifiers (they are certainly a little more efficient) and their tonal balance is incredibly engaging. Nothing too forward, no stridency, beautifully balanced, very engaging. I cannot tell you how pleased I am with these new speakers. I doubt I will ever be able to fully express my appreciation to Joe Rasmussen, whose brilliance appears to be matched by his extraordinary generosity (Joe, if you ever find yourself in the Philadelphia, Pennsylvania, USA region, you have a place to stay and a great bottle of wine waiting for you). Scott'
Keep in mind that Scott was comparing the Elsinores, which cost him a few grand, to $15,000 speakers regarded by some as among the best medium priced speakers in the world.
By the way, I retain my scepticism about your generalized Class D rating of all Oppos. It does not at all reflect my experience. I compared my JLTi-modified Oppo BDP-95AU (sold, waiting on pickup), to my stock Oppo UDP-205 (both sold to fund the 105D upgrade above). The stock UDP-205 sounded very nice, but I've heard several stock CD-only players which sounded better playing that format. On the other hand, my JLTi-modded BDP-95AU was more revealing, more intense, more focused, more musical that even Oppo's newest top-of-line. Certainly, the stock UDP-205 is deserving of your Class D, and probably the stock BDP-105x and BDP-95x models as well, but the BDP-103, BDP-93 and BDP-83 are not in the same musical league (I can't speak for the BDP-203 which I've never heard).
Reading your review of the problems with digital players, it occurs to me that Joe Rasmussen's ultimately modified Oppo 105x Oppo 205 player does many of the things you regard as unobtainable (at least for now) outside the APL, in a player which is cheaper than some barely listenable digital players. I'm not suggesting it is a match for the APL by any means, but:-
The player uses a clocking mechanism which overcomes the DAC timing problems inherent in standard clocking:
-It reclocks all digital sources immediately prior to the DAC and overcomes some of the issues associated with transport jitter, USB jitter, etc.
-By treating jitter as sub-sonic analog noise (which Joe believes it actually is), jitter is filtered, post-DAC, in ways which largely eliminate the inherent jitter of Delta Sigma DACs without affecting any information in the audible spectrum
-The player has no capacitors in the analogue output stage, using only transformers
-The player does not require a line stage and can be the digital/analog preamp for all digital sources which feed into it via the transport, the HDMI inputs, the USB inputs and the digital inputs, due to the particular architecture of the Sabre DAC family
Because it is a true universal music player, treating all digital sources identically, it provides a way to listen to music on hard drives, music delivered from a digital-output-enabled digital tuner, music from subscription cloud-based music services, CDs, SACDs, DVDs, Blu-Rays etc., with a quality of sound considerably better than anything I have heard before in the digital domain. Most importantly, it's a pleasure to listen to it. With the right material, it provides the same sense of wonder that good analogue provides.
Doge 8 Clarity (2019 Edition)
Actually direct comparisons between the two Doge 8 generations is not possible, as I sold the Doge 8 LP to help finance the Doge 8 Clarity (2019 Edition). Keep in mind that, with the extraordinary realism of the JLTi amplifier, I had become dissatisfied enough with the Doge 8 LP's degradation of the JLTi, that I had stopped using the 8 LP, willing to forego output to my headphone amp.
Doge's (English) assistant sales manager had assured me that the Doge 8 Clarity sound would be radically more transparent than the Doge 8 LP, though he believed I would need to roll tubes again. Both his assurance about transparency and his assumption about tube rolling were correct.
After some 150 hours burn-in of the Doge 8 Clarity (not anywhere near enough burn-in time as it turned out), using the same American military grade tubes as I had in the Doge 8 LP, the sound, fed into the JLTi amp used as a power amp, was disappointingly inferior to the sound of the JLTi amplifier alone (switched to integrated mode). There was excellent immediacy, but severe degradation of the holographic soundstage of the JLTi.
Knowing the reputation for holographic imagery of NOS Siemens 1982 ECC081S tubes, and their relative affordability, I obtained 2 matched pairs (for a staggeringly cheap US $33 per tube) and replaced my military grade American tubes with them. Once I'd given them a couple of days burn-in, by which time the Doge components had 300+ hours of burn-in, I was rewarded with musical reproduction starting to approach that of the JLTi alone! Not quite as much air around instruments and voices, and a slightly different soundstage overall, but I was clearly hearing a very special preamp. Since then I have also been informed by Doge's assistant sales manager that new Russian (NOT Chinese!) copy Genalex Gold Lion B579 tubes also excel in this preamp.
I am currently writing a review of the Doge 8 Clarity (2019 Edition). I shall pass it on to you once completed, probably in a week or so.
JLTi OPPO BDP-105D Level 4.2+ACB "Signature"
I love listening to this player (mainly listening to my SACDs and FLAC rips of my CDs), almost as much as my vinyl. It is magnificently involving and intense, like sitting with the sound engineer as he adjusts the recording. The biggest difference in sound when I go to my record playing system is that the music 'relaxes'. The sound from the record player is no less intense, but the involvement with the vinyl player is somehow more like listening in a concert hall seat.
http://www.customanalogue.com/ is Joe Rasmussen's home page, which concentrates on the Oppo player upgrades - note that prices are all in Australian dollars, so the price of the full signature upgrade of the BDP-105x and of the UDP-205, is around US $2,500
JLTi Yaqin Mk5 hybrid push-pull transconductance amplifier
I cannot describe the sense of 'being there' conveyed by this amplifier. I've heard it only into my own speakers (Totem Arro pair + REL T2), and into Joe Rasmussen's fabulous Elsinore Mk 6 pair. My brother (a professional bass payer and music arranger) gasped in disbelief when he first heard it. He'd heard the amp prior to its Mk 5 rebuild, but was totally unprepared for the breathtaking increase in realism he now heard.
Joe believes this to be the first amplifier of its type in the world, but I suspect that stratospherically expensive Silbatone amplifiers use somewhat similar design concepts. Any information about amplifiers on Joe's pages relates to amps which predate this one and do not include its unique solid-state high-transconductance input stage, or 6CA7-based output stage.
Sydney Audition in August
On August 18, I'll be presenting practically my system at the Sydney Audio Club, for the whole 3-hour club meeting (I'm not a member). It will be the first opportunity for the public to hear the JLTi Mk5 amplifier, the fully JLTi-upgraded Oppo 105D (next to an unmodified 105D), and the first Australian public audition of the Doge 8 Clarity (2019 Edition). The Sydney Audio Club can be contacted for details via their web presence on the Stereo.net.au forums: https://www.stereo.net.au/forums/forum/81-sydney-audio-club/.
I've done a rudimentary review of the Doge, but at this point I only have less than 100 hours on my new phono stage tubes (Russian copy Genalex Gold Lion B759 [12AX7]) so there is still some way to go before they are at their best. I'm convinced that these are the best affordable 12AX7s available today. Right now they are very detailed with very low noise, but not quite as incisive as I am hoping for. My stand alone phono is still significantly superior, but I'm beginning to think that the Doge's phono may actually get to its heady heights!
In a few days' time, I will do a critical comparison.
In the meantime, I'll compare, once again, the Doge's line stage from my JLTi Oppo through to the JLTi amp, to the same music direct from the JLTi Oppo to the JLTi amp (the JLTi Oppo has a lossless volume control) to assess the inevitable degradation through the Doge. My recollection is that the Doge line stage (with Siemens 1982 ECC801S tubes) has a level of transparency which is quite astonishing in direct comparison, but I shall check if my memory played tricks on me. I think I shall compare using the 3rd movement of Mahler's 2nd Symphony on SACD with David Zinman conducting the Tonhaller Orchestra.
Here is some of that rudimentary review. It is not a warts-and-all review, making some assumptions I'm certain will be borne out in due course.
The Doge 8 Clarity (2019 Edition) is, by a VERY large margin, the BEST VALUE comprehensive preamp I have EVER heard!
Incredible sound quality.
-Beautifully laid out.
-Exceptionally well built.
-Solid remote control. Includes mute/unmute, volume control and on/off as well as source selection.
-Two variable outputs. I use one for my headphone amp.
-One fixed output for recording. When on phono, this actually fully bypasses the line stage – WOW that’s probably unique and an incredibly smart way to get as close to recording perfection from phono as possible.
-5 inputs + in-built MM/MC phono.
-Variable capacitance and impedance on phono.
-You can raise the line output by 8dB, at the flick of a switch, if required.
-You can INDEPENDENTLY raise the phono output by 8dB. WOW. Fantastic if you have an ultra-low-output MC. Or a medium-output MC you want to run as if it were a MM with a 47K ohm impedance. Or simply to raise the output level by 8dB if you are recording and bypassing the line amplification altogether.
SOUND QUALITY: There are line-only preamps out there which cost TEN TIMES as much and do not sound as good. And there are phono-only preamps out there which cost far more than this unit, and are spectacularly beaten in sound quality by the Doge 8 Clarity’s phono stage.
If money was no object, with the ingenuity that has gone into this phenomenal preamp, I’m certain Mr. Liu could have built an even MORE AMAZING preamp. But I could NEVER afford it and many of you couldn’t either.
What he has done for the money is beyond amazing! We have here, a truly incredible preamp, which could EASILY justify a price tag 3 or 4 times what Doge is charging. I cannot shout loudly enough: This is an amazing buy!
An important caveat:
The Chinese 12AT7 and 12AX7 tubes which come standard with the Doge 8 Clarity do NOT do it justice. The Doge 8 Clarity deserves FAR better! I use Siemens NOS 1982 (Munich) ECC801S (12AT7) tubes in the line stage, which, after say 200 hours settling in, ?allow the line stage to absolutely excel with a deep wide holographic soundstage and exquisite vocals and truly lifelike realism! These spectacular tubes cost me a little over $50 each.
In the phono stage, I have four Russian copy (gold pinned) Genalex Gold Lion B759 (12AT7) tubes which cost me under AU$50 per tube. Once they have settled in, they transform this excellent phono stage into a giant killer that puts many $3000+ phono preamps to shame.?
Further to my last email, I now provide my critical impressions of the Doge 8 line level music reproduction.
Musical Selection: Gustav Mahler Symphony No 2, 3rd movement, Tonhalle Orchestra of Zurich conducted by David Zinman, RCA SACD
Source Electronics: JLTi-modified (level 4.2 ACD "Signature") Oppo 105D
Power Amp: JLTi Mk5 high-transconductance hybrid switchable power/integrated amplifier
Speakers: Totem Arro front speakers (with upgraded crossover caps) plus REL T-2 sub
Interconnects, speaker wire and power cords: AntiCables
-I set up volume levels with and without the Doge to be near-identical
-I listened to the 3rd movement (and 20 seconds of the 4th movement) with the Doge 8 Clarity fed by the JLTi Oppo and, in turn, feeding the JLTi power amp.
-I listened again to the 3rd movement (and 20 seconds of the 4th movement), this time with the JLTi Oppo directly feeding the JLTi power amp (the JLTi Oppo has a 100% lossless volume control).
-I listened to the 3rd movement (and 20 seconds of the 4th movement) again with the Doge 8 Clarity fed by the JLTi Oppo and, in turn, feeding the JLTi power amp.
In total, I listened for about 35 minutes including changing connections. I took no notes, but began writing this review immediately.
Note: This is an extremely unfair test, in that I am effectively comparing the Doge's musical signature and electronics to a complete lack of additional signature and electronics in the signal path! It is thus impossible for the performance with the Doge to be as true to the original recording as without.
My immediate response to the first listening was that is was breathtaking and shocking in its realism. Spacial positioning of instruments was very good with lots of instances of holographic positioning, but a few instruments did seem to wander a little. Air around instruments. Decay was palpable, emulating the actual decay which might be evident in the Zurich Town Hall. Musical textures and contrasts were phenomenal. Tension was beautifully evident, with slow decrescendos and pianissimo passages holding my attention before being hit by the next extreme fortissimo. Anna Larsson's solo entry into the third movement was spellbinding!
On the 2nd listening, I was surprised that it sounded a little "faster" and lighter (this is a dark movement). Apart from that, the single biggest difference was that the position of instruments was etched into the soundstage. In a few complex passages, I also felt there was a touch more clarity in the different musical lines thrown so aggressively against each other. It was a touch easier to close my eyes and pretend I was in the actual concert. Anna Larsson sounded even more remarkable at the beginning of the 3rd movement. Interestingly, I had expected her to be positioned either further forward or back in the soundstage but it seems that the Doge is extraordinarily neutral in this regard, and left her in the same position.
I would have expected that listening again with the Doge in the mix would have left me pining for the purer sound I had just heard. I cannot say that was what had happened. It took a few moments to readjust to a slightly less holographic soundstage, but nothing else really hit me as inferior. I did not get the impression that the music was "slower". And, probably because I had already heard it twice in short succession, if anything, the musical complexities were rendered even more transparent this time! Despite knowing this music very well, and hearing it a third time in 30 minutes, I was just as shocked each time Mahler wanted to shock me with his explosive instrumentation of sudden fortissimos. Anna Larsson's entry sounded a bit darker than the previous time.
The Doge 8 line stage (with NOS Siemens ECC081S tubes) held up better than I ever could have reasonably expected, regardless of price!
I shall compare the phono stage to my stand alone tubes + transformers MC phono in a few days time.
The turntable itself is a Once Analog Mk 2 turntable, taken up to the highest specification a little while before Vince Hamilton, on Australia's southeast coast, stopped producing his phenomenal-sounding turntables.
The arm is an Audio Origami PU7 arm from the legendary Johnny Nilsen in Glasgow, Scotland. It's an unassuming arm which simply does its job better than any arm I've heard near its price range.
The cartridge is a Lyra Kleos medium-low output (0.5mV) moving coil, designed by Jonathan Carr and crafted by Yoshinori Mishima.
The platter mat is a Herbie's Way Excellent II mat. Quite simply the best mat I have ever used.
I also use a TTWeights TTMega 1.2 Kg peripheral ring weight and Once Analog 1.4 Kg "Nugget" centre weight with every record.
The three turntable cone feet sit on Herbie's Cone/Spike Puckies which make an instant improvement in isolation.
My Reference Standalone Phono Preamp: Eastern Electric MiniMax hand-wired "Vacuum Tube Phono Preamplifier" with inbuilt permalloy MC step-up transformers, which I had massively re-engineered by Joe Rasmussen:
-RIAA corrected and split between input and output stages
-Gain increased to allow critical 1st-stage 12AX7 to be replaced by 12AT7
-Audio path design corrected, allowing all caps but one to be removed from the signal path
-Inferior bypass capacitors replaced by Jantzen Superior-Z caps (my favourite moderately priced caps)
-Power supply design corrected and components replaced
-Chinese 6X4 rectifier replaced by Mullard NOS EZ90 (never underestimate the difference a better rectifier tube makes)
-Two Chinese 12AX7 replaced by matched Mullard NOS ECC83s
-Chinese 12AX7 replaced by matched parts Raytheon NOS JAN 12AT7WA (a really wonderful tube)
Power Amp: JLTi Mk5 high-transconductance hybrid switchable power/integrated amplifier
Speakers: Totem Arro front speakers (with upgraded crossover caps) plus REL T-2 sub
Interconnects, speaker wire and power cords: AntiCables
Music: Georg Friedrich Haendel - Dixit Dominus
Monteverdi Choir and Orchestra
John Eliot Gardiner directing
Felicity Palmer soprano, Margaret Marshall soprano, Charles Brett counter-tenor, John Angelo Messana counter-tenor etc.
on Erato 33RPM
The Lyra Kleos has a recommended input impedance of between 88 Ohms and 810 Ohms, established by trial and error, but determined at least in part by the overall capacitance of the rig. Setting the impedance too low tends to smother the natural aggression within the music. Setting it too high tends to sacrifice subtlety in the music.
With 150 hours on my Genalex B759 phono tubes, using the available phono dip-switches, I adjusted the Doge for optimal phono reproduction, trying input impedances of 47K, 298.1 and 99.8 Ohms. I may yet try a slightly lower value (Within Lyra's preferred range I could go to 90.6 Ohms). I suspect that I already have the best compromise of detail and aggression.
I tried 92pF input impedance but went back to 46pF which is the minimum available.
The 100 Ohm setting of my modified EE MiniMax (which is the highest for MC that the MiniMax offers - though I could get that changed if I needed to) seems to work very well with the Kleos (also with my fallback cartridge - a ruby cantilevered Shelter 501 Mk2 - what a gem for the money!), but every phono stage is different.
-I went through several iterations of listening to both phono stages, changing dip-switch settings on the Doge, swapping over cables as necessary, until I was satisfied that the Doge.
-I listened to side 1 using the modified EE MiniMax phono preamp, at what I felt was correct volume
-I listened to the same side with the Doge set to my (so far) final settings
-I listened to some fragments on the modified EE MiniMax to verify my findings
Firstly, I am amazed every time I hear this record, just how well it has been recorded and how exquisite the musical interpretations and performances are.
Secondly, I'd like to emphasize that the reproduction through the Doge was clearly considerably better than several separate phono only preamps I've heard, including some which carry price tags way above the Doge's price tag as a combined line preamp and phono preamp.
The Doge provided a beautiful and captivating presentation of the soloists, choir and orchestra, with a deep and wide stereo soundstage and a real sense of drama and tension. Complex passages were well deciphered with instrumental lines and choral parts able to be easily heard across each other. And I was driven to turn the record over and listen to the other side, even though that was not part of the plan.
Nevertheless, the difference when listening to my reference was palpable. The musical textures were somehow more flowing and integrated. Yet every new voice or instrument seemed to impose itself into the mix as if everything had been waiting for it to arrive. There was a sense that the music was a carefully guarded secret to be gradually unhidden and divulged to me personally. Every moment was a mini-revelation in one continuous unveiling. And that is missing from the Doge (and from almost every other phono preamp I've ever heard - in fact, I've only heard one other phono preamp which did that for me).
Doge 8 Preamplifier
Custom Analogue Audio (JLTi & Joe Rasmussen Electronics, Speaker Kit and OPPO Upgrades from Austalia)
I have no recent audio evaluations to report. However, the worst of the summer weather is now over, which will finally allow me to conduct some audio experiments. I even have some important, and unexpected, new developments to report...
1. Coincident (New Generation) SET Power Amplifiers - I still expect to receive the Frankenstein Mk. III and Turbo amplifiers some time this fall, but I have no firm arrival date as of yet. As I stated earlier this year, I will audition the Turbo only after I have first fully completed my evaluation of the Frankenstein Mk. III. My first priority is a direct comparison of the new III to the older II, which is my current Reference (both amplifiers will be compared stock).
2. ZYX (New Generation) UNIverse Phono Cartridges - The ZYX UNIverse II became my Reference phono cartridge ("the best I ever heard") in 2013. Since 2014, ZYX has come out with three new UNIverse models (the "III", the "Premium" and the "Optimum"), which they have claimed to be sonically superior to the II.
A close audiophile friend, and associate, has recently purchased a Premium, and he had it sent to me for evaluation. I am now testing the Premium (which was discontinued in 2017), and I expect to post a detailed report on it in December or January 2020. I also expect to eventually audition both the current UNIverse III and the Optimum, though existing plans will delay these two evaluations until at least Spring 2020.
3. Degritter Ultra Sonic Record Cleaning Machine - I already purchased this machine and I expect to receive it sometime in November 2019. It is an "all-in-one" ultra sonic machine, cleaning (and drying) one LP at a time, which I have no experience with, up until now. I will compare the Degritter to the DIY Kuzma ultra sonic cleaning process I currently use.
I will also use this opportunity to update my overview of ultra sonic record cleaning in general, since I have now been utilizing this process for more than 3 years.
4. 2019 Updated "Masters" Speaker Set-Up - The anonymous author of the "Masters Speaker Set-Up Instructions", which has been posted on this website for many years, has sent me his latest thinking and advice, contained within a concise article. It is now posted in the Readers Letters, see below.
Coincident (New Generation) SET Power Amplifiers
ZYX (New Generation) UNIverse Cartridges
Degritter Ultra Sonic Record Cleaner
This important article will be reposted annually...
This is my best attempt at describing the different levels of improvement an audiophile may hear and observe during a comparison (assuming they actually exist in the first place). I also provide some examples that we (myself and one, or more, of my associates along with me) have experienced in the last few years, which will change over time to keep them recent and relevant.
The actual observations will constitute an objective reality to the listener. However, the listener's reaction to those same observations will, of course, always be personal and subjective, and may differ greatly from my descriptions, and from other audiophiles. In fact, in my experience...
For the most fanatical and enthusiastic audiophiles, a Level 3 observation may still trigger a Level 5 reaction. In stark contrast, some "objectivist" listeners will only acknowledge Level 1 to 3 improvements (at most!) to any component they hear, with the one exception of speakers, and react accordingly.
Important Note - It has been my long-term observation that it's easier to hear an improvement in sonics than to hear a deterioration. This is true, in my experience, for both veteran and novice audiophiles. This general rule is the reason why cartridge and tube deterioration, and many other sonic problems (some temporary), are not quickly recognized. This improvement/deterioration rule is also the foundation of a "Level 1 Improvement" (see below), and why many audiophiles feel uncomfortable with blind tests: Confirmation of what you just heard isn't as obvious or easy as you expected.
Now, from the most subtle to the most profound...
Level 1- The sonic improvement can be subtly, though still consistently, heard when switching to the superior component (A/B). However, the reverse matching deterioration is not heard when switching back (B/A) to the inferior component.
Example- Ars Acoustica Prototype I.C. Cable Vs. Coincident Extreme I.C. Cable (between the Jadis phono stage and the line stage)
Level 2- The sonic improvement can be heard when both switching components and then when switching back, but it is no longer specifically (or easily) heard after a short period of time; sometimes seconds, but almost always less than one minute.
Example- Coincident Extreme Shotgun I.C. Vs. Ars Acoustica Prototype I.C. (between the Jadis phono stage and the line stage)
Level 3- The sonic improvement can be heard at length, but an effort may be required to listen specifically for it, so it may not be "obvious" or inescapable. This improvement may or may not be significant; meaning there's a chance that an audiophile may be able to remove this improvement from their system and still not suffer from its absence.
Example- "The Truth" T3 Line Stage Vs. "The Truth" T1 Line Stage
Level 4- The sonic improvement can be heard all the time, and without any effort, by an audiophile. However, it's still actually possible for it to be not heard by ordinary listeners, meaning those people with no interest in sound quality. This improvement is still "significant"; so a serious audiophile will almost always suffer from its absence.
Example- Acapella TW 1S Ion Super Tweeters
Level 5- The sonic improvement can be heard at all times by anyone with healthy hearing, including listeners with no interest in sound quality. The improvement is now always "significant"; meaning an audiophile can no longer enjoy their system without this specific improvement.
Example- ZYX UNIverse II Vs. "Original" ZYX UNIverse
Level 6- The sonic improvement is "transformational"; meaning not only would it be completely unthinkable to live without it, but the improvement actually alters an audiophile's thinking and perspective on both their particular system and "Audio" in general.
Example- Reference Lenco L-75 Turntable/Graham Phantom (Supreme) Tonearm Vs. Forsell Air Reference Turntable/Tonearm
These different levels do not correlate exactly with numbers or percentages. Personal preferences and a listener's subjective reaction always trump the listener's analytical judgment of a component's performance and whatever improvement(s) is/are noticeable.
As an example, let's say one component ("A") is noticeably superior to the Reference ("R") in 10 different areas, but only by approximately 1% in each case. In contrast, let's say a third component ("B") sounds the same as "R" in almost every way, but is better in one area by 5%. It is very possible that component "B" will still receive a higher level than "A" to the audiophile, especially if the improved area is more highly valued. In fact, it is not uncommon for some audiophiles to give up 1% of the performance across the board just to get that extra 10% improvement in the one area that really moves them and gets them "involved" with the music.
To make this more personal, I believe if I were to quantify the actual examples that were given above, the Lenco/Graham wouldn't receive the largest number, but I still feel it was transformative because it improved areas that broke new ground (for me), and which couldn't be replicated by any other component category (like going from a transistor amp to a good SET amp on the right speaker).
Also, while the first two Levels leave basically no room for "nuance", since they are so subtle and tightly defined to begin with, the medium and higher Levels (3 to 6) do have smaller iterations (or degrees) within them, such as 4.1, 4.2, 5.1, 5.2 etc. In fact, even a "difference in kind" still has some "variety" or a range, since their degree and impact are not all exactly the same, even if the practical end results are the same. Levels 3 and 4 are both very similar to each other, and the most common to experience when making actual comparisons. Further, a "strong 3" and a "weak 4" are basically the same in practice and interchangeable in effect.
Finally, below is how I used numbers to illustrate why I was so enthusiastic about the Graham Phantom Supreme compared to the earlier II it replaced, when the differences I described didn't appear to be that significant...
Let's assume the II is 95% "perfect", while the Supreme is 97% "perfect". Most audiophiles would agree that the difference between the numbers 95 and 97 is marginal. However, the difference between 5% (100-95) and 3% (100-97), which is a 40% reduction in imperfection, can be profound to an audiophile (or any "perfectionist" for that matter). Sometimes a change in perspective clarifies an otherwise confusing subject.
Further- Almost all of the Readers Letters that are removed from this file, after the standard 12 Month posting (such as the August/September 2018 Readers Letters), are subsequently posted in their respective Reference Component Files: Amplifiers, Cartridges, Speakers etc. They can be found under "Readers Letters". If the reader's letter discussed more than one type of audio component, I will place that letter in the file of the component that was the most discussed.
From a generous reader...
This is a simple two step procedure done with ears only that will result in a near perfect stereo music image from a large listening area. Best results are obtained when speakers are set along the long wall in a room and equidistant from the acoustic center of the room. A reference recording, Ballad of a Runaway Horse by Jennifer Warnes/Rob Wasserman is used, and makes the procedure much easier. However, any recording with an easy to hear bass line can be used for the first step. And any recording with a centered voice image can be used for the second step. A mono recording is also a very good recording to use for the second step.
INITIAL START POINTS:
1. Room Assessment:
Mentally assess the room for symmetry and note as best as possible the acoustic center of the room. Divide the room in half along the acoustic center of the room. Assess the similarities and differences of each side as to acoustic size, reflecting surfaces and furnishings. The more equal that each half is, in all aspects, the easier the setup procedure is likely to be and have a satisfying end result.
2. For initial speaker positioning, position the speakers equidistant from the acoustic center of the room. This doesn't have to be exact, just close.
3. Place speakers against the wall. Turn the right speaker 45 degrees out towards the side wall. Move the left speaker about a foot out in to the room.
4. Speakers need to move easily on the floor surface. Spikes need to be removed or set on to furniture sliders.
5. Sit in preferred listening spot that is centered between the speakers. And stay in this seat throughout the procedure.
1. Setting the Left Speaker as Reference and for best bass position.
Play the reference recording with speakers set as in number 3 above. Move the left speaker out into the room until all sound comes from this one speaker with both speakers playing. Voice will come first to this speaker but continue moving out until the bass is also from just this one speaker. Speaker is now decoupled from the wall behind. Place a piece of masking tape at the rear of the speaker. This decoupled area extends about another foot out into the room. Any place within this decoupled area is suitable for this left speaker position. This marks a kind of starting point. Listen to the song and focus on the steady bass line. This of course will depend a lot on the capabilities of the speaker-amp system. Move the speaker out into the room in small perpendicular increments and try to find points of smoothest bass/best bass/preferred bass, etc. I have often found that the 12th bass note of the first verse of the BRH song can vary a bit, and I use this as a listening cue. Try to get the smoothest bass possible. If in doubt, just go with what seems best and don't worry. When you find your preferred best bass spot, mark the speaker in place with masking tape at the rear and one side of the speaker. For reference, measure distance out from wall to front baffle of speaker and note this measurement. This will set the left speaker as a reference for the right speaker to complete the procedure.
2. Now to set the Right Speaker to get perfect stereo image
Bring the right speaker out into the room in two or three increments, noting how much the voice moves to the center with each move, until the voice centers in the middle. Mark this place with masking tape as a starting point. Slowly move the speaker out in small increments, say ¼ inch, paying attention to the voice in the setup song. Keep moving the speaker until the centered voice gets very strong and focused. I have found that the voice can get very strong at around 2:30 into the song. Note places where you think the voice is very strong with some kind of mark. You may have several marks. Keep moving the speaker out until the voice begins to fade a small amount. This will be the outer limit for moving the speaker. Now you need to move the speaker back toward the wall in very small increments, 1/8th or 1/16ths inch until you find the spot with the best and strongest voice. Keep fiddling with this until you get what you think is the best, strongest, most human like voice.
3. Now to check things
Just listen to the whole song once or twice and note how it sounds to you. If the sound is really really good, then proceed. Otherwise make a small adjustment trying to get it better. Only move the speaker 1/16th inch when you do this. Once you are satisfied, proceed on. Next is to move your listening position temporarily a bit side to side and note if the sound moves with you or not. A good check is to move 1 ½ seat positions to the right. Note if the sound moves with you or not. If the sound moves completely with you and your move, you've missed the magic spot and need to do Step 2 all over again after a break. Note your starting position marks and start there. If the sound moves just a tiny little bit to the right, just move the speaker in a small amount towards the wall, like 1/16th inch. Move it again the same amount if the first move was not enough. That should be good. Go back to center position and note the sound. You are trying to have the centered stereo image not move when you move seating positions. Little nudges may be necessary until you find this spot for the speaker. Mark the speaker in place with masking tape, same as for the left speaker.
5. Final Notes
Set the speakers in final position by replacing spikes, removing sliders, etc. Make sure that the final position matches both the tape markings and the measurements to the front baffles. Check and make sure the speakers are level. Adjust as necessary.
Do the procedure seated in the normal listening position. Move only as directed in the instructions.
I do the procedure myself. However, it can be helpful to do this with another person. One to listen, and one to move the speaker.
Toe-in has not been mentioned thus far. Toe in is variable. None is okay. A little is okay, but not too much. Go with the minimum and have each speaker the same.
It is okay to raise the front of the speaker, sometimes referred to as "rake angle". But fully level is likely easiest.
Take breaks as necessary to keep the ears and mind fresh. Don't get in any hurry.
Here is some more info that is worth a few minutes. You may or may not have heard about WASP, the Wilson speaker setup protocol that they have used for years. Here is a link to a you tube video about it, by the late David A. Wilson himself, https://www.youtube.com/watch?v=UOI8py0DAC8
The only part worth paying attention to is where he describes the Zone of Neutrality, with regards to room boundaries, walls. Then the video shows a guy walking out into the room and placing masking tape on the floor. Just try this yourself. Stand with your back to the wall behind your speakers and count aloud one, two, three, four, five, as you slowly move away from the wall. Once you get about 2 feet out from the wall, notice how the sound of your voice changes. I was a bit skeptical about this until I did this myself. And I did it 3 times just to be sure. It correlates very well to when the left speaker gets moved out from the wall and then all sound appears to come from it with both speakers playing.
Anyway, I think it's worth a few minutes just to do this as I found it interesting.
Just a little bit more on the speaker setup procedure...............All I am doing is setting one speaker as a reference in a place of the least interaction with the walls, i.e. decoupled from the wall behind, and then adjusting the position of the other speaker to get a perfect stereo image. Once you get this perfect stereo image, a lot of things just naturally fall into place. Also, one reason I have stated that a mono recording works well for finding the perfect stereo image is that by definition a mono recording should be perfectly centered between the speakers at all times. However, this can only occur if both speakers are energizing the room equally. And that is what you are trying to do with the positioning of the second speaker. And if properly done, then the mono image will always stay centered between the speakers no matter where in the room you may be. Or, pretty close to that.
Perhaps some background information could be helpful here.
In the 1990's, Sumiko Importers of Berkeley started a training program for their dealers called M.A.S.T.E.R.S., which is an acronym for Modal All Simplified Training Electronic Retail Salespeople. It was never for public consumption, and graduates were sworn to keep it a secret. And that has pretty much happened as Google searches still give no hits for the term.
The term Master Set was coined by Rod Tomson of Soundings HiFi in Denver Colorado. I have no idea how closely this follows the actual MASTERS training. However an insight to the actual MASTERS methods can be found in a post on diyaudio:
https://www.diyaudio.com/forums/the-lounge/318975-john-curls-blowtorch-preamplifier-iii-1665.htm, go to post #16648.
Stirling Trayle is the former owner of Sumiko and started the MASTERS program along with John Hunter. Stirling now sets up speakers and audio systems as a business. He gave a talk at the San Francisco Audio Society the past March 2019, which is where the notes originated.
Rod T. started Master Set and has incorporated that into his audio business. I first heard speakers set up in this manner in 2007 at RMAF. Over time I learned the basics of the methodology and eventually have been able to get the desired results.
What I do bears some resemblance to Rod's Master Set, but I simplify things a whole lot. What I do is completely DIY, doesn't cost anything other than procurement of the set up song. It is easy to do but hard to get perfect. What I do can be done with any box speaker in any room.
There are a couple of useful links to share:
1. www.myspeakersetup.com, a website for Bob Robbins, a MASTERS certified former employee of Soundings HiFi, who does speaker setup with his version or Rod's Master Set.
2. www.audiosystemsoptimized.com, a website for Stirling Trayle, who now does speaker setup and a lot more.
These are the most recent LPs to join The Supreme Recordings. They are too new to place in one of the two upper categories, and there usually aren't any detailed descriptions ready either at this time.
*A direct-to-disc from 1982, which I never heard (in my own system) until 2018. It is outstanding in every sonic area, and especially so in its dynamic impact (the percussion in particular). This LP should end up in the higher categories, though not at the very top. The music is light jazz, with only the very beginning of the first cut (on Side One) sounding anything even remotely related to "The Andes".
Twenty years ago, I was ridiculed by some "audiophile LP collectors" for claiming, based on my numerous experiences, that there was no inherent difference between Decca and London pressings (outside of the normal and inevitable variances in any pressing runs). It took a while, but eventually a growing number of other audiophiles confirmed my observations, and further definitive evidence, directly from the manufacturer, closed the issue permanently (outside of "dead-enders"). Below is further evidence on this (formerly controversial) issue (my bold).
"I was taking an electrical engineering degree at Imperial College in London during the early 1970s and I had the opportunity to work for Decca at their New Malden plant during one summer vacation, basically acting as a gopher in the pressing plant.
I can state categorically that the same stampers were used for both the Decca and London pressings at that time and the requests for metalwork often included both the US and UK labels in the one invoice- which explains why both issues often have the same stamper codes in the inner section.
I know of at least one copy of such an invoice which definitively proves that there is no difference."
"I was rereading your... (Decca/London Classical) LP evaluation on your site, and noticed one thing from the “middle British” section that I would like to amend.
The vinyl also looks inferior on these earlier pressings, it's not quite as black, as though the vinyl wasn't as pure. In any event, the later pressings, both the British and Dutch, are generally much quieter and allow more low-level musical information to be heard.
The 'not being quite as black' probably has nothing to do with the quality of the vinyl, and probably has everything to do with with the pigment. The 'blacker" records may have more carbon black pigment in them, or they may be using a higher quality of black pigment that is more 'blue shade' instead of 'yellow shade'. Blue shade blacks are more expensive pigments (finer ground and more intense) that are used in automotive applications, whereas the yellow shades are used in cheaper industrial coatings.
Now, there may be a real reason that the 'blacker' ones may sound better. Carbon black is very acidic, and it can act as a catalyst for the vinyl resins, promoting a tougher surface (tougher being as how a material scientist would look at it). I have noticed that the artistic albums, especially the clear ones w/o any carbon black in them, do not sound quite as good. Off the top of my head, one album is a newer Chicago pressing comparing it to a track from a black vinyl, older pressing, comes to mind.
I love your album evaluations maybe even more than your equipment comments. Even 20 years ago, I never really understood what the big deal sonically of the early Decca/London recordings. I had recordings from the mid ’70’s from them that were sonically superior, in my mind. Yet popular belief was that the earlier ones were better."
"I did a few searches on the net, and this was very interesting.
I liked this one because it was a combination of peoples’ experience and some expert comments. The evidence in these posts actually support my hypothesis that cure is extremely important in record quality, and carbon black assists cure in the formation of a record.
I looked at some comments on some small manufacturers that stated it was only the vinyl formulation that mattered. Looking at the small amount of data they released, I feel that they came to the wrong conclusions. Being a former coatings chemist, I realize that most formulators tend to ignore the influence of pigments on their final formulations. It is much, much easier to assume that the pigments have no effect on the final formulation. I have found that not to be the case, especially with red and black formulations."
*An excellent overall recording, with a large and full-range sound, but both the sound-floor and the sense of immediacy are noticeably compromised, so it's NOT equal to Decca's best.
This LP has been in "The Divinity" since I first posted "The Supreme Recordings" lists around 20 years ago. Recently, a reader compared the MFSL pressing to a recent re-issue from Hi-Q (which I have not heard myself), and forwarded the results to me, with permission for me to share it. Here it is below, with some minor editing and my bold:"I had the Hi-Q Records pressing of this MFSL release (original master tapes and edited at Abbey Road), but Arthur Salvatore claimed this Mobile Fidelity release was the best sounding version... Doing a side by side comparison...(and) after playing the MoFi version right through and enjoying it, I dropped the needle on the last passage of Side Two of the Hi-Q version as a comparison.
Within seconds, I was thinking that something was definitely wrong with the sound. The MoFi has all the instruments in sharp focus, while the Hi-Q version has them defuse and smeared. A great deal of the inner detail was therefore lost and you finish up with tuneful noise rather than an orchestra full of instruments. The Hi-Q version also appears to have the top end rolled off, so all the hall ambience is missing and is far less dynamic. Given the price this (MFSL) pressing is now selling for (I bought an absolute mint copy for about US $ 20), this has become an absolute bargain."
And Yet Even More Direct Evidence On...
I realize this post can be viewed as "piling-on" (or even a "beating a dead horse") to any objective observer. However, it's difficult to resist embarrassing the few remaining "Decca Was Superior to London" dead-enders (whom have spread malicious and damaging misinformation to audiophiles for decades). Here is a recent post on Vinyl Asylum. There is no editing, but my bold:
Posted by Botanico92007 (A) on July 19, 2019 at 17:34:17
In Reply to: Look at the pictures in his original post.... posted by ghost of olddude55on July 19, 2019 at 03:33:37:
"I also have compared UK pressed Decca vs. London. They sound the same when pressed from the same master. I have a friend in England whose uncle was on the board of directors of Decca. My friend insists that Decca never did separate pressing runs for either country. The vinyl formulation was the same. In fact, the US was often favored with early pressing runs because the market was much larger and Decca wanted favorable US reviews to sell more copies in the UK. What is true is that the very early pancake pressings with no raised outer edge do sound better, but it's not the label, it's the vinyl profile. These are very rare because Decca quickly dropped the flat profile and went 100% to the raised outer edge to keep the stylus from slipping off the record and from being damaged with careless users."
Further - My most recent column is devoted to a late critic of this website, Charles Hansen of Ayre Acoustics, who disclosed his true thoughts and feelings about Stereophile, John Atkinson and the audio press only a month before his death. It should not be missed: CHARLES HANSEN'S FINAL POSTS ON AUDIO ASYLUM.
ALK Engineering ("Specializing in filter design software and Klipsch loudspeaker upgrades".) NEW 01/19
Doge 8 (Doge 8 Preamplifier) NEW 02/19
Waynes Audio (Turntable Platter Ring Weight from California) NEW 06/19
Sound Foundations (Turntable Platter Ring Clamp from India) NEW 06/19
Custom Analogue Audio (JLTi & Joe Rasmussen Electronics, Speaker Kit and OPPO Upgrades from Austalia) NEW 06/19
Top Record Players (Basic Turntable Information and Advice for novices, despite the title) NEW 06/19
The Coincident Pure Reference Extreme (PRE) has been my personal reference speaker since 2009. They are in excellent condition and have never been abused in any manner. I am selling them for only one reason: To replace them with the newest model, the PRE MK. II (see the related link below). I originally had two pairs of the PRE, stacked, but one pair has already been sold.
The PRE is rarely for sale on the used market. In fact, I haven't seen a used PRE for sale in literally years. This is not surprising, because of the PRE's outstanding overall performance, value, practicality and sensitivity (see the link below for my PRE review). In the rare event a PRE is being sold used, it's almost always because of some peripheral, life-changing or domestic issue and not because of any audiophile dissatisfaction with its performance.
However, there is one issue with this PRE. The cosmetics, specifically the front veneer panel joints on the two subwoofers, are second-rate (see pictures). This cosmetic problem has no effect on the sonic performance of the PRE, obviously, but it will still require some rudimentary woodworking (sanding, staining and re-oiling) to bring them back up to par. Accordingly, I will offer a generous allowance on the selling price.
According to the manufacturer, the price for the used Pure Reference Extreme pair, if it was in excellent cosmetic condition, would be $ 14,750. However, due to the cosmetic flaws, I am reducing the price to $ 11,775, a savings of $ 2,900+, which can then be used for a local woodworker. For those who are handy, it's a $ 2,900+ savings for a simple DIY woodworking job. Some audiophiles, like myself, may not even be bothered by the cosmetics in the first place.
Further Thoughts - Some audiophiles will understandably prefer to purchase the Pure Reference Extreme Mk. II, but don't have all the required funds, $ 30,000, so here is a practical suggestion. The Mk. II could be purchased in two steps:
1. The PRE Mk. I above, for $ 11,775, and later...
2. The Mk. II factory upgrade, which costs $ 12,000, making the...
Total Cost = $ 23,775.
Not only does this method avoid one large expenditure, it even provides the additional bonus of a $ 6,000+ discount from the Mk. II's original selling price.
Caveat - The PRE speaker system, which is two subwoofers and two monitors, does NOT include either the stands for the monitors or the spikes for the subwoofers.
Shipping (390 lbs) of the PRE is extra. The PRE is located in Florida (34986). Local pickup can also be arranged.
My Comprehensive Review of the Coincident Pure Reference Extreme Speakers
Coincident Speaker PRE MK. II Update Announcement & Further Information
The Supreme Recordings
My Audio System
My Audio Philosophy
Purchasing Used Classical Records
Reviewing the Reviewers
Used Components for Sale
Tubes for Sale
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