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.
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: email@example.com
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)
Classic Audio Loudspeakers (All 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.
Some good and bad news...
1. Coincident (Next Generation) SET Power Amplifiers - Bad News. In fact, really bad news! I will not "receive the Frankenstein Mk. III and Turbo amplifiers some time this fall". In fact, I will not receive the Frankenstein Mk. III until Spring 2020, at the earliest. It appears that the Mk. III model has been completely sold out until then. As for the Turbo mono amplifiers, it's even worse news.
According to Coincident, the "Anniversary" Turbo production run (only 25 pairs) has been completely sold out, and no more of them will ever be built. However, Coincident is planning to manufacture a replacement "845" amplifier, but there are no firm details as of yet. So, to state that I am "extremely disappointed" with this news would be an understatement.
2. ZYX (New Generation) UNIverse Phono Cartridges - A close audiophile friend, and associate, purchased a used (and now discontinued) ZYX UNIverse Premium cartridge, and he had it sent to me for evaluation. I have now played the Premium for over a month in my system. Preliminary Results - The Premium is, at this time, without a doubt, the finest phono cartridge I have ever heard and, importantly, it is still improving, so there's obviously some further break-in required. I will post a detailed report on the ZYX Premium in either late December 2019 or January 2020, depending, of course, when the break-in is completed. I also expect to eventually audition both the current UNIverse III and the Optimum, but that will have to wait until sometime later in 2020.
3. Degritter Ultra Sonic Record Cleaning Machine - I received the Degritter machine in mid-November and I have already began cleaning records with it. I can now confidently state that the Degritter's cleaning results are an improvement when compared to my previous DIY set-up. Important details to follow in the upcoming review, where I will also discuss my short history, and current perspective, on ultra sonic cleaning.
Coincident (Next Generation) SET Power Amplifiers
ZYX (New Generation) UNIverse Cartridges
Degritter Ultra Sonic Record Cleaner
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 sonic disadvantage, noise transference, has now been reduced to insignificance by using modern plinths, bearings and improved motor isolation. In short, idler-drives have overcome 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 and fundamental 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 also 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)
Ultra Sonic Record Cleaning (#6 Refinement)
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 over 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" efficiency 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 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.
More news of interest...
1. Degritter Ultra Sonic Record Cleaning Machine - I am almost 1/2 through my first draft of the Degritter review. I have already posted (above) that the Degritter's cleaning results are an improvement when compared to my previous DIY set-up. Important details to follow in the upcoming review, where I will also discuss my short history, and current perspective, on ultra sonic cleaning.
2. ZYX (New Generation) UNIverse Phono Cartridges - I have now played the Premium for over two months in my system. Results - The Premium is the finest phono cartridge I have ever heard. However, it kept improving until early 2020, which has caused a delay in my original schedule. I now plan to post a detailed report on the ZYX Premium sometime in early March 2020.
Meanwhile, the UNIverse III arrived in January 2020. I expect to audition the UNIverse III sometime in middle/late February 2020. As for the Optimum, that will have to wait until sometime much later in 2020, assuming I even receive a model for audition.
3. "Ultimate Lenco" by Jean Nantais - I have now committed to purchasing this model, and will receive it sometime in late April or May. I will also have to install a new tonearm on the Ultimate, since it has an oversized ("transcription") platter.
4. Coincident (Next Generation) SET Power Amplifiers - Sadly, more bad news! I will not "receive the Frankenstein Mk. III in the Spring 2020". It appears that the Mk. III model is still completely sold out, so the earliest I will be able to receive a pair is late Summer or this upcoming Fall. Further, I now seriously doubt that I will ever audition the Anniversary Turbo mono amplifiers.
New Posting Schedule and Summary of the Above:
January 2020 Recent File - Degritter Review
February/March 2020 Recent File - ZYX UNIverse Premium Review
April/May 2020 Recent File - ZYX UNIverse III Review
June/July 2020 Recent File - Ultimate Lenco/New (?) Tonearm Review
Fall 2020 (?) Recent File - Coincident Frankenstein Mk. III Review
Finally, my long time Reference, the Coincident Statement Line Stage, is now for sale. For all the details: go to USED COMPONENTS NOW ON SALE.
The "Ultimate Lenco" by Jean Nantais
Further- Almost all of the Readers Letters that are removed from this file, after the standard 12 Month posting (such as the December 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 Advancement...
The Degritter is the most evolved ultra sonic record cleaning machine that I and my associates are aware of at this time. It is, for now, the state-of-the-art record cleaning device. I've also spent extensive time researching the Degritter on the Internet, reading every anecdotal experience directly concerning the machine. These anecdotes have, unanimously, confirmed our positive experiences. In fact, it may not be possible to surpass the Degritter's performance for now with any current record cleaning technology known to me. Next, the important and relevant supporting details...
I have been cleaning my records with an ultra sonic system (the Kuzma) since 2016*. Like many other serious audiophiles, I immediately experienced the easily noticeable sonic improvements when records are properly cleaned with an ultra sonic device, even if they were previously cleaned using any of the long popular wet/dry machines. I also immediately recognized that ultra sonic cleaning was an absolute "Requirement" for all records, and not just another marginal, or even useless, "audio luxury" that one could safely ignore.
*Our Ultra Sonic Record Cleaning Experiences
However, as much as I liked the Kuzma cleaning system (which could clean up to 10 records simultaneously), I eventually realized that it still required a true drying system for optimization. I discovered that air-drying the records (which Kuzma recommended) tended to leave tiny particles stuck on some LPs, which were difficult to see and remove, no matter how clean was the dedicated drying room. Accordingly, I decided I also needed another device which was dedicated to drying the records.
After some research on current trends in the record cleaning market, I originally planned to purchase an Okki Nokki wet/dry cleaning machine, to augment the Kuzma. However, in the end, I decided to purchase the Degritter instead, and below are the reasons which explain this decision.
I first learned about the Degritter on Audiogon (in the "Analog Forum"), and I was almost immediately intrigued with it. I then made the mandatory Google search/investigation, reading every article and/or post I could find about the Degritter. I waited a few months before I made an irreversible move. I wanted to be as absolutely certain as possible that there would be no long-term problems with this (newly designed) machine (especially considering that the Degritter is manufactured in Estonia).
Several important attributes sold me on the Degritter (all of them anecdotal at that point): The owners/users claimed it had an unparalleled cleaning potential, even when directly compared to its best known (and reviewed), and much more expensive, competitors. It also had a small "footprint", and was highly flexible and convenient to use. The pleasantly surprising fact that it was also around $ 2,000 less expensive than other competitive "all-in-one" models was obviously another critical factor.
I was also impressed by the short Degritter videos posted on-line, as well as other pertinent details and information I found on Degritter's website. Further, while this is admittedly only a subjective feeling, I came to believe that the creators of the Degritter began their project with no "dogmas" or prejudices, and eventually utilized any technology, and/or methodology, they felt would work best.
What ultimately convinced me was that the Degritter was designed explicitly, and dedicated only, for cleaning records and nothing else. In aggregate, my entire investigation gave me the confidence that the Degritter cleaning machine had been extremely well thought out from the ground up and, just as important, the end results of this process had been verified through thorough and vigorous testing. Accordingly, I made the monetary commitment* and the Degritter arrived in November 2019.
*I received around a 20% accommodation discount as a veteran audio journalist.
Before discussing the cleaning details and results, I must first reveal the current state of my (3,000+) record collection, which is very pertinent to my experiences and personal perspective on record cleaning.
When I received the Degritter, every single LP I owned had been already cleaned on either the Kuzma DIY devices and/or an older wet/dry system (VPI, Nitty-Gritty, Clearaudio etc). This includes all the records I ever purchased brand new (and even the LPs I now have "for sale", which I do NOT count as part of the 3,000+ collection). On the day the Degritter arrived, I would estimate that around 40% of my collection had been cleaned with the Kuzma ultra-sonic system, while the remaining 60% were cleaned only using a traditional wet/dry system.
To make any comparison as fair and objective as possible, I listened to a wide variety of records before the Degritter arrived. After the Degritter arrived, and I was both confident it was working properly and familiar with its operating protocols and options, the majority of my direct comparisons were between records previously cleaned with the Kuzma system, and then cleaned once again with the Degritter. The "Big Question" was obvious: Could the Degritter improve on the already outstanding Kuzma system (which had previously proved to be superior to any wet/dry system I've ever had)?
The answer came quickly: Yes, the Degritter even improved the records previously cleaned on the Kuzma system. These are the details...
The sonic differences were generally minor between these two machines, but are still easily noticeable, and that's what counts. If I had to put these differences in numbers, I would say that if the Degritter is removing 100% of what is only possible to remove on a LP when using an ultra sonic machine (in contrast to a wet/dry machine), then the Kuzma system removes around 90% of that same material, depending on the record.
This small difference equates to sensing that last degree of sonic and musical "directness" and "nakedness", which is important to many audiophiles, plus another noticeable reduction in standard record noise. When using descriptive audio terms which are more normal; this equates to a slightly lower sound-floor, where a little more musical and hall/studio information is both heard and sensed, and with the further bonus that the recording may sound a little more realistic at softer volume levels (which is also very important to many listeners, including me).
It must also be emphasized, even though it is obvious and self-evident, that a "perfectly" cleaned record will still have some extraneous sounds, mainly from LP damage from previous play and also the defects from the original pressing. Sadly, no cleaning machine can ever reverse and eliminate these problems.
For the records previously cleaned on the Kuzma system, I chose the "Quick" cleaning option (5 minutes total cleaning time, including the drying cycle). For those records cleaned only with a wet/dry system, I chose the "Medium" cleaning option (6.5 minutes). Finally, for those rare records that either had an unknown cleaning history, or I knew (through my notes or memory) to be unusually "noisy", I chose the "Heavy" cleaning option (9.5 minutes).
In a few instances, where the records had foreign objects stuck on them, I utilized a hand-held brush to remove them during the cleaning cycle (while the LP was wet). This experimental method duplicated a standard wet/dry cleaning machine, and was successful in removing the foreign objects.
Further, whenever I used the "Heavy" cleaning option multiple times (within a short period of time), the resulting rise in water temperature was noticed by the Degritter's internal sensors. Prudently, a "fail-safe" mechanism would be triggered if the increased temperature was considered dangerous to the LP being cleaned. If so, the Degritter then "cooled" the water by taking extra time during the cleaning cycle (with clear notification on its right-side digital display), with the ultra sonic devices shut off during that cooling period.
Important Note - The differences in cleaning times between these three options is dedicated only to the cleaning cycle, which means the drying time is exactly the same for all three options. The drying time can also be adjusted depending on how much noise you can tolerate during the drying cycle. So, to be clear, the louder the drying noise, the quicker the drying finishes.
Price Disclosure - According to my correspondence with Degritter, the current (2020) cost of the Degritter is now $ 3,000, which includes shipping to the USA.
One "Issue" - I had one small problem with the Degritter. The guide/roller on the right hand side of the LP slot (see pictures) was slightly skewed and off-center (the left hand side was centered correctly), so the record could get wet when it was removed. Degritter relayed some simple instructions and I was able to reposition the roller slightly, which solved the problem.
The Degritter is the most effective record cleaning machine I have ever used. I only wish the Degritter (and ultra sonic record cleaning itself) was available decades ago, since the basic technology existed back then, even if it would have been somewhat cruder in its appearance and ergonomics.
What is important to focus on is this: The designers/manufacturers of the Degritter have appeared to consider all of the critical factors of ultra sonic frequency, positioning and water temperature, filtering etc, which are relevant to optimizing the cleaning of records, and the outstanding results that we (and many others) have experienced are the ultimate proof that they were correct in their choices.
From a really broad perspective, the Degritter even shares one highly desirable attribute with the Accapella Ion Tweeter. How? The Degritter is one of those ultra-rare devices that could be considered "a final purchase", because there is no remaining available option for further improvement. I find this highly satisfying, both in practical terms and emotionally as well.
In short, the Degritter does everything it is supposed to do, does it as well as it can be done, and is an unsuspected pleasure to use. It is also upgradeable with easy to install firmware upgrades, and even shuts off automatically, when unused, to save power. I find it difficult to think of something even more to ask for at this time, but I promise I won't give up trying.
No cleaning machine, no matter how great its efficacy, and no matter what its price, is the best choice for all audiophiles and for all situations. There are too many variables between LP collectors for only one solution to satisfy all of them. The Degirtter is the best cleaning solution for my record collection at this time, and I assume for the rest of my life. In fact, I literally can't even imagine another machine which would better suit my current and future requirements. This may be the case for many other serious audiophiles, but certainly not for all of them. Here are the other common record cleaning options:
Classic Wet/Dry Machines - Such as VPI, Nitty-Gritty, Okki Nokki and more expensive models from manufacturers like Keith Monks and Clearaudio. These machines, if used on their own, are now the bare minimum required for all serious record collectors because, even at their best, they don't (and can't) equal the cleaning ability of any decent ultra sonic machine. However, they are not obsolete and, in fact, are still a requirement for almost all owners of DIY Ultra Sonic machines. Why? For two reasons:
1. A good ultra sonic machine may not be able to remove the heavy-duty "gunk" found on many used records of unknown origin (from yard sales, Goodwill, record stores and the Internet). These records may require a wet/dry machine to provide a true "scrubbing" for any chance of recovery (assuming the gunk removal is even possible in the first place, which it sadly isn't in many instances). In this "worst case scenario", consider ultra sonic cleaning only as the ultimate and final step in the cleaning process. (This was my own reality for decades.)
2. Wet/dry machines are also a necessity for all the DIY ultra sonic machines which require quick drying (see below). This means that wet/dry cleaning machines, for two good reasons, will be around indefinitely but, again, should not be used on their own.
DIY Ultra Sonic Machines - Such as the Kuzma and now countless other versions available on the Internet. This option is best for those owners of large record collections, in generally good condition, but have never been previously cleaned by ultra sonics. This was my own situation just before I purchased the Kuzma system (and also the situation of one of my associates, who recently purchased the Kuzma system from me). Almost all DIY machines have one huge and critically important advantage over any other cleaning device...
They have the capability to clean multiple records simultaneously. Accordingly, these machines are the most practical solution for large (and growing) collections. Further, they are also relatively inexpensive, making them the best bargain in record cleaning machines. It is then no wonder why they are so popular at this time. DIY is obviously the best choise if the goal is to clean as many records as possible, as good as practically possible, in the shortest period of time, at the least expense, and all of this, incredibly, at the same time.
However, as I experienced myself (and as I discussed above), a basic wet/dry machine is still highly recommended to augment the DIY machine (in fact, I believe it is a requirement). Such a machine is required for quick drying and also for cleaning those records in truly awful condition, where physical brushing may be a necessity.
Self-Contained and Dedicated Ultra Sonic Machines - Such as the Degritter, Audio Desk and other similar models. These designs provide the highest level of record cleaning currently available at this time, along with the most convenience. They are also the most expensive option. The Audio Desk even provides standard brush cleaning as well (though for an extra financial cost and greater complexity).
Degritter's Web Site
Our Ultra Sonic Record Cleaning Experiences
Further- Almost all of the Readers Letters that are removed from this file, after the standard 12 Month posting (such as the January 2019 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.
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.
*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."
*Excellent overall. One of the finest digital orchestral records I've ever heard.
**Excellent sonics, with natural vocals, but not one of Harmonia Mundi's finest.
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.
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
Austin Stereo (Sales and restoration of Vintage stereo equipment.) NEW 11/19
ViRa High End (Aidas Phono Cartridges, ViRa Radiant Tangent Tonearms + Used Analogue Equipment.) NEW 11/19
Classic Audio Loudspeakers (High-Efficiency Horn Speakers, Drivers and Parts) NEW 02/20
The Statement Line Stage was used in my Reference System for around five years (2011-2016). I have only used it a handful of times since 2016, when I required it for both a "Reference" and for further comparison testing.
The Statement is still the finest active line stage I've ever heard with "traditional gain", meaning using tubes and/or transistors, but it has now become a luxury for me, which I can no longer afford.
The Statement is incredibly well built, using two chassis (70+ total lbs.), and is in outstanding condition. The protective plastic covering, which protects the stainless steel chassis during shipment, was never removed (see pictures). It also has both a standard 4', plus an extra-long 6', power supply cable. Coincident replaced the two original volume controls, in 2014, for better sounding versions. Even more important for the ultimate sonics, it also has an Audio Horizon fuse ($ 117) at the AC input.
Best of all, I am including THREE PAIRS of tubes: One Pair of Shuguang SG-101, in excellent condition; A second pair of Shuguang SG-101, never used; One pair of Psvane WE 101, which are the best available version of this tube, and very expensive. They were installed in June 2015, and have less than 6 months of light use (see picture).
I am asking $ 3,295 for the entire package.
Important Update - There is a Mk. II version of the Statement line stage. The Mk. II sells only direct for $ 6,000. The "original version" of the Statement, which I have for sale, can be updated to the Mk. II for $ 1,500.
Manufacturer's Web Site
Coincident Statement Line Stage Review
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 $ 11,275, a savings of $ 3,000+, which can then be used for a local woodworker. For those who are handy, it's a $ 3,000+ 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 $ 11,275, and later...
2. The Mk. II factory upgrade, which costs $ 12,000, making the...
Total Cost = $ 23,275.
Not only does this method avoid one large expenditure, it even provides the additional bonus of a $ 6,700+ 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
If you have a question, or want audio advice and/or consultation:
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