I've gradually migrated from a vinyl based all tube system to all solid state with active speakers where streaming file based music playback forms the bulk of my listening.
1200G with Yamamoto headshell and KAB TD1000 damper trough.
VPI Industries TNT Mk-1
VPI TNT series 1 - original, heavy lead loaded acrylic platter. Has been updated with Mk-5 main bearing, 'ball' suspension, SDS, integrated motor/flywheel.
Graham Phantom arm sold and now using a Grace G1040 arm.
Grace G-1040
Bought 1982 with a Rega Planar 3. Have now sold my Graham Phantom and scaling back my vinyl, so have pulled this old arm out of storage. Couldn't find the cable, so sourced one from Y.Tome audio cables.
Cartridge setup with Tracking Wizard arc protractor with original null points for Grace tonearms.
Garrott Brothers P77
Vintage MM cartridge from the mid 80's. Original stylus unit replaced with Jico Stylus-1 SAS/B (Microridge stylus on boron cantilever).
Ortofon 2m Black - LVB 250
2M Black with LVB 250 replacement stylus installed (Ortofon option).
Upgraded sound in every respect: Soundstage depth/width, focus, clarity, fine detail/timbre - even quietness in the groove. A great cartridge - price puts it in competition with many MC cartridges but IMO fully competitive.
Denon 103R
Modded with 'Midas' body shell and retipped by SoundSmith with their Optimised Line Contact stylus. The retip gives a surprising improvement in detail refinement and clarity. Does not have the tonal accuracy, delicacy nor the authority of the Ortofon Jubilee/Cadenza Black. Perhaps favoring the individual performers rather than the overall acoustic - though the retip gives much of both. A great communicator of the music - but perhaps not best suited to classical program.
Denon 103R Midas body epoxy potted
Pair of Soundsmith retipped Denon 103R cartridges with epoxy potting (Araldite super strength)
Denon Panzerholz 103R
103R in Uwe Panzerholz wood body. Shown with Midas aluminium body 103R (stock cantilever/stylus)
Parasound Halo JC3 Jr.
A reasonably priced MM/MC phono stage designed by John Curl. Uses op-amps for the audio stages but, unlike a few other SS phono amps I've tried, it has precision, detail and control without sounding etched or lacking body and realism. A very well balanced design.
Bob's Devices CineMag 1131
Moving coil SUT with 1:20 and 1:40 ratios (26dB and 32dB respectively).
K and K Audio Premium SUT - Lundahl LL1941
Step up kit using Lundahl LL1941 transformers built into a very plain metal box. Switchable 1:16, 1:32 ratios. Sounds excellent, not an obvious step down from previously used Choir Audio/Hashimoto SUT (which I sold when I was scaling back my vinyl hardware to pursue streaming).
Apple Mac Mini
M1 Mac Mini, basic 256GB SSD/8GB RAM, headless running Roonserver, connected to 'A' side of EtherRegen network switch.
Second M1 Mac Mini running Roon GUI(control) and HQPlayer also connected to 'A' side of the EtherRegen switch.
Sonore ultraRendu endpoint connected to the 'B' side of the EtherRegen.
USB output of UltraRendu connected to Benchmark DAC3.
Sonore ultraRendu
Mini computer running the Sonore SonicOrbiter OS (based on Fedora Linux) with just an ethernet input and USB output. Can be easily switched between Roon endpoint, HQPlayer NAA, DLNA as well as other options. Used between headless Mac Mini server and DAC.
Benchmark DAC3 L
Compact DAC/Pre with design emphasis on low distortion, high SNR and neutrality/transparency to source.
Benchmark HPA4
Pre/headphone amp with innovative FPGA controlled relay switched resistor array volume control (independent stereo attenuators for preamp and headphone). Has two balanced and 2 unbalanced inputs. Ultra low distortion, ultra high SNR design.
ATC SCM-100aslt
Large 3-way active towers with 350Wrms (total) tri-amp. All drivers manufactured in-house by ATC: 25mm 'S' 'spec soft dome tweeter, 75mm 'S' spec mid dome, 314mm SL spec woofer. Neutral and revealing, essentially a tower version of the similarly equipped studio monitor (same working cabinet volume and components/amps). Great dynamic authority when required but wonderful on small scale music as well.
Townshend Audio Podium
Spring suspended speaker platform intended to isolate the speaker from the floor.
ATC SCM-19 Mk2
Low sensitivity two way monitor using ATC's 150mm Super Linear bass mid driver (9Kg optimised short-coil/long gap motor assembly) and 25mm dual suspension soft dome tweeter. Both drivers made in-house at ATC. Amazing detail, resolution and dynamics (given enough quality power) for a small stand mount.
Replaced Harbeth M30.1, a fine speaker in its own right, but I found the ATC more neutral and realistic.
Focal Utopia Headphones
Focal's flagship headphones featuring beryllium drivers with lightweight former-less voice coils and unusually long excursion. Exquisitely detailed and dynamic sounding.
Sennheiser HD-600
Former Sennheiser flagship has been in production for 20 years. Still regarded as a reference at it's price point and a great value in the current market. Makes current flagships seem overpriced given it's level of achievement.
Audience aR2p-TO
Dual outlet passive power line filter utilizing Audience Teflon capacitors. All equipment fed from these outlets via VH Audio 'Hotboxes'.
Furutech AG-12 Phono Cable
Silver plated copper RCA to RCA cable used between the Technics 1200G and Parasound JC3jr phono amp.
Silver Audio Silver Breeze
DIN to RCA dedicated phono cable. Silver conductors, WBT connectors. Used this cable for more than 10 years.
VH Audio Flavor 1, 2, 3 power cords and Hotboxes
DIY power cables using Chris VenHaus' recipes, terminated with Furutech IEC and male plugs. Power cables connected back to VH Audio hotboxes on dedicated 20amp line. I don't claim to know why, but this power setup was essential to extracting the clarity, dynamics and sound staging I've achieved with my system.
Townshend Podiums added under the speakers, designed to isolate the speaker from the floor.
Goes against traditional ideas of rigid coupling to the floor but provides improvement in soundstage, imaging and clarification of fine detail and tonal properties of instruments/voices in my system.
Like most peoples systems it's a work in progress. I continue to mess around with room treatments and other details.
For instance, since the photos I've removed the bass traps from the front corners (now just two stacked panels like the one on the trap). I found that with the taut controlled bass of the SCM100's the bass traps were not required and were in fact robbing some bass extension/heft.
I later added the grey 100mm thick foam v-pattern panels and played around with positioning - now seen on the front wall. I don't remember who made those.
Generally, I only really liked the above absorption panels behind the speaker position. Putting my DIY panels or too many of the grey foam panels in front of the speakers created a somewhat dead sound not to my liking - minimal use was ok.
I have 18 600x600mm DC2 panels (3 boxes), 8 on the ceiling and 10 distributed around the room. Work well at breaking up flutter echos and clarifying the sound without detrimental changes in room balance.
I have 4 of the 1200x600 Wavewood panels and found them to be much better balanced than my DIY absorbers when used forward of the speaker position.
The original Wavewood panels were meant to be glued to the wall - however I glued them to 3mm MDF and mounted using wall hooks. Less permanent and I can reposition if required. The new Vicoustic mounting system for the Wavewood appears much better than glueing IMO.
I suggest starting with a couple of types of panels and experimenting - prop panels with whatever you have available and try different arrangements before fixing in position. IMO you'll get more gains than playing around with things like cables and probably for much less $'s.
Dan, I was very torn about selling my Benchmark AHB2's, but the only way I could afford the ATC actives. I love the Benchmark stuff. It only seems to get better as I chip away at other issues - see comments below.
Added diffusion panels to ceiling at mid point between speakers and listening position.
I really wish I had explored ceiling treatment years ago because the improvement in imaging and transient clarity is profound. Its difficult to quantify how much more compelling and realistic this makes music sound.
Not sure if this is because it was the final untreated surface or because the ATC speakers are now being allowed to strut their stuff. Probably both.
In any case the improvement in SQ is amazing in value/$ terms and far outstrips expenditure on tweaks/cables and even hardware changes. Actually this type of improvement is probably not possible with any of the latter, regardless of $'s spent since it is fixing a room related issue (perhaps only room DSP would get close?).
Speakers moved to the short wall and acoustic treatment adjusted accordingly.
I'd been meaning to try this for a while but the long wall placement was more practical and open aesthetically.
Speakers baffles are now almost 2m from the front wall and angled toward the seating position about 2m off the back wall. This creates a listening equilateral triangle with sides about 2.5m.
Depth and image stability is significantly better with this arrangement.
Added some Vicoustic DC2 diffusers to the front and back walls - something I'd been meaning to do for a while.
Very noticeable improvement in sound space resolution, ambiance and imaging - recordings now displaying much more differences in regard to these aspects.
While the system is primarily used for music I've also noticed distinct improvement in soundscape, image localisation and steering in movies, which is probably not that surprising. Dialogue also sounds more natural to the particular acoustic.
Very worthwhile given the cost - peanuts compared to equipment cost.
Well, the obvious difference is the bass extension. The 100's go seriously low and I have sold my Rel S3 subwoofer. However the ATC's only produce bass when it's in the program. The major change is th timbral weight and robustness that is added throughout the mids - voices, saxophones, pianos, guitars etc just sound more realistic. Dynamics are also much wider - instruments, even a strumed guitar, can sound explosive and project in a more realistic manner. The speakers have a sort of unburstable grandeur , they just seem to be cruising and taking everything in their stride.
I played all sorts of music on the first night, the 100's deliver with any program/genre. I was up past 3am.
ATC SCM100 ASLT active towers added, replacing the little SCM19 Mk2 monitors - major upgrade, as it should be considering the price. Since these are active speakers the superb Benchmark AHB2 amps are gone (to help fund the speaker purchase). Have also rationalised my turntable setup and the Graham Phantom is gone - yet to decide what will happen with my turntable setup as the most of my listening is local digital downloads and Tidal these days.
Second Benchmark AHB2 added and amps configured for mono - 380Wpc/8ohms. The SCM19's are now bi-wired with 2 sets of Straightwire Maestro, brought back into service after 20yrs in my parts box.
The Maestro provides a significant improvement in clarity, airy delicacy, spaciousness, imaging and transient precision (previously using Goertz Mi2). Who knew?
In addition to what I said below regarding the HPA4 I should also mention that I compared it to my Bryston BP26 - a very competent, low distortion and great sounding two box preamp (Bryston's top of the range).
The HPA4 is a more transparent and revealing preamp.
I actually got my DAC3L only weeks before getting the HPA4. I never really used the DAC3L as my main preamp except to briefly check it out. I preferred the greater flexibility the Bryston BP26 gave me in terms of inputs and particularly the more linear volume adjustment. Though the DAC3L was probably the more direct conduit.
The HPA4 has the relay driven resistor arrays - seperate attenuators for headphone and speakers - that allow adjustment in 0.5dB steps over 125dB range. This along with the headphone amp is why I got the HPA4. I can't specifically say it's better than the DAC3 alone, but it allows the DAC3 to operate without any digital attenuation so it ought to be better.
For me the HPA4 was a matter of integration and convenience along with maintaining Benchmark's vanishingly low distortion and high SNR. I think it's a brilliant piece of gear. In combination with the AHB2 and SCM19's I get crazy resolution and insight into recordings.
Proof that I have no self restraint - no sooner do I say no changes are planned, than I go and audition the ATC SCM19 monitors.
Once I'd listened to the SCM19's (with my own Benchmark AHB2 power amp) I had to have them!
The 19's actually sell for less than my previous Harbeth M30.1's, so I wasn't really sure what to expect having never actually heard an ATC speaker (the shop sold both ATC and Harbeth). I was completely captivated by the pristine sound of the 19's, their transient speed/dynamics and taut, surprisingly extended bottom end. Imaging was first rate as was the musical detail and presence.
Though somewhat less sensitive than my Harbeths, the AHB2 can drive them to high levels without any apparent issue. Nonetheless I'm wondering about a second AHB2 (running as a mono pair) to exploit the full dynamic range of the SCM19's (ATC recommend 75-300W).
No wonder I was getting no thread updates - haven't been around much and forgot to update my email address. Lol.
BTW, I'm about 160km North of Melbourne.
FWIW I've had a number of setups that I thought worked well with the Harbeth m30.1's. They're pretty unfussy and seem to produce a bit of midrange magic with widely varying gear.
For instance the ARC sp16/vs55 tube combo worked really well I thought, as did the Grace m920/Halcro MC30 - which could hardly be more different in topology/power output etc.
Having said that, for purity, resolution and insight into the recording the Benchmark gear is the best I've had in my room. Such revelation may not suit all systems, but the Harbeths are so non-clinical in their sound it all works very well. Actually the Benchmark stuff doesn't sound clinical either IMO, just transparent to the source.
Benchmark is not for people who like to show off though - the components are small and visually unimpressive, looking more like a mid-fi mini system than traditional Hi-Fi components.
I don't have any immediate plans to change anything.
I'd love to be able to stretch to the Harbeth m40.2's - but they're super expensive in Australia at 5-6 times more than I payed for m30.1's back in 2012. So can't see that happening.
But then the 30.1's still sound wonderful to me after nearly 6 years ownership - and even better with the HPA4 in the chain.
Time to be sensible, exercise a bit of self control, and just enjoy the music!
Several changes to my system which follow a transition to computer based music as my primary source (streaming and local). I'm utilising a Mac mini with Uptone Audio linear PS. I doing a lot more headphone listening - especially since adding the Focal Utopia headphones almost 2yrs ago.
A turning point for me was getting the Benchmark AHB2 amp which provided less coloration and lower noise than any of the 6-7 amps I'd tried in this system prior to the latter.
I've owned a few different DACs over the past few years - including Schitt Yggdrasil and PSAudio Directstream Jnr - but ultimately wanted less of a 'fingerprint' on the music. Given my experience with the AHB2 I added the Benchmark DAC3L which I find less coloured than the above mentioned dacs.
I've now added the super low distortion Benchmark HPA4 pre/headphone amp which offers transparent sound as well convenient, finely adjustable, independent control of both my headphone and speaker setups.
Now have the JRDG Capri S2 preamp in my system - amp is the Odyssey Khartago mentioned above.
Except for a lapse in communication I almost ended up with the Parasound JC-2. The Capri S2 is a very compact preamp with a nicely made, milled from solid, case. Feature wise the JC2 and Capri are similar but the JC2 offers more inputs. I do like the volume/balance of the Capri which are adjustable in precise steps of 0.5dB. Internally the Capri follows a quite different design philosopy to the JC2. From pictures the JC2 appears beautifully built with shielded conventional linear PS and discrete components on seperate channel PCB's - fairly purist/minimalist I would have said. The Capri takes minimalism to the max. A small SMPS sits in a separate milled cavity. All signal circuitry is mounted on a single compact PCB to which inputs are directly connected. An input transformer for each channel connects inputs to the central preamp section on the PCB - which appears to use a single LM49740 quad opamp per channel mounted right next to the output connectors.
Listening to an Alison Krauss track as I type this - beautiful sounding preamp! Sounds open and transparent but also organic, refined and expressive. Who would have thought from a apparently simple opamp design guess it's all in the implementation.
Oops, I noticed the end of my last post was missing ..I cut and pasted from notepad. What I meant to say (in reference to the Cadenza Black) was: Of course it's relatively expensive (compared to the 103R) but not insanely priced.
Needfreestuff, the aR2p-TO contributed to the noise free background and provided more 'pop' and perception of spaciousness to the sound. More consistency too - as in sounding consistently good!
Due to a fault with my ARC VS-55, there have been some changes in my system over the last few months which I haven't listed yet.
On a whim I purchased a Khartago stereo amp (with most of the enhancements/parts upgrades) from Klaus at Odyssey Audio. I'm currently using the Khartago with the Grace Design M903 as a preamp. The Khartago is a very impressive amp and the sound I'm getting in combination with the Grace exceeds the ARC SP16/VS55 pairing in many ways. I did try the SP16 with the Khartago, but the high gain Khartago (compared with the VS55) meant SP16's volume control was used at the bottom of its range with very coarse steps - and frankly the 903 sounded better with the Khartago anyway.
I would have said the ARC pair were exceptionally quiet (no noise apparent) - but the Grace/Khartago combo shows them up with inky quiet backgrounds. Perhaps as a result the Grace/Khartago combo are more transparent and provide more low level detail. Better dynamics and 'startle' factor too. This alone would not be enough to edge out the ARC amps, but the Grace/Khartago also sounds pretty wonderful in the way they present acoustic instruments and voices with 'body' and how they expand into space. This is what the ARC pair were good at, but I think the Grace/Khartago does it with more transparency/realism/accuracy.
I am somewhat surprised at how good the Grace sounds because its not really a 'proper' dedicated preamp. I quite like the ergonomics of the Grace and love the fact that I can adjust volume (and balance) in steps of 0.5dB over a wide range to get exactly the volume I desire.
However, in the back of my mind I'm bothered because I keep wondering how good a dedicated preamp might sound with the Khartago. I'm looking out for possible (S/H) candidates, perhaps one of the following: Parasound JC2, Pass XP-10, Jeff Rowland Capri S2
Hi PHduncanson, sorry for the late reply haven't checked this thread for a while!
Potting the 103R produced quite a noticeable change, but initially I wasn't sure about it - because it makes the cartridge less 'lively' - and I guess this is part of the character of the cartridge. My longer term impression was that cartridge was truer to the source and more to my preference.
Having said that, I should be honest and say that my vinyl listening has been almost exclusively with the Ortofon Cadenza black for the past few months. The Black is a great cartridge and ticks all the boxes for me. Of course it's relatively
Hi Devilboy, thanks for your comments. Yes, I really liked the improvement I got with my speakers on the long wall - especially the super wide soundstage it allowed. In a room the size of mine I wouldn't want to go back to short wall placement. What was also surprising was how much more spacious (and practical) it made the room feel without both the speakers and couch pulled out into the room in the classic 'thirds' format. If their domestic situation allows, its something people can try for free if cabling etc suits.
System edited: Ortofon Cadenza Black added - beautiful cartridge. Sounds great right out of the box! Same superior tracking and composure as the Jubilee but with more life, presence and transparency. More to come after further listening.
Willfan, I found the more up-front (neutral) perspective of the es3 more open and exciting (and realistic). Sometimes the es2 could be a little laid back. I much preferred the balance of the es3, which in perspective terms is not that different to the 30.1 in my setup.
Mountainsong the C7ES3 is an outstanding speaker. I'm sure I could put it back in my system tomorrow and be perfectly happy. I wanted to explore what the 30.1's had to offer, but the C7's didn't have any real flaws. I enjoyed every minute with them. Cheers.
Update on the Choir Audio H7 SUT. This SUT is sounding better than ever - its like having a new record collection!
With more 'breaking in' I've changed my preference to the +29dB setting (1:28 ratio) with the SS 103R. Its super-charged on this setting and has more clarity and 3D presence with terrific liveliness/air and natural tonal balance. Initially I thought the high gain setting lacked the control and focus of the 23dB setting - but now I find the opposite. Like I said above, more realism sums it up, but it doesn't convey the the whopping upgrade from the Cinemag.
Added Choir Audio SUT-H7 - using Hasimoto HM7 transformers. This is a superb sounding SUT and a very big improvement over the well regarded Bob's Devices SUT with Cinemag transformers. The H7 offers a big jump in transparency and has a clarity and realism to sounds that eludes the Cinemag based design.
I was a big fan of Bob's Cinemag SUT - and its a great value - but the unvarnished presence and realism of the H7's reproduction is in a different class. The H7 sounds very good from the start, but after 30+ hours the sound - especially the high frequencies - really opens up. The clarity of the H7 extends from top to bottom, highs are exquisitely detailed and airy, the lows extended, 'fast' and taut. I could go thru a laundry list of audiophile terms, but closer to reality sums it up - and a large step closer compared to the Cinemag.
FWIW, the above comparisons were made using my SoundSmith/Midas 103R. The Cinemag was used with the 1:16 setting (24dB gain) and the H7 with its 1:14 setting (23dB gain) - so very similar step up ratios. These settings were preferred (by me) over the high gain options on both SUT's.
Added Cary PH302 MkII phono amp. Using this primarily with the Soundsmith retipped Denon 103R (in Midas aluminium body). MC step up is still provided by Bob's Cinemag SUT, as the Cary's inbuilt Lundahl SUT's only bring gain up to 54dB...a bit low for the 103R in my system. The Cinemag's into the Cary's MM input provide about 62dB gain.
While I think the phono of the SP16 preamp is an over-achiever, the Cary really outclasses it. The Cary offers a bigger airer stage with much more refinement everywhere, better placement of instruments, extension at the extremes and greater musical engagement. Much less grain/glare when stressed too.
The icing on the cake is the Sylvania 6SL7WGT tube and Mundorf Silver/Oil output caps - neither of which I'd want to give up. The latter really lift up the sound of the Cary and make it special.
Notec, the speaker stands are filled with a sand/lead mixture. I filled them over 20yrs ago for use with my Proac R2's. I've had to lug them around a few times when moving house and they're really heavy. I'd probably opt for just sand these days....more environmentally friendly. Don't know how I'm going to separate the lead if I ever need to dispose of the filling(?).
System edited: Bob's devices CineMag SUT added. Yet to try with the Jubilee, sounds great with the SS Denon 103R in the high gain 1:30 position (53ohms reflected from the 47K load to the primary). Very quiet. Expansive and energetic sound - significantly larger soundstage than the Garrott MM. Expressive and involving, at least the equal of the Garrott here, but sound very dependent on the cable used from the SUT to the phono stage. A real bargain IMO.
Hi Pops, yes I think the Jubilee is a terrific cartridge. While I've flirted with the 103R in various guises, the Jubilee is the cartridge I've always returned to (apart from 5 months with the A90). That may change now since I've changed my amplification chain - I'll have to see how it performs through a transformer. My Jubilee has held up very well - over 4 years I haven't noticed any degradation in sound and its still a stellar tracker. Your 500W Mac amps make my 50W ARC look pretty puny....but the latter pushes the Harbeths around pretty easily and sounds great.
