After 11+ years in this hobby (6 of which were fun, while the other 5 were completely obsessive)I have finally settled down. It has taken me 8 integrated amps, 8 amps, 4 pre-amps, 6 CD players, 3 analog rigs, and 8 pairs of speakers to settle on what I have now.
Am I happy? Yes.
I think everybody in this hobby should be a music lover first and a gear fanatic second. I think that is mostly the case, but I've run into a few exceptions and it still baffles me whenever I encounter it. My goal now is to listen to the music first, and the system second.
In order to hear the music though I require that a system have little to no noise. That is my first requirement. I had a bad experience with Joule Electra OTL gear being noisy (a problem that never was resolved by the manufacturer) and it has forever soured me on any sort of noise in a system.
The second thing that a system must do for me is be accurate in how the controls work. I am a stickler for volume controls being transparent and attenuating the signal evenly in both channels across the volume spectrum. I had a high end Musical Fidelity Nu-Vista integrated amp sour me on the proliferation of inferior volume pots. It had a slight channel imbalance at low volumes, but the deviation was within the manufacturer's "spec", so they would not fix it.
Kudos to Ayre, Tom Evans, and other manufacturers that do not act like cheapskates when it comes to volume controls. Companies like yours will always have my business (when I buy solid-state gear).
The next thing I like to have is coherant sounding speakers from top to bottom. I choose electrostats and planars over dynamic drivers because even though I love the kick and presence of dynamic drivers, planars and electrostats sound more "real" to me. If I listen long and hard enough to a dynamic driver speaker (especially to speakers that are not monitors), I start to easily pick up on the integration points or defeciencies in the drivers themselves. However, to be fair, I love monitor speakers. Its just that my room is a bit too big for them.
Finally, my source has to play with rhythm and pace above all else. I hate CD players that have technical issues (or sound too clinical, veiled, or mechanical). As far as analog rigs go, after switching to the Garrard, I am in no hurry to go back to a belt-driven turntable.
I have not owned enough cartridges to comment on what my requirements are yet. I suppose the first requirement be that they match well with my phono-preamp, so I'll just leave it at that.
So thats about it.....oh wait, what about the music? I listen mainly to rock (classic rock, metal, glam, punk, new wave, etc) but I also listen to folk, jazz, country, bluegrass, and blues too. My new love is classical and I have been listening to it for the last few years, but I am still a n00b. There is so much to learn in that genre.
Happy listening and if you have comments about my system, I would love to hear them.
The single best source component I have ever owned. Devilishly clever British engineering from the old days, mated with a plinth from one of the best.
Tri-Planar Mk. VII (Ultimate II)
You just gotta love how adjustable this thing is and how it was invented by a guy from the US Naval Measurements Division (RIP Herb Papier). After 7 years of building to Herb's sanctioned specs, this is Tri Mai's latest version, incorporating his own ideas. Incidentally, this arm in particular has also been cryo'd.
Dynaco ST-70
This is in my top 3 best amps for the original Quad ESL (Quad 57's). It is also the cheapest. I've bought, sold, and re-bought an ST-70 a few times. They're like that loyal old dog that wont leave you alone. You just gotta love 'em. :)
Quad ESL
The best speaker ever designed? Yes, I think so. Are they a speaker for all things? No. However, they do rock and they are perfect for my room.
EAR 834P
I love this phono pre-amp. There are probably better ones out there, but this one is mine, and we treat each other quite nicely. I even had its power knob chromed (I dont think there is another one like it).
Lyra Helikon SL
Lower output version of this classic cartridge. Designed as a regular Helikon with a single layer (SL) of windings. The single layer winding spec means lower internal impedance and lower output.
Naim NAC A5
This is the latest iterations of the long-standing NACA series of Naim speaker cable. On Naim's website they call it 'NAC A5'. Most people just call it either NACA5 or NACA 5. The best speaker cable for the money, IMHO.
Very interesting news on what can be done with the Zu 103. Thanks for the tips, guys. Maybe I'll hold off from putting my Zu 103 on the 'gon, and instead save my pennies for the upgrade.
@Spiritofmusic - definitely in the 'ear of the beholder'. The only other Lyras I've heard were the entry-level ones, and I liked what I was hearing (though I must admit, it was an overall system - so I cant solely credit the cartridge), so I went with the Helikon SL based on reputation, the SL version's low output, and my pedestrian understanding of the Lyra "house sound" as I heard it. I like your faith in pushing the Zu 103 even further, so I'm taking your suggestion seriously.
@Islandmandan - No Austin for me (I'm still recovering from living in a cooler-than-thou city for 18 years). I peeled back the layers of my latent vintage / retro fetish tendencies, applied them to my straight-wire divining rod with gain, and selected America's most underrated diamond-in-the-rough city: Pittsburgh, Pa!
Absolutely loving this city. Great people, huge level of civic pride, no lines, no crowds, and very cheap. Leading the charge in the rustbelt recovery, this is not your Grandfather's Pittsburgh. Get here while there is still time. Bring your Garrard 401 too. :)
BTW - I'm playing with the idea of ditching the EVS Ultimate Attenuators for a while and playing with an LDR passive.
Currently hunting for the following:
* Goertz speaker wires for Quad ESL / Dynaco match (new or used) w/ banana plugs
* a used RixRax stand
* a used Benz Lukaschek (I doubt it will beat the EAR 834p, but I still want to hear this little guy it in my system)
@IslandManDan - I am settled in my new city and the system is set up and running strong. I have given up on selling my Garrard 301. That was likely a moment of weakness. I have a fantasy of getting one of the new Well Tempered tables and having some cash in my pocket...but I'll also admit to having the fantasy of owning a 30 series SME. :)
The Helikon SL really is amazing. I've been exclusively using it in my system. I love the detail that it offers over the Zu Denon DL-103r (which sounds a bit sluggish in comparison). Dont get me wrong, I respect that cartridge to no end, but it is handily beaten by the Helikon (as it should, given the Helikon's price).
So, back to the subject of my journey...
In my extensive listening sessions, I've really played with the "direct connection" concept. Dangerously running my EAR 834p directly into my Dynaco ST-70 with no mute or volume control. This is of course all predicated on the EAR 834p being on its MM setting in order to have much lower gain (thus, making this experiment even possible). The transparency is something that nobody can touch. Seriously. It is untouchable. BUT....
The midrange has gotten a bit leaner. It took me a while to positively conclude this (probably because the transparency is so beguiling - one is so smitten, they dont immediately hear the flaw happening). This loss of some of the midrange does not make sense to me, seeing as how I've done nothing to get in the way of the signal (indeed, I have only REMOVED obstacles).
The only thing that I can think of taking responsibility for this slight blow to the midrange is that the loading on the cartridge is seen differently when the EAR 834p is set to MM mode. I've been thinking about buying some Y-plugs that allow me to play with loading in order to test my theory (as the EAR 834p does not have any settings to adjust loading).
I've read some Jonathan Carr (designer of Lyra cartridges) comments here on Audiogon about loading the Helikon, and what I inferred from his posts is that loading does not change much at all with the sound of the cartridge itself, but rather, it instead changes the phono pre-amp's sound.
So these days I'm using EVS Ultimate Attenuators at the inputs of the Dynaco ST-70 (and the MC setting on the EAR 834p)in order to get back some midrange, even if it comes at the expense of transparency by adding a few resistors in the signal path. Having volume control is nice too, haha.
The "direct connection" has been achieved (an easy quest when you're using a CD player with its own analog domain volume controls running directly into the amp, but much harder when doing it with a full analog rig); yet, there is still more tweaking to be done in order to get it right.
I've got a few ideas. If I continue to stick with tubes, I need to have amps with a very low voltage gain (the Dynaco ST-70 and Quicksilver Horn Mono amps are the best tube amps for my Quads with a voltage gain of around 15). If I decide to go back to playing with solid-scrape, I like what Nelson Pass is doing with his Pass Labs integrated amp designs (limited gain stages, and merely a buffer in the pre-amp stage).
Last but not least, I'm going to be getting out of my Naim NACA 5 cable, and hunting for high-capacitance speaker cable that may work even better with my Quads (probably Goertz), but then again, that kind of cable has its own conditions that it casts on amps, so I've got to be mindful there too.
Lots of delicate decisions to consider. One thing is for certain: I'm soooo grateful that I've cancelled my subscriptions to the magazines and accepted that 90% of the reviewers and other audiophiles (that share their opinions in forums) have no idea what the hell they're talking about. Too bad it cost me untold amounts of dollars to have the kind of audiophile education I have today. :(
At least I have had fun listening to music though while on this journey. So I've got that going for me. Heh.
System edited: Switched out the Zu Denon DL-103r (grade 1) that I had been using for a number of years. Replaced it with a Lyra Helikon SL. The difference is astounding. Of course I used the swap as an excuse to fine tune setup of my arm that much more using the Fieckert protractor, a stylus gauge, a little bit of eyeballing, and a fair amount of listening. This is my first Lyra cartridge, and everything that I've read over the years is completely true. Extremely revealing without sounding analytical. I'm definitely hearing more on my records (without being annoyed). I specifically ordered the SL version of the Helikon so that I could continue to not have any volume controls in my system. The Zu Denon DL-103r that I was using had a .3mV output. The Lyra Helikon SL has a .22mV output. Nice huh? Definitely worth the money. Totally psyched on this new cartridge. :)
I did not have the Joule monoblocks hooked up to the EAR 834p. I owned the Joules a long time ago (before I experimented with kind of configuration you see above). Many components (in fact, many systems) have come and gone since my experience with Joule.
The noisy Joules were hooked up to a Joule LA-150 pre-amp, but it was not a pre-amp problem. The Joule amps have a switch on the back that can defeat (mute) the inputs. You can experiment with the amps not having any pre-amp or source plugged in at all. So if you isolate the amps (and believe me, I tried so many isolating scenarios, it would make your head spin), you can ONLY conclude that this pair was defective.
I'd say experiment with OTLs on the Quads. If it were me though, I'd experiment with a Futterman, NYAL OTL, or a Transcendent. No Joules for me ever again. Bad experience.
But Hey! There are hundreds (thousands?) of happy Joule owners though. Dont let my story that I've just shared be the defining experience for all Joule products. I'm just telling you what happened to me, with the pair of amps that I struggled with. I will only wish the best for you...and it may just be a magical-sounding outcome.
@Whart - I've never heard that one about the guy strumming his guitar "going professional". Sage wisdom indeed.
Wayne did indeed restore mine. I put them on the 'gon a few nights ago in a fit of depression with how much stuff I have to move across country, come this October. But after a few listening sessions, I'm thinking of pulling them. Believe it or not, my girlfriend's face fell when I told her that I listed them.
I've entertained the idea of raising them off of their little feet. There are some who say that Peter Walker himself will rise from the grave and stick a piece of straight-wire-with-gain in my eye if I do such a thing.
Retired? I wish. There is no way that a youngster like me is ever going to get social security.
As that taking walnut, Suze Orman says...."you're just gonna have to work until your 70." By her calculations, I've got another 32 years. Oh Suze, you economic succubus!
I'm one of those new-fangled workers that has multiple screens on his desk and is good at "multi-tasking". Unlike many of my contemporaries, I use a not-so-smart-phone (an old style clamshell flip-phone), and actually have an attention span; so I find myself haunting the domains of esoteric hobbyists such as yourself during the day.
Dan - you old salty dog! I love your choice of gear.
You've got the Japanese cartridge and arm, a British turntable, and then some American amplification.
Watch and learn my fellow audiophiles; see, guys like Dan and myself are on the audiophile Olympics podium. We're worldly, slightly thrifty, and have a keen eye for value.
Dan - what speakers do you use? Tell me they're some old Spicas, Spendors, or perhaps even Watt Puppy 5.1's.
...oh wait. I just clicked on your system. Tannoys? You mad genius!
System edited: Hooray! Way to go Audiogon for getting your act together on allowing member's to change the photos of their system. As I mentioned earlier, I sold the EAR 861, and stepping in like an eager 2nd string linebacker, the humble Dynaco ST-70 is providing a rugged 30+ watts. In these updated photos, you can now also see the ultimate hair-shirt configuration of NO VOLUME CONTROL in all its glory. I dare all of you audiophiles to try that! :)
If you're interested in the H3aa circuit, you can contact George Kaye (aka - Mr. Moscode). Just google him and his site. He can build that one from scratch. He is the only guy I know that I would trust to build one or to work on an H3aa.
I've thought about buying one from him, but it is not cheap. Also, the 2nd market for futtermans is not as cheap as it used to be. Keep your eyes open though and I'm sure you'll be able to find one.
This "direct connection" thing is pretty special. Without having an input select, a mute switch, or even a volume control - life has gotten a bit more simple...and thus, a bit more enjoyable.
I've thought about the next extreme move, which is eradicating speaker cables completely. Eradicating speaker cables you say? How can one do that, almighty Rottenclam? Surely, you must be insane!
Well, as I've thought about this more and more, I figure that if I buy some Dynaco Mk. IV monoblocks (the monoblock version of the ST-70) and hook their speaker terminals posts directly to the wires that feed the terminals on my Quad ESLs (literally unhooking the wires that attach to both binding posts on the speakers and the monoblock amps, and soldering them together!) I could maybe pull this off.
It would eradicate one more component in the signal chain, and I would be that much closer to "straight-wire-with-gain".
This would leave would rotten interconnect between my EAR 834p phono pre-amp and my monoblocks, but oh, the potential! And yes, I do know that there is a bit of an interconnect between my cartridge, the Tri-Planar tonearm wire, and then into my EAR 834p, but dont try to spoil my concept...unless, of course, anybody has some sage wisdom to offer that has actually done such a thing.
In the last 24 hours I've played with interconnects more than I've played with them in the last 5-7 years. Still as unenjoyable as ever! The cable industry is without a doubt the most shameful corner of our hobby, and I am loathe to explore it any further by voting with my actual dollar.
So as it stands right now, I've pulled out every set of interconnects that I have (about 5 pairs) from an old bag in order to hear how they impact my "direct connection". Capacitance is a necessary thing to get right with cables across components. If anybody can tell me how to calculate what my perfect measurements *should* be, please let me know. I have a digital multi-meter.
To be clear (because Audiogon has gone crap-fi with its upgrade so I cant actually 'update' my virtual system right now), I'll convey what my signal chain looks like:
Garrard 301 turntable Tri-Planar VII (Ultimate II) Tonearm Zu Denon DL-103r into E.A.R. 834p phono stage (set to mm) directly into Dynaco ST-70 amp Naim NACA5 speaker cables Quad ESL 57 speakers
There are only 6 things I can fiddle with in the system directly right now in order to adjust my sound:
1. I can roll tubes in the Dynaco ST-70 2. I can roll tubes in the the EAR 834p 3. I can change the interconnects btwn 834p and ST-70 4. I can change speaker cables 5. I can make adjustments to the turntable setup 6. I can play with loading the cartridge using Y-cables
There are only 3 things that are additive (or subtractive) to listening:
a) I can adjust the listening room, position, or change rooms b) I can bring power conditioning into the system c) I can play with racks / stands
With so few choices, it helps narrow down my own personal path of how to craft my "absolute sound". The only 'lunatic fringe' things to explore beyond the 9 items listed above is hard-wiring (soldering) everything together. I'm saving that last. :)
I've since returned to running the EAR 834p (in mm mode) DIRECTLY into the Dynaco ST-70 when spinning vinyl. Again, I know that this extremely dangerous, but seeing as how my analog rig is my primary source (90%+ of my listening is done through this particular front-end of the system) I feel like it has been worth the further exploration.
To my pleasant surprise, this configuration does have more than enough gain! Because my Quad ESLs are great in the near-field (just ask any seasoned Quad owners about this), and dont require longer listening distances to integrate the outputs of dynamic drivers, I'm fine moving my listening position about 6-12 inches closer, which results in a slight increase in perceived listening volume.
Another well-known trait of Quads is that they do not suffer that unacceptable trait of sounding less-than-ideal when listening at lower volumes. This particular trait, which is the bane of so many solid-scrape systems with sub-89db sensitive speakers in dealer showrooms, is the main reason why I dont visit hi-fi stores anymore (well, that trait, and the unfortunate state of the generally uninformed staff). So, having my Quads playing at what most would consider a 'medium' volume suits me quite well.
Sure, I wish sometimes that I could 'turn it up' a bit, or 'turn it down' a bit, but it is generally a comfortable volume for my room. And, of course, some records are a bit louder than others.
The other trade-off I have right now is that I cannot clean the stylus when the system is powered up. I have no mute switch in this configuration, so I must wait until the Dynaco ST-70 is turned off before I clean the stylus.
For those of you who read Arthur Salvatore's high-endaudio site (which I have been reading for the last 10 years), this configuration is a quest / journey that I have been striving for on-and-off since I first learned about this approach to doing away with a pre-amp / line-stage. Like him, I do not advise anybody to attempt this type of configuration without really knowing what they're doing. You are at great risk of blowing up your speakers, and scaring yourself silly if you do this wrong!
Oh, and I have to admit that I did something very risky that could have cost me dearly.
I set the EAR 834 to mm and ran the output of the phono stage directly into the input of the Dynaco ST-70 with no volume control or mute switch. My Zu-modified Denon DL-103r has an output of .32 mV so I thought it might be worth the risk.
It was not enough gain, but it sure did sound nice.
I then lifted the cueing lever on my Tri-Planar arm and set the EAR 834p to mc to try the same experiment. Well, I instantly heard enough hum coming from speakers to realize that I should not even drop the stylus on the record. There was way too much gain.
Yes, I realize this is the "Done For Now" section of virtual systems, but all of my moves are pretty much tweaks now. The EAR 861 amp was the heart of the system for 5 years, so in Audiophile sickness terms, swapping out an amp after 5 years is "done for now". :)
In the future, I'm going to get a cartridge that only outputs .1 mV or .2 mV and then try my bold (crazy?) experiment one more time.
I have sold the EAR 861 to a very lucky buyer. I am now running a Dynaco ST-70 with EVS Ultimate Attenuators to control volume.
Normally, I would make a real update; changing out the pictures, etc - but presently, Audiogon's upgraded system is garbage...
(no surprise there - MESSAGE TO AUDIOGON - with how much you're making off of this site, you should not sunset functionality that your customers really enjoy. You keep tacking on fees, and adding workflows to yield more profits...which is healthy, because it is America after all. But you should be a bit more considerate to your customers)
...Anyway, this change in amps has resulted in a fatter / more-bloated sound. A characteristic of the EL-34 tube, but oh well, if I want to fall into a romantic system, this is the one.
Great question. Those are Symposium blocks. I dont even know what they're technically called. Symposium does not list them on their webpage anymore.
In 2006 (or was it 2007) I bought a couple of Symposium stands on the used market. The seller threw in a few of the blocks. I have since sold the stands, but I kept the blocks.
From time to time I will put them under a component (for isolation), or I will put them on top of a component to dull any ringing / resonance.
Imdoc, you sound like a kindred spirit. A 33 pre-amp though? Hmmmm, I never thought about actually buying one before. Looking at them now, they do seem like quite a bargain (I wonder if they actually sound good???). I'm one of those heretics that is still hanging out in the get-rid-of-your-pre-amp camp. Heheh.
Funny that you mention the physical setup of the system.
Because I live in San Francisco (where space is at a premium), all of my apartments have forced me have speakers that did not overload the room with their bass (think monitors, 2-way speakers, smaller horns, and Quads).
When I was first getting into the hobby, I would read Sam Tellig's articles in Stereophile. He would say great things about Quads, and in particular, he would say wonderful things about listening to them in he nearfield, as well as how they sounded just as great at very low listening levels.
Those traits sounded like superb criteria to me. So when I first got a pair of Quads, I really took advantage of how you can sit in the nearfield, and not sacrifice the kinds of things that you have to give up when you sit in the nearfield with dynamic driver speakers.
Dont get me wrong; I love true 3-way speakers (some of my favorites have been Sonus Faber Amatis and the bigger Rockports), but they would always be too big for where I lived. Furthermore, from a cost vs. value perspective, I dont feel that the price is worth it. If somebody put a gun to my head and said that I needed to own dynamic driver speakers that went down to 30hz (or lower), I'd go back to some older JBLs or Altecs. Those speakers just seem to 'breathe' music a bit easier than the other big 3-ways that come out nowadays.
IslandManDan, how is your turntable project coming along?
In regards to this system (an update!), after careful consideration, I've decided to put my EAR 861 back on the market again. I put it out there for a while last year, but nobody was willing to purchase it at my asking price. Recently, I've decided to lower my asking price a bit and re-list it. These things are rarer than hens-teeth on the used market (especially a 120v version), but the market for them is very small, so I dont think it will sell too fast.
Push-pull wise, I still believe the EAR 861 is the best amp for Quad ESLs (and I'll probably regret selling it, when and if it sells). However, I'm looking to hook-up a Futterman OTL as my main amp (given that I'm using Quad ESLs). The net of it is that I can sell my EAR 861 for $4000+ and pick up a Futterman OTL around $2000...so yeah, this move is predicated upon 'ol Rottenclam having some extra dollars for some non-audiophile projects.
Until I end up with my Futterman OTL, I'll use a Marantz 8b or a Dynaco ST-70 on my Quads (the EAR 861 is, of course, better on the Quads, but whatever; I need the money), and I love those other amps anyway.
I mean, if you dont like an ST-70 or a Marantz 8b...you're probably a friggin' communist.
For years I read people in Audiophile forums (and in the letters section of audiophile magazines) declare that they "were letting their magazine subscription lapse". I didnt get it. I thought it was akin to a declaration that they were going to stick their head in the sand.
Boy, was I ever wrong. I realized that the magazines (including some of the web magazines, ala 6 Moons, etc) were doing a great service by keeping everybody informed, but that I was succumbing to an aspect of the magazines that was not helpful for me as a hobbyist; namely, that I kept chasing these new products coming out.
Perhaps it was more a personal transformation, but by leaning into the primal feelings I get when I hear music, I was getting more in touch with what I want to hear in a music reproduction system. This, for me, translated into tubes and vinyl.
Once I discovered what I truly "liked", now I could determine what components were going to offer me the most amount of value for my hard-earned dollar. That led me to exploring the older amplifiers (Dynaco ST-70, Marantz 8b, etc) and the older speakers (JBLs, Quads, etc). Which, in turn, led me to exploring the older turntables, the older wires, etc.
It sounds like a cliche, but it is so true that a carefully assembled $10k system will easily trump many other higher priced systems out there. The very sad (and very pathetic) fact is that I had to buy / own a few of the higher priced systems out there in order to truly 'learn' that cliche.
I put no men on pedestals, but Art Dudley and his band of audio pranksters in Listener seem to understand what I've described above, and so that is why I hang my hat on their varied approaches to this hobby.
My ongoing tweaks to the system you see above mainly consist of buying new records. :)
Thanks, Dan. I'm sure your 401 will be a gem. Interesting that you have the Dynavector arm. I actually debated on whether to use that arm or the Tri-Planar. I ended up getting a nice deal on the Tri-Planar, so I opted for that arm. Still, I've always been curious about the Dynavector.
I went from a Naim ARO (which is about as simple as it gets, as far as arms go...actually scratch that...the Well-Tempered arms are about as simple as they get) to the Tri-Planar. I wanted something that would 'lock-in', and yet be very adjustable (the Dynavector strikes me as an arm that is also like that).
Wow. No paragraph breaks in that post above? That looks pretty terrible. When I was typing it, there were definitely paragraph breaks. -1 to Audiogon for a sub-par editor in their software.
Anyway....
I wanted to add a few more notes / changes that I'd like to share:
a. I used JBL L300 speakers for about a year while my Quad ESLs were being refurbished. I do prefer the Quads, and so I sold the JBLs, but the L300 speakers were my favorite speakers (that use a dynamic driver) that I've ever owned.
b. My interconnect journey is still in flux. My favorite interconnects of all time have been Tom Evans Groove Tube, but I've also liked some of the Cardas ones too. I limp along using Kimber PBJ (which is adequate for the money). I used some higher-end interconnects before (Tara Labs, Audioquest, etc), and never felt like I was getting the kind of value for what I paid. In the coming years I'd like to experiment with using some TG interconnects or maybe some DNM interconnects.
c. I pulled the EVS Ultimate Attenuators out of my system after I had the stock volume pots on the EAR 861 replaced with better ones. I believe that every audiophile should own a pair of EVS Ultimate Attenuators in order to judge what their pre-amp is doing to their system. My EAR 861 volume pots were replaced with another set of volume pots (rather than replacing them with stepped attenuators), but these new pots were of a much higher quality than the stock ones that EAR inserts into their product on the production line. The replacement work (and pot selection) was done by Scott Franklin (of MFA and Wavestream Kinetics fame) in San Jose.
System edited: I made some significant changes to this system in the last 3 years. The first was that I had the Quad ESLs refurbished by Wayne Piquet. The second is that I switched out the my faithful Dynavector cartridge for the Zu Denon DL-103. The 3rd change was using the best high-value / low-cost cables that I could find (Naim NACA 5 speaker cable and TG Power Cords). I continue to think that the cable aspect of this hobby is the lamest. Yes, cables do make a difference. No, you should not pay the money that is currently being asked for so many kinds / types of cable. My 'Done for now' classification of this system is actually pretty true. I did try to change it substantially by, once again, experimenting with solid-state gear. I did not update the system with these experiments because I did not feel that my long-changes would stay. To wit; I used a Gryphon Diablo integrated (with a built-in phono stage) for about a year, and found it to be absolutely superb. The phono stage is the best value for money in an integrated I have ever encountered. I've had many high-powered solid-state integrated amps in my system and the Gryphon Diablo was easily the best. It took me over a year on the used market to find one. I may regret selling it, but I needed the money AND my old tube EAR system, which you see today, is better to my ears (particularly on the Quad ESLs). The next experiment was using some of the Nelson Pass First Watt gear (one of the low powered amps and his passive pre-amp). This combination was not as good as the Diablo, nor was it as good as my current EAR tube system, but I still think it was quite good for the money. I would not hesitate to recommend a First Watt system to somebody. My 10+ year journey in hi-fi has cost me many tens of thousands of dollars. If I could do it all over again, knowing what I know now, my choices would inevitably err towards the "Art Dudley" school of thought / equipment selection.
