Listening to music wouldn't be the same without the few talented individuals that put their effort, skills, and creativity into carefully voicing and designing the beautiful pieces in my system. Perfect to capture the music from different places and people.
And of course the journey wouldn't be as enjoyable without all the people and friends that I met along the way. Many thanks to everyone!
System edited: Time to update the system - I have had the Haut Brion and Devore Super 8 around for quite a bit more than a year now. Beautiful combination.
System edited: Updated heavy rotation list: In heavy rotation: - Janos Starker "Bach Cello Concertos" - Kertesz " Dvorak New World Symphony" - Charles LLoyd and Zakir Hussein: "Sangam" - Kenny Drew "Undercurrent" - Anthony Braxton "Quantum" - Keith Jarrett "Paris/London Testament" - Mal Waldron & Max Roach "Explorations" - Steve Lacy & Mal Waldron "Let's Call this Esteem"
Goldeneraguy - that was before I found a good step-up for the Allaerts. I always liked the Allaerts with the XOno, but had tough time finding a good step-up for it to run into the Shindo pre. That was until I tried the Auditorium 23 step-up which matches both the Allaerts and Shindo perfectly. It's almost funny that the obvious choice worked the best (I tried about 7-8 different step-ups).
Also, the Allaerts is such a wonderful match to the Schroeder arm and DPS turntable, I would been sad to break up the combo. I am really glad I kept the Allaerts.
Well the Weiss is certainly getting closer than anything I heard so far - a huge step from the Benchmark or Wavelength. The Weiss is one of the most satifying pieces of equipment I owned and it really did change my listening to digital. High rez on the Weiss DAC2 is very good and the Mac Mini setup works perfectly.
If I would have no LPs, I would certainly be content with the Weiss, but now that I have been collecting vinyls since 1989...
The tube complement I liked the most in my Fi Super X was:
Shuguang 2A3 (preferred these to Sovtek, KR Audio 2A3 and RCA Blackplates) Bendix 6106 rectifier GE 6SF5 (stock driver tubes)
I tried Sylvania and RCA 45 as well as RCA Black Plate 2A3, Sovtek 2A3 and KR Audio 2A3s. I prefer the fast, tight, dynamic sound of the Shuguang to the above at least in when used in combination with the Bendix. The KR was more laid back, but a bit lifeless. The RCA is full, warm and rich sounding, wtih less resolution and not as much drive. The Sovtek a little to unrefined for my taste. I really like the sound of the 45s but I would probably prefer a more 45 optimized amp then.
I hope this helps. Enjoy the Fi 2A3 - very nice amp!
Doc - I haven't listened to the Homage. As far as I know the Auditorium Homage SUT was designed for the SPU and low impedance cartridges, which would not be a good match for the high-impedance Allaerts. The A23 Denon version on the other hand is almost ideal electrically.
System edited: Added Auditorium 23 step-up and now using the step-up with the Monbrison MM input for my Allaerts (in place of the Pass XOno I had used before).
I just cant believe how well the A23 SUT works between the Allaerts and the Monbrison. I had tried several highly regarded step-ups over the last few months (Bent Mu TX103 Silver, Cinemag, Lundahl 9206, Koetsu MCR-1), none sounded as rich, textured, detailed, and controlled as the A23. Many of the other step-ups worked well with Jazz and Rock, but for Classical instrument separation was difficult, dynamics were compressed; with the A23 there none of the problems. Everything is well organized, controlled without loosing musical flow and drama.
The best part that it now combines all the strengths of the Pass XOno (which I used before for the Allaerts) and the musical flow, rich contrasts, and texture of what I expect only from the best tube phono stages. Top end extension is perfect and sweet without even having to resort to loading resistors. At least I can now confirm that the Allarts MC1 series works really well with Shindo preamp/A23 combination.
great to hear from you - the Fi with Abby's is still a great combination. There is something right about that combination and when playing the Fi combo I really did not miss anything. On the other hand, I was surprised to hear how much farther I can push the Abbys with the Shindo combination. I heard many other single drivers (Fostex, Lowther, PHY) over the last few years but still like the Abby best - Terry really did something incredible with these cabinets and the Abby's are not at all embarrassed by the $12k front-end.
One word of caution though if you consider the Shindo route - I did try the Shindo preamps (Aurieges, Monbrison) with the Fi Super X first trying to replace my trusted Fi Y. The Aurieges worked well and is already an improvement in many areas although I did slightly prefer the brighter and lively balance of the Fi Y in that combination. With the Monbrison/Fi Super X 2A3 combo the sound got even richer and warmer. The Fi 2A3 is really voiced a bit on the warmer side and is supposed to be balanced by the neutral and quick Fi Y preamp. As you go up the Shindo preamp ladder, textures and richness increases and the Shindo Montille worked just much better than the Fi 2A3.
I really did not feel like I was missing anything with the Fi/Abby combination, but I was not prepared for the level of improvement I got with the Monbrison and Montille and several friends that heard both combinations felt the same. If you like to try Shindo the Aurieges MM may be a good start with your Fi amps.
Getting lots of listening done lately now that I am "there". In rotation:
- Lucilla Galezzi, Vincent courtois, Michel Godard "Trio Rouge" - Michel Godard "Castel del Monte" - Rabih Abou Khalil "Cactus of Knowledge" - Antony and the Johnsons "I am a Bird now" and "Antony and the ..." - A.R. Rahman "Slumdog Millionaire Soundtrack" - Michael Nyman "The Piano Soundtrack" - Louis Armstrong "Satchmo plays King Oliver" - Horace Parlan "Us Three" - Sufjan Stevens "Come on feel the Illinoise"
Karelfd - I am certainly not the first to pair the DPS with an Allaerts cartridge ;) Marco at Soundscape Hifi in Singapore has been pairing the DPS with Schroeder arm and Allaerts cartridge for a while. While Willi (the DPS designer) prefers the very detailed and dynamic Lyra cartridges, the Allaerts adds some sweetness and silkiness to the mix, which nicely complements the strengths of the Abby/Shindo combination.
I have yet to taste one of Hubert de Montille's wonderful wines. A bit off-topic - here is an interesting article where Jonathan Halpern, Michael Lavorgna, John DeVore and some others have actually done what Michael suggested: to taste all the wines underlying the Shindo naming scheme:
Darkmoebius - it took me a long time to decide going the Shindo route, but after hearing MikeyC's Montille EL84 at my place (many thanks!!), there was no going back. It took all of 2 minutes to hear the difference...
As MikeyC already hinted at, the Shindo has indeed triggered a tremendous improvement in my system, especially in terms of texture, midrange detail and tonality. It is quite amazing to hear the nuances and fine details that are in the recording but were only uncovered by the addition of the Shindo pre and amp. Interestingly it is not that the top end extension has changed much; in fact, everything sounds warmer and richer, just with much more detail.
The Fi/Abby combination was already very open, dynamic and intimate, seductive at the same time and I never felt anything was missing really. The Shindo adds a more even and fuller balance, more extension on the bottom end. The biggest change, however, is the added detail and texture in the midrange, which adds the important bit of realism and natural tone to the presentation of each instrument. I haven't heard a combination which puts a cello into a room quite like the Abby/Shindo combination. You literally feel the cello resonances and nuances of the bow gliding above the string.
Also, the Allaerts/XOno combination does its part in carving out those nuances without any hint of dryness.
System edited: Replaced my beloved Fi Y and Super X with a beautiful Shindo Monbrison and Montille 6v6.
Many thanks to Jonathan Halpern of Tone Audio imports and Matt Rotunda at Pitch Perfect Audio for their patience in answering all my questions and for their help. I had a wonderful day at Matt's place listening to the different Shindo flavors and just enjoying music. Also, many thanks to Michael for bringing over his Shindo Aurieges and Montille many times for a listen.
Darkmoebius - I compared the JLTI and XOno side by side for the last four months ;) - I always live with both pieces, if possible, before making any decision. It was a pretty close one, especially since both phono stages are so similar. Cartridges where the Lyra Argo and Allaerts MC1B.
Tonally both are on the neutral fast detailed side. The Xono has a bit fuller midbass, more bass extension, and more impact and control. Still, both feel like they have a very tight grip can control across the whole spectrum. The XOno emphasis dynamics, cutting decays a bit shorter, whereas the JLTI has the better flow. With the wrong cartridge (Lyra Argo) the XOno could be a mechanical sounding at time.
Soundstage depth and width is excellent with both, the JLTI goes just a little deeper into the corners. Images are tad grander with the Xono and separation is slightly better with the JLTI. The JLTI is very finely detailed letting one pick out each instrument easily and follow each. The XOno highlights the lead instruments more, emphasizing the overall structure of a piece more.
Overall I think the JLTI will work with a wider range of cartridges, the XOno needs a slightly more liquid cartridge (Allaerts, Koetsu) to shine. With the Allaerts, the XOno was just a tad more convincing and magical.
Of course, keep in mind that this in a full tube system, the mechanical dynamic character of the XOno and the almost overly detailed character of the JLTI could be exaggerated in other systems.
Needless to say, I am sad to see either one go would love to keep both, but with the Allaerts I prefer the XOno by a small margin.
Darosenb, thanks for the kind remarks. I will check out the SF5 - any place that you would recommend to get the SF5 from?
Congratulations on the Fi Y and Yph. The Fi Y is an excellent preamp in combination with the X -it really brings out the dynamics, life and detail out of the Fi X. I like the Mullard CV2493 tubes the most as they give the best balance, more flow, and more texture in the midrange without sacrificing extension and dynamics. They can get difficult to find though.
Incidentally my system is in 560 sqft one bedroom apartment. The Abbys work very well in a small space if you decide that you want real speakers. For headphones, the Bottlehead S.E.X. amp is wonderful - I use one as backup amp. My Sennheisers HD650 are a little laid back. The S.E.X. has not quite enough power to drive the Abbys and flesh out the bass.
As for a phono stage - give the Vacuumstate JLTI a try. Especially if you are looking for speed and resolution. I tried several phonostages over the last months:
Pass Xono Dynavector P75 MKII Vacuumstate JLTI with powersupply Trichord Dino Sutherland Ph.D. Gram Slee Rossner & Sohn Canofer S Audio Research PH3SE Aesthetics Rhea Wright WPP200C EAR 834 Deluxe Mac 1000 Phono
Several of these I had at home for a while, some other I heard extensively at friend.
Hey Darkmoebius, I remember you mentioned the Almarro before. I haven't had a chance to try it out yet on my Abbys. The Fi Super X is an extremely good match as well. I tried the First Watt F1, Jolida amp, Bottleheads, and some others and the Fi has the most drive, resolution and extension on top and bottom.
The combination of Fi Y, Fi Super X and Abby is so good every time I try to upgrade I fail. I haven't found a better match to the Fi amp than the Fi Y pre either :)and I tried: Shindo Aurieges pre, Marantz, Promitheus TVC, ...
Kentchai, is your question, how does the analog system compare to the Brick?
The answer to that is easy - neither DAC comes close the analog setup right now: The detail and resolution of the analog system are in a different league. Spatial information (soundstate size, layering and instrument separation) is increased, there is more texture and detail with much more extended highs. The analog system is quicker with better decays and more natural timbres than either DAC. Surprisingly analog is also much more dynamic with better bass extension and a tigher faster bass.
Overall there is not a single area where digital is better than the analog system anymore. But then the DPS is really up there with the best turntables (also the complete analog system runs close to $10k).
System edited: Huge change, at least sonically: I added a Lyra Argo (i) which Willi of DPS recommended so much for the DPS table. The Lyra Argo very nicely pointed out the differences between my phonostages. The combination of Argo and JLTI has an incredible resolution and captures the realistic timbre of instruments more than anything I ever heard in my system. Ad to that incredible speed, dynamics, and a layering of the soundstage that I have not heard to date from very few but a few top systems. Compared to that the excellent Wright WPP200C only sounded nice, but not so special anymore.
Here are some comments on the two different DACs and my reasons for keeping both. Overall the difference reflects some of the observations mentioned in the reference DAC thread on Audiogon:
Even though neither is quite a reference DAC, according to these classifications the Benchmark is a category I and the Brick certainly a category II DAC.
Some personal experiences with the DACs: I have been running the Brick for a long time but the one thing I never quite got a grip on is the bass. Depending on the piece it even sounded sometimes a little disconnected from the rest of the spectrum. Comparing to my analog system, with my previous turntables, a Michell Tecnodec and a VPI Scout it wasn't quite so obvious, but when I got my DPS turntable, I realized how much more the my main system is really capable of.
So in an attempt to improve the bass and top end detail, I tried a Lavry DAC for a while. More recently, I got the latest Benchmark DAC1USB after a friend bugged me about it (he liked the Bechmark more than the Lavry). I heard earlier versions of the Benchmark and never quite liked it very much - strident highs, the usually glow that surrounds instruments which is so typical of upsampling. However with the latest version Benchmark really did well. It has a very tight solid sound, great extended bass, a fairly open midrange, instruments are well separated and the top end is smooth without any hint of the earlier strident highs.
After getting the Benchmark, I got to improve the Brick a little more by doing some very careful tube rolling. With the Mazda Triple Mica, flow and coherence is a little better than the Benchmark, but it still looses control somewhat in complex passages especially for classical music. With a Siemens 12AU7, the bass of the Brick is tighter and drums are as explosive as with the Benchmark.
Overall the difference could be easiest heard on a tabla piece by Zakir Hussain: The Benchmark has a very tight sound, is very lively and dynamic, the Brick has more flow. When the tabla is hit, the Brick takes longer to decay, even if the drum is touched at the edge to deaden the sound. The Benchmark stops and starts much faster as you would expect from live tabla. I think these characteristics result in the observed difference, i.e. the better transients of the Benchmark vs. the flow of the Brick.
In summary, what I really liked about the Benchmark the most was how transients and dynamics are preserved. Many CDs sound very exciting whereas the Brick can be laid back at time. The Brick has its strength in the natural decay of tones, which the Benchmark sometimes cuts to short. For spatial presentation, the Benchmark has the better separation between instruments, especially in complex passages, whereas the Brick sketches a more realistic three-dimensional picture for single instruments. The Brick did particularly well with solo piano. Overall for complex music and electronic music I would give the nod to the Benchmark, for a more natural sound and small ensembles I would prefer the Brick.
Overall I think there is a clear difference in presentation, whether it is better or worse depends on your taste and the rest of the system. Several friends liked the Benchmark more especially since I have an all tube system. Right now I am using both in my main system, as both are very enjoyable and I might switch based on mood.
One final comment: For the Brick tube rolling is essential. IMO it performs far from its best with the stock tubes. Try the Mazda Triple Mica or the Siemens 12AU7. Single 12AU7 NOS tubes are fairly affordable and can be found easily
I guess, I should probably post this as a review on Asylum or Audiogon sometime...
System edited: Now completely switched over to Mac Mini based digital replacing an Audio Aero Prima CDP. The Mini is connected via USB to the Benchmark DAC1 USB as well as the Wavelength Brick USB DAC.
Wow, now we have all Audiogon DPS owners present in the same post ;): Edigio, Soliver, Gajgmusic and me.
Edigio, thanks for the nice comment. Yes that's the little Tivoli in Classic Walnut, which matches Walnut DPS plinth very nicely. Interestingly, it was the little Tivoli radio that got me interested in single-driver speakers. If that little radio could produce such nice coherent sound with a single long-throw driver, why not a much larger version. Indeed the Abbys do mimic some of the coherence of the little radio.
Gary (Gajgmusic), thanks very much for your kind comments. You wouldn't believe how good the DPS sounds in the system now ;) . Time for you to visit Toronto soon!
Soliver, I completely agree with your assessment of the DPS: I could not think of a table that I would prefer using. Incredibly well designed from the included base (no need to try ten different bases) to the record clamp, speed control and the power supply.
I considered many other tables in this class Nouvelle Platine, Galibier Serac/Gavia, Nottingham Spacedeck, VPI. After listening, the only one that came close to the DPS, IMO, is the Galibier Gavia. Thom (of Galibier) was wonderful and accommodating when I visited him in Denver, but the DPS is just much more practical in our small loft, and is at the same level sound wise.
As for the area where I believe the most improvement will be: A Schroeder No. 2 arm is still on its way ;) Although the DPS modded RB 250 is much better than expected.
I think you are on the right track using a top of the line ZYX cartridge and excellent preamps - time to enjoy some music.
First of all thanks to everyone who contributed to putting this one together:
- Shohini for ears, eyes and everything else - Terry Cain for his suggestions and his never-ending enthusiasm for audio - Boa2 and Gmood1 for their comments and putting me on the right track - David for showing me what is really possible with SET and tubes - Gary (Gajgmusic) for insisting on the DPS turntable :) - Audiokiep for his pursuit of perfect digital sources - Rick for taking great pictures of the system
And all the great manufacturers and people who helped out and that I forgot to mention.
