I recently upgraded to what for some time have been my dream speakers, the incredible Daedalus Audio Ulysses, including the recently introduced all-poly crossover option. I want to thank the many Audiogon members who have posted about this speaker in past threads. It is those posts which led to my becoming aware of the speaker, and ultimately deciding to purchase it. I also want to thank Lou Hinkley, Mr. Daedalus Audio, for participating in the forums at Audiogon, and of course for creating and providing me with these magnificent speakers.
Although their break-in process has barely begun, I feel that I can already say that imho their overall combination of sound quality, dynamic range, bass extension, amplifier friendliness and versatility, efficiency, imaging, elegant appearance and craftsmanship, practicable size and weight, and price, borders on the miraculous. For further commentary on them, see the posts by Jazdoc, Paulfolbrecht, and Jax2 near the end of [url=http://forum.audiogon.com/cgi-bin/fr.pl?cspkr&1269555143&openflup&129&4#129]this thread[/url], and
the post by Fig in [url=http://forum.audiogon.com/cgi-bin/fr.pl?cspkr&1275949549&openflup&23&4#23]this thread[/url].
Please note that in addition to the following general comments, I have included considerable additional information under the individual component listings above.
I first became interested in high quality audio around 1978. Eventually that led me to explore the world of vintage tube equipment, which in turn led me to discover and intensively pursue a separate hobby as well, antique radio collecting.
During a period of several years during the 1990 s I was able to acquire examples of many of the vintage pieces that are considered to be classics, including most of the early Marantz tube products, among many others. I enjoyed them for a while, and in most cases eventually sold them, in part because of their high monetary value and in part because I did not have the time or the inclination to do the capacitor replacements and other upgrades that would have been necessary to put them in optimal condition. And I would have had very mixed feelings about affecting their originality, as well.
The one piece that to this day I regret selling, though, were the rare and fabulous pair of Marantz 2s I enjoyed during some of those years. They clearly outclassed a pair of the more powerful and more famous Marantz 9s I also owned, although condition may have been a factor in that. A major reason for selling the 2s, though, was that they were not quite powerful enough for the speakers I owned prior to the Ulysses, at least when playing wide dynamic range, well recorded, classical symphony.
The one very early piece that I continue to use in my main system, and that I dont ever anticipate selling, is the legendary 1954 REL Precedent FM tuner. See my further comments on it by clicking its listing above. I use it in conjunction with an H. H. Scott LM35 fm multiplex adapter (the kit version of the model 335), ca. 1961, which decodes the stereo information.
The other pieces in the system represent a mix of vintage and modern, purchased new in some cases and used in others. Some of them are considered to be classics, and deservedly so in my opinion, most notably the Mark Levinson ML-1, which I use as my phono stage (by connecting its tape out jacks to my Classe CP-60 line stage preamp).
I should add that my listening is about 90% classical, a disproportionately large amount of it on labels that are audiophile-oriented or are otherwise high quality, and 10% rock and miscellaneous.
A note on the room: Dimensions are 22L x 13.5W x 8H. The speakers fire along the long dimension, of course. The central part of the rear wall is an opening to another room, so acoustically the length dimension is quite long. The speakers are about 8 feet apart measured driver to driver; the fronts of the speakers are about 4 feet from the front wall. Listening distance is 11 feet (to mid-point between speakers). The speakers are toed in a bit more than half-way between being pointed straight ahead and being pointed directly at the listener. As you can see in the photos, the room is wood-panelled, with wood blinds on the windows that comprise most of the front wall. The Eames chair seen on the left in some of the photos swivels aside for listening, and in that position reduces reflections off of a stone fireplace which is at the center of the left wall. Finally, the two Wassily/Breuer chairs, which are used for listening, are re-positioned during listening sessions so that they are both centered, one in front of the other. If my wife is listening with me, she, being considerably shorter than I am, sits in front.
The price shown ($14,400) reflects the base price of $10,950; optional bases/stands ($600); quartersawn white oak ($900); and the recently introduced all-poly crossover upgrade option ($1950). It is absolutely uncanny how well these speakers match my requirements and preferences, to a degree that as far as I am aware (after having done extensive research prior to my recent purchase decision) no other speaker in existence can match. My requirements and preferences were/are: 1)Top-notch sound quality. 2)Wide dynamic range, specifically the ability to cleanly reproduce the peaks of well-recorded classical symphonic music. 3)Not requiring a high-powered amplifier (e.g., 200W) to do so. 4)Not requiring a subwoofer. 5)Tube-friendly impedance characteristics. 6)Good imaging. 7)Elegant, refined appearance that is a reasonable match to my wood-panelled 1950s living room. 8)A price that is considerably less than that of a new car. I purchased these in the optional quarter-sawn white oak version, btw. Magnificent doesnt begin to do justice to their appearance and build quality.
Valve Amplification Company REN-7070 mkIII
65 watts per channel of 300B, Class A, zero feedback magic. Purchased by me in 2011; I believe it was manufactured about 10 years earlier. The tubes I am using are a new (2011) set of Chinese 300B-98's, purchased from VAC by the previous owner, and vintage Sylvania 6SN7's.
DEQX HDP-5 Digital Preamp/Processor
Digital Preamp/Speaker & Room Correction Processor -- see the "Is DEQX A Game-Changer?" thread for further discussion
DEQX/Earthworks M23 Calibration Kit
Calibrated measurement microphone kit for use with DEQX HDP-5.
Stax Lambda Pro Headphones w/SRM-T1 Tube Amplifier
From the late 1980s. Being electrostatic headphones they nicely complement the dynamic speakers I've had, and help me to sort out room effects or amplifier and speaker-related issues from recording or front-end related things. As well as making it possible to listen when listening via speakers would interfere with my wife's activities.
Herron VTPH-2 Phono Stage
Wonderful sounding, versatile, beautifully engineered phono stage. The many accolades that have been bestowed here and elsewhere on both this phono stage and on Keith Herron as a wonderful person to deal with are more than well deserved.
Bryston BCD-1 CD Player (transport section)
Using it as a transport, with AES/EBU output connected to DEQX.
Sota Sapphire Turntable
Purchased in 1983; still looks and works like new. Built like the proverbial tank. I can literally pound my fist on the plinth during play, with no audible effects whatsoever. Beautiful oak finish.
Magnepan Unitrac-1 Tonearm
Purchased in 1983. Highly regarded and rightly so. Includes in-play adjustability of vta/sra.
Audio Technica AT-ART9 Phono Cartridge
Purchased in 2016. A very nice upgrade, replacing the Grace F9-E variants I had been using for the majority of the past 35 years. Especially notable among the improvements provided by the ART9 are increased detail and better definition in the treble region, and improved dynamics.
Radio Engineering Laboratories Precedent FM Tuner
The legendary REL Precedent FM tuner, designed by former associates of Edwin Armstrong. Mono, with multiplex out jack for connection to external stereo multiplex adapter. From 1954; I purchased it in 1992. Other tuners I've had in my system at one time or another include two Marantz 10B's, a Carver TX11, a McIntosh MR71, and numerous Scott and Fisher units. The REL outperformed all of them sonically (at least in the case of the specific units that I had), and was equalled in station-getting ability only by the 10B. However every now and then it doesn't work properly, I believe due to either a bad diode or capacitor in the detector section. I'm hesitant to start changing parts, though, at least without being certain of exactly which part is the culprit, because I don't want to destroy its originality.
H. H. Scott LM35 Multiplex Adapter
Stereo Multiplex Adapter, used in conjunction with REL Precedent. Kit version of the model 335. Ca. 1961.
Channel Master Roof-Mounted FM Antenna
With rotator.
Tandberg TCD-3004 Cassette Deck
One of the best cassette decks ever made. The 80 or so cassettes in my collection include much of the excellent Connoisseur In Sync series from the 1970's and 1980's. The deck is ca. 1980. I acquired it in the mid-90's.
Logitech Squeezebox Touch
Using it just for Internet radio. A technological marvel given its low price. Too bad it is no longer made.
Nitty Gritty 2.5FiMk2 Record Cleaning Machine
Record Cleaning Machine. Purchased during the 1990's. I used Torumat fluid until it was no longer available; Nitty Gritty Pure2 since.
DB Systems DBP-2JAU/5 Switchbox
Line-level switchbox used to select whether the FM tuner combo or the cassette deck is routed to the DEQX
Audience aR2p Surge Suppressor/Conditioner
This suppressor/conditioner plugs into an outlet of my 20 amp dedicated line. A Wiremold power strip (listed below) plugs into the aR2p and expands its 2 outlets to 10. The Venom Defender surge suppressor/conditioner (listed below) plugs into the power strip, to provide some degree of filtering of noise that may be coupled between components.
This plugs into the Wiremold power strip (listed below) to provide some degree of filtering of noise that may couple between components.
Wiremold UL210BC Power Strip
This well-made power strip expands the 2 outlets of the Audience aR2p surge suppressor/conditioner to 10.
Hammond Power Strip
This plugs into the Wiremold power strip (listed above) to provide additional outlets. It also allows me to switch off the wall wart power supply of the Squeezebox when listening to other sources.
Analysis Plus Toslink Cable
Squeezebox to DEQX, 3 meters
Mogami AES/EBU Cable
Mogami "Gold" AES/EBU Cable, CDP to DEQX, 6 feet
Various Pro-Oriented Interconnects -- Mogami, Pearstone, Comprehensive
Mogami Neglex 2534 quad cable with TecNec RCA connectors (from Markertek.com) between preamp and power amp; Mogami, Pearstone, and Comprehensive (B& H house brand) single-ended ic's for various other analog interconnections.
Vampire Wire Speaker Cable
3 meters, 12 gauge.
Signal Cable Digital Reference Power Cords
One 6 foot cord for the CDP; two 13 foot cords for the VAC dual mono amplifier, which uses two power cords. These are nominally intended for digital components, but the 12 gauge wire they utilize seems adequate for use with the amp as well, and I chose them particularly because of the excellent shielding they provide. In my setup these cords are routed such that they pass fairly close to the phono stage, which presumably increases the importance of their shielding. Also, the fact that the amplifier operates in class A, drawing essentially constant current regardless of the dynamics of the music, presumably lessens the importance of how responsive the cord may be to abrupt changes in demands for current.
Stock Power Cords
Stock cords on all components other than the CDP and the VAC power amplifier.
Adona Multi-Element Isolation Platform
With brass cones. This is used under the Herron phono stage. In addition to being well designed for its purpose, its craftsmanship and beauty make this practically a work of art.
Mapleshade Maple Platform & Isoblocks
4 inch version; used under Power Amp.
Mapleshade Isoblocks
Under Daedalus maple bases.
Sims (Sumiko) Navcom Silencers
Vibration control footers, used under REL Precedent tuner. Ca. 1992.
Planax PX Record Clamp
ca. 1983.
Zerostat 3 Milty
Anti-static gun.
LAST Stylus Cleaner
Stylus cleaner.
20 Amp Dedicated AC Line, New Circuit Breaker Panel & Wiring
New 20 amp dedicated AC line, new circuit breaker panel, new inside and outside wiring to where the utility company's overhead lines attach to the house. All installed in 2010-2011.
System edited: Upgraded small signal tubes in VAC power amp from 1960 vintage CBS 6SN7GTB's to a matched quad of Sophia Electric 6SN7's (their "Grade A" version). The thinness on brass instruments that I referred to in my previous post is now completely gone, as I had hoped. Other significant changes I've noted during my first few hours listening with the new 6SN7's are improved definition and "body" on instruments such as flutes, oboes, and horns, and increased soundstage width and depth, particularly depth. As was the case with the previous tubes, reproduction of well recorded solo piano amazes me!
Would be interesting to hear your assessment of the VAC compared to some of the legacy tube gear you have experienced over the years.
I can't really say with any definitiveness, because most of my experience with vintage tube amps was during the 1990's, and at that time most of the rest of the system was different. And of course the condition of each particular example is a major variable with vintage equipment.
I believe I can say with reasonable confidence, though, that among the vintage tube amps that I had experience with (which included a pair of the legendary Marantz 9's), that only the Marantz 2's I mentioned early in this thread MIGHT have been in the same league as the VAC, in SOME respects (particularly in the mid-range), when used in triode mode (while being far less powerful and dynamic).
That amp is on my bucket list. Curious to hear what you think of it.
First, let me say that I would be cautious in extrapolating from my experience using the amp with Daedalus Ulysses speakers to your Harbeth's, as their impedance characteristics and sensitivities are VERY different.
That said, after perhaps ten hours of listening, mostly to classical music, I am basically thrilled.
The amp handles high volume symphonic peaks on minimally compressed audiophile quality recordings without the slightest hint of strain or congestion. It handles female voice beautifully. Bass is tight and well controlled.
The Wilson Audio cd of Hyperion Knight performing Chopin's Sonata in B Minor, op. 58 (Wilson WCD-9129) played via this amp was the best reproduction of solo piano in my experience. It had my wife in tears, something which had never happened before while listening to music.
The one very slight negative I've sensed so far is a slight thinness on brass instruments. I'll have to assess that further in the coming weeks. I suspect that I'll eventually want to experiment with different small signal tubes (6SN7's), which very conceivably could affect that. Right now I'm using 1960 vintage CBS 6SN7GTB's. The power tubes are a brand new set of Chinese 300B-98's, which the previous owner had purchased from VAC.
Al - congrats on your VAC purchase. That amp is on my bucket list. Curious to hear what you think of it. Nice system BTW... a neat blend of old and new!
Haven't heard that particular amp but the VAC gear has left me drooling on occasions where I have had the opportunity to hear it. Very nice stuff indeed.
Would be interesting to hear your assessment of the VAC compared to some of the legacy tube gear you have experienced over the years.
System edited: Replaced Paxthon VTA-160 Amplifier with a VAC Renaissance 70/70 Mk III Amplifier. 65 watts per channel of 300B, Class A, zero feedback magic!
Thanks very much for your comments and suggestion, Lloyd.
You are probably right about the Grado. But as I indicated under the link for it in my equipment list above, I was only using it on an interim basis, while my vintage Grace F9E Ruby was being retipped at Soundsmith. I received that back and reinstalled it, in place of the Grado, during the past few months, and I have been completely thrilled with it in every way. Peter Ledermann of Soundsmith has made it much better than its highly regarded original incarnation.
I recall Audiogon member Mofimadness saying in a thread some time ago that a Soundsmith-retipped F9E Ruby he once had was the best moving magnet cartridge he has ever heard. I am not surprised.
In terms of future upgrades, I'm likely to upgrade the power amp sometime this year. I find myself intrigued by the Coincident Dragon, as I had indicated in this thread, but I understand that a MkII version is in the works, so I'll wait for that to be released before finalizing a decision.
Thanks very much again for your comment and thoughts.
Best regards, -- Al
Edit: I've deleted the Grado cartridge from the equipment list.
Very nice system. Al, your answers in the forum to electrical questions are the best, often definitive. Please keep up the good work.
Based on my experience with the Statement Reference Grado, I would say that the cartridge is the weakest link in your system. I suppose Grados might balance out a harsh, overly bright system, but they lack resolution and detail, and could only hold back as system as thoughtfully put together as yours. You might be surprised how much you would hear with, for example, a Lyra or other revealing cartridge.
I took a look at the Ben Martin site, which I hadn't previously been aware of. He's really done a nice job of presenting a lot of nice radios, and his prices seem very fair considering the restoration work he's put into most of them.
I hadn't been familiar with the Charles Pollock sling chair, either. Certainly something special!
Nice setup Al & thanks for all your informative posts. It's nice hearing from someone w/an EE background for a change. I can appreciate the chairs - my mother used to be in interior design & sell alot of Knoll. I used to have a white canvas Wasily & still use a Pollock sling chair for my listening. BTW, if you have never seen Ben Martin's Radio Library website, I think you might appreciate it, check it out. I've bought some nice tubes from Ben also. Happy listening
Thanks very much for your comments, David. I've followed your posts about the DA-RMa's with interest, here and at the Daedalus forum at Audio Circle.
Yes, the Ulysses are physically imposing when viewed from the side, but my wife and I were pleasantly surprised at how unobtrusive they are when viewed from the front (which is the view that is primarily relevant in our setup). Their 11 inch width seems significantly narrower, because the black grill cloths are only 9.5 inches wide, with the adjacent wood curving back gracefully to where the sides are met.
I don't envision trying any SET or other low powered amps in the foreseeable future, because even with the high sensitivity of the Ulysses I suspect that low powered amps would have problems dealing with the very wide dynamic range of some of the classical symphonic music that I do a lot of listening to. And in any event I don't want to explore possible amp alternatives at least until the speakers reach their recommended 400 hour break-in, which will take a few more months.
The Ulysses have a nominal impedance of 6 ohms (while as you know the DA-RMa's are nominally 8 ohms). I tried both the 4 ohm and 8 ohm taps on my amp, and I would have to say that the differences were surprisingly minor. I settled on the 4 ohm taps, which according to my calculations reduces the 80W capability of my amp to the rough vicinity of 50W into the 6 ohm load, that having proved to be very comfortably sufficient.
Meanwhile I've received my rebuilt Grace F9E Ruby cartridge back from Soundsmith -- getting that installed and its setup optimized is my next audio-related priority, aside from continuing to enjoy the music.
An enoyable read indeed. I have had the DA-RMas in the same quartesawsn oak with the upgraded crossover for about 6 months now and agree with you that they have an ideal, if not unique sum of advantages. Easy to drive, but neutral , dynamic, with excellent base. Charectaristics you do'nt often find in sensitive speakers I do'nt know if you have tried lower powered amps, but I am not sure they do the speakers justice. I started out with a Viva Solista 22watt SET, but find the 50 Class A watts of a Pathos Inpol2, a much better match. I would have liked to consider the Ulysses, but they are bigger than they seem. The problem for me, was the greater cabinet depth.
Neat system you've got there. I had never heard of those speakers till now. I don't visit the forums like I used to. I used to have a Classe CP50 and it was THE one that made me realize how important the preamp is in the signal chain. I still remember it very fondly.
Enjoyed reading your comments and seeing the pictures of what seems like a very nice system. Have to admit if I could get my wife to listen to music with me, I would sit side by side. To sit one behind the other, makes it truly and only all about the music. Happy listening.
Glad to hear the Daedalus speakers are working out. The dual symmetric driver configuration that these use is an interesting design. I bet they play that room as you describe it nicely! Would love to hear them someday.
Hornblower -- Thanks for your comments. Per your suggestion, I have uploaded photographs of the E. H. Scott and McMurdo Silver sets in my antique radio collection, as well as a few of the others. They can be viewed at flickr.com via the link below.
As you probably realize, but others may not, Scott and McMurdo radios are often found without cabinets, either because they were originally purchased that way or because at some point in their history their owners sacrilegiously applied the cabinets to other purposes. As you'll see, two of my Scott sets have cabinets (including the model 800 shown in my system pics above), and two do not. My McMurdo Silver Masterpiece V does not.
I also have a Masterpiece VI (not photographed) in a McMurdo Silver "Oxford" cabinet, but both the chassis and the cabinet are in poor condition. One of these years I'll get it restored and refinished.
You should post pictures of your prewar sets. I'd love to see (and one day, perhaps, hear) them. Prewar E.H.Scott, McMurdo Silver, and Lincoln Radio sets have a quality and style that is unmatched.
Jriggy and Bryon, thanks very much for the very nice and much appreciated comments. Jriggy, congratulations in advance on your pair of Ulysses. I'm sure you'll be thrilled.
Hornblower -- Actually, according to its nameplate mine is an 800, as I indicated above, not an 800B, which is the much more widely encountered designation. I don't know what the differences are.
Its sound quality on FM, as well as on AM and shortwave, I would liken to that of a decent quality table radio with the hypothetically added abilities to play very loudly without distortion, and to go moderately deep in the bass region. Yours may do considerably better, assuming the electronic restoration and the mods are done well. Mine is, I believe, all original except for tubes, and as far as I know has never been given a realignment.
I'll add that perhaps the most consistent theme that has characterized my forays into vintage audio and radio is the inconsistency and variability of the performance of any particular design, depending on its condition.
The best AM sound quality I have ever heard in my life has been produced by two other antique radios in my collection, a 1935 McMurdo Silver Masterpiece V (which utilizes an 18 inch Jensen speaker), and a 1932(!) E. H. Scott Allwave 12 Deluxe. I have a couple of other comparably regarded sets, that are a bit more recent, which do not come close to the performance of those two older sets, even though I've worked them over fairly thoroughly.
Re the LM-35, I'm not sure if you meant that you are considering using it in conjunction with the 800B. But, as I suspect you are aware, that would at best require modification to the 800B to provide the proper multiplexed output signal.
Best of luck with the project. I know that the LC-1A is both rare and a treasure.
I thought I spied an E.H.Scott 800B. I have one awaiting restoration, when it will comprise the center of a dedicated mono system, with a Brociner var. EQ phono stage, 6B4G output modification, and an external RCA LC-1A speaker. Have you tried the FM on the 800B. I have an H.H.Scott LM-35 as well, and may use the 800B for FM too.