Description

I am an electrical and mechanical engineer who's been in this hobby over 30 years now.  Our system is entirely dedicated to our love of music and we listen critically every day. With 1500 CDs and SACDs, and countless digital files comprising just about every type of music you can think of, we cover a lot of ground.  Today, we mainly use the TIDAL streaming service.  I have learned that achieving highest quality sound is primarily dependent on setup execution, and not on component cost. 

The goal for my stereo is to get a concert-level performance for any kind of music I want.  I can go from EDM night club to Parisian jazz bar, and anything in between with the tap of a screen.  In all cases, I want it to feel real and alive, vibrant and immersive.  We live in the woods where volume level is not a concern.

The Nanos are extremely efficient and have powered subs, so my amplifiers only need several watts to blow me away.  The Nanos' efficiency guarantees that nothing is ever lost in translation, and they spellbind for hours on end anyone who sits in the sweet spot. Having experienced their sound of life, I don't think I could ever go back to conventional speakers. 

I own a wide variety of amplifiers because the Nanos allow each one's personality to shine through; and getting to know them in otherwise the same system (speaker/room/human) is great fun and highly instructive. It has given me the opportunity to expertly hone my hearing and to delight in a new sound experience every month or so when I change amps. There is no one best amplifier anyway, just like there isn't one best musician.

I find that high value is an elegant guide to attaining my desired result. I also feel that a huge amount of experimentation is needed to establish a true reference point for one's self.  As such, here is a list of past equipment I've had in my little music room that has led me to what I have today:

Velodyne DD-15
Audio Research Reference 3
Lavardin IS Reference
BPT BP-1 Signature Plus
Devialet Expert 120
Aesthetix Calypso
MBL 1431 
Nordost El Dorado
Nottingham Analogue Spacedeck
Nottingham Ace Space tonearm
Dynavector Karat 19A mk2
Audio Research SP6-C1
Threshold S/150 mk2
Acoustic Research XA
Finale Audio 2A3M-FFX
McIntosh MX110Z
LTA Berning ZOTL10
McIntosh C48
Triode Labs 2A3 SET
Wyred 4 Sound STP-SE
Audio Research LS26
Kora Flash
Primare Systems A30.1 
Marantz PM6004
Kora Galaxy
Kora Eclipse B/C
Triode Labs 2A3S
Rogue Stereo 90 with 6550
Ayre C5xe mp
Finale Audio F168R 6BM8
Transcendent Mini Beast OTL
Pass Labs XA30.5
Conrad-Johnson Classic I
McIntosh MC452
BC Acoustique A3
Atoll IN-100
Wright Sound WLA12A
Tom Evans Linear A
Classe Delta CA-2200
Plinius SA-50 Mk3 
McIntosh C46
McIntosh MC122
Audio Aero Prima Mk2
Unison S2K
Cairn Fog v3
Kora Titan monoblocks
Cairn Fog v2
Ayre AX-7e
Kora Eclipse version A
Kora Galaxy Reference (x2)
Cairn KO2
Pass Labs Aleph 30
McIntosh C42
Kora Eclipse version C
WAVAC MD-300B
Kora Eclipse version B
47 Labs Shigaraki 4717  
Focal JM Lab Electra 926
Reference 3A MM DeCapo i
MIT AVt 1 non-biwire
Monitor Audio RS1
Innersound i-Pre
Zu Birth
McIntosh MC202
KEF iQ10
NAD C720BEE
van den Hul Orchid XLR
Rega Apollo
NBS M/S II
MIT MI330S3 RCAs
Sony SCD-C333ES
Cayin CD-50T
QED Silver Anniversary XT
Gutwire Basic 2
Van den Hul First Ultimate mk2
QED Qunex 1
Cary SLP-98
Triangle Antal ESw
Kimber Select KS1121
B&W Nautilus 804
MIT T2 biwires
Rogue Audio Magnum 99
Kimber Kable 8TC
Belles GR8 passive
Energy Connoisseur C8
Monitor Audio Silver RS6
MIT AVT2 biwire
Primare CD31
MIT Shotgun S3
Sony SCD-XA777ES
Pro-Ject RM 6 SB, Blue Point #2
McIntosh MC7100
Cambridge Audio 640C
Audio Research LS3b
Classe CP50 (x2)
Epos ELS3
California Audio Labs Icon MkII
Omega Loudspeakers TS1
Music Hall CD25
McIntosh C712 (x2)
Sony ST-550ES
McIntosh MA6500
Consonance CD2.2
Guerrilla Hyper
DH Labs Q10
McIntosh MC2125
Jolida 302b
Conrad Johnson PV10a
Marantz SA-8260
Odyssey Stratos
Arcam CD72
Sony SCD-CE595
McIntosh MC7200 (x2)
Classe DR10
Paradigm Reference 100.2
Elac 101
Triangle Comete ES
Classe CA200
Nordost Flatline Mk2
Nordost Solar Winds
Kimber KCAG
Atlas All Cu Navigator
van den Hul Orchid RCA
Bryston 4B
Adcom GFA-545 mk2
BAT VK-3i
Jolida JD100
Yamaha TT-400U
Krell KSA100
Krell KAV250
Conrad Johnson MV55
Kora Explorer 90SI
Granite 657
Jolida 1701A
Totem Acoustic Hawks
3A Master Control
Kora Explorer 150SB
Myryad Z140
Klipsch Heresys
van den Hul The Second
van den Hul D352
van den Hul Mainsstream
NAD C740
Rotel RCD-1072
Signal Classic cables
Read more...

Room Details

Dimensions: 35’ × 22’  X large
Ceiling: 8’


Components Toggle details

    • Avantgarde Uno Nano speakers
    German ultra-high-efficiency speaker with full dynamic range. The active-design approach and ideal sensitivity maximize dynamic headroom in the most natural and logical way possible. The result is music is never lost in translation. It's the most incredible sound I've ever heard from a speaker. So alive and so clear! They make most other speakers sound like "cones-in-a-box" by comparison. Having the lowest possible distortion allows the personalities of each amp to shine through like no other speakers in my experience. Avantgarde manufactures everything either in-house or locally for their speakers. This has become a rare thing these days, but it's critical when making top-level equipment since it allows them to fully optimize every component, as well as the sum total. And not only that - they offer impeccable customer service too. Their entire business model achieves the goal of combining precision engineering with a wholistic understanding of gestalt and purpose. The end result is priceless.
    • REL 212 SX subwoofer
    This replaced my trusty old Velodyne DD-15 subwoofer with 2x12" active and 2x12" passive woofers.  Honestly there's no comparison.  The 212 is just so much better in every way.  It makes the DD-15 sound weak and boomy in comparison.  Integration was surprisingly easy (although my speakers already have 2x10" subs in them).
    • Tom Evans Audio Design Vibe preamplifier
    TEAD's preamp, considered to be the world's best by a couple 6moons reviewers. All I can say is that after going through 16 preamps, the Vibe is the only solid-state piece I've fallen in love with. The TEAD Lithos regulators allow for huge bandwidth and huge dynamic range that yield equally superlative sound. It's an amazing design that only Tom Evans seems able to come up with in a simple and elegant way. Mega-detailed, mega-transparent, and mega-musical.  It's so good that it sounds completely different with each amplifier I hook up to it.  I've never had a preamp like this before.
    • Tom Evans Audio Design Pulse power supply
    Optional power supply for the TEAD Vibe preamp. One box houses Lithos regulators and capacitor banks while the other box houses a custom-made 70VA transformer that Tom and his team designed for this preamp. I've opened it up and was surprised to see so many parts in both boxes! Very very complex for what is badged as a "simple" power supply. It's no wonder it costs so much. I also think it looks much nicer than the new Pulse 2 supply.
    • Kora Electronics Crescendo tube preamplifier
    French-made, fully-balanced, single-gain-stage vacuum tube preamplifier. It was designed for use with Aries monoblocks, and what a wonderful combo they are, but this preamplifier is unbelievably good with all my amps, whether run balanced or single-ended (a rarity). The Vibe is killer solid state, but there is something very special about the sound of this preamp. It balances extreme clarity and resolution with a friendliness and sophistication that is unique in my experience. It's such a shame that so few people will ever get to know this design. This is the second one I've owned - I kicked myself for years for selling my first one, and I thank my lucky stars I found another!  Current tubes: pair of 1957 Raytheon black plate 12BH7
    • Kora Electronics Aries hybrid monoblocks
    Totally unique French design using a 12BH7 to feed 2 HEXFETs in single-ended parallel. On paper, it looks like it'd never work, but in fact these little amps sound magical. What is special about these amps is their wonderful coherence and the accuracy of their timing. They have an ease about them and yet the treble information is all there. Jazz suits them perfectly. I call it "Kora Coherence" because all the Koras exhibit this trait no matter how different the design - and Kora has made quite a range of designs, unlike 95% of hifi companies. They were true hifi artisans and these little monoblocks make that imminently clear. Current tubes: 1960 GE gray plate 12BH7A.
    • McIntosh MC152
    After a bad experience with the MC452, I decided to give McIntosh one last chance.  It is hard for me to get by without blue eyes after all these years, and I will forever remember the sound of my MC7200.  I came to the conclusion that the phase irregularities of the 452 might be due to the fact the circuit is optimized for a power level above what my speakers require.  After all, it's very hard to perfectly balance so many transistors, especially at low-power outputs.

    It turns out that reducing the transistor count by 75% does the trick!  The 152 is by far the finest solid-state amp I've had in my system.  It's incredible.  It's smooth and rich, yet fast and delicate.  It's really rare to find an amp that can combine such clear resolution with enveloping musicality, but this one does it better than any I've experienced so far.  The 7200 has been resurrected - and this time with autoformers!  I'm in love with this little amp.
    • Unison Research S2 SEP
    Italian single-ended pentode amp using EL34 tubes. I recently recapped the entire thing with upgraded capacitors, and optimized the operating point for even better performance.  It basically runs as a "mostly-triode" amplifier with lower plate current.  The sound has gotten even more musical, without hurting resolution whatsoever, and as a bonus my tubes will last much longer.  Downside is that now it only makes about 4W (instead of 10), but my speakers don't care.

    This amp loves to boogie!  Tons of fun to listen to and get this - it has the most potent bass of any of my amps!  It can shake the walls if the recording has enough extension. It often feels like my favorite amp since it is unfailingly musical with terrific detail and a deliciously smooth presentation.  It's similar to the F138FFX but with an even bigger soundstage and more nuanced image separation. I want to point out too that it has foil-wound output transformers - the cheap transformers in the new versions of this amp don't even come close to this level of quality.  Current tubes: Psvane 6CA7 TII, NOS Philips 6189W.
    • Rogue Audio Model 88 amplifier
    I recently stumbled upon this most incredible amplifier.  It is actually a Tempest integrated but I'm running it in "preamp bypass" mode so it acts like a regular amplifier (Stereo 88 version 4) since the preamp is passive.  It sounds phenomenal with my solid-state TEAD Vibe preamp (it doesn't really get along with the Crescendo for some reason).  

    It clearly sounds best in triode mode, 30 Wpc, and I'm currently using my preferred EH KT88 in it, and 8 Ohm taps.  My comments relate only to this arrangement.  The pentode mode lacks microdynamics, and the treble is crude in comparison.  It's a completely different amp in triode.

    Simply put, this is the only amp that truly rivals the 152.  Resolution is as good, though restitution is not, but then dynamics are surprisingly similar, and it makes everything sound so alive!  Not the finest in soundstaging, but everything else is superb.  One of the cheapest amps I've ever owned, and yet in terms of "hifi," it's nearly the best.  What a find!

    PS, I tried a Rogue Stereo 90 just to see, and even after I had optimized the circuit and run in a new set of tubes, it just didn't have the magic of the 88.  It runs the tubes too hard and everything falls on its face in the vain attempt of making it barely more powerful.  The 88 is way better.
    • McIntosh MC240 push-pull amp
    The classic 1961 MC240 needs no introduction. After 50 years of use, it naturally needed a complete overhaul so I spent two solid weeks rebuilding it to perfection by replacing all the capacitors, diodes, rectifiers and bias resistors with proper parts, and tweaking all the voltages to exactly match specification. It is no surprise this amplifier is a legend when you hear it play music. It's warm and relaxed with tremendous inner detail. Full tube sound at its finest. Current tubes: quad of TAD 6L6GC-STR, pair of GE gray 12BH7s, pair of clear-top RCA 12AU7s, trio of Electro-Harmonix 12AX7s
    • Electrocompaniet AW60 FTT
    Giving solid-state another try, this time a 60W amp from Norway. It is very revealing and exposes the different recording styles in a very clear way. The highs aren't quite as nuanced as my tube amps, but for solid-state, it has a very impressive soundstage and liquid midrange that isn't easy to find at any price. It's no wonder their flagship models are so revered - these designers really know what they are doing.
    • McIntosh MCD301 sacd player
    The CD player that has it all: body, dynamics, tone, subtlety, extension, potent bass, natural midrange and airy highs. It allows the performance of the music being played to come alive like no other sources I've heard, whether vinyl or CD based. It has psychedelic imaging and a walk-in soundstage that I still can't believe to this day.  I recently A/B tested it against an Ayre C5xemp and it was no contest.  I don't understand why the C5xe is so loved by reviewers because in my system it sounds constricted and small in comparison to my 301.
    • Cambridge Audio CXN (v2)
    This streamer sounds bright and thin, but I designed my 6N6P vacuum tube buffer for it that fixes everything and results in incredible resolution combined with fantastic soundstaging.
    • DIY tube amp for iPhone/Macbook using 6N6P
    A lot of people feel the aural inadequacies of music files are because of inferior DACs. This, in fact, isn't the big problem. Even expensive DACs are actually cheap parts. The big problem is a weak power supply in the device that makes the sound anemic. Making high-current drive is big, bulky and expensive - 3 things that are not conducive to MP3 players. So I took advantage of knowing this to improve the sound of my Audioengine D2. I designed a tube output stage for it based on the rare (i.e., cheap) Russian 6N6P, as a cathode-follower buffer. This circuit makes it a transconductance amplifier which does nothing to the voltage (it's already sufficient) but boosts current drive a huge amount to correct this characteristic inadequacy. It took a good bit of tweaking to get the most of the design but the outcome is shocking. The amount of microdynamic detail and decay of the notes that was 'restored,' or whatever, is really amazing. Downloaded music files have gone from terrible to sublime. It's made a believer out of me and my friends (for whom I've had to build similar ones :).
    • Furman IT-Reference 20i
    A constant-voltage isolation transformer is the only way to filter mains power.  And now I have one.  Not sure why it took me so long - the improvement is massive, improving virtually every part of music reproduction.  I had no idea the impact would be this profound.
    • Piega P-4L mkII ribbon speakers
    Fantastic Swiss speakers that have an aluminum cabinet. Effortless sound and shockingly powerful bass from such a small tower, which makes it perfect for TV room use. It's very hard to beat a ribbon tweeter when it comes to articulate highs. These little speakers revolutionized the TV watching experience. I've placed them near the back wall so the bass is just right - I've had people ask where the subwoofer is, but there isn't one!
    • Emotiva Stealth DC-1 DAC preamp
    Really slick design with analog input and fully-balanced circuitry to match the Cairn KO2. I use its built-in DAC for iTunes, Bluray, and DirectTV. Warm and inviting sound that is clear and composed. Hope to score a Cairn Nitro with DAC board eventually to replace it.
    • Cairn KO2 Class A/AB solid-state amp
    French-made fully-balanced solid-state amp that now drives the Piegas in the TV room. Super powerful, fantastic build quality, terrific soundstaging, a bargain on the used market, can be switched between Class A and AB (10W versus 100W), and has an "auto-on" feature that is super handy for the TV room.
    • I.C.E. Model 473-3 AC line filter
    CM and DM noise filter. None of the audiophile frills and hooplah - this is electrical engineering at its finest. It filters out a massive bandwidth and cannot restrict current flow. $4,000 performance for $80. Everyone should have one of these. I have one feeding each system.
    • van den Hul, Blue Circle, and MIT power cords
    A variety, each with a job and purpose. I particularly love the BC power cords and want to get more of them.
    • van den Hul and Cardas interconnects
    AJ van den Hul and George Cardas are the cable wizards of the world, in my opinion. They truly understand what they are doing.
    • Cardas speaker cables
    It's really hard to beat George's cables, but eventually I want to get van den Hul speaker cables - if I can ever figure out which one to get!
    • DIY rubber eraser cable lifters
    Found these very-soft erasers at a craft store for $2 each. One thing is for sure about their performance - I can't feel the vibration on the cables with my hand anymore!
    • Dedicated power circuit with hospital outlets
    it makes a difference...
    • VTI BL503 and BL404 audio racks
    My audio racks, super nice for the money. They are the best deal going, hands down. I got the silver poles, silver caps and black shelves. Price is for both racks.

Comments 187

Owner
Ah yes! Viva. Those Italians do have a certain flair, don't they? It seems to permeate everything they do. It's like circuit designers who build amplifiers that end up having a certain degree of their own personality built into the sound. How does that happen?? The million Dollar question.... Roy Gregory (one of my idols) says that speakers by and large sound the way they look. I find that interesting too.

I haven't tried one but a buddy of mine loved his Solista. It's been on the list ever since then. I do however have a Unison Research S2 (same as the Simply 2, which has now been resurrected 3 times). It currently has a toasted cathode bias resistor so I can't use it until I free up time to repair it, but it sounds glorious with the right tubes. It has a propensity for throwing care to the wind, and having a great time doing it! Some would say that isn't accurate, but then again they can't ever convince me that their reference should be any better.

You and I tend to prefer the path less traveled, and Delta Summits fit that bill. They remind me of the Goldmunds and, for a tiny fraction of the price, encompass most of their design concept. If Dale's purported personality comes through in his design, you're in for a treat, indeed.

aball

Debussy said that "music is the space between the notes."

Beautifully poetic. Another way to say that is "music is the space between your ears where the notes go...."

It's like those people who have to
do something because they don't know what else to do. Eventually all that
fidgeting gets annoying.

and Audiogon is their parallel universe....

In all seriousness and in the spirit of which you speak (I agree with your sentiments 100%), I recently purchased a Viva Solista integrated 22W SET amp from Italy. Its an experiment I wanted to try since my next speakers from Intuitive Design are going to be 8 Ohm and 93dB efficient. One of the main flag waivers for this amp is a Danish dude who also owns your speakers. Its a great little amp with dynamics, bass and yet with a subtle SET sweetness

agear

Owner
I often hear that Avantgardes require your head to be "locked in a
vise" for imaging to be right. I want to address this notion now that
I've lived with AGs for years, and have tried a large variety of amplifiers
during that time. My conclusion is that it's, in fact, not really the case.

Having 104dB sensitivity changes things. A lot. Changes in volume are
clearly audible; much moreso than with a normal-sensitivity speaker. Tiny
inflections come out of the background, instead of being the background.
It's all about resolution at the end of the day, and this means that any
difference in sound is clear, in both the time and frequency domains.

The issue is that most recordings do not have a central image. Recording
engineers don't really pay that much attention to it. They're too busy
twisting knobs, adjusting mic's, and pushing slides to realize they're slightly
off balance. When I was a kid, I got interested in making quality recordings
on magnetic tape. It always came as a shock to me how many recordings
were off balance. And some were off a lot! The meters clearly told me so.
Sometimes right, but most often the left channel was the hotter one.

Fast forward to the Nanos. It's as if I was a kid again, except it isn't
presicion VU meters telling me, it's my stereo. Is that a bad thing? I don't
think so - I see it as information, truth, and reality, in equal measure. The
goal after all is to enjoy the music, and I don't find that this information
detracts from the fun -- particularly if you use the right amp.

Debussy said that "music is the space between the notes." The
corollary to this is that not all amplifiers make music. Some are more
interested in making a frenetic stream of sounds. If that's the case, then
there's precious little to listen to other than channel imbalance, treble, bass,
etc.; essentially all the mechanical stuff. It's like those people who have to
do something because they don't know what else to do. Eventually all that
fidgeting gets annoying. You find yourself longing for composed and
thoughtful responses, with natural control, like the ones good tube amps
can offer. When that happens, a shifted central image is no more
concerning than seeing someone off center in your field of vision. It's simply
part of reality. Once that's clear, all that's left to do is listen to the music,
and contemplate its spaces.

aball

Owner
Thanks!

aball

Arthur, your aesthetic sensibilities, both demonstrated in the subject and the photography, are also stellar. Your pics are a pleasure to look at. Ciao....

agear

I am although I still dream of tube gear in my weaker moments. Does not work with our inquisitive 19 m/o ....

agear

Owner
Thanks Andy! I love it. The resolution I have now is so much better than before, it's amazing. Moving to a large room made me realize how many reflections I had in the small room. Imaging has improved dramatically too. Being able to sit back farther from the speakers helped with that as well.

Still enjoying the Neodio?

aball

Beautiful new room Arthur. Bravo again.

agear

Owner
Hi Paul

No not at all. The Nanos fill the space perfectly, the larger ones have no more bass, and the larger models have their drivers too far apart for ideal imaging. Proper driver integration is critical for me.

I see you ended up getting Nanos. That's great! I feel they are the best overall design Avantgarde offers.

Arthur

aball

Hi Arthur, congratulations for the new house! Do you have any plans to move to larger Avantgarde speakers (e.g. Duo mezzo/primo or Trio) now that your room allows it?

Paul

nvp

Owner
Thank you both! That 6N6P amp is quite a trick. If I had the time and gumption, I would commercialize it in a slick little package.

Arthur

aball

The new room looks great... Congratulations!

pdreher

Beautiful new room. Congrats on the DYI 6N6P iPhone amp!

jetrexpro

Owner
System edited: Moved into a new house a few months ago and now my
room is 4x larger. It's changed everything, but it's been fun getting a
feel for those changes. But one thing's for sure - the sound is better
than ever.

Hi Lall - Sorry I didn't see your message sooner. You've got yourself a
tough situation there. Sounds like you will have to desolder the
surrounding parts to make room. It's like repairing a car - you always
have to take off more parts than you want to! You may even have to
take the board out to do it.

BUT, if you aren't familiar with soldering, I don't recommend you do it
yourself. Soldering seems so trivial but doing it well is an art form -
and it needs to be done well, with a proper soldering iron. Also, there
absolutely is a direction to the tube! If you put one or both in
backwards, you will have much bigger problems than you have now.
You have to look very carefully at the interior parts of the tube and
match the new one up with the old one. Bend and cut all the pins such
that it mimics the old one as close as possible before soldering it in.
Take your time doing this - it will save you a big headache when you go
to solder them in. And be sure to take lots of pictures of everything
before you take anything apart, so you can remember how it all goes
back.

Arthur

aball

Aball
i read in one of your previous posts regarding Audio Aero CD that you offered to give detailed directions on how to go about changing the 6021 mini tubes of the Audio Aero Capitole CD player. I see you no longer have an AA cd player but would greatly appreciate your help and guidance.
I have an AA Capitole Reference (latest version) and when i opened the cover, i was quite surprised to see the 6021 tubes so close to the black capacitors and the connecting wires are almost touching each tube. So how to go about replacing the tubes without removing the capacitor wires and how to desolder and solder on the outer sides of the tubes since the latter are almost touching the capacitors and hence no place at all to place the soldering iron?
Also is there any specific sequence/position each of the 8 leads of tubes need to be soldered or can i just grab anyone lead, solder it and go round the clock one by one until the 8th lead.
many thanks

lall

Owner
Ah Andy, I didn't know your username. You little prankster!

aball

I don’t appreciate the failure to realize that it took
thousands of late nights working very hard to get what I
have today. Getting here didn’t fall from the sky, nor did
it come from illicit gains.

You missed the humor in my jab. Audio is a neutral domain. It does not matter if you are a trust baby or slaved in the coal mines after hours to pay for your equipment. My surgical training lasted 10 years, and I was paid less than $2/hr due to 120+ work weeks. I still managed to "moonlight" in ERs and other facilities to make extra dough which was used to buy my first audiophile grade system. So there....

BTW, did the equipment recycling you benefitted from involve one company in particular? A french company perchance?....yuk, yuk, yuk...

agear

From a former Roanoke resident, and a lover of Southwest Virginia, well done! Hopefully I can build my mid-fi system to your level one day.
Jeff

arcamguy

Well done Arthur! Even if it had come by well funded parents, I get tired of hearing from jealous people of others good fortunes!

BTW, I sent you an email via AG about a week ago, did you get it? My email can be determined via my user name; the AT goes after the m.

brianmgrarcom

Owner
Schubert - Ha! Well it all started off cheap and little,
and gradually got built up.

Agear - Sorry to break it to you, but the money came from
very hard work. I got a big scholarship right out of high
school because of my excellent grades. I chose to go into a
technical field that would give me a future. While doing my
BA in mechanical engineering I was a European-collector-car
mechanic and repaired cars in the evenings after classes.
Then as I worked on my BA in electrical engineering I was
hired by a French manufacturing firm that built electric
airport baggage tractors. I took an average of 20 hours a
semester and worked part time on top of that. I finished
both degrees in 6 years, and because of my breadth of
knowledge and GRE scores, I landed three research
fellowships during my grad student years that covered more
than my living costs. During that time, I leveraged my EE
knowledge by buying broken electronics, repairing them,
using them in my stereo and then selling them. This money
was recycled into my stereo while keeping me totally debt
free. My parents never paid a dime for any of my schooling
– I did it all by myself. When I finished my PhD, I was
immediately hired as a senior design engineer and got a
large sign-on bonus. That’s when I bought the Nanos. I
don’t appreciate the failure to realize that it took
thousands of late nights working very hard to get what I
have today. Getting here didn’t fall from the sky, nor did
it come from illicit gains. It simply came from tireless
determination and making the right decisions.

aball

Odds are this is the best system ever assembled by a grad student

Touché. Very suspicious for a grad student to be rolling high dollar equipment like that. My father's students had Bose if they had anything at all.....

agear

Odds are this is the best system ever assembled by a grad student !

schubert

Arthur, you are an audio kleptomaniac. Wonderful system and room where everything looks aesthetically correct. Very elegant and very French. I have always liked the idea of a multiplicity of component or systems to suit the mood.

Your musings on the amp/speaker interface make perfect sense to me. I have owned amps and preamps in the past with extreme bandwidth and you can "hear it" in the ebb and flow of the music.

agear

I will be very curious of your results if you do.

brianmgrarcom

Owner
Hi Brian, thanks for the update. I'm planning on selling one of my amps and replacing its spot in the rack with a Furman, most likely. I've been eyeing the IT20i for years now - it would be about time I finally try one.

Arthur

aball

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