A fair amount of DIY went into this system, which has turned out to be very musically rewarding.
The basic Salamander Archetype racks were modified with constrained-layer damping incorporated into much thicker and stronger shelves, which were then trimmed in oak. Additionally, the racks were given some substantial solid oak outriggers. For the left rack, I made a thinner top shelf from oak-veneered plywood.
The Magnepan 1.6's stock passive networks were removed to accomdate vertical bi-amping (one Odyssey amp per Maggie). The Maggie's binding post plates were modified with CNC'd pieces from Front Panel Express in Seattle and binding posts from Cardas. The frames of the Maggie's were modified to be much thicker, more substantial, and incorporate constrained-layer damping on both sides of the magnet/driver panel. The magnet/driver panel is sandwiched onto the main frame with a screwed-down & finished retaining frame. This, combined with the [sand-filled-struts] MyeStands, offers a very strong and stable platform from which sound can be launched. Externally, though, the enhanced frames are visually identical to stock, with the exception of the new oak side trim.
Eventually, the dbx crossover will be replaced with my Bryston 10B L-R's. Also, the McIntosh integrated amp will probably move to another system, and I will replace it with a dedicated preamp.
The Rythmik subwoofers, deployed in stereo, offer a wonderful match to the Maggie's. The dbx crossover sends all frequencies below 50Hz to the subs, relieveing the Maggie's from having to reproduce frequencies that are muted by dipole cancellation, and saving that bit of extra headroom in the Odyssey's as well. After experimenting (and failing) with integrating other subs with the Maggie's, the self-amplified servo-controlled Rythmik's make a perfect match. And, they were a snap to get one seamless sound from top to bottom.
Power cords for all components are the Pangea Audio AC-14's and AC-9's from Audio Advisor. The cable risers are homemade.
Although I loved the Maggie's when they were stock, the system now represents a level of musical performance that is a quantum leap above what it was. Overall, an extemely worthwhile endeavor!
Next....VPI tweaks? Cambridge 840 upgrades? Who knows?
System edited: Changes within the last year... Deleted McIntosh integrated amp in favor of Audio Research LS-17. Deleted dbx 234XL crossover in favor of dual Bryston 10B L-R's. Added laptop server, using the DAC in the CD player.
Hello, I have a pair of Analysis Audio Omega Ribbon Planar's. They are similar to what you have. Love the speakers, but I must admit, I do miss the chest pounding dynamics of conventional dynamic drivers. Now, I have decided to add two subs to my system. My room is approx. 18' x 22' with an 8' ceiling. I was thinking, two of the high powered 15" Rythmik subs. Do you think this would be overkill? You have 12" subs. You think two of the 12 inchers would be more than adequate? Thank you, Ken
That's correct, I no longer run the Maggie's full range. I've added a .jpg of the system layout so it will make a little more sense. It shows the Bryston crossovers instead of the current (adjustable) dbx, but that's the only difference. The signal chain goes like this.
Source (CD, LP)output...McIntosh input...McIntosh pre-out #1 only...active crossover input. Then the active crossover splits the signal 3 ways. Signal 1 is 550Hz up. Signal 2 is 50Hz to 550Hz. Signal 3 is below 50Hz. Each frequency split is a 24dB/octave L-R slope.
Signal 1 Right and Left is is sent to Channel 1 of each Odyssey amp, then goes to the high-range quasi-ribbon of each Maggie. Signal 2 Right and Left goes to Channel 2 of each Odyssey amp, then goes to the low range panel of each Maggie. Signal 3 Right and Left is output to each sub's plate amp.
So, the active crossover is doing all the frequency splitting. This saves the Odyssey amps from having to reproduce anything below 50Hz, so there's a bit of dynamic headroom preserved. And, since those frequencies are no longer being reproduced in the Odyssey's, it brings the 550Hz crossover frequency closer to the "equal power split" for how much much power is being reproduced between the Odysseys' Left and Right channels during typical music. In other words, the Left and Right channel of each Odyssey, which power the High and Low range panels of each erspective speaker, are fairly evenly balanced with respect to how much they are being asked to work.
Also, since the Low range panel of the Maggies doesn't reproduce below 50Hz now, it increases power handling, lowers distortion, and lowers panel fatigue over time. Additionally, the outputs of the active crossover are all in phase, so if the listener is sitting directly on axis between the high and Low range panels, then the first-arrival sounds are exactly in phase as well.
The 1.6's have always been described as a very coherent speaker; my impression now with totally in-phase crossover outputs is that this positive quality has gone up another notch. The stock passive crossover has a 1st order high-pass, and 2nd order low-pass, through which the phase of the outputs will not be totally coherent. This is why the hookup polarity of one of the panels is reversed. For my speakers, I changed the polarity back.
For the Rythmik's, I set the crossover control on their plate amps to 120 Hz. Since they're only being "given" frequencies below 50Hz by the active crossover anyway, this doesn't really matter.
I've had the chance to demo the system a few times now, and the general impressions match mine. Very good coherence, an almost seamless sound top-to-bottom, and very dynamically tight and punchy. So, I guess I lucked out!! Sounds like it's working for evilfij, too.
Thanks. You are correct, I am running the Maggies full range from the Sunfire and using one of the two sub out's there as well. Do you no longer run the Maggies full range and are you now utilizing speaker outs to send the signal to the Rythmik?
Looking at the back of the Rythmik, it seems I have the ability to turn on and off the PEQ or thus utilize the controls on the plate amp and I am guessing this is what your description of settings applies to.
Thanks for the compliment. Before I converted this to an active system, I did what you are probably doing- running the Magnepans full-range and letting the Rythmiks (on pre-amp Output #2) "fill in the blanks" of where dipole cancellation nullifies the Magnepans' low-frequency output (~40Hz). It worked quite well and I enjoyed it, but the Maggies' mods and going to a fully active system took the clarity and dynamic punch up a few notches.
The Rythmik subs are crossed over to the Maggies at 50Hz, but this is done with the outboard active crossover now. The crossover controls on the Rythmiks' plate amps are both set at their maximum (120Hz), and the LOW PASS control is set at the EXT/12 position. The PHASE controls on the Rythmiks are currently set to 0, and the output LEVELs are set to what sounds right by my ear...I haven't had the chance to conduct any measurements yet. The EXTENSION FREQ control is set to the lowest value, the DAMPING is set to the highest value. The RUMBLE FILTER is off. Again, I haven't done any mic measurements to determine if there's a need to employ a notch or boost with the parametric EQ, so it's currently off. With the room placement what it is, everything seems quite coherent though.
These cable risers were simple to make. I just cut these out of stiff cardboard (in whatever size I needed) and painted them black.
Great looking system. I as well run the Rythmik se-12 and Magnepan 1.6's, no mod's to either. How do you have the Rythmik setup to so seemlessly blend, the controls on mine look like the cockpit of a jet? Also could you share what goes into making the DIY cable lifters?
