Audio Hobby Thoughts, Philosophy & System Description
Current Room Anchors - Room 1 and 2 active
Room 1 - Matrix 800's anchors - for creating that ..........Maxell Tape Effect.
Room 2 - (Adjacent to Room 1) - Quad 57 + two Dynaudio BM12s subs - Midrange reference
Room 3 - Acoustat Model 3 - Modded - upstairs - For imaging larger than life (literally speaking) - see last picture. Unfortunately is next to my wifes TV room. So it gets limited use.
Stored - B&W Electrostatic DM70c Continental - Wife calls them the washing machines. John Bowers called them his favorite speaker. Very interesting and very rare. Could anchor a room but they need special placement and lots of room. ESL portion needs to be 100% functional and at ear level or they will sound soft.
Room 2 is mostly digital, guests, and used for trialing used unplayed records before they make the queue for room 1. Room 1 has been called by my family as Dads Hole. I prefer panic room as it helped to raise my kids and stay married...so far.
Psychology Part
Music is critical to ones health and well being. I went through a couple stretches in life due to events without it and the results were not good. The goal for me to get lost in the music and have it transport me to that special place. Now whether you get there by a typical 2 channel home stereo with speakers, headphones, or other means is not important. Getting there is the important part.
Audiophile not.....
Have always been the type that if I frequent a room enough, a system usually ends up in there. My wife finally put an end to this, and allows me to do what I want in the full basement of our house.....so..... In this described virtual system, I have had Room A since 1994. Adjacent Room B is in the process of being finished, but I have been using it for listening for a few years now adding in room treatments as needed.
History
Like many others, have been at this audio hobby since I was about 13 when I was consciously aware of the gear versus the actual music relationship. I am now 55 and currently with two adjacent music rooms setup with different gear. Both rooms can do full orchestra symphonies with large dynamic swings. Getting Room B with the Quad 57's to do this was a challenge; but I was able to get it to work with the right amps and powered subs. The Quads require a very different room acoustic setup over the Matrix 800's in Room A.
I am a pure amateur, audiophile, music lover, past trombone player, and have never been part of the Audio Business as a manufacturer, dealer, distributor, or have any special interest relationships with any of these people. I consider myself a full time music lover, and part time audiophile; although I have friends that could argue this point. I have tried to upload pics and information here, that give a flavor of some of my audio journeys, and associated bouts of Audiophilia Nervosa. :^)
"Audio Heaven, is for Music Lovers - Audiophiles are never happy.
With that, in the real, authentic, Heaven; there is room, even for Audiophiles"
8^0
Living in the country
Having moved away from the city core in the 90's, I have found that audiophiles away from the cities, are in general, scare to find and or keep to themselves. Many of my audio friends are now remote, due to the distance between us; so only virtual communications are possible most of the time.
The negative aspects of Isolation aside; one good aspect of living in the country is the clean power and lack of noise and vibrations caused by traffic, trucks, etc...Once experienced and its effect on your listening, you become very aware of the multitude of audiophile products available as band aids, to cover, veil, but never eliminate these artifacts in densely populated areas.
I was born in the 60's so I grew up with Classic Rock, Beatles, etc... But I love all music, new music and Opera hits home with me. I played trombone in Jr and High school so the Bass Clef has a bias with me. Listen more now to the ladies crooning at me, Classical and Jazz with occasional Classical Rock; I think a well recorded full Orchestra Symphony with huge Dynamic swings has the most magic for me.
***** MAIN ROOM aka Panic Room, Dad's Hole, ....*****
I have had Room A since 1994. It has 3 dedicated lines 20, 20 , 15. This room is personal use. Room B is more for entertaining and spending time with friends.
Room A is much better insulated and isolated from my wife. As much as I would like to move the Matrix 800's to the larger Room B space to try them, it would probably just get me that much more trouble.
Room A and B are both located on a concrete poured floor. A has a an underpad and flat carpet on top. Spikes from gear stands and speakers are able to penetrate to the concrete with no problem ensuring a solid mechanical connection. The speakers are located 6 feet from the front wall with the room being 24 ft in length. Putting in the 800's over the 801's meant that some of the room treatments were able to be removed due to the 800's double woofers high and low. This is also one of the reasons I call them very room friendly.
1/4 inch 2 track machine. The three pictures attached. Top Left - known as two turntables. my machine being worked on Middle pic - 807 Top Right Pic. A picture of Roger Ginsley with a 48 track machine he is about to split into two 24 tracks. My Studer 807 is calibrated by him. He is also the one that makes the interconnects I use with it.
JC Verdier La Platine Vintage Granito Original Design
2012
http://www.jcverdier.com/ADSL/platineVintage.html
Just a delight to use. With its presentation, sends the message home that it is all amount the music. Effortless, seamless, but experience is needed is setting up the thread. A real Goldilocks scenario of the thread being too loose, too tight or just right. Different thread tensions alternate how the motor and platter work together and change the speed. The objective is to get the correct speed with as little effect from the motor. ....
Original design. Granito Model My version uses a motor only equipped for thread Granito base and solid aluminum billet armpod. The later newer motors are equipped now for belts too - but no one runs them this way that I know of. This decision was made imo to generate more sales as it is easier to setup. But imo the belt grip would play havoc with the motor / magnets marriage which was designed for thread. I would think that belt stretch and its physical changes with temp and humidity changes would also cause problems, and interfere with the natural braking action of the magnets. This is my opinion as mine is thread only. There is a greater learning curve involved with thread.
This is the only turntable I am aware of whose platter design includes both acceleration (inertia) and braking (natural forces from same pole magnets) to deal with the records behavior - going from soft to heavily modulated grooves. The motor design, like a marriage with the platter. Think of the childhood merry go rounds that once up to speed - even a little girl could keep them going. To understand how the motor and platter are like a marriage, one need only turn the motor off and the platter spins for 30 seconds with the thread attached. However cut the thread while the platter is turning, and the platter stops much quicker as the two magnets demonstrate their braking capability. Impressive to me is just the plain simplicity of design using physics to get the job done with a piece of string and magnets. I found it important in setup to have the thread positioned in a way that is the least intrusive on the platter; so as to allow the platter to not only do its job as designed; but to also provide the needed jolts as required from the motor to maintain speed stability.
In my opinion - you will know when you have set it up properly because you are able to turn the motor off and on and also deflect the thread with your finger - as the records plays - and not affect the music delivery to your ears. I base this when compared directly to 15 IPS Master Tape dubs. In testing for accuracy I run both simultaneously with one lagging 10 seconds behind the other and switch between the two - compensating for gain as tape is a high level signal. When the thread is setup in this fashion there is minimal stress put on it. The current silk thread I am using has recently passed the one year mark. Overall Big Sound from a small piece of thread.
Some facts Magnetic bearing design. Brass colored rings are big shielded permanent magnets; same magnet poles repelling each other. The result is "levitation" the space you see between them. No thrust bearing involved. A central spindle bathed in a special oil keeps them aligned. For me personally I did not know what TT bearing noise sounded like until I heard music on a TT without a physical bearing. The plinth is made of Granito. Granito is not real granite but a non-resonant material that looks and feels like granite. A limited edition model.
"Granito is a material composed by little pieces of marble of very different origin agglomerated inside a mold with cement. Machined and polished. The resonance of the plinth with its suspension is about 5Hz and it is well absorbed by the air cavities."
Mr. JC Verdier Note: Newer Platines are provided with a setup bearing. The manual is very clear on the setup bearing. It is just that - a setup tool only. COUNTERFEIT PLATINES Unfortunately there are non-authentic tables out there worldwide from 20 different counterfeiting makers. These tables are out there with people using them. If anyone is unaware of this, see the Platine Information on the JC Verdier website for more info.
The only advice I can give is when buying a Verdier Platine you should be careful to ensure it is a real Platine, especially if buying privately. If you already have one and have doubts, check with an authorized dealer or J.C. Verdier company in France to ensure it is authentic.
Custom Eminent Technology Model 2.5 for MC Carts
This is a custom build ET 2.5 Tonearm from Bruce Thigpen - A 19 PSI design.I am using the new Long I Beam. Weights are reduced by half and therefore the vertical inertia is higher - a goal of the design. The Aluminum Gooseneck was sourced from NZ. It was through Richard Krebs also an ET2 owner. I am using Single Shot WBT wiring, Aluminum mount plate. Magnesium armtube. Double Leaf Spring and damping trough. If you are an ET2 owner you know what I am talking about :^).... Advantages of the ET2 airbearing linear tracker tonearm - no VTF changes with VTA adjustment, no offset setup, antiskating and immunity to acoustic feedback, as it rides on film of air.
One shot wire. Run at 19 PSI. Damping trough with 1 cc of Oil. Lead weights at the very end of the I Beam.
VTA on the fly while the record plays and it doesn't change any parameters (VTF) like all other tonearms do. This is due to a patented VTA on the fly system. Have you ever noticed how with same thickness records....some can sound brighter, some bloated and some just right? When they press the records the different plants can have different standards. Records are then cut with varying angles.. even same thickness ones.
See ET2 Bass Management Below
Tonearm Wiring Loom - One shot WBT NextGen
2011 One shot wiring loom for the ET 2.5. WBT 0102 CU connectors. The design of the ET2 (2.5) allows for this wiring to be changed out in about 10 minutes. Silver and copper can be experimented with.
The PUMP ET2
Life Support for the ET2's. Timeter 3000 Medical Industrial Pump. The most important part of the ET2 arms setup. Industrial commercial grade medical pump. Its actually a patient respirator.
These have an hours counter and come up for sale cheaply on ebay. If you have space in your basement somewhere they are turnkey once set up.
I have tried large aquarium pumps, smaller medical pumps, compressors.
This Timeter Medical 50 psi pump has been customized to allow me to regulate air pressure coming out and send 19 psi to the ET2 tonearms. Another regulator with gauge at the arm allows me to accurately adjust for the PSI coming into the arm. Located in another room -cannot be heard in sound room when running.
The smoothness of air delivery is excellent. No resonance. The pump dumps/expels moisture like a car's AC. Have never seen a drop in the moisture collector; other than one incident when the pump outlet clogged with minerals from the moisture. I now soak the pump outlet in CLR for 2 hours every two months.
ET2 In Room Air Regulator & Filter
2nd Regulator and Filter on wall near the ET arm. Confirms and controls the 19 psi and also filters out moisture in line. Have never seen any moisture in this filter. This device lets me change the pressure going to the arm by just turning the top mounted knob. This regulator is mobile. It can be placed in my lap while the music is playing and pressure adjusted to hear how it affects the music delivery.
Audio Research DAC8
From a DAC only function perspective identical to the ARC REF DAC except the output stage is tubed on the REF. Interesting read. :^)
Owned many many years. Modded power supply box. Variable Gain for dealing with hot, and compressed source material - Digital and Analog. On the fly cartridge impedance loading. Used in ARC's hotrod mode. Direct output and bypass switch engaged. Amperex Bugle Boys.
Matrix 800
Unique one time all assault effort from B&W at a time when 2 channel was the focus. Smooth, musical yet still detailed. Room Friendly if you can believe it. Imagine 4 subs two high and two low pointed at you for 2 channel music. Each driver 2 woofer, mids, tweeter have their own crossover easily accessible from the back.
They were a 2 1/2 year study from Bowers & Wilkins under John Bowers (RIP). I have looked for a long time for a pair. The only time they become available are through owners going to a smaller condo (retiring or divorce).
All B&W 800 models that followed the Matrix series are the same only in model designation - 800. They are not a replacement or upgrade. They are a different build, design, objectives, sound. Post Matrix 800's are a smaller speaker system (require a sub for full range); they do have better WAF (more easily placed into a shared room with the wife)
800 matrix can be played at low and high levels with the right amp. 93db 2.83 volts/1m, Mine are Quad wired. They can be run on four separate amps if one desires as each driver has its own crossover.
Top and bottom woofers each excite a different set of waves. These waves cancel each other out. Thats the theory. My listening supports this. Smooth tight bass. It is quite something to experience since their size make you think they will over take the room. Also IMO each woofer works only half as much with four versus two for the desired SPL. All of this results in a very flexible listening position. All drivers are physically isolated with separate crossovers and Van Den Hul silver wiring from the factory. I run them with both tubes and Solid State. Krell and the modded Music Reference RM9.
Krell Amplifier Story My research found me talking with Dan D'Agostino who used matrix 800's as his reference speakers when he designed this era of Krell amps. Specifically the FPB series like my FPB600. On a dedicated 20 amp circuit with upgraded 20 amp power cord using Furutech Gold IEC.
RM9 Push Pull Tube Amp. Used to power Acoustat, 801, 800 speakers. WBT 0700 Connectors. KT88 output tubes. Hardwired for 4 ohm tap. Total Overhaul done April 2015
MATRIX 800 INSTALL
Installation
800 Series Bass Alignment Filter / Equalizer.
The graph shows the 801 matrix frequency response with and without the filter.
All 800 series B&W matrix speakers are an active design and are intended to be used with an equalizer by the designer (John Bowers) to achieve the best frequency response.
This attached graph was sent to me by B&W Europe years ago
It is the frequency plot for the 801 matrix "without" using the supplied Bass Alignment Filter. (not sure if it is 801 s2 or s3)
B&W England are the ones that drew the two dotted lines on the graph.
The 801 matrix speakers were designed to be used with the BAF. The speakers with BAF devices were shipped to original owners. But these devices became lost as speakers changed hands. They pop up on their own on ebay.
The two interesting parts.
Part 1
Not only does adding the BAF filter as designed give you a smoother response and allow the speaker to hit 20 hz. The BAF makes the 801 matrix speaker much more efficient. The ohm ratings can be seen on the right 8 - 6 - 4 - 2 ohms. The 801 matrix s2 and s3 are a very easy 6 ohm steady load with the active equalization provided by the BAF. This opens up amp choices.
Part 2
Audiophile opinions on the BAF device are kind of split. Not sure if its an even 50% like it, 50% don't like it, but you have the two camps. Why the difference? The room; its acoustic properties, and how the 801 (aka relationship destroyer) deals with it. There is a reason B&W no longer make the 801. You need a dedicated room. Its makes no business sense.
801 matrix owners today (there are many out there and some reading here), that could NOT make the BAF work with the speaker; or who never used it, or even heard of the BAF before; are taxing their amps way more to make bass with the 801.
************ SECOND ROOM ***********************
A backwards seven with the main section 20 -23. This room is the "top of the Seven". It is separated from the bottom portion of the Number 7 shape (12 x 24) by a heavy curtain. It is also adjacent to my other room of which the door is left open. The back of the room has the stairs that go upstairs. One of the pictures has me standing on the stairs. All this makes for a much bigger room as far as sound volume and space is concerned. An in progress dedicated listening space that accommodates different speaker types.
03/31/2011 Dynamic, ESL, Planar IMO - We listen to our rooms. The speakers in the rooms are like boats. They both represent freedom to me. A 12 foot aluminum boat is perfect for a small lake and your favourite person. But out on the ocean or a big body of water The water/boat analogy in this case is like your room and speakers. Water waves versus sound waves. There is no perfect boat and no perfect speaker. This is because all our rooms are different and the room is the big rock in this audiophile game. Speakers represent the last piece in the audio chain. Their sound represents everything in your audio chain especially the room, before it reaches your ears. Every piece will have an effect on what is heard. This IMO is why it is so important to have a good source. The last few years my speakers have remained intact and I have concentrated on improving the source components. Each time I improved the source my main speakers improved as well. This tells me they are not a bottleneck and I have not yet reached their limits.
Dynaudio Acoustics BM12s - Two of these in my Quad Room B .
Two of these in Room B - 18hz - 60 hz.
4th order Linkwitz- Riley crossovers have a really steep slope past 60 hz.
On paper this made them look like a really good match for the Quad 57's; but how does such a small box make 18 hz. They have class a/b amps are 4 ohms.
I brought them home and demoed them. Very Punchy, Clean and they go really low. A great match with the raised Wayne Picquet Quad 57's. They are placed under the speakers - see pic in my virtual system.
Quad 57 Wayne Picquet rebuild with Music Reference RM10 AMP
Quad ESL-57 - Wayne Picquet Panels Partnered with the amp that was designed for them - Music Reference RM10 by Roger Modjeski.
With certain music magic for me.
8/20/2012 These Quad 57 speakers were designed and put out before I was born. The parts inside which I have replaced like the EHT modules were stamped 1971. Fourteen years after they originally came out. The panels themselves are only a few years old. They were rebuilt by Wayne Piquet in Florida. The normal music presentation for stock Quad 57s is as if listening to music from the first row of a balcony. If using stock feet a 2 or 4 x 4 piece of wood or brick under the rear leg angling the speaker downwards toward you actually raises this image. This may be a more realistic presentation in your room.
Check out my review. http://forum.audiogon.com/cgi-bin/frr.pl?rspkr&1309018315&&&/Quad-57-
801 Active Monitors - Currently Stored
Currently Stored - "Winnie the Pooh" of speakers. Relationship Destroyer. Owned since 1994. Serious Sound Pressure Speaker can re-create an event in your room when positioned and driven properly. Mothers milk bass. During my time with them have used Solid State and Tube amps (Push Pull and OTL's). In comparison to the DM70 Electrostatic, If the 801 and DM70 were cowboys. The 801s are wearing black hats and the DM70 white ones.
801 Matrix S2 and S3 - Designed by John Bowers to be Active Monitors with use of the BAF and become a sixth-order Butterworth alignment. Without the high pass filter they are a vented fourth-order design, specifically in a Bessel alignment. "Fourth-order" is an engineering term that refers to all vented and passive-radiator speakers; sealed boxes are "second order."
From Stereophile (re: S2) "Higher in frequency, the response trend (averaged across a 30 degrees lateral window on the tweeter axis) is basically flat, but with a slight excess of energy in the presence region and a corresponding lack of energy in the top octave. All things being equal, this will make the speaker both a little too revealing of recorded detail and somewhat fussy when it comes to the quality of source and amplification components, just as LL noted in his auditioning comments."
Some of the changes. S3 used a different crossover than s2 - less component count. Better isolated mid and hf boards. Bass inductors with an iron dust core . Rotating midrange tweeter head assembly was permanently connected. (from 3 to 4 pin delivering separate ground signals to midrange and tweeter) Magnetic fluid cooling of the tweeter (like the 800 matrix) - the reason the apoc protection eliminated (circuits needed for this were also removed)
In nearfield very revealing of room setup, system components - SS and Tube, cabling, TT drive systems, poorly recorded music. They reveal all the flaws of the recording.
Depending on your audio hobby objectives this can be a good thing or a bad thing...
See picture of the Bass Alignment Filter.
B&W Electrostatic DM70 John Bowers / JansZen Hybrid
B&W DM70 Electrostatic Continental Hybrid Speaker Clockwork Orange Movie The late John Bowers (RIP) favorite speakers. JansZen ESL - 500hz and up. B&W Woofer - 500hz and down. Require a large room - elevated to ear level and a good distance from the front wall. Very refined midrange - muscular bass. Non-directional with a large sweetspot.
n]Designed in 1970. No cost or time constraints during the development. From what I can make out they were discontinued due to costs involved. Version One - Power handling 25 watts at all frequencies. Version Two - The later DM70 Improved, which looked identical, is suitable for amplifiers of 25-100w, but seems otherwise identical.
500hz crossover - ESL panel can not be overdriven and is nondirectional.
ESL Panel was provided by JansZen. Sensitivity is 17 watts into nominal impedance required to produce a sound level of 95 dB. at one metre at 400 Hz Double fuse protection C and CA versions.
Modded Acoustat Model 3 - Used In Shared Space Upstairs
Finally hooked up the Model 3's to the OTL's in a temporary fashion.
These are in our living area shared space Custom modded Model 3;s. They have rebuilt interfaces. Unique granite bases with integrated spikes that weigh 80 lbs. Burl Oak Veneer facing and the inside is filled with small sand bags.
Technics SP10 MKII with 2nd ET2 High Pressure Manifold
March 11, 2013 Update
Next version ? will replace the current black base plinth with a more aesthetic one.
Pet Project - Has taught me a lot about resonances and vibrations. SP10MKII Version Five Solid Stainless Steel Legs have threads at both ends and are bolted into the sp10 top plate as well as the solid plinth/platform. The armpod is bolted into the plinth. The plinth is then isolated by the AT-616 Pneumatic footers. 19 lb Solid Brass Pod 1 inch Diameter Solid Stainless Steel.
Previously I had the SP10 MKII in a heavy 7 layer plinth. Birch ply + one mdf layer. This SP10MKII came from a private studio.
This is the second ET2 I own and it is a high pressure manifold
Jean Nantais Custom turntable. Includes: 100 Pounds - Veneered - Two Tonearm Plinth Lenco L75 motor and top plate rebuilt to his standards. Reference model spindle, bearing thrust plate. Bonded Metacrylate mat Bearpaw footers. IEC outlet.
************ SOME NOTABLE MEMORIES **************************
For me some notable equipment. Currently stored or sold-indicated as such.
McAlister OTL 195
OTL195 There is a review contained in my system thread. In comparisons to good Solid State Class A and Push Pull amps they were like driving a 911 but you are limited to 1st gear when pushed. Very fast and punchy. But lack the bass that push pull deliver on. Get the bass right and everything else comes into place. These amps are designed around the needs of Acoustats. My Acoustats are in the shared room upstairs. I no longer own the OTL's.
Fidelity Research FR64s
Gimbal Pivot Arm. I found excellent build quality and a nicely implemented antiskate system. I also found a low frequency resonance that accentuated the bass. A warmer sounding tonearm. It was in my second room with the second ET2 not the ET 2.5. Whenever I started a session with the FR64s it was always nice. But curiosity would always prevail and I would switch over to the ET2. It would always remain there. This happened more times than I can remember. I am not a tonearm collector so it was sold to raise funds for another project. I am in agreement with what Cartridge designer Johnathan Carr had to say about it. http://forum.audiogon.com/cgi-bin/fr.pl?eanlg&1243274438&openusid&zzJcarr&4&5#Jcarr
Modded VPI's
Thread driven TNT and a JMW 12 using rollerblock jrs. SOLD
Acoustat Spectra 33
Acoustat Spectra 33
Eminent Technology LFT 8a
Set up in midfield - soundstage at both sides of the room. So the speaker shown is the left or the right one depending on side of room you are on. Excellent Magnetic Planar Hybrid Woofer Speaker. Very natural sounding but difficult to drive.
****************AUDIOPHILE FUN + ET 2 TONEARM MODS ************** ****
From here down are some inserts from past audiophile fun.
Also contained here is important information on the ET2, 2.5 tonearms as well as some of the mods I have done to them. If any questions on any of them let me know. No Holds Barred tonearm. User needs to be mechanically inclined and be willing to read ET2 manual instructions for proper setup of this tonearm. If bought on the used market a friend that is familiar with the tonearm for proper inspection of condition is important.
Goldilocks and the Three Turntables . See Sept 20, 2019 post comment below on my virtual system for findings / details.
Belt Drive (converted to thread) VPI TNT Idler - Jean Nantais Custom 100 Lb Direct Drive - SP10MKII When compared in the same room(nearfield), with same gear, tonearm and cartridge, same time, differences are revealed. Out into rooms on their own, this is not as noticeable as our ears deal with different room acoustics. ymmv
OTL VERSUS PUSH PULL Tube Amps
In room comparison.
Thread Drive Comparisons
2010 testing out different threads. Fabricland became a favorite place of mine.
ET 2 Tonearm Proper Bass Management - ATB
According to Bruce
My ears agree
ET 2.0 Manifold Before and After Cleaning
Pictures courtesty of a friend.
ET2 VTA Block Destroyed
Thigpen Genius showing VTA Block rack of teeth and worm gear. This one was abused. If you are buying a used one ensure the rack of teeth seen in the pic are uniform with no wear and baldspots. This is an indicator that the VTA block was misused and rigidly tightened stripping the teeth. The bolt was tightened to a point that shattered the CF.
ET 2.0 2.5 Tonearm VTA Block Torquing Procedure
VTA Block - Ensure each of the four bolts is torqued equally or the patented VTA system will be off. This procedures takes just minutes and should be done off table or you will throw your alignment off. Once bolts are torqued the manifold housing can be mounted to the pillar post and the rest of the setup completed.
ET 2.0, 2.5 Tonearm Magnesium versus Aluminum Armtubes
Mag - MC Cartridges Aluminum - MM Catridges The middle ground is the Carbon Fibre arm tube. MM and MC.
ET 2.0, 2.5 Custom Aluminum Joint - aka GOOSENECK
Black one is the stock one. Sourced from Richard Krebs
ET Tonearm Counterweight Bolt Mod
Get a longer counterweight bolt especially if you like to use heavier cartridges. The stock ET2 bolt is on the right. The longer bolt weighs a bit more, holds more lead weights and allows you to use less lead further out on the I Beam. This provides for the highest vertical mass which is really important with the ET2 as it has medium to high horizontal mass. a 4 - 1 horizontal to vertical ratio. In my system higher vertical mass means cleaner, less resonant, overall better bass. The brass rings are meant for balancing only. I prefer to use Blue Tack for this purpose.
Et2 Leaf Spring Mods Single, Double, Triple
General Cartridge Guideline
Single Leaf Spring - High compliance
Double - Medium Compliance
Triple - Low compliance
ET2 Pedestal Custom 3
Solid Brass Arm Pod
Koaltar Tweak
my pal 6 months, 79 lbs.
Kitty Tweak Bengal
a real sweetheart
RCA Victor Dog
I introduce Lucky. He is a mixed breed Jack Russell/Chihuahua mix breed. He will be acting as the Victor RCA dog,
The original Victor RCA dog.
He was named Nipper and was born in 1884 in Bristol, England, and died in September 1895. He was a mixed-breed dog and probably part Jack Russell Terrier, although some sources suggest that he was a Smooth Fox Terrier, or "part Bull Terrier". He was named Nipper because he would bite the backs of visitors' legs.
Ct0517, I've only heard negative comments regarding McAlister Audio. Poor workmanship, built with incorrect specs/options, delay shipping, shipping damages from poor packing ... Has McAlister Audio finally got their act together? Their OTL looks interesting but the horror stories are tough to ignore.
Am I correct in assuming they aren't limited in what speakers they are suited for? I seem to recall reading they don't suffer from impedence mismatches with difficult speaker loads
A couple of things to consider Dan.
One - This is from Stereophile
"Higher in frequency, the response trend (averaged across a 30 degrees lateral window on the tweeter axis) is basically flat, but with a slight excess of energy in the presence region and a corresponding lack of energy in the top octave. All things being equal, this will make the speaker both a little too revealing of recorded detail and somewhat fussy when it comes to the quality of source and amplification components, just as LL noted in his auditioning comments."
They are talking about the 801 matrix. Right now the 801s are liking the OTLs... So this kind of lines up to what I am hearing re: power quality.
Two - Peter designed the OTLs around Acoustat power requirements. The Acoustats are the hardest speaker to drive that I have owned. Well, the Eminent Technology LFT8a are right up there too. Peter cant believe I havent hooked his amps up to the Acoustats yet.
Dan - where do your Tannoys fit in as far as the impedance curve goes ? Do you know what the ohm levels are from low frequency to the mids to the HF ?
These comments came from Peter himself. He has had an electronics repair business for many years and is well known on the audio scene.
He told me when I first met him that he builds the OTLs as peoples last amp/s. A little bit of marketing sure hey why not .....if you can back it up.
In regards to mine time is the best test. We will see. I cannot yet recommend them to a friend until I have owned them for a while ....a while after the honeymoon is over.
find it interesting that you observe the effect the new amps have on preamp precision. I've never heard that comment before, but I find it reasonable, and a welcome effect to have.
When I was 20 or 21 my boss at the time let me drive his big and heavy Mercedes Benz. I was astounded by the linearity of the gas pedal I am referring to the amount of travel there was when you pushed the gas pedal with your foot relative to how fast you went. It was so linear in response. It made a lasting impression on me.
I look forward to reading about the SET amp on your system thread Dan.
I'm in no position to correct any assertiions you may make, I can only salute your understanding, and powers of observation.
I am on a steep learning curve regarding tube amplification (or any type, for that matter), I am waiting for my first SET 300B amp, which is coming next week.
I finally got curious enough to find information on OTL amps, which led me to McAlister Audio, and was amazed to find how reasonable his pricing is.
If I sell off all my amps, I might be able to order a stereo OTL of Peter's. Sure got me thinking!
I find it interesting that you observe the effect the new amps have on preamp precision. I've never heard that comment before, but I find it reasonable, and a welcome effect to have.
The topic of tube amps, and the flexibility of being able to use lower powered amps, is one of the main reasons I made the switch from power-loving Dynaudio, back to Tannoy Dual Concentric. It looks, at least on the surface, that Peter's OTL amps don't suffer from lack of power. Am I correct in assuming they aren't limited in what speakers they are suited for? I seem to recall reading they don't suffer from impedence mismatches with difficult speaker loads.
Thank you Chris, for your report, and I wish you continued enjoyment of your new amps!
Holy Moly what a long post. I should have added a disclaimer to the bottom of it. So here it is.
I am a music lover / audiophile and I have other hobbies as well outside of this audio hobby. The previous post represents my opinion only. I am not an electronics engineer and in this hobby; I base everything on what I hear and feel. I am always learning as I go, and outside of what I actually hear and feel; I do research and post information that I believe is true. With that if anyone reading this feels I have said something that is incorrect in the above post let me know. Its important to me to say things that are correct. I would be happy to look into anything and post corrections if required. Cheers
Hello Dan I am still waiting for the warm spring to come to the Great Lakes area.
Here are three things I have learned about these OTLs, and at a level for the benefit of those reading that have never heard of OTLs or have never considered speaker impedance. Fwiw - probably the most important consideration for me when picking an amp with a speaker / speaker with an amp.
OTLs are unique. Why ?
First Important thing
Because they are a closed circuit without the speakers being connected. Its sort of like the electricity in your house. But here we are talking about very high quality, filtered, clean power on reserve. The AC Power that comes into the McAlister outboard transformers is cleaned, conditioned and super filtered (33,000uf) before going to the wood frames you see that house the tubes, and other parts of the amps. The Outboard Transformers (boxes) are located about 6 feet behind the tubes connected by umbilical cords; just like what connects my ARC SP11MK2 preamp to its outboard power supply. The term Outboard Transformer Less OTL for short is used. And there are different designs of OTLs.......just to make it more complicated. The output topology of McAlister amps are Wiggins Circlotron Design with modifications by Peter McAlister the designer and manufacturer.
So lets think about this closed circuit of power a little more. By being a closed circuit you can connect and unconnect your speakers at any time. It doesnt affect anything. The speaker cables tap into this waiting power reserve. Sort of like plugging a toaster, electric drill or micro wave into your wall AC outlet. You cant plug a toaster or microwave into the amps however. DO NOT TRY TO UNPLUG THE SPEAKER CABLES ON a SS, PUSH PULL, SET AMPs when on. They are open circuits and require the speakers to complete the circuit. So its important to understand this and how it makes these amps unique.
Here is the second important thing for me.
Because of the first point, the power of the OTL amp is constant **** ALWAYS THERE**** . In this case marketed as 195 watts per side but it is a conservative number. 240 has been mentioned in conversations with Peter. This is full Class A power waiting to be tapped into.
Here is the third but probably most important fact for me as an owner of different technology speakers. The power output does not vary with load impedances of different speakers. It is constant and has linear output one ohm and up. Even 40 - 80 ohm levels reached in full range ESL bass panels will get full power as long as your AC outlet/s can provide the juice. Try to do 40 - 80 ohms with a SS amp.....fwiw - Most of us have heard that a good SS amp will double down. What this means? a 100 watt solid state @8 ohms, should put out 200watts into 4 ohms, and put 400 watts into 2 ohms etc. So think about something for a moment.... what is a SS amp of 100 watt@8 ohms going to put out when asked to do 40 -80 ohms for full range ESL bass panels, when the bass in music peaks?
BTW I have tried this with a few amps including Krell, Classe, Bryston, Onkyo M Series. Sonics suffer. The soundstage gets narrower. Starts sounding lean and unmusical. Amps get hot. Badly designed amps ? will probably fail/break.
Anyone that says full range ESLs (not hybrids with cones) cant do good bass(within their spl range) should be questioned imo - on what type of amp they are using unless the speakers are known to be shy in the low octaves based on their design. Also in my opinion. If considering an expensive SS amp ask the seller what type of speakers it has driven. If the fellow says ESL or any other types that demand 40 80 ohms; pause and consider the situation isnt this like buying a sports car from a guy that has actually tracked it? Just a consideration.
So Solid State Amps are current amplifiers and the amount of output they put out is DIRECTLY AFFECTED BY YOUR SPEAKERS IMPEDANCE. (To impede means to resist) So SS output will vary in actual power output. It is not linear unless your speakers are linear. This (non-linearity) I have found has different consequences sonically when using the same amp on 3 or 4 different speakers; EVEN if all are dynamic cone speakers; due to their varying impedances. Even within the same speaker brand - small monitors have different impedances than full range speakers.
So OTLs since there power is constant and does not vary with speaker impedance should if designed properly be able to drive and sound good with any speaker. They are not just another amp; its a whole different way of powering your speakers. Sorry to digress but I felt this was important.
Back to these OTLs.
This is what the left channel tube layout looks like for the 195se OTL Amp.. The right one is mirror image. I have been told I will never need to ever change the tubes. Peter is still on his original tubes + 9 years at this point with his own OTL amps. Instead of doing a normal bias check/adjustment , which is changing the negative charge in amps like my RM9 and RM10; the measurements here are actually done for SIGNAL DRIVE on the output tubes. We are looking for measurement of about 20 millivolts for the signal drive. The linked pic also shows the type of tubes used. The output tubes cost about 9 dollars each.
When you turn the McAlister OTLs on - they start to light up right away but the startup relay takes about 20 seconds then kicks in. You hear two audible clicks from both channels as they activate. You are ready to roll. No need for a small warm up as with all my other tube amps to date. Play the music.
Dan, I am in a bit of a vulnerable state right now. What I mean is its been about 2 weeks, and feel I may be hypnotised by all those tubes! so I need to be careful what I say; what we say in the actual threads here becomes permanent. I dont want to become someone that buys a component; says its great for XX reasons. 6 months later they are announcing new components.
So what I can say right now - my impressions so far are consistent to when I demoed the older 9 year old OTLs last year and I posted impressions here. At that time I compared them against the Push Pull RM9 amp and the Classe SS Amp; but Peter has changed /improved some parts (caps, etc..) in these newer versions.
The amps dont seem to be working hard at all as I "break in" these OTL's. I get a sense of this power reserve - just waiting there - for the music peaks this may be the hypnotic part with all those tubes.
When I turn up the volume it really is more linear as the spls rise its noticeable audibly and mechanically by mechanically I notice it in my pre amps controls. Its like my SP11 gain and level controls have been replaced with higher precision ones. Seriously. The output as you raise the level is very even. Its like the (controls) have been ergonomically improved because of the way the amps respond to the controls. Yet its the same preamp.
The overall music has a sound that is quieter, cleaner (smoother again). Last year I said switching the push pull amp back in during the demo made it sound like it had a bit of a chest cold. I havent put the push pull amp back in yet to compare no rush to do so this time.
The swings in the music between quiet and higher spl levels ..it has more of an effect on me now - the swings are much more noticeable. One of the results of this - is it has resulted in listening at lower levels for me. I can actually leave the door open to the room if I want and my wife does not complain as much. This has never happened before especially 4 hours into a listening session.
Lastly for now
Vinyl is quieter - but not in a damped sort of way like when you load down an MC cartridge. You see I am running my MC cartridge full out on all LPs so far with no distortion evident on the very revealing 801 tweeters. ok I have said enough..I won't go into how good digital is sounding.
How about a treatise on how your new amps sound? If I could, I'd have Scotty beam me over to your place for a listen, but that's as likely to happen as me being able to purchase said amps, but I (we) can live vicariously through your always well detailed comments.
Hi Banquo - its been a long winter and I am still waiting for tulip bulbs to pop up. Enjoy your music. Don't forget to go out and smell the roses and water the plants.
Also just wanted to say on my previous post - I have no affiliation to tekx electronics other than being a happy customer.
I suffered what probably any music lover/audiophile would consider the utmost pain this past week. Speed stability issues with my reference source.
It was like serious withdrawal were talking about here. I put it off for a day, two, three - but in the end you need to face reality. I am addicted to it. I need it once a week for a fix.
So off I went to the Studer doctor with it. I ended up in a place that brought me to another world. The Studer doctor pictured above.
He came to my house to calibrate the machine. This time he said based on symptoms bring it to me. 1 hour drive away. Lucky my son was home to help me lift it. The decline in tape in studios is what allows him the time to now help hobbyists.
Yes in the tape world they are called turn tables. Fooled you ....eh....
A change of bearings in their individual spooling motors and the machine was back to new.
Sort of like changing the bearings on your boat trailer... but you need really steady hands.....:^)
Three separate motors control the tape movement on the Studer. On consumer machines there is only one motor with a band around the three moving parts. Remember this if you have any intentions on buying a machine one day.
Playing back of test signals revealed rock steady HF and LF signals. No timeline device needed here. It really is another league..... this 15 IPS tape.
BTW that 48 track in the picture. Roger is splitting it and making it into two 24 track machines. He told me that is just a baby. You should see the 96 track and 120 track assemblies.
Banquo363 - I wonder how they compare to other OTL's.
Hi Banquo These amps will drive a 1 ohm speaker or a 16 ohm speaker They dont care if the impedance of the speaker varies. At typical listening levels they run at only 1/3 of their capacity. Does anyone out there seeing this know of any other OTL that can do all of the above ?
It must be like Christmas when you fire up those things. I wonder how they compare to other OTL's.
Spend all your cash and just leave property. That's more than enough. I practically beg my parents to spend their money. Alas, neither has a hobby on which to pour their cash into, unless you consider smoking a hobby.
Dear Henry, Its not MY money. There, that makes me feel better. Thanks.
Of my 3 other hobbies the one requires a change of running shoes every 500 miles. This usually means daddy needs new shoes every three months. So the costs are not too high there. Buying Nike or other brands can be sort of like high-end buying , but still the costs are contained. Good thing I only have two feet. My other two hobbies however, active in warmer months can consume more serious funds. At the ripe age of 51 of am prepared to put a serious dent in inheritance expectations.
Buying from a small manufacturer can have its perks. I am involved in the decision making process for the actual build of the amps. I get to choose. Amp options Location of umbilical cord, balanced / rca and input connector locations. Type and colour of wood and tube plugs as well as the color of power and operation lights.
Nice story Chris, I have an engineer friend who will be 80 next year and loves spending his money (of which he has plenty) yet still gives much to his two sons and growing grandchildren. Over our weekly lunches when we inevitably discuss his latest purchases, he grins smugly and repeats over and over........Henry, it's not MY money!? Regards Henry
McAlister OTL-195 versus Music Reference Push-Pull RM9 Update.
My day with Peter McAlister from McAlister Audio and the few days after. Using 801 monitors with 15 IPS master tape dubs. Modded ARC SP11-MKII used in ARCs hotrod mode. Also Tuner input mode used for straight tape play.
A little background Although McAlister Audio is located fairly close to me, ½ hour car ride, I did not know who Peter McAlister was, until I read about Peter and his amps recently. I contacted him and told him I was curious about how his OTL amps would sound on the 801s. He sounded interested. Enough so, that he offered to come over and bring two of his OTL-195 mono blocks to let me hear how they sounded. He also offered to let me listen to them for a few days on my own, in my own room, my own time. How could I resist?
So we scheduled a day and Peter came over with two of his older OTL-195 amps (7 or 8 years old). They are the ones in the pic I posted earlier. Anyone that knows Peter again I didnt before this - knows he is an avid ESL guy. Well Peter showed up with the amps, and when he saw my Acoustat Mod 3s on the main floor he did do a bit of a double take. But we were on a mission; so down we went into my panic room in the basement.
I played DJ, setting up the songs on tape and I let Peter sit in my sweet spot. First we listened to a few songs with the warmed up Push-Pull RM9. Then we switched to his OTLs and repeated the songs. Then we played a few more songs. It was a very educational and enjoyable session with Peter. I could write a little story about this session on its own, later if you guys would like. Significant SPL levels and power requirements. His reaction to tape, which he hadnt seen or heard in a long time, was consistent with others that heard tape this past year in my room. So when we were done Peter left his amps with me for a few days. What a nice guy I thought?
I listened to the OTLs for a few days with vinyl, tape and cd. At least 12 hours each day. I even brought my wife down a few times during this so she could do some listening. This was just before the Christmas break so my teenagers were not home yet. :^) After a few days passed, Peter came back and picked up his amps. I again thanked him for the opportunity to listen to them in my room my gear my time.
Later that day I put the RM9 back in and listened again. Contrasting sounds were immediately noticeable. I brought my wife down again and played some of the same vinyl, tape and cd for her. She could also hear the difference right away with the OTLs. It was very clear on the 801s. Let me say that the RM9 IMO is such a nice sounding amp (Ive said this before), with my gear, my room/size, and it is also very compact in size itself. I would probably never sell it unless I was forced to.
Well the RM9 all of a sudden sounded like it had a bit of a chest cold. Like the windpipe was not totally clean. Now - the interesting part for me was that the longer I listened to it, especially into the next day or two; the chest cold became less and less noticeable. So I was adjusting to the RM9 sound again. This is very consistent for me personally, with other audio gear areas the last few years (TTs - DD, Idler, String Drive, and Tonearms Pivot/Hybrid/Linear). Direct comparisons (same room/gear) reveal very clear differences. But our ears adjust over time. And in the end it really is just about the music anyway not the gear. Blessed are those that dont get caught up in the gear aspect and just listen to music.
I really dont need another amp/s. I played devils advocate with what I had heard. Listing out the cons with the OTLs was easy. The issues I had with them were all environmental. Considerations for space and heat issues. 2 OTL amps plus outboard transformers lots more space needed, and all those horizontal sweep tubes (even though they were only 9.99 bucks each). Room ventilation changes would also be needed. But one thing kept overriding all the cons - the memories of those few days and what I had heard. Those memories kept fueling that audio virus, plague, the disease that I have been cursed with for over 35 years.
I am in gear culling mode. Performing shootouts and selling off gear gathered over the years; After personally witnessing the attitudes of the upcoming generation (my two 18 year olds), I am determined at this point to be more like my teenagers and want to keep more of the money that comes out of this for myself, and give less to them.
So....
I ended up placing a build order this week with Peter for two of his OTL 195s. I get them in about a month. Handcrafted by Peter himself in Canada. The culling of gear will continue to pay for them.
Fwiw when I told my kids about my decision over Christmas holidays. They both said go for it. I now worry even more about the next generation.
12-12-12: Dover Hi Chris - I would change everything. Their solution is space constrained and a bit of a dogs breakfast. Could you PM me and I'll draft up some suggestions for you to consider.
Hi Dover - many thanks for the crossover document you sent me. Stark differences between your design and Northcreeks. I can see through the forest with your design. Thanks again. Chris
Hi Chris - I would change everything. Their solution is space constrained and a bit of a dogs breakfast. Could you PM me and I'll draft up some suggestions for you to consider.
Hi Dover thanks for the encouragement on the crossovers. I will think about it. I am interested in your opinion of these Northcreek crossovers the link has pictures and some technical information. Skipping over the marketing - is there enough info for you to give me your opinion on any improvements you would make to their design. Would you change anything ? Thanks. Chris
Ct0517 - re the crossovers for the 801's. You can do these yourself easily. I redid my Tannoy 15" Monitor Gold crossovers. Key things were to run separate sections including earth for each driver ( base/mid/treble ), the earths tied at the binding posts, I managed by careful design to space out all components but maintain point to point wiring to minimise additional wire and solder joints, and orientating the inductors such that the magnetic fields emanating perpendicular from the windings fired up and down and not at other components. All this installed on teflon boards with Duellund Resistors/MIT Caps all matched to 1%. Significant gains in speed, transparency, lack of grain, but the biggest surprise for me was the significantly ( like jaw dropping ) lower noise floor even though the crossover is passive.
Something funny going on here with these dm70s that I cant explain. What my wife and I are listening to doesnt match up to the specs. I keep dragging her down to listen to confirm things, so I know I am not losing it. I unplugged them last night. Am going to be open them up tonight to have a peek. Have since learned that John Bowers sourced the panels from JansZen.
+1 to using idle ESL Panels as energy absorbers. Also if idle ESL Panels are placed flat against both walls of a hallway leading to your house exit/entrance, your family members will think you are security scanning them as they walk by. They lasted about 4 hours in that location. My RM9 has KT-88 tubes as well that I use with the 801s.
Vegasears - but WHY when I am really happy with the stock 801S3
because its all part of this terminal audio disease, the need to hunt for the next .(fill in the blank) Thanks for the reality check I stopped thinking about the NC Crossover for now. Now watch another 801 owner with the NC crossovers installed come and post here next
FWIW I have not yet put in the crossovers because 1) lazy 2) other projects 3) scared of opening up that bottom vault. :^(
This did get me thinking about my personal experiences with these 801s and I added a couple of points here Appreciate any further tips, comments, improvement suggestions from yourself / other 801 audio brothers seeing this. Maybe we should start a thread for these Winnie the Pooh legends to help us refine our setups?
Two OTL 195 amps are scheduled to arrive early next week to use with my 801s. I will have the loan of them for a few days. Anyone want to hazard a guess at how they will compare with the Music Reference RM9 push pull amp. (87db) 801 S3 in a 12 x 24 room.
For those following the DM70 fun - In doing some more research I have learned (internet so how reliable it is idk but there were two versions. Version One - Power handling 25 watts at all frequencies. Version Two - The later DM70 Improved, which looked identical, was quoted as being suitable for amplifiers of 25-100w, but seemed otherwise the same.
Dover the early version supports what you said earlier on power handling. It appears only the C and CA versions had fuses as well. Mine are CA versions and have serial numbers in the 1300s so assume they are the later versions and the versions that the restorer was referring to in my earlier post. Actually I can confirm this since I have been pumping 50-60 watts through them which brought my wife down asking what was going on. Her previous affection for them has ended.
Three different amplifiers so far and very different sound characteristics with all of them. Two more amps to try out on them.
