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.
System edited: Many updates, pics. Tweaks for ET2 - magnetic damping, tweaking for cartridge compliance/weight, possible ET 3.0 ? pic. 801 tips and observations. More to come.
Chris, I couldn't say. The new bayonet connector came with some very frail-looking (I guess most of them are!) copper wires. James is starting on the 501 today. I had better hurry up with my modifications on the plinth, so I will be ready when it arrives.
A wife that does yard work good A wife that permits speaker placement for best sound in a shared room over room aesthetics better A wife that enjoys listening to music with you priceless.
I am curious to know what kind of wire your DV501 came with ?
The design of the ET2 tonearm allows for changing out a wire loom by any person in all but five minutes. You just pop off the armtube and fish the wire through the cartridge clips hole.
Thank's Chris, no rest for the wicked. Jim Howard called me last night, and I've gone with the the silver and teflon dialectric. Shouldn't be more than a week or so, and I'll be back in business. I hope this isn't rubbing it in, but my wife loves working in the yard, so lucky me, all I have to do, pretty much, is cut the grass, or any heavy lifting or construction type things she need a hand with.
Hi Dan heh heh - as far as not working too hard goes. If it wasnt for my two 17 year olds heading into college/university in the fall I would be semi retiring at 50 listening to more music and a couple other things I like to do. Thats great news about the Dyna part coming in.
I own silver and copper ET2 looms.
Here is a cut and paste of the actual Takefive order (Cdn dollars) as a reference. .
I am very happy with it. Look at what I was charged for labor last line for this professional job. Gene did put it on the burner for a couple of days but I am sure it will start sounding even better as it burns in more.
More to follow I will provide my impressions of the silver and copper in my systems with different speakers later. Wife is nagging me to get to the spring yard work.
Shortly after my last post, the long-awaited part came in, and the arm is now in the hands of James Howard at Applied Fidelity. He should start on it soon. I haven't decided yet on what wire I want to use. I'm thinking of using teflon-coated silver, more expensive, but I only want to do this once. The wire from TakeFive looks good, what does the wire consist of?
Hi Dan if I understand you ended up eliminating the full interface of pins in the headshell - a cleaner simpler signal. Only disadvantage being it takes longer to change carts now. I dont change carts often so that would not be a big deal to me. I move speakers in and out more often than my cartridges. But I know with Henry that would be a BIG problem.
Speaking of tonearm wires I got my new ET2.5 wire loom from takefive. I am really happy with how it worked out and how it sounds.
Hi Chris. Thanks for the info. I managed to get my 501 to work by sacrificing the headshell, in that I drilled a hole in the middle of the area of the contact pins, allowing the wires to pass through. I then ran the wires out in the open instead ot into the tonearm post. I'm happy with how it sounds, did some listening last night, I know I've got something special to look forward to.
My 501 doesn't use a dial for VTF, it uses a simple counterweight.
Crazy work week. Hi Dan That Dynavector is a very misunderstood tonearm if your read the forums. Some have tried to set it up in static mode, meaning defeating the dial VTF. I found out the arm is a 2 -1 horizontal to vertical mass ratio. Bruce Thigpen analyzed it. The ET2 in comparison is 6-1. Being level and balanced is critical to both of them to sound their best. With the dv505 I make it level and balanced first with the cartridge on it free floating above the platter using the sliding weight the dial vtf at 0. Then I set the dial vtf for the cartridge weight.
This DV505 is not even bolted in. It was designed to be able to be used this way well temporarily anyways. It is just sitting on the plinth on the rubber gasket with its weight holding it steady. How cool is that. My son the Ipodder thinks its really cool. But not enough to get into vinyl because it is not portable. Hope you get yours working soon.
Hi Henry - You have been busy.
I hear you when you say The reduction in noise-floor" elimination of 'grunge', 'noise' and 'distortion. I can say for me that I did not know what actual physical TT bearing noise sounded like, or at least its effect on the music anyways - until I did not hear it anymore with the Verdier. :^)
Hi Chris, I've made several significant changes to my system over the last 6 months which have resulted in a far more 'revealing' performance all round. Firstly....I added a Shindo Mr T Power Conditioner for the two turntables and the Halcro Preamp due to unreliable performance from the power grid. I then inserted the Cardas Clear interconnects in balanced XLR configuration from Halcro Pre to DM58 Monoblocks in place of the 30 year old Cardas Hexlink series. I also added the Vandersteen M5 Active High Pass Filters for the pair of 2Wq subwoofers in place of the passive X-2 filters. This enables one to change the input impedance value to the amplifiers to better integrate the subwoofers.....and I was certainly able to do this. Finally.....I inserted the Cardas Clear speaker cables in place of the 30 year old Cardas Hexlink series.
The reduction in noise-floor together with the elimination of 'grunge', 'noise' and 'distortion' which these changes effected........has led me to re-evaluate all the cartridges, arms and records which I previously thought I knew pretty well? I have thus been rather quiet over the last 4 months (on A'Gon) trying to re-establish my thoughts and opinions. To say these changes have been a revelation.....is putting it somewhat mildly :-) Cheers Henry
That's exactly the situation I'm in now. When I tried to rewire my Dynavector DV 501 tonearm, I managed to damage the wiring socket on the tonearm end. The only available replacement is a good used one at Dynavector Japan. Been waiting a month now, and it still hasn't shipped, it's coming in their next shipment to Toffco. Who knows when that is?
So my Garrard 401 project is on hold until the part comes in. I WILL send the arm to a professional to get it wired!
Hi Henry its good to hear from you. Any new projects or just enjoying listening to music ?
Hi Dan I dont like to solder and dont like touching the actual cartridge or the wires too much. My knobby fingers and cartridge clips dont get along very well.
In the past in trying to solder cartridge wires to new din plugs - I destroyed two of them - IOW - I melted them down enough to be unusable. I finally got a proper soldering kit with clamps and magnifying glass. But still I do not do it enough to get good at it. So unless I need to bandaid a break temporarily I buy wire already with clips and plugs from this place called takefiveaudio Ontario, Canada. Gene has been great.
Disclaimer this link and the other I put in for ultra analogue recordings is only as a customer that ordered their product, received it. and was happy with the product and service.
Chris' recent trials, experiments and conclusions have been fascinating and valuable to many of us.
I agree wholeheartedly that the ideas and feedback available from various members on this Forum......have resulted in gains to the voicing of my system which were previously impossible from the reading of the mainstream press?
Advancing the state of the art is a slow and steady process.
Chris, I get a lot of satisfaction in doing as much work on upgrading my components as I can safely do. I have learned lately, though, my hands are not steady enough for very delicate soldering work, such as soldering tonearm wire. As good as listening to vinyl can be, I seem to get much more out of it due to how much difference direct involement makes in what you hear. Vinyl is pretty much all or nothing, you've either got it right, and it sounds amazing, or not good enough, which is clearly discernable.
Without the kindness of a few very knowledgeable members of this forum, my daily listening would not be what it is today, and I love that about this hobby, the willingness to share knowledge, so that others can benefit from more experienced members.
Hi Dan thanks for the post. It is because of posts like yours and others like it, as well as past emails I got well before audiogon shut down email - that encourages me to make this information public. My virtual system is less than a year old. I can say the only audio hobby joy that has surpasses my own enjoyment - is hearing others benefit from some of the findings.
IMO - There is no such thing as less skill and experience - just different. We all bring different expertise to the table. As far as expert knowledge goes well the classic expert definition experts are those that have tried something failed and learned from it.
This may sound a little far fetched to some but to me this Audio hobby is like the black hole in space and each of us have our own little spaceship going in all kinds of different directions. The only experts are ourselves in our own rooms.
Our rooms (are the black holes) and are all different - size/dimensions, materials, locations in the world, temperature, humidity, power quality. The gear for the most part is also different between people. I have put the same gear in four different rooms and got 4 different sounds. Try listening to your turntable/tonearm/stylus at say 16 degrees Celsius (61 f) and then at 22 celsius (72 f). The sounds are much different due to temperature alone. The higher temp sounds better to me in my room, the colder temp sounds leaner. Those in climate controlled rooms and good power supply from Hydro have a more consistent sound. Try also with two identical records. Weigh them- are they the same ? At the start of a listening session play one side of one lp. then play the same side with the other same lp on the same stylus. The second one will sound better because the stylus suspension is now warmed / loosened up. I learned a lot about structure feedback this past year from Henry (Halcro). He is an architect and deals with it in his profession. This was invaluable to me as I was experimenting with TT drive systems. Likewise seeing Henrys JVC TT / Armpods gave me the inspiration to experiment with my SP10.
I really admire your involvement and knowledge, gained from many years of deep immersion in audio and passion for music. Keeping and improving vintage gear is something we have in common, you couldn't get me to part with many pieces in my system for love nor money.
I don't know why I hadn't discovered your system before this, but it is one I will watch from now on, I am sure to learn something by doing so. Thanks for sharing what you have learned with we of lesser knowledge and skill.
My virtual system has been moved to ever evolving and my philosophy in this hobby clarified under system description. As an update cartridge descriptions and pics. Of note.
I have owned the 801s for 15 years. I have asked my wife to make a casket out of both of them for me when the day comes. The general consensus was always they need SS amps to drive those woofers. I tried differed amps all SS over the years, ended up with Classe ca300 and was happy for the longest time. Never thought about using tubes did not even consider it. It wont work is all that is heard on the forums/blogs and I believed it. So what changed. R2R demands made me consider using my tube amp this a long story and relates to a tape I got from here.
I talked to the producer was told to substitute in my tube amp as the recording was made from all tube gear. No digital / SS at all. Tried it and could not believe my ears. The smoothness now almost ESL like in the midrange and tweeters and the dynamics of cone woofers. The Roger Modjeski RM9 on 4 ohm setting is making the 801s sing. Its staying like this for a while. But here was the bigger surprise. Two preamps - an ARC SP11 mKII which has 6 tubes but a SS power supply. The other pre - amp is a modified all tube Audible Illusions Modulus 3. I brought the AI Mod 3 to my room and hooked her up to compare with the ARC. It is much better than the ARC SP11 MkII with tape. From a noise level, dynamics, transients, ambience. Granted it has been modified but its a simpler tube path design produces a more dynamic, alive sound with tape in my room. I cant explain it for now. Need to find a permanent spot on the shelf for it. The two ladies will be sharing space as the ARC trumps it for now with LP. I have heard the difference a better pre-amp with tape can make to the sound. I am now looking at a preamp designed for tape .
Hi Steve Thanks for your post on the thread. Youre getting used to your new touch pad I see? Dont you hate it when your caps lock button gets stuck like that ? :^) All kidding aside - For the others here, Steve (Slaw) ranks near the top of people I have come across in this hobby when it comes to passion for vinyl and music in general. He has thousands of lps. He got me onto Patricia Barber. I introduced him to Blue Rodeo.
My R2R Objectives
It is not my objective to replace vinyl with tape. It cant be done. Even if I could afford it the music software is not available yet .
I always had a curiosity for what the master tape dub sounds like. An opportunity came up for a Studer. I paid for it by selling a redundant turntable.
The first time I listened to the master tape dub of an lp I was familiar with I nearly soiled myself. The SPLs rose so easy beyond anything I had experienced before and filled the room. The dynamics, ambience, extensions both ends. I was infected. I really believe the pressure in the room with tape pressurizes the room in a way that goes above my own blood pressure therefore relaxing me sound crazy eh ? Well like I say on the Studer description - thats what I told my wife. She has no ear for this stuff but even she sat through a tape with me. Its a unique experience. I recommend it to anyone. Borrow a good R2R deck and find out with a tape at 15 ips.
Again this is not to replace vinyl or digital. It supplements it. I am looking to purchase enough music to be able to listen one day a week all day. Frankly anymore and I will lose my hearing. The other days are vinyl and some digital of albums I cannot locate.
Let me ask anyone seeing this a question. What is crazier - Buying a tonearm or cartridge that costs $3000 + or spending $2000 on refurbished R2R tape deck plus $100 $300 dollars on 6 master tape dubs that bring you closer to the music than anything I have heard before. I know what my answer is.
A lot of R2R music is actually available, but until you actively start the hunt you truly cant see the forest for the trees. Those that have been doing this (searching) for a few years now - know what I am talking about. I am now just learning how to hunt the tricks and techniques. I like to learn and right now I am total sponge learning from many people, some on this thread.
Cheers Henry. Thx for the comments on the system page. Regarding the armpods/plinths. It is unfortunate but the VPI TNT and Lenco both take up so much real estate on their platforms that there was no space for a direct armpod comparison with them. I feel an armpod would be the most interesting to try with the Lenco since the motor is integral with the plinth. But its 10 inches high so my armpods dont fit. The Lenco is built and damped very well even if its finish is not to an Artisan level. Maybe JNs newer work is ?
Give me some time to prepare drive type comparisons. I will provide my honest impressions.
Your question Is there any consistent audible signature between the arms on separate 'pods' compared to that mounted on the only 'plinth' you seem to have?
Well the tonearms on the pods are undeniably easier to set up and stress free no drilling of holes required. You also have time to dial them in right. Drilling holes into a plinth to set up a tonearm is nerve racking for me. I am always wondering if I did the best I could.
So if I say the tonearm sounded better on the pod rather than the plinth it could be because they were dialed in better ? but that is not really the case. Again what I hear is that the JN plinth is a really well done plinth its advantage in damping is its design and 100 pounds but this is also its disadvantage to me. Its so big. If I told you the little SP10 puts out just as much bass would you believe me? Wait for my impressions.
If someone has not used an armpod he/she isnt aware of what we are talking about here this infinite adjustment capability provides for a stress free setup does it not ? Isolated armpods and pivot armboards that swivel to a large extent - free you of the you better get it right the first time thinking when drilling holes in plinths.
I will also say this for now. I got some very good advice from you about structure feedback here and in the forums. I put it to good use and it helped me so much in 2011 in my Sp10 setup with the armpod.
I got similar good advice from Geoch (George) and Daniel about retail/commercial products and the compromises they contain - affected by $$, market demand, design, reviews,
I learned the better quality products are made up of better quality parts. If we do the research on the TT designs we like we can pick out the designs that allow us access to those different parts - to make them even better in the future - crazy audiophiles.
This was a big reason for the recent TT decision with the Verdier. For the bigger reason see the TNT write up on my page.
New page looks good Chris. It would be valuable to hear your views on the three different turntable 'types' you have collected..........really nice choices in all categories by the way? Also......is there any consistent audible signature between the arms on separate 'pods' compared to that mounted on the only 'plinth' you seem to have?
Fresh start to the new year. System page updated descriptions and pics. What a mess it was :^| so for the new year I tried a little bit of organization and categorization. Happy New Year to everyone. Cheers
