In this system, the goal is to provide a satisfying home theatre without sacrificing high performance 2 channel music reproduction. It is a hybrid system utilizing a Home Theatre digital controller and a separate tube phono preamplifier. I am trying out an Integra RDC7 prepro in order to take advantage of the analog direct mode for my LP and CD systems as well as the multi-channel 5.1 analog input. We'll see if the fuss about DTS Master Audio and Dolby TrueHD represents a worthwhile advancement. Also the RDC7 is reputed to have dual differential PCM 1704 Dacs in the front right and left channels which I will run balanced into the Dreadnaught II.
I have decided to utilize a signal chain that is balanced from the processor through the front three channel amplifier and single-ended to the surrounds and rear subwoofer. The large Magnepan dipoles make for an imposing yet visually attractive statement. They also provide the big sound necessary for a fairly large room. As well as trying to put together a good sounding system, an attempt was made to make the system friendly and comfortable for the spousal unit as well as the pets.
The legendary Linn Sondek LP-12 record playing system is the primary analog source. It was recently acclaimed by Stereophile (11/02) as the most important audio component of the past 40 years. Digital playback source is accomplished by a Denon DVD 756s and a Oppo Universal player for CD,SACD and DVD-A. The analog 5.1 multi-channel outputs of the Oppo are connected to the Integra with a Precision Audio cables DB25 to RCA snake to take advantage of the Oppo s internal decoding of DTS MA, Dolby True HD, SACD and DVD-A formats. Legacy DTS and Dolby Digital are handled by Bluejeanscables coax. Only the superb tube phono section is utilized in the Audio Research SP-14 and the Integra RDC7 is utilized as the active line stage in analog direct mode. The Sp-14 is still sought after for its very musical phono section. The front three channels of the Integra RDC7 is run balanced into the the Theta Dreadnaught II amplifier, which provides 450 wpc to the 4ohm Magnepans. The Dreadnaught II is a muscular amplifier that also reveals the softest musical detail. The Magnepan MG 3.6R is a true world class speaker. It offers outstandingly natural reproduction of both large scale instrumental work as well as the most subtle musical detail. The stereo pair of Vandersteen 2WQ subwoofers blend seamlessly into the system due to its unusual crossover design. The full range signal from the Integra RDC-7 is filtered via the Vandersteen M5 HP Balanced crossover which sends a high pass signal to the left and right channels of the Dreadnaught II amplifier which feeds the 2WQ's.
The heart of the home theatre system (which incorporates the Maggie/Vandersteen/ Theta speaker/sub/amplifier combo for the L/R channel duties) is a Integra RDC7 which offers Dolby Digital, DTS, and Dolby Prologic II processing for legacy surround sound formats. The Integra RDC7 is connected by balanced XLR to the Theta Dreadnaught II for the front 3 channels. This signal is high-passed to the Dreadnaught via Vandersteen M5 HP Balanced filters. The surround speakers are Magnepan's 1.6QR powered by a Classe'25 amplifier providing 500 wpc @4ohms. The theatre subwoofer is the Hsu Research VTF-2 subwoofer. The critically acclaimed Polk Lsi Series speaker handles the center channel duties. The system easily handles the 105db peaks that good home theater systems must achieve. Bluray discs and standard DVD's are handled by an Oppo Digital BDP-83SE. The Oppo also handles internal decoding of Dolby TrueHD and DTS Master Audio surround codecs. HDTV is received via AT&T Homezone Dish Network HD DVR connected with component video cables. The primary seating area is 10 feet away from the Sony 52 16x9 LCD screen. The system is controlled by a Home Theater Master MX-500 Universal Remote Control. Testing equipment include a THX calibrated Radio Shack SPL Meter using AVIA & THX-EX setup DVD audio test tones and ETF Acoustic 5x software (using MLS) running on a Toshiba Laptop PC with a calibrated microphone. Power distribution and AC surge as well as line filtration is provided by a Panamax M5400-pm.
After burning in the NOS tubes for a few hours this weekend I confess that I was mistaken. There is a big difference in performance. CD's and lps that were just on the verge of being dull are now more precise and in some cases even borderline edgy. In other words bad recordings perhaps sound worse in the treble range and good recordings are phenomenally good. The overall presentation of music is more alive and dynamic. It is a much more realistic presentation. In conclusion, I found it a worthwhile upgrade.
System edited: I replaced the tubes in the LS 16MKII with NOS 6H30-DR tubes with Duende Criatura tube rings. My old tubes were functioning fine but I had no idea how many hours they had left in them. So far I have not noticed any significant performance differences. But I have gained peace of mind knowing I have fresh tubes installed.
System edited: I finally got a pair of X-2 crossovers for my 2Wqs after four years with the WX-2 temporary unit. Yes, it is better than the temp unit and perhaps the pricy battery-biased HP5-SE should be in my system's future.
System edited: I added a second Vandersteen 2WQ subwoofer to the system for stereo subwoofing of the main channels. This improved the coherence and imaging of the system in 2-channel mode.
I use the Radioshack 1 ohm 10w 5% wirewound resistor. These have done the job for me although I am sure there are better resistors available. The 1 ohm resistor gives you about 2db attenuation for the ribbon tweeter. In my room with my gear, that provides just about the tweeter level. They are $1.79 for a pair at your local Radioshack. Magnepan recommends using non-inductive resistors although they don't specify any particular brand.
hello please, what kind and what value of resistor do you use behind your 3.6R ? Where can i buy two of them ? (i have 3.6R and the treble are Ssssss ! Thanks Phil
System edited: The ESP "The Essence" power cord stays in the system. Slight softening of the top end is a plus for digital sources although it diminishes the sheen for my lps.
System edited: Added ESP THE Essence power cord to Classe'25. Moved the Acoustic Zen El Nino to the ARC LS 16 MKII. Initial impression is that no harm has been done to the system. Will make further observations when it burns in a few days.
I'll be happy to bring over some of my BEL D-1 digital cables for you to try again. Also, they are $134 for a 1 meter digital interconnect. The $212 price is for a stereo pair of 1 meter interconnects. I look forward to comparing to the Belden cables (Bluejeans - rebranded) that you have now.
I've got some Belden cables that Bluejeans re-brands and there is a significant difference in my system between them. If you like, you can bring yours here too so we can swap on each system to see if the changes are consistent.
The only more expensive digital interconnect I've tried is BEL's The Wire which is $212 for 1 meter. The Bluejeans Digital Cable was only $15 for 6ft. Ok, the BEL was a bit better. A bit more body, a bit smoother up top. Maybe I'll go with BEL's The Wire in the future. For now, the Bluejeans Cable is so cost effective and does do the job pretty well. Currently, I am also using the Bluejeans Digital Cable from the Rotel RCD1070(which I am using as the transport) to the Genesis Lens. From the Genesis Lens to the Theta DS PRO BasicIIIa, I have a 3ft BlueJeans Canare/Belden RCA single ended digital cable and a 3ft balanced Bluejeans Neutrik/Belden AES/EBU cable as well. I found the balanced connection to sound a bit fuller.
So in your 2 channel system, I see you are using BlueJean Digital interconnect - what's your view of how it compares to the more expensive choices? By the way, based on what I know, I really like your wife!
System edited: Acoustic Zen El Nino power cable initially installed from wall to Classe'25 power amp. First impression is very positive. More dynamic and muscular sounding than stock generic 14 gauge cord. A step towards a more lifelike presentation. Also more three dimensional. Brought the image a bit more forward but not excessively so like the Z-Cord II (before it was broken in; it mellowed out a lot after a couple of days but was still not a lot better than the stock cord). The El Nino definitely improved the performance of the amplifier.
System edited: I was not entirely satisfied with Z Cord II on the Classe'25 power amp. The effect was to push the soundstage further forward than I prefer. The mids and upper midrange ended up a bit too aggressive. Especially apparent on vocal material. I had read on other forum posts that the Z Cord was very good on front end digital components so I installed the Z Cord II on the Genesis Lens. This produced a much better tonal balance and opened up the soundstage considerably.
Added a new member of the family. Paddington Bear is a one-year old Jack Russell male. He keeps our other young puppy Lucy very busy. Photos to follow.
If your two-channel preamp has an external processor input set to unity gain, you connect the left and right outputs to the processor input and use the volume control of your surround processor. If your two-channel preamp doesn't have one, simply connect the left and right processor outputs to one of your high level inputs and set the volume at around 12 O'clock which on a lot of preamps is close to the unity gain setting or is at least the sweet spot on your volume control for high level sources. And once again use the prepro to control overall system volume for your surround sources(CATV,SAT, DVD, etc.). After you calibrate your prepro you are ready to go. Examples of some preamps available with processor inputs include all the current ARC models including the SP16L, the Quicksilver line preamp can be ordered with the HT bypass, the PSE HL-1, and the wonderful Aesthetix Calypso. Y2K was about the time two channel preamps began to be available with this feature. I don't know all of the models which come with this feature. I believe there are some Audiogon forum threads on this topic.
Great system...Can give me some advise? I am completing my first 2 channel system since graduating college 3 years ago. I am primarily building it to be a vinyl system. It appears that you've gone through my dilemna of incorporating a 2 channel into a HT without loosing sound quality. Quickly my system is: Spendor S5e w Spendor Sub-3 for speakers and Rega Planar 3 for TT...I am looking to replace my integrated Audiolab 8000a with seperates (tube) to balance out my system. I am looking at Audible Illusion M3a pre (highly regarded phono stage...at my budget on the used market). How do I hook up a receiver for HT without loosing the quality component signal to my speakers? You mentioned your ARC has a "bipass" out...can you expand your explaination? Thanks
The main speakers are currently about 4 feet from the back wall and are pretty happy there. I've only done limited experimentation. I've tried them at different distances from 3 ft to 5 ft. Closer to the wall makes them a bit too bass heavy and I didn't feel like I gained much in perfomance at 5 ft. I believe that the biggest limitation are the cabinets and RPTV between the Maggies. I think that the absence of the furniture and RPTV would allow the speakers to breath better and reproduce a deeper soundstage on two channel sources. Interestingly, this not a limitation with 5.1 channel sources as the prepro synthesises the soundstage. If great depth is encoded in Dolby Digital or DTS, the system reproduces that information. The main reason I went to planars in my room was the tremendous cubic space of our living room/dining room/kitchen which totals more than 4500 cubic feet! I felt I needed a system that could move serious air.
Nice Rig! Hey I been dreamin about a planar speaker...do you loose anything with your close to the wall like you got em' my set-up would be similar in depth from wall....but7 ft apart and 18inches side space for fronts...any advice>>?
Although we obviously won't win any awards for interior decorating, it is a comfortable enough setup. We've been married for eighteen years and she understands my audio/video addiction. The most important feature of this system for my wife is the Hometheatermaster Universal Remote which replaced 8 different remote controls. System integration and some simple macros make it possible for her to watch television even if I am not around. I'd be up the creek without it!
The ARC LS 16 MkII has turned out to be an incredibly revelatory acquisition. The degree of improvement over the performance of the already excellent ClasseDR-5 was nothing short of astonishing! The insertion of the new linestage brings my system miles closer to the truth in dynamic shadings, correctness of instrumental timbre, vocal nuances, three dimensionality and lifelike realism to the human voice that is simply uncanny. I had as a goal simply to add remote capability, a true home theater processor bypass, a balanced line input, and a tubed linestage to tame the upper octave hardness I sometimes experience in some older CDs. I was not prepared for the total transformation of my system. It is now far more musical with all of my signal sources including CD, SACD, analog vinyl, and video/audio sources.
System edited: System Update. I am expecting delivery tommorrow of a Audio Research LS-16 MkII to replace my Classe'DR-5 as the linestage preamp in my system. The LS-16 MkII adds remote switching, power, and volume control to my two channel sources as well as a processor loop. Will report on its sonics when it burns in.
