Gone are the audiophile adjectives, along with all barriers to musical reproduction. What remains is beautiful, clean, rich, majestic, energetic, palpable, live, natural music.
Curious about the XS series, but not really yearning at this point. I have concerns about the cost, heat output, increased power needs with a decrease in efficiency. I'm not sure if I need the 150 or 300 with my speakers (400 currently into 4 ohms vs. 300 vs. 600). At that price, I'd need to consider some other amps (i.e. VAC 450, BAT Rex).
I'm still quite content with the XA.5, and I'm not at the point of wanting to put that much money into my system. Perhaps some years down the road...
The piano is Rachmaninov's Preludes by Steven Osborne. The violinist is Maxim Vengerov, from his self-entitled album, although he excels in concertos by Tchaikovsky, Prokofiev, Dvorak, and Brahms. The Sextet plays Tchaikovsky's Souvenir de Florence, and features violinist Sarah Chang (also amazing in Bruch and Shostakovich concertos).
Here are a couple more clips to demonstrate several points:
This one provides the weight and tonality of solo piano, but I was surprised that the decay was not sufficiently picked-up by the iPhone mic. You get some sense of decay and summation, but it still sounds truncated by the recording compared to what I hear.
http://www.youtube.com/watch?v=GcvbTQv0vV0
Here, you get the lush midrange summation of this string sextet. The plucking of the strings are not captured well by the microphone, but you still get some sense of space. When the cello comes in, you can sense the weight of the piece even on the YouTube recording.
http://www.youtube.com/watch?v=J6m0-scOGCc
Finally, this violin sonata really provides a sense of the pristine and extended top end which really sparkles with detail and life. Even in this YouTube recording, I do not detect any grain or harshness. The midrange is still there to provide a richness and weight to the violin that compensates for the detail and close miking from this studio recording.
Hi Zephyr, Those are not the Elrod Diamond PCs, but the NVS Sound Silver 1s. I don't have the Elrod Statement Golds, although I have demoed them in my system, and they are a very nice PC. I have not demoed the Elrod Diamond PC in my system, but have heard the interconnects in someone else's system - very impressive. I do have the old Elrod Statements, which are very good and I don't have enough money for 4 more NVS PCs right now. Someday...
Hi Zephyr, I listen to orchestral music from the Romantic and Modern era from central Europe (German-Austria-Russian). So, Bartok, Beethoven, Brahms, Bruckner, Dvorak, Mahler, Prokofiev, Rachmaninov, Shostakovich, Stravinsky, Tchaikovsky, etc. I'm also a pianophile, so Beethoven, Brahms, Chopin, Liszt, Medtner, Scribian, etc. Lately, I've been delving deep into sonantas, trios, quartets, quintets, and sextets from many of the above composers in addition to a few French composers such as Debussey, Poulenc, Saint Saens, etc. After really focusing on orchestral works for many years, I am really like the musicianship, dynamics, and harmonics of smaller pieces as well. Recently, picked-up Schuberts string quartets by Auryn and Beethoven's by Takacs.
For those who are not classically inclined, I think www.classicstoday.com is a great place to start. Look at their 10/10 recommendations, and begin there. So much excellent music, so little time. I've been doing this for some time, and I feel like there is still so much to explore.
Calloway, I would need to do that. Right now, I can honestly say that I routinely use all 400 watts into 4 ohms. Not just for brief climaxes, but for long stretches with large and complex orchestral pieces which constitue a majority of my listening. My musical preferences are that of central Europe romantic era, which means German, Austrian, Hungarian, Czech, and Russian.
I would be reluctant to do anything less than 200 watts on an empiric basis, but I realize there are no hard and fast rules and sometimes you just need to approach something with an open mind.
Hi Nathan. Thanks. Musically-involving is probably the highest praise, and that has been the goal. I've tried to reach beyond the realm of an accurate, neutral, detailed, and impressive sounding system. While it has all that, I am no longer consciously aware of those descriptors.
I would also regard your power cables as a work of art. They contribute a powder keg of dynamics, a startling clarity, and a compelling sense of momentum that, I believe, conveys the energy and synergy of a group of performers.
I've always consider the symphony to be the ultimate statement of musical expression. I also thought this was the hardest form to reproduce at home. I would use it as a benchmark for listening to new systems, as to whether I could trick myself into thinking I was sitting in front of a performance. Now, I'm reveling in the mutliple virtues of chamber music, which now has a level of expressiveness equal to that of a symphony. I'm delving deep into new music with sonatas, trios, quartets, and quintets. There's nothing like hearing a group of professional musicians who unbutton the top shirt button, and throw their entire bodies into a performance. It's very cool and we are fortunate to have so many masterpieces to enjoy.
Thanks Miguel. I am at the point that if I lost everything and had to start from scratch, I would purchase the exact same system. One cannot underestimate the power of synergy.
I have taken alot of chances in putting this together. The journey has led me off the well-worn path. Luckily, it has paid off. Some key people include you, J.D., Nathan, Steve, and more - I could not have gone this far without the help of some obsessive talents that produce magic.
And I must also say that I remain in complete awe of the Avalon Isis. It was a tough nut to crack, but this is the one. I am loving this speaker more and more each year.
Using Xtreme Liquid Resolution CD enhancer and Walker Audio Talisman demagnetizer. Cleaner and more dynamic sound, additional detail, increased holographic effect with deeper stage, sweeter top end, more musical. Very nice pair of tweaks for a resolving system.
System is done. It's not about one thing, but rather everything. While I know precisely what each component is doing, I no longer hear the system. By systematically building based upon the sonic characteristics of each piece, I now have a system that does not make its own sound.
I've added 5 NVS Silver I Ultimate power cables. These are truly special, and the best power cable I have heard. They feature silver conductors, magnet modules, a shield that grounds externally to the Tripoint Troy, Bocchino connectors, and multiple layers of special fill with dampening/shielding/dielectric properties. The two cables feeding my Tripoint Spartan each weighs 19 lbs. Fortunately, they are very flexible.
All this technology solves the problem of silver conductors. They have the startling clarity, momentum, dynamics, and extension that only silver could provide. Yet, the midrange is not lean, and the top is sweet instead of harsh and overly accentuated. The top end is limitless and sparkles like a finely cut diamond, distinguishing this cable from all others I've heard. The mid range is full with wonderful harmonics and texture. The bass conveys the proper heft. After listening to several different terminations, I believe the Bocchinos are a real achievement. These provide a soundstage that is real and as large as life.
Most importantly, these cables are very musical, natural, and transparent. They are also the most linear cables I have heard - from top to bottom, nothing is accentuated in my system. I would whole-heartedly recommend these cables, particularly on a power conditioner. There is absolutely no restriction even when a single cable is used to power both amps and preamps. After much searching, I've found a cable with no compromises.
Hi Sam, Thanks. Yes, I am using 2 pair of Reflektor NOS 6H30DR in the Rex power module.
Hi Knghifi, I have five of the version II for preamp and source, two of the original Statement version on my amps. I really like the original Elrod Statement power cables. I may be the only one who prefers these to the new Statement cables. They are a great value, but will be replaced over the next year.
I'd like to make a slight ammendment to the tube comparisons listed above. I determined that the evaluation was done with leaky tube, and that a single leaky tube really kills the magic of this preamp.
Adding a pair of EH 6H30 gold pin tubes to the power module seems to be a viable option, and some may prefer that type of sound. I've now settled on 2 NOS 6H30 pair and 2 Sovtek 6H30 in the power module, which in my system, provides the best dynamics, clarity, and balance. A single EH 6H30 pair adds more midrange warmth and romance, but to me, a very slight haze. Again, if someone is looking for a nudge towards a more warm and tubey sound, a single pair of EH 6H30 may be worth a try.
Hi Davvie, I agree that Steve removes any weak links from the Wadia by using parts not feasible for production. Manufacturers need to find stable supplies of parts, and this limits what they can provide. For example, the Black Gate caps are simply not available anywhere else.
I have done some further rolling with the BAT tubes, trying the EH 6H30 gold-pin tubes. I tried an EH pair in the main module, an EH pair with 3 NOS in the power module, and an EH pair with 2 NOS and 1 Sovtek pair in the power module. In each place, the sound became more soft and diffuse, which is not my personal preferrence. If you are looking for a romantic sound, then I think an EH pair in the power module with 3 pair NOS would make sense. Or, one might add a pair to the switched position in the main module, to permit quick selection. I've settled upon 3 pair NOS in the power module, and 2 pair Sovtek in the other positions.
Knghifi, the Supreme fuses didn't seem to work in my system. I found them mechanical, and the slight increase in detail did not translate to increased realism. But, I believe this may be a system issue.
The effect of gold is very interesting. While I don't think the Hifi Gold fuses have much gold in them (probably just a thin layer), they seem to bring a depth and roundness to the sound, without sacrifices. Just yesterday, I switched a single pair of Reflektor 6H30DR tubes (out of 8 pair of preamp tubes total) for EH 6H30 gold pin tubes. The sound was more diffuse, slow, and flat. The beginning of the notes were blurred, obscuring their relationship to the soundstage. With a gold-based power cable, I found the sound to be sluggish and lacking upper and lower extension. But, the Jade Audio gold IC and SCs bring a magical midrange and clarity, that is really only comparable to good tubes. Does any of this make any sense? I now question whether silver is best for AC, gold balanced with silver preferable for transmitting the audio signal. The gold fuses seem to be the exception to that observation.
Another system-dependent variable is the Troy, which I now appreciate to permit the addition of more silver at the power side. This external grounding (passive) has allowed me to add more silver without the harshness. If I were to remove the Troy, my system would sound very harsh and edgy. I find it very interesting that a passive system can really seem to alter the intrinsic sonic quality of a metal. And the effect is not smoothing or obscuring, but rather, putting all the frequencies back into their correct proportions.
Hi Frank, I totally agree that my system will always have some weaknesses. It is impossible for something to do everything, all the time, even in real life. I have a shelf of Mahler #2, each with different conductors, musicians, and halls. It would be hard to pick one, as they each have something to say.
The most important aspect is to create a system that draws you in, and compells you to stay.
It is hard to generalize about how the poor recordings sound. Several that come to mind are Bartok's Wooden Prince with Boulez or Prokofiev's Alexander Nevsky by Gergiev. Both are miked too close and do sound harsh, which is a shame as they are modern recordings and good performances. They are also very large performances, so that might be part of it as well. Large and close is a no-no from an engineering perspective.
It is hard to assess tweeter integration in front of a single speaker, because it would take several types of music and I would need to sit at a normal listening height. When sitting near-field, in the center, I cannot hear it as a single unit.
You raise a very good point, and something unexpected. When I had the Thiel with Nordost cables and no preamplifier, the level of detail increased but so did the dispartiy between good and bad recordings. Close miking, congested and distant soundstage, loss of dynamics, key clacks, coughs, floor creaks, etc. All these things were highlighted.
With my current system, practically all my recordings sound great. I now appreciate that recordings that were distant and dull were not being resolved properly. The Troy really changed that perspective by opening the soundstage, creating a sense of true depth, and letting everything flow. It is very hard to describe, until you hear it. The background distractions are also not noticable. I can sometimes hear a soloist breath and hum, or a conductor grunt, but I don't hear creaks and page turns.
All this applies to acoustic music, recorded from a natural perspective, in a hall. Acoustic instruments have so much complexity and color, that I can no longer listen to electronic generated music. Studio recordings sound dead to me, as they do not have the proper decay and space. Improper miking, like in the piano, at the opening of a saxophone, or just next to the cymbal is just not proper. I like to be sitting in the audience, not on someone's fingerboard. I can also immediately hear unnatural engineering and mixing, whether there is excessive channel separation, voice filters, electronic decay effects, or overly large instrumental images.
For classical music, I would estimate that 90-95% of my recordings sound excellent, and 40-50% are phenomenal. Another factor is the BAT preamp, which allows me to switch a pair of tubes by a switch, and customize the sound for various recordings. I think people are really amazed at the subtle but important differences on an individual recording by changing a couple tubes.
I would agree that if some recordings are sounding worse with an 'upgrade', you may be headed in a wrong direction.
Currently, the plan is to do both sides of the power conditioner, the transport, and maybe the digital controller. The power conditioner and source will likely have the greatest impact. In 2011, I'd also like to complete the one remaining interconnect and speaker cables.
For 2012, I may complete the last 3 pair of power cords, but will play it by ear. I need to be convinced that additions beyond the initial 3-4 won't take me too far in a single direction. If each addition gets me closer to live music, then things should continue to proceed.
The cables for the components will not be as elaborate as the ones on the conditioner.
Hi Bigsam, Not many stores in St. Louis. Music for Pleasure has several brands, but none which I have. Champaign IL may have some items of interest. Send me an email if you'd like to get together.
Added the NVS Sound Silver Ultimate 1 power cable to the high current side of the Spartan. I could tell you how it sounds, but you wouldn't believe me. This is the power cable that made me stop looking. Nothing else sounded remotely close to it.
I'll say more as it settles over the next couple weeks.
Hi Peter. I've been fortunate to listen to orchestras around the world. This includes Cleveland, Chicago, Boston, New York, Vienna, Gotenborg, and Prague. I have a subscription in St. Louis. Next year, a business trip will take me to Amsterdam.
I am going to estimate that my system comes 90-95% to an orchestral performance. I have been obsessed with the charactaristics you describe: scale, dynamics, clarity. Also, the emotional involvement and interplay among musicians. The Pass has been such an integral part of achieving that sound, but many things have been needed to take shape.
I now appreciate how electricity and cables create artifacts that limit that last essential piece of transparency. So many cables severely limit what you hear. I am a firm believer in the weak-link philosophy.
I've been doing alot of evaluating, and even more learning. The cable story is coming to an end.
My quest for the ultimate power cable has come to a conclusion. I found something totally new and different, that absolutely redefines what a power cable can accomplish. More info to come in a few weeks.
The Jade Audio Reference Gold/Platinum interconnects are in production, and these should be in my hands within the next 2-3 weeks. I'll report back then.
I also got a couple of the brand new Supreme HiFi Tuning fuses to try, supposedly an all-out-assault on the fuse. Once my system stabilizes in the next couple days, these will be compared to the HiFi gold fuses I currently use.
Lot's of fun stuff with ear-opening results. It's taking my system beyond what I thought possible.
I think Nathan and I are really using live classical music as our benchmark. We are not comparing system A to system B, but directly to the real thing and asking why it is not the same.
Building a system is such a fragile thing. The elusive last 1% of my system, I would characterize, as transparency. Specifically, the final bit of cleanness and purity in the midrange that lets you peer into the music and convey that sense of energy. I believe the bass and treble are on-par with live music, but there is an every-so-slight haze in the midrange that masks the vibrancy and freshness. For example, I got to hear Sibelius #3 by the Lahti Symphony Orchestra 2 weeks ago. Both the orchestra and the hall had a very unique sound. The piece used alot of pizzicato on the lower string instruments, and there was a clarity and roundness that was quite captivating and effective.
If I try to use a cable to clean the midrange in my system, I lose 3 other components of my sound. It is like playing whack-a-mole. Whether the bass gets exaggerated, or the magic of the treble is killed, of the note decay is cut short. Cleaning the midrange seems to dry-up the mid-range as well. This is an unacceptable compromise.
I have the Spartan to thank for this. The Spartan has revealed my cables minor but audible flaws. I wish I could just get a well-regarded cable and be done with it, but the Spartan is very particular about which cables are used throughout the system.
The Jade Audio Hybrid ICs are, on balance, the best ICs I've heard. I spoke with JD recently, and inquired as to what his reference ICs provide above the Hybrid. Not wanting to prejudice him with what my system was needing, he went on to describe an absolute clarity in the midrange while maintain proper balance and decay. Well, since he read my mind and hit the nail on the head with the Hybrid cables, I now have a pair of Gold/Platinum ICs on order, and look forward to seeing what that does.
The power cables, I'm still looking. But I think some adjustments there will bring everything into focus while maintaining the musicality and the complete picture. But my, what a fragile thing indeed.
I am now at the end of a long journey. My system is finally complete, and I would suggest that the music can compete with any system, in any room. Two years ago, I had a sound in my head, and have been goal-oriented and methodical in achieving that sound. Every aspect has been extensively researched and implemented, from fuses, tubes, contacts, power, cables, shelves, footers, etc.
The Tripoint Spartan has literally taken 2 months before beginning to show its true potential. Music is wide-open, crystal clear, extended, and free. It has sparkle, beauty, energy, and palpability. There are no boundaries, and the system has disappeared. What remains are musicians, in a hall, on a stage, playing with dedication and inspiration.
Tripoint Spartan arrived yesterday. This power conditioner is massive. It makes my amplifiers look puny.
It is far too early to say much. However, I have had my amplifiers plugged-in for the past 24 hours, because I wanted to make sure there was a positive benefit with the amps alone. The amps run at 700 watts each, and I typically figure amps are not as sensitive to power as are source components.
Well, the amps sound better by at least 30%. Now, I just need to get the 7 other components hooked-up, and give it a month to break-in! This is going to be interesting.
Jason, After 6 months with the Pass Labs, my enthusiasm has not diminished one bit. May I dare say, that, perhaps...these are perfect amps?
They sound like big amplifiers, with the power, control, and dynamics one would expect. However, they are also very delicate, flowing, effortless, and beautiful. The Troy factors big into this sound, in letting the amps reach their true potential. Together,they provide that 3-dimension, palpable, floating, clear, wet-detailed sound that eludes most SS amps and even many tube amps. This is not a neutral amp. It adds something that makes everything sound quite natural and free.
Interesting enough, the jury is still out on the NOS tubes.
I read the review of the Time on the Avalon website. Roy Gregory seems to be a fixture of the Avalon review process. Reading between the lines, it sounds like this is an Eidelon Diamond that goes a bit lower. He kept discussing the holographic nature.
In contrast, the Isis is all that plus the sense of scale and grandeur. I think room size would dictate which is more appropriate. Probably a room size of around 350 +/- 50 square feet would be the tipping-point between the 2 speakers.
I certainly would not buy the Time without a listen. It looks good on paper, but you never know. Sometimes a product line-up seems to have a natural progression and trickling down of technology. However, there are often situations where something in a line-up will click and work better for some inexplicable reason. I guess you can call it a combination of art, skill, and luck.
Hi Sam, I thought about VAC and did some research. I did not pursue because they are not known for prodigious bass, a pair would be required, and I would require a home demo. They seem like nice amps, just don't know about the match. I spoke to alot of people about amps, and VAC/Avalon just did not seem to come-up.
Hi Tom, I am burning-in 10 6H30-DRs right now. It is a roller-coaster ride. I did not purchase the converter to use the 6H30s in place of the 6C19s. Just 8 in the main unit, 2 in the switched position. I need to wait until they settle before I know what to think.
I can personally attest to the synergy for the Isis and BAT 150se, as my dealer had this combination on display. What I can still remember is the great midrange texture, transparency, and detail. And yet, it gave-up nothing in the bass. I would be a tad concerned if your room was over 350-400 square feet, but for moderate to small rooms, I am sure the new Rex amp is a winner with Avalon.
The Isis will not work with OTL. Perhaps it can be a go with the Speltz transformers. The issue is while the Isis appear to be an easy drive on paper, the woofers need high current to move and be controlled. That basically limits your tubed amp choices to BAT and CAT, both of which have substantial transformers.
I would estimate the Isis woofers need around 500 watts into 4 ohms for a moderate to large sized room, if you play it loud and like orchestral music. If I crank the final movement of Mahler #6 to a pleasantly loud volume, the needles on the Pass move on the climactic passages (which can last several minutes at a time, not seconds). Since the Pass puts 400 watts into 4 ohms, this indicates the threshold for going into class AB.
The Time looks like a winner, but I have not heard. What the Isis do so well is convey the heft, weight, and scale of a musical piece. Personally, I would want to be assured the Time has this capability. If I were you, I'd keep the BAT 150se, get the speakers next, and then bring 2 amps into your home for demo. If you are looking for more specific amplifier advice, you can send an email.
Curious if you have tried the NOS 6H30-DR tubes in your Rex pre? I am coming upon 200 hours with a new set, and it has been an interesting experience.
They are both great amps. For me, the Pass was the amp to make me stop thinking about all other amps. It just clicked with my system and tastes. It does all the things I want, and none of the things I don't want.
I consider myself wedded to these speakers, amps, preamp, DAC, rack, and power conditioners. In 2011, I would like to experiment with some power cords and cables, along with room treatments. I can see the light at the end of the tunnel...
Hi Coxhaus, If you have the funds and can handle the heat, do it! Your speakers are huge, and they will need huge amps. If you don't want the heat, think about Karan or Class D.
I am trying some NOS tubes in my preamp right now. The burn-in is absolutely painful. Full report to follow...
Hi Luxeman: The thing about the Troy is that I can still distinctly hear what it is doing in my system. Most other products have the proverbial jaw-dropping effect when first introduced, and then it wears off as the change is assimilated. The Troy continues to make a favorable impression over many months. It sort of sneaks-up on you.
Hi Isaac: A dedicated room may be great, but that is not my reality. I like listening to music in the center of the house. I could have remodeled the basement for audio, but I didn't want to remove myself from my family. Plus, a dedicated room does not guarantee great sound. Some are overly dampened in my view.
I am thrilled it worked-out. You should remain optimistic about your situation. You need to let your speakers fully break-in. You also need to optimize your amplifier and power cords, which are the two major determinants of bass. As the speakers break-in, you may have to move the speakers around quite a bit to find the optimal position. Some room treatments might be considered once everything settles-in. The journey is long and full of frustrations. Keep at it. You should get an excellent sound with a little time.
Something interesting is taking place. I have not made a significant change to my system in a few months. And yet, it is sounding better and better each week. I am trying to grapple with this content feeling. I dont think the improvement is due to burn-in, nor is it due to psycho-acoustics theory of just getting used to the flaws. I have grown to appreciate this system as I have learned its capabilities.
My ears have opened and I have listened to a wide variety of material over months. I hear no flaws. It does everything. The speakers have absolutely disappeared. I hear no drivers, no speakers. Everything is natural, proportioned, and detailed. I am brought closer to the performance, the musicians, and the technique. Music does not sound like a recording. I am not looking to fix anything, but rather increase the positive attributes of the sound however possible. This is evolving into something very special.
Hi Underdog: I had Nordost Valhallas previously. I was very fortunate to stumble upon the Jade Audio cables as my next cable. I know people try dozens before finding a good match. I will assure you that Jade Audio is the real deal. They have a midrange that is akin to a tube preamp, plus great highs and lows. It mates perfectly with my system, and JD is a great guy as well. I'd like to do a comparison of the Elrod Statement SC and ICs, but no other cables interest me.
Microstrip: I have compared running the Wadia direct to adding the preamp. The difference is night and day. I perceive no mismatch issues between the Rex and the Pass. I am really learning to appreciate the Rex and its capabilities. I am curious about the Joule preamp, and may have an opportunity to do a comparison in my system over the next month or so.
Hi Tzh21y: The corner set-up sounds excellent. There are no side-walls, and it allows me to sit further away from the speakers. In Jim Smith's book, he also mentions the corner set-up option. I think you just have to try. The one concern might me a boominess from sound collecting in the corners, but I do not hear that. My bass sounds very natural, deep, and directional.
Hi Microstrip: The Karan is a great amplifier. Very powerful, even from top to bottom, great mid-range presence, and cool running. The Pass sounds wonderful in this set-up as well. I think Nelson has done a remarkable job with the XA.5 series. I am now totally satisfied, and have stopped thinking about the amplifier. That has really been the goal of my system. To stop thinking and wondering, and to sit-back and enjoy.
Hi Kirk930: I am expecting the Spartan around mid-May. Based upon the Troy, I think the Spartan will redefine all the adjectives in audiophilia. Miguel has an ear for getting you out of the recording and into the performance. The Troy has opened-up so many of my old recordings, and is an essential part of the sound I am getting.
I appreciate all the kind and complimentary words. It's nice to get some feedback because sometimes when you've been running a long time with your head down, trying to reach your goal, you have to look up from those few feet of road to see where you are. I feel like I've been working on creating a specific sound for a long time, and it is satifying to have it come together.
You'll have to visit again after the Tripoint Spartan is running at full speed. I expect that piece to let my system do much more of everything, particularly the 3-dimensional aspects and the spatial characteristics of the recording hall.
Hi Avsource1, I did get to hear the SR Powercell 10SE in my system for a month. I was seeking a very particular sound to improve my system. The Powercell is a fine piece of equipment, but it took the Tripoint Troy to get me the sound I wanted. I am now using that with the Shunyata conditioner and Elrod Statement PC. I think the key to a power conditioner is the feeder cord, and I'd be curious to hear the Powercell 10SE with an Elrod Statement Gold PC. Alas, the Tripoint Spartan, reputed to be the finest power conditioner, is probably out of reach.
I am very satisfied with the BAT Rex. I heard the ARC Ref 5 in another system, and I prefer the BAT sound. I only remain curious about the Joule LA-450 and the Dartzeel preamp. My concern about any other tubed preamp is the possibility of any extraneous noise or hiss. Luckily, the BAT is very quiet and I can run my CD player at a high output so that the BAT is operating at the lower range of its volume capabilities.
I like being able to roll tubes with the flip of a switch. I am always alternating those tubes during a listening session depending upon the material. Plus, I feel the balanced operation is a plus when used in a completely balanced system.
I would be curious to hear the DCS and Esoteric top models, but I have not. I did not even consider them against the Wadia. I am sure those are great, but I am a long-time Wadia fan. Wadia just has the speed, detail, and dynamics that conveys the musicians technique, the pacing, the weight, and the color of music. The 9 series is a masterpiece and an engineering marvel. What I love about the 9 series is that it extracts all spatial cues of a performance, including the ambiance of the hall and a sense of space.
That said, the 9 series is a bit of a can of worms. Four boxes, four shelves, four power cords, and 6 AT&T cables. I am glad I did it, but for some it is just not practical or feasible. Steve had this unit for over 6 months in his store, so he can give you a very honest assessment of what it does. I would also not hesitate to buy a 781 with GNSC statement mods and an HRS platform from Steve. Add an Elrod Statement Gold power cord, and you would be done.
They are aligned straight. The appearance of being toed-out is an illusion from the photo.
Firing with no toe-in gives the largest soundstage, particularly the rear corners. I now have them toed-in slightly, and this makes the images in the center more solid.
I have a couple of more comments on the Bat Rex and the switch for the voltage shunt regulator tubes. The 6H30 is taut with huge soundstage width and depth, penty of extension to the upper and lower end, alot of detail and energy, with much space between the instruments. The 6C45 tubes have a smaller and more congested soundstage, and more decay to the notes. It knocks off the sharp corners of detail, and trims the upper frequencies a little. It is a more opulent rendition.
The 6C45 is my prefered tube for listening to solo, trio, quartet, and quintents. Anything thing small ensemble and closely miked. This is where soundstage width is not so important, since you have only a few people on stage. Plus, it seems like most engineers follow the rule that the smaller the ensemble, the closer one should place the mic. As an example, I have found the Emerson String Quartet to be such an energetically precise ensemble, they can miss the big picture. Listening now to their cycle of Bartok string quartets with the 6C45 tube, there is plenty of detail, bite, and energy, but there is also a harmonious and rich texture. Going between the two tubes with a recording like this is night-and-day.
The 6H30 is great for modern recordings of orchestral music. Kudos to the decision to have a switch to fine-tune the preamp.
Nine months after receiving the major components, I am finally getting the sound I want. One really needs to persevere with a new system, and take the time to optimize everything.
Right now, I have a sound that is big, wide, deep, clear, warm, and controlled. The Tripoint Troy helped to achieve this by lowering the noise floor, and pushing the previous boundaries of the sound stage, particularly the depth. The best characterization I can make for the Troy is that the music is now full of 'plump juicy details'. The clarity comes from the midrange with a fullness and an ease. This is in distinction to many products that add dry detail - two dimensional from the upper frequencies that becomes more harsh at a higher volume.
In addition, HiFi gold fuses have been installed throughout (29 in all) with Walker E-SST on all fuses and connections. The accumulative effect is music that is warm, full, clear with a naturalness, ease, and flow. I feel that this system marries the best sounds of tubes and solid state. Music has a natural, warm, layered presentation with notes that float and decay naturally. The wooden bodies of the instrument have that natural, resonant character. Yet, everything is extremely controlled, bass is pinpoint and appropriate, climaxes are perfectly dilineated and staggering.
I've hit the financial wall, and I'm done for the rest of the year. It has sometimes been a rocky road, but great systems take much time and care.
BAT REX Impressions I have had some time with the Rex, and am now ready to form some opinions. My interest was initiated because of an inability to run the Wadia direct without losing detail due to the lowest output setting of 0.5mV into a 2 kW amp resulting in a volume running 60-80/100. I was looking for a balanced tube pre-amp that would provide more fullness and texture in the midrange. The Wadia direct had a midrange wherein the note started abruptly and decayed too quickly, resulting in an unnatural presentation. Music did not have the natural resonance. I have had some ground loop issues since adding the Rex, which is temporarily remedied as I actively seek a better solution (ie. Tripoint Troy).
1) The best analogy I can provide is like making your own fresh tomato sauce. At first, the flavors are sharp and out of place. As the natural sugars caramelize and the acids cook down, it develops into a cohesive whole with a rich flavor. The Wadia direct is like a raw sauce, the Rex is after a few hours of cooking. 2) The Rex does not immediately hit you over the head with a different sound, and initial listening may underwhelm some. Rather, it is the type of component that can grow on you. 3) The upper end is not rolled-off at all. It is very extended. However, violins and trumpets are back within the stage instead of jumping to the front of the stage. 4) Previously, I heard the strings of the instruments. Now, I hear the body of the instrument resonating, with retention of shimmer and bite on the strings. 5) The midrange is very detailed and taut. The edges are smoothed subtlety. It is not syrupy or bloated at all. I am finding certain components can increase both the detail and the fullness of the midrange at the same time, and these are worth seeking (more on gold cables another time). 6) The bass is very good, although not as impressive as with the Wadia direct. I believe new power cords will remedy this, as I have not had a chance to experiment with any other than stock. In all honesty, the bass with the Wadia direct was probably like fireworks and not the way real music sounds, but it was a good time.
So there you have it. There are not many balanced, tubed preamps out there to choose among, but this one is worth considering. I would imagine that a BAT amp or an appropriate match to a solid state amp would be ideal.
Jfrech, My room is 16 x 18 ft, but with the open sides and putting the system in the corner, the speakers are 10 ft apart and I sit 15 ft away. I do not have another room for the stereo in my house. Having it in the living room is good because I get to be with my family, there is plenty of natural light, and music fills the entire house. I can also fit a huge corner sofa in the listening space. Placing the system in the corner removes the sidewall reflections and really makes the room almost as big as the entire first floor. The room can probably use some treatments, but on whole, is the best set-up for this house.
Dgad, I am enjoying the BAT Rex, and am waiting on another interconnect until saying much more. As you mention, the power module has an internal switch that allows one to toggle between a pair of 6C45 or 6H30 tubes that serve as voltage shunt regulators. I enjoy having that switch to alter the sound based upon the recording. The 6C45 has a subtle amount of bloom in the midrange, plenty of upper frequency extension, tight bass, and a sense of air/space/weight. This is my preferred tube for listening to good, modern recordings. I also have recordings that are older, lean, have been dehissed, and do not have a very wide soundstage. The 6H30 adds more midrange bloom, softens the treble, and makes the bass softer and more diffuse. Stereophile likened to switch to Jekyl and Hyde, but it seems like a good idea to match music preference and recordings, and it is easy to access if one leaves the cover off the power module.
Husk01, It seems to me that the MBL101E would really benefit from as much good power as possible, and the Karan may be an intuitive choice. However, I just do not know how the Karan and MBL will mate, and whether it will possess those properties you feel are lacking by your current amp. There are a number of good amps at this level. I guess the obvious answer would be to try to arrange a demo of the 650 or 450 to see what it does.
