Jfrech,

I apologize for the time which it has taken to respond but I have been overseas on business. I still am loving the Ypsilon phonostage and the step up transformer. Unfortunately, I have not had the opportunity to hear much else in my system since the Ypsilon went in. It is heavy, hard to move and moving it almost always results in a long tweaking session to eliminate hum from the plugs on the Nordost Odin cables.

Fred

fcrowder June 25, 2013 15:17

System edited: As many of you will know, I owned an Esoteric X01-D2 for a number of years replacing it with the EMM Labs single box player which to my ears sacrificed a bit of detail and bass slam but was more musically natural. After three years with the EMM Labs, I had the opportunity to listen to the P-02/ D-02 over an extended period and found it to have much of the midrange magic of the EMM Labs but with significantly more detail. Six months after the initial purchase, I remain very pleased.

fcrowder May 28, 2013 19:48

System edited: I have recently replaced the EMM Labs XDS1 with Esoteric's new P-02/ D-02 which are significantly more detailed with greater extension and control in the bass and more extension at the top while maintaining the musicality of the EMM Labs which I owned for three years. I could honestly live with either.

fcrowder January 30, 2013 16:42

Recently, I get a wild hare and decided to try changing power cords on my Rockport Sirious. Note that the power supply converts the AC to DC then uses an analog oscillator to recreate the frequencies needed for the motor. I erroneously thought that a good but not great power cord, heavy on the copper should work well. Let me only say that I substituted a Stage 3 Minotaur and the differences were quite pronounced, particularly in mid bass heft and top end extension. I am also playing with a Talea 2. At this point I will only say that it is a phenomenal arm and works exceptionally well with my Ortofon A90.

fcrowder January 31, 2012 18:20

I spent much of the weekend comparing rectifiers on various recordings with some unexpected results. For the sake of simplicity, I will describe the sound of each in my system and then try to make a few brief general remarks. The results are with respect to the sound of these tubes on my Audio Note Balanced Kegons and may not hold true on other amps.



National Union 5U4G ( my reference)

Less top end than either of the following rectifiers, somewhat dark
Somewhat damped in comparison to the others
Highly dimensional with excellent depth and stage width
Not much shimmer in the top end/ somewhat less exciting than the others
Voices significantly more intelligible, particularly on some of the cuts from Graceland


Tungsol 5U4G (1942)

Very extended top end
Punchy bass, almost to a fault
Some dynamic compression
Hint of roughness in the top end
Soundstage very 2 dimensional with little or no depth
Somewhat forward
Lacking subtlety


Sylvannia 274B (1942)

Extended, natural top end
More depth tp the soundstage than the Tungsols but less than the Nationals
Bass well controlled and well integrated with other frequencies
Most top end of the three


With both the Sylvannia’s and the Tungsols, there was an audible increase in 60 Hz hum through the speakers in comparison with the Nationals. Also, I am unable to say how the sound of the Tungsols and Sylvannias would change after more break in. Based on my listening, I would like to do more listening with the 274B’s in the system. I think that they are clearly superior to the Tungsols. If the National had a bit more top end response, they would be the clear winners. I should probably note that until playing with rectifiers, I would have said that the Western Electric 300B's were a bit soft at the top. Now I realize that they are actually much more linear than I thought but that the sound of the amps is dependent on all the tubes in the circuit and how they interact.

Fred

fcrowder January 20, 2012 19:47

Boeing,

Strange, I had assumed that the Prime power cords did contain a Bybee module given the wooden oval that is attached which closely resembles the wooden element on the interconnects and speakerwire. Regardless, I can say that the power cords, at least in my system are quite good.

fred

fcrowder October 10, 2011 17:27

I returned from London last Saturday and installed the Takatsuki TA-300B tubes which I had purchased Sunday morning. The TA-300B’s now have over 100 hours on them and are sounding very good, extremely dynamic; excellent impact on drum heads, nice extension in the bass and treble. I am hearing significantly more low level detail. They are extremely quiet and very detailed and open without being bright or irritating. I found that with the black bottle Shughangs that certain massed violin records could at times sound a bit steely. At this point, I wish that the Takatsuki’s were a touch more lush in the mids like the Western Electrics, but that may come in as they approach 200 hours. Likewise, the Westerns seem to do a somewhat better job of causing my speakers to disappear, although this varies from record to record. All in all they are definitely “keepers”.

fcrowder September 23, 2011 21:48

Sam,

It is superb on masssed strings. With other phono stages sometimes as the massed violins get very loud there is a hint of stridency with other phono stages which I had attributed to mistracking. That stridency is now gone. Needless to say, string tone is lovely, very dense and liquid. I was listening to Mischa Elman on an early black label Vanguard Lab recording last night and it was spectacular. I am also finding that surface moise bothers me less. It is still there but for some reason, I don't seem to be focusing on it as much.

Fred

fcrowder August 25, 2011 12:46

The Ypsilon VPS-100 is far superior to any other phonostage which I have auditioned by a rather significant margin. I think that I can best communicate this by comparing it to my previous reference, the Einstein Turntable's Choice. In comparison, The VPS-100 1) is better able to recreate the space of the recording venue or in some cases the lack of any spatial cues, 2)it is particularly good in differentiating among different drum heads, 3) highs are clearer and more distinct without any hint of stridency, 4) imaging is better with excellent focus and specificity, 5) dynamics in the mids are better but the real achivement is that dynamics are consistent throughout the frequency range with no particular frequency band singled out, and 6) bass is astonishing in its power and abikity to plum the depths. So far my only nits with the unit are that in combination with the MC16 transformer, gain is somewhat less than with the Einstein and the unit is very susceptable to hum unless all cables are optimally grounded.

Unfortunately, these comments are rather a poor description of what makes this unit so much better than any other with which I am familiar.

fcrowder August 22, 2011 15:18

Jfrech,

First, you would be welcome to drive down to Houston to listen. Given that I have ordered the phonostage, there is no real hurry. With respect to the transformer, the reason for an external transformer is that different cartridges require different transformers or perhaps more accurately, they require a different number of windings to create a proper interface with the cartridge. I had the opportunity to compare two different transformers with my A90 and the MC16 was much better than the MC20 which is better suited for a Lyra Titan i. It would be more convenient to have everything in one box but would not allow optimal matching. There are currently 3 transformers available and Ypsilon will wind custom units as needed.

fcrowder August 21, 2011 13:29

Thuchan,

I have much enjoyed reading your posts in Audiogon. You are correct. I should have said that I used a pair of the Primes for the phono but had a friend build a separate ground wire which the Prime lacks. In any event, the Odin was significantly better in almost all areas than the Prime when used for the phonostage. You should not assume that is the case when the Odin is compared against the Prime in other places. At this point, I will only say that they are very similar in some ways and very different in others.

Jfrech,

I broke down yesterday and ordered the Ypsilon phonostage and the MC16 transformer. Again, when I have the full measure of the unit, I will post more detailed comments. I will say that if anything Michael Fremer's review understates how good this unit can be. I should note that my friend's unit has two very important tweaks: 1) the fuse has been changed out for an Isoclean fuse and 2) the rectifier has been replaced with a 1950's Mullard. If you have read my comments about changing out the rectifier in my Balanced Kegons, you will understand the magnitude of the change. I believe the unit which you heard at Albert's did not have the hotrodded rectifier but came with the factory supplied Sovtek.

fcrowder August 20, 2011 13:58

I have used a number of different cables from my tonearm to the outboard phono stage over the last 10 years. After much listening, about 5 years ago I had Nordost fabricate a tonearm cable for me from their Valhalla cable. Note that normally I do not find Valhalla to be my cup of tea but in this one application, it worked well. Last night, I inserted an Odin tonearm cable and it was dramatically better than either the Valhalla or some Jorma Prime that I have been playing with. I should note that I also have some additional lengths of the Odin interconnect and will be trying it in my system.

On a separate note, if you have not auditioned the Ypsilon phonostage, I would suggest that you do so. A friend recently loaned me his VPS-100/ MC16. For about 4 years, I have used the Einstein phonostage and while it is not perfect, found it to be very good, certainly better than my previous stages, Vendetta SCP2T and Curl Blowtorch. It was certainly less sterile without loss of detail. I expected that the Ypsilon would be warmer and more organic; however, I did not expect that the VPS-100 would annihilate the Einstein in all areas that matter. More to come after this weekend.

fcrowder August 18, 2011 15:29

I recently had the opportunity to audition the new Audio Note Fifth Element 3 piece Red Book digital plaer ($189,500) over a period of 4 days. While it is difficult to separate the sound of the system which is described velow from the sound of the digital front end, the mere fact that the sound of the system was clearly one of the two or three best that I have ever heard speaks worlds. The system displayedbelievable image height, and differentiated well between the heights of the different instruments. The string tone on violins was very natural. PRAT was good as was the integration between the upper and lower frequencies. Drums were very taut with excellent impact. The top seemed extended and detailed without any bite or harshness. Most noticeable was the ability of the speakers to create pressure gradients within the listening room which were noted as density changes in the air of the room. I have heard few large systems capable of doing this as effectively. I should also note that the bass was not ''one note'' or overblown. This system had no problem separating the bass lines. Male voice was excellent, particularly in capturing the expression of the singer. I found myself drawn into the music and my foot tapping. The sound was totally effortless, unbelievably liquid and incredibly dynamic. There was a certain magic to the sound, a rich warm tonal balance coupled with an ability to look deeply into the texture of the music. Female voice was particularly nice. If I had to nitpick the sound, I would say that leading edge and transients were somewhat soft, depth was foreshortened, and there were times on complex works when a bit more power would have been nice. . This system was true to the music and an absolute pleasure to listen to for long periods. If I failed to say so, the new three-box Audio Note Fifth Element (FE) may well set a new benchmark in digital reproduction. In comparison, to an EMM Labs XDS1 which was also available for comparison at the same time, harmonic complexity and low levwl detail were better on the Fifth Element. This was somewhat of a surprise as I would have expected the XDS1 to have superior low level detail.

fcrowder July 08, 2011 19:41

I perhaps misspoke. SACD is higher resolution than CD but I was actually thinking about the downloads available through the internet.

fcrowder July 06, 2011 14:38

Unfortunately, I use the XDS1 strictly for playing Cd and SACD and not for hi-rez so I cannot speak to your question. Sorry.

fcrowder July 02, 2011 15:38

I had what I thought was a problem with the left channel of my EMM Labs XDS1 which resulted in a trip back to the factory for a thorough check out by the resident technical whiz Devin. Several things are worth mentioning, the entire process was extremely user friendly with my unit returned to me in about two weeks. While the unit was there, the factory replaced one of the digital input boards to bring my unit up to current production and also updated the firmware to the latest iteration. All of this was at no cost other than shipping. Devin assured me that the change to the firmware would probably have no sonic impact on CD's or SACD's; however, early impressions are that the top end of the unit is actually a bit improved. Further listening may tell. The real point of the post is the way that this company treats it customers.

fcrowder June 13, 2011 19:44

Unfortunately, it is time in use (actual play time) rather than age that determines the wear on the electrodes. I suspect that how high you run the tweeters may also have an impact. With respect to the PL519's, I assumed that they were off or at least in a sleep mode when the speakers are not in use. I have noticed that the amount of heat generated when the plasma is off is significantly less. The general rule of thumb is that the rods and tubes need to be replaced every 5 years; however, if the sound is still good and the plasma is coming on without issues, I would leave well enough alone and just listen. I will separately email you a contact number for Hermann Winters.

fcrowder June 06, 2011 13:17

I hate to admit it but the power cord and interconnects that are attached to the tuner are worth more than the tuner, but these are necessary to extract the best sound frim the tuner.

fcrowder April 12, 2011 20:30

Several months ago, I had my vintage Yamaha CT7000 Tuner in the shop for periodic maintenance: replacement of leaking electrolytics caps, replacement of burned out lights, IEC connector instead of attached zipwire cord and better coupling caps. For some reason, I never hooked it back up until this weekend. Listening made me realize that FM can be pretty good given the right station. Unfortunately, Houston has only one decent station playing classical music and jazz. I wish that I were in an area wher there were more high quality stations. Note that I am using an outside antenna.

fcrowder March 16, 2011 21:51

My friend with the Ypsilon gear got a wild hair this weekend and decided to play with different isolation footers underneathe one of his Weizhi AC distribution boxes. Given that the box is extremely heavy and milled from an aluminum ingot, I really was not expecting much of a change. Well, as usual, my intuition was wrong. The footers made a significant difference. Without going into painful detail, the two areas which seemed most effected were the bass which became tighter with more impact and the top end which could become bright and screechy or a bit soft and ill defined. With some combinations, the midrange was also negatively effected becoming thin and lacking body. What seemed to work the very best in my friend's system was a combination, two hard rubber footers (BEL Labs) and one Acapella composite wood/aluminum footer. The combination was nicely balanced, not the very best in any single area but good in all areas so that the final tesult was well balanced.

fcrowder March 10, 2011 14:21

If there is a "Crowder Constant" it would be that if there is anything that can go wrong with my system, it will be when I have invited guests over to listen or perhaps, the greater the resolving power of the system, the more difficult it is to get everything right. On a good night my system sounds great, more often, only average to good.

fcrowder March 04, 2011 00:11

Have you ever encountered the law of unexpected consequences? I did some more listening to my system sans the Cabasse subs which had been sitting in the corners behind the main speakers. The high end seems a bit better; however, I now have a resonant peak in the upper bass/lower midrange that was not there before. Even unplugged the 21" cones of the Cabasse woofers were apparently providing some damping in that area.

fcrowder March 03, 2011 15:32

System edited: The Cabasse subwoofers have found a new home with an audiophile in Alice, Texas who has the space for them. They had been in the room but not hooked up for a period of time and it seemed like a good time to make the change. In all honesty, I never was able to mate them seamlessly with the Triolons. Predictably, getting them out of the room and opening up the space behind the Triolons has resulted in a nice improvement in my sound.

fcrowder March 01, 2011 15:44

My friend is currently using the smaller Ypsilon hybrid amps which are in my opinion very good. They are a significant improvement over the Edge monoblocks in all areas except bass control where the Edge amps are better.

fcrowder February 01, 2011 13:36

I visited my friend last night to listen to the Ypsilon phonostage. His system consists of a Rockport Acapella TT, Ypsilon electronics, Esoteric P03/D03/G0S and Avalon Isis speakers. He was kind enough to warm everything up for several hours before our listening session. We began with the Opus 3 Maytan and friends and then listened almost exclsively to classical recording including several sides of the superb DGG Carmen. Again, the wires are not yet optimal and the unit needs further break in; howeevr, this is the best sound that my friend has ever had by a significant margin. I consider myself to be pretty jaded, but I was impressed.

fcrowder January 31, 2011 15:36

I am using the single ended Einstein phonostage, my friend is using the balanced version which s/b a bit better than mine. I should note that my friend is using the same cartridge as I use, the Ortofon A90 and that the step up transformer is wound specifically for the Ortofon to yield 16 db of gain. Ypsilon has two other transformers, one at 10 db gain, the other at 20. All allow the owner to insert a resistor on each channel to accurately match the cartridge.

fcrowder January 31, 2011 02:41

Things are a bit slow but a friend just received the Ypsilon step up and phonostage. He is waiting on better cables but has hooked it up with midline Crystal wire. He was previously using the top Einstein phono. He feels that the Ypsilon is better in every way- more extended at the frequency extremes, more air, better stage and more liquid. It still needs to break in but I will get back to you with my assessment. Note that the circuit uses transformers rather than caps and very low parts count and is all tubed including the power supply.

fcrowder January 30, 2011 15:37

I have recently substituted Shugang Treasure Series (black bottle) for the Western Electric tubes (a late production run) which I had been using for the last year. These tubes require a rather extended break in to reach their peak, in my case about 300 hours. After full break in, the black bottle Shugangs were superior in a number of ways to the WE tubes, better extension at the frequency extremes, lower distortion, lower noise floor, better control of the bass. However, if I had to choose one area where they really shine it would be dimensionality. Depth is improved and image focus is exceptional. All in all a nice improvement to my system.

fcrowder November 30, 2010 15:09

I am certainly sympathetic. Just be glad that your BAT's are not based around a circuit employing 300B's or 211's. I will be listening to alternatives to the Western Electric 300B's which I am currently using in the near future and may have some comments when I do so.

fcrowder September 07, 2010 13:28

Well another expensive weekend. I spent about five hours listening to n.o.s. tubes for my amps, primarily VT25/10 and 10Y and rectifiers, primarily 5U4G and GB. As I have learned the box and stencilling on the glass are not a guarantee of the actual provenance of a tube. Even with respect to legitimate n.o.s. tubes, RCA might have purchased a particular tube from Sylvannia and vice versa. It is critical to have someone knowledge as a resource. Having said this, I have had good luck with Josh at Tejas Tubes in Houston. After he and I listened all day Saturday, I was able to determine that my balanced Kegons clearly and consistently prefer 10Y to 10 variants of the VT25 and that the KB's prefer the 5U4G to the GB variant. With respect to the VT25, 1940's Sylvannias seem well suited for my amps. With respect to the rectifiers, NaTIONALS FROM THE 1950'S worked well as did brown base RCA's. I am looking for pairs of Genelux and Tungsram rectifiers which may be even better. Another things that I learned is that generalizations about particular tubes are not always a good indicator as a specific circuit may call for different electrical parameters. This proved to be the case with some very expensive Western Electric rectifiers.

fcrowder September 06, 2010 05:37

Subsequent to the listening sessions over the weekend, I was able to have a couple of listening sessions comparing Stage III Vortex Prime AC cords with the Stage III Minotaur. Both of these sessions were in other people’s systems. On the Esoteric P03 transport and D03 DAC, the Minotaur was a pretty big step forward, especially on the Transport. We also tried it on the clock, but it didn’t seem to help much there. In my friend Paul’s system the Vortex Prime worked very on his EMM Switchman preamp, while the Minotaur was a little bass heavy. The Minotaur worked really worked well on the EMM DAC. Resolution and soundstaging were both enhanced. On the EMM transport, the Jorma Prime cord worked better than anything else, really opening up the soundstage. With this combination of cords Paul’s digital sound was elevated quite a bit. I continue to like the Jorma Prime for its tonal balance and ability to accentuate dynamics and palpability; however, it is becoming increasingly obvious that the top of the line Stage III cords are cleaner and more extended at the top, more controlled in the bass and midbass and more tonally neutral.

fcrowder July 14, 2010 13:02

I had an interesting, if costly, weekend. Many of you will remember that about a year ago I purchased a Stage III Zyklops power cord for my digital set up. At the time, it seemed like the best choice to complement the Esoteric X01-D2 that I owned. About three months ago, I learned that Stage III had a major upgrade to the Zyklops and all its existing cords which consisted of the replacement of the connectors with ceramic units custom manufactured for Stage III. Although somewhat skeptical at first, after hearing a friend's upgraded Vortex Primes in comparison to the original, I bit the bullet and send mine in for the upgrade which cost $300.

Of late I have spent considerable time trying to optimize the Balanced Kegons, both the tube complement and the AC cabling. As I have previously discussed the tube issue, I will not rehash old ground. I have a peculiar set-up which requires the use of one power cord about two meters longer than the other. Unfortunately, this has made power cord comparison difficult. A friend loaned me a second Weizhi over the weekend to enable me to try out different power cords on the amps. This allowed me to use three shorter cords, rather than one short and the other ridiculously long.

With respect to power cords, I can say with some certainty that the KB’s are extremely sensitive. As it turns out the Isoclean Super Focus cords which I have been using are not only not the best on the Kegons but are actually a very poor match. Two cords which seem to work well are the Jorma Prime and the latest Stage III wires particularly the Minotaur and the Zyklops. The Stage III cords exert a much stronger control of the midbass frequencies making the Isoclean cords appear a touch ripe and bloated in comparison. Likewise the Stage III cords are much cleaner and more extended at the top and more detailed throughout the frequency range. The Stage III also has much better image focus and soundstaging ability. Voices and solo instruments are properly sized and placement is very stable. In comparison, as additional instruments are added to the stage with the Isoclean, it seems to create room for the new instrument by pushing the first further back into the soundstage (I will note that I have somewhat exaggerated the effect to illustrate what is happening). The Jorma Prime is also excellent, a bit warmer than the Stage III but not as resolving, a little less clean and extended at the top and a bit more forward. I would note that I continue to like both and that in the right circumstances, the Isoclean is still very good, say with a transistorized amp like the Parasound JC-1 monoblocks where its fatness in the midbass ameliorates the leaness of the amp. As a result of the listening over the weekend, I am redoing my AC set-up for the Kegons and will be using a combination of the Stage III and Weizhi.

fcrowder July 12, 2010 16:59

System edited: Several additions to the system, including the EMM Labs XDS1 a Weizhi AC line filter and several Stage III power cords.

fcrowder July 12, 2010 16:20

One thing which I really appreciate about Ryan is that he is brutally honest, not mean or unkind, just brutally honest. His comments Friday night were interesting. As usual, he reiterated that the bass of his Watt Puppies had a level of slam and impact that the Acapella's and for that matter most other speakers do not equal. I believe that he is correct in saying that the bass of the Audionote amps is characteristically single ended, it does sound very different from that of a high power transister amp. Likewise, a 23 watt amp does not have quite the dynamics at the loud end of the spectrum on rock music of a much larger amp. This is not noticeable on the vast majority of music that I play and is very benign even when it happens as SE tubed amps tend to be somewhat forgiving of being over driven. Other than these two areas, I believe that he was relatively pleased with the sound. I am currently using Isoclean Super Focus power cords on the amps and will soon be trying some alternative cords to see how that impacts the bass control and dynamics.

fcrowder June 29, 2010 19:10

I had the chance over the weekend to hear the FM122 phono stage in a friend's system which also included EMM Labs separates, the FM Acoustics mono amps, a Walker TT and a Lyra Titan i cartridge. Previously, I had also heard heard the Einstein phonostage in the same system. The two are very different but each excellent in its own way. The FM is possibly the most detailed phonostage that I have heard, extremely clean, linear, low distortion, perhaps a touch lean for my tastes but that is highly dependent on the associated power cords and AC line filter used. It seemed to really like the Jack Bybee filter combined with Jorma Prime power cords. The Einstein is somewhat less revealing but warmer, with more air and a larger, deeper stage. While I will keep the Einstein for the time being, I will probably check out some of the alternatives.

fcrowder June 23, 2010 20:50

Sam,

The X01-D2 is to the P03/D03/G0 about the same as the CDSA is to the XDS1. To be clear, the more expensive Esoteric gear basically addresses what I perceive as the weaknesses of the X01-D2. It is a superb machine. It clearly has the same ability to retrieve detail that the XDS1 has and tonally is very similar; however, the way in which each presents detail is quite different. In a good hall the Esoteric would be similar to a seat at the very front of the hall. The focus is on the instruments with less hall information. The XDS1 is more like a seat in the mid hall area which will give you less upfront detail but more detail with respect to the hall. One focuses on the direct sound, the other on a mix of direct and reflected sound. Neither is "right" or "wrong". They represent different perspectives on the same event. I personally prefer the Xds1 but others will prefer the Esoteric.

fcrowder June 05, 2010 19:27

I purchased the EMM Labs XDS1. It has been a revelation, particularly since I am intimately familiar with the Esoteric X01-D2, Playback Designs and had an EMM Labs CDSA in my home for the 6 weeks prior to receiving the XDS1. It is perhaps worth saying that that on an overall basis, I preferred the CDSA to the X01-D2 because of its musicality and correct tonality but felt that the X01-D2 was superior in retrieval of low level detail, extension at the frequency extremes, and dynamics. The CDSA also displayed a bit of congestion in the upper bass and lower mids that was absent from the X01-D2. The major failing of the X01-D2 is its tonality which is a bit lacking in harmonic complexity in comparison to the CDSA. The XDS1 is a huge leap over the other units. It is the first digital piece which I have owned which approaches good analog.

fcrowder May 27, 2010 13:50

No multi-channel is currently planned for the primary sytem; however, I need to completely revamp the small system used for video. The thought there would be something enjoyable but cost effective.

fcrowder May 25, 2010 12:22

It was an interesting weekend in many respects as I drove to College Station to visit Norm Luttbeg (Tbg)to hear his Tidal Contriva SE speakers and Bergman Sinde turntable/Ortofon A90 cartridge. After adjusting the tracking force downward on the A90, the sound of the combination was exceptional. The Bergman seems well thought out and well executed, although it would clearly benefit from an easier graduated method of adjusting VFA and a more repeatable method of adjusting tracking force. However, neither of these nits affected the sound. I would like to have heard the Tidals with different electronics. The amp in particular did not seem ideally suited to driving the speakers. The Tidals seem to have avoided the negatives that I typically hear with ceramic drivers. They are well detailed without added brightness. The drivers are also very coherent. I hope to hear them again under different circumstances.

On Sunday, Norm and a friend came to Houston to listen. We started about 10:30 in the morning and were still listening that evening. One thing that became abundantly clear was how much better the Kegons get after being left on for three or four hours. The surprise of the listening session was how analog like the EMM Labs XDS1 sounded.

fcrowder May 24, 2010 20:11

I think that the sound of the XDS1 is consistent whether through the M9 or the Einstein; however the two line stages impart different flavors to what is run through them. The Audionote is clearly somewhat richer harmonically and from my perspective tends to benefit the Esoteric players. The XDS1 is a bit harmonically richer and works well with either.

fcrowder May 24, 2010 01:08

Dan the "cartridge man", at least that's how I think of him, my expert on cartridge set up, visited Friday evening to preview the Ortofon A90. dan already owns one but is currently playing with the top of the line ZYX. He convinced me to at least try some 100 ohm loading plugs which he brought with him, but more importantly, he talked me into lowering the tracking force from 2.3 grams to 2.01 and then to adjust VTA. The short answer is that I currently like 85 ohms on the Einstein, but that the cartridge sounds much better at a lower tracking force. Again I am not sure how much lower it will go after full break in. The other lesson learned is how VTA and tracking force affect each other. The A90 is sounding very good in all areas. On a separate note, the EMM Labs continues to improve. At this point I have decided to bite the bullet and buy it as I really like the particular combination of pluses and minuses. It is significantly better than the Esoteric X01-D2, probaly equal but different from the P03/D03/G0S. More on that later.

fcrowder May 23, 2010 03:55

I have been experimenting with the loading of the A90 and at this point can say with great certainty that 40 ohms is way too low and 300 way too high.  The cartridge, at least in my system, sounds right at 85 ohms.  I would guess that 100 might be a touch better but have no way of verifying it.  When the load is too low the bass is uncontrolled and imaging suffers.  When it is too high, the top end sounds rolled off.  Things seem to snap into focus at 85 with great treble and tight, well controlled impactive bass.  Note that the loading also effects output but not disastrously. After I get to the 50 hour mark, I will experiment with tracking force, but at present, I am content to sit back and just listen. recently I have rediscovered early tulip label DGG's and 6-eye Columbia classical recordings. Both can be excellent.

fcrowder May 19, 2010 12:54

I initially set VTF at 2.3 grams as recommended by the factory but have since dropped it to 2.1 grams. I am trying to track with the bottom of the cartridge parallel to the turntable; however, I find that setting it by ear while therecord is playing results in a slight adjustment, generally very slightly up. I still need to play with loading. Raul Iregas has suggested 100 ohms; I am currently at 300 but will experiment this weekend.

fcrowder May 11, 2010 12:47

I have now put about 10 hours of play on the Ortofon A90. Several friends who own A90's have suggested that a minimum of 50 hours is needed for breakin and that it opens up at that point. For those who have only seen pictures, the stylus is quite long. Ortofon suggests that the starting point for VTA is parallel to the record; however, given the open structure of the cartridge, it is not always easy to determine when it is parallel. Fortunately or unfortunately, the A90 is very sensitive to VTA adjustment. Even a minimal adjustment can lift the quality of the sound rather significantly. I am running it into an Einstein phonostage [probably the best bargain in high end phonostages] loaded at 300 ohms. Any suggestions from other users with respect to optimal loading would be greatly appreciated. For reference, the Titan i liked 100 ohms into the Einstein. tracking is currently at 2.3 grams but in the Rockport, that is probably a bit high. I figured that it would be wise to complete breakin before trying to adjust down force but again any suggestions from users would be appreciated.

fcrowder May 09, 2010 14:54

I have been listening to the EMM Labs XDS1 today and after about 200 hours of play, it is already state of the art in many respects. Leading edge definition is still a bit soft. The soundfield that it creates is huge.

I also had a friend install the Ortofon M90 cartridge tonight. All I will say at this point is that it is quite good straight out of the box, neither bright nor edgy.

fcrowder May 08, 2010 02:57

I am not convinced that an SACD player knows the difference between various types of software played unless it is designed like the Esoteric gear so that different circuitry is used for Red Book and SACD. I am playing the unit continuously but trying to listen for several hours each evening to get a feel for how break in is progressing.

fcrowder May 04, 2010 20:18

Mapman,
The unfortunate thing is that with respect to power cords, one size definitely does not fit all or at least, I have not found one cord that works equally well with all components. Digital components generally require a different solution than analog. The Jorma Prime and Zyklops both can provide excellent results, but use different design philosophies and technology. At one point, I thought that there was a correlation between how well a power supply was designed and the dependence on power cords. Now I am not so sure. Any thoughts that you might have would be appreciated.

fcrowder May 04, 2010 15:59

A few additional thoughts. I had been using a Jorma Prime to supply power to the Weizhi distribution box and then used another Prime to the XDS1. I took out the initial Prime feeding the Weizhi and substituted a Stage III Zyklops. The end result was somewhat different, a bit less of the golden glow and bloom in the midrange but more neutral overall. Note that I am still a real believer in using the Primes direcvtly feeding the front end equipment. I intend to experiment with my amps when I get some longer lengths of cables.

fcrowder May 04, 2010 12:23

I am currently auditioning with the Einstein.

fcrowder May 03, 2010 12:47

Many of you will know that I sold my Esoteric X01D2 about 2 months ago and have been listening to possible replacements. I was able to arrange for a loan of the EMM Labs XDS1 and finally received it on Thursday. It has been in contitnuous play since Friday morning but will still require many additional hours of break-in. Given the new rather brute force power supply, you might think that power cords would make little difference, but it is quite sensitive. It simply loves the Jorma Prime power cords which incorporate Jack Bybee's filter modules and the Weizhi power distribution system. Properly set up the XDS1 significantly outperforms any of the other digital equipment which I have had in my home including the CDSA. This superiority is particularly evident in the top octaves which are extended and completely devoid of any digital artifacts. I have always appreciated the difference between red book and SACD and other digital formats but not completely understood how wide the gap actually was with DSD. The XDS1 makes it abundantly clear how good the best SACD's can be and their superiority over red book. It also provides the best red book playback that I have heard. The bass is still not quite right but is getting better as it plays.

fcrowder May 03, 2010 01:56

Dear Gallant Diva,

I would love to hear your system and you are certainly invited to hear mine. I have yet to mount the Ortofon so am listening to the Lyra Titan i. I actually owned the full range Apogees many years ago with a pair of matched Levinson ML3's with about 10" of speaker wire, the passive Apogee crossover and ML6a's and a Goldmund turntable. The sound was the most resolving that I have ever had, but I was never able to get the bass right.

fcrowder April 25, 2010 20:51

Rtnl,

Thanks for your response. Could you detail the mods which you had done and who did them. I have a great deal of respect for the Wadia, particularly modified units.

fcrowder April 17, 2010 18:43

At this time, my reference is the Esoteric P03/D03/G0S. I feel certain that the P01/D01/G0s is better but I have no real experience with those pieces outside of audio shows. The same is true of the DCS gear which I suspect is excellent. I have high hopes for the EMM Labs XDS1.

fcrowder April 17, 2010 13:47

It is probably worth pointing out that the Audionote M9/S9 was only hooked up on the last day of Sam's visit and that his listening was very limited, perhaps an hour at most, part devoted to a test CD and part focused on analogue. As with my Kegon Balanced amp, the M9 only gets better as it is left on. The vast majority of our listening was to the Einstein preamp and single ended phonostage. As sam pointed out, the Einstein would benefit from a volume control which allowed the user to adjust the volume in smaller increments. The M9 allows such adjustments but does not have a remote. In an attempt at being nice Sam underplayed what some would consider weaknesses in my system, 1) the lack of coherency among the drivers at low volume levels and at very high volume levels. At normal listening levels this is generally not a problem; 2) the lack of truly pinpoint imaging ( the imaging is more characteristic of what one might hear 10-15 rows back in a good hall which is to say that edge definition is a bit soft) and tightness in the bass. Again I would say that the bass is full and very natural, but different from traditional transistor bass.

I am currently out of the country but the XDS1 has been shipped.

fcrowder April 15, 2010 17:33

Sam,
Thanks for the kind words and the gracious invitation. I am currently in Indonesia on business and will be back on Sunday but must be at work in Houston on Tuesday. Would it be possible for you to maske it to Houston on this trip? I could provide food and lodging and a listen to my system.
Fred

fcrowder March 25, 2010 07:09

Dear Sam,
Thanks for your kind comments. Of late I find that I am very selective in whose comments I read in Audiogon. Yours are one of the few that I always read and enjoy.

I am currently in the process of breaking in a Jorma Prime power cord which I intend to use on the Einstein phonostage. Will let you know the final results, but Jorma more than most manufacturers has a consistent sound that seems to run through their wire products. These cables are an excellent match for my system and for other systems in which I have heard them. Unfortunately, their current pricing is extremely high and will serve to limit the access of many audiophiles to these cables.

Fred

fcrowder March 23, 2010 08:07

Albert,

As usual you have cut to the heart of trhe matter. I think that this will be dependent on the system (particularly whether it is tubed or solid state and on the listening preferences of the owner of the system. At this point, I think that in most systems, the PD would be the winner and I have sold the X01. The real unknown is the XSD1. Ideally, I would prefer in my system a unit that has the strengths of both the P03/D03 and the PD but which suffers from none of the trade-offs of either.

fcrowder March 13, 2010 19:59

Changster,

While I have not received the EMM yet, I have extensively compared the PD with the X01-D2 and the P03/D03/G0. How one responds to either unit is to a certain extent a function of th remainder of your system. The Esoteric gear is absolutely tops in extension at the frequency extremes, particularly the bass where it has superior extension and control. The PD has more bloom at the bottom and is quite pleasing. The PD can also sound a bit soft at the extreme top. Not lacking in detail but missing the extreme highs although this may be a lack of distortion. Likewise the Esoteric has better dynamics and superior ability to retrieve detail. The PD can at times sound a bit confused particularly from the midbass through the lower mids. The PD on te other hand has a natural warmth and harmonic richness in the midrange and upper bass which can at times make the Esoteric sound a bit clinical. In some ways the PD is like a very good SET amp, sacrificing the frequency extremes for the midrange, the Esoteric like a very good transistor unit. In a system which is already warm and tubelike, the PD can be a little too much. In a transistor system, the PD can be a superb match. I had the opportunity to sell my X01 at a favorable price so did so. The question at this point is what will replace it. I would prefer the single box approach but am considering other options. thoughts?

fcrowder March 11, 2010 18:45

Hello Jim,

I have not gotten around to trying the Slvr HiFi Tuning fuses in other locations but certainly intend to do so given the extremely positive results with the Einstein. These fuses differ from those normally sold as replacements both in the silver caps and in the fact that the fuse bodies are ceramic rather than glass. In terms of effects, one of the most startling was that the gain of the Einstein appeared to increase by 2-3 db. I have encountered this same effect with power cords and gnerally find that it is predictive of other benefits. In addition, the noise floor decreased, dynamics increased, distortion seemed to be reduced, bass was tighter with greater impact. On the minus side, the sound may be somewhat less warm, although this may have been qa coloration.

fred

fcrowder March 01, 2010 13:23

While I have yet to reach a point where I am completely content with the sound of my system, I am spending much more time listening to music and less obscessing over the next thing to change. I have done some tweaking to my vinyl set up which has paid major dividends. The least expensive of the changes was the substitution of a HiFi Tuning silver contact ceramic fuse for the stock fuse in my Einstein phonostage at a cost of $40. This resulted in an audible improvement in resolution coupled to a reduction of grunge or haze. A second tweak involved the substitution of first a Stage III Zyklops power cord for an Isoclean Super Focus on the Einstein followed by a Jorma Power cord with top of the line Oyaide connectors replacing the stock ends and finally, the insertion of a Bybee Millenium power cord. While each had its advantages and disadvantages, the Jorma was the clear winner in this particular application. I found this interesting as the Stage III was the clear winner on my digital gear. Finally, I have purchased but not yet installed an Ortofon MC90 cartridge to replace my Lyra Titan i.

On a separate note, I have been auditioning a Playback Designs SACD player vs my Esoteric X01-D2 and a friend's P03/D03/G0. I am hoping to have the new EMM Labs XDS1 shortly to further confuse things.

fcrowder February 24, 2010 22:10

I spent much of last weekend listening to different tubes on my Balanced Kegons. While I was able to improve the sound, I would categorize the changes as evolutionary rather than revolutionary. I first changed the factory supplied Shugang 300B's to Western Electric NOS with about 400 hours on them. This resulted in across the board improvements including further extension at both frequency extremes, lower distortion and better imaging. Next I substituted a Haltron 5U4G for the stock EH. This actually resulted in a higher degree of improvement than the change to WE, particularly with respect to presence and complexity of the harmonic structure. The last change was thew driver which went from a Sylvannia NOS to a Hytron. The sound was certainly warmer and stringed instruments were rendered with fuller body: however, the Hytron seemed to spotlight the soloist bringing them forward on the sound stage. The Sylvannia was to my ear more linear, so I reinserted the original Sylvannia. In the next weeks I am hoping to try other regulators as they seem to have a major impact on the sound. I hace heard that NOS RCA's with double getters are quite good in this circuiy. Any suggestions would be appreciated.

fcrowder September 13, 2009 20:19

Given the pricing of the Zyklops, most of us are unlikely to purchase more than one or two for our systems. With respect to my system, I have found that the best "bang for the buck" results when the single Zyklops is placed on my X01-D2 player. Last weekend, a friend borrowed several of my different power cords and did extensive listening tests. In his system which includes the Esoteric P-03, D-03 and G-0 clock, the piece that benefitted most from the Zyklops was the transport, although the DAC also benefitted to a lesser degree. My friend also had on hand the less expensive ASP Vortex Prime and the Isoclean Super Focus and Supreme Focus power cords for comparison. In his words in direct comparison to the Prime the Zyklops was "more refined", had better dynamics, better soundstaging and more space and air; however, the degree of difference was much more pronounced on his transport than on other front end pieces in his system, say 30% improvement on the transport vs. perhaps 15% on other pieces. More interestingly, he felt that the Prime on the same scale was probably a 50% improvement over the Supreme Focus. I think that what all this suggests is that the Vortex Prime at about one third the price of the Zyklops may represent a relative sweet spot in the ASP power cord line.

fcrowder April 16, 2009 13:55

In addition to substituting the Zyclops power cord for the Mexcel on my Esoteric X01-D2, I decided to also purchase an additional pair of 1 meter balanced Jorma Prime interconnect for the X01-D2 to replace the Mexcel that I have been using. The combination is stunning retaining much of what made the Mexcel special but improving the tonal balance (here read warmer with greater solidity of images). Note that to a certain extent this is more a question of taste and system balance than any fault with the Mexcel. It does seem a bit strange to have spent as much on cables and the Halcyonics base as the cost of the Esoteric.

fcrowder March 31, 2009 22:51

The visit came off without a hitch. Brian was a superb host and very open to switching out equipment and making comparisons. As with other systems of this complexity and resolution, when everything is right, the sound is worldclass, but if anything, even speaker toe-in is even a bit off, it has a significant negative impact on the sound. I hope to detail the comparisons at length in a future article for www.Dagoggo.com; however, I do have a few observations. The Triolons are a highly resolving and highly coherent speaker, They act as a window for other equipment in the chain, often magnifying any weaknesses. The Einstein electronics are a very synergistic match for the speakers. Although not perfect it is hard to find a better match for the Triolons than an Einstein preamp, OTL amps and SACD player connected with Acapella speaker wire and power cords and isolated with Acapella couplers and Fondato Silenzio isolation platforms and damping blocks. Having said that, the Lindemann SACD player is a credible substitute which in comparison to the Einstein has more detail retrieval and transparency but at the expense of a leaner tonal balance. Given my personal preferences, I would probably lean toward the Lindemann but both are very good. Likewise, the new ASP Reference cables, particularly their Zyklop power cord and Gryphon interconnect are excellent and extremely neutral and work well in this system. It was clear that the Zyklop was superior to the Isoclean products on hand, certainly more neutral. The icing on the cake was getting to hear the Ypsilon Transport and DAC. My first real exposure to these Greek products was at CES where I heard their hybrid monoblocks and their stereo SET amps driving Andy Payor's Rockport speakers with good effect. Brian is now the importer for the line. He did not have the amps available to switch into his sytem but has promised a pair of the new SET tube monoblocks for review this summer. Based on what I heard at the show, these should be a killer combination on the Triolons. What I did hear over the weekend was the transport and DAC, each of which had very little breakin. Nonetheless the combination when properly sited and connected with Ypsilon's proprietary cabling was by some margin the best digital set up that we heard. The DAC is tube based and transformer coupled with workmanship that is beyond reproach.

fcrowder March 24, 2009 13:29

I am visiting Brian Ackerman the importer for Acapella, Einstein, Ypsilon, Isoclean etc. this weekend for two days of uninterrupted listening to his Triolon based system. Given that he has undergone major treatment of his room and spent considerable effort on his electrical service, it should be quite interesting.

fcrowder March 12, 2009 16:32

I visited friends Saturday evening for an impromtu power cord shoot out. They had previously decided that the place in their system that was most sensitive to electrical changes was the cord which powered their Bybee AC filter which provides power to all their low level components. Changing this particular cord did have the advantage of being very audible. The disadvantage was that it required that the entire system be shut down for short periods. We began the listening with their Black Sand Violet and then progressed through Mexcel (Acrolink), Nordost (Brahma and Valhalla), an older Stage 3 Heighliner, the current Stage 3 Zyklop and the Isoclean Super Focus. The two Nordost cords had many similarities with the more expensive having less of the edge that I associate with their AC cords. Both were a bit thin for my tastes but did excel in the top end. The Zyklop and Super Focus were clearly the best of the cords by some margin. One other learning of the session was that the Zyklop improved significantly after being plugged into the wall with current running through it for at least an hour (think of this as settling time). The Isoclean seemed less perturbed by repeated plugging and unplugging.

fcrowder March 09, 2009 14:50

Based on some of the lessons learned during my earlier listening session with the Lindeman, I once again borrowed my friend's balanced Jorma Prime interconnects to do some futher listening. Again I was struck by how "right" the Prime sounds when inserted into my system and the rather large cumulative impact of having the Prime from the source all the way through the speakers. In addition, I was able to substitute the new Stage 3 Zyklop AC cord for the older Stage 3 AC cord which I had been using. The effect was pretty dramatic suggesting a rather significant synergy between the Stage 3 and the Jorma Prime. The soundstage became wider and deeper but with much better localization of instruments and voices and a better sense of listening to a real space. Noise level was audibly lower with a resultant increase in low level detail and ambience. Bass was tighter with greater impact and subjectively the volume seemed to increase by 1 or 2 db with better dynamics. There was also a clear increase in treble energy. I was impressed enough with the Zyklop to purchase it.

fcrowder March 03, 2009 19:47

For those of you following the breakin of the Audio Note Balanced Kegons, you may want to check out my review at
www.dagogo.com/AudioNoteKeganBal.

fcrowder March 03, 2009 19:08

What was your friend using to drive his Triolons?

fcrowder February 16, 2009 21:31

My full review of the balanced Kegons with pictures will appear in the March 1 issue of Dagogo (http://www.dagogo.com/main.html). I had an interesting listening session over the weekend involving Synergistic Research's approach to power conditioning (their black box plus several of their AC cords including the T2 and one of their Halographs). This was in comparison to the Isoclean system including one of their Supreme Focus cords as well as several of their Super Focus cords.

fcrowder February 16, 2009 13:48

I had the opportunity to hear a friend's Lindemann SACD player over the weekend in my system side-by-side with my Esoteric X01-D2. The two units were each excellent. Which was better depended in large part on the music that was being played and how that piece of music played to the strengths and weaknesses of the particular player; however, the point of this post was not the differences between the units or even which is better, but rather to talk about how important the cables are to such a comparison. As I wanted to switch between the units playing the same piece of music on each, I used slightly different cabling on each one. As it turned out this was clearly a mistake. In fact the cabling may have made more difference than the differences between the player. Initially, I used the top of the line Mexcel power cord and balanced interconnect on the Esoteric and an older Stage 3 power cord and Jorma Prime interconnect on the Lindemann. You might say that this choice accentuated the strengths of each unit. At some point, the owner of the Lindemann brought over a 1 meter piece of the Jorma Prime balanced interconnect so that we could hear the same wire on both units. The difference on the X01 was significant and allowed it to retain its strengths but moved it a good ways toward the Lindemann in the areas in which I had thought the Lindemann better. OK, I really should have known better, particularly since the remainder of my system was Jorma Prime. Lesson learned, if you are going to compare two pieces of equipment, make sure that all other variables remain the same.

fcrowder January 27, 2009 18:44

System edited: System edited: Parasound JC-1's replaced by Audio Note balanced Kegons; Synergistic research ART room treatment added.

fcrowder January 05, 2009 23:16

The amps are now at 600+ hours and it is hard to imagine that they could improve dramatically. I have been able to answer several lingering questions: 1) yes, they have more than enough power to drive the Triolons in my room at anything less than painful levels; 2) they now have reached a point where their control of the bass and frequency extension at both frequency extremes are stunning; 3) they in conjunction with the plasma tweeters produce the most lifelike top end that I have ever heard. This is particularly evident on struck metallic instruments like cymbals and tophat where they do a phenomenal job of capturing the initial transient as well as the extended decay/tail. This is also true of rim shots on drums and the sound of wood blocks being hit against each other. I was initially somewhat afraid that the top end would be somewhat soft or rolled off. This is clearly not the case. The top is more extended than the JC-1's ever were and more natural. The mids have been extremely natural from the beginning. The funny thing is that these amps do not sound anything like my stereotype of a SET. If anything they are reminiscent of the best solid state amp that I have ever heard but with correct harmonics and image density. They are better than any amp that I have auditioned in my home system and it is hard to imagine that they can be significantly bettered.

fcrowder January 04, 2009 22:24

Funny, but Saturday is often the night that friends come over to listen. Tonight, an acquaintance was kind enough to bring ten or twelve CD's over so that we could listen to a few outstanding/challenging tracks from each. The session was more interesting than is often the case as many of the tracks were unfamiliar and helped clarify some of my thoughts about the sound of the system in its current configuration. If there were ever two pieces of equipment that were made for each other it was the Acapella plasma tweeter and the balanced Kegons. This is particularly clear with respect to the reproduction of cymbals and snare drums which have to be the most lifelike that I have ever heard in an audio system. The combination does a superb job of capturing the initial strike as well as the prolonged decay of the cymbals. Likewise, the initial strike of a snare drum or rim shot in a manner that will literaslly cause you to jump. Strangely enough the KB's are also doing an excellent job of controlling the four 10" SEAS woofers in each speaker. Bass control, extension and dynamics is excellent. Again, you wonder how a 23 watt SET is capable of this degree of dynamics and control. Lest you think that everything is well in Toyland, some midrange sounds are again localizing on the horns. Hopefully this is breakin related as it seems to come and go. While harmonics and tonality are very accurate top to bottom, the horns are not quite as resolving as the plasma tweeters or bass units. To some extent this may also be a breakin problem. Time will tell. In the interim the system remains very emotionally involving.

fcrowder December 21, 2008 06:24

Alexee,
I have tried the ground conditioner and find it indispensable on digital. I have also tried the resonance generator(?) and like much of what it does. You may also want to consider trying out the Synergistic Research ART acoustic resonators which debued at RMAF. I am currently auditioning a set with excellent results thus far. I do not understand how something this size can significantly impact room acoustics, but it does.

fcrowder December 20, 2008 05:27

Strangely enough the initial inclination to try horns was driven in part by the desire to have a speaker that would allow me to use a low wattage tube amp. Unfortunately, it has taken a rather long time to find the right amp to drive my preferred speakers. I am beginning to think that I may have finally gotten it right.

fcrowder December 11, 2008 16:27

I am now at about 400 hours and the sound seems to have stabilized or at a minimum, changes have slowed down. Last night, I did something that I had planned to do for several months. I inserted three Finite Element Cerabases under each of the KB's and resumed listening. Keep in mind that the amps are already sited on Finite Element Pagode Reference amp stands with four of the cerabases under each stand. The additional cerabases were installed betwqeen the amps and the Finite Element amp stands. The change was immediately audible: significantly tighter image focus; some improvement in depth; a major improvement in base control (think tighter, better defined and less bloomy) but at the expense of some warmth; much better definition of the leading edges of struck instruments; and finally a dramatic improvement in the ability not only to hear low level detail and ambient information but a general improvement in transparency. Initially, there was a slight exageration of sibilants and increase in high frequency energy which went away after the cerabases had the chance to settle in. I did try several dampers on the tops of the amps and generally found them to be detrimental to the sound; they tended to suck the life out of the sound. The sole exception was the use of a single Walker lead puck which softened the sound slightly but in an euphonic way. In the end I removed the Walker pucks but thought that it was more a matter of preference. It is always somewhat dangerous to play with after market isolation with products like the KB's which have been carefully voiced by the manufacturer. In this instance, the cerabases were a definite win-win. I still at some point want to play with power cords but am pretty happy with the Isocleans.

fcrowder December 11, 2008 13:16

Ajahu,
Given that you say that your system is dynamic with a natural sound which is non-fatiquing, "wonderful, close to live music, while lacking of coloration of so many high-endish product", I suspect that our sonic priorities are similar, so I am at somewhat of a loss to understand why you seem to be so critical of the equipment choices which I have made. My system is clearly voiced for analogue, particularly the classical and jazz recordings of the late 50's through the early 70's. Much of the basic technology has been around for more than 50 years, including the plasma tweeter, the horn loading and the Audionote amps. If your point is that something similar could have been achieved for a lower dollar outlay, who knows, perhaps you are right. I have been at this hobby since I was 12 and certainly have heard a wide spectrum of equipment over the years and would never say that other choices are not equally valid. I have not heard your particular set up but am happy to believe that it satisfies your needs. I would be curious whether you have even heard my equipment and what sonic criticisms you have of particular pieces that you have actually heard. I would love to have that type of dialogue with you; however, if your real issue is price, I do not think that we would have much to say to each other.

Thanks again for your comments.

fcrowder December 07, 2008 22:38

Please check my review of the Triolon Excaliburs at http://www.dagogo.com/AcapellaTriolonExcalibur.html. It represents the evolution of my understanding of this speaker and is a good attempt at describing their sonic characteristics. As a bonus, there are summaries of my experienced of driving the Triolons with aa variety of amps including the KB's.

fcrowder December 07, 2008 07:47

The amps are at about 360 hours of breakin which I suspect to represent about halfway there. They change less each listening session; however the changes are often in critical areas. The last 60 hours has highlighted the ability of the amps to contril the drivers, by this I mean to start and stop the motion of the drivers in a precise way that seems to much reduce distortion and the improve clarity. Keep in mind that I am not talking about tightening the sound of the bass or making it too dry and overdamped. The tonality of the bass remains excellent. I am going to try cerabases sometime before Christmas and perhaps other power cords. I find myself less inclined to tweak and more interested in listening.

fcrowder December 07, 2008 07:38

Thanks for your comments, particularly the identification of the small clave. Although I enjoy listening to music, I am unfortunately not as sophisticated as I would like. Thanks also for the suggestions with respect to music that I might like. I am currently in London on business but will start tracking down the music you suggested as soon as I get home. The KB's are now at about 320 hours and continue to sound better as they break in. Unfortunately, I still have a long way to go.

fcrowder December 01, 2008 18:56

The KB's are now past 200 hours and although they continue to show the effects of breakin, the swings are more moderate and almost always in a positive direction. The bass seems to slowly but consistently be getting tighter and more controlled. Please understand that the KB's have bnever lacked for bass energy but that initially, the bass di sound a bit bloomy. The other area which has changed has been the midrange. It seems to be getting richer and slightly warmer with additional breakin. These comments should be taken in the context that the KB's do not fit the typical stereotype of a direct heated triode SET amplifier. Think instead neutrality and hyper transparency. I know that it has become cliche to say that "I hear things from familiar recordings that I have never heard on other equipment, but in this case, it would be true. I was listening to Weather Report's same titled album last night on vinyl. Keep in mind this was a pressing purchased at a local used records store and not some audiophile pressing. This is a particularly recording in that it contains a wealth of percussion instruments, is very complex and is one of those records that can image outside the walls of your listening room. There is a percussion instrument that I will refer to as a clicker that with most electronics you hear the initial click but not the complex harmonic overtones. With the KB's, you hear both which results in a very different perception of the sound. I think that when I say that the KB's are transparent in a way that few other amps can manage, it is both added low level detail and this ability to preserve the harmonic and dynamic envelopes around instruments. I would be curious to hear the thoughts of other owners of Audio Note gear as I would guess that this is a primary goal of the manufacturer.

fcrowder November 16, 2008 14:13

Who would have thought that changing a single piece of equipment in my system could have made so much difference? Although the KB's are at 175 hours still a work in progress or should I say breakin, I have slowly begun to invite audio friends over for early listening so that they can help me track changes to the sound as the amps breakin. I think that it would be fair to say that the general reaction is quite favorable. All have commented on the significant improvement to the upper bass, the midrange and the lower treble. This is not to say that any feel that the JC-1's as modified by Bob Crump were not good, but only that the voicing of the two amps is very different. The two other comments that seem to surface with some regularity are 1)the level of transparency (in many instances, those who bring their own favorite software respond that they are hearing information that they previously had missed) and 2) "I never realized that this CD had so much bass. In one case, a female audiophile who plays violin brought an older recording of Etta James which she had felt was unlistenable on another sytem and found it quite lovely.

I am still unsure how a 23 watt SET can drive the Triolons but it is beginning to appear that the KB's can pull off that trick with much aplomb. At this point, leading edges are losing that slight softness initially heard but could still improve further and soundstage while exhibiting great depth and imaging could be wider with somewhat better image focus. Again Neli says 1000 hours of breakin are required.

Please feel free to ask any questions and to make any suggestions.

fcrowder November 09, 2008 15:59

At this point, the KB's are in many areas a rather distinct improvement over the JC-1's: much more energy in the midrange and lower treble, a richer more complex tonal palette with greater texture and nuance, and the ability to give singers/ instruments a three dimensional body. At this point the soundstage is not as wide as that of the JC-1's but has great depth and better focus. The bass is well controlled with good attack but not as damped as that of the JC-1's but that aspect seems to be improving with continued break in. Their lower power has not yet been a limiting factor but time will tell. At this point, leading edges are subtly softened but again this seems to be another area where break in is having a noticeable effect. Voices both male and female are superb as are cello and other stringed instruments.

For those of you who heard the Triolons at RMAF with the Einstein gear, I would say that at 100 hours, the KB's have a very different tonal balance with the emphasis on the upper bass through the lower trebles.

fcrowder November 04, 2008 13:43

The KB's have been on continuously since Fridat at noon and as Neli suggested, this has positively affected the sound. Stage width is again dictated solely by the recording and bass has more impact. The KB's are approaching 100 hours.

fcrowder November 02, 2008 20:01

I have spoken at length with Neli about power cords for the amps. They like the Elrods and also the Acrolink Mexcel equally, but feel that they do different things well. Beyond that, I believe that you would need to ask Mike or Neli. I am currently using Isoclean Super Focus cords which were a good match for the JC-1's but may not be as good a match for the KB's. This will be hard to determine until I have further progressed break in. The Stealth Dreams are on my list to audition.

I am finding the top end to be more extended than with the JC-1's and certainly more natural and detailed. The midrange is also improved. If I were to characterize the mids and highs of the KB's, I would say that they have much more energy and life than those of the JC-1's without any brightness or peakiness. Please note that the presentation and tonal balance of the Einsteins are much effected by the choice of tubes. In my case, I have chosen to use NOS Amperex 7308's, and Siemens and Telefunkens from the 60's as well as a particular CBS variant for the buffer. The soundstage is in general similar to that of the JC-1's; however, it is much more likely to change from record to record, images have much more substance and body and positioning within the depth field is improved. To date, the stage has mostly remained slightly behind the speakers but I would expect that after more breakin, it will be more likely to "ghost".

I hope that some of this is helpful. I should have a better handle on this after a little more breakin. A friend listening the other night felt that the KB's were a significant improvement over the JC-1's even art this relatively early stage of breakin. I tend to agree.

fcrowder October 30, 2008 13:48

I will try to answer your questions one at a time: 1)the importer is Audio Federation in Boulder so they have used their pair of KB's with a multitude of different systems/speakers. The most common matching is with the Marten Coltranes and Coltrane Supremes which they sell. They use EMM Labs and Lamm with the KB's and have just gotten an M-9 with phonostage. The KB's were introduced at the 2007 CES but may have been avilable slightly beffore that in Great Britain. 2)They are doing an excellent job of controlling the low bass but sound different from a high powered transistor amp. I prefer the bass of the KB's but it is not as tight as the JC-1's but does a much better job of differentiating drum heads and other percussion instruments and retains the ability to provide slam. The KB's sound more realistic to me. In comparison the JC-1's sound mechanical. 3) These throw off the same amount of heat as the JC-1's in high bias. 4) The Einstein integrates well but I am considering an AN preamp in the future. 5) At this point, the stage begins behind the speakers.

fcrowder October 29, 2008 20:26

Perhaps, it would have been more accurate to say that the amps will continue to improve up to 1000 hours. I do not have enough experience at this point to speculate with respect to where they will be after 200 hours. The tubes are driven in a conservative manner and except, perhaps, for the 300b's, are quite robust. Only time will tell, but that is certainly the opinion of the importer who has significantly more experience in this area than I do and who has a pair of the same amps which are almost 2 years old and are often run 24/7. I do know that replacement tubes are available from the manufacturer. Like many other products manufactured in Europe, the devaluation of the dollar has significantly impacted pricing over the last 5 years. Likewise the price does reflect that these amps are handbuilt one pair at a time and that there are no economies of scale; however, it is not my intent to get into a discussion about their pricing. What I hope to do is to talk about whether they serve the music and whether they are a good match for my particular speakers. Anyway, thanks for your comments.

fcrowder October 27, 2008 21:30

The KB's are now at 50 hours and continuing to change. This is particularly evident with respect to image width. They went through a period over the weekend when the stage was limited to the inside edges of the Triolons, but by late last night the stage was almost wall to wall again. Bass impact has improved with breakin and the top end above 6000 HZ is unbelieveably nice, particularly cymbals and other metallic struck instruments. Through out this period, tonality has always been spot on. I spoke with the importer last night who recommended that I just leave the amps on 24/7 until they accumulate 1000 hours. Although I am not ready to do that during the week when no one is home, I will probably try to start doing this on the weekends.

fcrowder October 27, 2008 12:54

The amps have now reached about 15 hours. Although the breakin is fairly linear, I was able to discern a nice cumulative change at 10 hours. The midrange and lower treble are very natural, particularly male voices. Pavrotti in particular is absolutely breath taking. The same can be said for Callas. Soundstage varies from recording to recording, but there is absolutely no tendency for parts of the frequency range to localize on the horns. Images are very stable and individual instruments/singers are portrayed very three dimensionally. Depth is also excellent, again depending on the recording. The plasma tweeters have a control which varies the intensity of the plasma field, thereby controlling volume. With the JC-1's, I had backed off /lowered gain to get the most natural tonal balance as I am somewhat sensitive to high frequency brightness. With the KB's, the control is now back to the factory setting, i.e. increased. At 15 hours, leading edge is a touch soft, but improving.

fcrowder October 19, 2008 22:35

As of last night the KB's were installed and playing without any smoke or explosions. Cold, straight out of the box, they were somewhat underwhelming; however, during the course of the next four hours the sound changed pretty radically for the better and by the end of the evening they were beginning to show some promise. Even at this early stage, two things are abundantly clear, the KB's image in a manner that the JC-1's have never approached. Second, the quality of the reproduction of human voices is superb in the way that it conveys nuance and emotion.

More to come...

fcrowder October 17, 2008 12:09

The Audionote Balanced Kegons arrived while I was out of town at RMAF. As it turned out the shipper actually delivered two crates of GE aircraft parts which were meant for Irvine, CA. Fortunately, the amps were still in the shipper's warehouse and not gathering dust at some GE aircraft plant. After some tense moments, the aircraft parts were exchanged for the amps which are now unboxed and in place in my system. More to come...

fcrowder October 16, 2008 13:34

Below are my comments to Constantine Soo's further thoughts on Brian Ackerman's Triolon system in this month's Dagogo issue (www.dagoggo.com)Spotlight #4.

“It has been a while since Dagogo published a SPOTLIGHT article on my Acapella Triolons speakers. While I stand by my comments to the original article, the passage of time has allowed me to do further listening. That in conjunction with changes to other parts of the system has yielded a few additional insights. With respect to a few of the specific points raised in my earlier comments:

Wiring Choices: As Brian Ackerman once told me, proper wiring choices are critical with a speaker at this level. Although I have, to date, chosen to use a single amp rather than to bi-amplify, I recently replaced my speaker cables (a bi-wire set ) with a tri-wired set of Jorma Prime cables hoping to achieve an improved tonal balance, as my Triolons had always sounded somewhat lean with the Parasound JC-1's, which they did. Rather unexpectedly, the cabling change also extended the bass, tightened the mid bass enhanced dynamics, increased musically-significant low-level detail, extended the top-end in a way that is musically consonant, slightly improved image specificity (particularly the ability to hear things at the rear of the stage), and improved the coherence of the disparate drivers.

Bass Extension: Since the wiring changes, I no longer use the Cabasse subwoofers. Even given the extension that resulted from the wiring changes, the Triolons are still not flat much below 28Hz; however, the tradeoffs inherent in adding even a world-class subwoofer to these speakers are even more audible, particularly with respect to a loss of coherency in the region below 100Hz.

Amplifier Choice: Although I continue to have great respect for what John Curl and Parasound have accomplished with the JC-1's, I have come to realize that as Constantine suggested in the original article in his comment that the JC-1's have become a limiting factor in achieving what these speakers are capable of producing. The challenge has always been to find a single amp, although some would argue that bi-amping with identical amps is the right answer, that could: 1) control the eight 10" SEAS woofers, 2) have the magic of a low-power SE triode or OTL on the horns and plasma tweeter, 3) render the sound of the disparate drivers coherent, and 4) enhance the dynamics of the system. In re-examining my listening impressions with a wide variety of amps on these speakers, only two amps have for me been "magical": Audio Note UK Kegon’s and Lamm ML2.1's. Both shared very similar circuit topographies. The Kegon’s sounded more powerful which is to say that they were more dynamic and did a better job of controlling the bass. Based on several listening sessions with the new Kegon Balanced at CES and on PQ's comment that the KB would do a better job of controlling the bass and be a bit more dynamic, I have ordered a pair of Audio Note Kegon Balanced for delivery in August.

Low-powered vs. high-powered amps in the bass: I have also spent some time thinking about the difference in the bass produced by a really powerful solid-state amp and a well designed single-ended triode. While the bass of a high-powered solid-state amp clearly has a steeper leading edge and is tighter and more controlled, it often lacks the tonal richness and complexity and ability to differentiate timbre that is a hallmark of the single-ended triode, often sounding overdamped and dry rather than rich and lifelike. My preference is clearly for the harmonically richer alternative.”

fcrowder August 13, 2008 18:37

I just spent a delightful and insightful weekend with Raul Iregas as my house guest. Raul is making a circuit that will take him through Dallas (Albert Porter) to Boise, then Los Angelos and then back through Dallas demonstrating his Essential 3160 preamp/phonostage. He and I spent the last two days listening to records (Decca widebands, shady dogs, Merc's and similar fare with a smattering of Janis Ian, Patricia Barber and Dire Straits. I do not want to put words in his mouth but I think that it would be fair to say that he liked the Rockport TT/Lyra Titan i and loved the Acapella Triolons. Hopefully, he will comments when he returns from the trip. I had heard an earlier version of the 3160 about a year ago but was unprepared for the improvement that Raul has achieved. Apparently the circuit is basically the same but some voltage have been adjusted and a few parts tweaked. The end result is absolutely stunning, particularly the phonestage. The inner detail and tonal accuracy are clearly evident; however, what really makes the unit a standout is the extension at the frequency extremes (particularly in the bottom octave) and the stunning dynamics.

fcrowder August 04, 2008 14:07

I am envious of your new cartridge! Maybe, later after a preamp.

fcrowder July 16, 2008 22:01

Exlibris,

The same could certainly be said for your system. I would add that your aesthetic sensabilities seem congruent with mine. The new amps should arrive in early August as promised and I can already see that I will at some point want to audition an Audio Note preamp, phonostage and step up. I am curious why you chose to go the Mastersound route rather than the Kondo.

By the way, your system is lovely and, I am sure, makes lovely music.

fcrowder July 16, 2008 18:05

System edited: I am using the Halcyonics currently under my Esoteric sited on the Finite Element Pagode Reference. Prior to this the X01 was sitting on the same shelf on Cerabases. Unfortunately, the effect was clearly audible and clearly positive. Please understand that it did not transform the unit into a tube based dac nor did it totally change the sound. Let's say for the sake of argument that it enhanced areas where the unit was previously strong making them stronger and remedied some weaknesses that I had previously failed to identify. The bass in particular is better, tighter, better controlled, displaying more texture and extending lower in frequency. The highs also seem cleaner and more extended. At first, I might have said that the Halcyonics softened the top end a bit but after further listening, I think that would be incorrect. The top definitely displays more detail, but in a more natural way. Imaging, both the ability to focus and the dimensionality of instruments on the sound stage has improved with better depth and a better impression of image height and the ability to differentiate the heights of differenet instruments. The noise floor also decreased which in turn improved micro dynamics and low level detail. Finally, the combination of all these things has been to improve the coheremce of the speakers and the transitions from one driver to another.

fcrowder July 15, 2008 20:22

Peter tries to use the original Western Electric 300B's in these amps whenever possible, but I am unsure with respect to what he will be using in mine. I do know that the balanced Kegons use a circuit which is very similar to that used in the 211 Gaku-oh's rather than the circuit used in the unbalanced Kegons which results in many fewer parts but is dependent on the use of interstage coupling transformers which must be very tightly matched. The KB's are to use Peter's terms a level 5 (silver wiring, including the transformers; Black Gates and Nickel cores in the transformers) implementation of the P-4. A nice description of the P-4 with pictures can be found at http://www.audionote.co.uk/products/amps_monoblock/p4_bal_01.shtml. I think that Peter would agree with you that the ability of the amps to drive the woofers is more a function of the transformer design and implementation, particularly the core material and sizing. He has stressed on a number of occasions that the transformers used in the P-4 Balanced and the KB are significantly oversized to guarantee the ability of the amp to deliver large amounts of current and that the core material in conjunctions with the silver wire and winding guarantees that power transfer is equal at all frequencies. Talking to Neli at Audio Federation, she stressed that many amplifiers have significant problems evenly delivering power at all frequencies and that Peter feels that this is key to dynamics.

fcrowder July 09, 2008 20:39

Mea culpa! You are absolutely right in your assumption with respect to fore-depth. Had I been more precise, I would have said that during a performance, the performers appear to line up behind or even with the plane of the speakers, but the music does in fact "come out and fill the room". This effect seems to vary depending on whether I sit near field or far field. The effect is more pronounced sitting near field. I would generally say that the image extends laterally from wall to wall but more accurately that tends to be source dependent. In some instances there is the illusion that the side walls disappear, although this is more common with the back wall which often disappears in large symphonic performances. My experience with noise is somewhat different. Ticks and pops seem to localize on the fronts of the speakers separate from the sound field, whereas hiss and similar noise is as you describe.

fcrowder July 09, 2008 12:58

Unfortunately, Houston is not exactly the Meca of high end audio. Dallas is generally better but New York is the best. I make it a point to visit stores when I travel and to attend the RMAF and CES shows each year. I also try to visit other audiophiles who have interesting pieces that I would like to hear. Having said that, there is one dealer in Houston that you may want to add to your list, Jim Meine at Epic Audio 713 667 2069. He deals from his home but does carry a number of interesting product lines including Esoteric, Einstein, Acapella, Isoclean, Jorma and Avalon.

fcrowder July 08, 2008 17:19

Thanks for your comment. I have always been fascinated by the Ohm Walsh drivers, but been somewhat put off by the difficulty of mating them seamlessly with a conventional woofer.

fcrowder July 07, 2008 20:21

The balanced Kegons should arrive in early August. According to Mike and Neli they are a different beast than the Ongaku.

fcrowder June 27, 2008 21:43

Thanks for clarifying your comment. The Triolons are capable of moving a rather large quantity of air as the horns couple extremely well with most rooms from about 170 hz up. I think that this may be the source of the visceral impact that you describe. It's interesting that you do not have to play the speakers at particularly loud levels to get this effect.

fcrowder May 28, 2008 17:27

Is that a good thing or a bad thing?

I have had that reaction to the 21" Cabasse Saturn A-55 subs on certain source material with very low frequency information, but never with the Triolons or the Campaniles. I am not sure that I understand where exactly you are going with your comment or what type of response you are seeking.

fcrowder May 27, 2008 22:02

Should you ever make it to Houston on business, I would love to have you visit to audition the system. Given your familiarity with the Kondo Audio Note Ongaku, I doubt that there would be any real surprises. Needless to say, you have a great system.

fcrowder April 30, 2008 18:45

At the time that I purchased my Triolons, Mike and Neli at Audio Federation were kind enough to invite me into their home over a long weekend to hear the Triolons with a variety of different amplifiers, ranging from the Edge Reference monoblocks to the Lamm ML1.1 and ML2.1, ending with the Audionote Kegons (SE). Although each of the amps sounded superb on the speakers, the 18 watt Lamm and the 23 watt Kegons stood out. At the time, I was at somewhat of a loss to understand how a low powered SET could control the dynamic woofers of the Triolons when many higher powered transisitor amps failed to do so. I am not sure that I understand why this is the case. In any event, the Kegons made a lasting impression, eventhough I thought it unlikely that I could ever afford to buy a pair.

Fast forward to CES. Audionote introduced a new pair of amps at the show, the Kegon Balanced (KB). I would say that these were a balanced version of the Kegons, but that would be misleading in that the greatest similarity between the balanced and single ended versions of the Kegons is that they both use 300B's as the output tube and incorporate the finest parts that Audionote can build.

The Kegon Balanced are single ended Triode amps, dual 300 B in parallel, with a third 10Y/VT-25 triode in the gainstage, all directly heated. They do not have any RCA (single ended) connections on the back, they run balanced. The KBs are a 300B implementation of the Gaku-On with the same overall circuit design: The Gaku-On is a 211 based amp with the same 10Y in the gainstage. I'd guess that perhaps the rectifier tubes are different -- the Kegons and the KBs (and the other 300B amps) use a 5U4G rectifier, the Ongaku (211) uses a 5R4WGB.

All this would probably be academic, except that the KB's retain the magic of the single ended Kegons but succeed in exerting even more control over dynamic drivers in the bass. Based on repeated listening at CES, I have ordered a pair which should be delivered in early August. Hopefully, at that time I can give you an update on how they sound with the Triolons and whether they in fact are capable of the same magic as their sibling.

fcrowder April 30, 2008 17:43

As many of you know, I have been searching for an amp to replace the JC-1's since I purchased the Triolons over a year ago. Without going into lengthy detail, I have finally found a pair of monoblocks that I feel will not only meet but significantly exceed my expectations. I am doing a funds tranfer this morning to initiate their construction and should receive them before the end of the summer. More to come.

fcrowder April 23, 2008 12:45

System edited: Three recent and significant changes to the system, the replacement of most interconnects with Jorma Prime, the addition of an Acoustic revive RTP-2AC filter for the digital with analogue still routed through the Isoclean set up and the replacement of wall outlets with the Oyaide R-1's. The result of thes changes has been to further lower the noise floor of the system without any loss of detail or dynamics and in the case of the RTP-2, to significantly improve the sound of the Esoteric X01-D2. The key learning: the importance of the AC power delivery system

fcrowder April 02, 2008 13:08

I would suggest that you do not plug your preamp and digital into a single Accoustic Revive unit as there appears to be no isolation between the plugs. I believe that part of the improvement which I heard in my system was a result of separating the digital from the analogue sources; however, I have not done enough experimenting to confirm that. If you have the time, I would be interested in your thoughts about the Ayre vs the Pass Labs amps that you previously owned. I find the execution of the Ayre mono blocks to be superb but unfortunately have only heard them in two circumstances, one with malfunctioning Sound Labs panels and the other in a dealer's showroom driving Vanderstein 5A's with BEL cabling. Neither told me alot about the ultimate capabilities of the amps.

fcrowder March 19, 2008 16:01

I recently borrowed and subsequently purchased an Acoustic Revive RTP-2AC which is essentially a duraluminum box with a single duplex Furitech R-1 outlet and a captive cord. Although it is not touted as an AC line conditioner, the bottom of the case contains a layer of resin which has been impregnated with tourmaline and other proprietary crystalline material which has a distinctive green color and which in practice helps to damp vibration and appears to radically attenuate EMI and RFI without otherwise affecting the signal. Note that there are no active filtering devices in the AC path.

To date, I have only tried the ATP-2 with my Esoteric X01-D2 which had previously been plugged into dual Isoclean transformers and Isoclean's 80 amp filter/distribution box. The effect of plugging the D2 into the ATP-2 was revelatory. Initially, I noticed not so much a reduction in audible noise but a significant reduction of what I have come to think of as digital artifacts. That slight grit/glare/hardness that is almost inaudible but which prevents you from relaxing into the music and forgetting whether the equipment is digital or analogue. But for having heard the ATP-2 inserted into a system built around the EMM Labs SACD player, I would be tempted to say that the ATP-2 moved the Esoteric closer to the sound of the EMM Labs while not sacrificing anything in those areas where it is superior to the EMM Labs. Having heard the same change with the EMM Labs but to a smaller degree, I would say that the ATP-2 moved both players closer to reproduction of the music. There is still a question in my mind whether the ATP-2 subtly softens the top octave but at this point I think that I am probably hearing the reduction of noise artifacts rather than a change in frequency response. A secondary benefit of this process is that it somehow allows you to hear more low level inner detail and seems to allow more of the texture/complexity of instruments and particularly the human voice to come through. This is partticularly true for male voices.

Anyway, the point is that I would highly recommend the ATP-2 to anyone with digital equipment.

fcrowder March 19, 2008 13:20

First, a clarification, at the time Paul heard the "inbalance" in the system, I was using Jorma No. 1 on all drivers and not using Prime on the woofers. The No. 1 cabling on the bass was new and going through break in while the bi-wire set of No. 1 on the remainder of the drivers was fully broken in. Nonetheless, the discontinuity that Paul described did exist and was quite audible. As Paul commented, inserting the Prime completely cured what was essentially a problem with the level of the bass (read too much and not well controlled) in comparison to the mids and highs. The Prime asserted an iron fisted control over the bass but also seemed to extend its reach about half an octave.

With respect to imaging, I think it fair to say that the Triolons do not image in the way that small monkey coffins do. That type of pin point imaging does not occur in real life! Just close your eyes the next time you attend the symphony or a live musical event, the sound that you hear (depending on your seating) will have width and depth but will not with your eyes shut ever have pinpoint imaging which spotlights each individual instrument. That type of imaging may be exciting with small ensembles and even enhance your sense that you are listening to live music, but is just not real.

Rereading my earlier comments, I still feel that I have failed to communicate what is so special about the Prime, so borrowing liberally from a note from a friend about what he values in his system, I am going to take another shot:

The Jorma Prime allows more inner detail to come through the system than any other wire that I have tried. "Take for instance a drummer playing the snare drum with brushes. A high rsolution system at its best, assuming that it was captured by the recording microphones to begin with, should allow you to hear individual strands of the brushes making contact with the snare drum surface." Likewise, you should be able to differentiate the sound of the metal tap on a flaminco dancer's shoe from the vibration that it sets up in a wooden floor when it makes contact. In both cases, this represents information immediately above the noise floor of the recording. It is exactly this type of low level detail that the Prime seems to get so well. Part of this is that the cable has very low self induced noise but does not try to achieve a blacker background by filtering out all low level information whether it is noise or content. The Prime also does not achieve this by favoring a certain part of the frequency spectrum or boosting selectively certain frequencies. Tonally, the Prime is fully fleshed out, but neither tubey or overly ripe.

I shy away from artificially tight or overcontrolled bass, just as I shy away from one note bass. The bass of the Prime is very natural and easily allows the differentiation among different types of drums and drumheads. Lastly the Prime preserves the leading edge but does not favor the leading edge over the decay of a note. It is a very balanced and highly musical cable and contrary to what Paul said about half the price of the Nordost Odin. In my particular system, it has caused me to re-evaluate the sound of my current amps.

fcrowder February 05, 2008 18:35

System edited: I have been mildly disssatisfied with the JC-1 driving the system but have not replaced them because I have been unable to find something else that overall would be better. The challenge has always been to find a single amp that could control the eight 10" SEAS woofers and sound like a small power SE triode or OTL on the horns. The other problem is finding a solution that makes the sound of the disparate drivers coherent. While far from perfect, the JC-1's are an acceptable compromise or so I thought. I recently replaced all of my speaker cables (a bi-wire set plus a single wire set so that the speakers are tri-wired) wiyh Jorma Prime which I had heard in Boulder and really liked. My primary expectation was an improved tonal balance and the Primes delivered that in spades; however, that was merely the tip of the iceberg. It also extended the bass (perhaps an octave), significantly tightened the mid bass and added significant additional dynamics. The sum of the changes has led me to disconnect my subwoofers as they are no longer needed. There has also been an increase in musically significant low level detail that sounds natural and does not call attention to itself. There has also been some extension to the top end but again in a way that is musically cosonant and a slight improvement in image specificity and stage, particularly the ability to hear things at the back of the stage. The icing on the cake, is that somehow the disparate drivesr are more coherent and cut from the same cloth. This has lead me to seriously re-evaluate the Mr. Curl's amps. Correctly interfaced to a speaker, they are certainly competitive with the best transisitor amps out there. They still do not sound like single ended triodes but neither do other transistor units and they offer their own unique set of pluses.

fcrowder February 01, 2008 15:53

The soundstage begins in the plane of the speakers. Width is wall to wall or more limited depending on the recording with exceptional depth. In some instances (Q sonic recordings) the soundstage can extend in front of the speakers, particularly on the sides, but this is not generally the case.

fcrowder January 03, 2008 22:43

Based on the experiences of a friend, I would probably avoid a used Wadia. I have no real experience with any of the others but really like the X01-D2 and the P03/D03. In your shoes I might consider an earlier version of the X01 such as the LE which have probably really dropped in price on the used market. The units are extremely reliable. I might also consider the single box EMM Labs but think that it would be difficult to find one used.

fcrowder September 15, 2007 22:57

I general, the power suply should be as far separated horizontally and vertically from the main unit as possible, otherwise you will get 60 hz hum. The PS is also sensitive to power fields created by large transformers in other equipment. I would suggest strongly playing with the orientation of the PS for lowest noise. It also benefits from a wise choice of power cords. Two cords that sound very different but which I like are to Isoclean Super Focus and the top of the Acrolink Mexcel 7N copper which sells for about $2400 US. Any good power cord will work well, but avoid using the power cord supplied as it significantly limits the sound of the unit. Prior to the Einstein, I owned a Curl Vendetta SCP-2T that had been highly modified by both Crump and Curl which could be state of the art with the right analog set up. I believe the Einstein retains much of what the Vendetta did well but has a more natural tonal balance which suits my system better. I think that you will be very pleased with your purchase. One last suggestion, use the provided cartridge loading resistors to experiment with your cartridge rather than automatically accepting the manufacturer's recommendation. My Titan i works best with the 150 ohm loading. Experiment, have fun and most importantly , enjoy the music.

fcrowder August 04, 2007 17:05

There is a review of the my Acapella Triolons with further pictures of my system at http://www.dagogo.com/Spotlight/AcapellaTriolon-Crowder.html. I have just received Jorma No. 1 speakerwire to use on the Triolons and will be posting about the differences between it and the current Isoclean speakerwire.

fcrowder August 02, 2007 13:17

The Mexcel power cord for the X-01D2 finally arrived. Esoteric markets the Mexcel cables in Japan, so it came as no surprise that the Mexcel PC worked extremely well with the D2 and that the PC was strong in the same areas as their IC's., namely, extremely low background noise level so that the notes seem to pop out of surrounding darkness, excellent retrieval of low level detail; increased depth of field, better leading edge definition but not at the expense of decay, and increased bandwidth and dynamics. The combination of the Mexcel power cord and their balanced IC when used with the D2 made a rather audible improvement in the sound and certainly moved the D2 a big step toward analogue. I am sold enough on the Mexcel to be considering the purchase of a three meter pair to run between my amp and preamp.

fcrowder June 15, 2007 13:07

Just a few thoughts after having lived with the Triolons for about a month and making a few associated changes to the system. First, I continue to be amazed by the resolving power of the Triolons (and the associated stress that puts on the remainder of the system) and the seamless blending of the various drivers. The Campanile Highs were very good in this area, particularly after breakin and proper set up but even at their considerable best there was ocassionally a tendency of sounds at certain frequencies to localize on the horns and a feeling that the midbass was somewhat slower than the upper bass. I am perhaps over emphasizing what was a minor issue; but for whatever reason, the Triolons do not suffer from either of these problems and are very easy to set up in ones room with no sounds ever localizing on the horns and with absolutely no discontinuity in the sound as the music moves between drivers.

I have made two additional system changes, I have retired the Clearaudio Accurate replacing it with another Titan i. Do I need to say that there is no comparison? Secondly, I have replaced the balanced cabling between the Esoteric and the Einstein preamp with the Acrolink Mexcel 7N top of the line. In compatison, the Crystal Reference was much leaner tonally with a touch of grain in the upper mids and lower treble. The Mexcel is quieter, more dimensional and lacking any audible grain. It is also more than twice the price, but is an extremely good match with the Esoteric. Next week I should also have the Mexcel power cable and will comment then.

fcrowder June 09, 2007 18:51

Sorry to hear that your Violons are having teething problems. They can sound great and are probably the best buy of any of the Acapella speakers. They are quite reliable once you get them running properly but they do not like to be shipped. Note that the packing has improved on the latest production.

fcrowder May 29, 2007 00:20

System edited: Rhyno came over today to listen to the Triolons and took some new pictures while he was here.

fcrowder May 28, 2007 21:17

Currently, Crystal Reference balanced i/c and an Acrolink power cord.

fcrowder May 18, 2007 18:25

At this point, I am very happy with the D2 but feel that it requires some care with choice of power cord and interconnect.

fcrowder May 18, 2007 13:21

The subs are on and for whatever reason, the mating is seamless with the Triolons, much better than with the Campaniles. Normally you do not realize that these are in the system, except for an increase in low level ambient information and air and a concommitant increase in the volume of the sound stage, particularly with respect to depth. However, when low bass exists, the response can be awsome.

fcrowder May 17, 2007 21:32

System edited: Thanks to the kindness of Neli Davis, I am finally posting some pictures of my system.

fcrowder May 17, 2007 18:45

Amfibius, you cannot imagine how pleased I am with your decision to purchase a pair of the Violons. Having now thoroughly listened to the Violons, Campaniles and Triolons, I believe that the Violons may well be the best buy of the three. They give you a significant part of the Acapella sound in a size that will work in most rooms and at a price that if not affordable is at least attainable for many. Please update me on your experience with these speakers.

fcrowder May 16, 2007 12:58

Elberoth, If you have any questions about either the Acapellas or the Einstein, please feel free to email me. I have definitely considered auditioning the 75 watt Lamm amps with nmy speakers but do not have a local dealer. I understand from Mike and Nelli at Audio Federation, that the Lamm workks exceptionally well with the Acapellas.

fcrowder July 31, 2006 12:54

I forgot to mention that the new windows had one other significant impact. They attenuated the level of outside noise which you could hear in the sound room by 20 db or so. This was never really a problem late at night but could be a problem during the day when lawnmowers and leaf blowers were in use. Again, elimination of noise seems to significantly improve the ability to hear low level detail and perceived dynamic range particularly microdynamics.

fcrowder June 26, 2006 20:40

A few thoughts: Rhyno has failed to mention what well may have been the two most significant changes to my system, new windows and new duct work in the attic. Re-doing the ducts, particularly going with heavy insulation has eliminated much of the noise normally associated with the operation of a heating and cooling system. In Houston, the air conditioning runs about 7 or 8 months out of the year, so minimizing noise is truly beneficial to dynamics and low level detail. I live in a house built in 1950. There are many pluses, including large oak trees, oak flooring, mahogany panelling and a very massive stone wall along one wall in the listening room. Unfortunately, part of the package was windows that did not seal properly and were prone to flex and absorb bass energy. The windows in the sound room at each end (read behind the speakers and the listening position) were also very large, each window was about 36" by 60" and there are 3 at each end of the den. As you might predict this had a tendency to siphon off low frequencies. The 21" Cabasse saturn subwoofers more than compensated for this loss but the solution involved additional connections and a crossover inserted between the amp and preamp. It's also worth mentioning that the Acapella speakers were desiged for what I think of as a European home which often means significant masonry or stone walls with high rigidity. The point of the story is that I have replaced every window in my home with very rigid, double pane windows with argon gas between the panes. In addition, in the sound room the three windows at each end were repaced with two and as an added measure, tempered glass was substuted for the normal glass. Anyway, this has made a tremendous difference in the low bass and made the subs unnecessary except for music containing significant information in the bottom octave.

Two final thoughts, the Einstein preamp is truly exceptional and dynamics is just one of its many strong points. Lastly, I have come to realize that no one power cord is the "best" for every piece of equipment. Large power amps seem to require a different solution than low level equipment and digital is its own can of worms. Having said that, I really like the Isoclean Super Focus cords (but not everywhere), Acrolink power cords and the Oyade plugs.

fcrowder June 26, 2006 19:55

System edited: Numerous changes in the past three months including a new preamp (the Einstein), new AC line filtration (Isoclean)and a new Esoteric X0-1 Limited Edition CD player. You would think that at this leevl, changes to the system would be evolutionary, but you would be wrong. Each of these changes was very audible and very positive. In retrospect, I think that too little attention is paid to isolation, both electrical and mechanical and room treatment. My room is fairly benign except for a very narrow 18 db drop out between 50 and 60 hz that was largely corrected by the parametric equalizer in the Cabasse subs and careful placement. Unfortunately, I live near the center of a very large city and am plaqued by all the gremlins associated with AC line garbage. The Isoclean products have gone a long way toward addressing these problems.

fcrowder April 05, 2006 13:53

System edited: It has been a busy 18 months with many changes, most evolutionary (Isoclean power cords and speakerwire), one a nice change (Cabasse subs) and the final change (Einstein preamp) dramatic. I highly recommend the Isoclean products but recommend trying them in your own system, particularly the power cords as the result is somewhat equipment dependent. They made a very audible improvement in my JC-1 amps, particularly in the lower registers. The Einstein preamp on the other hand would be an unconditional recommendation. I cannot imagine a system in which it would not work well and it is configured with two single ended and one balanced input as well as balanced and single ended outputs. I am not completely sold on going all balanced but it does make a very real difference with some equipment, particularly the JC-1's and the Teac Esoteric UX-01.

fcrowder November 29, 2005 20:03

System edited: Often spending more money or replacing a piece of equipment can make only a negligable change in a system, but sometimes you get unexpected improvements by changing accessories. Case in point, I decided a number of months ago, primarily for aesthetic reasons to replace an equipment stand which had evolved over a long period of time and incorporated Neuance shelves on Mana frames in a Mike Fredericksen stand. The replacement was the Finite Elemente Pagode Master Reference. The improvement in my system was equivalent to changing out a major piece of equipment, enhancing the retrieval of low level detail, eliminating what I thought was a very slight solid state signature and generally making the system more coherent from top to bottom. A little later, I purchased custom Acapella isolation bases for my 650# speakers which previously sat on an oak floor that was laid atop a concrete slab. Again a very nice improvement in low level detail and coherence with a tightening of the bass and a lowering of distortion. Both the Acapella Fondato Silenzio bases and Finite Element stands are highly recommended.

fcrowder September 08, 2005 22:43

I believe that the only review appeared in Enjoy the Music several years ago. Please check their archives.

fcrowder May 16, 2005 15:11

System edited: Acapella makes a custom version of their Fondato Silenzio isolation base for each of their speakers composed of various materials including aluminum, lead, sand, bitumen and felt. The intent is to isolate the speakers from floor borne vibrations. You would think that a speaker that weighs 650 lbs. and includes significant bracing, as well as lead sheets would already be dead, but the weight does result in very intimate coupling with whatever surface it rests upon which in my case is an oak hardwood floor on 2 by 12's in tar on a concrete slab. Anyway, the proof is in the end result which in this case was better focus (better defined images), more diminsionality, better mid bass definition, lower distortion and a more seamless melding of the drivers. All in all a very nice improvement. Installing the bases required dismantling the speakers and then reassembling them on the bases.

fcrowder December 19, 2004 18:21

Two recent changes to the system: i) Lindemann D680 replaced by Exemplar Audio Denon 2900; more transparency, more liquidity, hangs together on complex passages, very sensitive to power cord and A/C filterring but excellent, see generally TBG's (Norm Luttbeg's comments); ii) the Cabasse Saturn 55 Active subs finally arrived after 10 months of delay and are breaking in even as I write.

First, a description: 21" concave woofer with extremely low moving mass and a massive magnet (3" voice coil diameter), heavily braced dead enclosure (450# per side, 37.5" by 33.5" by 28.5", 11.5 cu. ft. internal volume, 1200 watt amps, 24db per octave low pass filter, parametric EQ with variable Q, continuously variable phase, maximum peak level of 135.5 db, flat to below 20 hz in my room.

What does this really mean? Over the years I have owned a number of different subs, including various designs by Demian Martin for Entec. I have heard at length a number of other subs, including 24" Hartley's in Levinson enclosures. Each had its own strengths and weaknesses. The Entecs were extremely fast, servo controlled with 4 10" woofers per side and were servo controlled. As you might expect they were fast and very well controlled, but unable to energize a room in the way that the Hartley's could, but the Hartley's clearly sufferred from overhang and were almost impossible to mate with very fast drivers.

In my system I am using the Saturns with Acapella Campanile Highs which utilize a plasma tweeter and a midrange horn and are extremely fast and transparent. The Saturns are about 5' behind the Acapella's along the back wall and in from each corner about 5'. The Saturns are extremely dynamic and capable of energizing the room in a way that anything other than the Hartley's has never equalled, but with a seemless transition from the subs to the Acapella's.

In practice, what does all this mean? excellent bass, with the ability to move massive amounts of air when called for, more low level hall information, increased depth, more image specificity, better soundstage, less tendency for sounds to localize on the midrange horns with absolutely no loss of tonality or timbre. Overall an excellent result, but these damn things are really big. If it matters, furniture quality finishes.

Further comments as they break in. Approximate gain of 4 db in efficiency over the first two weeks as they have been played. Wish that I had room for a pair of these in a video set up.

fcrowder November 27, 2004 03:20

The Pagode which I purchased uses a clear blonde finish on the maple shelves which I find attractive, but which others may not.

Recent experience, first with the Neuance shelves and now with the Finite Element leads me to believe that low mass coupled with rigidity and some damping may be a more effective approach to control of mechanical resonances in a stand than high mass. The greater the mass, the higher the potential energy storage.

I have also begun to question my priorities with respect to power cords, interconnects and speakerwire and am beginning to think that the first requirement for any wire, including power cords, is that it allow the system to create a three dimensional image and not that it be tonally right. While I would disqualify any wire with gross tonal anomalies, the use of after market feet, footers and other tuning devices can and will allow one to tune the sound; however, these products will never allow a wire product that is not dimensionally correct to be fixed. It also follows that better mechanical isolation allows you to hear what the wire is really doing.

fcrowder March 22, 2004 21:19

The Finite Elemente Pagode Master Reference arrived Thursday and several friends helped install the shelves on Thursday night. This takes two people and a considerable amount of time. The Pagode was well packaged and arrived safely. The entire system was unplugged for a six hour period. The Pagode replaced a very heavy Mike Fredricksen stand in which I had mounted Mana frames topped with Neuance shelves and DH ceramic cones.

First, the stand is absolutely gorgeous visually, easily fine furniture quality. All tools are provided as are good instructions. I opted to replace the spikes with Uniball feet (similar to ceraballs but much heavier). All this resulted in a much cleaner hook up with everything off the floor except the power conditioner.

The sound, a major improvement in all areas, particularly image focus and background noise level. Tonality also improved with better control of the lower registers, somewhat more warmth, and additional air around instruments. Ability to hear into the stage and three dimensionality also improved.

A golden eared friend (who I shall refer to as "Big Bob" or "BB" for short) who is an audio manufacturer of cables, power cords and other equipment came over to listen this weekend and was very complimentary of the stand. As some may remember I have spent a significant amount of time trying to optimize my Lindemann SACD player. With BB help I had arrived at using a composite footer comprised of methacrylate and alminum. The Pagode almost makes the stock feet acceptable but the compsite feet are still audibly better. Anyway, BB felt that the Lindemann still lacked the bite of live music in the upper midrange and continued experience some anomalies in the bass. In looking at the stand, BB noticed that the cable connecting the out board power supply to the Lindemann had a ferrite bead on it and recommende removing it. What a nice imrovement that made. Hopefully BB will address the stand and the Lindemann later in this thread.

In summary, the Pagode Mater Reference is excellent and probably worth the price.

fcrowder March 21, 2004 17:21

System edited: Two changes to the system, one to arrive in early March (the Finite Elemente Pagode Master Reference) and the other ( a pair of the Cabasse Saturn 55 subwoofers) to arrive at the end of March. I heard the Cabasse subs at CES and was amazed at the amount of air which they were capable of moving. Think 24" Hartleys but with much greater speed and without overhang.

fcrowder February 10, 2004 15:58

There is a picture of my system posted on Audio Asylum in Picture Gallery under rcrump's system.

fcrowder April 21, 2003 23:12

The Titan continues to break-in; however, unlike earlier Lyra cartridges, the Titan has never sounded bad (at least after the first hour of play). This is unusual in my experience.

fcrowder April 08, 2003 13:52

The pursuit of an absolute can be very frustrating, particularly when you make large commitments of time and money but are still not completely happy with the results. What makes the pursuit worthwhile are those moments when everything finally seems to come together. I have experienced two of those moments recently. The first resulted from replacing a Lyra Helikon with a Titan. I have owned a number of different cartridges in the last fifteen years, including various Vandenhuls, Lyra's and Clearaudio's. All good, some excellent, but I always wished for one cartridge that would exhibit the best features of the others. The Titan may be that cartridge. Listening to an old Merle Haggard recording yesterday, I was struck by how good it sounded. This is not an album that is likely to make it onto any ones "Recordings of Merit" list but with the Titan it was quite enjoyable. Maybe that is what makes a cartridge or perhaps a system special, the ability to make something other than an audiophile recording musically enjoyable. Anyway I am finding new enjoyment from older recordings.

A second instance involved involved my Lindemann SACD player. As some will remember, I have found the Lindemann to be very sensitive to isolation. The sound improved succesively with the addition of a Mana stand and a Neuance "Bad Boy" shelf but still lacked something. On Saturday two friends visited, one in the early afternoon, the other in the evening. During the afternoon visit, we substituted TG Audio "Pointy Things" (delrin body/ aluminum point) for the feet that are provided with the Lindemann. A clear improvement particularly with respect to air and top end detail. Later in the day Bob Crump came over with his own bag of tricks, including some custom 2"
diameter delrin pucks that Bob developed for the CTC BBQ amp and some aluminum "pasties". After listening to various combinations, we ended up with the aluminum pasties sited on top of the delrin pucks under the Lindemann and some short aluminum cones (TG Aluminum Pointy Things) under the outboard power supply replacing Aurios on a 2" thick piece of granite. Anyway, the combination worked giving the Lindemann a midrange bloom that it had previously lacked as well as nice bite in the upper mids and good extension at the top.

fcrowder March 31, 2003 15:56

Installed the Titan last night in my Rockport, replacing a Helikon. The Titan's titanium body is heavier than the Helikon and has a much shorter cantilever which is boron coated with diamond particles. In addition to readjusting for tangency, it was also necessary to use a heavier counterweight. With the Helikon, a lighter weight was used but required that the weight be at almost maximum extension from the pivot (longer than I would have preferred). The arm always seems to work better with the counterweight as close as possible to the bearing.

Initial couple of cuts were extremely bright with little bass but by the end of the first record things began to settle down. By the third record, several things were apparent, phenomenal speed and detail, equal to an earlier Vandenhul Grasshopper that I owned, significant improvement in these areas over the Helikon, also a significant improvement in the bass. I always felt that the Helikon was somewhat polite in the bass (at least in my set up). This is clearly not the case with the Titan. Extreme bass slam! The walls were sucking in and out by the end of the evening playing the Holly Cole Temptations double album. Transients are also very well handled, particularly the leading edge, perhaps at the expense of the tail. At this point still a bit analytical but it clearly needs additional break-in.

The improvement over the Helikon in my system was substantial. I still wonder if part of what I am hearing is a result of a much better match with the tonearm and getting the counterweight much nearer the bearing.

Many thanks to Bob Crump who did the cartridge installation but left shortly thereafter.

fcrowder March 24, 2003 01:56

Hard to comment on the best show as I have mainly attended CES. I think that which show you attend may be a function of whether particular products in which you are interested will be available for audition at a particular show. I would expect a different product mix in Montreal than in San Francisco or Vegas. Vegas probably represents the most variety.

fcrowder March 06, 2003 14:04

Hi! I live in Houston, but would be more than willing to entertain you if you would like to visit. There are often cheap flights to Houston as well as cheap hotel rooms. Alternatively, Acapella is showing the Triolons at the Stereophile show in June.

fcrowder March 05, 2003 13:40

The Titan arrived last Thursday and will probably get installed this weekend, so I have no comments yet. I have three cartridges, a Grasshopper, an Accurate and a Helikon. I have been pretty happy with the Helikon but have felt that it lacked the ultimate in detail. Based on discussions at CES with Jonathan and Stig and listening in the Immedia room to the Titan, that should be the strong suit of the Titan. In the wrong system, either the Helikon or Titan could be a touch lean.

Will comment more once the Titan is installed and breaks in.

fcrowder March 04, 2003 19:14