Fred is correct, just like any other hobby or passion, things are always a "work in progress" and in a "constant state of flux"; this endeavor is no different. And just like everything else in life, you don't get a free lunch; it is always a world of compromises.

The flexibility of this approach is very powerful and yields as much as your knowledge of the electrical processes and the theories of psychoacoustics will allow.

The one-shot trial and error substitutions that are the current basis of the audiophile doctrine are replaced by predictable, systematic, repeatable, scalable and defeatable operations.

The power of convolution processors, linear-phase filters, sampled reverbs and spatial matrix’ing is much more compelling and efficient than power-cord, speaker-cable, interconnect, cleaning solution, fuses, isolation/coupling devices, tonearm, cartridge or even source component swapping.

A simple way to test this approach for free is to listen to two different mastered versions of the same recording or to an original version compared to a re-mastered edition. Even XRCD's and K2HD CD's are products of re-mastering and see how much difference the process makes as compared to cable or fuse swapping, for instance.

I'll stop here before I consume my entire vacation posting instead of listening.

carlos269 July 15, 2009 15:39

Mdhoover: It takes a deep understanding of psychoacoustics as well as quiet a bit of research into mastering techniques and the fundamentals of audio reproduction. It is a VERY expensive road but the trial and error or experimentation is free after the equipment is bought and assembled. There is no on-shot trial and error expensive endeavors such as those involved such as swapping power-cables, interconnects, speaker-cables, isolation devices, and even in most cases component substitutions. It is neither a quick nor an easy road and at times, early on, it can be very frustrating but once you understand what each knob is for and what needs to be adjusted to get the desired effect or end result then the process becomes VERY rewarding and instantaneously satisfying in a VERY predictable fashion. To reverse the changes or to A/B two different settings is usually a matter of pressing a couple of buttons in most cases. This is a VERY powerful process by which you can dial the sound and reproduction in just as you desire without the hassle of the expensive and time consuming audiophile trial and error roller coaster.

carlos269 July 15, 2009 11:14

As far as the OCD part, well there I'm guilty as charged!

carlos269 July 15, 2009 06:06

Mitch4t,
Please click on the Seamless Interface Electro Acoustiques Big Dog Signature picture to clearly view my listening chair. These pictures could use some updating as the room has even more exciting equipment in it now.

It is much more of an audio-laboratory's listening room than a recreational room if you know what I mean.

My interest have now moved me away from the world of audiophilia, to the mastering studio side of things. Once you comprehend the power of the mastering studios equipments' abilities to manipulate the spatial, spectral and tonal presentation of the recordings, then you quickly realize the much of the audiophile doctrine is one big swindle and you begin to once again concentrate on the basic goal, which is to recreate performances, instruments and music that sound "real" to "you".

I will update the pictures in the near future.

carlos269 July 14, 2009 06:39

Seabreeze, Thanks for the nice comments. Believe it or not, although it is not "organized" as some, or most, would like it to be, it is organized enough for my needs. I have advanced degrees is both Physics and Electrical Engineering; and Acoustics and Psychoacoustics are two of my interests, along with circuit design, so trust me when I say that I got it under control.

As far as teaching most of the so call experts around here a thing or two, let’s just say that most of them are not even familiar with most of the gear in my room; there are many rare collectible and exotic pieces that most have not even heard of. I am VERY happy with the sound of my reference system. About a year ago I made a tongue-in-cheek challenge to compare reference systems but so far no takers.

Again, Thanks for the comments and I hope that you enjoy your system as much as I enjoy my equipment. Although this is about the music, most get caught up in the great audiophile swindle, forget about the substance and focus on "flavor of the month" components rather than finding and holding on to components of merit; most just jump on the component merry-go-around and waste their money on pseudoscience tweaks and the use of overpriced cables as tone control. It takes more than money to assemble a truly great system; you have to understand the art and science of sound reproduction for one; this of course is not a requirement for enjoying one’s system but it helps.

Well, I better get off of my soap box or the moderator will not allow this post.

carlos269 December 06, 2008 21:06

Vicente,
Yes the Passeq would work but it would not be the way that I would go for your room mode problem. I would try to do the correction in the digital domain. I saw on your system page that you have not had any luck with either the Tact or Z-Systems digital domain filters; and you state that they were not transparent enough for you. I just do not see how an analog, even a passive filter network, is going to be a more transparent solution for you. With that said, the most highly regarded digital eq/filter is the Weiss EQ-1 Mk.2, especially the one with the Linear Phase (LP) option. It is widely regarded as the most transparent eq/filter on the market and is a key tool at all the major mastering houses. I think that the use of a $11K eq for your application is overkill. You can certainly use it for correcting recordings in addition to taming the room nodes. In any event, that is my take on it. I would start with experimenting with the Behringer DEQ-2496 prior to taking the plunge on the Weiss. I know that you have tried the Tact and Z-systems, but the Behringer does a very good job if used in full digital mode, with digital input and output. Another great option is the Junger e07 at $7k. Hope that this helps.

carlos269 November 13, 2008 09:06

I'm afraid that it only has gotten more crowded since these pictures were actually taken. But in all honesty, the sound of my reference system has gotten so good/real, to the point where I have stopped my purchases all together. It doesn't hurt to keep some reference level products around as you do not have to rely on your aural memory with this approach as the comparison equipment is just a few feet away. One other reason for keeping the extra equipment is that most of them are rare and collectible that I would have an almost impossible task of attempting to find again if I sold these and tried or ever wished to listen to them again. I have tried in the past to thin out the herd but what remains is here to stay. Were else are you going to find the elusive NRG Control 400 Watts Class A monsters, the top Dynavector Tube Preamp and Amplifier, the ViVa 300P, the Technik Avant Garde Model One Ultimate version, the Forsell Air Reference in Mk.IV edition, the Einstein prototypes, Ricardo Kron's personal Vacuum Transistor monoblock amplifiers, the Manley/Simmon Yorke Zarathustra phono stage and motor controller, rare turntables from Transrotor and Micro-Seiki, the Audion three-piece reference phono stage, the Digital Audio Denmark AX24,, the Z-Systems Reference Digital Mixer, the mighty Sony K-1183 designed ONLY for in-house use at the Sony Classical recording studio in NYC, rare amps from Nestorovic, HotHouse, speakers from Essence Electro Acoustics, the mighty Big-Dog signature edition,rare preamps from Klyne, Burmester, Rowland, ElectroLuv, subs from Mach One Acoustics and ..............

carlos269 November 12, 2008 04:58

No I did not purchase all the gear on Audiogon. I have been at this for over 21 years, way before Audiogon has been around. I have bought and sold a few items here on Audiogon. I do business with Europe and Australia and I have actually imported quiet a bit of my gear and other I have bought on out of town outings and some on the internet.

carlos269 August 07, 2007 07:32

Jimmdavis,
The pictures show a "Partial" gear collection BUT embedded in all that is my reference system.

The rest of the equipment is part of other systems and components that I have swapped in and out during my 21 year odyssey in the art and science of sound/musical reproduction.

I keep those components which I feel are component of merits and of substance.

carlos269 August 06, 2007 10:57

French Fries: Can you please post or at the very least list your system so that I know where you're coming from. It is very easy to hide behind a keyboard and IP Addrese.

I have made pictures of my room and equipment available for all to see. If you want to contribute constructively to this thread, please do likewise otherwise your words hold no water.

carlos269 August 05, 2007 08:41

Jeffreybowman2k, I can assure you that no Bose Wave has ever entered my house much less my listening room. Please describe the location, if you were serious and I will let you know what component it is that you are referring to.

Mdhoover: Try these Equalizers, as these do not degrade the signal - Avalon AD-2077, GML 9500 (which Ray Kimber uses), SPL PQ Mastering Edition, Maselec MEA-2, Focusrite 315 Mk. II Blue, and Fairman TMEQ (all Tube design).

Most of these equalizers will set you back anywhere from $11,000.00 to $17,000.00 BUT they are much better sounding, more capable, more flexible and less expensive than the $25,000.00 Cello Palette Mastering Equalizer was.

But bare in mind that Equalizers in the context of a high-end system have their limitation and if applied without real knowledge of what your amplifier and speakers are capable of, then they could have disastrous results, in the form of fried tweeters and/or complete system meltdown. In other words, you really need to know what you are doing with this kind of tool. Another thing to consider is that if you clip, or over-drive the equalizers power rail in any of its bands, this will result in major distortion sending DC to your speakers and perhaps destroying them. So be advised to use with caution and know what you are doing before you proceed down this path.

carlos269 August 04, 2007 06:21

Audiofankl, I believe the word is diffusion! :)

carlos269 August 04, 2007 05:36

The pictures show a "Partial" gear collection BUT embedded in all that is my reference system.

The rest of the equipment is part of other systems and components that I have swapped in and out during my 21 year odyssey in the art and science of sound/musical reproduction.

I keep those components which I feel are component of merits and of substance.

carlos269 August 04, 2007 02:18