… and system Three has none.

Both RixRax equipment racks are now over on the second system. We wanted the added capability to compare two turntables, two phono stages, and the Audio Note Ongaku to the Kegon Balanced to the Kegon.

We put the Kehon Balanced amps on the Kharma Mini Exquisites.

The tops have been off so we can stare at the internal electronics for awhile But the tops will be back on soon enough… 1) they take up a lot of room just laying around, 2) the safest place for the tops of the chassis is on the chassis, and 3) just to get the aesthetic effect of a system that does not have exposed tubes.

Since our Audio Note M9 Phono preamp is still to arrive, we are using the Audio Note M1 phono preamplifier to drive the Kegon Balanced. We also had the M1 on the Ongaku integrated for awhile, to get a feel for the sound of the M1 in the system that we are so very familiar with.

The M1 is a very nice pre and I, personally, want to keep it here forever. At the price it sells for on Audiogon sometimes, $700, it sounds more like a $5K to 10K pre - and it always surprises me.

All the low-end AN gear surprises me - I keep expecting a more discordant and harsh sound - like the low end of every other line of equipment. But nooooo, this has more harmonics and warmth than the top-of-the-line, which is more neutral and detailed and transparent and realistic.

The end of the rack is now ALFULLY close to the speaker. But we figure the trade-off is worth it - that we can configure some great sounding systems that we wouldn’t otherwise be able to hear.

The Audio Note Kegon Balanced on the Kharma loudspeakers.

The Audio Note Kegon Balanced. On first blush, the M1 pre + Kegon Balanced amps is very, very competitive with the Ongaku integrated amp.

I would say more neutral [OK, nothing has that 211 sound except 211-based tube amps and the Kegons are 300B-based amps] and more transparent - more separation …and solidity?

We’re still listening…

The Soundlab system without a rack looks pretty darn cool itself. The Audio Aero Prestige is sitting on a Rix Rax amp stand.

Yes, that is a Nordost ODIN between the Prestige and Edge Signature One amps.

The Ongaku is now in System Four in Listening Room Three (L3). We haven’t hooked it up yet - this is still a AN Oto integrated-driven system.

We need to make room and are selling some gear that is just the kind of stuff that some of you may be interested in:

Edge NL Reference 800 watt pyramid amps (demo)
Soundlab Ultimate 1 electrostatic loudspeakers (demo)
Walker Proscenium Gold Signature turntable (demo)
Marten Coltrane loudspeakers (used)

These are all the top performers in their particular category - more or less just like everything else we carry. There just aren’t that many of these that come on the market at demo/used prices. If you want one of these, now is the time.

The Edge NL Reference amps are sitting waiting for a new owner. We need to make room people, the Kegons, both pairs, the Ongaku, the Lamms, … We got amps coming out of our ears….

They are up on Audiogon if you are interested.

The Soundlab Ultimate 1 loudspeakers are playing music while waiting for a new owner. We got amps coming out our ears and speakers coming out our…. ears too. We got four systems and still we always have at least a couple of great speakers just sitting around for months on end.

The Soundlab U1 are still the best electrostatic speakers and are up on Audiogon.

The Walker Proscenium Gold Signature turntable is ready for a new owner. Also on the infamous Audiogon.

Here are some photos of the pieces that come with…

We have the compressor and large damping chambers up on a bookcase in the room next to listening room #2

The compressor.

The large damping chambers

The Walker motor controller.

Another view of the motor controller.

The small damping chambers sit nicely next to the rack.

A closeup of the small damping chambers

A pair of Marten Coltrane loudspeakers that we had here a long time are available - the owner is moving and is selling their entire system. It is not on Audiogon but please, if you are interested, contact us immediately.

OK, back to our normally scheduled programming.

We have decided [actually years ago, but we get attached to things] that equipment that has been on the floor for more than two years should find a new home. We shouldn’t hog things to ourselves for years and years.

The above two items, the 800 watt Edge Reference ‘pyramid’ amps and Soundlab electrostatic ULTIMATE speakers have been on the floor for 5 years.

They are up on Audiogon, in case any of youse is interested.

Otherwise, hopefully you will see things evolve a little more quickly, and see things change a little more frequently here at the house on the hill.

But we do get emotionally attached to things - they give us so much pleasure over the years, It is like seeing one’s youth leaving, bit by bit.

Why oh why does it have to go some part of us whines.

And the other part says the alternative is stagnation, which is worse.

OK, no. Not starting a philosophical thread. Sorry. [though it is that time of year…. ]

[Still no Comcast… So miniature photos is what we got for supper again tonight]

The conference was not much busier today than yesterday, it seemed to me, which was different than last year.

But oday, they did not hand the conference microphone to the SpeakerCraft people, at least it sounded like they were from SpeakerCraft, but he was such an exuberant salesman - SHOUTING his enthusiasm, that the SPLs had us all curled up in fetal positions on the floor trying to stuff carpet fibers in our ears - anything to try and protect ourselves from the Onslaught. But seriously, it was LOUD but decipherable as words in some parts of the all, and total noise in others, and in some the volume was just ridiculously loud. I mean, the announcement system is perfect if someone is trying to tell everyone in the hall that there is a fire. It would work fine. Just keep sales people away from it.

Velodyne has a new subwoofer. Looks like it will produce some of dem bass type notes, all right.

A close up of the marketing specs. Of course, who cares about THD? Most poeple probably care about dynamic distortion. But is is not a horn, nor is it pulling 100 amps, so THAT is likely going to be more than 0.5%. But I bet is is something to hear.

Gallo Acoustics’ cute little speakers.

The EDGE Electronics room at T.H.E. with Montana loudspeakers.

The EDGE Electronics room at T.H.E. with Montana loudspeakers.

The HAL Audio Server user interface. Media server user interfaces were all the rage this show. Kind of like an iphone for non-liliputs. Or an iphone for the home. Or for people who have large fingers or bad eyesight. Personally, I am in all 4 of those cagtegories, so these UI’s interest me.

The new Acoustic Zen subwoofer

Phillips had a supersized remote control. Kind of cool to imagine actually using something like this. A remote control for giants. CEDIA is become like Gulliver’s Travels, I guess.

At least some people are looking for some good sound to be associated with good video…

ADAM speakers has a new line for the home. These use a improved Heil driver for the tweeter and midrange.

Another Media Server interface.

Another Media Server interface.

Sonus Fabers new Cremona M

Sonus Fabers new Cremona center channel

Over at T.H.E. Show. [need to insert speaker manufacturer name when brain comes back on line]. The gunshots had WAY too much low bass. Sounded more like close canon fire, the way it punched a person in the chest, or morter fire. Not that I have had direct experience with those events, but I had heard a gun go off before).

Media Max’s Media Server user interface.

So far the Totem booth has the honor of best of show in the main conference, (oops need to put up a photot ot two) and EDGE / Montana at T.H.E. Show (which only has 4 or 5 rooms this year, depending on how you count - though we did not wait in the line for the Maggie / Bryston demo there).

Took us long enough, huh?

Well, we had an excuse, with the huge horn speakers hogging all the space up until May.

Then Neli’s sorry excuse for a husband was under orders not to lift anything heavier than 25 - 35 lbs. for 6 weeks - which we determined actually did rule out 300 lb bass towers.

And then we had audition after audition - and everyone really loved the Audio Note Ongaku on the Kharma Mini Exquisites with the Jorma Prime cable. - so we were hesitant messing with perfecttion [but this system will be downstairs, so we’ll see how much the size of the room contributed to the sound - it IS a small system, after all]

We had some concern - and numerous, numerous, numerous to the point of ridiculousness - discussions about how to get the speakers up to the main room. How to wrap them, ho wmany layers, how dirty the blankets could be, using a hand-truck, going outside instead of up the stairs, I was about to die with all this talking - what is WRONG with me that I was the one who started the conversation half the time?

Here is the stairs we carried them up. Neli did great carrying the top of the speaker up, and we did take off the 40lb or so spiked feet - but otherwise we ‘just did it’, like Nike keeps telling us to do, though at least with the second bass tower, we wrapped the banister with towels to prevent any ‘accidents’ - which luckily we didn'’t have (whew! and yippee!).

We put the EDGE Reference amps on the main towers (800 watts on top, and the built in 2000 watts on the bottom - these boys go LOUD - so far I haven’t turned it up above -32 on the Capitole CD player - which is already over 100dB). Well, we wanted to wake up the speakers and this should do it.

Positioning still sucks.

And now starts the long journey to finding the magical combo of components that will make these speakers sing the way we know they can. This currently ain’t it, not the least reason of which is that the Capitole player needs vibration control bad - there is some serious BASS going on and it is just sitting on the Black Diamond Racing cones, right there next to the speakers, poor thing.

By the wagons we got the Shunyata Anaconda Helix Alpha.

By the well we got the Elrod Signature 3.

and By the barn we got the Pranawire Satori.

OK. Ready. Set. Play!

The system we compared them on was the following: Kharma Mini Exquisite loudspeakers, Edge Signature One amps, Lamm L2 linestage, and EmmLabs DCC2 SE / CDSD SE CD / SACD front end. INDRA interconnect between the DCC2 and the L2, Valhalla between the L2 and amps, and Jorma No. 1 between the amps and speakers.

We tried out all 3 power cables on the Edge Signature One amps.

1.

First up were the Shunyata Anaconda Helix Alpha (who win the award for the longest name). Usually we like the Shunyata Anaconda Helix Vx cords better than the Alpha cords on the Edge, and now was probably no exception, but the Vx cords were on the Audio Note M10 linestage power supplies on a different system… so…

We played the first track on Radiohead Amnesiac. My thought when it was all over was that nothing was going to beat this - the resolution and imaging and ‘techno feel’ was first rate. And I was right, as far as it went, that nothing did beat them in these categories - there are other categories however… always more categories…

Photo taken after the shootout. Here we see the power cables with the red label (Shunyata Anaconda Helix Alpha), the green label (Shunyata Pyython [sic, WordPress has a bug that does not allow this to be spelled correctly, since this is also the name of a computer language it is confusing the poor thing…] going to the Soundlab speakers - not in the shootout), gray label (Shunyata Anaconda Alpha that were powering the Emmlabs), the silver-braid shielded power cords are the Pranawire Satori, and the big (but not as big as their brothers!) Elrod Signature 3 power cords. Oh, and the cords that look like red and blue stripes is the Valhalla going to the Lamm L2 linestage.

We also played Mark Knopfler’s Sailing to Philidelphia - first two tracks. [Pick this up if you like Mark Knopfler and high-quality music and sound - we’ve had many people who wrote the name of this CD down after hearing it here].

On the first track, Mark plays several licks that are up front and can be biting unless there is a lot of support from the system in terms of not just resolution, but harmonic integrity - the notes have to swell just right or they rise too fast and sound ‘bright’. It is in this respect that we prefer the Shunyata Vx cords on these amps - they handle the notes in a more relaxed, organic manner that seems to fit most of the music better.

2.

Next volley was heard from the Pranawire Satori. Pranawire has a trademark sound that is, what we call ‘psychedelic’ [or acid-like …including flash-backs] (and the Jorma Design Prime cable has some of this too, but in a different context, as do the Kharma loudspeakers). This sound is very very engaging - somewhat like 2A3 tubes in a good amplifier in that it is very subtle yet readily recognizable. Which is to say it does NOT distort the sound in order to entertain the listener in some kind of gross way by catering to the common human weakenesses for syrupy or euphonic sound.

It is a sound that is hard to describe - it is like adding ‘life’ to the music, or ‘color’ where there was none before but we were colorblind and did not know it. Anyway, with the power cords on the amps we heard this ‘effect’, which we have heard in their top-of-the-line cosmos speaker cable, but not so much in their cosmos interconnect. YMMV.

As for the sound, per se, solidity in the soundstage was better than the Shunyata for various instruments, accompanied by a reduction in resolution and - if I remember correctly (Neli is at the gym) a reduction in mircodynamics and air but an increase in the ability to swell dynamics from one state to another.

In many ways this was similar to going from solid-state to tubes - it is a tradeoff and depending on you and your system, you may or may not like it. I liked it, and certainly from the point of view of being a system builder: now I could add this ’sound’ without having to deal with the somewhat large Cosmos speaker cable - which had some other side-effects - or having to swap out amps of source components or anything. I.E. swapping powercords for for the listener [who might be us!] who wants something a little more engaging (albeit a little less real) at the moment is now as easy as switching a power cord or two.

Radiohead’s voice and Khopfler’s guitar were all wonderously colorful and alive - there was however some reticience in the transition from one note to the next which we interpreted as probably resulting from these powercords being not quite burned in yet. [If you have been following the Blog lately, you might understand how we are growing impatient waiting for things to finish breaking in around here… ]

3.

The Elrod mosey’s in with the shotgun.

The sound of these was surprising to me … more detail (though not quite as much as the Shunyata Alpha) and much more separation - the soundstage really cleared up. The solidity was about the same as the Pranawire (the Anaconda Alpha had better pinpoint imaging than either - but it was not as 3D or ’solid’). The Shunyata Anaconda Helix Vx has been our reference on these amps - and will continue to be so as it has performed well in 100s of system configurations we have set up - but the Elrod Signature 3, which we are learning more and more about, did much of what *we* like in a system, which is walk that fine, fine edge between real and musical. It entertained our minds, fooled our minds, and warmed our hearts (though that last not quite as aggressively as the Satori )

4.

As a final test, we replaced both the powercords that were powering the Emmlabs transport and DAC with the Satori, they were what I think are from the photos Anaconda Vx (not the new Helix) . Could we hear the Pranawire effect even with the cords on a low current device like the digital front end?

The asnswer was yes, but it was only about between 15 and 25% of the effect it had when on the amps, in my estimation. It also clouded up the soundstage some,,, I think. It was weird. Maybe I was too tired at this point. Instruments and voices just sort of appeared in the soundstage, solid, but then faded from view somehow. It someway this was much more REAL than anything I have heard before in terms of what happens when a musician plays something then stops for a few moments. Or it was totally wacky and unnatural as the msucians did not seem to be in the same universe - much less in the same studio - but who knows, maybe they weren’t.

Anyway, more experiemtation is needed with mix and matching of these cords together in various systems.

Finale.

Acrolink burning in on the Winter burn-in device

So. We didn’t get to hear from the Shunyata Anaconda Helix Vx, nor from the Valhalla (which is on the Lamm L2 in this shootout - but we do not usually put it on the Edge, but in a shootout, ANYthing can happen ), nor the Acrolink 7N power cords (which in some ways are the ultimate powercord, having both most intensly detailed resolution we have heard in a PC along with an even handed approach to harmonic body).

Thought this might be interesting …

As we mentioned previously, we setup a number of systems for the guy who is purchasing our Triolon speakers. This audition occured over a three day period.

The different sounds of the different setups are somewhat illustrative of our approach here to High-End Audio System Optmization [sorry, it looks so much more highfalutin when it is capitalized ]. We started with a very good system, and slowly optimized it until it was, well, see below.

The first day I think we just played system 1 (below) and our Soundlab system, our Marten Coltrane system and our Marten Coltrane Supreme system. He had already heard Kharma speakers many times at shows, and our Audio Note system at this recent RMAF show.

He was very impressed by all the systems even though he had some (valid) concerns about the Soundlab system which was having some imaging problems on this new side of the room that we have recently put it on (we had the Adagios over there until a day earlier). Its always something that goes wrong… the walls went wrong in this case… Luckily everything else went very well.

System 1 [sorry, somehow we only got photos of about half the system setups]:

We started with the Audio Aero Prestige CD / SACD player with internal linestage running direct (no preamp) into the well-warmed up $140K Edge Electronics NL Reference ‘pyramid’ 800 watt solid-state amplifiers.We were using Nordost Valhalla interconnect and Valhalla speaker cable, Shunyata Anaconda power cords of all 4 kinds, with the Prestige sitting on a Fondato Silenzio platform and the amps sitting on Rix Rax ‘Outpost’ amp stands.

The Audio Aero adds a touch of warmth and drama and character to the tube-like big open sound of the Reference amps. The sound was big, juicy, with a very wide and very deep soundstage. All notes and dynamic swings were generated effortlessly. The downsides, if you can call it that, were that the imaging was fairly indistinct, the dynamics somewhat soft, from micro to mini to macro, and the overall resolution was good, but not great. This was as if the sound was painted with a big, gloriously colorful and fairly wet paint brush.

System 2:

A ‘minor’ change, we put the Prestige on the HRS M3 Isolation Base and Nimbuses. This is a reference system for us here on these speakers. The dynamics snapped into place and the imaging firmed up compared to the previous system setup. This system strikes a nice balance between naturalness and resolution, between a gargantuan soundstage and pin-point imaging. It is this balance that kind of keeps a listener off balance, never really believing that the system is going to continue to manage to paint such large pictures with such finness.

System 3:

Next the Edge NL Reference amps were replaced with Lamm ML1.1 90 watt push-pull amps sitting on HRS Isolation Bases with Nimbuses. We probably should have moved the big Ref amps out of the way, but they are a heavy 220 lbs, and we didn’t want to (aka plain forgot) move them then - and then later they were trapped as more and more equipment was brought up from downstairs. BTW, we do all the heavy lifting ourselves, even though every single one of our very courteous guests always offer to help - we are the hosts, they are the guests. And anyway, we need the workout… because guess who gets to carry all this stuff back downstairs?

We do not run the Audio Aero directly into the Lamm very often - thinking it might be too ‘tubey’ of a sound. But it was not all that tubey at all. There was good resolution, still a nice large soundstage, good depth. It was, however, the slightest bit soft on the top and bottom. In many ways, it was very much like the Edge NL Reference amps, the Lamm ML1.1 being most like the ‘Refs of any of the demo amps here - and probably of most amps out there as well. A very good balance of resolution and naturalness and dynamics.

System 4:

As planned, we swapped in Emm Labs SE CDSD / DCC2 transport and DAC pair for the Audio Aero Prestige. The Emm labs (Meitner) was run direct into the amps using its internal linestage. Now this system is starting to do things that are hard to explain. The solid-state digital source is a natural balance to the push-pull tube amps - and it works. All the truth, the unexpurgated yet unenhanced details and resolution are provided to the Lamm ML1.1, and it is up to the amp to decide what to do with it. We trust this amp to do the right thing with that information stream - and our trust is rewarded. Now we have big, open, with enough resolution to tighten up the imaging and define the toplogoies of the soundstage, added micro-dynamics that communicates more of the subtle characteristics of the music.

System 5:

As we were talking about the sound of the Edge Electronics Signature One 400 watt monoblocks compared to the big ‘pyramids’, we just said, hey, you can hear for yourself. So the Edge amps were swapped in for the Lamm ML1.1. The amps were cold so we played a CD or two in the background as we waited the hour or so for these amps to get to 95% or so of their optimal sound [actually, a number of components were added to the system cold - and this got to be a pattern: Isert component into system. Listen casually. Wait. Listen carefully. Rinse and Repeat.]. Now, this is not a system that we play too often - the Edge Signature One amps are a very smooth and detailed sound - very much like the Meitner / Emmlabs CD / SACD player we had in the system. So the balance was likely to be, and was, a little on the very detailed but somewhat uninvolving side. The soundstage was smaller, the images more pinpoint but not as 3D-like, much more resolution and micro-dynamics, but less midi- and macro-dynamics.

At this point the Favorite was the Audio Aero Prestige CD / SACD player with internal linestasge running direct to the Edge NL Reference amps. Second was the Meitner CD / SACD transport / DAC pair running direct to the Lamm ML1.1 amps.

System 6:

Now we start bringing in the big boys, so to speak. We keep a straight face as we hook up the Lamm ML2.1 18 watt SET amps in place of the Edge Signature Ones. ‘They have to warm up’ we say (they were warm but cooled off during the Edge Sig One stopover). Hee hee hee. Bamm, the sound-stage width and depth expands to equal, if not better, that with the Edge NL Reference. Solidity, presense, dexterity, integrity, naturalness, purity - the midi-dynamics in the midrange are memorable. Note envelopes are as smooth and hypnotizingly fluid as ocean waves, as Pulitzer-prize winning as the notes coming from the Meitner.

We let this system stay up for awhile - wanting to establish this system as a milestone as we traverse further into the audition. It was now the favorite at this point. There is always this certainty that our visitors have that we do this to, I mean ‘with’ , that, after this kind of Rush caused by hearing what was previously thought impossible, there is this deep subconscious questioning about why would anyone want anything better than this? Nothing can be significantly better than this, can it?

[Oops, somewhere in here we replaced the Valhalla interconnect that was running between the Meitner and the amps with Jorma Design ‘Prime’. This added another quantum step up in sound-stage definition and harmonic purity and resolution].

System 7:

The (very warm) 20 watt Audio Note Kegon SET amps are rushed upstairs to replace the Lamm ML2.1. This system, with the Meitner running direct to the Kegons, with INDRA interconnects instead of the Jorma Prime, was our primary reference system with these speakers. It is hard to describe all the things it does well, because we are SO familiar with it and we have described it so many times in the past. But, one of the most obvious differences now was the bass. It was VERY natural yet Impressive yet well-defined. These amps grip the speaker with an iron (make that Silver) fist at all frequencies, but it is most noticable in the bass, where other amps have the most difficulty.

This system was starting to pick up some ground loop hum, and so we replaced the Jorma ‘Prime’ with INDRA interconnect, correctly predicting that the WBT connectors on the Prime were picking up some nasties. The INDRA reduces the resolution and clarity and imaging somewhat, but has a purity that, in my opinion, works very well with the extreme purity of the sound of the Meitner.

At this point, there is an understanding now why we rave about these amps all the time. But, to get this sound, let us not forget the other players: the Meitner, the HRS bases, the Shunyata power cords, the INDRA and Jorma Design Prime and the Valhalla speaker cable.

But we rush to set up the next systems. Time is running out, it is the last day, and we want to spend the most amount of time with the system we think is the Most Optimized of them all…and we have a few more iterations to go…

System 8:

We add the Audio Note M10 linestage which replaces the internal linestage of the Emm Labs DAC. NOW we really have controlled bass. Never heard these speakers do this before. But before we enjoy it we have to deal with our ground loop hum, which is back again.

Do to the occasional (we hope) people who are very confused about electrical things yet get hired to do electrical inspections here in Wonderful Boulder County - the grounding of our dedicated lines are messed up. Yes, we can fix them sometime (it won’t be easy) but until then… Until then, Mike and Neli get to have a nice family discussion about cheatering (that would be me) and why not to cheat (that would be Neli) in front of our guest, and after messing some with groundwire we finally cheated and lifted the ground on the entire system.

We’ve said it before, the M10 is like having another Kegon, or maybe more like a Kegon with 40 watts instead of 20, or perahps like ‘no need to Bi-amp it, M10 it’. Everything is much more controlled, accurate, dynamic, well-formed, solid….

System 9:

Oh, wait, now we want to add back in the Jorma Design ‘Prime’ interconnect [I swear, I started getting blisters on the tip of my Switch-turning-off-and-on finger ]. It goes in and replaces the Valhalla. How can the Valhalla be called muddy? It can’t. But it was, in comparision!

Bamm, off everything goes again and another Prime goes in to replace the INDRA. Another increase in resolution and harmonic integrity - but not as much, leading us to put another checkmark in the box supporting the proposition that it is the first Prime that makes the most difference.

System 10:

Bamm, Neli tells me that they all want to replace the Valhalla speaker cable now with Jorma Prime and Jorma No. 1 speaker cable (this is a tri-wired system and we only have one bi-wire Jorma Prime at this time). OK. Fine. But it is getting dark quick, so flashlight in hand, Neli and I change the speaker cables to Jorma. Not quite fast enough, we have to move a lamp over to shed some light to tell which are the red and which are the black connectors… important things like that.

Before we headed out to load up on Indian food, to let the system warm up and settle in some, it was apparent (to me, anyway, but I think I was much more interested than they were in hearing this particular change, as I have been thinking a lot about the difference in the impact on a system’s sound of the Prime interconnect versus the speaker cable) - that the sound-stage and imaging RELAXED. It felt like there was an easier and much smoother transition as the musicans, or their sound-engineers, moved things around on the stage. That, before, the soundstage was blotchy, that images jerked from place to place and clung to certain spots. Now, the soundstage was no longer constipated.Now it flowed…

This increased sense of continuity was also somewhat apparent in the dynamics as well: whereas before it seemed like there were maybe, say, 100 different ways a note could go from soft to loud (and back again) now there were 1000.

There were other improvements as well - the resultant being that the system felt whole now, having everything be wired with 100% Jorma Prime (except for the Jorma No. 1 speaker cable on the bass towers) seemed to allow the Prime’s capabilities to shine through, all the way from source to speaker.

After Indian buffet dinner (the food was kind of bland,.. how can they make bland Indian food??? How embarrasing, since we picked the place. Seems like Mike and Neli need to catch up on where the good Indian food restaurants are again.. and add a few pounds in the process I bet ) we played a few songs from each of about a dozen CDs. Played it fairly loud, since it was our last night (volume set at ‘7′ for those who grok Audio Note volume controls, driving a high-gain amp on 97dB speakers ). It was kick ass.

Classical music was so much more realistically laid out, both dynamics and imaging - such separation and definition, not quite at Real, of course, but there was a lot of stuff now that we didn’t know that we were missing before this [we never had the Jorma Prime combined with the M10 here before].

Played some of Lady in Satin as well, the 3D nature of her voice and the way she moved - it was much more like being in a cabaret than sitting in a livingroom.

And…

We heard this same system for a few more days after our guest left and then performed the swapping out of the front end for the Audio Note digital to see what THAT would do [see previous post].

No, we did NOT try adding analog to system 10 - creating system 11. Have to save something for next time, right?

By then the M10 will be broken in (it is only 5 weeks old at this point).

And it will be the Marten Design Coltrane Supreme loudspeakers that we will use to navigate even further out into the Audiophile Gulf Stream, ….

… also breaking in.

Showroom (show area) 3 now has thge Soundlab Ultimate 1 electrostatic loudspeakers as permanent residents and the Acoustic Zen Adagio as guests.

Neli tells me there are a number of people who want to hear the Adagio’s in a larger room, so here they are for now. We still have to fuss with the positioning… and they might even end up against the long wall where we can, because they are front ported, try putting them from very close to the wall to out in the middle of the room.

The Soundlab U1 really, really sounds nice in this system. Yeah, it is an expensive front end - let’s see, about $130K for a $32K speaker - but it makes that system sound quality on a par with some of the best systems we have heard, bar none. Not just in coherence and detail, which the Soundlabs always have, but involvement and suspense and emotionalty and naturalness. Magic? Can’t tell yet, with the show and all this breaking in we haven’t got a chance to just live with it for any length of time yet. It was the introduction of the M10 that really put this over the top.. and we found this out by accident, if you will remember, when we were just trying to break in the M10 at high gain (volumes) and so put it on the hard-to-drive Soundlabs.

The equipment rack for Showroom 3. We have the Emmlabs CDSD SE transport in front, Edge Signature One amps behind it, and on the HRS MXR equipment rack the Audio Note M10 preamp and its two large Galahad power supplies and the Emmlabs DCC2 SE DAC. Lots of Shunyata Anaconda power cords, Jorma Design No. 1 speaker cable, and Nordost Valhalla interconnects - and I think we have a Jorma ‘Prime’ interconnect in here too.

The equipment rack for Showroom 3. One of the Galahad power supplies is on the top whelf - it was the only way we could get 4 things on the MXR rack given that one of those things HAD to be the M10 (for the reasons of curiosity and because we didn’t want to have to step over those big boys every time we wanted to put a CD in the transport).

[No, your eyes do not deceive you, the Edge amps are indeed on the floor. One, they do not sound so bad there, this is not the first time they have visited the carpet. Second, we really do not have enough HRS M3 Isolation Bases to go around - we know we need them, we know we want them, we know we will get them, but for right now… it is on the carpet they go]

As far as how the Adagios are sounding at this point in their breakin process…. see next post.

or “Round ‘em up, Head ‘em out”

or “We’re just going to pieces”

or “Break in Two Systems, Two Systems, Two Systems in one”

Breaking in Sound Lab Ultimate loudspeakers and Audio Note M10 preamplifier together - using the EDGE Signature One amps and Audio Aero Capitole CD player driving them over on the floor to the right [Oh, you can’t see it in this picture, but you can see the Nordost Valhalla interconnects snaking across the floor there].

This is all just a temporary setup. We are breaking in each notch on the M10 volume control. We got up to ‘5′ yesterday, but that was driving the little Kegons pretty hard - and the Coltranes were getting pretty loud.

But over here, on the still somewhat inefficient Sound Lab speakers - with a solid state amp… we are doing ‘6′ today and will do notch ‘7′ tomorrow. That ’should’ be enough, the Marten Coltrane Supremes (which made it through customs, yay!) are much more efficient than even the Coltranes, so notch ‘7′ should be plenty loud enough for the show…?

Every time we up the volume a notch, the M10 sound is bright and annoying for several hours and the pre lets off another waft of New Electronic Component Smell [Yummmmmm. Is this the only reason we buy TVs and computers and $50K preamps, to be able to experience this smell? Nahhhhhh].

This M10 + Sound Lab speaker-centered system sounds surprisingly good. The Sound Labs really like upstream equipment that errs on the warm side (as opposed to the more icey Parasound or Pass Labs soild-state amps, the former is usually shown witht eh SoundLabs at CES and the latter is to be at this RMAF show in the IsoMike room), and even warmish cables help - like the Pranawire Cosmos speaker cables.

The latest Sound Lab upgrade did seem to tighten the bass quite a bit and increase the midrange dynamics as well - adding perhaps 3dB? of efficiency. Still breaking in, but I noticed that the unfamiliar bluring of images in the soundstage that I heard when we first starting playing the SoundLabs after their upgrade has almost completely gone away.

The old Marten Coltrane system, going to pieces Time to box up most of this system, and move the Marten Design Coltrane loudspeakers to listening room 3. The Sound Labs are going to go over here, next, after the show - and how we get around them when we go up and down the steps is still to be determined.

The current state of listening room 3. Most of the system proper is going to the show, including the Acoustic Dreams rack.

We want to put the Marten Coltranes in here after the show - but they sound best with the Lamm ML2.1 amps and the HRS MXR rack. But the Kharma Mini Exquisites sound best with the EDGE amps… it will be hard to build a system that is optimized for two different speakers like this… not to mention the Acoustic Zen Adagio speakers.

And then there is the HRS MXR equipment rack problem, or rather lack of problem: we want a double wide on the Coltrane Supreme speaker system in listening room #2,and another one upstairs so we can play a turntable in listening room #1 (it is the only thing that will work on our very bouncy floor) - but we currently only have one rack….

So little time (and money) and such a long Wish List.

Just some fun pictures we had laying around on the hard disk…

Closeup of the diamond tweeter and ceramic midrange of the Marten Coltrane speaker. This is the walnut version of these speakers and the wood is starting to take on a nice rich patina as it ages.

The Edge NL Reference 800 watt ‘pyramid’ amplifier. This picture really captures the sleek metalic look of the amplifiers.

Closeup of the top of the Edge NL Reference 800 watt ‘pyramid’ amplifier. Here you can almost see how nice it is to touch these amplifiers, the powder coating feeling very nice, almost soft, to the touch. The cap on top and the way the sides are fastened makes the amplifiers water tight (and maybe even dust tight, which would be nice… see below).

The EMM Labs Meitner DCC2 at dark on an HRS M3 Isolation Base. This picture captures the color-coding of the buttons nicely, as well as showing a how the volume knob is so much fun to turn by hand.

The Lyra Titan cartridge on a Brinkmann tonearm. This picture does not show it perfectly, but there is this feeling of the loooong tonearm snaking out fron the depths at the back of the turntable, the head ready to strike with it diamond tooth into the platter.

Closeup of the Brinkmann tonearm. Ah, engineering. Lovin’ it.

Closeup of the Lyra Titan cartridge. Dust. There are lots of little dust particles, perhaps hairs from the wool carpet. They do not look serious enough toimpact the sound. But they are everywhere…

The Blue Magic Diamond cartridge on the Walker tonearm

Closeup of the Blue Magic Diamond cartridge on the Walker tonearm. More dust particles.

The Brinkmann Balance turntable control buttons. Left is 33 rpm, right is 45 rpm, center is OFF.Sometimes we turn it on and off just for the fun of touching the buttons.

The Nordost Vidar cable burn in device. More pictures from the post a few days ago.

The Nordost Valhalla cables on the back of the Marten Coltrane loudspeakers. I like the reflections of the cables and binding posts in the shiny carbon fiber on back of the Coltrane.

The Nordost Valhalla cables on the back of the Marten Coltrane loudspeakers. More reflection. These are the EU-safe WBT binding posts.

The Nordost Valhalla cables in sunlight. I like the pattern of shdows the various layers of conductors make. When this picture is blown up large, this looks like a work of abstract art. Or maybe industrial art.

Closeup of the Nordost Valhalla cables in sunlight held against the blue sky. You can really see how the cable is constructed. As desribed on the Nordost website:

“Each conductor is made from optimized diameter solid 99.999999% oxygen free copper that has 78 microns of extruded silver on the surface. The surface of each conductor is highly polished before a high precision Micro Mono-Filament wrap is applied.

The Micro Mono-Filament is helically wound over the conductor. A precision FEP jacket is then extruded over the conductor. A number of proprietary methods are used in this difficult and extremely precise manufacturing technique that reduces dielectric contact by a factor of more than 80%. Extremely mechanically stable, the conductors are effectively suspended in inert air, preventing oxidation. ”

Well, hope this all was as fun for you as it was for me!