The system is designed to reproduce realistic timbre, dynamics and detail, as well as a stong sense of presence in a medium sized room. The design goals focus on achieving both a sense of intimacy and scale, and it's doing a great job of supplying both.
Well, I'm in the process of reorienting my life away from stuff and towards essence. I've been doing a lot of inner work for the last year and a half, focusing on a blend of depth psychology and Buddhist/Taoist spirituality. The next step is a trip to the Oneness University campus in Fiji with my partner so we can both be trained in a technique known as Deeksha. Some of the money from the sale of my audio gear will finance that trip.
System edited: I'm selling almost all my heavy-hitting gear to finance the next stage of my spiritual journey. The only "big" components I've kept are the speakers and the rack. The new system sounds excellent...
System edited: I just moved into a new house, and recycled some older gear into a new incarnation of the main system. The combination of the Audion tube preamp and the Operetta on the Fab 1's is lovely.
System edited: Due to a change of location from a dedicated listening room to an apartment I've switched amps to the Jaton Operetta, a cool-running gainclone with exceptional sound. The subs are gone.
System edited: Before Christmas I was finally able to try my KR20 with the Quads. It's a hybrid integrated based on the 842VHD tube, the predecessor to the Antares, designed by KR Audio just before the death of Riccardo Kron. It's an excellent match with the Quads -- more fluid, dynamic and harmonic than the Nelson Pass Aleph J, and more rounded and organic than the Tom Evans Linear A. It will be sticking around for a while.
System edited: Ahhhh, Quads. Why didn't I do this 20 years ago? The ESL 57's, lovingly restored to pristine perfection by Picquet, are a perfect match with the Linear A. They add another complete dimension of realism and naturalness to the sound. SWMBO, who has little time for matters audiophile, sat down last night and listened to two hours of music with her knitting just lying ignored in her lap. After the second track she turned to me with wide eyes and said, "This is REALLY good!" Yesss!
An experiment with passive bi-amping has worked out very well. I took out the speaker jumpers, and connected the Linear A to the bass/mid terminals using the Aluminata and the PX25 to the treble using TG Audio HSR cable. Each amp is driven by its own outputs from the Vibe. The results are very satisfying - better presence and dynamics with a smoother, more coherent and lifelike treble.
Economically it's a stupid thing to do, but it makes more sense than having an amp just sitting there doing nothing.
The shielded Aluminata interconnects have eliminated the persistent, annoying buzz I was getting from one channel of my TEAD Linear A, that I could only reduce previously by grounding out the neutral leg of that channel. The Linear A is now as quiet as a tomb (though much livelier). As a result of the reduction in residual background noise the images are more solid and better defined. A layer of fine grain has been removed as well, and the sound is smoother. I guess Tom Evans' warning that the amp must be used with shielded cables is worth heeding.
The Aluminata PC gives the Linear A a richer, weightier tonality, along with better musical flow. There's more juice to the sound, and the sense of leanness that put me off previously (to the extent that for a while I preferred the sound of the Audio Analogue Enigma) seems to have been banished.
The Aluminata cabling has proved itself on two amplifiers now. It has made the most difference on the Linear A. This amp is a bit of a touchy thoroughbred, and it really shines with the JPS Labs wire.
System edited: I just installed a JPS Labs Aluminata power cord on the amplifier, replacing the Elrod Statement I'd been using. two sets of Aluminata interconnects have replaced the Kimber KS-1030 I was using. I swapped back in a set of Elrod EPS-2 Sigs on the upstream components to replace the Foundation Research LC-2's. I'm very, very pleased. The Aluminata power cord is outrageously good.
System edited: I've added a KR Audio KR20 to the stable of active amplifiers. It's an 842-based integrated, a precursor to the current Antares designs. It is very dynamic, while sounding less romantic than 300B or 300BXLS amps but more lush than the PX-25. It's a sort of reverse hybrid design, as it has a SS input stage and tubed output. It's a heavy piece - around 85 pounds, about 8 pounds heavier than my previous (and much missed) KR18.
I put the TEAD Linear A back in the system a couple of days ago. After listening to the Aleph J and the PX25 for an extended period I was instantly reminded of why I liked the Linear A so much: unbelievably fast, clear, dynamic, high-resolution, transparent sound. OTOH I also like the PX25 for its rich tone and gentler presentation, and the Aleph J for its unassuming clarity.
I suspect what I will do in the future is give them all rotating duty, but for at least a week at a time to let my ears readjust to each change. This is an object lesson in what a large role mental acclimatization plays in our hobby.
Thanks for the kind words, Matthew. Rest assured I'm not giving up on hi-fi, but only on writing reviews about the gear that strikes my fancy. Don't worry, the changes and return invitations will keep flowing.
Zyrueda, I'm afraid I'll have to disappoint you. I'm giving up writing reviews. I don't know sh!t from Shinola about hi-fi, my momentary enthusiasms always get the better of me, and I haven't written a single review that I still agreed with six months later. I'm really enjoying the rig as is, and the thought of doing another analytical comparison is more than faintly depressing.
System edited: Nelson Pass' Aleph J is now holding the system together. Sitting betwen the Vibe/Pulse and the Fabs it is really beguiling. The Enigma is back doing a fine job in the living room system.
Sorry, folks, real life intervened there for a few weeks. Here's what's going on now:
Further experimentation has changed my opinions a bit, as it usually does.
The electronics now consist of the AN front end, the Vibe/Pulse and Nelson Pass' Aleph J. It all sounds lovely again.
I think now that my perceptions were coloured by the performance of the Tom Evans amplifier as it conditioned my expectations over time. I did some more equipment swapping, and decided that that amp is just too lean and hard-edged for my ears. While my jury is still out on that to some extent, I do know that the combination of the Vibe, the Aleph J and my Audio Note front end sounds significantly better to me than the Enigma.
The Enigma remains a phenomenally musical piece of gear, and especially given its price gets nothing but raves from me. Once I got the high-priced gear sorted out, however, it did put the universe back in its expected order. This goes to show once again how little it takes to unbalance a high-end system, and how sensitive our brains are to conditioning and expectation.
So the executive summary is that the Enigma is a fantastic piece of kit, but not quite as fantastic as I thought when my psychoacoustic matrix was still under the spell of some fairly "unbalanced" sound.
I have a nice little living room system consisting of a pair of Meadowlark Swallows and an Audio Analogue Enigma all-in-one box. I've been more than happy with it, and thought since I got it that the Enigma punched well above its weight class. I'd always thought I should try the Enigma in my main system to get a better fix on it, but I'd never gotten around to it. The living room is out of commission for a few weeks of redecorating, so I took the opportunity last night.
I took the little shoe-box-sized Enigma downstairs, unhooked the electronics in the Big Rig and connected it in. I fired it up, and thought "Geeze this sounds awfully good!" SWMBO walked in and said "That sounds really, really nice. What did you change?" I told her I was using the Enigma, and she said it made a very good CD player. When I told her I was using it to replace ALL the electronics I normally use, she gave me a kind of sideways, arched-eyebrows look, and said "Well, well, well. How stupid do you feel right now?"
The electronics it replaced were the Audio Note digital boxes and the Tom Evans amplification, along with the KS-1030 ICs and the Stealth Varidig Sextet. Total cost on the order of $50,000 USD. The Enigma is a $1500 box...
After spending half the day today listening to the Enigma with all kinds of music, my impression is that it is in fact better than the megabuck gear it replaced. It's more natural and musical, has noticeably better detail retrieval(!), better localization of instruments, has better weight, sounds more open and has a fuller, richer, more musically engaging tone.
Thanks, Lak. I have to say that at this point it's pretty much what I was aiming for when I started building it four years ago. There were a lot of expensive learning experiences along the way, but it's showing every sign of settling down now.
Boy_lah, I have a couple of sets of Stillpoints. I prefer the Ceraballs in the applications where I've compared them (the preamp and the digital components). It could be that the overall system configuration with concrete floors and the RixRax just works better with them. I never trid the Stillpoints under the TEAD amp, though. When I put in the Ceraballs the improvement was so great that I lost interest in changing anything except CDs. When I put the Linear A back in the system I'll try out the Stillpoints, though - it doesn't take much to swap them in and out.
I'm using Ei Elite Gold EL84s in the Linear A. They seem to be a bit smoother and richer than the standard Ei's that shipped with the amp.
System edited: I just got the AN CDT-3 transport to rplace the two-year-old CDT-2. Frankly, I wasn't excpecting much of an improvement - the CDT-2 already sounded pretty fine to these old ears. The improvement it made, though, was nothing short of amazing. You have to love surprises like that. I've also gone back to the PX-25 amp for the time being. It has its own serious charms, even in the face of a high-res heavy hitter like the Linear A.
Thanks for the kind words. The Rixrax stands aren't the last (or even the first) word in flexibility, but the design is outstandingly rigid. Yes, I've tried both the Pursang and the Pursang S speaker cables. The S are quite a bit more transparent and dynamic than the plain Pursang, but they share a tonality that was ultimately not to my taste - a touch too lean for me. With plumper-sounding electronics like the Coincident MP300B they were very nice, but as my electronics got more neutral I had to change away from them.
System edited: I've changed out the Audion PX-25 amp for Tom Evans Audio Design gear - specifically the Vibe/Pulse line stage/PSU combo and the stereo Linear A amp. I'd encourage anyone who is interested to check out Jeff Day's review of the amp on 6moons - as far as I can hear his asessment was 100% accurate, and it's not often I say that about a review. I share his feeling that the Linear A is the best power amp I've ever heard, and not by a small margin either. It has completely eclipsed my PX-25 which cost over twice as much, and which I've only had for 5 months.
System edited: I just changed out all the signal wiring to top Kimber Select. I never thought I'd say that a $8000 USD pair of speaker cables was worth the money... Even though all the cables are still settling in, the system has taken a quantum leap in both musical and sonic accessibility. These Kimbers are utterly remarkable.
Thanks for the kind woirds, Chadnliz and Macdadtexas. It's been a blast getting here, and I'm extraordinarily privileged to have been able to play the game.
Ah, now I get it - I didn't make the connection before. Yes, those are definitely "real" racks. Ah well, de gustibus non disputandum and all that. I prefer racks with a more natural, organic look...
Yes, mine are all the upgraded versions. I had an older LC-1, and sent it in for the upgrade. It was a whole new beast when it came back.
The power limitations I mention refer to two things - the 6 amp fuse in the LC-1 and also the manufacturer's guidelines. The recommendations for the LC-2 are:
* Transistor Class AB Push-Pull: 240 watts rms total (L + R) * Transistor Class A Push-Pull: 120 watts rms total * Transistor Single Ended: 60 watts rms total * Vacuum Tube Class AB Push-Pull: 140 watts rms total * Vacuum Tube Class A Push-Pull: 70 watts rms total * Vacuum Tube Single Ended: 35 watts rms total.
On the other hand, rating a power cord to the output power of an amp can only be very approximate, due to the varying efficiency and current draw of different circuits. And they do use 15 amp fuses in the LC-2
Yeah, that rack's a killer ain't it? I hate the techno look of most of the Sistrum/Monaco/SolidTech type stuff, so this one was a real find. Rick Cox is a great guy to work with, too.
I love them! There's a reason they're in there, especially on the digital stuff. The amp was a holdout - I was using a TG Audio SLVR on it until last week, when I picked up some Isoclean fuses for the FR cords. With that the LC-2 jumped out in front of the TG on the amp - smoother, a touch fuller and a bit more natural sounding.
They're all the upgraded versions, and like you I think they're the one of the best bets in power cords out there today, within their power range anyway.
There's an LC2 on each of the transport and DAC, and one more on the amp. The digital stuff shares one dedicated 20A circuit, the amp is on another one. All three LC2s have Isoclean gold fuses in them (nice tweak, that!).
The speakers were set up using the WASP technique, and are about 60 inches from the front wall to the speaker face. They don't need to be back any further because the subs fill in the low mids/upper bass.
The amp's power tubes are KR, and I also have a backup pair of the new TJ Fullmusic PX25 meshies. The 6922s in the amp are Siemens for the moment, but I have some other tasty NOS coming in the mail.
Email me next time you're coming this way. Oh, and a dram of single malt never goes unappreciated around my house :-)
In a message above, dated March 24, 2004, I indicated I would be getting a CTC Blowtorch. After suffering through innumerable unexplained delivery delays for over a year, I just cancelled my order. The Audion PX25 with its built-in attenuator is so good I have no regrets.
A recent experience showed again the importance of system synergy. Last weekend I tried my new super-trick Audion amp on a pair of Lamhorn 1.8's. On paper it's a match made in heaven, but in practice the sound lacked detail, dynamics and life. The Lamhorns with the owner's Tenor amp sounded wonderful, as does my amp with my Fab speakers. Yet another reminder of the risks of buying without hearing.
System edited: I've replaced the ELAD preamp and Wavelength Tritons with an Audion Silver Night PX25. The upgrades I got with it are listed in the description. It is one deeelicious amp.
System edited: I just swapped out the Bent Audio Noh for a Morrison ELAD. The ELAD may be somewhat controversial, but in my system it makes crazy-good sound. It has more clarity and resolution than the Bent, along with better-defined imaging and much better bass, while still keeping the music intact. I don't think it adds anything to the sound of the system so much as lets the full potential of the front end flow through to the amps. I'm shocked that this level of sound is available for so little money.
System edited: I added a pair of ACI Titans. They flesh out the upper bass of the Fabs a bit, increrase the "visible" size of large venues, and give the music a nice foundation. They also make it possible to use the Wavelength amps without worrying about any loss of low-frequency dynamics.
Well, it's sure closer to an electrostatic sound than the TV's were. In absolute terms, no it's not an electrostatic - dynamic speakers will always sound dirtier than ES's. I have heard other speakers that sound "purer" than these, like some of the JMLabs Utoptia range, but they've always lacked the liveliness I was looking for. The Fabs have a balance of purity, liveliness, resolution, dynamics and neutrality that is very beguiling, and IMO make them one of the best all-around speakers I've heard - especially when linked with good SETs.
I heard a pair with a sub at the Montreal show, but the setup and room were suboptimal, so I couldn't really say if it was an improvement. Right now I don't feel lacking for bass, but maybe down the road I'll experiment.
System edited: With the arrival of Fab Audio Model 1's I've pulled my Tritons out of storage. While they didn't drive the Total Victories very well, they are spectacularly good on the Fabs. The Fab/Wavelength combination has the resolution, liquidity and a huge tone that finally lets through everything the front end is doing. The big Elrods work a treat on the Tritons, outdoing the TG SLVR, the Argent Brujo HC and a pair of Foundation Research LC2's. The LC2 on the DAC is a good change, reducing the digital hash flowing back into the wall and taking out a touch of glare I didn't even know was there. The end of the road is getting closer...
System edited: I just made a change I never thought I would, dumping the Coincident Total Victories. They went out in favour of the Fab Audio Model 1. These speakers offer a real bouquet of qualities - mini-monitor imaging, electrostatic purity and presence, with full-range dynamics and bass in a tube-friendly, room-friendly but somewhat odd-looking package. As a bonus they just sing with the Murata super tweeters, which is no great surprise, since Fab Audio are their Canadian distributors. The Fabs are the full realization of all the qualities I was looking for in the TVs.
System edited: The Bent Audio NOH has replaced the Canary line stage. The NOH is a great match to the Canary amps, and provides better resolution, transparency and dynamics than Canary's own unit. The Canary monos seem to be natural partners for a passive line stage.
No, the Tritons and the TVs were never a happy match. The speakers always needed more drive than the Tritons could provide. They did much better with the Audion pre, but frankly the KR 18 put out sound that was more to my taste.
I heard the Tritons on a pair of Fab 1 speakers, and they sounded gorgeous, so it wasn't the amps, it was the match with the speakers.
System edited: I've made two significant changes recently. The RixRax Sonata has replaced the low-priced Plateau rack I was using, and the Canary CA-801 line stage replaced the Audion line stage. I can't say enough good things about either of them. The Sonata is the most breathtakingly beautiful piece of audio furniture I've ever seen. Even my girlfriend's 13 year old daughter stopped dead the first time she saw it and said, "Oh my god that's beautiful. Can I have it?" The Canary is an incredible sounding, though little-known, preamp, that is a perfect complement to the Canary amps.
I've abandoned the Muratas for now. I still have them, and will try them out periodically as the system evolves over the next couple of months.
At the moment they make a difference, but it's not entirely positive. They add a shimmer and glisten to the high end that works its way down into the midrange. The tonal balance gets tilted up a bit, but worse than that, the glisten verges on a glaze that actually robs the music of some texture.
Izzy will doubtless be glad to hear that add-ons like this just muck up the sound of his lovely speakers :-)
Well, much of it is going on the block with my local dealer. The KR 18 was sold to a friend, the deHavilland 845s should shortly be going out on loan to the guy who bought your ASLs. Want to buy a really nice Audion preamp? ;-)
System edited: I'm changing all the signal cabling to TG Audio - the speaker cable is on the way. Tube rolling has brought the Canary amps to a new level - KR 300BXLS power tubes and RCA 6SN7s have added another degree of realism. The Blowtorch should be here in another month.
Yes I do have a manual around, and I think I can help you out. I have to warn you, it may not be as helpful as you're hoping :-/
I haven't heard a Blowtorch yet - I ordered one based on recommendations from various sources (some here on the 'gon), and also based on the reputations of the builders. I'm expecting delivery on a month or so, and I'll be posting an impression once it's settled in.
System edited: I've just added a pair of Canary CA-339 monoblocks to the system, and they have put it over the top in terms of overall realism. They're a perfect match for the Coincident Total Victories, as evidenced by the reactions of the two manufacturers. The people at both companies are just stunned by the synergy, as am I. My Great Amp Quest appears to be over.
System edited: The system continues to change, even though I long to be done with the gear and concentrating on the music. The sound now is exceptionally communicative - warm, intimate, detailed and dynamic. A wonderful soundstage is starting to appear. The last planned major addition is a CTC Blowtorch that should arrive in June. One planned minor addition is a pair of Bob Crump's HSR speaker cables that arrive in a month or so. I'm also investigating the Murata supertweeters as an addition to the Total Victories. Stay tuned.
System edited: I just changed out the Bent Audio NOH for an Audion Premier. Despite the theoretical advantages of a TVC the Audion outstripped it in all categories: bass, mids, highs, dynamics, articulation, tonality, soundstaging, you name it.
That should read "added the Pursang digital cable..." It's a 75-ohm RCA cable that replaced the Nirvana DC-110 AES/EBU I had before. In comparison the Nirvana isn't quite as detailed or as dynamic as the Pursang. Like all of Ric Cummins' other cables, his digital wire adds to that sense of absolute transparency and "wirelessness" that the system has taken on.
Interestingly, given Nirvana's claims of quietness, I also find the Pursang to be quieter than the Nirvana. There's a sense of a thin layer of haze being stripped away by the Pursang, leaving the background cleaner and clearer.
I've built this wonderful system in the last six months, with top-of-the-line digital source, electronics and speakers, but I seem to get most passionate about the wire. How sad is that???
System edited: I've added the Pursang cable and a pair of Pursang balanced IC's to the system. I still have two pieces of non-Argent wire in the system - the power cords to the transport and DAC. These will be swapped out for Brujo cables as soon as Ric gets them wound. The AN DAC and the amps are burning in, and every day there seems to be less between me and the musicians.
