Studio-inspired home system

by dr_joe on Done For Now

Description

Not much to say. This represents an attempt to reproduce in the home the neutral, highly resolved and extremely dynamic sound that so impressed me when I used to run errands for recording studios. To do it up right, I'd have the matching subs that Tannoy made for these speakers, but although they were available from the recording studio in Michigan from which I got the monitors, I just didn't have the money at the time.

What's needed now is some serious room treatment, but I keep putting that off in favour of listening to music.
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Components Toggle details

    • Teac/Esoteric P-70 CD Drive Unit
    Redbook-only transport with digital-to-digital conversion circa 2002; supports dual-wire AES/EBU supports 24 bit / 176.4 kHz output; word-clock input for slaving transort to DAC; latest VRDS transport mechanism; 8 digital outputs
    • Universal Audio 2192 Master Audio Interface
    ADC/DAC designed for mastering and recording studios; supports up to 24-bit / 192 kHz input; single- and dual-wire AES/EBU digital input and output; S/PDIF input and output; discrete analogue input and output topology; chosen instead of the Esoteric D-70 DAC at twice the price.
    • Technics Technics SP-10 MKIIP
    Pro version of the SP-10MKII with +/- 8% speed adjustment mounted in custom 20 kg base by Jean Nantais (alternating layers of Corian, void-free baltic birch plywood and MDF); sits on 4 Vibrapods on top of layers of marble and MDF; immune to feedback and dance parties.
    • Signet (Audio Technica) XK-50
    Low-mass arm from 1980s; rewired with 33 AWG Cardas (single wires from cartridge clips to Neutrik ProFi RCA plugs) by Robert at Applause Audio in Toronto
    • Ortofon OM-40
    Ortofon's best MM cartridge; tracks at 1.2 grams; not yet converted to MC approach, though have tried several; also use Reson Reca (modded Goldring 1042).
    • Bryston BP-26MP
    MM phono stage cutomized at factory for 44 dB gain (stock setting is 35 dB); highly recommended; one of the few components, other than the phono cartridges, that I bought new.
    • Tannoy AMS-12A
    An improved, active version of the Sysem 12 DMT II made only for a few years around 2000; 12-inch dual concentric drivers in 70 litre cabinets with two 180-watt amplifiers and an electronic crossover in each box; XLR inputs only; 25 Hz to 25 kHz +/- 3 dB; neutral and frighteningly dynamic; inert stands essential.
    • DH Labs/Belden/Cardas Pro Studio/1801B/Golden Cross
    Analogue: 3-metre runs with Vampire XLRs from preamp to speakers; 0.5 metre runs with either Vampire XLRs or Neutrik ProFi from source components to preamp; Digital: 2 x 1.5 metre Belden 1801B with Vampire XLRs from CD transport to DAC. Recently traded a phono stage I was no longer using for a pair of balanced Cardas Golden Cross to use beween the DAC and the preamp, but haven't got around to using them yet. I'll be interested to learn what if any difference I can hear between the Cardas and the DH Labs.
    • Torus A024-ACB-A1AB
    20-amp/120 VAC Plitron isolation transformer with various additional conditioning technologies; 10 outlets; 90 lbs.; very effective in the
    • McCurdy Radio Industries SS3159A
    Solid steel rack from the 1970s or early 1980s, originally designed to mount the SP-10MKII turntable for radio stations. I've mounted it on a 25 kg multi-layer MDF base which is in turn mounted on heavy-duty castors. The turntable sits on top. Except for the CD transport, which sits on a 1.5 inch MDF shelf, all the other components are rackmounted.

    The AMS-12A sit on custom-made 17-inch-high stands made from birch plywood; the 8 by 6 inch centre pillars of which are sand-filled. They weigh about 25 kg each and sit on heavy-duty castors. The only finish is multiple coats of linseed oil. Suitably inert even at high SPLs.
    • Perreaux TU-3
    I listen to a lot of FM, but for news, investigative journalism and documentaries, not for music, so I have no idea how
    • Belden ??
    I've tried various power cords in the $100 to $500 range, but could never tell a difference from 12 and 14 AWG Belden, both off the rack and made up by myself with mid-priced ends, so I got rid of the fancy wire and keep to the Belden.

Comments 2

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Dr. Joe,

I would really enjoy having a listen to your Tannoy-based system. I've maxxed out some HPD 315's, with custom cabinets (150 liters, 2" thick double walled MDF, @ 200lbs. ea.), with custom designed and built crossovers. They have turned out to be all that I've ever wanted in a speaker. So I'll wager your AMS-12A must be something special. Us Tannoy guys need to stick together, I think.

I drive mine with three different amps, a VAC PA-35.35, Sophia Electric Baby (@10Wpc), and Plinius SA 100 MKIII. They sound great with either of the two tube amps, but I seem to stick to the Plinius most of the time. Good combo.
I think Tannoys are not taken seriously by many in audio, but they can hold their own against just about every speaker I've heard, after 40 years in this hobby. Nicely done!

Regards,
Dan

islandmandan

Nice choice of gear Those are awesome speakers the only thing bigger and badder would be the 215 DMT II...you must be set for life with a great system like that.

shadorne

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