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I
was smitten with two channel audio as a
teenager, when I purchased my first component, a Radio Shack receiver,
back in 1978. At the time, the $80 unit took all the money I had, so I
tore out two full range drivers (one a 10” and the other a 12”) from
console units and used lamp cord as my first speaker system! Since then
I’ve gone through too many components to remember!
I have always had a passion for two
channel, and in 2004 I built my dedicated listening room/HT in our
present home. It is a 23’ x 13’ x 7.5’, acoustically isolated room in
the basement. The interior walls are 7.5” thick, utilizing 2x6
staggered stud construction, resilient channel, and two outer layers of
˝” Homasote (a pressed paper product used in industrial soundproofing),
then covered by ˝” drywall.
The ceiling is also soundproofed by the
channels and Homasote and the lights are recessed into soundproof boxes,
so that the ceiling is absolutely solid above the dropped ceiling. The
flooring is cement, covered with ˝” pad and a thick berber carpet. I
used 2’ x 4’ sound panels to tune the room for optimum two channel
listening. The room functions as a HT, but 90% of the time I am
listening to two channel stereo.
I
find that I am an equipment enthusiast as well as a sound
“analyzer.” I love seeing the components right in front of me – I
could never bear to have them stuffed away in a closet. For me, half
the enjoyment of high-end audio is futzing with the gear, moving
cables, trying new speakers, etc. I also have a tendency to
constantly be assessing the sound. I almost never simply relax and
go with the music, since there is always something which can be
improved. Over the years, as my rig has climbed in quality that
tendency has been diminished and I can be at ease while listening.
This should be an encouragement to those who aspire to the high-end.
Satisfaction can be obtained, though it may take a while to get
there!
How did I build a quality system at a somewhat affordable price
point?
I
have been a regular face for years at the audio establishments in
Milwaukee, my home town, Madison, Chicago and St. Louis. I worked up
the line in equipment the hard way, by buying new pieces and trying
them. Now, with the internet and sites like Audiogon, the process is
much easier to get a running start. I recommend a three-step
process:
1. Screen components for public acceptance at Audioreview.com. I
learned that these ratings are similar to Consumer Reports. “Initial
Quality” is very high, and every piece seems to rate at least a 4
out of 5 stars rating. I determined that the truly noteworthy pieces
had a rating of no less than 4.7 or 4.8 out of 5, and typically from
more than a dozen or so owners. I also weighted the reviews of the
owners depending on the equipment they owned.
2. I asked public opinion regarding comparisons and performance of a
potential component on Audiogon. Owners gave helpful tips and
suggestions, and if there was a better component to be found, they
often suggested one.
3. Professional reviews on the product. This may seem strange to
rank third, coming from a reviewer, however it is true that one can
find a reviewer whose taste in equipment is similar to yours. It
takes a while to find such a reviewer, but once you have, you will
have a good source for leads on components. I did not so much look
at the reviewers’ work as “pass or fail” as much as additional
guidance in understanding the operation and sound of the equipment.
If all three of these lined up for a particular piece, I pursued it.
It was a very effective method, and propelled me farther along the
path to my goals than any other methodology I had used previously. I
highly recommend this system to those starting out.
Regarding equipment, I lean toward higher power and larger speakers.
I enjoy SET amps and single-driver speakers, and my heart is with
the American big, bold sound. I am unwilling to compromise any
aspect of the presentation. I am not willing to sacrifice clarity
for power, or bottom-end for vocals. A proper high-end system should
excel in every facet, and that is my goal. I currently (I say
currently because this hobby tends to change us and our tastes over
time as the technology changes) see an ideal match between
high-power, high-current amps and efficient floor standing speakers.
For my own personal use, I prefer full-range towers to monitors.
I
am constantly trying to eliminate unnecessary links in the system in
order to streamline the rig. I have come as close as possible in
this process with one particular set up: CD player into two mono
block integrated amps, and of course, the speakers. This trinity of
components is eminently simple and has a compelling
performance-to-cost ratio. There are not many integrateds of high
caliber which can be bridged. This is a shame, as I feel it is a
tremendous advantage. Currently, I use two Pathos Classic One MkIII
tube hybrid integrateds in this configuration. I see very few other
integrateds in the market which can function in mono mode, so this
is somewhat of an anomaly. However, to date, the results have been
compelling – among the highest returns on audio dollar spent in my
experience.
I
strongly feel that cables are now to be taken as seriously as any
other component in the system, and that the often suggested 10%
ratio of cable expense to total system cost is low. I believe the
correct ratio should be closer to 20% - cables make that much
difference! I also shy away from reviewing only one cable in
isolation, as it is far easier to hear, and more effective to use,
substantive changes in sound with a suite of cables. Similarly, I
have come to conclude firmly that power cables are as critical to
success in building a quality system as any other cable. If you do
not have quality power cabling, you are literally choking the sound
of your entire system.
Finally, I am a living example of the power of persistence and
consistency in building a HiFi system. Most people cannot go out and
drop $2-3k on a cdp, or $6-10k on speakers. At least, not from the
start. If, however, one is willing to bide their time and use a
self-regulated savings plan, remarkable systems can be obtained! You
do not need sky-high income to own a superb stereo! If it is a
priority for you, budget for it and show contentment by upgrading a
component at a time. Audio is one hobby where virtually anyone can
see remarkable improvement over time and gain satisfaction in the
endeavor! This is one of the reasons I have stuck with it for almost
three decades. Hopefully, you will find similar joy in the journey!
My tastes in music run toward the Smooth Jazz genre, as well as solo
acoustic instrumental, synthesized, and jazz vocals. I hope I will
be able to guide you to some wonderful discoveries as we visit
together!
Digital Front End
Ayon CD-1
Denon DVD-2900
Monarchy Audio M24 DAC/Pre
Oppo DV-970HD
Rega Saturn CDP
Amplification
Dussun V8i
solid-state integrated amplifier
Eastern Electric
BBA "Buffer Pre-amp"
Jeff Rowland 501
monoblocks
Monarchy Audio SM-70
Pro monoblocks
Pathos Classic One
MkII stereo tube hybrids bridged (2)
Rogue Audio Perseus preamp
Speakers
Eminent Technology
LFT-8A
Legacy Focus HD
Tannoy Glenair
Von Schweikert Audio
VR-4 SR MkII
Subwoofers
Vandersteen 2W (2)
Cables (Digital)
MIT Oracle Digital Reference, Tara Labs RSC Air 75
Cables (Interconnect)
MIT AVt MA
Magnan Audio Signature
Tara Labs RSC Air1 Series 2
Tice Audio IC 1A
Wire World Equinox
Cables (Speaker)
MIT AVt MA
Magnan Audio Reference and Signature
Tara Labs RSC Air1
Wire World Equinox 5
Cables (Power)
MIT Oracle V2 and Magnum
Tara Labs RSC Air
Xindak PF-Gold
Wire World Stratus 5 and Electra 5
Power Conditiong
MIT Z-Stabilizer
Tara Labs ISM Power Screen
Tice Audio Solo
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