Description

Transparent, spacious and detailed with a solid bottom-end foundation and an ease of presentation that comes only from speakers with none or only basic crossovers.

The speakers are custom-made and consist of 12" Hokutone undoped paper woofers run full-range wired directly to the speaker terminals. 5 " Scanspeak paper Mid/Woofers with 1 small capacitor. 1" Scanspeak Revelator silk dome tweeters with 1 small capacitor. No coils, inductors or resistors used anywhere.

Imagine a pair of dynamic speakers with the speed and transparency of the finest electrostatics like the original Martin Logan CLS but a wide sound stage and even wider Ôsweet-spotÕ?

Imagine that these same speakers had the bottom end depth and realism of the Magico M5 but even deeper and more defined with a treble extension that is purer and more detailed?

Imagine that these speakers were 95dB efficient and had a near negligible crossover with no resisters or inductors in the path of the electronics?

I believe this minimum crossover design to be one of the ÔsecretsÕ in the ease, transparency and dynamics of these custom-built speakers.

Turntables.

I don't listen to digital (except in the car and in the garden via shelf-mounted monitors)....

I simply have never heard 'digital' reproduced with the ambience, detail and realism of analogue.

As I listen to vinyl for approx. 3 hours every day...the turntable/arm/cartridge combination is important.

Assuming the turntables and tonearms are 'reasonable'....the greatest determinant to the 'sound' (after the speakers) I find.....is the cartridge.

For 30 years....I used one cartridge on one tonearm on one turntable and played it till it needed replacement?

For the last 10 years of that 30 year period.....I listened exclusively to LOMC cartridges including Koetsu Urishi, VdH Grasshopper (Symphonic Line), Clearaudio Concerto, Clearaudio Insider Gold, Lyra Helikon and Titan i, Dynavector XV-1s and ZYX UNIverse.

Up until the UNIverse.....none of these expensive cartridges gave me the visceral pleasure that I recalled from my earlier MM cartridges like the Nagaoka MP11, Garrott P77 and Stanton 681EEE?

Six or seven years ago....I moved back to 'vintage' MM cartridges and have been rewarded with the most exquisite sounds able to be extracted from vinyl grooves.

Every cartridge is different...even if sometimes the differences are slight?

Often..the differences are vast but mostly, the differences relate to the 'emotional content ability' of the cartridge.

And this is hugely affected by both the cantilever and the stylus. Changing either or both can profoundly change the abilities of the cartridge.

This is easily done with MMs with removable styli assemblies....but is also now easily done for MCs by qualified re-tippers.

The cartridge is the 'generator' of the sound of vinyl IMHO...and that is why I own so many...and have tried even more....
Read more...

Room Details

Dimensions: 17’ × 12’  Medium
Ceiling: 20’


Components Toggle details

    • TW Acoustic Raven AC-3
    3 Motor unsuspended German table. Nice table with great flexibility of arm mounting.
    • Continuum Audio Labs Copperhead
    Dual Pivot CAD designed plastic-resin super arm. Good with LOMC cartridges but is simply superb with high compliance MM cartridges. A truly universal modern arm. Finicky to change cartridges and make adjustments. certainly not user-friendly but once set, you can forget.
    • Davinci Audi Labs Grandezza 12
    Cocobolo wood arm in sapphire twin gimbel bearing. Nice and relaxed sound.
    • Graham Engineering Graham Phantom II
    Unipivot with Titanium armwand and Micro-poise. Good (but not spectacular) with low compliance LOMC cartridges. A poor match for all the high compliance MM cartridges I have tried.
    • TW Acoustic Raven AC-2
    Removed one motor from the AC-3 which now gives more accurate and consistent speed as gauged by the Sutherland Timeline. It also eliminates the eccentric loading on the platter given by the third Raven motor and gives 50% more contact area of belt to platter. Sold the Phantom II and replaced it with the legendary 30+ year old FR-66S 12" tonearm
    • Fidelity Research FR-66s
    A serious tonearm.
    • TW Acoustic Raven AC-2
    The Raven with 2 FR-66S tonearms and the Continuum Copperhead. The Copperhead is now the only tonearm I possess...with a 'fixed' headshell.
    • JVC Victor TT-81
    'Nude' 30 year old DD turntable with 3 specially cast solid bronze arm-pods. Puts to shame most belt-drive turntables but separate massive arm-pods ensure superlative performance.
    • JVC/Victor TT-81
    Nakedly nude in its stainless steel cradle. Virtually the equal of the TT-101 in its sound quality....but far less complex and costly...and more reliable.
    • JVC Victor TT-101
    Top of the line professional Laboratory Series DD turntable.
    • JVC JVC Victor TT-101
    The Laboratory Series DD top-of-the-line turntable from Japan's mighty production industry. Impossible to replicate today at a realistic price?
    • JC Victor TT-101
    The 'innards'. Heaven help me if something goes wrong with this?!
    • JVC Victor TT-101
    This features a coreless DC sevo motor with quartz locked positive AND negative servo control
    • JVC Victor TT-101
    With S/N of 75dB and speed deviation of 0.002% and drift of 0.0004% one needs to hear what perfect speed control does for a turntable.
    • Custom made Victor turntable stand
    Made from 316 solid stainless steel bar and rod.
    • Custom made Victor turntable stand
    Fabricated ex. 4mm thick 316 stainless sheet and 25mm diam. solid rod all welded, ground and polished.
    • Grace G-940
    30 year old oil-damped unipivot. A cheap but honest performer with high compliance MM cartridges.
    • Graham Engineering Phantom II
    A modern unipivot with much praise in the audio press. I tried it with three LOMC cartridges as well as many MMs and was unimpressed. On high-compliance MM cartridges.....this arm was simply inadequate. I sold it after a year.
    • Fidelity Reasearch FR-64s
    The "Prince" of tonearms surpassed only by its 12" big brother the FR-66s. Despite its Japanese design by the great Ikeda San, this arm displays a 'Teutonic' sparseness in 'Form following Function'. Great bearings and a rigid heavy stainless steel arm-tube make this a vintage 'Classic'. Surprisingly good with high-compliance MM cartridges as well as low compliance LOMCs. A serious arm.
    • Microseiki MA-505s
    30 year old superb arm with VTA,VTF and Anti-Skate all 'On-the-Fly'. A Japanese arm with the detail and feel of the famous pre-war Leica rangefinder cameras. Adjustments 'on-the-fly' make 'tuning' any cartridge, a breeze.
    • Fidelity Research FR-66s
    The 'King' of Tonearms, this 30 year old 12" arm will show you things from your cartridges that you have never heard before. Modern arms cannot compete with the authority of this monster? A serious arm.
    • SAEC WE-8000/ST
    The top of the line from this once mighty manufacturer, the WE-8000 is a 12" effective length (15" overall) featuring their famous double-knife-edge bearings. Extremely rare and originally only sold in Japan....I feel privileged to own this beauty. A serious tonearm.
    • SAEC WE-8000/ST
    Super detailing and design as is typical of all their arms.
    • SAEC WE-8000/ST
    Rugged yet finessed.
    • SAEC WE-8000/ST
    An off-set ceramic headshell which is NEVER available without the arm?! I can however, twist the cartridge in some of my standard headshells to obtain the correct alignment.
    • SAEC WE-8000/ST
    The off-set ceramic headshell for this rare tonearm is beautifully conceived and executed, extremely expensive and almost impossible to find as a 'stand-alone' item without the arm. The only problem with it however...is that with most cartridges it can sound sharp, flat and slightly brittle because of the glasslike thin ceramic base material. I much preferred the wood headshells from Yamamoto or Ortofon for metal bodied cartridges and metal headshells for plastic-bodied cartridges.
    • SAEC WE-308N
    Double knife edge Japanese jewel. Sounds as fine as it looks.
    • SAEC WE-308N
    Jewel-like detailing. Simply beautiful.
    • SAEC WE-407/23
    SAEC produced a range of beautiful tonearms, all featuring double-knife-edge bearings. The WE-407 is a model up from the WE-308 but shares its beauty and superb sonic abilities.
    • SAEC WE-407/23
    Jewel-like design an construction.
    • Various Vintage
    A trio of 30 year old vintage tonearms
    • Dynavector DV-507 MkII
    Bi-Axis Inertia Controlled, Dynamic Balance tonearm
    • Dynavector DV-507 MkII
    A monster of an arm. Extremely heavy and best suited to mounting on separate heavy armpod. When properly employed, demonstrates how much colouration (distortion) other arms impart. A true revelation.....
    • Purpose made Arm-Pods
    Solid bronze cast arm-pods finished in automotive lacquer. Weighing 25lbs per pod, the solid foundation for any tone-arm find its rewards in the sounds produced.
    • ZYX Universe
    Low output .24 Copper with silver base. One of the best LOMC cartridges I have heard and one of the only ones with which I can live.
    Nuff said!
    • Dynavector XV1s
    Low output moving coil. Not as 'clean' as the Universe but its colourisations are closer to 'live music' and thus easy to live with.
    • Dynavector XV-1s(modified)
    When my original XV-1s 'exploded' due to my stupidity....Axel Schurholtz rebuilt the entire cartridge still keeping a boron cantilever and Shibata stylus...but reducing the coils so that the output has been reduced from 0.24mV to 0.15mV.
    • Garrott Brothers P77
    A tweaked version of the A&R P77 by the Garrott Bros in Australia produced a wonderful rich-sounding MM cartridge in the early '80s.
    • Ortofon Ortofon M20FL
    MM cartridge first one on the right in the Fidelity research K5 cartridge holder case. A solid if not spectacular performer.
    • Sonus S Blue
    MM cartridge still available NOS second on the left in the FR-K5 cartrdige holder case.
    • Empire 1000ZE/X
    A 30-40 year old MM cartridge made in USA. This is a glorious full-bodied 'romantic' cartridge which should help balance any 'lean' sounding system.
    • Empire 4000D/III Gold
    Superb MM cartridge continuing the 'Empire-sound' tradition of the 1000ZE/X but with more refinement and slightly more neutral balance. Still wonderfully full-bodied which approaches the Zitgeist of 'live' music.
    • Technics EPC-100Mk3
    Famous 35 year old MM cartridge from Technics with its integral headshell. The following model (EPC-100Mk4) came without headshell. This is very pure and neutral with hardly any defining characteristics of itself which makes you believe it is perhaps a 'reference' cartridge? However I find its 'detachment' a little too clinical for constant long-term listening.
    • Audio-Technica USA AT-155LC
    A wonderful MM cartridge with an line-contact stylus which sets a standard in sound IMHO, that is the basis of the great Signet cartridges to follow. Neutral enough but with a heart and soul able to 'move' you.
    • Audio-Technica USA AT-20SS Limited Edition
    A vintage MM cartridge considered by some to be the pinnacle of Audio Technica's range. In my system, this cartridge had a lean sound balance with a rising top end and several deficiencies in the mid to low bass range. A faulty specimen?.........or a 'false God'?
    • Signet TK-3/155LC
    Signets were the 'cost-no-object' MM cartridges developed by Audio Technica mainly for the US market. This is lower range TK-3Ea with an AT-155LC line-contact stylus assembly replacing the standard stylus. A gutsy and commanding performer which brings out the best in all your records.
    • Signet TK-5Ea
    Middle of the Signet MM range, this cartridge is just a little more refined than the TK-3Ea but still packs all the emotion and depth symptomatic of these cartridges.
    • Signet TK-5/155LC
    The standard TK-5Ea with the AT-155LC stylus assembly installed. A slight improvement in refinement over the standard 5Ea seen 2nd from bottom right in a rare K10 cartridge holder case made by the OEM who made the K5 cases for Fidelity Research.
    • Signet TK-7e
    The best of the class in this series IMHO, the TK-7 series could be has with the 7e, 7SU or 7LCa stylus assembly. Each one a standard setting MM cartridge which combines richness and full body across the frequency spectrum with a neutrality and effortless which startles on first listen until one realises that this emotion was caused by a distinct projection of the 'real thing'......live music itself.
    • Signet TK-7SU
    The No.3 Shibata stylus assembly replacing the No.2 of the standard 7e MM cartriidge. This is for me, in my system, the current 'King' which comes the closest to cartridge 'perfection' that I have ever heard.
    • Signet TK-10ML
    The 'top-of-the-line' for this range of Signets, this cartridge does not, IMO, share the sonic signature of the TK-3,5 or 7. Instead of a full and satisfying presentation of the sound spectrum, this cartridge seems to be attempting to emulate the sound of MCs with their upper frequency emphasis intended to persuade us of their 'detail' extraction. Thin and lack-lustre in the bass, perhaps it requires more run-in time? Life is too short.
    • Fidelity Research FR-7f
    First available in 1978, the FR-7 series of LOMC cartridges designed by Ikeda San, were perhaps sold only in the Japanese and European markets. How else to explain the fact that the Supex cartridge was the 'rave' in the British and US audiophile press whilst we never heard of the Fidelity Research? Unlike the Supex, this 30 year old version of the LOMC can compete today with the very best $10,000+ overpriced examples.
    • Fidelity Research FR-7f/Lc
    The original FR-7f had a conical stylus but one day....mine sheared in half. Sent to Axel Schurholtz who replaced the stylus with a nude Line Contact which elevated the FR-7f to UNIverse standard.
    • Fidelity Research FR-6SE
    Sold only in the Japanese market in the late 1970s, this MM cartridge with elliptical stylus has a surprisingly low compliance (10x10-6cm/Dyne) for a MM and is thus designed to be suitable for the FR-64/66 range of high-mass arms produced by Fidelity Research.
    This cartridge is a colourful performer. No 'shrinking violet', it projects the fullest of sounds from the meaty bass to the lyrical sweet highs. Not as subtle or refined as the Signet TK-7SU, it nonetheless manages to convey a great deal of the essence of the 'real thing'. Perfect for transistor amps which may display top-end brittleness and/or recessed midrange performance.
    • Fidelity Research FR-5
    A low compliance MM cartridge sold only in the Japanese market and a lower range model to its FR-6SE cousin. When I first heard this model, I thought.....whoa....this is just too much of a good thing? All the colour and charm of the FR-6SE was amplified. The bass was fuller and less detailed, the midrange plumier with less depth whilst the highs were slightly dull. I had bought this cartridge after J.Carr (designer of the Lyra range of MC cartridges) recommended the FR-5E as being more refined than the FR-6SE but I could only find an FR-5 at the time.
    • Fidelity Research FR-5E
    I finally found a NOS 5E stylus assembly and realised that this would convert my FR-5 into an FR-5E but when I came to insert the new stylus, I found that the metal cartridge body was moving about in its plastic coupling piece whereby it was screwed to the headshell. This suddenly explained the bloated and plummy sound when listening the to FR-5. After some SuperGlue rectification and the insertion of the new 5E stylus assembly I mounted the cartridge in the Yamamoto HS-1AS headshell and listened with the FR-66s 12" arm. A beautiful rich sound....not what you would call 'neutral'...but containing most of the vividness of 'real' music.
    • Signet MR5.0Lc
    The MR ('Maximum Resolution') Line Contact Series. Has a lot of the Signet 'House' sound with a refined gentleness.
    • Clearaudio Virtuoso
    The black wood version. Modern available MM cartridge which displays many of the qualities of the best vintage models. Doesn't quite reach the stellar heights.
    • Clearaudio Virtuoso
    My ebony wood Virtuoso was sent to Axel who replaced the original stylus with a nude shank Line Contact pressure-fitted into an aluminium cantilever. This raised the performance nicely but it was not until I thought to match the wood-bodied Virtuoso with the ceramic headshell of the WE-8000/ST that the performance hit the stratosphere. This combination is a revelation and may vie for the title of 'numero uno' in my collection?
    • Acutex LPM 310,312,315
    Vintage MM cartridge which is warm and friendly. Doesn't hit the heights of the very best ones.
    • Shure ML-140HE
    A surprise package. Wonderful sounding vintage MM from the great house of Shure. Competes with the 'big boys'.
    • Signet TK-7LCa
    The 'Holy Grail'. An original NOS unused TK-7LCa with original Signet line contact stylus. This one is just too hard to beat...
    • Audio-Technica USA AT150ANV
    A modern attempt by AT to match some of their classic vintage cartridges....particularly the legendary TK-7LCa. Does it succeed?.....not quite. It misses the emotional content.
    • Garrott Brothers P77/SAS
    The legendary Garrott P77 with the Jico SAS new stylus implant. With this stylus....the P77 enters the realm of the top cartridges I've heard.
    • Audio-Technica USA AT-13Ea/155Lc
    This is a 'Franken-Cartridge' cobbled together by the Professor(Timeltel) who 'grafted' an AT-155Lc stylus onto the very modest 13Ea. This cartridge competes at the very highest level.
    • Signet AM-10/155Lc
    A gift from the Professor(Timeltel)...this AM-10 has the AM-20 stylus and sounds wonderful. Substitute the 155Lc stylus assembly...and it competes with all the big boys.
    • Shure V15/Type III
    A past classic that was ubiquitous. And for a good reason...this cartridge produces the 'essence' of 'emotion' and midrange clarity. Add the Jico Sass stylus and it competes at the highest levels.
    • Glanz MFG-51L
    Better than the 31L, 71L or G5 IMHO...this Glanz 'moving flux' is interesting and involving. Does it reach the ultimate heights? Perhaps not.....?
    • Denon DL-103R
    Ubiquitous LOMC cartridge which originated 50 years ago and is still in production. This one is hand selected for identical channel outputs...and is a bargain at the price.
    • MIT MIT-1
    A LOMC which is seldom heard of....the MIT-1 sounds more like the top vintage MM cartridges in my collection. It competes at the very top level.
    • Acutex LPM420-STR
    NOS vintage MM cartridge. Better than the 300 series...but struggles to compete with the 'Big Boys'
    • Sony XL-55
    Medium compliance LOMC cartridge which can track at 1.5-2.5 Gm. Unique coreless armature coil wound like a figure-8 with beryllium, carbon-fibre and aluminium cantilever. The presentation and clarity of this cartridge is startling.
    • Kondo KSL SF-Z
    Step-up Transformer (SUT) for LOMC cartridges
    • Kondo KSL SF-Z
    Japanese hand wound SUT
    • Kondo KSL SF-Z
    SUT
    • Kondo KSL SF-Z
    Japanese SUT. Better than the active LOMC stage of the Halcro DM10. Worth a try.
    • Halcro Preamp DM10
    DM10 solid state with inbuilt MM & MC phono stage
    • Halcro Amplifiers DM-58
    Solid state Monoblocks
    • Custom made 3 way moving coil sealed box.
    12" woofers run full-range. No inductors, coils or resistors in signal path.
    • Drivers & Capacitors Scanspeak & Duelund
    Golden Section Notice the size of the Duelund VSF capacitors compared the Scanspeak 51/4" MidWoofer driver. The 44uF Duelund for the mid/woofer is as large and as heavy as the driver it feeds. The thinner Duelund is the 5.6uF for the tweeter.
    • Vandersteen 2Wq
    3x8" woofers powered by internal 300w amp with 'feed-forward' error correction and adjustable Q settings. A stereo pair positioned directly behind each main speaker.
    • Vandersteen M5 High-Pass filter
    Active high-pass for 2Wq subs
    • Audeze LCD2
    Planar magnetic headphones
    • Schiit Lyr
    Valve head amp
    • Marantz ST-17
    Black
    • Nakamichi BX-100
    Black
    • Cardas Clear
    Fully Balanced XLR connection from Halcro DM10 to fully differentially balanced Halcro DM58 Monoblocks
    • Cardas Clear
    Very pure speaker cables
    • PS Audio P3 AC Regenerator
    The PerfectWave Power Plant 3 is a state-of-the-art AC regenerator that regulates and regenerates the AC line voltage, producing clean, low distortion AC power.
    • Shindo Mr T
    Transformer-based Power Conditioner. Connected to both turntables and Preamp. Does it work?......perhaps....
    • Hannl Mera EL RCM
    Supplied by TW-Acustic, this top-of-the-line RCM from Hannl does a good job in quick time with minimum noise. I use it with my trusty Steamatey steam cleaner using distilled water and finish with a distilled water rinse...thus avoiding any chemical use on the records.
    • ZYX Universe
    Low output .24 Copper with silver base. One of the best LOMC cartridges I have heard and one of the only ones with which I can live.
    Nuff said!
    • Fidelity Research FR-6SE
    Sold only in the Japanese market in the late 1970s, this MM cartridge with elliptical stylus has a surprisingly low compliance (10x10-6cm/Dyne) for a MM and is thus designed to be suitable for the FR-64/66 range of high-mass arms produced by Fidelity Research.
    This cartridge is a colourful performer. No 'shrinking violet', it projects the fullest of sounds from the meaty bass to the lyrical sweet highs. Not as subtle or refined as the Signet TK-7SU, it nonetheless manages to convey a great deal of the essence of the 'real thing'. Perfect for transistor amps which may display top-end brittleness and/or recessed midrange performance.
    • JVC Victor
    DD turntable

Comments 131

Center
Owner
Hi Bill,
I like the look of your system also....particularly the horn speakers.
Don't think I've seen those before..?
Do you have the FR-7f on your Thomas Schick tonearm? I'd imagine that would be a fine combination although for the ultimate exploitation of the FR-7 Series cartridges from Fidelity Research......the FR-66s is the prefect match 👅

My FR-7f came without stylus so I never heard the 'stock' version.
I sent it to Dietrich Brakemeier (Dertonarm) who always sent his FR-7 series cartridges to Japan for one of the original Fidelity Research craftsmen to replace the stylus with one that was supposed to match the original.
It came back with a conical stylus which I believed was consistent with the profile as described on Vinyl Engine. There is some dispute about this amongst the cognoscenti who claim it came with an elliptical or line-contact....
At any rate.....with the conical stylus, the FR-7f did not sound 'magical' and fortunately.....after only a dozen hours of use, the new stylus sheared off the cantilever completely 🤯
I then sent it to Axel Schuerholz in Germany who replaced the stylus with a nude pressure-fitted fine Line-Contact (I don't know if he retained the original aluminium cantilever or replaced it as well).
The newly restored FR-7f now possessed 'magic' in spades....👏🎶

Out of the 60-80 cartridges (both vintage and modern) I have used in my system.....none has exceeded the emotional presentation of the FR-7f.
If you look at my other System Page 'The Final Cut'.....you will see how it ranks amongst my top 6 cartridges and now quite frankly, is still the 'benchmark' in my collection.

Interested to hear what you think in comparison to your other cartridge experiences...?

Regards
Henry

halcro

222222&text=th
Hello Halcro,
You certainly have some very interesting gear! I also have an FR-7f but mine is stock. Just wondering if you heard it with the stock cantilever/stylus vs the new Paratrace from Expert.
Also, how do you think the FR-7f compares to all of your other cartridges?
Best,
Bill

theskudra

Center
Owner
It’s a long story Shadorne.....but you can read it on my updated ‘Final Cut’ System page.
Just toggle the details.....

halcro

Center
Owner
I’m selling only  one of the three FR-66s arms I own Rick....😝

Regards

PS View my System ‘The Final Cut’ for the current updates

halcro

Center
Wow. No doubt you live for Vinyl. Just curious that with your resources and relatively speaking how did you select your speakers?

Ag insider logo xs@2xshadorne

222222&text=ri
Wow.... selling your beloved FR66s?

Please explain  :)

Rick

rich121

Center
Owner
TEST FROM SUPPORT

halcro

128x128
Hi Halcro,
Yes. Given your obvious resources, you should try it out. I have some posts on my virtual system about the upgrade by JW. In my humble 12" Jelco, I encounter no tracking issues. Cheers.

noromance

Center
Owner
Hi noromance,
Yes I have the London Decca Reference 
https://imgur.com/2a1nFuG
A fine sound but kind of temperamental and fussy of its arm...🤓
The fact that it's voicing can be easily altered by John Wright is a little worrying.
Tracking problems can be annoying but in the end there are many vintage MMs and a few vintage LOMCs which can match the sound without the associated deficiencies......
The Reference IS expensive so maybe I should try the Super Gold?
Thanks for the tip 😎

halcro

128x128
Hi Halcro, Have you tried London/Decca? I have a Super Gold with a John Wright fitted Paratrace diamond. It is exqusite and inexpensive.

noromance

Center
Owner
Just saw it rgs and have posted....
Hope it's of some help?
Regards

halcro

222222&text=rg
Halcro,
I posted a thread trying to inquire about the Victor TT 81 and 101.  I am trying to understand the differences between them in quality and sound (if any).  I noticed you have had both turntables.  Would you mind providing me some insight on the thread?

Thanks 

rgs

Center
Hope you are settling in for the Canadian chill....
Indeed... but that Great Canadian chill is also the reason I have a full height insulated basement to myself ....aka - two dedicated listening spaces :^)
Crazy that wives consider this space inferior ...don't u think ?
But..my fingers and ears don't take well to the cold anymore. Not sure what the future has in store.

What subs are you contemplatingWell I tried to put down some thoughts Henry - and the detail grew - sorry.

I have had various subs (borrowed) come through my Room B in past few years, and this is specific to setup of my Quad 57's in Room B. They included Martin Logan and REL. I do still own an old workhorse Dr. HSU sub VTF3 - MKII or III? with very low miles on it from the old HT setup upstairs ? I have also teamed the Quad 57's up with the B&W Electrostatic DM70 continental. In this case you just leave the (B&W) unplugged. This makes the ESL panel inactive utilizing just the woofer/cabinet. An interesting looking combo. The problem was the crossover on the dm70 doesn't cut off to the ESL panel till 500 hz. I have also thought of using the massive woofer cabinets from the stored 801 s3. But that would require external crossovers, external amp, blah blah blah.... Stacking quads give you bit more db in the bass but it does not make the bass panels play lower.

Quad 57 Dilemma with Subs ?
So we read about so many that have failed to integrate subs with 57's ,and I believe from setups I have seen, that the mistake for some rooms, is in placing the sub/s on the same plane and/or wall as the speakers themselves. They can't keep up with the 57's bass. Even Vandersteen recommends this for his subs. But having a dedicated listening space is different. You have total freedom to think outside the box and experiment. I have learned through playing in 3 different rooms with them (57's), that the best setup is close to the listening position near a boundary for reinforcement. This allows the bass to sound fast, not bloaty, the sub is never stressed and therefore never gets in the way of the midrange on the 57's. I am using the second set of line outputs from the AI preamp in room B directly to the sub. This nearfield sub arrangement allows for an extremely low setting on the sub both from a volume and crossover setting. I have them crossed over at 50 hz and the sub volume dial which starts at around the 7 clock position is set around 8 o'clock, So that is my way to set up a sub with Quad 57's. The sub is just purring and never taxed even on the most demanding music with bass. I should probably post an update to my 57 review. Soon.

I've often thought that if I ever wanted another pair of subs, I'd try adding them to the two sides of the listening couch as you're suggesting...
That would make four subs at four room corners ? Not so sure about this for a two channel audio application. I would probably try before you buy. In perspective my Room A uses four subs as part of the Matrix 800 speaker system. But they are Two high and two low at one end of the room. I've discussed the virtues of this on my system thread as u know. They cancel each others waves out leaving pure music tones. It works really well. But this is part of an elaborate design /implementation. I can't even imagine an audiophile trying to lift and permanently support two heavy subs in the air...

As the weather turns my thoughts usually include one winter audio project. So this year I have started to consider bringing in a couple subs setup as described above to compliment the 57's and the reason for my post. One on either side of the listening position. My problem is both my kids schooling has seriously bled me of extra funds. I need to offload other audio items to make this happen. Thx for the review Henry. I had seen it and I am considering two 2wq as well for this.

btw
How long ago was it that you tried your subs beside the listening couch ? I'm sure changes have occurred since then in your setup. Is there some weird room anomaly happening at the couch end ? If I ever visited you, with your favorite bottle of bubbly of course, I would ask to hear the difference. again apologies for the long post

Cheers

ct0517

Center
Owner
Hi Chris,
All well here with summer approaching...
Hope you are settling in for the Canadian chill....😨
Here is a review of the Vandersteen 2Wq subwoofer system (and subwoofers in general). I found it very interesting.
The 2Wq subs are crossed over via a High-Pass filter at 80Hz. and are tuned in the cross-over to match the impedance value of your amplifiers. From there one really tunes the subs according to the efficiency of your main speakers and the Q value that you're after.
My subs are currently directly behind my main speakers as that's where they fortunately sound their best from the listening couch.
I've often thought that if I ever wanted another pair of subs, I'd try adding them to the two sides of the listening couch as you're suggesting....
What subs are you contemplating Chris?

halcro

Center
Owner
Hi Chris,
All well here with summer approaching...
Hope you are settling in for the Canadian chill....😨
Here is a review of the Vandersteen 2Wq subwoofer system (and subwoofers in general). I found it very interesting.
The 2Wq subs are crossed over via a High-Pass filter at 80Hz. and are tuned in the cross-over to match the impedance value of your amplifiers. From there one really tunes the subs according to the efficiency of your main speakers and the Q value that you're after.
My subs are currently directly behind my main speakers as that's where they fortunately sound their best from the listening couch.
I've often thought that if I ever wanted another pair of subs, I'd try adding them to the two sides of the listening couch as you're suggesting....
What subs are you contemplating Chris?

halcro

Center
Hi Henry
Hope all is well. A couple questions regarding your subs.

What frequency are they crossed over at ?
and have you ever set up one or both up right behind or beside your listening couch ?

Cheers Chris

ct0517

222222&text=pc
Thanks Halcro

All I have right now is the stock SME headshell for my SME 3012R. With the SME it is a little tricky with the sliding base vrs most arms a fixed base and a slotted headshell.

I have an ebony headshell from Shun Mook that I need to try on my SME.

pcosta

Center
Owner
Hi Pcosta,

Aaaah....headshells....
A subject that most High-End audiophiles with modern tonearms know little about...😜
I have tried literally dozens of headshells of various make, model and material in all of my tonearms sporting detachable head-shells and there are certainly audible differences.
I have found that in my system, most of the cartridges I own with metal bodies tend to sound better with a wood headshell like the Yamamoto HS-1As or the Ortofon LS8000.
Those cartridges I own with plastic bodies tend to sound better in metal headshells...and there are a large variety of these sold 'used' on sites like HiFiDo. In fact the very best metal headshell I've used in my system is an unknown brand without finger grip that I bought for $5.00 and it even has azimuth adjustment...😎
Wood-bodied cartridges (like the Clearaudio Virtuoso Ebony can sound well in a ceramic headshell like the SAEC which on most other cartridges can provide a somewhat hard and challenging sound....
For my FR-64s and 66s arms I am never disappointed with the FR-3 or even the FR-5 although with these super arms I don't think any headshell has sounded poorly....except for the ubiquitous Orsonic AV-101b which, by its design.....is structurally insufficient to perform its duties without loss of rigidity...😱
As for having a favourite......not really although it always gives me somewhat of a 'kick' whenever I click-in the Clayton's headshell....the FR-7f.... the headshell you have when you don't have a headshell‼️

halcro

Center
Owner
Hi Pcosta,

Aaaah....headshells....
A subject that most High-End audiophiles with modern tonearms know little about...😜
I have tried literally dozens of headshells of various make, model and material in all of my tonearms sporting detachable head-shells and there are certainly audible differences.
I have found that in my system, most of the cartridges I own with metal bodies tend to sound better with a wood headshell like the Yamamoto HS-1As or the Ortofon LS8000.
Those cartridges I own with plastic bodies tend to sound better in metal headshells...and there are a large variety of these sold 'used' on sites like HiFiDo. In fact the very best metal headshell I've used in my system is an unknown brand without finger grip that I bought for $5.00 and it even has azimuth adjustment...😎
Wood-bodied cartridges (like the Clearaudio Virtuoso Ebony can sound well in a ceramic headshell like the SAEC which on most other cartridges can provide a somewhat hard and challenging sound....
For my FR-64s and 66s arms I am never disappointed with the FR-3 or even the FR-5 although with these super arms I don't think any headshell has sounded poorly....except for the ubiquitous Orsonic AV-101b which, by its design.....is structurally insufficient to perform its duties without loss of rigidity...😱
As for having a favourite......not really although it always gives me somewhat of a 'kick' whenever I click-in the Clayton's headshell....the FR-7f.... the headshell you have when you don't have a headshell‼️

halcro

Center
Owner
Hi Pcosta,

Aaaah....headshells....
A subject that most High-End audiophiles with modern tonearms know little about...😜
I have tried literally dozens of headshells of various make, model and material in all of my tonearms sporting detachable head-shells and there are certainly audible differences.
I have found that in my system, most of the cartridges I own with metal bodies tend to sound better with a wood headshell like the Yamamoto HS-1As or the Ortofon LS8000.
Those cartridges I own with plastic bodies tend to sound better in metal headshells...and there are a large variety of these sold 'used' on sites like HiFiDo. In fact the very best metal headshell I've used in my system is an unknown brand without finger grip that I bought for $5.00 and it even has azimuth adjustment...😎
Wood-bodied cartridges (like the Clearaudio Virtuoso Ebony can sound well in a ceramic headshell like the SAEC which on most other cartridges can provide a somewhat hard and challenging sound....
For my FR-64s and 66s arms I am never disappointed with the FR-3 or even the FR-5 although with these super arms I don't think any headshell has sounded poorly....except for the ubiquitous Orsonic AV-101b which, by its design.....is structurally insufficient to perform its duties without loss of rigidity...😱
As for having a favourite......not really although it always gives me somewhat of a 'kick' whenever I click-in the Clayton's headshell....the FR-7f.... the headshell you have when you don't have a headshell‼️

halcro

Center
Owner
Hi Pcosta,

Aaaah....headshells....
A subject that most High-End audiophiles with modern tonearms know little about...😜
I have tried literally dozens of headshells of various make, model and material in all of my tonearms sporting detachable head-shells and there are certainly audible differences.
I have found that in my system, most of the cartridges I own with metal bodies tend to sound better with a wood headshell like the Yamamoto HS-1As or the Ortofon LS8000.
Those cartridges I own with plastic bodies tend to sound better in metal headshells...and there are a large variety of these sold 'used' on sites like HiFiDo. In fact the very best metal headshell I've used in my system is an unknown brand without finger grip that I bought for $5.00 and it even has azimuth adjustment...😎
Wood-bodied cartridges (like the Clearaudio Virtuoso Ebony can sound well in a ceramic headshell like the SAEC which on most other cartridges can provide a somewhat hard and challenging sound....
For my FR-64s and 66s arms I am never disappointed with the FR-3 or even the FR-5 although with these super arms I don't think any headshell has sounded poorly....except for the ubiquitous Orsonic AV-101b which, by its design.....is structurally insufficient to perform its duties without loss of rigidity...😱
As for having a favourite......not really although it always gives me somewhat of a 'kick' whenever I click-in the Clayton's headshell....the FR-7f.... the headshell you have when you don't have a headshell‼️

halcro

Center
Owner
Hi Pcosta,

Aaaah....headshells....
A subject that most High-End audiophiles with modern tonearms know little about...😜
I have tried literally dozens of headshells of various make, model and material in all of my tonearms sporting detachable head-shells and there are certainly audible differences.
I have found that in my system, most of the cartridges I own with metal bodies tend to sound better with a wood headshell like the Yamamoto HS-1As or the Ortofon LS8000.
Those cartridges I own with plastic bodies tend to sound better in metal headshells...and there are a large variety of these sold 'used' on sites like HiFiDo. In fact the very best metal headshell I've used in my system is an unknown brand without finger grip that I bought for $5.00 and it even has azimuth adjustment...😎
Wood-bodied cartridges (like the Clearaudio Virtuoso Ebony can sound well in a ceramic headshell like the SAEC which on most other cartridges can provide a somewhat hard and challenging sound....
For my FR-64s and 66s arms I am never disappointed with the FR-3 or even the FR-5 although with these super arms I don't think any headshell has sounded poorly....except for the ubiquitous Orsonic AV-101b which, by its design.....is structurally insufficient to perform its duties without loss of rigidity...😱
As for having a favourite......not really although it always gives me somewhat of a 'kick' whenever I click-in the Clayton's headshell....the FR-7f.... the headshell you have when you don't have a headshell‼️

halcro

222222&text=pc
Halcro

Do you much experience with headshells and trying different ones with your arms and carts. Any favorites?

Paul

pcosta

Center
Owner
Try Links which work....😎
Dynavector DV-507 MkII

arm

colouration/distortion

halcro

Center
Owner
System edited: Finally procured the [url= http://i.imgur.com/1cUGya3.jpg]Dynavector DV-507 MkII[/url] which I've lusted after for decades. This [url=http://i.imgur.com/L04lydN.jpg]arm[/url] is a revelation when mounted on a separate massive armpod and demonstrates how much [url=http://i.imgur.com/fc6Yyv5.jpg]colouration/distortion[/url] is imparted by most other tonearms...👀

halcro

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