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  • #31
    I happened to find this old review I wrote some some 20 years ago (?) and my then thoughts on musicality.

    Myles B. Astor, PhD, Administrator
    Senior Editor, Positive-Feedback.com
    ________________________________________

    -Magico S5 Mk.2 speakers with SPod feet
    -Goldmund Telos 280 stereo amp
    -Goldmund Mimesis 37S Nextgen preamplifier
    -Doshi V3.0 phonostage
    -VPI Vanquish direct-drive turntable
    -VPI 12-inch 3D Fat Boy dual pivot tonearm, VPI 12-inch 3D Fat Boy gimballed and SAT LM-12 arm
    -Lyra Atlas SL Lambda, Fuuga, vdh Colibri Master Signature, MutechHayabusa, MOFI Master Tracker, Sumiko Songbird cartridges
    -Technics RS1506 with Flux Magnetic heads, Doshi V3.0 tape stage (balanced)
    -Assorted cables including Transparent XL Gen. 5, Skogrand, Viero, Kubala-Sosna, Audience Au24SX, Genesis Advanced Technologies and Ensemble Power Cords
    -Accessories including Stillpoint Aperture panels, Cathedral Sound panels, Furutech NCF Nano AC receptacles; Silver Circle Tchaik 6 PLC, Symposium ISIS and SRA Craz racks, Audiodharma Cable Cooker, Symposium Ultra and assorted SRA platforms.

    Comment


    • #32
      Myles,

      "Much of the issue is that musicality is a catch all term that means different things to different people. To some people, musicality seems to be a pleasing coloration. To other audiophiles, it's tonal accuracy. Yet to other listeners, it's a lack of mechanical/reproduced quality to the music."
      'Musicality' has been part of my audiophile life since the beginning in 1977. It was a quality of certain components, systems, and recordings. Communicated to me through my mentors at Audio Dimensions, I knew it was ultimately based on the sound of unamplified music in a real space. Most specifically the DSO in Orchestra Hall in Detroit, among others.

      But I wasn't clear exactly what musicality meant in my ears. I didn't hear like they did, and wondered... Time and practice and not caring so much helped. Now I think of it, not as a particular sound, but as a way to go beyond the usual descriptive dimensions to acknowledge a quality of sound that approaches the 'absolute sound' better then other stuff. Also related to serving the (classical) music better, doing things right in that space.

      It was long an elusive goal for my system and my budget, but I did have a clue to the delta. Just two years ago one of those mentors, long a friend, heard my system and declared it "musical". Oddly, it felt almost anticlimactic. Perhaps I had absorbed the quality of 'musicality' after all, and already knew that


      "But what is most important is that we all should be on the same page when using musical terms or otherwise reviews won't make sense to us or even newbies to the industry. In fact--and all special niche areas have their own jargon--sometime these words make them feel disconnected from the hobby. So it's not only important to use them correctly but not to invent new terms for the sake of inventing new words when we already have a vocabulary that can be describe what we hear if we use it accurately! "


      I can see where you are coming from as a reviewer, and I can also see that, sorry, but that ship has sailed. I love reading lots of online & printed listening reports on gear I'm interested in, and encounter such a varied set of attempts to convert the sound they hear into words. A majority seem to use the common tonal range (bass, mid, highs) language to apply to many different phenomena. I see lots of individual models of sound descriptors, some have followers. These are good folks struggling to communicate their perceptions, and given the fragmentation of distribution of these amateur listening reports, audiophiles natural perversity, I can't see anyone, however well intentioned, regulating those 'dialects'. Old problem of stability vs. change.

      I've found some listening reports that are beyond the usual vocabulary, but make progress in our skills, so I don't want to limit invention in reporting language. Maybe part of my fun is reading through so many of them to the different styles, the metadata has a message too. If everyone thought the same, it'd be boring

      "And in fact, are audio components become more musical or not?"
      Mine have, can't speak for any other trends, but haven't some components been musical for quite some time now ?

      Dave
      Last edited by Daudio; 02-01-2019, 11:29 PM.
      Analog: modded Yamaha PX-2, Denon DL-103r, MFA Magus preamp, Mogami/Vampire/DIY cables
      Digital: Firewire ext. HDD, modded Mac Mini server, Intona/Regen/Curious USB chain, (3x)ultralow noise LPSUs
      2-channel: Benchmark DAC2 HGC, Crown XLS2500, Acoustat Spectra 3300, (2x)Velodyne 12" servo subs
      Other: OPPO BDP-103, DIY and Nordost Blue Heaven cables, all speakers and gear floated on DIY rollerblocks

      Comment


      • #33
        I prefer not to use the term.
        Magnepan 1.6 QR Loudspeakers, Amherst A-2000 MOSFET 150 WPC Amp, Conrad Johnson PV-10A Modded Tube Line & Phono Stage, Electrocompaniet MC II Class A Head Amp, Audio Technica AT-OC9XML Cart (St) , Graham Engineering 2.2 Tonearm (St) , VPI Aries-1 Turntable (St) , VPI Clamp, Denon DL-102 Cart, (M) , Luxman Tonearm (M) , Kenwood KD-500 Turntable (M) , Michell Clamp, Marantz 20B Analog FM Tuner, Pioneer SACD, Onkyo DX-6800 CD Transport, DIY 24B/192K DAC, Sennheiser HD-300 Headphones, Headroom Max Balanced Headphone Amp, DIY Silver Interconnects

        Comment


        • jonathanhorwich
          jonathanhorwich commented
          Editing a comment
          If the term means "freedom from artifact and tonally akin to real music" it is very useful as up until recently, more and more speakers and electronics were made to reveal more and more detail and transparency but lacked the tonality or sound (musicality) of real music. It is a valid term in this sense for me. Luckily I think recent versions of speakers are getting more and more musical while retaining detail. Just a comment from my view.

      • #34
        "Organic" is a term that many use in conduction with "musicality." Never understood what they were trying to convey. I'm onboard with the definition of musicality being linked to non-fatiguing, but I doubt most use the term this way, which results in further confusion. I fear, with the age of online reviews increasing where anyone can seemingly become an "expert" on sound and gear, few reviewers are wordsmiths, those able to paint a picture of what they are hearing in a manner that brings the sonic nuances to light. It is definitely an art. One technique I find really helpful is comparing/contrasting with other gear, or making modifications in someway to see how things change. This is just one example. The same is true when reviewing a particular LP pressing. How does one describe the sound unless they have another pressing to compare to it? All these terms used to described the sound belong on a spectrum imho. If one system sounds "musical," or is written in such a way in a review, we are treating these musical descriptions as binary - only having 2 options (musical or a-musical)... Most of the time we don't realize it, but the good reviewers (and Myles, I would put you in this category), treat the terms in matters of degrees.

        Comment


        • #35
          Originally posted by Daudio View Post
          ...

          'Musicality' has been part of my audiophile life since the beginning in 1977. It was a quality of certain components, systems, and recordings. ...

          But I wasn't clear exactly what musicality meant in my ears. ...

          I can see where you are coming from as a reviewer, and I can also see that, sorry, but that ship has sailed. I love reading lots of online & printed listening reports on gear I'm interested in, and encounter such a varied set of attempts to convert the sound they hear into words. A majority seem to use the common tonal range (bass, mid, highs) language to apply to many different phenomena. I see lots of individual models of sound descriptors, some have followers. These are good folks struggling to communicate their perceptions, and given the fragmentation of distribution of these amateur listening reports, audiophiles natural perversity, I can't see anyone, however well intentioned, regulating those 'dialects'. Old problem of stability vs. change.

          I've found some listening reports that are beyond the usual vocabulary, but make progress in our skills, so I don't want to limit invention in reporting language. Maybe part of my fun is reading through so many of them to the different styles, the metadata has a message too. If everyone thought the same, it'd be boring ...

          "And in fact, are audio components become more musical or not?" ...

          Mine have, can't speak for any other trends, but haven't some components been musical for quite some time now ? ...

          Dave
          So, what does "musical" mean - not to you in the vocabulary of your personal world, but when you use it talking with someone.

          Comment


          • #36
            This resurrected thread is one more example of other recent threads that discuss the meaning of words used in our audiophile vocabulary and the fact that we have no basis for commonality for how the words are used nor do we have anything approaching consensus on what the words mean when they are used by the audiophile community.
            Micro Seiki SX-8000 table with flywheel, SME 3012R arm, SME 312S arm, Lyra Etna SL and Dynavector XV-1S cartridges, ARC Ref 3 phono stage, Otari MX-55 tape deck, Ampex 350 repros, Roon Nucleus Plus server, PS Audio DSJ DAC, ARC Ref 6 pre, ARC Ref 75 amp, JBL 4345 speakers, and Def Tech Ref subs.

            Comment


            • #37
              This premise hold true for all aspects of life, and it is no different in the audio community: the more words/the more robust our vocabulary for what we see or hear, the better we'll see or hear it. If I go out into the woods and look at the trees - I may know a couple varieties (maple, birch, oak, fir, etc)... And I won't really see that much since my vocabulary and knowledge is limited to what I'm seeing. But if someone trained me with 30 or fifty words with different kinds of maple, if I knew the terminology and knew variations, I would see things that I never noticed before... The same holds true when listening to music... We need a proper and robust vocabulary to experience and also to share it with others. Not sharing a similar vocabulary and verbiage leaves this hobby a chaotic mess, as can be seen on forums, social media, etc. Granted, audio is more subjective in how we experience what we hear, but the words used to describe it need to be more ubiquitous and universal. Who wants to write the handbook?

              Comment


              • mep
                mep commented
                Editing a comment
                The handbook has been written at least twice, but the words still have different meanings to those that use them and read them.

              • Analog21
                Analog21 commented
                Editing a comment
                What's the handbook?

              • mep
                mep commented
                Editing a comment
                Stereophile and TAS have previously defined the words audiophiles use to describe the sound they hear from their systems.

            • #38
              Originally posted by Daudio View Post

              'Musicality' has been part of my audiophile life since the beginning in 1977. It was a quality of certain components, systems, and recordings. Communicated to me through my mentors at Audio Dimensions, I knew it was ultimately based on the sound of unamplified music in a real space. Most specifically the DSO in Orchestra Hall in Detroit, among others.

              But I wasn't clear exactly what musicality meant in my ears. I didn't hear like they did, and wondered... Time and practice and not caring so much helped. Now I think of it, not as a particular sound, but as a way to go beyond the usual descriptive dimensions to acknowledge a quality of sound that approaches the 'absolute sound' better then other stuff. Also related to serving the (classical) music better, doing things right in that space.

              It was long an elusive goal for my system and my budget, but I did have a clue to the delta. Just two years ago one of those mentors, long a friend, heard my system and declared it "musical". Oddly, it felt almost anticlimactic. Perhaps I had absorbed the quality of 'musicality' after all, and already knew that




              I can see where you are coming from as a reviewer, and I can also see that, sorry, but that ship has sailed. I love reading lots of online & printed listening reports on gear I'm interested in, and encounter such a varied set of attempts to convert the sound they hear into words. A majority seem to use the common tonal range (bass, mid, highs) language to apply to many different phenomena. I see lots of individual models of sound descriptors, some have followers. These are good folks struggling to communicate their perceptions, and given the fragmentation of distribution of these amateur listening reports, audiophiles natural perversity, I can't see anyone, however well intentioned, regulating those 'dialects'. Old problem of stability vs. change.

              I've found some listening reports that are beyond the usual vocabulary, but make progress in our skills, so I don't want to limit invention in reporting language. Maybe part of my fun is reading through so many of them to the different styles, the metadata has a message too. If everyone thought the same, it'd be boring



              Mine have, can't speak for any other trends, but haven't some components been musical for quite some time now ?

              Dave
              You are right here: it was a lot easier to separate the amusical from the musical gear back in the ‘80s. Especially for me between solid-state and tubes. The first time I heard a tube component in my system in the early a ‘80s (a superbly POOGED Dynaco PAS3 with a monstrous, separate outboard power supply, I exclaimed, “where is all that music coming from?” My ears recognized musicality yet my brain had a lot of catching up to do.

              This is a little off topic and maybe deserves its own thread. Does the use of all these new descriptive terms actually help you imagine what the gear sounds like? I read so many reviews and walk away still not knowing what the component being reviewed sounds like. In some cases, I feel like reviews have been dumbed down to appeal to a wider audience but in the end the reverse is true. It appeals to less. Not unlike say the dumbing down of the World Series.

              Organic. Another term I hate. My writers started using this term in the late ‘90s and I sent the reviews back with the note please describe what you are hearing. Organic is a crutch not a real term. Think it through a little more.

              In the end, what I’ve learned is that musicality isn’t one but several qualities; what need to do, though (as I pointed out in the VAC review), is prevent musicality from being a coloration. So far from being amusical thatbwe go overboard in the opposite direction. It’s an art to hit that 50:50 mark.
              Myles B. Astor, PhD, Administrator
              Senior Editor, Positive-Feedback.com
              ________________________________________

              -Magico S5 Mk.2 speakers with SPod feet
              -Goldmund Telos 280 stereo amp
              -Goldmund Mimesis 37S Nextgen preamplifier
              -Doshi V3.0 phonostage
              -VPI Vanquish direct-drive turntable
              -VPI 12-inch 3D Fat Boy dual pivot tonearm, VPI 12-inch 3D Fat Boy gimballed and SAT LM-12 arm
              -Lyra Atlas SL Lambda, Fuuga, vdh Colibri Master Signature, MutechHayabusa, MOFI Master Tracker, Sumiko Songbird cartridges
              -Technics RS1506 with Flux Magnetic heads, Doshi V3.0 tape stage (balanced)
              -Assorted cables including Transparent XL Gen. 5, Skogrand, Viero, Kubala-Sosna, Audience Au24SX, Genesis Advanced Technologies and Ensemble Power Cords
              -Accessories including Stillpoint Aperture panels, Cathedral Sound panels, Furutech NCF Nano AC receptacles; Silver Circle Tchaik 6 PLC, Symposium ISIS and SRA Craz racks, Audiodharma Cable Cooker, Symposium Ultra and assorted SRA platforms.

              Comment


              • #39
                If you’re putting on whatever you want to hear because you know your system is going to make the best of it, your equipment is probably musical. If, on the other hand, your system is dictating your music selections based upon what will or won’t sound good, it’s probably not.

                In other words, a musical system is optimistic, it accentuates the positive, while an amusical (overly analytical?) system is pessimistic, accentuating the negative.

                A gross generalization, certainly, but that’s what I think of when I hear the term ‘musicality’.
                SME 10/IV, Lyra Kleos, Koetsu Blavk Goldline, Cotter Mk. 2L sut, Naim cd 3.5 2/ flatcap 2, Audioengine D2 WiFi dac (for streaming from iMac desktop), Plinius Hautonga, Totem Forest Signature, MIT Shotgun S1 phono, S3 (cd player), SL3 (dac), MIT StyleLink Plus usb, Shotgun S1 speaker cable with AQ jumpers, RGPC Substation and1200S, Marigo Ultra and Reference power cords, Burson Soloist, Focal Elear with Silver Dragon wire or Hifiman HE560 with clone ZMF Universe sheepskin pads and Furutech/Mogami wire, VPI 16.5 and other miscellaneous and sundry widgets, thingamabobs and doodads.

                Comment


                • #40
                  Myles,

                  Originally posted by MylesBAstor View Post
                  You are right here: it was a lot easier to separate the amusical from the musical gear back in the ‘80s. Especially for me between solid-state and tubes...
                  My ears recognized musicality yet my brain had a lot of catching up to do...
                  In the end, what I’ve learned is that musicality isn’t one but several qualities;
                  I hear what you are saying about that period, but I think it got worse in the 90's and aughts due to pervasive CDs and early/entry digital, none of which I remember as being very accommodating of musicality

                  Again I think that musicality is something that your brain signals silently after wordy 'technical' analysis fails to adequately describe a transcendent quality we seek, but haven't yet broken down into nice crunchy pieces suitable for print. Always a little out of reach, as is our goal of absolute fidelity


                  Originally posted by MylesBAstor View Post
                  This is a little off topic and maybe deserves its own thread. Does the use of all these new descriptive terms actually help you imagine what the gear sounds like?
                  Oh, good question. Amateur listening reports don't help me hear the equipment, some I may already know by ear, but teach me more about audiophile listening skills and styles. Haven't paid much attention to the pro review skill/style yet, now that I think about it. I learned to read those from the first 5 years of TAS, practiced less and less over the years till now I rarely sip at the 'Nile at flood' fire hose of pro reviews available these days. Too much content, too little interest, too expensive for a poor pensioner like me to waste brain cells and time. I have no problem with them at all, just little need, outside of an occasional piece of gear that catches my fancy.

                  The new techniques can help me imagine something I don't yet experience, and may never, but can aspire to one day. Also some are not so much 'real time' as require time and variety to apprehend. These are subjects that interest me, and I hope to return to them, and more, in future threads.


                  Originally posted by MylesBAstor View Post
                  The first time I heard a tube component in my system in the early a ‘80s (a superbly POOGED Dynaco PAS3 with a monstrous, separate outboard power supply,
                  Ha ! You remind me of long ago when I applied some POOGE principles to my old Acoustat Servo Charge (5KV direct drive ESL) amps. Wonderful, commanding, and musical, when they worked, which was never that long...

                  Dave
                  Analog: modded Yamaha PX-2, Denon DL-103r, MFA Magus preamp, Mogami/Vampire/DIY cables
                  Digital: Firewire ext. HDD, modded Mac Mini server, Intona/Regen/Curious USB chain, (3x)ultralow noise LPSUs
                  2-channel: Benchmark DAC2 HGC, Crown XLS2500, Acoustat Spectra 3300, (2x)Velodyne 12" servo subs
                  Other: OPPO BDP-103, DIY and Nordost Blue Heaven cables, all speakers and gear floated on DIY rollerblocks

                  Comment


                  • #41
                    Originally posted by tima View Post

                    So, what does "musical" mean - not to you in the vocabulary of your personal world, but when you use it talking with someone.
                    It is the same. That "personal world" is a life time of experience, rich with meaning, and the best I have to offer.
                    If it isn't for you, dictionarys are easy to find.
                    Analog: modded Yamaha PX-2, Denon DL-103r, MFA Magus preamp, Mogami/Vampire/DIY cables
                    Digital: Firewire ext. HDD, modded Mac Mini server, Intona/Regen/Curious USB chain, (3x)ultralow noise LPSUs
                    2-channel: Benchmark DAC2 HGC, Crown XLS2500, Acoustat Spectra 3300, (2x)Velodyne 12" servo subs
                    Other: OPPO BDP-103, DIY and Nordost Blue Heaven cables, all speakers and gear floated on DIY rollerblocks

                    Comment


                    • #42
                      Originally posted by Nscohen17 View Post
                      If you’re putting on whatever you want to hear because you know your system is going to make the best of it, your equipment is probably musical. If, on the other hand, your system is dictating your music selections based upon what will or won’t sound good, it’s probably not.

                      In other words, a musical system is optimistic, it accentuates the positive, while an amusical (overly analytical?) system is pessimistic, accentuating the negative.

                      A gross generalization, certainly, but that’s what I think of when I hear the term ‘musicality’.
                      I used to think musical and resolving were mutually exclusive. That’s changed over the years.
                      Myles B. Astor, PhD, Administrator
                      Senior Editor, Positive-Feedback.com
                      ________________________________________

                      -Magico S5 Mk.2 speakers with SPod feet
                      -Goldmund Telos 280 stereo amp
                      -Goldmund Mimesis 37S Nextgen preamplifier
                      -Doshi V3.0 phonostage
                      -VPI Vanquish direct-drive turntable
                      -VPI 12-inch 3D Fat Boy dual pivot tonearm, VPI 12-inch 3D Fat Boy gimballed and SAT LM-12 arm
                      -Lyra Atlas SL Lambda, Fuuga, vdh Colibri Master Signature, MutechHayabusa, MOFI Master Tracker, Sumiko Songbird cartridges
                      -Technics RS1506 with Flux Magnetic heads, Doshi V3.0 tape stage (balanced)
                      -Assorted cables including Transparent XL Gen. 5, Skogrand, Viero, Kubala-Sosna, Audience Au24SX, Genesis Advanced Technologies and Ensemble Power Cords
                      -Accessories including Stillpoint Aperture panels, Cathedral Sound panels, Furutech NCF Nano AC receptacles; Silver Circle Tchaik 6 PLC, Symposium ISIS and SRA Craz racks, Audiodharma Cable Cooker, Symposium Ultra and assorted SRA platforms.

                      Comment


                      • Nscohen17
                        Nscohen17 commented
                        Editing a comment
                        I didn’t mean to imply that they are mutually exclusive. Certainly, it is a complex continuum and certainly most ‘high end’ systems have some degree of both. Rather, I was trying to illustrate what the term ‘musicality’ means to me and admittedly oversimplified in order to do so. Where on the continuum the perfect blend lies is strictly in the ears of the beholder, at least from the perspective of a consumer limited by budgetary and other constraints.

                    • #43
                      Originally posted by Daudio View Post
                      Myles,



                      I hear what you are saying about that period, but I think it got worse in the 90's and aughts due to pervasive CDs and early/entry digital, none of which I remember as being very accommodating of musicality

                      Again I think that musicality is something that your brain signals silently after wordy 'technical' analysis fails to adequately describe a transcendent quality we seek, but haven't yet broken down into nice crunchy pieces suitable for print. Always a little out of reach, as is our goal of absolute fidelity




                      Oh, good question. Amateur listening reports don't help me hear the equipment, some I may already know by ear, but teach me more about audiophile listening skills and styles. Haven't paid much attention to the pro review skill/style yet, now that I think about it. I learned to read those from the first 5 years of TAS, practiced less and less over the years till now I rarely sip at the 'Nile at flood' fire hose of pro reviews available these days. Too much content, too little interest, too expensive for a poor pensioner like me to waste brain cells and time. I have no problem with them at all, just little need, outside of an occasional piece of gear that catches my fancy.

                      The new techniques can help me imagine something I don't yet experience, and may never, but can aspire to one day. Also some are not so much 'real time' as require time and variety to apprehend. These are subjects that interest me, and I hope to return to them, and more, in future threads.




                      Ha ! You remind me of long ago when I applied some POOGE principles to my old Acoustat Servo Charge (5KV direct drive ESL) amps. Wonderful, commanding, and musical, when they worked, which was never that long...

                      Dave
                      Audio Amateur had some great articles in its day for those into building and modifying gear.

                      I think Steve L. had Acoustats with the servo charge amps too at one time.

                      Musicality. I know it when I hear it. 😉
                      Myles B. Astor, PhD, Administrator
                      Senior Editor, Positive-Feedback.com
                      ________________________________________

                      -Magico S5 Mk.2 speakers with SPod feet
                      -Goldmund Telos 280 stereo amp
                      -Goldmund Mimesis 37S Nextgen preamplifier
                      -Doshi V3.0 phonostage
                      -VPI Vanquish direct-drive turntable
                      -VPI 12-inch 3D Fat Boy dual pivot tonearm, VPI 12-inch 3D Fat Boy gimballed and SAT LM-12 arm
                      -Lyra Atlas SL Lambda, Fuuga, vdh Colibri Master Signature, MutechHayabusa, MOFI Master Tracker, Sumiko Songbird cartridges
                      -Technics RS1506 with Flux Magnetic heads, Doshi V3.0 tape stage (balanced)
                      -Assorted cables including Transparent XL Gen. 5, Skogrand, Viero, Kubala-Sosna, Audience Au24SX, Genesis Advanced Technologies and Ensemble Power Cords
                      -Accessories including Stillpoint Aperture panels, Cathedral Sound panels, Furutech NCF Nano AC receptacles; Silver Circle Tchaik 6 PLC, Symposium ISIS and SRA Craz racks, Audiodharma Cable Cooker, Symposium Ultra and assorted SRA platforms.

                      Comment


                      • #44
                        Originally posted by MylesBAstor View Post

                        Musicality. I know it when I hear it. 😉
                        As long as you know the real music first. 😉
                        Analog: modded Yamaha PX-2, Denon DL-103r, MFA Magus preamp, Mogami/Vampire/DIY cables
                        Digital: Firewire ext. HDD, modded Mac Mini server, Intona/Regen/Curious USB chain, (3x)ultralow noise LPSUs
                        2-channel: Benchmark DAC2 HGC, Crown XLS2500, Acoustat Spectra 3300, (2x)Velodyne 12" servo subs
                        Other: OPPO BDP-103, DIY and Nordost Blue Heaven cables, all speakers and gear floated on DIY rollerblocks

                        Comment


                        • #45
                          When my feet start a tapping its, musical. Its that simple.
                          Chris
                          ----------------------------------------------------------------
                          Kef 201/2, Pass xa30.5, W4S STP-SE, Manley Chinook, VPI Classic, Dynavector DV20x2L, ExaSound e32, Acoustic Zen cables. (Office): Vincent SP331 Mkll, Quicksilver Pre, Lumin D1, (Ken Lau Signiture Edition PSU), Bryston BCD-1, Vapor Audio Breeze, WooAudio W6se,Questyle Audio CMA800R LCD-3,HD800s, HD600, Mr Speaker Ether C Flow,

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