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What Was the Best Audio System (s) You Have Heard?

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  • kcin
    replied
    I'm not sure if it was the best but certainly the most memorable. No system since has been able to recapture the illusion that a pair of Beveridge Electrostatics , Audio Research SP 6 and Goldmund TT that I heard in the early eighties.

    I've got the Beveridges back and I am working toward that feeling.

    Leave a comment:


  • Boltman92124
    replied
    rockitman 's system! He even let me play an LP with his $12k needle!

    Leave a comment:


  • MylesBAstor
    commented on 's reply
    You need to come by the next time you are in NY! 😉 Pretty much everything has been changed save for the amps. The new cj monoblocks should be here early summer.

  • Alrainbow
    replied
    I think the best is a impossible commnet for me to claim about. I have heard many very good systems havin said that each is different due to many varying Components
    even jjst the kind of drivers used matters to the overall sound. For me horns and ribbons are best. But stats yikes details they don't. As I wind down in hi fi I do love mine very much and they are hard to compare others too. Not better but different. One is just the size they are almost 8 feet high and a line source too very odd implementations that for yield what I love. I have heard faster or detailed but at a cost of weight. Lastly if you have your setup style for a long time it's very hard to judge better. Someone who sits in your room can better judge what may be better and why. One without hearing I'll bet blows mine away is the g1.2 as they are further refinement of mine. Bobs goldmunds were pretty amazing and all in one too cheap for what anyone would spend in separates.

    Leave a comment:


  • Audiocrack
    replied
    I am honored that Lloyd mentioned my Genesis 1.1/Kondo set up.

    Myles, may I ask you the following: I believe you visited HP and listened to his various systems various times. How would you rate the sound quality of HP's set ups?

    Leave a comment:


  • JackD201
    replied
    Oh there have been so many. I never judge a room based on my own aesthetics but rather the goals of their owner. Myles for example looooooves the micro dynamics. He definitely has spades of natural sounding micro. Didn't need to sacrifice anything else to get it either. Steve with his SETs and Tape let me here a different side to the X2 S2s and how much more capable they are than I had thought. Ahhhh, Sam's stacked Quads total ESL HEAVEN. I could lie there for a week. Sam's tastes are very similar to Myles'. Victor's ALE based horn system made me want to pick up a drum and march. LOL. Then of course there's Jim whose system is my personal reference and we're still finding ways to make it even better despite that. I could go on and on.

    Leave a comment:


  • MylesBAstor
    replied

    Leave a comment:


  • MylesBAstor
    commented on 's reply
    👍

  • MylesBAstor
    commented on 's reply
    Everyone who has been to Mike's loves his system. Especially with tape now. Why not? He's starting with some sweet gear! 😋 Sure those Magicos sound great in his system. Have you heard it since Mike got his Vitus amps?

  • Socrates
    commented on 's reply
    Sheessh Myles! must've been mid/latish 70's when I worked in NY--I can still recall the face staring at me though--

    reminded me sorta like a Boris Karloff or Abe Vigoda--

    Soc

  • ack
    replied
    Way to go marty! Must have been a lot of fun with Marty and Steve as well!

    Leave a comment:


  • MylesBAstor
    commented on 's reply
    Thanks so much for the corrections!

  • marty
    replied
    Originally posted by MylesBAstor View Post
    I had the pleasure of hearing fellow member Marty Wax's system this past weekend and have to say his audio rig was one of the best high-end systems that I've heard in quite some time. Marty’s system really meets one criteria that many systems fall short of: a big—no make that huge soundstage—with full frequency range reproduction. Interestingly, unlike many audio systems with huge soundstages, focus and holography did not suffer in return in his system. Images of instruments and singers were solidly focussed whether it be digital or analog playback, whether it be between or outside the edges of the speaker. And make no mistake. There’s a ton of things going on outside his speakers and wish I had remembered to bring along a copy of Harry Belafonte at Carnegie Hall. (I have to start putting a travel list together).

    Nor did he fall into this sound by accident. Marty is meticulous in his choice of gear, set-up and his room is probably second to none. I don’t think I’d be putting my neck on the chopping block when saying we'd all kill to have a room like Marty's (literally built fromt he ground up and measuring in at 24 ft wide x 35 ft long x 14-16 ft high). Moreso, for those who don’t know Marty, he has had a very interesting journey through high-end audio starting in college working at Paul Heath Audio up in Rochester trading pay for equipment and later moving on to owning his own store out in California that later became GNP Audio (hope I remembered that right!)

    I don't have an exact listing of the gear in Marty's system but here's a general rundown.

    Speakers: Pipedreams crossed over at 78 Hz to JL Labs Gotham subs
    Electronics: Spectral 360 amps and VTL preamplifier (?). Gothams are self powered.
    Front-end: Goldmund T3 table/T5 arm/Benz Ruby cartridge/Vibraplane; Meitner digital (?)
    Cables: MIT interconnect and speaker cables

    Marty was a great host and humored me playing all the albums I had brought over with me. See, my philosophy like clothes and travel, is to overpack. You never know what you'll need and better to bring too many LPs rather than leave something home and regret it later! Even so, that system isn’t perfect.

    Besides the aforementioned qualities, what also impressed me about Marty’s system was the ease in which it discriminated between miniscule changes in tracking force, differences between LPs and CDs etc. For instance, his changing the VTF up or down by 0.025 grams was instantly apparent. (Remember changing VTA/SRA on the Goldmund arm is not the easiest thing in the world to do!) Not that it was ruthlessly revealing of faults, but every recording on his system—as it well should—sounded different. There was no overwhelming coloration that obscured the differences between recordings.

    Probably the other thing that really impressed me were his new Spectral amplifiers. They weren’t cold and icy like previous iterations of Spectral gear. Admittedly, Marty is balancing out the sound of his system using the VTL tube preamplifier, and one wonders if using the Spectral amplifier in combo with the Spectral preamplifier might just be too much of a good thing. Where the Spectral amplifiers really stood out to my ears was in the midrange. They (or the system) were neither too tubey nor too solid-state sounding. Voices were magnificently rendered (something the Benz do so, so well) and were really clean (or had exceptional clarity) and detailed without being overly analytical.

    Thanks again to Marty for being a great host and indulging me. It was a fun day and we certainly put a few hours on that cartridge Saturday. As I said to Marty, those internet trolls that diss high-end audio as being snake oil and the only thing that counts are measurements ought to hear Marty's system.
    Myles,
    Thanks for your kind comments and company. It was a great night and I'm glad to have gotten to know Heidi a bit as well. (The hot tub event with the Astors, Williams and Waxes was also fun). To me, this is the beautiful thing about Forums such as yours. You and I have known each other fro a while, but not until a few months ago did I have the chance to listen to your wonderful system and I was happy to finally have the opportunity to reciprocate. Getting to know other audio enthusiasts and learning from each other is really a pleasure. (I really appreciated your help in fine-tuning the tracking force of the Benz!)

    A few equipment corrections if I may:

    Speakers: Pipedream 18/36 "Hemispheres" crossed over at 78 Hz to JL Labs Gotham v2 subs using JL CR-1 crossover
    Electronics: Spectral 400 RS mono bloc amps and VTL preamplifier (TL7.5 Mk III ). Gothams are self powered.
    Front-end: Goldmund Studio table/industrial DC power supply//T3F arm /Benz Ruby II cartridge/Vibraplane; Meitner digital (TX2 and DX2)
    Cables: MIT interconnect and speaker cables
    Power Cords- Audio Art 1PSE with Furutech F28 G connectors; all wall outlets, Furutech GTX-Gold

    I totally agree that at least for me, if I didn't have a tube in the gain stage somewhere, I'd probably go nuts with an all Spectral system. However, the choice of tube is critical as you can surely appreciate Everything counts towards trying for an overall balance that is the most pleasing. I found that when I had the VTL Siegfrieds, my preference was NOS Telefunken 12AX7 in the VTL preamp. But with the Spectral amps, I think NOS Mullards are the way to go.

    I know, I know, I gotta get a tape machine. We shall see....
    Thanks again for the visit.
    Marty

    Leave a comment:


  • 1morerecord2clean
    replied
    Sometimes synergy develops from using like brands and sometimes it develops from what appears to be a hodgepodge of brands. It isn't possible to pass judgment on a system by how it appears, only by how it sounds.

    Leave a comment:


  • MylesBAstor
    replied
    I had the pleasure of hearing fellow member Marty Wax's system this past weekend and have to say his audio rig was one of the best high-end systems that I've heard in quite some time. Marty’s system really meets one criteria that many systems fall short of: a big—no make that huge soundstage—with full frequency range reproduction. Interestingly, unlike many audio systems with huge soundstages, focus and holography did not suffer in return in his system. Images of instruments and singers were solidly focussed whether it be digital or analog playback, whether it be between or outside the edges of the speaker. And make no mistake. There’s a ton of things going on outside his speakers and wish I had remembered to bring along a copy of Harry Belafonte at Carnegie Hall. (I have to start putting a travel list together).

    Nor did he fall into this sound by accident. Marty is meticulous in his choice of gear, set-up and his room is probably second to none. I don’t think I’d be putting my neck on the chopping block when saying we'd all kill to have a room like Marty's (literally built fromt he ground up and measuring in at 24 ft wide x 35 ft long x 14-16 ft high). Moreso, for those who don’t know Marty, he has had a very interesting journey through high-end audio starting in college working at Paul Heath Audio up in Rochester trading pay for equipment and later moving on to owning his own store out in California that later became GNP Audio (hope I remembered that right!)

    I don't have an exact listing of the gear in Marty's system but here's a general rundown.

    Speakers: Pipedreams crossed over at 78 Hz to JL Labs Gotham subs
    Electronics: Spectral 360 amps and VTL preamplifier (?). Gothams are self powered.
    Front-end: Goldmund T3 table/T5 arm/Benz Ruby cartridge/Vibraplane; Meitner digital (?)
    Cables: MIT interconnect and speaker cables

    Marty was a great host and humored me playing all the albums I had brought over with me. See, my philosophy like clothes and travel, is to overpack. You never know what you'll need and better to bring too many LPs rather than leave something home and regret it later! Even so, that system isn’t perfect.

    Besides the aforementioned qualities, what also impressed me about Marty’s system was the ease in which it discriminated between miniscule changes in tracking force, differences between LPs and CDs etc. For instance, his changing the VTF up or down by 0.025 grams was instantly apparent. (Remember changing VTA/SRA on the Goldmund arm is not the easiest thing in the world to do!) Not that it was ruthlessly revealing of faults, but every recording on his system—as it well should—sounded different. There was no overwhelming coloration that obscured the differences between recordings.

    Probably the other thing that really impressed me were his new Spectral amplifiers. They weren’t cold and icy like previous iterations of Spectral gear. Admittedly, Marty is balancing out the sound of his system using the VTL tube preamplifier, and one wonders if using the Spectral amplifier in combo with the Spectral preamplifier might just be too much of a good thing. Where the Spectral amplifiers really stood out to my ears was in the midrange. They (or the system) were neither too tubey nor too solid-state sounding. Voices were magnificently rendered (something the Benz do so, so well) and were really clean (or had exceptional clarity) and detailed without being overly analytical.

    Thanks again to Marty for being a great host and indulging me. It was a fun day and we certainly put a few hours on that cartridge Saturday. As I said to Marty, those internet trolls that diss high-end audio as being snake oil and the only thing that counts are measurements ought to hear Marty's system.

    Leave a comment:

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