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Have You Had People From the Music Industry Over To Hear Your Rig?

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  • Have You Had People From the Music Industry Over To Hear Your Rig?

    Producers. Engineers. Musicians. Music Executives.

    Had they ever heard a high-end audio system before? Did they own an audio system? Had they ever heard of high-end audio before?

    What were their reactions to what they heard that day at your abode? Were they surprised? Pleased? Puzzled?
    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.

  • #2
    I'm all the time hearing from my clients that they can hear things in the mix that they had never heard before.

    Comment


    • #3
      I've had a well known mastering engineer over here for a listening session. When it was over he told me it was one of the best systems he's ever heard. He called me later on, while he was on the road home, to tell me that he thought about it some more and decided it was the best system he's ever heard. He hasn't heard the current version of the system either - I hope to have him back here soon. I hope to blow his mind.
      PROGRESSIVE SOUNDS FROM AROUND THE WORLD
      www.lasercd.com
      www.lasersedgegroup.com

      Rockport Aquila, Boulder 2010, Boulder 2008, Boulder 2060, Transparent Audio Reference XL, Nordost Quantum QBase8, TW Acustic AC Anniversary, TW Acustic Raven 10.5 arm, Lyra Atlas, Bricasti M1 Special Edition, SRA Scuttle3 rack + various SRA/Symposium stands

      Comment


      • #4
        Originally posted by Bruce B View Post
        I'm all the time hearing from my clients that they can hear things in the mix that they had never heard before.
        Is that before or after you spin your magic or both?
        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


        • #5
          Originally posted by lasercd View Post
          I've had a well known mastering engineer over here for a listening session. When it was over he told me it was one of the best systems he's ever heard. He called me later on, while he was on the road home, to tell me that he thought about it some more and decided it was the best system he's ever heard. He hasn't heard the current version of the system either - I hope to have him back here soon. I hope to blow his mind.
          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


          • #6
            The only 2 people I know personally are Gary Koh and Frederic Beudot from 6moons. Gary and I tried to get together at my place when he was in Toronto to do an upgrade on the big, big Genesis (1.2?), but we couldn't manage it. I did see him and Frederic though during that installation upgrade, so not all was lost. Now that I'm in Calgary it's unlikely anyone will be dropping by.
            Dynavector DV20x2L MC cartridge - Genesis G7.1f speakers - Marantz Reference PM-KI-Pearl Int. Amp. - Oracle Audio Paris MkV turntable - Various Morrow & Valab/King cables

            Comment


            • #7
              Yes. Studio owners, producers, quite a few musicians. There's one band that drops in before they release their CDs. Here's a link to a blog of a young engineer who once visited the old system. The reactions of the others is pretty much the same.

              http://hearhead.com/this-hi-fi-syste...the-lair-pt-1/

              Comment


              • #8
                Originally posted by JackD201 View Post
                Yes. Studio owners, producers, quite a few musicians. There's one band that drops in before they release their CDs. Here's a link to a blog of a young engineer who once visited the old system. The reactions of the others is pretty much the same.

                http://hearhead.com/this-hi-fi-syste...the-lair-pt-1/
                What a great piece!!! I really enjoyed reading that Jack!
                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


                • #9
                  Thanks Myles. He was fairly quiet and poker faced. I didn't expect his write up to be that complementary. Tats is a sharp young guy. He's got good ears and really cares about quality. What I found most interesting about him was his knowledge of music from the past given his age. Turns out his Dad is a vinyl loving tube head. He was brought up right! LOL!

                  He was bemoaning how in his specific line of work which is TV commercials he simply needs to use tools that he hates (normalization et al). I guess that's why performance audio, by contrast, is an oasis for him. Coming from the TV side myself, I know exactly how he feels. After all what can you really do with 2" or 3" full range drivers?

                  Comment


                  • #10
                    My experience is that the industry (to the extent you can refer to it monolithically since it was always different tribes and is now even more fragmented with the dissolution of the majors as a driving force) is much the same as the general population insofar as familiarly with good sonics. Some are into it and may have systems; others, not so much. (The stereotype is the musician, even well to do one, with little more than a boom-box). For the people that work in the trenches - engineers, producers, etc. as opposed to riding a desk, it is probably like a busman's holiday. They'd probably rather be fly-fishing or something.

                    Comment


                    • #11
                      I've had producers, engineer and musicians visit over the many years. Some are aware of high-end audio, others not so much. But I like making the introduction!

                      Probably one of the first musicians I ever me who was into audio was David Chesky. We met at Audio Breakthroughs then in NYC back in the mid '80s when he was just starting up his company. He just loved the equipment and sound.

                      Around that time, met the owner of the deli across from the hospital who turned out played viola for the NYC Opera. He was bragging about their new digital recording (remember this was early '80s) and I said my condolences. He replied what are you talking about and then I proceeded to give him the lay of the land. Eventually had him over (back then the system was Maggies and cj tubes) and he was floored by what he heard. What impressed him the most was that he could tell the type of instrument the musicians were playing.

                      Recently had over a recording engineer whom I played tapes for and you could tell his ears perked up. Over the years, it seems what recording engineers value the most is dynamics and detail and --and this fellow also vocals -- apparently he was his hearing all of them. Plus I think sometimes engineers--not unlike reviewers -- get pigeonholed into one genre or couple of records -- and really have a great time when they can just kick back and listen to music. No pressure. Nothing at stake.

                      Others have come over too though one of the more interesting experiences came after one of my musician friends' wife invited me to go shopping with her for a new piano. What I really learned is that musicians use a very similar language to describe the sound of their instrument as audiophiles do to describe the sound of their system. Warm. Detailed.....

                      Oh and she ended up buying a Bechstein piano. Maybe now the absolute best choice living in a humid environment but a wonderful sounding piano nonetheless!
                      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


                      • Rob
                        Rob commented
                        Editing a comment
                        Have you heard David Chesky's current system? I heard through Kent from Electrostatic Solutions that David is a Quad ESL freak. He handles David and Robyn W rebuilds and visits them annually.

                    • #12
                      I'm a musician and I listen to my system all the time.😸 Sounds pretty good but always room for improvement. I've heard lasercd's system a couple of times and it is indeed great. Actually I think there are many more full time musicians with high end systems today than there were 25 or more years ago. Many of them are spinning vinyl too. Going back to the late 60s and 70s most orchestral musicians I knew had little to show for in home audio and software. I think most of them saw home audio as more work when they were done with work.

                      I don't think instruments have a sound of their own. I mean they do, but every instrument even within the same brand and model are individuals as much as the musicians who play them. Likewise the same instrument in the hands of three musicians will have a different sound. Musicians choose their instruments because of the "feel" of that instrument with regard to flexibility, speed of keys, pistons, valves, intonation, etc as much as the sound they get from the instrument. While they may describe the instrument's sound in similar ways as audiophiles, I don't think audiophiles choose equipment in terms of feel. One thing that is for sure, the equipment we buy is in many cases much more expensive than the musical instruments used by the musicians. πŸ™€
                      TW Acustic TT with Ref motor & controller; Tri-Planar Arm; Ortofon Windfeld-Ti Cartridge, Harmonix-Combak platter matte & weight; Arcam R Phono Preamp; KLAudio Ultrasonic Record Cleaner.

                      Bluesound Vault-2 Music Server & Streamer

                      VTL 6.5 preamp Series II
                      Pass Labs 150.8 Amp

                      Piega C711 Loudspeakers

                      Symposium Osiris Rack; Symposium Platforms and Roller Blocks plus grade 2.5 Balls

                      Acoustic Revive RR-888 Low Frequency Pulse Generator

                      Shunyata Hydra 8; Shunyata AC Cords; Synergistic Research Level 3 HC AC Cord and Level 3 power cord, Synergistic Carbon fiber wall plates & Blue Outlets, Furutech NCF Booster Brace, Audio Art Ref balanced ICs, MIT Oracle IC and Magnum Speaker Cables

                      Sennheiser HDV 650 Headphone Amp; Sennheiser HD1200s Headphones.

                      Comment


                      • #13
                        Originally posted by 1morerecord2clean View Post
                        I'm a musician and I listen to my system all the time.😸 Sounds pretty good but always room for improvement. I've heard lasercd's system a couple of times and it is indeed great. Actually I think there are many more full time musicians with high end systems today than there were 25 or more years ago. Many of them are spinning vinyl too. Going back to the late 60s and 70s most orchestral musicians I knew had little to show for in home audio and software. I think most of them saw home audio as more work when they were done with work.

                        I don't think instruments have a sound of their own. I mean they do, but every instrument even within the same brand and model are individuals as much as the musicians who play them. Likewise the same instrument in the hands of three musicians will have a different sound. Musicians choose their instruments because of the "feel" of that instrument with regard to flexibility, speed of keys, pistons, valves, intonation, etc as much as the sound they get from the instrument. While they may describe the instrument's sound in similar ways as audiophiles, I don't think audiophiles choose equipment in terms of feel. One thing that is for sure, the equipment we buy is in many cases much more expensive than the musical instruments used by the musicians. πŸ™€
                        Thank you for that fascinating perspective!!! That's why I think just like we are doing in the fitness field (where physicians, trainers, nutritionists, physical therapists, etc. are now working together rather than against each other), audiophiles, musicians, producers and recording engineers should be talking to each other rather than antagonists.

                        Does the feel of or the presence or absence of a remote control control count?
                        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


                        • #14
                          Never did them them to come over to hear my system but a former co-worker/friend is married to the First Violin, Assistant Concertmaster of the Pacific Symphony Orchestra. He called me to ask about me helping them buy a complete "state of the art stereo, the best you can think of..." with price "not being a concern." She wanted something she could use to really get into and evaluate performances and techniques. When I explained my system at the time (a decent moderately priced system built largely around VMPS RM-2neo speakers, the whole system being about $12,000 total) they were shocked. They had set aside $5000 for the whole system, including furniture. I gave a list list of local dealers and suggested complete systems for $5,000 based on each dealerships inventories, but they never did buy anything, Told me they had a couple of negative experiences at the first places and stopped looking. I invited them over several times but they lost interest.
                          Steve Lefkowicz
                          Senior Associate Editor at Positive Feedback
                          -
                          Analog: Linn LP12 (MOSE/Hercules II), Ittok, Dynavector 19a, iPhono2; Pro-Ject RPM-1 Carbon, Sumiko Pearl, iFi iPhono.
                          Digital: Samsung 300E5C notebook, JRiver Media Center 26, Tidal HiFi and Qobuz Studio), iFi iDAC2, iFi iUSB3, iPurifier2.
                          Electronics: Burson Conductor Virtuoso, DIY switch-box with TKD 10K pot, Antique Sound Labs MG-SI15DT-S, Burson Timekeeper Virtuoso, Jolida JD1000P, B&K ST140.
                          Speakers: Tekton Double Impact, Tekton Lore, Magneplaner .7, ELAC Debut2 B6.2, Debut F5 and Debut B6, Emotiva Airmotiv B1, Sound Dynamics 300ti.
                          Interconnects: Morrow Audio MA1, Vermouth Audio Black Pearl, Nordost Solar Wind, Audioquest Evergreen
                          Speaker cables: Morrow Audio SP4, Vermouth Audio Red Velvet, Nordost Solar Wind, Nordost Flatline, Audioquest Q2.
                          Digital cables: Straightwire USB Link, Aural Symphonics Digital Standard xxv USB, Belkin PureAV.
                          Accessories: Sound Organization turntable shelf, Mondo racks, Pangea Audio Vulcan racks, Pi Audio Group Über BUSS, Monster HTS2000 power conditioner, Sound Organization speaker stands, Pangea Audio speaker stands, Kinetronics anti-static brush, Pro-Ject VC-S record cleaner, Spin Clean record cleaner.
                          Headphones: Schiit Valhalla amp, Meze Audio 99 Classic and 99 Neo, Beyerdynamic DT770Pro, 1More Triple Driver Over Ear, 1More MK801, 1More Triple Driver IEM

                          http://www.audionirvana.org/forum/ti...ounding-system

                          Comment


                          • #15
                            Originally posted by 1morerecord2clean View Post
                            ...

                            I don't think instruments have a sound of their own. I mean they do, but every instrument even within the same brand and model are individuals as much as the musicians who play them. Likewise the same instrument in the hands of three musicians will have a different sound. Musicians choose their instruments because of the "feel" of that instrument with regard to flexibility, speed of keys, pistons, valves, intonation, etc as much as the sound they get from the instrument. While they may describe the instrument's sound in similar ways as audiophiles, I don't think audiophiles choose equipment in terms of feel. One thing that is for sure, the equipment we buy is in many cases much more expensive than the musical instruments used by the musicians. πŸ™€
                            I remember one of my clarinet teachers (first chair Army band out of Ft. Belvoir in DC) picking out a step-up clarinet for me. He went through several, all the same brand and model, until pronouncing: "here, this is a good one - it feels right." My stereo system at the time was a portable Silvertone. heh.

                            The last person in the business to visit my room was the professional acoustician who designed the Stillpoints Apertures. He gave a few tips for improving low frequencies in my room and otherwise was very complimentary.

                            Comment

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