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For me it's soundstaging. It's not that I don't get good soundstaging here. The imaging is certainly wall-to-wall with relatively good depth and height (I quibble on height because I know the new Magicos Mk. 2 speakers are superior in that regard). But the soundstage is limited to a certain extent by the size of my room. So my system is perhaps slanted a little to more intimate, smaller scale recordings than big orchestral blockbusters. Now don't get me wrong. Orchestral sounds great but jazz ensembles, small scale classical just sound special. And I've heard a few systems in larger rooms that allows the music to "breath" more. I don't want, though, the additional space to come at the cost of sacrificing imaging specificity.
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Myles B. Astor, PhD, Administrator
Senior Editor, Positive-Feedback.com
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-Zellaton Plural Evo speakers
-Goldmund Telos 440 and 1000 Nextgen mono amps
-Goldmund Mimesis 37S Nextgen preamplifier
-Doshi EVO and Goldmund PH3.8 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 Mk. 2, vdh Colibri Master Signature, MutechHayabusa, Phasemation PP-500 cartridges
-Technics RS1506 with Flux Magnetic heads, Doshi V3.0 tape stage (balanced)
-Assorted cables including Transparent XL Gen. 6, Skogrand, Kubala-Sosna, Audience FrontRow; Audience FrontRow, Genesis Advanced Technologies , Goldmund 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 3 racks, Audiodharma Cable Cooker, Symposium Ultra and assorted SRA OHIO Class 2.3+ platforms. -
More punch and pop in the system. Later this year I plan to try a more powerful amp, a dedicated phono stage, and a different more efficient pair of speakers. All separately auditioned of course. Speaker possibilities are the gen Magico 1s and 3s, Proacs, and Gamuts.Turntable: TW Acustic TT with Ref motor & controller; Tri-Planar Arm; Ortofon Windfeld-Ti Cartridge, Harmonix-Combak platter mat & weight; PS Audio Stellar Phono Preamp; KLAudio Ultrasonic Record Cleaner.
Digital: Bluesound Vault-2 Music Server & Streamer
Amplification: VTL 6.5 preamp Series II, Pass Labs 150.8 Amp
Loudspeakers: Piega C711 Loudspeakers
Isolation: Symposium Osiris Rack; Symposium Platforms and Roller Blocks and grade 2.5 Balls
Misc: Acoustic Revive RR-888 Low Frequency Pulse Generator, Synergistic Research 12 UEF SE Line Conditioner, Level 3 HC AC Cord and Level 3 Atmosphere power cords, Synergistic Carbon fiber wall plates, Synergistic Research Orange Outlet, Furutech NCF Booster Braces, synergistic Research Galileo and Atmosphere X Euphoria Level 3 Balanced ICs, Synergistic Research Euphoria Level 3 Speaker Cables, Synergistic Research Cable Risers.
Sennheiser HDV 650 Headphone Amp; Sennheiser HD800s Headphones. -
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Originally posted by rockitman View Post
I would like the same, I could use another few feet for my Maggie 1.7's to really breathComment
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the priceComment
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I'd like to get rid of some midrange glare that flares up from time to time. Very track dependent, but annoying when it's heard.Kronos Sparta -> Trinity Phono -> Trinity Pre -> CH Precision A1 -> Magico S7sComment
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Nothing.
No wait, a loudness compensation control, switchable of course. The Fletcher Munson curves are a long established fact. I'd like bass to be present at low listening levels. At low levels what a control/preamplifier reproduces may be accurate but what you hear is not due to non linear hearing over varied volume levels. So is a minimalist design really more accurate if what you hear isn't?
I'll go further and state that a control/preamplifier design that lacks a balance control, tone controls and loudness compensation are deficient designs lacking utility.
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When I open my eyes, the musicians aren't really there.Comment
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Yeah, if you don't watch 'em, they'll fart and eat your food.Originally posted by JackD201 View Post
That's not always a bad thing you know
But methinks we have different tastes in music. la dee do da
Renee Fleming
Yuja WangComment
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After reconsideration, a loudness compensation control.
The Fletcher Munson curves are a long established fact. I'd like a better representation of bass at lower listening levels and tone controls by themselves do not accurately reflect the Fletcher Munson curves. While what a control/pre amplifier reproduces at low volume levels may be more accurate from an electronic signal standpoint, what is heard is not. Which is one reason (of many) why the music seems to become more alive once appropriate volume levels are reached for a given recording.
A loudness compensation control. IMO a design lacking that is lacking in utility and is therefore a deficient design.
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