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  • #61
    Originally posted by Hawk View Post
    Has anyone tried 6922's with the GAT series 2? Love my GAT. Have amassed a pretty good collection of 6922's
    GAT S2 uses different tubes Hawk. PCC88, so you can't use ECC88 (6922) in it. Well, you can but at your own risk.
    Source: Kuzma XL DC, Kuzma 4Point 14 inch, Benz Micro LP-S MR; Phono: Zanden 1200 Mk3; Tuner: Magnum Dynalab MD-108T Signature; Line Stage: Zanden 3000 Mk2 (ordered); Power amp: conrad-johnson ART; Speakers: Avalon ; Grounding: Tripoint & Thor SE; Cable system: Cardas Clear & Clear Beyond; Stands: Finite Elemente Master Reference & Master Reference Heavy Duty; Acoustics treatment: Svanå Miljöteknik AB (SMT);

    Comment


    • #62
      Well, its been over 300 hours on the GAT S2...fantastic.

      - the 'G-R-I-P' of the GAT S2 is one of the most noticeable improvements. Calling the GAT S1 'slightly sloppy' by comparison is outrageously unfair to the GAT S1...but that was the first that came to my mind when trying to articulate the difference.
      - Complex passages, upper bass drums where I have always struggled to damp, control...seek out where that extra little extraneous-seeming upper bass vibration or looseness was coming from...it was the GAT S1. I always wondered about that, and S2 has proven it to me
      The best way I can compare Series 1 and Series 2 is based on an analogy to what is called 'fingering' when studying piano:

      (Fingering which refers to the technique and placement of fingers on the keyboard when playing. Fingering technique informs various things like your ability to play all the notes clearly without muddling them inadvertently. Sometimes younger, more inexperienced pianists play more complex pieces, and certain notes get smooshed together because the young pianist does not have the fingering technique/strength/articulation of fingering to play the notes at speed one at a time or with sufficient articulation between notes...and the notes end up being played on top of each other instead.)

      - The Series 2 has significantly better fingering technique than the Series 1. Probably the difference between a 9th grader playing a piece, vs a freshman in college.
      - Much better articulation of musical lines, deeper carving of musical expression
      - A good example is on a Fink live concert album, there is one line where in addition to the lead singer, one of the other artists sings along with him for 5 words. i have heard this track hundred times and never noticed that...and literally while just typing this and not paying attention, there it was...the 2nd singer for 5 words...clear as day. Perhaps its easily heard (when listening for it) on Series 1...but all i can say is...i've literally never noticed it
      - GAT 2 presents music as simply ROOTED/PLANTED.
      - Best examples:
      - Glenn Gould Variations (1981)...one of my reference CDs. The piano is one of the best recordings in that the better the system, the more and more it reminds me of the hours i spent in front of the keyboard practicing. (but it can also sound awful in the wrong system...not sure how/why...it just does.)
      - GAT S1: Excellent sense of pace, tempo, clarity...BUT there is a slight ringing/resonance when notes start flying at speed. Like when someone moves slightly just as you take a picture
      - GAT S2: The keys have greater power/solidity, the 'ringing/resonance' is gone when notes fly at speed...they just go faster with precision. Equally, what i like is that the full spectrum is more balanced with upper bass, upper treble and lower bass all starting to have more equal weight in the the presentation of the music spectrum.

      - Anne Bisson: Yes, that crazy over-played 6th track...but those initial drum hits are truly clearer now....wont bore anyone with details. But I listen to these very carefully, and no doubt the S2 hits slightly harder, but the 'whack' is more defined, with a quicker impact but also a bigger, 'meatier' impact because it follows thru the entire strike from beginning to end. Very cool discovery.

      Tonal Colors: greater colors...meaningfully but not really the most noticeable part today

      Deep Bass: far, far tighter, more propulsive but mainly far, far more detailed and in control
      SPEAKER: Wilson X1 + Velodyne DD18+
      SOURCE: Zanden 4-Box Digital
      AMP: CJ GAT 2 + Gryphon Colosseum
      CABLE: SC:TA Opus Gen5 IC:TA Opus MM2 PC:PAD 25th + Sablon GCUber
      ISOLATION (16 'SANDWICHES'): Under: HRS . Stillpoints Auralex Top: HRS . Artesania . Entreq . Finite Elemente . EAT . 90kg mass POWER/GROUND/SHIELD: Burmester 948 + Nordost QX4 / Tripoint Troy Sig Thor . Entreq Atlantis / Entreq (Receivus, Wraps)
      ROOM/TUBE: Stillpoints Aperture / Amperex . Mullard . Philips

      Comment


      • Metamatic
        Metamatic commented
        Editing a comment
        Hi lloyd. Can you comment more on the upper frequencies. What I love about the the GAT is its utter openness, detail, life and speed in the upper frequencies without ever being harsh ( or is it my telefunken tubes) - its makes more pre amps seem almost slow in comparison. I hope S2 does not lose this unique quality.

    • #63
      Originally posted by LL21 View Post
      Well, its been over 300 hours on the GAT S2...fantastic.

      - the 'G-R-I-P' of the GAT S2 is one of the most noticeable improvements. Calling the GAT S1 'slightly sloppy' by comparison is outrageously unfair to the GAT S1...but that was the first that came to my mind when trying to articulate the difference.
      - Complex passages, upper bass drums where I have always struggled to damp, control...seek out where that extra little extraneous-seeming upper bass vibration or looseness was coming from...it was the GAT S1. I always wondered about that, and S2 has proven it to me
      The best way I can compare Series 1 and Series 2 is based on an analogy to what is called 'fingering' when studying piano:

      (Fingering which refers to the technique and placement of fingers on the keyboard when playing. Fingering technique informs various things like your ability to play all the notes clearly without muddling them inadvertently. Sometimes younger, more inexperienced pianists play more complex pieces, and certain notes get smooshed together because the young pianist does not have the fingering technique/strength/articulation of fingering to play the notes at speed one at a time or with sufficient articulation between notes...and the notes end up being played on top of each other instead.)

      - The Series 2 has significantly better fingering technique than the Series 1. Probably the difference between a 9th grader playing a piece, vs a freshman in college.
      - Much better articulation of musical lines, deeper carving of musical expression
      - A good example is on a Fink live concert album, there is one line where in addition to the lead singer, one of the other artists sings along with him for 5 words. i have heard this track hundred times and never noticed that...and literally while just typing this and not paying attention, there it was...the 2nd singer for 5 words...clear as day. Perhaps its easily heard (when listening for it) on Series 1...but all i can say is...i've literally never noticed it
      - GAT 2 presents music as simply ROOTED/PLANTED.
      - Best examples:
      - Glenn Gould Variations (1981)...one of my reference CDs. The piano is one of the best recordings in that the better the system, the more and more it reminds me of the hours i spent in front of the keyboard practicing. (but it can also sound awful in the wrong system...not sure how/why...it just does.)
      - GAT S1: Excellent sense of pace, tempo, clarity...BUT there is a slight ringing/resonance when notes start flying at speed. Like when someone moves slightly just as you take a picture
      - GAT S2: The keys have greater power/solidity, the 'ringing/resonance' is gone when notes fly at speed...they just go faster with precision. Equally, what i like is that the full spectrum is more balanced with upper bass, upper treble and lower bass all starting to have more equal weight in the the presentation of the music spectrum.

      - Anne Bisson: Yes, that crazy over-played 6th track...but those initial drum hits are truly clearer now....wont bore anyone with details. But I listen to these very carefully, and no doubt the S2 hits slightly harder, but the 'whack' is more defined, with a quicker impact but also a bigger, 'meatier' impact because it follows thru the entire strike from beginning to end. Very cool discovery.

      Tonal Colors: greater colors...meaningfully but not really the most noticeable part today

      Deep Bass: far, far tighter, more propulsive but mainly far, far more detailed and in control
      Glad to hear the update worked out.

      I'd also say that anyone who thought the GAT's bass was sloppy before didn't have the preamp properly isolated. For whatever the reason--and it's only two tubes--the GAT really requires proper isolation. Placing the SRA Iso platforms under the GAT greatly improved the original unit's low end, dynamic and transparency.
      Myles B. Astor, PhD, Administrator
      Senior Editor, Positive-Feedback.com
      ________________________________________

      Magico S5 Mk.2 speakers, cj ART300 40th Anniversary monoblock Amplifiers; cj GAT preamplifier Series 2; Doshi V3.0 and Thoress Mk. 2 phonostages; VPI Vanquish turntable/12-inch 3D tonearm/12-inch Fat Boy, SAT LM-12 arm, Lyra Atlas SL, Fuuga, vdh Colibri Master Signature, MOFI Master Tracker, Sumiko Songbird cartridges; Technics RS1506 with Flux Magnetic heads/Doshi V3.0 tape stage run balanced; Assorted cables including Transparent XL Gen. 5, Allnic cables, Skogrand, Viero, Kubala-Sosna, MG Audio, Audience Au24SX, Genesis Advanced Technologies Power Cords. Stillpoint Aperture panels, SPod Magico feet, 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


      • #64
        I'm going to revive this thread instead of starting a new one. I recently acquired a GATs2.

        Long winded history that you MIGHT WANT TO SKIP if you're not into this sort of thing:

        As some of you know, I've been looking for a preamp for quite some time. My journey with electronics has been a long one. I consider myself a tube person (or at least the type that feels there should be tubes somewhere in the system). While I owned tube preamps at times (Joule, AR, etc), it wasn't until I purchased Doshi electronics (preamp and monoblocks) back when I had Wilson Sasha speakers that I experienced true tube magic. As long as I played complimentary music it was the closest I felt I came to feeling like musicians were 'in the house'. I say 'complimentary' because the Doshi monoblocks had EL34s which were on the euphonic side and some negatives were soft transients, poor pacing on rock music etc. Ironically I never wanted these monoblocks (I actually wanted a different model which was more powerful with more linear tubes) but was talked into this pair instead.

        When I became interested in Magico speakers (the original S5s) and auditioned them at a dealer, I loved them - and wanted them. However, there was question about my Doshi amps being a good match and I ended up bringing my monoblocks to the dealer to test them. They failed miserably and that curtailed the drive to buy Magicos as I wasn't in a position to change both the speakers and amps. Instead I made it a point to transition to solid state amplifiers that would work well with my Wilsons and hopefully put me in a position to migrate to Magicos. I went with Pass Labs (and stayed with the brand a while) and ended up with my S5s. Loved the S5's and upgraded to Magico's M-Projects when they became available; they were intended as my end-game speakers and after a few years I don't see myself changing them.

        One thing the experience with the Doshi and Pass Labs did provide was give me the perception that tubes couldn't do transients. I mention transients because to me they are so important in conveying rhythm and dynamics. I also love the sound of drumsticks on ride cymbals and while I loved the tone of cymbals with tubes, I always felt robbed of the attack. So I more or less thought that I'd be sticking with solid state. It didn't help that whenever I read about Magico speakers it was with very high end solid state electronics (e.g. Solution etc.).

        It wasn't until I met a local audiophile and listened to his somewhat vintage system, consisting of monitors+sub and tube amps fed direct by a DAC that I heard the ultimate combination of tube body, organic tone, great PRAT and strong transients that I realized tubes could actually do that sort of thing. And this is with me having gone to a few RMAF shows. After a few more listening sessions with his system I also heard the benefits of instrument separation and lovely timbre/tonality on classical music with strings and woodwinds. I arranged to try a friends's Quicksilver amps in my system for a day and while they couldn't drive my M-Projects that well I was still smitten. I ended up buying CAT JL7s that drive my speakers fairly well. They aren't quite as nimble as solid state but can do a very convincing orchestral bass drum - very deep bass with a fair degree of clarity such that you can hear the character of the drum and no boominess. Part of that is a testament to the speakers too of course, but yeah, they can deliver deep bass without falling apart. Deep bass with a lot of speed - perhaps not so much. But with 8 KT-150s per monoblock (and much less heat than my Pass Labs monos) they also give great high frequency extension and a nice deep soundstage that gives me goosebumps on orchestral music.

        So my Pass Labs monos went and I kept the Pass preamp. I was offered a quick audition of the CAT Legend preamp in my home and it was interesting. Much more body. Less deep bass. More organic midrange. More distortion too, however - especially when the volume was turned up. And a more diffuse soundstage with so much bloom that instruments overlapped. At first I wondered if there was crosstalk bewteen channels as orchestral content didn't quite give me the imaging that I enjoyed. I wasn't that convinced but my wife was totally smitten with it and somewhat pushed me to buy it ("when are we getting it??!!"). So I bought it.

        I had buyer's remorse fairly quick. Bass was too muddy for my taste and solo piano, while it came with nice body, had no sparkle. I tried tube rolling but was warned by the manufacturer that it would be hard to improve upon the tubes he used to design it. I came to the conclusion he was right. I would often switch back to the Pass and appreciate the clarity (by comparison) but then I would miss the organic character of the CAT. It seems I couldn't win. A friend wanted to buy the Pass and I let it go - and lived with the CAT for a year or so.

        ThenI had a visit by Tasos (ack is his handle here). It was only the 2nd time he visited me and he's very into orchestral music and owns Spectral gear (very, very clear precise sound). As I suspected he didn't like my system. He was quick to point out faults that I was already aware of and some that were somewhat eye opening (e.g. "There's a triangle here that I simply can't hear on your system" - sure enough I couldn't hear it either). He had recently heard Myles' system and raved about it. "But, but, it's TUBES" I said. He insisted there was a huge difference and that he heard no wrong with Myles' system. We ended up bypassing the CAT preamp and of course it sounded a lot more to his liking. He left suggesting I find myself a very neutral solid state preamp or even the CJ GAT.

        Soon after I borrowed a friend's Pass Labs DIY buffer (preamp). I my was getting more and more into classical music and wanted to get closer to what I was hearing at the BSO (I now go to see the BSO regularly and am always amazed at how well I can hear all the detail without it every sounding either too thin or muddy). The very neutral preamp worked very well - at least with vinyl and I found myself enjoying it a lot more.

        But boy, could it sound thin on a lot of music. I longed for more body and perhaps more dynamics and drive. Thus my search for a preamp began and I created the thread on this forum:
        https://www.audionirvana.org/forum/t...sparent-preamp

        I narrowed the list to four preamps (listed in order of gut feeling as to potential success):
        1) CJ GATs2
        2) darTZeel 18NS (series 1 for affordability reasons)
        3) VTL 7.5 series III
        4) Spectral (latest model)

        I had no easy way to audition any of these in my system - with perhaps the Spectral being the exception.

        I came across a good deal for the darTZeel and bought it. I appreciated how pure the sound was. Very high frequency extension - similar to the Pass buffer - but with much better dynamics and drive. Deep bass - with almost a little too much energy. But... when I played rock or pop, it often sounded thin - with the midrange a bit recessed and lacked midbass.

        (midbass is often an issue with my fairly large, open room and french doors behind the speakers).

        For example, a rock kick drum that had deep bass came through very well, but a jazz kick drum (that has less deep bass and more midbass) was presented a bit weak. Vocals sounded a bit thin and piano often did too - especially if used the Lyra Atlas SL cartridge.

        I re-positioned my speakers, closer together, to strengthen the mid-bass and midrange. It helped.

        Then I visited Myles. Myles' system didn't seem to suffer from any lack of transients and had GREAT presence, body, dynamics. Deep bass was a bit hard to evaluate. In short I loved his system and ordered a GAT the next day (thank god for credit!).

        END OF LONG WINDED HISTORY.

        The GAT arrives.

        So I expected two things:
        1) long break in time
        2) would probably need isolation

        Myles said it could sound thin, but listenable, for the first 100 hours or so and then start to flesh out.

        For the first 48 hours I didn't even listen (what great restraint!) and just fed it a CD player on repeat.

        Then: there was no thinness in my system! Holy body, Batman! It was DARK though. Way too dark. The bass was FAT and not in a good way. I placed some HRS Nimbus footers underneath and it helped bring some intelligibility to the bass, but not much.

        I was patient until 100 hours then I started to panic a bit. I sentenced the GAT to solitary confinement with CD while I listened to the darTZeel. I concentrated on evaluating tape (I had recently bought into this format - but that's a different story).

        At 120 hours I couldn't wait anymore and took another listen. OK, big change. I mean HUGE change. In just 1 more day??? There was some life in the highs now, even some air. In fact, the treble was a little forward. But I loved it. Just messing around with my digital server I happened to play Jazz at the Pawnshop and was gobsmacked at the vibes, sax, drums (cymbals!!!) and the overall soundstage. I listened for hours and then went to bed.

        Next morning it was OK, but not as great. Maybe difference in electricity, mood, who knows. That evening was better.

        BUT, bass remained an issue. It is huge, loose and all over the place. Digital worked better than vinyl (Etna SL) as it was thinner.

        Midrange was excellent of course. I mean - really good.

        I'm almost in the position where whichever of the two preamps I listen to I immediately miss the other (or its virtues) but admittedly I am attracted to the GAT more. Whether that's because its engaging me more because it's 'new' or because it's so damn engaging I don't know yet. I suspect the latter but I could be wrong.

        Now I'm at 200 hours. Bass is still a huge problem. I'm praying there's a way to improve this else it's going to limit what I listen to. Last night I listened to solo piano (Maurizio Pollini's Beethoven sonatas on Deutsche Gramophone), Shostakovich's 5th (Mercury recording), some solo harp (Maris Robles on Argo) and they were just incredible. The preamp isn't as clean as the darTZeel (I can hear additive tube distortion) but it is SO much more engaging to me and the dynamics are fantastic. I wish for a bit more high frequency extension but can easily live without that - minor complaint. I just need to 'fix' the bass. It's not a question of just being slow - it's muddy.

        I can consider what Myles' recommends - the SRA base (which model do you have, Myles?), I can consider re-positioning my speakers to reduce midbass, but I'm open to any suggestions. Frankly if there's not more to be improved in this area I'd be a bit shocked considering at least two forum members here use this preamp and enjoy electronic music.

        Anyway, that's where I am right now. Thought I'd share and see if anyone suggests something I hadn't considered.

        If you got this far, kudos to your patience. Thanks for reading.



        Magico M-Project, CAT JL7s, CJ GAT/darTZeel 18NS, Kronos Pro Limited Edition/Black Beauty/Atlas SL/Opus-1,CH Precision P1, Schiit Yggdrasil, KS Elation ICs & SCs

        Comment


        • tonytsui
          tonytsui commented
          Editing a comment
          I’d suggest you first test the two PCC88 tubes and make sure they are in good order.

      • #65
        Ian-Stupid question, but did you reverse your speaker leads to accommodate for the GAT inverting phase? If the answer is yes, did you check your speaker connections to make sure your speakers aren't wired out of phase relative to one another?
        SP-10 MKII table with custom power supply designed and built by Peter Noerbaek with an SME 3012R with Dyna XV-1S cartridge, VPI Avenger table with rim drive and JMW -12-3D arrm with Lyra Etna SL cartridge, Zesto Andros 1.2 phono stage, Otari MX-55 tape deck, Ampex 350 repros, ARC Ref 6 pre, ARC Ref 75 amp, NOLA KO speakers with a pair of Def Tech Ref subs, and a pair of JBL 4345 speakers.

        Comment


        • Madfloyd
          Madfloyd commented
          Editing a comment
          Not a stupid question, Mark, thanks for responding. Yes, I'm aware of the inverting phase and flipped my speaker connections. I'm not hearing anything wonky like it being out of phase.

      • #66
        Ian what gain setting are you using for your CH-Precision phono?
        Myles B. Astor, PhD, Administrator
        Senior Editor, Positive-Feedback.com
        ________________________________________

        Magico S5 Mk.2 speakers, cj ART300 40th Anniversary monoblock Amplifiers; cj GAT preamplifier Series 2; Doshi V3.0 and Thoress Mk. 2 phonostages; VPI Vanquish turntable/12-inch 3D tonearm/12-inch Fat Boy, SAT LM-12 arm, Lyra Atlas SL, Fuuga, vdh Colibri Master Signature, MOFI Master Tracker, Sumiko Songbird cartridges; Technics RS1506 with Flux Magnetic heads/Doshi V3.0 tape stage run balanced; Assorted cables including Transparent XL Gen. 5, Allnic cables, Skogrand, Viero, Kubala-Sosna, MG Audio, Audience Au24SX, Genesis Advanced Technologies Power Cords. Stillpoint Aperture panels, SPod Magico feet, 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


        • Madfloyd
          Madfloyd commented
          Editing a comment
          Hi Myles, that's a tricky question because I'm using the current input (instead of voltage). I'm adding 15db gain on top of whatever the default is for current. The two settings that are in the ballpark are 10db and 15db (to basically match the output of the typical source e.g. digital etc.). At 10db it's quieter than my DAC, at 15db slightly louder.

          In case that's confusing, the P1, when in voltage mode, offers 6 gain settings that cover 35db - 70db of gain. However, when in CURRENT mode it also offers 6 steps but the overall gain is dependent on the cartridge internal resistance. The settings are +5, +10, +15, +20, +25, +30.

          The short answer is I don't think I have too much gain and don't think I'm overloading the GAT's input. Besides, I hear the same issues from my DAC.

      • #67
        Hi Ian, very interesting results...many thanks for sharing your impressions. Hopefully SRA base will improve bass significantly. Otherwise I wonder if it's time to try some different interconnects, power cable for GAT and even speaker cables to match your system with GAT 2. Not sure what cables Myles is using at present with his CJ gear. I also suspect a visit by Sterling Trayle may be highly beneficial. Please keep us posted. Good luck!

        Comment


        • MylesBAstor
          MylesBAstor commented
          Editing a comment

        • ashandger
          ashandger commented
          Editing a comment
          Hi Ian, Stirling is a highly respected system setup/tune guy based in US. I believe a number of manufacturers use his expertise for setting up their systems at shows etc. Roy Gregory did a feature on him on The Audio Beat. Roy is also a BIG fan of GAT 2 and reviewed it as well so could be worth contacting him via The Audio Beat. He normally uses Odin 2. Roy always puts huge emphasis on timing so I suspect he would not tolerate a preamp with slow muddy bass....and I don't think anyone at this level would. Roy used Wilson speakers I think for his review so you will have another data point. I am sure Myles will have some suggestions as well on cables, setup etc. Hope this helps!

        • Doxycc
          Doxycc commented
          Editing a comment
          Stirling has a website audiosystemsoptimized.com. He is ex-owner of Sumiko. He and I imported Amphion and T+A into the US. Highly recommended. His prices are very reasonable considering how much we all have “invested” in our hardware and software.

      • #68
        What a great outline of the journey you've taken. The Etna SL is by no means loose on the bass as an intrinsic characteristic.

        Neither is the CH- in fact it may be the the other side of "bloom" - don't have one but have heard it in 3 systems locally that I'm familiar with.

        200 hrs is not a lot of time and there is no real good engineering reason why break in should make a difference in what we are doing- but it does and I do hear it.

        I would suggest that the bass is the last thing to tighten up and flesh out in any piece of electronics I have every had with exotic capacitors and the CJ has the teflon.... ( which normally would sound thin not loose in the early stages) .. so if you believe in break in I would say that you are half way there in terms of hours. Teflon is a real tough one to come around you will be more disappointed with it that happy until it turns the corner in operating hours.

        Its a shame that we have to contemplate bases and footers etc. for the very expensive gear that we all use-- you would think that manufacturers would want to put their equipment in the best light at this level. Perhaps a base would make a difference but maybe not - I would certainly attempt to try before you buy. Furthermore, I would not buy anything until you put double the hours on the unit as you may solve for something that goes the other way and then you have to retrace your footsteps.

        Good luck with it , great gear all they way around- Congratulations.

        P.S. regarding phase ... if you have test record or down load a file with in phase and out of phase signals... JBL Tools has a great app that will tell you what you what polarity is at your listening position. Use the test record as your base line... note the result then play something with a good bass line and run the app again to observe polarity.. switch your speaker cables around and back again to note the effect. Helps you keep sane when you begin questioning yourself- at least it does that for me!


        Front end: Aesthetix Io Eclipse with 2 Power Supplies and Volume controls
        Brinkmann La Grange & RonT Tube Power supply with Kuzma 4-point , Brinkmann 12.1 , Koetsu Rosewood Signature Platinum, Lyra Atlas, Lyra Etna SL Goldfinger Statement, KLAUDIO RCM, HRSM3X
        Amps: Wyetech Topaz, Futterman H3 Quad II,Citation II, Marantz 8b, 5 ,2
        Pre-Amps: ARC SP 3a, Marantz 7, Marantz Model 1 Consolette Pair
        Speakers: Quad ESL 57, Beveridge Model 3 DD amps, REL S/2 x 2

        Comment


        • Madfloyd
          Madfloyd commented
          Editing a comment
          I appreciate your comments and advice - thank you.

      • #69
        Put some Stillpoint Ultras or V's under the GAT. That will tighten the bass.
        personally, I think SRA platforms are crap and not what you are looking for.

        the GAT also sounds wonderful with Nordost Valhalla pc.
        Last edited by Metamatic; 08-09-2018, 09:45 PM.

        Comment


        • #70
          Originally posted by Metamatic View Post
          Put some Stillpoint Ultras or V's under the GAT. That will tighten the bass.
          We have also found the "Terracone" footers from edenSound to provide an improvement in microdynamics and instrument / vocal focus. They are not cheap, but the effect brings a smile.

          This is our first post on audio nirvana - hello everyone. : )

          Comment


          • #71
            Originally posted by Backert Labs View Post

            We have also found the "Terracone" footers from edenSound to provide an improvement in microdynamics and instrument / vocal focus. They are not cheap, but the effect brings a smile.

            This is our first post on audio nirvana - hello everyone. : )


            Good to have you guys aboard!
            Myles B. Astor, PhD, Administrator
            Senior Editor, Positive-Feedback.com
            ________________________________________

            Magico S5 Mk.2 speakers, cj ART300 40th Anniversary monoblock Amplifiers; cj GAT preamplifier Series 2; Doshi V3.0 and Thoress Mk. 2 phonostages; VPI Vanquish turntable/12-inch 3D tonearm/12-inch Fat Boy, SAT LM-12 arm, Lyra Atlas SL, Fuuga, vdh Colibri Master Signature, MOFI Master Tracker, Sumiko Songbird cartridges; Technics RS1506 with Flux Magnetic heads/Doshi V3.0 tape stage run balanced; Assorted cables including Transparent XL Gen. 5, Allnic cables, Skogrand, Viero, Kubala-Sosna, MG Audio, Audience Au24SX, Genesis Advanced Technologies Power Cords. Stillpoint Aperture panels, SPod Magico feet, 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

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