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In November 2015, with the kids grown and out of the big house, we moved to a smaller home situated on nearly two acres in north-west Goshen, IN. My new music room occupies the north end of the west half of my basement, in a room that is 44' 7" X 13' x 7' 4". This large space also houses my small theater at the south end, by the fireplace.
The front face of my Von Schweikert Audio VR-55 Aktive's are 78" from the front walls, with the back outside corner 19" from the side wall, and the front outside corner 24" from the side wall, positioning them some 8' 2" apart, tweeter center to tweeter center. The prime listening area is centered roughly 10' back from the plane of the tweeters. And, I'm currently using the massive, and drop-dead gorgeous GamuT Zodiac's in a show-stopping "Ruby," 28-layer laminated, all-wood finish.
Room taming is achieved with the use RoomTunes Corner Tunes, and the stunningly effective Shakti Innovations Hallographs. I am using a set Cascade Audio Engineering Whisper Wedge diffraction panels at the first side-wall reflection point, and RoomTunes EchoTunes at the first ceiling reflection point for the tweeters.
All equipment rests on the Monaco Isolation system from Alvin Lloyd, of Grand Prix Audio. As I grew into the Monaco system, I added a pair of Monaco amp stands, and some of the optional accessories, including several Formula Shelves and several sets of Apex footers with the ceramic silicon nitrate balls.
Groove demodulation is provided by the ground-breaking Kronos Sparta, a suspended design that uses contra-rotating platters. This unique process removes the load of torsional forces from the suspension, allowing for much richer tonal color, greatly improved clarity, focus, and detail. Musical resolution, inner detail, and microdynamic expression are taken to new heights with this table. After 7 years with the Redpoint Model D, the Kronos was the first 'table to so clearly best it -- in every way -- that I traded the faithful, remarkable Model D in and bought the Kronos.
The arm is the Kronos Helena, co-designed by Louis Desjardins and André Thériault. My current reference cart is the Air-Tight PC-1, but my cartridge stable includes a Transfiguration Temper V, a Denon DL-103D which has been reworked by A. J. van den Hul (with a Boron cantilever and the new vdH type 1 tip), and even a Clearaudio Virtuoso moving magnet cart. My analog tool box includes an AcousTech SF-1 digital stylus gauge.
I recently moved to the Audio Desk System Vinyl Cleaner Pro, the fully automated Ultrasonic LP cleaning station. It is SO effective that I have abandoned my VPI HW-16.5, using the Audio Intelligent three-step cleaning system, and the very cool Nitty Gritty Mini Pro, which handled the application and removal of Ultra-Pure Water as the final third step in the Audio Intelligent process. I also used a host of other fine products, including Duane Goldman's Disc Doctor Miracle Record Cleaner, Kevin Blair's Vinyl-Zyme, Record Research Lab's Vinyl Wash, numerous Last products, as well as several various varieties of my own home brew fluids.
Linestages include the superlative Audionet PRE G2, the Dynamic Sounds Associates Pre I, the 2 chassis Pass Labs XP-20, and one of my favorite tube based preamplifiers, Dan Wright's ModWright LS-100, rolled out with an f32 Mullard GZ34 and matched pair of 6SN7GT CBS/Hytron dual triodes.
My current reference phono preamp is the remarkable Dynamic Sounds Associates Phono II. I also bought Dan Wright's over-achieving, two-chassis PH-150 Reference, after reviewing it for TAS; it was simply too good to pass on.
As my day gig has been in IT for over 20 years, I built my own Music Server using Windows 10 on a Dell Latitude small-form -factor chassis using an i5 Processor and 8GB of RAM. The OS runs from a 256GB SSD, with all the music files (16/44, 24/96, 24/192, DSD64 or DSD128) stored externally, and automatically backed up nightly. I'm using JRiver Media Center 23 64-Bit, tweaked out with Fidelizer Pro v7, all easily controlled from any Android or iOS device using the JRiver remote tool. My DAC is the Hegel HD30, however I still have the Hegel HD12 too.
I also still use my McCormack UDP-1 for optical playback (Redbook, DVD-A, SACD, etc.). While it was initially sent back on a round trip to Virginia for the original Deluxe upgrade, it has since gone through another series up upgrades, effected by yours truly and prescribed by its creator, Steve McCormack.
Amplification is provided by the stunning Audionet MAX monos, though I do have a pair of the Pass Labs XA160.8 pure Class A mono blocks. And I just can’t part with my excellent Channel Islands Audio D•500 MKII Class D Monoblocks, built on the UcD Technology designed by Bruno Putzeys. I also have a pair of Channel Islands Audio VMB-1 monoblocks on hand driving my Audience The ONE monitors on my desk.
Interconnects and speaker cables are almost exclusively from Stealth Audio, with the Śakra V12 (phono stage to preamp), the Śakra (Hegal DAC to Preamp), the Nanofibres (Optical player to preamp), the Helios (Kronos to phono stage), and the new Dream V14 cables (amps to M/T speaker input).
Exceptions include the new outstanding Audience Au24-SX Balanced interconnects (linestage to mono’s), the class-leading Audience Au24-SE USB cable (Music Server to Hegel HD30 DAC), and the Audience Au24-SX loudspeaker cables (amps to Woofer input). I was the first person to hear this new Audience Au24-SX cable in December 2015, designed by the late Roger Sheker.
Power cables are all Audience, with the Au24-SE high powers on the Pass monoblocks, the Au24-SE low power's on all the source components, and the new über Au24-SX powering the new Audience adeptResponse 12-TSSOX power conditioner. I also have a dedicated 20-amp service for powering all amplifiers (including the 525 watt monos in the VSA VR-55 Aktives), as well as a second dedicated 15-amp service for the low power components.
The front face of my Von Schweikert Audio VR-55 Aktive's are 78" from the front walls, with the back outside corner 19" from the side wall, and the front outside corner 24" from the side wall, positioning them some 8' 2" apart, tweeter center to tweeter center. The prime listening area is centered roughly 10' back from the plane of the tweeters. And, I'm currently using the massive, and drop-dead gorgeous GamuT Zodiac's in a show-stopping "Ruby," 28-layer laminated, all-wood finish.
Room taming is achieved with the use RoomTunes Corner Tunes, and the stunningly effective Shakti Innovations Hallographs. I am using a set Cascade Audio Engineering Whisper Wedge diffraction panels at the first side-wall reflection point, and RoomTunes EchoTunes at the first ceiling reflection point for the tweeters.
All equipment rests on the Monaco Isolation system from Alvin Lloyd, of Grand Prix Audio. As I grew into the Monaco system, I added a pair of Monaco amp stands, and some of the optional accessories, including several Formula Shelves and several sets of Apex footers with the ceramic silicon nitrate balls.
Groove demodulation is provided by the ground-breaking Kronos Sparta, a suspended design that uses contra-rotating platters. This unique process removes the load of torsional forces from the suspension, allowing for much richer tonal color, greatly improved clarity, focus, and detail. Musical resolution, inner detail, and microdynamic expression are taken to new heights with this table. After 7 years with the Redpoint Model D, the Kronos was the first 'table to so clearly best it -- in every way -- that I traded the faithful, remarkable Model D in and bought the Kronos.
The arm is the Kronos Helena, co-designed by Louis Desjardins and André Thériault. My current reference cart is the Air-Tight PC-1, but my cartridge stable includes a Transfiguration Temper V, a Denon DL-103D which has been reworked by A. J. van den Hul (with a Boron cantilever and the new vdH type 1 tip), and even a Clearaudio Virtuoso moving magnet cart. My analog tool box includes an AcousTech SF-1 digital stylus gauge.
I recently moved to the Audio Desk System Vinyl Cleaner Pro, the fully automated Ultrasonic LP cleaning station. It is SO effective that I have abandoned my VPI HW-16.5, using the Audio Intelligent three-step cleaning system, and the very cool Nitty Gritty Mini Pro, which handled the application and removal of Ultra-Pure Water as the final third step in the Audio Intelligent process. I also used a host of other fine products, including Duane Goldman's Disc Doctor Miracle Record Cleaner, Kevin Blair's Vinyl-Zyme, Record Research Lab's Vinyl Wash, numerous Last products, as well as several various varieties of my own home brew fluids.
Linestages include the superlative Audionet PRE G2, the Dynamic Sounds Associates Pre I, the 2 chassis Pass Labs XP-20, and one of my favorite tube based preamplifiers, Dan Wright's ModWright LS-100, rolled out with an f32 Mullard GZ34 and matched pair of 6SN7GT CBS/Hytron dual triodes.
My current reference phono preamp is the remarkable Dynamic Sounds Associates Phono II. I also bought Dan Wright's over-achieving, two-chassis PH-150 Reference, after reviewing it for TAS; it was simply too good to pass on.
As my day gig has been in IT for over 20 years, I built my own Music Server using Windows 10 on a Dell Latitude small-form -factor chassis using an i5 Processor and 8GB of RAM. The OS runs from a 256GB SSD, with all the music files (16/44, 24/96, 24/192, DSD64 or DSD128) stored externally, and automatically backed up nightly. I'm using JRiver Media Center 23 64-Bit, tweaked out with Fidelizer Pro v7, all easily controlled from any Android or iOS device using the JRiver remote tool. My DAC is the Hegel HD30, however I still have the Hegel HD12 too.
I also still use my McCormack UDP-1 for optical playback (Redbook, DVD-A, SACD, etc.). While it was initially sent back on a round trip to Virginia for the original Deluxe upgrade, it has since gone through another series up upgrades, effected by yours truly and prescribed by its creator, Steve McCormack.
Amplification is provided by the stunning Audionet MAX monos, though I do have a pair of the Pass Labs XA160.8 pure Class A mono blocks. And I just can’t part with my excellent Channel Islands Audio D•500 MKII Class D Monoblocks, built on the UcD Technology designed by Bruno Putzeys. I also have a pair of Channel Islands Audio VMB-1 monoblocks on hand driving my Audience The ONE monitors on my desk.
Interconnects and speaker cables are almost exclusively from Stealth Audio, with the Śakra V12 (phono stage to preamp), the Śakra (Hegal DAC to Preamp), the Nanofibres (Optical player to preamp), the Helios (Kronos to phono stage), and the new Dream V14 cables (amps to M/T speaker input).
Exceptions include the new outstanding Audience Au24-SX Balanced interconnects (linestage to mono’s), the class-leading Audience Au24-SE USB cable (Music Server to Hegel HD30 DAC), and the Audience Au24-SX loudspeaker cables (amps to Woofer input). I was the first person to hear this new Audience Au24-SX cable in December 2015, designed by the late Roger Sheker.
Power cables are all Audience, with the Au24-SE high powers on the Pass monoblocks, the Au24-SE low power's on all the source components, and the new über Au24-SX powering the new Audience adeptResponse 12-TSSOX power conditioner. I also have a dedicated 20-amp service for powering all amplifiers (including the 525 watt monos in the VSA VR-55 Aktives), as well as a second dedicated 15-amp service for the low power components.
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