HiFi System Story: a detailed overview of my complete audio set-up and the history behind it.
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- čas přidán 30. 06. 2024
- In response to several comments and requests, here I reveal my entire hifi system, detailing all the components, including accessories, and how and why I came to use them.
Featuring:
* Turntables, tonearms and phono cartridges
* Phono stages
* Vinyl record cleaning and optimisation treatments
* Reel to reel tape recorders
* Digital audio and DACs.
* Amplification
* Loudspeakers
* Room acoustic treatment
* Cables plugs and sockets, isolation, grounding, mains conditioning along with a plethora of other accessories, cleaning aids and treatments.
For more information regarding my "day job" please check out: daviddenyerpr.co.uk
And if you're interested in reel to reel tape please check out my website: thereeltoreelrambler.com
Having had the privilege of experiencing this system on many, many occasions, with a hugely diverse range of source material, I can comfortably say that it truly is in a league of its own. Nothing I’ve heard anywhere else has come close to achieving the sense of immersion and engagement you get from this system. It throws up a soundstage so vivid you feel as though you could quite literally stand up and walk around the musicians, and just puts the biggest smile on your face. Thanks in no small part to often having the finest sources available to hand!
Thanks for your feedback Jes, that's awesome to read! You're always welcome, it's an absolute pleasure.
I agree 100% that reel-to-reel tape reigns supreme. When people ask why I like the sound of vinyl, my response is that it is analog like the master tape (I don't buy any that are digitally sourced). I add that, while the vinyl record can do a great job of representing the master tape, it still does not capture all of the magic. Simply putting the audio on vinyl does not make it special (unless the mastering engineer went above and beyond on an inferior source tape).
Also, that tape machine from EMI is like a celebrity in my eyes. I probably own records pressed from lacquers cut from tapes being run on it.
Thanks for the feedback John. I agree with you about this particular A80. I very doubt I'll ever part with it...
This is easily one of the most impressive systems I've seen in a long time. You've put
a lot of thought, time and attention to detail and it clearly shows. I'm sure it sounds exceptional. So well done. I'm a new subscriber to your channel and very much look forward to watching more of your videos. Cheers!
Wow, thanks for this superb feedback Soulnik, and thanks for subscribing!
That turntable is a piece of art, bet it sounds incredible, would love to be a fly on the wall to hear that. The tape player as well, I was expecting some standalone unit, not an actual desk! Incredible.
Thanks @Spyder Tracks!
Very nice system my friend, I totally enjoyed your video, well done!
Thank you very much!
Greetings from NYC.
Thanks for this Dave. Extremely informative. You educate me with each video. Keep up the great content.
Happy New Year,
Thanks
Cahal C
Thank you Cahal, I'm so pleased you're enjoying my videos, its so encouraging to receive such comments.
Happy New Year!
Really interesting stuff Dave. It gave me some pause for thought on things I held dear, but now you have started a thought in my head about R2R so that will take some time to suppress!!! Overall though nicely done and a great start to the New Year so have a good one.
Hi Ian, glad you found it interesting... Happy New Year to you!
I was waiting for this, very interesting Dave!
Glad you found it interesting Riccardo!
Been a Graphic Designer all my life and I can fully empathise! Photography has saved me from being eaten alive by intransigent clients. Your channel is always fascinating with real insight into actual sound quality and origination. Spotted that monster turntable early on and thought this guy means business! That Studer is also absolute killer. You are a very lucky man!
LOL, wait til you find out for whom I was Graphic Designer... If I ever decide to reveal that nugget.
Love your turntable, and your channel. Wife and I retired so I’m selling one of the cars or perhaps my audio dealer will take a BMW on trade-in. Thank you for the interesting content and the passionate yet reasoned presentation. Cheers!
I'm very pleased you like the channel and hope you get a good deal on your car. Thanks for your feedback.
I have a Rega Arm on my Linn Sondek LP12. I bought the LP12 from new 37 years ago, and it’s the best thing I’ve ever bought. It originally had the Linn Basik plus tone arm but I replaced it for a Rega tonearm about 8 years ago, a big upgrade.
Good to hear of another happy LP12 / Rega owner, thanks for your feedback.
That was a joy to watch - no sensationalism, just straight forward talk and opinion. It's a nice change from clickbait generated intentionally by hyperbole that is often the case when people discuss this subject. I'm in no way an audiophile or consider myself to be - I have a decent enough system a long way from top end or even middle but I'm happy with the sound I'm getting - I know there's much more out there though -and the sky is pretty much the limit but to that end your video was fascinating and I spent the best part of an hour watching it through, accompanied by tea and biscuits :D Thanks for putting it up.
Thanks Nick. It’s comments like this that make it all worthwhile 👍
Astonishing stuff. True dedication to Hi Fi fidelity! Would love to hear your views on squeezing the most out of a budget or mid range set up.
Not sure if you have a second set up?
I enjoy your regular vinyl pressing posts however.
Thanks, I'm glad you're enjoying my videos. Regarding budget / midrange set ups. It's difficult to know where to start to be honest. Kind of requires a chat to find out what you're currently using, how it's set up and positioned in your room, how you're finding it as it is, and what you would hope to achieve....
Great video Dave. Thank you.
Cheers!
Great video Dave. Now I really know how little I know about hi-fi. Really enjoying my journey so far, just a long way to go. It would be great if you could do a short video on record cleaning, perhaps when you have perfected your cleaning setup?
Hi Jonny, thanks, I'm really pleased you enjoyed my video, but also that you're enjoying your hifi journey. My advice is don't rush it: I absolutely loved many of the set-ups I had along the way. The journey is part of the fun.
I probably will do a video specifically on record cleaning at some point. It does make sense to wait until I have 'perfected' my cleaning ritual.
Well done Sir!
Thanks Sam!
Watched an excellent condition one of these turntables sell for £10k this last month 👍
That does seem to be around what they go for; when they come up for sale. It was about £10k new 20 or 30 years ago... If it was still in production I'd expect it to cost more like £35k - £40k...
when I was young had a Ferrograph series 7 for 3 Years still miss it.
Nice!
Great video Dave. I used to have the clearaudio master reference. I do have the icon 845. Sure it will sound fantastic.
Thanks George, I'm please you enjoyed the video. I couldn't help but notice your MB845s... Fabulous amplifiers!
Hi Dave, we normally refer to the wall in front of you as the front wall and the wall behind you as the rear. Presuming you are facing your speakers of course :). The key to a great sounding room as I think you will agree Dave is not just the acoustic elements, the acoustic plan, getting the right advice but being prepared to be fully immersive in that process yourself as you were. The more that you get involved on the plan, the more likely you are to get a sound that suits your needs.
Hi David, you're right of course: the front wall being the one in front etc... I think I was having a senior moment. Such are the perils of putting me in front of the camera!
I totally agree about getting the room right: it takes a lot of thought and advice, applying that, and then more listening, more discussion, more advice and more listening and so on, as you know it took several months to work through the process in stages in order to get to where I am now.
Some nuggets here, Dave, thanks for sharing some of your knowledge & insight.
It is interesting the current thinking of low mass turntables. The complete opposite of your magnificent beast...
Thanks Venus Isle, glad you enjoyed the video.
a video on mono records and how to play them (mono cartridge) could be very useful to people
Thanks for your feedback Riccardo. I will try and do this... I did a lot of research, I think around the time of the Beatles mono box as public interest in mono was quite high at that time... I remember discussing with Noel Keywood of HiFi World who was very interested in my research but I am not sure if any of my findings were published.
@@DaveDenyer Please do a video on mono, possibly IN mono also 😬 Funny enough, I’m just in the process of getting a proper mono rig set up and I’m looking at the Miyajima Infinity mono cartridge. Did you try many mono cartridges? How did you end up with the Miyajimas? I’m also toying with the idea of a Ortofon Cadenza mono. Never heard it in person, but it seems a different beast to the Jima. What would you suggest?
@@TL3721 I think it really depends on what mono records you are playing?
If early mono pressings (eg. 1950s pressings) then I’d definitely recommend a Miyajima. The Zero was the top of the Miyajima range when I bought it but the newer Infinity is even better (and even bigger, some arms won’t accept it).
If you’re playing modern mono reissues then maybe a cartridge with a smaller ‘microgroove’ stylus / profile would suffice.
@@DaveDenyer The Miyajimas have two stylus sizes, they recommend 0.7mil for LPs of all ages, and 1.0mil for specifically the ones from the 1950s, especially with the deep grooves which I know is where it’s at. I’m still building up my collection and I’m definitely heading towards the 50’s direction. Which size stylus do you use?
@@TL3721 I chose the 1 mil stylus size specifically for 1950s pressings as that’s when most of my mono lps were pressed.
Fabulous product placement well done, now I’ll see if I can remortgage my home to get some more gadgets 👍😎😜
LOL, Thanks!
@@DaveDenyer Great to see the calm brit videos compared to the over the top presentation of some guys on here. That Loricraft record cleaner is superb and I’ll definitely get one for sure.. 👍
I still use a HHB CDR 800 sounds nice to me
Thanks for sharing this Dave, I really enjoyed listening. I can only imagine what your system sounds like, I only now feel my system has reached the point where it has bettered the best demo I have had in a shop, although this was a long time ago and memory might be deceiving me slightly on that. Some interesting points you mention, the things that sound like they are voodoo I am totally open to exploring now at this point (finances allowing), owing purely to the fact I held a skeptical opinion on mostly all things such as cables, power and fuses etc. I think the reason mostly stems from changing interconnects in the earlier days of my system and not noticing any improvement. Having made some big improvements to my system and knowing it's sound back to front I can easily see these things can make differences now. What I will say also, to anyone who is like me frustrated at not being able to finance this stuff to the same level, there are always diy tweaks to be made. Whether that be buying bulk cable and making your own cables or modding amplifiers with upgraded capacitors. The problem is, where does it end? Seriously addictive. At least in my heart, I know I can still sit and enjoy the music without wondering if changing something would make it better, otherwise I would have to check out from it all. Music above all else.
Thanks for the feedback @Hellrun. I totally agree with you about the potential befit, and fun of trying low cost / no cost tweaks etc. I started that way and just spending a few pounds on home made cables and system supports.
The morale is: keep and open mind, and listen, and try things, and if you feel something makes a difference that you like, go with it and carry on experimenting.
My main turntable for years was an LP12 with all upgrades except the outboard power supply, and I had an RB300 arm on it. Worked beautifully! Great video! What I'd like to hear more of is the order of importance regarding main components, say speakers, amps, turntables, arms, cartridges, and peripherals. Getting started, what's best to focus on?
Cool, it does work really well doesn’t it?
Very pleased you enjoyed the video. Cheers!
Yes that’s what I’ve got I’ve had it 30yrs n loved it till I see Dave’s 😐👍
Hello Dave, thank you for putting in the effort of showcasing your well thought through system. It seems very well put together. Owning currently a complete Icon Audio system on the electronics side, I’d be really interested in your history and insights with this brand.
Hi @JazzMdetal Audiophile I'm really glad that you enjoyed this video. I did work for Icon Audio for several years, up until maybe 8 years ago, or thereabouts.
I have used the MB90 mono's from pre KT90 days, until after the launch of the KT150 valve. The MB90s were a great (pair of) amplifiers but when Icon started experimenting with the 845 valve that really got my attention: I used MB845s in prototype form as well as in Mk1 and Mk2 production forms. I also felt the Icon Audio phono stages were superb, albeit not up to the Aesthetix level, which I already had at that time, so in terms of reference, I only really used Icon Audio power amplifiers.
@@DaveDenyer I started my journey with a Stereo 20 PP, the PS2 Phono Stage and their now discontinued CDX2. Last year I upgraded to the Stereo 40. Unfortunately there is no remaining dealer network here in Germany. I am really keen to trying both their 805 SE, their MB845s and the ps3 in the future.
Morning 😁 please I would appreciate the videos about cleaning and the amps list and turntables, love the videos 😁 thank you 😁
Hi Paul, thanks for watching, and thanks for your feedback. I'll hopefully get around to a video-ramble on turntables and amplifiers soon.
Great vid Dave mind blowing gear. I’m still trapped in Audiolab moon blocs from 90s but I really dig all tge flattening and static recharging
Do use a max mini fir digital tho
More more more
Glad you liked the video @tkffin. I’m probably gonna do more specific videos on vinyl care, cleaning, flattening, static, storage etc. Thanks for watching and commenting.
Just watching this now, I love how detailed the setup is! And also how knowledgeable you are about every facet of it. Which got me thinking… although the equipment is top of the line, your listening experience is dependent on your own ears and taking care of your eardrums and all that stuff. Is there enough of a topic there to make a video about or dive deep into keeping your ears healthy?
Hi @mrgbowPC I'm glad you liked the video. Good question about hearing...
To be honest I don't think I listen very loud at all: in fact I really dislike loud noises. A cheap Bose soundbar, for example, turned up loud is one of most offensive things I can think of...
I'm not sure I'm the right person to make video about this subject, but it is a very good point.
@@DaveDenyer I agree! If you have the right hifi setup, volume shouldn’t be an issue. I recently got into hifi and audiophile equipment and I was curious if I’ve damaged my ears already after years of earbuds and other headphones. I’ll do some more research, thank you!
An extremely fine system. However, I found that the DS audio and Onzow left gunk on my cartridge that became hard and baked, and very hard to remove. Last year I went back to stiff brushes and using an enzymatic, non alcoholic stylus cleaner. If you get an ultrasonic do not get an AudioDesk because they break down at an alarming rate, I've unfortunately had 3 of them. Get a Degritter or better yet, the KLaudio, both of which only use distilled water. The Kirmuss Cleaning method, which I have now is actually the best cleaner, but it is so labor intensive that it becomes discouraging.
Thanks Hel Gar, sorry to hear you've had issues with the sticky type cleaners, as I say, I've heard these reports but in my experience there;s no problem, I prefer them to anything else I've tried, occasionally I might use fluid and a stiff brush, or a fine artist's brush if a bit of fluff gets caught on the stylus / cantilever.
I really appreciate your advice on ultrasonic machines. I have tried the Kirmuss but experimented with different processes: I found giving the LP an ultrasonic bath then vacuum drying on a different machine worked well.
@@DaveDenyer What I've found works the best is to clean them with an ultrasonic cleaner, (the long cycle of the machine) do a complete play through of both sides, then clean them again. The play through seems to loosen whatever matter remains in the grooves and the 2nd cleaning is the real trick.
@@helgar791 thanks again, when I get an ultrasonic I'll be sure to try this process.
Hey Dave, I've been binge-watching your vids and found this one especially interesting and enjoyable. You truly have the gear (and set-up) to die for! I am fascinated by 1/4" tape as a recording and playback medium alas the whole world is too rich for my peasant blood right now 😂Even back in the day (i.e. 50s - early 80s) open reel tape was expensive (relative to vinyl and cassette) but I suppose the domestic machines (and tapes) weren't totally out of the reach of mere mortals. That said, it was done down a bit considering it started off as single-track mono at 7.5IPS and ended up 4-track at 3.75IPS 😕
I've read people saying that the very TOTL cassette decks from the 80s using a type IV could get pretty close to tape decks doing 4 track at 3.75 (or even 7.5IPS) which I find hard to believe. Regardless, the humble compact cassette did evolve to a staggering degree if you were to compare the sound from an early 60s deck and a TOTL machine from the early/mid-80s.
Hi Norliss, I'm very glad you've been enjoying my videos.
I have two cassette decks, both Nakamichis but not TOTL. The difference between them and even 3.75ips 4-track (double the speed and track-width) is pretty big IMO. I do think 7.5ips is a lot better than 3.75ips and can challenge even the best vinyl, but 15ips 2-track (provided it's well-done) it in another league...
Very nice Dave.
The products for demagnetizing the records are particularly interesting; as you say, Benz distribute one of those so it would seem reasonable to assume they think it is a valuable product.
My setup is a Kuzma Reference, Triplanar and Benz Micro LP-S. So, high mass turntable - it works very well.
All amplification is Ear Yoshino, so valves, including mono-blocks and, indeed, a valve DAC.
I don't have tape but do have a Nakamichi DR-1, which is very good.
'speakers are full-range Tannoys 15" dual concentrics (Glenair) with their ST100 super -tweeters. These definitely affect the sound but the effect can vary depending on the room acoustic.
All interconnects/speaker/power cables are Kimber (Kimber Select copper/silver hybrid where possible).
I'd be very interested, of course, if you have had any experience it have any observations on these.
However, what would be particularly interesting would be your knowledge around sound treatment.
My system was sounding superb in the house but, now that I'm divorced, I'm in a rented apartment and the sound is awful! I'm trying to fix it with curtains, carpets and things but I really need to get into bass-traps, diffusers and absorbers. I have no idea what to use where, as you can imagine, so that would be personally useful.
I think discussing things like the amplifiers would be fascinating. I can't believe that within the 5 comments you have here, so far, there is already one nay-sayer 🤣
I am a believer in using your ears and I, for one, would be very interested in your observations.
Not many of us get to listen to lots of different equipment and hear the differences.
Thank you for taking the time to talk through your system 🙂
Thanks for the thumbs-up Stephen.
I've heard of few Kuzmas at reviewers' homes; none at my home sadly, but they are certainly great turntables, and the Triplanar is a great tonearm too, definitely one of my favourites: I tried to secure UK distribution for a client, once upon a time, but was unsuccessful.
Similarly, I've heard several Benz cartridges over the years, again very good. I've owned and thoroughly enjoyed van den Hul MCs over the years, which are quite similar if I remember correctly.
Like the Kerrs, big Tannoys can really drive a room and deliver 'proper' bass. But also appreciate the need to tune them into the room. I have heard them sounding awesome!
I started with getting a few GIK GOBOs which you can easily move around to ascertain where damping helped then got thicker bass traps as required. The ceiling was pure guess-work / instinct and are positioned to cover all first reflection points from both speakers to all positions on the sofa (not just the centre hot-seat). They made a big improvement.
dave thank you very much for the video about your audio system and fulfilling my request. Nice to see which components and accessories you use.
Hey, thank you Marco! and thanks again for prompting me to do it.
Very impressive presentation of your equipment, Dave ! Especially your approach of demagnetizing vinyl (&cartridges) ! Scientifically this might make sense due to the residual graphite amounts in carbon black dye in vinyl for records. For clear vinyl however I do not see any arguments why it sounds better with demagnetizing.
I am also quite interested in tape and I think this format is significantly better than vinyl which is caused from the physical limitations of vinyl for bass & mid low frequencies. I use now a Studer A807 & A810 (also Revox A700 for example for 4Tr Reel2 Reel). I still dream of a comeback of affordable R2R format, which is in the price range of an Acoustic Sounds UHQR vinyl record (maybe 7.5ips format ?). Maybe a video why good tape is always superior against the best vinyl might be interesting IMO. Listening to 15 ips Ultra tapes from Acoustic Sounds on a well maintained Studer machine are really an eye opening experience, I think and are really recommended for every hi end hifi user!
Thanks @Sugar Bone-Cage! I do plan to lots of tape vs. vinyl videos, as and when the tape versions become available (such as these three new Hemiolia issues). There's no doubt that since getting into tape (specifically 15ips 2-track 'master copies') it, really allowed me to get more from my vinyl set-up, because for the first time I could hear what I was missing which allowed me to properly set my sights, and to know what I was aiming for...
As you say "Listening to 15 ips Ultra tapes from Acoustic Sounds on a well maintained Studer machine are really an eye opening experience, I think and are really recommended for every hi end hifi user!" I totally agree: people who are really interested in great sound need to hear it.
Great video! I appreciate you taking the time to go through your audio set-up. I bet it’s quite wonderful to listen to, especially on those reel to reel tapes. Do you search out any old copies used for other countries to make vinyl pressings off of? For instance a guy on on CZcams has a European copy of Dark Side of the Moon. I bet those UHQR are spectacular as well!
Thanks @mlblue535, I'm glad you enjoyed the video.
It's a really good question. But to be honest the subject of the 'copies of masters' on eBay or wherever. is an absolute can of worms...
Yes, particularly at the start of my journey I bought quite a few of these. Some do indeed sound great, some really don't...
There are two main issues to consider here:
Firstly, making a copy of 'copyrighted' music is breaking copyright law. Some countries take a far more serious view of this than others which is why you'll see far more of these tapes for sale in certain countries... So, in any situation, selling a 'copy' of an old production master, for example, isn't legal.
If the seller has and is selling an actual production master, so isn't making / selling you a 'copy' as such, that strikes me as slightly different, all you need to consider then is how they came about it because the original label would presumably consider this to be their property. But they do get out into the market, and they they do come up for sale now and then. I've bought a few myself, and being old fragile tapes (often with sticky-shed) I've baked them and then made myself a safety / back-up copy. That in itself could be argued as breaking copyright; it certainly would be if I tried to sell the 'safety' copy I'd made.
Secondly: you're going on trust: typically, you're being asked to trust someone who is selling copyrighted music without the license / permission to do so. a.k.a. a 'pirate'...
I've heard stories of people copying CDs, SACDs, vinyl LPs, etc. to tape and selling them as something else. Even if the tape being sold was copied from a 'master' how was it copied, who copied it, on what equipment, is it in fact any good at all? Some of what I've heard are pretty poor. Could have been copied from 7.5ips 4-tracks, or worse...
So, I think to be honest, this is partly why I began the Reel To Reel Rambler: to promote and encourage the legitimate market for reel to reel music. The more legitimate releases out there the less the black market will prevail. I utterly applaud companies like The Tape Project, Analogue Productions, Horch House and now Hemiolia for giving us the opportunity to buy good studio-quality master copies of classic albums.
If you think "yeah but they are at least $450 an album" do consider this: a reel of decent studio-quality tape costs around $100, most albums require two reels. That's $200 before we even start: then the tape will be made in real time on studio machines. So you're paying for let's say half day's studio time, and for the engineer.
Add to that sales taxes, licensing fees, packaging and any artwork (and licensing fees on that!), and believe me, no one could beat the prices these companies are charging. So anything 'cheap' on eBay or wherever, almost certainly isn't what it says it is...
Which brings us on to another law: fraud...
@@DaveDenyer Thank you for your response. Yes, It sounds like you’re taking a big risk on those “copies”. Plus it’s not good for the legitimate market for reel to reel. $450 is a good chunk of change, but as you said, when you think of the actual cost to make those, it’s not that bad. Also, it’s kind of like when you’re a kid. You would save your money to buy an album, you brought it home, and it was an event. You played that album many times before getting a new one. That album really met something to you. So with $450 an album, that reel to reel really means something. It’s not like going shopping for vinyl now a days, where you bring home multiple albums. Plus the sound! I can only imagine and dream! Reel to Reel is the “real deal”! For now, I’ll enjoy vinyl, and I do! Sounds like you enjoy vinyl as well. I’m being more picky and that helps. When you seek out an original release and get it, wow! I recently got a OG UK pressing of Gong’s “You”!
That's a great analogy: remembering when an album purchase was a real 'event'. You're absolutely right. Tape releases are few and far between (thankfully, for the health of my wallet) and getting and playing one really is a very special thing to do.
Nice to hear from a man who’s seen most things in Hifi and relay their opinions.
In my experience vinyl is a love that takes time and patience which can reward but also heartbreak.
Regarding digital, I’ve found mains products make the bigger difference than to analog. Have you tried a reclocker like a mutec?
I wholeheartedly agree you have to be wary of mains conditioning. I, at one time, went all in for the Russ Andrews system. It took a home demo of something else and good advice to unplug it all (especially power amps) and remove SMPSs from the area. Voila, dynamics, height and texture. Lesson learned.
Cheers
Hi J E, that's an interesting observation: mains products making a bigger difference on digital than analogue...
It sounds like we're thinking along similar lines: I guess with mains conditioning, for example, I have tended towards using it more on digital products and keeping it away from analogue: my thinking being the digital products / switch mode power supplies etc. are polluting the mains more...
So, I now have installed a completely separate mains feed from the consumer unit for the hi-fi. But my MacMini computer, network switches, routers etc are all on the regular house circuit, thus keeping them away from the analogue system, mains-wise... Prior to installing that separate mains feed for the system. I did use some IsoTek products on those digital components.
My DAC, the CAD 1543MkII, is about as analogue as a digital component can be, and doesn't I feel, mess with the sound quality of the rest of the system, so is plugged in with the analogue kit.
@@DaveDenyer I agree with you and have done similar with my home circuits.
I’ve got stunning results with individual component signal grounding grounding products as well. If you can install external earth rods product like the Groundmaster by Puritan audio it is an incredibly cost effective upgrade and still perfectly legal.
Thanks for the response and good luck.
I'd love to come round for a listen one evening 😅
Thanks Dave enjoyed listening to your in depth round up,must be an incredible listening experience,will you get around to having a open day/weekend like previously planned at some point in the future?
Hi Mark, I'm pleased you enjoyed the video.
Regarding events/open days. I'm not sure which event you're referring to... I am hoping to do the Reel To Reel Rambler room at the Ascot show again this year, all being well.
@@DaveDenyer the event around 2 years ago at Real World Studio's which was cancelled,I think you and your wife contracted Covid.
@@markstewart1807 ah, OK, that was actually a Stranger High Fidelity event, it was my friend Cameron's gig really, but as you said he was forced to cancel due to covid. We do hope to do something similar again, at some point...
@@DaveDenyer ah right 👍
Hi Dave. First, this video has already resulted in my buying a couple new pieces of gear, with the most impact coming from the cartridge demagnetizer. My question: When you say "Master Tape" -- as in, it doesn't get any better than... -- are you referring to the mix-down tape pre-mastering, or post-mastering. I've read that often the "genius" of the cutting engineer -- say, Kevin Gray, Bernie Grundman, &c -- can often improve on the mix-down tape or, as I just read in an article by you, the "first generation" tape. Sorry if this seems to be an ignorant question!
Hi Tim, Thanks for your feedback. That's great to hear you've bought a demag and are getting good results.
Regarding my comment about "Master Tape": I've only actually heard a few "Original Master Tapes"; on one occasion that was to make an exact "safety copy", and digitise that for the artist's own archive. Even I was able to make a superb-sounding copy, it was not easy to hear any difference. The safety copy wasn't made using my own equipment though: it was using two Studer A820s.
Really when I say "master tapes" I'm meaning masters in general, whether that be a safety master, a production master: they're all essentially copies of the original although production masters can be made with adjustments according to the required use; for vinyl this could include some eq, limiting etc. If your system can handle it, I'd rather have a 'flat' copy than an eq'd production master.
As far as the abilities of KG, BG go (and I really have to add Ryan K Smith to that illustrious list), I'm sure they can often improve on what they are sent, in fact nearly everyone I know on that side of the business would say that the 'final mix' is not the end result. Mastering is a vital step in the process.
That said, I've heard a few unmastered 'final mix' tapes and they sound incredible, but non of the artists / producers would want that going to the public.
Mainstay if my rig are Zingali 12” compression driver horn loudspeakers and Tom Evans Linear A mklll power amp and vibe pre amp 🏴
Nice! I've tried a pair of Zingalis, honestly can't remember which as it was a long time ago (certainly more than 20 years). Tom Evans stuff is awesome, I've heard many of his designs. I only ever owned his Finestra preamp and a prototype phonostage he built me, before he started designing for Michell. Tom was a good friend, although I've not seen him a years...
That was something special. I wasn't expecting all that. As a long-term audiophile, I learned a lot. Thanks for sharing.
Hi Tony, glad you enjoyed the video, thanks for the feedback.
Thanks for sharing your system Dave, can you tell us the dimensions of your room?
Hi Rock, good question!
It’s approx 4.7m wide x 3.6m front to back x 2.5m high.
Nice. Kindly comment on the following. Logically, the vinyl could never be better than the source. To me, it can't even achieve parity on playback due to the tracking error distortion thanks to arm geometry. This same tracking error is then present throughout the rest of the playback system. Have you tried a zero tracking error arm?
Hi, I do agree that logically vinyl, in fact any medium, can't improve upon the source. Mastering for vinyl introduces a handful of compromises necessary to allow the record to be played, which I think this has a more significant factor than the tracking error of a typical pivoted tonearm.
I have owned a couple of linear tracking tonearms. They clearly have their benefits, particularly the consistent tracking across the whole LP side. However practically, they can be rather fussy which is why I went back to using pivoted tonearms. A 12" arm has less error than a 9" and hence that's what I use currently.
Hope that helps, thanks for your question.
@@DaveDenyer Appreciated. Thank you. Have a Thales Statement in mind.
Man you are “cost no object’’
So you should definitely get a KLaudio ultrasonic cleaner
No labor, free up your time for listening and wonderful micro detail and static removal
I never use my Loricraft
Notto mention those lovely $300 tapes
The GIK sound absorbers / defusers are lovely. I have a slightly different pattern on mine - very effective without being over the top
Do a wide walk through of your room. Dimensions?
Love how the brits say al loo new me numb
No 4 track 1/2 inch RtR recorder?
Your Realworld shirt is a cood reminder Peter Gabriel’s first album in 20 years I/O is about to come out
more on the demago - thanks
Hi Audiotomb. I’ve no doubt I will get an ultrasonic cleaner before too long. Probably I’d use it in conjunction with the Loricraft, using the Loricraft to vacuum dry the sonically cleaned lps. That’s the most effective method I’ve tried so far. Even if more time-consuming and messy than just using the sonic machine’s fan drying.
Just gotta work out which machine to get, and then find the money to pay for it…
Nice Peter Gabriel shirt.
Thanks! Peter Gabriel is my all-time musical hero!
Does your Suder have stock playback head amp electronics? Do you have any plans for an outboard playback head amp (such as doshi or bottlehead)?
Hi Tony, it has stock electronics. I don’t currently have plans to modify.
Hi Dave can you give any more details on the ‘tank wood’ you refer to, I did a google search to no avail!
Tank Wood is otherwise known as 'Panzerholz'. Google that and there's a lot of audio-related information.
Many thanks Dave, great channel by the way
@@DaveDenyer
Bloody hell Dave you're a nutcase gear wise- this must be your audio innings in heaven, enjoy it! and thanks for sharing, we're luving it. Especially enjoyed hearing someone mention negative ions - I have a medical grade ionizer made by this tiny company in tokyo that I was trying to market for indoor pollution, turns out it does wonders for static on records; I have much less static than expected given how dusty our place gets being on the 1st floor in a tokyo apt bldg. I think your device is also made by a small japanese firm. Another tiny maker I recently bumped into at the record store is making turntable mats of a material that incorporates a certain mineral (I have her card and would need to lookup the details) that again gives off negative ions and thus reduces static on records; the hmv store staff/dj is test driving it currently, should be interesting to hear his feedback in the coming weeks. Thanks again, good stuff!
Thanks pk, I'm so glad you're enjoying my content! I'll take "nutcase gear-wise" as a compliment! ;-)
The DS Audio and Furutech 'ionisers' are the best hifi solutions for static in my opinion. They're both made in Japan. I am still working out how best to position my DS Audio ION 001. It is (in my opinion) without doubt the best, most elegant solution for this phenomenon so far.
Great video, I love the gear porn ! However, studio monitors are usually designed to attempt to accurately reproduce the sound as flat as possible coming out of a mix or master not to “get the enjoyment back” , in fact, adding excitement is absolutely not what I want out of my studio monitors in my recording studio. Just sayin! Wondering about placement of the bass traps on the ceiling, usually they would be in corners to help correct room modes. I do have an absorption cloud over my mix (listening) position, but clouds are more broadband absorption. Did shooting your room suggest the room treatment setup you are using?
Hi @Killing Jar, thanks, I'm really glad you liked the video.
I may have misrepresented studio monitors, because I certainly agree with your description here.
I used "bass traps" on the ceiling rather than dispersion devices as the room being quite small does have significant bass issues to deal with. They stop reflection from the ceiling but also add to the overall bass damping in the room. So, in fact they are broadband absorbers, not just bass traps.
I did have a friend come round with his measuring kit to measure the room before I started, and maybe half way through the process. I added treatments in 3 or 4 stages so each was then listened to for several weeks before deciding on what the next step would be.
@@DaveDenyer Hey, thanks for the reply! You have a really great setup, and with your ties to engineers and such I was pretty sure you had a plan. I try to be informative on “the tube” though because there’s a lot of “information “ thrown about on here. I guess unwittingly I ended up with a similar setup as the cloud over my mix position is quite thick compared to most, but I have a bit of a low ceiling which created a bass null around 90 hz, which as you know could be VERY problematic.
Do you use any brush on your stylus ?
@MrFabchild, good question! I do have a clearaudio brush and their cleaning fluid but to be honest hardly ever use them. If I get a longer hair type fibre caught around the stylus / cantilever that the ‘sticky’ cleaners won’t remove I use a fine artist’s paintbrush the gently tease away the hair.
Fair enough comment in reference to product releases for the sake of satisfying customer "wants", I get that was a generalized comment - oddly - having just come from two days of wonderment, certainly the kind of wonderment that's well more than say, cleaning all of the connections in a system, which, as we all know can be an eyebrow raiser in itself - listening to the SE version of the Ref 6 and Phono Ref 3 from ARC - well, no hokus pokus with that second edition - needless to say, "wonderment" is not a word I ever remember using - having run both products in their original releases, I can attest that the SE in this particular ARC realm is well earned - 17K (last I knew) for either of those products, that ARC somehow manufactures in the states, is a bargain to boot.
Hi Skip. Great to hear of your "wonderment". ARC do make some wonderful amplifiers.
Cleaning connections: yes indeed, that can make a huge difference!
Thanks for your comment.
Did you change/upgrade your turntable phono plugs ?
At one time I was using two Clearaudio Universal tonearms, and did have the wires changed to pure silver conductors, and (on a separate occasion) I changed to using balanced XLR connectors.
However currently, I just use the cables / plugs supplied with my tonearms.
Plugs, cables, everything, can make a difference so it is worth considering. Thanks for asking.
@@DaveDenyer Thanks for the reply Dave - I have a 1982 Linn lp12 and was wondering if changing the old phono plugs would make an improvement......
@@mrfabchild4188 sorry for the delay in replying. Assuming your LP12 is being regularly serviced, you may notice a slight improvement in changing the phono plugs, but I'd imagine it would be less of an improvement than a general service (belt, suspension, tightening all the bolts etc.) if that's not been done recently...
@@DaveDenyer Thanks for the reply Dave - yes my LP12 has been serviced recently by Rayleigh HI-Fi the MD said it was the best condition LP12 he's seen for it's age. Was purchased from The Sound Organisation near London Bridge in 1982. Have looked on CZcams for people testing phono plugs but didn't find anything much......
@@mrfabchild4188 I didn't ask what tonearm / phono stage you use...
You may remember back in the early 80s (and before) Naim used BNC connectors for the phono input and hence LP12s were often fitted with RCA to BNC adapters. If this was your situation I'd certainly suggest an upgrade. If not, then it really depends own the quality of what's in place right now. When considering phono / RCA plagues I first consider the metal. Copper sounds much better than brass or phosphor bronze or whatever other metal might be used. Don't be followed by gold-plating. It's what's underneath that's important.