So if we have to pick an old mantra to stay on the good side of the AOS ethos, I'll
pass on your new "flat earth" and stick with the "source first".
I believe it is a state of mind and an approach to evaluating hi-fi systems
I associate the term negatively with hi-fi made by Linn or Naim
If you want flat earth only Linn or Naim will do.
Location: California (San Francisco Bay Area)
Posts: 170
I'm Mark.
So if we have to pick an old mantra to stay on the good side of the AOS ethos, I'll
pass on your new "flat earth" and stick with the "source first".
I think a system is only as good as its weakest link,
but I must agree that anything lost at source cannot be put back
but then again neither can anything lost further down the chain be put back!
I mentioned earlier in the thread that last week I listened to a very expensive system. The most engaging system I've ever heard& should be at the price
. The source componant only accounted for 3% of the systems price
![]()
alfie
Main System: Denon DP-6000 VPI Base/Fidelity Research FR64s/Ortofon SPU Royal GM MKII/Shelter 901/Auditorium 23 SUT/Pure Sound P10/SB Touch or Audio Note CDT & M2Tech Young Dac/BL Audio LP-1/New Audio Frontiers KT66 Legend/Living Voice OBX.
2nd System: PC/Foobar/E-MU 0404 pci (Modded)/AVI ADM9/Rel Strata II subs.
Hi Alfie,
What you say is 100% correct. I've also no doubt that the system you heard was excellentI think a system is only as good as its weakest link,
but I must agree that anything lost at source cannot be put back
but then again neither can anything lost further down the chain be put back!
I mentioned earlier in the thread that last week I listened to a very expensive system. The most engaging system I've ever heard & should be at the price. The source componant only accounted for 3% of the systems price
As is usual with these things; the truth of the matter lies somewhere in the middle of the two extremes. Absolutist views one way or the other, in terms of source first or speakers first (or whatever first) are unlikely to produce the best result, so the answer is to seek a balanced approach.
Quite simply, there is no universal 'best way' of building a system!
However, in saying that, if the speaker/room interaction is wrong (and I mean 'wrong' from an acoustic point of view due to the shape and/or structure of the room) then you're f*cked no matter what's going on further down the chain...
In those circumstances, one needs to work backwards (perhaps also try some room treatments); or preferably put the system in a better room (or move house)!
Marco.
Main System
Turntable: Heavily-modified Technics SL-1210MK5G [Mike New bearing/ETP platter/Paul Hynes SR7 PSU & regulator mods]. Funk Firm APM Achromat with Nagaoka GL-601 Crystal Record Weight. Isonoe feet & boots. Ortofon RS-212D tonearm with Denon DL-103GL, in a Denon PCL-300 headshell, fitted with Funk Firm Houdini and Kondo SL-115 pure-silver cartridge leads.
Paul Hynes MC head amp/SR5 PSU. Also modded Lentek head amp and Denon AU-310 SUT.
Other Cartridges: Nippon Columbia (NOS 1987) Denon DL-103. USA-made Shure SC35C with NOS stylus. Goldring G820 with NOS stylus. Shure M55E with NOS stylus.
CD Player: Audiocom-modified Sony X-777ES/DAS-R1 DAC.
Tape Deck: Tandberg TCD 310, fully restored and recalibrated as new by RDE, plus upgraded with heads from the TCD-420a. Also with matching TM4 Norway microphones.
Preamps: Heavily-modified Croft Charisma-X. Power Amps: Tube Distinctions Copper Amp, fitted with Tungsol KT-150s. Quad 306.
Cables & Sundries: Mark Grant HDX1 interconnects and digital coaxial cable, plus Mark Grant 6mm UP-LCOFC Van Damme speaker cable. MCRU 'Ultimate' mains leads. Lehmann clone headphone amp with vintage Koss PRO-4AAA headphones.
Tube Distinctions digital noise filter. VPI HW16.5 record cleaning machine.
Speakers: Tannoy 15MGs in Lockwood cabinets with modified crossovers. 1967 Celestion Ditton 15.
So if your speakers are wrong then take the roof off ... Right?![]()
there is always going to be complications but starting at a good source still remains the most logical route! Get the source right and you know that what ever you add at least the source isn't the problem .. It's one less thing worry about
CS Port TAT2 - Benz LPS - Funkfirm Houdini - DS Audio Vinyl Ionizer - CS Port C3EQ - Kondo G70 - Kondo Gakuoh II - Maxonic TW1100 MKII - Isol-8 SubStation Integra
Absolutely, and that's precisely what I've always done
Thing is, if a room is really bad and your chosen speakers just aren't working in it, then the detrimental effect of that will far outweigh any benefit a good source component makes....
Like Dimitri alludes to, forget 'first anything' and simply prioritise things equally. Remember that you're building a system, not a disparate collection of boxes.
Marco.
Main System
Turntable: Heavily-modified Technics SL-1210MK5G [Mike New bearing/ETP platter/Paul Hynes SR7 PSU & regulator mods]. Funk Firm APM Achromat with Nagaoka GL-601 Crystal Record Weight. Isonoe feet & boots. Ortofon RS-212D tonearm with Denon DL-103GL, in a Denon PCL-300 headshell, fitted with Funk Firm Houdini and Kondo SL-115 pure-silver cartridge leads.
Paul Hynes MC head amp/SR5 PSU. Also modded Lentek head amp and Denon AU-310 SUT.
Other Cartridges: Nippon Columbia (NOS 1987) Denon DL-103. USA-made Shure SC35C with NOS stylus. Goldring G820 with NOS stylus. Shure M55E with NOS stylus.
CD Player: Audiocom-modified Sony X-777ES/DAS-R1 DAC.
Tape Deck: Tandberg TCD 310, fully restored and recalibrated as new by RDE, plus upgraded with heads from the TCD-420a. Also with matching TM4 Norway microphones.
Preamps: Heavily-modified Croft Charisma-X. Power Amps: Tube Distinctions Copper Amp, fitted with Tungsol KT-150s. Quad 306.
Cables & Sundries: Mark Grant HDX1 interconnects and digital coaxial cable, plus Mark Grant 6mm UP-LCOFC Van Damme speaker cable. MCRU 'Ultimate' mains leads. Lehmann clone headphone amp with vintage Koss PRO-4AAA headphones.
Tube Distinctions digital noise filter. VPI HW16.5 record cleaning machine.
Speakers: Tannoy 15MGs in Lockwood cabinets with modified crossovers. 1967 Celestion Ditton 15.
Dimitri.
In a time of deceit telling the truth is a revolutionary act.
George Orwell
Hi Dimitri,
Just out of interest, what DACs have you compared the Beresford to? Have you heard it outperform something significantly more expensive?
I ask because it's always useful to know what someone's current benchmark has been judged against
Marco.
Main System
Turntable: Heavily-modified Technics SL-1210MK5G [Mike New bearing/ETP platter/Paul Hynes SR7 PSU & regulator mods]. Funk Firm APM Achromat with Nagaoka GL-601 Crystal Record Weight. Isonoe feet & boots. Ortofon RS-212D tonearm with Denon DL-103GL, in a Denon PCL-300 headshell, fitted with Funk Firm Houdini and Kondo SL-115 pure-silver cartridge leads.
Paul Hynes MC head amp/SR5 PSU. Also modded Lentek head amp and Denon AU-310 SUT.
Other Cartridges: Nippon Columbia (NOS 1987) Denon DL-103. USA-made Shure SC35C with NOS stylus. Goldring G820 with NOS stylus. Shure M55E with NOS stylus.
CD Player: Audiocom-modified Sony X-777ES/DAS-R1 DAC.
Tape Deck: Tandberg TCD 310, fully restored and recalibrated as new by RDE, plus upgraded with heads from the TCD-420a. Also with matching TM4 Norway microphones.
Preamps: Heavily-modified Croft Charisma-X. Power Amps: Tube Distinctions Copper Amp, fitted with Tungsol KT-150s. Quad 306.
Cables & Sundries: Mark Grant HDX1 interconnects and digital coaxial cable, plus Mark Grant 6mm UP-LCOFC Van Damme speaker cable. MCRU 'Ultimate' mains leads. Lehmann clone headphone amp with vintage Koss PRO-4AAA headphones.
Tube Distinctions digital noise filter. VPI HW16.5 record cleaning machine.
Speakers: Tannoy 15MGs in Lockwood cabinets with modified crossovers. 1967 Celestion Ditton 15.