Gumby - you didn't mention the collection of Pony porn you paid large for! Did Pokey ever get over that one? I run hot and cold through the obsessive aspect of my personality, but I think I tend to have a pretty good sense of what works for me, and when I experience something that way I the obsession gets refocused on something else too, as you mention, and Slappy suggests. I don't find I get bored with the things I find comfort with though...I often stick with them for a fairly long time, and remain as happy with them years later. I find as I'm getting older and more settled, and ostensibly knowing more about myself, I am able to let go and enjoy more than I was when I was younger. I have no idea if I'm any more discerning as the result of more exposure to life and its fruits (OK, who's gonna jump on that last sentence?). I used to like to drive fast and ride fast, but as no I can't even understand the compulsion. Weird!
I haven't owned any components as long as many of the posts here either. I believe I'm coming up on three years with my Quicksilver 300B prototypes with no desire whatsoever to change them for anything else. I cannot say I've compared them to anything very exotic or in the five figure category. I have listened to them with many other Quicksilver products including Mike's Mini-Mites, the Silver 90's, and a pair of EL34 triode prototypes he built. I do like his products a great deal, and the Silver 90's were the only one in retrospect that I'd not necessarily like to keep as it's more suited to different kinds of music (great for orchestral or rock) than I like to listen to (more vocals, solo instrumental, folksy, alternative, some classical and some blues, as well as different world music). I've also tried Pass Labs Aleph 5, and a Bedini 25/25, both in direct comparison. I liked both those SS amps more than many of the much more expensive Levinson and Krell boutique gear I've heard as it brings something of the warmth of tubes while maintaining many of the dynamic strengths of SS (bass in both being the exception there). I've also listened to several different Levinson amps though not alongside my SET amps, so the comparison is indirect, and really profoundly different and not really my bag, though I did appreciate some of their strengths. What else...er....oh, a Unison Unico, Jolida 302B and 502B, all very nice products and great bargains for their respective prices. I also have listened to every one of George Wright's fine amps with the exception of his 45 based SET amp. My favorites have been his Mono 10's. I did like the 3.5's very much but ultimately the lack of a low-end punch had me wanting something more. The Mono 10's give me that. But the 300B SET amps are the ones I've hung onto through all this experimenting. They just sound right to me. The airiness of the presentation, as well as a spectacular soundstage, when paired off with the right preamp, as well as astonishing depth and dimension just hasn't been available with any of the other amps I've listened to. The closest is the Mono 10's and I've been hanging on to those too, but the 300B SET's are what I've had the longest and would be the last thing I'd give up in my system. They're like that old pair of boots that fit like slippers, I am not aware they're there...but if I wore something else I'd immediately be aware of the difference. I think it's just a personal preference. I'd love to hear some of the OTL offerings (never have) as well as a 45-based SET amp, both of which I'd bet I would enjoy. I'd have to say also, that like Howard, I am smitten with the older Klipsch LaScala's though I do think they have their weaknesses (flabby bass being the worst for me), I still seem to come back to their sound as my preference since they compliment the SET sound very well. When I sold Howard his it was to appease my wife and get the "dishwashers" out of the house and replace them with something smaller and more visually appealing. At the same time I was buying another pair for a good friend of mine who was moving across the country into my area to a house he was having built. I kept those speakers in my studio system until he moved here (had to keep thos drivers excercised, don't you know). I didn't know what to do by the time he moved as I didn't want to let them go, and thought I'd made a big mistake. It all worked out as my friend didn't realize just how much space they took up and opted to get a much smaller pair of speakers, so the LaScala's stayed with me. So I guess I've had those in two different forms, over three years. Over that time I've compared those to Silverline SR17 monitors which over amazing focus and detail, and disappear like nobody's business, but cannot approach the fullness and airiness of the much larger horns. Also several other Klipsch Heritage speakers. The one I do like even better are the Klipshorns, but I don't have the corners, nor the space for them. Also the Soliloquy 5.3's which Howard traded toward the LaScala's, which are very fine floorstanders indeed...more razor sharp focus like the Silverline Monitors, but with a fuller presentation. Here they have the range and fullness of the Scala's, but not as much airiness....it's kind of like there is a 'glow' around the musicians with the Scala's. Some folks who've listened have labeled it a 'warmth' I think. I dunno...it sounds "airy" to me, more like the musicians are really there. The instruments and voice resonates more natural sounding, and less amplified. Sorry for lack of audio-speak terminology. I guess I've also had my Muse Model Two plus DAC for almost four years. I can't say I've heard a whole lot of alternative front-ends during that time as I've been really happy with the two-plus and have had no inclination to try to improve on it. I have no doubt it could be done, but I've no wish to invest the money. I've been very impressed with the modified Jolida JD-100 as well as an Electrocomaniet, but neither really made me want to replace the Muse.
That's it for me...no 20 year anniversary's here either, but I can buy some leather gifts, I think it is, for some of my gear!
Marco
I haven't owned any components as long as many of the posts here either. I believe I'm coming up on three years with my Quicksilver 300B prototypes with no desire whatsoever to change them for anything else. I cannot say I've compared them to anything very exotic or in the five figure category. I have listened to them with many other Quicksilver products including Mike's Mini-Mites, the Silver 90's, and a pair of EL34 triode prototypes he built. I do like his products a great deal, and the Silver 90's were the only one in retrospect that I'd not necessarily like to keep as it's more suited to different kinds of music (great for orchestral or rock) than I like to listen to (more vocals, solo instrumental, folksy, alternative, some classical and some blues, as well as different world music). I've also tried Pass Labs Aleph 5, and a Bedini 25/25, both in direct comparison. I liked both those SS amps more than many of the much more expensive Levinson and Krell boutique gear I've heard as it brings something of the warmth of tubes while maintaining many of the dynamic strengths of SS (bass in both being the exception there). I've also listened to several different Levinson amps though not alongside my SET amps, so the comparison is indirect, and really profoundly different and not really my bag, though I did appreciate some of their strengths. What else...er....oh, a Unison Unico, Jolida 302B and 502B, all very nice products and great bargains for their respective prices. I also have listened to every one of George Wright's fine amps with the exception of his 45 based SET amp. My favorites have been his Mono 10's. I did like the 3.5's very much but ultimately the lack of a low-end punch had me wanting something more. The Mono 10's give me that. But the 300B SET amps are the ones I've hung onto through all this experimenting. They just sound right to me. The airiness of the presentation, as well as a spectacular soundstage, when paired off with the right preamp, as well as astonishing depth and dimension just hasn't been available with any of the other amps I've listened to. The closest is the Mono 10's and I've been hanging on to those too, but the 300B SET's are what I've had the longest and would be the last thing I'd give up in my system. They're like that old pair of boots that fit like slippers, I am not aware they're there...but if I wore something else I'd immediately be aware of the difference. I think it's just a personal preference. I'd love to hear some of the OTL offerings (never have) as well as a 45-based SET amp, both of which I'd bet I would enjoy. I'd have to say also, that like Howard, I am smitten with the older Klipsch LaScala's though I do think they have their weaknesses (flabby bass being the worst for me), I still seem to come back to their sound as my preference since they compliment the SET sound very well. When I sold Howard his it was to appease my wife and get the "dishwashers" out of the house and replace them with something smaller and more visually appealing. At the same time I was buying another pair for a good friend of mine who was moving across the country into my area to a house he was having built. I kept those speakers in my studio system until he moved here (had to keep thos drivers excercised, don't you know). I didn't know what to do by the time he moved as I didn't want to let them go, and thought I'd made a big mistake. It all worked out as my friend didn't realize just how much space they took up and opted to get a much smaller pair of speakers, so the LaScala's stayed with me. So I guess I've had those in two different forms, over three years. Over that time I've compared those to Silverline SR17 monitors which over amazing focus and detail, and disappear like nobody's business, but cannot approach the fullness and airiness of the much larger horns. Also several other Klipsch Heritage speakers. The one I do like even better are the Klipshorns, but I don't have the corners, nor the space for them. Also the Soliloquy 5.3's which Howard traded toward the LaScala's, which are very fine floorstanders indeed...more razor sharp focus like the Silverline Monitors, but with a fuller presentation. Here they have the range and fullness of the Scala's, but not as much airiness....it's kind of like there is a 'glow' around the musicians with the Scala's. Some folks who've listened have labeled it a 'warmth' I think. I dunno...it sounds "airy" to me, more like the musicians are really there. The instruments and voice resonates more natural sounding, and less amplified. Sorry for lack of audio-speak terminology. I guess I've also had my Muse Model Two plus DAC for almost four years. I can't say I've heard a whole lot of alternative front-ends during that time as I've been really happy with the two-plus and have had no inclination to try to improve on it. I have no doubt it could be done, but I've no wish to invest the money. I've been very impressed with the modified Jolida JD-100 as well as an Electrocomaniet, but neither really made me want to replace the Muse.
That's it for me...no 20 year anniversary's here either, but I can buy some leather gifts, I think it is, for some of my gear!
Marco