Do you mean the old or new Pl-300?
Which amp do you use at the moment?
Which amp do you use at the moment?
Stillpoints Ultra6 reference vibration controlers?
Category: Amplifiers
I started to work in audio in july 1998. I remember that the first day I started I had a blocknote with me. I started in room 1 of the loudspeakers. Here it all started to write down properties of each individual tool. For a long time I was addicted to audio. I was busy with audio for 80 hours a week. It was never enough for me.
Almost 17 years later I have done thousands of tests in audio. From the mid level till highend. I became aware that I could judge and understand audio a lot more easy than all my collegues. But I never understood why. Untill in 2012 I became aware that I have a photographic memory in sound. I trained this part of my brain for a long time. Every single audition I can recall. So a second audition I see in front of me and the first one is on the left side. Within a few tenths of a second I know already the difference between them.
When you are aware of all the properties of each individual 'tool' you will see and understand the patterns between them. And you will understand the connections between them. This means you understand how the stage and overall sound has been created. I can see 3-4 steps further than other people in audio can.
I judge every single tool on what I call Total Sound. Total Sound is like a blue print of the original sound. When I audition sets from 'new' clients, at shows or at another audio shop in almost all situations it is what I call 'incomplete'.
In most 'new' sets I need to bring in parts of Total Sound to make it complete. At the end it is so much more addictive to listen to any set I 'repaired'.
Parts of Total Sound:
- Soundrealism: you want and need an instrument to sound like
in real. I use Pass labs amps to the max for this. It is the
focus on sound of each different instrument and voice. For
example: you want to hear the difference between 2 acoustic
guitars of a recording. I always want to hear the full
pallet in the mid freq. The timbre is an essential part
of listening to music
- 3 dimensional soundstage: this is the most exiting part of
audio in general. This sets your beloved music in full 3D
in front of you. During listening you can focus on each
individual part of a recording.
- Intimate sound: instruments and voices are very small in
dimension and very direct in sound. You want a realistic
proportion of instruments and voices. Intimate sound has
a very big influence on our emotion.
- Blacks: The space between the instruments and voices with
their acoustic information during the recording. This is
level of physical appearance. You want to touch every single
instrument and voice of the recording. Germans use the word
'darstellung'.
- timing and speed: it is a very important part for authority
and control of the overall sound. Better timing will give
you less acoustic limitaions. But also a more natural sound.
Biside this you also can reveal more layers of the low freq.
- Resolution: you want to hear all details of the recording.
And it needs to be physical apparent.
- Air: This part gives the instruments and voices the freedom
during listening. Separation makes your music so much more
appealing.
- A big freq. response: When your system goes deeper in freq.
response you will hear more information of a recoding. This
also has a big influence on our emotion. People can hear
till maximum 20 khz. But...the freq. response above it
influences our brains.
- articulation of voices: how clear you can hear word
endings, breathing of singers and moving lips.
- heights: When I received 2 sets of the Audioquest Wel
Signature xlr's it became more clear than ever. It makes
listening to music different and even more appealing.
I wanted to tell this information first before I start with the review of the Ultra 6. Because it makes it much more easy to understand how I work. By using tools for their properties you always will reach a superior endresult in sound. For a perfectionist like me you always go to the max. There is no room for error.
When you have done thousands of tests like me, you are aware of how important and unique the working of Stillpoints are in your set. I am a stillpoint dealer and use many of them in my set. They are an 'essential' part for the absolute sound. Why? Because they can add 'new' qualities I could not create with other tools.
At this moment we speak I do a lot of research with new tools and systems. I call it creating a new 'statement' in sound. Because I want to reach a higher endresult than ever before regardless price in audio. It is a higher level of accuracy and realism than before.
Without Stillpoints I would not be there were I am at this moment. When you compare the Ultra 6 against the other Stillpoints you know how much better they are.
I put them under my Pass labs X350.5. They operate in a different league. They even bring your set into a new zone. Like it puts your set into pause and it sets your music free. Your stage becomes wider and deeper and you get more air around all instruments and voices.
The mid freq. becomes more involving than before. Also the authority and control of the mid freq. is more precise.
When you compare amps or sources which have a huge difference in price ( 2000 dollar against 10.000 dollar+) you will never have this difference in timing the Ultra 6 gives to you. It is mindblowing in what it does with the speed and timing. It becomes so much more accurate and refined.
I noticed that the sound of a piano and cello becomes so much more natural sounding.
In the high freq. you will reveal more details. And again the control and authority in the high freq. gets to a much higher level.
The low freq. go deeper than before with a much higher level of authority again. You hear more layers but beside this the natural sound of a bass drum has never sounded this 'real'.
I am the first person who bought then in the Netherlands. And I am thrilled to own them. They are a crucial part of my set. They will have an important part for me to be able to create a new 'statement'in sound.
When you ask me the question; are they expensive? You know they are even rather cheap for the quality and level they bring. I'll love them till death!
Sound&Vision Consulting 16-2-2015
I started to work in audio in july 1998. I remember that the first day I started I had a blocknote with me. I started in room 1 of the loudspeakers. Here it all started to write down properties of each individual tool. For a long time I was addicted to audio. I was busy with audio for 80 hours a week. It was never enough for me.
Almost 17 years later I have done thousands of tests in audio. From the mid level till highend. I became aware that I could judge and understand audio a lot more easy than all my collegues. But I never understood why. Untill in 2012 I became aware that I have a photographic memory in sound. I trained this part of my brain for a long time. Every single audition I can recall. So a second audition I see in front of me and the first one is on the left side. Within a few tenths of a second I know already the difference between them.
When you are aware of all the properties of each individual 'tool' you will see and understand the patterns between them. And you will understand the connections between them. This means you understand how the stage and overall sound has been created. I can see 3-4 steps further than other people in audio can.
I judge every single tool on what I call Total Sound. Total Sound is like a blue print of the original sound. When I audition sets from 'new' clients, at shows or at another audio shop in almost all situations it is what I call 'incomplete'.
In most 'new' sets I need to bring in parts of Total Sound to make it complete. At the end it is so much more addictive to listen to any set I 'repaired'.
Parts of Total Sound:
- Soundrealism: you want and need an instrument to sound like
in real. I use Pass labs amps to the max for this. It is the
focus on sound of each different instrument and voice. For
example: you want to hear the difference between 2 acoustic
guitars of a recording. I always want to hear the full
pallet in the mid freq. The timbre is an essential part
of listening to music
- 3 dimensional soundstage: this is the most exiting part of
audio in general. This sets your beloved music in full 3D
in front of you. During listening you can focus on each
individual part of a recording.
- Intimate sound: instruments and voices are very small in
dimension and very direct in sound. You want a realistic
proportion of instruments and voices. Intimate sound has
a very big influence on our emotion.
- Blacks: The space between the instruments and voices with
their acoustic information during the recording. This is
level of physical appearance. You want to touch every single
instrument and voice of the recording. Germans use the word
'darstellung'.
- timing and speed: it is a very important part for authority
and control of the overall sound. Better timing will give
you less acoustic limitaions. But also a more natural sound.
Biside this you also can reveal more layers of the low freq.
- Resolution: you want to hear all details of the recording.
And it needs to be physical apparent.
- Air: This part gives the instruments and voices the freedom
during listening. Separation makes your music so much more
appealing.
- A big freq. response: When your system goes deeper in freq.
response you will hear more information of a recoding. This
also has a big influence on our emotion. People can hear
till maximum 20 khz. But...the freq. response above it
influences our brains.
- articulation of voices: how clear you can hear word
endings, breathing of singers and moving lips.
- heights: When I received 2 sets of the Audioquest Wel
Signature xlr's it became more clear than ever. It makes
listening to music different and even more appealing.
I wanted to tell this information first before I start with the review of the Ultra 6. Because it makes it much more easy to understand how I work. By using tools for their properties you always will reach a superior endresult in sound. For a perfectionist like me you always go to the max. There is no room for error.
When you have done thousands of tests like me, you are aware of how important and unique the working of Stillpoints are in your set. I am a stillpoint dealer and use many of them in my set. They are an 'essential' part for the absolute sound. Why? Because they can add 'new' qualities I could not create with other tools.
At this moment we speak I do a lot of research with new tools and systems. I call it creating a new 'statement' in sound. Because I want to reach a higher endresult than ever before regardless price in audio. It is a higher level of accuracy and realism than before.
Without Stillpoints I would not be there were I am at this moment. When you compare the Ultra 6 against the other Stillpoints you know how much better they are.
I put them under my Pass labs X350.5. They operate in a different league. They even bring your set into a new zone. Like it puts your set into pause and it sets your music free. Your stage becomes wider and deeper and you get more air around all instruments and voices.
The mid freq. becomes more involving than before. Also the authority and control of the mid freq. is more precise.
When you compare amps or sources which have a huge difference in price ( 2000 dollar against 10.000 dollar+) you will never have this difference in timing the Ultra 6 gives to you. It is mindblowing in what it does with the speed and timing. It becomes so much more accurate and refined.
I noticed that the sound of a piano and cello becomes so much more natural sounding.
In the high freq. you will reveal more details. And again the control and authority in the high freq. gets to a much higher level.
The low freq. go deeper than before with a much higher level of authority again. You hear more layers but beside this the natural sound of a bass drum has never sounded this 'real'.
I am the first person who bought then in the Netherlands. And I am thrilled to own them. They are a crucial part of my set. They will have an important part for me to be able to create a new 'statement'in sound.
When you ask me the question; are they expensive? You know they are even rather cheap for the quality and level they bring. I'll love them till death!
Sound&Vision Consulting 16-2-2015
- ...
- 90 posts total
I own the Pl-500 as well, but Monitor Audio make many great speakers. I have sold hundreds of MA speakers in over 9 years of time. In the last 7 years I sold them all with a 3 dimensional stage. This is what the MA speakers make so special compared to all other brands. Most shops do not have the knowledge to think in properties. They really don’t F know which brands are able to create a 3 dimensional stage. The most dissapointing part is that in most shops in the world MA speakers are demoed always in 2D. This way they never can demo why they are so much more special compared to all the other brands. |
When you work and think by Tru-Fi you can reach a superior level out of audio compared to the limited trial and error way everybody is using. By working by Tru-Fi you can use all the properties/talents the MA speakers own. I create a much higher level and quality out of any Monitor Audio speaker. You cannot compare it with the sound and quality all other shops are able to reach. This level I can create has no competition. I has a higher level of emotion and intensity. We create and sell a sound instead of brands. Monitor Audio is only a part of our sound. The main focus is always the sound. All the different parts in a set are only used by their properties. We are only interested in properties, the rest doesn’t matter. We collect properties with them we build our sound. This is a totally different approach in audio. But in endresult and quality superior to any system you could create by trial and error. |
Deal for the PL 300’s fell through (beaten by a higher bidder). I’ll be receiving a new pair of MA Gold 300’s (2015 edition) instead. They’ll be paired with a Marantz 11S3 integrated which I bought last year. b01972, I believe you said Marantz’s are 2D. Are you 100% sure? If so, what would you recommend as a replacement in it’s price range? |
The 11S3 is an exeptional poor 2D amp. I have a shootout of the 11S3. I invited 2 of my clients who play with the Pl-200 at this moment. They played both with Marantz 2D amps. I wanted to bring them to a 3 dimensional stage. So we did a shootout. You have to translate the text. After the shootout they both directly sold their Marantz amps. This is what 3 dimensional sound does with people. The 11S3 plays a full flatt 2D stage with the GX-200. The Onkyo TX-NR3010 with a S.A.P. measurment outperformed the 11S3 in stereo use with ease. The 11S3 is e 2D hifi stereo amp. This is F insane to be used with any Monitor Audio loudspeaker. You must be a fool to use this combination. https://www.facebook.com/bobby.kingma/media_set?set=a.10155458418710083.1073741874.588405082&typ... https://www.facebook.com/bobby.kingma/media_set?set=a.10155460238350083.1073741875.588405082&typ... Audio always need to used by it’s properties. The Marantz has the d.n.a. of a 2D stage. You cannot change this. Each Monitor Audio loudspeaker goes to a much higher level when you use a 3D amp. That is why I only use amps which are able to create a deep and wide stage. |
- 90 posts total