Hi David,
Yes, I was using original spikes but I think Townshend's point would over-rule different spikes mattering altogether--at least when the speakers are on the Seismic Platforms.
My updates relate to refining components upwind of my Nenuphar/SIT-1 combination that still sounds like a marriage made in heaven. My focus has been on my pre, which took an unexpected detour when the dealer who sold me my SIT-1's brought over a Pass Labs SP-10 to try. To my surprise (I thought I was doing HIM the favor) I quickly acquiesced to it's obvious benefits over the tube pre I'd been using (all the tube pre's for that matter I'd been using): truer pitch and tonal definition, much tighter and engaging bass, a more open soundstage with much better focus, and deeper, darker space. My tube prejudice was soundly put in it's place. After extended listening my only qualm with the SP-10 was that it could sound--with some recordings, not all--a little mechanical and dry. With Ella's Clap Hands Here Comes Charlie for instance. (But I'm pretty sure the CD of that recording has been digitally enhanced.) Realizing the SP-10 was on the lower tier of the PL line of pre amps, I did some research and found what I thought was the sweet spot of the line, the SP-22. I soon purchased a used one from Mark at Reno Hifi. Not surprisingly the SP-22 was even better in all areas than the SP-10 without a whiff of the latter's short comings. After 10 days with the SP-22 in the system, I am still listening with new born amazement. I think it corroborates that the Nenuphar speaker cries out for a kind of organic neutrality up front, white on white if you will that leaves the purest palette for it to paint its true colors. But then again if you do prefer the color of a certain component--let's say the sunshine of a Shindo pre--it will give you just that it all it's saturated glory. I just find any global tint grows tiresome over time--at least with this speaker.
Yes, I was using original spikes but I think Townshend's point would over-rule different spikes mattering altogether--at least when the speakers are on the Seismic Platforms.
My updates relate to refining components upwind of my Nenuphar/SIT-1 combination that still sounds like a marriage made in heaven. My focus has been on my pre, which took an unexpected detour when the dealer who sold me my SIT-1's brought over a Pass Labs SP-10 to try. To my surprise (I thought I was doing HIM the favor) I quickly acquiesced to it's obvious benefits over the tube pre I'd been using (all the tube pre's for that matter I'd been using): truer pitch and tonal definition, much tighter and engaging bass, a more open soundstage with much better focus, and deeper, darker space. My tube prejudice was soundly put in it's place. After extended listening my only qualm with the SP-10 was that it could sound--with some recordings, not all--a little mechanical and dry. With Ella's Clap Hands Here Comes Charlie for instance. (But I'm pretty sure the CD of that recording has been digitally enhanced.) Realizing the SP-10 was on the lower tier of the PL line of pre amps, I did some research and found what I thought was the sweet spot of the line, the SP-22. I soon purchased a used one from Mark at Reno Hifi. Not surprisingly the SP-22 was even better in all areas than the SP-10 without a whiff of the latter's short comings. After 10 days with the SP-22 in the system, I am still listening with new born amazement. I think it corroborates that the Nenuphar speaker cries out for a kind of organic neutrality up front, white on white if you will that leaves the purest palette for it to paint its true colors. But then again if you do prefer the color of a certain component--let's say the sunshine of a Shindo pre--it will give you just that it all it's saturated glory. I just find any global tint grows tiresome over time--at least with this speaker.