Size, features, bang for buck, efficiency, durability (low maintenance)
If it gets past them and sounds good it stays.
If not, buh bye.
If it gets past them and sounds good it stays.
If not, buh bye.
System building; a meditation
System building; a meditation
This is an offshoot of a posting I made in a different thread; that is, what is one’s approach to building a system out of various components that maximizes the sonic attributes of the combination of particular components?There’s been some push-back on “tweaks” but leave that to the side for now. How does one select what components to include in a system, putting to one side budgetary constraints? (the budget thing can be solved in several ways, including through used and through a deliberate strategy to acquire certain components over time that achieve a certain result- my point being, if it weren’t simply a constraint of capital, how does one choose?)
There seem to be a few rules that we abide by- the relationship of amp to speaker being fundamental. The choice of front end –from DIY digital to high end analog is also a choice, but I’ll be agnostic in this regard even though I came up through the LP and still regard it as the mainstream medium of choice, simply because of the wealth of material in older records.
How do people choose the combinations of equipment they employ? Is it happenstance, the gradual upgrading of each component to a high standard or some other benchmark for what the system is supposed to do that necessitates certain choices?
For what it is worth, I don’t endorse one single approach; I went from electrostat listening (including ribbon tweets and subs) to horns, sort of (Avantgardes plus subs) and SET as one choice, but have heard marvelous systems using larger, relatively inefficient dynamic set ups (Magico; Rockport, TG, etc.) combined with big solid state power that left a very positive impression.
How do you sort through the thicket? It isn’t just specs, and listening within your system to evaluate is an ideal, but I’m opening this up to system building in general—what approach do you take? I’m not sure there is a single formala, but thought it worth exploring since it seems to be an undercurrent in a lot of equipment changes without addressing the “why?” of it or how one makes these choices.
I know that we are mired in a subjective hobby, and almost every system is different, even if the components are the same in a different room, but thought this might be an interesting topic for discussion. If not, the lack of responses will prove me wrong. I don’t have a single answer to this FWIW.
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@pauly- yes very broad, impossibly so perhaps. But it is the process that I'm inquiring about- I think @mikelavigne and @holmz both described the steps they went through. The question originally arose in my mind when thinking about the nature of what we share on these fora; questions about particular gear, and sometimes synergies between them, but is there any method to the process? For me, it was gradual changes and evolving both gear and my own expectations of what could be achieved, but that spanned decades. I guess there are no shortcuts. Perhaps, apart from room acoustics, placement, good clean power, much is preference. Mike's observation about colorations is interesting since I achieved my personal best performance levels with the Lamm ML2 and Koetsu stone bodies-- certainly not cheap, but both would probably fail Mike's neutrality test (not complaining, or criticizing Mike; to the contrary, this just underscores how much may be based on preference). I certainly don't tout my system as "colored" or euphonic, but I want both the clarity I get from tubes in the mids and that fully fleshed out sound that the Koetsu seems to deliver, neutrality be damned! Thanks to each of you for your input. |
Bill, i think what we call ’coloration’ has a wide variance from person to person like you say. maybe it comes down to expectations for big music. when i had my Koetsu RSP for 10 years, or my Lamm ML3’s for 6 months, neither would be my answer for listening to big orchestral at warp 9 in my large room....which is essential for me. my Etsuro Gold cartridge or darTZeel mono blocks are better tools for that task for me and my system. yet in a different room and speaker system the Koetsu and Lamm might be the perfect pieces and fulfill any big music expectations for that listener. and then there is our personal sonic compass and comfort zone. so many contexts and different targets. i will say again.........the key is having your own reference sound, then going after it. if you get it then enjoy it. |
Bill great thread. All who wander are not lost, just most of them. IF you don’t know where you are going any road will get you there. Few of us can start with a clean sheet race car mentality or budget. The fully formed, audiophile music addict rarely pops out of the womb that way. So we are somewhat weighed down by our experience and possessions, and key emotional events tied to same. Start with the goal in mind: My mentor describes it as “ very frequent goosebumps moments of holy cow, I am there in the acoustic space with the performers “ I think a key bit of discernment comes from the question ; what are my references ? Frankly i don’t think it is studio multi track. i went down a path to etch in my mind and stored media references where i witnessed the unamplified event in reverberant space. In doing some research, that similar quest duplicated by more than a few audiophiles wanting more - see Ken Kreisel aka Real Time Records, Sheffield, Water Lilly, etc. Great examples that people like @bdp24 appreciate. The missing bit was being there… So set off on my path to build some references where i was there, often fiddling w dials, etc. So my destination is clear, it does not include counting the coins in DSOM Money, chasing details “ i have never heard before “… well, maybe…but i was there. Of course, this model depends on microphone choice and a host of other variables… So, in short…collect references, even if they are only in the mind. Deciding on first principles is important. Some people don’t hear time and phase. My curse is, I do. While i own speakers that are not accurate in those two key dimensions, they are not my reference tools. They do often spotlight limitations and sometimes shine a light on shortcomings in the reference. It also helps to run with a smart, inventive yet perpetually unsatisfied crowd… Why would Peter Walker, noted genius seek to emulate a point source within a planer ? Got to run, more on first principles later, 31 flavors and cat chasing own tail.. Jim |
mikelavigne
Hi. I have bookmarked and PDF'd the article which details the build you did of your listening room in your barn and have re-read it many times. Amazing room and system -- to die for. I recall it's in the PNW where I am, and if you welcome visitors, count me in! Your advice is excellent, so all I need now is more money and younger ears. Cheers. |
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