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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.


128x128whart
orgillian197
119 posts
 
Back in the day, just out of college, we all had stereos but a rare few had well constructed systems. Hearing those, along with visits to area stereo stores (not big boxes), gave clues as to what components (and brands) to seek, within budget of course.

But in thinking about the question, 43 years now since I began reaching beyond just a "stereo", it's always started with the speakers and worked on through media source (analog and digital), then amp, then pre-amp, then any tweaks, cables, etc. And with the caveat that, for me, especially at lower income levels, I often spent far more yearly on the music itself (lps, cds, dvds) than on the system.
kahlenz's avatar
kahlenz
274 posts
 
Listening habits. I have my modest system in a room with some comfortable furniture. I can, if I want to, sit between the speakers, and sometimes pull them a bit forward for more of a near-field experience, but usually leave them where they are and sit where I want to. Often there are several people in the room, and the sound is good wherever you sit. For me, an easy going system that is convenient and does not dominate the room is the best choice.
What is most important is the choice of music, the companionship of friends, and the quality of the Scotch.
holmz's avatar
holmz
2,328 posts
 
But the physical speaker itself is also imprinting on the effect of the room. You being in the room is another factor. This is what I mean by (sonic) 'fingerprint'.  

I am picturing “a disturbance in the force”.
audio-satisficer
30 posts
 
First, I don't think one can put budget constraints to one side. They are the very first consideration, for the overwhelming majority of us, in system building. Then, it becomes a question of allocating the budget across the various components of the system. I am agnostic on how much one should budget for speakers v. sources v. amps. I agree that the matching of system components is more important how much of the budget is invested in any particular part of the system.

When mixing and matching, the primary concern, of course, is for how components work with one another based on the sound one is looking for, e.g., how much detail versus, say, long-period listenability (although I think such trade-offs are slowly shrinking thanks to evolving technologies). Although differences between tube and SS amplification are narrowing at higher price points, substantial differences persist in lower-priced equipment. But that's largely a matter of personal sound preference and whether one wants to plug it in and forget about it or have the option of tube rolling (IMO, that way madness lies). 

The next consideration, for me, is the performance-for-price ratio, given the budget constraint. We all want to get the biggest bang for whatever bucks we spend. Suppose the overall budget is $5000, and I've already bought speakers and a source for $3000. So, I have $2000 left for amplification. I want to spend that $2000 on equipment that has a strong reputation for performance (e.g., providing 80-90% of what I'd get if my budget were two or three times greater), reliability, customer service, and to a lesser extent visual aesthetics. If much overall budget was $10K instead of $5K, the same considerations would apply. 

In choosing components, I don't restrict myself to specific manufacturers, but I have found, over time, that I tend to go with certain manufacturers over others based on the considerations I have described. In my (inevitably) limited experience, I have found that some companies like Rega, Parasound, and Tekton consistently provide high performance-for-price value. I also have gotten good value for my money from Mytek DACs, although, now that manufacturing has moved from Poland to the US, their prices are inevitably rising. Many audiophiles, no doubt, would consider my choices boring or too obvious but, as with all things audio, de gustibus non est disputandum. 
fsonicsmith's avatar
fsonicsmith
959 posts
 
All this talk of avoiding coloration....
What does a luthier strive for when crafting a guitar or violin body? The answer is a complimentary and resonant coloration. A good analogy is that fermented cabernet grapes need a degree of oak to bring out the best of both in a finished wine. The oak is a coloration or adjunct to the "pure" uncolored grape juice. 
This is why, imho, totally inert speaker enclosures are a misdirected pursuit. 
This topic involves more than loudspeakers-the overall goal needs to be identified and addressed first. Doesn't it simply make logical sense that if the goal is to recreate what was heard in the studio we would all be listening at home with studio equipment? Ever listened to studio equipment at length? I have. It is clinical, sterile, and cold. 
I am happy to acknowledge that what floats my boat is not what floats another's. I like a system to be immersive so that the sound washes over me and conveys emotion. Piano and the human voice don't need to be 100% true to the source so long as it sounds like the real thing. There is a difference between the two. It is like the difference between a dry historically accurate description of an event versus the verisimilitude of a fictionalized account of the same event. 
After enough time in this hobby you can fairly easily discern the electronics, sources, and loudspeakers that will suit your preference. Reading reviews leads to more wrong paths taken/purchasing mistakes than any other source of "audio disease". With the demise of audio shops one has to find an experienced retailer (often out of state), describe what you are looking for and listen to the advice given. Perhaps audio shows will survive and they help despite being something akin to carnival mirrors. Listening to other's systems helps. And then, finally, one needs to realize that the trial and error process, the pursuit, is what makes this hobby fun. If I lived on Park Avenue and had some audio guru come in one day while I was out and install the perfect system for me, the nadir of all that I could ever wish for, I am pretty sure I would feel that I had been robbed. 
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