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Stefano Bertoncello "TWOGOODEARS"

Article from Stefano: 2/19/2017: Lokum G-88 and Siggwan 12" with Signet 7LCa

Update: 11/30/2017

Previous Update: 11/10/2014

 

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GARRARD 301 GREY "SOLID" CHASSIS BY RAYMOND CLARK, WITH BESPOKE GREASE BEARING AND 13,5 KILOS BRONZE B19 PLATTER, 800 GRAMS BLUE LEADED-CLOTH MAT BY SHINDO IN A CUSTOM-MADE SLATE 45 KILOS PLINTH, AND THE PEAK 16" ARM USING AS MAIN CARTRDGES THE MIGHTY NEUMANN DST OR LUMIERE DST INTEGRATED HEADSHELL

ALSO "IN HOUSE", CURRENTLY IN A CLOSET, ARE A LOT OF MORE GOODIES – I.E. FIDELITY RESEARCH FR64-S 10" WITH B-60 VTA ARMBASE, FIDELITY RESEARCH FR 66-S 12" ARM, THOMAS SCHICK 12" HAND-MADE ARM, EMT 997 (BANANA) 12" ARM, AN ORTOFON RMG-309i AND A SIGGWAN COCOBOLO WOOD UNIPIVOT ARM, MOUNTING, ALTERNATIVELY, ANY CARTRDIGE I WISH TO TRY OUTAND MORE...

CARTRIDGES ARE SEVERAL – I.E. - DECCA SC4E, DECCA FFSS MkII WITH DECCA/SME ADAPTER, ALLNIC PURITAS BORON, SIGNET 17 MM, SHURE V15.MkII, DENON DL-103 NHK, MIYAJIMA SHILABE, NEUMANN DST WHITE AND LUMIERE DST.

HEADSHELLS ARE ALSO IN SPADES – I.E. - ARCHE’, BOSOEUM, BRAUN, IKEDA, KIMURA LABS RS-3, FIDELITY RESEARCH "BIG SCREW", YAMAMOTO EBONY.

MY WIFE’S SYSTEM: MARANTZ 7C PREAMP WITH TELEFUNKEN DIAMOND "SMOOTH PLATE" ECC83 TUBES, MARANTZ 10B TUBE TUNER, NAKAMICHI 600 MKII CASSETTE RECORDER, USED WITH GRUNDIG AUDIORAMA 7000 SPHERES-SPEAKERS AND AN OLD BANG& OLUFSEN BEOGRAM CD-5500 16 BIT CD-PLAYER FOR HOME BACKGROUND MUSIC.

LE SOLSTICE (KANEDA PROJECT) J-FET PRE-AMP, BY LA MAISON DE L'AUDIOPHILE'S JEAN HIRAGA.

... ALTERNATIVELY:

CUSTOM HAND-MADE 4-CHASSIS PREAMPS BY THOMAS MAYER FROM GERMANY, USING TANGO EQ-600 LCR MODULES AND WESTERN ELECTRIC 4 X 437A ON PHONO AND 2 X VT-25/801A (CURRENTLY SWINGING ON ’29 CUNNINGHAM CX-310s) TRIODES IN LINE-STAGE, WITH ALL LUNDHAL TRANSFORMERS AND DEDICATED P.S.U.

MC TRANSFORMERS ARE: PEERLESS 4685, PEERLESS 4722, TIM DE PARRAVINCINI'S "THE HEAD" TX-4, PARTRIDGE A-973, WESTERN ELECTRIC 618-B, PEERLESS 4611, BEYER TR/BV 351015006 AND HARMAN-KARDON XT-3.

SEVERAL LENCOS’ ARE A NEW ENTRY - B-55 (WITH NEW BEARING AND 5,5 KILOS ALUMINIUM ALLOY PLATTER), L-75 AND GOLDRING G-88, ALL MOUNTED IN SLATE PLINTHS… THEY ARE EXPERIMENTERS TABLES… ONLY LENCO L-75, USED WITH A SYRYNX PU-3 IPSISSIMA (GREAT OVERALL TABLE!!!) AND LENCO/GOLDRING G-88 - USED AS A SELF-STANDING MOTOR-ONLY TURNTABLE WITH A SEPARATE BRONZE OR SLATE ARM POD - ARE COMPLETE, WORKING TABLES.

DIGITAL: MERIDIAN 500 MkI (TOSLINK) AND MkII (XLR COAXIAL) CD-TRANSPORTS, USED WITH MERIDIAN 563 24 BIT DAC, ALSO USED WITH A MACBOOK PRO 17" FOR DOWNLOADED FILES, ETC.

STUDIO OPEN-REEL TAPE RECORDERS:

TELEFUNKEN M15-A

STUDER B-62

STUDER B-67 HIGH SPEED (30 ips)

REVOX/DE PARRAVICINI G 36 HIGH SPEED (19/38)

TANDBERG 10XD (2 tracks 9,5/19/38)

TANDBERG TD20A (2 tracks 19/38) 

REVOX A77 MK IV - 4 TRACKS

TANDBERG 9200XD - 4 TRACKS 

FOUR-AMPED SPEAKERS SYSTEM (GOTORAMA) USING (PER SIDE): ELODIS AUDIO "TGE" BASS-HORN, GOTO UNIT SG-570 ON GOTO UNIT S-150B ROUND ALUMINIUM/BITUMEN HORNS, GOTO UNIT SG-370DX MID-HIGH DRIVERS WITH S-400 OR S-600 ROUND (BITUMEN AND ALUMINIUM) HORNS AND GOTO UNIT SG-160 WITH S-3000 HORN – ALL 16 OHM.

POWER-AMPS:

NUFORCE MCA-20 STEALTH 8 CHANNELS CLASS D AMP

OR

4 x HIRAGA LE CLASSE A 30W ON LOW, MID-LOW, MID AND HIGH,


BOTH COMBOS USED WITH THOMAS MAYER BESPOKE 4-WAYS CROSSOVER, USING ALL DAVE SLAGLE’S TVCs THROUGHOUT AND FULL SILVER CABLING.

 

 

SMALL-SCALE MUSIC, MINIMALIST AUDIO SYSTEM IS BASED ON A LUCA CHIOMENTI’S "SCHERZO", TRIODE-CONNECTED PCL82 1,7 W INTEGRATED AMP USING ALPS RK-50 POTENTIOMETER AND AN OLD, TRUSTY STUDER A-730 DISK PLAYER (using Philips TDA 1541-S2 Double Crown DAC), WITH A PAIR OF CABASSE DINGHY 221 SPEAKERS AND OLD SIEMENS’ ‘50s OXYDE CABLE.

SMALL SPEAKERS ARE CABASSE DINGHY 221, TANDBERG HI-FI SYSTEM 11 ON FOUNDATION DESIGNER SPEAKERS-STAND, ZEISS-IKON PAIR OF LUGGAGE-LIKE SPEAKERS

PASSIVE PREAMPS:

LUXMAN AT-3000, AUDIO CONSULTING "SILVER ROCK" AND FIDELITY RESEARCH AS-1

ALTERNATELY USED WITH A WESTERN ELECTRIC 421A STEREO AMP (3,5 W) OR EMISSION LABS 300B MONO-BLOCKS USING ALL (OLD PRODUCTION) PARTRIDGE'S TK4519, ETC. TRANSFORMERS AND CHOKES.

CABLES ARE: XLO SIGNATURE PHONO ON 301 AND SUTs, AUDIO CONSULTING CRYO SILVER SOLID CABLES FOR SPEAKERS MULTIAMPING AND HAND-MADE SILVER CRYO RCA CABLES BY AUDIO CONSULTING AMONG POWER AMPS AND CROSSOVER AND A 7N SILVER "MUSTO" PHONO CABLE BETWEEN MAYER’S LINE-STAGE AND PHONO STAGE.

EARPHONES ARE: STAX SRX ELECTROSTATICS AND 2 X BEYER DT-48 - ONE MOSTLY USED AS A MONITOR TOOL


PORTABLE RECORDING GEARS:

DIGITAL:

SOUND DEVICES 722 2 TRACKS 24BIT/192KHZ RECORDER IN PORTABRACE FiELD-RECORDING BAG, OFTEN USED WITH NEUMANN USM-69 IN BLUMLEIN PATTERN.

ANALOG:

STELLAVOX SP-7, STELLAVOX AMI48 MIXER, NAGRA IV-S WITH QGB OPEN REEL, SONY WMD6-C CASSETTE RECORDER AND "SOME" AKG, STC, BEYER AND NEUMANN'S MIKES, AND P.S.U., MIKE-CABLES, MIKE-BOOMS, MIKE-ELASTIC SUSPENSIONS, ETC. TO ALMOST NEED A FULL ROOM FOR STORING IT ALL: RECORDING IS SUCH A JOY!!!

... AND, OF COURSE, THOUSANDS RECORDS, MANY TAPES AND CDs AND GUITARS, OUD, PIANO, VIOLIN, DOUBLE-BASS AND PERCUSSIONS, ALL TO FEED THE ABOVE MENTIONED BEHEMOTH AND MYSELF, BOTH SOOO FOND’N’HUNGRY OF MUSIC;-)))

 

http://twogoodears.blogspot.com/

(Previous)

An holistic approach.....

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 301/Shindo ,Schick 12-inch arm and Lumiere/DST cartridge, with old Peerless 4611 MC-transformers in the background. 

 

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I prefer a controlled DIY, hi-tech approach – i.e. I build myself, with a machinist friend and a welder friend ALL I can: audio tables, stands for horns, slanted large, hinged plywood baffles, the newly made Rolling-Pods, bronze arm bases, wooden/plywood/leaded plinths for Garrard, signal and speaker cables, I punch myself the Hammond aluminium boxes, having them painted with vintage hammer-tone paints, which I use for my several MC-transformers – one of my "obsessions" (mo’ later...)

This manual approach is salt and pepper to my audio and music passion... also with my acoustic and classical guitars... having my personal care on my fine instruments give to me a closer knowledge of the sounds obtainable from – say a Brazilian Rosewood Lowden, a ’65 Guild F-312 or a Martin Adirondack/Brazilian Rosewood from 1917... learning, from a luthier friend, "how" to use French polish varnish on prized, vintage instruments... I love more and respect my old, trusty instruments!

 

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This DIY, --someway out of the mainstream attitude--, goes back in the years;-) as a young music lover, still in my teens, I began – like others – with a Thorens TD160... swapped arm to a Rega RB300, swapped Shure M75-ED for a Supex SD-900, swapped ESS speakers for a Tandberg Studio Monitor, then to Quad ESL, sold Harman-Kardon integrated for an Harman Kardon Citation 17/19 combo, discovered tubes: Radford STA-15, then Quad II... then Stax F-81 with Futtermann H3AAA, Linn Sondek LP-12 and Syrinx PU-3 and Accuphase AC-2... Basis Debut with Syrinx and Koetsu Rosewood Signature and.... KAPOWWW... old Altec’s speakers with VOT enclosure – two way system simply blew my mind – these "monsters" aren’t for disco, BUT they’re capable of playing "Music" – I guessed – but "why" magazines where SO silent on this statement and definite true?!?...since then... another BOOM! Garrard 301 turntable and 12 inches arms – Fidelity Research, Ortofon... recently BROOOOM! again: Lumiere cartridges and Schick arms... more recently: ALLNIC "Verito" MC cartridge from South Korea! Every audio wrecking, by trial and error, usually brings an improvement, in a continuous fiddling, searching for a tonal balance I was well aware of as a classical music concert goers.

I consider the most tricky aspects of this fantastic hobby – better, a love for life – always being VERY curious about any music, from discs, from local music students, from radio, from concerts, from readings, from the Web... the "Holistic approach" I recently quoted consists in building with love, passion, humble search for a 360 degree knowledge in music, including playing (at least) an instrument, chatting with more informed people worldwide, avidly going to all the concerts you can and – most important – not being fooled by friends or magazines. The music experience as a whole consists of the listener, the gears, the room, the ideal sound, where a violin is a violin... so, no jokes... a cable is as important as the couch you’re seated in and ALL gears aren’t more important than your old trusty badged fridge, down in the kitchen. You are the Music, not yr. system.

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This means that, holistically, the music prevails on hardware... I had more enjoyment from a cheap radio

than from my system – at some moment in the setting up and tuning process, not always successful – and an USD 2000 old, battered stereo may be more music friendly than a big bucks system.

Is it not a case many hardcore music and audio lovers use mike, tape recorder - analog or digital - to record first-hand music... this way the relationship The Musician - The Magician - and The Music - The Mystery - get closer and closer than ever to The Listener - The Adept/The Scholar.

For me, who recorded, since I used my little Geloso open-reel recorder, my grandmother's tales, I was 12 or 13 years old, 'til now, with my several prized Neumann's, AKG's and Beyer's mikes and Studer and Nagra and Stellavox'... everytime I play an instrument at home - alone or with friends - my trusty Neumann USM-69 stereo mike in Blumlein pattern is well ready and tape spinning on Nagra or G36 to capture the sessions... this is Living Music. Not a selfish act, but an antenna-like mode, always looking for a perfect tune or improvisation.

The several, hundreds recording - myself, friends, concerts - classical, jazz, ethnic - I made in the last 20 years are - (again) holistically - another important aspect of my love for Music.

Mikes, guitars, oud, lute, tape recorders... they are always a means to express myself through music... it's important to add that listening or playing music - it doesn't matter... it's always a personal expression of taste, soul, mood, heart and mind. On a desert island... I'd probably build myself a bamboo flute or would sing...

 

SB_2006 006.jpg (110287 bytes) Personal experience made me trusting in a bunch of people sputtered on the five continents: Koji, Seo, Takahashi and Hasegawa-san in Japan, Walter Bender of HiFiTown, Joseph Esmilla his kindness and superb site from USA, Aldo D’Urso, Manuel Florensa-Molist and Giovanni Riccardi from Italy, Lukasz Fikus from Poland, Mario – my machinist extraordinaire in Italy, Nico Wilke, Dietmar Hampel, Thomas Schick, Frank Schroeder and Werner Jagush from Germany, Steve "He Knows Who He is" for great support and empathy, Laurence Passera and Nick Beasley in the UK, Jean Hiraga in France – unfortunately only met him once in person in Paris in early ‘90s – but his several seminal books and magazines are well framed in my memory – all these people are an endless inspiring source for me, who humbly learn from them all, hoping I’ll never end learning. Last but not least, I found at an Audio Fair in Milan in early ‘70s a couple of old MJ – Musen to Jikken and Stereo Sound japanese huge, super expensive magazines... the previous owner will never know how much these pictures of old audio lunatics – that’s what I guessed years ago - and their music systems changed my life!!!

 

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  Westrex e FREMT giorgio 008_w.jpg (85629 bytes) ... Goto horns, triodes amps, multi arms turntables, Western Electric huge horns... these picture are still giving to me an inspiration after decades, because only NOW I’m really understanding what these people were doing in their music rooms... it’s like looking at a fractal, Zen-like for a life, meditating on the infinite pixels to see the "essence" of audio... it’s not a sports car, it’s not a Victorian mansion... it’s a very personal matter: for me it is a medium for a pure, beautiful world... the soundtrack of my life.

 

: A view of the recently assembled Westrex/Westrex/Goto/Goto 4-ways speakers system, still mounted on temporary plywood blocks.

Swapping from Altec’s 416A/288-C/JBL 2420 to Westrex 2090/Westrex 2080/Goto SG-37FRP/Goto SG-17SA gave to music in my room a true-to-life fluidity and airy texture more similar to a single speaker, crossover-less wideband – only with more bandwidth and dynamics.

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I recently finished what I called my "full Goto Speakers System": I'm now listening to Westrex 2090/Goto S-150 with SG-555-PS/S-400 with SG-37-FRP, Goto SG-17-SA using a Goto CF-1 Active Crossover, 1st order/6 db/oct. with cut-off frequencies of 220/1000/5000 hz. The Westrex' and RCA's drivers are on a shelf: Goto's drivers are so much lifelike they put to shame theater drivers, also among the very best. They're absolutely not easy to use, but, when "tuned" to room and amps and listener, they sure give Music!

But, most important, more than a list of gears, it's how I obtained the "embarrassing", superb results of these days (Nov. 2008)... during my last Audio Tasting, it was in Munchen last October, I had a long conversation which ended in a visit and a listening session to his music system, with Dietmar Hampel, a German gentleman, pipe smoking, soft spoken and wise enough to give to me the turbo-hints I needed at this point of my audio experience... the point is: what's man best friend? Easy... it's dog!... and what's audiophile/music-lover best friend? oh, oh, that's difficult?!?! ... easy: pink noise, it's the answer!

I learned from the very beginning to tune my speakers system, instead of relying only to my ears, with an IVIE IE-20B pink noise generator, using a recently acquired IVIE IE-30A audio analyzer...IVIE_IE_30A_s.JPG (43463 bytes) the best money I spent in audio, period!

What I did was easy, and above my expectations: when I first read the IVIE's LED screen, I saw a rolled off curve between 35 and 16-18.000 hz... maybe TOO much rolled off;-)

I began fiddling with crossovers volumes and what I obtained was a GREAT, fantastic sound 35hz/18khz +/-1 db!

I operated in a naive, but, I thought later, correct method: left channel first, I obtained using pink noise through speakers, a voice at a time, the same SPL... 1/2 m, 1 m and listening position... i.e. - 67 dbVA with a  normal listening playback level... I repeated the same on the other channel, a voice at a time, etc., THEN, obtained a correct phase from each voice and channel and a balanced stereo SPL... the curve on the IVIE was now much less rolled off and I feared a lot in losing "the magic"... I swapped to music with a selected choice of discs and disks and tapes, and ended with slight, gentle touches on the crossover volumes... to my VERY, sincere surprise, what I obtained was, let me say,  an audio masterpiece!

A level of details retrieval to gasp in tears, and a greatly improved imaging and super-wide, Gotorama;-)... thanking Roman Bessnow's DPoLS (partial) hinting and Dietmar Hampel's tips... that's what I ended... from an Illuministic, Man-first approach to a die-hard IVIE's satisfied user!

A lesson: Machines are made by Men for Men for a better life... used wisely and sparingly, they're a BIG support in reaching a goal... while I, possibly, would have reached same nicely sounding results in my system, I spent a couple hours instead a couple months, maybe more, period!      

 

When someone asks to me "why" I choose horns and vintage speakers, my reply is that the soul contained on vinyl records (and CDs) "is there" in a musically involving fashion I seldom hear in systems using a more commercial approach.

 

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Component list:

GARRARD 301 GREY (EX) GREASE BEARING WITH SHINDO LAB EXTRA HEAVY PLATTER, GIANT GREASE SPINDLE AND 800 GRAMS BLUE LEADED-CLOTH MAT AND MICRO CU-180 GUN-METAL MAT, WITH A CUSTOM-MADE SLATE 45 KILOS PLINTH AND TWO SEPARATE CUSTOM 25 KILOS BRONZE ARM BASES: ONE WITH THOMAS SCHICK 12" HAND-MADE ARM AND LUMIERE/NEUMANN DST REPLICA MC-CARTRIDGE IN A KIMURA LABS. RS-3 ROTARY HEADSHELL OR TYPE "B" LUMIERE/NEUMANN DST REPLICA INTEGRATED SHELL OR SCHICK TYPE "A" LONG ARM WITH TYPE "A" LUMIERE DST OR ORTOFON TYPE "A" AND THE SECOND WITH EMT 997 (BANANA) 12" ARM WITH EMT TSD 15 CONICAL TIP OR AN ORTOFON RMG-309i, MOUNTING, ALTERNATIVELY, ANY CARTRDIGE I WISH TO TRY OUT.

ALSO "IN HOUSE", CURRENTLY IN A CLOSET: A COMPLETE FIDELITY RESEARCH FR64-S WITH B-60 VTA ARMBASE AND A COMPLETE FIDELITY RESEARCH FR 66-S 12" ARM AND... A SHURE V15-II MOVING MAGNET CARTRIDGE; ALSO RCA MI-9584 DRIVERS, RADFORD HD-250 AMP, SIEMENS KL-405 SPEAKERS, AND OTHER GOODIES - I.E. ALL MY TRIODES AMPS (300B/421A/45), CURRENTLY UNUSED (JUST IN CASE;-)) – I UNFORTUNATELY PREFERE ACCUMULATING GEARS INSTEAD OF SELLING THEM IF/WHEN UNUSED.

MY WIFE’S SYSTEM: MARANTZ 7C PREAMP WITH TELEFUNKEN DIAMOND "SMOOTH PLATE" ECC83 TUBES, MARANTZ 10B TUBE TUNER, NAKAMICHI 600 MKII CASSETTE RECORDER, USED WITH GRUNDIG AUDIORAMA 7000 SPHERES-SPEAKERS AND AN OLD BANG & OLUFSEN BEOGRAM CD-5500 16 BIT CD-PLAYER FOR HOME BACKGROUND MUSIC (TRIODES ARE EXPENSIVE ITEMS, YOU KNOW... THE COMBO ALSO SOUNDS NICE WITH MY WIFE’S i-POD;-))

CUSTOM HAND-MADE 4 CHASSIS PREAMPS BY THOMAS MAYER FROM GERMANY, USING TANGO EQ-600 LCR MODULES AND WESTERN ELECTRIC 4 X 437A ON PHONO AND 2 X VT-25/801A TRIODES IN LINE-STAGE,WITH ALL LUNDHAL TRANSFORMERS AND DEDICATED P.S.U.

MC TRANSFORMERS ARE: NEUMANN/BEYER Ktr-147C, PEERLESS 4685, TANGO MCT-999, PEERLESS 4722, MIYAJIMA LABS. ETR-800, PARTRIDGE A-973, WESTERN ELECTRIC 618-B, PEERLESS 4611, BEYER TR/BV 351015006, HARMAN-KARDON XT-3 and VERION/MITCH COTTER MK II.

EMT 930st TURNTABLE WITH 155st RIAA-EQ PREAMP AND DUSCH'S GLASS PLATE, ORTOFON/EMT RMA229 10" ARM AND LUMIERE/NEUMANN DST REPLICA "EMT" OR STOCK EMT TSD 15 CONICAL TIP MOUNTED IN ITS OWN ORIGINAL SEISMIC CHASSIS/BASE.

COMMONWEALTH/WESTREX 12D (AUSTRALIAN-BROADCAST) TURNTABLE MOUNTED IN A 50 KILOS SLATE PLINTH, ALSWAYS USED WITH SELF-STANDING BRONZE ARM BASE AND SCHICK 12" ARM AND LUMIERE/NEUMANN DST CARTRIDGE OR AN OTONO EDISON SHILABE BY MIYAJIMA LABS IN A B/A BOSOEUM "BIG NOSE" HEADSHELL.

DIGITAL: STUDER A-730 WITH ORIGINAL WIRE REMOTE CONTROL, BANG & OLUFSEN BEOGRAM CD-5500 (16 BIT), ARCAM "DIVA" CD-73 ( WOLFSON DAC - 24 BIT), JUST QUALITY - CHINA MADE DVD/CD PLAYER, PHILIPS CD-104 (14 BIT) AND PLAYSTATION PS-1, WITH REMOTE-CONTROL DISK-PLAYERS

OPEN REEL: TELEFUNKEN M15-A OPEN-REEL. STUDER B 67 HIGH SPEED (30 ips) AND REVOX G 36 HIGH SPEED RECORDERS

FOUR-AMPED "GOTORAMA" SPEAKERS-SYSTEM USING (PER SIDE) - ELODIS/FRANZ HINTERLEHNER'S "TGE" SUBS AND FULL GOTO UNIT UPPER-WAYS:  SG-570 ON GOTO UNIT S-150B ROUND ALUMINIUM/BITUMEN HORNS, GOTO UNIT SG-370DX MID-HIGH DRIVERS WITH S-400 OR S-600 ROUND (BITUMEN AND ALUMINIUM) HORNS AND GOTO UNIT SG-160 – ALL 16 OHM.

POWER-AMPS: 1 X HIRAGA LE CLASSE A 30W ON BASS, 2 X HIRAGA LE CLASSE A 20 W ON MID-LOW AND MID AND HIRAGA 8W "LE MONSTRE" ON HIGH, ALL SOLID-STATE CLASS A.

GOTO UNIT CF-1 ACTIVE CROSSOVER 4-WAY 3RD ORDER/18 DB/OCTAVE 220/1000/5000 Hz CUT-OFF POINTS.

FOR SPEAKERS MULTIAMPING, HAND-MADE BE YAMAMAURA-CHURCHILL’S CABLE ON DIGITAL, ALL HAND-MADE MUNDORF SILVER WITH EICHMANN’S SILVER BULLET FOR ALL PREAMPS, AMPS, CROSSOVERS, TURNTABLES, RECORDERS AND TUNER. MAINS CABLES ARE ALL CUSTOM-MADE SUPRA LO-RAD WITH CERAMIC, HOSPITAL GRADE RHODIUM-OVER-BRASS MAINS PLUGS BY PALAZZOLI, WHILE STUDER A-730 USES ACTINOTE AC-150 MAINS-CABLE, GIVING AUDIBLY BETTER SONIC RESULTS.

EARPHONES ARE: STAX SRX ELECTROSTATICS AND 2 X BEYER DT-48 - A RECENT ONE, MOSTLY USED AS A MONITORING TOOL WHILE RECORDING, AND A VINTAGE ONE (50 YEARS OLD) TO BE EXCLUSIVELY USED WITH EMT 930st.

PORTABLE STUDIO/RECORDING GEARS: STELLAVOX AMI48 MIXER, NAGRA IV-S OPEN REEL WITH QGB LARGE SPOOLS MOTOR, SONY WMD6-C CASSETTE RECORDER AND "SOME" AKG, STC/COLES, BEYER AND NEUMANN'S MIKES, AND P.S.U., MIKE-CABLES, MIKE-BOOMS, MIKE-ELASTIC SUSPENSIONS, ETC. TO ALMOST NEED A FULL ROOM FOR STORING IT ALL: RECORDING IS SUCH A JOY!!!

... AND, OF COURSE, THOUSANDS RECORDS, MANY TAPES AND CDs AND GUITARS, OUD, PIANO, VIOLIN, DOUBLE-BASS AND PERCUSSIONS, ALL TO FEED THE ABOVE MENTIONED BEHEMOTH AND MYSELF, BOTH SOOO FOND’N’HUNGRY OF MUSIC;-)))

 

 

 

http://twogoodears.blogspot.com/

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