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  1. #301

    Re: Music from a farther room

    Quote Originally Posted by octadyndude View Post
    Hi Tim
    I went from the original C speaker cable to the C2. When I first installed the C2 I didn't hear too much of a difference. It was very minor kind of like what I heard when I went to the original Ansuz cable demos and swapping out the C to a D. That said I never the D speaker cables in my home. It was about 3 -4 weeks of having the C2's in my system I really heard them open up. Somewhat warmer sounding but with a lot more 'soul' and 'emotion' in the vocals and instruments.

    Let me go back in time a bit. Lars happened to come to my home with my local dealer and Lars had a suitcase full of prototype cables. They were the A2 and C2 power cords and one pair of C2 speaker cables. He stared by replacing my C power cord from the Mainz D8 to U300 with an A2. Note I did already have a D-TC power cord from the wall to the Mainz D8. Wow the difference was huge. Everything sounded so much more natural. I wanted one. But then took out the A2 and replaced it with the C2. Another huge change unlike going from the original C to a D. Then he put in the C2 speaker cable. A nice change but not huge like the power cords. Lars said Mike was still working on the D2 versions at the time.

    When the cables went into production I ordered a C2 power cable right away. When they came in and I had it in for a couple of weeks I borrowed a D2 power cord. Wow another big jump but I returned right away. I gave it back because I was seriously considering upgrading my D2.1's to 3.1's. Both was not going to happen. In time I did decide to order the C2 speaker cables more because I really didn't care for the connectors on original C and liked the new connector better. I know it's a dumb reason but did it anyway.
    George, thank you for the comments & reply. Yes I agree the Ansuz power cables do "more" that the signal wires at least in my system. Their power cables are SOTA definitely. Don't have the time to do the comparisons but how would you describe the C to C2 power cord transition? What was gained and how's the sonic signature changed? I also understand that the change of the distributor MainzD8 to a Mainz D2 is a bigger (positive) change vs the cable series 1 to series 2 change. Would you agree with that? Thanks
    Tim

    Playback Designs mps-5, Nagra Classic Pre, Nagra Classic Amp, YG Carmel 2s, Signal: TaraLabs Muse, Power: Ansuz D & C, Mainz-8D, SRA Craz3 Rack.

  2. #302
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    Re: Music from a farther room

    Quote Originally Posted by booaaaa View Post
    Hi Ralph,

    I am a new member here.....I registered because I am amazed and utmost respect to the things that you are sharing with all of us especially me......the level of depth and detail in your thread is a lifetime of tinkering experiences. Once again....amazed and respect......

    Boa
    Welcome to the forum, thank you for joining.
    Fleetwood Deville by Oswald Mills Audio, Vienna Acoustics Haydn Jubilee, Wharfedale Linton w/ stands, Klipsch RB-75, Klipsch RP-160M.

    Job INTegrated. Luxman L-595aSE

    NAD C 658 streamer.

    First Watt SIT-3, Job 250 Monos, NuForce STA200, AkitikA GT-102 amp, ASL Wave monos, Dennis Had 45 monos. Absolute Audio Labs PCF 25 amp (improved First Watt F7 super clone)

    Topping D90, RME Audio ADI-2 DAC FS, ModWright Ultimate Sony XA-5400ES.

    Burmester 948, McIntosh MCLK12, Kimber Kable, Siltech, Cardas, Avanti Audio cables.

  3. #303
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    Re: Music from a farther room

    Quote Originally Posted by 4music View Post
    Ralph thank you for your reply. I am located in Athens, Greece and currently I am using 3 Ansuz (series 1) D level and 2 C level power cables along with their Mainz D8 distributor. I had a Odin ver. 1 power cable but I though that in my system the Ansuz D was better. I definitely like the sound enough to be considering an upgrade within the series. As my electronics took a more resolving course (Nagra Pre & Nagra Classic and YG Carmel 2 speakers) I noticed a faint "metallic" signature in the Series 1 distributor or the power cables or both. I am currently using an Acoustic Revive Eu-4 Distributor, which tamed most of the "metallic" sheen on the high frequencies, but lost some of the dimensionality of the Mainz. I've read that the series 2 cables & power distributors from Ansuz have changed slightly their sonic signature towards a more full sound. I don't know if that is a characteristic of the new cables, the new distributors or both. The reasons I am looking for further opinions is that our quest for the absolute sound is usually within the context of our system, so opinions of fellow audiophiles with different systems, matters to me since the next solution needs to be more "universal" and justify the upgrade within a multitude of systems.

    I am currently considering the upgrade of the Mainz 8D to a D2 (or a DTC) and the purchase of a D2 series power cable to power the distributor. The 3 Ansuz series D (ver 1) cables will remain powering the components from the distributor.

    Would be interested to find out the difference between the D2 and C2 for powering the distributor, since another solution is to go for a C2 power cord (perhaps longer length as it is reported to be even better) and a better distributor. Lots of different options, but unfortunately can't try all....
    I was at the demo when Lars and Mike debuted the Mainz D-TC power distribution and they went through all the new V2 power cables first feeding the Mainz D8. The Mainz D-TC is exceptional and I asked Mike at the demo if he was going to design any more reasonably priced versions and the answer was NO. With that answer I ordered the D-TC. Since the A2/C2/D2 distributors were released I have not compared them to each other. For that reason I don't know which combination would sound better - example a C2 cord in a D2 distributor vs a D2 cable in a C2 distributor).

    The D2 power cable is a significant upgrade to the C2. Mike and Lars preach put the best power cable you have from the wall to the distribution because that starts the foundation for everything that is plugged into it. As far as a longer cord they do sound better but nowhere to the degree of moving up 1 level in cords.
    George

    Aavik U300 - Borresen 03 with optional Supreme D-TC feet - Naim unitiserve 2tb - Ansuz DTC digital cable with power box - Ansuz Mainz8 D-TC with 1 Ansuz Supreme D-TC and 1 Ceramic V2 power cords - Ansuz Ceramic V2 speaker cables - Ansus X Ethernet - pARTicular Novus full suspension rack.

  4. #304
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    Re: Music from a farther room

    Quote Originally Posted by 4music View Post
    George, thank you for the comments & reply. Yes I agree the Ansuz power cables do "more" that the signal wires at least in my system. Their power cables are SOTA definitely. Don't have the time to do the comparisons but how would you describe the C to C2 power cord transition? What was gained and how's the sonic signature changed? I also understand that the change of the distributor MainzD8 to a Mainz D2 is a bigger (positive) change vs the cable series 1 to series 2 change. Would you agree with that? Thanks
    I honestly don't know regarding the distribution units.

    The difference going from the C to C2 power cord was very positive. Much more so than C to C2 speaker cable. To me it first sounded like the noise floor dropped because the vocals and instruments had much more 'soul' and 'emotion'. I also noticed more of a 3D sound. Overall a slightly warmer but much more natural sound.
    George

    Aavik U300 - Borresen 03 with optional Supreme D-TC feet - Naim unitiserve 2tb - Ansuz DTC digital cable with power box - Ansuz Mainz8 D-TC with 1 Ansuz Supreme D-TC and 1 Ceramic V2 power cords - Ansuz Ceramic V2 speaker cables - Ansus X Ethernet - pARTicular Novus full suspension rack.

  5. #305
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    Re: Music from a farther room

    Quote Originally Posted by booaaaa View Post
    Hi Ralph,

    I am a new member here.....I registered because I am amazed and utmost respect to the things that you are sharing with all of us especially me......the level of depth and detail in your thread is a lifetime of tinkering experiences. Once again....amazed and respect......

    Boa

    Welcome to the Audioshark Forum Boa.

    Where are you located?

    Thank you for your kind words.

    You are right. I am a tinkerer. I do like to experiment with different products and accessories to try and find the best audio result. In the finish I think we are all after the same thing - to get the best and most satisfying result we can from our audio systems and to above all, enjoy the reproduction of music.

    Ralph
    Borresen Acoustics Loudspeakers, Borresen Model 01 Compact monitor loudspeakers with Ansuz Darkz T2s Supreme resonance control, Audio Video Manufaktur GmbH (AVM) Inspiration amplifier & streamer, Innuos Zen MKII music server, Ansuz Acoustics cables & accessories. Please visit my system thread hosted on Audioshark for more details. Disclosure: The author is materially connected to Ansuz, Aavik & Borresen Acoustics via friendship with an owner.

  6. #306
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    Re: Music from a farther room

    Quote Originally Posted by 4music View Post
    Ralph thank you for your reply. I am located in Athens, Greece and currently I am using 3 Ansuz (series 1) D level and 2 C level power cables along with their Mainz D8 distributor. I had a Odin ver. 1 power cable but I though that in my system the Ansuz D was better. I definitely like the sound enough to be considering an upgrade within the series. As my electronics took a more resolving course (Nagra Pre & Nagra Classic and YG Carmel 2 speakers) I noticed a faint "metallic" signature in the Series 1 distributor or the power cables or both. I am currently using an Acoustic Revive Eu-4 Distributor, which tamed most of the "metallic" sheen on the high frequencies, but lost some of the dimensionality of the Mainz. I've read that the series 2 cables & power distributors from Ansuz have changed slightly their sonic signature towards a more full sound. I don't know if that is a characteristic of the new cables, the new distributors or both. The reasons I am looking for further opinions is that our quest for the absolute sound is usually within the context of our system, so opinions of fellow audiophiles with different systems, matters to me since the next solution needs to be more "universal" and justify the upgrade within a multitude of systems. […]


    Hello Tim,


    Thanks for the added information and wow – what a wonderful audio system you’ve assembled. Well done.


    It seems we’ve independently arrived at the same conclusion in the showdown between the Nordost Odin and Ansuz D level power cables.


    I have not noticed any “faint metallic signature” or “metallic sheen” on high frequencies in the Series 1 Ansuz distributor or any of the series 1 power cables that I’ve tried in my audio system or audio systems belonging to others. This could however be a system specific issue and I can’t help but wonder whether the cause is actually something else – but the added resolution the distributor brings puts more of a spotlight on it?

    What do you currently use (if anything) for resonance control devices? Your system is very transparent and it would only take the smallest of issues to tip it into harshness (“metallic sound”) or treble aggression. Vibration could easily be the cause. How are you managing that? Have you lifted the Nagra boxes off their footers?

    A good friend of mine owns the same YG loudspeakers and to my ears the speakers on some recordings can easily exhibit too much top-octave energy (brightness). Therefore careful partnering (electronics and accessories) is vital.


    I will compare the Mainz8 D and the Mainz8 D2 in my system in about one month’s time [need time to break in] and I will publish my findings here. I would caution you though not to consider the distributor or the cables as tuning devices. I fully expect the Mainz8 D2 will deliver more music – not act like a filter to resolve harshness.


    I will use a 4 meter C2 power cable to the Mainz8 D2 and yes the D2 PC would be better again, but George would be better placed to comment on differences between C2 and D2 cables.
    Borresen Acoustics Loudspeakers, Borresen Model 01 Compact monitor loudspeakers with Ansuz Darkz T2s Supreme resonance control, Audio Video Manufaktur GmbH (AVM) Inspiration amplifier & streamer, Innuos Zen MKII music server, Ansuz Acoustics cables & accessories. Please visit my system thread hosted on Audioshark for more details. Disclosure: The author is materially connected to Ansuz, Aavik & Borresen Acoustics via friendship with an owner.

  7. #307

    Re: Music from a farther room

    Quote Originally Posted by kiwi_1282001 View Post
    Hello Tim,


    Thanks for the added information and wow – what a wonderful audio system you’ve assembled. Well done.


    It seems we’ve independently arrived at the same conclusion in the showdown between the Nordost Odin and Ansuz D level power cables.


    I have not noticed any “faint metallic signature” or “metallic sheen” on high frequencies in the Series 1 Ansuz distributor or any of the series 1 power cables that I’ve tried in my audio system or audio systems belonging to others. This could however be a system specific issue and I can’t help but wonder whether the cause is actually something else – but the added resolution the distributor brings puts more of a spotlight on it?

    What do you currently use (if anything) for resonance control devices? Your system is very transparent and it would only take the smallest of issues to tip it into harshness (“metallic sound”) or treble aggression. Vibration could easily be the cause. How are you managing that? Have you lifted the Nagra boxes off their footers?

    A good friend of mine owns the same YG loudspeakers and to my ears the speakers on some recordings can easily exhibit too much top-octave energy (brightness). Therefore careful partnering (electronics and accessories) is vital.


    I will compare the Mainz8 D and the Mainz8 D2 in my system in about one month’s time [need time to break in] and I will publish my findings here. I would caution you though not to consider the distributor or the cables as tuning devices. I fully expect the Mainz8 D2 will deliver more music – not act like a filter to resolve harshness.


    I will use a 4 meter C2 power cable to the Mainz8 D2 and yes the D2 PC would be better again, but George would be better placed to comment on differences between C2 and D2 cables.
    Ralph,
    thank you for the additional info. I have paid attention to vibrational control with an SRA Craz 3 rack, the Nagra antivabtation platforms on pre and the amp and Ansuz D footers under the Playback design. The power distributor sits on the rack. The YG Carmels are true chameleons, very resolving of the upstream components. When I had tne Raidho D1 the pairing with the Ansuz was 10/10, never experienced metallic sheen. Anyway I will visit frequently this thread with interest on future findings!
    Tim

    Playback Designs mps-5, Nagra Classic Pre, Nagra Classic Amp, YG Carmel 2s, Signal: TaraLabs Muse, Power: Ansuz D & C, Mainz-8D, SRA Craz3 Rack.

  8. #308
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    Re: Music from a farther room

    Quote Originally Posted by 4music View Post
    Ralph,
    thank you for the additional info. I have paid attention to vibrational control with an SRA Craz 3 rack, the Nagra antivabtation platforms on pre and the amp and Ansuz D footers under the Playback design. The power distributor sits on the rack. The YG Carmels are true chameleons, very resolving of the upstream components. When I had tne Raidho D1 the pairing with the Ansuz was 10/10, never experienced metallic sheen. Anyway I will visit frequently this thread with interest on future findings!

    Hi Tim,


    I find it interesting you did not experience the “faint metallic signature” or “metallic sheen” issue with the Raidho D1’s.

    The Raidho tweeter resolves a lot of detail and will generally clearly reveal any upstream system shortcomings. Were you also driving the Raidho’s with the Nagra amplification or did you upgrade the amplification when you changed the speakers?

    Also, how is the YG Acoustics Carmel 2’s coupled to the floor? I know the earlier generation had spikes which some owners replaced.


    Further, what do you think of the Playback Designs mps-5? I’ve not settled on what will replace the Esoteric K-03 in my system and Playback Designs is certainly a possible contender.
    Borresen Acoustics Loudspeakers, Borresen Model 01 Compact monitor loudspeakers with Ansuz Darkz T2s Supreme resonance control, Audio Video Manufaktur GmbH (AVM) Inspiration amplifier & streamer, Innuos Zen MKII music server, Ansuz Acoustics cables & accessories. Please visit my system thread hosted on Audioshark for more details. Disclosure: The author is materially connected to Ansuz, Aavik & Borresen Acoustics via friendship with an owner.

  9. #309

    Re: Music from a farther room

    Quote Originally Posted by kiwi_1282001 View Post
    Hi Tim,


    I find it interesting you did not experience the “faint metallic signature” or “metallic sheen” issue with the Raidho D1’s.

    The Raidho tweeter resolves a lot of detail and will generally clearly reveal any upstream system shortcomings. Were you also driving the Raidho’s with the Nagra amplification or did you upgrade the amplification when you changed the speakers?

    Also, how is the YG Acoustics Carmel 2’s coupled to the floor? I know the earlier generation had spikes which some owners replaced.


    Further, what do you think of the Playback Designs mps-5? I’ve not settled on what will replace the Esoteric K-03 in my system and Playback Designs is certainly a possible contender.
    Ralph,

    Carmel 2s are more resolving and more linear speakers that the Raidho D1 that I had previously. Moved from Raidho due to pronounced bass issues with my then amplifiers (ypsilon). The speakers sit on their own spikes, and you are correct, this is something that needs further research to optimize.

    On the issue of the Playback MPs-5 this is unquestionably the most musical CD/SACD player I ever owned/tried in my system. Very refined, dimensional and most of all musical. Replaced a Burmester 089 and never looked back. I have the limited edition which is grey in color incorporating some of the tech that made its way to the newer player the MPS-8, which I hear that is again better than the MPS-5.
    Hope that this helps.
    Tim

    Playback Designs mps-5, Nagra Classic Pre, Nagra Classic Amp, YG Carmel 2s, Signal: TaraLabs Muse, Power: Ansuz D & C, Mainz-8D, SRA Craz3 Rack.

  10. #310
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    Re: Music from a farther room

    Tim the only issue I had with D1's was lack of bass. It was the mids and highs that drew me into Raidho compared to the Dynaudio C1 Sig's that I had previously.
    George

    Aavik U300 - Borresen 03 with optional Supreme D-TC feet - Naim unitiserve 2tb - Ansuz DTC digital cable with power box - Ansuz Mainz8 D-TC with 1 Ansuz Supreme D-TC and 1 Ceramic V2 power cords - Ansuz Ceramic V2 speaker cables - Ansus X Ethernet - pARTicular Novus full suspension rack.

  11. #311
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    Re: Music from a farther room

    Quote Originally Posted by 4music View Post
    Ralph,
    […] On the issue of the Playback MPs-5 this is unquestionably the most musical CD/SACD player I ever owned/tried in my system. Very refined, dimensional and most of all musical. Replaced a Burmester 089 and never looked back. I have the limited edition which is grey in color incorporating some of the tech that made its way to the newer player the MPS-8, which I hear that is again better than the MPS-5.
    Hope that this helps.


    Hello again Tim,


    Thanks so much for your thoughts on the Playback Designs MPS-5 SACD Player and DAC. High praise indeed not to look back from a Top Line series Burmester 089 CD player. The qualities you speak of; refinement, dimensionality and musicality are exactly what I’m after.

    With Esoteric's future being clouded by the bankruptcy of Gibson a replacement CDP will likely see me change brand.
    Borresen Acoustics Loudspeakers, Borresen Model 01 Compact monitor loudspeakers with Ansuz Darkz T2s Supreme resonance control, Audio Video Manufaktur GmbH (AVM) Inspiration amplifier & streamer, Innuos Zen MKII music server, Ansuz Acoustics cables & accessories. Please visit my system thread hosted on Audioshark for more details. Disclosure: The author is materially connected to Ansuz, Aavik & Borresen Acoustics via friendship with an owner.

  12. #312
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    Re: Music from a farther room

    .
    Hello AVM! The purchase of a new integrated amplifier / streamer





    Photo 1: The AVM CS 2.2 Amplifier & Streamer seen here connected to a UPnP source


    Audiophiles rarely agree on much and when common ‘opinion’ is found it is frequently motivated by the need for acceptance and belonging. Psychologists have observed that the need to belong influences human behavior. In Abraham Maslow's hierarchy of needs, belongingness is part of one of his major needs that motivate human behavior.

    The hierarchy is usually portrayed as a pyramid, with more basic needs vital to our survival at the base and more complex needs near the peak. The need for love and belonging lie at the center of the pyramid as part of the social needs.



    I have long believed that a hierarchy also exists for successful audio reproduction in our homes.

    At the base of the pyramid and thus the most vital to success – by far – is our listening room. Like most audiophiles I spent many years ignoring or otherwise taking for granted the importance of setting up a decent space in which to appreciate music. In naivety the only upgrades I ever imagined were related to hardware – bigger, better, more expensive etc. Naive, because I didn’t then appreciate that much of the sonic benefit derived from more expensive hardware was to a large extent being masked by poor room acoustics.

    You see – our listening space in concert with our loudspeakers acts like a great big tone control, boosting some frequencies whilst attenuating others. Moreover, sound waves reflect from walls, floors, and ceilings, reaching our ears milliseconds after the direct sounds from the speakers can end up smearing and muddying the original sound. Leading Hi-Fi Magazine Stereophile reckons 95% of the systems in audiophile homes are being degraded by a bad listening environment. Sadly for most, the room is the first thing we start with and the last thing we think about….


    After the room, the next most important item in the hierarchy is what I call the system foundation. The system foundation includes clean AC mains, dedicated power lines to the audio room, high quality electrical and mechanical earthing, equipment supports and cabling.


    Next in the hierarchy are the loudspeakers. Of all the components in your audio system, the loudspeakers job is by far the most difficult. The loudspeakers drivers must not only reproduce the sound of all instruments – but do so in a fashion that is convincing and real. In digital playback systems your loudspeakers will almost certainly be the highest distortion devices and consequently I’ve tended to spend more on loudspeakers than electronics.


    Finally, the lowest in priority in the hierarchy is the amplification and the source. This is not to say they are not important – they are – but relative to the above less so.



    The Arrival of the AVM Inspiration CS 2.2


    The above introduction nicely Segway’s into the purpose of this post, the introduction of the AVM CS 2.2

    Produced in Germany by Audio Video Manufaktur GmbH the amplifier with an MSRP of US$ 4995 would not be an immediately obvious candidate to mate with my newly arrived Børresen Acoustics model 01 loudspeakers….




    Photo 2: The unboxing of the AVM Inspiration series model CS 2.2



    In truth, the CS 2.2 may not be a long term solution but I’m interested to observe just what sonic results can be achieved using a modern “all in one” box.


    Within the compact box is a Class D amplifier rated at 165 watts into a 4 ohm load, a TEAC sourced slot loading CD player, an FM tuner with RDS, a DAC, a phono stage with MM & MC input, a dedicated headphone amplifier, Wi-Fi connection, LAN connection and internet streaming facility.

    Streaming wise, there is full support for Qobuz and Tidal and format support for MP3,WMA, AAC, OFF Vorbis, FLAC (192/24 via LAN), WAV (192/24 via LAN), AIFF (192/24 via LAN), ALAC (96/24 via LAN) and supported formats for UPnP, 1.1 UPnP AV and DLNA compatible servers and NAS.



    Photo 3: The rear panel of the AVM. Packed with connection options including Phono and USB



    Inspiration to use a modest amplifier with the Borresen speakers actually came from a Facebook post from Lars Kristensen the CEO of Ansuz Acoustics, Denmark. Lars had been visiting Lydspecialisten, a local Borresen Acoustics dealer in Aalborg, Denmark who were demoing the Borresen 01 loudspeakers with a US$1995 Primare I15 Prisma 60 wpc integrated amplifier, DAC and streamer. Lars comment in his post that “It was just playing music in a way you would not expect even from very big and powerful systems.” It was in his opinion a “giant killer” system. Of course – as all top audio dealers do – Lydspecialisten had the system foundation well sorted.


    Another reason for opting up front for a low (ish) cost amplifier was I really wasn’t sure what type of amplifier would mate best – for my ears – with Borresen loudspeakers. Obvious choices might include Soulution (Switzerland), Constellation (Australia), Aavik (Denmark) or Jeff Rowland (USA).

    But here’s the deal; you first match the loudspeakers to your room, then you match the amplification to your speakers – which is why the purchase of amplification should be a post script not a preamble.

    Just why that sequence is important was driven home again to me this week when it dawned on me after the initial 100 hours of listening to the Borresen loudspeakers that my search for longer term amplification should also embrace valve based amplification, perhaps VAC (USA) for example.



    Initial opinion on the AVM CS 2.2


    Some caution is needed with the initial opinion because everything is breaking in; amplifier, speakers and accessories; but nonetheless, colour me impressed.

    I’ve connected the AVM CS 2.2 to my NAS drive; an InnuOS ZEN (United Kingdom) dedicated music server / CD ripper and streamer which is loaded with my CD library and has ROON support.

    My Android mobile phone (iOS also supported) acts as a remote control for all the AVM functions and provides access to the NAS library to.



    Photo 4: Android or iOS phone used as a remote control for the AVM, seen here are source selection, track options on a NAS stored album and specific track controls including volume.



    Using CD’s played via the inbuilt transport which proved to be the best source tried the AVM CS 2.2 sounded refined, dynamic, detailed and smooth.

    The smoothness of the reproduction caught me somewhat off guard because of a prejudice I carry against Class D. I’m no fan of Class D amplification which in times past I’ve found dull, dry, unpolished and lifeless, lacking in warmth and emotion. Yes, Class D can muster iron fisted grip on unruly bass thereby providing a cleaner window for the mid-range to function but if the overall presentation leaves one feeling detached and uninvolved with the music then where is the profit?



    Photo 5: CD was the best source tried so far. The reality was the same CD ripped, stored and streamed doesn’t sound as good as local playback. There are just too many variables in the path.


    Thankfully the Class D implementation here has turned the corner. Play a demanding track like Christine and the Queens “tilted” [Christine and the Queens, Atlantic, 552198-2] you are greeted with a low end which is taut and well defined and a top end that is open and strikes a nice balance between liveliness and smoothness.

    Soundstage reproduction is impressive. No doubt aided by the Borresen 01 speakers which particularly excel in soundstage depth, reproduction of various orchestral recordings portrayed excellent dimensionality and sense of space around and behind instruments.

    And what about heavy metal you ask? In “Los” by German industrial metal band Rammstien [Rammstien, “Reise, Reise”, Universal, 06024 9868150] the blend of pulsing acoustic guitar in drop C tuning and incessant bass beat were well managed by the amplifier – even at loud listening levels – which also kept the growling gravelly bass vocals of lead singer Till Lindemann nicely articulate and separate.


    In summary, initial listening observations hint that the AVM CS 2.2 is not just another “add speakers and you are done” lo-fi solution for modern space constrained households. A more detailed review of the product will take place later in the year once we have more hours of use on it.



    What’s next?


    Having introduced the system foundation and electronics, in my next update I will discuss the high lights and low lights of my first 100 hours with the new Børresen Acoustics model 01 loudspeakers.
    Borresen Acoustics Loudspeakers, Borresen Model 01 Compact monitor loudspeakers with Ansuz Darkz T2s Supreme resonance control, Audio Video Manufaktur GmbH (AVM) Inspiration amplifier & streamer, Innuos Zen MKII music server, Ansuz Acoustics cables & accessories. Please visit my system thread hosted on Audioshark for more details. Disclosure: The author is materially connected to Ansuz, Aavik & Borresen Acoustics via friendship with an owner.

  13. #313
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    Re: Music from a farther room

    The first 100 hours with the Borresen 01 loudspeakers





    Photo 1: The carbon coated woofer of the Borresen Acoustics Model 01 compact monitor loudspeaker




    You know how it is when you’re unpacking your latest audio purchase.



    You’re just giddy with excitement, visualizing how you’ll use the product even before it’s out of the box.




    Ignore the white handling gloves and the equipment manual, the adrenaline is flowing, you are not interested in distractions. What you are interested in is an EXPRESS installation.




    Yes folks, retail therapy really works!




    The EUPHORIC – if I buy it – it will sound wonderful in my system – state of mind.




    The kink in the works?




    Well, out of the box the Borresen speakers did not sound wonderful at all.




    The euphoria rapidly dissipated to disappointment.






    The set up


    My business keeps me on the move and 2019 finds me in another new listening space; small in size measuring around 3.4m (11ft 1’) wide and 5.3m (17ft 5’) long. Plans are afoot to acoustically treat the room but at the moment the room is almost bare and highly reflective.


    Initial placement for the speakers sees them about 1.8m (6 feet) from the front wall and about 0.35m (14 inches) from the side walls to maximize the space between and behind the speakers. As with Raidho speakers I’ve not found any issue with placing the speakers close to side walls, though I suspect, given the power of the ribbon tweeters, treating the first side wall reflection points with absorption or diffusion (to be tested) will yield great benefit.


    The speakers are sharply angled to the listening chair which is placed in a non-equilateral triangle near-field position purposed to hear more of the speakers and less of the room.


    More detailed consideration of speaker placement will be undertaken once the loudspeakers are broken in which according to the manufacturer is still several hundred away.


    Source and amplification are provided by AVM (Germany) mentioned in the preceding post and foundation (also not optimized yet) consists of Ansuz Acoustics (Denmark) accessories earlier mentioned and a dedicated AC circuit to the room.




    Initial listening impressions


    Out of the box and in the context of the above system and listening room the overall sound quality was a disappointment.


    I do stress “overall sound quality” here because let’s face it, you don’t listen to loudspeakers in splendid isolation. Our ears hear the summation of room interactions, speakers, electronics, accessories and a myriad of other influences.



    So, what was wrong with the overall sound?




    To begin the overall sound was thin. By this I mean deficient in bass or lacking bass weight. This then drew attention to the treble which on many recordings came across as a bit ‘hot’, that is tipped up in the higher frequency range. Playing an electro-pop album like Christine and the Queens (Atlantic Records : 2015) which has an excellent mix of foundational throbbing electronic bass and Héloïse Letissier’s beautifully textured and slightly gravelly vocals the overall balance sounded much better listening to it from my office next door where the bass carries but the treble is attenuated.





    Photo 2: I think it was Mike Bovaird that first drew my attention to this disc. While the CD recording has a truly woeful DR (min 3, max 8) in 2016 it was the UK’s biggest-selling debut album of the year. Its infusion of floaty French synth-pop that delivers delicate, thought-provoking punches amid its house music-infused substantial beats and synth-string melodies make it interesting musically and a nice test disc.




    Mercifully the overall sound was not harsh or sibilant, both of which I simply can’t stand – it’s just out of the box the balance wasn’t right to my ears.




    Moving on to the simply outstanding (BIS Records : 1985) recording of Vivaldi’s - The Four Seasons performed by The Drottningholm Baroque Ensemble, the opening movement of L’inverno came across as wiry. Yes, the tone should have a slightly abrasive edge – it is after all winter – but reproduction here lacked the colour and body I’m used to courtesy of previous audio systems. Furthermore, the soundstage was distant and flat suggesting I needed to invest some more time in positioning the speakers.




    Photo 3: Nils-Erik Sparf and the Drottningholm Baroque Ensemble together with BIS demonstrate that high fidelity recordings are not a recent advent.




    I had been told by the dealer that the Borresen speakers are sensitive to positioning and small incremental adjustments are necessary to obtain the very best from them, so I played with positioning further increasing the toe in a touch more and continued listening.




    In the absolutely splendid melancholic melody, Eden, produced by Belgian group Hooverphonic and covered here by Sarah Brightman (Angel Records ‎: 1998) the opening Gregorian choral chant was satisfyingly huge in scale and otherworldly in presence. The atmospheric ambience was deep, wide and very high – higher in fact than I’d experienced with Raidho Acoustics loudspeakers with far superior electronics and in a properly treated listening space. And speaking of height – I also observed something else interesting with this track – that the central image of Sarah’s ethereal voice which floats effortlessly in front of the backing choral cacophony remained at a similar height both standing and sitting in the listening chair. In fact the entire track could be enjoyed as much standing up, as sitting down. Now recognized, this observation held true for other music played during the first 100 hours. Nonetheless, the overall mix however was still lean, that is, slightly bass shy to my ears; but otherwise, the spaciousness of this “Enigma style” crash between new age and classical genres was simply glorious.




    Photo 4: Eden - Frank Peterson, a German music producer has his Enigma rooted fingerprints all over this recording. Very highly compressed but the soundstage is floor to ceiling in height and extends wide of the speakers. This track is especially glorious on big panel speakers and big MBL’s. Sarah’s voice can and indeed will sound sibilant on speakers/systems which highlight this coloration.




    Closing out my initial listening impressions was a track entitled “Los” by German industrial metal band Rammstein (Universal Records : 2004) as some – myself included – will be interested to know about the power handling abilities of the Borresen speakers. This track blends a down-tuned acoustic guitar riff with incessant bass beat which literally blitzkriegs its way around the speakers and listening room. I wrote back in January 2013 how this same track tripped up my then new Raidho Acoustics D2 speakers by fairly easily bottoming out the centre mid/woofer. Well, here we are six years later and the tiny tot Borresen 2 way Compact Monitor Loudspeakers had no such issues. At near full throttle on the amplifier the Borresen woofer had no trouble coherently tracking the dynamic contours of the massed 2nd to 5th octave energy contained in this track.





    Photo 5: Not your average girl with acoustic guitar audiophile disc (yawn). These guys use arm mounted flame throwers in their live concerts. Need I say more?





    Questions, questions, questions…



    I think everyone hopes that new purchases will be perfect out of the box – especially if that box has a hefty price tag attached. Up to this point though there is a gap between what I’d hope for sonically from the system and what is actually being delivered.


    The thin/lean overall presentation could be down to any number of causes. Perhaps the speakers need more time to break in – the manufacturer certainly thinks so. Perhaps the amplifier is lean in character or being new needs further break in time too? Perhaps the currently untreated listening space which is highly reflective is adding to the perception? Perhaps the listening chair is currently located in a room null? Perhaps more adjustments are needed to the on axis speaker toe in or the speakers would benefit from some boundary reinforcement?





    Working the room



    Your loudspeakers may be a desirable piece of modern furniture – but don’t kid yourself – you are listening to the room and are quite possibly a victim of it.


    It was Anne Schulte, Director of Marketing for Rives Audio Inc (USA) that penned this clever phrase:


    “You’ve got the sound system to die for but a listening room that’s killing you.”




    And so I directed some more attention to the listening room and also had to chat to Borresen Acoustics about loudspeaker placement. The recommendation that came back was essentially increase the gap between the speakers and place them even closer to the sidewalls and possibly move them closer to the front wall too.



    I also took the opportunity to run the loudspeaker and listening chair placement through Harman International Industries (USA) mode calculation tool. This tool, essentially a spreadsheet in which you plug in your room dimensions was crafted by Floyd Toole, a subject matter expert in the field of room acoustics. I’ve used the tool with great success in two earlier audio rooms.




    Lean or thin sounding audio systems are frequently the result of bass roll off or quite severe attenuation below about 500Hz. In my experience stringed instruments, in particular the cello, viola and violin will lose their body and in the case of the cello lose a sense of bloom as in richness and warmth if there are deficiencies in this spectral range.



    Well to cut a long story short the tool showed my initial listening chair position to be an unfortunate choice, corresponding to a length null of 130Hz and a width null of 153Hz. This was corrected in part by moving the listening chair ½ a foot closer to the rear wall. Further, on the recommendation of the manufacturer I moved the loudspeaker closer to sidewall so they are now just 1ft from the wall with the physical cabinet just 5 inches from the wall at the closest point. Moreover, in concert with the above a more optimal bass balance and better tonal balance was achieved by moving the speakers back by 1ft to the front wall, so they are now 5ft from the front wall. As an added bonus these changes saw improvements to the density of the central image and the dimensionality of the soundstage.





    Figure 1: Harman International room mode calculation tool. Harman is the largest professional audio company in the world and was purchased by Samsung Electronics in 2017 for a reported US$8 billion dollars; a little over 1x annual revenues at that time. This tool is a great starting point to assess room nulls. Deciding where you will sit in your listening room ranks as one of the most important. I needed to move from a null to an area of more bass extension but without overhang.




    These simple placement changes largely remedied my earlier criticisms of the overall sound. More tweaking is needed – in particular spatial adjustments via toe in changes, but a least we are heading in the right direction.





    What’s Next?



    I know I am still quite a distance from the potential of the speakers and the overall sound and to that end further updates will follow.
    Borresen Acoustics Loudspeakers, Borresen Model 01 Compact monitor loudspeakers with Ansuz Darkz T2s Supreme resonance control, Audio Video Manufaktur GmbH (AVM) Inspiration amplifier & streamer, Innuos Zen MKII music server, Ansuz Acoustics cables & accessories. Please visit my system thread hosted on Audioshark for more details. Disclosure: The author is materially connected to Ansuz, Aavik & Borresen Acoustics via friendship with an owner.

  14. #314
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    Re: Music from a farther room

    Nice write up Ralph

    I think you have too many pieces to know where any one piece is regarding break in. The speakers will take some time. How much I can't answer. When my local dealer got the Borresen speakers I helped unbox them and set them up. I wasn't all that impressed either. We set up all 3 pairs on different systems to get the break in started. Honestly I had a hard time telling the difference between all 3 models. I'll go as far to say Raidho's sounded better out of the box. I returned to the store at various times during the break in and started to notice the difference between all 3 models. Problem was they couldn't track the hours due to several power failures during the first 2 weeks. As of now all the speakers are broken in and it's easy to hear the differences. IMO comparing the 01 to the D1.1 I would say the lows go deeper and are faster. The mids have more clarity and the highs are more 'airy'. To me the 01 sounds closer to the D2.1. Same hold true comparing the 02 to the D2.1. That said the 02 doesn't come as close to the D3.1's in the mids but are better than the D2.1's. The 03 on the other hand have so many more layers of resolution compared to the D3.1's especially in the mids.

    That said yesterday I placed an order for the 03's and requested the new Titanium Darkz. If the Darkz are not ready by the time the speakers are ready to ship they will send with the D-TC Darkz. Lars said he or Mike will bring them Axpona for me.
    George

    Aavik U300 - Borresen 03 with optional Supreme D-TC feet - Naim unitiserve 2tb - Ansuz DTC digital cable with power box - Ansuz Mainz8 D-TC with 1 Ansuz Supreme D-TC and 1 Ceramic V2 power cords - Ansuz Ceramic V2 speaker cables - Ansus X Ethernet - pARTicular Novus full suspension rack.

  15. #315
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    Re: Music from a farther room

    Thanks so much for the feedback George and congratulations on the purchase of the Borresen Acoustics 03 loudspeakers. Wow! Just Wow!


    You are very fortunate to have such a great audio dealer which has made possible the opportunity to loan product and hear various loudspeakers side by side. Professional audio dealers are worth their weight in gold – or perhaps in your case, given the footer upgrade - titanium.


    Regarding the Borresen 01’s I would agree that with lots of stuff breaking in that it’s too early to draw any conclusions.

    Accordingly I have stressed these are my initial listening impressions and I’ve been upfront in stating the limitations of my early listening impressions including new product burn in and listening room.

    I thought it would be of value to new and potential owners of Borresen Acoustics products to read of my experience and in time hopefully share their own.
    Borresen Acoustics Loudspeakers, Borresen Model 01 Compact monitor loudspeakers with Ansuz Darkz T2s Supreme resonance control, Audio Video Manufaktur GmbH (AVM) Inspiration amplifier & streamer, Innuos Zen MKII music server, Ansuz Acoustics cables & accessories. Please visit my system thread hosted on Audioshark for more details. Disclosure: The author is materially connected to Ansuz, Aavik & Borresen Acoustics via friendship with an owner.

  16. #316
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    Re: Music from a farther room

    Deleted
    Borresen Acoustics Loudspeakers, Borresen Model 01 Compact monitor loudspeakers with Ansuz Darkz T2s Supreme resonance control, Audio Video Manufaktur GmbH (AVM) Inspiration amplifier & streamer, Innuos Zen MKII music server, Ansuz Acoustics cables & accessories. Please visit my system thread hosted on Audioshark for more details. Disclosure: The author is materially connected to Ansuz, Aavik & Borresen Acoustics via friendship with an owner.

  17. #317
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    Re: Music from a farther room

    Straight to the point



    I don’t know about you, but in times past I’ve sat on the fence when it comes to equipment spikes.


    Spikes appear seemingly everywhere being often found on loudspeakers, equipment racks and occasionally under electronic components to.


    In my experience, for the most part, spikes tend to lean out the sound. This can sometimes be a good thing. On some models of loudspeaker spikes can tame or tighten a seemingly unruly bass. But in other times spikes can leave that same bass sounding artificial and lacking in realism. Those of you that have been taught how to play a piano will recognize the piano left hand can be rumbling, powerful, and resonant — the very antithesis of “tight.”


    Standard spikes are NOT isolations devices, quite the opposite actually. Spikes, at best, are considered tuning devices.
    This was best explained to me by an engineer who gave an example of spikes on athlete’s running shoes. The purpose is to increase the grip between the shoe and the ground and thus transmit forces more efficiently. This example instantly shows that spike might not reduce the amount of actual force transmission, but actually help ensure effective transmission – the antithesis of isolation.



    Leading loudspeaker designers arrive at their own and often quite different conclusions. For example Michael Børresen of Børresen Acoustics, Ansuz and Aavik Acoustics is an outspoken critic of spikes. Michael, an accomplished mechanical engineer, maintains that spikes on equipment racks don’t make sense, as the spikes will act like a cartridge picking up vibrations from the floor. Instead Michael maintains you want to ground all the vibrations the rack is picking up from the room and from the equipment standing in it. Consequently, spikes are not found on Raidho or Borresen Acoustic speakers either because Michael thinks the only spike in your entire audio system should be the needle of your turntable! These observations underpinned the development of the Ansuz DARKZ product range.

    At first glance, Alon Wolf of Magico seems to think differently. His speakers are fitted with spikes. Well initially anyway, because the very first upgrade recommended for upper end loudspeaker owners is to get rid of the spikes and replace them with MPOD’s. MPOD’s with their rounded base still couple the speaker to the floor but not before attempting to isolate it via a layer of damping materials. Effectively floating the component placed each MPOD’s, Magico maintain the results include increased resolution, more focused imaging and improved soundstage.








    An experiment with rack footers



    Over the years I’ve owned lots of different equipment racks. By in large these have been reasonably competent, sturdy and lightweight – but nothing to write poems about.


    From a logistics point of view testing racks and rack footers is a nightmare. With components to switch off, move and switch on again you introduce lots of uncontrolled variables. Further, the time delay between set ups is significant and our audio memories are short! Because of this conclusions are not really possible – only observations.


    Having replaced footers on earlier racks with the likes of Nordost’s Pulsar Points and Sort Füt footers – observations have been positive but not a night-and-day difference.


    Photo 1: Nordost’s Sort Füt footers were tried on an earlier system and rack



    All of which brings me via a curvaceous route to the research question of this post; will replacing basic spike footers at the base of my equipment rack with Ansuz Darkz footers have a noticeable impact on the sound?



    Method



    Physically speaking, replacing the spike rack footers with Ansuz Darkz footers is a simple screw driver exercise. In addition to the Ansuz Darkz footers you also need two boxes of Ansuz “feets” which are coated aluminum discs with screws ordered to match the thread of your existing feet. Ansuz feets provide the channel into which the ceramic balls of the Ansuz Darkz sit.


    Photo 2: Existing M10 Spikes on fitted on rack seen here with optional cups


    Photo 3: All the Ansuz Acoustics products needed to swop OEM spikes for Ansuz Darkz footers



    Photo 4: Spikes removed from base



    Photo 5: Ansuz ‘feets’ ALU are screwed to the rack base thread



    Photo 6: Ansuz ‘feets’ provide a channel for the Ansuz ceramic balls which are fitted to the Darkz D-TC indents



    Photo 7: All done – but are the results worth the expense and effort?



    Given that it’s impossible to do a quick A/B comparison of rack with spikes vs. rack with Ansuz footers I did what I always do. I listened to a few tracks that I know very well taking notes of what I heard. Then after installing the new footers I listened to the same tracks again (at the same volume setting) and noted the differences. It’s far from an ideal listening test but the best I could devise given the numerous limitations.


    In my next update I’ll provide some details on the listening tracks selected (and why) together with the observations as I heard them. Stay tuned.
    Borresen Acoustics Loudspeakers, Borresen Model 01 Compact monitor loudspeakers with Ansuz Darkz T2s Supreme resonance control, Audio Video Manufaktur GmbH (AVM) Inspiration amplifier & streamer, Innuos Zen MKII music server, Ansuz Acoustics cables & accessories. Please visit my system thread hosted on Audioshark for more details. Disclosure: The author is materially connected to Ansuz, Aavik & Borresen Acoustics via friendship with an owner.

  18. #318

    Re: Music from a farther room

    Borresen 01 and 02

    I had the pleasure on Monday of hearing the Borresen 01 and 02 at Borresen's listening room in Aarhus - I was visiting Copenhagen from the UK during the previous weekend so a short flight to Aarhus was very convenient.

    Frits, who was my host, is a real gentleman and a perfect example of how to represent a hifi company. Just outstanding.

    Whilst the 01 was good, for the music I like it could get just a little compressed at high volumes. The 02 was absolutely fabulous. Transparency and space recreation like an electrostatic but with power and slam which one doesn't get with an electrostatic of sensible size. And yet the unit is pretty small, certainly in terms of its frontal facing area.

    Of course, the 02 was accompanied by the full gamut of Aavik and Ansuz kit, I guess totalling £120k in value; and the listening position is very unusual, being at the top of a really truncated triangle. In this position the speakers are almost like oversized headphones by comparison with the traditional audio set up.

    This did create a hugely impressive listening experience where, on organ music, one felt one was inside the cathedral of the recording.

    Listening at home, if this is the next step, will be interesting, firstly because the accompanying kit will have none of the Aarhus components and secondly because the listening triangle, for domestic reasons, will be more conventional, at the top os a sightly stretched equilateral triangle.

    But so far, a delightful sound from an equally delightful company. Recommended.






  19. #319

    Re: Music from a farther room

    Borresen 01 and 02

    I had the pleasure on Monday of hearing the Borresen 01 and 02 at Borresen's listening room in Aarhus - I was visiting Copenhagen from the UK during the previous weekend so a short flight to Aarhus was very convenient.

    Frits, who was my host, is a real gentleman and a perfect example of how to represent a hifi company. Just outstanding.

    Whilst the 01 was good, for the music I like it could get just a little compressed at high volumes. The 02 was absolutely fabulous. Transparency and space recreation like an electrostatic but with power and slam which one doesn't get with an electrostatic of sensible size. And yet the unit is pretty small, certainly in terms of its frontal facing area.

    Of course, the 02 was accompanied by the full gamut of Aavik and Ansuz kit, I guess totalling £120k in value; and the listening position is very unusual, being at the top of a really truncated triangle. In this position the speakers are almost like oversized headphones by comparison with the traditional audio set up.

    This did create a hugely impressive listening experience where, on organ music, one felt one was inside the cathedral of the recording.

    Listening at home, if this is the next step, will be interesting, firstly because the accompanying kit will have none of the Aarhus components and secondly because the listening triangle, for domestic reasons, will be more conventional, at the top of a sightly stretched equilateral triangle.

    But so far, a delightful sound from an equally delightful company. Recommended.






  20. #320
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    Re: Music from a farther room

    Great to hear from you IanG and thanks very much for sharing that.


    What music did you listen too?


    You may have seen from this thread I’ve owned two pairs of large electrostatic speakers and loved them for their resolution. Domes in box speakers just can’t compete. But I agree, the panel size you need to obtain great bass from an electrostatic is huge and therefore problematic for most listening spaces.


    It was the ribbon tweeter that first attracted me to Raidho. Finally, a loudspeaker that could resolve fine detail [much better than domes, but still not as good as an electrostatic] and offer a bass woofer which could keep up! This experience has now extended to Borresen Acoustics.


    Are you considering a Borresen 02 for home? Wow! What would be the partnering electronics components?


    My seating arrangement for the 01’s is nearfield. This way I hear more from the speakers and a little less from the room. Position wise the speakers are spread as far apart are the room will allow and seating is not an equilateral triangle but an isosceles triangle where the distance between the loudspeakers exceeds the distance from the loudspeaker to the ears. This at first glance seems similar to your audition in Aarhus. Position wise you just need to figure out what works for you and importantly your room.
    Borresen Acoustics Loudspeakers, Borresen Model 01 Compact monitor loudspeakers with Ansuz Darkz T2s Supreme resonance control, Audio Video Manufaktur GmbH (AVM) Inspiration amplifier & streamer, Innuos Zen MKII music server, Ansuz Acoustics cables & accessories. Please visit my system thread hosted on Audioshark for more details. Disclosure: The author is materially connected to Ansuz, Aavik & Borresen Acoustics via friendship with an owner.

  21. #321

    Re: Music from a farther room

    Hi kiwi,

    We listened to some simple vocal and vocal/guitar stuff chosen by Frits and then, firstly with the 01 and then quickly moving to the 02:

    Rachmaninov Piano Concerto No 3 movements 1 and 3; and

    a CD recorded in Riga Cathedral of the famous Bach Toccata and Fugue in D minor and the famous Widor Tocatta.

    Like you I have had electrostatics - various generations of Quads from 57s to 2905s - and now Magico Q1s with Wilson Benesch Torus infrasonic generator. My electronics are Devialet 1000 Expert Pro with Antipodes CX/EX front end and with all cables and power units from Shunyata.

    So "signing up" to the overall Borresen proposition is economically a non-starter - and it will be interesting to hear if the 02 will work in a quite different system and a much different room layout.



  22. #322
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    Re: Music from a farther room

    Oh wow ok, I now get from whence your comment of compression is derived. The rolling masses of chords combined with the low, rumbling sound produced by a low pedal pipe organ notes are far out of reach for the Borresen 01 – not that it won’t try!


    The wonderful transparency, space recreation and spatiality you heard in Aarhus was doubtlessly aided no end by the Aavik electronics and high level Ansuz cabling. The unfortunate reality is there is no way your current electronics and cabling can compete with that. But there is good news, I believe the Borresen 02’s will unlock more of the potential of your upstream components – that is, you will get to hear more from what you already have. Remember to, the 02's are not giants and one person can easily move them around the room, positioning them differently for listening than static display.
    Borresen Acoustics Loudspeakers, Borresen Model 01 Compact monitor loudspeakers with Ansuz Darkz T2s Supreme resonance control, Audio Video Manufaktur GmbH (AVM) Inspiration amplifier & streamer, Innuos Zen MKII music server, Ansuz Acoustics cables & accessories. Please visit my system thread hosted on Audioshark for more details. Disclosure: The author is materially connected to Ansuz, Aavik & Borresen Acoustics via friendship with an owner.

  23. #323

    Re: Music from a farther room

    Yes it will be interesting to see if the Borresen only works really well primarily through deploying its unusual room positioning (as well as with its Aavik and Anzus electronics and ancillaries) and materially sub-optimally through a more conventional room position (and with different if equally expensive gear). By the way, I'm surprised you have heard the full Shunyata power and cable system with the Devialet 1000 to be in a position to judge so conclusively that "there is no way my current electronics can compete" - but I suspect this is probably a degree of commitment from you to Aavik and Ansuz which drives strong emotional support!


    The electronics and ancillaries issue is a difficult call for Borresen. It is quite valid for Borresen to go down this system synergy path if they are really committed to these philosophies - but it has implications, for me and other potential purchasers.


    Some regard this as welcome system synergy whereas I, to a degree, regard it as system disfunctionality.


    It depends on its materiality and its cost.


    It effectively might be saying “once you sign up to the Borresen/Ansuz/Aavik proposition you are funnelled down that path for all subsequent system changes”. And “if you want the optimum Borresen experience it necessitates investing in the Borresen/Aavik/Ansuz proposition”. For many, mostly on financial grounds, this rules out participation all together.


    (To illlustrate, the cheapest full Ansuz loom for my system would cost about €13,000 and the most expensive €175,000.)


    Going back many years, this was the “Linn/Naim” proposition and even now it is the “Audio Note” proposition. For potential customers, it can be highly appealing or highly unappealing or, for some, it is regarded as clever marketing especially if delivered without objective or double-blind subjective evidence.


    I don’t put Borresen into that latter camp at all - as I believe they deliver astonishingly good sound through outstanding capabilities and sincerely held beliefs in their technical approaches. But, in a credible system, a loudspeaker only sees a voltage down its wires, driven by intensity, frequency and time … regardless of its source.


    My suspicion is that the substantial contributor to the Borresen effectiveness, when driven by credible but not unique electronics and ancillaries, is the wide spacing and the close listening position. By far the biggest contribution to the aural experience is the room and the loudspeaker. We can all hear their effects, whether slighted or in double blind tests of loudspeakers - but I think that, with solid engineering, the differentiated element of other components’ contributions are probably minor and often bordering on minuscule - which is partly why one never sees double blind listening tests in these areas even when these are easily accomplished.


    But overall, this loudspeaker experience is a hugely appealing effect but one I might only be able to deliver at home, by way of placement, to a degree. Nevertheless I hope I will try it.

  24. #324
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    Re: Music from a farther room

    Double Post
    Borresen Acoustics Loudspeakers, Borresen Model 01 Compact monitor loudspeakers with Ansuz Darkz T2s Supreme resonance control, Audio Video Manufaktur GmbH (AVM) Inspiration amplifier & streamer, Innuos Zen MKII music server, Ansuz Acoustics cables & accessories. Please visit my system thread hosted on Audioshark for more details. Disclosure: The author is materially connected to Ansuz, Aavik & Borresen Acoustics via friendship with an owner.

  25. #325
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    Re: Music from a farther room

    Hello again IanG and great post!

    In reply, I don’t consider it a compulsory pre-requisite for Børresen loudspeakers to be paired with Aavik electronics or even Ansuz cabling. I’m currently using a small amp from AVM (Germany) and considering amplifiers from brands such as Constellation, Soulution and others as future potential upgrades. As evidenced by this thread, prior to Borresen I owned various Raidho speakers which again were not paired with sister company Aavik but nonetheless achieved great results. I therefore do not agree with the thesis that selection of Borresen Acoustics funnels or locks one into a specific path of electronics or accessories or compels a race horse blinkered vision on subsequent system changes.


    That said, I do think that system synergies have value and should not be sniffed at either. It is rare in the world of hi-end audio to find a group of companies that share a common designer which cover virtually everything from accessories, racks and cables to electronics and speakers. While there are many implications for this the one that stands out for me is de-risking investment. How many times do you read here and elsewhere of multi-branded individual system components that are stellar in their own right but don’t play nicely as a team because of electrical or sonic character mismatching? Mistakes in the hi-end are expensive. I know this to be true because I’ve made plenty. Plainly stated – poor outcomes behove us to find ways of mitigating risk and consistent design philosophy is one of them. In this regard, and in reference to one of your comments, I find it difficult to join the dots between system synergy and “dysfunctionality”.


    I must accept your mild rebuke. You are quite right – my earlier statement read like a conclusion which could not be valid if for no other reason than my ears are not yours. My local dealer stocks Devialet, Shunyata, Raidho, Borresen, Aavik and Ansuz so my opinion is framed by more than brand passion (of which I make no secret) but nonetheless it’s important to clearly differentiate between opinion and conclusion.


    I do agree that the biggest contributor to the aural experience is the room and the loudspeaker and how they interact together. My system thread is a testament to various studies and investigations I’ve made in the area of room acoustics. Borresen like Raidho before them are somewhat unique in that they excel in a nearfield configuration. Though rear ported the Borresen’s are easy to place in a listening room and do like to be placed far apart, but relatively close to the listener assuming a room can accommodate such a placement. This does not however exclude other configurations. I achieved great results (with Raidho) in an earlier listening room with a more conventional ratio where the distance from the listening chair to the speakers was about 20% greater than the distance between the speakers [see post #6]. While you are concerned about where in the room you will place the speakers may I hint to you that in my experience a far weightier concern should be where in the room your listening chair is located?


    You have clearly enjoyed your listening experience at Borresen acoustics and I hope you will have the opportunity to try the speakers in your home environment.
    Borresen Acoustics Loudspeakers, Borresen Model 01 Compact monitor loudspeakers with Ansuz Darkz T2s Supreme resonance control, Audio Video Manufaktur GmbH (AVM) Inspiration amplifier & streamer, Innuos Zen MKII music server, Ansuz Acoustics cables & accessories. Please visit my system thread hosted on Audioshark for more details. Disclosure: The author is materially connected to Ansuz, Aavik & Borresen Acoustics via friendship with an owner.

  26. #326

    Re: Music from a farther room

    Yes - unbelievably there isn't a Borresen dealer in the UK yet - which says more about the state of the UK high end market than the appropriateness of Borresen having representation. But I gather that things are in hand to make an appointment soon.

    Thanks for your help.

  27. #327
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    Re: Music from a farther room

    Impressions of the Børresen 01 speakers – Part I







    I was recently contacted by a reader who pointed out that it had been some time since I’d last posted in this system thread and he’d be keen to read more about my progress with the Borresen Acoustics 01 loudspeakers.


    To that end, this particular update will focus on the run in process, the importance of getting the systems AC polarity correct and observations around resonance controls.


    Subsequent updates will include more detailed listening impressions, a continuation of my thoughts and experiments in optimizing the room set up for Borresen speakers, what I perceive to be strengths and weaknesses of the B01 loudspeaker and finally thoughts about partnering amplification.



    Run in


    The Borresen 01 speakers now have several hundred hours of use. I am not able to report specifically or with any authority on incremental changes heard over the period because other components in the system such as the amplifier and cables were also new and thus create more than one variable.


    What I can say is given the nature of both the tweeter and the cone drivers, Borresen speakers need a considerable amount of break in before they achieve their full performance potential. Fresh out of the box I subjectively found the Borresen ribbon tweeter hot (as in strident and a mite aggressive) and the bass clean but perceptively overdamped – thus yielding a very tight but somewhat lean bass. The combination of these two factors led observationally to a sense of imbalance which I ameliorated by engaging – shock horror – the AVM amplifier tone control, boosting the bass by a couple of dB. To my ears this improved the overall coherence of the speaker / system with improved seamlessness and balance top to bottom of the frequency range without morphing into any unwanted bass hangover, bloat or muddiness. Further, the slight boost to the bass definitely made music more involving.


    Børresen Acoustics notes in their user manual that the long stroke bass driver with natural rubber surrounds needs at least 50-100 hours of actual music playing at moderate sound level. In my opinion this is quite conservative. In the context of my audio system and room – the bass drivers took several hundred hours of bass heavy content driven at a stentorian roar before I was satisfied that the tone controls on my amplifier could be once again be bypassed. My overall feeling therefore is that the break in process is more about mechanically freeing up the bass driver than the tweeter.




    Check your AC Polarity


    As you will read in subsequent updates the Borresen loudspeakers are high resolution transducers and careful attention to set up is needed to get the best from them tonally and spatially and to ensure noise (any unwanted sound) is minimized.
    One frequently overlooked aspect of setting up any audio system is checking AC polarity.

    It is not my intent here to discuss how to check AC polarity or why you might want to do so. For further reading on this I refer you instead to Jim Smith’s book “Get Better Sound” (2008, Quarter Note Press). Galen Carol Audio also has a useful article which I provide a link to here: https://www.gcaudio.com/tips-tricks/...r-ac-polarity/


    In his book Jim notes that incorrect AC polarity from just one component can make your system sound harsher than it should. Jim does not go into much detail on the detriment of incorrect phase polarity but based on my past experience, get it right and you will be rewarded with smoother treble texture, less glare and heightened low level resolution due in large part to quieter overall backgrounds.

    To add to the complexity wiring standards are not universal. There is no globally standardized rule on which AC pin carries the phase and which is the return. For example, I spend part of the year in Singapore which uses British standard BS 1363 13A plugs and socket-outlets. If I connect a U.S. distributor to the wall socket its polarity will be reversed. Jim Smith points out that even within the US he’s found situations where AC polarity is inverted when an AC line is pulled from the opposite side of the AC panel.


    Testing of each component in your audio system is needed. I my case I’m presently using an all in one box so the exercise is simplified. Testing revealed AC polarity inversion so I was interested to observe whether the resolving level of the overall audio system, not to mention my own listening acuity was up to the task of discriminating the sometimes subtle qualitative attributes AC polarity inversion invokes.



    Photo: Eden CD - Frank Peterson, a German music producer has his Enigma rooted fingerprints all over this recording. Very highly compressed but the soundstage is floor to ceiling in height and extends wide of the speakers. This track is especially glorious on big panel speakers and big MBL’s. Sarah’s voice can and indeed will sound sibilant on speakers/systems which highlight this coloration.



    I predominantly used the title track of Sarah Brightman’s Eden album [CD, 1999, Angel Records ‎– 5567692] for testing purposes. It is not a particularly well recorded album. It is highly compressed with a limited dynamic range and whoever mixed the album should be shot because the orchestration often drowns the vocals. The album is sadly over produced with string heavy arrangements dominating and overpowering the sometimes fragile tones in Sarah’s upper range.

    So why use it for testing? There are three reasons.

    First, Eden is loaded floor to ceiling with ambient detail and the reverberant characteristics, most notably their tails, can be used as a point of reference for comparative purposes.

    Second, on some systems Sarah’s vocals can some across as glassy with an unpleasant quality of hardness about them and in previous audio systems I’ve owned (notably those using Raidho ribbon tweeters) changes to AC polarity have ameliorated glare and haze.

    Third, while some audiophiles prefer to use pristine recordings for evaluations – I prefer to use generally poor recordings, because they represent a large part of my music collection and thus optimizing my system to play them in the best possible fashion is of the utmost importance.





    Photo: A UK to USA polarity correction adaptor for the wall socket



    RESULT


    Hearing differences in the audio system by changing AC polarity proved both easy and consistent. Polarity corrected, with the Eden test track there was noticeably increased low level resolution. In the ambient and haunting Gregorian chant that opens the track the roll off of the reverberant decay at around 10 and 22 seconds was extended. Furthermore, Sarah’s vocals were simply more soothing, dropping some of edginess apparent before the AC polarity was inverted. In place of slight vocal harshness was now a breathy delicacy, even a hint of fragility. But, the benefits did not end there because along with lower levels of perceived noise came a better defined central image which subjectively was more distinct and floated better in an otherwise heavy arrangement. In sum, get the polarity right and you are treated to an even grander musical landscape which beyond increased fine detail presents sound in a musically more satisfying and involving way.

    This settled I purchased a UK to USA polarity corrected adaptor from Coherence Audio in Singapore for fifty dollars. Sometimes performance upgrades can be inexpensive.



    Resonance Controls


    Per the User manual, Borresen loudspeakers are designed for an easy upgrade by adding Ansuz Darkz to the loudspeaker feet. Darkz is a series of efficient devices to ground all components in a high end audio system. Darkz are mechanically tuned to allow vibrations a pathway out of the component and to keep various components individually isolated.

    To undertake this upgrade you’d need eight Darkz devices plus 24 ceramic [titanium now an option] balls.


    To date, I’ve not experimented with adding Darkz to the loudspeaker feet but with the Borresen 01 speakers I have had the opportunity to change the resonance controls between the top of the stand the actual speakers.


    At the 2019 Munich show Ansuz launched four new quality levels of Darkz identified as C2t, D2t, T2 and T2s or T2 SUPREME. I recently purchased some T2 SUPREME Darkz with the intent to hear whether in the context of my audio system they really are an upgrade.



    Photo: Side by side, the Ansuz Darkz d.tc and T2s.



    Out of the box, comparing the two Darkz models I was surprised to find the T2 SUPREME is significantly lighter in weight than the d.tc. Surprised I guess because as an audiophile I’ve generally come to expect that expensive items are heavier than their cheaper counterparts. Out of curiosity I weighed both. The d.tc was 251 grams and the T2s 130 grams. Moreover, the T2s looked to have a marginally greater diameter though difference here may merely down to manufacturing tolerances of the layering composites.

    Before replacing the d.tc Darkz on the speaker stand with the T2 Supreme I was interested to try them under my modest AVM amp/streamer unit. To be honest versus the d.tc currently used in this location audible changes brought about by the T2 Supreme were subtle and challenging to discern and not helped by the unavoidable time delay in swopping out the footers. In sum, I had expected to hear significant differences between d.tc and T2s when placed under the amp and the fact I did not left me disappointed.

    I then pressed on to swop the d.tc Darkz for the T2 Supreme Darkz on the speakers and the results here were frankly a big surprise – so much so I reversed the change several times to check the result was consistent.



    Photo: Out with the old and in with the new – Ansuz T2s Darkz replace Ansuz D-TC Darkz on Borresen Audio B01 loudspeaker stand


    For evaluation I predominately used “Someone Else's Tomorrow” from Patty Griffins Album Children Running Through [CD, 2007, ATO Records 8088215742]. Beyond the ethereal and somber toned musical structure, Griffins rugged yet soft vocals let loose a truly soulful ache. Someone else’ tomorrow reflects on death and tells us how our own memories are replaced by someone else’s tomorrow. Rich in symbolism and imagery the song writer evokes a picture of a gray skied winter Sunday morning and “a churchyard so cold it was silver”.

    Personally – and I acknowledge we are all different – this track must deliver on two determinants for me to consider any audio system to be successful.

    First, it must evoke a gestalt response. The sparseness, solitude and mourn of opening piano overtones should combine with the lyrics to pack an emotional wallop. An essential aspect of sound reproduction has to be more than the blinkered pursuit of ultimate fidelity – it needs to be about capturing and reproducing the gestalt of music. The litmus test of a fine loudspeaker for me is not just how one responds to the reproduced music when playing but what happens when the music stops. Why? Because that is time to reflect upon what the music has witnessed to you and what sticks with you at the end of the performance. If the answer is nothing then that’s what I think of the stereo system, irrespective of its price tag.

    Second is fidelity that is the degree to which a component reveals and is true to recorded content. I have always believed that resolution is important and that there really is no such thing as too much information at least not in terms of detail itself, but perhaps more in terms of what the loudspeaker can and can’t do with it – and just how obvious that becomes. In Griffins “Someone Else’s Tomorrow” high resolution audio systems will reveal two recordings being played back, the title track plus another folk genre piece at low level. Most noticeable in the beginning 10 to 25 seconds of playback but actually buried deep throughout – this seems to be unintentional and perhaps the result of stray pickup or crosstalk during the recording process. On playback systems of very high resolution [electrostatics usually excel] its evident the pickup is actually another Griffin recording; “Only Up or Down” which appears as a bonus track on a Barnes & Noble exclusive edition of the same Children running through album. While of no particular musical value the ability of a system to coherently reveal this anomaly from the listening chair bodes well for its resolving capability.



    Photo: Do you have a highly resolving audio system? A recording error on this CD from Patty Griffin might tell you.


    So, back to resonance controls. Swopping out the Darkz DTC with T2 Supreme added (surprisingly and inexplicably) more detail and ambience, but thankfully this detail is in the service of the music as opposed to being an end in itself. For example the tracks opening haunting sepia toned piano notes just seemed to better float, almost as if the notes were momentarily suspended in the air and the ring of the harmonics seemed to take an extended age before decaying naturally. Further, when Patty’s vocals emerge the central image is denser, more dimensional and exhibits a more articulate tongue / mouth movement adding to a sense of realism. The extra detail enhanced (for me at least) the full emotional weight of artists work with my senses immediately and more deeply responding to the seeming desolation and loneliness of the soundscape.

    As for the revelation of the recording error mentioned above the T2 Supremes only slightly advanced the auditory discrimination of the 2nd recording but at the same time did lay bare more recording noise. I will return to this test track in subsequent updates when I’ve upgraded my source and amplification because these are current resolution limiting factors in my system.

    The benefits the Ansuz T2 Supreme Darkz did not end there because on a different album, this one by Jennifer Warnes [CD, 2009, The Hunter, Impex Records] the opening bass on "Way Down Deep" when played at high amplitude could cause an audible rattle sound to emit from the D.TC darkz whereas the T2s remained quiet. On the same track the Borresen speakers with the T2s fitted seemed to have improved dynamics and snap, that is, more energy and a perceptively faster speed of release adding to impression that the bass was diving deeper than the loudspeaker specification suggests.



    Photo: This reissue of The Hunter in the form of an audiophile 24K gold CD is said to have been re-mastered by Bernie Grundman from Jennifer's own analog master tapes. I vastly prefer this reissue over the standard original CD by Private Music (with black and white cover) and the Private/Sony Music hybrid SACD – all of which I own.


    Finally, one other benefit of swopping Darkz on Borresen speakers is that the existing Darkz can be reused elsewhere in your audio system. In my case I redeployed five DTC Darkz to under my Innuos music server which not only rewarded the soundstage but aided the naturalness of a broad spectrum of reproduced music. Hurrah!

    In sum, based on these observations if you presently own Borresen speakers with earlier generation Ansuz resonance controls [C, D2 or DTC] I recommend you obtain dealer advice on an upgrade. Do note my observations are restricted to the Borresen 01 speakers – though I strongly suspect the T2s resonance controls would benefit all Borresen loudspeaker models.


    What’s Next?

    With AC polarity corrected and resonance controls upgraded, my next update (Part II) will provide further listening impressions of the Borresen 01 speakers together with some hard lessons learnt from room placement.




    Important: With respect to my comments on AC polarity, please consult a registered electrician before attempting any work on AC.
    Borresen Acoustics Loudspeakers, Borresen Model 01 Compact monitor loudspeakers with Ansuz Darkz T2s Supreme resonance control, Audio Video Manufaktur GmbH (AVM) Inspiration amplifier & streamer, Innuos Zen MKII music server, Ansuz Acoustics cables & accessories. Please visit my system thread hosted on Audioshark for more details. Disclosure: The author is materially connected to Ansuz, Aavik & Borresen Acoustics via friendship with an owner.

  28. #328

    Re: Music from a farther room

    Hi, Kiwi

    Insightful and inspirational thread! Thank you for your posts!
    Triangle Magellan Concerto 2 < AQ Everest < Vitus Audio SS-010 Mk2 < AQ Dragon HC < AQ WEL Signature XLR < Chord Qutest w UpTone JS-2 & AQ Dragon Source < SOtM tX-USBultra w 75Ohm Master Clock Input, Paul Hynes SR5-12 Turbo XL & AQ Dragon Source < AQ Diamond USB < Aurender N-100H w AQ Dragon Source < Gryphon PowerZone w AQ NRG-Wild < Solid Tech Hybrid < Ansuz Darkz D-TC, Darkz D2, Stillpoints Ultra SS, Omicron Harmonic Stabilizer & Gold SE < Furutech FT-SWS < Synergistic Research Blue Quantum Fuse

  29. #329
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    Re: Music from a farther room

    Thanks kiwi... I bought the Børresen 01 ten days ago... they are still in burnin time... but even now a lot better than my Raidho D1.1... no doubt !!! The new darktz really are a full upgrade on their sound? Thanks !!!

  30. #330
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    Re: Music from a farther room

    Welcome


    Quote Originally Posted by Nicola View Post
    Thanks kiwi... I bought the Børresen 01 ten days ago... they are still in burnin time... but even now a lot better than my Raidho D1.1... no doubt !!! The new darktz really are a full upgrade on their sound? Thanks !!!
    Fleetwood Deville by Oswald Mills Audio, Vienna Acoustics Haydn Jubilee, Wharfedale Linton w/ stands, Klipsch RB-75, Klipsch RP-160M.

    Job INTegrated. Luxman L-595aSE

    NAD C 658 streamer.

    First Watt SIT-3, Job 250 Monos, NuForce STA200, AkitikA GT-102 amp, ASL Wave monos, Dennis Had 45 monos. Absolute Audio Labs PCF 25 amp (improved First Watt F7 super clone)

    Topping D90, RME Audio ADI-2 DAC FS, ModWright Ultimate Sony XA-5400ES.

    Burmester 948, McIntosh MCLK12, Kimber Kable, Siltech, Cardas, Avanti Audio cables.

  31. #331
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    Re: Music from a farther room

    Quote Originally Posted by Nicola View Post
    Thanks kiwi... I bought the Børresen 01 ten days ago... they are still in burnin time... but even now a lot better than my Raidho D1.1... no doubt !!! The new darktz really are a full upgrade on their sound? Thanks !!!

    Welcome to the forum Nicola.

    Sorry for the delay in reply and congratulations on the purchase. The Raidho D1.1's were outstanding speakers.

    Can you share what the rest of your system is (including cables) and what Darkz is presently used under the Borresen speakers?
    Borresen Acoustics Loudspeakers, Borresen Model 01 Compact monitor loudspeakers with Ansuz Darkz T2s Supreme resonance control, Audio Video Manufaktur GmbH (AVM) Inspiration amplifier & streamer, Innuos Zen MKII music server, Ansuz Acoustics cables & accessories. Please visit my system thread hosted on Audioshark for more details. Disclosure: The author is materially connected to Ansuz, Aavik & Borresen Acoustics via friendship with an owner.

  32. #332
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    Re: Music from a farther room

    Hi kiwi, this is my setup:

    Esoteric Grandioso K1
    darTZeel CTH 8550
    Ansuz power distribution D-TC
    Børresen 01 with D-TC darkz (plus ceramic balls)
    Finite element Master Reference
    All Nordost Odin cables (with Sort-lift)
    RAAL SR1A headphones
    Treated listening room

  33. #333
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    Re: Music from a farther room

    Quote Originally Posted by Nicola View Post
    Hi kiwi, this is my setup:

    Esoteric Grandioso K1
    darTZeel CTH 8550
    Ansuz power distribution D-TC
    Børresen 01 with D-TC darkz (plus ceramic balls)
    Finite element Master Reference
    All Nordost Odin cables (with Sort-lift)
    RAAL SR1A headphones
    Treated listening room
    Wow. Congratulations on assembling such a wonderful system Nicola.

    Only the Swiss can turn a volume control into a “pleasure control”.


    Turning to your earlier question, yes, I found changing the Darkz D-TC under the Borresen 01 speakers to Darkz T2s Supreme resonance control to be a most worthwhile upgrade for reasons mentioned in an earlier post. I don’t recommend you make any changes for the moment though. Wait for the Borresen speakers to fully break in first.
    Borresen Acoustics Loudspeakers, Borresen Model 01 Compact monitor loudspeakers with Ansuz Darkz T2s Supreme resonance control, Audio Video Manufaktur GmbH (AVM) Inspiration amplifier & streamer, Innuos Zen MKII music server, Ansuz Acoustics cables & accessories. Please visit my system thread hosted on Audioshark for more details. Disclosure: The author is materially connected to Ansuz, Aavik & Borresen Acoustics via friendship with an owner.

  34. #334
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    Re: Music from a farther room

    Hi Kiwi,

    I only today found this thread that you transferred out of audioenz many years ago. I was reminded of your comparisons with integrated amps and your system evolution, especially because our tastes and impressions were pretty similar on the Gryphon Diablo. I recall that you initially bypassed the preamp section with a Cary and then changed to the Magtech amp.

    I was wondering if you wouldn't mind to give a rather quick summary of the amplifiers you have been using since then. I ask because I sold my Diablo when I had the chance to jump on an Antileon, which was an opportunity at that moment. However, after almost a year, I somewhat miss that grip and headroom, but, above all, the level of heat that it exudes makes it very, very impractical for me. This means that I am starting to look around, maybe even moving back to an original Diablo. Before I do so, I wanted to trace your steps somewhat, especially in what made you move away from the Sanders in another direction.

    Thanks in advance for your help.

    With kind regards

    André
    Home System
    Source: Mini-PC set up by LDMS, Resolution Audio 'Cantata'
    Amplification: Gryphon 'Antileon' (recapped by @Alrainbow)
    Speakers: Heil Kithara
    Cables: Power - Douglas Cables 'Mirage' (2x), 'Hair Angel' & 'Silver Purple'; Digital - FTA Callisto USB; IC: DC 'Hair Angel' XLR; Speaker - Crystal Cable 'Standard'
    Acessories: Ideon Audio 3r Renaissance mk2, Uptone ISO Regen (daisy-chained), Uptone Audio LPS-1, HDPlex 200, Furutech GTX-D (g), Hifi-Tuning Supreme Fuse (Cantata), Equitech Balanced Power 1QR, Sistrum SP-1 (amp + DAC)



    Office System
    Source: Audio Engine W3 coming from PC, SBT w/ Edo & Welborne Labs PSU
    Amplification: NAD S300
    Speakers: KEF LS50 w/ original stands
    Cables: Power - ASI 'Liveline' (w/ Oyaide 004/079); Speaker - Western Electric
    Acessories: Sistrum SP-1

  35. #335
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    Re: Music from a farther room

    Hello André,

    Wow, talk about a blast from the past. Nice to hear from you, I do recall some of our conversations from years back.

    Yes, I purchased the original Gryphon Diablo after evaluating five other competing integrated amplifiers in a similar price range from US$10k to $20k. I praised the Diablo, especially the bass, which wasn’t just deep and powerful, but transparent and solidly propulsive as well, with air and space around the notes that lets you hear underneath them.

    After living with the Diablo for quite some time I noticed that whilst the musical presentation was broadly neutral it did swing slightly to the dark side of neutral and it didn’t reproduce piano (in particular) with the alluring structure and texture of the real thing. Relief was found by bypassing the Diablo’s pre-amp section – using a Cary Audio SLP-05 in its place. Now piano notes where more resonant and appealing to the ear; appearing to be momentarily suspended in the air until they decayed naturally.

    I have tried the Diablo 300 and whilst it was an improvement over the original my overall impression of Gryphon (after also listening to other products in the range, though not all in my system) has been that Gryphon manufacture world class power amplifiers, but their preamplifiers are an Achilles' heel – at least in terms of what I need musically.

    Other integrateds that I have auditioned include the Musical Fidelity NuVista 800, the Kondo Audio Note Overture PM-2, the top of the line Soulution Audio integrated, the top of the line SIM Audio MOON integrated and a few others.


    The Sander Sound Systems Magtech power amplifier doesn’t get much press but I think very highly of it. On big orchestral pieces low efficiency / low impedance speakers need loads of power and Sanders 500 watts per channel combined with a massive regulated power supply – strongly make the case for just how important power output can be. If an amplifier is under-powered for your needs, you’ll never hear the system at its full potential. The sound will be constricted, dull, muddy and often fatiguing and you will notice a hardening of timbre and a dilution of dynamics as the amplifier strains and gives up as it runs out of power.

    The Magtech was only sold because I’m frequently on the move for business and can’t take or store everything I own.


    All the best.

  36. #336
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    Re: Music from a farther room

    Hi Kiwi,

    Thanks for the response. I agree with you that Gryphon's Achilles' heel is the preamp, which is why I jumped on the Antileon. However, it is very impractical to have such a massive Class A amp especially because of the heat and also because it somewhat feels under-powered compared to the Diablo. So Sanders came to my mind because of your comments and because of our agreement on several impressions regarding the Diablo.

    Let's see where this journey will lead me.

    Thanks again.
    Home System
    Source: Mini-PC set up by LDMS, Resolution Audio 'Cantata'
    Amplification: Gryphon 'Antileon' (recapped by @Alrainbow)
    Speakers: Heil Kithara
    Cables: Power - Douglas Cables 'Mirage' (2x), 'Hair Angel' & 'Silver Purple'; Digital - FTA Callisto USB; IC: DC 'Hair Angel' XLR; Speaker - Crystal Cable 'Standard'
    Acessories: Ideon Audio 3r Renaissance mk2, Uptone ISO Regen (daisy-chained), Uptone Audio LPS-1, HDPlex 200, Furutech GTX-D (g), Hifi-Tuning Supreme Fuse (Cantata), Equitech Balanced Power 1QR, Sistrum SP-1 (amp + DAC)



    Office System
    Source: Audio Engine W3 coming from PC, SBT w/ Edo & Welborne Labs PSU
    Amplification: NAD S300
    Speakers: KEF LS50 w/ original stands
    Cables: Power - ASI 'Liveline' (w/ Oyaide 004/079); Speaker - Western Electric
    Acessories: Sistrum SP-1

  37. #337
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    Re: Music from a farther room

    Quote Originally Posted by kiwi_1282001 View Post
    Hello André,

    Wow, talk about a blast from the past. Nice to hear from you, I do recall some of our conversations from years back.

    Yes, I purchased the original Gryphon Diablo after evaluating five other competing integrated amplifiers in a similar price range from US$10k to $20k. I praised the Diablo, especially the bass, which wasn’t just deep and powerful, but transparent and solidly propulsive as well, with air and space around the notes that lets you hear underneath them.

    After living with the Diablo for quite some time I noticed that whilst the musical presentation was broadly neutral it did swing slightly to the dark side of neutral and it didn’t reproduce piano (in particular) with the alluring structure and texture of the real thing. Relief was found by bypassing the Diablo’s pre-amp section – using a Cary Audio SLP-05 in its place. Now piano notes where more resonant and appealing to the ear; appearing to be momentarily suspended in the air until they decayed naturally.

    I have tried the Diablo 300 and whilst it was an improvement over the original my overall impression of Gryphon (after also listening to other products in the range, though not all in my system) has been that Gryphon manufacture world class power amplifiers, but their preamplifiers are an Achilles' heel – at least in terms of what I need musically.

    Other integrateds that I have auditioned include the Musical Fidelity NuVista 800, the Kondo Audio Note Overture PM-2, the top of the line Soulution Audio integrated, the top of the line SIM Audio MOON integrated and a few others.


    The Sander Sound Systems Magtech power amplifier doesn’t get much press but I think very highly of it. On big orchestral pieces low efficiency / low impedance speakers need loads of power and Sanders 500 watts per channel combined with a massive regulated power supply – strongly make the case for just how important power output can be. If an amplifier is under-powered for your needs, you’ll never hear the system at its full potential. The sound will be constricted, dull, muddy and often fatiguing and you will notice a hardening of timbre and a dilution of dynamics as the amplifier strains and gives up as it runs out of power.

    The Magtech was only sold because I’m frequently on the move for business and can’t take or store everything I own.


    All the best.
    I used to own a Cary SLP-05 preamp and I would say that it had the most lifelike sustain/decay on piano notes I’ve ever experienced. Simply jaw dropping. The magic of 6SN7’s. Enjoy!

    Ken
    "No summit worth climbing is easily attained."
    --------------------------------------------
    Source: MSB Select II DAC with Two Mono Powerbases and Femto 33 Clock; Renderer V2 Digital Input Module and Roon Nucleus Plus; MSB UMT V Signature Transport
    Amps: Vandersteen M7-HPA Mono Amps; MSB M204 Mono Amps
    Speakers: Vandersteen Model 7 Mk2
    Power: Two AudioQuest Niagara 5000’s with AudioQuest Dragon and Hurricane Power Cords

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