52 minutes ago, AccMagi7s said:

So my new ergonomic chair is coming, a compliment from my other half in response to my commitment that there will be no further upgrade to electronics.

So I said yes to secure it. 🤣

I am offering my current chair to a local friend, free of charge. You need to organise the pickup and your own logistics. I have a bad back since carrying the Goldmund, so I will be unable to help with moving.

Bahahahaha you are hilarious! That’s never happening. 😆

20 minutes ago, Yamaha_man said:

Bahahahaha you are hilarious! That’s never happening. 😆

I committed to her that I would not upgrade. This was pledged in 2025. Legally, we are in 2026, so...! 🙃
As for the chair, please pm me for the pickup. The new chair will be here in three weeks, so it can be picked up then. 👌👍

Some photos for the EOI.

It appears that a significant period of inactivity has transpired, primarily due to my exile over the past few weeks, during which I travelled with my family to various locations, including Singapore, Penang, Phuket, Macau, and concluded in Hong Kong. The purpose of this journey was to escape and to contemplate my plans for electronic upgrades. The influence of the Goldmund trailing system has left a substantial impact on my thoughts, making future upgrades seem like a requirement.

During my period of exile, I engaged in deep and rational reflection on the essential qualities that drive such impulses, which necessitate moderation given the exorbitant prices of ultra-high-end electronics. Although my current setup does not yet match the standards of the Goldmund 4800s, it remains very listenable, and I am pretty content with them. I am eager to hear your insights, particularly from those who have visited, to gain a clear perspective and informed guidance for future direction.

Apologies for a long post; with your input, I can also update my analogy below regarding the two components of how we enjoy a good setup. These two have always caused confusion among us, and I hope that sharing my thoughts on the matter will help clarify my understanding. Please feel free to correct me if you have a different perspective.

Here it goes: What exactly are we listening to when we listen to music?

Is listening to music about hearing the sound or hearing the emotion? This question arises early for beginners and returns repeatedly for seasoned listeners. At one end is the world of technology: parameters, graphs, terminology. At the other end is the very world of feeling: vibrations, memories, states. A great setup stands between these two worlds, acting as a bridge and also the source of many misunderstandings.

Technique is crucial when laying the foundation for the experience. This foundation includes clarity, stability, and the ability to accurately reproduce the recording's structure. When the technique is good enough, the music takes on a clear form: instruments are in the correct positions, the rhythm maintains order, and the climaxes rise and fall coherently. At this stage, concepts like layering, dynamics, speed, and bass control help the listener understand why a piece of music sounds messy or concise, tiring or light. Technique is like the lighting in a room: enough light makes everything stand out. Technique also becomes crucial when you want to repeat the experience. A great listening session might come from a fleeting emotion. But to maintain that quality in subsequent sessions, the system needs to be stable. At this point, the technique protects the experience from the inconsistencies of the source, volume, and recording. It doesn't create the emotion for you, but it allows the emotion to emerge.

Emotion is essential when you enter a piece of music, when a lyric touches your mood, when a harmony opens up a memory, when the drum beat makes your body subtly move. These moments aren't on a graph. They come from how music connects with the listener's life. Emotion determines how long you stay with an album, whether you want to continue or stop. It's the ultimate reason you turn on music after a long day.

Emotion also guides your listening style. Sometimes you want to listen carefully, deciphering each layer of sound. Sometimes you want to listen softly, letting the music serve as a backdrop for your thoughts. The right audio setup for you are those that complement those states. Here, "right" isn't about perfection, but about suitability. That's why we have this widespread phenomenon: some ultra-high-end setups don't meet all the technical criteria, but are incredibly captivating. They might lack a bit of openness, balance, or detail. In return, they maintain a smooth flow. The music flows seamlessly, is easy to stay with, and is enjoyable for extended listening. The listener forgets to judge and begins to appreciate the experience fully. That's the moment when emotion transcends technical skill.

Conversely, some setups are very technically powerful. Everything is clear, clean, and sharp. The initial experience is awe-inspiring. Afterwards, attention is drawn to following every detail. Listening for a long time keeps the brain constantly active and fatigued. Emotion is less prominent, even though there's more information. This doesn't diminish the value of the high-end setups. It shows that each design prioritises a different way of listening. The issue isn't about choosing technique or emotion. The problem is the order. Technique creates the framework. Emotion fills that framework. When the framework is too tight, the emotion is suffocated. When the framework is wide and stable enough, the emotion moves freely. Experienced listeners don't usually take one side completely. They use a technique to avoid major mistakes, then use emotion to make the final decision.

For beginners, the most straightforward advice is: don't chase keywords. Keywords are very appealing: "detail," "soundstage," "reference," "flagship." They help with quick reading, quick comparison, and quick purchase. But music isn't listened to that way. Take your time listening in familiar conditions, with familiar music. Pay attention to whether you want to keep playing, turn the volume down, or change tracks. These answers are more reliable than any specification sheet.

Technique and emotion don't clash. They complement each other. The method helps music become clearer. Emotion gives music meaning. When you know when to use each, the listening journey becomes smoother, and equipment choices become clearer.

Ultimately, listening to music is about hearing a recording that passes through technology to touch emotion.

When those two things meet at the right time, you don't need any more keywords — you turn on the music.

Edited January 23Jan 23 by AccMagi7s
Typo

1 hour ago, AccMagi7s said:

It appears that a significant period of inactivity has transpired, primarily due to my exile over the past few weeks, during which I travelled with my family to various locations, including Singapore, Penang, Phuket, Macau, and concluded in Hong Kong. The purpose of this journey was to escape and to contemplate my plans for electronic upgrades. The influence of the Goldmund trailing system has left a substantial impact on my thoughts, making future upgrades seem like a requirement.

During my period of exile, I engaged in deep and rational reflection on the essential qualities that drive such impulses, which necessitate moderation given the exorbitant prices of ultra-high-end electronics. Although my current setup does not yet match the standards of the Goldmund 4800s, it remains very listenable, and I am pretty content with them. I am eager to hear your insights, particularly from those who have visited, to gain a clear perspective and informed guidance for future direction.

Apologies for a long post; with your input, I can also update my analogy below regarding the two components of how we enjoy a good setup. These two have always caused confusion among us, and I hope that sharing my thoughts on the matter will help clarify my understanding. Please feel free to correct me if you have a different perspective.

Here it goes: What exactly are we listening to when we listen to music?

Is listening to music about hearing the sound or hearing the emotion? This question arises early for beginners and returns repeatedly for seasoned listeners. At one end is the world of technology: parameters, graphs, terminology. At the other end is the very world of feeling: vibrations, memories, states. A great setup stands between these two worlds, acting as a bridge and also the source of many misunderstandings.

Technique is crucial when laying the foundation for the experience. This foundation includes clarity, stability, and the ability to accurately reproduce the recording's structure. When the technique is good enough, the music takes on a clear form: instruments are in the correct positions, the rhythm maintains order, and the climaxes rise and fall coherently. At this stage, concepts like layering, dynamics, speed, and bass control help the listener understand why a piece of music sounds messy or concise, tiring or light. Technique is like the lighting in a room: enough light makes everything stand out. Technique also becomes crucial when you want to repeat the experience. A great listening session might come from a fleeting emotion. But to maintain that quality in subsequent sessions, the system needs to be stable. At this point, the technique protects the experience from the inconsistencies of the source, volume, and recording. It doesn't create the emotion for you, but it allows the emotion to emerge.

Emotion is essential when you enter a piece of music, when a lyric touches your mood, when a harmony opens up a memory, when the drum beat makes your body subtly move. These moments aren't on a graph. They come from how music connects with the listener's life. Emotion determines how long you stay with an album, whether you want to continue or stop. It's the ultimate reason you turn on music after a long day.

Emotion also guides your listening style. Sometimes you want to listen carefully, deciphering each layer of sound. Sometimes you want to listen softly, letting the music serve as a backdrop for your thoughts. The right audio setup for you are those that complement those states. Here, "right" isn't about perfection, but about suitability. That's why we have this widespread phenomenon: some ultra-high-end setups don't meet all the technical criteria, but are incredibly captivating. They might lack a bit of openness, balance, or detail. In return, they maintain a smooth flow. The music flows seamlessly, is easy to stay with, and is enjoyable for extended listening. The listener forgets to judge and begins to appreciate the experience fully. That's the moment when emotion transcends technical skill.

Conversely, some setups are very technically powerful. Everything is clear, clean, and sharp. The initial experience is awe-inspiring. Afterwards, attention is drawn to following every detail. Listening for a long time keeps the brain constantly active and fatigued. Emotion is less prominent, even though there's more information. This doesn't diminish the value of the high-end setups. It shows that each design prioritises a different way of listening. The issue isn't about choosing technique or emotion. The problem is the order. Technique creates the framework. Emotion fills that framework. When the framework is too tight, the emotion is suffocated. When the framework is wide and stable enough, the emotion moves freely. Experienced listeners don't usually take one side completely. They use a technique to avoid major mistakes, then use emotion to make the final decision.

For beginners, the most straightforward advice is: don't chase keywords. Keywords are very appealing: "detail," "soundstage," "reference," "flagship." They help with quick reading, quick comparison, and quick purchase. But music isn't listened to that way. Take your time listening in familiar conditions, with familiar music. Pay attention to whether you want to keep playing, turn the volume down, or change tracks. These answers are more reliable than any specification sheet.

Technique and emotion don't clash. They complement each other. The method helps music become clearer. Emotion gives music meaning. When you know when to use each, the listening journey becomes smoother, and equipment choices become clearer.

Ultimately, listening to music is about hearing a recording that passes through technology to touch emotion.

When those two things meet at the right time, you don't need any more keywords — you turn on the music.

Off topic for a second - I love Penang. Several metric tonnes of noodles were consumed, along with litres of ice cold Tiger beer. I'm dying to go back.

You talk about emotion - we factor this in greatly when designing speakers. You can have speakers that measure extremely well on paper but are completely devoid of life when listening. Every designer has a different name for what we are chasing - for instance, Brad Serhan has referred to it as EQ - Emotional Quotient. Nick and I at VAF call it 'the magic'.

'The magic' is the last box we need to tick before signing off on a design. And it is ONLY through listening that you know when you have it. It can all of a sudden materialise out of thin air when you change just one small component in the crossover, something so minor that doesn't change anything on paper, on any measurement, but bam - all of a sudden the music becomes alive. And you immediately just know it.

Audio design is an endlessly interesting game.

Edited January 23Jan 23 by mikizee

5 hours ago, mikizee said:

Off topic for a second - I love Penang. Several metric tonnes of noodles were consumed, along with litres of ice cold Tiger beer. I'm dying to go back.

You talk about emotion - we factor this in greatly when designing speakers. You can have speakers that measure extremely well on paper but are completely devoid of life when listening. Every designer has a different name for what we are chasing - for instance, Brad Serhan has referred to it as EQ - Emotional Quotient. Nick and I at VAF call it 'the magic'.

'The magic' is the last box we need to tick before signing off on a design. And it is ONLY through listening that you know when you have it. It can all of a sudden materialise out of thin air when you change just one small component in the crossover, something so minor that doesn't change anything on paper, on any measurement, but bam - all of a sudden the music becomes alive. And you immediately just know it.

Audio design is an endlessly interesting game.

I have always enjoyed the charcoal seafood charkoay teow in newlane market. I visit this place every time I go to Penang.

My knowledge regarding the crossover of the speakers is limited; therefore, I prefer to allow the experts to elucidate how they perform their craft. I greatly appreciated my M7s—undoubtedly the best decision I have made in hi-fi equipment thus far.

It is my understanding that the quality of cables and upstream electronics inherently enhances or diminishes the overall performance of the speakers, especially when paired with a well-designed set of speakers. As evidenced by firsthand experience, the Goldmund components delivered a remarkable impact, as they did for myself and others who had the opportunity to experience them here earlier this year.

Edited January 23Jan 23 by AccMagi7s

On 03/01/2026 at 5:19 PM, AccMagi7s said:

So my new ergonomic chair is coming, a compliment from my other half in response to my commitment that there will be no further upgrade to electronics.

So I said yes to secure it. 🤣

I am offering my current chair to a local friend, free of charge. You need to organise the pickup and your own logistics. I have a bad back since carrying the Goldmund, so I will be unable to help with moving.

I would have said " thx dear, but don't worry about the chair and I will just stick to the upgrades" LOL.😂

3 hours ago, Lazz said:

I would have said " thx dear, but don't worry about the chair and I will just stick to the upgrades" LOL.😂

The old chair was gone within a day from posting. The new chair is coming and it will take 4 weeks to arrive. We live in a remote area which shows something truly inefficient about our logistical infrastructure.

It’s too late now though, the new chair is coming hehe.

Something different from the folks at Solodome. The first Audiophile listening capsule by the looks of it, mnnn

Solodome

Solodome Premium Audio Chairs

Premium Audio Chairs

Edited January 26Jan 26 by La scala

My new chair arrived last week, and I find it truly comfortable @La scala

I particularly appreciate the additional side table, the remote, and the grape juice holder. Throughout the week, including the recent weekend, my focus has been entirely on spinning my turntable. I believe that, over time, digital audio can seem no more than a boat anchor. The combination of the Technics SP10 MKIII, with a custom-designed and CNC-machined armboard for the Kuzma tonearm that fits with the silver coil cartridge, creates an almost magical and addictive experience. Its speed, timing, and remarkable resolution allow discerning listeners to forget about technicalities and simply enjoy the music.

System as is very content and sounds bloody amazing.

I had the chance to visit Dan Cross again this year, and it’s always a pleasure catching up with him. As someone who's not very social and rarely has time to visit hi-fi stores in Perth, I truly cherish these moments. When I do visit, my height and politeness often mean I don't get noticed in a buzzing crowd.

That said, every visit to A2A in Subi is a delight. It’s a place where I can immerse myself in the music, experience the gear firsthand, and indulge in my hobby without a huge upfront financial commitment. Interestingly, after revisiting, I realised how much sonic improvement can be made to my setup.

One brand that has always intrigued me is Pilium. Despite Magico using Pilium as the preferred electronics, I never fully enjoyed Pilium gear — until now. I remember, during the early days of COVID, visiting a friend whose setup was influenced by mine. He ended up buying the S5mk2 and eventually a complete Pilium system. While the resolution and clarity were impressive in those setups, they lacked emotional connection — they didn’t quite resonate.

This happened again with another friend in Perth, who owns an even higher-end Pilium system. I kept questioning whether there was something wrong with my hearing, especially since Magico’s demo rooms feature Pilium electronics — surely the experts know best, right? My interest in Pilium waned… until recently.

My latest visit to Dan’s changed everything. I was blown away. At first, Roon and Tidal left me unimpressed, but once I switched to my iPhone using Jplay from QBuz, I was hooked. Dan’s meticulous cabling — which I hear costs over $150,000 — truly made a difference. Maybe previous Pilium setups suffered from cabling mismatches, preventing me from experiencing their full potential.

If you’re curious, I highly recommend stopping by his place for a listen. Just be prepared — your current setup might seem less impressive afterward, or at least reveal some room for sonic improvement.

On 9/2/2026 at 7:57 AM, AccMagi7s said:

My new chair arrived last week, and I find it truly comfortable @La scala

I particularly appreciate the additional side table, the remote, and the grape juice holder. Throughout the week, including the recent weekend, my focus has been entirely on spinning my turntable. I believe that, over time, digital audio can seem no more than a boat anchor. The combination of the Technics SP10 MKIII, with a custom-designed and CNC-machined armboard for the Kuzma tonearm that fits with the silver coil cartridge, creates an almost magical and addictive experience. Its speed, timing, and remarkable resolution allow discerning listeners to forget about technicalities and simply enjoy the music.

System as is very content and sounds bloody amazing.

Good Man , that’s the goods , relaxing in the supple new Leather whilst spinning some southing Vinyl.

🤟 V

Every visit to Dan’s posed a significant risk, prompting me to re-evaluate the setup to better understand the potential impact on my future. These visits introduced new challenges that could influence my retirement plans.

After weeks of speculating about my hearing difficulties, I scheduled an appointment at the hearing clinic for a reassessment. The staff at Amplifon were exceptionally kind, guiding me into a small chamber where I put on a headset and pressed a switch. In that tiny space, I could hear my own heartbeat pounding loudly. The tests revealed that, on both sides, my hearing was ultimately normal—no issues detected. This was a tremendous relief, allowing me to confidently pursue upgrades while I can still enjoy them.

I will soon be sad to say goodbye to Accuphase, a brand that has brought me audio pleasure for over a decade with unwavering consistency.

Edited March 8Mar 8 by AccMagi7s

On 16/11/2025 at 12:49 AM, AccMagi7s said:

I have finally completed the room mode analysis. How many of you actually reach this extent? It is valuable to identify the frequencies that are missing due to standing waves. 

I do, the speaker/room interaction is a significant factor in achieving good sound.

On 13/12/2025 at 1:44 AM, AccMagi7s said:

Let me clarify what I mean by "proper setup." It starts with the room and acoustic treatment, which are the foundation for achieving a great sound field and clarity. The speakers are the next crucial element, key to shaping the overall experience. Electronics and cabling, often a matter of personal preference, serve as the finishing touches—adding subtle synergy rather than defining the core sound.

Yep. Then you need to find the right person/people who have experience with REW etc , plus what treatment and actions are required to achieve the desired end result.

I invested more than 60 hours with 2 people helping to me through this process.

Absolutely worth it!

On 8/12/2025 at 5:20 PM, rockeater said:

The difference between this and audiophile grade CAT8 would be the heat-shrink at both ends with fancy audiophile name on it.

These cables are not made by some tinkering engineer or anywhere else for that matter, but at big cable producing factories.

None of the brands audiophiles love and cherish have their own plants. It is all made to order and it is the manufacturers who develop these products and then offer them to brands which select designs and get them made with their logos and packaging.

And it is not just in audio. Table tennis rubbers for instance are made at just few factories in the World and only Butterly in Japan makes their own. There might be 20+ leading brands, but all European and the rest of Japanese ones are made in one factory in Germany and there are couple of factories in China which make cheaper stuff for their domestic market. 

Many industries operate in the same manner.

Yes, Neotech, I believe are one of only a few cable manufacturers in the world who have the license, and manufacturing capability to produce UP-OCC cables.

I’d put money or on more than one cable company purchasing directly, and adding their own jackets/heat shrink plus packaging and marketing.

On 26/12/2025 at 4:15 PM, AccMagi7s said:

Even with a trained ear, certainty remains elusive. As a method of reflection, obtaining honest feedback from a younger, more sensitive listener is essential. To everyone's surprise, the results aligned closely.

I agree, whenever making changes I have an idea of the goal, plus an appreciation of what has been achieved in my own mind.

I often ask my daughter (21) to have a quick listen without explaining what i can hear to see if our sonic impressions align.

Often she will report similar findings, but not always.

She also has a very good ear for any excessive brightness, harshness or aggressive sonic attributes.

My son is somewhat of a “bass pig” so I regularly consider his opinion when I have made acoustic changes to the room or altered something in the bass region bellow 100hz,

Luckily I have a few friends who are musicians (I’m also a musician -quite amateur one😀)and spent 100’s of hours in rehearsal setting listening to live sound. Plus a few friends who are acoustic and audio engineers, I cans always check in with them, perform detailed measurements of the space to confirm if we’re heading in the right direction.

Edited February 27Feb 27 by Rob Poort

On 23/12/2025 at 2:59 PM, AccMagi7s said:

My goodness…!

What have I done?!?

Stunning listening space.

On 23/1/2026 at 1:03 PM, AccMagi7s said:

It appears that a significant period of inactivity has transpired, primarily due to my exile over the past few weeks, during which I travelled with my family to various locations, including Singapore, Penang, Phuket, Macau, and concluded in Hong Kong. The purpose of this journey was to escape and to contemplate my plans for electronic upgrades. The influence of the Goldmund trailing system has left a substantial impact on my thoughts, making future upgrades seem like a requirement.

During my period of exile, I engaged in deep and rational reflection on the essential qualities that drive such impulses, which necessitate moderation given the exorbitant prices of ultra-high-end electronics. Although my current setup does not yet match the standards of the Goldmund 4800s, it remains very listenable, and I am pretty content with them. I am eager to hear your insights, particularly from those who have visited, to gain a clear perspective and informed guidance for future direction.

Apologies for a long post; with your input, I can also update my analogy below regarding the two components of how we enjoy a good setup. These two have always caused confusion among us, and I hope that sharing my thoughts on the matter will help clarify my understanding. Please feel free to correct me if you have a different perspective.

Here it goes: What exactly are we listening to when we listen to music?

Is listening to music about hearing the sound or hearing the emotion? This question arises early for beginners and returns repeatedly for seasoned listeners. At one end is the world of technology: parameters, graphs, terminology. At the other end is the very world of feeling: vibrations, memories, states. A great setup stands between these two worlds, acting as a bridge and also the source of many misunderstandings.

Technique is crucial when laying the foundation for the experience. This foundation includes clarity, stability, and the ability to accurately reproduce the recording's structure. When the technique is good enough, the music takes on a clear form: instruments are in the correct positions, the rhythm maintains order, and the climaxes rise and fall coherently. At this stage, concepts like layering, dynamics, speed, and bass control help the listener understand why a piece of music sounds messy or concise, tiring or light. Technique is like the lighting in a room: enough light makes everything stand out. Technique also becomes crucial when you want to repeat the experience. A great listening session might come from a fleeting emotion. But to maintain that quality in subsequent sessions, the system needs to be stable. At this point, the technique protects the experience from the inconsistencies of the source, volume, and recording. It doesn't create the emotion for you, but it allows the emotion to emerge.

Emotion is essential when you enter a piece of music, when a lyric touches your mood, when a harmony opens up a memory, when the drum beat makes your body subtly move. These moments aren't on a graph. They come from how music connects with the listener's life. Emotion determines how long you stay with an album, whether you want to continue or stop. It's the ultimate reason you turn on music after a long day.

Emotion also guides your listening style. Sometimes you want to listen carefully, deciphering each layer of sound. Sometimes you want to listen softly, letting the music serve as a backdrop for your thoughts. The right audio setup for you are those that complement those states. Here, "right" isn't about perfection, but about suitability. That's why we have this widespread phenomenon: some ultra-high-end setups don't meet all the technical criteria, but are incredibly captivating. They might lack a bit of openness, balance, or detail. In return, they maintain a smooth flow. The music flows seamlessly, is easy to stay with, and is enjoyable for extended listening. The listener forgets to judge and begins to appreciate the experience fully. That's the moment when emotion transcends technical skill.

Conversely, some setups are very technically powerful. Everything is clear, clean, and sharp. The initial experience is awe-inspiring. Afterwards, attention is drawn to following every detail. Listening for a long time keeps the brain constantly active and fatigued. Emotion is less prominent, even though there's more information. This doesn't diminish the value of the high-end setups. It shows that each design prioritises a different way of listening. The issue isn't about choosing technique or emotion. The problem is the order. Technique creates the framework. Emotion fills that framework. When the framework is too tight, the emotion is suffocated. When the framework is wide and stable enough, the emotion moves freely. Experienced listeners don't usually take one side completely. They use a technique to avoid major mistakes, then use emotion to make the final decision.

For beginners, the most straightforward advice is: don't chase keywords. Keywords are very appealing: "detail," "soundstage," "reference," "flagship." They help with quick reading, quick comparison, and quick purchase. But music isn't listened to that way. Take your time listening in familiar conditions, with familiar music. Pay attention to whether you want to keep playing, turn the volume down, or change tracks. These answers are more reliable than any specification sheet.

Technique and emotion don't clash. They complement each other. The method helps music become clearer. Emotion gives music meaning. When you know when to use each, the listening journey becomes smoother, and equipment choices become clearer.

Ultimately, listening to music is about hearing a recording that passes through technology to touch emotion.

When those two things meet at the right time, you don't need any more keywords — you turn on the music.

I pretty much agree with everything you have said here.

I find it’s both specs, measurements, room treatment and speaker/room interface, is an important starting point.

Once optimising these areas it’s then a matter of fine tuning with equipment choices that help one to engage with the music on a more emotional level.

This part is the most important criteria for me. Music is a massive and very important part of my life. Has been for all of my life. A kind of therapy, iif you will, in some ways when in the right frame of mind I can feel the music speak, massage and pour into my soul and heart.

The longer and in some ways louder you want to listen the closer you are to the “goal”

The gear is cool and all, but for me the most important part is the pure bliss I am able to receive from the musician/music.

Where I can dim the lights, no longer think about the equipment, daily stresses, melt into the chair and just inhale the absolute pleasure and emotions music can provide. I often find myself wanting to just put on one more record, then another, then another until I look at the clock and many hours have passed in what seems like a blink of the eye. Records and covers strewn all over the place. 😀

PS. I seem to be more easily transported to this space when listening to records through a great analog chain. I’m by no means anti-digital and probably 60% of listening is via streamer/dac, But when I make a concerted effort to put time aside for serious listening it invariably involves records.

Not because I’m obsessed with a warm, rich, full smooth analog sound. Personally that isn’t my preferred sound. A good analog rig still has digital beat for speed, clarity, excitement, separation, bearing able to easily able to hear “into” the music as a whole connected piece, also more easily be able to hone in/focus on what each individual musician is saying with their instrument.

Apologies for my somewhat rambling posting style, I am dyslexic and tend to just type away, out of a stream of consciousness..

PS. Sorry to infiltrate your system page, if you see unfit, please feel free to delete as to keep your pages on topics important to yourself. No offence taken. 👍😀

Regards Rob.

Edited February 27Feb 27 by Rob Poort

14 minutes ago, Rob Poort said:

I pretty much agree with everything you have said here.

I find it’s both specs, measurements, room treatment and speaker/room interface, is an important starting point.

Once optimising these areas it’s then a matter of fine tuning with equipment choices that help one to engage with the music on a more emotional level.

This part is the most important criteria for me. Music is a massive and very important part of my life. Has been for all of my life. A kind of therapy, iif you will, in some ways when in the right frame of mind I can feel the music speak, massage and pour into my soul and heart.

The longer and in some ways louder you want to listen the closer you are to the “goal”

The gear is cool and all, but for me the most important part is the pure bliss I am able to receive from the musician/music.

Where I can dim the lights, no longer think about the equipment, daily stresses, melt into the chair and just inhale the absolute pleasure and emotions music can provide. I often find myself wanting to just put on one more record, then another, then another until I look at the clock and many hours have passed in what seems like a blink of the eye. Records and covers strewn all over the place. 😀

PS. I seem to be more easily transported to this space when listening to records through a great analog chain. I’m by no means anti-digital and probably 60% of listening is via streamer/dac, But when I make a concerted effort to put time aside for serious listening it invariably involves records.

Not because I’m obsessed with a warm, rich, full smooth analog sound. Personally that isn’t my preferred sound. A good analog rig still has digital beat for speed, clarity, excitement, separation, bearing able to easily able to hear “into” the music as a whole connected piece, also more easily be able to hone in/focus on what each individual musician is saying with their instrument.

Apologies for my somewhat rambling posting style, I am dyslexic and tend to just type away, out of a stream of consciousness..

PS. Sorry to infiltrate your system page, if you see unfit, please feel free to delete as to keep your pages on topics important to yourself. No offence taken. 👍😀

Regards Rob.

Thank you for sharing your seasoned insights. I greatly enjoy reading your contributions, as they certainly enlighten me with a better perspective. Please continue to share.

I appreciate having friends visit. Some arrive with an authentic mindset and provide genuine constructive feedback. The diversity of ages and experiences I collect from these interactions enriches my learning process. I also enjoy visiting others. This broadens my perspective on how others would approach similar situations.

In this setup, loudness does not cause fatigue, which I can be certain of. There have been numerous occasions when my guests or friends have played music at levels exceeding 100 dB without distortion. The frequency response remains well controlled and clearly articulated, even at very low frequencies. I hope that with the next upgrade, these elements will be elevated to even higher standards. The outlook appears very promising.

I would be delighted to invite you over for a meet and greet, as we share the same passion.

I utilise HQPlayer, and Sean has previously assisted me with taking measurements. There was also a period during which I used the Accuphase DG68. Perhaps I lacked sufficient knowledge, as the DSP seemed too unnatural to me and the soundstage collapsed. I am eager to learn more about this area, although I no longer possess the DG68 or use DSP convolution.

Cheers.

Chanh

8 hours ago, AccMagi7s said:

Thank you for sharing your seasoned insights. I greatly enjoy reading your contributions, as they certainly enlighten me with a better perspective. Please continue to share.

I appreciate having friends visit. Some arrive with an authentic mindset and provide genuine constructive feedback. The diversity of ages and experiences I collect from these interactions enriches my learning process. I also enjoy visiting others. This broadens my perspective on how others would approach similar situations.

In this setup, loudness does not cause fatigue, which I can be certain of. There have been numerous occasions when my guests or friends have played music at levels exceeding 100 dB without distortion. The frequency response remains well controlled and clearly articulated, even at very low frequencies. I hope that with the next upgrade, these elements will be elevated to even higher standards. The outlook appears very promising.

I would be delighted to invite you over for a meet and greet, as we share the same passion.

I utilise HQPlayer, and Sean has previously assisted me with taking measurements. There was also a period during which I used the Accuphase DG68. Perhaps I lacked sufficient knowledge, as the DSP seemed too unnatural to me and the soundstage collapsed. I am eager to learn more about this area, although I no longer possess the DG68 or use DSP convolution.

Cheers.

Chanh

Hi Chanh.

I appreciate your offer, I would like to extend a reciprocal gesture. Although I am based in Melbourne so we are not exactly neighbours. 😀

Some day possibly , as I find the sharing part of the hifi hobby just as rewarding as my own personal enjoyment.

I also enjoy visits and are open to all forms of constructive criticism, I can appreciate others opinions, warts and all.

With regards to DSP , initially I was always quite skeptical and still are to some degree. If overdone or utilised without significant experience I find it can be somewhat problematic and has the potential to do more harm than good.

To be clear, I only use DSP in the lower bass frequencies, as no matter how good the room is I believe it almost impossible to achieve an even clean, tight impactful, integrated in room bass response without it. For me it is a tool, and requires a lot of work and help, but the proof was in the pudding so to speak.

My general approach is to measure the speakers in room and add/remove acoustic treatment according, plus measure multiple sub locations (we did 13 positions for each sub) as the first step, so this stage does most of the heavy lifting. Then use DSP minimally to clean up that last 10-20% not achievable without turning your listening space into a 1/2 million dollar recording studio. 😀

As an experiment, to satisfy my own curiosity I employed the help, to A-B compare a full DSP calibration vs DSP on bass only, allowing main L & R speakers to run natural/raw.

While it is hard to rule out the psychological aspect, I believe that I could detect the DSP in the signal chain. The sound became somewhat flat, a bit 2 dimensional and lost some life, spaciousness and energy so to speak. Constricted and squished, too perfect, are words that came to mind .I’m exaggerating here, but almost like streaming via Bluetoothish sound, synthesised if you like. Not night and day, but I personally preferred without.

Cheers Rob.

PS. My experience tells me measurements go a long way to identify and fast tracking potential issues and problems in the room. Also a method to verify what you can hear and if changes made are having the desired results.

But, big but, you can’t measure everything, that the ear can hear, there is still much value in listening and fine tuning by ear. Also there is no single perfect measured in room response. We all have our own personal preferences. Some like a smooth, velvety , relaxed, warm, rich cosseting experience. I personally lean towards a clean, lively, dynamic exciting sound. I like the leading edge transients to have attack with startling dynamics , so long as the sound isn’t aggressive, fatiguing and bright.

Edited February 28Feb 28 by Rob Poort

12 hours ago, Rob Poort said:

I agree, whenever making changes I have an idea of the goal, plus an appreciation of what has been achieved in my own mind.

I often ask my daughter (21) to have a quick listen without explaining what i can hear to see if our sonic impressions align.

Often she will report similar findings, but not always.

She also has a very good ear for any excessive brightness, harshness or aggressive sonic attributes.

My son is somewhat of a “bass pig” so I regularly consider his opinion when I have made acoustic changes to the room or altered something in the bass region bellow 100hz,

Luckily I have a few friends who are musicians (I’m also a musician -quite amateur one😀)and spent 100’s of hours in rehearsal setting listening to live sound. Plus a few friends who are acoustic and audio engineers, I cans always check in with them, perform detailed measurements of the space to confirm if we’re heading in the right direction.

Tannoy Man 👍

7 hours ago, Rob Poort said:

With regards to DSP , initially I was always quite skeptical and still are to some degree. If overdone or utilised without significant experience I find it can be somewhat problematic and has the potential to do more harm than good.

To be clear, I only use DSP in the lower bass frequencies, as no matter how good the room is I believe it almost impossible to achieve an even clean, tight impactful, integrated in room bass response without it. For me it is a tool, and requires a lot of work and help, but the proof was in the pudding so to speak.

My general approach is to measure the speakers in room and add/remove acoustic treatment according, plus measure multiple sub locations (we did 13 positions for each sub) as the first step, so this stage does most of the heavy lifting. Then use DSP minimally to clean up that last 10-20% not achievable without turning your listening space into a 1/2 million dollar recording studio. 😀

As an experiment, to satisfy my own curiosity I employed the help, to A-B compare a full DSP calibration vs DSP on bass only, allowing main L & R speakers to run natural/raw.

While it is hard to rule out the psychological aspect, I believe that I could detect the DSP in the signal chain. The sound became somewhat flat, a bit 2 dimensional and lost some life, spaciousness and energy so to speak. Constricted and squished, too perfect, are words that came to mind .I’m exaggerating here, but almost like streaming via Bluetoothish sound, synthesised if you like. Not night and day, but I personally preferred without.

Cheers Rob.

PS. My experience tells me measurements go a long way to identify and fast tracking potential issues and problems in the room. Also a method to verify what you can hear and if changes made are having the desired results.

But, big but, you can’t measure everything, that the ear can hear, there is still much value in listening and fine tuning by ear. Also there is no single perfect measured in room response. We all have our own personal preferences. Some like a smooth, velvety , relaxed, warm, rich cosseting experience. I personally lean towards a clean, lively, dynamic exciting sound. I like the leading edge transients to have attack with startling dynamics , so long as the sound isn’t aggressive, fatiguing and bright.

In the realm of lower-frequency spectrum, I have yet to find a maker that surpasses Magico in bass response quality. Neither Rockport, Wilson, Marten, nor Kharma have matched its prowess. I haven't experienced the Tidal La Absoluta in person, but it's high on my list for my upcoming overseas trip. Since acquiring the M7s, my search for truly satisfying bass has finally ended.

Edited February 28Feb 28 by AccMagi7s

Hi Chanh, just wondering if you have ever had a chance to listen to or bring home to try out this server?

XACT Audio S1 EVO Music Server

46 minutes ago, Lazz said:

Hi Chanh, just wondering if you have ever had a chance to listen to or bring home to try out this server?

XACT Audio S1 EVO Music Server

Hi Leon,

No, I haven’t.

Edited March 1Mar 1 by AccMagi7s