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 Tuning and Musical Adventures

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PostSubject: Re: Tuning and Musical Adventures   Tue Aug 08, 2017 10:48 am

Greetings Zonees

Let it be known that Sonic takes heed of what Michael says.

On July 23 MG posted: “I see some different cables in the system, lets add those to the equation. The more we can identify the sounds of each part and piece the easier it is to see the system as a whole. Sometimes it's hard to step forward without looking at other moves that have changed the formula.”

Sonic thinks Michael is right about looking at the sound contribution of each part.  So while these multi-strand cables have been satisfactorily in use for some months, I think it is time to get back closer to the Tune path.

Sonic brought back the Michael Green Bare Essence T3s for the run from the amplifier (Parasound A21) to the Magneplanar MG1.5QRs, kept the padding resistors in and used short pieces of T3 as jumpers, that is we are not biwiring.

On power up, the Bare Essence T3s certainly create a different sound from the multi-strand cables.  I’ll put the system through some intense settling till Friday when Sonic will give a report of what I hear.

Till then…..

An Interview with Roy Gandy (from Hi-Fi+)

By Chris Martens, October 4, 2016

To see the article with all the pictures go to:

Roy Gandy started Rega Research more than 40 years ago. Since then, the company has grown to become one of the most important specialist turntable manufacturers in the world, and has expanded to encompass the full gamut of audio equipment. But the turntable is still at the core of Rega.

Recently, we spoke with Roy Gandy as a part of our Titans of Turntable & Tonearm Technology series within our Hi-Fi+ Guide to Analogue Audio, which can be downloaded here.

Hi-Fi+: What drew you to the field of analogue audio in the first place and what do you regard as your specialties within that field?

RG:  Music drew me to the field. As a student I could not afford equipment to listen to music and so I had to make it.  My specialities would be turntable, arm, and cartridge design along with an understanding of the turntables function and 40 + years of research and development into the subject.

Hi-Fi+: Many in our industry say that analogue audio presently is enjoying a renaissance. Would you agree with this viewpoint and, if so, what do you think is driving that renaissance?

Yes: The renaissance is a very large growth in a very small niche market.  I hope the growth is due to the possibilities of better sound quality but there are many other factors such as the difficulties with downloading, streaming, and the poor sound quality of any current digital format, particularly MP3, phones, and tablets.

Hi-Fi+: How have engineering practices changed since you built your first turntable? Have the changes influenced subsequent designs?

At Rega we have seen huge R & D investment and changes to almost everything we make.  However, elsewhere little has changed except that the increase in interest has seen a growth in massive, heavy acrylic sculptures.

The market success of our unique and controversial designs, which are based purely on demonstrable sound quality, has influenced all our turntable designs and we currently produce five models instead of the two which we produced for most of the company’s life.

Most of our changes have come from new lighter and stiffer materials along with the increased accuracy available from CNC machines at a lower cost.  We are also very proud of the hundreds of new design ideas that our research has allowed us to produce.  Most of these are insignificant in marketing terms but hundreds of small improvements in shapes and materials have increased the ability of our turntables to accurately measure the micron levels of the record groove.

Hi-Fi+: What are the distinctive ‘hallmarks’ or signature elements of your analogue designs? What distinguishes your products from those of your competitors?

The “hallmark” of a Rega turntable is that it is designed to attempt to measure the minute, microscopic vibrations contained in a record groove.  We look at the real world of precision engineering and question the anecdotal mythology that has forever surrounded the idea of a turntable.

Hi-Fi+: Some prefer to treat turntables and tonearms as integrated systems whose elements should be developed in concert with one another. Others prefer to take more of a ‘mix-and-match’ approach. What is your recommendation and why?

Of course there are many people who wish to try new things. Hi-Fi in general has a large subjective element, which is ideal for those interested in experimentation and satisfying the neurotic urges that exist in many of us.  Because the turntable has an almost impossible task of measuring vibration at the micron level, any change will alter the cartridge signal.  However, in the engineering world the turntable has only an objective function and that is a machine, tool, or instrument to measure the vibration contained in a rotating record, along with inputting the energy to rotate the record in a microscopically constant manner.  The turntable, arm, and cartridge are all part of this machine and all need to be considered as a necessary part of the whole, while accepting that they require some different scientific and engineering functions.

Hi-Fi+: Being as candid as possible, how would you compare the relative merits of digital and analogue source components? What things do you think good analogue sources do singularly well?

I don’t understand why the answer to this question requires “being candid”.  The answer will depend on areas of musical interest and ability to discriminate.

Personally, I know many people for whom musical replay via YouTube on their phone or tablet is adequate for their needs and they have no interest in an increase in quality.  Most people eat readymade supermarket meals and are happy with the taste of frozen food, synthetic cheese, and factory-produced drinks.  I am one of the few percent who are cursed or charmed with the ability to obtain intense pleasure from all my senses and actively seek to create that pleasure.  Tasteless food makes me feel bad so I don’t own a freezer.  I don’t like background music or performers whose aim is stardom, but any special performer, professional or amateur, who cares and communicates, can make me cry, but I have never cried listening to recorded music of any sort. So my aim in the world of recorded music is to try and re-create the emotional elements that can make people cry.  I own about three thousand LP’s and about two hundred CD’s.  I still sometimes actively listen to music on LP but rarely on CD except maybe to transcribe song words or analyze an arrangement.

The simple answer is that neither digital nor analogue musical replay is good or bad.  The artistic musical production possibilities using digital recording and mastering techniques far exceed anything possible on tape.  BUT if one wants to capture the specific performance characteristics of a special musician or an amazing voice, then this is only possible on tape and vinyl replay.

There are hundreds of thousands of badly recorded vinyl albums but maybe one or two thousand good ones.  For me, most CD recordings emasculate the music and I have only about five that,for me, are listenable.

Both digital and analogue recording and replay are massively flawed sciences and it is difficult to understand how either can work at all.  

However, at its best the analogue approach far exceeds the digital both audibly and technically.  Those that claim better measurements for the digital domain are simply measuring the wrong things.

Hi-Fi+: Which elements in the analogue audio signal path—turntables, tonearms, phono cartridges, or phono stages—have the most overall impact on sound quality?

The signal from the record cannot be improved on (“you can’t polish a turd”) and missing information cannot be replaced so one assumes that the turntable/arm/cartridge, are important.  However, the signal or music can be corrupted or destroyed at any stage so every part of the replay chain including amplifier and loudspeaker become equally important.

Hi-Fi+: Which three of your favourite analogue demo discs might you recommend to our readers? (It’s hard to choose just three, we know, but please do your best.)

I don’t agree with the concept of “demo discs” or using discs to demonstrate the replay.  I much prefer the concept that the function of the replay system is to demonstrate the disc.

Hi-Fi+: What set-up or installation tips would you give the newcomer… and what guidance would you give to the expert?

Listen to the music.  Don’t read reviews or magazines.  Be confident in your own beliefs and what you hear.  Find a good retailer who will let you listen and borrow equipment.  Don’t spend large sums on equipment furniture or cables; most of it is a “con”.  There is more available pleasure from listening to music than playing with Hi-Fi.

For the “expert”; I know many competent loudspeaker and electronics experts.  I have never met a turntable expert.  Almost all turntable accepted beliefs are anecdotal, mythological, or completely wrong.

Hi-Fi+: In five years’ time, how do you anticipate that the world of analogue audio will have changed?

No change.

Last edited by Sonic.beaver on Wed Aug 09, 2017 10:34 am; edited 2 times in total (Reason for editing : Correct typo, correct and add details)
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Michael Green

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PostSubject: Re: Tuning and Musical Adventures   Wed Aug 09, 2017 10:45 pm

Hi Sonic

I'm looking forward to your Friday's report.


michael green
PH 702 762 3245
Email mgtune@yahoo.com
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PostSubject: Re: Tuning and Musical Adventures   Fri Aug 11, 2017 11:35 am

Musick Powered with Bare Essence T3

Here are pictures of the system as it is now.  See the standard-to-Tuneland layout of three FS-PZCs at the mid-front wall and where the FS-DRTs are. That was what Sonic was referring to last week in my post.

And here is how the FS-DTs ahead of the Magneplanar MG1.5QRs are now placed Left and Right.  This does not correspond to any first reflection point. I don’t even know where the spots are.  This placement gives the best forward projection and ambience.

Pardon the low quality – my usual camera got a problem so Sonic shot these pix with a phone.

Notice also that Sonic is again using Michael Green T3 Bare Essence from the amp to the Magneplanar MG1.5QRs with short pieces of T3 as jumpers, a return which I referred to in my post of August 8.

After four days of somewhat intense running in, Sonic finds that Michael’s T3s lack the tonal signature of the earlier cables that transferred from recording to recording in some measure, sometimes more and sometimes less.

With the Bare Essence T3s, the sound of gut strung violins are more accurate. The upper bass weight and attack of the T3s are better and while the bass extension is slightly better than the earlier cables, the images of bass/low tone instruments are larger and therefore more realistic. As settling proceeded the deep bass appears to be getting to be more weighty and more taut as heard in low bowed bass notes.

The mids and treble of the T3 are sweeter. On a recording I have where the midrange was “shouty” with the earlier cables, the T3s give a sound that is flatter and more neutral. Compared to the earlier cables, the T3 do not call attention to any part of the recorded frequency range.

Another mark of the transparency/neutrality of the Michael Green Bare Essence T3 is they let the Magneplanar MG1.5QR’s characteristic slight midrange recessive nature become audible. The earlier cable had a more forward midrange which I used in an attempt to correct the MG1.5QR’s midrange weakness but on long term listening it sounds artificial and tiring.

What else Sonic notices is a kind of a “knee step” in the response where the sound is good and balanced up to a certain volume, then just one more click higher on the preamp, the sound blossoms out into the room and the music becomes real, present and alive.  

Fortunately this does not take place at excessively high volume levels but happens when average levels get past the high 70dBs, low 80dBs C-weighting.  This effect has been observed with Magneplanars by the late Harry Pearson and co in the pages of the Abso!ute Sound.  In their cases they however reported this transition to “aliveness” took place at levels they remarked that might, on a long-term basis, threaten one’s hearing. That sounds to Sonic to be high 80dB average levels or more.

This “knee step” also took place to some extent with the earlier cables but at much higher volume levels and even then less noticeable, with less “wow!” when it happened.

With the volume in this “aliveness” range, played Miles Davis’ Tutu and then tracks from the Bee Gees’ Odessa, an early album, their last in their 1960’s line up.  Excellent bass, deep and while it doesn’t shake the floor (the parquet-over-concrete floor is too hard for that), the air in the room is vibrating.  

Bare Essence T3 -- good stuff Michael  cheers

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PostSubject: Re: Tuning and Musical Adventures   Wed Aug 16, 2017 8:51 am

More on Bare Essence T3 and What Lies Beyond…

As we wait for Michael to come back online with his comments and the pictures, after six days of concerted run in, the Bare Essence T3s from Michael Green are in a few words – very good Exclamation Very Happy

The extension of the low-end with the T3s is slightly better than the earlier cables – which were doubled-up Van Dammes (the Blue Speaker Series 268-575-060) that are used as internal wiring in Harbeths.  

However the bigger and projected bass images Sonic is getting with the Michael Green Bare Essence T3s gives the impression that the extension difference is greater than it actually is.  

From Sonic’s records, I can see where my detour was made from the biwired Bare Essence T3 and T2 to this highly regarded but “fixed sound” Van Damme cable. Sonic need not go into the details but the root of it all was trying to fix more than one problem at a time with the added confusion in assigning remedies to causes.

In my post of August 4, Sonic remarked that:

“I use the Japan Victor Company SEA-10 to raise 40hz by 2dB as a baseline and can use the other EQ bands if necessary……This means I can next turn my attention to the capacitor change for the Magneplanars MG1.5QRs. This one will be slightly complex. The Jantzen caps turned out to be too large to fit behind the grille cloth, so Sonic will have to build a wooden shelf that bolts to the back of the Magneplanar MG1.5QR panels on which to mount the two caps and use Michael’s Bare Essence T3 to connect the capacitors to the rest of the crossover board."


With the Magneplanar MG1.5QRs closer to the side walls and the return to Michael Green T3s, the sound is sufficiently tonally balanced that I am listening to almost all recordings without any EQ boost in the bass. The low end is actually over-ripe with the 2dB boost to 40hz in most cases. So the baseline is now flat with no EQ from the JVC Nivico Sound Effect Amplifier 10.

With the sound as it is presented, Sonic is likely to forgo the change of the present Solen capacitors to the Jantzen caps or postpone it indefinitely. The caps will of course be kept in my closet as NOS till the day when they will be required.  Paul Simon he say "everything put together sooner or later falls apart."

Sonic found an LP of Elliot Carter’s String Quartet (The Walden Quartet) and an LP of Messiaen’s Quartet for the End of Time and La Merle Noir for Flute and Piano (The NY Philomusica Chamber Ensemble). I am listening to these two LPs as I prepare this missive.  Before I play them tonight, Sonic is listening to Bach’s Cantata BWV 44 (Nicholas Harnoncourt and Concentus Musicus Wein – Das Alte Werk, Telefunken LP. I found an LP of the Quartour pour la fin du temps…the End of Time….

Ahead for Sonic there will be the matter of addressing the mishmash of interconnects that I am using, a combo that includes Michael Green’s Picassos.  Should I try to resolve this or just leave be?    

While I take more time for musick….Sonic says again that Michael and Tune has delivered well!

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Michael Green

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PostSubject: Re: Tuning and Musical Adventures   Sat Aug 19, 2017 7:56 am

Hi Sonic, sorry for the delay Embarassed

Way too much on my plate these days Rolling Eyes

I'm glad to read your position with the mga cables. As I try to keep up on cables, in the end, I find myself going back to Picasso and Bare Essence. There's simply so many things that can be done with them that I find it hard to fail. It may take certain tricks to get there, but the answers to what I'm hunting for are found in empirical exercises of physics ultimately.

bom too many things at one time can get anyone lost, and lost profoundly

michael green
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PostSubject: Re: Tuning and Musical Adventures   Sun Aug 27, 2017 8:59 am

Greetings Michael and Zonees

Sonic has been quiet because my system and room, thanks to Mr Green’s products and methods, have created a very nice playback environment for reproduction of musick and speech. Such is the sound I am getting that there is nothing more to do (for now) but listen.

A happy state indeed!

Sonic found this article on a Field Coil Controlled Unipivot Tonearm…costing Euro25,700!

Have a look:


Bernd Hemmen writes: "We always were fascinated by the simplicity and purity of the unipivot bearing design. The classic unipivot tonearm can sound quite good but has some serious drawbacks. First of all, we never could get used to the handling of the wobbling arm wand. This makes everyday use very unpleasant. A classic unipivot tonearm has also an unfavorable ratio of tonearm balance and bearing point. The center of gravity of the tonearm is much deeper than the bearing point and that leads to a high moment of inertia. Another, often overlooked point is the fact, that all the energy from the tonearm is derived at this tiny point into the tonearm base. The energy that a cartridge transfers into the arm wand when playing an LP is enormous and the energy transfer at the bearing point is very critical. Besides that, the unipivot tonearm has the tendency for torsional movement when playing warped records.

Our first design, which achieved the solution of these weaknesses, is the Reference Tonearm, a completely customized design. Strictly speaking, however, it is not a true unipivot tonearm, since there is a second bearing point, against which the arm is leaning.

Our newly developed FCL Tonearm is a true unipivot design and overcomes all the problems of the classic unipivot tonearm. The loading of the bearing by the use of a specially designed magnet and a field coil, powered by a constant current source, eliminates bearing chatter and gives the tonearm a high torsional stability. The center of gravity and the bearing point are in the same plane, thus the tonearm is in neutral balance. The bearing point is 18mm below the headshell and is therefore at the height of the record.

Last but not least, the tone arm handling is comparable to ball bearing tonearms. Bearing chatter, caused by energy transfer in the uni-pivot bearing, is eliminated.

In combination with the new developed ultra low resonance arm-wand, it leads to a low frequency reproduction and sonically performance unmatched by any other uni-pivot tonearm design.

FCL Tonearm (Field Coil Loaded Tonearm)

• New technology, field coil loaded uni-pivot bearing
• Constant current regulator
• No bearing chatter
• High torsional stability
• Non-friction magnetic anti-skating
• Ultra low resonance armwand

MSRP € 25.700 [Sonic: Shocked ]

Below is the white paper, that further explains Bernd Hemmen philosophy...

This is the first article for craftmen.audio and I would like to give you an short introduction of myself.

I am Bernd Hemmen, founder of PrimaryControl, a company specialized in analog audio products. From origin German, I live since more than 20 years in Amsterdam, The Netherlands. As many others in high end audio, my interest in audio already started in early childhood and was always a part of my life. At a certain point I started to develop and build my own analog frontend and after the first demands from audio friends it devoloped in a way that it became my profession and as I write on my website;
German engineering made in The Netherlands.

Today, I would like to tell you some details about the development of my first commercial tonearm design, the stabilized unipivot Reference Tonearm.

Origin for the development was a hate-love relationship to unipivot bearing tonearms. Under ideal circumstances, unipivot arms are capable of excellent sonic performance. Unfortunately, the problem is, that the playing of records rarely happens under these ideal conditions. More on that later.

Early employment with this bearing principle led to the realization that the position of the bearing plays a decisive role in the sonic characteristics of the tonearm.

The smaller the distance between the bearing point and the center of gravity of the arm- wand-counterweight assemble, the better the reproduction of the finest details and room information.

Ideally, the bearing point is at the center of gravity of the arm structure to minimize restoring force of vertical movment. This can not be achieved with a common unipivot tonearm. The proximity to the center of gravity leads to instability and thus to torsional instability. Therefore, it is customary to place the center of gravity of the arm rather low to allow the playing of warped records. The arm is now less likely to be accustomed to torsional movement but has a low center of gravity for vertical movement.

This was the starting point for the construction of the Primary Control Reference Tonearm. The sapphire bearing is supported by a second bearing point.

This second bearing point is below the unipivot bearing and the arm does not have a fixed connection to the lower bearing but is leaning against the bearing. Simultaneously, the azimuth of the tonearm is also adjusted.

This has the advantage that it is possible to choose the position of the bearing. Following the ideal, the center of gravity of the tonearm-counterweight assembly is now in the same plane as the unipivot bearing and approximately at record/platter height.

A further point, which is not particularly elegantly solved in most tonearm designs, is the anti-skating device.
A thread-mass construction, a modification thereof or a spring is common.

Apart from the fact that this is also a resonating mass storage, most of these devices also introduce some amount of friction.
Take a record without grooves and compare the operation of a magnetic anti-skating device and the mentioned thread-mass anti-skating device.

If with both devices the counterforce is adjusted well and you lower the arm to the record, the arm with magnetic anti skating moves a little around the point where you lowered the arm. This is due to the unevenness of the record and you can see that the arm can freely move lateral. The arm with thread-mass device stays firmly in one position after lowering.

The skating force is a dynamic force and speed dependent. Therefore, a well-designed anti-skating device is also designed dynamically and has a stronger effect on the outer than on the inner grooves of a record. Unfortunately, the skating force is also varying with the amplitude of the signal in the groove and thus depending on the music playing at this very moment. This is not easy to compensate with traditional methods.

Let us come to another point that was at the 'to do' list for the development of the Reference Tonearm.

An accurate way to adjust the vertical tracking angle (VTA) aka the stylus rake angle (SRA) should be applied. This had already impressed me with the introduction of the Wheaton Tri Planar Tonearm.

By the way, in my opinion, the correct setting of the VTA is not as important as the correct adjustment of the SRA angle. Since the adjustment of the height of the tonearm at his mounting base always changes both settings at the same time, I prefer the correct the adjustment of the SRA.

Anyone who knows my products will notice that I hide technical features in the design of my products.

This has also been done in the development of the Reference Tonearm. For this reason, I occasionally don’t use scales and accessible adjustment screws, which make a tonearm look very technically.

Even if these adjustment tools are sometimes quite convenient, I deliberately go a different way. The optical appearance of my products are noticeably different, without compromising the sonic results.

Initially, I had mentioned, that we would like to start from an ideal situation but in most cases the reality differs more or less strongly from it.

This is especially true for playing a record. With a conventional unipivot tonearm, the center of gravity of the tone arm could be brought close to the bearing point (our design goal) if the record was perfectly planar and centered.

But we are far from this ideal situation. Even records, which we judge as plan and centric lead to unimagined interactions in the micro cosmos of record groove scanning. To be able to measure this effects, I have developed a measuring element (similar to a cartridge) with which I can read out the tracking force fluctuations when playing a record and can graphically represent it via an interface and a software program.

I tested some commercial tonearms and my own designs. It shows interesting results and it sometimes can help to better understand the theory of tonearm design and terms as bearing friction and restoring force of vertical movement.

Maybe a good theme for my next article!


See Source for pictures:[url= http://www.monoandstereo.com/2017/08/primary-control-fcl-field-coil-loaded.html#more] http://www.monoandstereo.com/2017/08/primary-control-fcl-field-coil-loaded.html#more[/url]

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PostSubject: Re: Tuning and Musical Adventures   Fri Sep 01, 2017 8:44 am

Greetings Michael and Zonees cheers

Sonic has been listening to lots of recordings plus attending live musical performances these last two weeks.

What the system has allowed me to do at last is to separate the experience of listening to music from the experience of “hi-fi”.

They are different indeed.

Sonic knows of music lovers with large collections of recordings to whom the quality of their hi-fi systems are almost secondary. Their ability to enjoy music are unrelated to any concept of “hi-end audiophile equipment” – for instance, thousands of albums stored in some compressed format on a server under the stairs, even played back on digital media players that cannot even give seamless transitions between tracks (the sound cuts off and restarts like the segue between Tracks 9 and 10 of Abbey Road).

Perhaps these are the true music lovers….?

On the other hand there are those who appear to be on an eternal treadmill of equipment change and tweaking and who seem to listen to a small number of recordings over and over.

Sonic has been tuning for a decade and a bit more Shocked

And Michael’s gear and his tuning principles have got me to the place where Sonic can separate the love of enjoying music from the audiophile equipment hobby. From where I am now it is easy to downplay the struggles Sonic related in my threads over the years of battling my room and system peculiarities.

Now, to a large extent, the room has got out of the way (or can be finally be put out of the way mentally) and let the music come through.

Spinning on my Rega P5 is Handel's Ode for Saint Cecilia's Day (Choir of King's College Cambridge, Academy of St Martin-in-the-Fields, Sir David Wilcocks cond. -- Decca 1968).

The tonal balance is good where the solo soprano voice is clear without being thin and over-projected, tenor voice has warmth, the choir full and the the instrument ensemble playing back with weight in the bass. This recording may have been found by Sonic in a discount bin and doubtlessly played on many generations of stylii yet there is little surface noise or distortion when traced by an Ortofon 2M Blue 49 years later in 2017 Very Happy

The tone in Sonic’s room and system is allowing the albums in my LP and FLAC collection show their beauty and recorded balance.

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PostSubject: Re: Tuning and Musical Adventures   Fri Sep 15, 2017 8:37 am


From my recent writings and my lack of postings, Zonees may sense that Sonic’s Tuning adventure is moving towards a coda. True. Especially so given that my first post on Tuneland was in 2008 on March 15 – that is nine and a half years ago to the day Exclamation

Sonic has followed Michael Green and my fellow Tunees Hiend001, Drewster, Garp, Sonnylistner, Bill333 plus others who were my guiding lights. They drew me to the idea that hifi could be more than two channels of sound played in room. From them Sonic learnt there existed a world where instruments and voices could image near holographically around me, bass could be more than low just notes but a “membrane”, soundstages could be “huge” and “float”, and there were “hidden recordings” within recordings.

I started with a disadvantage though. My room had hard surfaces that caused a lot of issues with ringing, and upward tonal shift. One Zonee was right when he described my room as a “concrete bunker”.

Thanks to Mr Green, his thought and products, and the experiences of my fellow Tunees, Sonic recently reached a point where the problems of my “concrete bunker” have been largely expunged. This took hard work and there were missteps, instances of overdoing things often with proclamations of success followed by U-turns as you all read from my threads.

But one thing Sonic wants to point out so that no one who is reading misunderstands is this: a Tuning project need not take 10 years.

Starting with the example of Mr Green himself, we have read that when he had a free hand and the required Tuning products, the time it took for him to transform a room was in a matter of hours (you can find the account of this in the In Terms Of Music and The Abso!ute Sound reviews both from march 2004 within the Archives).

Also for many who do not have audio rooms, the Tune can go about as far as putting up Comer Tunes, some EchoTunes, maybe a couple of FS-DRTs and that’s about it. Sonic has met one such audiophile who did this satisfactorily in an apartment and was satisfied with the results with no desire to do more.

For Sonic, the “concrete bunker” was a major problem but possibly a bigger challenge Michael faced was the insistence that I keep my equipment – the Magneplanar MG1.5QRs, the Quicksilver preamp and so on – plus a number of personal restrictions on what I could and could not do with the room.

Michael unfailingly nudged me in the direction of achieving the Tune in best ways he knew how – his ideas of changing my gear to the simplified system of his tunable speakers, the Sherwood integrated amplifier and the Magnavox DVD player, his advice to adopt low platforms, by giving me a frank view of what my Magneplanars would never be able to do, discussions round PZCs on the ceiling and recently the door wedges. His approach was subtle. All the right advice was given by Mr Green and when taken, things worked as promised. Sonic also wants to thank Obb of Thailand who PM’d me and volunteered to get me a Sherwood integrated amp that met my mains voltage requirement. I declined. Thank you very much Obb cheers

Added to this was Sonic’s many lapses into incorporating other audio ideas/products rather than “staying with the method”. In the end very few of these worked. Most failed and set me back through confusion, wasted effort and expense.

Sonic is therefore grateful to Michael for his patience given all he has to do to run the MGA business and design things. I believe if a free hand was had all round and the MGA products I needed were at hand or available, this whole project would have reached conclusion under a year.

Back to the present: at this point Sonic is enjoying the music so much I can consider the Tuning done.

What lies beyond?

Michael said once to Hiend1 that there is always the “next level” in the Tune to aspire to. For Sonic, I will let things develop naturally with time and see what sort of “next level” I may want to pursue.

Of course there will be more listening to music and attending live concerts.

I hope to stay part of Michael’s Forum in some way. What form this takes needs some thought and of course discussion with Michael who owns the site and is the inventor of the Tune.

Till then, good listening and successful Tuning my friends Very Happy cheers Very Happy

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PostSubject: Re: Tuning and Musical Adventures   Mon Sep 18, 2017 2:51 am

Hi Sonic,

You've been a terrific contributor to this forum for many years now. I'm happy you are satisfied with your sound  Cool . I'll also be interested to hear what you're going to do whenever you're ready to go to your next level.... What a Face Laughing Razz Idea

jocolor jocolor

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Michael Green

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PostSubject: Re: Tuning and Musical Adventures   Mon Sep 18, 2017 9:09 pm

The Tune is certainly a chapter of the hobby of listening that has taken the High End Audio audiophile world by surprise. It seems to be a one by one experience as people discover that the high end is not really what reviewers and many equipment makers and collectors have tried to make it out to be. It's always fun to be a part of the collecting hobby, I'm a collector, but then when hit in the ears with the Tune we realize that this hobby is a place that truly has no boundaries. As I have said many times on Sonic threads, it's interesting for me to see how the path is for the ones keeping one foot in the tune and one foot in the high end audiophile world. A couple of years ago my own path widened again by bringing in high end audio componentry. Honestly I never thought I would make that turn again, but the "audiophile" grip on listeners is a hard and very expensive boat to navigate. Audiophiles just don't want to walk away from the mythical land of plug & play and the promise of a one sound system solution. For myself, looking from the inside and outside, it's like a battle that each listener goes through. One, is the defense of a hobby and the other is the truth that all things musical are variable. It's a simple notion but one that I have seen many devote their listening lives to, hoping that the impossible will happen.

I personally have never seen or heard the one sound system solution in practice, work. I think the closest someone could get to that is having many different rooms with many different systems. Having one or two rooms playing one sound systems would be cause for pulling ones hair out, and that's exactly what high end audio looks like from the outside looking in.

Sonic's gig!

Sonic's truth however is something that is unusual and important for readers to follow. Will readers start from the beginning to end? I have no idea. But for those who take the time to read, they will find the tuning solution to be the only way to listening reality. Let's be clear "it's not Michael Green's Law for all things audio". Nope that would put me in the same camp with all the other myth makers. Tuning music is a way of life. The truth is something that has always been there, and we all are students with + or - abilities to add to the mix. There have been several big moments for me reading Sonic, which I'm sure I will be pointing to often. They will be blended into the things I have learned from folks like Jim Bookhard, Mick Ronson, Ovie Sparks, Justin Smith, David Bowie, Keith Bubby Webb, Andre' Frappier and countless others who have allowed me to be their listening student. I will reflect on my many attempts to have Sonic go all the way with the full package of Tuning Toys and how I could see Sonic come so close, but yet reeled back in by the audiophile ghosts. I will also always point to the major stand Sonic made by bringing the Equalizer back to center stage. I will point to many, many, many times that Sonic landed on listening sessions and described them in such great detail that it made folks run to their On switch. But more than any of this, is my love for the way Sonic promoted Music. Nothing made me happier than seeing the music Sonic listens to and the way he put together his listening sessions for the evening or weekend.

TuneLand without Sonic? Nah, I don't buy it! Sonic is woven into Tuning history, and be read for many years to come God willing.

michael green
PH 702 762 3245
Email mgtune@yahoo.com
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