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PostSubject: Re: Michael's System   Wed Sep 14, 2016 3:00 am

Tonight's listening is on System 2




http://www.michaelgreenaudio.net/

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Last edited by Michael Green on Sat Dec 17, 2016 4:59 pm; edited 3 times in total
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PostSubject: Re: Michael's System   Sat Sep 24, 2016 10:15 am

Ok, mg wipes his brow Neutral Is it true that I might get back to listening Laughing Seems like it's been a year since I got to tear into the place, I always say that don't I Laughing

First thing I want to do is go into Rm#2 with the Chameleon 102's and see what's happening with these floorstanders before moving to the MG Specials with all the driver and tweeter combos. A quick playing around will have to do then it will be bookshelf bonanza time around here.

Don't forget our first point source speaker at 97db will be on the mg menu.

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PostSubject: Re: Michael's System   Mon Sep 26, 2016 3:36 am



Tonight I've been listening to DB on the Chameleon 102 with the back plates off. Pretty darn nice sounding. I think I might by-pass the binding post and go direct and see how this sounds.

I'm using 3 Mini MTD's under each speaker and BP/LTR Platforms without their spike plates. I'll try to get some pictures tomorrow if I get a chance.

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PostSubject: Re: Michael's System   Wed Sep 28, 2016 1:56 pm

Hi Guys

I've been checking out recordings and performances people have been doing in some of my studios and thought I would share, Enjoy.



https://www.youtube.com/watch?v=iPEJo4jYsgk

And now in my studioA

https://www.youtube.com/watch?v=gPwlZ1SyKHE

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PostSubject: Point Source Speaker   Thu Sep 29, 2016 6:39 pm

Michael,

I will be interested in hearing more about your point source speaker.


Garp
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PostSubject: Re: Michael's System   Thu Sep 29, 2016 7:18 pm

Hi Garp

I'll get pictures up in the next couple of days and hopefully a description as soon as I can clear out a couple of listening sessions I need to do. Working on show systems for Coop to take with him.

great to see you Cool

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PostSubject: Re: Michael's System   Fri Sep 30, 2016 2:38 am

I'm looking forward to being on Tuneland now that it has been refreshed. We'll be adding more so be patient, but let me tell you I am so proud of how far we have come over the last 3 years. So excited I've rewritten this post 3 times ranging from emotional to factual to just what we have now.

I have so much to share and hope I find the time to give you all the info on my mind.

I want to thank all of you my listening family and all of you visiting me on social media. if you haven't become a facebook friend yet, what the heck are you waiting for Laughing

https://www.facebook.com/profile.php?id=1764861045

mg
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PostSubject: Re: Michael's System   Sat Oct 01, 2016 9:37 am

Here's what I'm starting with today....



...with one of my home conductors Louis Lane when he was at Atlanta.



I'm in Audolici Land Baby Exclamation

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PostSubject: Re: Michael's System   Mon Oct 10, 2016 11:51 pm

One of the recordings I've carried with me through life happens to be a greatest hits. There are some greatest hits that I enjoy, a lot, like the Cars, Styx, Steely Dan, Bowie (for the memories) and others but when the Eagles gets played, I forget it's a Greatest Hits because of it's importance to soft rock.



You know what I mean. When you listen to a greatest hits that has so much you anticipate the lineup of songs in order as much as you would following the playlist of an original album beginning to end. That's when you know a greatest hits has become part of your reference collection.

Or should I shut up and just say "take it easy" Cool

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PostSubject: Re: Michael's System   Tue Oct 11, 2016 2:07 am

When I first put on Eagles Greatest Hits I could hear the upper register was clustered together and there were holes in the stage. Now it didn't sound bad and maybe I could have been content listening, picking on the CD, but I wanted to hear this recording the way I knew it could be. The bass was tight but not nearly as full and bouncy as I like and the Viola FS's sounded not quite full range. I sat there through the first 30 seconds of the first 4 songs and took my first guess.

I took the speakers off of the platforms, flipped them over and removed the spike plates. I did this with the left side first, did a quick listen, and decided to do the same to the right side. I didn't bother to worry about the exact placement, just did a quicky. BTW, this is in Rm#1 with the Audolici A25-M and older Magnavox DVD player (same as the 2100 only with bigger chassis). After taking off the spike plates everything filled in, stage grew, and the speakers became full range. The clustering was gone and I was greeted with a much easier on the ears type of sound. Nice Stage!

I listened all the way through this time. One thing I might do yet is see how Type 2 does on the speakers with the Audolici.

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PostSubject: Re: Michael's System   Tue Oct 11, 2016 7:37 pm

Well, I didn't do the cable change, but what I did do was a tiny bit of voicing on the inside of the Viola. (Keep in mind I'm voicing in this pair.)

What I did was go inside and clean up an area I was able to hear from playing the Eagles recording. Hitting the play button gave me a completely different texture, timbre and response. I will want to go back through with other music to see if I will be keeping this in the final voicing of this pair or not.

I can hear audiophiles gasping for breath, but I can also hear musicians who voice their instruments sigh.

Wink

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PostSubject: Re: Michael's System   Sun Oct 16, 2016 1:26 am

Tonight's listening



So I move from my working in Rm#1 listening to "Dark Side of the Moon", to Rm#2 with "Testify". Every time I change recording types I experience the same thing, all recordings have a different code to them. A few posts ago when listening to David, it was good but I also knew I wanted to make some changes as time went on. I wanted to shift the middle of the stage forward and bring David's voice out in front of the rest of the stage on certain recordings. As per usual I got side tracked and ended up working with Alice Cooper's "Killer" which was a disaster on all 3 system settings. System 3 did a good enough job, but I didn't want to dive into AC at that time. System 3 has this cool thing going on that I want to enjoy so I have been letting the system dictate what I listen to on it. This isn't my norm but there's only so much time. Rm#1 I have been using for some proto-ing but also now getting a system ready for Harold to take around to shows, showing off the Audolici products. This may all be confusing to you the readers but to me, there's a method to my designing madness at this particular time.

All the work I'm doing now is to find the balances of voicing I want to use as my designing takes me into specific areas that need to include many parts to the puzzle. Sometimes it's like all the parts to this puzzle are made to fit as individual pieces making a whole. At the same time each one of these pieces should be able to meet certain, fuller scope, performance needs. That's a tall order no matter who you are or what your trying to accomplish, but when you are doing this knowing every recording is unique combined with all the other variables to this creature, well....you see where I'm going. It's a big task.

And then there's the point source speakers.



back to Testify

Here I am all ready to dive into Rm#2, making my plans for the recreation of the adjustments, I put on Testify and am greeted with an almost perfect stage Rolling Eyes . My mind flips completely up-side-down and now instead of an acoustical redo, or different CDP power cord, or a host of other things, I can now hear that for this particular recording I need to make a special voicing block to go in the mass loading compartment of the 102's. The fact is, this will never end, nor do I want it to. Tuning is the highest calling to this hobby and I'm not going to sell my music collection short. There's simply too many variables to explore and I can't resist going after them. Yes, it is time consuming, but when I heard that soundstage just now there was no doubt in my mind what drives me in this hobby. I don't want to merely listen, I need to explore and learn what and why. I need to take testify as far as I can then turn around and make AC's Killer do the same thing. The music is there, I'm sure of it. The question isn't if it is there, but instead, am I good enough to extract it?

Oh before I forget. One of the attributes with this recording if you are a long time Genesis or Peter Gabriel fan is Phil's ability to reach into the essence of Peter's voice. It's a talent Phil developed quite well when Peter went solo, surprisingly well. When he uses this tonality and slight rasp it's a real treat. On this recording Phil uses this technique with both his main and background vocals from time to time giving that vintage Genesis thrill. The very first time I heard this LP I actually needed to check the credits.

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PostSubject: Re: Michael's System   Sun Oct 30, 2016 9:53 am

Hi Guys

Don't forget to follow me on facebook.



ok enough of the commercial Cool

I've been having a blast voicing in some Platforms, no sleep, but lots of fun. I've also been tuning in several recordings over the last couple of days. As you can see above, plus....



....and others so I can study the mid-tones.

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PostSubject: Re: Michael's System   Thu Nov 17, 2016 10:43 pm

Hi Mr. Green

We've been seeing a lot of you on FaceBook. Looks like your having fun Smile

Hello Tunees Very Happy
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PostSubject: Re: Michael's System   Sat Dec 03, 2016 2:53 am

Laughing Busy busy busy busy busy busy Laughing

It has been, well....busy for me this last half of year. You can get some of an idea https://www.facebook.com/profile.php?id=1764861045 but the reality is most of my time has been in the listening rooms and out in my workshop voicing and studying where drivers are these days as compared to where we were some years ago. Not only that but also taking a look at where sources were and are.

I'm being reminded that when this industry tries to move too fast to soon it is easy for it to get lost. When a design is being made without the full spectrum it is only as legit as it's weakest link. We must have an open mind no matter what our engineer "new discovery" self wants to keep trying to bring to the table. The CD was genius and began a way of thinking that even now baffles those who have attempted to move beyond from a physical sense. The CD is as important as the equalizer and mechanics is bigger than all high end audiophile attempts put together. High end audio's biggest mistake is that it has never understood or explained what the audio signal actually is. By treating the audio signal as a series of numbers instead of the physics of mechanics (involving motion) the audio chain has been treating itself like a theory-ed technology instead of a science.

BUT Smile

Now we can see the hobby side of this industry start to explore beyond the marketing. Yes this hobby will and is coming full circle thanks to our own ears out weighing assumptions. It was only and always a matter of time before this hobby raised the awareness of real space and real size as being the only true absolute reference for listening. A hobby that can be changed for an individual with one simple purchase.



A tool so ridiculously simple and inexpensive it shatters the pride of those hell bent not to use it.

I still smile at and with those not able to pull the trigger on tuning the Magnavox DVD player. Whether someone ends up using it or not long term, having one and learning what this hobby is about is maybe one of the biggest eye openers a serious audiophile could do.

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PostSubject: Re: Michael's System   Sat Dec 03, 2016 7:08 am

Was listening to Rod Stewart a little earlier then recalled I saw this in the collection...



...and my thoughts quickly turned to Tanita and Suzanne Vega (one of my favs).

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PostSubject: Re: Michael's System   Fri Dec 09, 2016 2:02 pm

Hi guys

On facebook I've been getting added to groups. Don't know how or why this works, but it's cool with me.  

One thing I have noticed, and am more than thrilled about it, is the use of equalizers cheers

Are we finally getting to the place in this hobby where we are ready to admit the high end audio powers at be made a huge mistake and took a big detour from what this hobby is about Question I hope so Exclamation Exclamation Maybe, just maybe, they will get back on track after 30 years of being ridiculous Rolling Eyes

I can not tell you Guys how many times I have seen the word "discrete" taken out of context and completely misunderstood.

As Bob said "it's a slow train comin" "comin around the bend"

Cool

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PostSubject: Re: Michael's System   Tue Dec 13, 2016 8:35 pm

Lucky Me Very Happy



Christmas has come Exclamation

A couple of days ago I was looking on Craigslist for some possible cabinets to use while waiting on our sub cabinets to get here. I've got stacks of woofers sitting here that I need to start breaking in and time is not on my side. I ran across this one ad that caught my attention and thought for the price I couldn't go wrong. I thought, I can get these, pop a Brazilian pine baffle board on, put some woofers in and get rolling on driver burnin. My cabinets will then get here and I'll be ahead of the game. But santa must have had other ideas and my Christmas list on hand.

I drove to the house to pick up these cabinets and was greeted by a very nice gentleman named Jim. We had a nice talk and was on my way home, cabinets and all. Thank you Jim Exclamation

Arriving home I understood why Jim used a cart to haul these out to my SUV. These cabinets were heavier than I thought by looking at them. Taking the backs off I now know why. Each cabinet has 2 Eminence drivers in them. One a 12" and the other an 8" coaxial, including 18sound's xd120 drive unit. Can you see my smile yet Very Happy , I have now entered the Audiophile Zone. Not only have we purchased 2 cool retro cabinets that have written on the back of them "Stephen" model and serial number, but it seams we have two speakers that have had some audiophiles inside redoing them with Eminence.

Of course when ever you make a purchase like this you can't help but wonder the history. Where have these speakers been, who made them and how many audiophiles have been inside of them? One thing is sure, the last tweakers inside don't have a lot of knowledge about wire and cabinet resonances. Their loss however is potentially our gain. I could easily see how adding a good sounding front and back baffle board, some tuning bars, voicing and reusing the same drivers, could turn these into an excellent set of high efficiency music makers, something I have been craving since Sonic mention a couple models of speakers.

So, I'm now tempted to look for more cabinets on craigslist for my woofer burnins and keep these as a classic retro redo. Maybe Cool

size / dimensions: 24w X 30h X 16d note: 34h with feet

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PostSubject: Re: Michael's System   Sat Dec 17, 2016 4:58 pm

The CES will be here soon, so I have been building stuff like a madman Rolling Eyes

I'm happy to see you guys posting even though I have been some what M.I.A.

I haven't left the building Arrow just been working my butt off in it Smile

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PostSubject: Re: Michael's System   Sun Dec 25, 2016 2:20 am

Merry Christmas TuneLand Exclamation

With 14 pair of speakers on hand to preview and voice, I love it/hate it Laughing I feel like one of those equipment collectors that we see pictures of, knowing full well all that stuff is preventing them from getting anywhere close to good sound. My closets and storage are max-ed to their limits and even my kitchen and bathrooms have turned into equipment closets bom

I'm thinking how in the world will I ever have people here for the CES Rolling Eyes

I've got less than 2 weeks to get my act together scratch and me thinks there is no way this is going to happen as planned. Idea Maybe I will have to cool my jets this year and just stick to voicing and moving toward completing my goals. As I have always said "your not going to fool nature". Voicing is truly a relationship between environment and craftsmanship. This rude awakening was made clear by getting 3 straight days of rain this last week. I sat in my listening chairs and watched the soundstages react to the weather. At first I started to respond and was able to make adjustments and then put on my brakes. Wait a minute Mr. Green, this isn't about my personal listening but about voicing (a totally different game).

Thank goodness I live in the desert and things don't stay in a state of wetness. On goes my gas heat, fans and sealing off the rooms from the elements. My thinking needs to revert back to when I was curing room materials. Just working on sealing off rooms and raising the temperature a couple of degrees got the wheels in motion. I can feel the space heading back to normal.

In Room 1 I'm listening to


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PostSubject: Re: Michael's System   Sun Dec 25, 2016 6:13 am

The difference between the sound pre conditioning the environment vs post is dramatic Exclamation So much so that putting it in words almost seems stupid. If I hadn't been doing this for 40 some years now I would say someone sneaked in the room and swapped CD's, or maybe even system, on me.

Before the change, the recording sounded like Jimmy limited his staging to left right and center only. It was actually a little scary turning the recording on the first track in the before setting. Because I'm working on voicing speakers, when I turned on the first song I thought maybe I messed up the soldering because it sounded like everything was mixed in the left channel for the first few moments. I sat there and was thinking "crap, now I have to go in and re-solder". I moved toward the right speaker and could hear it was on, and of course in a few seconds could hear the mix, but it was not the usual "space" I'm accustom to when listening to recorded space. The after show was quite a bit different. Turning on the first track this time I could feel and hear the recorded space, no problem. The same song, the same system, and only the conditioning of the room made this huge change.

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PostSubject: Re: Michael's System   Tue Dec 27, 2016 4:13 am

Oh My

I was just listening to Liszt, then came back to post. I wanted to post the CD art and happened to read the first review on Amazon.



"Since probably no other composer and no other works than Liszt and his symphonic poems have received so much bashing from all and sundry, it is only fare that I - as an unabashed Lisztian - should start with their defence. That Liszt's 13 symphonic poems are uneven as a whole is of course beyond dispute; then again, so are Beethoven's symphonies. What's more, this is to be expected. In the middle of the nineteenth century Liszt (together with Berlioz and Wagner) pushed the composition for orchestra to its absolute limits: of course he would produce an uneven body of works so revolutionary for their time. That said, it goes without saying that, whatever Liszt's place in musical history as innovator, his music in general and his symphonic poems in particular must stand or fall as music. It is the intrinsic value of music which grants its universal appeal and thus its greatness. The problem with Liszt - and it is a big problem indeed - is that his overwhelming personality usually colours the perception of his works. No other composer's music has been described more often as ''shallow'', ''bombastic'' or ''vulgar''. The unpleasant truth is that the major reason for this is that most people think of Liszt as ''shallow, bombastic and vulgar'' personality, womaniser, charlatan and the greatest piano virtuoso in history - and we all know that great pianists simply don't make great composers (let's forget about Mozart, Beethoven, Chopin and Rachmaninoff for the sake of the argument). The second major reason for the ever-fashionable Liszt-bashing is that his music is often very badly played indeed. Have I never heard these poems performed in so ''shallow, bombastic and vulgar'' a manner! Often but not always. There are few exceptions and Karajan is one of them. More about him a little later.

At least six of Liszt's 13 symphonic poems are, to my mind, worthy of frequent performance and recording: ''Les Preludes'', ''Mazeppa'', ''Tasso'', ''Orpheus'', ''Prometheus'' and ''Hamlet''. What most people call ''vulgar and bombastic'' in them, I prefer to call Romantic rhetoric. When this is present in the right dose and when it is coupled with certain amount of restraint and fine musicianship, these pieces sound stirring and exhilarating. These six symphonic poems definitely make a rewarding listening for there is hardly a weak moment in any of them. The rest seven, however, are certainly uneven - which is, I repeat, historically, and artistically indeed, inevitable. They all suffer, in one degree or another, from over-extension, over-repetition, and over-elaboration; and yes, sometimes the thematic material is far from distinguished. Yet none of them do I find impossible to listen to without interest, and indeed all of these poems do contain passages of great beauty and originality which make them worthy of occasional revival on the concert stage and on record. Some of these works - ''Die Ideale'', ''Hungaria'' and ''Heroide Funebre'' - are not so much inferior to the aforementioned sextet - at least when played with the right combination of abandon and sensitivity. As for listening to all poems in a row, this is of course pure nonsense; no one in his right mind would do that and to use it as a stick to beat the works with is, to put it mildly, unreasonable. Who can listen to Beethoven's nine symphonies in a row without getting bored? How about Bruckner's nine in one sitting?

To finish the introduction, I do wonder why when ''vulgar, bombastic and shallow'' music is discussed, everybody is only too eager to give Liszt as an example. What about Wagner, Berlioz, Bruckner, Mahler and Richard Strauss? A double standard seems to exist here. I venture the opinion that there is no such thing as ''vulgar, bombastic or shallow'' music. There are only ''vulgar, bombastic or shallow'' performances as well as grossly prejudiced people against certain music which they simply cannot at all identify with. Nothing wrong with the latter - it is only too natural - but the former should be stamped out.

Now, how about Karajan, Liszt and this stupendous collection recorded between 1960 and 1975 with the Berliner Philharmoniker in their most glorious sound. Well, to begin with the sound, it has a spectacular clarity and truly staggering dynamic range, though some of the depth of the original LPs might have been lost during the remastering (at least if ''Tasso'' is some kind of measure about that for it is the only one I knew first on LP). Some Karajan buffs miss the fuller sound of his EMI recordings, the so-called ''in-the-concert-hall'' effect as the cliché goes, but I am not one of them. For my part, precision and polish - in the best sense of these words - are by no means incompatible with beauty and passion. There are quite a few proofs on these two discs.

As for interpretation, I believe I am far from being the only fan of Karajan who regrets that the great Salzburger never recorded more Liszt (except for ''Les Preludes'' twice more and the Fifth rhapsody on video, this set collects more or less all of Karajan's Liszt recordings). Karajan could have done marvellous things with the ''Faust'' and ''Dante'' symphonies, to say nothing of ''Orpheus'', ''Prometheus'', ''Hamlet'' or ''Der nächtliche Zug''. For he is the perfect Lisztian conductor. I am not saying this lightly. Karajan had that elusive combination of passion and rhetoric, on the one hand, coupled with deep musicianship and subtlety, on the other, which most conductors lack either partially or completely, which often make their Liszt sound either like a bombastic joke or like a Bach on steroids. One of the reasons why Karajan so often reached great musical peaks is that he always took the music he conducted very seriously. There was no such thing as ''second-rate'' for him, let alone ''vulgar, bombastic or shallow''. Let's look at some fine Lisztian examples.

Karajan's ''Tasso'' and ''Mazeppa'' are by far the finest ones on record. Haitink, Masur, Joo, Noseda don't even come close, nor do Solti, Silvestri, Scherchen, Fruhbeck de Burgos or Mehta in one or the other of these pieces. The only conductor whose ''Mazeppa'' (and ''Tasso''. for that matter) I am ready to rank with Karajan's is Golovanov; despite the execrable sound quality (to say nothing of his extremely fast tempi!) of his old Russian recordings, the man is extremely exciting to listen to. Yet Karajan remains ultimately my absolutely first choice, not because of the great sound, but above all because of the inimitable grandeur yet the remarkable sensitivity of his renditions. The sweeping finales of both poems, for instance, have to be heard to be believed, but the same is true for the beautiful central lyrical section of ''Tasso'' or those wistful trumpets in the quiet parts of ''Mazeppa''.

But in ''Les Preludes'' Karajan does have a competition. Not much though. Perhaps only Solti brings similar excitement to this over-played yet under-rated work. As for Karajan, he surpassed himself in this 1967 recording, which is far better than his earlier (1958) attempt with Philharmonia and his later one (1980s) again with the Berliners; the latter is also worth having, though, especially together with orchestral showpieces by Smetana and Sibelius as is available in the DG Masters series. By the way, Solti made a great recording of ''Mephisto Waltz No.1'' too, again rivalling Karajan's monumental sound, though lacking his subtlety in the middle part.

The three rhapsodies here - whatever the mess with the numbers, they are nos. 2, 12 and 5 from the piano originals - make Dorati and Scherchen sound rather tame, though both are actually very fine musically. Karajan's Second rhapsody is positively bacchanalian and the Fifth, a noble funeral march, is all but heart-rending. Pity, indeed, that Karajan never recorded the rest three rhapsodies of the set officially orchestrated by ''Doppler and Liszt'', but unofficially solely by Liszt with an act of courtesy to the other Franz. Last but not least, Shura Cherkassky gives a splendid performance of the solo part in the popular Fantasia on Hungarian Folk Themes; so does Karajan, but these days I tend to prefer the recording of Bolet and Fischer for DECCA from 1984.

All in all, fascinating double disc for Lisztians and Karajan admirers alike. Completists and Liszt bashers had better not listen to these recordings at all."

I like this review and now need to go back in and listen again, but not before I add, maybe he needs to lighten up just a little and enjoy the writing and execution for the sake of the witty change of moods. Then again, I could be all wet and he is the one who has deeper insights. Maybe what I should do is going back in the rooms and try to listen through his ears and mindset. Maybe, just maybe, there is something for me to learn here.

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PostSubject: Re: Michael's System   Thu Jan 05, 2017 12:52 am

It was just a matter of time

"The perfect preamplifier for analog lovers! The Audiolici AVP-01... $4,930 complete with a MM and MC input as well as a single, line level analog input. Plug in your favorite two turntables, DAC and roll! Review almost finished. Love it." TONEAudio

https://www.facebook.com/TONEPUB2/photos/a.354103584629458.86675.202814503091701/1387459317960541/?type=1&theater

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PostSubject: Re: Michael's System   Thu Jan 05, 2017 1:54 am

This year is coming out of the gate faster than I expected and it will be interesting to see how it shapes up.

The CES is upon us and the AUDOLICI line is about to hit major recognition in the US. I would suspect this will change some of my plans slightly as I'm excited to help Sound Consultant in any way I can. Partnering up with Harold, being exposed to AUDOLICI and refining the tune has been nothing but joy Smile

The A25-M integrated amplifier has taken me in a direction that has been, I wouldn't say needed, but wanted in my listening and development of High End Audio meets the Tune. I must say at first I was pleased with the line but it wasn't until the A25 Red came on the seen that made me say "that's it". Long story but the short of it is, Valeriy is an open minded designer who is willing to customize in the tube/transformer matching department. And it's not even customizing as it is realizing all things tubes are not as they seem and the word "stock" is not as fixed as the tube marketplace plays it up to be.

for example if you look at the I50 amplifier you will find 3 variations

The Jazz, Swing and Blues. Here http://www.soundconsultant.com/audolici-usa scroll down and take a look.

AUDOLICI get's into the specifics of power that is right up my alley, which has not always been the case with tube designing. Would I like to have my own amplifiers again some day? My answer before would have been yes but the AUDOLICI product line has made me re-ask myself this question. With the way low mass solid state amps have advanced, and I'm now back in the speaker designing groove, the question of electronics is not as pressing as it was Pre-Audolici.

WHY?

The answer is simple for me. Listening is far easier when one is not building a system around a speaker, especially a Fixed Speaker. Speakers are a tool in the audio chain that sits right in the middle between Electrical and Acoustical. The key word to great sound is 'flow'. In audio we have 2 force words Flow vs Push. Now keep in mind I'm speaking for myself.

The loudspeaker is an electrical, mechanical and acoustical device. It bridges what the electronics can do and how the acoustics, both, responds to this operation of movement as well as interact with it. The less stubborn a speaker is to the needs of the room and the electronics the easier it is to reveal each recordings true dynamics as individual recorded sources.

It might be a little tougher for me to make this statement if I didn't have my past and 16 different speakers and 16 different amplifiers staring me in the face, not to mention 3 listening rooms at present, plus my writing, work station and outdoor room. Walking around it is very easy to hear stress (push) vs flow (float). Not that push is a bad sound or bad thing, but it's not the same as each recording being a completely different Broadway Play. For myself, I enjoy hearing each different recording throwing me a little, or lot, different Playback. FM type listening is cool but it's not the same as the experience of finding yourself in a boat on the ocean one recording, on a calm lake the next and an amusement park next and so on.

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PostSubject: Re: Michael's System   Sun Jan 08, 2017 3:19 am

The little amp that could sunny



This CES threw a couple of curve balls as far as system setup goes. Too much stuff and then an off sight shoot. It's been a great show, one full of contacts, but leaving a room down was not an option for me. I looked around to see what I wanted to use to fill the gap and decide on the little Rotel amp. This early 80's amp came through for me in fashion.

I've got to say once again how much a respect Rotel's sound from the 80's. The smaller Receivers and Integrated Amps by Rotel from that era still to this day challenge many newer products.

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