Post by Dom on Aug 13, 2021 18:16:59 GMT 12
I believe that our audio journeys are often far more interesting than we think they are. Here's most of mine, if I may. It's sure interested me along the way.
I actually inherited much of a system that once belonged to my uncles in London, so have been heading towards a supremely classic type of system. As kids we were allowed into their magical music chamber to listen to loud Wagner on their system(s) so you might say I'm extremely lucky and pretty wedded to these items.
The trophy-pieces speak very clearly about a certain type of presentation so it then fell to me to augment them with auxiliary items that complemented and contributed further to that big picture. But first, let's consider my previous system.
In one of those 'do it once, do it well' moments almost 20 years ago, I had the opportunity to buy a system that would make my moderately-specced LP12 shine. I also wanted a system made in NZ, as I already had Image Studio Reference standmount speakers and Sound Creations stands.
So that was:
Perreaux E160i integrated amp and SVX1 phono stage,
Perreaux ECD player,
Sound Creations rack,
Slinkylinks cabling throughout.
Whatever your personal taste, you can see this all sounded pretty great after a Creek 4040 and NAD CDp. It was quite an exciting weekend putting it all together but the phono stage was soon swapped for a Graham Slee Era Gold V. Everything else stayed for a good many years with some tasty additions to the Linn.
Then upgradeitis ...
Speakers first, as I wanted to try floorstanders. The Studio Refs went to a very willing buyer (who is still pleased with them) and we moved up to a pair of Image 412s. We loved the improvement and stayed with those for a few years. Then I was offered a pair of one-family Spendor BC1s which were extremely welcome, well-priced and well-loved.
Now comes the inheritance. Of my two uncles, the audiophile had died in the early '80s and the other one, a music-lover, mothballed the listening room. He preferred a QUAD66 CD player in the living room. When he passed away it was up to my brother and I to dismantle the music room. To call it a treasure-chest might come close but none of it shone.
Into a hired van we carried amp after amp after speaker after turntable until it was almost dark. We decided what we'd like and sold the rest on. I think we did well and fair, considering everything was unused for at least 25 years. It all went to the right people, anyway. It was an embarrassment of riches.
My main choices were a QUAD 22 stereo preamp, a pair of QUAD 11 clones Derek had made himself and a Garrard 301 with SME 3009ii non-improved. I also thought of my future mono system and grabbed a Leak TL12 pre/power as well as all the spare Mullard/GEC valves and assorted old cartridges/headshells I could safely carry.
Where could I turn to for impartial advice on making this all sing like a choir? Owen Y., of course. He acted as a sounding board/advisor and I very much regret he never got to hear it. I was always "just about" to invite him.
Once this was all shipped back to Auckland each piece went out to their respective specialists for rebuild/repair or modernization: Tony D for the 301, Graham Doggett for a plinth, Clarrie for the power-amps and Phil Brass, who fitted a modern valve circuit with R/C volume control into the preamp case. The QUAD 22 is not the best preamp and the finicky sockets suck but it is a design classic. I also didn't fancy its tiresome phono-stage canister-swapping business.
Soon after, I asked Graham for a bigger plinth so I could dedicate the SME to mono use and my nice new Alfred Bokrand/Ortofon 12" arm for stereo. Along came another Graham Slee phono-stage (both second-hand) this time, a Reflex C for my soon-to-be SPU. The turntable parts all went along to Neil and Paul at Turned On Audio, who expertly mounted and set up the arms and the SPU, then I fitted an Ortofon 2M Mono to the SME, with a spare 78 stylus for those TANZA moments.
I love the Slee phono-stages, he's an ex-BBC engineer and I've had the optional mono switches fitted.
Then I recently got curious about Tannoy DCs so we found some, which I've posted about elsewhere, with a photo.
Now I have a system where the major pieces are all somehow renowned matches for each other. No one item is the best at doing anything but it produces a great and joyful cacophony. It was pieced together with patience, mistakes, luck, kindness and encouragement. I've had slam and I've had PRaT and I don't really want a subwoofer.
Where I am is where I began - listening to much of the same system again, albeit subtly modernised. When my own self-guided music-listening began in 1972 it was via the BBC and that's how I would describe the overall sound I now have. That may say "Establishment but comfortable" to some but I'm well pleased with how everything sounds whether it's PIL, The The, Wagner or Ry Cooder.
Maybe we have got there?
Singer/songwriter at: www.dominicblaazer.net
180g album, "The Lights of Te Atatu" released 2018
180g album, "The Lights of Te Atatu" released 2018
