I was smitten with two channel audio as a teenager, when I purchased my first component, a Radio Shack receiver, back in 1978. At the time, the $80 unit took all the money I had, so I tore out two full range drivers (one a 10” and the other a 12”) from console units and used lamp cord as my first speaker system! Since then I’ve gone through too many components to remember!
I have always had a passion for two channel, and in 2004 I built my dedicated listening room/HT in our present home. It is a 23’ x 13’ x 7.5’, acoustically isolated room in the basement. The interior walls are 7.5” thick, utilizing 2x6 staggered stud construction, resilient channel, and two outer layers of ½” Homasote (a pressed paper product used in industrial soundproofing), then covered by ½” drywall.
The ceiling is also soundproofed by the channels and Homasote and the lights are recessed into soundproof boxes, so that the ceiling is absolutely solid above the dropped ceiling. The flooring is cement, covered with ½” pad and a thick berber carpet. I used 2’ x 4’ sound panels to tune the room for optimum two channel listening. The room functions as a HT, but 90% of the time I am listening to two channel stereo.
I find that I am an equipment enthusiast as well as a sound “analyzer.” I love seeing the components right in front of me – I could never bear to have them stuffed away in a closet. For me, half the enjoyment of high-end audio is futzing with the gear, moving cables, trying new speakers, etc. I also have a tendency to constantly be assessing the sound. I almost never simply relax and go with the music, since there is always something which can be improved. Over the years, as my rig has climbed in quality that tendency has been diminished and I can be at ease while listening. This should be an encouragement to those who aspire to the high-end. Satisfaction can be obtained, though it may take a while to get there!
How did I build a quality system at a somewhat affordable price point?
I have been a regular face for years at the audio establishments in Milwaukee, my home town, Madison, Chicago and St. Louis. I worked up the line in equipment the hard way, by buying new pieces and trying them. Now, with the internet and sites like Audiogon, the process is much easier to get a running start. I recommend a three-step process:
1. Screen components for public acceptance at Audioreview.com. I learned that these ratings are similar to Consumer Reports. “Initial Quality” is very high, and every piece seems to rate at least a 4 out of 5 stars rating. I determined that the truly noteworthy pieces had a rating of no less than 4.7 or 4.8 out of 5, and typically from more than a dozen or so owners. I also weighted the reviews of the owners depending on the equipment they owned.
2. I asked public opinion regarding comparisons and performance of a potential component on Audiogon. Owners gave helpful tips and suggestions, and if there was a better component to be found, they often suggested one.
3. Professional reviews on the product. This may seem strange to rank third, coming from a reviewer, however it is true that one can find a reviewer whose taste in equipment is similar to yours. It takes a while to find such a reviewer, but once you have, you will have a good source for leads on components. I did not so much look at the reviewers’ work as “pass or fail” as much as additional guidance in understanding the operation and sound of the equipment.
If all three of these lined up for a particular piece, I pursued it. It was a very effective method, and propelled me farther along the path to my goals than any other methodology I had used previously. I highly recommend this system to those starting out.
Regarding equipment, I lean toward higher power and larger speakers. I enjoy SET amps and single-driver speakers, and my heart is with the American big, bold sound. I am unwilling to compromise any aspect of the presentation. I am not willing to sacrifice clarity for power, or bottom-end for vocals. A proper high-end system should excel in every facet, and that is my goal. I currently (I say currently because this hobby tends to change us and our tastes over time as the technology changes) see an ideal match between high-power, high-current amps and efficient floor standing speakers. For my own personal use, I prefer full-range towers to monitors.
I am constantly trying to eliminate unnecessary links in the system in order to streamline the rig. I have come as close as possible in this process with one particular set up: CD player into two mono block integrated amps, and of course, the speakers. This trinity of components is eminently simple and has a compelling performance-to-cost ratio. There are not many integrateds of high caliber which can be bridged. This is a shame, as I feel it is a tremendous advantage. Currently, I use two Pathos Classic One MkIII tube hybrid integrateds in this configuration. I see very few other integrateds in the market which can function in mono mode, so this is somewhat of an anomaly. However, to date, the results have been compelling – among the highest returns on audio dollar spent in my experience.
I strongly feel that cables are now to be taken as seriously as any other component in the system, and that the often suggested 10% ratio of cable expense to total system cost is low. I believe the correct ratio should be closer to 20% - cables make that much difference! I also shy away from reviewing only one cable in isolation, as it is far easier to hear, and more effective to use, substantive changes in sound with a suite of cables. Similarly, I have come to conclude firmly that power cables are as critical to success in building a quality system as any other cable. If you do not have quality power cabling, you are literally choking the sound of your entire system.
Finally, I am a living example of the power of persistence and consistency in building a HiFi system. Most people cannot go out and drop $2-3k on a cdp, or $6-10k on speakers. At least, not from the start. If, however, one is willing to bide their time and use a self-regulated savings plan, remarkable systems can be obtained! You do not need sky-high income to own a superb stereo! If it is a priority for you, budget for it and show contentment by upgrading a component at a time. Audio is one hobby where virtually anyone can see remarkable improvement over time and gain satisfaction in the endeavor! This is one of the reasons I have stuck with it for almost three decades. Hopefully, you will find similar joy in the journey!
My tastes in music run toward the Smooth Jazz genre, as well as solo acoustic instrumental, synthesized, and jazz vocals. I hope I will be able to guide you to some wonderful discoveries as we visit together!
System
Digital Front End
Ayon CD-5
Cambridge Audio Azur 840C
Monarchy Audio M24 DAC/Pre
Oppo DV-970HD
Sonos Digital Music System
NAS: Buffalo Linkstation 500G
Pre-amplification
Cambridge Audio Azur 840E
Eastern Electric BBA "Buffer Amp"
Jeff Rowland Design Group Capri
VAC Renaissance Signature Preamplifier MkII
Amplification
Cambridge Audio Azur 840W
Jeff Rowland 501 monoblocks
Jeff Rowland MC-606 multi-channel
Moscode 402Au
Pathos Classic One MkII stereo tube hybrids bridged (2)
Speakers
Eminent Technology LFT-8B
King Sound "the King"
Legacy Focus SE
Wharfedale Opus 2-3
Cables (Digital)
MIT Oracle Digital Reference
Tara Labs RSC Air 75
Wireworld Starlight 6
Wireworld Gold Starlight 5
Wireworld Gold Starlight 6
Cables (Interconnect)
MIT Oracle MA-X
Tara Labs RSC Air1 Series 2
Wireworld Platinum Eclipse
Wireworld Equinox
Wireworld Silver Eclipse
Cables (Speaker)
MIT Magnum MA
Tara Labs RSC Air1
Wireworld Equinox 5
Wireworld Silver Eclipse
Cables (Power)
MIT Oracle V2 and Magnum
MIT Oracle Z III
Tara Labs RSC Air
Xindak PF-Gold
Wire World Stratus 5, Electra 5 and Silver Eclipse
Power Conditiong
MIT Z-Power Bar
Tara Labs ISM Power Screen
Tice Audio Solo
Wireworld Matrix Power Cord Extender
