Hiend001's System

Hello Hiend001

What if you used the AAB1x1 cones where they were before but with tips resting on the Low Tone Resitone blocks?

Sonic

Hi Michael,

My room humidity is 60%. Will setup 1 Block in the front and 2 in the back. Update you in 24 hours later.

Hi Michael,

You are genius    Your advised was on target   

The harmonics and halos of the cymbals raining sound effect keep on going wave after wave with great details..........  
I'm able to hear inside of the guitar.........................................  
The drums attack is great.......................  
Dynamic is good..............  

Michael, can advise next item to put on LTR Blocks   

Congrats Hiend001   

From your pictures you have placed the three Low Tone Redwood blocks right at the edges of your Sherwood!

I'm very happy to see this!

I've truly enjoyed getting to know the Sherwood. It can be a little fussy placement wise of the transfers but once you nail it the stage goes KaBoom and the halos start dripping with support and flavor. The LTR Blocks are really something to experience, and they like all great transfer products have a way of talking to the skilled listener, of which you certainly are. It's been fun walking through the components with you.

There are many things of interest to me but I don't want to throw you off of the path. The X-30 perhaps?

Hi Michael,

Awhile ago, I play around with the LTR light and heavy weight position on the CD.

The 2 rear with light and 2 front with heavy are the great combination.

The Cymbal halos and harmonics rolling off last longer and real   

The piano notes striking   

The drum note full   

Soundstage spread out   

Questions:
1. Why the above combination sound great compare with 4 LTR light and 4 LTR heavy.
2. We always talk about balance, then why combination of the 2 LTR light and 2 LTR heavy which is off-sided still sounds great.
3. I placed all the LTR softer side face up. You mentioned that it will sound different. Why so?

Next change will be X-30 and Sub SW10  

Hi Hiend001

Questions:
1. Why the above combination sound great compare with 4 LTR light and 4 LTR heavy.

mg

The more I tune the more I understand how sensitive the audio signal is. It could be a matter of too much/too little, or it could be the flow of the transfer. I think I'm learning along with you guys. In designing I test to check the transfer and the range of dissipation in the transfer (among other things), but as far as the actual sound, I listen to things every way I can and so if you or someone says one thing I can usually recommend another, kind of balancing a scale, but the combo you end up with is all you, and the same combo in another setup may be different. magical

2. We always talk about balance, then why combination of the 2 LTR light and 2 LTR heavy which is off-sided still sounds great.

mg

I think reaching this level of signal openess gives such great energy fields and waves as far as, how far the electrons are reaching, that sometimes I look at the combos and it feels like I'm making a molecule. Sounds weird I know, but at a certain level of tuning it was all about equal portions, but than the next level seems to be all about a distributed flow of dissipation. I think, and I may be wrong, it has something to do with the bigger transfer devices in relationship to the size of the audio signal hosts. The LTR Blocks have certainly been a revelation. These are good size transfer devices, and being able to get them that close to the mechainical conduits is pretty remarkable to me. I've gone from the point of a cone to a huge block. Not saying one is better than the other but they sure in some ways tune very differently and in other ways almost identical. I think though because the blocks are able to host so much vibration, they are able to pull much more of the vibration out of, and give back much more. So it's like eating and feeding on a lot bigger scale. It's almost like telling the component and parts how to vibrate.

3. I placed all the LTR softer side face up. You mentioned that it will sound different. Why so?

mg

The blocks are acting like a unit, but they are also acting like a fibrous conduit. The fibers in the light part are fater than the fibers on the darker part. On those Blocks it's almost like flipping a cone up side down. The lighter side is soaking up more.

Placement of all of these is also dependent upon the giver and taker. Meaning the component on one end and the shelf on the other. Your combos may completely change when you get your Platforms. And another thing as you start hearing little problems in certain recordings your going to learn which block to go to and how to set it. Just like I found the edges to do things I also do other settings when I hear particular sonic values that I want to change. Something for you guys to play with.

Also far the heck of it sometime turn a block in a diamond shape, where even less of it is touching the component.

I should also write this, I go from a 3 block person to a 4 block and back, and when I do this I have to be very careful with the 4 blocks. This may go back and give another view. 3 balances easier than 4. Sometimes even if 4 is better but things are not going to all 4 blocks evenly it's a lot better to go back to 3 and things stablize right away.

yet another trick to try

With 4 blocks don't put them in the corners but on the sides and front and back. Many ways to try. I have also used them by the weight of the componet, because of the transformer.

Hi Michael,

You mean use heavy LTR on the heavy part of the component like underneath Transformer and light LTR on a strip X-30's PC Board without chassis?

Hi Hiend001

I was meaning like on the receiver balancing where they go by the weight. When you pick up the receiver you can feel how heavy it is to one side, well when you put the 3 blocks under try to even out the weight. So that about the same amount of weight is going to each block. On mine if I get it close to the same amount of weight on each block and it is on the edge it gives a great sense of space.

Other times I have it exactly like yours is and I like that a lot too.

Hi Michael,

I found out something was not right after change the album to Daboa from the Gekko to check on soundstage depth and width.

I realised that for the past few days I was listening to an alter soundstage - The soundstage was too forward sounding.

The harmonics and halos of the instrument notes were great. Every instrument notes were details and striking like everyone wants to be outstanding in front of the stage. Even those small little effect sounds louder and sometime scary.

That the problem arise. The soundstage no longer has the sense of depth and width. As a result of the overwhelm forward sounding, I could not hear the higher frequency harmonics which usually create an ambience environment feeling.

Is it normal What I'm going through as the LTR starting to cure and settling  

Hi Hiend001

You've reached a listening level where your system is either going to play the music or the music is going to play the system. What is going on is something I hear all the time. It's the difference between setting your system one way and listening to all the music on the system set, or when you hear the difference you slightly tune the system to fit the code of the music.

When you start hearing the music come forward and even around you you have opened up the recording to the point where you are digging into the rest of the recording that has been missing before. Instruments will start appearing that you never knew were on the recording and a sense of space that wasn't there before. Several of your recordings might match this setting but pretty soon your going to put on a recording that is going to sound shalow. You will need to find that small (and it is almost always small) adjustment that will make that recordings depth suddenly fall back and fill in.

I do want to tell you at this level of tuning you are going to be able to see inside of the recording once they are set, but you are also going to hear a bigger difference between each recording. There is no way around this type of tuning unless you do what I do, and that is put on a piece of music and wait for the system to settle around it. This is both fasinating and to the guy who wants it instant impossible to live with.

It comes down to tuning the individual recording, setting the system and listening to one piece sounding great and the next not so great, or finding that right spot and waiting for the recording to push it's will on the system.

One thing for sure for the listener who wants to go from one recording to the next. You will have to find those simple tunes that move in the direction you need to to tune in the recordings as thay go one way or another. I have never heard one setting play it all.

The hard part (not for me cause I like this) is hearing the recording open up to a place it's never been, then changing recordings, tuning it in, then going back and having to retune to get where you were. When I see a person starting to do this, it's when I know their system has reached this level of performance. I watch you guys to see if your tuning in per recording or leaving the system set.

I will write about this again on my thread.

Hi Michael,

Yes I understand what you are talking about. Is all about balancing on the Audio Trilogy. Need to tune the other two parts after adding on all the LTR stuffs for the past 1 week  

I'm a bit lazy    Can give tips on what you have seen those pictures which there are many things of interest to you where I should look into. Like parts to tune to make that recordings depth happen and fill in    

Hi Hiend001

Certainly, be happy too but I bet your thinking the same things. I see a lot of tuning with the wood washers, or even the removal of some. Because you went from Brass to Wood on some of your transfers, I wouldn't be surprised if your balance has shifted a little with the use of the wood washers.

Second, I would be tempted to untwist your interconnects a little and see if they cast more fill and depth.

If you do these let me know.

Hi Michael,

Had removed all wood washers except those on mini PZCs on the ceiling.
Had also untwist some interconnects a little.

Now the crickets start right behind my right speaker gradually moves up to the front ceiling in an arc form. It stops then slowly moves towards my behind left speaker and slowly faded outside the wall.

Yes it casts a little bit more fill and depth especially on vocal imaging projected on the front wall a bit off center  

Hi Hiend001

How far are you from the center plane of the speakers?

Also let those interconnect break in a little and see if the stage fills in even more.

Does your system feel relaxed or uptight?

Hi Michael,

I'm 4' away from the center plane of the speakers.

My system feels a bit uptight.

Hi Hiend001

Ok, just for the heck of it put 3 blocks under each speaker, no cones.

Hi Michael,

Had put 3 LTR blocks under each speaker and SW10.

Now the crickets sound start and end at 6' away from my sitting position. Crickets starting behind right speaker and the ending part behind left speaker faded out of the left wall.  

Wow! That looks fantastic. Tell me about the tonality? Also have you played at all with the leaning boards on the wall? I don't want you to get all messed up or anything just wish I was there playing around.

I think Drewster is trying the blocks under his speakers too.

Hi Michael,

Had moved the corner leaning board from behind SW10 to the front wall next to PZC.

The turning point sense of depth starts when replaced two LTR blocks underneath Outlaw's Toroidal Transformer.

Cricket floating completely out of speaker    1st cymbal splashing behind left speaker slowly decay towards front wall. 2nd cymbal splashing very softly and short one at the front wall. 3rd cymbal splashing softly and short one behind right speaker.

Vocal imaging projected 8' away from my sitting position to the front wall.
The drum coming from the right speaker "tom, tom, tom,......"
The fullness of the bass guitar coming from left speaker.
The panning back and forth of the guitar at 4' high.

Hi Hiend001

When you stand up, does the soundstage rise with you, or does it stay low?

Also when was the last time you had the speakers at 3' to center plane?

BTW the sound your describing sounds just like a mastering studio, but you have better depth.

Hi Michael,

When I stand up, the soundstage rise with me.

Since 5 years ago the speakers were at 3' to center plane.

This is excellent that the soundstage is rising with you. This is telling you that you are playing the signal in tune. When you stand up, are you hearing more information or less or is it the same?

I apperiate you doing these things for me   . What I'm doing as you can probably guess is trying to put myself in your room.

Can you describe to me the difference between the 4' setting and the 3' setting of speakers?

Hi Michael,

When I stand up, I'm hearing the same information.

Let me clarify the statement "the speakers were at 3' to center plane". Is it what you mean shown below:


       Current Setting


 L                 7.5'              R
SPK <--------------------> SPK
                     ^
                      l                                            
                      l  3'
                      l
            Sitting Position (Measured to Ears)      

At 3' setting : Soundstage wrap around my head.                  
At 4' setting : Soundstage in front (arc shape).

Hi Hiend001

So I put back on Abbey Road. When I moved the speakers to the 3.5' position the soundstage moved to in front of me. I was was actually pretty happy with how deep it went but there was nothing off to the sides or outside of the room at the sides.

I put the speakers back at 3' and the sound came all around me but there was still not the extreme right and left. I rested my head on the rear wall and explosion. The room and neighbors rooms filled up with stage   . Things were 3D and in their places except when they took their engineering travels.

crickets and frogs

This was interesting for the crickets and frogs. The odd thing is when I read the recorded details the crickets and frogs are a tape loop, but when I played with the speaker placement there was a huge presence of the frogs to the extreme right rear even when the crickets moved across the stage. This was interesting. When in the 3.5' position the crickets started behind the right speaker maybe 7 feet back but the frogs went way outside the room to the right. Moving the speakers more extreme nearfield things came together more but the frogs and crickets started well outside the room to the right, when my head was on the back wall.

I got up from my seat and did my laminar flow test and found that my ears when right at the edge of the flow was the place my ears sit when I put my head against the wall. It's also when my ears are almost inline with the open door to my right. Oh my, something to play with