Your description of La source triggers my thought on whether you are using the Troy and Orion/Spartan. They all share a common character of wiping away the noise which will otherwise contaminate the transparency, creates false abundance of ambience and more congested spatial separation.
Did you read "How can one live without Troy?" written by Alecy two years ago? Yes, I have a Troy. On top of the magnificent Troy, the La Source still leapfrogs the overall system performance. I was told even Mr.Zanden endorses the La Source and is now using it with 2000p transport.
绝對創造之訊源 on the Zanden phono stage imputes a rare sense of tranquility in between each musical note. The openness of the staging is quite a sight to be ear-experienced. The details are presented in a continuous manner without "highlighting" them. After a few twists on the speaker positionings, what Jeff in Taiwan described is possibly achievable though my system level is pretty far from him.
I was thinking to continue my writing in the thread for Ikeda 9TT and suddenly realise what I am going to write may not be entirely attributed to Ikeda. Without any doubt, it plays a key enabler but the whole signal path is built up from Ikeda to Virtu, Gabriel then Trinity phono and none of them should be undermined in terms of contribution to the overall performance.
This is a very common record, very easy listening, nothing spectacular in terms of performers, conductor, recording, etc... When I listen to it this morning on the piece, Vaughon Williams, Fantasia on 'Greensleeves', I was led to a big piece of greenfield under a clear blue sky. I had not thought about anything like tonality, soundstaging, dynamics, nothing but simply a gateway has been opened up for me to set my imagination to a total freedom: A gateway to hi-fi nirvana!! I am glad that the 'hardware' that I have posessed can enable me to construct a genuinely hi-end framework! The real power not the hardware, it is the unlimited imagination brought by it!
Well, don't get me wrong that the DaVinci cartridge and Zanden phono are not the right ingredients. Quite the contrary, they are also enablers for me to learn other facets of musicality and by having the right mix and match and system setting, the gateway to the hi-fi nirvana will still be open for us!
My salute to Mr. Zanden who created such a meaningful thread!!
It seems Marvel is enlightened by the Da Vinci/Trinity/Dalby/Ikeda chain. The "greenfield" beaming out from his Tidal Contrivia Diacera speakers should be much bigger than before. When Agoria lands, the whole ballpark will be raised again. I have rarely seen him written so many on a single subject in a short period of time. He must be happy.
And I have to say the Trinity phono is really one of the world's best too. We welcome hardcore fans of FM ACOUSTICS 222 mark whatever to come to AE1 for a comparison against both Trinity and Tidal in the solid state phono domain.
Indeed I am truly amazed by the new vinyl combo just set up in my system. I am not a hard core vinyl fans in a sense that I often do not burn as much as energy like many other veteran on sourcing the right gear for myself and even when I have got the righ tools, I lck the skill of setting them up properly and keep on fine tuning them on an on going basis. My attitude towards vinyl is very much oriented from cd listening. So once the gear arrive, open box, turn the power on nd si back to listen....
Vinyl is certainly not a 'black box' type of source and to get it sound right take much more effort than setting up the CD right...as a result, the level of satisfaction and enjoyment for me now reaching an uncharted height on vinyl performance cannot be easily described in words. In the past, there was always an 'invisible' frame limiting my vision into the music, with the new combo, I do not feel the existence of the invisible frame, I am just there in the recording venue! Though I am still not close to producing the same thrilling experience in AE Showroom 1, I now begin to believe I am not too far away and this goal is achievable....
Trinity phono is very precise and transparent. Nois platform is lower than Zanden. Musicality is derived from the rhythmic tempo, 3dimensionality of the sound staging and coherence of the musical flow. Tonality I very neutral, nothing to th extent of over pale or over rich...it is just the natural ambience that I xpct th instrument should sound like.
Master Chik and myself ran through several impedence setting and w rest with 20ohm considering th room acoustics , etc. you have to try it out by yourself, no golden rule on the setting I believe.
The magic of the Dalby record weight adds the final icing on the cake! When listening to Szeryng violin sonata, for the the first time ever, I could feel the physical movements of Szeryng while the pianist and the piano at te back were stationed firmly! Never have i imagined the resolution and precision of my vinyl setup can be like that!! Tidal is undoubtedly a speaker which can be as precise as what the original source can produce in terms of the transparency and sound staging!
PT SMS me from Munich that te new Agoria just make my current speaker sounds like a bookshelf....how much of it is use to hs passionated exaggeration, I have no idea but for sure my expectation on this new masterpiece has been raised dramatically!,
You sound like a real happy man. How do you connect ground wire to Trinity phono? There are no visible screws on the chassis. Had you connected any ground wire from the Virtu arm to the Troy? You have to do this!
Dalby record weight is just a must-own item. Jlam has made it an item anyone casting doubts will probably never receive one.
I only use one of the XLR connectors in the Trinity phono to ground the unit but at the moment I have not grounded the Virtu arm which I will certainly try in the next few days. Where do you recommend me to connect the ground wire from the Virtu arm?
DSo invited me to the inauguration ceremony of his Virtu arm yesterday. Being a prudent and enthusiastic audiophile, DSo kept on reminding me that the tonearm, especially the phono cables, needs some time to settle in. Plus the cartridge setting must be fine tuned before we can do serious listening. By the way, DSO is using EMT cartridge which earns a very high praise of many including DSo. Of course audiophiles are normally not patient enough in front of new toys. So after listening to a variety of recordings and some minor adjustments, we went on some serious listening.
Compared to one year ago when I listened to the PrT1 and 833 combo in DSo's place, the frequency response is more linear and transparent. Spatial resolution and easiness of the music are more vivid under the DaVinci Nifty and Virtu amp combo. When DaVince is mated with Zanden under Cessaro, music is impactful but not forceful, soft but not not mellow, fast but with harmonics details, colorful but not over intense...
When we further put on the Dalby record weight and Dalby feet under the Zanden phono, all I can hear was DSo kept on saying that PT must have reserved a set for him...I will let DSo to share more if he likes...
Comments
Your description of La source triggers my thought on whether you are using the Troy and Orion/Spartan. They all share a common character of wiping away the noise which will otherwise contaminate the transparency, creates false abundance of ambience and more congested spatial separation.
Marvel
Well, don't get me wrong that the DaVinci cartridge and Zanden phono are not the right ingredients. Quite the contrary, they are also enablers for me to learn other facets of musicality and by having the right mix and match and system setting, the gateway to the hi-fi nirvana will still be open for us!
My salute to Mr. Zanden who created such a meaningful thread!!
And I have to say the Trinity phono is really one of the world's best too. We welcome hardcore fans of FM ACOUSTICS 222 mark whatever to come to AE1 for a comparison against both Trinity and Tidal in the solid state phono domain.
Do you have Navarra playing Japanese melodies recording? I enjoyed that a lot with the Ikeda 9TT on my Da Vinci grandezza. It is a great cartridge.
Puyi
Vinyl is certainly not a 'black box' type of source and to get it sound right take much more effort than setting up the CD right...as a result, the level of satisfaction and enjoyment for me now reaching an uncharted height on vinyl performance cannot be easily described in words. In the past, there was always an 'invisible' frame limiting my vision into the music, with the new combo, I do not feel the existence of the invisible frame, I am just there in the recording venue! Though I am still not close to producing the same thrilling experience in AE Showroom 1, I now begin to believe I am not too far away and this goal is achievable....
How do you like the trinity phono? What is the impedance setting for the Ikeda 9TT? This cartridge is amazing.
Master Chik and myself ran through several impedence setting and w rest with 20ohm considering th room acoustics , etc. you have to try it out by yourself, no golden rule on the setting I believe.
PT SMS me from Munich that te new Agoria just make my current speaker sounds like a bookshelf....how much of it is use to hs passionated exaggeration, I have no idea but for sure my expectation on this new masterpiece has been raised dramatically!,
Dalby record weight is just a must-own item. Jlam has made it an item anyone casting doubts will probably never receive one.
I only use one of the XLR connectors in the Trinity phono to ground the unit but at the moment I have not grounded the Virtu arm which I will certainly try in the next few days. Where do you recommend me to connect the ground wire from the Virtu arm?
DSo invited me to the inauguration ceremony of his Virtu arm yesterday. Being a prudent and enthusiastic audiophile, DSo kept on reminding me that the tonearm, especially the phono cables, needs some time to settle in. Plus the cartridge setting must be fine tuned before we can do serious listening. By the way, DSO is using EMT cartridge which earns a very high praise of many including DSo. Of course audiophiles are normally not patient enough in front of new toys. So after listening to a variety of recordings and some minor adjustments, we went on some serious listening.
Compared to one year ago when I listened to the PrT1 and 833 combo in DSo's place, the frequency response is more linear and transparent. Spatial resolution and easiness of the music are more vivid under the DaVinci Nifty and Virtu amp combo. When DaVince is mated with Zanden under Cessaro, music is impactful but not forceful, soft but not not mellow, fast but with harmonics details, colorful but not over intense...
When we further put on the Dalby record weight and Dalby feet under the Zanden phono, all I can hear was DSo kept on saying that PT must have reserved a set for him...I will let DSo to share more if he likes...
Marvel