Sure as heck hope it was only one Bill track. Otherwise I’m disillusioned.
Y’know - we need to take this act onto Paul’s Posts, since that seems to be what its about lately ; )
lest The Stig yell at us
As there have been a few of us who feel that the SPTPC may not be the right choice for our own systems, I’d be curious if those who’ve chosen this variant could identify what amp(s) and speakers they use? I know it’s a bit more complicated than that - I’m in the “they’re part of the overall synergy” school. And some of it comes down to personal taste in what satisfies musically. But leaving it to the signal driving stages and speakers might be enough to suggest something (?) maybe.
Similarly, if those who think the OFE is right could do the same, I’d appreciate it.
Me? Right now I’m in the OFE camp…
Preamp - Pass XP-20
Amp - Pass X260.8 monoblocks
Speakers - Von Schweikert Endeavor SE
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Galen, any chance you could share your demo list and what you listen for?
I too has a demo list (including awesome songs that are poorly recorded), but it is tuned for the vagaries of my particular (esoteric) speakers/DAC combo (Chord DAVE directly driving Voxativ high efficiency single drivers).
Ray
The more I’ve had the opportunity to listen to them and compare them in different systems, the more I’m convinced it is about synergy - and that is even before you even get to the end user’s personal taste in music and sound.
So, I don’t think there’s any formula, or any replacement for listening to and comparing them in your system. Fortunately, they are cool with that : )
Talk to Bob. Good man.
Assuming he’s recovered from his Egg Nog Coma.
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Bob and I have talked (via email) many times. 
OK - sorry. So, you are just interested in why SP folks chose SP and what their gear is?
Looking at it simply, yes. Realizing that it’s much more complicated than that. But what if, say, some statistically significant percentage of SPTPC users have tubes somewhere in their system? (Hmm, maybe the preamp should be included. 
)
SPTC main cables
preamp = Krell Evolution 202
amp = PrimaLuna Dialogue Premium (2) monos w/KT150s
DAC = Berkeley Alpha
Love them XP-30’s. They’ll pry mine of my cold dead hands.
Unless Reno HIFI works some magic in a year or two or three with an XP-32 
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I ended up with OFE IC’s and the SPTPC speaker cables. Didn’t dare risk listening to the UPOCC IC’s due to the length of run$ that would be needed.
Pass XP 30 / XA160.8 monoblocks / M-L summit X
I think that Galen mentioned in a past post that the speaker cables are an integral part of the amp / cable / speaker network.
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I run all solid state pre amp and amps with SPTPC and UPOCC. I use PSA DSD and Paul’s playlist to audition. .
Plus a slew of McIntosh electronics. Despite the mid Fi detractors on McIntosh equipment. I feel I get live sound and 3D soundstage. Not before Iconoclast IC and speaker wires and recent upgrades. No tubes no fatigue and no vinyl.
My daughter a music major, performer and educator as is her fiancé are hearing my system first time since I went Iconoclast. . They are amazed with orchestral sounding as good as a real orchestra and hearing hidden instruments and clarity of vocals. . My amp power and speakers have no problem reproducing 118 plus dB dynamic peaks.
Iconoclast are the real deal along with tweaks by iso acoustic and improved streaming chain all things I picked up from PSA forums. Can I squeeze out more performance probably but i know Iconoclast does not hold back upgrades.
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Howard, your setup intrigues me as it is somewhat similar to mine, at least from the Pass perspective. Speakers are way different. I wonder how the XA160.8 sounds compared to the X260.8?
BTW, if Mark at Reno wanted to drop an XP-32 into my lap I wouldn’t say no! 
Tony, individuals will have to chime in on your request. One who comes to mind in the OFE camp is RonP who has many recent posts. He has a Pass Labs pre but I am unsure of his speakers. You might send him a PM. The majority of OFE customers have tube based components and prefer that warmer, less detailed presentation with a smaller sound stage. We are speaking about speaker cables and not interconnects.
I can only image. I love my XP-12!
Thanks Bob. I’ll email RonP. But I would have expected the opposite - that those with tube components would like the SPTPC, as the warmer tube equipment would work with the more “incisive” quality of the SPTPC speaker cable. I’m not sure why tube equipment users would want to add to it with the “warmer” OFE. I mean, don’t most people think the OFE is warmer than the SPTPC?
Tony
Ray,
Well, here is my “broken” music I use to do evaluations. It is selected, on purpose, to span harsh to too mellow so as to not make cables that play only one kind of music well. If a cable can get through these three CD’s your good to go on about anything else.
Worse, I’ve actually gotten to like many songs on all three CD’s! My skin is pretty tough so some nice jabs would just be in good humor…so here goes!
-
For a WAY bad dubbed over and over to death sound I present Herman’s Hermits Greatest hits CD. Did they intent to have most of the songs be ship in a bottle WAY, WAY back there and cut-off at the knee’s imaging and terrible fidelity? If they did, it worked!
-
For a SOFT presentation I present England Dan and John Ford Coley - Best of CD. This is a “summer” presentation, warm and soft. If a system can get clarity and defnition through this CD you’re getting somewhere, but don’t dare make it seem “transparent” or good sources or harsh stuff will turn into laser beams…like the next CD.
-
Nickelback - All The Right Reasons CD. Ths is a classic HARD and brash presentation. some of the songs are kind of touching. I think they did that by accident? But the CD is VERY “hard” to get through at any real volume as it is a grating presentation.
As far as good music goes, I’m probably what you’d call a FOLK music person so I’m kind of off the main stream too much to be of much use to you all. Sure, some is better known but I use music to settle down, and not to rev up. Sure, I have my Supertramp amd three doors down stuff but I don’t really go there often. Here is a list off the top of my head. Nothing esoteric, really. This is music I enjoy, not picked for fidelity. But I thnk you can get the idea from this partial list.
What you don’t see is much jazz. I cleaned a big bar from 3-6am in the morning on Sunday for a while. Jazz just reminds me of that awful job and I feel like a cigarette butt and seeing people getting hurt, all the while live jazz was playing…and ignoring the plight of the place. It was am emotional war zone. Sure, the sounds are organic but the emotions are REAL, too. I want to get away from those feeling. This is a me issue, not the music. But Like the smell of Ivory soap that reminds me of my great grandparent’s, it strikes a strong emotional chord that tears me up too much. No Ivory soap in my house or much jazz!
For classical I’m more VIVALDI four seasons and OBE concerto’s. I llke a faster cheery kind of classical. For some reason, this is relaxing to me.
What is it about an Oboe’s sound that makes you cry? Peter and the Wolf when we were kids?
-)Loreena McKennitt
-)Wally
-)Carpenters (yes, the Carpenters)
-)Eva Cassidy
-)Passenger
-)Cat Stevens
-)Seals and Croft
-)Linda Rhondstadt
-)Tracy Musgrave
-)Five for Fighting
-)Paul Simon
-)Simon and Garfunkel
-)Allen Taylor
-)John Denver (yes, John Denver)
-)Gordon Lightfoot
-)James Taylor
-)Kingston Trio
-)Mary Chapen Carpenter
-)Neil Diamond
-)Moody Blues
-)Neil Young
-)Tracy Chapman
-)Peter Paul and Mary
-)Jennifer Warren
-)Adele
-)Dire Straits
-)Harry Chapin
-)Gerry Raferty
-)Ian Tyson
-)Ingrid Michaelson
-)Jim Croce
-)John Mayer
-)Philp Philips
-)Hans Theessink
-)Jackson Brown
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Tony,
You are a summer / fall listener. Nothing wrong with that. A warmer than cooler presentation is described in your equipment mix. I lean to winter / fall, cooler than warmer most of the time. The STPC lives here, the OFE is summer / fall. Some feel the TPC is leaning to winter. But the ultimate sound is what’s mostly in the chain. A cable can’t turn that around.
We need to better understand what kind of sound makes us ENJOY what we listen to. This entertainment, really. If I could have a 100% accurate stereo, I’d likely keep what I have now. It is a “sound” we are after for ourselves.
Winter - cool
Spring - Slightly warm, mostly cool
Summer - Warm
Fall - Slight cool, mostly warm
Modern tube equipment runs the entire audio “impression” gamut from warm to thin and trebly, and tube complements and power regulation or treatment in particular influence these “impressions.” So I wouldn’t actually expect a consensus on one type of copper or another.
My interconnect and power cabling have Ohno copper (and in the case of interconnects Ohno silver as well). My tube amplification is very accurate and revealing. . .and I would actually seek out a warmer sounding speaker cable if I were to get new cabling as I seem to always be seeking a touch more warmth in the digital playback of the system. I’ve rolled a handful of speaker cables and like the PS Audio xStream Statement the best of those I’ve used; If I could find a reasonably priced pair of xStream Reference that would be tempting as it would bring the Ohno copper into the remaining analog cabling I use that does not incorporate that into its design. . . . I bet that would sound quite nice.
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Thank you Galen! I will check these out.
I currently have some of your IC’s in house for the first time (thanks Bob!) and I’m revisiting OFE vs STPC for speaker cable. Here are my Go-To Chord DAC Demo tracks and what I look for in each (copy pasted from some previous reviews: https://www.head-fi.org/showcase/chord-hugo-2.22209/reviews#review-19435).
For challenging tracks, I lean toward tracks with REALLY HEAVY dynamic range compression (victims of the loudness wars). I find that a faster more transparent system seems to restore some of the dynamic range and really open up those recordings (Adele’s “25” comes to mind).
Pink Noise (mono), from “The Ultimate Headphone Demonstration Disc” bu David Chesky (Chesky, 24/192 FLAC)
Yeah, its pink noise, but it tells you a lot about a set of headphones as you get oriented to system. For 2 channel, great way to see if your speakers are aligned and you’re in the right spot. Great baseline reference to make sure things aren’t wonky and you’re in a good place (and it is sort of fun to think about all this technology being using to play a 24/192kHz noise file! 
Murakkaz Ah Ya Muddasin, from “The Splendour of Al Andalus” by Calamus (MA Recordings, DSD64)
Remarkable recording in what sounds to be a majestic and spiritual centuries old cathedral in Spain. With the right equipment, you are transported to a place you’ve never been to but always want to get back to. When the full group joins in, it is profoundly challenging to reproduce the mids and highs without sounding shrill and congested. When the reproduction is effortless, it is magical (to say the least…my jaw drops every time when it’s “right”) If the sound chain is able to maintain that glorious soundstage, it is off the charts. Todd Garfinkle is a magician behind the microphone.
Noche Maravillosa, from “Salterio” by Begonia Olavide (MA Recordings, 16/44.1 FLAC)
Another gem of a recording and performance from Todd. The precision and clarity of the instruments (particularly the percussive ones) is intoxicating and tangible.
Voglia Di Vita Uscir, fremo “Buenos Airers Madrigal” by La Chimera (MA Recordings, 16/44.1 FLAC)
Todd also is a master at capturing performances in a more orchestral setting. These performances by La Chimera are a joy.
Mahler: Symphony #2 'Resurrection’, 1st movement conducted by Iván Fischer (Channel Classics, DSD64)
Mahler: Symphony #2 'Resurrection’, 5th movement conducted by Iván Fischer (Channel Classics, DSD64)
Near perfect performance with a perfect recording. The dynamics and power of this performance are vivid and real: the orchestra virtually screams with one voice during the climaxes. This recording beautifully captures the essence of horns and low strings, which are very difficult to reproduce. The closest I’ve heard to the experience of the dynamics of a live orchestral performance.
Rimsky-Korsakoff: Scheherazade, 1st movement conducted by Fritz Reiner (Analogue Productions Remaster, DSD64)
The most perfect recording of the most perfect performance I’ve ever heard. Listening to this recording on a transparent system is a life changing experience: you are standing with Maestro Reiner in Chicago as his orchestra reaches for a performance for the ages. A cultural treasure, and worthy of building a world class system around.
Organ Prelude, JS Bach Magnificat by Dunedin Consort (Linn, DSD64)
Motet, JS Bach Magnificat by Dunedin Consort (Linn, DSD64)
A breathtakingly lovely recording! The dynamics and harmonics of the organ can range from a muddy “eh” to “holy crap!” depending on the quality of the reproduction. Standing in the middle of choir is a lovely test of imaging and voice reproduction: the more precise the soundstage the more you can pick out individuals (including depth and height…remarkable).
Handel: Messiah - Chorus. O thou tallest good tidings by Dunedin Consort (Linn, DSD64)
Handel: Messiah - Hallelujah by Dunedin Consort (Linn, SACD)
A magnificent recording, reconstructing the original version of Handel’s Messiah, with a total of 12 singers. The normal complexity of the piece is captured in a way where you can hear each voice in the chorus, and how it comes together into a larger whole. An amazingly intimate performance when the reproduction chain can manage the complexity and dynamics and not have the soundstage become muddy and flat.
Arnesen: Magnificat - Fecit potentiam by TrondheimSolistene (2l, 24/192 FLAC)
This is such a lovely recording at any quality level, but goes from incredible to other worldly as the chain scales up. The orchestra, choir, and church should all have equal contribution to something far greater than the sum of its parts. When it all comes together, you can feel the three core elements feeding off each, creating a profound joy that is sweeps you into euphoria.
Stardust, from “Duets” by Rob Wasserman (16/44.1 lossless)
Every track on this album is a gem, but this one is particular is a fantastic test of sound stage and imaging. At its best, you hear each backing voice precisely in space, but still presenting as a harmonious whole. In real life, detail and precision spatial placement isn’t hard and clinical, why should it be in reproduction?
Oh, Lady Be Good, from Bassface Swing Trio Tribute To Cole Porter (DSD64)
Night and Day, from Bassface Swing Trio Tribute to Gershwin (DSD64)
These direct to disc Stockfisch recordings are extraordinary. Imaging and dynamics FTW. Recordings like these are why we obsess over the things we obsess about. I’m looking to get lost in the music, and the band appearing to be sitting right there. When tonal balance is just right, these performances just jump off the SACD.
Shamas-Ud-Doha Bader-Ud-Doja, from “Shahen-Shah” by Nusrat Fateh Ali Khan (16/44.1 lossless)
The first track from what was my surprise 2012 album of the year (see http://thingssoimpossible.blogspot.com/2012/12/2012-albums-of-year.html for that backstory, with the surprise ending). A remarkable supremely spiritual performance by a remarkable man, captured in an “eh” recording. The question for me is what these DACs can do to elevate a middle of the road recording that is worthy of elevation.
Let Me Touch You For Awhile, from “Live” by Alison Krauss (DSD64)
I adore Alison Krauss. Having equipment that can reproduce the wonderful emotion and musicality of these amazing artists is why I spend so much time looking for the right speakers/cans/etc. Their Live album is special, and you can feel the humanity and emotion in this track.
Tenderly, from “While She Sleeps” by Art Lande (Blue Coast, 24/88.2 FLAC)
Cookie Marcenco has a gift for capturing piano, guitar, and voice as if you’re sitting in the room with the artist. If you’ve ever sat next to a wonderfully tuned piano with an extraordinary player, you know how magical that experience can be. The best pianos sing with resonances that envelop you. The best musicians know how to coax beauty and life out of the instrument. This recording from Art Lande captures that magic. The stronger the dynamics, soundstage, and precision of the system, the more lifelike this track becomes for me. I haven’t experienced this track topping out: the better the reproduction chain, the more lifelike it becomes.
One World, from “Session 1” by Sareena Overwater (Blue Coast, DSD64)
One World (Instrumental), from “Session 2” by Sareena Overwater (Blue Coast, DSD64)
Real magic from Cookie. These tracks are wired directly to deeply held memories for me, and the stronger the reproduction chain, the stronger the emotion that they evoke. There are better examples of piano performance and better examples of vocals, but the emotional truth and power of this performance is unmatched. More on this track at the end of this review.
99, from “Blue Coast Special Event 43” by Meghan Andrews (Blue Coast, 16/44.1 FLAC)
Cookie knows how to record guitar too, and Meghan Andrews knows how to bring a performance that is worth catching in a bottle.
Vous et Moi, from “Night and Day” by Willie Nelson (SurroundedBy Entertainment, 24/96 FLAC)
What if Willie Nelson was in a dispute with his label, got pissed off, and invited the best musicians he knew to the studio to record an instrumental album in full surround? Yeah, this actually happened, and it is as awesome as you think it is. The album is amazing in a musical surround setup, but a proper 2 channel system puts you right in the middle of the band. Incredible stuff.
Music in My Room, from “The Folkscene Collection, Vol. 3” by Cheryl Williams (Redhouse Records, 16/44.1 FLAC)
We’ve all had the experience of being in a coffee shop or small venue, when someone with a guitar and something that has to be shared commands the attention of everyone in the room, and you have a moment where the whole room is one. These CDs where engineer Peter Cutler captured intimate in studio performances at KPFK in Los Angeles are replete with those moments, but this performance by Cheryl Williams stands out for me. With a great reproduction chain, the guitar is real and present, and the voice and singer connect at a deep emotional level. A jewel of a moment, waiting for the right equipment to be a moment again.
All I Want, from “After Blue” by Tierney Sutton (BFM Jazz, 16/44.1 FLAC)
Tierney Sutton has a striking clear and present vocal style, and that is on full display on her “After Blue” album of Joni Mitchell standards. I continue to be amazed how ever better DACs extract ever more nuance and subtly of performance from top tier vocalists. It is a joy to hear the depth of craft and art of vocal performance on tracks like this.
Rosa fresca, from “Il viaggio d’amore” by Arianna Savall and Petter Udland Johansen (Carpe Diem, 16/44.1 TIDAL Lossless)
“The journey of love” is a marvelous exploration of love through the ages, from multiple cultures and times. The whole album is a joyous wonder, but the opening track (“Fresh Rose”) of a traditional song from the 1500s is an invitation to join in joy and unbounded hope. The company of players is feeling it, and you do too. When you’re hearing every string pluck in the strums and the voices comes together into something much larger than the sum of its parts, you’ll be glad you accepted that invitation.
L’Amor, from “Bella Terra” by Arianno Savall (Alia Vox, 16/44.1 FLAC)
If “Rosa fresca” makes you fall in love with Arianna Savall singing about love, you’ll want to seek out her “Bella Terra” album. An accomplished harpist and vocalist, Savall is at her best when she brings both together: voice and instrument are one, and evoke marvelous sound and emotional resonances in each other.
Traveler, from “Little Crimes” by Melissa Menago (Chesky, Binaural 24/192 FLAC)
Airplane, from “Little Crimes” by Melissa Menago (Chesky, Binaural 24/192 FLAC)
A gem of a recording from Chesky: direct binaural recording, made in a church while it is raining outside. Like all Chesky binaural recordings, you are there sitting with the performers (Airplane), with special magic from the sound of the rain outside of the church (Traveler). Fantastic test of soundstage and spatial detail.
Hold On, from “Sessions from the 17th Ward” by Amber Rubarth (Chesky, Binaural 24/192 FLAC)
Don’t You, from “Sessions from the 17th Ward” by Amber Rubarth (Chesky, Binaural 24/192 FLAC)
More Chesky magic. No rain this time, but Amber’s rich voice + violin + guitar + percussion are amazing on any system, but the sense of being there scales beautifully as the reproduction chain improves (it is magical when your system crosses some threshold of transparency…all of a sudden you are there).
Stuck In A Moment You Can’t Get Out Of, from “Open Your Ears” by The Persuasians (Chesky, Binaural 24/96 FLAC)
One last gem from Chesky. There is a profound difference to listening to a recording of a group of people sing, and being with a group of people that are singing. This is another recording that (at least for me), when you cross some magical threshold of transparency, the people become real.
Karamawari, from “Gamushara” by YAMATO the drummers (TIDAL MP3)
Drums are notoriously difficult to reproduce in the way you experience them in person. There is a physicality that is lost in most systems. Hearing a group of percussion masters really bring it on a system that can approximate that in person experience? Amazing.
Get Lucky, from “Random Access Memories” by Daft Punk (24/88.2 FLAC)
Another track that transcends pop when played back through equipment that really reproduces the full range and dynamics of the recording. The subtlety and layers on Nile Rodgers’ guitar work is incredible, and the recording is outstanding so you should be able hear it all. I listen for whether it is washed out, and how well I hear all the (considerable) nuances in his playing.
Take Five, from “Time Out” by Dave Brubeck (Analogue Productions SACD)
An excellent test of dynamics at the high end. As an aside, these Analogue Productions remasters are off the charts!
No Love Dying, from “Liquid Spirit” by Gregory Porter (24/192 flac)
Another lovely recording and performance, that on a balanced system hits a resonance that is next level for me (just sounds “right” and get the “wow!”) When things are not in balance or boomy/shrill, I hear it loud and clear.
Beethoven: Symphony #9, 4th movement by Suitner (OG Denon, 16/44.1 lossless)
This was the first CD I ever bought in 1984 (first CD ever made?) I know every second of this movement and every nuance. My current 2 channel setup was the first time I had ever heard the entire movement without a break (every other system I’d ever had/auditioned had some break at some challenging passage).
So What, from “Kind of Blue” by Miles Davis (Japanese single layer SACD version)
One of the finest recordings and performances of the 20th century. Always the last track I play during any audition. Until there is a time machine to take me back to March 2 and April 22 1959, I will buy every new remaster of this album, and play it on every piece of high end audio kit I can find.
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