Well, I just ordered the AirLens today, so I guess that’s it.
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I ordered a fully loaded Decware ZP3 phono preamp last week. But since it will probably be three years before I get it, it’s hardly going to be “my next upgrade.”
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How are the speakers?
Ain’t so bad. Always a new surprise around the corner.
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What’s the cart mounted on the Graham? MSL?
Can’t miss the Hyperion on the Acoustical Systems
Really nice rig!
Best,
-JP
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The Xtremes are still in the crates. Movers are coming over on Friday for initial assembly. Slow process. Patience is a virtue…If anyone is near Harbor Springs Michigan your more than welcome to watch the assembly spectacle.
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The Graham has a MSL Eminent Solo Mono Cartridge. Highly recommended if you have mono albums pre 1960 as well as any reissue mono.
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I understood, a mono playback cartridge is only meaningful, if the record was cut with a mono cutter head. Is this true?
This would mean, the majority of mono reissues, except very few Classic Records reissues of the past, don’t benefit that much or not at all. Kevin Gray for example once told me that he never cut mono records with other than stereo cutter heads and that this should be the case generally for most mono reissues.
You need to study the difference between mono and stereo records.
I’m not sure if it’s correct to understand by this helpful hint, that you already studied this but don’t want to tell more or if you, too, are interested in findings but don’t want to study yourself 
I just made the homework so far that I know where/why a mono switch helps and and where a mono cartridge definitely does (records cut with a mono cutter head), but I also read that “real” mono cartridges (the old ones and whatever new ones) without vertical compliance can even damage mono records cut with stereo cutter heads (which is mostly done since long).
This post from another forum touches it, but just relates to the playability, not the sound benefit of using a mono cart in case of records cut with stereo cutter heads. My assumption so far is, the benefit should be similar to those cut with mono cutter heads and a possible damage is the only risk when not knowing about the vertical compliance design of a mono cart. Even if you can’t contribute anything, maybe someone else can.
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“There is nothing to stop you using any true mono cart on a modern mono, obviously the smaller the stylus the better, a 0.7 will be more compatible than a 1mil, but there is a theoretical possibility that the lack of vertical compliance may somehow damage a modern mono cut with a stereo cutter head. My very limited experiments have suggested that modern monos survive the experience just fine, but there are so many variables that I can’t guarantee this is universally the case. I believe there may be some true mono carts that use more advanced stylus profiles rather than conical and also some that have a degree of vertical modulation, if that’s correct they would be more suitable for modern mono records, though if you plan on playing mostly modern mono pressings an internally summed mono cart will probably be the best and cheaper choice.
I’d just add that getting factual information about how modern mono records are cut is nearly as difficult as getting accurate information about modern mono carts, with many misleadingly claiming to be true mono when they are nothing of the sort, so by its nature some of what gets posted in these threads is speculation, I think there is a thread on here that actually discusses which brands of cartridge are genuine true monos, the only one I can remember for sure is Miyajima, but there are others.”
Paul’s morning post “Elusive Air” this morning struck a chord. He mentioned in the digital system the DAC is most important, and the cable connection is second. That has been my experience too. I found the digital cables made as much improvement as any gear in my streaming chain (and PST too). Interestingly, the preamp after the DAC seems to have less impact on cable/cord changes than before.
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So I’ve been playing around with my new and ridiculously humongous Stealth V18 power cable.
To simplify my notes, I’ll just say that none of my Pass amps or preamps like it better than my Audience Front Row. I’d describe the Front Row as more refined in those applications.
On the other hand, I replaced my 20 amp Front Row with the 15amp Stealth into the P20.
Eyebrows up as far as they’ll go. The effect on the P20 was like dropping a Viagara into the business end of the regenerator. Everything just sounds bigger. Better bigger. Invigorated. It’s a wonderment.
And I haven’t even messed with the tuning collar. It’s a two person job. Color me skeptical about that.
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Don’t give up! You could be surprised.
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On the Saturday Lynne is going to slide my collar while I listen. She’s a really good sport. 
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I made the job by myself, was funny. Don’t expect a different sound, just a more focused image.
Exclude the extreme’s sides, start from the center and slide the collar on one side at 1 inch step, then repeat on the opposite direction. Female vocal songs might help and render the job less tricky.
In my case it worth the time.
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I am going to skip this thread now, I cannot read it anymore and I have too many cords already 
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Hey Ron, if that’s a 1M FrontRow and you like to find a new home for it, let me know. I’m not sure I could afford even a used V18! 
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Maybe just me but funny post after the viagra cord one. Hopefully she isn’t expecting something more fun when you invited her over to slide tuner.
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I’m hoping she appears from behind the rack with a gleam in her eye. 
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Yes, I think the sequence is equivalent to what gear reacts most on anti-noise measures, especially if it’s also source component.
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