Step three: This is a tie between upgrade to Vivid latest copper series; and replacing the P20 with a Gryphon Hyperzone [keeping in mind power is fed from Victron Quattro inverter].
Items to sell: Vivid or P20; or perhaps both if I can stretch.
I am unsure of what you mean. But you mentioned SACD and Octave, so I’ll reply from that perspective: My SACD collection is as good as non-existent, and DSD I’ve found problematic through the PSA transport to the extent that it doesn’t bother me; not using DSD (cut to DVD or SACD) any more.
My next upgrade is unexpected. . . I didn’t intend to order this but got inspired, it’s the rectifier-replacement component from Decware. Somehow I got lucky too and they are building it right away. Can’t really afford it but I’ll find stuff to sell. . .
Apparently, you like Vivid. Is there synergy with the all Mola Mola system - have you heard both at the same time by chance?
Money wise, it seems a lateral upgrade, assuming you get the same value for about the same price. What don’t you like about PSA - and have you considered the PMGs?
I’m very happy with my Vivids, yes. And because they’re manufactured in SA, and I know Philip who was involved with the development, obviously Vivid is better value in my country.
I will be able to evaluate the Mola’s in my system yes, because Philip is the importer and is willing.
It being a lateral upgrade is subjective, and my subjective feeling is that despite the sonic differences it’ll be a substantial improvement. The proof being in the pudding, we’ll see … (or hear, once I get them to try them out).
I have considered the PMG yes. But to be honest, only fleetingly. Since I’m still hurting, having upgraded DS Mk1 and Transport a mere 4 months prior to them being dumped. While I do understand it’s unreasonable to expect PSA to stop development, I felt - as previous distributor in my country - betrayed. In addition, I truly believe the Mola Mola route superior.
The PMG route is not quite “apples with apples”, since the Mola Mola route I suggested does not include streaming. At the moment, streaming’s main relevance to me is to maximize its use with video, since I believe the visual adds to the listening experience. Since I want to combine streaming with the best TV audio possible, the Rose seems better suited. Furthermore, the Rose has its own interface which I’ll have to use with YouTube etc. anyways, from this perspective the PMG (AFAIK) adds more complexity with its own or ROON interface.
I am driving a pair of Apogee Diva ribbon speakers. I have the DAX factory electronic X-over that allows me to use different amplifiers for the tweeter/mid-range or bass. I originally used (4) PS Audio M1200’s because it was easy and I did not have to adjust for gain differences between amplifiers. Luckily the electronic X-over has pots to adjust for that.
I love looking at the spectacular hifi porn here, and learning about esoteric (and often very expensive) products that I will probably never see outside of a crowded & noisy trade show.
So, to provide some contrast, here’s my own latest upgrade: $30 MSRP
This little plastic TP-Link Travel Router is set to receive music over a dedicated 2.4GHz Wi-Fi link (in client mode), and is powered by a $50 Anker power bank to deliver great sound to my streamer. Much discussion of the cheap “air gap” network filter can be found over at What’s Best.
I like playing with rectifier tubes as well, and have . . . probably two dozen or more. I finally found what I thought was the perfect one for my amplifier–eager to hear this new component in comparison.
Can’t tell if you have the same model as I do but my audiologist was able to create a music program for mine. What it does is turn off a very common speech enhancement routine that down samples higher frequencies to lower frequencies that you can hear. This feature plays havoc with instrument harmonics that constitute the essence of the difference between instruments. But I have given up on the path of hearing aides, after all, those tiny mics and speakers will never do justice to what my FR20 are producing. I am following the path of analog correction for my high frequency loss do to to many shots at pheasants from my super black eagle. I know, Paul, but what else is there for us old ones with hearing loss?
I would be interested to know what magic Edgar Choieiri could work with his BACCH program. It does great room correction and cross talk correction. Surely there would be scope to factor in someone’s audiology test and correct for that! If you’re 2 dB down at 8 Hz for example, that could be boosted in BACCH.
I think he could write a program that would detail your hearing and make useful corrections for it. For instance, for the first time ever you could hear your wife say “relax dear, I will shovel the sidewalks. All four sections.”
The rub is that digital EQ doesn’t make much sense for vinyl play unless you believe that the enhancement that records provide is in the skill of the mastering effort. For streaming, I find that I can create with little effort a filter in ROON that is a good match for my hearing loss which increases with frequency (graph provided by my audiologist, although evaluation with AirPod pro gives almost the same loss curve) I learned early on that trying to fully correct the degree of loss was too much even after weeks of use—-years of listening with loss and I had learned to adapt/compensate.
