New Post: ‘The Best Investment in my Life’, Quintet15 w/ Field Coil AC-X in Netherlands

It takes a serious leap of faith on the buyer’s side to place an order for our flagship speakers without having auditioned it, as well as a responsibility challenge for us to collect the payment and supply the speakers.

Reality is that the vast majority of our customers pressed the Buy Now Button without having heard the speakers and here is a feedback we received from a customer that tool this leap of faith and purchased the Quintet15 with Voxativ Field Coil AC-X driver straight ahead !

We express our appreciation for the trust we were given and are happy that this trust worked out to be rewarding for the new owner of this Quintet15.

 


Email from 6 February 2022:

“For more than 4 decades I have been searching for a way to make music sound believable at home. I grew up with the sound of music instruments so that is my reference. Furthermore my parents took me to the Berliner Philharmoniker and the Wiener Philharmoniker both playing in their own concert halls. I grew up in Amsterdam so I frequently went to the Concertgebouw Orchestra playing  in the Concertgebouw. As well as other famous orchestras, conductors and solo musicians performing in the Concertgebouw. End of my teens I met with a guy whom I still consider my best pal and he was and is totally into old style jazz and playing in a band. So then I visited a lot of jazz performances. Long story to make clear what my references are. I play classical music mostly large symphonic works, but also rock, pop and reggae and I prefer live recordings and to play them at realistic levels. Loud.

I will skip my history of audio equipment, but my last set of loudspeakers were a pair Harbeth 40.2 chosen for their tonal accuracy. I truly believed they would be my last pair. Being an early adopter of digital playback and, as soon as they became available,  ripping techniques I have owned a lot of digital hardware. I ended up with a heavily modified dac with a tube output and capable of playing resolutions up until 96kHz from a dedicated NAS not connected to the network and I thought I was happy. Just enjoying music without the nagging feeling that I needed other equipment. 
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Then I made the mistake accepting a few invitations to listen to classical recording professionals explaining how they work and demonstrating their own work on unaffordable systems. After a few of these sessions the nagging feeling had returned. Especially because they used Merging hardware with a network connection instead of USB. USB was never intended to be used for high quality audio, but it became fashionable and everybody tried to work around its limitations. I had promised myself to only start looking for another digital frontend when it would use a network connection. 

After a long search I fell for a combination of a Grimm MU-1 streamer and a Mola Mola Tambaqui dac and realized my Harbeth 40.2 were not giving me all the goodies so I listened to quite a lot of loudspeakers, but none of them were so much better that the price was justified. To me, that is. Then I remembered PureAudioProject which I have been ‘following’ from the start. Although I did not have the opportunity listen to them I felt I needed to ‘get rid of the box’. 

I contacted Ze’ev and he asked me what I was looking for. I wanted life size orchestra or band and it absolutely had to be tonally correct for strings, voices and piano.  I also made clear I was not interested in another journey to fulfillment in other words an upgrade path. I have always preferred being in Rome over discovering all possible roads leading to it. Ze’ev offered to start with a Voxativ 1.6 and later upgrade if needed, but I ordered a pair of Quintet 15 with the Voxative AC-X field coil drivers, when I realized the difference in the way they are constructed compared to a standard driver and therefore their sonic potential.

After assembling and triple checking everything I switched the system on and then something remarkable happened. Literally within the first few seconds  my love of my life HSP partner exclaimed: “These are going to stay!”. She was right of course. Gone were all the annoying distortions that you have learned to accept as being normal. The soundstage is wide open and accurate and stable. Instruments sound so believable. No edges, no grain. It is so clean. Voices are shockingly real. There is simply nothing annoying. In fact it was shocking and still is.  

A very dear friend of mine is a highly regarded acoustics expert advising at recording sessions and specialized in optimizing recording studios and listening rooms. Last few years he is also a dealer for some carefully selected  really high quality audio equipment. When he heard the set playing he really got emotional. After helping me perfecting the placement he cancelled his next appointment and stayed for over 4 hours instead of 1 hour as was the original plan. He still sends me messages about how amazing the set sounds. 

We are still breaking the speakers in so apparently and according to Ze’ev there is more to come, but this is by far the best music reproduction I have heard. I do realize it is a lot of money. It is for me, but it is the best investment ever. I cannot say anything else. This is what I have been searching for all the time.

The fact that a person with HSP, who normally cannot stand loud voices or loud music is now asking for and enjoying for example live recordings of Pink Floyd or Dead Can Dance or a Bruckner symphony at realistic sound levels tells it all. It is truly amazing. Thank you Ze’ev!”

Quintet15… From Voxativ AC-1.6 to Horn1…

In the previous post Mr. Matt Wilkins describes with details how after spending a year plus with Quintet15 Horn1 he swapped the center driver to Voxativ AC-1.6 and felt this was just the right move for him. He even went one step further and  purchased the Field Coil AC-X. Read all here:  Quintet15… Bi-Amping… From Horn1 to Voxativ AC-X… Journey not yet Completed…

It goes without saying how happy Matt is with Quintet15 w/ Voxativ, but just at about the same time, on the other side of the planet, in Sidney Australia, Mr. Ganesh Ganeshalingam, a happy Quintet15 owner with Voxativ AC-1.6 decided to try the Horn1.

Items shipped, break in was completed and here is Ganesh’s feedback that is pointing 180degrees from Matt’s one…

So who was right and who was wrong? Is Quintet15 Horn1 better than the Quintet15 Voxativ or vice versa?

As you can read below, the answer is ‘both are right’ or ‘no one is wrong’ !

Both configuration are extremely musical and enjoyable but at the same time they do differ. The answer therefore will depend on whom do you ask, and indeed, personal preference is very personal and these two posts confirm this statement!

Enjoy the reading !

Ze’ev


On Dec. 02, 2020 we have received the following Feedback:

Hi Ze’ev,

Excellent speaker (Quintet15 w/ Voxativ AC-1.6), well done ? exceeded my expectations, thank you.

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Can you please add the message to Customers and Fans group please. I am enjoying your creation now.
May I please have quote for horn? I like to have both and swap between them to keep me thrilled ?
Thank you ?
Ganesh
Bye the way I have disconnected my sub, it was a big relief for me too.
Thank You ?

The Horn1 was purchased on August 2021 and on October the 7th we received the following review:

What makes me qualified to write a review may you ask, I have been an audiophile since the day I knew how to operate a radio, I grew up in times the glory of vacuum tubes was coming to an end, and the transistors were taking over. I was fortunate to hear my dad’s record player and tube amplifier (Rogers cadet III) proudly made in UK. The amplifier was only rated 11 watts RMS and speakers were very similar to today’s Klipsch Cornwall IV, I can’t remember exactly, because I was too young and many moons has passed since then. The record player was quickly replaced by cassette players. Then came the revolution of the CD, and now streaming.

I have enjoyed countless HiFi components and many different speakers like Wilson Audio Watt Puppy 7.0, that stands out like an Everest, a bench mark for all the speaker manufactures to aspire too. I have been on the hunt for speakers for a long time to replace my aging Wilson Watt Puppy, and I was becoming tired of auditions and review’s. During the hunt to replace my Wilson I remembered auditioning Jamo R909 back in 2008. The sound stage was big, lively and you felt like you are at the location right in front of the band. 

But unfortunately, Jamo does not make open baffle speakers now, and I wanted something new. So why I did not purchase the Jamo R909 back then? Like all of us I was very convinced by the theories of how sound wave travels and how it cancels at certain points if the waves from the front and the waves from the rear meet, creating dead spots and so on and on. This created a negative impression abut open baffle speakers in my mind and I thought they are inferior to traditional speakers.

Till I saw the review by Steve Guttenberg on Pure Audio Project Trio15 Classic, he mentioned about the 15-inch drives and open baffle sound stage. This brought back memories of my dad’s 15-inch speakers and audition of the Jamo R909. Looking at the Pure Audio Project Quintet 15, I was impressed, and started to read all the reviews I could find. Finally, I contacted Ze’ev, the creator, a man very humble but with a vast knowledge of open baffle speakers.

My initial order was for Quintet15 with Voxativ AC 1.6, the speaker was impressive and the build quality was second to none. The sound stage was wider and deeper (3D Sound Stage)than the Watt Puppy. The highs were smooth and natural compared to Watt Puppy, the Watts Puppy’s high was shrieking and made you fatigued after few hours of listening, due to the use of titanium tweeters.

The mid of the Quintet15 was very pleasant and natural, and represented natural human voice, when compared to Watt, I found the Watt’s mid to be a bit shouty and in your face. This does not mean that the Quintet15 mid is rolled-off. 

What about the bass you might ask me? The Watts are hard to beat in this department, that does not mean that the Quintet 15 is lacking in bass. The bass of the Quintet15 more natural and precise, but I personally would like to have more of this, so I have added a subwoofer to complement the bass. 

Now all of you would ask me all that s fine but what about the Quitet15 Horn1? I say to you remember what I said in relation to the sound stage between Quintet15 Vox and the Watt, now take that image and double it, and you are not even close to the sound stage that Horn1 produces. It’s like clearing the wax from your ears. 

The biggest improvement in sound stage and sound quality for the money is purchasing the Quintet15 and second biggest improvement is upgrading to Horn1, and the third biggest improvement is moving to tube amplifiers. Take it from me, give Horn1 a try and you will never regret it. Quintet15 Horn1 is my new reference, and my only advise to all audiophiles out there please give the open baffle speakers a try. Like the famous quote “if you never venture out, you will not know what you have missed out”, as far as traditional speakers go, they are obsolete like the fuel car. Take the Quintet15 Horn1 for a spin and I bet you will want more of it. Plese do not forget the key to enjoying to music is a good reproduction of 3D sound by your speakers. This 3D sound image is very well achived by Quintet15 Horn1, qudos to Ze’ev.

Ganesh Ganeshalingam from Sydney, Australia.

The associated electronics also play a role, so I have listed the components below:

Source: Ayon CD 5s, Dell Laptop (used as streamer via USB), Denafrips Avatar CD transport and Yamaha CD – S2100.

DAC: Ayon CD 5s, Denafrips Terminator 2.

Preamp: Terminator Athena.

Power Amplifier: Rogue Audio M180 mono blocks (KT120), and Willsenton R800i (805).

NB: Please excuse the mess that you see in the photos, and audiophiles work is never done, it always evolving or may I say continus work in progress. Building new Hi Fi shelves, and sound panels.

Quintet15… Bi-Amping… From Horn1 to Voxativ AC-X

Here is an in-depth review coming from a true music lover who also is proved to be an ‘audio-adventurer’, Mr. Matt Wilkins from North Carolina, USA.

With a clear goal, a set of expectations and a vision of the path, Matt took the journey and overcame a few critical bumps to his full satisfaction.

Once reading the review you will probably notice that despite Matt’s closing statement his journey is not yet fully completed… so yes… enjoy the reading and stay tuned !


“Some consider the pursuit of an ideal to be all about the journey itself. I’m not so sure this is the case in high-end audio, but it may be for some. It isn’t for me, although parts of the journey can indeed be rewarding and enjoyable.

My journey to the sonic ideal was at times pleasurable, but for the most part, frustrating. I had wanted to pursue the active bi-amping + open baffle route after the late great Peter Aczel touted the combination’s superiority over box speakers (or “monkey coffins” as Peter liked to call them) and passive crossovers. Peter Aczel was good friends with Siegfried Linkwitz (also RIP) and his Orion speakers, as well as the subsequent incarnation of his humble genius, the LX521. These were open-baffle, dipole designs, driven by multiple amplifiers through an active crossover. Linkwitz would show up at many audio expositions with the Orion/LX521, powered by budget amplifiers like ATI or Emotiva, and their room would draw accolades from even the most hard-nosed critics in the business. As chief editor of the (now defunct) Audio Critic magazine, Aczel was convinced that open-baffle was, and always would be, better at producing a realistic sound picture, and he at one point announced that he was finished reviewing box speakers, save for very few models such as those from Legacy Audio.

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I don’t know if Peter Aczel was familiar with Pure Audio Project (he died in 2017), but I believe he would have championed their design approach and aesthetic. I also believe he would have happily included Ze’ev Schlik in The Audio Critic’s vaunted “White Hat” category of audio personalities.
At one point, I had planned to purchase and assemble a pair of LX521’s from the Linkwitz store, but they were a bit pricey, so I searched the ‘net for an alternative. I was satisfied with my current PSB Stratus Gold i’s, though I could not shake the impression that something was missing; I knew my system could be improved. I then discovered Pure Audio Project and went the PAP route because I wanted to go big. Real big. Though my listening space is currently medium-sized at best, I wanted to plan for the future, so I went with the Quintet15Horn1 model. While waiting on delivery, I ordered an active crossover from Marchand Electronics. Why I did not go with PAP’s Nelson Pass C-1 active crossover, I’m not entirely certain, but it probably had something to do with cost. It was a decision I would later lament, and you’ll soon see why.
Parts began to arrive and I eagerly assembled the Quintets. I thought the horn driver was beautiful, and I was getting excited. At last they were complete. I began listening. I’m going to be honest here: I was not blown away. In fact, I was disappointed. The horns were bright and shouty, but I knew I could tame them with some judicious tweaking of the crossover. While the eight woofers were being powered by two massive Emotiva monoblocks, the horns were driven by a Schiit Aegir (Class-A…ish) at 25wpc. But making changes via the crossover was an exercise in futility; nothing seemed to improve the sound. I was assured by Ze’ev and other PAP owners that the horns (and woofers to a lesser degree) needed not less than 150-200 hours of break-in time, so I let music play as often as was feasible. Soon the horns began to relax and the previously absent lower midrange started to emerge a little, but something else was happening. As the horns slowly opened up, I made corresponding adjustments to the crossover, and soon discovered that the Aegir was poorly matched with the big monoblocks. The Aegir was running in stereo mode and had reached the limit of its output. I needed a different amp if I wanted to take full advantage of the monoblocks and have enough power for the horns to match the woofers. I bought a used Acurus A-150 solid state amp (super inexpensive) to replace the Aegir, which I sold. Now, 150 watts per channel was overkill for the horns, so I attenuated the gain by inserting a passive pre between the crossover and the Acurus. Could I have made adjustments solely on the crossover instead? Yes, but my artist’s demand for symmetry wanted the crossover’s knobs all to be at 12:00! OCD? Perhaps.
The sound continued to blossom, but the lower mids were still not fully present. I attributed this to not enough break-in time, although I was concerned that something else was amiss. I made numerous changes to speaker placement, listening position, room treatment, etc. with only minimal improvements. As I neared the 300-hour point of playback, there remained a nagging sense that it just wasn’t right. I voiced my concerns to Ze’ev, who asked to see the specs of the Marchand crossover. In the meantime, I had auditioned, then borrowed a pair of Voxativ AC 1.6 full range drivers. I liked the difference immediately; more midrange presence was the first thing I noticed, so I thought these drivers are simply better than the horns. Maybe I’m just not a fan of compression drivers? Ze’ev pointed out that my particular crossover model had a steep 24dB per octave slope, which would have the effect of an undesirable woofer-horn integration, and could very well be the sonic bottleneck in my system. This is the precise moment I regretted the Marchand purchase.
However, I was so pleased with the Voxativs, I decided to explore their potential even more. I took a leap and ordered the AC-X field coil drivers (yes, a considerable step up from the 1.6’s), as well as the PAP C-1 analog active crossover, designed by Nelson Pass.
At long last, here I am. The system is now in full bloom. I no longer grind my teeth as I listen, as I did before when the musical presentation was lacking (and bank account shrinking). The elusive lower midrange has arrived, probably thanks to the wonderful Vovativs and the far more synergistic PAP C-1 crossover (with its 12dB slope). There is also a more palpable depth to the soundstage, bass is forthright but not overpowering, and the treble is sweet and without a hint of sibilance. I feel like I have a brand new system and I get the added pleasure of re-listening to all the favorites in my library, whether jazz on vinyl, electronica on CD, or eclectic and world music courtesy of the wonderful radioparadise.com.
I made some less-than-intelligent decisions when putting this iteration of my system together, most likely in the service of saving money. Nothing wrong with saving money, but I have learned that there is a right way and a wrong way to do that. The Quintet15’s were an intelligent decision, and Pure Audio Project’s customer service is unequaled in terms of personability, genuine concern for customer satisfaction, and timeliness. After replacing the crossover, I now look forward to trying the horns again, as they have a solid reputation and deserve a second chance. I have also replaced the Acurus with a NuPrime ST-10 Class-D amplifier for the full range drivers, which I feel is another story altogether. Suffice it to say, Class-D is becoming a serious topology, and one that will likely supplant hot and bulky A and A/B amps in the years ahead. I can hear the groans of disapproval now.
That brings me to the present. Have I acquired my “end game” setup? Only inasmuch as any audiophile has, as we all know this endeavor rarely actually ends. Right now, however, this particular journey has come to a close. There will probably be more (new phono cartridge on the horizon?), but Pure Audio Project will remain a fixture, and any additions or improvements will be in the way of details.”
Matt Wilkins, NC, USA

Here are some photos of the music Matt kindly shared:

 

Analog Sound™ and PureAudioProject

While Line Magnetic is using PureAudioProject speakers since 2015 at their premises in Zhuhai and at shows in China, it was in June 2019 that ‘Analog Sound™’, a sister company of Line Magnetic from Foshan, invited us to participate at two shows with them and to bring along two of our speakers sets, the Trio15 and the Quintet10. Analog Sound™ is a very unique company, offering amps that pay tribute to Western Electric and are designed to highest and most updated sonic grade.

The trigger for the invitation was an after-hours listening session at our showroom in Dalian, where we had our Trio15 with Voxativ AC-X (Field Coil) and our Quintet10 with Voxativ AC-1.6. Mr. Qian from Analog Sound™ brought their AS125 Integrated Tube Amp, with 211 output tubes. The 50kg amp was placed on a small hotel table, cables were connected, and play was pressed on the ‘The Fateful Moment’ from ‘Three Kingdoms’, an album by Rhymoi Music. Chinese trumpets and drums made their opening and all who were in the room, including myself, simply froze…

I don’t remember myself being so surprised by what I heard. Sonic mass was unprecedented. Trumpets sounded full body like never before on our speakers. Music felt so natural and realistic that we all stood there… music kept playing… while we were simply left speechless!

“We have two audio shows coming in Beijing, in June and in October” said, Mr. Qian, “would you like to join us?”…

Well… the match between the AS125 and our Trio15 was so good that I didn’t have to think twice. “YES ! We would love to do that !” was our immediate reply.

The first show was two weeks ahead so speakers were packed and instead of being shipped to our warehouse they were sent to the show in Beijing.

These were not only Analog Sound™ and us who enjoyed the match between  the AS125 and PureAudioProject speakers. Quite few customers use this combination to their full satisfaction and here are few photos.

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Ze’ev (Wolf) Schlik

 

 

 

 

 

 

 

 

After auditioning 17 sets in three years Quintet10 Horn2 brings this search to an end…

After three years of searching for the right speakers, T.K. From Singapore received the Quintet10 Horn2, fine tuned them a bit, and here is what he wrote after playing them for few months.

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Hi, Ze’ ev,
I wanted to share my journey with other users, please help to share how great Quintets10 is.
I have finally found a speaker that I can keep and enjoy the music.
Quintet10 Horn2 is the only speaker that has been staying with me for more than 6 months and it will be a keeper in my system.Audiophile’s journey of finding the right speaker was very rough and long for me to find the right pair that I am not bothered by it but can enjoy the music.   That is how significant PureAudioProject Quintets10 is to me.Just to make a list of speakers that I went through last 3 years.
Revel Studio 2, Magnepan 1.7i& 3.7i, Dynaudio Heritage special, Amphion 7LS, Buchardt 400 Signature, PMC DB1, ATC SCM 19&40, Lawrence audio Eagle, JBL S4700, Devore Gibbons 8, ESA Neo SE, SBacoustics ARA, ELAC UF5, ElAC BS 244.2, Dynaudio Xeo 6, GML Field Coil (full range).Okay, I think you get my point.   Other than the things listed that I have owned. I have listened to many more to date.PAP Quintet10 is the most well-rounded, crazy deep 3D staging, details, voice, oh the trumpets, and the horns from this speaker.   Speaker does an amazing job with the start, stop, and is very musical at the same time.  I hope some of you guys will experience it.Other than just being such great speakers, I love the fact that I can play with XO parts and wires so easily.   It helps to understand more about speakers and what I need to do to make things better.The only regret is I didn’t take the chance earlier of going for PAP with all the configuration possibilities.If you are on a similar journey as I am going through, hope this sharing stops the chase and saves time by going with PAP. You will never get bored of it, always can change and update things, and will be new eye-opening.

Thx again for sharing the good tips on upgrade Ze’ev and always being helpful too.

T.K., Singapore

How Trio15 w/ Voxativ PiFe was born

Just with the beginning of 2017 we have received a question from Rachel at Grant Fidelity, whether her customer who just ordered the Trio15 with Voxativ AC-1.6 can change the order to have the higher grade, wood cone, Voxativ AC-PiFe. To date we did not try this driver but it looked like it can match and has the potential with our Trio15. Well, we took that challenge and a week after, a set of PiFe drivers arrived and were installed on our in-house Trio15.

We mounted it and just connected the XO we had for AC-1.6. It was immediately clear we need to increase the L value a bit to get the high bass and mid playing right with the PiFe. L2 was not needed so we removed it, and that’s it ! All the rest stayed without a change !  Trio15 Voxativ PiFe started singing and did it 24/7 for a week! Once break in was over it sounded full body, with solid sonic mass, and with all the clarity, resolution and sonic finesse Voxativ drivers are popular for! We felt extremely happy but the real challenge is still to come and this is customers satisfaction!

While loving this set so much, dismounting the drivers and sending them was not easy, however, knowing what pleasure these will provide to their new owners compensated on the ‘letting go’ feeling…

Few good weeks passed by and after few mails about all being good and how break in is progressing we have received this email.

————— email 1 —————

Tim W. : “I have listened to both the Voxativ PiFe driver and the woofers separately and can state with certainty that there is magic in the crossover network. The system is extremely precise throughout the frequency range. Time-phase errors are nonexistent (to my ears). The sound is highly engaging. I haven’t yet experienced any listener fatigue. To the contrary. I’ve had to drag myself away from listening sessions.

I have several sets of speakers, including the Gallo Reference 3.1s and Magnepan 1.7s pictured. Fine speakers all, but since the Pure Audio Project set arrived, I’ve been contemplating unloading the other speakers and therewith about half of my rig. I really listen only to your set anymore. My usual listening position is 9-10′ from each baffle, with the speakers spaced 9′ apart. Some might consider this nearfield but I get extremely good imaging, with a beautiful soundstage.

Normally I run the speakers with a Nagra Jazz (tube) preamp feeding either a First Watt F2/J (an F2 into which Nelson Pass has inserted the SemiSouth input JFETs) or an Audio Note 300b amp (shown tubeless at the moment). I have also used a custom bel canto Fidelio (tube) preamp that’s had the full Ace Tomato Company treatment by Matt Cramer

and a one-off original Fi Audio preamp built by Don Garber. The F2/J is my favorite solid-state amp with these speakers. I run the Gallos through a Cary preamp and monoblocks, and the Magnepans through a custom 4P1L (triode) preamp made by Radu Tarta and a Bryston 4BSST2. It’s these last two configurations that I may move on from.

Usually I transfer LPs to half-track 1/4″ tape via a modified Technics 1500 R2R and DeHavilland 222 repro head stage. Playback is through either the Technics or Tascam 3030 decks. A TEAC X2000M mastering deck backs up all through a Bottlehead Repro Tube Headamp. So I mostly listen to tape, then SACD/CD. I like jazz, classical, modern, rock, electronic – pretty much everything, but especially if it’s well-recorded.”
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Few months later Tim ordered few more upgrades and we received this mail.

—————- email 2 —————

Ze’ev,

I love the speakers. Love them. I find them perfect for me. I’ve usually had a revolving suite of 6-8 different sets at a time and it’s been a pain. Hard to move around, sell, ship (especially Magnepans), and drove my wife crazy. That has ended. The flexibility inherent in the open baffle concept and your business model mean that this is the last and final speaker system for me. I wake up looking forward to exploring fascinating new sounds every day. Thank you!

Nelson gives several possible configurations for including the F4 in such a setup and I’ll try those too. May need to hack up a few cables in the process, as some are fairly non-standard! ?, Timothy W., USA”


 

 

 

From a ‘rough go’ into a ‘different reality, space or experience’

Customer’s Email after breaking-in and optimizing  the Quintet15 Voxativ (AC-1.6) to his room, gear and taste:

“I had a bit of a rough go when I first got the speakers. I can go into this more if you would like. The thing I would like to stress is that you (Ze’ev) went above and beyond with making everything right.

The speakers sound like they look. They also don’t sound like they look. They can play really big, bold and rich. They can also do very subtle, small and intimate. One of the things that really sticks out is because there’s so much speaker area, they really move air, even at very low volumes. You feel the music, there’s a tangibleness to the music. Bass is not overbearing, until you’ve experienced it, it’s hard to convey. Then when you start to turn it up the way they pressurize the room is very smooth and inviting.

I had my cousin over to listen to some music. And after about an hour, he turns to me says, “I don’t get it, I don’t understand where the music is coming from.” Obviously you can’t miss them, they are over six feet tall. I say that’s a good example of what these speakers do, disapear. When you close your eyes with these you cannot pick them out in the room.

I find myself listening to music at lower volumes than I expect, my guess is because of the amount of air that moves, your whole body is involved in listening to music. No need to crank it up to 80-85+ dB, I find a lot of times, 70 to 75 dB is where I’m happy, 60 to 65 is also engaging.

From day one my plan was to upgrade to a hardwired point to point soldered XO and have high quality speaker cables to each driver.

The first thing I did was I replaced the little O-rings between the baffle and the frame with a strip of ISOdamp. That really made a big difference. When you tap on the frame or the baffle now there is almost no ringing, I find that translates to a lot more clarity across the frequency spectrum.

I then added an air core inductor. This was a much more subtle improvement, it was an improvement. The bass did get the little bit snappier.

After letting that play for a month plus. I knew I was going to upgrade the speaker cables from the crossover to the individual drivers. Multiple nights I thought “wow, this sounds so damn good, I don’t know why I’m gonna spend so much more money on these speaker cables!” I had a plan and I’m sticking to it. I got the speaker cables in, I have less than 10 hours on them, and I am thrilled with how much better it sounds.

They’re a blend of copper, gold and silver, Level of clarity, micro detail, the decay is just off the charts.

What I really want from my stereo is a “holographically immersive stereophonic experience” when I sit down and close my eyes drift off into a different reality, space or experience. I’ve only experienced this with a few systems. These speakers make that happen.

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I see myself living with these speakers for a very long time. The only thing I’m looking to do is change the room and change the room treatments.

Current system is

Jay’s Audio CDT MKIII
Rega P8 SS Zephyr MIMC
Roon + HQPlayer
Sonore MicroRendu
DECWARE ZP3-25th
Holo Audio May KTE DAC
EMIA Remote Autoformer
DECWARE Zrock-25th
DECWARE Torii MKIV-25th
Snake River Audio and ICONOCLAST Cables.
I’m waiting on a Pi Audio Group UBERBuss.

I also included a photo of what I suspect will soon be the weakest link in my stereo :p

Make it a great day!
Nigel”

Trio15 Coax in Alaska

Hi Ze’ev,

It’s taken me awhile to settle into my new PureAudioProject Trio Coax speakers. . . but I am really satisfied with my current set up! (Thanks for the Face Time call – it all got sorted and I ultimately landed on the stock resistor values! ;).

I‘ve enjoyed a nice custom pair of speakers with RAAL ribbons, Accuton mid drivers, and PHL 12” bass drivers for years. . . (among many other commercial offerings) but always missed the dynamic impact of percussive instruments (of course including piano) with many music genres including jazz, electronic, chamber, Latin, hard rock and beyond. . . so I want my system to do everything really well (clearly nothing new)! Okay but better than “really well” – emotionally transportive!

. . . I do have a pair of Rythmik Audio 12” servo controlled subs with one shown in the pic (not really needed but I’m still experimenting). . . My electronics are highly modded kits which I love but there is the challenge (for me) of owning and loving “zero negative feedback” tube designs and wanting for (a bit more) damping factor! (that costly lunch cliche again). . .

So I’ve used the autoformers for years using only the 1.3x setting to just put a bit more “form” around the bass. . . tonally speaking.  The recording “Pepe and the Bottle Blondes: Late Night Betty” is an off shoot of Pink Martini and is a fully embodied listening experience but the PAP Trios really brought the full dynamics of this recording to life – Just fabulous! (timbre, balance, presence, rhythm and pace, dynamics/visceral impact, etc.)

. . . anyway, from – Philip Glass, Beats Antique, Chopin, Clifford Brown, Max Roach, Booker Ervin, Sarah Vaughan, Ojos de Brujo, Jessica Williams, Tape Five, The Grassy Knoll, to Tool – I’m having a fabulous time listening (we have a short summer in Alaska so I’m not supposed to be inside listening this much until winter) and many of my music loving friends have enthusiastically approved of my new audio related acquisition!!!

(I have a small contingent of friends that come over from what started with a “Jazz: The Smithsonian Anthology” listening/study project to an excuse (as though we needed one) to get together to eat, drink and listen . . .)
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I’m writing this listening to Wendy Sutter play Songs and Poems for Solo Cello written for her by Philip Glass. . . stunning!

The ability to assemble and enjoy or assemble, experiment, tweak, and enjoy is perfect for this semi-diy guy in Alaska!

(. . . and of course I’m curious about your other offerings . . . it would be strange not to be . . . right ;))

Thanks, take care, be safe,

Mike Blakey
Anchorage, Alaska

PS . . . and of course you’ve got a standing invitation to visit Alaska now

True Confessions (Trio15 Horn1)

Dear Ze’ev

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Suddenly I realized, audition time must be over by now, and I wasn’t sharp on its start either. So I guess I owe you some confessions and observations. First of all, you will not get these great speakers back. (bluntly breaking the ice….;-)

First confession

I had the impression that I was used to quite a wide and deep soundspace. That appeared to be a false impression. These speakers really can take you into an envelope of sound. Depending on the sound-engineer’s mastering, some recordings let you perceive sound from an angle of about 70 degrees on either side of the center, the more conventional recordings give you tunnel-deep perception. I mean from the front to the back, very deep.

Second confession

I thought that my room was acoustically difficult to tame. Having spent months studying on acoustics, theorizing, measuring and experimenting with damping material appeared to be a waste of time. These speakers just need distance from the walls and when placed relatively close (2½-3m or so) to the listening position ‘and’ are well broken in, you have nothing to wish for. No need for damping or bass traps anymore.

Third confession

At first I thought open baffle bass production was an illusion compared to a well designed Transmission line speaker that I used to have. This impression appears to be false as well. During the four weeks these woofers became better and better. In fact the whole breaking in seems to be much longer than I thought, Over time I notice improvements even still after an estimated 350 hours or so. This yields for the horns as well.
This brings me to wonder how on earth you could develop a speaker like this, when it takes a month before you can hear the end result? Either you must have had highly valid predictive skill or lots of patience and perseverance. Maybe both.

Fourth confession

These horns are rather addictive! As most of us work from our homes these days, so am I. I have to confess that an audio supported lunch break can easily result in forgetting to lunch. (with the consequence that you have to work until late in the night to get your targets done 🙂

Observation one

Although I own Class D mono amps which distortion-wise perform hundreds of times better than my kt77 push pull VanderVeen UL40S-Power amp, the latter has not been disconnected from the set for the last two or three weeks. These speakers seem to be an excellent match for this amplifier.

Observation two

I’ve always noticed some degree of improvement between the start and the end of the first side of vinyl. These speakers make it clear that the improvement starts between 5 and 10 minutes after which apparently the needle’s suspension, the cartridge or preamp have warmed up.

Observation three

I thought the configuration of my set had settled after the years. Well, these speakers gradually made it clear that shortening inerconnects, even high quality,  have a big effect. So my house is in a mess now, rewiring, re configuring, thinking over a HiFi rack for instance, even the car battery, which feeds the DAC, has found temporary asylum in my living. And although female intervention in electronics associated decoration is history for years now, my aim is to resettle again as soon as possible. (even I have my limits 🙂
So cheers to you Ze’ev! I had my reservation, shooting savings into the stratosphere and expecting some rain after – guess what? I got torrential HiFi rain making me happy every day!
Stephan (NL)

Jamo R-909 Customer Stays Loyal to Open Baffle and Moves on to Quintet15

Hello, I come from Denmark, and I love music and hifi. I have now been the happy owner of a set PureAudioProject Quintet 15 with Voxativ AC-1.6 for approx. 6 months.
I had had the Jamo R909 for many years and was very happy with these speaker, but then an opportunity came where I could buy the Quintet 15 that Ze’ev had at the show in Munich. I had heard PureAudioProject before at a friend, and had been fascinated by them and this upgrade. Here I have got speakers that clearly surpasses my previous ones.
I was not unfamiliar with the positive things of open baffle, but the PureAudioProject Quintets do all so much better. I have super bass / deep bass with good control, and the Voxativ wide-band does it super, I almost feel, as if I am in the front seat of a concert every time I listen to music. Love the size of these speakers, they simply give a live feel and they play incredibly fluently. I am happy for the options they offer to make small changes (even for us who do not have the best technical understanding).
My other gear is primarily HOLFI (Danish hifi) with batteries, CD, Preamp and Amp, almost all my cables are from Dyrholm Design Audio, which I have found as a super match. The pleasure of listening to music becomes much greater on these amazing speakers, which in my opinion play far above expectation regardless of price.
Here are some pictures. Good day to all of you!
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