Makes sense to me that it *could* make a difference. You've got big magnets being driven forward and back by electric current - and those moving magnets will be impacted by gravity. So different orientations will "drag" on the magnets differently, every so slightly changing the mechanical characteristics of of the system. Kind of like how a mechanical watch often runs at a slightly different rates in different orientations. I just did this to my own speakers and found that it helped. Either that or this morning's allergy meds just kicked in and my ears are less stuffy than they were an hour ago. (Now I wonder how a pair of speakers would sound on the ISS, with no gravity to contend with, but also no gravity to hold the speakers down and channel any excess mechanical vibration away. In Space, no-one can hear your gunstigs )
Hah, I should have realized I was causing Paul-confusion. Yes, I meant Paul McDaniel too - though I'll note he's transferred to the Bellevue branch in the last year or so. He really took me on quite a journey a few years ago when we sat down and listened to a full Akurate Katalist Exakt Akudorik system. We use that setup as our benchmark of what I'm trying to achieve in terms of the "goosebump shivers" and emotional response from my system. Then we replicate my system in the other room (I pack my little minimonitors in my backpack and hook 'em up at the store ) and swap things in and out and compare things. I know it when I hear it, and I know what price-tag I'm willing to hear. If Paul can hit the magic combo, then I sigh deeply and fork over my credit card.
The desire for compactness is what led me to the gear I have now, and Linn in particular; I went to Definitive in Seattle and and struck up a conversation with Paul about if there was such a thing as a compact all-in-one AV receiver that could handle DAC, pre-amp, and HDMI switching all at once so I could downsize from what used to be a big brawny 5.1 home-theater setup. He steered me to a Majik DSM. A huge number of boxes and cables collapsed down into a single unit, and SO tamed my 11'x11' room modes. The sound was better than my Musical Fidelity stack had been in the past, especially at lower volumes, and that led to more time spent listening to music. So what started as a search for convenience with "good enough" quality sucked me back in the upgrade rabbit hole and led me to an obsessive quest to increase the musicality of my nearfield setup, in spite of rather ludicrous self-imposed space constraints. (The main speakers must by <=6" in width to fit on either sides of my PC monitor; I'm using as mains now what used to be my 5.1 rears). So I'm now running a silent PC -> ADSM/3 -> KT -> Era D4 minimonitors, and two REL TZero 6" subs under the desk. The whole system is built on a theme - speed speed speed. The magic of my current setup comes from 3 main elements - the ADSM's Katalyst makes music just make more sense than any piece of gear I've listened to before. There's a lot more information hiding in plain ol' 44.1/16 lossless files than I ever realized. The KT keeps such an iron grip on the oversized magnets in my inefficient little minimonitors that I can hear everything the ADSM is extracting from the files, even at lower listening levels. And finally, the TZeros are so fast and responsive they turn the minimonitors into floorstanders. Not deep bass, but fast bass. It's not the loudest and most expansive system out there, and with BIG music (full orchestras, EDM, turn-it-to-11 rock) the effect is like a gigantic pair of open-backed headphones. Classic nearfield. But where all becomes bigger than the sum of its parts is with smaller-scale music - Schubert string quartets, Keith Jarrett solo piano, the modern flamenco of Rodrigo Y Gabriela, anything Bebop. Which is some of my favorite all-time music. With these, the system moving enough air with enough velocity and delicacy that sitting in my sweet spot music becomes a whole-body experience. The sound gives me chills, it gets my heart racing, it captivates... it makes it very difficult to stop listening.
Not sure how this will relate to an Exakt setup, but... I went from the MDSMs onboard amp to an A2200 to a KT, in a passive setup with inefficient mini-monitors (Era D4's from 10yrs ago, 84db efficiency). The Majik amp had lots of detail, but ran out of steam at higher volumes. The degradation behavior was pretty graceful; the sound got "harder", more intense, and more fatiguing at higher volumes, but in a way that remained really engaging. Switching to the 2200 made the soundstage 3x as wide, and let me play louder without it feeling fatiguing, but I never felt that the 2200 had a really strong grip on the woofers and the huge soundstage was more than a bit artificial and diffuse. They were like a exuberant floppy puppy with boundless energy. The KT in turn has total command over the woofers, creating slightly narrower but much deeper and more precise soundstage than the 2200, and more detail than the MDSM. But none of the amplification changes were as transformative as the move from MDSM to KDSMw/Katalyst. You've got a 6100 and a 2100, so that's what, 4 channels of Majik amplification on each side, into 87DB-efficient speakers? I suspect if you don't feel like you're overdriving them at your preferred listening levels, and you don't feel the soundstage is narrow or confining, you might not find a jump up cost-efficient.
Jail4, yes, my story related to the desktop setup from the other thread. At the listening position, my ears are about 1m back from the plane of the woofers. You're also correct that the speakers aren't modelled by Linn, they're acting as point-sources. Honestly, that setup is so far away from what SO is advertised for that I wasn't unduly bothered by the fact that V1 never really gave great results. The fact that V2 "just worked" is astounding.
I've fought with SO1 with a MDSM and never really found it to be an improvement. When I threw in an A2200, which is exuberant but not as tightly controlled as the Majik's built-in amp, SO helped tame the most excitable room and furniture resonances. Upon upgrading the MDSM to an ADSM, SO1 made everything feel a bit on the lean side, so I dialed it down. Then upgrading the A2200 to a KT, and the same SO1 interventions made everything feel flat and out of phase. I freely admit I may have set up SO completely wrong at every point in this whole history. If I were ever seriously bothered by it, I could probably get the Seattle Definitive folks to come over and help out, but that would be an afternoon not spent actually... y'know... listening to music. This morning I got wind of SO2 (due to this thread! Hadn't realized there was a new version out there), modeled my room, hit "go", and found that first time's the charm. No Tune-Dem, no idea what the "ideal" speaker position would be, I just went straight to "this is what it is" and the results are great. I wish there were a way to inspect what the SO2 configuration is actually doing, and compare it to the way the SO1 was set up.
hca5 replied to Paulssurround's topic in Linn Owners Club and Forum's Hi-Fi Separates and ComponentsJail4CEOs2 yeah, Komponent 103s or 106s would fit. Come to think of it, so would Gallo Stradas, or Dali Menuets. At some point I'll get bitten by the "Bigger Speaker" bug, and when I do, the MDSM will come back out of the box for this setup, and the ADSM and KT would move somewhere with more space to be the core of of a dedicated 2Ch Big Rig. But right now I'm having my space-constrained cake and eating it too
hca5 replied to Paulssurround's topic in Linn Owners Club and Forum's Hi-Fi Separates and ComponentsThis is my super-space-constrained nearfield desktop setup. The main source is a Puget Systems Serenity PC (a custom builder in the Seattle area who specializes in silent workstation-class PCs.) I got into Linn in the first place with a Majik DSM that seemed like an ideal solution to the problem of "I need a musically satisfying all-in-one box that handles HDMI-switching". Downstream of that, an ADSM/3 and a KTwin, powering a pair of Era D4 minimonitors on isoAcoustics stands, with a pair of REL TZero subs below. All this at the edge of a 12'x11' home office. So yeah, that's about 20K of Linn gear powering $600 of speakers (okay, $1600 if you include the subs). I gotta hand it to those little Eras - they keep sounding better and bigger as I upgrade the gear that sits upstream of them. But by this point they're undoubtedly the weakest link. They're struggling to keep up with the system's wider dynamic range that emerged when I switched from unbalanced to balanced interconnects. Not sure where else to take the system from here; the space constraints are pretty killer. That cabinet is a bit of a hostile environment, but Space Optimisation cuts down on the resonance. There's very little on the market in terms of speakers that are <=6" wide each. But if Linn ever decides to make a passive mini-minimonitor, I'll be the first to buy in :D.
The "Lausanne" solo concert from Keith Jarrett's "Bremen/Lausanne" album. It's an album my father introduced me to maybe two decades ago, and for much of that time I found it basically unapproachable. But as I grow older, its emotional range and sheer ecstatic expression keeps me coming back for more. There's a Linn connection (konnection?) for it for me as well. It's one big hour-long track, and while there are passages in it that I adore, there are other parts that seem repetitive or a bit of a slog, until I first heard them on a good DAC, in my case a MDSM/2, which made what was going on intelligible. And later on, it sold me on Katalyst (in ADSM/3 form) which pulled even more emotion and depth out of every note and variation. On a full-bore Akudorik setup at my dealer, I swear that I could hear Jarrett swaying to the music during a nominally repetitive passage, minutely changing the ways his hands struck the keys.
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