[/b]Only a couple of years ago I was a belt n’ braces Naim user, content at dreaming of the next nac* or *cap etc and then I started hanging around forums like this. Our friend Mr Gromit recently started a thread titled ‘starting all over again’ …now six or so months later I’m now looking at and listening to my rather hair-brain collection of new and retro toys.
Background[/b]
Going back to 2000 I bought a used Sony La Scala 1 mini separates system, this was their ‘high end’ offering and may have been the pre-cursor of the brushed steel ‘lifestyle’ look of the mid 90’s onwards. Although I foolishly sold the system, I never forgot the sound that came from the speakers, and have longed for something approaching their magic ever since. As luck has it I recently happened across a lightly used example of one of these now very rare Scala 1 systems on eBay a few weeks ago and bagged it for a snip.
Speakers[/b]
The Scala 1 system originally retailed at £1400 when released in 1994, two thirds of the system cost apparently reflected the active speakers. The active crossover feeds discrete onboard amps equipped with R-core transformers and terminate with 6.5†LF woofer and an electrostatic tweeter. On paper the 50w RMS wont raise many pulses, but interestingly the woofer utilises motional feedback technology, something I initially mistook for a fancy alternative name for rear porting, but on research now understand as an innovative Philips design from the 70’s that reduces distortion and significantly improves LF control and quality from smaller enclosures. I also read that motional feedback designs enjoy an almost cult following, and I’m told if the usual mob were to design a similar active speaker today the cost would be eye-watering? The other thing I like about these speakers is the lack of distracting filters, attenuators and the like around the back, nope – these have just the power inlet and rca socket.
The reality of this for me is exceptionally potent LF, greater in speed and extension than my previous Neat Motive 2, lauded as impressive LF performers themselves. The start/stop quality of cranium crunching bass notes is simply exhilarating, certainly not dry, they have a lovely ‘juicy’ quality that I love. When paired with the electrostatic tweeter the overall sound has sense of dimension, freedom and time to fully articulate. Strings especially, have a sublime rich quality, and the sound of fingers drawn along guitar strings is eerily natural, no previous speaker I have owned have come close to these for involvement and intimacy. I was considering high sensitivity speakers to accompany valve amps to get more intimacy, but I was mindful of comments suggesting such speakers can lack bass punch, and that was something I couldn’t accept. I feel now that I have the best of both worlds with these Sony’s. The phrase ‘Float like a butterfly, sting like a bee’ is a cheesy, but apt description of what I get from these speakers.
Having dipped my toe into valves with the outstanding Puresound p10 phonostage, I have been compelled to throw caution to the wind and dive in.
My new Pre-amp is an integrated valve MM phono & line stage with separate PSU and is based on the Kondo KSL-M7. It was built for me by a chap called Gordon Welford, I initially dipped my toe in with him by getting my Denon 103pro modded and nuded. This pre is a zero negative feedback design and uses mostly mil spec components…for those who may be interested, here are some descriptions:
Pre innards
PSU innards
THE LINE PREAMP EMPLOYS AN R-CORE TRANSFORMER A MULLARD MIL-SPEC VALVE RECITIFIER FEEDING A CHOKE INPUT POWER SUPPLY. THE POWER SUPPLY CAPACITORS ARE A TYPE JC MORRISON.[/b][/b]
[/b]
THE POWER SUPPLY CAPACITORS ARE MOUNTED ON A TEFLON BOARD AND THE SHINKOHS ARE SOLDERED DIRECTLY TO THE VALVE SOCKET AND DIRECTLY TO THE POWER SUPPLY CAPACITOR PINS AND THE V-CAPS DIRECTLY FROM THE VALVE SOCKET PINS TO THE SOLID SILVER RCA SOCKETS ALL USING THE BEST SOUNDING SILVER SOLDER.[/b]
[/b]
INTERNAL WIRING IS DEEP CRYOGENICALLY TREATED SILVER INSULATED WITH PURE SILK AND THE RCA SOCKETS ARE ALL SOLID SILVER.[/b]
[/b]
THE ATTENUATOR IS UNUSUAL IT WAS CONCEIVED TO MAXIMISE THE RETRIEVAL OF LOW LEVEL INFORMATION, THE [/b]SIGNAL[/b] [/b]DOES[/b] [/b]NOT[/b] [/b]PASS[/b] THROUGH A HOST OF RESISTORS AND ATTENUATOR SWITCH CONTACTS OR THE WIPER OF A POTENTIOMETER. INSTEAD THE SIGNAL IS FED THROUGH A SINGLE SHINKOH TANTALUM FILM RESISTOR WHICH IS SOLDERED DIRECTLY TO THE VALVE SOCKET PINS AND DIRCTLY TO THE SILVER WIRING.[/b]
To his ears is superior to an original KSL-M7. Of course I wouldn’t have a clue about this, and it means little to me as I am never likely to hear one, let alone afford one, hell I could barely afford the petrol for a return trip to see Kevin at Definitive Audio. The pre has also been closely impedance matched with the power amps in the active speakers.
The KAB modified Technics 1210mk5 is encased in a solid birch plinth and conceals granite and sand, this is coupled to the rack with aerolam and sorbothane to counteract the seismic vibes from the speakers.
Additional to this the arm has a Zupreme Headshell, Ikeda Soundlabs heashell leads, a custom (heavy) counterweight and a hardwired Cardas din plug for a nice clean output. The cable loom from 1210 – SUT/MC headamp - pre-amp is Townshend Isolda DCT300.
The platter is topped by an SDS Isoplatmat and finally a Herbies way excellent2 tt mat.
The power foundation is facilitated by a dedicated mains spur and a Musicworks Megablock Plus.
Background[/b]
Going back to 2000 I bought a used Sony La Scala 1 mini separates system, this was their ‘high end’ offering and may have been the pre-cursor of the brushed steel ‘lifestyle’ look of the mid 90’s onwards. Although I foolishly sold the system, I never forgot the sound that came from the speakers, and have longed for something approaching their magic ever since. As luck has it I recently happened across a lightly used example of one of these now very rare Scala 1 systems on eBay a few weeks ago and bagged it for a snip.
Speakers[/b]
The Scala 1 system originally retailed at £1400 when released in 1994, two thirds of the system cost apparently reflected the active speakers. The active crossover feeds discrete onboard amps equipped with R-core transformers and terminate with 6.5†LF woofer and an electrostatic tweeter. On paper the 50w RMS wont raise many pulses, but interestingly the woofer utilises motional feedback technology, something I initially mistook for a fancy alternative name for rear porting, but on research now understand as an innovative Philips design from the 70’s that reduces distortion and significantly improves LF control and quality from smaller enclosures. I also read that motional feedback designs enjoy an almost cult following, and I’m told if the usual mob were to design a similar active speaker today the cost would be eye-watering? The other thing I like about these speakers is the lack of distracting filters, attenuators and the like around the back, nope – these have just the power inlet and rca socket.
The reality of this for me is exceptionally potent LF, greater in speed and extension than my previous Neat Motive 2, lauded as impressive LF performers themselves. The start/stop quality of cranium crunching bass notes is simply exhilarating, certainly not dry, they have a lovely ‘juicy’ quality that I love. When paired with the electrostatic tweeter the overall sound has sense of dimension, freedom and time to fully articulate. Strings especially, have a sublime rich quality, and the sound of fingers drawn along guitar strings is eerily natural, no previous speaker I have owned have come close to these for involvement and intimacy. I was considering high sensitivity speakers to accompany valve amps to get more intimacy, but I was mindful of comments suggesting such speakers can lack bass punch, and that was something I couldn’t accept. I feel now that I have the best of both worlds with these Sony’s. The phrase ‘Float like a butterfly, sting like a bee’ is a cheesy, but apt description of what I get from these speakers.
Having dipped my toe into valves with the outstanding Puresound p10 phonostage, I have been compelled to throw caution to the wind and dive in.
My new Pre-amp is an integrated valve MM phono & line stage with separate PSU and is based on the Kondo KSL-M7. It was built for me by a chap called Gordon Welford, I initially dipped my toe in with him by getting my Denon 103pro modded and nuded. This pre is a zero negative feedback design and uses mostly mil spec components…for those who may be interested, here are some descriptions:
Pre innards
PSU innards
THE LINE PREAMP EMPLOYS AN R-CORE TRANSFORMER A MULLARD MIL-SPEC VALVE RECITIFIER FEEDING A CHOKE INPUT POWER SUPPLY. THE POWER SUPPLY CAPACITORS ARE A TYPE JC MORRISON.[/b][/b]
[/b]
THE POWER SUPPLY CAPACITORS ARE MOUNTED ON A TEFLON BOARD AND THE SHINKOHS ARE SOLDERED DIRECTLY TO THE VALVE SOCKET AND DIRECTLY TO THE POWER SUPPLY CAPACITOR PINS AND THE V-CAPS DIRECTLY FROM THE VALVE SOCKET PINS TO THE SOLID SILVER RCA SOCKETS ALL USING THE BEST SOUNDING SILVER SOLDER.[/b]
[/b]
INTERNAL WIRING IS DEEP CRYOGENICALLY TREATED SILVER INSULATED WITH PURE SILK AND THE RCA SOCKETS ARE ALL SOLID SILVER.[/b]
[/b]
THE ATTENUATOR IS UNUSUAL IT WAS CONCEIVED TO MAXIMISE THE RETRIEVAL OF LOW LEVEL INFORMATION, THE [/b]SIGNAL[/b] [/b]DOES[/b] [/b]NOT[/b] [/b]PASS[/b] THROUGH A HOST OF RESISTORS AND ATTENUATOR SWITCH CONTACTS OR THE WIPER OF A POTENTIOMETER. INSTEAD THE SIGNAL IS FED THROUGH A SINGLE SHINKOH TANTALUM FILM RESISTOR WHICH IS SOLDERED DIRECTLY TO THE VALVE SOCKET PINS AND DIRCTLY TO THE SILVER WIRING.[/b]
To his ears is superior to an original KSL-M7. Of course I wouldn’t have a clue about this, and it means little to me as I am never likely to hear one, let alone afford one, hell I could barely afford the petrol for a return trip to see Kevin at Definitive Audio. The pre has also been closely impedance matched with the power amps in the active speakers.
The KAB modified Technics 1210mk5 is encased in a solid birch plinth and conceals granite and sand, this is coupled to the rack with aerolam and sorbothane to counteract the seismic vibes from the speakers.
Additional to this the arm has a Zupreme Headshell, Ikeda Soundlabs heashell leads, a custom (heavy) counterweight and a hardwired Cardas din plug for a nice clean output. The cable loom from 1210 – SUT/MC headamp - pre-amp is Townshend Isolda DCT300.
The platter is topped by an SDS Isoplatmat and finally a Herbies way excellent2 tt mat.
The power foundation is facilitated by a dedicated mains spur and a Musicworks Megablock Plus.
)
