Updates on My Systems TDA-1305 DAC SMPS

Click pics to enlarge. Top, Sansui F55 flanked by Beydas. On Center Shelf of Rack is the FU-50 amp. Lower rack the APPLause 300B amp. On top of rack a pair of 新时 597 Resonators.

Letter from Shenzhen (23-12): Updates on My Systems

Current Trajectory: Sonic Sleuthing - Struggles, Trials and Errors

Most readers of this blog arrive via a Google Search. Of these, a number have become regular readers, and they of course are of most interest to me, like family, They identify with our approach and values. Not only that, a sub-fraction believe the devil is in the details (indeed) and sometimes, like family, scrutinize every word (I can tell from some of the comments) or even pic. Sometimes I cover my journey in great detail, which I know is of no use to most people, but I think interesting to these readers who like to mine the fine lines. So, it's time to inform you of some of the changes here in my system. In the most important ways, configuration and most gear have stayed more or less the same as in my Mid-Trajectory article (if you look at the pic of system then, it's not so different from now, top pic)

Sonic Woes

Before I left on my trip to NYC (and UK) in mid-June, as is my wont, I made sure I turned off everything in my system(s) in Shenzhen. When I came back in early September, the system sounded foggy and sluggish. I was quite surprised but thought it was just wake-up woes.

It was not that simple. After some time it started to really bother me. Now, in NYC, on much more expensive and better gear, I exclusively listened to real albums, on CDs and LPs. Hence, some friends teased that I'd not be able to go back to streaming! But I knew my systems well, and was sure that was not the cause.

Now, ever since the Beydas "Stirling" LS3/5a's (here and here) arrived in mid 2022 I had been listening to them. In my reviews I used them as a reference, even if they were not the last words in anything. In real life, if a certain acceptable level of fidelity and musicality is achieved, lazy I would be the last one to tinker with the system. And so it had gone on for almost a year. Although I rotated the 15 and 11 ohms, I listened more to the latter.

Why the deterioration now? I had NO clue! I swapped preamps, changed rectifiers etc - still no clue. Finally I swapped out the bi-wire Belden "1609", which I know to be on the soft side. I tried out the several pairs of freebies that came with the loudspeakers. The "Audioquest CinemaQuest" (as believable as "Stirling" or "Belden") improved things a little but, still, I could not get back my previous sound.

Sansui F55 Redux

Finally, unable to stand it, I swapped out the Beydas/"Stirling" and went back to my Shenzhen longtime workhorse Sansui F55 (See Top pic; Basic Info from a long time ago here). Cables still the "Belden 1609". Wow, the difference was not subtle at all. I got back all the air, treble sparkle, and had a much better bottom end. Agile and lithe, the sound was wonderfully familiar. I know actually very well the difference between the Sansui and the Beydas. Although I have always preferred the greater bandwidth and power of the Sansui, I stuck with the LS3/5As for a long time as a review tool. They are good enough to tell me the difference between gear and were voiced more similar to something most readers are familiar with. I also know the Sansui's are much easier to drive. Previously my Aosibao 6P1 PP amp (now with a problem in 1 channel) drove the F55s much better than the LS35s. And this is also true now for my BRZ FU-50 Amp too. Whereas with the 35, it'd struggle during loud passages, with the Sansui it shows no strain whatsoever. Here, I'd like to clarify that although I use the FU-50 amp as a workhorse I actually prefer the more powerful APPLause 300B. The latter used to have socket problem (pops) that irked me so I did not rely on it. But recently after reworking the sockets and tubes (just by inserting and pulling the tubes repeatedly), the problem went away. But I had already been accustomed to the highly reliable FU-50. It's a bit like the Sansui vs LS3/5a, and shows you, again, that for me, as long as it's within acceptable range, for listening to music I can easily adjust. The system now is so good that I actually rolled in the 80 Rectifier in the FU-50 amp. The 80 is more yin than yang, but a subtlety champ, and the sunlit Sansui can now afford it. Marvelous!

Although the system put the smile back on my face, or cleaned up my ears, that was not the end of the story! No.

UMI on top of the TDA-1305 DAC.

Enter the UMI and Second Try for Beydas Very recently, I got a 2nd gen unit of UMI 1:1 Transformer to review (Our writer ELO waxed lyrics about an earlier version very recently here). I placed it between the DAC and Preamp, and plan to write about it in a dedicated article. For now, let's just say it brought even more air into the already well ventilated Sansui system, which I happily wallowed in. With all that happening, I thought, why not give the Beydas another chance? Well, yes, I swapped back the Beydas. And? Well, slight improvement but still no go. Still lacked energy. No go.

Freak Event: The Power Supply Musical Chair

The 2nd gen UMI has an unusual feature, a 5V DC power is required to operate the XLR connection relay switch. RCA can do without, but I was advised that even then plugging an LPS 5V improves the sound nonetheless. So, I scrambled for testing this. My 1-bit TDA1305 DAC has for the longest time been powered by the BRZ (伟良) 5V LPS. Here are my various Power Supplies. As you can read from the link, I had from the start some reservations about the BRZ LPS. Even then, I connected the BRZ 5V LPS to the UMI and instead powered the DAC by my unused Wanptek SMPS. Guess what? I was SHOCKED that the sound improved markedly. NOT through the UMI being powered (the effect is subtle, as evidenced by removing the BRZ 5V). BUT the DAC as powered by the SMPS became a MUCH better beast! In fact, it exceeded all my expectations! In fact, later I tried the DAC's generic stock SMPS, a tiny thing, and it was still significantly better than the BRZ. Convinced that the DAC is now in full glory, I tried yet again to get my old sound back!

Wait! There's more! A condensed version: I took the UMI and my BRZ LPS to my JBL friend and tested them there (he uses XLR, mandating use of the 5V DC). As I expected, the UMI did a spectacular job all around. BUT, the revelation was that at his place the BRZ 5V LPS underperformed the generic cellphone charger my friend has. You figure! The BRZ dulled and blunted the sound.

Beydas Redux

Thus equipped, convinced by the newfound energy of my DAC, I once again switched back to the Beydas. Well, well! While I'm not sure I got all my old sound back, I'm sure finally I got much of it back. The sound was still perhaps a bit dark, but not unnaturally so. I then did further adjustments, reverting to using the crisper 5R4 rectifiers for the FU-50 amp, and removing the grills of the Beydas, and the sound improved a little more. All with the same "Belden 1609".  I also switched back to the APPLause 300B and the sound gained much power and solidity, as expected. I was very pleased, and the experimentalist in me pushed on (even if I know the Sansui is ultimately even better for these flea-powered amps). As I write I'm still listening on the Beydas.

新时 597 Finally, I experimented with positioning of these incredible voodoo devices, on which I have not written much. Supposedly they work best upon a vibrating platform, like on a loudspeaker. I positioned them atop the Beydas and it was very good. Then I tried putting them on top of my equipment rack (as in top photo) and it was even better! Much more solid center imaging and energy. The way to play with this thing is endless!

One thing I suspect, but cannot confirm now yet, is that I brought back to NYC 4 pairs, and for 2 months here in Shenzhen prior to my departure I had 5 pairs running in my room. I suspect they energized the room so much that I was spoiled. For my money, using them in the center, away from loudspeaker surfaces, is just as effective, surprisingly! I suspect, for this unique device, the more the merrier. My NYC friends Andy and Kevin all have only praise for this thing! There's an article to come at some time...

Comments Finally, after quite a struggle, my Beydas LS3/5As have become quite listenable again (though perhaps still not quite back to their old days in my aural memory). I'm still not at all sure of all the reasons why! Read the above and draw your own conclusions. Here are my observations and what I think:

• All LS3/5a's, real or replicas, are not that efficient. With higher power (say, a PP amp, or a classic UK integrated) one can get more control and open up the sound. But people like me also like to run them with low powered SET amps, in which case you would have to do a lot of adjustments to get good results - setup skills are required. My Sansui is easier for my amps, especially the FU-50 (over-spec'ed; I estimate around 5 watts whereas the 300B amp sounds like 8 watts).

• LPS vs SMPS "Traditional" wisdoms are for the birds. Time and again for me, SMPS outperforms LPS. SMPS is more agile, lithe and alert, whereas LPS tends to be heavy and solid, but to each his own. Keep in mind, many of the world's most high-end brands, like many Swiss brands (as in my Nagra PL-P, also Soulution etc), embrace SMPS. Populist ones, like Schiit, does too! In my case, the BRZ LPS really does not measure up to my mass market (and cheap) SMPSs. One possible explanation for my woes is that the BRZ LPS has somehow deteriorated over time and gotten worse (caps? but it hasn't been that long...).

• 
  TDA-1305 DAC (https://m.tb.cn/h.5QVYLVp) Although I mentioned this DAC a couple of times before I never really wrote about it. Aside from the Meridian Explorer I used before it, I don't have another one. It has served me very very well for almost 3 years! The Meridian is a little more rhythmic, but this thing is better in almost all other aspects. The thing is around 200 RMB (under 30 USD) and doesn't even have a brand name (the TB link shows the maker)! The USB Input is Default and here's a significant quirk: as long as the USB is connected at the source (my laptop), the SPDI/F (Coaxial and Optical) Inputs will NOT play. To play SPDI/F you will have to unplug the USB cable. There is a small switch on the back that selects between Coaxial and Optical. As seen in the pic below, it uses 2x TDA-1305. Output level seems quite normal to me - not high, not low.. (I'd say around 2V). This is a sweet sounding DAC, just as I'd expect from this chip (as in my Micromega Stage 2). With the Wanptek SMPS, it actually is quite resolved while retaining its sweet quality. Before I forget, I did briefly tested its headphone output with my Grado SR-80e and it was good (of course you can only control the volume from the player). Very good job and one of my best purchases! See, I have bought several preamps and amps but getting another DAC rarely crossed my mind!

And, so! that's what's been happening. Keep checking once in a while, there are more articles to come...

Stereophile KEF LS60 Blade KLH5

Click pics to enlarge.

Two 60th Anniversaries
Letter from Shenzhen (22-12): My Revamped System and a Fantastical Comparison with KEF LS60 Wireless
Narrow Front Baffles and Side-Firing Woofers

Editor: This article is an odd one. It first celebrates the 60th Anniversary of 2 august audio institutions, and then launch into something that is basically a lengthy commentary on the KEF LS60, which I have yet to hear. And then a portrait of my current revamped main system, the loudspeaker of which bears a semblance to the KEF (hence a fantastical comparison). The sections are well marked out, so skip as you want.

Stereophile 60th Anniversary

Congratulations to Stereophile! I hope it lives on healthily and happily. This Tribute (and Remembrance) by ex-Editor John Atkinson is notable for certain reasons. As JA always does, he honors the greatest audio mind of them all, the astonishingly principled J Gordon Holt, who started the whole thing. No pretense, no bull shit, no oversized ego (hint: HP) and, unlike many writers today, who can wax pages of lyrics when a few paragraphs would do (likes of JV of TAS, whose patrician tones are well-nigh intolerable; RH can be full of hyperbole's too, but he’s at least a technocrat; and JVS, but he compensates a little with his gentleness and sweetness, but, hey, spare us your family bliss OK?).

This article also mentions some of the past era's magazines. They bring back memories. I had subscribed to some of these in the 70's and perhaps early 80's, and can attest that they were not that informative (Julian Hirsch and the likes). I cannot remember why I didn't subscribe to the Stereophile (or early TAS for that matter, not the mediocrity now), perhaps out of ignorance or because of the higher costs. I wish I had!

It’s interesting that over the years many writers have gone back and forth between Stereophile and TAS (not that there is much choice out there). Michael Fremer has just switched to TAS (again; he was there before), whereas quite a bit earlier Julie Mullins had gone the other way. For MF, I don’t care where he’s at. I don’t mind him, but I have no interest in oversized, overweight, overdamped and overpraised turntables (and tonearms) that he specializes in (give me a vintage idler wheel or direct drive anytime). As for JM, it’s gratifying to see how she has blossomed with her industrial reports and show coverage for Stereophile - no longer a puppet of JV.

After JA, I think Jim Austin, technically solid (and even more all rounded in outlook), is doing a solid job as Editor. I look forward to many years to come. Post AD, but with writers like HR and KM and others on board, I am optimistic.

KEF 60th Anniversary

This happened just short of a year ago. KEF had always been important, especially in its early days, as supplier of drivers. I have never been a fan of KEF’s own iconic speakers but, as fan of vintage UK and BBC loudspeakers I recognize their importance. I’m not a fan of the hard to drive Reference 105 series but it likely had left its footprint on the equally iconic B and W Matrix Series (I regard the M801 as one of the best ever; and for lesser space, perhaps the 804 and 805). Then, its T27 Tweeter and B110 woofer, used in the legendary BBC LS3/5A, and ubiquitous elsewhere (including larger variants, as in KEF’s own 104AB, with its equally iconic passive radiators, later to be deftly and famously employed by Swiss Ensemble Reference and that Italian master, Franco Serblin). I personally think KEF deliberately killed the B110, as its success and demand stood in the way of company development (does not make enough money). History aside, back to present times. For the past decade and more, KEF had concentrated on their Coaxial (Uni) drivers, interestingly preferentially used in their upper echelon products. As a fan of coaxials (Tannoy of course; but also vinatge Altec, Jensen etc) I paid attention. I even once owned the LS50 and wrote about it, and even have written a brief KEF Overview (here).

LS60 Wireless

In conjunction with their 60th Anniversary Celebration KEF rolled out their 6000 ($/GBP/Euro) loudspeaker that attempts to be all things. It received general critical acclaim (and an EISA award, which is of no great meaning to serious audiophiles). I read about it, and what immediately struck me was how uncannily the LS60 (photos at the bottom) resemble my current reference, the humble Sansui F55 (detailed here).

• Narrow Baffle and Slim Profile Without the Base Plinth, the KEF is 13x32x104cm; Sansui is 14x39x116. This sort of narrow baffle design has its practitioners, as it is appealing for those who want their audio (including AV) to disappear (higher WAF). German Audio Physic (not bad) is a good example. Proac is another example - their iconic Tablette and its derivatives (including Minitowers) were very popular in the space-challenged households of Hong Kong. This kind of design always generates holographic images but is less fleshy, and bass tends to be quite shy in at least the smaller models. Personally, I prefer the fleshier sound of a wide baffle, examples of which are, size for size, BBC LS designs and their offsprings (primarily UK). But I am making do with my Sansui here.

• Coaxial, Tweeter and Midrange Being a Tannoy fan, I am a follower of Coaxials, and had once owned the LS50 (and heard some of their R series), but, good as it is, it never captured my heart. I’d rather have the LS3/5A than the LS50. But KEF’s Coaxial Drivers are not to be scoffed at, as I had heard them (here) perform well in the much higher-end Blade (second-in-line, but more in-line with KEF than the top Muon). While my Sansui emphatically does not sport a coaxial, it does use the next closest configuration, my favorite D’Appolitto Array (also favored by numerous designers, as in Proac, Alon etc), although in the case of Sansui it’s a pseudo- iteration (one more midrange added, not an uncommon design). In terms of total radiating surface, particularly the midrange, the Sansui is multiples of the KEF. The KEF’s coaxially mounted tweeter is a 1.9 cm aluminum dome, whereas the Sansui is a 3 cm fabric. The KEF midrange is 10 cm aluminum, whereas the Sansui is 3x8 cm, which is about twice the surface area of the KEF.

• Side Firing Woofers Of course, with a narrow front baffle, one way to increase bass output is to mount the woofer(s) sideways. Audio Physic had used that in several of their models. Usually woofer(s) are mounted only on one side, as in the case of my Sansui. But the KEF is unusual in that they have (small) woofers on both sides. My experience, as in the case of my Sansui, woofers firing towards the sidewalls is better than firing inwards, for clarity and agility (The KEF has DSP though). In terms of surface area, KEF’s 4x 13.5cm is close to the Sansui’s 2x 20cm. It’s also interesting to me that the KEF woofers are placed very high. I’d venture otherwise the midrange would lack power.

• Placement and DSP It’s funny that even the reviewers don’t comment much, if at all, on this VERY important aspect. Even with DSP available, shouldn’t one just try to place the loudspeakers with traditional skills first and then try DSP? No. Not any of the reviewers. So much for professionalism.

• Amplification The KEF basically uses electronic crossover and separate amps that are built in (Class D). In my case, the closest comparison is the Aiyima T9, being a Digital Amp. Much less power, but then my Sansui is vastly more efficient.

• Wireless and Digital Ability Basically, the LS60 houses a full-featured Streamer with full connectivity (only display is on the App). It’s telling that the Wireless platform does not support the highest resolution (384). It begs the question, even if it does, would you rather use Ethernet for the best result, lest you be left with nagging doubts? Mind you, I am not at all a high-res file owner or Streamer and don’t in general think much of upsampled material. For people like me, my Aiyima does just as much useful things. Having a Feature is not at all equivalent to the likelihood of using it, especially in this case.

• What about Analog Input? There’s a pair of RCA Input. Just like my Aiyima, this would go through digitization. Want to put a turntable on the floor and connect it with a phonoamp and RCA cables? That’ll ruin the looks!

• Cordless? The whole Raison D’Etre of such a loudspeaker is to give the appearance of no cords. But is it possible? Each LS60 needs one power cord. Should it be placed close to front wall, the power cord may not be intrusive. BUT, if you, like me, like to have the loudspeakers in room, then the power cords are almost just as conspicuous as loudspeaker cables. And this is not to mention that sometimes you want to try using the other inputs (say, your nice red book CDP via its coaxial output) and that’s even more awkward situation (maybe put the CDP on a stool and connect it with a cable?).

• Who Is It For? Ultimately, that is the question. It is NOT for a dedicated audiophile’s main system. BUT, perhaps for his second system. It’s likely too expensive for an entry level audiophile to move up to from, say, Audioengine or Schiit. I’d wager KEF would make a more humbly priced version for more people.

This is not at all an article to lambast the LS60. Rather, the opposite, it intrigues me a little even if I’d not use it. Most of all, its physical profile reminds me of my Sansui. But there’s no escape that you get a lot of stuff that you will NOT use. As I don't use Streaming platforms, I'd like to bring my own device and stream over Bluetooth to hear how it sounds. The LS60 is available in Shenzhen, so I can do it, but I'm not at all in a hurry.

My Revamped System in the Study

If you compare to the old setup, things were not moved that much, but it is nothing short of a major move. BTW, I did it not because of sonic reasons, but because I wanted to change the orientation of my desk 180 degrees to avoid lights shining into my eyes (sun in the morning and reflection from buildings in the afternoon). Now the speakers are In-Room rather than flanking the large IKEA shelf. And I am sitting at the desk facing my loudspeakers, rather than between the loudspeakers as before). The source (usually my Meridian Explorer USB DAC) and Control Electronics (my Revox A720) are at my fingertips.

Most of the time, I use the Revox Combo (with the A722 Amp) and the sound is superb. The musical delivery has not really changed from before, but now I have very good imaging and pretty good soundstage. Although the latter audiophile values are substantial bonbons, they do not at all alter my basic perception of the value of the system.

BTW, since I have everything (sources and controls) around me. The only extraneous things I see (not even when the lights are dim) when I look at the loudspeakers are the speaker cables. For me, they are as “wireless” as the KEF. I have always advocated having everything at one’s fingertips (not just via an app) but that of course necessitates long speaker cables (mine are around 15 ft/5m).

Praise to the Revox A720 Preamp, it has so many features that are useful. It has 2 Switchable Outputs. I use one of them for the Revox amp. The other I attach to a long cable (the excellent crazy cheap Canare 2T2A, report to come) to connect to my APPLause 300B amp I placed between the loudspeakers. Late night, I allow myself a little bit of tube bliss, and it is wonderful (the efficiency of my Sansui allows this). The A720 also has Earphone Outputs (2) that are very decent (just switch off the outputs). I only have my Grado SR80e here so I cannot speak of higher impedance cans, but the result is to my ears better than lesser earphone amps (like the Schiit Vali and Magni that I have). More on these in future articles likely.

All in all, I’m very happy with my system now, but of course I yearn for more things, for no good reason. We’ll see.

More on the Blade (and KLH5) Incidentally, Stereophile just published a report of the recent Blade 2 (here). Also, a few months ago I was keen on the recently revived KLH5 (now, that’s the kind of old-fashioned wide baffle that I like). As usual, the Distributor in HK handles China too. So I contacted Nanpeng-Tech by email and got a prompt reply from Mr Joes Tsoi (first name is not a typo). I was really impressed that he was extremely helpful and subsequently communicated with him via WeChat. From the pictures in his wechat I am sure he’s a very busy man! Now, this company uses Blade in its main AV room. Although the company specializes in AV Installations, from our conversation I can tell he’s a serious and experienced audiophile. Both KEF Blade and KLH cannot be very popular in HK (for their bulk) and so I admire him for promoting these products. I look forward to meeting him someday (perhaps even in China!) HK readers should seriously consider auditioning the KLH5 (I wish I can) and also catch the KEF LS60 there. Below are some pics showing their main AV room and presence at the recent HK AV Show. Solid Folks, Good People.

Nanpeng Showroom. Outermost KEF Blade I, then KLH5, then KLH3 

At the recent HK AV Show. You can catch the KEF LS60 in the innermost position. Everyone wears masks

Low Fi Sansui Kyoeon H-9A

Click Pics to enlarge. This is an old pic of System 1.

Letter from Shenzhen (21-7): High on Low Fi?
Kyoeon H-9A Bluetooth: A Reckoning

Here I am. I am here. Am I here!

After almost 3 months, I feel I am beginning to "settle in". I have been trying to rebuild some routines into a schedule, meanwhile to get to know the city better than before (as I have to be here for longer). The most obvious casualty of a less rigorous routine is Writing, but it is coming back a little. Several articles are in the pipeline; aside from a long one on "HiFi Basics" (even I smirk here, as many articles in this series can really be viewed as Anti-Fi, or rather, Anti-Hi, and I am proud of that), there shall be an equally long one on my take on living in this city. I also have quite a few pieces of equipment from my soujourn in HK that demand write-up's (not least the Ruark Crusader III). All due, but in due time...

What has been disturbed the least is Listening to Music. I still use the piecemeal time snippets to stream music through NML (yes, the hunger is very much there). A piece of sad news: since a recent router change by the service provider I lost my previously easy access to Spotify. But I am reasonably up to date on new issues.

Readers are likely curious about what equipment I use here, so this report.

System 1
Long ago I appropriated the second largest bedroom as my main listening room (though it is also a storage room), and it has been reported on before (here). The Sansui F-55 (Audioquest CV-8) loudspeakers are approximately 7-8 ft apart and the listening seat is a little further away, an isosceles triangle that is close enough to equilateral, my favorite geometry. The loudspeakers are narrow in baffle but quite deep, so the front baffle is a little more than 2 ft from the front wall.

The system is simpler than before, using whatever is around. The Revox A720/A722 (French Filotex RG-58 cable) combo is still the center of the system. CDP is the trusted Sony DVP-PR50P (cheap AV MIT). Streaming is via my Laptops hooked up (HK Unitek USB cable) to Meridian Explorer I (Line out via minijack adaptor to cheap AV MIT). Occasionally, I also use the Meridian as headphone amp with my Grado SR-80E.

As reported before, the sound of the system is decent enough; I get thrilled with big orchestrals, yet still enjoy good details at low levels. There are no spec's, but the Sansui F55 Loudpseakers by ear go down at least to a solid 40-45 Hz. The woofer is 8" but I neglected before to mention it is complemented by a passive 8" radiator.

With Jazz and Vocals, the presence is quite stunning. With orchestrals, since they cannot be further in-room, the soundstage is a little shallow, but not at all flat, and still atmospheric and provides a semblance of the venue (the IKEA beehive-like shelf helps). Imaging is very good. Overall, I am quite satisfied. I don't need a sub yet, but I'll not rule out one in the future.

System 2
This is in the Living Room and here I encountered several challenges (detailed below). It currently makes use of the rest of the original Sansui AV system. The 2-way Sansui S60 bookshelves were designed to be rear speakers that complement the Front F55. These have 5" woofers and are 6 ohm 65-20k Hz. The tweeter has a broad but shallow circular waveguide. To minimize contact with the low cabinet below and to raise the image, I use a pair of disposable chopsticks to prop up the baffle front a little.

The Amp is Sansui UX-800 (here, now in its Mk II iteration). This 6.1 AV amp has Digital as well as Analog Inputs. I don't know whether the latter are first digitized. Cables are Mogami 3082. Researching, I saw a second-hand ad for CNY 350! :-( That shows the cruel depreciation of AV equipment. The ad has more pics should you be interested.

The electricity from the busy outlet on the front wall, where the router, TV Box and TV are also plugged in, is shockingly dirty, certainly the worst I have encountered. I first actually tried to setup another smaller AV setup (Changhong) but the noise proved too much. The Sansui was much better at noise suppression.

Streaming is via the Bluetooth Kyoeon H-9A (Thanks Eric again!) hooked up to the "analog" AUX input via its earphone output (built in Line-Out is too low in level) with a minijack adaptor connected to old and cheap Monster RCAs lent to me by old friend Hon Wo, who also lives nearby in Longgang.

CD is played through the Bubugao DV-997 DVD player. BBG was the Chinese arm of Oppo, and you can think of it as an equivalence of the Oppo 9xx series. This old DVP was touted by the HK DVD-A crowd in its time and was modded a little by one of them. I wanted to use its analog out, which is quite decent but, lacking in cables, I was forced to connect digitally. First, I tried my ancient XLO 0.4 Digital Coaxial but the noise proved annoying. I then dug out a generic Optical Cable and that vanquished the noise. The sound is quite acceptable, so I am thinking of purchasing another FX Audio BT device and use its Digital Out.

Having established the sound of the CD playback was quite satisfying, I returned to streaming and soon had some doubts about the sound of the orchestra.

Now, the loudspeakers are about 7ft apart, but the listening position is far away, almost double that, so a very narrow isoceles triangle. I know this does not favor a stereo spread but was still puzzled that the lower strings seemed to be in the center (some orchestras are fanned out like this, but not the majority). In fact, even the violins seemed to hover close to the center. I switched to the lower-level RCA outputs and the result was the same. I then streamed one of my test tracks, the Allegretto of Concertgebouw/Haitink's Shostakovich 5th (Decca), which has clearly delineated lower strings to the right. My worst fears were confirmed when I heard them hover near the center! I then switched to my Meridian Explorer and, voila! The stereo spread was clear. So this was not a problem with the loudspeakers or the setup.

The diagnosis is clear: the Kyoeon H-9A has poor channel separation; in fact it is almost mono in sound!!! I failed to notice this before as I had only used it sparingly, briefly in HK and on the desktop in the quarantine hotel. Eric had used it for longer but his system too seems to be almost desktop in its limited embrace. Also, my sample may not be representative. I don't recall my Dayton Audio (FX Audio) BT (or even the lowly HK008) to be like this (my NYC small speakers have a vast soundstage), but I wonder. Actually I may get another FX here to compare, as its digital output will fit my current amp. In fact, this re-ignites the mono-stereo debate - there is something musical about mono, as some insist. Mind you too, with a lot of a stuff I don't mind the mono, and could even prefer it (I thnk my friend Andy and our very discriminating mrgoosound would agree), but with large orchestrals, I need my spread.

In this system I am usually seated too far away on the sofa. If I sit on the high chairs, which are closer (I love to use my laptop here as it affords me a good view from the balcony), the sound improves despite the seat being high-up and skewed all the way to the right. Also, even with some propping up and tilting, the loudspeakers are really too low to have good dispersion. It is obvious the sound is not nearly as good as in the dedicated room (System 1 above). I have a feeling the system is not in its final state. I may try to work again with my even more humble Changhong system (or a heretic combo of the two) if I can surmount the noise problem. There shall be more on this; the challenge is to be creative and use whatever is around to deliver reasonable sound. It never surprises me when dirt-cheap stuff is made to sound good. The corollary is It never surprises me when ultra expensive stuff fail to deliver (indeed it is almost a rule, and a curse for many).

Everybody would be happier if music, not -fi, is the focus. Am I a happy audiophile and music lover? Yes. From this angle, with my horns and Western Electric inaccessible for the moment, am I happy? A resounding yes too. So, you, friends and readers, should be happy for me. More importantly, YOU should be happy! Cheers.

System 2

High Chairs