Gear Impressions (part two):
Raisin's gear: Mike's system with the Eastsound player, Raptor, and L3000's is, in my estimation, reference level. I've read a lot about the Eastsound here at Head-Fi (I'm sorry, I don't know the model number, but you all do, so I won't bother to look it up!). Obviously this player has earned a stellar reputation in terms of price/performance. Now I see why! This thing is built like a tank and reminded me a bit of the flagship Sony SCD-1. Very hefty, but also easy on the eye.
In terms of sonics, the Eastsound definitely does a lot right and nothing noticeably wrong. I listened to a couple of Dire Straits songs from the BIA album, including the well worn (to my ears) "Money For Nothing". While I must admit that I've heard it sounding better from time to time, what I heard from Mike's system was definitely right where it is supposed to be. I'd say that I prefer my reference systems (the Orpheus and Anstrom/R10 with the Shanling T300) with this material, but what I'm listening for (mostly) in "Money For Nothing" is the ability to handle dynamic swings with ease and authority. This is something that I know that both the Raptor and L3000 excel at, but they need an excellent source to really pull it off in a heart pounding way. The Eastsound did that for me, and most sources simply don't (at least not on this song). Besides Mikhail's "bling" amp with the balanced Qualia 010, and Yikes' rig (impressions coming), this system was right up there with the best I heard at this meet. I'm not sure you can find a better looking and sounding redbook player for $750 (with a nice 'aftermarket' looking power cord tossed in for free). Now I understand what all of the fuss is about.
Machead's gear: Classical music was playing and I didn't have the heart to ask if I could change it. Besides, I thought this station would be a quick stop. Nothing wrong with classical, don't get me wrong (I listen to quite a bit myself) but it's just difficult to get good impressions when listening to unfamiliar music. My fault.
The Ultrasone HFI 650 / Perraux (another amp I've read about but never heard for myself) was "nice" but unspectacular. I'm trying to remember the Perraux pricing. I think they raised the price considerably at some point, but this was once a very well priced unit, at the under $300 mark. If that was still the case, then it would be one seriously good sounding amp for the money. I'd have to listen a lot more, but it was definitely no slouch.
Next was the RKV / HD650 which Joelongwood listened to about the same time I did and commented, "Classic Senn sound. It gives you a 20th row seat." I couldn't agree more! I've actually spent some time with this same combo at home, and always enjoy the ease with which the RKV drives Senn cans. The main reason that I still have an RKV is for the K1000's (which it is incredible with), but this combo works nearly as well and gives you a nice alternative to play around with. I'd rate it ahead of the Perraux / HFI 650 combo, but not dramatically better (more 'different' than 'better' but at least a little better, IMO).
Machead's DT880 / Ear Max Pro seemed a little on the bright side to me, and not as detailed as I'm used to with the DT880, but I normally listen to them on the Maestro ZR which is obviously at a much higher price point. But still, tubes are tubes, and I think this is what the DT880 needs to give it warmth. Maybe I'll get another shot with this amp and some other phones at a future meet. I'd like to compare it to the Ear Max Pro Anniversary edition (isn't that the one Nik has?). Anyway, it was certainly 'passable' and on the same level as the Perraux / HFI 650 system IMO.
I tried Machead's K340 with the Headphile cord mod with his RKV and liked it more than the DT880/ EarMax with the same music playing. This combo gave a VERY wide soundstage and although it was more recessed than the 880, it seemed like a better fit for the music. Nice job with the VERY professional looking cord and terminations. Larry (if you're out there), my hat goes off to you!
I'm sure Derek has a lot of fun with his various headphones and amps since there are so many combinations and permutations for him to explore. I wish I had seen the Ultrasone 700 (something or other model) when I first visited his corner. Maybe next time.
SaltPeanuts' gear: This was the Headamp Gilmore Balanced Reference amp with Headphile's HP3000 cans and a Sony source (I can't remember which one). Again, this is really beautiful work by Larry! The Purple Heart is my wood of choice as well and I liked the 'low profile' natural finish without the high gloss lacquer. Oh, and some nice stepped attenuators on Justin's amp. They had a great feel to them and allowed for micro adjustments to suit the listener. I listened to Allison Krause's "Live" recording, disc 1, track 2, "Choctaw Hayride". The banjo seemed a little distant and the bass was on the boomy side (or at least it was very pronounced, yet clean). This is when it hit me that the HP must mean the PS-1 drivers were used. No doubt about it, this was the classic PS-1 sound, with perhaps a slightly wider soundstage. Other than that and the added comfort of the CD3000 frame, it pretty much sounded just like the stock PS-1 to me. I played track 3 on this same disc, "Lonely One" and the vocals were crystal clear and as beautiful as ever (gotta love her voice), but there was still bass bloat. As a PS-1 owner, I've never been able to get past the bass dominance issue, so my comments are probably more about how I perceive the PS-1 driver response than what I think about this particular incarnation... so take it with a grain of salt. It's a clear, detailed, and nuanced bass response, but is still a bit too much for me. The other issue that I had with SaltPeanuts' system was that I was listening WAY TOO LOUD to compensate for the room noise, and this is where I ALWAYS have problems with the PS-1. Oh well.
SaltPeanuts also had the Darth Beyer DT770 which needed even more volume than the HP3000 (an impedance issue, I'm sure). There was a noticeable loss of upper end energy when switching to these cans, even after volume adjusting. Yet, the presentation was a tad more relaxed which was a good thing with this type of music. The bass was not as dominant, and oddly enough, the modded DT770 seemed to be very much a "midrange" type of phone. I say odd because this is not AT ALL the way I remember my unmodded DT770. These are MUCH improved because I've always found the DT770 (unmodded) bass to be mushy and exaggerated (think car audio).
Hummm... so back to the HP3000, which required a 5 click downward adjustment on the SA. They are DEFINITELY more resolving in the upper mids and highs (especially) and just an overall better pair of headphones. I'd be interested in knowing how SaltPeanuts sees this comparison and which types of music he prefers the Darth DT770s with (if any).
Next, I listened to the Grado HF-1 with the Headphile comfy pad mod and the Hornet (i.e., the Ray Samuels XP-7 "mini me") with Allison Krause still singing away! Again, these gave up a lot of resolution as compared to the HP3000 but the modded HF-1 has a LOT more body and depth than what I'm used to hearing with my unmodded HF-1. The comfy pads make the HF-1 even more musical and gives them an almost Senn-like smooth and easy presentation except that the vocals are still forward as you would expect from Grado phones. Very interesting and worth exploring!
It's time to break this post. (Still) more impressions later... Yikes is coming up next!
