Double dose of Stillpoints

I’ve met a lot of audiophiles who doesn’t believe in tweaks, power cords, interconnects or speaker cables. And they don’t understand why anyone do so, especially if any of these items costs thousands of dollars. What surprises me is that some of these audiophiles owns very expensive gears! Is it because they never tried the tweaks? Or refused to do so? Or could it be poor system synergy making their system sounding worse? I won’t speculate the reasons.

I always believe in having an open mind. This is because I want to improve the sound of my hifi system which lets my enjoyment during listening sessions. So auditioning gears or tweaks in my system is a thing I like to do. This let me hear if the hype is true or is it just merely hype. If it works in my system, then I will decide whether it is worth the amount of money I must fork out. And the thing about tweaks, especially good ones, is that it will remain longer in your system whereas hardware in the system will probably get upgraded at a quicker rate.

The thing with tweaks like Stillpoints which I have auditioned for some time now, is because there is a strong scientific reason behind it. Furthermore, it works extremely well in my system. I am not saying this because I am biased. Every time I add a set of Stillpoints Ultra SS under my BMC CD1.1 cd player, then Audio Research Reference 5SE preamplifier and later the Wilson Sophia 3 speakers, I heard a drop in noise floor. This help to improve depth perception of the music. Imaging also became more stable.

And since I have another set of 4 Ultra SS lying around, I thought I hook it up on to the Stillpoints Component Stand (SCS) which was sitting on the Delrin support. The SCS is placed under the BMC. I was not expecting anything great to happen. This is because the noise floor of my system is already very low. And in this aspect, it did not. 

But what did happen was the improvement in image palpability. Before adding the Ultra SS, the imaging was already good, being very 3D. This seems effortless now, letting me follow the music much more easily. This seem to happen to all the music I listen to, during the audition. The palpability not only affects the vocalist but also the accompanying instrumentalist in the track. Decay of the instruments now seems very natural. Bass also become more pronounced but not overpowering. I also find that I can play my music at a slightly lower volume than what I used to. In fact, it seems that the music is being played in my listening room. Wow!

I kept thinking how much I have to pay to change my hardware to get this level of sound that I am now getting. Certainly not what the Ultra SS costs.

In my system, I have yet to hear any negative thing about Stillpoints gear that I have inserted into my system. It does not enhance any frequency. In fact, I find that they are quite even, letting all frequencies to flourish.

Stillpoints again!

Vibrations is aplenty in our environment especially when you are listening to hifi. These vibrations affect every piece of gear. So, if an audiophile does not isolate their component well, then he/she will not be hearing their system in the best possible way. I have tried many isolation devices; cones, platforms etc. Some worked better than others which makes me always go looking something better.

My preferred isolation device now are the Stillpoints. When I started with Stillpoints, I bought 2 sets of Ultra SS to be placed under the cd player (BMC CD1.1) and the preamplifier (Audio Research Reference 5SE). It brought good results, with lower background noise, cleaner sound and solid imaging of instruments and vocalist. Another 2 sets of Ultra SS went in place of the spikes for my Wilson Sophia 3 speakers. This again brought notable improvements with even more solid imaging. What I liked about the Stillpoints is that it does not inhibit or enhance any part of the sound. High to low frequency goes through unimpeded, unlike some of the isolation device that I had in the past, which may affect the sound.

Just recently, I managed to procure a second hand Stillpoints Component Stand (SCS). It has 3 arms with each arm made from aluminium, joined together with a stainless-steel center. This is an old version of the component stand (the current version is made entirely of stainless steel).  The SCS came with Delrin supports screwed on the top and bottom. I got the secondhand SCS by chance and my intention is to place them under my power amplifier.  I kept the Delrin support for floor support but added 3 pieces of Ultra SS on the top. Once I have done that, I placed the BMC power amplifier on top of the SCS. I was wondering how the sound will change.

After adding the SCS, depth layering was very easily discerned. Bass was better defined, and I find the sound to be meaty and well defined. Music flowed effortlessly. There was no listening fatigue when I played Tin Pan Alley by Stevie Ray Vaughn - Couldn't Stand The Weather (epic/LEGACY EK65871). Everything was more alive. So It Goes from Jennifer Warnes “The Well” (Universal Music Ltd 7 15776 89602 2) was just grand. The piano at the beginning of the track is so palpable. Jennifer was singing in the room! I think the reason for this is that the SCS with Ultra SS let the music flow effortlessly. This let me think how much vibration was still affecting the components in my system until I added the SCS. I think any audiophile should try Stillpoints in their system. These things will help elevate your system, sometimes even higher than any change of components in the system!

Stillpoints is distributed in Malaysia and Singapore by Telos Asia Pacific 

https://www.facebook.com/telos.apacsg/

KLIAV Show 2019

Like an annual ritual, I went to the KLIAV show this year. In the past, the KLIAV was held at the Marriot. The show shift to Sunway Putra Hotel last year. This year it shifted to another location in Vistana Hotel. Unlike past years, I took the MRT and change to Monorel to get to Titiwangsa station which is about 3 minutes walk to the hotel.

The usual group of hifi and AV group distributors display their wares in this years show. But this year, there seems to be more displays of Cantonese and Mandarin cds from China. The main reason I goes to the KLIAV is to check out the hifi gears that are on display. The 3 setups that impress me (not in any particular order) are as follows:

AudioNote room  

Whenever I listen to the setup in the AudioNote room in the past, I am always greeted with warm, tubey sound. Although it was pleasant and non-fatiguing, it is not what I really like. This year, Audio Note displayed their TT Three turntable with the Audio Note SORO Phono SE Signature integrated amp powering the Audio Note AN-E/SPe HE speaker. Listening to the remix of Frankie Goes to Hollywood, the AudioNote rocks. Wow!

Audio Research / KEF combo

The second good sounding system comprised of Audio Research CD6SE connected to the Audio Research Reference 6 / Audio Research Reference 75SE powering the KEF Blade. Tin Pan Alley by Stevie Ray Vaughan sound very well defined and effortless. I just wish the screen was out of the way as it affects the imaging somewhat.

HiWay Laser room

I always love ATC speakers, having own SCM100 in the past. This time, HiWay Laser displayed the SCM20ASL. It was a simple setup with a DENON turntable sending the signal to the ATC SCA2 preamplifier hooked to the active ATC speakers. Louis Armstrong sounds just great. Imaging is solid. Nuances is so easy to hear and sounded effortless. This is best setup I heard from HiWay Laser in the many hifi shows I heard them in action.

Stillpoints or Snake Oil

Tweaks have always been a “hot” topic among audiophiles. Some who believe in them, and some who don’t. To clarify first, I am a believer of tweaks, but I also believe not all tweaks work. Maybe its the gear that I use or the sound I am after or my room!

The tweak that we will cover this time involves isolation of gears. Isolation of your audio equipment is important. I’ve seen “audiophiles” putting their gear on the floor. Why? If you can afford to pay thousands of dollars for your system, you can’t afford to get a rack? Audiophiles need to isolate their equipment to let it sound best. This is to ensure that vibration do not affect the gear or if it does, affects it as little as possible. It does not matter if it is a turntable, cd player, amplifiers (tubes or solid state) and even speakers. Whether you believe in this and to do something is entirely up to you. So, getting a hi-fi rack is a start but this is not the end of things. Different type of platform affects the sound as well. But I want to discuss here would be the isolation between the platform and the gear.

Vibration is everywhere especially when the music is playing. Most of it originate from the speakers and also any gear that has moving parts. I have used a lot of isolation devices over the years and every one of them affects the sound in their own way. And the degree of effect also differs.

The first isolation device I started with, were the run of the mill gold colour cones. If memory serves me right, the effect from these cones were minimal. It may be partly due to the lower resolution of the gears I had at the time. Then I found the ebony pyramid cones, recommended by a friend. I started with one set of 3 pieces of these cones under the cd player but before I knew it, I was putting these ebony cones under all gears. Center and peripheral imaging becoming more solid, but the overall sound does become a touch warmer.

Later I manage to procure a set of Shun Mook Super Diamond Resonators. To me, Shun Mook SDR make the overall sound even warmer but I found the sound also became more “analogue” …less digital if you get my drift. Thereafter I started using Solid Tech Feet of Silence. I had 2 sets of these footers, each set under the cd player and preamplifier. Overall sound was less warm, though imaging is as solid as with the Shun Mook SDR.

My good friend, KC, introduced Stillpoints to me. Although I have read about Stillpoints in reviews, I really do not know what to expect. The Stillpoints Ultra SS, although small, were heavy. They are made of aluminium but contains ceramic balls on the inside. There are 2 parts to the Ultra SS. The main part which contains the ceramic ball and the bottom part, which is screwed to the top. This is to balance the gear on the platform. There is a hole on the main body which is where you can insert a screw, which you can later attach to any component or speakers. Stillpoints devices transfer vibrational energy into heat. After inserting the Ultra SS, users need to ensure that the component is level. You can do so by adjusting the bottom part of the tweak. 

So, the first question is does it really work? And if it works, does it affect the tonality of the sound that I will get? The true test is in the listening! First set of Ultra SS went under the cd player. It replaces the Solid Tech under my BMC CD1.1. Since we used 4 pieces of Ultra SS, balancing them under the cd player is important. We check this again using a handy level.

Wow! is the first expression I could mutter the moment the music started. Stillpoints is the first isolation device that I have in my system that does not impede any part of the frequency extension. The highs and lows are extended. Listening to bass intro to the track in “I can see clearly now” by Holly Cole Trio ‎– Treasure 1989-1993 (Alert Records ‎– 6152 81035-2), I can easily hear the tuneful plucking of the bassline.

We inserted the second set of Ultra SS under the Audio Research Reference 5SE preamplifier. Everything was even more solid. Highs became more pristine. This is apparent when listening to Tin Pan Alley by Stevie Ray Vaughn - Couldn't Stand The Weather (epic/LEGACY EK65871). The cymbal and guitar sound very silky. Bass of the kick-drum in Just a little loving title track by Shelby Lynne – Just a Little Lovin’ (Lost Highway B0009789-02) is just voluptuous. But it does not overpower the music. Imaging is also more solid giving a more 3-dimensional feel to the vocalist and the instruments. Music was easy to follow. Can this get better?

We tried the Ultra 5 under the cd player. Now, the Ultra 5 is 6 times heavier than the Ultra SS. We transferred the set of 4 piece Ultra SS under the BMC amplifier. The immediate thing that I notice with the Ultra 5 is the drop in background noise. Wonderful Tonight in One Night Only by Eric Clapton (Polydor UICY77732) highlight this low noise floor. With this setup in place, Eric’s guitar and voice is clearly defined, no longer lost in the soundstage. I can hear also deeper into the soundstage.

Stillpoints are now the best isolation device I have used to date. It does not impede any frequency but let everything go through. What more, background noise dropped, enable me to hear even more details. Looks like they are here to stay.

BMC cd player supported by Stillpoints Ultra 5

Stillpoints is distributed in Malaysia and Singapore by Telos Asia Pacific 

https://www.facebook.com/telos.apacsg/

The preamplifier

Preamplifiers are the heart of the system. 

Nowadays, it is not uncommon for an audiophile can use DAC to connect directly to the power amplifier. There are some cd players who can do this as well. But there is something about having a preamplifier in the system that makes the sound sublime!

I have used a few preamplifiers in my audiophile life. I started with the Audio Research SP8 about 20 years ago. Not only was it my first preamplifier but my first tubed preamplifier as well. From here, I understood what the hype of tube is all about.  

After a couple of years with the SP8, I changed to a solid-state preamplifier with the Pass Lab Aleph P. Funnily enough, the Pass preamplifier sounded more valve like than the Audio Research before it. After living with the Pass for a few years, I went back to tubes again with the Audio Research LS5 Mk2.

The ARC LS5 Mk2 is unique in that it has only XLR inputs and outputs, no RCA connection at all, whether input or output. Not a problem for me even then, as I was already into balanced connection. Another fact about this preamplifier is that it uses 10 tubes, all 6922s! I am not a guy who’s into tube rolling. All the 6922s I used are from Electro Harmonix and I have only changed it once in the 6 years I own the LS5Mk2. The LS5 Mk2 sounded meatier than the Pass with better definition of the soundstage.

Later I changed this to the Audio Research LS25 Mk2, which stayed with me for more than 5 years. The ARC LS25 Mk2 was less tube sounding than the LS5 before it. I expected this because the former used only 2 pieces of 6H30 tubes versus the former of 10 pieces of 6922 tubes in the latter. I would say that the ARC LS5 Mk2 sounded more old school! The LS25 Mk2 has a darker background and was cleaner sounding.

Now I own another Audio Research preamplifier with the Reference 5SE. This is the best preamplifier I have used thus far. The Ref 5SE uses 5 pieces of 6H30 and 1 piece of 6550 tubes. One thing that I could easily discern when I replaced this preamplifier with the LS25Mk2 was that the imaging is much, much more rock solid, not only on the center but the periphery as well. The tone is much denser and sound much cleaner. Another major improvement was on the depth of the soundstage which has now become deeper. Layering of the soundstage has also improved significantly. Everything sounds much more solid. Background is just plain black, which help to allow the music to breathe through. I believed this is due to higher amount of power supply in the Ref 5SE. Well, the Ref 5SE is packed to the rafters with capacitors. It also has 2 transformers, a R core for audio circuits and a toroid for the digital display.

I love vocals and the album from Lau Tak Lai (HQCD cd ISBN 978-7-7984-0884-3) showcases the strength of Ref 5SE. Imaging is first rate. You can feel the palpability not only when the music is playing but also during the silent moments. Another album I cherish is Julie London’s Time For Love - The Best Of Julie London (Rhino Records‎– R2 70737). The imaging is more there “there”. In track 16, at 1.16 into the song, I can easily hear Julie trying to clear her throat. You can easily hear the “imperfections” in the song.

Having said that the Ref 5SE does not only excel in vocals but also pop and classical music. I listen to Stereo Sound Reference Record Nobu’s Popular Selection (SSRR5 (TDGD90016)). It’s actually a selection of pop music chosen by Mr Nobuyuki Fu. Rosanna (Toto) and Let’s Groove (Earth, Wind and Fire) sounded heavenly. For classical music, my reference is the Tutti Ochestral Sampler from Reference Recording (RR-906). My go to track is No.15 (Mussorgsky-Ravel: Pictures at an Exhibition: IX. The Hut on Fowl’s Legs “Baba-Yagá”) by Eiji Oue conducting the Minnesota Orchestra. The eeriness that this track brings is easily felt. It should be cause Baba Yaga is a cannibal!

The Ref 5SE lets you hear good recordings at its best but somehow made poor recordings more bearable.  

Audio Research Reference 5SE

The source

A true audiophile never stops upgrading. The extend of the changes depends on the sound that we are after and how deep our pocket is. Everything in my system has changed over the past decade. I will share the changes in each different post, from source to accessories. I will start with the source and work my way through everything.

Like most audiophiles, I started with a typical “starter set-up”, i.e. a source, an integrated amplifier and a pair of speakers. But when I can afford it and its availability, I changed one gear at a time. I have only one source which is the cd player. I had a Thorens TD160 turntable for a short while. But the thought of fiddling with the alignment, azimuth and whatnot, got the better of me. I don’t want to spend so much time on these things. So, a cd player suits me. 

The first memorable cd player I had, was the Philips 850Mk2 cd player. It was smooth sounding player with good details, much better than the Marantz CD63SE which was the rage at that time. What more, it plays a lot of cds well. It does not impart a clinical sound but it does not gloss over a poor recording either. After a year or so, I changed it to the Classé .5 cd player. I chose this cd player because it has balanced output. The gains were much higher than the usual RCA output. Sound wise it was as good as the Philips 850Mk2, with a touch more digital sounding than the Philips. 

After a few years with the Classé, I upgraded to Meridian 508.24 cd player. I had lusted over the Meridian cd player ever since I heard it over at a friend’s setup. The Meridian had more details than the Classé and the gain was higher, even though I had used the balanced output on both cd players. Like the Philips 850Mk2 player, it is not a clinical sounding cd player. The soundstage and depth were an improvement from the Classé which means it is wider and deeper.

Now my current cd player is the BMC 1.1 cd player.  This cd player has the biggest Play button I had ever seen! This button also acts as a forward or backward in choosing the track that you want to listen to. The BMC sound livelier than the Meridian with loads more details. Then again, the Meridian was already approaching 10 years old. On the cd by Alice Lau (The Music Lab MBVOC-1008), you can easily hear her breathing before belting out the next word in the song. Soundstage wise, it is more stable though depth remains the same when compared to the Meridian. Another cd that showcase good soundstage is are Happy Meeting You by Lee Shou (Perfect Music), a tribute to Teresa Teng. The instruments appear extremely solid. This is also heard when listening Legendary James Wong cd from the same publisher. In fact, the soundstage is so solid and 3 dimensional, it is errie! Well, the BMC uses a belt to turn the cd. Not a common thing in a cd player.

We are back!!!

I have taken a long hiatus from the blog. Work has taken a big bulk of my time, not from listening to music but writing about it. Much has changed since I last post. From the type of music (this has become eclectic) to every gear in my system. Will share what has changed in system in the next post.