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Old 04-10-2020, 09:51 PM
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Vintage Pete Vintage Pete is offline
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Default JBL L220 Labor of Love-Part 2

Hello fellow AAers....

Anyone who knows me at all knows I'm a die hard JBL fan from way back. I currently own 4 pairs of JBL's, 2 large JBL subs, and some in-wall and in-ceiling JBL's in my bedroom surround system. If I had room for more, I'd have more! Many of you know that my L220A's have resided in my main system for many, many years. Purchased new in March 1982, means they've been with me 38 years. They've served me very well, and have shown up every improvement I've performed on the rest of the system with aplomb. I've maintained them to the very best of my ability over the years, and they are in nearly pristine condition, especially for their age. In 2016, I posted a thread outlining a fairly major project on them, involving the rebuilding of the crossover networks (necessary after over 30 years), and the fabricating of custom grilles with cutouts for the midrange lenses. For those of you who missed that thread, here is the link:

https://www.audioaficionado.org/showthread.php?t=37796

This thread also goes into how I started my journey with JBL, my purchase of the L220's, along with some discussion about its design.

The Question

The L220's design centers around the LE14H 14" low frequency driver, a 15" passive radiator (PR15C) a 5" cone midrange driver (LE5-9), and an elliptical ring radiator tweeter (076), commonly referred to as the "cat's eye". The midrange driver is coupled to an acoustic lens, a refracting waveguide the provides midrange disperson over a wider area, while also recessing the midrange driver the proper distance from the front baffle to attain "acoustic alignment" with the other drivers. This alignment was also said to be achieved with the 076 elliptical ring radiator, once again setting the driver (diaphragm in this case) back the precise distance needed to achieve this alignment. Aligning the acoustic centers of the drivers, according to JBL, "ensures that frequencies are heard in the same relationship to each other as they were recorded...". It's never been entirely clear to me exactly how this distance could be precisely defined, given the many different recording techniques that are used. But what I do know is that the L220's design does, as JBL claimed, produce "a loudspeaker system that is audibly superior". It did, however, strike me a bit odd, even in my early days of L220 ownership, that JBL chose to put a 5" cone midrange behind the lens, when every other JBL model that I could think of that utilized a lens had a compression driver and horn behind the lens. These included the highly revered L300, the 4344, 4345, the famous Hartstfield, and others. The list goes on. It sort of begged the question: why was the L220 apparently the only model to break suit? I never fretted over it really, in fact, the midrange clarity, dispersion and imaging were all attributes that I loved about the L220. As to why the cone driver instead of a horn loaded driver, I just wrote it off to the acoustic alignment concept touted by JBL. Or, as some prefer to call it, "time alignment". That must be the reason.

Fast forward 23 years

Sometime around 2005, I began frequenting sites like Lansing Heritage Forums. Here, all things JBL are discussed day and night. I began reading with interest how some JBL guys had modified their L220's by installing a compression driver and horn behind the L94 lens. The idea here was to emulate the midrange performance of other horn-loaded models; the one that most comes to mind is the L300, famous for its powerful, articulate midrange. That system utilizes the powerful LE85 compression driver, coupled to the H92 Horn. One fellow owned three pairs of L220's, and as I recall, he modified all of them, and said he'd never go back to the cone driver. I began to hear how the LE5-9 cone driver was the one "weak link" in the L220 design. Mind you, nobody ever said it was bad, the stock L220 was no slouch by any means. But, they said, nothing could compare to the power, clarity and resolution of the JBL compression drivers.

The problems

The first, and most obvious problem facing us with performing the horn modification is the depth of the horn/driver assembly. The L220 cabinet is 14-1/2" deep, from the front baffle to the back of the enclosure. Then there is the fact that the midrange sub-baffle is recessed behind the front baffle. Adding to the problem then is the crossover network board, which is mounted directly behind the midrange cavity. When all is said and done, you just don't have enough depth to mount a long horn and driver, and still close up the back of the cabinet. To overcome this problem, most DIY'ers have extended the back panel (which occupies the upper 13 inches of the rear of the enclosure) a few inches beyond the back of the enclosure. I never did like this idea, not only is that unsightly, destroying the nice, tapered appearance of the L220 cabinet) but I really cannot do that, because of the way my right channel speaker is placed. This problem, along with a genuine fear of messing up my beloved L220's, discouraged me from making the attempt.

The growing chorus

Fast forward another 14 years or so....I begin frequenting a few more JBL oriented groups (one in particular: Vintage JBL on Facebook) and I begin reading more accolades from L220 owners who have modified their L220's. The testimonials are unanimous, everyone who does it never looks back. Most seem to opt for the LE85 driver/H92 Horn combo. Some suggestions are offered to contend with the depth issue. Some managed to close the back, though with less than ideal methods, in my view at least. Some members also offered up some very interesting stories:
  • One fellow said he'd spoken to a previous designer at JBL who said the L220's original design called for the LE175 Compression driver and the 1217-1290 Horn (sometimes called the "potato masher" due to a screen lens of sorts the disperses the sound in a conical fashion from the horn throat). I don't know if this is true, as to the original design intent. But it is certainly interesting.
  • Another member tells me that he'd toured the JBL plant back in the day saw a number of L220's with open backs that had the compression driver and lens installed. He was told that this version of the L220 was available as a special order. This is also interesting, and probably not all that surprising, given the number of JBL horn fans there are out there.

I did some looking into the particular horn mentioned above (1217-1290) and found that, according to JBL, this horn was offered "for applications where the enclosure requirements do not permit a longer horn". At this point, I'm becoming seriously interested, and I start shopping.

To do or not to do: the technical aspects

How feasible is this when we look at some numbers? As to operating ranges and crossover frequencies, I see no problem: The L220 crosses over at 800hz and 5000hz. Both the LE85 and LE175, according to JBL, are for use above 500hz. Both have been used in 2-way systems, so to operate either in the range from 800 to 5000hz shouldn't be a problem.

The main difference between the LE85 and LE175 is the size of the magnetic structure, with the LE85 being larger, and heavier. From looking at the specs, I'm not sure what difference there would be sonically in my application, if any. Physically, they are the same depth, but the LE85 has a larger outer diameter.

I find a very nice pair of LE175 Drivers on eBay, with 1217-1290 Horns with a fron flange mount (that will help me with depth, though it will require a new midrange mounting plate). Having decided that these will work, I make the seller an offer, and he accepts.

But isn't the horn I've decided on "too short"?

I admit that I'm not an expert on horn applications, but I think this will work. One member over at Lansing Heritage Forums advises me that I shouldn't use this arrangement under 1200hz, and my crossover crosses to the mid at 800 hz. I counter that JBL rates this unit down to 500hz. He counters back that just because it can, doesn't mean you should, and that a longer horn goes deeper. He may be technically correct, but I'm committed at this point.

I do offer one counterargument however: the LES-9, the stock mid for the L220, according to JBL, is for use in applications over 800hz, the very frequency that the L220 crosses to the mid at. So aren't we stretching the limit here? With the LE175, I have 300hz "to spare".

What about the timing?

Here we are back to the "acoustical alignment" that JBL touted pretty proudly when they introduced the L220. Doesn't setting a driver further back from the lens destroy this aspect of the design? Or, given the examples of other JBL models with acoustic lenses and horns (ala L300) was this perhaps more marketing than anything else? Did JBL make a last minute cost-cutting decision and opt for a cone driver instead of a horn loaded compression driver? The fellows who I've communicated with who have modified their L220's have all pondered this as well, and they tell me that it has not compromised the "timing" to their ears, for whatever reason. It didn't seem to matter. At any rate, by implementing the shorter horn, I'll be doing less to negate any timing criteria than I would be using a longer horn, theoretically.

What if I make the change, and don't like it?

This is the best part.....the L220's design is such that, if we don't like the results, we can always convert it back to the original configuration. After all, we aren't cutting the front baffle, or anything like that-since everything pertaining to the midrange is sub-baffle.

What new parts will be needed?

In order to mount the new horn, a new sub-baffle will need to be designed and fabricated (we want to retain the old one anyway, in case we want to revert back). We also need a new back enclosure plate, with a new, higher access point for the L-pads, which will be relocated off of the crossover board. This is because we will stash the circuit board inside next to the horn, to clear the way for the new drivers. We'll also install new L-Pads, since JBL made the old ones very difficult to remove (the knobs are pressed on so as to be nearly impossible to remove) and also because, well, just because.

Okay, so lets look at the new components:

Here is the LE175 compression driver, mounted to the 1217-1290 Horn:




Here is the new Horn mounting plate, and the new back plate:




Checking the fit: (Helicoil inserts were used for the machine mounting screws)




And the new parts painted: (also showing the new aluminum L-Pad mounting plates installed)








So, the big day arrived, and I began the installation. The first two photos show the stock LE5-9 cone drivers, mounted on the stock mounting plate, next to the replacement horn/driver.






In order to have everything line up properly, I did have to have a very small amount of material milled off the bottoms of the new horn mounting plates.




I re-used the original wooden spacers. The lower spacer also serves as a clamping support at the bottom of the horn mounting flange. These Horns are quite heavy!!




And finally, the units are installed....






The installations went very smoothly, and they are mounted ROCK solid. I was really surprised and relieved that the mechanical installation went as well as it did. Of particular concern was that the acoustic lens went back in properly on the new mount. If it did not, I'd have some problems, especially since I'd previously made the custom grilles with the cutouts for the lenses! But, it all went back together pretty much perfectly:





At this point, it was time for a test drive. It had been a pretty long day, and I still had those new L-Pads to wire in. I decided to save that task for the next day, and so I stashed the networks inside, and started playing the system.

The proof is in the listening

I knew from other users that once installed, it would be necessary to turn down the midrange L-Pads about 1/4 rotation. This is due to the very high efficiency of the LE175 compression driver. So I turned down the pads before temporarily stashing the networks inside the cabinets.

How does the modification sound? In a word, WOW! This is a big change, a huge improvement. The midrange is much more lifelike, much greater air, and supremely articulate. And, much, much smoother. One concern I had was whether any of the soundstaging aspects that I'd liked so much with the speakers in their previous state might be impacted negatively. For instance, many vocals will appear solidly placed between the speakers, as if there is a center speaker. Some recordings display this so well it's uncanny. A couple of recordings that come to mind here: the opening minute or two in Donovan's Atlantis. Another is Scott MCKensie's San Fransisco. I tested several recordings, listening for any losses in the great soundstaging that the L220 had previously. The result: nothing lost, even improved more! These units sound marvelous...it's a huge improvement. Within 20 minutes (or less), I knew I would never be re-installing the cone drivers. With each recording I played, the improvement was obvious. I was, and am, soooo pleased. The speakers simply are sounding glorious. The kind of vocal presentation that's "to die for", particularly female vocals. But not only voices have taken on a new life, there are all kinds of nuances in the 800-5000hz range that are a lot of fun, and I'm picking up on a lot of these that I really wasn't hearing before. Needless to say, I know I'll be having a lot of fun re-listening to a ton a music. But right now (or, the next day, actually, there is more work to do.

The finishing touches...

Here's a few shots of the new L-Pads wired in, the network card in its new location, and a look at the new back panel installed:











And why not a shot of the previously upgraded WBT Binding posts?




Some afterthoughts

This project was something I'd pondered doing for the past 15 years. Along the way, there were many moments of doubt, a number of people telling me don't mess with the original design, you'll be sorry, and so on. Now, I just think about those doubts and warnings, and I just smile. This was without a doubt worth all the time and effort.

Could I have done even better? Perhaps. Maybe a longer horn would be "better". But the idea of extending the back did not appeal to me at all. Would the LE85 driver be "better" than the LE175? Perhaps, but I don't have any data one way or the other on that.

Every design endeavor has trade-offs. I was willing to chance a slightly shorter horn in the interest of a tidy, closed up enclosure-perhaps at the expense of a slightly flatter frequency response. I did, when the horns first arrived, set them up crudely atop the enclosure and ran some pink noise tones with my Soundcraftsmen AS1000 Analyzer and took some readings with my own Sound level meter. I did not detect a deficiency in the 800-1200Hz range. This was hardly a scientific test, and not in a laboratory. In any event, I'm not sweating it. Because in the end, the proof is in the listening. And my ears are very, very happy.

If you've gotten this far, thanks for reading. I know this got pretty long....
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No. 35


Main System: VPI Prime Signature TT in Rosewood, Ortofon Cadenza Black, McIntosh: MP100, MR78, MCD1000 Transport on Stillpoint ultra minis, MDA1000 D/A Converter on Stillpoint ultra minis, MS750 Music Server on Rollerblock Jr's, C40, MC501's (3), Soundcraftsmen: DC2215 Eq/AS1000 Real time analyzer, DBX 3BX II, Carver C9, Nakamichi Dragon, Crown SX724, Crown D-75A (as headphone amp), Sony XBR55X900E 4K TV, JBL L220A's, JBL B460, Sumo Delilah active crossover, WireWorld Silver Eclipse audio interconnects, WireWorld Starlight and Silver Starlight Coaxial Digital interconnects, Wireworld SuperNova 7 Toslink digital interconnect, WireWorld Aurora 7 and Silver Electra Power cords, Wireworld Silver Eclipse 8 speaker cables, Terk AF-1 Powered Antenna, Oppo UDP-205 4K Blu-Ray Player, Bryson BUC-1 USB Converter, Wireworld Gold Starlight XLR Digital interconnect, PS Audio Direct Stream Power Plant 12, PS Audio Dectect, FuruTech Flux-50 NCF Inline Power Filter, Add-Powr Eau2 Electra-clear AC harmonic resonance generator

Florida Room/Art Studio System: Harmon Kardon T60 TT/Ortofon 2M Black, McIntosh: MR77, C32, MC2205; Crown Power Line Four, Wyred for Sound DAC-2 Digital to Analog converter, Soundcraftsmen AE2000 Eq, JBL 4313B's, JBL 2241-based Sub, JBL BX63A Active Crossover, Oppo BDP-105D Blu-Ray Player, Samsung 5500 Series 32" Smart TV, Terk AF-1 Powered Antenna

Master Bedroom System: McIntosh: MX120 Theater processor, MC206 6-channel amplifier; MR74 AM/FM Tuner, Oppo UDP-203 4K Blu-ray player, JVC HM-DH40000U D-Theater Digital VHS, Phase Technology PC80 Towers (now used as stands), (2) JBL 4401's, (1) JBL Studio 6IW speaker, (2) JBL Studio 6IC speakers, Sony XBR-49X900E UHD TV, Panamax 1000 Line Conditioner, (2) JL Audio E110 Subwoofers, Wireworld Solstice speaker cables, Wireworld Aurora Power cords, Wireworld Equinox and Solstice speaker cables and various other flavors of Wireworld and Audioquest cabling

Office System: Marantz 150 Tuner, Crown DL 2, Crown EQ 2, Crown SA 2, Crown D-75A (as headphone amp), McIntosh MCD7009 (as transport), DBX 3BX Series II, Oppo BDP-103 Blu-ray player, JBL 4401's, JL Audio E112 Subwoofer, Samsung 5500 series 32" Smart TV, Wire World Oasis audio interconnects, Wire World Solstice speaker cables, Wyred for Sound DAC-2 DSDse Digital to Analog converter, Wireworld Starlight Coaxial Digital Interconnect, Sennheiser HD800 Headphones, Sennheiser HDVA600 Headphone amp, Wireworld Silver Eclipse Balanced Interconnects, Wireworld Platinum Starlight USB Cable

High Resolution Source: HP Omen 17" Gaming Laptop

Last edited by Vintage Pete; 04-11-2020 at 10:08 PM.
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Old 04-10-2020, 10:10 PM
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Masterlu Masterlu is online now
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Pete... what a wonderfully detailed upgrade. Thanks for sharing your passion, effort, description, and photos.

Very well done! now sit back and enjoy all your hard work.
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Reference System: BURMESTER 911MK3 AMP(3), 088 PRE-AMP, 089 CD PLAYER, 100 PHONO PRE-AMP, 948 POWER CONDITIONER, ACCUPHASE DG-68 VOICING EQUALIZER, AVID ACUTUS REFERENCE SP TT, GRAHAM PHANTOM II SUPREME ARM, BENZ MICRO LP-S CART, GRANDIOSO P1/D1 STACK, G1 RUBIDIUM MASTER CLOCK, N05 NETWORK PLAYER, SILENZIO MUSIC SERVER, HRS-SXR CUSTOM RACK w/ M3X SHELVES, SONUS FABER AIDA SPEAKERS, JL FATHOM F113v2 SUBS(2) SOUND ANCHOR STANDS(2) WW PLATINUM CABLES

Library System: GRANDIOSO M1 MONOBLOCK AMPS, C1 LINESTAGE PRE-AMP, K1X CD/SACD PLAYER, G1 MASTER RUBIDIUM CLOCK, E02 PHONO-PRE, SILENZIO MUSIC SERVER, AERIAL ACOUSTICS 20T V2, AERIAL SW12 SUBS(2), CANTON REF K1’s, VPI HRX TT w/ SDS POWER SUPPLY, ORTOFON CADENZA BLACK CART, KLAUDIO RCM, SHUNYATA DENALI 6000/S v2, SHUNYATA OMEGA QR’s, WW PLATINUM CABLES
Esoteric/Bryston System: ESOTERIC C02-X PRE-AMP, P-02X TRANSPORT, D02-X DAC, G02-X CLOCK, BRYSTON 28B3 CUBED MONOBLOCK AMPS, BRYSTON BHA-1 HEADPHONE AMP, SHUNYATA DENALI 6000/S v2(2) EVEREST 8000 POWER CONDITIONER(2) AMR-DP777-SE DAC, SILENZIO MUSIC SERVER, TAD REFERENCE ONE MK2 LOUDSPEAKERS, QUADRASPIRE RACK, WW PLATINUM CABLES
Accuphase/Canton System: ACCUPHASE E800 INTEGRATED, DP570 CD/SACD PLAYER, T1200 FM STEREO TUNER, DG-68 VOICING EQUALIZER, PS530 POWER SUPPLY, CANTON REF K3’s, CANTON REF K5’s, SILENZIO MUSIC SERVER, HRS MXR REFERENCE MAHOGHANY RACK w/ M3X2 SHELVES, WW GOLD CABLES
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Old 04-10-2020, 10:15 PM
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Quote:
Originally Posted by Masterlu View Post
Pete... what a wonderfully detailed upgrade. Thanks for sharing your passion, effort, description, and photos.

Very well done! now sit back and enjoy all your hard work.
Thank you Ivan....I had fun doing it. But I'm glad it's done!
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Pete

No. 35


Main System: VPI Prime Signature TT in Rosewood, Ortofon Cadenza Black, McIntosh: MP100, MR78, MCD1000 Transport on Stillpoint ultra minis, MDA1000 D/A Converter on Stillpoint ultra minis, MS750 Music Server on Rollerblock Jr's, C40, MC501's (3), Soundcraftsmen: DC2215 Eq/AS1000 Real time analyzer, DBX 3BX II, Carver C9, Nakamichi Dragon, Crown SX724, Crown D-75A (as headphone amp), Sony XBR55X900E 4K TV, JBL L220A's, JBL B460, Sumo Delilah active crossover, WireWorld Silver Eclipse audio interconnects, WireWorld Starlight and Silver Starlight Coaxial Digital interconnects, Wireworld SuperNova 7 Toslink digital interconnect, WireWorld Aurora 7 and Silver Electra Power cords, Wireworld Silver Eclipse 8 speaker cables, Terk AF-1 Powered Antenna, Oppo UDP-205 4K Blu-Ray Player, Bryson BUC-1 USB Converter, Wireworld Gold Starlight XLR Digital interconnect, PS Audio Direct Stream Power Plant 12, PS Audio Dectect, FuruTech Flux-50 NCF Inline Power Filter, Add-Powr Eau2 Electra-clear AC harmonic resonance generator

Florida Room/Art Studio System: Harmon Kardon T60 TT/Ortofon 2M Black, McIntosh: MR77, C32, MC2205; Crown Power Line Four, Wyred for Sound DAC-2 Digital to Analog converter, Soundcraftsmen AE2000 Eq, JBL 4313B's, JBL 2241-based Sub, JBL BX63A Active Crossover, Oppo BDP-105D Blu-Ray Player, Samsung 5500 Series 32" Smart TV, Terk AF-1 Powered Antenna

Master Bedroom System: McIntosh: MX120 Theater processor, MC206 6-channel amplifier; MR74 AM/FM Tuner, Oppo UDP-203 4K Blu-ray player, JVC HM-DH40000U D-Theater Digital VHS, Phase Technology PC80 Towers (now used as stands), (2) JBL 4401's, (1) JBL Studio 6IW speaker, (2) JBL Studio 6IC speakers, Sony XBR-49X900E UHD TV, Panamax 1000 Line Conditioner, (2) JL Audio E110 Subwoofers, Wireworld Solstice speaker cables, Wireworld Aurora Power cords, Wireworld Equinox and Solstice speaker cables and various other flavors of Wireworld and Audioquest cabling

Office System: Marantz 150 Tuner, Crown DL 2, Crown EQ 2, Crown SA 2, Crown D-75A (as headphone amp), McIntosh MCD7009 (as transport), DBX 3BX Series II, Oppo BDP-103 Blu-ray player, JBL 4401's, JL Audio E112 Subwoofer, Samsung 5500 series 32" Smart TV, Wire World Oasis audio interconnects, Wire World Solstice speaker cables, Wyred for Sound DAC-2 DSDse Digital to Analog converter, Wireworld Starlight Coaxial Digital Interconnect, Sennheiser HD800 Headphones, Sennheiser HDVA600 Headphone amp, Wireworld Silver Eclipse Balanced Interconnects, Wireworld Platinum Starlight USB Cable

High Resolution Source: HP Omen 17" Gaming Laptop
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Old 04-11-2020, 12:05 AM
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What a great project...and a wonderful writeup, Pete. Enjoy the listening. (I'm sure you will.)
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Bedroom:Win 10 laptop/JRiver Media Center 28 (remote-controlled by another Win10 laptop), TEAC UD-501, Walker-mod Luminous Audio Technology Axiom II passive attenuator, conrad-johnson MF2500, Paradigm Studio 20 v.5, Shunyata Hydra Delta D6, Wireworld Eclipse 8 IC and SC, Shunyata Delta XC v2 & Delta NR v2 power cords, Shunyata Alpha USB, Venom Defender v2, Butcher Block Acoustics platforms, Stillpoints Ultra SS and Ultra Mini footers, Diversitech E.V.A. MP-2E anti-vibration pads, Stillpoints Aperture II and GIK Alpha 4A and 244 acoustic panels.

Home Office: Win 10 HP PC/JRiver Media Center 28, TEAC UD-501 DAC, Luminous Audio Technology Axiom Mk II, conrad-johnson Sonographe SA250, Paradigm SE-1, Wireworld Silver Starlight 7 USB, WW Eclipse 7 & Equinox 6 ICs, Blue Jeans/Belden 5T00UP speaker cable, Shunyata Hydra, Venom NR v10 PCs, Sony BDP-S590 (SACD ripper)

Living Room: Win 10 laptop/JRiver Media Center 28, TEAC UD-501 DAC, SOTA Sapphire III, Origin Live Encounter Mk3c/Ortofon 2M Black, Graham Slee Era Gold V, McIntosh MR77, Oppo BDP-83, conrad johnson Premier 17LS & MF2500, Paradigm SE-3. Wireworld Starlight 7 USB, WW Eclipse 7 and Equinox 6 ICs, Blue Jeans/Belden 5T00UP SC. Shunyata Hydra 8 v2, Delta NR v1 and V2, and Venom 14D power cords, Stillpoints Ultra SS footers, GIK 244 and Monster traps.
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Old 04-11-2020, 06:42 AM
MainAnalog MainAnalog is offline
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Phenomenal write up. Makes me think about setting up a "classic" system to tinker with. Hmmm start with finding my old Marantz 2275 receiver but upgrading from my college klipsch Heresy's to JBL would be building what I wanted to buy back then. Great to see you enjoying your system still. It's what this hobby should be about
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Old 04-11-2020, 09:32 AM
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Pete,
Thank you for the excellent writeup and photos on your JBL upgrade. I really enjoyed reading it. I can only imagine the improvement you are enjoying with your new JBL's. Your dedication and passion for audio is refreshing! Well done.
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Old 04-11-2020, 10:08 AM
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Nice JBL and your Marantz tuner is wow.
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Old 04-11-2020, 11:30 AM
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Pete, man the attention to detail, very professional and thought out. Love the passion in enhancing an already solid foundation. Great sense of accomplishment in completing this project no doubt when listening to your favourite tunes!
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Yamaha A-S2200. McIntosh D100 > Bluesound Node2i. Clearaudio Performance DC/Clarify. Benz Micro Ace SM. Gold Note PH-10, Gold Note PSU-10. Shunyata Research Hydra Delta D6 / Crystal Cable, Wireworld, Acoustic Zen, Audioquest. Klipsch Cornwall III.

Greg
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  #9  
Old 04-11-2020, 12:33 PM
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W9TR W9TR is offline
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Location: The Neutral Zone
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Fun mod Pete - everything looks awesome and from your description sounds awesome as well. Congrats!
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Main System:
Amati Futura Mains
Amati Homage VOX Center,
Proac Response 1sc Rears,
Three MC2301's for L,C,R
MC 602 for the rears
C 1100, MX 151, MCD 1100, MR 80
Nottingham Dais with Wave Mechanic
Sumiko Palo Santos Presentation

SurfacePro 3, RPi 4, ROON, WW Starlight Platinum USB, Schiit Yggdrasil, Benchmark DAC3 HGC

MX 151, OppO BDP-95, JVC RS-500 DILA projector, 106" diagonal Stewart Luxus Screenwall Deluxe with Studiotek 130 G3 material.

Lake House:
Ohm F, MC 275V, C2300, MR 77, Rega P3

OnDeck:
McIntosh MAC 4300v
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Old 04-11-2020, 12:38 PM
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Vintage Pete Vintage Pete is offline
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Join Date: Apr 2009
Location: Tampa Bay, FL
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Thank you gentlemen....I have to say the speakers are really sounding amazing. I'm glad I did it. It's hard to tear myself away from the system now to do other things....and there is another audio project in the works. Stay tuned...
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Pete

No. 35


Main System: VPI Prime Signature TT in Rosewood, Ortofon Cadenza Black, McIntosh: MP100, MR78, MCD1000 Transport on Stillpoint ultra minis, MDA1000 D/A Converter on Stillpoint ultra minis, MS750 Music Server on Rollerblock Jr's, C40, MC501's (3), Soundcraftsmen: DC2215 Eq/AS1000 Real time analyzer, DBX 3BX II, Carver C9, Nakamichi Dragon, Crown SX724, Crown D-75A (as headphone amp), Sony XBR55X900E 4K TV, JBL L220A's, JBL B460, Sumo Delilah active crossover, WireWorld Silver Eclipse audio interconnects, WireWorld Starlight and Silver Starlight Coaxial Digital interconnects, Wireworld SuperNova 7 Toslink digital interconnect, WireWorld Aurora 7 and Silver Electra Power cords, Wireworld Silver Eclipse 8 speaker cables, Terk AF-1 Powered Antenna, Oppo UDP-205 4K Blu-Ray Player, Bryson BUC-1 USB Converter, Wireworld Gold Starlight XLR Digital interconnect, PS Audio Direct Stream Power Plant 12, PS Audio Dectect, FuruTech Flux-50 NCF Inline Power Filter, Add-Powr Eau2 Electra-clear AC harmonic resonance generator

Florida Room/Art Studio System: Harmon Kardon T60 TT/Ortofon 2M Black, McIntosh: MR77, C32, MC2205; Crown Power Line Four, Wyred for Sound DAC-2 Digital to Analog converter, Soundcraftsmen AE2000 Eq, JBL 4313B's, JBL 2241-based Sub, JBL BX63A Active Crossover, Oppo BDP-105D Blu-Ray Player, Samsung 5500 Series 32" Smart TV, Terk AF-1 Powered Antenna

Master Bedroom System: McIntosh: MX120 Theater processor, MC206 6-channel amplifier; MR74 AM/FM Tuner, Oppo UDP-203 4K Blu-ray player, JVC HM-DH40000U D-Theater Digital VHS, Phase Technology PC80 Towers (now used as stands), (2) JBL 4401's, (1) JBL Studio 6IW speaker, (2) JBL Studio 6IC speakers, Sony XBR-49X900E UHD TV, Panamax 1000 Line Conditioner, (2) JL Audio E110 Subwoofers, Wireworld Solstice speaker cables, Wireworld Aurora Power cords, Wireworld Equinox and Solstice speaker cables and various other flavors of Wireworld and Audioquest cabling

Office System: Marantz 150 Tuner, Crown DL 2, Crown EQ 2, Crown SA 2, Crown D-75A (as headphone amp), McIntosh MCD7009 (as transport), DBX 3BX Series II, Oppo BDP-103 Blu-ray player, JBL 4401's, JL Audio E112 Subwoofer, Samsung 5500 series 32" Smart TV, Wire World Oasis audio interconnects, Wire World Solstice speaker cables, Wyred for Sound DAC-2 DSDse Digital to Analog converter, Wireworld Starlight Coaxial Digital Interconnect, Sennheiser HD800 Headphones, Sennheiser HDVA600 Headphone amp, Wireworld Silver Eclipse Balanced Interconnects, Wireworld Platinum Starlight USB Cable

High Resolution Source: HP Omen 17" Gaming Laptop
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