Yup @stereo5, Simon was living in Portland, about a half hour drive from me (he has since moved back to the UK). I got to hear not only his impressive system (Magicos, VTL amps, ARC REF40 pre (since replaced with a VTL), DCS Vivaldi, EAR-Yoshino table/Durand arm/Miyajima cartridge, but also:
- His listening room, designed by Art Noxon (ASC) and built using ASC products. Though small in size, in some ways the best room I’ve ever been in, particularly the non-resonant walls, courtesy of the fantastic ASC Wall Damp constrained-layer damping squares.
- The Townshend Audio Seismic Podiums upon which his Magicos sat (on top of a concrete floor). Counter-intuitive, the Seismic Pods allow the speakers to "float" when nudged. This idea would seem to violate Newton’s law, yet the use of the Townshend Seismic products leads, as many UK reviewers have learned, to better sound from speakers than do spikes.
- The Herzan isolation platform upon which his table was sitting. I WANT one!
- The KL Audio Ultrasonic record cleaner. Simon cleaned my British-pressing LP of Cat Stevens’ Tea For The Tillerman (yes, the original "sunray" label Island), and I was immediately sold. I’m now saving for a Degritter.
- A full plethora of Synergistic Research products. Simon’s system was the "quietest" I’ve ever heard, not a hint of hum, buzz, hiss, or any other noise.
I also listened to Richard & Linda Thompson’s Shoot Out The Lights LP (UK Hannibal pressing), long a demo disc for me, and great music. It sounded astounding, extremely detailed and dynamic. Quite a bit more extreme-treble output than I’m used to (Townshend Audio tweeters were augmenting the Magico tweeters), and sound very unlike the planars I prefer (Quad ESL, Magneplanar Tympani T-IVa, ET LFT-8b). But we all choose our poison, ay? ;-)