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Thread: More mooks, awesome tweaks

  1. #231
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    Quote Originally Posted by Mike Lavigne View Post
    I read thru this thread and I am intrigued by what I'm reading. I have the whole decoupling thing handled with Herzan and Wave Kinetics A10 U8's and 2NS's. I'm curious about gear resonance and acoustics tuning.

    if one were to jump into the Shun Mook pool; what would be the proper degree of 'jumping' to discover whether they were effective?

    3 sets of Mpingo Discs?

    3 of the wood holders for the discs?

    2 sets of 3 Ultra Diamond Resonators?

    I'm thinking on top of my darTZeel 458 mono blocks. on top of my Entreq Poseidon and Silver Tellus. on top of my Golden Gate. on top of my (86" tall) speaker towers? possibly on my baseboard rounded soffit surface at the front of my room or on the windowsills?

    maybe on the arm board of my tt. I already have a wonderful Durand tt weight that I love.

    coach me up a bit. my system does seem to relate the smallest changes clearly.
    Hi Mike,

    I think the first thing you could do to experience some of this voodoo is purchase a set of Giant Diamond Resonators and place them under your Dartzeel preamp or GG. I think that is where I would start...

  2. #232
    Quote Originally Posted by Audiophile Bill View Post
    Hi Mike,

    I think the first thing you could do to experience some of this voodoo is purchase a set of Giant Diamond Resonators and place them under your Dartzeel preamp or GG. I think that is where I would start...
    Well, some might call it indeed voodoo but imo it is not. Ebony is just a very special wood that influences the acoustics of a room as well as that of instruments. Billy Ying of SM can inform you much better (and he is an interesting story teller!) than I can but I experienced this various times in different rooms and with different audio set ups.

    When my son started playing the clarinet he started with a modern instrument. After a while we bought him a vintage Selmer clarinet of ebony wood and the tonality of the latter is so much more beautiful than the former, really no comparison.

    If you place a (large) block of ebony in your listening room, this will change your acoustics, even if you not place it under or on top your audio components. That is also the idea behind the SM quartet and sextet and believe me, they change the sound of your room. Whether you like this change or not, that is another question.

    As Bill suggested already Mike I would start with one set of three SM feet and I can assure you it will do very good work under the GG. My GG, although placed on a wooden rack, is (also) magnetically decoupled through my Accurion/Halcyonics vario 40 devices under my wooden audio racks but still the SM feet added to the sound quality. Can not predict if the SM feet will work under your Dartzeel preamp as I have no experience with this preamp, but it will definately be interesting to try it out.
    Last edited by Audiocrack; 01-11-2016 at 07:42 AM.

  3. #233
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    Quote Originally Posted by Audiocrack View Post
    Well, some might call it indeed voodoo but imo it is not. Ebony is just a very special wood that influences the acoustics of a room as well as that of instruments. Billy Ying of SM can inform you much better (and he is an intesting story teller!) than I can but I experienced this various times in different rooms and with different audio set ups.

    When my son started playing the clarinet he started with a modern instrument. After a while we bought him a vintage Selmer clarinet of ebony wood and the tonality of the latter is so much more beautiful than the former, really no comparison.

    If you place a (large) block of ebony in your listening, this will change your acoustics, even if you not place it under or on top your audio components. That is also the idea behind the SM quartet and sextet and believe me, they change the sound of your room. Whether you like this change or not, that is another question.

    As Bill suggested already Mike I would start with one set of three SM feet and I can assure you it will do very good work under the GG. My GG, although placed on a wooden rack, is (also) magnetically decoupled through my Accurion/Halcyonics vario 40 devices under my wooden audio racks but still the SM feet added to the sound quality. Can not predict if the SM feet will work under your Dartzeel preamp as I have no experience with this preamp, but it will definately be interesting to try it out.
    Agree Bill Ying does have a place in some setups--pity the knockers can never accept that-so be it --life's like that

    I've had 6 blocks of Gabon Ebony placed around my room for yonks--who cares I like them there--and horror upon horrors!--I also have SDR's under the TT on which I also place the SM Record Clamp!-- that really gets them going into fits I've read

    In my system they have all found a place--just pity for the aura of object negativity that emits from some--maybe if they took the trouble to try the product, but mock me not--for I have had box loads of tweaks go the way of the Dodo--useless most of them $$'s down the gurgler

    Funny though the SM's and Ebony remain

    Ah well

    BruceD
    Last edited by BruceD; 01-10-2016 at 07:12 PM.

  4. #234
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    Something interesting to read regarding Bill Ying's Shun Mook. Please note that the references link to the made test are lost now!

    http://www.shunmook.com/explained/HK...Test%20-LH.pdf

    Please don't ask me about this measurements, I'm not an expert, but at least, a trained listener. (I believe )

    I'm a Shun Mook fan since there beginnings (about 20 years or so). Also a wood fan. My music room rack is about two tons weight made from Dalbergia retusa (Costa Rica's Rosewood) , called here Cristóbal and some darker varieties, called Cocobolo. I have also several statues from the last one made by local artist, placed, of course in my my listening room. I own the full Shun Mook line, Shun Mook Pucks, Resonators & Spatial Control Sextet. The Spatial Control Sextet is special ordered with a third row and a 'sextet' not a 'quartet', that is the 'normal'.

    Bill Ying is a nice reachable guy even if you live 800 milles away (I'm 3,000 away). Last time I wrote him he was improving acoustics of some Buddhist temples in the Far East, where, by religion, good music playback is a must. Also in music auditories and halls.

    Roch

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  5. #235
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    Hi Roch, you are Roberto's friend. There are a few of you in Costa Rica with extensive Shun Mook applications, and a couple of you on this forum with the Lampi as well

  6. #236
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    Damping works, so how can you guys who are putting the mooks up on the top of a component be sure it's the mook and not just random weight? Did you try that damping with another weight?

  7. #237
    Quote Originally Posted by bonzo75 View Post
    Damping works, so how can you guys who are putting the mooks up on the top of a component be sure it's the mook and not just random weight? Did you try that damping with another weight?
    I thought Mooks were resonators, that's what it says on their confidential ,technical paper.
    Keith.

  8. #238
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    Quote Originally Posted by bonzo75 View Post
    Damping works, so how can you guys who are putting the mooks up on the top of a component be sure it's the mook and not just random weight? Did you try that damping with another weight?
    Hi Ked,

    Yes - I tried using a Stillpoints lps record clamp - many people use this do dampen vibrations on amps. I noticed that Kj are using them in this capacity on their naim statement gear - they seemed to suggest that it was a worthwhile improvement.

    When you add the diamond resonator on top, it has that Mook signature that is easily recognisable and distinct compared to the Stillpoints lps. The Stillpoints lps made a very, very small difference to the GG - I would say a fraction tighter in sound, which is not really welcome for me.

  9. #239
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    Quote Originally Posted by Audiophile Bill View Post
    Hi Ked,

    Yes - I tried using a Stillpoints lps record clamp - many people use this do dampen vibrations on amps. I noticed that Kj are using them in this capacity on their naim statement gear - they seemed to suggest that it was a worthwhile improvement.

    When you add the diamond resonator on top, it has that Mook signature that is easily recognisable and distinct compared to the Stillpoints lps. The Stillpoints lps made a very, very small difference to the GG - I would say a fraction tighter in sound, which is not really welcome for me.
    Hmmmm, I wonder where they got that idea from Bill

    Like Bill I had previously utilized the Stillpoints LPS's, to fair effect, however the efficacy and most importantly the tonality and harmonics, especially notable on classical strings and acoustic guitar, are more natural and organic with the Resonator's in play.

  10. #240
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    Having finally gotten around to addressing the Mooking of my Ref250se's I Am awaiting the delivery of a couple of sets of Ultra's .

    I do not expect quite the same degree of positive effect as achieved on source and Pre, having previously experimented with Giants and Ultra's on Ref150 and GS150, however I am looking forward to re visiting the experience.

    Also looking into raw Mpingo lumber in order to fashion larger pads to seat the diamond tips.

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