best preamp ever - cost is no object

Ryan,
Where did I mention a graphic equalizer? I have never own a graphic EQ but that is exactly what a Cello Palette is; try to tell Tom Jung of DMP, Shawn Murphy of Hollywood/movie scoring fame, Mrs. Wilma Kozart of Mercury Living Presence fame that their $25K Cello Audio Palettes are a piece of junk! It is used in many of the recordings that you use to evaluate system as a "reviewer".

I hate to say it but I think that you have clearly over-stepped your area of expertise and are quickly getting yourself in trouble when you try to discuss electronic circuit design and mastering studio gear with me. Don't say I didn't warn you as I'm known to be ruthless.

Norm,
Look it up at Texas A&M University, College Station as I earned a degree in physics and a separate degree in Electrical Engineering there. I know that you are retired now but perhaps you still know someone there who has access to the records at the register's office.

I know about John Tucker the ex-NASA engineer.

By the way Norm, let me shake your memory a little bit. You actually listen and favorable commented on my Seamless Interface Electro-Acoustiques Big Dog TVC (Transformer Volume Control) about five years ago. We had a brief chat on how we both thought highly of the Victor Goldstein's Fanfare Fi Millennium Siltech/Plinius preamplifier and how we both thought that the Tecnik Avant Garde (TAG) Model One was the best solid state preamplifier we both had heard. Look at the pictures under my system here on Audiogon and you'll see that I still have mine and it has been upgraded to Ultimate level.

Does that jar your memory?

My work for NASA can be documented and pictures of my diplomas for degrees in Physics and a separate one for Electrical Engineering can be furnished if you wish. I'm neither ignorant nor do I have anything to hide.

I think this discussion is entertaining and that's about it!
When it comes to audio there is never a best of anything. It's
just a matter of opinion.

carlos, again thanks for the invite. but first off, i am unavail this weekend, and 2ndly, i need to know exactly what you changed in the past 3yrs or so since last i visited. while i am happy you were / are so enamored of your rig, it was a sound i was none too fond of at the time, and i hate to waste another few hours of my time to listen to systems that suit me not.

further, do you realize that your statements are akin to state that you & you alone know the truth? that all collective wisdom is simply passing fancy and fraud? certainly it has been proven false in the past by geniuses such as galileo, einstein, et al---but these were denizens who dedicated their lives to advancing the sciences they work in every moment of the day.

in contrast, you are an audiophile, and a physics & engineering degree from texas A&M is not something by which makes you an exclusive authority on circuit layout, power supply design, parts voicing et al (i know experts in all these capacities, and none are experts in all 3---see principles on division of labor and accepting one's limitations as one can not know all there is to know. period.). now, had you a litany of audio products you manufactured (i.e. the better mousetrap, see vlad lamm) by which your opinions were formed and hence found acceptance in the market, then your opinion would be validated. until then, your opinion is just that.

and whether i like the sound in your system, or i didn't, wouldn't change that one bit.

we are all in pursuit of our own mona lisa. and you don't know how anyone else likes their ladies.

Ryan,
Here is just a few of the things which are different about my current system than the one that you heard four years ago:

1. To begin with the Transport has been changed to a Forsell Air Reference Mk.IV air-bearing transport.
2. The whole digital chain is moved to 2x DSD = 1bit at 5.6MHz before it gets converted to analog via the best DSD/DXD converter in the world.
3. The biggest change in my system has been the incorporation of high-end studio gear, both in the digital and the analog chains, which let me have complete control of all parameters associated with audiophile benchmarks (soundstage width, depth and height control, tonal balance spectral content, upward compression of low level details and on and on and......)
4. In the winter months I use my NRG Control A-401M monoblocks these massive amps are 400 Watts of pure class A power and have the control and authority to make your knees buckle.

There are way too many changes to list here and frankly is kind of dump to list the specific as you have to take the system and its sound as a whole.

By the way, my analog sources have changed to reference Transrotor and Micro-Seiki turntables. The phonostages have changed to Audion Premier Quattro custom three-chassis design and a rare six-tube David Manley MC Balance design for Simon Yorke. All these analog sources get converted to 2X DSD (1bit/5.6Mhz).

The whole system takes into account room correction and acoustic treatment has been added to the room since you last were here.

Like I said I could go on and on. The list of new equipment is endless as well as I have tried a great number of amplifiers, preamps, sources and speakers in my reference system.

By the way, as far as being an authority on audio circuits, audio circuits are relatively SIMPLE compare to the state-machines that I have been designing in ALTERA FPGA's lately so I can assure you that there is nothing; I repeat NOTHING that you can teach me in the way of audio circuit design and topologies. While Audio circuit design is not my business, I can assure you that I'm more than capable, as I have shown whenever I have modified and ventured into audio circuit designs and modifications. Like I said, you're up against a bull and I would watch your steps when you challenge my knowledge of audio and electronics in general.

How about me coming over and listening to your system first? Is that fair enough? I want to hear what you bring to the table as a reviewer and to see what your reference is.

By the way, one of the new speakers in my stable is the Wilson Audio WITT Series II do you know why Wilson Audio discontinued them? Because they couldn't sell the WATT/PUPPY 6 once prospective buyers listen to how the WITT Series II gave them the slam and dynamics but also the "warmth" that the cold, analytical and sterile Watt/Puppy 6 did not. A VERY smart business move on Wilsons part if you asked me but it's a shame as the WITT Series TWO were the starts of their line-up at the time. Perhaps you may want to even compare my WITTS Series II to your Watt/Puppy 6 to validate this yourself; there you go I just gave you another reason to make the 25 minute drive.