Last Saturday, I was able to visit Titian down in what other Swiss call “Tiefschweiz†(“darkest Switzerlandâ€Â) and hear once again his remarkable system. GrahamN and Ian (Sideshowbob) reported on it previously - see, for example [URL]https://www.audio-forums.com/as-rediect/showthread.php?s=&threadid=367&highlight=three+lunatics[/URL] As readers may remember, it is essentially American, based around speakers and power amplifiers from US manufacturer Nestorovic, with an enormous Krell driving the two big subwoofers. The other details can be found here: [URL]http://aca.gr/pop_rai.htm[/URL] There are a couple of differences between the present set-up and the one reported here. Titian has replaced the CD player with a Metronome Kalista, a four-box player – well, actually three box and a transport that looks like a refugee from “Star Trek†(already present for the “Three Lunatics†tour). See [URL]http://www.metronome-technologie.com/admin/produit.php?id_titre=184[/URL] In addition, Titian now has new Pagode Master Reference supports from the German company Finite Elemente: [URL]http://www.finite-elemente.de/d,,produkte,pagodemasterref.html[/URL] They look very smart and he's very happy with them. Since there was only one of me this time, I was able to hear the system working in a wide variety of music of my choice and which I knew well. And I tell you, it was marvellous! I've never heard speakers disappear quite so completely. This depended very much on the recordings. Some recordings clung stubbornly to the boxes, but others (such as the Minowski version of Charpentier's Te Deum) floated freely in space between the speakers, in a way I'd never heard before. In his report, GrahamN described the big soundstage. I didn't notice this at the time, but this time, with material with which I was more familiar, I did. In Paul McCreesh's marvellous reconstruction of a Lutheran Mass for Christmas Day, the flaring trumpets and thundering drums of the final fanfare of “In dulci jubilo†definitely came from the back of the cathedral. Moreover, the system could be played incredibly loud, without your really noticing that this was the case. We did everything from mediaeval to Mahler and it all sounded great. In the King's Singers' classic recording of Clément Jannequin's madrigal “La Guerre†(complete with battle noises!), the sextet was there in front of you, just the way they stand on stage. The sonorities of Rachmaninov's Vespers in the famous Sveshnikov recording, with the deeeeeeeep rumbling basses were beautifully captured. Naturally I had to try Those Other Vespers – Gardiner and his merry (wo)men in Monteverdi's “Lauda Jerusalem†in San Marco, with the choral lines ricocheting between the double choirs, sounded glorious. And so did my old favourite test record, the Pinnock version of Handel's Water Music – as I mentioned last time, I've never heard the rasp of baroque violins better distinguished from their modern cousins. We also did some comparisons of various versions of the Bach Passacaglia in C and a bit of Mahler and, oh, quite a lot of other things. In short, it may not sound like live music in a concert hall (Titian's objective), but I've never heard anything that comes closer. If the system has a problem, it's that it's too good - it can take the software to its limits and then some. As a result, poor-quality recordings are exposed for what they are. Future developments? Titian wants to optimise the room acoustically and has already taken steps in this direction. In short, should I ever be left a fortune, I'm going to buy a house (to get a dedicated music room) and system just like this! P.S. I had both vinyl and CD versions of the Pinnock Water Music with me, so I had to try them out to hear the alleged superiority of vinyl. Except that I didn't, because it simply wasn't there. They sounded pretty much the same. There may have been subtle differences, but nothing that jumped out and shouted “Hey, look how much better I sound!†Having once caught myself in the act of hearing what I wanted to hear, I insist on a big, instantly-hearable difference, and I didn't get it. Titian said he could hear more “air†around the instruments in the vinyl version, but admitted that there really wasn't much difference between the two. He has been much happier with the Kalista than with his previous player, and as a result is now starting to buy a lot more CDs!