One Thing Audio
Quad
ESL 57, Reviews, The Hartley, Quad, Decca system
(by John Ravenscroft)
The Hartley, Quad, Decca system 
You must borrow some good valve units and see what I'm talking about. Some 20-50 Watt Leaks in good shape should perform very nicely if you can find some. Quad II's might be just a bit power shy. I did very well with an Electrocompaniet 70W/ch SS amp until it weakened and died (2x). It doesn't like the load of the Q57's, but then I had both panels per side on it. I no longer gang them like that, so might work now--but it is gone. That was as close to tube sound as I've ever heard on my system using SS equipment. Excellent as I remember. The ML-2’s were more forward which I do not prefer. Some people preferred them to the Electrocompaniet.
Also, if talking about a HQD system, you must try getting the best Q57's on the bottom and disconnecting (removing is better) the upper panels. There is a ceiling reflection that they cause that is totally unnecessary and I suspect there is just too much physical difference in the vertical if you sit nearfield since Q57’s are vertically beamy. Neither pair is pointed to you and the other is cockeyed. Not worth the other 3db. Keep them as far from the back wall as is feasible and adjust to the side walls to taste. Mine are about 4’ from the back wall and 2’ from the side walls. Another point is to get the Q57’s off of their stands and about 18” from the ground. The HQD stands do that of their nature but any way to do it would work. That kills a slight midbass hump that some people don’t like about the Q57’s—they just need to be off of the ground. I sit fairly nearfield, with about 60 degrees included angle and the inside leg's of the HQD frame approx pointing right at me. Also I point the ribbon to cross just behind me. I know that puts the tweeters pointing behind me, but I don't care. The effects are spectacular. Presence and depth to die for. System really makes music. Also the increased air and lively midrange and sweet highs of good tubes is worth getting worked up about.
In truth I own 5 Q57's plus a number of parts, I had an HQD system with 1 spare, then I'm storing a pair for a friend who sojourned to AU (Oz) for a couple of years with his young family. He misses his Q57's. I've kept my Q57's together with help from Sandy Bocarra of DrQuad@pacbell.net fame and parts refurbishment from Sheldon Stokes in New Mexico, USA.
Incidentally, I found out years ago (the ML2's taught me well) that the best way to blow up Q57's is not have enough power so as to ALWAYS avoid clipping (I mean never clip). Now I have 100W/Ch and never come close--of course I also keep my foot out of it, if you know what I mean. But I still get far more out of the Q57's that way both in performance and loudness than you'd ever expect. It's the clipping that kills them and very quickly!!!
I've retired the Decca ribbons in preference to Sequerra ribbons. They appear to be livelier and smoother and add-on very nicely without ecrossovers and bi-amping. I just bi-wire to the tweeter from the amp--that same amp that runs the Q57. Works great. The Sequerra has an excellent stepped pot that seems just right. Matches in efficiency. Made in heaven. I'd like to bi-amp the Sequerra's some day just to try it out (I have another ecrossover or 2), but afraid the complexity is against it. Just too much stuff in the way including ecrossovers and wires. I prefer to add air with the ribbons and bass with the subs and run the Q57's full freq. Interconnect Wires are AN-Vx Litz silver and (preferred) the John Garland Verte Veritas copper cables. I have the Garland 8 interconnects between the Lev 30.5 and the pre and to main amp and sub amp. Garland model 17 speaker cables are awesome for the quads. Garland for Power cables and digital cable too. Garland has a proprietary dielectric and a build process which is very time consuming. He doesn’t just buy the wire all done from Belden I assure you—like most of them do. AN-L Litz copper for the Sequerra tweeters and some ancient Fulton Gold wire (look like gold 6 volt auto battery cables) to the subs finishes up the speakers.
I get unbelievable imaging, micro and macro dynamics and believable music out of the system. Almost never can find the speakers in the soundfield. Like great electrostatic headphones with bass, perspective and a soundfield with depth in front of you. (My depth is behind the wall sometimes, which is 4’ behind the speakers.) But it is a personal system that most casual observers would never understand. You must be in the sweetspot to get the best and the best is worth doing that for. Sound plebes will never get it and—oh well… Those that bother are wowed.
Some help could come to the bass which is my weakest link. I'm not using Hartley since so huge and rare (had one once though). I have a couple of respectable paper cone 12" in ducted ports and a Symmetry adjustable ecrossover to add just the 40hrz and lower to the mix. Just right--when adjusted right and sometimes different with different music. Problem is the particular 12" er’s are fairly fast but don't go especially deep, but sound very good to reinforce the Q57 midbass and bass down to a little below 30hrz, but nothing subsonic by any means. Just a little bit sloppy at their deepest as well. I run them 180 degrees out of phase with the speakers and they sound much better that way. (I’ve heard that Q57’s are reverse absolute phase as it is—don’t know if that’s true, but true that the subs sound better 180 degree out in my system.)
Some day I'd like to replace the subs with some modern subs, some of which I've heard can be knockouts--fast yet deep--yet can be very expensive! I think you can have everything in subs, but might cost you the old arm and a leg. Or foray into the wilds of DIY subwoofer building. Collecting some designs and fancy parts for that too.
Incidentally, I've found that power quality can make a huge difference in openness and especially dynamics of the system. I use a 5KVA Constant Voltage Transformer in the basement adjusted to 120VAC wired with 6GA wire for the most part. That's huge wire. I power it up remotely from a power contactor (relay) off of 24VAC because a CVT uses power all the time in a flux bucking arrangement, that’s how they work—power is too expensive now to just have a transformer making heat all the time even when you don’t need to use it. Seems like uses about 60 watts at idle—worth the waste when working, but not when not. That's for the Power amps/subs. Also, for the front end equipment, I rewired their jacks using 6GA and I then use a PS Audio 300 Power Supply with Multiwave module, which is just enough to power up the front end equipment: AudioNote M3 Phono tube oil cap and BlackGate preamp, even has an output transformer for 10 ohms out--claimed. Theta CD transport, Levinson 30.5 DAC, Symmetry Crossover, Marantz 20B tuner. (That's right, 20B, not 10B, it was Sequerra's first transistor tuner, well the 2nd, the 20 was first. Same looking unit though.) Very nice for a SS tuner and doesn’t need alignment twice a year like a tube tuner. Vinyl: Sota Star with Souther Arm and special issue Clearaudio Veritas MC through an AudioNote S2 transformer. Mana Glass TT Soundstage underneath. Dynamic range, soundstage and tight bass for the poor on the Sota! Alternate is an ancient Linn LP12 with an SME III arm and Madrigal cart—not bad, but the Clearaudio outclasses the old Madrigal. The TT’s plug into the wall with no power help at the moment as do the Q57's. (Q57’s must be on at all times). I shopped for some NOS US JAN TungSol 5687’s surplused from Sperry Gyroscope for the outputs of the AN M3 preamp and some CV Brimar 6072A equiv’ts for the phono stage. The best soundstage you could imagine. Just “there”. Amp is a Audio Research VT-100 MkII which I retubed with Tele E88CC’s (where possible in circuit, be careful here—possible catastrophe—never in driver stage) and JJ KT88’s. Got rid of that famous (notorious) ARC silver sheen and forwardness. Now clean, fast, real, deep and liquid. Project: got a couple of wonderful old ACROSOUND UL2 power amps I expect to pooge and see how they will do. Collecting fancy parts for them now. Fabulous iron and circuit.
I want to add that all of this might sound expensive, but only a couple of parts were ever bought new. The Theta Transport for one. The rest including the HQD’s were used. I just keep my eyes and nose looking for great stuff at great deals. The Lev 30.5 DAC went for one forth it’s original price for example, the AN M3 Phono for about one third original price. Pretty much the same for the rest of the system. Key is don’t buy anything unless a primo piece (and know what you are buying) and then pay as little as possible--build up to your dream system. The Q57’s are key to the core. I’ve been collected the core parts of this system for more than 20 years, so not so much money each year. I would put this Q57 system up against system’s I’VE HEARD that cost under $100K in terms of neutrality, soundstaging and just musicality and liveableness. The $100K system was huge (WAMM) but didn’t have dynamic range for beans although was finely etched with a great soundstage. Just no dynamics. The shop salesman embarrassingly said I’d have to pay another $40K or more for better electronics than he was showing it with. It already had $50K of electronics on it for crying out loud! There’s been a lot of changes in high-end audio and a lot of it has just been CHANGE ALONE with a huge added price for every change. Just pick up the primo stuff fools spin off.
I'd like to repair my ML2's, listen to them just a bit then spin them off--the spouse is complaining, you know, about all the stuff about. I try to hide it as best as I can, at least the parts I’m not using.
So thanks again for your excellent site. I cruise through there occasionally and always marvel about how much you've collected.
Enjoy the music!
Best Regards, John Ravenscroft, AKA: audiofrq@aol.com
