Townshend Audio Forum – For old and new Townshend Audio owners

In this YouTube video, Max demonstrates how the characteristics of speaker cables can significantly influence audio quality. The focus is on measuring the voltage drop across different cables to understand their characteristic impedance (Zo) and how it relates to their construction.

The investigation presented in the video aligns with electrical theory and computer simulations. It highlights that speaker cables behave akin to transmission lines, necessitating a match between the cable’s impedance and the speaker load for distortion-free audio transmission.

The measurement method involves examining the signal waveform voltage between the amplifier ground terminal (black) and the speaker ground terminal (black). The ideal scenario is to have a signal identical to that between the amplifier ground (black) and the live terminal (red), albeit with a reduced amplitude due to the cable conductor’s resistance. Any deviation from a flat frequency response between 20Hz and 20kHz is both measurable and potentially audible as tonal changes in the audio output. This comprehensive analysis sheds light on why different cables produce discernible differences in sound quality, and the examples provided in the video serve to illustrate these effects effectively.

The weekend of October 8th marked yet another extraordinary collaboration between Kerr Acoustic and Townshend Audio at the renowned Starvation National Audio Show.

At the heart of this auditory extravaganza was the Rock MKII, complete with a front-end trough, delivering the sweet symphony of vinyl in its purest form. The Rock MKII’s unique ability to quell any headshell vibrations left audiophiles spellbound, and its playback quality was nothing short of clinical precision.

In days gone by, some critics found fault with the Rock, likening its accuracy to a CD-like experience, eliminating the pops and crackles often associated with vinyl playback. However, it was precisely this precision that set it apart.

When the Rock wasn’t enchanting listeners with its vinyl wizardry, the room was treated to the debut of the Townshend Max DAC, whose sleek new chassis wasn’t quite ready for prime time, but its internal mechanisms were complete and set to impress.

The secret to its stunning sound lay in meticulous attention to power supplies, combined with a unique reliance on transformers for the output stage instead of op-amps.
But the innovations didn’t stop there. Attendees were captivated by a cable testing machine, which Max employed to demonstrate the distortion-free nature of his impedance-matched cables. The Seismic Podiums took centre stage as well, showcasing their remarkable isolation capabilities, clearly evident through the accelerometer app placed on tablets atop the speakers. The Townshend design nearly eradicated ground vibrations, preserving the cones’ ability to reproduce sound with astonishing accuracy.
As the event unfolded, the eagerly anticipated launch of Kerr Acoustic speakers filled the room with powerful, club-like vibes, leaving attendees with no doubts about the sheer sonic prowess of these speakers. The setting resembled a chic club members’ bar, where audio enthusiasts revelled in the fusion of art and engineering, a harmonious symphony for the senses.

Ground-borne seismic vibrations, known as microtremors, are always present everywhere on Earth, all the time. It is the background noise recorded on seismographs between earthquakes. The amplitude of microtremors is typically about 1 micron(0.001mm) with a frequency from below 1Hz to about 500Hz. These vibrations are present in all buildings, including concrete structures with granite foundations. Unbeknownst to us, a multitude of disturbances lurk in the background, originating from a diverse array of sources. Remote earthquakes shake the earth, waves crash in distant shores, tidal forces ebb and flow, and winds whisper through trees and buildings. Even the hum of weirs, the pulsations of compressors and pumps, and the bustling traffic contribute to this unseen symphony of disruptions. In the realm of Hi-Fi systems, where the minutest details of signal information are delicately processed, these disturbances take on a staggering scale. In comparison to the microscopic domain in which Hi-Fi components operate, these disruptions loom large, casting their influence over every aspect of sound quality. They stealthily infiltrate your prized audio setup, subtly impacting the performance of each Hi-Fi component. While imperceptible to our senses, the consequences of these disturbances cannot be ignored. They introduce distortions, colorations, and interferences that compromise the purity and fidelity of your audio playback. That delicate balance of harmonies and dynamics, painstakingly crafted by musicians and recording engineers, can be marred by the intrusion of these unwanted influences.

Keith Jarrett’s album was prominent at the forefront of Max Townshend’s record collection throughout my youth. His seminal work boasts the most iconic and enigmatic photograph of a man and his piano and continues to exert an irresistible magnetic pull even today. It stands as a pinnacle of popular acoustic piano music.

Several years ago, when obtaining a Rock in the UK carried a touch of rebellion, the US market was yearning for a product that would push the boundaries of performance. Our natural audience in the US had always welcomed controversial innovations that occasionally unsettled the established audio community in the ‘old world.’ Lee Lansberg, a hi-fi dealer with a penchant for embracing the new and unconventional, was one such individual.

Lee said recently about meeting Max

“I first met your dad in Chicago when CES did the audio show there. I saw the table at the convention centre and fell in love with it. My dad and I met Max in a bar, took an immediate liking to one another, and bought his inventory on the spot. We became his first distributor in the US. I used the Helius tonearms with the table and we got some recognition through the audio magazines. It’s possible that Keith might have contacted me based upon an article he may have read.

I can’t recall precisely how I met Keith. I recall playing tennis with him on a number of occasions. He and I both had pictures painted by George Mueller, a well renowned artist and audiophile who worked for me. Keith purchased a complete system from Landes Audio that included our Terpsichore speaker system, tube electronics that I believe were VTL, and the Rock turntable. I recall visiting his studio above his 3 car garage. He asked if I would like to see a new harpsichord that had been built in Japan for him and hear a new piece he had written. Of course I said yes. When he played it for me, I commented that is sounded like returning to ones’ homeland. He gave me a shocked look and said that the name of the piece was “Homeland”. I discussed the sale of the Rock to Keith with Max. Max asked if we could get an endorsement from Keith and I told him I would ask. I don’t remember if there was a “quid pro quo”, but knowing the character of the man, I believe that Keith offered the endorsement openly, with no strings attached.

He certainly wrote a glowing endorsement of the Rock. I had a hand written copy of it that I have yet to find in my papers. I took the pictures I sent you along with the endorsement that Max used in his advertisements at that time. The content of the endorsement is vague to me, but I seem to recall that Keith mentioned the accuracy of the tables reproduction.

Subsequently, Keith began to postulate in a number of audio magazines; not necessarily about the Rock but about audio in general.

I just wanted to convey to you that although I haven’t had the opportunity to visit with Max in some time, my fondness for him really hit me when I heard of his passing.

I really liked the character of the man, his love of life, and his endless pursuit of audio perfection. He remains, for me, the ultimate audiophile, always seeking the holy grail of pure sound. Moreover,

I always considered him a good friend. I miss him very much.

Max would say about Keith views on the Rock: “He only gave one recommendation for one hi-fi product and that was for The Rock/Excalibur”.

“The only turntable that played music correctly” 1985

The National Audio Show 2023

This audio show may be small in size, but it’s exquisitely designed to offer a platform for smaller UK companies to shine. Located conveniently in the ‘Midlands’ region and nestled near major cities, it provides a laid-back experience at a golf course resort. Here, the keys are handed over to a passionate legion of hi-fi purveyors eager to connect with grassroots enthusiasts. It’s an opportunity for attendees to explore lesser-known brands, often absent from the larger corporate hi-fi stores across the country. This event enjoys the support and coverage of a select group of independent press outlets, with Stereonet being one of the most recognisable among them. Stereonet consistently delivers comprehensive show reports, ensuring that the audiophile community is well-informed. This year, Townshend takes center stage in the Nottingham suite, where they will proudly present their complete range of audio offerings. Their showcase will illustrate how, when attention is given to the synergy between speakers, cables, isolation, and preampfification, source components can deliver their absolute best performance. It’s an opportunity for audiophiles to witness the magic that happens when every element of the audio chain is meticulously crafted and integrated. Get ready for an exclusive sneak peek at our groundbreaking ‘MAX’ DAC during the show. This cutting-edge technology represents the culmination of years of intensive research and development. It’s our response to the overwhelming array of DAC choices saturating the market today. At Townshend Audio we’ve always believed that to fully savour the digital audio format, certain “Audio Housekeeping” principles must be rigorously adhered to – no shortcuts, no components left unexamined, all in the relentless pursuit of preserving the audio signal’s integrity. Our approach places particular emphasis on power supplies, and we’ve employed a unique technique of utilising transformers for the output stage instead of traditional op amps. And, of course, we’ve integrated Townshend’s renowned Seismic Isolation system. The result is a promise of an extraordinary sound synergy when paired with the Kerr MK 100 speakers, a sonic experience that’s set to redefine your perception of digital audio. Don’t miss this opportunity to witness the future of audio technology in action.

Cock van Vianen at Audio Club Oost Brabant

In the world of audio enthusiasts, one name has consistently resonated with excellence since 1993 – Cock van Vianen, the visionary behind Sivian Acoustics. This Dutch maestro laid the very foundation for what has now become a thriving company, known for its exceptional electronics and perfectly matched speakers. Together, they have breathed new life into the world of quality audio, all proudly hailing from the Netherlands. Today, we invite you to delve deeper into the realm of Cock van Vianen, his unwavering vision, and his sonic creations, often referred to as his proverbial children. Prepare to be transported into a world where audio equipment transcends mere functionality – it becomes an experience in itself. Van Vianen’s creations are nothing short of extraordinary; his sound, a closely guarded secret among audiophiles, and the musical journey he offers is nothing short of addictive. Consider yourself warned – once you experience Sivian Acoustics, there’s no turning back. RMR Soundsystems, nestled in Soust, Netherlands, has cultivated a unique partnership with two distinctive audio companies: Sivian Acoustics and Townshend Audio. Both of these companies share a rebellious spirit, pushing boundaries and venturing far from the mainstream audio industry norms. These small, agile firms possess a remarkable ability to craft components that often elude larger corporations burdened by layers of management. What sets them apart is their unwavering commitment to intellectual freedom, allowing them to pioneer products that truly break new ground and challenge the status quo. Recently, Sivian Acoustics hosted an open evening, an event that shone a spotlight on their remarkable Leda speakers, elegantly perched upon the Townshend Seismic Podium. This extraordinary showcase unfolded at a gathering of the Audio Club Oost Brabant, where enthusiasts had the privilege of experiencing the cutting-edge synergy between Sivian Acoustics and Townshend Audio.

Within the tight-knit community of audiophiles, Miller Carbon is a name that resonates with admiration and respect. He’s a true aficionado, well-known for his active engagement on the Audiogon Forum, where he generously shares his audio discoveries and insights with fellow enthusiasts. Miller’s passion for high-quality audio is palpable, and he derives immense joy from showcasing his meticulously crafted system to others who share his passion.

Recently, Miller Carbon had the opportunity to exhibit his remarkable audio setup at the prestigious Pacific Audio Fest, held in room 7115. The centerpiece of his system was the Townshend F1 Speaker Cable, complemented by the innovative Seismic Isolation and the Allegri Pre. For those fortunate enough to experience his system firsthand, it was nothing short of a revelation. It marked one of the most impressive debuts in the high-fidelity arena in recent memory.

Even the experts from Stereophile were in attendance to witness Miller’s demonstration, and their subsequent write-up serves as a glowing testament to his unwavering dedication to the pursuit of audio perfection. It’s a striking example of how an enthusiast’s visceral judgment, driven by passion rather than profit, can lead to audio experiences that transcend the ordinary.

As someone who’s deeply immersed in the world of high-end audio, I can honestly say that I’ve never come across a more finely crafted write-up and accolade than the one inspired by Miller Carbon’s remarkable audio journey. It’s a testament to the power of pure passion in the pursuit of audio excellence.

Stereophile write up here

When I asked MC for his thoughts on his fairly recent discovery of Max’s gifts to the audio world Miller reflected:

“Max Townshend was a big thinker.

Max didn’t just want to make a world-class component or two, he wanted to make all the components in a world-class stereo system. A lofty enough goal, for sure. But Max didn’t stop there: he envisioned building a whole new audiophile community. One where audiophiles can learn, and learn from each other, and more- maybe even help advance the art of audio.

So it was that nearly two years ago now John Hannant reached out to me. I was at the time writing audio, and doing my best to elevate the on-line conversation. Max had been reading, and believe me when I say never in my life would I have imagined where that would lead.

This is the launch of Max’s dream: a new website, one that we hope will grow to be more, much more, than just another company website. The Townshend Audio Files Blog will inform, educate- and hopefully entertain! The current state of audio forums can be daunting, with many really valuable voices self-silenced for fear of the ever-present put-downs and one-upmanship. The Audio Files Forums will encourage and cultivate inquiry, and creative solutions, hopefully now and then generating ideas that advance the state of the art. But even more so with the practical goal of helping you figure out how to best improve your own system.

We have more coming than just a new website, too. Max had a number of outstanding new products in development. His team of select engineers, mentored and cultivated over the years, are more than capable of carrying on, and bringing these new designs to market. As loyal Townshend Audio customers and followers you will be the first to learn about them, simply follow The TownshendAudio Files.

So, what’s going on, anyways?

I’ve always been trying to understand the world. All the sights, and sounds. As a little kid there’d be a siren and my dad would say there goes the police. “No, dad. Ambulance.” Sirens back then were pretty much all the same, but I could hear the difference. It was a game, I guess you could say.

By junior high I was experimenting with acoustic panels, and by high school building a Dynaco ST400. After college, built Roger Sanders transmission line/ESL speakers following his design in Speaker Builder. This was 1980.

My dream of a dedicated listening room came true in 91. Up until this point I had been raised on Julian Hirsch, and when I went looking for better it was a shock to learn there is more to audio than thick gauge wire and ruler flat response. Much, much more. Let me tell you, I dove right in.

One after another, all kinds of crazy things that seemed impossible were tried, and many of them turned out to be true. Even when sometimes things seemed to be not quite right, yet still it seemed to always teach me something. Power cords (speaker cables, interconnects, etc) did make a difference- even if the theories as to exactly why didn’t always pan out. I learned to separate the wheat from the chaff, take what works and run with it, and not to worry overly much as to why. Nice to know why, of course. Just not necessary.

This openness to being willing to try has served me well. Learned a lot just by trying. Once I learned about vibration control I must have tried a hundred different things. One thing it never even occurred to me to try back then was springs. I mean, why? If there is a nuttier idea, I’d like to hear it!

Then one day Rick Calder asked if I would consider springs. The way he explained it actually seemed to make sense, especially after watching this video he sent me. https://youtu.be/BOPXJDdwtk4?t=6

Talk about compelling! In the course of 3 minutes my thinking completely changed. This is the power of science, engineering, and reasoning. Up until now I had been entirely BDR mass/stiffness/damping oriented. In no time flat all my BDR was gone, replaced with springs. Just plain old springs. Knocked together a crude platform, and I’d not at that point ever seen or heard of Podiums but that is basically what I’d built. A really ugly, cheesy, cheap MDF Podium. But it got the job done. Such is the power of spring isolation.

Then one day John Hannant suggests Townshend Pods are even better. This was actually a tougher sell, as I had to try and understand how Townshend springs could be so much better than the ordinary plain springs I was using. But my turntable had a resonance the plain springs weren’t able to control, which John assured me Pods would- and he was right! Gradually, one at a time, my components were moved to Pods. Each and every time the improvement was obvious, and better in every way. Finally, the big one, Podiums. The absence of tonal coloration their tuned damping provides reveals instrumental textures with a degree of truth and honesty I’ve heard nowhere else.

One thing led to another, and so over the course of the last nearly two years now my system has been transitioned to nearly all Townshend Audio.

Along the way I couldn’t help but wonder, how is it Townshend is making all this great stuff and yet somehow flying under the radar? And where is their US rep? Kind of hard getting questions answered what with the time zones and all. I brought this up one day saying, “Sounds like you need a new rep.”

“How about you?” Seriously. That’s what’s going on. After years writing on-line I’m now… writing on-line.

What can I say? They like my style. Hope you do too.

Chuck will be a guest writer on The Townshend Audio files and you can find more from chuck on his NEW site:

For a while now, the Analogue Fellowship has been captivating my attention, but who exactly are they? They’re a group of dedicated hi-fi enthusiasts who push the boundaries of audio excellence. Their listening room is like stepping into a whimsical chamber populated by fun cartoon characters, and they spare no expense when it comes to acquiring the finest hi-fi equipment money can buy.

In one remarkable video, they gathered around to experience the PMC MB3 speakers, complete with Townshend Seismic Podiums, and their reaction was nothing short of astonishing. They gave a standing ovation to the sheer audio magic unfolding in their room. It’s the kind of reaction you seldom witness in the world of high-end audio, and it left me craving a chance to meet these characters in person and immerse myself in their audio gatherings.

Until that day comes, we can keep ourselves updated by following their regular updates on Facebook. By liking their page, we can stay abreast of all the latest high-fi trends emerging from the East. And, who knows, we might even save up for a pilgrimage to one of their open days, nestled on the path to a paradise island.

Our history with PMC extends back a long way, and Pete Thomas, a notable figure in the audio world, had some glowing praise for the Townshend Seismic isolation technology. He remarked that it “worked on every speaker every time,” but when he experienced the magic of combining them with the MB3’s, his enthusiasm knew no bounds. It’s a testament to the transformative power of audio innovation, and it’s just one of the many exciting stories emerging from the Analogue Fellowship’s vibrant world of sound.