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Showing content with the highest reputation on 24/01/20 in all areas

  1. 1 point
    It is now six days since Chris of Hidden Systems came to install what I hope is, for the moment at least, the final upgrade to my LP12, bringing it to a "getting on for Klimax" specification, and as such a good match for the rest of my system (KEDSM, Katalyst Exaktbox 10, Akubariks). This thread follows on from the discussion in the Kore vs Keel topic, but as this report will range rather wider than that comparison, it seemed only fair to start a new thread. The background can be summarised as follows. Because I kept my faithful old Basik for over 20 years, I was late to the LP12 party, and also at first uncertain as to how much use I would make of the deck. However, I quickly discovered that I was enjoying the LP source so much that an upgrade would represent a sensible investment. Immediately prior to the present upgrade, the specification of the deck was Cirkus > Radikal (machined) > Trampolin > Kore > Ekos SE/1 > Adikt, with a Lejonklou Slipsik 7 as the phono stage. This was giving me a lot of enjoyment, but I knew that I could do better. My friend Chris recently purchased from a mutual friend an early model Roksan Xerxes with a Rega P300 arm and an early Ortofon MC20 cartridge. This deck goes back to the late 1980s, but it is still a respectable piece of kit, and produces a pleasant and well-balanced sound picture, although it lacks the more forward and dynamic sound presentation of any LP12 I have heard. Listening to it, I was reminded of what I think is the Achilles heel of MM cartridges, which is their tendency to brightness, which can easily become shrill or harsh with a "toppy" recording. This tendency is, of course, well-controlled in the Adikt, but it has not been eliminated entirely. Chris's old MC cartridge, for all that it was lacking in other respects, seemed to present the music in a smoother more balanced way. So I started to wonder whether it was time to take the plunge and buy an MC cartridge. I dithered about this, both because of the cost, logistic complications and risk factors that beset the MC owner and because I would have to change a phono stage with which I was very happy. Alongside that dilemma, the need, as it were, to bring the mechanics of the LP12 up to full spec. by replacing the Kore with a Keel was a given. All of that has been discussed in the topic I liked to above, so I don't need to go over that ground again. The more open question was what cartridges and phono stages to listen to; the problem with choice is that it can drive you nuts. I needed to reduce the set of options to a manageable size, essentially by working from the known to the unknown. The only MC cartridges I had heard at all recently (apart from the old MC20) were the Krystal and the Kandid. As regards phono stages, two immediately suggested themselves. Given that I had been so happy with the Slipsik 7, its newly released MC stable mate, the Entity, was clearly worth a listen. And, in an Exakt system, the Urika II, has to be regarded as the default phono stage to use, and I had already heard it (with a Kandid) in my system, and thought it was wonderful. My original, "correct", intention was to visit Hidden Systems in Windsor, and compare the options there. Then I had a rethink. I asked myself whether I would really trust a cack-handed me with the care and use of a cartridge at the Kandid's price point, and came to the conclusion that I couldn't. The Krystal was enough of a risk. So that was one decision made. It also brought the Urika II, which I knew I liked, firmly within budget, as well as making it hard to get away from the synergy between the Urika and my existing kit (including the Radikal needed to power it). The Urika would also take advantage of whatever relevant software upgrades Linn might produce in future. All in all, therefore, the Urika was very likely to offer the best long term value in my system. I decided to buy the Urika without comparing it with the Entity. This has now become a long enough first post. The next post will describe the upgrade process itself, and how I came to make comparisons between various components after the event, so to speak. Further posts will make those comparisons in more detail. For now, I'm getting back to running in the Krystal (20+ hours so far), but comments and accounts of your own experience, to contrast with or complement mine, are welcome as always. David
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    Good morning everyone, I would like to have some information about exaktbox sub. I have a system consisting of Akurate dsm upgrade Katalist pre and final YBA and Blumenhofer speakers. I wanted to know if it's possible, and how, to add a sub to the system using exaktbox sub. Any sub can be added, the cutoff frequencies and the phase can be modified independently. In short, if someone explains to me how it works and what it is possible to do, I would be grateful.
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    Today a more than 15 year long affair came to an end. In late 2004 I was demoed a pair of Kabers with a Kairn/Klout combo. Loved the speakers and they were cheap. Well at home with a Yamaha AX500 integrated amp they sounded - uhm different... A LK280/Spark fixed that, later a second one. A Majik DSM entered the picture and ultimately I went active with a 6100. Pretty happy although the lack of bass off and on bothered me. A sub helped somewhat but real authority was lacking. Still the speakers always got me with their musicality and speed. Many hours of good listening. Especially after the Space Commander took care of a few things (hello Paul!) The past year I had started to look for replacements. Listened to a lot of speakers. 140s would have fit the budget & exakted they sound really good. But the differential vs the Kabers did not make me want to upgrade right away. Also Exakt is expensive and necessitates a lot of amps. Other Linn speakers where much more expensive and again I'd need more amp channels. Katalysed Akudoriks are really nice but above budget. Also compared to offerings by other vendors I felt they where a bit too steeply priced. PMC Twenty5-26 left a very strong impression & would have been exatable with less effort than the 140s. Forum member Sunbeamgls runs the predecessor model called Twenty26 and has designed custom Exakt filters for them. But PMC apparently are not good close to the walls & we have pretty tight situation here. On top of that the aesthetic design choices made by the designers of the Twenty5-26 are odd to say the least. The older model looks great, the newer one tacky. Despite looking for some time no pair of Twenty26 presented itself and there was this close to the wall problem too. Focal SM9s and Neumann 420 were in the running. Acoustically both are truly amazing, even though very different. But aesthetics are part of the game & they both don't really gel with domestic environments. A music producer friend recommended to check out Amphion speakers. There also is a very long thread on the gearslutz forum frequented by studio people about Amphion and they have good things to say about them. While I liked the looks I still was sceptical since these are passive speakers which is unconventional in studio contexts. Was this just hype or are they legit?! Some time during fall I managed to audition their One15 and Two18 studio speakers plus the Helium 520 and these things really got me. For the first time I heard the speed of Kabers but with much higher resolution and serious bass. They also looked good, especially the 7LS which is the the domestic floor stander variant of the Two18. I was about to order the 7LS directly from Amphion for a 30 day demo when this Sunday I came across a used pair of the smaller 3LS floorstanders for an incredible price. Their much lower efficiency than the 7LS worried me though. 3LS are quoted with 85db but a German audio mag measured them with just 78db. Having played around with higher efficiency DIY affairs I was pretty sure I wouldn't like them. Went to an audition with the seller who drove them with some small integrated amp. Went back a second time. Well I am sitting across this pair of 3LS in my living room now, driven by the internal amp of my Majik DSM via a single strand from my K600 cables. No SO yet, not optimally positioned, very basic setup so far. What can I say... It's quite a steep step up from the Kabers. Their imaging is unreal, really unreal. Their musicality is great, they are fast, faster than Kabers and the bass fundament they present is satisfying, deep and authoritative where needed. They don't go loud but loud enough for me and most domestic situations. More importantly they are very good at low listening levels. Which the Kabers don't exel in but which is actually how most of the music gets listend here. At 10pm neighbours are happy if you don't blast your speakers too much So for those pondering the question what comes after Kabers - or Keilidhs - maybe have a look at Amphion's offerings. Mind you I just went from an active speaker driven by a dedicated 6 channel amp + sub to a passive speaker driven by an integrated amp. I will add an external amp at some point but for now I am pretty happy how good this sounds. With that off to some more listening!
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    I, and many others on here, are much impressed by SOv2 ... and, for many of us, it requires little, if any, fiddling about.
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    As you have a strange room then the first thing to use is SO v2. It allows you to plot out your room exactly. Many view it as a significant upgrade as Katalyst and it is FREE!! CJ
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    Superb stuff, Les Talking of tractors, was over at our friends' farm this morning letting the dogs have a play - took the camera as they have a couple of 'past their best' tractors in the field: Slow decay by Boxertrixter, on Flickr Driver by Boxertrixter, on Flickr Fuji X-Pro1/Mitakon 35mm f0.95
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    To The Harbour by Les, on Flickr A Fisherman's House by Les, on Flickr Walking Out To Sea by Les, on Flickr Zetor Tractor by Les, on Flickr First day out of 2020 with the camera and a trip to Saltburn and Staithes on the North Yorkshire Coast. All Fuji XT3 with XF10-24
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    Nice! :-) When I bought my new fluted Afromosia LP12 in 1987, I actually wanted a back one, but couldn’t afford the extra £50 it would have cost at the time to buy the black plinth. It’s funny how times change, and the ‘value’ of money has too!
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    Considering how easy it is to fit a REL subwoofer with passive Akudorik, I wouldn't mind much about the lack of bass. I bought a T/7i, which is quite cheap on the price scale, and you would be surprised how they integrate well. Akudoriks are truly beautiful speakers.
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    I liked his point (6) - Don't expect your system to sound like the real thing When I was a trainee sound engineer in the mid-late 80's I was struck at how what was coming out of the speakers in the control room bore no relation to what I heard directly in the studio area. Drums sounded like dustbins, the room got in the way of it all. But, because they were invariably close mic'd and equalisation/compression added, then what came out of the speakers was a rather tamed version. I think to hear an instrument's true sound you need to hear it directly outside with no amplification. Every engineer I ever worked with would wack in a hi-pass filter on the cymbals and add some HF equalization, which gives cymbals and hi-hat a nice wispy sound you hear on most records. Listen to a hi-hat directly, it has a lot of middle frequencies. There can even be a fair amount of low frequency information on cymbals, which can be really nice. I think I may have heard an occasional recording where it hasn't been filtered completely out (probably jazz ) . I don't think recording is often about capturing the true sound, but an idea we have become used to. So, no. Don't expect your system to make it all sound like the real thing, cos it wasn't captured in the first place. Taking the above in mind, that doesn't mean you won't hear the textured brushes on a snare drum, or the emphasised pick of a plectrum, that has been beautifully recorded. But that's all due to a process of mic technique, signal path, room, etc, and not an endeavour to capture exactly how it really sounds
  15. 1 point
    @DavidHB your Slipsik 7 has a new home. Just plugged in and warming up.
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  17. 1 point
    McIntosh MA5300 integrated amplifier A HiFi WigWam review by Richard Bowles Preconception: Noun, ‘an idea or opinion formed before enough information is available to form it correctly’ Anyone can be guilty of it, but hi-fi enthusiasts seem particularly prone to making judgements about particular manufacturers and products based either on reputation or on experience of one item. It is best avoided in order to escape frequent surprises. Nevertheless, there are two surprises here. First, this review has no ‘humorous’ references to meat-based products in buns. Second, do not expect a conclusion along the lines of ‘built like a tank, sounds like a tank’. At about 55cm depth, small is a relative term, but McIntosh describes the MA5300 integrated amplifier as its smallest model. It is certainly not diminutive in terms of functionality. There is an inbuilt DAC, headphone section and MM phono stage, together with four pairs of single-ended analogue inputs and one balanced set. The DAC has one USB, two optical and two coaxial sockets, and there are two data ports, an RS-232 connector, various external control inputs/outputs and McIntosh’s proprietary MCT coonection for use with the MCT series of SACD/CD transports. There are also RCA sockets for pre-out and power-in, which come fitted with bridging plugs. Power output is quoted as 100 watts per channel into 8 ohm loads and 160 per channel into 4 ohms, and the DAC supports PCM up to 32-bit/384kHz, DSD up to 11.2MHz and coaxial and optical up to 32-bit/96kHz. There is a neat, though rather large, remote. The fascia controls are straightforward, the left-hand one providing input selection and with a press, bypassable bass and treble, balance, input level trimming and a few other functions. The inputs can be individually named for the display (as well as individually adjusted for tone, balance and level if required). McIntosh state that the (supplied DA1) DAC module can be upgraded ‘when new digital technologies become available’. In fact, the DA2 module is now available as an optional dealer upgrade (details here). The amplifier is designed to need virtually no warm-up time, and will go into automatic standby mode after 30 minutes if there is no signal input. There are various built-in fail safes. First impressions On the rack, the MA5300 actually does appear surprisingly compact. Some space above will be needed for heat dissipation, of course, although even run quite seriously hard here, the hefty heatsinks on each side of the unit (designed to feature the company’s logo) barely became warm. The overall impression is of major-league build quality, with exemplary fit and finish. The front panel is the traditional McIntosh design with its famed blue-illuminated VU meters and backlit green lettering; all reverse screen-printed on glass to avoid wear. Aesthetically, you can always turn off the VU meter lighting and dim the display if it is not to your taste. Music, music and more music As ‘mine’ was effectively new, and had presumably been shipped half way round the world in the cold, it sat for most of a day with the volume down and a CD on repeat. After that, much time was spent swapping between various combinations of the internal DAC and phono stage and standalone alternatives, different inputs and configurations, plus a few speakers. Friends came and visited bringing gifts to try with it, some from the quite far reaches of exotica, but nothing made the McIntosh sound a poor cousin. It has had an enormous quantity of music through it and has proved deeply impressive, while throwing up more than a few surprises; the first of which is that it seems to have almost no ‘signature’. Like the old, much abused idea of ‘a wire with gain’, however, the gain comes in the form of decent reserves of power. The information available suggests that the power supply section is more than up to the task, and it shows. Transients are fast, drums have energy and attack, and bass is tight and defined. McIntosh were famously responsible for the ‘wall of sound’ for The Grateful Dead, and although the near 30,000 watts required for that is slightly more than the MA5300’s output, it seems the company has not forgotten ‘what watts do well’. David Gilmour’s Live in Gdansk has what is arguably the best version of ‘Echoes’, and the final time Gilmour played it live with Rick Wright. The soundstage on the vinyl version is wide and deep, and the live atmosphere is portrayed well, yet moving on to ‘Comfortably Numb’ and with the power output meters nudging far closer to the right-hand end of their scale, the gloves really come off. Gilmour’s guitar is centre stage in all its hard-edged definition, but Steve DiStanislao’s drums have a literally physical impact. Of course, power is all well and good, but the vast majority of listening is at relatively low volume. In this regard, the McIntosh copes excellently, retaining the weight and clarity. Rodrigo y Gabriela’s Mettavolution is an excellent recording, and every finger movement scraping on the guitar strings is there at late-night listening levels. Switching from the inbuilt phono stage to a serious valve alternative made it clear what can be added, although of course ‘add’ is the word. The inbuilt stage is clean, even-handed and notably free of background noise. If you enjoy a large soundstage, the 5300 will not disappoint either. With the right recordings, placement is accurate and performers have a real ‘presence’. The Japanese pressing of Eric Clapton Backless really brings this out. It is quite a revelation, as many other amplifiers lose the atmosphere on this recording at low volumes. Shifting to the digital realm, the flexibility and ease of use stand out immediately. With the correct drivers downloaded, the connection via USB was instant and never once suffered any dropouts or glitches. Coax and optical connections were the same story; first time, every time. The MA5300 incidentally has ‘Roon Tested Designation’, so Roon should have audio automatically optimized. The DAC is pleasantly free from any obvious glare, edginess, harshness or graininess. In fact, swapping from a non-oversampling, non-filtering DAC to the inbuilt one in the MA5300 did not take away the ‘musicality’ that NOS can add: the illusion was maintained, just portrayed in a different way. A matter of taste, though there is no doubt the McIntosh is more accurate. Happily though, in this case, ‘accurate’ does not mean it could substitute for paint stripper. Comparing the digital and vinyl versions of good recordings emphasised this; with the digital versions losing possibly a hint of the soundstage depth, but gaining a touch of speed, attack and bass definition. Turning to Amy Winehouse Stronger Than Me from the original Jools Holland show provides another able demonstration, as this is not an ideal quality recording, but comes across with all the depth and emotion. For a complete change of genre, the Decca recording of the Sir Georg Solti Verdi Requiem has massive dynamic range and the brass can be challenging. The McIntosh’s DAC and amplifier stages kept all the detail, pace and pent up energy of the performance without tipping over into harshness. Very impressive, as that particular CD has been the downfall of a number of amplifiers here. In a lighter vein, Bernstein’s version of West Side Story is one of the better Deutsche Grammophon vinyl pressings, and the phono stage in the MA5300 coped well with it, bringing out the vocals with commendable depth and life. Regardless of the input, source or music, the McIntosh manages not to ‘sound’ digital, analogue or anything else. It just sounds musical. There is an underlying, pleasant hint of the ‘big and bold’ to it, but it is not excessive at all. It takes nothing away from good recordings, but manages to make some fairly poor, older ones highly enjoyable. The MA5300 spent most of its time here running Living Voice speakers, and surprised a few listeners by keeping the mid-range magic and soundstage that valves normally do so well with LVs. A number of ‘big and bold’ alternatives produced the expected results of a slightly shallower soundstage, compensated for by the ability to reach what could politely be termed ‘impressive’ volume levels, all the while preserving the illusion of reality. The tech stuff Power Output per Channel: 100 Watts into 8 Ohms, 160 Watts into 4 Ohms Rated Power Band: 20Hz to 20kHz Sensitivity Phono (Moving Magnet): 2.5mV Sensitivity High Level (Balanced / Unbalanced): 0.5V/0.25V Signal to Noise Ratio (Moving Magnet): 82dB Signal to Noise Ratio (High Level): 95dB Total Harmonic Distortion: 0.005% Dynamic Headroom: 1.8dB Frequency Response: +0,-0.5dB - 20Hz to 20kHz; +0, -3dB - 10Hz to 100kHz Inputs: 1 Balanced, 4 Unbalanced, 1 Phono MM, 2 Digital Coaxial, 2 Digital Optical, 1 DIN, 1 USB Outputs: 1 Unbalanced Variable, 1 Headphone 1/4" High Drive with Headphone Crossfeed Director (HXD®) Upgradeable Digital Audio Module Digital-to-Analog Converter (DAC) Type: 8-channel, 32-bit/192kHz PCM/DSD, Quad Balanced Digital Coaxial / Optical Input Sample Rate: 24-bit/44.1kHz to 192kHz Digital USB Input Sample Rate: 32-bit/44.1kHz to 384kHz (PCM), DSD64, DSD128, DSD256, DXD352.8kHz, DXD384kHz Tone Controls: Bass & Treble. Bypassable Dimensions (W x H x D): 17-1/2" (44.45cm) x 6" (15.24cm) x 22" (55.88cm) Weight: 38 lbs (17.2 kg) Manufacturer’s website https://www.mcintoshlabs.com/products/integrated-amplifiers/MA5300 Conclusions Over the years, the system here has hosted quite a number of ‘powerhouse’ US amplifiers. Some have left happy memories, some have left under a cloud and some I couldn’t get to leave quickly enough. The McIntosh MA5300 belongs firmly in the first group. The price puts it in fairly serious territory, with a current UK retail around £6750. However, taking into account the specification (in particular the DAC and it’s potential for future-proofing), it is notably less costly than some obvious US competitors; Krell and Mark Levinson offer models with slightly more power and facilities, but which are notably pricier. There are of course any number of products from smaller manufacturers that are cheaper, but the famed longevity, build quality and breadth of facilities make the MA5300 seem worthy of the ‘good long-term investment’ label. In the debit column, the remote control is almost literally the elephant in the room. It is certainly neat, seemingly well-made and has all the functionality you could want. However, this makes it somewhat large and cumbersome, and a lot of this is down to things that don’t really need to be there. You are unlikely to want to keep renaming the inputs, for example, but having this on the remote does keep the front of the amplifier clean and uncluttered. Compared with the battleship feel of the rest, it has to be said that the remote is also rather plasticky. More than a few products from the audio-visual world manage to offer one large remote for programming all the ‘one off’ functions, and another, simple and solid one for basic day-to-day features. The second ‘maybe’ concerns the inbuilt phono stage. It is good, without doubt. Clean, quiet and tonally even-handed. However, it loses out a little in depth and ultimate detail compared with some high-end standalone stages, although that’s not a major criticism considering the overall price. The main potential issue for some will be that it is moving magnet only, and the construction of the rear panel suggests that a future upgrade to moving coil is not going to be a simple option, and probably not an option at all. If vinyl is a serious source, then a moving-coil cartridge will mean a separate head amp, step-up transformer or even a complete phono stage. Overall, what the McIntosh MA5300 offers is a clean, open-sounding, ‘iron fist in a velvet glove’ amplifier that is very faithful to the source, powerful enough for the vast majority of systems and users, and manages to put the music and fun into recordings, regardless of their quality. In addition, it has an excellent, highly flexible DAC with the potential for future upgrading, a competent phono stage, and a build quality and reputation that most manufacturers could only dream of. It would be the bedrock of a system to be very happy with, and one likely to provide a massive amount of musical enjoyment for a very long time. If your primary source is vinyl, the MA5300 would still give you everything you need, but with the caveat that future upgrades would involve box adding. Plus Power in reserve for most setups and speakers Flexible, with a very competent DAC and a phono stage Good with subtle, low level listening as well as seriously loud Detailed imaging and a large soundstage Excellent ability to handle major dynamic range Untiring to listen to at length Industry-leading build quality Minus Somewhat awkward remote Physical depth Phono stage limited
  18. 1 point
    The Carpenters: The Singles 1969 - 1973, CD. The voice of an angel
  19. 1 point
    I’ve got a feeling Sonos may update their position on this, especially wrt having older & newer Sonos products working together. It may be worth holding fire for a few days to see how the dust settles.
  20. 1 point
    I don't know many photographers but I can list a few of my favourites... I've just realised that most are French. . André Kertész Bruno Barbey Edouard Boubat Edward Weston Henry Cartier-Bresson Manuel Álvarez Bravo Raghubir Singh Robert Doisneau . Mario Cravo Neto Ralph Eugene Meatyard (whose initials apparently were inspiration for the name of a famous Athens band) Robert Frank . Paolo Roversi
  21. 1 point
    Hi Colin first half was hard work but great second half . Your first goal was a belter and good to see a little more fight from an Arsenal team . Sadly it may be a little too late to get fourth place this season ten points is a large gap . Still with Chelsea they will give you a chance as i still think they can drop points, b ut maybe not that many .
  22. 1 point
    dudy's rules Remember you listen to music to enjoy it. I don't care how it measures, if it connects to my soul, it's good.
  23. 1 point
    [1971] The Who - Who's Next [2015 remastered/reissued 180g LP]
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    I think that everything is online these days - https://docs.linn.co.uk/wiki/index.php/Klimax_DSM_(KATALYST_Variant)#Manuals ‘troll
  29. 1 point
    the travelling wilburys - handle with care
  30. 1 point
    I recall a conversation one of my Linn friends had with Philbo. The new K200 does some things better than K400, and vice-versa McGillroy, I seem to remember you would not need a very long length of K200 to each speaker, so the cost should not be too high compared to the cost of your Linn system. I think I still have some K400, but am in Puerto Vallarta.Mexico for another week before I can check
  31. 1 point
    Howard Jones ‎– The 12" Album Howard Jones ‎– Action Replay
  32. 1 point
    [1975] Queen ‎– A Night At The Opera [flac]
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    Muse - Simulation Theory CD rip
  35. 1 point
    I’ve decided that Sunday is my ‘vinyl’ day. I’m still flabbergasted about how much of an improvement it has been going from Cirkus/Valhalla, to Keel/Radikal.
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    I did some reading about L'Art du Son; very positive reviews. I like the anti-static property. In my house, the cat fur flies.
  38. 1 point
    I haven't read the article yet but the question is not whether an LP is better than the master tape (as only one person can ever own one and it is usually a record company with a death grip on it) but whether it is better than a second or third generation copy of the master tape, which is likely the best you could get. There the degradation form successive copies could well be more than the small losses of quality vinyl pressing. Having access to "In the Court of the Crimson King" pressed from the master tape and others pressed from a safety copy of the master and a fourth generation copy I can tell you that the loss from each generation of tape is significant. Then there is also the loss from the tape degenerating over the years. So a record or tape made from a 40 or 50 year old master tape is likely to have lost a fair amount compared to a record made back when the master tape was new. It will be interesting to see what Bob has to say but the lead in "It is hard to make an unmusical sounding LP (ticks and pops aside), but it is easy to make a rotten-sounding digital recording." ties in well with some discussions I've had recently about the difficulty of getting the best digital reproduction vs. getting analog to sound musical.
  39. 1 point
    The copy of Hifi plus (April 2019) that some of us grabbed via back issue order on their website, which has the freebie system setup cd, has some great tracks on it for experiencing spacial clues and 3D. The tracks for setup use voice and castanets to illustrate the principles and can be quite eirrie hearing what can be achieved with panning and reverb.
  40. 1 point
    As mentioned in OP a quick spray rinse then a quick spin on the vac, a minute all in, tops.
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    If I had to choose just one piece of music, it would have to be the song “Supper’s Ready” by Genesis. But nothing could have prepared me for Roxy Music’s first album song titled , “ If There Is Something”
  43. 1 point
    A couple of things bought second hand and am enjoying:- Mission 770 original model, you will not get that quality sound for £130 new. Hafler DH 200 power amp, I wanted to try a mosfet and am very impressed for less than £1/ watt (£120). Both items were delivered for these prices. Also some Mission 737R for £60, I wanted these for the mid/bass drivers but they are also quite good especially for the money. There must be loads of really good used bargains out there it is really worth the effort looking. Great thread we may all learn from it.
  44. 1 point
    Quad kit is sensibly priced and easy enough to work on, picked up a 33, 405 and FM3 for £75 on Gumtree, 405 apparently needing attention, It all worked fine when powered up, also Picked up a well looked after pair of ESL 57 speakers for £205. Nad amplifiers are pretty good value secondhand, I've heard a lot worse for a lot more. Probably my best buy is an Inca Designs ID 25 Class A power amp, Very good condition and almost certainly better than my knackered ears deserve, bought at auction for £100, nobody else had a clue what it was
  45. 1 point
    I need to have another listen to the BL50s, as the only time i've heard them so far was in B&O New York last December and they were distinctly underwhelming. However, a few other people have said the same thing about that store, so maybe I need to give them another chance. As to new purchases, a 1980s Beogram 2000 arrived last week. It's my favourite of the last generation radial trackers as it has the full range of facilities and Datalink, but doesn't have the slightly clunky looking lid of the Beogram 5000. It's grubby and it was sold as not working due to a "scraping noise" (which will just be the suspension requiring adjustment) and was mine for £21!
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    I took a photo of some B&O at the Harrogate show , not sure which model but look like those Jeff , they were very good . B&O by Baz, on Flickr
  47. 0 points
    Unfortunately, with the state of Linn's website, this is no evidence of the existence of anything
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    Thanks Andrew. These things happen - I just got to blasé about the process and didn't check before pushing the button. Next time... Cheers, Tony
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    It seems that a few of us missed the “single piece” aspect 🤣🤣🤣🤪