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  1. Dear Fellow Wammers, My name is Roo, I am the son of the owner of HiFi Wigwam (Rachel). The purpose of this post is to inform all forum members of some important changes. Effective immediately, Peter (the previous admin) no longer has any involvement in the forum. There are aspects of the changes you may consider positive, but one you most likely will not. Some members may be aware of my mother and Peter’s relations and other business. Unfortunately, everything has been left in somewhat of a mess, and my mother is also currently in hospital. First and foremost, I do not propose to make any major changes to the forum or to promise things that are impossible or that go against the wishes of the majority of forum members. I am now aware of some of the problems with the forum and of issues members have raised. My main work is as a developer, so the site itself will be my first focus, with the aim of resolving the problems. The bad news is that although it was my mother’s strong wish for the 2021 show to go ahead, with a heavy heart I have to announce that we have no option but to postpone it until the spring. We are aware some members would have anyway preferred this, though we also know it will be a disappointment to many. Regrettably, most of the arrangements appear not to have been completed, to the extent that the hotel cannot actually offer the required space, as they are carrying out some works. We initially propose making it a two-day event again (i.e., setup on Saturday, ticketed visitors on Sunday as it used to be), which seems to be most people’s preference. We also suggest running the show on the 26th and 27th March, but we would be happy to be flexible to suit all the exhibitors. Under any circumstances, we will refund any exhibitor payments made by any member who does not wish to continue participating. We appreciate and are grateful for the support of the forum members and we understand that the forum and its future depends on you, more than on us. The forum will return to being the best of its type, and to being run primarily as a forum for its members. With our thanks, Rachel and Roo.
    51 points
  2. The Mods do NOT want to stop (vigorous) debate but there have been too many recent threads/posts that disintegrate into name-calling, abuse and repetitive message after message saying the same thing over and over that adds nothing to the discussion. Enough. The AUP states: The moderators have the right to edit, move, lock or delete any posts or threads deemed to be in breach of the AUP, or that fall outside the standards expected of members. The right is also reserved to ban, for any length of time, any member. The decisions of the moderators and forum admin are final in this regard. We will therefore take action and delete those messages in future and tell the poster they are on holiday from the Wam. And the MODs decision will be final. Also, a reminder that dealers promoting commercial products is not allowed. However, posts outside the relevant trade sections, evidently promoting commercial products without due context, are not allowed. This applies to theirs or other commercial products. An occasional comment is OK, but persistent promotion is not. We are trying to make the Wam more interesting, discussive and informative and constant negative, repetitive messages spoils that.
    26 points
  3. Here’s the most recent iteration of my modest little system: Pimped Bluesound Node 2i (with Fidelity Audio ‘Pro’ PSU) into a Hegel HD30 DAC/Pre, into a Bel Canto Evo 2 power amp feeding ProAc Tablette 10 Signature speakers, oh and there’s a BK XLS200 sub tucked into the corner.
    20 points
  4. A few things to look at if anyone is interested. Speakers from Jon Anderson including vertical 9844's with Yuichi horns, Altec 604's, Cain & Cain Abbys, JBL etc... Preamps from Radu Tarta, and James Burgess, amps from, Ken Uesugi, James Burgess, Ling Xiao Nan ( Lenny), Paul Birkeland, Eddie Vaughan McIntosh, Tubelabs, DIYTube, etc in tube types such as 42, 45, 46, 47, 2a3, 300b, EL84, EL34, 6l6, 6v6, F2a, 1626, KT66, KT77, and others. Vinyl, Tape, tubes horns... Analog. Digital with a Steve Davis modified DAC and external X-10 Time Machine clock. More photos:
    14 points
  5. There will be Wammer’s that are just too young to know what a vintage system is and there will be those that it’s always got to be the latest tech .which will become vintage in about 40 years .. I’m now getting close to retirement age so I grew up with Stereograms and the first forays into separates ..from the late sixties through the seventies and eighties.. I have been very fortunate during my life to listen to equipment through the decades that has beautifully portrayed music .. Having basically finished the mancave I have now got all my “Vintage” gear to play with , much of which hasn’t been out of the boxes for 30+ years .. While working on finishing touches I’ve been connecting various bits of my gear up .. No esoteric cables par se but decent enough..and I’ve absolutely loved the music as much as my main system on the ground floor .It could be the more intimate space .the room front to back is a little over 3m wide and 4.5m long with a curved apex at approximately 3m . It also has a dedicated power supply from the consumer unit in the Garage. There is no rummaging round equipment to plug speaker cables in .. I have built in sockets on the wall just behind the speakers . I have used a good quality speaker cable in the walls as these will become part of a movie surround system.. . Apart from the TT you can pick most of the stuff up for a couple of hundred quid each in decent condition on EBay . The music just has great authenticity Currently running a Pioneer SA 706 integrated purchased in mid 70s from Comet Chesterfield with a pair of Mission 710s of the same era .. watch this space for a future bake off . Loving it !!!! Who else is running 70s gear ???
    13 points
  6. If you've bought the discs and ripped them, then you own the right to use them in perpetuity. Just because an album or track is available to stream today, doesn't mean it will be available tomorrow - rights negotiations being what they are. Also, and annoyingly, sometimes a track or tracks are not available to stream on an album, Again it's down to rights - perhaps the track was written by a different group member who didn't give their permission for the track to have streaming rights. It's also a way of persuading you to buy the album, then you'll have the full number of tracks. Bottom line - if you like something enough, then buy it.
    13 points
  7. Just assembled the epsilion rack from sound foundations. Excellent heavy duty build with thick steel columns. Very happy with my purchase
    13 points
  8. Looking across Hells Mouth, down Cardigan Bay to the mountains of mid-Wales, early morning. Been on a weeks holiday down to the tip of the Llyn Peninsula.
    12 points
  9. With regard to the issue, I certainly agree we need to reduce our reliance on goods manufactured in the Far East, not least in view of the ecological implications of shipping vast quanitites of goods halfway round the world. However, it's like Amazon. I would much rather support local, independent retailers, but I have to be pragmatic. If I need to drive ten miles, pay for parking, have limited choice and then pay more, I'm not going to. And components? You/we need integrated circuits for all sorts of things. Good luck finding them made anywhere other than the Far East. I've just had a rifle though the parts pile, and the number of bits and pieces that are made outside of Europe is frightening. Horse before cart. It's no good telling people to stop buying stuff made in China when there are no reasonable alternatives. We need to do something about our manufacturing industry, which has been totally wrecked over decades. How we do so, however, is a different matter.
    12 points
  10. my new lounge is almost there. Uno driven by some quad, led by my brand new 2021 Bluesound Node. And on the wall is a GIK acoustic panel with my home town Hong Kong printed on it good wine, good tunes….what a way to end Sunday
    12 points
  11. 'Vintage' gear is always a joy to own, can sound wonderful (Quad ELS 57s for instance) and is eminently fixable/restorable. Generally it's also a delight on the eye and so much more straight forward use. One button/knob has one function! A few years back I picked up a radio at our local dump. It was rather tatty, but turned out to be a gem, a B&O 900K stereo receiver from the first year of production. 900K A couple of weeks later my wife went to Berlin for a week, so to stop my hands being idle I set to work on it. Now has pride of place in the lounge. Here's a before & after
    12 points
  12. I think I’ve sorted what’s coming in the mancave / playroom for now .. There is a pair of Quad 57s and Mission 720s behind me ..
    12 points
  13. Inspire Force 10 turntable, Audiomods 6 arm and Hana SL MC cartridge.
    12 points
  14. Now have a new home , Being collected tomorrow night
    11 points
  15. We managed to catch a nice display of aurora this evening - a tad off focus-wise but you get the general idea!
    11 points
  16. Evening on Holy Island, Lindisfarne Castle with Bamburgh Castle in the distance. Canon 5D4 + 24-205L, 146s @ f16, ISO100 raw. Long exposure with 10 stop ND. PP in ACR & NikCFX.
    11 points
  17. [1979] Pink Floyd - The Wall [2014 remastered/reissued 2 x CD]
    11 points
  18. What's happening right now
    11 points
  19. Here is my listening / kids videogame room and home made rack
    11 points
  20. I have been a naughty boy. Or a good boy and I'm being rewarded. Never have been able to tell. Having carefully assembled my 4-box Elgar+/Verdi La Scala/Purcell/Verona system at the start of the year, I have swapped it out for for this gorgeous Puccini duo at a very modest premium. I then paid an extra few hundred to unlock the upscaling from the CD/SACD transport to all digital inputs. It's like Christmas. Drop dead gorgeous to the eye and the ear. Grinning here.
    11 points
  21. I just wanted to say Thank you openly to Roger @Blodger for sorting out something I purchased from him for my Daughter. Great communication and care to ship item from his location to me in Cornwall and in a speedy manner and with everything going on with the move here. She now has the turntable and delighted that her Other half can play his Oasis records on (that’s another story lol). Thanks Roger, your a star ️ I feel it right to give a positive experience on here and it would be nice to have a ‘sticky’ for our experiences. This is a great forum with many decent people so why not spread the news
    11 points
  22. OK, so this started out as a quick reply about your question but as you can see, it quickly became much lengthier so apologies in advance to those who bother to read this. And before certain folks take any issue with what I have to say, please remember that I'm not trying to make any personal attacks here. I am simply relating my own personal experience with these things, which seems to sometimes clash with some of the other members here. Loudspeakers are both air pumps as well as acoustic lenses. The majority of the air movement in the room is dependent on the lowest frequencies being reproduced as harmonically accurate as possible, which is what finding the distance from the front wall achieves. A position where the speaker sounds "free" of the constraints of the room and is exciting the least amount of room modes. Despite what some have commented, toe-in can definitely have an impact in the low frequencies. A cabinet loudspeaker placed in the corners of a room with no toe-in will typically have terrible issues with evenly reproducing bass across all frequencies. As an illustration, I cannot ever recall a subwoofer I've placed in the corner of a room not requiring toe-in (methodically implemented I might add). However, most (I say most, not all) domestic applications do not require that the loudspeakers be shoved in the corners, though there are reasons one would want to choose to put a subwoofer (or two) in the corner(s) of the room, not least being that a sub can move more air being on the longest axis of the room (i.e. the diagonal, assuming a more or less rectangular room). And, toe-in in this case most definitely affects how the sub excites the air in the room and if not done properly can simply exacerbate existing room modes; also how far from the corners a subwoofer is will affect the toe-in angle as well in a given room. Otherwise, a full range loudspeaker also has middle range and high frequencies to contend with in a given room, which is where the speaker acts more or less as a sonic "lens" which requires "focusing", much like the lens on a camera, or a projector. If the lens is not focused properly, then everything is simply blurred and distorted in relationship to everything else. I have heard this referred to as eliminating what is known as the "comb filter" effect, which is an artifact in the sound field created by the two loudspeakers having different arrival times to the ear. Essentially, the distance the speakers are apart from each other either creates or eliminates this artifact to a greater or lesser extent in the middle and upper ranges of the speaker. The air the speaker is moving in the room at these frequencies is much more affected by first reflections (Skoop, anyone?) and thus movement of the speaker distance between each other, as well as placement relative to the side walls (i.e. symmetrical or offset/asymmetrical) affects the relationship of how these first reflections are excited in a given room, as well as how "in-time" they arrive at the ear. Some might also refer to this as group delay, or time-of-flight. Also, distance between each speaker does affect the bass frequencies, particularly upper bass such as where a kick drum or the lower register of the vocal range is. Considering the fact that many high-frequency drive units also have a very narrow dispersion pattern, meaning that while acting as pumps and lenses to excite the air and project sound at a given frequency, they can only do so within a particular "window" or "focus range", the distance between the speakers is quite important, and if the speaker has a narrow high frequency dispersion, or if the speakers (assuming dynamic drivers here) are placed very far apart, toe-in is almost always necessary. Linn speakers have a wide dispersion pattern in the mid and high frequencies, however the speakers may still have issues with reflections in a given room, as well as the inability to find the optimal distance between the speakers to eliminate the comb filter effect due to placement considerations (i.e. a wide TV cabinet, putting bookshelf speakers on shelves, etc.), so I've certainly seen and experienced Linn speakers requiring toe-in in certain environments. Typically, the speakers with a 2K or 3K array have required very little toe-in, sometimes none at all, though more often I've found a slight (about 1/8-1/4") bit of toe to be beneficial in a majority of cases. And there have been times when a fairly dramatic toe-in was quite beneficial as well, it all just depends on the room and the speaker and where one can actually put things to begin with. Given the above, one can imagine why a proper tune dem placement of the loudspeakers are essential to achieving proper results with Space Optimisation. Finding an (there may be quite a few in a given room) ideal positioning apart from a "practical" position is thus key. One can also see where SO provides a massive benefit to those who cannot keep their speakers in an "ideal" position, such as needing to shove them in the corners of a room for whatever reason (typically purely aesthetic). Also, I tend to avoid using terms like "soundstage" with respect to loudspeaker placement, or evaluation of any audio equipment. The fact is that what is perceived as a "soundstage" is often no more than levels and panning within a given recording mix and there is no way to confirm your "soundstage" is correct without having listened to it directly in the mastering studio. Any "soundstage" one perceives is simply whatever choices the mastering engineer made for his sonic canvas, which one has no control over. The things one can listen for, such as pitch accuracy, harmony, melody, rhythm, pace, and the timing (time alignment of the harmonic information), otherwise referred to around here as "the tune", some might also call it "tonal balance", if implemented properly, will always, and I mean always, achieve better results, and more enjoyment of music without giving any thought whatsoever to notions such as "soundstage". Systems I have heard, as well as setup procedures which focus on this "phenomena" of "soundstage" and "imaging" are often relying on goofy tricks to achieve a particular artifact that sounds pleasing or "exciting" to the untrained listener in order to do a demo, "wow" an audience, and sell some boxes. I've proven it to myself enough times with the same equipment to know that the proponents of these largely ephemeral, and overall meaningless lingo and jargon don't actually seem to connect with the music they listen to, nor do they seem to comprehend the task of an audio engineer and why things end up in the mix the way that they do (it has more to do with relative gain than with anything else). I point that out because if one is listening for "soundstage" as an aspect of the music one listens to, you're likely not experiencing what your audio system (as well as your music content) is actually capable of. I can't tell you how many times I've heard people criticize this or that system for "not imaging properly" and "lack of soundstage", who apparently must prefer the sound of systems which sound akin to fingers on a chalkboard or screeching cats, because the fact was that many of the systems (some of them having absolutely nothing to do with Linn I might add) actually played music exceptionally well, and in my opinion had "soundstage" and "imaging" that was in fact superior to many, many other systems I've had the opportunity to listen to. They were always carefully setup by someone who more or less knew what they were doing, even if they couldn't (or simply wouldn't) explain how they achieved the results they did. Paradoxically, eliminating the concept of "soundstage" and "imaging" from one's goals for the further enjoyment of music will in fact result in a system that images properly and has a superior "soundstage", for whatever that's worth, at least that's been my experience. My experience with systems that have "imaging" or "soundstaging" as a goal has been twofold - they are either extremely boring (i.e. "warm", "tube-like", "slow", "syrupy", "disconnected" etc.) , because all of the emphasis is on achieving a particular effect, or they are extremely offensive to the ear (i.e. sibilant, "too resolving", lack of smoothness and liquidity in the high frequencies, non-cohesive, "out of tune"), because all of the emphasis is on achieving the same sort of effect, only in the opposite direction. Having frequented this forum on and off for many years now I simply don't find anyone here that reflects this sentiment, it seems as if most of the people on the forum have done their own fair share of experimentation and come to their own conclusions about what is right for them, their home, and their pocketbook, all things being relative. What I have seen, and participated in to some extent, is debates and discussions about certain supposed performance enhancements to Linn systems which various forum members have either had not-so-positive experiences with, or simply after performing their due diligence, decided that certain categories of products weren't necessarily worth the time, effort, or money to pursue when there were improvements that could be made elsewhere with other aspects of the system performance. Maybe they preferred to put another Linn system in another room, for example, instead of spending a similar amount on tweaks for their main system which to them sounds perfectly adequate. And I have seen other forum members become upset about these other members' apparent inability to hear what vast improvements could be made with these various third-party products, since they had had such a great experience with them in their own system. It is perfectly within everyone's capacity to question the experience of others, especially when it comes to products from all sorts of different third party brands being discussed on what is ostensibly a Linn owner's club.
    11 points
  23. Lou Reed - Transformer Original Vinyl
    11 points
  24. Yesterday, I had a musician over to hear my Linn system. It is not his first visit to my home to hear my Linn, but he is gobsmacked by the sound quality that Linn makes He plays his 12 guitars, piano and other instruments and has a very musical family that sings and plays professionally. He has spent a lot of time in a professional recording studio and is very familiar with recording studio techniques. He mentioned that the only way to get this kind of sound quality for recorded music that Linn is producing, is to actually be in the studio with the musicians, if and only if they are having a good day performing together. He says there are many things that can go wrong in a studio, and it is not often that all the variables come to get the kind of sound quality that Linn is able to get. ‘When he was listening to the music I played, he would close his eyes and follow every note in his head, on the guitars and keyboards, imagining in his mind playing the instruments and exactly where he would by placing his fingers to play. He was totally immersed in the music. ‘I thought I would pass that on to all the Linn enthusiasts here.
    10 points
  25. Another Sunday play…less hifi looking rack, vintage McIntosh c35 preamp driving quad 909. I’ve remote control so happy
    10 points
  26. Acoustic flooring now down
    10 points
  27. I'm sorry but I completely disagree with this. The problem I have here is the phrase "equivalent digital sound". Owning and using a turntable really should NOT be about trying to get an equivalent digital sound. Why would you? If you want digital sound, stick with digital. It's great at what it does. By the very definition of what a turntable is, it's NOT digital, and that's the whole point. A half-decent TT will give you a very different perspective on music, and is absolutely worth pursuing. Will it have a background that's totally silent, devoid of pops clicks, hiss and rumble? No. Will it completely lack pitch variability? I very much doubt it. Will it stir your soul and connect you to the music on an emotional level in a way that even top-notch digital replay can often fail to do? As long as the deck isn't a total duffer, then absolutely. Owning a TT is not a hassle-free process, it does demand some careful thought even at the entry level, but entered into with an open mind and a willingness to accept the shortcomings in return for the positives, then it's incredibly rewarding. @Joss by the sound of things you are looking to put a toe in the vinyl water and see if it works for you. I would say that the advice you've been given to look for a popular used purchase is the way to go - if you decide after all that it's not for you then you can sell it on again with little or no financial loss. And if you fall for the charms of vinyl, then you have a great starting point from which to continue your analogue odyssey. A Rega Planar 3 or P3 is perhaps a more straightforward start point than the aforementioned Systemdek, being a solid plinth (i.e. no suspension to set up or go out of balance), although it will be more sensitive of the environment in which it's placed. You will need to consider where you site it quite carefully to avoid potential problems with footfall on a bouncy floor from sending the stylus skating across the LP every time you move. (if you have solid floors, you're probably spared this terror!) I do agree with @radiant red though that the suspended subchassis-equipped Systemdek is a terrific deck - the IIX/900 was my first "proper" TT and I loved it for a number of years until I could afford to indulge in a more esoteric deck. It's very capable, and will support future upgrades to arm and cartridge - personally I'd say probably better than the Rega would. Don't discount the Pro-ject decks though - while it's true what @Lurch says about the Rega outperforming the equivalently-priced brand new Pro-ject, you could also get some of their more sophisticated decks used for similar money. Something like a Debut with the carbon tonearm could be had for similar money to the others and is a good deck. If you need to select a cartridge I'd stick with an MM (moving magnet) type - Audio Technica have a large selection (there's plenty of experience on the Wam of which models would work), or an Ortofon 2M, a Goldring or perhaps even one of the Nagaoka range. Hopefully though a second hand deck will come with something suitable so at least you can get going. One thing I would strongly advise is to make friends with a local Wammer who has all the setup kit for a TT - cartridge scales, magnifying glass, Allen keys and tiddly screwdrivers, and a good alignment gauge. Even if you buy a deck pre-fitted with a cartridge I would want to double-check everything, just in case. A TT bought from a longstanding Wammer will almost undoubtedly be a safer bet than an eBay purchase. Oh, and get something to clean your stylus with - we all have our preferred devices from a simple stylus brush to remove day-to-day fluff, to something like the Vinyl Passion sticky stuff for removing more resilient gunk, or (if you can get hold of one) the Audio Technica 637 "vibrator". Have fun choosing, and have fun enjoying vinyl - that's what it's all about at the end of the day
    10 points
  28. I built this a couple of months ago: It’s the cheapest ass 45 amp anyone could come across. I didn’t even have a single ended transformer set with the right impedance, so I disassembled a pair of old Danbury Electronics, push-pull 5K a-a transformers and restacked the laminations as a gapped setup. The case is six £2 chopping boards from Poundland, five of them hollowed out and then stacked and glued up. Rectifier is a Phillips 5R4GYS. The driver is a used Mullard ECC82. No fancy power supplies as the case is so small there is no room inside to put in anything other than a basic CLCRC jobbie. Surprisingly it sounds great driving my 100dB Fane, single driver speakers.
    10 points
  29. Top tip of the day, if you like your house to be still insured stick with a plug/fuse approved to the relevant British Standard.
    10 points
  30. Performance = accurate transduction of the signal, so yes speakers that measure well across a comprehensive set of measurements perform better. But do they sound better? It depends on who you ask. Accuracy does not equate to enjoyment. Different people enjoy different types of presentation, some like accuracy, others enjoy a slightly tailored presentation and other still prefer a very characterful reproduction
    10 points
  31. Nils Lofgren - Acoustic Live. CD
    10 points
  32. 9 points
  33. Original vinyl , this album has seen some mileage , it used to live in my car and was played at various friend’s houses . Ultra sonically cleaned and sounding top top .
    9 points
  34. Michael Jackson - Thriller. Original Vinyl.....
    9 points
  35. Red Hot Chilli Peppers - Californication
    9 points
  36. Mike Oldfield - Tubular Bells. CD
    9 points
  37. Aye we are there in the Vinyl passion room, mark has kindly requested if he can use the speakers for the show, we have made him some of the new AR-130/4 speakers for the weekend, unfortunately funds dont allow for doing a room on our own just yet but we will be taking 1 of each of the other models for customers to have a look at, i should have a few brochures as well, come and say hello and introduce yourself to us, cheers.
    9 points
  38. A 2 for 1 upgrade picture, recently bought a Denon DP-55 turntable, which has impressed me no end considering the cost, & a bit more costly Koetsu Urushi Vermillion, which is all kinds of wonderful!
    9 points
  39. Blackpool beach sunset. Canon 5D4 + 24-105L, 1/800s @ f8, ISO250 raw. PP in ACR.
    9 points
  40. Much as I am hardly the greatest fan of Mr Bezos, I have to say I'm uncomfortable with this idea in general. First, it's usually not actually Amazon, but someone using Amazon as a selling channel. The advert for the amp here seems to be the Marantz Store. Second, in the end it's always the consumers that lose. If new goods keep getting returned and are then sold at a lower price, then simple economics dictates the shortfall is going to have to be made up in the end. Inevitably, this will be through prices going up all round. Maybe I'm just old fashioned, but the idea of buying something new with the aim of using it then sending it back for a refund just doesn't seem right to me.
    9 points
  41. Rachel does effectively, and always has done. It's not a mystery. The Ltd. company details are readily available. However, it's ot particularly relevant. What matters is who runs it, and most importantly, who we can yell at if something goes wrong. It is no state secret that feedback and communications have been an issue at all levels for the last few years. I don't have a crystal ball, but I can tell you that in the last couple of days, that has changed completely. And completely for the better.
    9 points
  42. Placebos work to an extent even if people are aware that it is a placebo. That is something a great deal of research is being done in, as logically it makes no sense. Either way, placebo is not the appropriate effect here. It would be expectation bias if anything. None of these, nor the reasoning, actually matter. You buy something. You can afford it. With it, your system sounds better to you. In which case, who cares whether the effect is measurable, real, imagined, down to the fairies living under your floorboards, or a so far unexplained electrical property. It. Doesn't. Matter.
    9 points
  43. Roberta Flack, the first time ever I say your face. From the album first take (track 2 side 2). Stunning female vocal, with a piano accompliment and gentle, slow yet nuanced backing instruments.
    9 points
  44. Heating and lighting is sorted.
    9 points


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