Infinitely Baffled

Wammer
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About Infinitely Baffled

  • Rank
    Wammer
  • Birthday 15/06/1955

Personal Info

  • Location
    Welsh Borders
  • Real Name
    Gary

Wigwam Info

  • Turn Table
    Garrard 401
  • Tone Arm & Cartridge
    SME M2/AT33PTG
  • SUT / Phono Stage
    NVA/Arkless head amp
  • Digital Source 1
    Naim CDP
  • Integrated Amp
    Audio Note Kit One
  • My Speakers
    AN-J
  • Trade Status
    I am not in the Hi-Fi trade

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  1. Yes. All perfectly fair comment (well, "tedious" is a bit subjective, but I can see how you get there). Odd that it just hits the spot for me (and others too, evidently). IB
  2. I get tired of this idea that Bob Dylan can't sing. My guess is that the folk who say that don't understand the difference between having a cute voice and really being able to sing. Two different things. Bob Dylan is a truly wonderful singer. Just listen to the way he narrates his songs to the listener: listen to his phrasing, to the rise in fall in his voice, listen to where he slurs his words and where he chops them. Speeding up or trailing away, yells, whispers and croaks - they are all narrative devices he employs brilliantly to COMMUNICATE! And that's exactly why he is so good: there are very few singers I can think of who can pull you into a performance and keep you on the edge of your seat, hanging on every word, like Dylan does. And people say he can't sing! Worse still, folks go crazy for wrist-flicking, finger-clicking transatlantic slather like Frank Sinatra - who manages to make every song he sings sound the same (mid-tempo, bounce-along bland-fest). There's no justice! The Zim still shouldn't have been awarded the Nobel prize, though. His songs are great - as songs. But they only really work right when presented that way. "Literature" is something different. All IMHO, of course!
  3. In electrical terms, is there any difference between having a fixed value attenuator plugged into the amp's input socket (outside the box) and having a volume control as the first thing the signal encounters inside the box? Is there any reason why one might "kill" the sound, whilst the other is just the normal thing we live with to control the volume? IB.
  4. Hello, Mauro. Have you tried listening to the sound the deck makes if you run it with the platter removed? Is it still noisy like that? If the rumble has gone then it seems likely that the problem is a dirty/contaminated platter inside rim (ie. where the idler wheel runs against it). Give the platter inside rim a good rub down with a Scotchbrite pad or similar material, and wipe clean with methylated spirit. Clean the outside edge of the idler wheel with methylated spirit and then reassemble it all. This should give you nice silent smooth running (unless it is the bearing itself which is "grumbling" - but that's a different problem). I find most of the unwanted noises with 401 come from the idler wheel/platter rim interface. Good luck! Regards. Gary.
  5. Hello, All. I wonder if anyone out there can offer any wisdom on a matter that is puzzling me: The arm on my turntable is a Fidelity Research FR 54. This model attaches to the armboard with a fixed-position pillar (ie. it does not have an SME-style sliding baseplate or anything like that). The headshell has slots in it to permit the setting of the correct stylus overhang. I am contemplating using a Fidelity Research integrated headshell/cartridge unit with it - the MC 702. As far as I can see from photographs, there is no means of adjusting stylus overhang or arm effective length with a cartridge like this. It must be the same with SPUs? How can the user then be assured of correct arm/stylus/platter geometry with no means of adjustment? Regards. Infinitely (as ever) Baffled.
  6. Thanks for the offer, Jamie, but I'll say no. I really need to reduce my cartridge count. Cheers. Gary.
  7. For sale is my Music Maker lll, a well-known high-performance variable reluctance phono cartridge made by Len Gregory, "The Cartridgeman". It is described as a "moving iron cartridge" and it displays outstanding measured operating characteristics: Output voltage: 4mV, Frequency response: 10Hz - 50KHz, Stereo separation:>25dB across 10Hz to 30KHz range, Loading requirement: 47K Ohm (which is the same as a standard moving magnet cartridge). It is a very high end non-MC device: Googling it will quickly show you how well thought of it is. The last time Len's website quoted a price for this cartridge, I believe it was between £700-800. Now it is being sold "POA". This has been my go-to cartridge for many years, but unfortunately it does not seem to want to work well with my new arm - an SME M2-9, so I have decided to sell it. It arrived back yesterday from The Expert Stylus Company, cleaned and re-tipped by them with a brand-new Paratrace stylus - it has zero playing hours on it. This is in effect a new, unplayed Music Maker lll. I am asking £425 plus delivery costs. NOW SOLD. IB
  8. I have for sale a very nice example of Nagaoka's top-of-the-range MM phono cartridge, the MP-500. The build quality of Nagaoka cartridges is fabulous. The MP-500 features a boron cantilever, super-fine line-contact stylus, samarium cobalt magnet, anti-magnetic permalloy shield casing. Very appealing warm and refined sound with plenty of detail, plus it is the best tracker I have ever come across. Very well thought-of cartridge on this forum. This one has 250 to 300 hours on it. £300 delivered in the UK.
  9. Some very useful information here [ http://www.rothwellaudioproducts.co.uk/html/the_truth_about_passive_pre-am.html ] about passive pre-amps and their ability to drive - or not - long runs of interconnect. V interesting and dispels some obstinate myths. Regards. IB.
  10. Interesting thread. I can't say I have listened to as many different versions as some of the contributors have, but my own favourite - which I bought as a three disc set in 1976 - still thrills me as much now as it did at the start. It is Bretislav Novotny on Supraphon, and was a very well regarded interpretation in its day (when, admittedly, there were not the hordes of contenders there are now). He pays great attention to the "horizontal" relationships between the notes, though obviously not to the exclusion of the vertical. This gives his performance a great melodic flow - they are superbly listenable and the standard of the recording - as ever with Supraphon - is stunning. Another favourite of mine - again an old-timer - is Henryk Szeryng. He plays with great authority and no flashiness whatever. He has recorded the S&Ps twice to my knowledge, once for DG and once for what was CBS at the time (I suppose - it is available on Sony Masterworks). It's the CBS recording that I particularly like. I did have the Grumiaux version on Philips for a while, but I just couldn't get on with them - very stiff-legged and artificial to my ears. The only modern version I have heard is Rachel Podger's, which I find absolutely wonderful. There have been mentions in the posts above of various odd arrangements and instrumental transcriptions of these pieces, but can there be any odder or less expected version than Emma Kirkby and Carlos Mena singing their way through the D-minor Chaconne on Glossa GCD 920107? V. interesting, but probably for completists only! Not many pieces of music could readily generate the level of devotion - no, addiction - evidenced in this thread. Infinitely Baffled.
  11. Is that nag still kicking about 

    1. Infinitely Baffled

      Infinitely Baffled

      Yes it is - still boxed and here. Gary.