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Rothwell Audio

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Rothwell Audio last won the day on April 8 2016

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About Rothwell Audio

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    Experienced Wammer
  • Birthday 15/03/1962

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    Lancashire, UK
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  1. Yes, MM cartridges are sensitive to capacitive loads. MC cartridges not so much. Here's a useful page that explains it in more detail and there's a tool that allows you to the effects of different capacitance. Basically, the inductance of the coils and the capacitance form a resonant circuit that puts a peak in the frequency response. More capacitance changes the frequency and height of the peak. http://www.hagtech.com/loading.html
  2. I see it. A creative solution and beautiful workmanship. What's the problem?
  3. Another interesting link, thanks. It can't have been cheap to do and does show what you get for your money when you hire a "proper" recording studio or mixing/mastering suite. On the other hand, it tends to give the impression that listening to recorded music at home is hopeless without spending thousands of pounds on acoustic treatment. Still, what's the point of spending £50k (?) on amps, speakers etc. and spending nothing on room treatment? There must be a happy medium somewhere. Didn't Russ Andrews come up with a formula saying that you should spend X% of your budget on cables? Perhaps a more useful formula would be to spend X% of your budget on acoustic treatment.
  4. I thought that room looked very odd - lots of acoustic treatment on the walls but a bare wooden floor. Seems a bit strange to me.
  5. When we were in the EU we always paid VAT on goods bought from the EU. When we buy goods from within the UK we pay VAT. Being "clobbered by VAT" has nothing to do with brexit.
  6. Hopefully, she doesn't even know they exist. I take your point though. There's more to being environmentally friendly than just the energy consumed when running something.
  7. The cost issue is easily explained. The valves themselves are very expensive compared to transistors. A small signal transistor can be had for a few pence and an output transistor for about a pound, whereas a preamp valve will cost at least £10 and power valves at least £20. In addition, valves need valve bases (more expense) and a valve power amp (usually) needs an output transformer. The mains transformer also needs to power the valve heaters as well as provide the high voltage, so it needs to big enough to do that, and the high voltages need high voltage capacitors which are more expensive than low voltage capacitors. Also, the technology doesn't lend itself to efficient production like surface mount transistors do, so that puts up the labour cost. Finally, valve amps are usually made in relatively small quantities to cater for a niche market, so there's no "economy of scale" advantage either. That' all adds up to an expensive product. As for sound, that's not so easily explained. Some people will claim there's no sonic benefit to using valves, whereas others will argue that their sound quality cannot be matched by transistor gear. Personally, I believe a good valve amp can sound sublime. I don't make them commercially anymore because when I started there weren't so many around and I had a market for them, but these days there are so many to choose from - including relatively cheap ones from China - that I chose not to compete. Personally, I've gone off valves just because they're so inefficient. The amount of power consumed for the amount of power output seems rather too environmentally unfriendly. Yes, it could be argued that anyone who drives a petrol or diesel car isn't going to reduce their carbon footprint by very much just by not using a valve amp, but it's something to consider.
  8. You may find this page is worth reading: https://ethanwiner.com/acoustics.html
  9. To be honest, I can't stomach the nonsense that Linn have talked over the years. I just don't get all the "PRaT" stuff and the stuff about CD players "not being able to play a tune". Add to that the endless upgrade mods that they used to produce for the LP12. Seems to me they were just using their customers as on-going cash cows. That put me off. The last nail in the coffin for me was when I heard a tri-amped Isobarik system. For the first few seconds I was completely wowed by the exciting, punchy sound. Then after about 30 seconds I realised that it was very two dimensional and had no sense of air or delicacy and separation between instruments. After a few minutes the sounds was becoming so aggressive and abrasive I couldn't stand it any longer. All that has tarnished my opinion of Linn beyond redemption. To be fair to them, I haven't heard any Linn gear for quite a while and maybe things sound better now, but there's such a lot of other gear available that there's no shortage of good stuff to choose from.
  10. I agree. If recording in the same room as the playback room and having the mic far enough away to capture room ambience, playing back the recording will give you the room ambience twice. However, using very close-micing will result in a very dry sounding recording. My experience has been that the human voice is a very good way of evaluating speakers. Somehow the human voice shows up colourations quite clearly, whereas musical instruments are more likely to just sound a bit different rather than plain wrong when the speaker's frequency response is off.
  11. Pronounced like Jean-Michel Jarre, correct.
  12. Can you say what it was about them that you didn't like? I've looked at Troel's site many times (there's lots of of useful information and lots of interesting stuff to read) but I've never heard any of his speakers and don't know anyone who has heard them, except yourself.
  13. Of course, sorry. I was thinking BLH was a brand I was unfamiliar with.
  14. Yes, but I consider those brands to be on the margins rather than representative of the industry as a whole. I've never actually heard of BLH.
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