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About britishcomposers

  • Rank
    Experienced Wammer

Personal Info

  • Location
    Leigh-on-Sea, Essex

Wigwam Info

  • Turn Table
    Origin Live S'gn 3.2
  • Tone Arm & Cartridge
    OL Illus/Cadenza Bk
  • SUT / Phono Stage
    G Slee Accession mc
  • Digital Source 1
    Lexicon RT-10
  • Digital Source 2
    Goodmans (Freeview)
  • DAC
    Metrum Octave Mk2
  • Pre-Amp
    Townshend Allegri
  • Power Amp/s
    Benchmark AHB-2
  • My Speakers
    IAS Beaulieu Quad 57
  • Headphones
    AKG K140S (not used anymore)
  • Trade Status
    I am in the Hi-Fi trade

Recent Profile Visitors

1,700 profile views
  1. Dear British Composer

    I looks like you are very knowledgable about the QUAD ELS 57. I have had my pair for about 25 years now and cannot think of a day going by without listening to them - they are wonderful. Anyway, always thinking about how I can make them sound even better - I have pretty much taken your advice - firm stands OTA Ruperts - well out into the room and with a really good amp to drive them - the Corft Series 3 OTL amp pimped up by Glenn Croft himself. I have not taken out the stuffing from the back of the speakers and OTA said they did not recomment that. I now run Roon and was thinking of putting some parametric equilisation into the mix - maybe pushing up the bass a bit. Have you tried anything like this to success. I will try out and see whether I like the effect or not. I sometimes run a REL Strata sub but this depends on the music I am playing. Since Glenn did his magic the bass is better on the Croft anyway so it is less of bother now than before.

    Hope to hear from you soon with your thoughts on top tips to get the best out of QUADS! If you are interested have now been through the process of updating my digital front end during lockdown- it sound pretty incredible. My vinyl still sounds good but the digital is pretty wonderful now.

    system 07.02.2020 jpeg.jpg

  2. That was the case with the sunken library in Islington; built at the side of such a property on a wide corner plot with a short corridor bridging the two from basement level. The client engaged one of the borough's pre-eminent architects who had considerable association (as in several decades) with the local planning authority borough architects, which naturally helped the cause in achieving it's remit without too much of a fuss, if at some degree of incurred expense.
  3. No, they're stopping production of every audio product too. Mobile phones are all that's left now in their product line-up. That's the reason. No doubt about it. A hasty decision it would seem, but I'd say that for what is a small operation, it's probably been brought about after seeing their projections looking weak in one discipline and strong in another with what is a huge growth sector: the Asia Pacific telecomms market: China, India, etc.
  4. Once you have discovered that horn loudspeakers like those aren't necessarily predisposed toward cuddly triodes but rather a more disciplined, linear and neutral sounding amplifier with possibly no distortion within the levels listened at and with extremely fast and precise control, but without the constipated 'dried-up' sonics generally attributed to many (but not all) such SS designs, (and before anyone wants to deride what I am saying here, unless you have had 15-years experience with such a loudspeaker, then I'd have to politely say forget it!), then they begin to yield sounds that, in their day with dreadfully matched amplifier demo's (around the mid 1980's to early 1990's) that made them sound God-awful and cardboard-box like in presentation, then one begins to enjoy something that is so effortless and enveloping with recordings that are not ruined by hack engineers who 'tinker' with the controls when listening to fine acoustic recordings that genuinely recreate an event right in front of you. They really responded best with analogue-sourced recordings; even if remastered digitally but played from a quality CD player, (I used a Meridian 506/24 at the time and then latterly the Lexicon RT-10), or via the digital-fed FM platform, - for it was more about the approach given toward recorded balancing of another era before all of this misguidedly perceived 'early CD' treble balance, as so beloved by Joe public, that was more akin to a dose of cat-nip for anyone brought-up on mediocre music-centres and stack systems with rubbish record players and loudspeakers. With those bad recordings, (commercial pop), the horns were left behind by less critically sensitive loudspeaker enclosures whose cabinet walls could deal with studio-applied emphasis peaks, whereas a horn would just fall down with panel colourations to muddy the mix, even with a serious amplifier up-front. I even placed the Tripath modules I used right in with the modified crossover panel to get the very best control possible. I do miss them, but my current loudspeakers' performance means I am more happy now than at any time before.
  5. It runs deeper than this because there are audio-related products too, including planar magnetic headphones, headphone amplifiers, streamers, etc; all of which have been widely praised products, esp. the headphones which Keith Howard, (one of HFN & RR's most ardent critics of the 'fashionista' movement of headphones that don't cut it for sonic accuracy) rates as being amongst the best performers for the money. No, it's redeployment of overhead costs, solely into the production of mobile phones, which is huge business in the Asian Pacific markets. Hi-fi and AV? It was probably the model all along that got them the investment capital together for the prize markets sought; all started upon a US hack opening-up the lid of a Lexicon RT-30 universal disc spinner that Stereophile reviewed around ten-plus years ago: selling at an intended retail cost of 5,000 US Dollars that, upon examination, was using the innards of bought-in electronics from an unknown called Oppo that could be found for 800 USD! In reality, the Lexicon was fitted with a much better power supply and was a far better built product, but from that revealing point onward, no-one bought Lexicon disc spinners again and conversely they ceased production; sticking with processors and amplification only, in-spite of their top-tier credentials within the pro industry and association with film studios.
  6. This is nothing more than a band of bureaucrats abandoning ship and looking toward the main breadwinner within their operation (mobile phones) and stuff the consumer: all those who invested ten-fold (to the cost of mainstream products available) on a machine that was a go-to 'upgrade' product of quality build supposedly devoid of the usual short-term'ist obsolescence so befallen of just about every other Blu-ray DVD machine on the market today must be really annoyed with this, as am I myself. Disappointment doesn't even begin to address the feeling in this dreadful manoeuvre. I have to say though that the last machine, the 205, was a huge disappointment as compared with it's much more comprehensively equipped predecessor, the 105. This included a number of overlooked problems within it's audio stages when used as both audio pre-amp for audio only sources within an av set-up. Nothing but poor oversight that gave me wonder at the time (start of the year on a basement cinema room project) as to whether it was the start of a winding-down process: no I-Player and Netflix for starters plus a whole host of other applications missing. It were as though the team that worked on previous generations were no-longer employed and all that was done was in issuing a new player stripped of anything worth having due to lack of investment with licencing models. It doesn't surprise me at all that they are yet another 'here today and gone tomorrow' merchant. A shame, because the UK agent I used was London's main operator: AV Aficionado, and their product support team were second to none; always there when needed.
  7. ...but across the garden facing aspect? He made mention of lots of opening windows to keep it cooler in the sun.
  8. There's a Pilkington Glass product which maintains moderate ambient temperatures for this I believe.
  9. Was listening to my friend's Tannoy FSM's Saturday night on the end of his 'fettled Audio Innovations 500, Oracle Delphi/SME IV/Cartridge Man Music Maker 3 & PS Audio Memory Reader CD transport/Metrum Octave Mk2 DAC. Super set-up and I'd imagine quite similar to your DMT's. Love those JBL's in the third photo, but vertical horns?
  10. Thanks Eddie. Do you know, my overriding memory with these loudspeakers was in listening to the charming David Jacobs on a Sunday evening over a good many years when I had the EAR 802 pre and EAR 519 mono's (one behind each speaker) listening via my rebuilt LEAK Troughline II FM tuner with in-built Gate decoder, listening to all those Frank Sinatra, Dean Martin, Peggy Lee and Julie London numbers he played; none of it tripping the Optimod dynamic compression. The sound was sublime!
  11. britishcomposers


    Spendor and Harbeth are manufacturers that deploy thin-walled cabinet designs, a la BBC that, (as Uzzy rightly says in another thread), 'tune-out' cabinet resonances and away from the all-important mid-range frequencies which need to be as clean as possible; freeing-up any boxiness. As such, both recommend thin open-frame metal stands that merely interface at the enclosure's bottom corner edges; the most rigid part of the cabinet for minimal energy transfer and zero impact on the enclosure's 'intentionally' resonating walls. This bears-out a rationale that affords less of a constrained presentation, much in the same way as a bell that hasn't got anything holding onto it's rim when struck. It may seem academic but it does make some difference and the 30.1 is a brilliant performer that images superbly and warrants the right support measures. With a budget in mind, you could draw-up a design and forward it to Paul Morton (MD) of Custom Design, based in Newcastle, (good value from real people with principles), as I had my IAS Beaulieu stands plus a neighbour's Spendor S100 stands made by them; both coming to approximately £300.00 a pair. If using the above design concept, they can provide you with eight adhesive low-compliance pads that won't turn into black sticky blobs; keeping the cabinet's undersides unmarked. Also, as the interface is at the most rigid part of the cabinet, (no flexure), I would dispense with the sprung-base solutions that are widely marketed right now as a number undo leading-edge transient detail as compared to using spikes. That is, unless your floor has serious vibration issues, in which case there's a recent thread still on page-one of this (Two-Channel) forum about spikes and platforms. Just don't fall into the contradictory trap with vibration solutions working to isolation models (as relevant to hi-fi equipment such as CD transports and turntables), where loudspeaker platforms are concerned. http://customdesign.co.uk/index.php?route=information/contact
  12. The second link requires planning consent due to the height exceeding 2.5m. As Uzzy says, avoid square or near square proportions. That goes for the height too to some extent. You could do what a lawyer client of mine did for his library/music room I worked on; having it partially submerged in order to get it past certain legal requirements with the local authority.
  13. Just looked up your Adam loudspeakers. They are really serious! I bet they have everything covered.
  14. Although some may have seen these already elsewhere on the WAM, for those that haven't, this alternative layout was shot by me for my original website, replete with lighting down the horns but using a far from sonically ideal rack, - though the keen eyed will see that the system's not wired up. I owned these for 15-years alongside my QUAD ESL's (then stock and way before the quartz composite stone stands I'd later developed); bought for the princely sum of £2,250 from rostrum camera legend Ken Morse at his studio opposite Wembley Loudspeakers in Shepherds Bush back in '98. Dr Paul Mills of Tannoy tweaked the x-overs and I rewired them internally; bypassing the front HF level/roll-off panel and moving the uprated components onto the back of the LF choke assembly board that sits above and behind the upper frontal horn flange profile (sounds rude) within the cavity there. At one point, each loudspeaker enclosure being driven by a 2 x 10 watt (RMS) Tripath stereo evaluation board that gave a purity of sound far better suited than many other amps (vlave & SS) that preceded them, with one channel feeding the LF choke assembly and the other the HF x-over, and wires going directly to the treble unit's tags and bass unit's tags and not via the grotty four (in-line pins) plug. Should never had sold these, but as I was contemplating moving (at the time) didn't want the restriction of where to live, nor the hassle of shifting them again down three flights of stairs!
  15. Me too! Easter weekend on the awful roads when busy with awful rain? Not me! Talking Pictures TV with black & white British post-war films (Freeview 81) and music, music, music for me. Sad, but true.
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