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13th Duke of Wymbourne

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About 13th Duke of Wymbourne

  • Rank
    Junior Wammer
    Junior Wammer

Personal Info

  • Location
    Dana Point, Ca

Wigwam Info

  • Turn Table
    LP12 (1981)
  • Tone Arm & Cartridge
    Ittok & AT OC9-II
  • SUT / Phono Stage
    DPA CTA-80
  • Digital Source 1
    Wadia 830
  • Digital Source 2
    Allo Digi One Sig.
  • DAC
    Wadia 830
  • Pre-Amp
    DPA CTA-80
  • Power Amp/s
    Meridian 105-like
  • My Speakers
    Quad ELS-57
  • Headphones
    AQ Nighthawk & HD-600
  • Trade Status
    I am not in the Hi-Fi trade

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  1. Lots of thoughts about the Mober bearing design here: http://www.audioflat.co.uk/viewtopic.php?f=7&t=1790. Those that understand these things better than I think it is a mis-guided design. Edmund's youtube video shows off how freely it spins. That is likely not the best figure of merit for a turntable bearing. As to who has compared it to a Karousel you'll have to wait and see. Adam at Hi-Fi AF is the most likely, IMO. As for posting here and asking whether Karousel is a good thing means that you are either naive or a troll (just joking ) Regards, 13DoW.
  2. Though alumin(i)um is not magnetic, when it has been CNC-milled it does emit an invisible field. When the flux lines from that field intersect a stationary audiophile the sound in the room improves.
  3. I remember those days - was 'Popular Hi-Fi' the one with Chris Frankland as editor? Each month the same upgrade table was printed showing his recommended path from entry-level to the holy grail tri-amped Isobarik system. Hi-Fi Answers had the same publisher but a different editor. They were pro-Linn too and chief-reviewer Jimmy Hughes ('JMH' back then) reference everything to his tri-amped Isobarik system. Until, that is, he heard the Krell KSA-50 and he jumped ship and put three of those in his tri-amped system. This was the time that US high-end components were introduced to the UK by the importer/dealer Absolute Sounds (no relation) - they brought in the Krells, ARCs, Apogees etc. and also the first Oracle turntable to rival the LP12. Though, IIRC, it cost more than 700GPB back then when the LP12 was 'only' 340GBP. I'd always assumed that people wanting to spend on a good system would buy the magazines and be influenced but a lot of replies here say no. When I bought my first system the local dealer had the LP12 and also the original Systemdek. TBH, as a neophyte, I didn't hear a huge difference so I went with Linn because of their reputation.
  4. Probably the best review is here: https://www.hifiaf.com/installing-mober-subchassis/ Seems this was early in Adam's LP12 modification frenzy so scroll through to see comparisons to other sub-chassis. IIRC, he is still using the Mober in his reference LP12.
  5. This is a bit like who would win in a fight between a tiger and a shark? CD & vinyl are different presentations. IMHO, vinyl's technical deficiencies add something pleasing that makes it enjoyable and 'musical'.
  6. maybe more off-topic than on-topic, but does anyone know what sort of cable is used between the Urika I/II and the arm? Presumably something very flexible.
  7. "nothing lasts, nothing is finished, and nothing is perfect" sounds like upgrade-itis.
  8. Maybe we'll never be able to distill exactly what makes vinyl sound different from digital but, IMHO, the difference being due to vinyl's imperfections is very plausible. We should be aware that preferable may not mean objectively better - to think that because you like something it must be inherently better is a bit arrogant. Note, I'm not arguing digital sounds preferable to vinyl but consider if it does, is that because it transmits some musical essence that is in the recording that digital cannot - or could it be that vinyl adds some imperfection(s) that we like? And vinyl adds plenty of imperfections - tracking/zenith distortion, azimuth distortion, SRA-related distortion, tracing distortion, reduced dynamic range at high frequencies (limited by groove velocity), reduced dynamic range at low frequencies (limited by groove amplitude), acoustic feedback, mechanical feedback, vinyl noise, print through etc. Add to that all the vinyl production stages - cutting head to lacquer to mother to father to stamper to LP. And limited channel separation (Soundsmith claim their best cartridges can do 40dB) - there is actually a really good theory as to why vinyl has such good imaging and this is because cross-talk is relatively poor and frequency dependent. Something that struck me after years of lurking on the Steve Hoffman forum is that many digital detractors always preffered their needle drops to CD, which implies to me that digital can capture everything vinyl adds! Regards, 13DoW
  9. He posts very frequently on the audioflat forum. I often wonder what he does for a living - he seems to have hit a sweet spot of having plenty of time for his hobbies yet still getting paid enough to afford hobbies! And, apparently, a very understanding wife.
  10. I think Frankland was editor of 'Popular Hi-Fi' in the early eighties and they had the same upgrading page every month - Dual CS505 + NAD 3020 + some bookshelf speaker I can't remember. But there was no step from Dual to Rega you had to go straight to an LP12 (if you could not enter the ladder at that rung) or not at all. Back then the Basik arm + MM was 46 GPB (I remember, 'cos I had one) and then to Ittok, Asak and then various Naim & Linn speaker combos culminating tri-amped Isobariks. 'Hi-Fi Answers' (I think the same publisher, but different editor) followed that line too, though not as didactically. Jimmy M Hughes, the star reviewer, had the tri-amped Isobarik system so that is what everything was compared to. Until the Krell KSA-50 came along, and JMH jumped ship to use those to drive his speakers. And then the Absolute Sounds dealership (no relation to the magazine) opened in London and starting importing all sorts of exotica into the UK that probably took a lot of the highest-end business. Ah, nostalgia.
  11. What is the collective noun for LP12s? S'pose it must have a 'k' in it.
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