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Nestor Turton

Wammer
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About Nestor Turton

  • Rank
    Nestor Turton
    Experienced Wammer
  • Birthday 01/05/1950

Personal Info

  • Location
    Back in UK
  • Real Name
    Nestor

Wigwam Info

  • Turn Table
    LP12 Keel Radikal
  • Tone Arm & Cartridge
    EKOS SE & Krystal
  • SUT / Phono Stage
    Urika II
  • Digital Source 1
    JRiver Media Centre
  • Digital Source 2
    Chord Blu2
  • DAC
    Chord DAVE
  • Integrated Amp
    Chord Etude
  • Pre-Amp
    Akurate DSM/3
  • Power Amp/s
    Klimax Chakra Twin
  • My Speakers
    Spendor/Harbeth
  • Headphones
    Audeze LCD3
  • Trade Status
    I am not in the Hi-Fi trade

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  1. Yes FPGA is a Field Programmable Gate Array. Before I retired I used to use FPGAs in my day job. We were always looking for better ways to secure networks. When we felt it might be possible to compromise our code, we completely re-engineered it and were able to push out the revised code to every deployed device across the world. If we had used an ASIC (Application Specific Intergraded Circuit) this would not have been possible. Moreover, FPGAs interface to the electronics making the hardware element of Linn’s Organic DAC simple compared with the inherent complexity with a Commercial Off The Shelf (COTS) chip. Chord Electronics have a similar hardware design for its Pulse Array DAC. However, Linn DAC architecture is different from that of Chord Electronics. PS Audio is another taking advantage of FPGAs: PS Audio converts PCM to DSD making its hardware design even simpler: PS Audio has upgraded its code and customers were able to take advantage of the improvements. To me, the Linn design looks a marvel of simplicity and that can only be a good thing. The downside of FPGAs are they are noisy blighters. The casework and quality of shielding within the case are very important and I am convinced Linn has put as much thought into this as it has into its FPGA code. All this and modularity within the box. if I carry on with this post I’m going to convince myself I need one.
  2. Quite deliberately Brian Eno chose his own hi-fi system to be of average quality so he can check-out his studio tapes on the sort of system most people will be listening to the final product on. His monitors follow the same philosophy. "The monitors I've found appealing are Lockwood's with Tannoy Reds. I find a lot of the newer monitors with horns and whatever are very exciting to listen to but are also very tiring when you have to monitor on them for ten hours a day." Brian also likes Eclipse single driver loudspeakers “I first heard these speakers in Mostar, (Bosnia) playing a record that I helped to produce, so I was quite familiar with the music on the record. What impressed me more than anything else was how tight the bass was and how absolutely accurate it seemed. There was no hang over of the bass. It seemed very sharp, very short. The bass drum sounded fantastic. In fact I pulled the drummer of the band, who had played in the record I produced, in to listen. He said, 'I've never heard a bass drum sound like that on a recording. There is something about the very high speed [response to sound reinforcement] of those speakers. I guess, because they're small speakers; they move very fast and they damp [finish moving] very quickly as well. That seems to be an important part of the sound. The operating principle seems to me to be excellent. It's a completely new idea as far as I can tell in speaker technology and, having listened to them for a little while, I am extremely impressed by their potential. They are also very accurate in getting close to the real sound image and the actual positioning of each instrument. It is a new principle; a different kind of idea from other speakers and, I suppose, it's the beginning of a new road towards a new way of listening to sound. One thing I like is they are not in speaker boxes. I am sick of boxes. I like the fact this is a beautiful shape and it looks like something from this century, the 21st century, not from the last century and it sounds like something from this century as well” I have a MDSM in my bedroom with Eclipse TD510s and the result is very good. I bought the speakers some time ago. I would be dubious of recommending them as the price for a new pair is more than double what I paid.
  3. I moved from a Naim system (NAC282-SC/NAP200) to a Linn system (ADSM/KCT). i much prefer the Linn system because it sounds more natural and accurate to me. The Linn is fuss free compared with the Naim. I use an inexpensive Sony Universal Digital Transport with my ADSM so I can play almost any disc through the system. i cannot comment on the ADSM’s phono stage as I use a Linn Urika II. I had been using a Naim SuperLine and moving to the Linn phono stage was a massive improvement. The Linn is again very easy to set up, whereas the Naim requires the use of plug in resistors and capacitors. Technically I would say the Linn has a (much) better DAC than the Naim and it has Space Optimisation, which does a superb job of eliminating the effects of my less than ideal shaped lounge. I also prefer Linn’s very quiet power supplies totge rather noisy ones Naim uses. There are no doubt those that prefer the Naim sound so I’d strongly advise a comparative audition and many of the points I have raised would not apply to a one box Naim system. Indeed, i once owned a Nait 5i and really liked it: my mistake was going to a Naim multi-box system that simply didn’t work well for me. I am very happy I made the switch.
  4. The late John Peel who helped launch the careers of many bands used to listen to music on a lo-fi system. He's reasoning was most folk would listen to his show on a less than perfect transistor radio and he wanted to make sure the sound quality was adequate for his entire audience to enjoy his shows. Back in 1983, Kate Bush's `The Dreaming' was digitally mastered to provide the sound she wanted. Kate was interested in production techniques and produced the album herself. Shortly after it was done, Linn approached Kate. Having heard about Kate's production interests, Linn felt it was time to demonstrate the superiority of properly handled analogue recording. Linn said Kate was mighty impressed by their analogue-vs-digital demo, but Kate said: "I wouldn't say I was necessarily impressed by their demonstration, but yes, I feel there's an awful lot in analogue recording. We had a lot of problems working with digital for `The Dreaming' which was digitally mixed. Editing was the main one -- it was so time-consuming. Some things obviously were easier working digitally -- otherwise we wouldn't have used it. But the vast majority I reckon would have been easier on tape. Particularly as I was working with people who'd worked with tape all their life. In the end we brought in a guy who was familiar with digital equipment from classical recordings he'd worked on. And it didn't take very long after that. The problems rather put me off digital. We all felt a kind of alienation from the process of creation using it. There's something reassuring about a tape that you can see and touch. You've more trust in it somehow. There was a feeling of uneasiness about using digital that stemmed from the fact that we felt it wasn't as easy to use in many respects as tape is." Apparently Kate listens to her music through a Naim system. Though I did read Paul Simon uses a Linn system or, at least, has an LP12.
  5. Although my music collection is heavily weighted towards the 60s and 70s, I agree there have been some great release this century. I’m not familiar with the albums you list, but I shall try to have a listen to some of them. I would suggest albums by Basia Bulat (Oh My Darling), Kate Rusby (Ghost), Karine Polwart (This Earthly Spell), The Eccentronic Research Council (1612 Underture) and Public Service Broadcasting (The Race For Space). There are, of course, last century bands still making great albums such as Van Der Graaf Generator’s Trisector and Grounding in Numbers, Half Man Half Biscuit’s - well everything they’ve done really - Eddy Grant’s Reparation and Scott Walker’s The Drift. I’m sure there is more … I think Peter Hammill must have written this song with me or someone just like me in mind
  6. Thank you for the detailed and very useful post. It is interesting to know Qobuz has copies of these albums too. My shelves are fairly full and I keep saying this will be my last box set and then another compelling collection comes along. During lockdown I bought sets by Colosseum, Barbara Thompson, Gong and Steve Hillage as well as VDGG’s Aerosol Grey Machine box and the vinyl rereleases from Peter Hammill and the K Group. I also bought the complete Nirvana vinyl box set (the Uk band from the 1960s, not the 90s band from US) and I’m delighted with them all. The last set I bought before VDDG’s Charisma Years was by Caravan. I wonder if a Qobuz subscription would cure me from my box addiction. Perhaps after the Let It Be box set arrives it would be good to stop.
  7. You do not need special cables. As you need 20 feet, my choice would be Canare LV77S. https://www.bluejeanscable.com/store/shopbycable/LV77S.htm Alternatively, I would go for https://www.markgrantcables.co.uk/uk/audio-cables/mark-grant-hdx1-pure-copper-audio-cables/ If I can’t get appropriate Linn cables then Canare is my cable of choice. With non-Linn, I always opt for Canare, I figured if they are good enough for Abbey Road then they are fine for me. You can buy very expensive audiophile cables that may sound as good as Canare or possibly cheaper cables that equal them (I have never been lucky enough to find those ones). The caveat is I don’t have your setup, but can’t think of any reason Canare would not work well.
  8. I would load a trial copy of JRiver Media Centre (lasts 30 days) - use the import option under tools and import the folder holding the music (this can be on a stick) - under Tools > Options turn on the Media Server - you should now be able to select Music in the Linn App or Kazoo to play on the MDSM/2 JRiver MC is the one I use, but any DLNA or UPnP software should work. My assumption is a trial licence has never been used and expired on the laptop previously.
  9. Track 06 Filename : /Volumes/Music/VDGG (Charisma Years)/Rimini 9th August 1975/06 Van Der Graaf Generator - Man Erg [Remastered 2021].flac Pre-gap length : 00:01:25 CRC32 hash (test run) : 30D435E6 CRC32 hash : 3E0A4112 ->Rip may not be accurate. CRC32 hash (skip zero) : 2185E913 AccurateRip v1 signature : F693EC37 AccurateRip v2 signature : 65A051C2 ->Track not present in AccurateRip database. Statistics Read error : 0 Jitter error (maybe fixed) : 10 Retry sector count : 395 Damaged sector count : 0 Some inconsistencies found ============================================== If I'd have been able to download it or had played it on a streaming service then I would not be aware if these errors. Indeed the errors may not be there in the non-CD version. As I can't hear them when I play them it is of no real consequence except knowing they exist on my rip is .... FWIW Apple Music with error checking rips the disc as if were perfect
  10. Italian prices seem about the same as UK prices. Sorry, I know nothing about Spotify. I avoided it after a friend had a strange problem when his daughter’s iPhone started to play music on his hifi even though she does not live in the same town. Apparently Spotify Connect is designed to work on either local wifi or the Internet. This feature was enough for me not to want to use Spotify.
  11. This is a fantastic set with a superb book and 3 BluRays. I have all the Van Der Graaf Generator, Peter Hammill, Chris Judge Smith and Hugh Banton albums I know of on my music server, but am still very happy to have this new set. I, too, wish it had been a vinyl release. The new mixes are wonderful. Does Qobuz have the originals and remixes? Did every CD rip accurately? I found some inconsistencies on the Rimini live CD last track. It plays without problems in my CD player, but XLD reported errors, Did you rip the BluRays? i also bought the Caravan box set, Who Do You Think We Are, which was also very good, but XLD reported similar problems on CDs that lasted longer than 70 minutes. They all play fine. it is probably true I am crazy to continue buying these box sets, but we’re never going to survive unless we are a little crazy.
  12. They used to say in the computing industry that nobody was ever sacked for buying IBM (whatever happened to IBM - never hear of them these days). I would say nobody who loves music is ever disappointed by buying Linn. This forum is independent from Linn and enables us to exchange views, I think that is a good thing.
  13. If Linn is carrying out market research to prioritise its product development then I don’t see this as bad thing. I have no problem in Linn knowing why I bought its products and what alerted me to them. However, I have a huge problem with a company like Google knowing anything about me; I do not use its search engine or other products and do my best to block its analytics, but I think it’s a losing battle - big brother is watch me and everyone else. I buy hifi electronics predominately from 2 companies I respect: one of those being Linn. So I am naturally interested to read about any new developments they are working on. I probably miss out on some good products from others that I simply do not explore. Irrespective of how good a turntable or phono stage is from another company I’m unlikely to consider it. However, If Linn brought out a direct drive turntable, a strain gauge cartridge I would definitely like to hear it. This is also true of the Karousel and NGKDSM, which I’m sure I’ll listen to one day. I probably approach buying music in a similar vein. Showing little enthusiasm to explore new artists, but I still look forward to every new release or remix by my favourites. Some of my music purchases are bizarre though: what was I expecting to find in Scott Walker’s pre-Walker Bothers recordings? My favourite Scott LP being Tilt.
  14. I had a Nottingham Analogue Space Deck for a good few years. i got fed up with the turntable and its idiosyncrasies, but I really liked its Unipivot Arm. I have no idea if it is practical to fit an Ace Space Arm to the LP12, but if it were then it might be worth a look. I did look at Naim ARO when I went for my current LP12 but preferred the Ekos SE. I thought the ARO uncomfortable to use and the Ekos SE sounded better. The Ace Space Arm had a superb build and I felt very comfortable using it.
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