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MGTOW last won the day on June 12 2019

MGTOW had the most liked content!

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    Poole, Dorset
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    Dave Wiley

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    I am not in the Hi-Fi trade

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  1. Not so much a mistake, really just a necessity. I had a pair of 4332s which I kept in my office when I had my live sound production company, the picture shows passive 4333 models but they are visually identical apart from the level controls on the front baffle. I sold up in the early mid 80s with the bulk of the gear going to Portugal and gave up my office/wharehouse so had nowhere to put them. Sobz.
  2. Tweakable passive crossover is not really possible, the way everything interacts makes this effectively a non starter. You really have to go active so 4 channels of amplification is a must. Add in a suitable crossover/equaliser, a Behringer DCX 2496 for example and work from there. All digital but with an every day interface that allows you to vary the crossover frequency, slopes, eq, the whole 9 yards.
  3. My Naim comment was very positive. Early 42/110, very good phono stage and the kind of warmth and organic quality that built their, at that time, well deserved reputation. I have experience of many Naim amps, this was comfortably one of the most enjoyable.
  4. Audiolab 8000a. Fairly early model, had received fantastic reviews and I had met Phil and Derek a fair few times, couldn't go wrong. But I could, horribly so. Replaced my old NAD 3020 and totally destroyed the coherence of the system, sucking the life and enjoyment out of the music leaving it flat and joyless. Took me a few days to work out what was happening but by then my old NAD was long gone. Replaced the Audiolab with an early 42/110, though I had to wait a while and save up to do it.
  5. The 'Wall of sound' was full of innovation for it's time, each instrument had, in effect, it's own separate amp and speaker system. Alembic, originally set up to build Lesh's bass guitars, built the pre-amps with (McIntosh) valve power amps all feeding JBL cone drivers. This was unusual as that were all direct radiating speakers, no horns at all other than the EV tweeters. The system was in a constant state of flux, as indeed was the industry at that time. New innovations and collaborations happening on an almost daily basis, incredible innovation.
  6. Phil Lesh's custom bass was, in effect, 4 channel with a pick up for each string, 4 channels of McIntosh amplification and 4 individual stacks of JBL D140Fs in reflex enclosures. Consultant designer of the system was John Curl, designer of the original line of Mark Levinson amplifiers whom I knew quite well back then from my time at JBL. Interesting times.
  7. Point of order. The Grateful Dead are the greatest band in the world ever. Story Time. At the very bottom of the Baja peninsula on the pacific cost of Mexico, is the resort town of Capo San Lucas. A huge favourite of Mrs MGTOW, and great fun, a 100 odd miles up the pacific coast is the town of Todos Santos. Todos Santos is famous for one thing only, it's hotel. Back in the 70s, Don Henley, Glen Frey and a couple of mates rocked up and decided to stay a while, after a week or two they were broke and heavily in debt to the local pimps and drug dealers who confiscated their car and would not let them leave till all their debts were paid. Their record company sent an exec plus 'minder' with a briefcase full of cash to 'settle' up ad get them back to LA which they did. The hotel was of course,
  8. I have used both, in their simplest 'puck' configurations and whilst I have no insight into the technology involved, operationally they are pretty much the same. With the Chromecast active and a compatible media app on your device, just select the Chromecast icon and the puck 'fetches' the media from the server and plays on your system. At this point you device can be switched off or put into sleep mode, in neither video or audio use is the device in the signal path.
  9. MGTOW

    Got the power!

    Good morning, The difficulty here is to be sure what you are actually measuring, both in terms of power and SPL. In general terms hifi systems use remarkably little power, regular speakers, sensitivity in the high 80s dB/watt will be pretty loud with just 1 watt input, but reality may be rather different. There are many factors at play here, well recorded material such as that used, may well have enough dynamic range to require peaks to be accommodated that are 10dB above average, a little bit of eq perhaps to equalise perceived loudness at low frequencies and a few dB for headroom. This takes your 10 watt average to several hundred watts peak pretty quickly, throw in some low impedance/awkward phase angles around the resonance of your bass drivers/enclosures and pretty soon you are talking about real watts! Sure these may be worse case scenarios, but they are real none the less. I no longer play music at the kind of levels that make these issues important to me, but I do know people that do and they do have issues.
  10. Thank you, interestingly different way of doing your comparisons. Which psu was it, the LPSU 25? If so, what do you think of it, one of the least expensive units from a reputable supplier.
  11. No reason other than price I think. The idea was to find 'affordable' upgrades to, primarily, the Node. Plenty of higher price options, just nothing much in the £1k range.
  12. This all seems a bit erratic, as I have said it appears to depend on implementation, settings etc. Also if you do not have a dac that reliably displays the actual resolution, it is very hard to be sure what is happening. It is just the kind of confusion that puts people off, having time during lockdown has given me the opportunity to find out how my Node actually functions, I had been using it for a year and still had no in some respects.
  13. A pair of early mid 70s JBL L200, fire up the Delorean powered transit and pick up a brand new pair for about £700, wouldn't hesitate. I have owned several big JBLs but never this model, absolutely nowhere to put them but I WOULD.
  14. Perfect, sometimes I need things spelled out quite clearly, I am on heavy duty pain medication and my mind is not at it's sharpest. This is consistent with my long post earlier today. It appears that, in this case, the Chromecast implementation in the Cambridge limits audio resolution to 16/44.1. Many users with different streamers have reported this issue, it seems quite common, there are some reports of Chromecast supporting 24/96 resolution in other circumstances but details are sketchy. It does seem to be an implementation issue, but given the relative lack of interest in Chromecast as a serious hi-fi streaming platform, it appears that nothing much is being done.
  15. The HB1 is 40 years old, I have no doubt that pretty much everything has changed in that time, still the kit is a nice project for the modestly skilled and there is at least some kind of reference point in that the original is pretty well known. Oddly I was never a big fan of the HB1, much preferring the slightly smaller but more expensive HB2. Paired with a very early Naim 42/110, I recall them sounding very good indeed. I got through a lot of gear in those days, but they do stand out in my memory in a way that a lot of more highly regarded speakers of the time did not.