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teuchter85

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Everything posted by teuchter85

  1. My secondary system is in my office and is comprised of a Rega Planar 6/RB330/Ania Pro/Fono MC, NAD 3020A (fully recapped) and a pair of Kef Q90 loudspeakers (3-way floorstanders from the early 1990s). It is nearly always used for "background" music while I am working and is thus played at relatively low volume (more on the topic of volume later). However, this system plays a very important role as it is my main way of discovering new bands/music, and also exploring the full discography of bands that I already know and where I already own some of their material. This is done via YouTube and more recently Tidal. I just use the output of the soundcard in my workstation plugged into the NAD, but I find it perfectly satisfactory for this purpose. I mainly use the turntable for reacquainting myself with records from my collection that I have not listened to in a long time, but I also use it for new vinyl where repeated listenings are often required to appreciate the value of all the tracks. Although used at low volume the system does a great job of getting all the basics right and sounds well balanced without being distracting while I am working. Of course, finding exactly the right volume to be able to both listen to and absorb the music playing in the background, but not distract you from your work is the trick. I know that if I don't like something on this system then I definitely will not like it on my main system. I have tried using my main system (see signature) for "background" listening when I am working on my laptop but the Keltiks are not well suited for this purpose as they can sound very constrained and not well balanced at low volume. IMHO the Keltiks really need to be played LOUD. With each step in volume they open up more and more, and deliver increasingly impressive dynamics, scale and drama!. In fact when I try and play music in the background I find that they almost DEMAND that I stop what I am doing and just sit down in front of them and keep turning up the volume until I find the sweet spot .
  2. I was going to ask about the source volume offset for an LP12 a while back but I never got round to it so I'm interested in the info in this thread. I'm going to try the +5 this evening (I also use Kandid/Urika II). Incidentally in the Linn Docs Wiki it states "Volume Offset: this to raise or lower the comparative volume level on this input compared to other inputs. E.g. an LP12 may require a +5dB offset, but CD player may be -8db". Purely out of curiosity I looked at the fixed/default gain settings for the various analog MC stages and Linto/Uphorik/Akurate are all 64dB (when on high gain) but the Urika I is 62.5dB.
  3. When I decided to tighten up the drivers on my Keltiks it was pretty obvious that the previous owner had taken the rings off at some point and had done a pretty poor job of reattaching them with hot glue. I removed all the hot glue and the original factory applied double sided tape (a very tedious process I might add) and applied fresh double sided tape, which worked great.
  4. Just catching up on this thread!. That is what I did also and with the same "logic".
  5. Thanks Fred!. This is all really helpful. It's a pity that Linn are unable to document this kind of thing with any clarity. I would maybe add a "thus" to that last bullet i.e. "Exakt Design filters supplied by third parties can only be applied via Konfig and thus can only be used with SO1.". I'm also assuming based on your last bullet that Linn will have to add support for third party Exakt Design filters into the Linn account app if they do retire Konfig as the grapevine is indicating.
  6. Hi Zee, Not going to bore you with the details but I have a long term plan with the ADSM/3 and really like the flexibility it gives me should those plans happen to change. Was recently offered a great deal on a used Klimax Hub but the ADSM/3 is staying.
  7. Interesting. I was unaware that Exakt filters were designed for a particular version of SO and would like to understand if that was indeed the case. There is nothing that mandates the use of SO with Exakt (it is completely optional) and I can't recall seeing any mention of any SO linkages/dependencies in all the Exakt filter release notes, but I do tend to be a skim reader. I can though understand SO needing to know if you are using Exakt or not. I may have this wrong but I thought that all the SO signal processing was done inside the DS/DSM, and all the Exakt signal processing was done inside the Exakt engine in the EB or Speaker. Both SO and Exakt are digital filters so it would make sense to me for SO to need to know if it was outputting directly to a DAC or if it was outputting to an Exakt engine to do additional signal processing. SO may do things a little differently depending on what comes after it in the signal chain. It is of course possible that in an Exakt system the SO can be offloaded from the DS/DSM to the Exakt engine which can then combine both SO and Exakt processing to be more efficient. Not sure if Linn have ever shared any detailed architecture information.
  8. I would try my 4200 on the back of the AEB-I but it is the balanced input version and the AEB-I only has single ended outputs. Also, I'm really trying to downsize in terms of box and cable count and the two box solution fits well with my future plans. Yes, the 038/2 sticks out of the cloth a little bit which can be visually distracting . Exakt filters and SO are two separate things although they both manipulate the signal in the digital domain. Linn themselves have not developed OW1 Keltik Exakt filters, but they are available from speakerfilters.blogspot.com (forum member sunbeamgls) for a fee - there is a two week trial period I believe. I total agree regarding how well the drivers work together and I don't want to mess things up either, but I may just invest in a pair of OW1s just to have on hand in case one of my 038s die.
  9. Thanks Zee...I meant compared to the analog aktiv set-up. It may just be a psychological effect though where the grain/hash/edge of the old set-up was simply drawing additional attention to the treble. With the AEB-I everything seems much more balanced and coherent throughout the frequency spectrum with no emphasis in any particular area. I do need to do some more vinyl listening with my reference albums to be sure. I really like that it is a two box set-up with a single connecting cable and the integration between ADSM/3 and AEB-I is excellent (e.g. putting the ADSM/3 to sleep automatically turns off the AEB-I) and configuration via Linn account was very straightforward.
  10. Very interested to read this thread. I'm a long time Keltik owner and just recently swapped out a 4200 (Treble & Mid) and 2 x Klout (Bass) for an AEB-I (Katalyst). The AEB-I was actually going to have gone in a secondary system but I just thought I would try it with the Keltiks for a bit of fun. I really did not think it was going to have the necessary oomph to drive them but boy was I wrong and it is definitely staying put. Improvements were all across the board but what really surprised me was how clean and pure the treble was and how there was no trace of any grain or "hash". I would not say that the 4200 was harsh, but there was a bit of an edge to the sound at times. Note: My Keltiks have 038/2 tweeters. Having said that though I do feel I am maybe lacking a little bit of upper end detail, which is more noticeable on vinyl. I use an ADSM/3 so was already familiar with the Katalyst signature so I think the improvements I am hearing with the AEB-I are predominantly due to the Exakt filters (plus the mix of "new" and "old" amps/aktiv cards were probably not a good match!). I currently do not use SO as I have never been able to get satisfactory results with it (always fails tune dem) but will try yet again with my new set-up.
  11. Looking at a zoomed in picture of the analog board I would hazard a guess that the two chips that are oriented at 45 degrees compared to the rest of the ICs are AKM ADCs but I could be completely wrong. Actual chip markings would confirm - I used to do some reverse engineering back in the day (all legal and above board).
  12. I really need to check out his solo work. His vocals on "Blackwater" by Rain Tree Crow are hauntingly beautiful.
  13. I have an Akurate Exaktbox-I hooked up to a pair of Keltiks and wanted to confirm which version of Exakt filter I should be using. When configuring the system using my Linn Account I have a choice of four filter versions: 4. Independent highest-frequency drive unit modelling 3. Independent drive unit modelling 2. Original drive unit modelling 1. Original drive unit modelling Logic would say that I should use the highest version available, but after looking at the "Exakt filters" page and the "Exakt Release Notes" page on Linndocs I am rather confused as things don't seem to match up and terminology/language/numbering is inconsistent. I realise that I can just try them all and see if I have a preference but I would like to know which one Linn consider the "best".
  14. Anyone successfully using Asset UPnP Server on a Win10 machine to stream PC Soundcard Audio (e.g. watching YouTube) to a Linn DS/DSM?. Linn recommend it as an alternative to Songcast but I am having trouble getting it to work properly. I have it installed on my laptop (hardwired ethernet into switch) and I can get audio on my ADSM3, but there are very long dropouts/pauses, and when I do get audio there is a lot of distortion, and it is noticably sped up!!!. Also my DSM display is frequently showing a rotating hourglass. Are there some specific settings in Asset or on the ADSM that I need to look at?. Thanks
  15. Hi, The Linn RS232 cable specification is available on Linndocs at the link below. You need Conn 464 which is the Product to Product cable (see page 6). Microsoft Word - RS232 Cables_v102.doc (linn.co.uk)
  16. Thanks Andy, I was looking at the wrong ones on their site!. I assume you are referring to the ones made from PVC. Hard to tell from their picture, but from your description they certainly sound like what I am after. However, and I don't want to alarm you, after doing a quick search for PVC LP sleeves it seems that there is a lot of talk of PVC damaging vinyl. I just took a very cursory look, and while most of it concerns direct PVC sleeve to LP contact (e.g. a picture disc sleeve) it seems that there are also concerns about outer PVC sleeves potentially "outgassing" and affecting the LP inside its inner paper sleeve. I'll need to do some more research. I'll also take a look at some of my vinyl that has been inside UK sleeves the longest and see if I can see or hear anything of concern.
  17. Thanks Andy, I looked at these and they are also polythene (polyethylene). I could be wrong but I think the key to finding what I want is going to center on identifying the material. I did find these in the US, which are polyester (mylar). They look like they might be what I am after, but they are very expensive and reviews are mixed. They also do polyethylene and polypropylene sleeves in a "snug fit" size which might be worth trying. 12" Record POLYESTER (Mylar) Sleeve (bagsunlimited.com)
  18. Thanks Matteo, I did look at Mofi as I already use their inner sleeves, but Music Direct indicates that the Mofi outer sleeves are polyethylene, which is what I have already tried so I discounted them.
  19. Forgot to say, there is also the 500 Series and 1000 Series which are just Banana (not BFA/Banana). I like having the BFA/Banana for compatibility with older Linn amps. Attached is a photo of the 100 series. The two screws go in from different sides which I would imagine helps with retention force. Audioquest refers to the screw connection as "Cold-Welded".
  20. I've been using Audioquest SureGrip 100 Series Gold BFA/Banana connectors on K600 for a while now, and have been happy with them, although they have only gone through a handful of insertion/removal cycles. They use two small hex headed screws to attach to the cable and a tool is included. Good match size wise for the wire gauge of K600 and while the screw on plastic sleeves feel cheap, the actual connectors seem sturdy enough. There is also the more substantial, and more expensive, SureGrip 300 Series. Both the 100 Series and 300 Series are also available with silver plating instead of the gold.
  21. I've been systematically working through my record collection since COVID started. Alphabetically by artist and then chronologically within an artist. Currently on the M's so a long way to go!. Not many "surprises" so far in terms of albums being like I remembered, but definitely fun adding my wife's LP collection into the mix. The one tangible outcome so far is discovering how much I like David Bowie's later work ("1. Outside" onwards) and I've have been steadily filling in the gaps in my collection.
  22. All, This is a little hard to explain, but hopefully you can all follow along. I'm originally from the UK but currently live in the US. In the UK I used to buy clear "plastic" outer sleeves for my LPs from various record shops. I don't know what material they are made out of, but it looks like most of them have thick heat-sealed seams. What I really like about them is that most LPs fit snugly, and there is a certain amount of stiction between the outer sleeve and the cardboard LP jacket (this can vary depending on exactly how the LP jacket is coated/finished). There is relatively low stiction between these UK outer sleeves themselves, which allows me to fairly easily slide the LPs past each other in my densely packed LP storage units. The net result of this is that my LPs are stored in the outer sleeves with the open end facing out i.e. I do not have to first remove the LP from the outer sleeve in order to get access to the LP in its inner sleeve. This makes it much easier for me to quickly access and then put away my LPs. The one downside of these outer sleeves is that the heat sealed seam makes it more difficult to read the album/artist info on the spine of the LP jacket. Here in the US though I have so far not been able to source outer sleeves similar to those I purchased in the UK. The ones I have bought over here are made from polyethylene, do not have thick heat-sealed seams, and are slightly opaque. The problem with them is that for the most part the LPs do not fit snugly, there is minimal stiction between outer sleeve and LP jacket, and l when I try and slide an LP into storage the LP starts to come out of the outer sleeve. I therefore cannot store my LPs in these US outer sleeves with the open end facing out. I know that people will tell me that is not the right way to store them anyway, but I prefer the way I do it with my UK sleeves. Can anyone tell me what I should be looking for over here?. Is it a different outer sleeve material e.g. polyester?. Any help/advice would be appreciated. Thanks!
  23. I purchased a used Majik DSM/3 a couple of weeks ago to replace a couple of pieces of older Linn equipment in a secondary system. I'd never heard one before so was not sure exactly what to expect. I've listened to it casually a couple of times in order to test functionality and my initial impressions are the same. It simply plays music and puts a big smile on my face :-) Plus it is an outstandingly flexible product.
  24. With regards to the Akurate Exaktbox-I can you use the built in amplifiers for certain channels and use external amplifiers connected to the RCA outputs for the other channels?. LinnDocs shows either ALL internal amp or ALL external amp. A use case would be with Keltiks - e.g. use the built in amplifiers for Mids & Tweeters (Channels 3,4,7,8) and use an external 4200 for Bass (Channels 1,2,5,6). If not, then why not?. Is it perhaps a gain matching issue or some kind of time/phase alignment issue?.
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