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About Jules_S

  • Rank
    Are we there yet?

Personal Info

  • Location
  • Real Name

Wigwam Info

  • Turn Table
    Voyd with Ref bits
  • Tone Arm & Cartridge
    OL Onyx / 1042
  • SUT / Phono Stage
    Tube Tech M.A.C.
  • Digital Source 1
    Cambridge Audio CXC
  • Digital Source 2
  • DAC
    Arcam D33
  • Integrated Amp
    Gato Audio DIA-250S
  • My Speakers
    QAcoustics C500
  • Headphones
    Etymotic ER4
  • Trade Status
    I am not in the Hi-Fi trade

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  1. Thanks Nick. So if they went up to potentially mid-80's, then the 800-series must have come in around that time, I presume. I was just trying to work out when my dad would have bought the 810's. To be truthful I have no idea what they are really like as they were only used for a bit of background music in a dining room, placed on wall brackets up at ceiling height so couldn't tell if they were any good or not. I've never hooked them up to anything here, I actually don't possess any stands as I've never owned standmounters (until the Concept 20's arrived, but I've never used them either!). I might drag them along to a bake-off once we are all allowed out to play again, just to see if they are worth hanging onto or only good for the bonfire.
  2. Well those are a very different style to the 800 series. What sort of age are they, do you know?
  3. Did a bit of Googling (I'm bored and on furlough so this sort of things appeals to me!). There's precious little info on Omar out there, mainly a few forum threads on AoS etc. I did come across this one from back in 2009: https://www.vintage-radio.net/forum/showthread.php?t=46789 So possibly KEF-sourced or Audax drivers by the sound of it. By the sound of things they made a range of speakers including my 810s (no idea if they went smaller) up to a pair of 880 floorstanders with twin bass units: https://theartofsound.net/forum/showthread.php?7083-Omar-Speakershttps://theartofsound.net/forum/showthread.php?7083-Omar-Speakers
  4. Hi Neil I have a pair of speakers here that belonged to my dad a while back, from a company called Omar. There are some similarities to your unidentified pair and also a number of differences too so I wouldn't like to say for definite that they are the same company. My pair is a model 810. They are a lot smaller than the dimensions you gave (12" x 8" x 10" HxWxD), have a different driver compliment and awful spring clip terminals rather than binding posts, but the construction of the cabinetry looks similar and the back plate has the same style, as shown: From memory I think my dad bought them from Andover Audio back in the 80's some time, possibly mid-80's. I have no other info about them I'm afraid. Hope this might help? P.S. should have said, the veneering on the cabinets is really nice quality, my pair is like a rich, dark Rosewood or something along those lines
  5. I assume this means that depending on which way round you connect the cable, it's either going to make your music sound slightly flat or slightly sharp, by around a quarter-tone (440Hz is Concert A pitch, 432Hz would be, well, slightly either way). Even if that was technically possible with a cable... WTF?? Why on earth would anyone want that? Sheesh...
  6. This brought a smile to my face: https://www.bbc.co.uk/news/av/uk-england-berkshire-52812589/ministry-of-silly-walks-comes-to-sonning-during-lockdown
  7. Er, do you know something I don't? Am I, in fact, dead? It's a freaky feeling if so....
  8. Jules_S

    Not hifi but..

    Sorry Tony, I don't think I was quite obvious enough in my sarcasm... Of course the entire thing is a bloody great big scam, using unfathomable pseudo-science nonsense terminology to obfuscate the truth. Which is, as you said, a vastly overpriced memory stick with a little sticker. What I meant was that I expected the article to debunk the claim by proving that you could still obtain a 5G signal (and make a call) despite being within close proximity to the device, thereby at a stroke disproving its capability. It's a simple test to do, I'm just surprised that no-one seems to have done it and reported the results yet.
  9. Jules_S

    Not hifi but..

    I read that last night too, and decided to rush straight out and buy three while they have the fantastic offer on. Not. Is it just me, or is there a very obvious test missing from this discussion? How about taking it to one of the cities that now has a 5G signal, plugging it into a laptop and sitting in the park, just like the photo, then trying to make a 5G call on a mobile phone while positioned right next to the supposed shield? Surely that's a clear-cut way to prove it's working....
  10. On that point, I completely agree with you, @tuga - they are indeed two very different things. My concern, I suppose, was where the evaluation becomes the end-goal, rather than the listening for enjoyment. In other words, losing sight of the reason for doing the evaluation in the first place. Thinking back to when I studied music at A-level during my college years - one of the exercises we had to carry out was to listen to a passage of music being played perhaps 5 or 6 times, then we had to write out the score with all the various instrumental parts, based on the listening. It was a difficult thing to do, and all effort was focused purely on intense listening into the recording, trying to follow the various instrument parts. From memory, I'd say that not once did I think "oh, this is a great piece of music" because I was too intent on just picking out the viola melody from the violin and transcribing it accurately. That's kind of where I was going when I was talking about the critical ("expert") listening earlier - while it's useful to do this while auditioning hi-fi equipment, if you forget to also kick back and enjoy the performance as a whole, I think the point has been missed. Then again, I have come to realise that there are probably people for whom ownership of the equipment itself provides the enjoyment, rather than the use of it, rather like car collectors who buy all manner of exotic multi-million pound cars, then stick them in a environmentally-controlled garage and never drive them. Mind you they probably also treat them as an investment, which is something that sadly does not apply to our hobby... I confess I may have mis-judged your position in this discussion. It sounds as though you have a pragmatic approach to auditioning, albeit with probably more emphasis on the technical, as no doubt you understand it far more than I do. My apologies. Oh, and your English is exemplary!
  11. Dear lord, that website is a design car-crash! Looks like it was built in 1998 and hasn't been updated since. (nice-looking kit though)
  12. @tuga please don't think I'm trying to pick a fight with you, but I do seem to be disagreeing with you quite a bit on this thread. I promise I'm not looking for a punch-up! The difference between the sailing analogy and hi-fi is that to be able to make a sail boat move at all, you need to be able to understand the techniques involved. It involves no small amount of skill. By comparison it takes absolutely no skill whatsoever to press a button on the front of a CD player, stick a disc in and press Play. 99% of the population can probably manage the latter easily, but probably less than 10% would have the instinctive ability to sail a boat without tuition. Operating a motor-powered boat or craft is far less skilled than sailing by comparison (albeit probably more dangerous in the wrong hands!). Look at how many people hire out and use jet-skis and the like on holiday, versus how many hire a boat for the day and skipper it themselves. People just want to have a fun and enjoyable experience, and it takes less time to be shown how to wear a kill-switch device and twist a throttle than to be shown how to trim sails and tack into the wind. To listen to music you don't have to be skilled. Most people aren't, myself included, we just hear the music and either enjoy it or we don't. The more emphasis there is on "skilled listening", the further away the listener gets from the emotive end of the spectrum and closer to the analytical. I suppose it depends where on that line you like to sit, but I'd reckon again that 95% of the population are on the emotive end. For the person-in-the-street the phrase "Oh! I love this one" (followed by cranking up the volume) rings out all over the country on a daily basis, because they love what they hear. The phrase "I found the lack of leading edge attack on the violins to be a real let-down"....probably not heard so much. Hi-fi reviewers (ugh - the scum!) sit mainly at the other end of the spectrum (unless you're Ken Kessler). And so they should really, it's supposed to be their job to do this analysis and assist us with our selection. Again, like the boating thing, most people just want to hear their favourite music and have some fun while doing that, and they really aren't that bothered if they are getting the nth degree of detail resolution from their playback system or not. For those of us that do care more about improving the sound quality, of course, we begin the process of learning about acoustics, psychoacoustics, some electronics, and other related disciplines. To use the sailing analogy, someone who goes out on a sailing boat and enjoys it probably gets back to shore and says "I'd like to do that again somewhen, I really enjoyed that". But someone who absolutely loved the experience gets back to shore and decides to take lessons. In our quirky hobby, knowing some of the theory improves our understanding, and can help with the process of building a system that generates better results for us. The big difference with sailing is that there is not, as far as I'm aware, any such thing as an "audio trainer", someone who is considered to be an expert in the field and can help impart that knowledge to others on a formal basis, to pass on the skills. We do it via forums, magazine articles and white papers (for those who are already clever enough to read them). Most people, even if they wanted to improve their listening skills, wouldn't have the faintest idea who or where to turn to, to get help. Being able to interpret measurements can be a very useful skill, but not to the total detriment of using those flappy bits of gristle on the side of one's head. They're the most sensitive bits of measuring equipment ever invented, although of course completely uncalibrated! No matter, they tell each of us our own truth about sound.
  13. Mark Baker at Origin Live is also a very helpful chap - he's assisted me in the past with sourcing the correct belts for my previous Voyd so I'm sure he would be able to offer you advice on resolving this issue.
  14. @tuga that makes very interesting reading, thanks for posting it. Subjective evaluation is required to assess the audibility and the impact on perceived sound quality. Some distortions which are audible might still be acceptable or even desirable in some applications. ^^^ This, absolutely. I think it recognises that a lack of distortion (or any other objective measurement for that matter) is not, in itself, a demonstration of a piece of equipment's superiority over any other, except viewed from a purely technical perspective. In fact the more I think about this, I'd say that the objective viewpoint is of more interest and use to those who design, build and test equipment than those of us who don't. (plus of course there are always people who are generally interested in the technical side of things) I fully accept that measuring an item is of absolute importance when determining its performance vs the intended brief, ensuring safety, compatibility, and a whole host of other important things. But I don't see how those measurements could be taken as a sole arbiter of ability when viewed from the end consumer's perspective. Ultimately it comes down to the listening. I'm not saying that you're advocating a purely objective approach, in the same way I'm not advocating a purely subjective one, but I suspect we may lean in different directions when it comes to weighting of the two approaches.
  15. Au contraire, my friend. I would say the only time this would be fruitless is if one was attempting to make a purely objective conclusion based on the results of listening, which is in itself a nonsense as anyone seeking to do so would surely be taking measurements, not using their ears! I would suggest that visiting other people can be a VERY fruitful experience indeed if, to Jack's earlier point, one ends up hearing something enjoyable. The basis of any subjective opinion I believe is comparison, i.e. we hear / see / taste / feel / smell something new, and instinctively compare to other similar sensory experiences we have had. We then make a judgment about whether or not we perceive that difference to be better, worse or sometimes just "different" (i.e. no particular preference for our existing established baseline or the new experience). Do I like this glass of Shiraz more than that glass of Malbec I drank previously? Is this rose stronger-scented than that one? Who's more inventive - J.S. or J.C. Bach? Comparison is a fundamental human activity that allows us to contextualise our environment, and this of course includes the enjoyment of reproduced music. The problems occur if we fail to take into consideration the total environment in which we encounter the new experience, and the potential impact of that environment. In the context of listening to an unfamiliar system the obvious example is as you mentioned, that of the room in which the music is being played. However there are a seemingly infinite number of unrelated sensory inputs that can have an effect such as the company we are keeping at that moment, whether or not we are tired, hungry or stressed, or even the fact that there may be a pleasing scent wafting in from outside. Any of those inputs may influence our opinion about what we are hearing, individually or in combination. I also believe that many of us have a tendency to be more (over?) critical about our own systems than those of other people we visit, and in some cases almost deliberately seek flaws in what we already possess. That can lead to a negative bias where we are preconditioned to expect that our own system will sound worse than that which we are hearing / about to hear. Despite that we are easily capable of making a judgment about whether or not we like something we are hearing. The trick is to be mindful of all those other influences and therefore temper our potential enthusiasm with an appropriate dose of caveats. Don't go rushing out and buying the same amp as we have just listened to, and expect to get exactly the same experience when we get it home! Nevertheless the unfamiliar can provide a useful experience that can lead us to begin evaluating changes to our own systems or environment. Building up a mental library of knowledge as a result of exposure to a range of different systems in different environments is an excellent way to inform our own selection process. It should not be the sole deciding factor. The more experiences we have, the better choices we can make. Example - I tried for a while to listen to many different systems using horn loudspeakers. I really wanted to like them (even if for no other reason than they tend to be pretty dramatic things aesthetically, and I like bold design). And yet every time I've head a horn-based system, no matter where, what partnering equipment, what music, I have disliked it. Had I only heard one horn system it would be pointless to make a sweeping statement like "I hate horn loudspeakers". But after a dozen or more related-but-different experiences, I can now put the sum of all my gleaned knowledge together and make a statement to the effect of "I have yet to hear a horn loudspeaker that makes music that's pleasant to my ears, and that I could consider having in my own system". Will I stop listening to horns altogether? No. One day I may come across that one solitary example of its type that takes my breath away. I won't go out of my way to try and audition them though. Does my opinion invalidate anyone else's? Of course not. It's just my own viewpoint, but as it's subjective, it's just as valid as anyone else's. It's fairly obvious that I'm a lot more on the subjective side of the fence than the objective when it comes to selecting and auditioning hi-fi equipment. I'm not completely against measurement but for me it only makes sense at the very basic level, for example to confirm overall compatibility between amp and speaker, arm and cartridge. So I would use objective measurements, as well as subjective opinion, price, etc to help me make a shortlist of equipment to evaluate. Beyond that I'm really not interested in stats, I use my emotions to judge if something is right for me. If amp A measures 0.03% greater THD than amp B.... so what? If I like amp B better because when it's in my system I get goosebumps listening to Suzanne Vega singing Night Vision, whereas amp A left me emotionally uninvolved, then amp B is the right choice for me and is subjectively better. I don't get off on stats, I do get off on music. I'm far more interested in aesthetics than a tech spec.