Jules_S

Super Wammer Plus
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About Jules_S

  • Rank
    Are we there yet?

Personal Info

  • Location
    Southampton
  • Real Name
    Jules

Wigwam Info

  • Turn Table
    Voyd with Ref bits
  • Tone Arm & Cartridge
    OL Encounter / 1042
  • SUT / Phono Stage
    Tube Tech M.A.C.
  • Digital Source 1
    Cambridge Audio CXC
  • Digital Source 2
    Sonos
  • 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. Will be very interested to hear the results of your change. Next year our lounge is due for a complete "strip & refurb" (including new floor boarding and possibly reinforcement of the joists, moving radiators, etc). With two dogs that shed needle-like fur that gets stuck into everything we are planning to go wood floor / easy-to-vacuum rugs so inevitably the acoustics in this room are going to change. Do keep us informed of your progress and how it has altered your space. I'm wondering if there's any mileage in constructing some curves in the room corners and between walls and ceiling to help with those standing waves while we are at it - just one of those random thoughts I have from time to time! P.S. love your Maggies! Always had an itch to listen to a big pair
  2. Jules_S

    My main setup

    A beautiful-looking, and neat! system you have there. How long did it take you to organise the cables? Or is there a bird's nest down the back that we can't see?
  3. I've not looked at my (now out of date) 17th Edition regs for a while, and I certainly never memorised all the tables! But looking up the details online shows that the maximum current carrying capacity of a flexible cord with a conductor CSA of 1.5mm2 is 16A, without taking any correction factors into consideration (so let's assume the flex isn't buried in a wall or bundled together with loads of other cables in a conduit). You'd need something pretty damned hefty on the end of it to need 2.5mm2, which takes you up to 25A on a normal domestic single-phase supply. 1.5mm2 will be fine. And don't use solid core T&E!
  4. You're just showing off because you've got massive woofers... I don't have that particular recording but I'll check it out, thanks.
  5. At the moment the cables are plugged into the bottom terminals, which I assume are for the mid/bass drivers, and the links go up to the top terminals. I don't expect it would make any difference which way round I connect them as the cable that the links are made from are the same as the main cable itself, and are probably too short to have much influence
  6. Truthfully I don't think that hi-fi itself has had much of an influence on my choice of genres, apart from realising that the more jazz I hear in higher fidelity, the more I hate it with a passion . What has been beneficial to me is attending the few bake-offs I've been to, where I have been exposed to new artists that I would never have discovered for myself. Some of these have been in new genres (Hugsjá - I can only classify it as "Viking Doom Chant??" It's fab anyway) Also the 'Wam's "What are you listening to right now?" thread has allowed me to pick up new things. In early life I listened primarily to whatever I heard on the TV and radio, mainly 70's & 80's pop. My parents had a very modest record collection and didn't listen to it much, but a few artists have stayed with me throughout my life (E.L.O., Jean-Michel Jarre, Neil Sedaka). Early teens coincided with the explosion of synth pop in the charts, so I'm with you Geoff on Human League, Depeche Mode, Yazoo (Alison Moyet is a goddess, either with Vince or solo), etc. "Don't You Want Me" is still one of the best pop songs ever penned! My biggest expansion of musical taste happened during my college years. My friends who were listening to far more varied things than I'd ever heard before, gave me the chance to discover for myself more female vocalists like Joni Mitchell and Michelle Shocked, artists from the African continent like Johnny Clegg & Savuka, Hugh Masekela, etc, rock from the likes of INXS, Blue Öyster Cult, Magnum, New Model Army, and the whole Goth movement from the more "mainstream" (Cure, Mission, Bauhaus, Siouxsie, Sisters of Mercy) through to the more niche like Red Lorry Yellow Lorry. Also I was studying music at A-Level so classical music, which I had always enjoyed and studied at school too, took on a bigger prominence, and I found that my real loves lay in the Baroque era, as well as with some of the Romantic period (plus Haydn's symphonies). As an organist I loved J.S. Bach's vast array of work of course (NOT that damned Toccata & Fugue in D Min! Over-played rubbish), also Charles Widor and Louis Vierne. There's some gaps in my range of genres - I still need to listen to more music from non-Western cultures for one thing, and perhaps explore some of the fringes of Blues (which I struggle with, although don't necessarily dislike). Will my hi-fi help me to do that? Maybe, but I'm not of the opinion that the equipment should dictate the music, but should make the best of whatever it is given and present an enjoyable sound and permit insight into the performance and that all-important emotional connection with the artist.
  7. I very much doubt you'll get anything other than awful knock-offs for £100! The C500s are a very good speaker, I'm enjoying mine tremendously. They make excellent music, you can relax into it and just enjoy listening, but to give an honest opinion are not totally without vice. I find the lower-mid (the area around male vocals and some lower-voiced female vocals) to have a "bloom" to it that gives additional richness. Sometimes this is just too much and detracts from the rest of the presentation, but otherwise I find them well-voiced for my tastes (everything from classical to death metal - except jazz!). The bass can be a bit "slow" too if you're one of those people who particularly appreciates timing, although in fairness it's not apparent on every recording, and my room may account for some of that observation. The adjustment facility for the HF can be useful, depending on your partnering equipment, it allows you to emphasise or attenuate by 1dB, so it's quite a subtle adjustment but enough to make a difference. The build and finish is excellent (I have the white /oak gloss and it's flawless), give them some space from the rear and they have excellent imaging. I've never compared them to Spendors as I don't particularly care for their house sound I'm afraid. I would say that compared to something like a Harbeth the C500's don't have that magical ability in the midrange (although very little else does in fairness). I would still say they're a bit of a dark horse and a real contender against similarly priced items from more well-known (well-regarded?) makes and worth an audition
  8. +10 to this Appreciate that we all know there is "always something better" than what we currently have out there. However if your reasoning is purely out of idle curiosity, rather than a genuine dissatisfaction with your current setup, then leave well alone and enjoy it. Upgrading one component leads to another, and another, and another... (the path to financial ruin and insanity!)
  9. TBH I've bi-wired in the past, but I really can't say I ever really noticed any great benefit. I'm quite content with single wiring and jumpers now, and can't think why I would want to go back to bi-wiring, unless I had a more complex setup like an active arrangement with external crossovers etc and wanted to play with different wires for different drivers
  10. Promise me you'll host a bake-off as soon as possible, Geoff, so I have a reason to visit
  11. @Shakey_Studioincar has a love affair with these speakers and may have some ideas as to what works best
  12. I'm really glad to hear that you are making progress at last - I feel your pain and frustration! Based on reading some of the older posts on this thread I would suggest that 15-16Hz resonance, while not ideal, may not be catastrophic. There's precious little music signal that goes that low I wouldn't have thought, and record warps would be well below that frequency so I would not expect too many problems. As I have been advised on my own setup thread, don't sweat too much about the bias tracks on the test LP. They're an indication, but not "gospel" as they don't represent real-world music programme. If you are happy with the results, stick with them, make a note of your settings and then make small changes if you want to see if you can improve things. If not, you can return to the current settings. Now go and enjoy some tunes!
  13. Welcome, Mr. Diggerpitt - do remember to fill in your profile details so we all know how to spend your money help you as best we can The A400 does have an MC-capable phono - I confess I've never tried it out as I've only ever had TTs with MM carts plugged into my A400 (which I'm still using with my 90's Monitor Audio 14's). I wouldn't say the MM is the best stage in the world, so consequently there's probably some improvements to be made by using an external phono stage. The amp is still excellent, assuming it's in good health, so for a non-wallet-busting enhancement I'd be tempted with something like the Pro-Ject Phono Box S2 (£150-ish) or even this if it ends up going for a reasonable price: https://www.ebay.co.uk/itm/Pro-Ject-Tube-Box-S2-Phono-Stage-Preamp/114319214197?hash=item1a9df4c675:g:uGoAAOSwHiVfGe~D If possible I'd also get a big magnifying glass or loupe and check the condition of the stylus - did it have a lot of use back in the day? Worth giving it a quick health check - detached stylii are not unheard of, and even if it's still there, if it's worn then you won't get a decent performance and could damage your LPs. Mr. Lurch's maintenance suggestions for the deck itself are excellent (he's a clever ol' stick). That should get you up and running and help you make the most of your deck, and rekindle a love affair with the merry-go-round of vinyl! Welcome to the madness....
  14. Any system will only perform to the standard of its weakest link, no matter whether that's source, amp, speakers, room. I think that balancing the performance capability of all components is the best way to achieve a harmonious system, and one that punches above its weight. That balance isn't necessarily defined by the amount of money you throw at it, it's about finding equipment that achieves a equivalent level of performance to everything else. In other words, what we often refer to as "synergy". No doubt there's dozens and dozens of small practical (technical) details that come together to enable this to happen, and that's the fun of what we do, finding the best balance of those details. Perhaps we should think of it as feng shui for audio. When it comes to prioritising the allocation of a budget to an entire system (I mean if you were starting out from scratch), a broadly equal split is a sensible way to start, until you come across one of those individual components that, for you and your tastes, achieves far more than it has a right to for the money being charged. That upsets the balance and allows (requires?) the ratio to be altered so that the remaining bits can make the most of your star component. Merely throwing a huge amount of cash at one item at the expense of the rest is unlikely to result in a mega performance (and is unlikely to bring out the very best in that component either). For those of us on the "upgrade" trail with existing systems, I think that identifying the "weakest link" and changing it won't necessarily result in those big leaps in performance on its own as it may simply throw the spotlight on the next weakest link, and so on. That's why I think sometimes we go round and round the upgrade trail, improving one component, then the next, then the next, then back to the first again. If the relative performance of all those bits isn't in balance then we don't get the satisfaction we expect. So improve things with one eye on how that could impact the remaining parts of the system. Either be mindful of the possibility that further changes may be needed to restore the balance, or consider incremental changes rather than giant steps up. As for placebo, I'm not sure it really matters too much unless some sort of huge fraud is being perpetrated. As long as the person who buys an item is happy with what the real or perceived changes are, what harm is done? Go into purchases with eyes open, being mindful of the possibility that nothing may change, and if the result surprises (in a good way) then happy days. Even if it's just an illusion. The whole principle of audio replay is an illusion anyway, one that can be incredibly rewarding. Let's just go with it and enjoy both the ride and the destination.
  15. Apologies @bencat, I have misunderstood your original meaning. It sounded like a "vinyl is pointless" comment when I read it. Mea culpa. Your more recent posting I agree with - "the essential thing is to listen to music and enjoy it"