Super Wammer Plus
  • Content Count

  • Joined

  • Last visited

Community Reputation

499 Excellent

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 Encounter / 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

Recent Profile Visitors

The recent visitors block is disabled and is not being shown to other users.

  1. I think the only thing I'd actually be upset about in my system would be my turntable. Everything else I'd just treat as an opportunity to try something new. I'd do everything in my power to get the deck repaired. And if I had to call it.... have it cremated, put the ashes on the mantelpiece and hunt down a full-blown Reference.
  2. That is amazing - looks absolutely fantastic!
  3. I have to say that there are some wonderful looking setups on show here, and I'm very impressed with the creativity of those who have made their own stands, either from scratch or by re-purposing another piece of furniture. We're such a clever lot!
  4. Mine is a Hi-Fi Racks Podium Ref setup, with matching TT wall shelf. No idea what, if any, effect it has audibly, but I like the way it looks, and being able to custom-select the leg sizes so the kit looks like it fits properly.
  5. I recently tried using a much more pronounced toe-in with my Q Acoustics. I had heard that no less than the late Ken Ishiwata (god rest his soul) had used such an arrangement with a pair of Concept 500s in conjunction with Marantz electronics, so I thought it was worth a try. Can't say I was terribly impressed TBH. From my listening position the HF was terribly rolled-off to the point of making vocalists unintelligible, and there was no "wow" moment with respect to imaging or soundstage. Left it a week or so so get acclimatised to the sound... then gave the idea up. It may work for some brands / models but in this room, with these speakers I'm afraid my conclusion was.... meh. YMMV of course. I am currently using a far less severe toe-in. Contrary to general wisdom I have the imaginary crossing point slightly behind my listening position, so I sit "inside" the triangle, and it seems to work very well. Stage width is not fantastic (although very much recording-dependant, occasionally I am pleasantly surprised) but the sense of depth is fantastic, and the placement and clarity of musicians excellent, so I'm happy.
  6. Exact Audio Copy for Windows, XLD for Mac
  7. Personally, I think a big element of psychology applies to this principle. The more expensive the equipment, I think the more we expect from it. If someone demo'ed you a system costing north of £100k you would, arguably rightly, expect your jaw to hit the floor and your mind to be blown so wide apart it would never fit back in your skull. Play a system around a hundredth of that price figure and you adjust your expectations accordingly. As a result I think we are often surprised by the ability of the cheaper system to connect with us emotionally, and it's easier to enjoy the performance. With a lottery-winners price tag, a system has big shoes to fill, and we worry that it doesn't achieve sufficient performance to justify the outlay.
  8. Your experience of the two Rotels is interesting. I have read a few opinions on the Wam (of different makes, not just Rotel) where upgrading to a "better" model in the range has led to disappointment and the "lesser" model is preferred. I've no experience of Rotel's amps - I owned a Michi phono stage at one point which was a lovely thing, but I confess that when I first got my Q Acoustics Concept 500's home, despite having spent time auditioning them prior to purchase there were moments when I thought I'd made a big mistake, as my original Concept 40's seemed to perform far better. Thankfully over time, with familiarity, "burn-in" of the drivers (for those of you who believe in such foo!) and some work on positioning and supports they now blow the 40's into the weeds, but to begin with I certainly felt deflated. I wonder why certain models just seem to punch so far above their weight, when their bigger brethren should, by rights, outclass and outperform them?
  9. Having owned one of these I can say that it's a top-notch bit of kit with a wonderful sound - not soggy and soft-focused at all, but plenty musical. I'd be sorely tempted to have another one (and probably pair it with UR power amps) if I hadn't gone down the Class-D route. GLWS - someone will be getting a bargain!
  10. Jules_S

    Black felt pens.

    I absolutely agree with you, Mr. Rabs - I put the quotes around "supposedly" as I had / have absolutely no proof of my own one way or the other and didn't wish to imply I was an expert on the subject - I'm an expert on nothing in this game! Personally however I think it's a load of old tosh, like those Shakti stones and cable lifters. And Peter Belt's little gold sticky squares. And audiophool network switches. I hope I'm not going to start another great big argument with those statements! Apologies to the OP if it all kicks off now...
  11. Jules_S

    Black felt pens.

    Great minds!
  12. Jules_S

    Black felt pens.

    Resurrecting the old "green pen" idea from decades ago. I suppose the one saving grace this time is he's not actually trying to sell an overpriced object. If I recall, the principle was "supposed" to be that there could potentially be a quantity of refracted light that works through the CD and is reflected back from the edge, finding its way back to the pickup but with a fractional time delay, therefore becoming a source of jitter. Marking up the edge of the disc removed that reflection. Is that true? Does it make a sufficient enough difference if it is true? Is this just another psuedo-scientific marketing exercise to sell a load of old foo? Wouldn't like to say one way or the other. At least this time round though we can apparently use any old black marker so it's as close to a free tweak as you could get!
  13. Apparently it connects to the driver baskets - there's an old thread on here about it (I've not read the whole thing, I fear falling into another wormhole...). There's also a similar thread on audiosciencereview.com https://www.hifiwigwam.com/forum/topic/119877-advice-please-re-grounding-earthing-of-individual-speaker-drive-units/
  14. Didn't some Tannoy speakers have five binding posts at one time? I presume this additional ground wire would have connected to that, and then to a grounding terminal on the amp?
  15. 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