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uzzy last won the day on February 11

uzzy had the most liked content!

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About uzzy

  • Rank
    Grumpy Old Git
  • Birthday 07/06/1951

Personal Info

  • Location
    Northampton, UK

Wigwam Info

  • Turn Table
    Systemdek IV
  • Tone Arm & Cartridge
    Mission / Decca Gold
  • Digital Source 1
    Marantz CD6004
  • Digital Source 2
    HB Burnit Pro
  • DAC
    Cambridge DACMagic2
  • Pre-Amp
    AR SP9
  • Power Amp/s
    Hafler DH200
  • My Speakers
    Art Impression
  • Headphones
    Audio Technical ATH 911
  • Trade Status
    I am not in the Hi-Fi trade

Recent Profile Visitors

4,132 profile views
  1. I bought an Okki Nokki second hand for £250 - cleaned nearly 1000 albums and it is great. I make my own fluid - in the formula below you can substitute Tergitol for Ilfatol (some people are saying Tergitol is better and can be found easily on ebay). If you use Tergitol you need to use less but google to find out (Paul Rigby did a review on it on his site). RECORD CLEANING FLUID To make 1/2 (half) Litre. 400ml Triple Distilled Water (we do not want umpteen posts on the type of water - do not use ionised it is not a pure, use distilled) 100ml Methyl Alcahol. (or isoprypol I prefer Methyl it evaporates faster) 2.5ml of Ilford Ilfotol. I lift the vacuum arm as the record is still turning (after two revolutions of suction) and gently hold a microfibre to the record to lift any residue of liquid left from the velvet under the vacuum arm) .. also have a second microfibre to run over the velvel pads to ensure no crud is building up on them. I got five litres of triple distilled online for not a lot of money - the ilfatol costs about £11 to £14 a bottle and i got the methyl alcohol from ebay Job done
  2. At the end of the day we get too hung up on the theory (of which there is no clear winner when you bring the compromise of room size and speaker size into play). I avoided reflex enclosures in the 70s - they all had forward facing ports and you could hear them chuffing at times. I chose the Gale GS401s a sealed box design of not massive proportions that had what I thought was a decent bass response UNTIL I compared them against a transmission line (PRO9TL) and whilst the transmission line had its faults the overall satisfaction of the deep bass more than made up for it (very few records induce the dreaded drone). Against both of these though were the electrostatics - which are bass light by comparison, even the Acoustat 4x which for many years was my dream loudspeaker but the type of room and room placement due to all that rear energy was a bridge too far. As for active - yes you can induce the response you want from a smaller cabinet - but over many years I have yet to hear an active system that touched my soul .. that breathed out to me the emotion and feel (god i sound like a bloody reviewer) .. I was visiting a manufacturer who was working on a three way active design - as an experiment they slotted a passive crossover into another pair to compare the two - and the passive ones and the active models were ditched .. Having said that I thought back to when I chose my Gale GS401s over Yamaha NS1000Ms .. so it could just be a personal preference - and yet we see lots of arguments and discussions about what is best. The answer at the end of the day is to audition and let your ears decide what is best and stop worrying about what someone else might say
  3. Good luck with that one - have been in the same position with acquaintances who still went ahead and bought similar only to be disappointed in time .. The problem is trying to make someone who has no knowledge of hifi understand - and you have to just accept they never appreciated their music enough to find the best thing to listen to and play it on .. just let them get on with it.
  4. I have often wondered if the speed at which a CD is ripped can make a difference .. when copying cds to cdrs I used to do it at 4 to 8 times max but of course the speed of transfer should not be an issue for a decent hard drive but it does make me wonder (probably incorrectly) if it affects the data being read off a cd if it is doing it at 50 times the speed of normal playback. After all at the end of the day it is just bits of data and provided all the bits are transferred then playback through the same DAC should result in the same sound. As to different digital transports sounding different - all I can say is the Meridian 206 and 506 used the Phillips mechanism used in their substantially less costing players - to my ears on a digital out I have yet to determine a noticeable difference on playback from different players going through the same DAC It will be interesting to know if you solve the problem and what had to be done to achieve it
  5. I agree with you .. however, as my missus would never get on with a unipivot I tested a number of arms back in the 70s for the Decca and got great results from the AT1100 with lateral damping pot and the Mission 774 so that is what I settled on (well i settled on the AT1100 but when it was suffering from age and overuse plugging and unplugging arm tubes and resetting height etc for different cartridges I replaced it with a Mission 774). Also found that it worked ok in virtually any arm on a Rock with the stylus end damping trough as well. However the point is - some cartridges work better in certain arms (which always leads me to wonder if there is a world best cartridge as the final magic is down to the arm it is used in and how they work together. I did some research (dangerous thing to do) and note from the SME blurb that the effective mass of the arm is 9.5 grams and A unique single element balance system caters for cartridges weighing 5 to 12 grams. The Musicmaker spec quotes Arm requirement: medium to low mass (13g or less) Bias (anti-skate) requirements: minimal. As such adding 10 grams weight to the headshell I would have thought was not helping to match the cartridge to the arm at all (taking the effective mass of the arm above what the cartridge recommends). Having said that I am surprised with a moving magnet cartridge and a conventional cantilever (the Decca is a different beasty) that you are having tracking problems in the arm which suggests to me something else is wrong but as you tried a different cartridge with no problems at all this is rather baffling and initial conclusion was the Music Maker was not performing to spec. I have read a number of reviews one of which tried about four different MC cartridges and the Hifi World review with a Benz moving coil and what is baffling me is in my experience over the years I always had more problems getting MCs overall to track as well as the good old Shure and Ortofon MMs - so I do not know what to suggest but perhaps the more knowledgeable in here will have the answer. It just seems very strange that the Music Maker is not performing in this arm.
  6. Are you watching the Flash posting on (Tube?) Preamp Porn Potential .. lots of views on preamps there. No way would I spend the kind of money you are looking to spend without an audition. Perhaps check out Emporium and other dealers that do second hand as well as new hifi and see if they will let you home dem (for the cost of you couriering the stuff to and from) .. dealers must be feeling it in the lock down so may be very open to such a suggestion.
  7. If it is exactly the same - OFC and under £1 a meter just get it and off ya go .. I have a pair of speakers that cost me a fortune hanging on the end of mine. Get some gold QED type banana plugs (copies are cheap as chips on ebay) to connect it up or use spades,
  8. I use these - brilliant value - a fraction of price of Van Dam and others yet 521 strands of OFC copper per each cable side. .. cable/Studio-Grade-Speaker-Cable-521-OFC/20m-of-Studio-Grade-Loudspeaker-Cable-521-Strand-OFC
  9. I know we have all heard of the advantages of ultrasonic cleaning - but it is perhaps worth reading this as it would appear that it can be detrimental. Ultrasonic cleaners can cause Cavitation erosion which is the displacement and removal of the base material. The process leaves behind pits in the surface of the part, caused by repeated explosions of the cavitation bubbles against the surface long after the cleaning process has been completed. Materials most rapidly affected by cavitation erosion are usually soft and not very resilient, like lead, aluminum, brass, and some plastics. So I am not aware if long term studies have been taken on vinyl record ultrasonic cleaning but it may be something to be aware of. Here is an article on the problem of Cavitation Erosion
  10. Looking at this makes you wonder why Sugden does not redo the A48 (which was in this style) and to offer the A21 in this style as well as its thick modern aluminium cased one (the A21 also in this style many years ago). If it sounds as good as it looks this could be a winner lol As to wattage if the old standard is applied I think 130 would make it 65 watts a side ...
  11. Or just get these - 521 strands of OFC cable .. at a cost of not a lot .. giving massive musical enjoyment and a load of dosh to spend on summat else that will make a difference cable/Studio-Grade-Speaker-Cable-521-OFC/20m-of-Studio-Grade-Loudspeaker-Cable-521-Strand-OFC Of course these are not sold by a hifi brand or in a hifi shop and used by lots of studios where the hype surrounding cables does not seem to be such an issue and so are actually priced accordingly (as my old mum used to say " a fool and his money are soon parted" and my favourite "penny wise and pound foolish" )
  12. My speaker cables are naturally lifted - the go out of the back of the amp .. up six inchest - out through the wall - down the side of the house (I hope the normal plastic cable clips I hammered into the wall to hold them are of the right type) along the wall about 20 feet and then back into the lounge through the wall .. they are fed into a QED speaker switch ontop of the bass cabinet in my Art Impressions .. and then the speaker wires come out of them to the loudspeakers - however i was very remiss they are not supported off the floor. if you really think cable lifters make a difference just peg your speaker cables on top of the skirting board
  13. Probably spent more time in a transit van travelling between gigs when playing in a band and roadying for others when i wasn't
  14. The 1042 is my benchmark for Moving Magnets - it just sounds right to my ears. Ortofon offer a similar upgrade path with the Bronz sharing the same body as the Black and similarly I believe Audio Technica are the same where you can buy a cartridge and upgrade the stylus. However, with your classic old kit it would be handy if you could take the TT and receiver to a dealer to compare as I have a feeling that the advantages of an expensive MM may not be fully achieved and you may find the top cartridges do not deliver their full performance and may not be a significant improvement over lower priced ones. Without that comparison you will never know .. It is very hard to say what price range to choose - all I can tell you is a Fidelity Research FR1 Mk2 on a Thorens did not sound as good as Linn with an SME 3009 and a VMS20E .. but the Thorens sounded better with the FR than it did with an Ortofon VMS20E ... The answer therefore has more to do with what do you want to achieve and how much are you prepared to spend to achieve it .. What cartridge are you using now and what do you feel its shortcomings are? That is the crux .. we can always achieve better perhaps but at the end of the day it is about how happy are we with the sound we get and are content.
  15. The QED had a ridge on the side of one wire (I think I tried to find the bits I had left in my boxes of wires but failed lol) and the copies had a white stripe. Life was far simpler in those days - I remember the first exotic interconnects (well not so exotic they were very flexible probably microphone wire and gold plugs) I think they were called Golden Ends - I still have a pair in the box somewhere .. Life was far easier in the band - we used Black and Decker Orange cable for the speaker wire and as it was only short lengths jack plugs for the mics lol Funny how with such poor wires it was easy to differentiate between a Shure SM57 a Shure Unisphere (i think they became the SM58) and my AKG headphone Microphone .. We made our own guitar leads from microphone wire (it was far more flexible than standard guitar wires)