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About Colin151

  • Rank
  • Birthday 02/02/1973

Personal Info

  • Location
    London, , United Kin
  • Real Name

Wigwam Info

  • Turn Table
    Linn LP12, SL1700mk2
  • Tone Arm & Cartridge
    Ittok, MC20 Super
  • SUT / Phono Stage
    Yaqin MS12B
  • Digital Source 1
    Beresford Caiman
  • DAC
    Denon DA300 DSD
  • Integrated Amp
    AA Concerto MK2
  • Pre-Amp
    SJS Arcadia 1S or 2T
  • Power Amp/s
    NAD 208
  • My Speakers
    Maggie 3.3R and IIIa
  • Headphones
    Sennheiser HD250II

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  1. Always wanted to try a Naim Aro arm. Preferably looking for one already installed on an LP12 as a package or on its own.
  2. Looking for a Technics 1200 or 1210. Standard or modified both ok.
  3. As well as looking for a pair of Proacs (as per my recent post) I’m also currently looking for a pair of Magnepan 3 series speakers with full ribbon tweeter. Would consider the MGIII, MGIIIa, 3.3R, 3.5R, or 3.6R. The 3.7 or 3.7i might be a bit beyond my price range but let me know if you have anything. I’d also consider the MG20 and MG20.1 but I don’t think there are so many around in this country. Any condition is ok, even with delamination/buzz issues or non working bass or mid panels, as I can repair them myself.
  4. Running the speakers full range and adding the subs by ear underneath can sound very good if you tune the sub frequency very low. It can then be hard to detect any subs in the system and interferes with the speakers and sound the least and blends very well. REL always used to recommend doing it that way. The other alternative is to high pass the main speakers (say at 80Hz) and have the sub producing full range bass. It is then easier to locate the position of the sub and there can be some blending issues with the speakers but depending on the sub in question you can get more impact and punch/dynamic/headroom etc. I think some speakers (even ported ones of similar design and size) are worse than others for bottoming out and some might be bad on certain notes and some on others, depending on the design (such as woofer, port tuning, cabinet size etc). The 2.5 can be problematic for sure from my experience. With the BK monolith subwoofer (quite a well known value ported sub) BK added a subsonic filter because people were destroying the driver from bottoming out, but they probably added an active or passive line level subsonic high pass filter. I think it would probably be more difficult to do a speaker level passive filter inside a set of speakers.
  5. Thanks for the tip on the PMCs but the rest of my home cinema kit (centre speakers and rears) are Proacs so it’s not so easy to change. If the 1.5s are run full range they will also be likely to sometimes have bottoming out issues too on some material/notes too. How do you run them with the subs? Full range or high pass filter/bass management from an AV processor/amp?
  6. When the 2.5 bottoms out it can be nasty. I got it sometimes on organ music and home cinema material in a 20 by 14 foot room, where there was very low frequency material (we are talking between 15-20 Hz). The lowest note on many pipe organs is 16Hz and that certainly caused an issue, as did certain explosions and low frequency home cinema stuff. The old DTS intro always caused a big problem. You’d unlikely get it from rock music or most other music. Bottoming out is much more of an issue with ported speakers of course as below the resonance frequency the driver excursion can increase dramatically and create a big problem if very low subsonic frequencies are present in the source signal. Having only one driver to cover the bass and mid on the 2.5 obviously doesn’t help either. To address the problem (apart from changing the speaker) you could use a preamp with a subsonic filter (many preamps used to have them as slightly warped records can also cause driver excursion issues), or use an eq system like Dirac live or similar and program in a high pass filter at a certain low frequency to stop the problem, or crossover to a sub instead. Some subs can bottom out too but you can again use amp eq or a device like an antimode which have a switchable subsonic filter that’s works at about about 12-15 Hz. Once you address the problem with some kind of filtering the maximum possible volume level and is much higher with any source material. If you get bottoming out on the 2.5 with problem material the maximum volume level can be annoyingly low without using any filtering. Using a more powerful amp makes no difference. (Although as we mentioned you do need to use a more powerful amp for the insensitive 2.5 in a medium to bigger room otherwise you might get a different issue with demanding material-clipping/distortion. Which can also be very nasty!...) Planar magnetic speakers like Magnepans or Apogeees can also have an equivalent kind of issue of driver slap issue, and again, high pass filtering or lowering the volume is the only solution. I’ll ask the seller regarding the 1.5s, just in case, otherwise I’ll hold out for (hopefully) the 2.5. Shame I missed the free 1.5s! Someone got lucky there!
  7. Thanks for that. Yeah I’ll definitely try to hold on for a pair of 2.5s. Apart from the mentioned sensitivity/amp power issues when playing more demanding material in larger room sizes, there are also two other issues- the bottoming out of the driver with some material on low frequencies in larger rooms (which can be addressed with a subsonic filter or high pass filter and roll off to a sub) and the other main issues is sometimes too much bass or serious bass boom in certain rooms, but the straws in the port is a handy trick can often work very well to adjust the bass a bit if needs be. Blocking the port completely wrecks the sound IMO! I agree those 1.5s don’t look too bad but the wood fading is pretty bad making them quite ugly and much harder to resell if needed. I wouldn’t really want to pay more than about £350 for those and i doubt the seller would go for that... There were a pair of D15s on eBay a while back with slight cosmetic damage that’s went for £550. If they were still around I’d probably go for those. Also a nice pair of R2.5s the other week for £675 but it was pick up only and too far away from me, unfortunately. Just have to keep looking and waiting!
  8. The 2.5s have significantly lower sensitivity than other Proacs. 86 dB in the specs but stereophile measured only 83 dB in their review. I had a pair before and got distortion sometimes driving them from a 25 wpc tube amp in a smaller room and had trouble for home cinema in a medium sized room unless I used an amp of more than 200 watts. If one listens to classical music with big dynamic swings or for home cinema in a bigger room I’d recommend an amp of at least 200 watts or more. Speakers like the Response 4 and 3.5 are significantly more sensitive as are most of the newer models. To get the same volume level with the 2.5s you’d need an amp of around 3 times the power rating. The 3.8 has similarly low sensitivity too. Despite the sensitivity and volume issues the 2.5s sound great with tube amps due to their benign and even impedance, unlike many other speakers that have large impedance swings. I have a big 250 watt NAD amp that would drive the 2.5 just fine. I agree it’s the pick of the bunch for the kind of low prices they go for as they have a really great musical sound. If I could only find a pair!
  9. Cheers guys. Those 100s and D28s are a bit out of my price range, so still looking. Hoping to find something. The 1SC is definitely a top standmount with a cult status but I’d ideally prefer a slightly larger model as I’ll be using the speakers for home cinema as well as music. I agree that the Response range is preferable. The older 1.5, D15 or 2.5 would be ideal. I’d be using them for home cinema as well as music and the tweeter on all those three older models is the same type as the one used in my CC one centre speaker. The tweeter on some of the newer models such as the D28 is a different brand and might not blend quite as well
  10. I’m on the lookout for some Proacs. Would consider smaller floorstanders. Such as: Studio 125 Studio 130 or 140 Response 1.5 Response D15 Response D18 Response 2.5 Response D25 Would also consider some standmount such as: Tablette 50 Tablette 50 sig Tablette anniversary Tablette 2000 Response 2 Response 2S Studio 100 Studio 110 Or similar Would also consider the CC one centre speaker but I’m going to need two of them. I guess it’s highly unlikely I’d find two at the same time, but putting it out there anyway!
  11. David Wright is retired now. I haven’t heard a BP PS on a P2 but it’s supposed to be a worthwhile upgrade. Definitive Audio could fit it and probably a few other places.
  12. Bump. Some interest but still available at the moment.
  13. Thanks. Yes I remember how good the original reviews were of the cap coupled pres. I've had both the Model 1 and the 1.5 and prefer this tranny coupled preamp. It's best preamp I've ever owned by a mile. If it were not for me moving abroad next year I would have never considered selling it.
  14. Up for sale is a rare opportunity to buy a unique one of a kind, SJS Arcadia transformer coupled line level preamp with maxed out spec. A real thing of beauty. This preamp has a different design to the standard SJS Arcadia preamps and uses transformer coupled output instead of cap coupled output. I personally prefer it and was going to hang onto it for a good while before selling but I reluctantly need to get rid of all my hifi as I’m going to be moving abroad next year. I already sold a SJS Arcadia Model 1.5 preamp a while back but kept this preamp as I prefer it's sound. The transformer output makes the music flow a little better and the overall sound is more natural. It still has the great transparency and other great qualities of the cap coupled models. Absolutely none of the bloat or over rosiness that many valve preamps are guilty of. This preamp originally made back in the late 1990s (like all the other cap coupled Arcadias were) but this particular pre was a one off as Simon Shilton told me that although it had better performance he decided not to go ahead with producing more of them due to the extra cost of the transformers, which would have made the retail price significantly higher. In Simon's more recent more expensive preamp designs he went back to transformer coupling to get the extra magic it brings. This preamp was bought in December 2014 from SJS. It had been serviced and upgraded to top specification and at that time, including pure silver wiring, tantalum resistors and other top spec capacitors etc. The circuit design is different to the cap coupled models but the quality of the parts is the same kind of maxed out level as the Arcadia Model 2. The tubes used are 5842/471a tubes. The power arrangement I believe is the same high quality valve rectified/choke input filtering type as the cap coupled models. Although it does not have the copper case of the Model 2 it does have the famous Panasonic “for audio” volume pot (same pot used in the Model 2) which is discontinued and is highly sought after. This sells for £300 alone on the used market. (The SJS Arcadia model 1 and 1.5 use the Alps Black beauty pot instead) The output impedance of this preamp is lower than the standard SJS preamps (about 500 ohms compared to 2K I believe) so it will drive lower impedance amps (such as many solid state amps) without a problem. So no impedance matching issues. The gain is a little higher than the cap coupled Arcadias at 18 dB (compared to 10 dB). The condition is pretty nice. There are some small marks on the casing here and there but it’s not noticeable unless you look close. There is more circuitry underneath compared to what is shown on the internal pics (like the Tantalum resistors and other parts) but I don’t want to take it apart completely... When you consider how much other quality tube preamps with transformer coupling cost (such as the Audionote M3 or the Kondos) this can be considered a bargain and a unique opportunity. Whoever buys this preamp will not regret it. Asking price is £1900 for this beauty.
  15. Bump. I'd also consider one of these amps with a pair of Stax headphones included.