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Everything posted by f1eng

  1. My 3009 mk II Improved cost 3 weeks income in 1972. When I worked at Garrard in 1975 the 401 was £72 list iirc.
  2. I started, like most, with the interconnects that came with the kit and 2 core mains cable for speakers. In 1968. I subsequently usually bought what the dealer recommended until I changed my Goldmund amp, which had special connectors so my speaker cable wouldn't connect to my new amp. Bought some specialist speaker cable on ebay to replace it for the first time. This system sounds superb. For the system with my Tune Audio Animas I got cable to match the internal cotton and wax insulated ones. This sound fabulous too.
  3. f1eng

    Schiit TT

    Seems they have a lot of faults, looks like maybe they didn't get the manufacturing tolerances rigfht, they are offering refunds and the opportunity to be beta testers to early customers.
  4. f1eng

    Schiit TT

    I think they have given a great deal of thought to the brand name, and loads of the product names, it is one of their key marketing strategies.
  5. I suspect it has a lot to do with availability of alternatives. When I was a student (1968-71) anybody who wanted a gadget basically had only a hifi as a choice to engage their hobby. Yes, if you were a music lover you needed one to listen to your LPs but in my college digs almost everybody had a hifi of some sort though it was very eveident that by no means all liked listening to music more than fiddling with the kit. The guy in the room next door had a wealthy family in Iran and he bought pretty well everything that was well reviewed in the mags but owned only a tiny handfull of LP
  6. f1eng

    Richard Dunn

    Very sad. I spent a lot of time in his room in Kegworth chatting about this and that. He told me he was not well.
  7. Not for me they weren't, I like classical music best so listening to a whole piece of music without having to get up and turn the record over at least once whilst listening to a symphony was a godsend with CD. Since the tagging system was standardised for pop music finding a complete set of files to listen to on a streaming service is a pita, as it is with ripped CDs unless 20 minutes is spent tagging the rip each time. I can't be bothered and have pretty well gone back to only listening to CDs and LPs, so I hope it isn't the end of CDs.
  8. When I decided I wanted to try high res at home a few years ago I looked for a DAC to replace my 20 year old model. I tried 4 normally and well engineered models at home. The most expensive was a Linn Klimax DS then a Resolution Audio Cantata "music centre", a Weiss 202 and the DAC side of a Metric Halo recorder. The sound quality was so close I certainly could not discern one from the others blind on the sort of music I listen to. I could perhaps - just- detect a bit more detail on the Cantata, which is what I bought because of its versatility and styling rather than any impressive
  9. Linn TTs are actually quite well isolated from external influence. It is TTs with a "solid" plinth which add the most bass reverb picked up from the environment. The -8dB figure was a Garrard 401 with SME 3009 Imp arm in a "rigid" wooden plinth on an oak workbench iirc (it was 1975). The TT I preferred in the music room with the speakers to in my study next door was a Technics SP10 in a rigid plinth with my SME 3009 improved with detachable headshell (the fixed headshell measured better but I had already had the detachable version for a few years and didn't know that when I bought it)
  10. If there is sound when tapping the deck there will definitely be feedback while playing music, I remember 8dB down on the signal being measured at Garrard for one deck. It isn't enough to cause a horrible noise, in fact it is rather a nice addition of bass with a little delay, like reverb. I actually prefer the sound of my deck picking up a bit of mechanical and acoustic reverb. I once moved it and the electronics to a different room with just speakers in the listening room and the sound was much more flat and uninteresting than with the deck in the room adding a bit of reverb. But t
  11. The corner of a room is the very worst place to put a full range speaker for exciting the main room modes. I usually start with the bass unit about 1/7 of the room length from the wall behind it and 1/9 of the room width from the side walls. These fractions reduce the excitation of the fundamental modes though the can’t eliminate the excitation altogether. Moving the speakers about an inch or so at a time, listening and measuring to get the least bass peakiness My current speakers ended up about 2 meters from the wall behind them and 0.9 meters from the side walls in order to minimi
  12. Well the guy who owns the ones I have here is a pro who has 3 pairs of actives. He does assist Harbeth sometimes and did check about selling them to me and that was OK by them, but I decided the deep bass was not for me, even though the problem only raised its head on a few recordings. No mention of any adjustments being available to set them up for the room was made at any time.
  13. The ones with unacceptable bass (for me) are the actual Harbeth actives supplied with Harbeth active crossover and amplifiers in a sealed box. I don't think they made many and were only available as a Pro model with matt grey paint and side handles on very tall stands intended to mount them above a mixing desk pointing downwards a bit.
  14. Not necessarily Keith. I tried the Harbeths all over my room and the bass problem was always there, just as it is with the big 2 way Rogers. The bass of other speakers in the room has not been a problem (for me). The Harbeths are unlistenable for me. I am still storing them for their owner...
  15. I reckon money has lost about 95% of its value since 1972, based on typical starting salaries, so £960 for the preamp and £1160 for the amp. A Garrard 401 was £72 when I worked there in 1976. I actually think people's expectation of hifi prices has been boosted by the US kit, like Krell and Audio Research being imported at inflated prices a few decades ago. Almost everything is absurdly over priced nowadays IMO, and since some people equate more expensive with better that seems to be the way it will continue to go. It is shocking to realise that a millionaire today has the same amoun
  16. I have gone back to CDs and LPs since I retired and don't need music on a portable whilst travelling. I simply don't like using a computer for music though I do use it to find new stuff to buy.
  17. The Sanders speakers are actually very efficient, 94dB/watt. I have always been bemused by this "first watt" idea. For the sort of music I enjoy, at the levels I play it it is tosh. Maybe for some people it works, but for me it is nowhere near, and IME quality is readily available at high powers if you want low colouration. I am listening to Mahler's 9th symphony at concert levels and the clarity of the crescendos is fabulous, no chance of that with a little amp however good the first watt is!
  18. 95 dB solo soprano with piano accompaniment. 108dB Mahler symphony. I am fairly sure the meter isn't fast enough to catch the height of short peaks, so probably more. The problem is that no meter is fast enough to catch the actual peaks. This isn't a problem on compressed pop music (there aren't any short peaks) but on simply miked and recorded classical the peaks can be hugely higher than the mean. Funnily enough I noticed this morning and article about this in May HiFi News, the first time I have seen something like this. There is a (contentious I suppose) paper on the Sa
  19. Sad creature that I am I often run the sound meter app on my phone in concerts. I pretty well only go to classical concerts. I obviously would't even be able to fit an orchestra in here to listen, so that idea isn't on deaf or not, The sound level I measure in my seat at the concert is way louder than I measure when I listen to most hifi systems which sound "loud". I believe most domestic kit is nowhere near capable of reproducing the sound levels of a live classical concert in a typical seat without sounding so "loud" due to distortion way before it reaches a realistic level. I have
  20. Even early DAT recorders were capable of recording the full dynamics of orchestral music, actually. My first, a Stelladat was the first recorder I used where the output of the recorder was indistinguishable from the mike feed and the low level was hiss free. Microphones are available which can cover the full dynamics too. OTOH very little domestic hifi is powerful enough to reproduce the dynamic range of an uncompressed audio recording, and quite a few of the classical recordings I own have a big dynamic range, particularly early CDs whilst recording engineers were still enjoying exploiti
  21. I agree. They had high hopes for the aero contribution of Dirk de Beer from Ferrari but this was pitiful. They must have chosen a completely inappropriate aero map and, probably failed to get consistently optimum tyre temperatures. Those are the two thing which make the most difference in my experience.
  22. Exciting race in Bahrain and Red Bull's problems allowed a few others to get more points than usual, though Williams disappointing in every way.
  23. Kegworth is reasonably central. It was 110 miles for me, just south of Oxford. Truro, the southernmost city of note in England is 291 miles. Berwick upon Tweed, the northernmost town in England 230 miles. London 117 miles Dover 206 miles Glasgow 291 miles Aberdeen 422 miles So no, southerners are treated most considerately by the Kegworth location
  24. No, I went into motor racing full time after that. My wife is a musician and I continued to record her work and others where I got permission but apart from discussing vibration related (I started as a noise and vibration engineer) with friends in the business had no further involvement except as a customer.
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