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John (big)

Wammer
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About John (big)

  • Rank
    Wammer
    Experienced Wammer
  • Birthday July 3

Personal Info

  • Location
    N/W london
  • Real Name
    John

Wigwam Info

  • Turn Table
    Hydraulic Reference
  • Tone Arm & Cartridge
    Hadcock/Musicmaster
  • SUT / Phono Stage
    Croft (OCC wired)
  • Digital Source 1
    Cambridge CD4se
  • Digital Source 2
    Philips CD104
  • DAC
    Caiman Dorado 3
  • Pre-Amp
    MingDaUK modded MC7R
  • Power Amp/s
    Rogue Atlas Magnum
  • My Speakers
    OneThing Quad 57's
  • Headphones
    sennheiserHD400 MK1
  • Trade Status
    I am not in the Hi-Fi trade

Recent Profile Visitors

1,380 profile views
  1. Trying again having seen your super set up, the bench must be virtually inert. The only thing missing appears to be the Michell stylus brush which works perfectly with the SME mine did with original SME not so good with the Hadcock 242 silver & Len Gregory Musicmaster & Isolator. My deck bought as a present for me, was made and left behind on re-locating to Carlow by Transcriptors ( 3 round feet confirmed by M Gammon) sold by Michell, my stylus brush is labelled Transcriptors. Record sweep brush is labelled J A Michell.
  2. I have used Quad 57's since 1984 currently One Thing Audio Quad 57's with valves work brilliantly
  3. I have a Hydraulic Reference from new 1972ish it is fitted with oak cone feet, The platter is exactly the same. David Gammon believed minimal contact was the best way to go the posts were for 45's Gold weights for 33's I had a conversation with an ex Transcriptors employee who told me David Gammon wanted to use harder pads, only reverting to manky sponge because people feared record damage. I made pads from carbon impregnated PTFE bringing the silver post ones to equal the outer ones, I used the 1980's Michell laminated glass platter & spirit levels to level everything. There is no slipping of records & importantly no damage The big plus is bass at least as good as a Garrard 401/301 liquid mids and sweet treble, my son in law a vinyl junkie on first hearing Tomita Snowflakes are Dancing said "it's like CD only clearer" During my experimentation phases I fitted the oak cones in 1976 ish biggest improvement. 1984 ish laminated platter used with sponge pads. Using sponge pads only I preferred the outer pads only, as I recall the laminated glass platter was an improvement, the hard pads were a vast improvement . This relates only to my system where the Turntable sits on a massive natural paving stone physically wedged in to an alcove 2 walls of which solid brick the other brick and concrete chimney breast. There is no contact with the central knurled nut top surface barley any with the centre hole pin. "Assuming the 3 silver pillars are for supporting 7” 45s , when playing them the drop in height of the record alters the lateral angle of the tonearm , is this correct????" Yes it is but with soft pads seems at 45 rpm to work ok. As I said with hard pads I raised them.
  4. I easily found this on Google jon1 Active Member Apr 30, 2009 #3 HTML: I have thee of these amps..nice amps.I got mine of a mate .lucid designs he converted them from scratch complete new pcb board and all of the best bits..there are about 120 watts..in 8ohms.....AB class..surplus to requirements now..they live in the garage
  5. I know my OTA Quad 57's invert polarity so what is why I reverse the tails on my Taket super tweeters. What the other links in the chain do I have no idea. However I used a Chesky test CD where several tracks are normal and reversed polarity I preferred reversed polarity according to the CD so I swapped at both speaker input terminals I was pleased that the Croft phono stage played ball same effect with one of Len Gregory's test LP's. It was a noticeable improvement in phase on the LP particularly bass a bit like when one speaker is out of phase with the other. My speaker terminals were in phase with each other before and after.
  6. John (big)

    Valve info

    I have replaced the now tired Mullard CV4004's box plates in the Croft Vitale with a pair of Raytheon 5755's with large getter's in Chinese made adapters, eventually settling on a Voskhod 6N1P in a DIY adapter as the follower. The RIAA Equalisation seems unaffected though the 5755's gain is 70 compared to the 95 of the CV4004 (ECC83= 100) the Croft is sensitive to clean pins I brushed with a fine steel brush after a brass brush no cleaner. It would appear Westernelectric below is correct, I have the sound I want like Goldilocks found by trial and error "just right". Westernelectric diyAudio Member Join Date: Jun 2013 5755 / 420a I worked on many tube designs at the western electric plant . The 5755 / 420a tube is very close to the mullard 12ax7 ecc83 internally . Actually the Raytheon 5755 is the closest. The yellow print 1960's productions Thanks for your input
  7. I am an outsider on this matter I use a Hydra I made 20+ years ago with plaited mains cable for preamp, amp. phono stage & DAC PSU, I have said before I live in RF central plaiting the cables and using ferrites has reduced RF to inaudible levels. I have no knowledge or particular opinion on simple replacement or expensive mains cables I read them out of interest, it appears to me the naysayers in particular are the ones who exhibit hostility indeed trying to disrupt the thread even suggesting the pro contributor has cloth ears or imperfect systems, thereby creating a defensive attitude. I do not know whether cables do, can or do not improve a system other than excluding or reducing RF. The amount of pseudo science churned out by the cable companies makes assessment extremely difficult
  8. I was born in the 1940's and have experienced lots of so called fad's in Hi Fi, car engine/suspension tuning, shooting etc I have adopted what I considered to be applicable to me regarding hide bound naysayers evaluating their objections none the less, few objectors have actually tried the concept. I sometimes accept the fact that some things simply are. I replaced the ECC82 cathode follower in my Croft phono stage with a ECC88(6N23P) today a 6N1P with an adapter at the suggestion of a friend who manufactures valve equipment. I have no idea why it works I played Lou Reed walk on the wild side, Herbie Flowers was double tracked on the opening he played Double Bass & Bass Guitar. with 6N1P both can be heard usually just a rich double bass. Why does it work don't know don't care it just does. I note with interest that you have the bottle to eschew previously held ideas and have the gumption to put that in print. Having had exceptional access to scientists mostly fellows of royal institutions, professors etc giving evidence to parliamentary committees I was surprised many said that science does not have all the answers even with things that were indisputable. in other words stop looking for measurements accept and enjoy.
  9. Hyperbolization is no excuse.
  10. I just bought this crimping tool recently it is the best I have ever used & I have done a lot of crimping, however if you use non insulated terminals there are non insulated versions
  11. At one time 2 stacked quad 57's per side with Quad amps in his subterranean music room then 2 Quad 63.s edge on to each other on each side these 63's having heavy brass weighting (anti-vibration) I was fascinated by the speaker set up I think driven by Krell amps. All hidden behind diaphanous curtains. I can't find the article I have which included comments by Alastair Robertson-Aikman. I'm not sure if the picture below is of A R-A's music room or an experiment conducted by the BBC at the Albert Hall. The bottom picture is Alastair Robertson-Aikman's music room. i have no room for stacked 57's though I do have a spare pair that would need a visit to One Thing Audio first to match. Oh and another Rogue Atlas Magnum power amp+ lots of records Donald Aldous & Ken Kessler write up on one incarnation of the set up in Alastair Robertson-Aikman's music room. When available he used an SME turntable as in bottom photo. The listening room was a cut and cover subterranean concrete bunker. Back lit windows were incorporated.
  12. I once many years ago made for a focus a suede leather mat 1.5 mm thick for someone at work, he was very pleased though I never heard it. It was a copy of one I had on my Hydraulic Reference when fitted with the 1980's J Michell laminated glass platter I preferred the suede to plain glass cork and rubber. As an aside; on the HF plater gold weights etc I use 9 hard 10 mm PTFE pads, the other day I tried the original J Michell record clamp bought at the same time as the laminated glass platter, I could not detect a difference to the record supported on the hard PTFE pads alone, all of my bought new or my 50 years of charity shop buys (the vast majority) are clean & flat checked at time of purchase also no accidental diamond ring scratches from the elderly charity shop volunteers.
  13. Any passing like this Is a loss to the music loving community.
  14. Just seen this entry Paul Ramsbottom has not visited since 18/04/17 just the one post strange. Michael Gammon still owes me £60 or a new STROBE
  15. I set the VTA/ tracking weight on my Musicmaster when it was new, using the usual for Cartridge Man cartridges ie. slight tail down on my Hadcock 242 Silver + on a medium thickness record with a digital USB microscope aimed at the stylus and a BUM alignment Protractor, Followed by listening. I have not touched it since other than letting it dab some Magic Eraser to clean
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